document_title: Sixteen Candles

question_text: who does sam end up with in sixteen candles

root

text: Sixteen Candles

text: Plot[edit]

text: High school sophomore Samantha "Sam" Baker struggles to go through the day on her 16th birthday, which her entire family has forgotten about because her older sister, Ginny, is getting married the next day. She is also plagued by infatuation with a popular and attractive senior, Jake Ryan. At school, she fares no better when she finds out that a completed "sex quiz", which she tried to surreptitiously slip to her friend Randy, never reached her friend Randy and, unbeknownst to either of them, was picked up by Jake. Despite her name not being on the quiz, Sam is still a bit panicked because the quiz contains sensitive information, such as how she is a virgin and is saving herself for Jake.

tag: p

text: During gym class, Jake opens up to his friend Rock, admitting that he feels like things with his girlfriend Caroline have become stagnant. He also tells him how he thinks it's cool that he keeps catching Sam looking at him from time to time.

text: Meanwhile, an outgoing geeky freshman named Ted is in love with Sam. On the school bus ride home, he tries to hit on her, only to have her spurn him with some trash-talk before she gets off.

text: At home, Sam has a whole new set of problems when she discovers that all four of her grandparents are staying at the Baker home during the wedding. One set of grandparents has brought along a bizarre foreign exchange student, Long Duk Dong. The grandparents force Sam to take him along to her school's senior dance that night and, to Sam's amazement, it takes "The Donger" only five minutes to find an unlikely girlfriend—the tall, large-breasted jock, Marlene.

text: As the freshmen hang out at the gym, Ted's two best friends, Bryce and Cliff, watch as Ted crashes and burns after he once again hits on Sam and fails, with an upset Sam running off. Undeterred by this latest rejection, Ted accepts a bet from his friends that he can score with Sam. For proof, they need Ted to bring them her panties. While Jake and Caroline are slow dancing, he sees Ted's interaction with Sam, so Jake asks him what he knows about her. Shocked that a senior is talking to him, Ted opens up a bit and boldly states that Ted hopes to take Sam home with him after the dance.

text: Looking for some solace, Sam finds her way to the school's auto shop. Ted finds her and sees that she is still upset. She opens up to Ted, telling him how disappointed she was with her family forgetting her birthday. Sam also confesses her love for Jake. Upon hearing this, Ted tells her that Jake had been asking about her at the dance, and they agree that Sam should just go and talk to him. As she's leaving, Ted reveals the wager he made with his friends, so Sam agrees to loan him her panties.

text: After Ted, Cliff, and Bryce have an impromptu peep show in the boys bathroom to show off the panties, they head over to Jake's house for the dance's after-party. Almost immediately, the trio find themselves in an awkward situation, knocking over a huge beer can pyramid. With Jake's parents away for the weekend, his home becomes trashed by the dozens of students that crashed the party. Disgusted, he heads to his bedroom alone and tracks down Sam's phone number after finding her picture in the school yearbook. He tries to call her, only to get tongue-tied when her grandparents answer instead.

text: At night's end, Jake finds Ted trapped under a table and they begin to talk. Jake inquires further about Sam, and Ted explains the situation. Jake makes a deal with Ted: If Jake gets to return the panties to Sam, then Ted gets to drive a very drunk Caroline home in Jake's father's Rolls Royce.

text: The next morning, Jake goes to Sam's house, only to have a hungover Donger miscommunicate that Sam was at church getting married. Jake then finds Caroline and Ted making out in the back of his dad's banged-up Rolls. With this turn of events, Jake and Caroline mutually agree that it's time for them to break up and remain friends. Jake then drives to the church just in time to meet an incredulous Sam after her sister's wedding.

text: The film concludes with Sam and Jake sharing a kiss over a birthday cake with 16 candles. Jake tells her to make a wish, but Sam says that her wish has already come true.

text: Cast[edit]

text:
Molly Ringwald as Samantha "Sam" Baker
Michael Schoeffling as Jake Ryan
Anthony Michael Hall as Ted, aka "Farmer Ted"
Paul Dooley as Jim Baker
Carlin Glynn as Brenda Baker
Justin Henry as Mike Baker
Haviland Morris as Caroline Mulford
Blanche Baker as Ginny Baker
Gedde Watanabe as Long Duk Dong
Edward Andrews as Grandpa Howard Baker
Billie Bird as Grandma Dorothy Baker
Carole Cook as Grandma Helen
Max Showalter as Grandpa Fred
Liane Curtis as Randy
John Cusack as Bryce
Darren Harris as Cliff (Wease)
Deborah Pollack as Marlene, aka "Lumberjack"
Joan Cusack as Geek Girl
John Kapelos as Rudy Ryszczyk
Jami Gertz as Robin
Brian Doyle-Murray as Reverend
Zelda Rubinstein as Organist

text: Production[edit]

text: John Hughes had asked his agent for headshots of young actresses, and among those he received were those of Molly Ringwald and Ally Sheedy. Sheedy had auditioned for the role of Sam, but was dropped because of Hughes thinking Ringwald was more fitting for the role, but he called her a year later to give her a role in The Breakfast Club. Inspired by Ringwald's appearance, he put it up over his desk and wrote the film just over a weekend with her in mind for the lead role.[3][4] For the male lead in the film, it had come down to Schoeffling and Viggo Mortensen.[5] For the part of Ted, Hughes saw a number of actors for the role: "Every single kid who came in to read for the part... did the whole, stereotyped high school nerd thing. You know - thick glasses, ball point pens in the pocket, white socks. But when Michael came in he played it straight, like a real human being. I knew right at that moment that I'd found my geek."[6]

text: Sixteen Candles was filmed primarily in and around the Chicago North Shore suburban communities of Evanston, Skokie, and Highland Park, Illinois during the summer of 1983, when leads Ringwald and Hall were 15 years old.[7] Most of the exterior scenes and some of the interior scenes were filmed at Niles East High School,[8] close to downtown Skokie, the setting for Hall's driving the Rolls Royce.[9] A cafeteria scene and a gym scene, were filmed at Niles North High School. The auto shop scene was filmed at Niles East High School in the auto shop. The Baker house is located at 3022 Payne Street in Evanston. The church (Glencoe Union Church - 263 Park Avenue) and parking lot where the final scenes take place are in Glencoe.[10]

text: Soundtrack and songs[edit]

text:
Sixteen Candles

Soundtrack album by various artists

Released
1984

Genre
Rock, new wave

Length
17:28

Label
MCA Records

Producer
Jimmy Iovine (16 Candles & Hang Up the Phone), Ira Newborn (Geek Boogie), John Cale (Gloria), & Alex Sadkin (If You Were Here)

Audio sample

"Thompson Twins - If You Were Here"

file
help

tag: table

text:
Side 1

No.
Title
Performed By
Length

1.
"16 Candles"
Stray Cats
2:52

2.
"Hang Up the Phone"
Annie Golden
2:59

3.
"Geek Boogie"
Ira Newborn & the Geeks
2:48

text:
Side 2

No.
Title
Performed By
Length

1.
"Gloria"
Patti Smith
5:54

2.
"If You Were Here"
Thompson Twins
2:55

text: The original soundtrack was released as a specially priced mini album containing only 5 songs. However, the movie actually featured an extensive selection of over 30 songs. Songs from the movie that were not included on the soundtrack EP are as follows:

text:
"Snowballed" Performed by AC/DC
"Today I Met the Boy I'm Gonna Marry" Performed by Darlene Love
"Love of the Common People" Performed by Paul Young
"Kajagoogoo" (Main Title Song) Performed by Kajagoogoo
"Happy Birthday" Performed by Altered Images
"Kazooed on Klassics" Performed by The Temple City Kazoo Orchestra
"Dragnet" Performed by Ray Anthony and His Orchestra
"Rumours in the Air" Performed by Night Ranger
"Peter Gunn" Performed by Ray Anthony and His Orchestra
"True" Performed by Spandau Ballet played during the school dance
"Wild Sex (In the Working Class)" Performed by Oingo Boingo
"Little Bitch" Performed by The Specials
"Growing Pains" Performed by Tim Finn
"When It Started to Begin" Performed by Nick Heyward
"Lenny" Performed by Stevie Ray Vaughan
"Whistle Down the Wind" Performed by Nick Heyward
"Ring Me Up" Performed by The Divinyls
"Love Theme" from The Godfather Conducted by Carlo Savina
"Turning Japanese" Performed by The Vapors
"Rev-Up" Performed by The Revillos
"Farmer John" Performed by The Premiers
"Theme from New York, New York" Performed by Frank Sinatra
"Young Guns" Performed by Wham!
"Rebel Yell" Performed by Billy Idol
"Lohengrin Wedding March" Performed by The Bavarian Staatsoper Munich Chorus and Orchestra
"Young Americans" Performed by David Bowie
"Tenderness" Performed by General Public

text: Reception[edit]

text: Box office[edit]

text: In its opening weekend the film grossed $4,461,520 in 1,240 theaters in the United States and Canada, ranking second. By the end of its run, Sixteen Candles grossed $23,686,027 against a budget of $6.5 million.[2]

text: Critical response[edit]

text: Sixteen Candles was well received by critics and is considered by many as one of the best films of 1984.[11][12] Review aggregator website Rotten Tomatoes reported that 86% of critics gave it a positive rating, based on 36 reviews with an average rating of 7/10, the site's critical consensus reads: "Significantly more mature than the teen raunch comedies that defined the era, Sixteen Candles is shot with compassion and clear respect for his characters and their hang-ups".[13] Ringwald's performance was especially praised; Variety called her "engaging and credible"[14] while Roger Ebert wrote that she "provides a perfect center for the story".[15]

text: Criticism[edit]

text: The character of Long Duk Dong was criticized for being “unfunny” and a “potentially offensive stereotype” of Asian people.[16] In 2008, Alison MacAdam of NPR wrote, "To some viewers, he represents one of the most offensive Asian stereotypes Hollywood ever gave America."[17] Asian Americans have complained that they were taunted with quotes of his stilted-English lines.[18] At the time of release Roger Ebert defended him, writing that Gedde Watanabe "elevates his role from a potentially offensive stereotype to high comedy".[15]

text: In an article published in Salon, Amy Benfer considers whether the film directly condones date rape.[19] After the party scene, Jake tells Ted that his girlfriend Caroline is "in the bedroom right now, passed out cold. I could violate her ten different ways if I wanted to." He encourages Ted to drive her home saying "she's so blitzed she won't know the difference." When Caroline and Ted wake up next to each other in the car, Caroline says she's fairly certain they had sex though neither of them remember it. Amy Benfer writes "The scene only works because people were stupid about date rape at the time. Even in a randy teen comedy, you would never see two sympathetic male characters conspiring to take advantage of a drunk chick these days."[19]

text: Author Anthony C. Bleach has argued that one possibility for Caroline's emotional and physical ruin in the film "might be that she is unappreciative of (or unreflective about) her class position," adding that, "what happens to Caroline in the narrative, whether her sloppy drunkenness, her scalping, or the potential for sexual coercion, seems to be both a projection of Samantha's desire to acquire Jake and become his girlfriend and a project of the film's desire to somehow harm the upper class."[20]

text: Awards[edit]

text: In December 1984, Ringwald and Hall both won Young Artist Awards as "Best Young Actress in a Motion Picture" and "Best Young Actor in a Motion Picture" for their roles in the film, respectively becoming the first and only juvenile performers in the history of the Young Artist Awards to win the Best Leading Actress and Best Leading Actor awards for the same film (a distinction the film still retains as of 2014).[21] In July 2008, the movie was ranked number 49 on Entertainment Weekly's list of "The 50 Best High School Movies".[22]

text: Proposed sequel or remake[edit]

text: In 2005, Ringwald was reported to be producing a sequel to the film.[23]


document_title: Halloween (1978 film)

question_text: where did the idea of michael myers come from

text: Halloween (1978 film)

text: Plot[edit]

text: On Halloween night 1963, in Haddonfield, Illinois, 6-year-old Michael Myers, dressed in a clown costume and mask, stabs his older sister Judith to death with a kitchen knife in their home. Fifteen years later, on October 30, 1978, Michael's child psychiatrist, Dr. Sam Loomis, and his colleague Marion Chambers arrive at Warren County Smith's Grove Sanatarium. Michael escapes from Smith's Grove, stealing the car that was to take him to court. Returning home to Haddonfield, Michael kills a mechanic for his uniform and steals a white mask, a knife and some rope from a local store.

text: The following day, Halloween, Michael stalks high school student Laurie Strode after she and Tommy Doyle drop off a key at his former house so her father can sell it. Throughout the day, Laurie notices Michael watching her, but her friends Annie Brackett and Lynda Van der Klok dismiss her concerns. Loomis follows Michael to Haddonfield in search of him. After discovering that Judith Myers' headstone has been stolen from the local cemetery, Loomis meets with Annie's father, Sheriff Leigh Brackett. The two begin their search at Michael's house, where Loomis tells the sheriff about the danger Michael poses, explaining that Michael is pure evil and capable of further violence, despite years of catatonia. Sheriff Brackett patrols the streets while Loomis waits and watches the house, expecting Michael to return there.

text: Later that night, Laurie goes over to babysit Tommy while Annie babysits Lindsey Wallace just across the street, unaware that Michael is watching them. When Annie's boyfriend Paul calls her to come and pick him up, she takes Lindsey over to the Doyle house to spend the night with Laurie and Tommy. Annie is just about to leave in her car when Michael, who hid in the back seat, strangles her before slashing her throat, killing her.

text: Soon after, Lynda and her boyfriend Bob Simms arrive at the Wallace house. After having sex, Bob goes downstairs to get a beer for Lynda, but Michael fatally stabs him with a knife which pins him to the wall. Michael then poses as Bob in a ghost costume and confronts Lynda, who teases him, to no effect. Annoyed, Lynda calls Laurie; just as Laurie picks up, Michael strangles Lynda to death with the telephone cord. Meanwhile, Loomis discovers the car Michael stole and begins combing the streets.

text: A suspicious Laurie goes over to the Wallace house. There, she finds the dead bodies of her friends in an upstairs bedroom, as well as Judith Myers' headstone. As a horrified Laurie cowers in the hallway, Michael suddenly appears and slashes her arm, causing her to fall down a flight of stairs. Barely escaping, Laurie races back to the Doyle house. Michael gets in and attacks her again, but Laurie manages to fend him off long enough for Tommy and Lindsey to escape. Loomis sees the two children fleeing the house, and goes to investigate, finding Michael and Laurie fighting upstairs. Loomis shoots Michael six times, knocking him off the balcony. When Loomis goes to check Michael's body, he finds it missing. Unsurprised, Loomis stares off into the night.

text: Cast[edit]

text:
Donald Pleasence as Dr. Sam Loomis
Jamie Lee Curtis as Laurie Strode
Nick Castle as Michael Myers (credited as "The Shape")

Tony Moran as Michael Myers (unmasked)
Will Sandin as Michael Myers (age 6)

P. J. Soles as Lynda Van Der Klok
Nancy Kyes as Annie Brackett
Charles Cyphers as Sheriff Leigh Brackett
Kyle Richards as Lindsey Wallace
Brian Andrews as Tommy Doyle
John Michael Graham as Bob Simms
Nancy Stephens as Marion Chambers
Arthur Malet as Graveyard Keeper
Mickey Yablans as Richie
Brent Le Page as Lonnie
Adam Hollander as Keith
Sandy Johnson as Judith Margaret Myers
David Kyle as Judith's Boyfriend
Peter Griffith as Laurie's Father

tag: ul

text: Production[edit]

text: After viewing Carpenter's film Assault on Precinct 13 (1976) at the Milan Film Festival, independent film producer Irwin Yablans and financier Moustapha Akkad sought out Carpenter to direct a film for them about a psychotic killer that stalked babysitters.[11] In an interview with Fangoria magazine, Yablans stated, "I was thinking what would make sense in the horror genre, and what I wanted to do was make a picture that had the same impact as The Exorcist."[12] Carpenter and his then-girlfriend Debra Hill began drafting a story originally titled The Babysitter Murders, but, as Carpenter told Entertainment Weekly, Yablans suggested setting the movie on Halloween night and naming it Halloween instead.[13]

text: Akkad agreed to put up $300,000 for the film's budget, which was considered low at the time[11] (Carpenter's previous film, Assault on Precinct 13, had an estimated budget of $100,000). Akkad worried over the tight, four-week schedule, low budget, and Carpenter's limited experience as a filmmaker, but told Fangoria, "Two things made me decide. One, Carpenter told me the story verbally and in a suspenseful way, almost frame for frame. Second, he told me he didn't want to take any fees, and that showed he had confidence in the project". Carpenter received $10,000 for directing, writing, and composing the music, retaining rights to 10 percent of the film's profits.[14]

text: Because of the low budget, wardrobe and props were often crafted from items on hand or that could be purchased inexpensively. Carpenter hired Tommy Lee Wallace as production designer, art director, location scout and co-editor. Wallace created the trademark mask worn by Michael Myers throughout the film from a Captain Kirk mask purchased for $1.98.[11] Carpenter recalled how Wallace "widened the eye holes and spray-painted the flesh a bluish white. In the script it said Michael Myers's mask had 'the pale features of a human face' and it truly was spooky looking. I can only imagine the result if they hadn't painted the mask white. Children would be checking their closet for William Shatner after Tommy got through with it."[13] Hill adds that the "idea was to make him almost humorless, faceless—this sort of pale visage that could resemble a human or not."[15] Many of the actors wore their own clothes, and Curtis' wardrobe was purchased at J. C. Penney for around a hundred dollars.[11]

text: The limited budget also dictated the filming location and time schedule. Halloween was filmed in 20 days in the spring of 1978 in South Pasadena, California, Garfield Elementary School in Alhambra, and the cemetery at Sierra Madre, California. An abandoned house owned by a church stood in as the Myers house. Two homes on Orange Grove Avenue (near Sunset Boulevard) in Hollywood were used for the film's climax.[16] The crew had difficulty finding pumpkins in the spring, and artificial fall leaves had to be reused for multiple scenes. Local families dressed their children in Halloween costumes for trick-or-treat scenes.[11]

text: In August 2006, Fangoria reported that Synapse Films had discovered boxes of negatives containing footage cut from the film. One was labeled "1981" suggesting that it was additional footage for the television version of the film. Synapse owner Don May, Jr. said, "What we've got is pretty much all the unused original camera negative from Carpenter's original Halloween. Luckily, Billy [Kirkus] was able to find this material before it was destroyed. The story on how we got the negative is a long one, but we'll save it for when we're able to showcase the materials in some way. Kirkus should be commended for pretty much saving the Holy Grail of horror films."[17] It was later reported, "We just learned from Sean Clark, long time Halloween genius, that the footage found is just that: footage. There is no sound in any of the reels so far, since none of it was used in the final edit."[18]

text: Writing[edit]

text: It took approximately 10 days to write the script. Yablans and Akkad ceded most of the creative control to writers Carpenter and Hill (whom Carpenter wanted as producer), but Yablans did offer several suggestions. According to a Fangoria interview with Hill, "Yablans wanted the script written like a radio show, with 'boos' every 10 minutes."[15] Hill explained that the script took three weeks to write and much of the inspiration behind the plot came from Celtic traditions of Halloween such as the festival of Samhain. Although Samhain is not mentioned in the plot of the first film, Hill asserts that:

text: ...the idea was that you couldn't kill evil, and that was how we came about the story. We went back to the old idea of Samhain, that Halloween was the night where all the souls are let out to wreak havoc on the living, and then came up with the story about the most evil kid who ever lived. And when John came up with this fable of a town with a dark secret of someone who once lived there, and now that evil has come back, that's what made Halloween work.[15]

text: Hill wrote most of the female characters' dialogue,[9] while Carpenter drafted Loomis' speeches on the soullessness of Michael Myers. Many script details were drawn from Carpenter's and Hill's adolescence and early careers. The fictional town of Haddonfield, Illinois was derived from Haddonfield, New Jersey, where Hill grew up, and most of the street names were taken from Carpenter's hometown of Bowling Green, Kentucky. Laurie Strode was the name of one of Carpenter's old girlfriends and Michael Myers was the name of an English producer who had previously entered, with Yablans, Assault on Precinct 13 in various European film festivals.[11] In Halloween, Carpenter pays homage to Alfred Hitchcock with two characters' names: Tommy Doyle is named after Lt. Det. Thomas J. Doyle (Wendell Corey) from Rear Window (1954), and Dr. Loomis' name was taken from Sam Loomis (John Gavin) from Psycho, the boyfriend of Marion Crane (Janet Leigh, who is the real-life mother of Jamie Lee Curtis). Sheriff Leigh Brackett shared the name of a Hollywood screenwriter.

text:
"I met this six year old child with this blank, pale, emotionless face, and the blackest eyes; the devil's eyes [...] I realized what was living behind that boy's eyes was purely and simply...evil."

— Loomis' description of a young Michael was inspired by John Carpenter's experience with a real life mental patient.[9]

tag: div

text: Carpenter's inspiration for the "evil" that Michael would embody came when he was in college. While on a class trip at a mental institution in Kentucky, Carpenter visited "the most serious, mentally ill patients". Among those patients was a young boy around twelve to thirteen years-old. The boy gave this "schizophrenic stare", "a real evil stare", which Carpenter found "unsettling", "creepy", and "completely insane". Carpenter's experience would inspire the characterization that Loomis would give of Michael to Sheriff Brackett in the film.[9]

text: Casting[edit]

text: The cast of Halloween included veteran actor Donald Pleasence and then-unknown actress Jamie Lee Curtis. The low budget limited the number of big names that Carpenter could attract, and most of the actors received very little compensation for their roles. Pleasence was paid the highest amount at $20,000, Curtis received $8,000, and Nick Castle earned $25 a day.[11] The role of Dr. Loomis was originally intended for Peter Cushing, who had recently appeared as Grand Moff Tarkin in Star Wars (1977); Cushing's agent rejected Carpenter's offer due to the low salary. Christopher Lee was also approached for the role; he too turned it down, although the actor would later tell Carpenter and Hill that declining the role was the biggest mistake he made during his career. Yablans then suggested Pleasence, who agreed to star because his daughter Angela, a guitarist, had enjoyed Assault on Precinct 13 for Carpenter's score.[9] American audiences were primarily acquainted with Pleasence due to his portrayal of the villain Ernst Stavro Blofeld in the James Bond film You Only Live Twice (1967).[19]

text: In an interview, Carpenter admits that "Jamie Lee wasn't the first choice for Laurie. I had no idea who she was. She was 19 and in a TV show at the time, but I didn't watch TV." He originally wanted to cast Anne Lockhart, the daughter of June Lockhart from Lassie, as Laurie Strode. However, Lockhart had commitments to several other film and television projects.[13] Hill says of learning that Jamie Lee was the daughter of Psycho actress Janet Leigh, "I knew casting Jamie Lee would be great publicity for the film because her mother was in Psycho."[15] Halloween was Curtis' feature film debut and launched her career as a "scream queen" horror star. Another relatively unknown actress, Nancy Kyes (credited in the film as Nancy Loomis), was cast as Laurie's friend Annie Brackett, daughter of Haddonfield sheriff Leigh Brackett (Charles Cyphers). Kyes had previously starred in Assault on Precinct 13 (as had Cyphers) and happened to be dating Halloween's art director Tommy Lee Wallace when filming began.[20] Carpenter chose P. J. Soles to play Lynda Van Der Klok, another friend of Laurie's, best remembered in the film for dialogue peppered with the word "totally." Soles was an actress known for her supporting role in Carrie (1976) and her minor part in The Boy in the Plastic Bubble (1976). According to one source, "Carpenter realized she had captured the aura of a happy go lucky teenage girl in the 70s."[21]

text: The role of "The Shape" — as the masked Michael Myers character was billed in the end credits — was played by Nick Castle, who befriended Carpenter while they attended the University of Southern California. After Halloween, Castle became a director, taking the helm of films such as The Last Starfighter (1984), The Boy Who Could Fly (1986), Dennis the Menace (1993), and Major Payne (1995).[22]

text: Direction[edit]

text: Historian Nicholas Rogers notes that film critics contend that Carpenter's direction and camera work made Halloween a "resounding success".[23] Roger Ebert remarks, "It's easy to create violence on the screen, but it's hard to do it well. Carpenter is uncannily skilled, for example, at the use of foregrounds in his compositions, and everyone who likes thrillers knows that foregrounds are crucial ...."[24] The opening title, featuring a jack-o'-lantern placed against a black backdrop, sets the mood for the entire film. The camera slowly moves toward the jack-o'-lantern's left eye as the main title theme plays. After the camera fully closes in, the jack-o'-lantern's light dims and goes out. Film historian J.P. Telotte says that this scene "clearly announces that [the film's] primary concern will be with the way in which we see ourselves and others and the consequences that often attend our usual manner of perception".[25] During the conception of the plot, Yablans instructed "that the audience shouldn't see anything. It should be what they thought they saw that frightens them".[15] Carpenter seemingly took Yablans' advice literally, filming many of the scenes from Michael Myers's point-of-view that allowed audience participation. Carpenter is not the first director to employ this method or use of a steadicam; for instance, the first scene of Psycho offers a voyeuristic look at lovers in a seedy hotel. Telotte argues, "As a result of this shift in perspective from a disembodied, narrative camera to an actual character's eye ... we are forced into a deeper sense of participation in the ensuing action".[26] Along with the 1974 Canadian horror film Black Christmas, Halloween made use of seeing events through the killer's eyes.[citation needed]

text: The first scene of the young Michael's voyeurism is followed by the murder of Judith seen through the eye holes of Michael's clown costume mask. According to one commentator, Carpenter's "frequent use of the unmounted first-person camera to represent the killer's point of view ... invited [viewers] to adopt the murderer's assaultive gaze and to hear his heavy breathing and plodding footsteps as he stalked his prey".[27] Another technique that Carpenter adapted from Alfred Hitchcock's Psycho (1960) was suspense with minimal blood and gore. Hill comments, "We didn't want it to be gory. We wanted it to be like a jack-in-the box."[15] Film analysts refer to this as the "false startle" or "the old tap-on-the-shoulder routine" in which the stalkers, murderers, or monsters "lunge into our field of vision or creep up on a person."[28] Carpenter worked with the cast to create the desired effect of terror and suspense. According to Curtis, Carpenter created a "fear meter" because the film was shot out-of-sequence and she was not sure what her character's level of terror should be in certain scenes. "Here's about a 7, here's about a 6, and the scene we're going to shoot tonight is about a 9½", remembered Curtis. She had different facial expressions and scream volumes for each level on the meter.[29]

text: Carpenter's direction for Castle in his role as Myers was minimal. For example, when Castle asked what Myers' motivation was for a particular scene, Carpenter replied that his motivation was to walk from one set marker to another.[9] The documentary titled Halloween Un-masked, featured in the 22nd anniversary DVD of Halloween, John Carpenter states he also instructed Castle to tilt his head a couple of times as if he was observing the corpse, particularly in the scene when Myers impaled one of his victims against a wall.[9]

text: Music[edit]

text: Another major reason for the success of Halloween is the moody musical score, particularly the main theme. Lacking a symphonic soundtrack, the film's score consists of a piano melody played in a 10/8 or "complex 5/4" meter composed and performed by director John Carpenter. It took Carpenter three days to compose the entire score for the film. Critic James Berardinelli calls the score "relatively simple and unsophisticated", but admits that "Halloween's music is one of its strongest assets".[30] Carpenter stated in an interview, "I can play just about any keyboard, but I can't read or write a note."[13] In the end credits, Carpenter bills himself as the "Bowling Green Philharmonic Orchestra" for performing the film's score, but he did receive assistance from composer Dan Wyman, a music professor at San José State University.[11][31]

text: Some songs can be heard in the film, one being an untitled song performed by Carpenter and a group of his friends who formed a band called The Coupe De Villes. The song is heard as Laurie steps into Annie's car on her way to babysit Tommy Doyle.[11] Another song, "(Don't Fear) The Reaper" by classic rock band Blue Öyster Cult, appears in the film.[32]

text: The soundtrack was first released in the United States in October 1983, by Varèse Sarabande/MCA.[citation needed] It was subsequently released on Compact Disc in 1985, re-released in 1990, and again in 2000.[citation needed]

text: Release[edit]

text: Theatrical run[edit]

text: Halloween premiered on October 25, 1978 in Kansas City, Missouri (at the AMC Midland/Empire) and sometime afterward in Chicago, Illinois, and in New York City. It had its Los Angeles debut October 27, 1978.[33][34] It opened in Pittsburgh, Pennsylvania, on November 22, 1978.[35] The film grossed $47 million in the United States[2] and an additional $23 million internationally, making the theatrical total $70 million.[3]

text: On September 7, 2012, the official Halloween Movies Facebook page announced that the original Halloween would be theatrically re-released starting October 25, 2013 in celebration of the film's 35th anniversary in 2013. A new documentary was screened before the film at all locations, entitled, You Can't Kill the Boogeyman: 35 Years of Halloween, written and directed by HalloweenMovies.com webmaster Justin Beahm.[36][37]

text: Television rights[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2016) (Learn how and when to remove this template message)

text: In 1980, the television rights to Halloween were sold to the National Broadcasting Company (NBC) for $4 million. After a debate among Carpenter, Hill and NBC's Standards and Practices over censoring of certain scenes, Halloween appeared on television for the first time in October 1981.[15] To fill the two-hour time slot, Carpenter filmed twelve minutes of additional material during the production of Halloween II. The newly filmed scenes include Dr. Loomis at a hospital board review of Michael Myers and Dr. Loomis talking to a then-6-year-old Michael at Smith's Grove, telling him, "You've fooled them, haven't you, Michael? But not me." Another extra scene features Dr. Loomis at Smith's Grove examining Michael's abandoned cell after his escape and seeing the word "Sister" scratched into the door. Finally, a scene was added in which Lynda comes over to Laurie's house to borrow a silk blouse before Laurie leaves to babysit, just as Annie telephones asking to borrow the same blouse. The new scene had Laurie's hair hidden by a towel, since Curtis was by then wearing a much shorter hairstyle than she had worn in 1978.[citation needed] The television scenes were released on a two-tape "limited-edition" VHS set of the film and the television version of the film was released on a second disc in the two-disc "limited-edition" DVD release of the film in 1999, a stand alone in 2001 as Halloween: Extended Edition on VHS and DVD as well as the Halloween: 30th Anniversary Commemorative Set along with the original Halloween on DVD and Blu-ray, disc one from the 25 Years of Terror documentary DVD and the Divimax editions of Halloween 4: The Return of Michael Myers and Halloween 5: The Revenge of Michael Myers in 2008 and is featured on the bonus disc in the Halloween limited edition Blu-ray box set released in 2014.[citation needed]

text: Home video releases[edit]

text: Since Halloween's premiere, it has been released in several home video formats, including VHS, LaserDisc, DVD, UMD and Blu-ray Disc. Early VHS versions were released by Media Home Entertainment and Blockbuster Video issued a commemorative edition in 1995. Anchor Bay Entertainment (succeder in-interest to Media Home Entertainment and Video Treasures) has released several restored editions of Halloween on VHS and DVD, including "Halloween: Unmasked"; a documentary produced and directed by Mark Cerulli which featured an array of interviews with original Halloween cast and crew including Jamie Lee Curtis, Debra Hill, John Carpenter, Nick Castle and others. The most recent release of the film is the 2007 single-disc restored version, with improved picture and sound quality.[38] Anchor Bay has also released an "extended edition" of Halloween that features the original theatrical release with the scenes that were shot for the broadcast TV version edited in at their proper places.[39] In 2003, the film was released on a two-disc "25th Anniversary edition" with improved DiviMax picture and audio, along with an audio commentary by John Carpenter, Jamie Lee Curtis and Debra Hill, the A Cut Above The Rest documentary, On Location: 25 Years Later featurette, the trailer, TV spots, radio spots, poster and still gallery, and DVD-ROM content. In 2007, the movie was released on Blu-ray as well, marking the film's first ever Blu-ray release. The Blu-ray features a commentary track by Carpenter, Hill and Curtis, the trailer, TV spots, radio spots, fast film facts and the documentary Halloween: A Cut Above the Rest.[34] In 2008, a "30th Anniversary commemorative set" was released, containing the film on DVD and Blu-ray along with the "extended edition", disc one of the 25 Years of Terror documentary DVD and the sequels: Halloween 4: The Return of Michael Myers and Halloween 5: The Revenge of Michael Myers, including a replica Michael Myers mask. The DVD release was THX certified. The film has made $18,500,000 in home video rentals.[citation needed]

text: On June 6, 2013, it was announced that a second, 35th anniversary, Blu-ray release for Halloween is in the works and that John Carpenter and Jamie Lee Curtis have recorded a new commentary.[40] On June 11, it was announced that Dean Cundey is supervising a new high-definition transfer.[41] On July 22, the official cover art for the 35th anniversary Blu-ray release was revealed including the new special features such as the all-new high definition transfer by Cundey, the new commentary track by Carpenter and Curtis as well as a new 7.1 audio mix, the original mono audio mix, a new featurette with Curtis titled "The Night She Came Home", an "On-Location" featurette, the trailer, television and radio spots and the additional scenes from the extended television version. The 35th-anniversary release earned a Saturn Award for Best Classic Film Release.[42]

text: Reception[edit]

text: Critical response[edit]

text: Although Halloween performed well with little advertising—relying mostly on word-of-mouth—many critics seemed uninterested or dismissive of the film. Pauline Kael wrote a scathing review in The New Yorker suggesting that "Carpenter doesn't seem to have had any life outside the movies: one can trace almost every idea on the screen to directors such as Hitchcock and Brian De Palma and to the Val Lewton productions" and claiming that "Maybe when a horror film is stripped of everything but dumb scariness—when it isn't ashamed to revive the stalest device of the genre (the escaped lunatic)—it satisfies part of the audience in a more basic, childish way than sophisticated horror pictures do."[43] The first glowing review by a prominent film critic came from Tom Allen of The Village Voice in November 1978. Allen noted that the film was sociologically irrelevant but ceded that the Hitchcock-like technique was effective and "the most honest way to make a good schlock film". Allen pointed out the stylistic similarities to Psycho and George A. Romero's Night of the Living Dead (1968).[33][44] The following month, Voice lead critic Andrew Sarris wrote a follow-up feature on cult films, citing Allen's appraisal of Halloween and saying in the lead sentence that the film "bids fair to become the cult discovery of 1978. Audiences have been heard screaming at its horrifying climaxes".[45] Roger Ebert gave the film similar praise in his 1979 review in the Chicago Sun-Times[46] and selected it as one of his top ten films of 1978.[47] Once-dismissive critics were impressed by Carpenter's choice of camera angles and simple music, and surprised by the lack of blood and graphic violence.[30] On review aggregate website Rotten Tomatoes, the film has an approval rating of 93% based on 54 reviews, with an average rating of 8.5/10. The site's critical consensus reads, "Scary, suspenseful, and viscerally thrilling, Halloween set the standard for modern horror films."[48]

text: Many compared the film with the work of Alfred Hitchcock, although TV Guide calls comparisons made to Psycho "silly and groundless"[49] and critics in the late 1980s and early 1990s blame the film for spawning the slasher subgenre, which they felt had rapidly descended into sadism and misogyny.[50] Almost a decade after its premiere, Mick Martin and Marsha Porter critiqued the first-person camera shots that earlier film reviewers had praised and later slasher-film directors utilized for their own films (for example, Friday the 13th (1980)). Claiming it encouraged audience identification with the killer, Martin and Porter pointed to the way "the camera moves in on the screaming, pleading, victim, 'looks down' at the knife, and then plunges it into chest, ear, or eyeball. Now that's sick."[7]

text: Years after its debut, Halloween enjoys a reputation as a classic[48] and is considered by many as one of the best films of 1978.[47][51][52][53][54]

text: Themes and analysis[edit]

text: Many criticisms of Halloween and other slasher films come from postmodern academia. Some feminist critics, according to historian Nicholas Rogers, "have seen the slasher movies since Halloween as debasing women in as decisive a manner as hard-core pornography."[50] Critics such as John Kenneth Muir state that female characters such as Laurie Strode survive not because of "any good planning" or their own resourcefulness, but sheer luck. Although she manages to repel the killer several times, in the end, Strode is rescued in Halloween and Halloween II only when Dr. Loomis arrives to shoot Myers.[55]

text: On the other hand, other feminist scholars such as Carol J. Clover argue that despite the violence against women, slasher films turned women into heroines. In many pre-Halloween horror films, women are depicted as helpless victims and are not safe until they are rescued by a strong masculine hero. Despite the fact that Loomis saves Strode, Clover asserts that Halloween initiates the role of the "final girl" who ultimately triumphs in the end. Strode herself fought back against Myers and severely wounds him. Had Myers been a normal man, Strode's attacks would have killed him; even Loomis, the male hero of the story, who shoots Michael repeatedly at near point blank range with a large caliber handgun, cannot kill him.[56]

text: Aviva Briefel argued that moments such as when Michael's face was temporarily revealed are meant to give pleasure to the male viewer. Briefel further argues that these moments are masochistic in nature and give pleasure to men because they are willingly submitting themselves to the women of the film; they submit themselves temporarily because it will make their return to authority even more powerful.[57] Critics, such as Pat Gill, see Halloween as a critique of American social values. She remarks that parental figures are almost entirely absent throughout the film, noting that when Laurie is attacked by Michael while babysitting, "No parents, either of the teenagers or of the children left in their charge, call to check on their children or arrive to keen over them."[58]

text: Another major theme found in the film is the dangers of pre-marital sex. Clover believes that killers in slasher films are fueled by a "psychosexual fury"[59] and that all the killings are sexual in nature. She reinforces this idea by saying that "guns have no place in slasher films" and when examining the film I Spit on Your Grave she notes that "a hands-on killing answers a hands-on rape in a way that a shooting, even a shooting preceded by a humiliation, does not."[60] Equating sex with violence is important in Halloween and the slasher genre according to Pat Gill, who made a note of this in her essay "The Monstrous Years: Teens, Slasher Films, and the Family". She remarks that Laurie's friends "think of their babysitting jobs as opportunities to share drinks and beds with their boyfriends. One by one they are killed... by Michael Myers an asylum escapee who years ago at the age of six murdered his sister for preferring sex to taking care of him."[58]

text: The danger of suburbia is another major theme that runs throughout the movie and the slasher genre itself, Pat Gill states that slasher films "seem to mock white flight to gated communities, in particular the attempts of parents to shield their children from the dangerous influences represented by the city".[61] Halloween and slasher films, generally, are supposed to represent the underside of suburbia. Michael Myers was raised in a suburban household and after he escapes the mental hospital he returns to his hometown to kill again; Myers is a product of the suburban environment.[61]

text: Carpenter himself dismisses the notion that Halloween is a morality play, regarding it as merely a horror movie. According to Carpenter, critics "completely missed the point there". He explains, "The one girl who is the most sexually uptight just keeps stabbing this guy with a long knife. She's the most sexually frustrated. She's the one that's killed him. Not because she's a virgin but because all that sexually repressed energy starts coming out. She uses all those phallic symbols on the guy."[9][10]

text: Awards[edit]

text: Halloween was nominated for the Saturn Award for Best Horror Film by the Academy of Science Fiction, Fantasy & Horror Films in 1979, but lost to The Wicker Man (1973).[62] In 2001, Halloween ranked #68 on the American Film Institute TV program 100 Years...100 Thrills.[63] The film was #14 on Bravo's The 100 Scariest Movie Moments (2004).[64] Similarly, the Chicago Film Critics Association named it the 3rd scariest film ever made.[65] In 2006, Halloween was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[66] In 2007, the AOL 31 Days of Horror countdown named Halloween the greatest horror movie.[67] In 2008, the film was selected by Empire magazine as one of The 500 Greatest Movies of All Time.[68] In 2010, Total Film selected the film as one of The 100 Greatest Movies of All Time.[69]

text: American Film Institute lists

text:
AFI's 100 Years...100 Thrills – #68
AFI's 100 Years...100 Heroes & Villains:

Michael Myers – Nominated Villain

AFI's 100 Years...100 Movies (10th Anniversary Edition) – Nominated

text: Influence[edit]

text: Halloween is a widely influential film within the horror genre; it was largely responsible for the popularization of slasher films in the 1980s. Halloween popularized many tropes that have become completely synonymous with the slasher genre. Halloween helped to popularize the final girl trope, the killing off of characters who are substance abusers or sexually promiscuous, and the use of a theme song for the killer. Carpenter also shot many scenes from the perspective of the killer in order to build tension. These elements have become so established that many historians argue that Halloween is responsible for the new wave of horror that emerged during the 1980s.[70][71] Due to its popularity, Halloween became a blueprint for success that many other horror films, such as Friday the 13th and A Nightmare on Elm Street, would follow, and that others like Scream would satirise.[citation needed]

text: The major themes present in Halloween would also become common in the slasher films it inspired. Film scholar Pat Gill notes that in Halloween, there is a theme of absentee parents[58] but films such as A Nightmare on Elm Street and Friday the 13th feature the parents becoming directly responsible for the creation of the killer.[72]

text: There are slasher films that predated Halloween, such as The Texas Chain Saw Massacre and Black Christmas which contained prominent elements of the slasher genre; both involving a group of teenagers being murdered by a stranger as well having the final girl trope. Halloween, however, is seen by historians as being responsible for the new wave of horror films because it not only used these tropes but also pioneered many others.[70][71]

text: A mass market paperback novelization of the same name, written by Curtis Richards (a pseudonym that was used by author Richard Curtis), was published by Bantam Books in 1979. It was reissued in 1982; it later went out of print. The novelization adds aspects not featured in the film, such as the origins of the curse of Samhain and Michael Myers' life in Smith's Grove Sanatorium, which contradict its source material. For example, the novel's version of Michael speaks during his time at the sanitarium;[73] in the film, Dr. Loomis states, "He hasn't spoken a word in fifteen years." In 1983, Halloween was adapted as a video game for the Atari 2600 by Wizard Video. None of the main characters in the game were named. Players take on the role of a teenage babysitter who tries to save as many children from an unnamed, knife-wielding killer as possible. The game was not popular with parents or players and the graphics were simple, as was typical in Atari 2600 games. In another effort to save money, most versions of the game did not even have a label on the cartridge. It was simply a piece of tape with "Halloween" written in marker. The game contained more gore than the film, however. When the babysitter is killed, her head disappears and is replaced by blood pulsating from the neck as she runs around exaggeratedly. The game's primary similarity to the film is the theme music that plays when the killer appears onscreen.[74][75]

text: Sequels and remake[edit]

text: Halloween spawned seven sequels, a 2007 remake directed by Rob Zombie, and a 2009 sequel to the remake, which is unrelated to the sequel of the original.[76] Of these films, only the first sequel was written by Carpenter and Hill. It begins exactly where Halloween ends and was intended to finish the story of Michael Myers and Laurie Strode. Halloween II was a box office success, becoming the second-highest grossing horror film of 1981 behind An American Werewolf in London. Carpenter did not direct any of the subsequent films in the Halloween series, although he did produce Halloween III: Season of the Witch (1982), the plot of which is unrelated to the other films in the series due to the absence of Michael Myers.[77] He, along with Alan Howarth, also composed the music for the second and third films. After the negative critical and commercial reception for Season of the Witch, the filmmakers brought back Michael Myers in Halloween 4: The Return of Michael Myers (1988), which was successful enough to warrant its own direct sequel with Halloween 5: The Revenge of Michael Myers (1989), as well as Halloween: The Curse of Michael Myers (1995).[citation needed]

text: The sequels feature more explicit violence and blood and are generally dismissed by mainstream film critics, excluding Halloween II (1981) and Halloween H20: 20 Years Later (1998), which did receive better reviews than most of the other sequels in the franchise, yet still paled in comparison to the original film. They were filmed on larger budgets than the original: in contrast to Halloween's modest budget of $300,000, Halloween II's budget was around $2.5 million,[78] while the final sequel to the original, Halloween: Resurrection (2002), boasted a budget of $15 million.[79] Financier Moustapha Akkad continued to work closely with the Halloween franchise, acting as executive producer of every sequel until his death in the 2005 Amman bombings.[80]

text: With the exception of Halloween III, the sequels further develop the character of Michael Myers and the Samhain theme. Even without considering the third film, the Halloween series contains continuity issues, which some sources attribute to the different writers and directors involved in each film.[81] The 10 Halloween films, including the 2007 remake and its sequel, have had eight directors. Only Rick Rosenthal and Rob Zombie directed more than one: Rosenthal directed the first sequel as well as Halloween: Resurrection, while Zombie directed the remake of the original film and its sequel.[citation needed]

text: On February 9, 2017, Carpenter announced that the new Halloween film would be released on October 19, 2018, and is going to be written by David Gordon Green and Danny McBride and will be directed by Green.[82] It will be a direct sequel to the original film and will ignore all the sequels.[83][84][85] In September 2017, Jamie Lee Curtis confirmed that she would reprise her role as Laurie Strode.[86] In October, Judy Greer entered negotiations to play Laurie's daughter Karen Strode.[87] The film will be distributed by Universal Pictures, their first involvement in the franchise since distributing 1982's Halloween III: Season of the Witch. On October 17, 2017, Carpenter announced that he would be returning to score the upcoming film, saying "I’ll be consulting with the director to see what he feels. I could create a new score, we could update the old score and amplify it, or we could combine those two things. I’ll have to see the movie to see what it requires."[88]


document_title: 2018–19 NHL season

question_text: when is the 18 19 nhl schedule released

question_tokens: when is the 18 19 nhl schedule released

text: 2018–19 NHL season

text: League business[edit]

text: Collective Bargaining Agreement[edit]

text: The current collective bargaining agreement (CBA) is in its seventh season. The NHL can chose to opt out of the CBA on September 1, 2019, or the NHLPA can choose to opt out of the CBA on September 19, 2019.

text: Salary cap[edit]

text: On December 9, 2017, the National Hockey League Players' Association announced that the salary cap would be set at $79.5 million per team for the 2018–19 season.[1]

text: Rule changes[edit]

text: No major rule changes have been implemented this season.

text: Media rights[edit]

text: This is the eighth season under the NHL's ten year U.S. rights deal with NBC Sports and fifth season of its twelve year Canadian rights deals with Sportsnet and TVA Sports.

text: On December 20, 2017, CBC Sports and Rogers Communications struck an agreement to renew Hockey Night in Canada through the end of Rogers's current broadcast contract. The two sides had previously reached an agreement to extend its original four-year agreement by an additional year.[2]

text: Draft[edit]

text: The 2018 NHL Entry Draft was held June 22 and 23, 2018. The Buffalo Sabres, by virtue of winning the draft lottery on April 28, held the first overall selection, using it to select defenseman Rasmus Dahlin.

text: Preseason games in China[edit]

text: Two preseason games will be played in China.[3] The Calgary Flames and Boston Bruins will play one game at the Shenzhen Universiade Sports Center in Shenzhen on September 15, 2018 and another game at Cadillac Arena in Beijing on September 19, 2018.[4]

text: Coaching changes[edit]

text:
Coaching changes

Off-season

Team

2017–18 coach

2018–19 coach

Story / Accomplishments

Calgary Flames

Glen Gulutzan

Bill Peters

Gulutzan was fired on April 17, following the Flames' failure to make the playoffs. In two seasons, the Flames went 82–68–14 under Gulutzan. The Flames made the playoffs in Gulutzan's first season with the team before missing out the following year.[5] On April 23, Peters was named the Flames' new head coach.[6] He had coached the Carolina Hurricanes the previous four seasons.

Carolina Hurricanes

Bill Peters

Rod Brind'Amour

Peters resigned on April 20, following the Hurricanes' failure to make the playoffs. Under Peters the Hurricanes went 137–138–53 and missed the playoffs in all four seasons.[7] On May 8, Brind'Amour, who had spent the previous seven years as an assistant coach for the Hurricanes, was named the Hurricanes' new head coach.[8]

Dallas Stars

Ken Hitchcock

Jim Montgomery

Hitchcock retired from coaching on April 13, following the Stars' failure to make the playoffs to become a consultant for the franchise. The Stars went 319–186–60–20 under Hitchcock, winning the Stanley Cup in 1999, going back the following season, and winning the Presidents' Trophy twice.[9] On May 4, Montgomery was named the Stars' new head coach.[10] He led the Denver Pioneers to the 2017 NCAA championship.

New York Islanders

Doug Weight

Barry Trotz

Weight was relieved of his duties by the Islanders on June 5, a few weeks after the hiring of Lou Lamoriello as the president of hockey operations for the Islanders. The Islanders went 59–49–14 under Weight in his one-and-a-half seasons as head coach, never making the playoffs. Weight would remain with the Islanders.[11] On June 21, Trotz was hired as head coach, and was previously the head coach of the Nashville Predators and Washington Capitals with whom he won the Stanley Cup in 2018.[12]

New York Rangers

Alain Vigneault

David Quinn

Vigneault was fired by the New York Rangers on April 7, hours after the team's last regular season game after failing to make the playoffs for the first time in nearly a decade and the second time since the 2004–05 NHL lockout. The Rangers went 226–147–37 under Vigneault, going to the Finals in his first year as head coach and winning the Presidents' Trophy the following season.[13] On May 23, Quinn was named the Rangers' new head coach.[14] He previously served as the assistant coach for the Colorado Avalanche during the 2012–13 season.

Washington Capitals

Barry Trotz

Todd Reirden

Trotz resigned on June 18 amid speculation of a contract dispute that neither he nor the Capitals confirmed.[15] In four seasons under Trotz, the Capitals went 205–89–34, won two Presidents' Trophies and won the 2018 Stanley Cup Finals.[16] On June 29, Reirden was named head coach by the Capitals.[17] Reirden, in his first NHL head coach position, had been an assistant with the Capitals for all four seasons under Trotz.

text: Front office changes[edit]

text:
General managers

Off-season

Team

2017–18 GM

2018–19 GM

Story / Accomplishments

Minnesota Wild

Chuck Fletcher

Paul Fenton

Fletcher was relieved of his duties by the Wild on April 23, shortly after their defeat in the first round of the playoffs. He had been the Wild's general manager since the start of the 2009–10 season. Fenton was hired as his replacement on May 21; he had previously held the same position with the American Hockey League's Milwaukee Admirals.[18] [19]

New York Islanders

Garth Snow

Lou Lamoriello

Snow was relieved of his duties by the Islanders on June 5, a few weeks after the hiring of Lou Lamoriello as the president of hockey operations for the Islanders. He had been the Islanders' general manager since the start of the 2006–07 season. Lamoriello replaced Snow as the Islanders' new general manager.[20]

text:
Team presidents

Off-season

Team

2017–18 President

2018–19 President

Story / Accomplishments

Buffalo Sabres

Russ Brandon

Kim Pegula

Brandon, who served as team president while concurrently serving a similar position with the Buffalo Bills, resigned from both positions on May 1, 2018. He had spent three years as the Sabres' president. Pegula, the wife of owner Terrence Pegula, replaced Brandon in both positions, and became the only current female team president in the NHL.[21]

text: Arena changes[edit]

text:
The New York Islanders will move half of their home schedule back to their previous home, the Nassau Veterans Memorial Coliseum, after the Barclays Center proved to be unsuitable as a full-time NHL venue. The Islanders will continue to play the remaining half of their home schedule at the Barclays Center, an arrangement that will last until 2021, when Belmont Park Arena is scheduled to open.[22]
The St. Louis Blues' home arena was renamed from Scottrade Center to Enterprise Center on July 1, 2018.[23]
The Toronto Maple Leafs' home arena was renamed from the Air Canada Centre to Scotiabank Arena on July 1, 2018.[24]

text: Regular season[edit]

text: The regular season will begin on October 3, 2018, and will end on April 6, 2019. Each team will receive a five-day "bye week", all of which will take place in mid-January. The regular season schedule was released on June 21.[25][26]

text: International games[edit]

text: Three regular season games, branded as the NHL Global Series, will be played in Europe.[27] The Edmonton Oilers will play against the New Jersey Devils at Scandinavium in Gothenburg, Sweden on October 6, 2018. The Florida Panthers and Winnipeg Jets will play two games at Hartwall Arena in Helsinki, Finland on November 1 and 2, 2018.[28]

text: Outdoor games[edit]

text:
The Winter Classic will be held on January 1, 2019, at Notre Dame Stadium in South Bend, Indiana, and will feature the Chicago Blackhawks and the Boston Bruins.[29]
The NHL Stadium Series will be held on February 23, 2019, at Lincoln Financial Field in Philadelphia, Pennsylvania, and will feature the Pittsburgh Penguins and the Philadelphia Flyers.[30]

text: All–Star Game[edit]

text: The 2019 National Hockey League All-Star Game will be held in San Jose, California, at SAP Center, home of the San Jose Sharks, on January 26, 2019, the first time it will be held on a Saturday after many years of the All-Star game being played on a Sunday.[31][32]

text: Uniforms[edit]

text:
The Anaheim Ducks will wear a new third jersey inspired by the uniforms from their years as the Mighty Ducks of Anaheim from 1993 to 2006.[33]
The Arizona Coyotes will wear the "Kachina" uniform as the team's new third jerseys. They previously used this design for road games from 1996 to 2003.[34]
The Carolina Hurricanes will wear a new black third jersey, which was inspired by the third uniform used from 2008 to 2017.[35]
The New Jersey Devils will wear third jerseys for the first time in franchise history with new white throwback uniforms similar to those worn from 1982 to 1992.[36]
The Philadelphia Flyers will wear black third jerseys, which were worn in the 2017 Stadium Series.[37]
The St. Louis Blues will wear third jerseys, which are based on the uniforms worn during the 2017 Winter Classic.[38]


document_title: Big Lake (Arizona)

question_text: what kind of fish are in big lake az

question_tokens: what kind of fish are in big lake az

text: Big Lake (Arizona)

text: Location[edit]

text: Situated at 9,000 feet (2,700 m) in the Apache-Sitgreaves National Forests, Big Lake is about 26 miles (42 km) south of Springerville and Eagar, accessed by paved road via Highways 260 and 261, and is approximately one hour’s drive from Pinetop using Highways 260 and 273 and Forest Road 113. Access is restricted in the winter when roads are closed due to snow, generally December to early April. In January, the normal high temperature is 44 °F (7 °C) with a normal low temperature of 14 °F (−10 °C). In July, the normal high temperature is 75 °F (24 °C) with a normal low temperature of 45 °F (7 °C).

text: Description[edit]

text: Big Lake has 680 acres (280 ha),[1] with an average depth of 30 feet (9.1 m). Primary fish species here include rainbow, brook and cutthroat trout, with an occasional Brown trout. Each year, the Department stocks an average of 480,000 fingerling (three inch) and 50,000 subcatchable (six inch) trout. Most of these are rainbows.

text: Fish species[edit]

text:
Rainbow
Brown trout
Brook
Cutthroat


document_title: Name of Galicia

question_text: where does the last name galicia come from

text: Name of Galicia

text: The name of Galicia, a nation on the Iberian Peninsula that is currently a part of Spain, derives from the Latin toponym Callaecia, later Gallaecia, related to the name of an ancient tribe that resided north of the Douro river, the Gallaeci or Callaeci in Latin, or Kallaikói (καλλαικoι) in Greek.[1]

text: Etymology[edit]

text: The etymology of the name has been studied since the 7th century. The earliest known attempt at this was due to Isidore of Seville, who related the name of the Galicians and of the Gauls to the Greek word γάλα, milk, 'they are called Galicians because of their fair skin, as the Gauls. For they are fairer than the rest of the peoples of Spain.'[1] Currently, scholars[1] relate the name of the ancient Callaeci either to the Proto-Indo-European *kal-n-eH2 'hill', derived through a local relational suffix -aik-, so meaning 'the hill (people)'; or either to Proto-Celtic *kallī- 'forest', so meaning 'the forest (people)'.[2] Anyway, Galicia, being per se a derivation of the ethnic name Callaicoi, would mean the "land of the Galicians".

text: History[edit]

text: The Callaeci were the first tribe in the area to help the Lusitanians against the invading Romans, and gave their name to the rest of the tribes living north of them,[3][4] and to their victor, Decimus Junius Brutus Callaicus, who defeated them in 137 BC and was acclaimed in Rome.

text: From the beginning of the Christian era, after the campaigns of Augustus had brought all of Hispania under Roman control, the lands of Gallaecia—including Galicia and northern Portugal to the Douro river—were organized into two conventi iuridici, Bracarense and Lucense,[5] belonging to the province Tarraconensis. During the last years of the 3rd century during Diocletian's reforms these two convents, together with the Asturicense, and maybe also the Cluniacense,[6] were organized in a single presidential province, Gallaecia, later promoted to consular status in the 4th century, with the city of Bracara Augusta its capital.

text: In 411 the Suevi, a Germanic people, settled in Gallaecia, establishing a kingdom which maintained its independence till 585, when it was annexed by the Visigoths of Spain. During these two centuries Gallaecia and its evolved form Gallicia[7] became the name associated with the kingdom of the Suevi and with its territory, which included current Galicia, much of northern Portugal as far as Coimbra and Idanha-a-Velha, much of the Spanish provinces of Asturias, León, and Zamora, and parts of Salamanca.[8]

text: In 666 the southern extreme of the province, beyond the Douro, was formally reincorporated into Lusitania, but the destruction of the Visigothic kingdom in 711 by the Arabs, and the early reconquest of Coimbra by Galician forces in 866 led to the name Gallicia being applied not just to the westernmost areas north of the Douro, but also to much of the north-west of the Iberian peninsula,[9] from the Bay of Biscay to Coimbra, and from the Atlantic Ocean in the west to the Eo, Navia and Cea[10] rivers in the east, including the city of León.[11] So, from that time and to the twelfth century the name Galicia maintained some kind of duality, which is exactly symbolised by the Arab geographers and historians, who gave the name Ŷillīquiya (adaptation of Gallaecia) to the Christian kingdom of the northwest and to the lands north and west of the Sistema Central mountains, now known as Kingdom of Asturias and Kingdom of León, whilst the term Galīsiya (adaptation of Galicia) was more usually reserved for Galicia and Portugal, although both terms were used interchangeably.[12] On the other hand, Gallaecia or an evolved form of it was a common name used by other Europeans to refer in general to the Christians of the northwest of Hispania and to their kingdom.[13][14] But from the 11th-12th century the independence of Portugal in the south, and the prominence of the city of León in the east as capital of the Christians, led to the restriction of the name Galicia to roughly its actual territorial boundaries.

text: During the 13th century, with the written emergence of the Galician language, Galiza became the most usual written form of the name of the country, being replaced during the 15th and 16th centuries by the current form, Galicia, which coincides with the Castilian Spanish name. The historical denomination Galiza became popular again during the end of the 19th and the first three quarters of the 20th century, and it is still used with some frequency by among others the Galician reintegrationists. Nevertheless, this alternative is now seldom used by the Xunta de Galicia, the local devolved government. Besides, the Royal Galician Academy, the institution responsible for regulating the Galician language, whilst recognizing it as a legitimate current denomination has stated that the only official name of the country is Galicia.[15]