document_title: A Rose for Emily

question_text: what is emily last name in a rose for emily

text: A Rose for Emily

text: Title[edit]

text: Faulkner described the title "A Rose For Emily" as an allegorical title; this woman had undergone a great tragedy, and for this Faulkner pitied her. And as a salute, he handed her a rose.[2] The word rose in the title has multiple meanings to it. The rose may be seen as Homer, interpreting the rose as a dried rose. Homer's body could be the dried rose, such as one that is pressed between the pages of a book, kept in perfect condition as Emily did with Homer's body.[3] The "Rose" also represents secrecy. Roses have been portrayed in Greek legends as a gift of secrecy and of confidentiality, known as sub rosa, introducing that the "Rose" is a symbol of silence between the narrator and Miss Emily, the narrator keeps Emily's secrets until her death.

text: Plot summary[edit]

text: The story opens with a brief first-person account of the funeral of Emily Grierson, an elderly Southern woman whose funeral is the obligation of their small town. It then proceeds in a non-linear fashion to the narrator's recollections of Emily's archaic and increasingly strange behavior throughout the years. Emily is a member of a family of the antebellum Southern aristocracy. After the Civil War, the family falls into hard times. She and her father, the last two of the clan, continue to live as if in the past; Emily’s father refuses for her to marry. Her father dies when Emily is about the age of 30, which takes her by surprise. She refuses to give up his corpse, and the townspeople write it off as her grieving process. The townspeople pity Emily not only after her father's death, but also during his life when he wouldn't let Emily marry.

text: After her father's death, the only person seen moving about Emily's home is Tobe- a black man, serving as Emily's butler, going in and out with a market basket. Although Emily did not have a strong relationship with her community, she did give art lessons to young children within her town. The townspeople even referred to her as Miss Emily as a sign of the respect that they had for her. With the acceptance of her father's death, Emily somewhat revives, even changing the style of her hair and becomes friendly with Homer Barron. He is a Northern laborer who comes to town shortly after Mr. Grierson’s death. The connection surprises some of the community while others are glad she is taking an interest. However, Homer claims that he is not a marrying man, but a bachelor. Emily shortly buys arsenic from a druggist in town, telling him that it will be used to kill rats. However, the townspeople are convinced that she will use it to poison herself. Emily’s distant cousins are called into town by the minister’s wife to supervise Miss Emily and Homer Barron. Homer leaves town for some time, reputedly to give Emily a chance to get rid of her cousins, and returns three days later after the cousins have left. Homer is never seen again.

text: Despite these turnabouts in her social status, Emily continues to behave haughtily, as she had before her father died. Her reputation is such that the city council finds itself unable to confront her about a strong smell that has begun to emanate from the house. Instead, they decide to send men to her house under the cover of darkness to sprinkle lime around the house, after which the smell dissipates. The mayor of the town, Colonel Sartoris, made a gentleman's agreement to overlook her taxes as an act of charity, though it was done under a pretense of repayment towards her father to assuage Emily's pride after her father had died. Years later, when the next generation has come to power, Emily insists on this informal arrangement, flatly refusing that she owes any taxes; the council declines to press the issue. Emily has become a recluse: she is never seen out of the house, and only rarely accepts people into it. The community comes to view her as a "hereditary obligation" on the town, who must be humored and tolerated.

text: The funeral is a large affair; Emily had become an institution, so her death sparks a great deal of curiosity about her reclusive nature and what remains of her house. After she is buried, a group of townsfolk enter her house to see what remains of her life there. The door to her upstairs bedroom is locked; some of the townsfolk kick in the door to see what has been hidden for so long. Inside, among the possessions that Emily had bought for Homer, lies the decomposed corpse of Homer Barron on the bed; on the pillow beside him is the indentation of a head and a single strand of gray hair, indicating that Emily had slept with Homer's corpse.

text: Characters[edit]

text: Emily Grierson - The main character of the story. Emily's father kept her from seeing suitors and controlled her social life, essentially keeping her in isolation until his death, when she is 30 years old. Her struggle with loss and attachment is the impetus for the plot, driving her to kill Homer Barron, the man that is assumed to have married her. Because no man has ever been able to stay with her before, Emily poisons and kills Homer. She sees murder as the only way to keep Homer with her permanently, and she treats him as if he is her husband even after she kills him. This is shown by her keeping his clothes in the room, keeping his engraved wedding items on the dresser, and even sleeping with him, all acts that normal married couples do. Her act of murdering Homer also displays her obstinate nature. Emily deals in absolutes throughout the story. She refuses to pay her taxes because she didn’t have to pay them when her father was alive. She has her servant Tobe follow the same patterns, such as his grocery errands. She kills Homer to ensure that he will never leave her. By the end of the story, Emily’s story is seen as a tragedy rather than an atrocity because of what her character has gone through.

text: Homer Barron - Emily's romantic interest. He is later found dead and decomposed in Emily's bedroom after her funeral. He initially enters the story as a foreman for a road construction project occurring in the town. He is soon seen to be with Emily in her Sunday carriage rides, and it is soon expected for them to be married. Homer differs from the rest of the town because he is a Northerner. The story takes place in the South shortly after the Civil War, and while Homer is not necessarily unwelcome to the town, he does stand out. This, along with the fact that he is seemingly courting Emily, sets him apart from all of the other characters in the story. It is because he is an outlier that Emily becomes attracted to him. It is generally unknown if Homer reciprocates the romantic feelings Emily has for him. Recently the topic of whether or not Homer is homosexual has been discussed and whether or not it factors into the story.

text: The Narrator - An unnamed member(s) of the town who watched the events of Emily's life unfold in its entirety. The story is presented to the reader in an non-chronological order; this suggests that the story is being patched together by multiple people. Some parts of the story are repeated, such as Homer’s disappearance, the idea that Emily and Homer will get married, and Emily’s refusal to pay taxes, also indicating that the narrator is a voice for the town. Though the townspeople disapprove of most of Emily’s actions, such as refusing to pay her taxes and purchasing poison, nobody intervenes.

text: Colonel Sartoris - The former mayor who remitted Emily's taxes. While he is in the story very little, his decision to remit Emily’s taxes lead to her refusal to pay them ever again, contributing to her stubborn personality. The reason for Sartoris remitting her taxes is never given, only that he told Emily it was because her father loaned the money to the town.

text: Mr. Grierson - Emily's father, the patriarchal head of the Grierson family. His control over Emily's personal life prohibited her from romantic involvement. The reason for his refusal to let Emily court men is not explained in the story. It could be that he is overprotective because he loves Emily too much. It could be because he believes that there is not a man good enough to marry his daughter. It could be that he is set in his ways and does not want Emily to become distracted from her societal duties. Whatever the reason, Mr. Grierson shapes the person that Emily becomes. His decision to have her taxes remitted allows her to think that she does not have to pay taxes ever again. His decision to lie to her about the reason for her taxes being remitted makes her ignorant and unwilling to accept any explanations or reasons for paying. His decision to bar all men from her life drive her to kill the first man she is attracted to and can be with, Homer Barron, in order to keep him with her permanently.

text: The cousins - Emily's extended relatives from Alabama. They come to town during Emily's courting of Homer Barron to check on Emily's well-being. They are thought of as even more uptight and stuffy than Emily by the townspeople.They are called in to prevent Emily and Homer from marrying; however they are later sent back home so that the two can be wed. There seems to be some type of dispute between Emily and the cousins, indicated by them living far away from Emily and the fact that they did not go to Emily’s father’s funeral.

text: Tobe - Emily's cook/gardener, who is also very likely her secret keeper. During the years of Emily's isolation, he provides no details of her life to the townspeople and promptly disappears directly following her death. He became old and stooped from all of his work while Emily grew large and immobile. This could suggest that he resented Emily, or at the very least disliked working for her, as he does not mourn her or stay for her funeral.

text: Structure[edit]

text: Faulker tells this story in a series of flashbacks and stretches the story out over decades. It starts with the announcement of Emily’s death, an event that has the entire town talking. This leads the reader to assume that she was an important figure in the town. As Fassler says in his article “The Key,” “Clearly, this lady who died unmarried was of importance to everyone. And yet the town itself is eventually divided,”[4] and we see that division with the events depicted in between the announcement at the beginning and the revelation at the end are told out of order, making the reader analyze the story more closely than if it was told chronologically. Based on the townspeople’s thoughts of Emily displayed in this section, the reader discovers that the town was not dreading Emily’s death; on the other hand, it was somewhat welcomed. Emily stuck out from the rest of the town as a figure stuck in the past, desperately trying to cling to old traditions and ways of life. With her passing on, the town can finally be free of this remnant, being wholly set in the present. Had the story been told in a linear fashion, this understanding would have been lost, something Faulkner knew and incorporated into the story. By presenting the story in terms of present and past events, he could examine how they influence each other. In terms of mathematical precision, time moves on and what exists is only the present. In terms of the more subjective time, time moves on but memories can exist no matter how much time changes. Those memories stay unhindered. Through this Faulkner could analyze the depth at which Miss Emily could change as a character. If Faulkner presented the story in a linear fashion, the chances of the reader sympathizing with Emily would be far less. By telling the story out of order, the reader sees Emily as a tragic product of her environment rather than a twisted necrophiliac.

text: Themes[edit]

text: "A Rose for Emily" discusses many dark themes that characterized the Old South and Southern Gothic fiction.

text: The story explores themes of death and resistance to change; they reflect the decaying of the societal tenants of the South in the 1930s. Emily Grierson had been oppressed by her father for most of her life and hadn’t questioned it because that was her way of living. Likewise, the antiquated traditions of the south (often harmful, such as in the treatment of black people) had remained acceptable, as that was their way of living. Once her father had passed, Emily, in denial, refused to give his corpse up for burial—this shows her inability to functionally adapt to change. When the present mayor and aldermen insist Miss Emily pay the taxes which she had been exempted from, she refuses and continues to live in her house[5]. Miss Emily's stubborn insistence that she "pays no taxes in Jefferson" and her mistaking the new mayor for Colonel Sartoris brings into question whether her acts of resistance are a conscious act of defiance or a result of a decayed mental stability. The reader is only shown Emily from an external perspective, we can not ascertain whether she acts in a rational manner or not. The death of Homer, if interpreted as having been a murder, can be seen in the context of the North-South clash. Homer, notably a northerner, is not one for the tradition of marriage. In the framework that his death was not an accident, but a murder on the part of Emily, Homer's rejection of the marriage can be seen as the North's rejection of Southern tradition. The South ends its relations with the North in retaliation. Emily continuing to sleep next to Homer's body can be seen as the south holding on to an ideal that is no longer feasible.

text: Control and its repercussions is a persistent theme throughout the story. Emily's father was an intimidating and manipulative figure, keeping her from experiencing life in her own terms. She was never able to grow, learn, live her life, start a family, and marry the one she truly loved. Even after Emily's father died, his presence and impact on his daughter was still apparent. Discussing Emily and her father, the townspeople said "We had long thought of them as a tableau, Miss Emily a slender figure in white in the background, her father a spraddled silhouette in the foreground, his back to her and clutching a horsewhip, the two of them framed by the back-flung front door.".[6] Emily is portrayed as small and powerless, placed behind the overbearing frame of her father. She wears white, a symbol of innocence and purity. Emily falls victim to the ruling hand of her father and to her place in the society: she has to uphold the noblesse oblige to which she was born into.[7] In this way, her father's influence remains after he has passed. This control leads to Emily's isolation, both externally and internally imposed. Emily is alone, yet always being watched by the townspeople; she is both apart from and a part of the community.[8] Her position prevents her from ever finding happiness.

text: The power of death is a consistent theme throughout the story. Emily herself is portrayed as a "skeleton" that is both "small and spare" which is representative of the fact that she emanates death. When it comes to death itself, Emily is in denial and most of that feeling has to do with her loneliness. After her father dies, she keeps his corpse for three days and refuses to admit that he is dead. The reader also sees this with the corpse of Homer Barron, except she is the one who inflicts death upon him. She poisons him and keeps him locked away in her room; she did not want to lose the only other person she had ever loved, so she made his stay permanent. These examples show that the power of death triumphs over everything, including "poor Emily", herself.[9]

text: Due to this inevitability in the portrayal of death, A Rose for Emily is seen as a tale based on determinism, making the short story part of the naturalism literary movement. Here, a character's fate is already determined no matter how much the individual struggles to change it. There are impersonal forces of nature that prevent him or her from taking control. As the very universe itself appear indifferent, this character descends into an inevitable death and decay. The case of Emily is the same. She had a mental illness, an unavoidable fate, which her father must have sought to finally end by refusing to let Emily marry, which would have continued his line. No matter what she did, there was the implication that she would ultimately go mad. There was also the depiction of a cursed land due to slavery and the class structure based upon it and that no matter how the people clung to the glorious past and soldier on, there was a tarnished way of life that leads to an impending ruin. [10]

text: Critical response[edit]

text: Floyd C. Watkins wrote about the structure of "A Rose for Emily" in "Modern Language Notes". Watkins claims that this is Faulkner's best story and is among the best American writers of this time period. Faulkner had to carefully dissect his sections, bringing importance to every aspect of Miss Emily's life, but Watkins sees this as a "structural problem" but later goes on to rave about the symmetry of this short story. Watkins enjoys this story in its entirety, and is impressed by Faulkner's ordering, as building suspense was an important aspect in the response.[11]

text: This critical response by John Skinner explores the interpretations of Faulkner’s short story in detail while reviewing the importance of over analyzing a piece of literary work. William Faulkner published this story in the 1930s, Skinner had published his critical response in 1985. More than 40 years has passed and people are still ignoring his claim; “A Rose for Emily” should not be interpreted any further. The characters and theme of this tale have been scrutinized by many. There have been numerous interpretations for what Miss Emily stands for; Skinner gives examples of scholars including S.W. M. Johnson “Emily represented a refusal to submit to, or even concede, to the inevitability of change”. Whereas William Going pictures Emily as a rose, “the treasured memory of the confederate veterans”. The point of view according to Skinner, is of immediate relevance to the story as the chief character, the narrator tells the chronology of the story. This narrator gives approximately “round figures” for the important events of the accounts. Yet the exact chronology is of little relevance to the overall importance of the story itself. John Skinner states that Faulkner should be taken literally, appreciate his formal subtlety in his works.[12]

text: Alice Petry introduces a different type of critical response that is not focused on the usual subjects. Rather, she focuses on the complex and provocative language. For example, Hall discusses how the sentence, "Thus she passed from generation to generation-dear, inescapable, impervious, tranquil and perverse" has been considered misleading, but is in fact strategically placed to provide foreshadowing and unification of plot. The five descriptive words used in the sentence each correspond to one of the five parts in the order they are seen. For example, the adjective "inescapable" corresponds to Part II, to the incident of the strange smell coming from Miss Emily's home. Faulkner's placement of these adjectives at the end of Part IV serves as an important unifying sentence that connects all five parts to each other.[13]

text: Jim Barloon of the University of St. Thomas wrote about an idea introduced to him by his students, that Homer was homosexual, possibly providing another reason for his murder. He proposes that Emily did not kill Homer because of her own insecurities, but also because he did not reciprocate her romantic feelings. Thus, she could have murdered him out of affection as well as spite. Whether or not this theory is correct, it proves that the story is still being closely analyzed decades after it was written. As Barloon states in his article, “Positing that Homer Barron is gay not only raises a new set of questions but transforms [the story], or at least our perspective of it.”[14]

text: The psychology of Emily Grierson has been analyzed countless times, with many people reaching the conclusion that she was mentally ill, and from that point, the reasons why. Though many different diagnoses have been made, the most common can be summarized as follows by Nicole Smith in her psychological analysis of the character: “It is reasonable to propose that Miss Emily developed [schizophrenia] as a response to the demanding conditions in which she was living as a Southern woman from an aristocratic family.”[15] This has been thought to represent just how unbearable life in the old South could be, not only for a person similar to Emily, but to the people around them as well. A contributing factor to this point would be change. The story is an allegory for the change that the South dealt with after the Civil War, with Emily representing the resistance of that change. This is shown in the story through Emily’s conflicts with the town and her refusal of cooperation. Tuncay Tezcan in his analysis of the story states: “It represents the numerous conflicts in the main character's life, illustrating the effect of social change on the individual.”[16]

text: There has been much discussion over the title of the story. Why have a rose for Emily? At that time, giving a rose to a woman was common if they had been through a great tragedy. Emily’s tragedy is her environment, changing quickly and with volatility, causing her to cling to the past in hopes of stopping the change from occurring. This has a deep impact on her mental state, driving her to extreme acts such as murdering Homer and then sleeping with his corpse for years. The town does nothing to stop these events, merely entertain the idea. Terry Heller writes in his analysis of the story that the town, “[chose] to deal with an idea of Emily, rather than with Emily herself; they are different in that they have different ideas of her and, therefore, approach her… differently.”[17] With nobody willing to help her, Emily died a broken person, and for that Faulkner gave her a rose, in sympathy of her ending.

text: Adaptations[edit]

text:
A Rose for Emily—PBS adaptation with Anjelica Huston.
My Chemical Romance's song "To The End" from Three Cheers for Sweet Revenge (2005) loosely retells the story of Homer and Miss Emily.
The Zombies' song "A Rose for Emily" retells the story, and is about a strong theme present in the story: Miss Emily living and dying alone, unloved.[18]
Andrea Camilleri has a similar theme in his novel The Scent of the Night influencing his character Detective Salvo Montalbano.


document_title: Hooten & the Lady

question_text: how many episodes of hooten and the lady

root

text: Hooten & the Lady

text: Synopsis[edit]

text: Travelling across the world together, these two initially unwilling partners search for the world's greatest mysteries. From the Amazon rainforest for Percy Fawcett's long-lost camp, to hunting across Siberia for the 51st Faberge egg, the two explore the world of the mythical and legendary. They travel from the snowy Himalayan Mountains in an attempt to track down the only scroll written by Buddha, to the catacombs of Rome to find the Libri Sibyllini, and to Alexandria on the hunt for Alexander the Great's lost tomb. A continuing storyline is of Alex's mother, also Lady Lindo-Parker, attempts to organise her daughter's wedding to her fiancé Edward.

tag: p

text: Cast[edit]

text: Main[edit]

text:
Michael Landes as Ulysses Hooten
Ophelia Lovibond as Lady Alex Lindo-Parker
Jessica Hynes as Ella Bond
Shaun Parkes as Clive Stephenson

tag: ul

text: Recurring[edit]

text:
Jane Seymour as Lady Lindo-Parker
Jonathan Bailey as Edward

text: Episodes[edit]

text:
No.
Title
Directed by
Written by
Original air date
UK viewers
(millions) [1]

1
"The Amazon"
Colin Teague
Tony Jordan
16 September 2016 (2016-09-16)
1.20

British Museum curator Lady Alex Lindo-Parker travels to the Amazon in search of the lost camp of Victorian explorer Percy Fawcett. A series of mishaps sees her joined by maverick American adventurer Hooten and they stumble upon El Dorado.

2
"Rome"
Colin Teague
James Payne
23 September 2016 (2016-09-23)
0.80

Hooten asks Lady Alex to help him find the long lost Sibylline Books, a collection of mystical prophecies. In Rome, the museum curator quickly finds herself scaling the Sistine Chapel, battling a sewer alligator and facing the Mafia. Guest starring Jane Seymour.

3
"Egypt"
Justin Molotnikov
Richard Zajdlic
30 September 2016 (2016-09-30)
0.62

When Alex travels to Egypt she once again teams up with Hooten, this time to try to find the long-lost tomb of Alexander the Great – but the intrepid pair soon discover that some unscrupulous locals are on their trail. Guest starring Angel Coulby.

4
"Bhutan"
Justin Molotnikov
Jeff Povey
7 October 2016 (2016-10-07)
0.71

Alex gets a lead on an ancient scroll that is rumoured to have been written by the Buddha himself. She enlists Hooten to go with her to the Himalayan kingdom of Bhutan to find it but ends up racing against time to save his life.

5
"Ethiopia"
Andy Hay
Karla Crome
14 October 2016 (2016-10-14)
0.50

When Ella is kidnapped in Ethiopia Lady Alex and Hooten head to Africa where they must overcome crazed bandits and surly camels in order to save the day.

6
"Moscow"
Julian Holmes
Sara Phelps
21 October 2016 (2016-10-21)
0.65

Alex jets off to Moscow to help Hooten search for a lost Fabergé egg and confronts her arch enemy from university, who now works for a shadowy black market collector.

7
"Cambodia"
Daniel O'Hara
Richard Zajdlic
28 October 2016 (2016-10-28)
0.71

Alex and Hooten attempt to track down the priceless Cintamani jewel in Cambodia, which can manifest whatever one wishes for, but they soon attract the attentions of a ruthless Vietnamese drug gang. Guest starring Vincent Regan.

8
"The Caribbean"
Daniel O'Hara
Tony Jordan
4 November 2016 (2016-11-04)
0.81

Alex puts her wedding in jeopardy when she follows Hooten to an idyllic island in the Caribbean to hunt for the long lost pirate treasure of Captain Henry Morgan. Alex finally marries her fiancé Edward.

tag: table

text: Reception[edit]

text: Hooten and the Lady was well received by critics. Sam Wollaston of The Guardian compared the show to Indiana Jones.[3] Louisa Mellor described the show as being "a great deal of fun" and "enjoyably retro".[4]

text: U.S. ratings[edit]

text: The CW aired the series in summer 2017.[5]

text: Season 1

text:
Title
Air date
Rating/Share
(A18–49)
U.S. Viewers
(millions)

"The Amazon"
13 July 2017
0.2/1
0.919[6]

"Rome"
20 July 2017
0.2/1
0.881[7]

"Egypt"
27 July 2017
0.2/1
0.91[8]

"Bhutan"
31 July 2017
0.2/1
0.907[9]

"Ethiopia"
7 August 2017
0.2/1
1.023[10]

"Moscow"
14 August 2017
0.2/1
0.922[11]

"Cambodia"
28 August 2017
0.2/1
0.999[12]

"The Caribbean"
11 September 2017
0.2/1
0.92[13]


document_title: Oma forest

question_text: who painted the trees in the oma valley of biscay spain

text: Oma forest

text: This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2012) (Learn how and when to remove this template message)

text:
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This article may be expanded with text translated from the corresponding article in Spanish.  (July 2012) Click [show] for important translation instructions.

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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
You must provide copyright attribution in the edit summary by providing an interlanguage link to the source of your translation. A model attribution edit summary (using German): Content in this edit is translated from the existing German Wikipedia article at [[:de:Exact name of German article]]; see its history for attribution.
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text: Oma forest is a work of art created by Agustin Ibarrola, a Basque sculptor and painter. The work is located in a forest near Kortezubi (Bizkaia, Basque Country), in the natural reserve of Urdaibai. It is also known as the "painted forest".

text: The work follows the modern art trend called “Land art”. Most of the trees are Monterey pines. The projects aims to display the horrible and ghastly harmony between nature and human presence by painting on the trunks of trees, human figures, animals and geometric shapes, some of which are visible only from certain positions.

text: Vandalism[edit]

text: Agustin is a member of “Basta Ya", a group which aims to aid victims of terrorism. Some 100 trees of the natural reserve were destroyed in 2000 and Oma forest was damaged to protest his stand.


document_title: NBA All-Star Game Most Valuable Player Award

question_text: who won mvp of the nba all-star game

question_tokens: who won mvp of the nba all-star game

text: Winners[edit]

text:
^
Denotes player who is still active in the NBA

*
Elected to the Naismith Memorial Basketball Hall of Fame

Player (X)
Denotes the number of times the player has been awarded the MVP award

Team (X)
Denotes the number of times a player from this team has won

text:
Season
Player
Position
Nationality
Team

1951
Macauley, EdEd Macauley*
Center/Forward
 United States
Boston Celtics

1952
Arizin, PaulPaul Arizin*
Forward/Guard
 United States
Philadelphia Warriors

1953
Mikan, GeorgeGeorge Mikan*
Center
 United States
Minneapolis Lakers

1954
Cousy, BobBob Cousy*
Guard
 United States
Boston Celtics (2)

1955
Sharman, BillBill Sharman*
Guard
 United States
Boston Celtics (3)

1956
Pettit, BobBob Pettit*
Forward/Center
 United States
St. Louis Hawks

1957
Cousy, BobBob Cousy* (2)
Guard
 United States
Boston Celtics (4)

1958
Pettit, BobBob Pettit* (2)
Forward/Center
 United States
St. Louis Hawks (2)

1959[b]
Baylor, ElginElgin Baylor*
Forward
 United States
Minneapolis Lakers (2)

Pettit, BobBob Pettit* (3)
Forward/Center
 United States
St. Louis Hawks (3)

1960
Chamberlain, WiltWilt Chamberlain*
Center
 United States
Philadelphia Warriors (2)

1961
Robertson, OscarOscar Robertson*
Guard
 United States
Cincinnati Royals

1962
Pettit, BobBob Pettit* (4)
Forward/Center
 United States
St. Louis Hawks (4)

1963
Russell, BillBill Russell*
Center
 United States
Boston Celtics (5)

1964
Robertson, OscarOscar Robertson* (2)
Guard
 United States
Cincinnati Royals (2)

1965
Lucas, JerryJerry Lucas*
Forward/Center
 United States
Cincinnati Royals (3)

1966
Smith, AdrianAdrian Smith
Guard
 United States
Cincinnati Royals (4)

1967
Barry, RickRick Barry*
Forward
 United States
San Francisco Warriors (3)

1968
Greer, HalHal Greer*
Guard/Forward
 United States
Philadelphia 76ers

1969
Robertson, OscarOscar Robertson* (3)
Guard
 United States
Cincinnati Royals (5)

1970
Reed, WillisWillis Reed*
Center/Forward
 United States
New York Knicks

1971
Wilkens, LennyLenny Wilkens*
Guard
 United States
Seattle SuperSonics

1972
West, JerryJerry West*
Guard
 United States
Los Angeles Lakers (3)

1973
Cowens, DaveDave Cowens*
Center/Forward
 United States
Boston Celtics (6)

1974
Lanier, BobBob Lanier*
Center
 United States
Detroit Pistons

1975
Frazier, WaltWalt Frazier*
Guard
 United States
New York Knicks (2)

1976
Bing, DaveDave Bing*
Guard
 United States
Washington Bullets

1977
Erving, JuliusJulius Erving*
Forward
 United States
Philadelphia 76ers (2)

1978
Smith, RandyRandy Smith
Guard/Forward
 United States
Buffalo Braves

1979
Thompson, DavidDavid Thompson*
Guard/Forward
 United States
Denver Nuggets

1980
Gervin, GeorgeGeorge Gervin*
Guard/Forward
 United States
San Antonio Spurs

1981
Archibald, NateNate Archibald*
Guard
 United States
Boston Celtics (7)

1982
Bird, LarryLarry Bird*
Forward
 United States
Boston Celtics (8)

1983
Erving, JuliusJulius Erving* (2)
Forward
 United States
Philadelphia 76ers (3)

1984
Thomas, IsiahIsiah Thomas*
Guard
 United States
Detroit Pistons (2)

1985
Sampson, RalphRalph Sampson*
Center/Forward
 United States
Houston Rockets

1986
Thomas, IsiahIsiah Thomas* (2)
Guard
 United States
Detroit Pistons (3)

1987
Chambers, TomTom Chambers
Forward/Center
 United States
Seattle SuperSonics (2)

1988
Jordan, MichaelMichael Jordan*
Guard
 United States
Chicago Bulls

1989
Malone, KarlKarl Malone*
Forward
 United States
Utah Jazz

1990
Johnson, MagicMagic Johnson*
Guard
 United States
Los Angeles Lakers (4)

1991
Barkley, CharlesCharles Barkley*
Forward
 United States
Philadelphia 76ers (4)

1992
Johnson, MagicMagic Johnson* (2)
Guard
 United States
Los Angeles Lakers (5)

1993[b]
Stockton, JohnJohn Stockton*
Guard
 United States
Utah Jazz (2)

Malone, KarlKarl Malone* (2)
Forward
 United States
Utah Jazz (3)

1994
Pippen, ScottieScottie Pippen*
Forward
 United States
Chicago Bulls (2)

1995
Richmond, MitchMitch Richmond*
Guard
 United States
Sacramento Kings (6)

1996
Jordan, MichaelMichael Jordan* (2)
Guard
 United States
Chicago Bulls (3)

1997
Rice, GlenGlen Rice
Forward
 United States
Charlotte Hornets

1998
Jordan, MichaelMichael Jordan* (3)
Guard
 United States
Chicago Bulls (4)

1999
Not awarded as the game was canceled due to the league's lockout.[3]

2000[b]
O'Neal, ShaquilleShaquille O'Neal*
Center
 United States
Los Angeles Lakers (6)

Duncan, TimTim Duncan
Forward/Center
 United States[c]
San Antonio Spurs (2)

2001
Iverson, AllenAllen Iverson*
Guard
 United States
Philadelphia 76ers (5)

2002
Bryant, KobeKobe Bryant
Guard
 United States
Los Angeles Lakers (7)

2003
Garnett, KevinKevin Garnett
Forward/Center
 United States
Minnesota Timberwolves

2004
O'Neal, ShaquilleShaquille O'Neal* (2)
Center
 United States
Los Angeles Lakers (8)

2005
Iverson, AllenAllen Iverson* (2)
Guard
 United States
Philadelphia 76ers (6)

2006
James, LeBronLeBron James^ [d]
Forward
 United States
Cleveland Cavaliers

2007
Bryant, KobeKobe Bryant (2)
Guard
 United States
Los Angeles Lakers (9)

2008
James, LeBronLeBron James^ (2)
Forward
 United States
Cleveland Cavaliers (2)

2009[b]
Bryant, KobeKobe Bryant (3)
Guard
 United States
Los Angeles Lakers (10)

O'Neal, ShaquilleShaquille O'Neal* (3) [e]
Center
 United States
Phoenix Suns

2010
Wade, DwyaneDwyane Wade^
Guard
 United States
Miami Heat

2011
Bryant, KobeKobe Bryant (4)
Guard
 United States
Los Angeles Lakers (11)

2012
Durant, KevinKevin Durant^
Forward
 United States
Oklahoma City Thunder (3)

2013
Paul, ChrisChris Paul^
Guard
 United States
Los Angeles Clippers (2)

2014
Irving, KyrieKyrie Irving^
Guard
 United States[a]
Cleveland Cavaliers (3)

2015
Westbrook, RussellRussell Westbrook^
Guard
 United States
Oklahoma City Thunder (4)

2016
Westbrook, RussellRussell Westbrook^ (2)
Guard
 United States
Oklahoma City Thunder (5)

2017
Davis, AnthonyAnthony Davis^
Forward/Center
 United States
New Orleans Pelicans

2018
James, LeBronLeBron James^ (3)
Forward
 United States
Cleveland Cavaliers (4)

text: Multi-time winners[edit]

text:
Player
Team
No.
Years

Pettit, BobBob Pettit
St. Louis Hawks
4
1956, 1958, 1959, 1962

Bryant, KobeKobe Bryant
Los Angeles Lakers
2002, 2007, 2009, 2011

Robertson, OscarOscar Robertson
Cincinnati Royals
3
1961, 1964, 1969

Jordan, MichaelMichael Jordan
Chicago Bulls
1988, 1996, 1998

O'Neal, ShaquilleShaquille O'Neal
Los Angeles Lakers
Phoenix Suns
2000, 2004, 2009

James, LeBronLeBron James
Cleveland Cavaliers
2006, 2008, 2018

Cousy, BobBob Cousy
Boston Celtics
2
1954, 1957

Erving, JuliusJulius Erving
Philadelphia 76ers
1977, 1983

Thomas, IsiahIsiah Thomas
Detroit Pistons
1984, 1986

Malone, KarlKarl Malone
Utah Jazz
1989, 1993

Johnson, MagicMagic Johnson
Los Angeles Lakers
1990, 1992

Iverson, AllenAllen Iverson
Philadelphia 76ers
2001, 2005

Westbrook, RussellRussell Westbrook
Oklahoma City Thunder
2015, 2016


document_title: Newhart

question_text: who played larry darryl and darryl on newhart

text: Newhart

text: Premise[edit]

text: Bob Newhart plays Dick Loudon, an author of do-it-yourself and travel books. He and his wife Joanna move from New York City to a small, unnamed town in rural Vermont (possibly Norwich[1]) to operate the 200-year-old Stratford Inn. Dick is a sane, mild-mannered everyman surrounded by a community of oddballs in a town which exists in an illogical world governed by rules that elude him.

text: Near the end of the second season, Newhart was retooled and Dick began hosting a low-rated talk show on the town's local television station. As the series progressed, episodes focused increasingly on Dick's TV career and the quirky townsfolk.

text: Cast[edit]

text: Main[edit]

text:
Bob Newhart as Dick Loudon: owner of the Stratford Inn
Mary Frann as Joanna Loudon: Dick's wife
Tom Poston as George Utley: handyman at the Stratford Inn
Jennifer Holmes as Leslie Vanderkellen: maid at the Stratford Inn (1982–83)
Steven Kampmann as Kirk Devane: owner of the Minuteman Café (1982–84)
William Sanderson as Larry, Tony Papenfuss as Darryl and John Voldstad as Darryl: backwoodsmen who live in the same town. The three take over the Minuteman Café following Kirk's departure. The two Darryls never speak until the final episode. (recurring 1982–84, main cast 1984–90)
Julia Duffy as Stephanie Vanderkellen: maid at The Stratford and Leslie's cousin (1983–90)
Peter Scolari as Michael Harris: producer of Dick's television show and married to Stephanie (recurring 1983–84, main 1984–90)

text: Recurring[edit]

text:
William Lanteau as Chester Wanamaker: town mayor (1982–90)
Thomas Hill as Jim Dixon: Chester's best friend (1982–90)
Rebecca York as Cindy Parker-Devane: professional clown, Kirk's girlfriend and later wife (1983–84)
Jeff Doucette as Harley Estin: friend of George who is always looking for a job (1983–88)
Fred Applegate as J.J. Wall: director of Dick's television show (1984–87)
Ralph Manza as Bud: assistant director of Dick's television show (1984–90)
Linda Carlson as Bev Dutton: television station manager (1984–87)
Todd Susman as Officer Shifflett: town chief of police (1984–90)
Melanie Chartoff as Dr. Mary Kaiser: Stephanie and Michael's therapist (1987–90)
Kathy Kinney as Prudence Goddard: town librarian (1988–90)

text: "The Last Newhart"[edit]

text: The series finale of Newhart, titled "The Last Newhart", has been described as one of the most memorable in television history.[2][3] The entire town is purchased by a visiting Japanese tycoon, who turns the hamlet into an enormous golf course and recreation resort. Dick and Joanna are the only townspeople who refuse to leave. The others accept huge payoffs and leave in a farewell scene which parodies Fiddler on the Roof.

text: Five years later, Dick and Joanna continue to run the Stratford Inn, which is now located in the middle of the golf course. The other townspeople, now richer and older than before, unexpectedly return for a reunion. The Darryl brothers also speak for the first time on screen, loudly yelling "Quiet!" at their wives in unison. Dick gets frustrated with the increasingly chaotic scene, eventually storming out shouting "You're all crazy!" only to be knocked out by a golf ball.

text: The final scene takes place in a setting previously seen on The Bob Newhart Show. Bob Newhart reprises the role of Dr. Bob Hartley, with Suzanne Pleshette reprising the role of Emily, Hartley's wife. Hartley wakes and explains his weird dream, apparently revealing that the entire Newhart series was just a dream. Several references are made to Newhart's former show, including the use of its theme song and credits. Although the Bob Newhart Show theme was missing from the final closing credit shot in the series' initial syndication run, the theme has been reinstated in the current version syndicated by 20th Century Fox Television.

text: Reception to the finale[edit]

text: Interviews with Newhart, Pleshette, and director Dick Martin[4] reveal that the final scene was kept a secret from the cast and most of the crew. A fake ending was written to throw off the tabloids that involved Dick Loudon going to heaven after being hit with a golf ball and talking to God played by George Burns or George C. Scott. Pleshette was kept hidden until her scene was shot. When the scene began, many people in the audience recognized the set as the bedroom from The Bob Newhart Show and burst into spontaneous applause. Pleshette and Newhart did the scene in one take.[4]

text: In 1991, the cast of The Bob Newhart Show reunited in a primetime special. One of the things they did was analyze Bob's dream. During the discussion, the Hartleys' neighbor, Howard Borden (Bill Daily), quipped, "I had a dream like that once. I dreamed I was an astronaut in Florida for five seasons", while scenes were shown from I Dream of Jeannie, which featured Daily in all five seasons. At the end of the reunion special, Dr. Bob Hartley gets on the elevator only to see three familiar workmen doing repairs in the elevator and one of them says to Bob, "Hi. I'm Larry. This is my brother Darryl and this is my other brother Darryl."

text: In his book I Shouldn't Even Be Doing This! And Other Things that Strike Me as Funny, Newhart stated that his wife Ginnie proposed the ending of Newhart.[5] He reiterated this in a 2013 interview with director and comedian David Steinberg, saying,

text: That was Ginnie's idea. ... She said, 'You ought to end in a dream sequence because there was so much inexplicable about the show.' She said, 'You should wake up in bed with Susie and explain what's so—" and I said, 'What a great idea,' and I gave the idea to the writers and they fleshed it out with the Japanese buying the town and our not selling."[6]

text: In a letter-to-the-editor published in Entertainment Weekly, the show's executive producers, Mark Egan, Mark Solomon, and Bob Bendetson, wrote, "[T]he final episode of Newhart was not 'dreamed up' by Bob's wife, Ginny. She had absolutely no connection with the show. ... We wrote and produced the Emmy-nominated script (with special thanks to Dan O'Shannon)."[7]

text: In November 2005, the series finale was named by TV Guide and TV Land as the most unexpected moment in TV history.[citation needed] The episode was watched by 29.5 million viewers, bringing in an 18.7/29 rating/share, and ranking as the most-watched program that week.

text: In 2011, the finale was ranked number four on the TV Guide Network special, TV's Most Unforgettable Finales,[8] and in 2013 was ranked number 1 in Entertainment Weekly's 20 Best TV Series Finales Ever.[9]

text: In popular culture[edit]

text: On the February 11, 1995 episode of Saturday Night Live which was hosted by Bob Newhart, the episode's closing sketch ended with a redux of Newhart's final scene, in which Bob Hartley again wakes with his wife Emily (special guest Suzanne Pleshette) and tells her that he had just had a dream of hosting Saturday Night Live. Emily responds, "Saturday Night Live, is that show still on?"—this during a period when SNL was heavily criticized for its declining quality.[10][11]

text: In 2010, Jimmy Kimmel Live! presented several parody alternate endings to the television show Lost, one of which mirrored the finale of Newhart complete with a cameo appearance by Bob Newhart and with Lost star Evangeline Lilly in place of Emily/Pleshette.[12]

text: The final scene with Newhart and Pleshette was later parodied in an alternate ending to the television series Breaking Bad where actor Bryan Cranston wakes from a dream next to his Malcolm in the Middle co-star Jane Kaczmarek where they assume their respective roles of Hal and Lois. Hal recounts the events of Breaking Bad in humorous fashion as though he is horrified that he could do those things albeit as Walter White. Lois reassures him that everything is all right and the final shot is of Walter's hat.[13]

text: The final scene of The Late Late Show with Craig Ferguson parodied this, as well. After revealing that Bob Newhart had been playing the on-set pantomime horse Secretariat, Ferguson wakes up as his The Drew Carey Show character Nigel Wick, in bed with his co-star Drew Carey. The two then discuss the crazy possibility of Wick being a talk show host and Carey losing weight and becoming a game show host. (The shot continued with a parody of the twist ending of St. Elsewhere and then the closing song from The Sopranos finale.)

text: Reception[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2017) (Learn how and when to remove this template message)

text: Newhart was a solid ratings winner finishing six out of eight seasons in the Nielsen top 25 at its highest rating of number 12 for two consecutive seasons from 1986 to 1988. Despite not finishing in the top 30 for its last two seasons, Bob Newhart stated in an interview with the Archive of American Television that CBS was satisfied enough with the show's ratings to renew it for a ninth season in 1990. However, Newhart, who was anxious to move onto other projects, declined the offer, promising CBS that he would develop a new series for the network, which he was under contract to do. This resulted in the 1992 series Bob, which lasted for two seasons.

text:
Newhart season rankings in the U.S. television market

Season
Episodes
Original air dates
TV season
Nielsen ratings

Season premiere
Season finale
Rank
Rating
Households[1] / Viewers[2] (in millions)

1
22
October 25, 1982
April 10, 1983
1982–1983
#12
20.0
16.66

2
22
October 17, 1983
April 16, 1984
1983–1984
#23
18.0
15.08

3
22
October 15, 1984
May 28, 1985
1984–1985
#16
18.4
N/A

4
24
September 30, 1985
May 12, 1986
1985–1986
19.6
16.84

5
24
September 29, 1986
April 13, 1987
1986–1987
#12
19.5
17.04

6
24
September 14, 1987
April 9, 1988
1987–1988
#25
16.5
N/A

7
22
October 24, 1988
May 22, 1989
1988–1989
#50
12.8

8
24
September 18, 1989
May 21, 1990
1989–1990
#48
13.1
19.34

text: Awards[edit]

text: Nominations[edit]

text: Emmy Awards[edit]

text: Despite 25 nominations, Newhart never won an Emmy Award.

text:
Outstanding Comedy Series – Sheldon Bull, Producer; Barry Kemp, Executive Producer
Outstanding Video Tape Editing For a Series – Andy Ackerman

text:
Outstanding Comedy Series – Sheldon Bull, Producer; Barry Kemp, Executive Producer
Outstanding Supporting Actor in a Comedy Series – Tom Poston
Outstanding Supporting Actress in a Comedy Series – Julia Duffy

text:
Outstanding Lead Actor in a Comedy Series – Bob Newhart
Outstanding Supporting Actress in a Comedy Series – Julia Duffy

text:
Outstanding Lead Actor in a Comedy Series – Bob Newhart
Outstanding Sound Mixing For a Comedy Series or Special – Andrew MacDonald, Sound Mixer; Bill Nicholson, Sound Mixer; Craig Porter, Sound Mixer; Richard Wachter, Sound Mixer
Outstanding Supporting Actor in a Comedy Series – Tom Poston
Outstanding Supporting Actress in a Comedy Series – Julia Duffy

text:
Outstanding Lead Actor in a Comedy Series – Bob Newhart
Outstanding Supporting Actor in a Comedy Series:

Tom Poston
Peter Scolari

Outstanding Supporting Actress in a Comedy Series – Julia Duffy
Outstanding Writing For a Comedy Series – David Mirkin ("Co-Hostess Twinkie")

text:
Outstanding Editing For a Series (Multi-Camera Production) – Michael Wilcox, Editor
Outstanding Supporting Actor in a Comedy Series – Peter Scolari
Outstanding Supporting Actress in a Comedy Series – Julia Duffy

text:
Outstanding Guest Actress in a Comedy Series – Eileen Brennan
Outstanding Supporting Actor in a Comedy Series – Peter Scolari
Outstanding Supporting Actress in a Comedy Series – Julia Duffy

text:
Outstanding Editing For a Series (Multi-Camera Production) – Michael Wilcox, Editor
Outstanding Supporting Actress in a Comedy Series – Julia Duffy
Outstanding Writing For a Comedy Series – Bob Bendetson, Mark Egan and Mark Solomon ("The Last Newhart")

text: Golden Globe Awards[edit]

text: Newhart earned a total of six nominations for Golden Globe Awards.

text:
Television Series – Musical or Comedy (1984)
Actor in a Television Series – Musical or Comedy: Bob Newhart (1983–1986)
Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television: Julia Duffy (1988)

text: Other awards[edit]

text: Newhart was nominated for one Casting Society of America award and four nominations for TV Land Awards. Newhart won a total of Viewers for Quality Television Awards.

text: DVD releases[edit]

text: 20th Century Fox released season one of Newhart on DVD in Region 1 in February 2008.

text: In November 2013, it was announced that Shout! Factory had acquired the rights to the series. As of April 15, 2017, they have released the second through eighth seasons.[14][15][16]

text:
DVD Name
Ep No
Release Date

The Complete First Season
22
February 26, 2008

The Complete Second Season
22
February 11, 2014

The Complete Third Season
22
April 22, 2014

The Complete Fourth Season
24
August 19, 2014

The Complete Fifth Season
24
May 10, 2016

The Complete Sixth Season
24
September 13, 2016

The Complete Seventh Season
22
December 13, 2016

The Complete Eighth Season
24
March 14, 2017


document_title: Iris (anatomy)

question_text: where is the iris located in the eye

question_tokens: where is the iris located in the eye

text: Iris (anatomy)

text: Structure[edit]

text: The iris consists of two layers: the front pigmented fibrovascular layer known as a stroma and, beneath the stroma, pigmented epithelial cells.

text: The stroma connects to a sphincter muscle (sphincter pupillae), which contracts the pupil in a circular motion, and a set of dilator muscles (dilator pupillae) which pull the iris radially to enlarge the pupil, pulling it in folds. The back surface is covered by a heavily pigmented epithelial layer that is two cells thick (the iris pigment epithelium), but the front surface has no epithelium. This anterior surface projects as the dilator muscles. The high pigment content blocks light from passing through the iris to the retina, restricting it to the pupil.[1] The outer edge of the iris, known as the root, is attached to the sclera and the anterior ciliary body. The iris and ciliary body together are known as the anterior uvea. Just in front of the root of the iris is the region referred to as the trabecular meshwork, through which the aqueous humour constantly drains out of the eye, with the result that diseases of the iris often have important effects on intraocular pressure and indirectly on vision. The iris along with the anterior ciliary body provide a secondary pathway for aqueous humour to drain from the eye.

text: The iris is divided into two major regions:

text:
The pupillary zone is the inner region whose edge forms the boundary of the pupil.
The ciliary zone is the rest of the iris that extends to its origin at the ciliary body.

tag: ol

text: The collarette is the thickest region of the iris, separating the pupillary portion from the ciliary portion. The collarette is a rudiment of the coating of the embryonic pupil.[1] It is typically defined as the region where the sphincter muscle and dilator muscle overlap. Radial ridges extend from the periphery to the pupillary zone, to supply the iris with blood vessels. The root of the iris is the thinnest and most peripheral.[2]

text: The muscle cells of the iris are smooth muscle in mammals and amphibians, but are striated muscle in reptiles (including birds). Many fish have neither, and, as a result, their irides are unable to dilate and contract, so that the pupil always remains of a fixed size.[3]

text: Front[edit]

text:
The crypts of Fuchs are a series of openings located on either side of the collarette that allow the stroma and deeper iris tissues to be bathed in aqueous humor. Collagen trabeculae that surround the border of the crypts can be seen in blue irises.
The midway between the collarette and the origin of the iris. These folds result from changes in the surface of the iris as it dilates.[citation needed]
Crypts on the  base of the iris are additional openings that can be observed close to the outermost part of the ciliary portion of the iris.[2]

text: Back[edit]

text:
The radial contraction folds of Schwalbe are a series of very fine radial folds in the pupillary portion of the iris extending from the pupillary margin to the collarette. They are associated with the scalloped appearance of the pupillary ruff.
The structural folds of Schwalbe are radial folds extending from the border of the ciliary and pupillary zones that are much broader and more widely spaced, continuous with the "valleys" between the ciliary processes.
Some of the circular contraction folds are a fine series of ridges that run near the pupillary margin and vary in thickness of the iris pigment epithelium; others are in ciliary portion of iris.[2]

text: Microanatomy[edit]

text: From anterior (front) to posterior (back), the layers of the iris are:

text:
Anterior limiting layer
Stroma of iris
Iris sphincter muscle
Iris dilator muscle (myopeithelium)
Anterior pigment epithelium
Posterior pigment epithelium

text: Development[edit]

text: The stroma and the anterior border layer of the iris are derived from the neural crest, and behind the stroma of the iris, the sphincter pupillae and dilator pupillae muscles as well as the iris epithelium develop from optic cup neuroectoderm.

text: Eye color[edit]

text: The iris is usually strongly pigmented, with the color typically ranging between  brown, hazel, green, gray, or blue. Occasionally, the color of the iris is due to a lack of pigmentation, as in the pinkish-white of oculo-cutaneous albinism,[1] or to obscuration of its pigment by blood vessels, as in the red of an abnormally vascularised iris. Despite the wide range of colors, the only pigment that contributes substantially to normal human iris color is the dark pigment melanin. The quantity of melanin pigment in the iris is one factor in determining the phenotypic eye color of a person. Structurally, this huge molecule is only slightly different from its equivalent found in skin and hair. Iris color is due to variable amounts of eumelanin (brown/black melanins) and pheomelanin (red/yellow melanins) produced by melanocytes. More of the former is found in brown-eyed people and of the latter in blue and green-eyed people.

text: Genetic and physical factors determining iris color[edit]

text: Iris color is a highly complex phenomenon consisting of the combined effects of texture, pigmentation, fibrous tissue and blood vessels within the iris stroma, which together make up an individual's epigenetic constitution in this context.[2] A person's "eye color" is actually the color of one's iris, the cornea being transparent and the white sclera entirely outside the area of interest.

text: Melanin is yellowish-brown to dark brown in the stromal pigment cells, and black in the iris pigment epithelium, which lies in a thin but very opaque layer across the back of the iris. Most human irises also show a condensation of the brownish stromal melanin in the thin anterior border layer, which by its position has an overt influence on the overall color.[2] The degree of dispersion of the melanin, which is in subcellular bundles called melanosomes, has some influence on the observed color, but melanosomes in the iris of humans and other vertebrates are not mobile, and the degree of pigment dispersion cannot be reversed. Abnormal clumping of melanosomes does occur in disease and may lead to irreversible changes in iris color (see heterochromia, below). Colors other than brown or black are due to selective reflection and absorption from the other stromal components. Sometimes lipofuscin, a yellow "wear and tear" pigment, also enters into the visible eye color, especially in aged or diseased green eyes.

text:
The optical mechanisms by which the non-pigmented stromal components influence eye color are complex, and many erroneous statements exist in the literature. Simple selective absorption and reflection by biological molecules (hemoglobin in the blood vessels, collagen in the vessel and stroma) is the most important element. Rayleigh scattering and Tyndall scattering, (which also happen in the sky) and diffraction also occur. Raman scattering, and constructive interference, as in the feathers of birds, do not contribute to the color of the human eye, but interference phenomena are important in the brilliantly colored iris pigment cells (iridophores) in many animals. Interference effects can occur at both molecular and light microscopic scales, and are often associated (in melanin-bearing cells) with quasi-crystalline formations which enhance the optical effects. Interference is recognised by characteristic dependence of color on the angle of view, as seen in eyespots of some butterfly wings, although the chemical components remain the same.
White babies are usually born blue-eyed since there is no pigment in the stroma, and their eyes appear blue due to scattering and selective absorption from the posterior epithelium. If melanin is deposited substantially, there will be brown or black color, if not, they will remain blue or gray.[4]

text: All the contributing factors towards eye color and its variation are not fully understood. Autosomal recessive/dominant traits in iris color are inherent in other species but coloration can follow a different pattern.

text: Amber Eyes[edit]

text: Amber colored eyes are extremely rare in humans. They consist of a solid orange/gold color that may contain lighter shades of the same pigment within the iris. This is an unusual occurrence that happens when the yellow pigment called pheomelanin (also known as lipochrome), is dominant within the iris. Pheomelanin is also found on individuals with green eyes in much smaller amounts. This is because green eyes have a strong presence of both melanin and pheomelanin. Often in poor lighting, one may mistake amber eyes for brown. This also happens when viewed from far away or in pictures with poor  lighting as well. However, in natural or well lit areas, it is very easy to tell the difference between the two colors. Another common mistake people make is referring to amber eyes as hazel. Although similar, hazel eyes have a stronger presence of melanin with two very distinct colors within the iris (usually green/brown) and often contain many speckles or blotches of mixed hues.[5]

text: Different colors in the two eyes[edit]

text: Heterochromia (also known as a heterochromia iridis or heterochromia iridum) is an ocular condition in which one iris is a different color from the other iris (complete heterochromia), or where the part of one iris is a different color from the remainder (partial heterochromia or sectoral heterochromia). Uncommon in humans, it is often an indicator of ocular disease, such as chronic iritis or diffuse iris melanoma, but may also occur as a normal variant. Sectors or patches of strikingly different colors in the same iris are less common. Alexander the Great and Anastasios the First were dubbed dikoro*s (dikoros, "with two pupils") for their patent heterochromias. In their case, this was not a true dicoria (two pupils in the same iris). Real polycoria can be due to disease but is most often due to previous trauma or surgery.[citation needed]

text: In contrast, heterochromia and variegated iris patterns are common in veterinary practice. Siberian Huskies show heterochromia,[6] possibly analogous to the genetically-determined Waardenburg syndrome of humans. Some white cat fancies (e.g., white Turkish Angora or white Turkish van cats) may show striking heterochromia, with the most common pattern being one uniformly blue, the other copper, orange, yellow or green.[6] Striking variation within the same iris is also common in some animals, and is the norm in some species. Several herding breeds, particularly those with a blue merle coat color (such as Australian Shepherds and Border Collies) may show well-defined blue areas within a brown iris as well as separate blue and darker eyes.[citation needed] Some horses (usually within the white, spotted, palomino or cremello groups of breeds) may show amber, brown, white and blue all within the same eye, without any sign of eye disease.[citation needed]

text: One eye with a white or bluish-white iris is also known as a walleye.[7]

text: Clinical significance[edit]

text: When photographed with a flash, the iris constricts but not fast enough to avoid the red-eye effect. This represents reflection of light from the back of the eye, and is closely related to the term red reflex, used by ophthalmologists and optometrists in describing appearances on fundal examination.

text: Conjunctivitis[edit]

text: When used as a descriptive term in medicine, the meaning of red eye is quite different, and indicates that the bulbar conjunctiva is reddened due to dilatation of superficial blood vessels. Leaving aside rarities, it indicates surface infection (conjunctivitis), intraocular inflammation (e.g., iridocyclitis) or high intraocular pressure (acute glaucoma or occasionally severe, untreated chronic glaucoma). This use of "red eye" implies disease. The term is therefore not used in medicine for ocular albinism, in which the eye is otherwise healthy despite an obviously red pupil and a translucent pinkish iris due to reflected light from the fundus. "Red eye" is used more loosely in veterinary practice, where investigation of eye diseases can be difficult, but even so albinotic breeds are easily recognised and are usually described as having "pink eye" rather than "red eye".

text: Society and culture[edit]

text: Iridology[edit]

text: Iridology (also known as iridodiagnosis) is an alternative medicine technique whose proponents believe that patterns, colors and other characteristics of the iris can be examined to determine information about a patient's systemic health. Practitioners match their observations to iris charts which divide the iris into zones corresponding to specific parts of the human body. Iridologists see the eyes as "windows" into the body's state of health.[8]

text: Iridology is not supported by quality research studies[9] and is considered pseudoscience[10] by the majority of medical practitioners and eye care professionals.

text: Etymology[edit]

text: The word iris is derived from the Greek goddess of the rainbow, because of the many colours of the iris.[11]

text: Graphics[edit]

text:
Structures of the eye

Iris, front view.


document_title: Finding Dory

question_text: who does the voice of nemo's dad in finding dory

question_tokens: who does the voice of nemo 's dad in finding dory

text: Finding Dory

text: Plot[edit]

text: Dory, a regal blue tang, gets separated from her parents as a child. As she grows up, Dory attempts to search for them, but gradually forgets them due to her short-term memory loss. In the flashback of the previous film, Finding Nemo, she joins Marlin – a clownfish looking for his missing son Nemo – after accidentally swimming into him.

text: One year later, Dory is living with Marlin and Nemo on their reef. One day, Dory has a flashback and remembers that she has parents. She decides to look for them, but her memory problem is an obstacle. She eventually remembers that they lived at the Jewel of Morro Bay across the ocean in California.

text: Marlin and Nemo accompany Dory. With the help of Crush, a sea turtle friend, they ride a water current to California. Upon arrival, Dory accidentally awakens a squid, who immediately pursues them and almost devours Nemo. Marlin berates Dory for endangering them. Her feelings hurt, Dory travels to the surface to seek help and is captured by staff members from the nearby Marine Life Institute after getting entangled in six pack rings.

text: Dory is placed in the quarantine section and tagged. There she meets a grouchy but well-meaning octopus named Hank. Dory's tag shows that she will be sent to an aquarium in Cleveland. Due to a traumatic ocean life, Hank wants to live in the aquarium instead of being released back into the ocean, so he agrees to help Dory find her parents in exchange for her tag. In one exhibit, Dory encounters her childhood friend Destiny, a nearsighted whale shark who used to communicate with Dory through pipes, and Bailey, a beluga whale who mistakenly believes he has lost his ability to echolocate. Dory subsequently has flashbacks of life with her parents and struggles to recall details. She finally remembers how she was separated from her parents: she overheard her mother crying one night, left to retrieve a shell to cheer her up, and was pulled away by an undertow current.

text: Marlin and Nemo attempt to rescue Dory. With the help of two sea lions named Fluke and Rudder and a disfigured common loon named Becky, they manage to get into the institute and find her in the pipe system. Other blue tangs tell them that Dory's parents escaped from the institute a long time ago to search for her and never came back, leaving Dory believing that they have died. Hank retrieves Dory from the tank, accidentally leaving Marlin and Nemo behind. He is then apprehended by one of the employees and unintentionally drops Dory into the drain, flushing her out to the ocean. While wandering aimlessly, she comes across a trail of shells; remembering that when she was young, her parents had set out a similar trail to help her find her way back home, she follows it. At the end of the trail, Dory finds an empty home with multiple shell trails leading to it. As she turns to leave, she sees her parents Jenny and Charlie in the distance. They tell her they spent years laying down the trails for her to follow in the hopes that she would eventually find them.

text: Marlin, Nemo, and Hank end up in the truck taking various aquatic creatures to Cleveland. Destiny and Bailey escape from their exhibit to help Dory rescue them. Once on board the truck, Dory persuades Hank to return to the sea with her, and together, they hijack the truck and drive it over busy highways, creating havoc, before crashing it into the ocean, freeing all the fish. Dory, along with her parents and new friends, return to the reef with Marlin and Nemo.

text: In a post-credits scene, the Tank Gang from Finding Nemo, still trapped inside their (now algae-covered) plastic bags, reach California one year after floating across the Pacific Ocean, where they are eventually picked up by staff members from the Marine Life Institute.

text: Voice cast[edit]

text:
Ellen DeGeneres as Dory, a regal blue tang who suffers from short-term memory loss.

Sloane Murray as Young Dory. Murray is the seven-year-old daughter of producer Lindsey Collins.[12]
Lucia Geddes as Teen Dory.

Albert Brooks as Marlin, an overprotective ocellaris clownfish, Nemo's father and Dory's friend.
Hayden Rolence as Nemo, a young optimistic clownfish and Marlin's son.
Ed O'Neill as Hank, a cranky East Pacific red octopus who previously lost a tentacle.
Kaitlin Olson as Destiny, a near-sighted whale shark and Dory's childhood friend.
Ty Burrell as Bailey, a beluga whale who temporarily lost echolocation due to a concussion.
Diane Keaton as Jenny, Dory's mother.
Eugene Levy as Charlie, Dory's father.
Idris Elba as Fluke, a California sea lion.
Dominic West as Rudder, a California sea lion and Fluke's friend.
Bob Peterson as Mr. Ray, a spotted eagle ray and Nemo's schoolteacher.
Andrew Stanton as Crush, a green sea turtle
Sigourney Weaver as herself, the announcer for the recorded messages broadcast over the institute's public address system.
Bill Hader as Husband Fish (Stan), a kelp bass.
Kate McKinnon as Wife Fish, Stan's wife.
Alexander Gould as Passenger Carl, a delivery truck driver who works for the institute.
Torbin Xan Bullock as Gerald, a California sea lion who wishes to lie on the rock occupied by Fluke and Rudder.
Katherine Ringgold as Chickenfish, named Kathy
Bennett Dammann as Squirt, Crush's son.
John Ratzenberger as Husband Crab (Bill).
Angus MacLane as Sunfish "Charlie Back-and-Forth"
Willem Dafoe as Gill, a Moorish idol, the leader of the "Tank Gang."
Brad Garrett as Bloat, a pufferfish.
Allison Janney as Peach, a pink starfish.
Austin Pendleton as Gurgle, a royal gramma.
Stephen Root as Bubbles, a yellow tang.
Vicki Lewis as Deb (& Flo), a four-striped damselfish.
Jerome Ranft as Jacques, a cleaner shrimp.

text: Production[edit]

text: Prior to work on Finding Dory, Disney had planned to make a Finding Nemo sequel without Pixar's involvement, through Circle 7 Animation, a studio Disney announced in 2005 with the intention to make sequels to Pixar properties.[13][14] However, due to the 2006 acquisition of Pixar by Disney, Circle 7 was shut down by Disney without ever having produced a film.[15]

text: In July 2012, it was reported that Andrew Stanton was developing a sequel to Finding Nemo,[16] with Victoria Strouse writing the script and a release date scheduled for 2016.[17] However, the same day the news of a potential sequel broke, Stanton posted a message on his personal Twitter calling into question the accuracy of these reports. The message said, "Didn't you all learn from Chicken Little? Everyone calm down. Don't believe everything you read. Nothing to see here now. #skyisnotfalling."[18] According to a report by The Hollywood Reporter published in August 2012, Ellen DeGeneres was in negotiations to reprise her role of Dory.[19] In September 2012, it was confirmed by Stanton, saying: "What was immediately on the list was writing a second Carter movie. When that went away, everything slid up. I know I'll be accused by more sarcastic people that it's a reaction to Carter not doing well, but only in its timing, but not in its conceit."[20] In February 2013, it was confirmed by the press that Albert Brooks would reprise the role of Marlin in the sequel.[21]

text: In April 2013, Disney announced the sequel, Finding Dory, for November 25, 2015, confirming that DeGeneres and Brooks would be reprising their roles as Dory and Marlin, respectively.[22] Following a long campaign for a sequel on The Ellen DeGeneres Show, DeGeneres stated:

text: I have waited for this day for a long, long, long, long, long, long time. I'm not mad it took this long. I know the people at Pixar were busy creating Toy Story 16. But the time they took was worth it. The script is fantastic. And it has everything I loved about the first one: It's got a lot of heart, it's really funny, and the best part is—it's got a lot more Dory.[22]

text: In a July 2013 interview with Los Angeles Times, Stanton spoke of the sequel's origin: "There was polite inquiry from Disney [about a Finding Nemo sequel]. I was always 'No sequels, no sequels.' But I had to get on board from a VP standpoint. [Sequels] are part of the necessity of our staying afloat, but we don't want to have to go there for those reasons. We want to go there creatively, so we said [to Disney], 'Can you give us the timeline about when we release them? Because we'd like to release something we actually want to make, and we might not come up with it the year you want it.'"[23]

text: In a 2016 interview Stanton stated how the film's story came to be; "I don't watch my films that often after they're done because I have to watch them so many times before they come out. So about 2010 when we were getting Finding Nemo ready for the 10-year re-release in 3D, it was interesting to watch again after all that time. Something kind of got lodged in the back of my brain and started to sort of stew. I started to think about how easily Dory could get lost and not find Marlin and Nemo again. She basically was in the same state that she was when Marlin found her. I didn't know where she was from. I knew that she had spent most of her youth wandering the ocean alone, and I wanted to know that she could find her new family, if she ever got lost again. It's almost like the parental side of me was worried." Stanton additionally stated: "I knew if I ever said Finding Dory or mentioned a sequel to Finding Nemo out loud, I’d be done, [T]here would be no way I'd be able to put that horse back in the barn. So I kept it very quiet until I knew I had a story that I thought would hold, and that was in early 2012. So I pitched it to John Lasseter and he was all into it. Then I got a writer, and once we had a treatment that we kind of liked, I felt comfortable calling Ellen."[24]

text: Stanton selected Victoria Strouse to write the screenplay. She later said, "It was always collaborative with Andrew, but really the screenwriting was me. Of course, Andrew would do passes, and he and I would brainstorm a lot together and then we would bring it to the group of story artists. People would weigh in and share ideas."[25] She pointed to Dory's forgetfulness as a challenge when writing the script, adding, "You don't realize until you sit down to write a character who can't remember things how integral memory is to absolutely everything we do, and that's what creates a narrative that people can follow. When a main character can't self-reflect and can't tell a story, that character is very difficult to design because she can't really lead. To get her to be able to lead and to get an audience to be able to trust her was the hardest thing to do."[25]

text: The fictional Marine Life Institute depicted extensively in the film is based on the production team's research trips to the Monterey Bay Aquarium, the Marine Mammal Center and the Vancouver Aquarium.[26]

text: The film's ending was revised after Pixar executives viewed Blackfish, a 2013 documentary film which focuses on the dangers of keeping orca whales in captivity. Initially, some of the characters were to end up in a SeaWorld-like marine park, but the revision gave them an option to leave.[27][28] On September 18, 2013, it was announced that the film would be pushed back to a June 17, 2016, release. Pixar's The Good Dinosaur was moved to the November 25, 2015, release window to allow more time for production of the film.[29]

text: Angus MacLane was one of the first people to whom Stanton revealed his idea for the sequel. Together, with Bob Peterson, they discussed about different ideas for places Dory would visit during her journey—one of those ideas was the touch pool sequence. Later, during the Brave (2012) wrap party, Stanton invited Angus to join him in his first co-directing duty. Stanton described Angus' role as a "jack of all trades," particularly utilising his experience in animation and story, as well as in production, having created a few short films himself.[30]

text: In August 2015, at Disney's D23 Expo, it was announced that Hayden Rolence would voice Nemo, replacing Alexander Gould from the first film, whose voice has deepened since reaching adulthood (Gould voiced a minor character in the sequel instead).[31][32] In addition to Rolence, Ed O'Neill was revealed to be the voice of Hank.[31]

text: To make the light more realistic, RenderMan was completely re-engineered, its biggest change in 25 years.[33]

text: Soundtrack[edit]

text:
Finding Dory

Soundtrack album by Thomas Newman

Released
June 14, 2016

Recorded
2015–16

Studio
DeepSleep Studios
Newman Scoring Stage
Sony Pictures Studios
The Village

Genre
Soundtrack

Length
68:20

Label
Walt Disney

Producer

Thomas Newman
Bill Bernstein

Thomas Newman chronology

Spectre
(2015)Spectre2015
Finding Dory
(2016)
Passengers
(2016)Passengers2016

Pixar film soundtrack chronology

The Good Dinosaur
(2015) The Good Dinosaur2015
Finding Dory
(2016) Finding Dory2016
Cars 3
(2017) Cars 32017

Singles from Finding Dory

"Unforgettable"
Released: May 27, 2016

text: The film's soundtrack entitled Finding Dory was composed by Thomas Newman and released on June 17, 2016.[34][35] Louis Armstrong's version of "What a Wonderful World" is played during the scene in which fish are released into the ocean as the truck Dory and Hank are driving crashes into the water.[36] On May 20, 2016, Sia performed a cover of Nat King Cole's "Unforgettable" on The Ellen DeGeneres Show following an announcement that it would be featured in the film.[36]

text: Track listing[edit]

text:
No.
Title
Performer
Length

1.
"Kelpcake"

0:46

2.
"Finding Dory (Main Title)"

0:55

3.
"Lost at Sea"

1:36

4.
"One Year Later"

2:24

5.
"Migration Song"

0:35

6.
""O, We're Going Home""

1:38

7.
"Jewel of Morro Bay"

2:00

8.
"Gnarly Chop"

1:39

9.
"Squid Chase"

1:28

10.
"Sigourney Weaver"

1:21

11.
"Hank"

3:19

12.
"Nobody's Fine"

3:29

13.
"Rebecca Darling"

1:54

14.
"Meet Destiny"

1:07

15.
"Joker at Work"

1:16

16.
"Becky Flies"

3:53

17.
"Hands!"

2:24

18.
"Almost Home"

2:01

19.
"Open Ocean"

3:18

20.
"Two Lefts and a Right"

3:57

21.
"Everything About You"

1:41

22.
"Quarantine"

2:41

23.
"Warp"

1:03

24.
"All Alone"

0:53

25.
"...Shells"

4:47

26.
"No Walls"

2:25

27.
"Okay with Crazy"

1:50

28.
"Hide and Seek"

1:51

29.
"Quite a View"

1:25

30.
"Unforgettable (End Title)"
Sia Furler
3:17

31.
"Three Hearts (End Title)"

3:29

32.
"Loon Tune"

1:20

33.
"Fish Who Wander"

1:18

34.
"Release"

1:13

text: Release[edit]

text: Finding Dory premiered at the El Capitan Theatre in Los Angeles on June 8, 2016, and was theatrically released in the United States on June 17, 2016, in 2D, Disney Digital 3-D and RealD 3D.[5][6] It was also released to select IMAX 3D theaters.[37] In April 2016, it was announced that a new Pixar short, Piper, directed by Alan Barillaro and with music by Adrian Belew, would be shown in front of the film.[38] It had its UK premiere at the Edinburgh International Film Festival on June 18, 2016.[39][40]

text: The film was re-released for Labor Day weekend in 2016.[41]

text: Home media[edit]

text: Finding Dory was released by Walt Disney Studios Home Entertainment on Blu-ray (2D and 3D) and DVD in the United States on November 15, 2016, with a digital release on October 25. In addition to Piper, the bonus features also included a short film, titled Marine Life Interviews, featuring interviews with the inhabitants of the Marine Life Institute about their encounters with Dory.[42]

text: Reception[edit]

text: Box office[edit]

text: Finding Dory grossed $486.3 million in the U.S. and Canada and $542.3 million in other countries for a worldwide total of $1.029 billion, against a budget of $200 million.[4] It had a worldwide opening of $185.7 million, which is the second biggest of all time for an animated film behind Ice Age: Dawn of the Dinosaurs ($218.4 million), and an IMAX global opening of $6.4 million.[43][44][45] On August 16, it became the fourth film of 2016 to earn $900 million in ticket sales,[46] and on October 9—its seventeenth weekend—it passed the $1 billion threshold, becoming the third film of 2016 after Captain America: Civil War and Zootopia to reach that mark, the second Pixar film (after Toy Story 3), the fifth animated film (after Toy Story 3, Frozen, Minions, and Zootopia), the twelfth Disney film (fourth Disney animated film), and the twenty-seventh film overall in cinematic history.[47][48]

text: Worldwide, it is the third highest-grossing film of 2016 (behind Civil War and Rogue One),[49] the highest-grossing animated film of 2016,[49] the second highest-grossing Pixar film ever (behind Toy Story 3),[50] the fourth highest-grossing animated film of all time, and the 25th highest-grossing film of all time. Deadline.com calculated the net profit of the film to be $296.6 million, when factoring together all expenses and revenues for the film, making it the 4th most profitable release of 2016.[51]

text: North America[edit]

text: In the United States and Canada, Finding Dory opened on June 17, 2016, alongside Central Intelligence, with projections having the film grossing $110–120 million[52][53][54][55] in its opening weekend, with some estimates going as high as $130 million.[56][57] It received the widest release for a Pixar film (4,305 theaters, breaking Brave's record), of which 3,200 venues were in 3D, along with 425 premium large format locales, approximately 100 IMAX theaters and a handful of Dolby Cinema sites.[54] It was Fandango's top pre-selling animated film of all time, outselling the previous record-holder, Minions.[58] The film grossed $9.2 million from Thursday night previews, a record for both Pixar and any animated film,[59][60] and $54.7 million on its opening day, marking both the biggest opening day and single-day for an animated film. This also marks the first time that an animated film has grossed over $50 million in a single day.[61][62] It went on to gross $135.1 million in its opening weekend, finishing first at the box office and setting the record for the highest opening weekend for both Pixar (breaking Toy Story 3's record) and any animated film (breaking Shrek the Third's record), and became the third biggest adjusted for inflation.[63] It is also the third highest opening (excluding Marvel and Star Wars films) for Walt Disney Studios Motion Pictures behind Beauty and the Beast ($174.8 million) and Pirates of the Caribbean: Dead Man's Chest ($135.6 million), and is the studio's ninth biggest debut overall.[43][64][65] It also became the fifth animated film and the fifth film of 2016 to open above $100 million.[66] Morever, its opening also marked the second biggest for the month of June, behind only Jurassic World.[67] Its opening was 93.8% above Finding Nemo's $70.3 million debut.[68] It further broke the record for the biggest PLF and Cinemark XD opening for an animated film with $10.4 million and $2.6 million, respectively. In IMAX, it made $5 million from 211 theaters,[45] the third best animated IMAX opening behind Zootopia ($5.2 million) and Toy Story 3 ($8.4 million).[69]

text: Following its record-breaking openings, it scored the biggest Monday for Pixar by grossing $19.6 million (breaking Toy Story 3's $15.6 million) and the best Monday in June for an animated film. However, among all animated films, it is ranked second — behind 2004's Shrek 2, which made $23.4 million on its first Monday,[70][71] and it is also the biggest Tuesday for an animated film with $23.2 million, besting Minions' $16.8 million.[72] It jumped 18.5% over its Monday gross, a rare achievement for a film.[73] It crossed the $200 million mark in its first seven days, becoming the first (and fastest) animated film to pass the said milestone in just a week.[74] It fell only 46% in its second weekend earning $73 million to record the biggest second weekend for an animated film (breaking Shrek 2's $72.2 million previous record), the biggest for Disney and 2016 (surpassing Captain America: Civil War's $72.6 million), and the eighth biggest second weekend gross of all time overall.[75][76] This was despite facing stiff competition from newcomer Independence Day: Resurgence.[77] It crossed $300 million in 12 days — a new record for an animated film, surpassing the previous record held by Shrek 2 and Toy Story 3 (both of which took 18 days),[78] and became the second animated film of 2016 (after Zootopia), the fourth Disney film of 2016, and the sixth overall film of the year to cross the milestone.[79] It continued to dominate the box office for the third straight weekend, despite competitions from three new wide releases—The Legend of Tarzan, The Purge: Election Year, and fellow Disney release The BFG—after witnessing a 42% decline to $41.8 million in three days and $51.4 million in four days, respectively, during the Independence Day holiday frame.[80] This made it the second time in two years and just the third time since 1992, the July 4 holiday box office was topped by a film in its third weekend of release.[81] It broke another record as it passed the $400 million mark in 21 days, which is the fastest for an animated film, the fastest of 2016, the fastest for the studio, and the fifth fastest of all time overall. Morever, it became the second film of 2016 (after Captain America: Civil War), the fifth animated film, the ninth film for the studio, and the twenty-fourth film overall to pass the milestone.[82][83] On the following day (July 8), it surpassed Civil War to become the biggest film of the year up until Rogue One took that title in January 2017.[84][85] It dropped out of the top ten in its eighth week.[86]

text: Although the film was finally overtaken by The Secret Life of Pets (and The Legend of Tarzan in second place) in its fourth weekend, it nevertheless passed The Lion King to become the highest-grossing Disney animated film of all time in the same weekend, surpassing the latter which held the record for 15 non-consecutive years.[87] In just 30 days, it overtook Shrek 2 ($441.2 million) to become the highest-grossing animated film of all time, breaking the latter's record of 12 years.[88][89] Four days later, on July 20, it became the first ever animated film in cinematic history to cross the $450 million mark.[90] As with its predecessor Finding Nemo, the studio expanded the theater count for the film during the Labor Day weekend from 345 theaters to 2,075 theaters, an addition of 1,730 theaters. In 2003, Nemo was expanded from 838 sites to 1,053 locations.[91][92]

text: It became the second highest-grossing film of 2016 (behind Rogue One),[93] the highest-grossing Pixar film,[50] the second highest-grossing Walt Disney Pictures release (behind Beauty and the Beast), the highest-grossing Disney animated film, the highest-grossing animated film overall,[94] and the ninth highest-grossing film of all time.[95]

text: Outside North America[edit]

text: Internationally, Finding Dory received a staggered release in a span of four months from June to September, with Germany being the last country. This was done in order take advantage of key holidays and competitive dates around the world.[96][97] It was released across 29 countries—which is 32% of its entire international release territories—the same weekend as its U.S. premiere. It made an estimated $50.7 million to take the No. 1 spot at the international box office.[45] In its second weekend, it added $38.7 million from 37 markets, falling in third place behind Independence Day: Resurgence and Now You See Me 2.[96] In the same weekend along with its $73 million take in North America, the film helped Pixar cross the $10 billion mark worldwide since Toy Story (1995).[96] By its fourth weekend, the animated film helped Disney push past the $3 billion mark internationally and $5 billion globally.[98][99]

text: It had the biggest opening for an animated film in Brazil ($7.1 million) and the Netherlands ($2.1 million),[97] and the biggest of all time for a Disney animated or Pixar film in Australia ($7.7 million), the Philippines ($2.1 million), Singapore ($1.3 million), India ($1 million), Indonesia, Peru and Central America, and in Russia it opened with $3.2 million,[45][97] and the second biggest in the United Kingdom and Ireland ($10.7 million), Mexico ($9.4 million) and Argentina ($3.5 million), and that's despite amidst the latter country's Copa America soccer match, and Colombia ($2.1 million), behind Monsters University.[45][100][101] In the UK and Ireland, the film recorded the second biggest animated opening of the year with £8.1 million ($10.7 million) from 580 theaters, behind only The Secret Life of Pets. However, if previews are excluded, Finding Dory is ahead. Moreover, it also posted the second biggest Disney/Pixar opening, behind only Toy Story 3 (fourth biggest if previews are included), and the seventh biggest animated opening of all time overall based on pure Friday-to-Sunday gross alone.[101][102][103] It added an additional 43 theaters in its second weekend, after which it added another £3.98 million ($5.1 million) at the weekend, thereby passing the £20 million mark in just 10 days (among Pixar films, only Toy Story 3 reached £20 million faster). It made an impressive £8.15 million during weekdays, from Monday to Thursday resulting in a £2.03 million daily average gross. According to The Guardian, this was because of the school holidays that prevailed on the weekdays. Otherwise, family films earn the vast majority of their takings on Saturday and Sunday, and showtimes typically reduce on weekdays.[104] It returned to the top of the box office in its fourth weekend[105] and went on to become the highest-grossing film of the summer that year.[106] In Brazil, in addition to recording the biggest Disney/Pixar opening ever, almost twice the previous record held by The Good Dinosaur, it also set a new record for an all-time animated opening, on par with Minions in local currency.[97] In South Korea, it had the biggest opening for a Pixar film with $7.1 million, which is also the second biggest for a Disney animated film, behind Frozen.[98] In Japan, the film had a two-day weekend opening of $7 million on Saturday and Sunday from 511 screens on 571,000 admissions. For the entire three-day holiday weekend, including Marine Day on Monday July 18, the film earned $11 million on 922,000 admissions. This made it the top western release of the weekend and the biggest foreign opening weekend in the country of that year.[100][107] It had further number-one openings in Spain ($4.9 million), France ($4.7 million), Hong Kong ($1.9 million; $2.8 million including previews), Taiwan ($1.9 million), Sweden, Norway and Denmark.[96][98][100] It topped the box office in the Netherlands for three[100] and in Spain and Australia for four consecutive weekends.[98] In Italy, it scored the biggest animated opening of the year with $5.8 million.[108]

text: In China, where Pixar films have been struggling to find broad audiences and accrue lucrative revenues, the film was projected to make around $30 million in its opening weekend.[109] The film ended up grossing $17.7 million—the highest Pixar opening in the country's history—debuting in second place behind Warcraft.[45] It surpassed Monsters University in just seven days to become the biggest Pixar film there with $38.1 million.[97][98] It opened in Germany—its last market—on September 29, where the film delivered a robust opening of $8.4 million, the biggest for any film of 2016 in the country. The film continued to benefit from German Unity Day on October 3.[110] It went on to top the box office there for three straight weekends, tying with Inferno in its third weekend.[111]

text: It is now the highest-grossing Disney animated or Pixar film in Australia (where it is also the second highest-grossing animated film of all time behind Shrek 2), Bolivia, Brazil, Central America, Colombia, India, Indonesia, New Zealand, Peru, the Philippines, and Trinidad.[98][100][112] It also became the second highest-grossing Pixar release of all time in South Korea behind Inside Out.[113] Elsewhere, the biggest markets in terms of total earnings were Japan ($66 million), followed by the UK ($56.3 million), China ($38.1 million), Australia ($36.3 million), and Brazil ($34.5 million).[48]

text: Critical response[edit]

text: Finding Dory received critical acclaim from critics. On review aggregator website Rotten Tomatoes, the film has an approval rating of 94% based on 284 reviews and an average rating of 7.6/10. The site's critical consensus reads, "Funny, poignant, and thought-provoking, Finding Dory delivers a beautifully animated adventure that adds another entertaining chapter to its predecessor's classic story."[114] On Metacritic, the film has a score of 77 out of 100, based on 48 critics, indicating "generally favorable reviews."[115] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[116]

text: Mike Ryan of Uproxx gave the film a positive review, saying: "I never thought I wanted a sequel to Finding Nemo, but here we are and I'm pretty happy it exists. And, for me, it was a more emotional experience than the first film. Finding Dory got me – it made me cry."[117] A.O. Scott of The New York Times said that while the film lacks "dazzling originality," he overall wrote, "it more than makes up for in warmth, charm and good humor."[118] In his review for Variety, Owen Gleiberman wrote, "It's a film that spills over with laughs (most of them good, a few of them shticky) and tears (all of them earned), supporting characters who are meant to slay us (and mostly do) with their irascible sharp tongues, and dizzyingly extended flights of physical comedy."[119] Joe Morgenstern of The Wall Street Journal said that "Finding Dory can be touching, sweet and tender, but it's compulsively, preposterously and steadfastly funny."[120] Peter Travers of Rolling Stone gave the film three-and-a-half stars out of four and said that the film "brims with humor, heart and animation miracles," despite lacking "the fresh surprise of its predecessor."[121]

text: Environmental controversies and issues[edit]

text: Conservationists warned that, very much like Finding Nemo, the film could lead to uninformed customers buying blue tangs for home aquariums.[122] Blue tangs cannot be bred in captivity and have to be caught in the wild.[123] They are related to surgeonfish and exhibit razor-sharp spines on both sides of the tail that can inflict formidable wounds.[124]

text: While promoting the film, actress Ellen DeGeneres reminded audiences that Nemo and Dory’s real-life home, the Great Barrier Reef, is under enormous threat,[125] mostly due to coral bleaching, a process induced by climate change, which has killed coral reefs on an enormous scale.[126]

text: Accolades[edit]

text:
List of awards and nominations

Year
Award
Category
Recipient(s)
Result
Ref(s)

2016
Alliance of Women Film Journalists
Best Animated Film
Andrew Stanton and Angus MacLane
Nominated
[127]
[128]

Best Animated Female
Ellen DeGeneres

British Academy Children's Awards
BAFTA Kids' Vote
Finding Dory
[129]
[130]

Critics' Choice Awards
Best Animated Feature
[131]

Hollywood Music in Media Awards
Best Original Score – Animated Film
Thomas Newman
[132]
[133]

San Francisco Film Critics Circle
Best Animated Feature
Finding Dory
[134]
[135]

St. Louis Gateway Film Critics Association
Best Animated Film
[136]

Teen Choice Awards
Choice Summer Movie
Won
[137]

Choice Summer Movie Star: Female
Ellen DeGeneres

Washington D.C. Area Film Critics Association
Best Animated Feature
Finding Dory
Nominated
[138]

Best Voice Performance
Ellen DeGeneres

Women Film Critics Circle
Best Animated Female
Finding Dory
[139]

2017
Annie Awards
Best Animated Feature
[140]

Outstanding Achievement, Character Animation in a Feature Production
Erick Oh

Outstanding Achievement, Storyboarding in an Animated Feature Production
Trevor Jimenez

Black Reel Awards
Outstanding Voice Performance
Idris Elba
[141]

British Academy Film Awards
Best Animated Film
Andrew Stanton
[142]

Cinema Audio Society
Outstanding Achievement in Sound Mixing for a Motion Picture – Animated
Scott Curtis, Doc Kane, Nathan Nance, Michael Semanick and Thomas Vicari
Won
[143]

Empire Awards
Best Animated Film
Finding Dory
[144]

Georgia Film Critics Association
Best Animated Film
Andrew Stanton and Lindsey Collins
Nominated
[145]

Golden Tomato Awards
Best Wide Release 2016
Finding Dory
7th Place
[146]

Best Animated Movie 2016
2nd Place

Houston Film Critics Society
Best Animated Feature Film
Nominated
[147]
[148]

2017 Kids' Choice Awards
Favorite Animated Movie
Won
[149]

Favorite Voice From an Animated Movie
Ellen DeGeneres

Most Wanted Pet
Nominated

#Squad
Ellen DeGeneres, Albert Brooks, Kaitlin Olson, Hayden Rolence, Willem Dafoe, Ed O'Neill, Ty Burrell and Eugene Levy
Won

NAACP Image Awards
Outstanding Character Voice-Over Performance
Idris Elba
Nominated
[150]

Online Film Critics Society
Best Animated Film
Finding Dory
[151]

People's Choice Awards
Favorite Movie
Won
[152]

Favorite Family Movie

Favorite Animated Movie Voice
Ellen DeGeneres

Producers Guild of America
Best Animated Motion Picture
Lindsey Collins
Nominated
[153]

Satellite Awards
Best Animated or Mixed Media Feature
Finding Dory
[154]

Saturn Awards
Best Animated Film
Won
[155]

Village Voice Film Poll
Best Animated Feature
7th Place
[156]

Visual Effects Society
Outstanding Visual Effects in an Animated Feature
Chris J. Chapman, Lindsey Collins, John Halstead and Angus MacLane
Nominated
[157]

Outstanding Animated Performance in an Animated Feature
Hank – Jonathan Hoffman, Steven Clay Hunter, Mark Piretti and Audrey Wong
Won

Outstanding Created Environment in an Animated Feature
Open Ocean Exhibit – Stephen Gustafson, Jack Hattori, Jesse Hollander and Michael Rutter
Nominated

Outstanding Effects Simulations in an Animated Feature
Stephen Gustafson, Allen Hemberger, Joshua Jenny and Matthew Kiyoshi Wong

text: Possible sequel[edit]

text: In June 2016, director Andrew Stanton talked about the possibility of a sequel, saying that he would never exclude it because of the introduction of new characters, citing the Toy Story films as guides for how to expand a world through sequels.[158]