document_title: Puss in Boots (2011 film)

question_text: who did boots grow up with in the orphanage

root

text: Puss in Boots (2011 film)

text: Plot[edit]

text: Puss in Boots (Antonio Banderas) is a talking cat named for his signature pair of boots. Puss is a fugitive on the run from the law, looking to restore his lost honor. He learns that the outlaw couple Jack (Billy Bob Thornton) and Jill (Amy Sedaris) have the magic beans he's been looking for most of his life, which can lead him to a giant's castle holding valuable golden goose eggs. When Puss tries to steal them from the outlaws' room, a female cat named Kitty Softpaws interrupts, and both fail. Kitty is allied with Humpty Alexander Dumpty, a talking egg and Puss' long-estranged childhood friend from the orphanage where he was raised. Puss tells Kitty his origin story and of his feelings of betrayal for a youthful misadventure when Humpty tricked Puss into helping commit a bank robbery in his hometown of San Ricardo; Puss has been on the run ever since. Humpty eventually convinces Puss to join them in finding the beans and retrieving the golden eggs.

tag: p

text: The trio steal the beans from Jack and Jill and plant them in the desert. Puss and Kitty's relationship becomes romantic. The trio ride the beanstalk into the clouds to find the castle of the late giant, while avoiding the Great Terror, a giant goose that guards the Golden Goose. When they realize the golden eggs are too heavy to carry, they steal the Goose, which is just a gosling, and escape the castle. While celebrating their victory, the group is ambushed by Jack and Jill, who knock Puss unconscious.

text: When Puss wakes up, he tracks Jack and Jill to San Ricardo where he learns the entire heist was a plot by Humpty to lure him home to be arrested, as revenge for abandoning him to the authorities when Humpty's youthful heist went bad. Jack, Jill, and Kitty were involved in the con. After pleas from Imelda, his adoptive mother, Puss turns himself in to the guards while Humpty donates many golden eggs to the town and becomes a hero.

text: While in prison, Puss meets the original Jack from "Jack and the Beanstalk" who warns him that the Great Terror is in fact the Goose's mother, and it will stop at nothing to get its child back. Realizing Humpty intended to destroy the town all along, Puss lets a repentant Kitty help him break out of prison and she also tells him she loves him. Tracking him down just as the Great Terror arrives, Puss convinces Humpty to help him fight off the Great Terror, saying he knows Humpty is a good person at heart. Using the Goose as bait, Puss and Humpty lure the Great Terror out of the town. During the chase, Jack and Jill betray Humpty and try to take the Goose, but get crushed by the Great Terror. Humpty and the Goose are knocked off a bridge with Puss holding onto them. Humpty knows Puss cannot hold both of them, so he lets go, sacrificing himself to save the Goose and the town. Humpty's shell cracks open to reveal he was a golden egg on the inside. The Great Terror then takes the Goose and Humpty back to the giant's castle.

text: Puss' efforts to save San Ricardo make him a hero among the townspeople and Imelda. In the epilogue, Jack and Jill are recovering from their injuries, Humpty is shown once again in his regular egg form, wearing a golden egg suit, as he rides the Great Terror into the clouds, and Puss and Kitty kiss.

text: Cast[edit]

text:
Antonio Banderas as Puss in Boots, a fugitive from the law and a hero of San Ricardo.
Zach Galifianakis as Humpty Alexander Dumpty, the mastermind who intends to retrieve the Golden Eggs from the one-of-a-kind Goose.
Salma Hayek as Kitty Softpaws, a street-savvy Tuxedo cat who is Puss' female counterpart and love interest.
Billy Bob Thornton and Amy Sedaris as Jack and Jill, a murderous outlaw husband and wife couple.
Constance Marie as Imelda, Puss' human adoptive mother
Guillermo del Toro as Comandante, Moustache Man
Mike Mitchell as Andy "Jack" Beanstalk

tag: ul

text: Production[edit]

text: The film had been in development since 2004, when Shrek 2 was released.[8] As a Shrek 2 spin-off, it was initially planned for release in 2008 as a direct-to-video film,[9] then titled Puss in Boots: The Story of an Ogre Killer.[10] By October 2006, the film was re-slated as a theatrical release due to market conditions,[11] and due to DreamWorks Animation's realization that the Puss character deserved more.[12]

text: In September 2010, Guillermo del Toro signed on as executive producer.[13] Discussing del Toro, Miller stated: "We worked out a system for him to come in once every few months or whenever we had something new to show him. If we needed someone to bounce ideas off of, he was always there, and if we had a problem we were tackling, we'd get Guillermo on the red phone – our emergency phone – and ask him advice on what we should do with a certain character or scene. It was like having our own film school." Miller stated that del Toro was particularly involved in Humpty's character design. "Guillermo loved the dreamy quality of Humpty Dumpty. He suggested we push that further, make him more like da Vinci."[12] It was del Toro's idea to make Humpty "an ingenious freak of nature" who builds contraptions such as a flying machine.[14] Del Toro rewrote the ending to redeem the character and deepen his relationship with Puss – an unconventional conclusion for a children's film.[15] He helped design the fantasy elements of the giant's castle, as well as the architecture of the town, which he conceived as "an amalgam of Spain and Mexico".[14]

text: Except for Puss, the film features new characters. Citing the co-writer, David H. Steinberg, "It doesn't overlap with Shrek at all. Partly that was done to tell an original Puss story, but partly because we didn't know what Shrek 4 were going to do with the characters and we couldn't write conflicting storylines."[16] The film was teased in Shrek Forever After, when Shrek finally shuts the book titled "Shrek", and puts it away next to a book titled "Puss in Boots".

text: Puss in Boots is the first DreamWorks Animation feature film that was partly made in India. A Bangalore studio owned by Technicolor, which had mainly worked on TV specials and DVD bonus material, spent six months animating three major scenes in the film. The outsourcing had financial advantages, with 40% less labor costs than in the US, but the primary reason for outsourcing to India was lack of personnel, due to the studio producing as many as three films a year.[17]

text: The release date was originally set for November 4, 2011, but was pushed a week earlier to October 28, 2011.[3] Anne Globe, head of worldwide marketing for DreamWorks Animation, said the decision to move the film's release date a week earlier was to attract parents and their children to see the film before other family-friendly movies were released in November 2011.[18]

text: The film was renamed Cat in Boots in the United Arab Emirates for officially unknown reasons, but it is suspected for religious and cultural reasons.[19][20] According to UAE's The National Media Council, which is responsible for censorship, UAE didn't have any involvement in the rename and that "the decision to change the name had been made by the Hollywood studio and the movie distributors in the UAE."[21] Consequently, since the film's distributor was based in the UAE, the same print was syndicated to all theaters throughout the Middle East. However, the name change was limited to the film's original theatrical run, as merchandise and later regional home media release retained the film's original title.

text: Soundtrack[edit]

text:
Puss in Boots

Film score by Henry Jackman

Released
October 24, 2011

Genre
Score

Length
65:51

Label
Sony Classical

tag: table

text: Henry Jackman, the composer for Puss in Boots, utilized folk instruments of traditional Latin music. Inspired by Spanish composer Manuel de Falla, Jackman blended guitars and Latin percussion with an orchestral sound influenced by Claude Debussy and Maurice Ravel.[22] Mexican guitar duo Rodrigo y Gabriela contributed to Jackman’s score, and two of their songs, Diabolo Rojo and Hanuman were included in the soundtrack.[23] Lady Gaga's song "Americano" was also featured in the film.[24][25] The soundtrack for the film, featuring the original score by Jackman, was released on October 24, 2011, by Sony Classical.[26]

text: Release[edit]

text: Puss in Boots had its world premiere on October 16, 2011, aboard the Royal Caribbean International's cruise ship Allure of the Seas, docked in Fort Lauderdale, Florida at the time.[27][28] It was theatrically released in the United States on October 28, 2011.[28] The film was digitally re-mastered into IMAX 3D, and was released in 268 North American IMAX theaters and at least 47 IMAX theaters outside North America.[4]

text: Home media[edit]

text: Puss in Boots was released on DVD, Blu-ray and Blu-ray 3D on February 24, 2012. The movie was accompanied by a short animated film called Puss in Boots: The Three Diablos.[29] As of July 2013, 7.2 million home entertainment units were sold worldwide.[30]

text: Another featured extra short is "Klepto Kitty"; a three-minute profile of Dusty the Klepto Kitty, a notorious cat in California who steals items from neighbors' yards, some of it captured on a night vision kitty-cam, hung around Dusty's neck by the Animal Planet network for their own documentary.[31]

text: Reception[edit]

text: Critical response[edit]

text: Review aggregator Rotten Tomatoes gave the film a score of 84% based on reviews from 142, with an average rating of 6.8 out of 10. The website's consensus is, "It isn't deep or groundbreaking, but what it lacks in profundity, Puss in Boots more than makes up for with an abundance of wit, visual sparkle, and effervescent charm."[32] Metacritic, which assigns a weighted average score out of 100 to reviews from mainstream critics, gives the film a score of 65% based on 24 reviews.[33] CinemaScore polls reported that the average grade moviegoers gave the film was an "A-" on an A+ to F scale.[34]

text: Todd McCarthy of The Hollywood Reporter gave the film a positive review, saying "Puss in Boots is a perfectly diverting romp that happens to showcase some of the best 3D work yet from a mainstream animated feature. Colorful, clever enough, free of cloying showbiz in-jokes, action-packed without being ridiculous about it and even well choreographed."[35] Peter Debruge of Variety gave the film a positive review, saying "Puss' origin story could easily stand on its own -- a testament to clever writing on the part of its creative team and an irresistible central performance by Antonio Banderas."[36] Christy Lemire of the Associated Press gave the film three out of four stars, saying "For quick, lively, family friendly entertainment, "Puss in Boots" works just fine, even in 3-D, which is integrated thoughtfully into the narrative and doesn't just feel like a gimmick."[37] Bill Goodykoontz of The Arizona Republic gave the film three and a half stars out of five, saying "As good as Banderas and Hayek are together, Galifianakis is better, making Humpty-Dumpty, of all people, one of the more intriguing animated characters to come along in a while. He's a nice surprise."[38] Moira MacDonald of The Seattle Times gave the film three out of four stars, saying "I left dreaming of a world in which cats could tango - and when's the last time a movie did that?"[39] Marjorie Baumgarten of The Austin Chronicle gave the film three out of five stars, saying "The seductive interplay of Banderas and Hayek, the barely recognizable vocal contributions of Galifianakis, and the Southern backwoods speech of Thornton and Sedaris all keep us attuned to the events on the screen."[40]

text: Owen Gleiberman of Entertainment Weekly gave the film a C, saying "In the Shrek films, the joke of Puss in Boots, with his trilled consonants and penchant for chest-puffing sword duels, is that no one this cuddly should try to be this dashing. But in Puss in Boots, that joke wears out its welcome in 15 minutes."[41] Ty Burr of The Boston Globe gave the film three out of four stars, saying "Puss in Boots doesn't break any new ground in the storytelling department, and its reliance on go-go-go state-of-the-art action sequences grows wearying by the end, but the movie has a devilish wit that works for parent and child alike."[42] Elizabeth Weitzman of the New York Daily News gave the film four out of five stars, saying "It's always a pleasure to find a family film that respects its audience all the way up the line."[43] Colin Covert of the Star Tribune gave the film one and a half stars out of four, saying "Remember that toy where you yank a string and hear the sound of a barnyard animal? "Puss in Boots" has about half as much entertainment value."[44] Olly Richards of Empire gave the film three out of five stars, saying "Like most kittens, it's not always perfectly behaved, but at least this new Puss adventure doesn't have you reaching for the cinematic spray bottle. And thank goodness the spin-off does nothing to neuter the charismatic cat's appeal."[45] Stan Hall of The Oregonian gave the film a B, saying "Puss in Boots isn't particularly deep, nor does it take itself seriously -- it just wants to seek glory, win affection and cash in. Done, done and done."[46]

text: Kenneth Turan of the Los Angeles Times gave the film four out of five stars, saying "Perhaps the most engaging thing about "Puss in Boots" is that it never takes itself too seriously."[47] Stephen Holden of The New York Times gave the film three and a half stars out of five, saying "It is a cheerfully chaotic jumble of fairy tale and nursery rhyme characters parachuted into a Spanish storybook setting."[48] Lou Lumenick of the New York Post gave the film one and a half stars out of four, saying "Basically, this toon is a tired riff on Sergio Leone's spaghetti Westerns, punctuated by more puns and cat jokes than you can shake a litter box at."[49] Claudia Puig of USA Today gave the film three out of four stars, saying "With his impeccable comic timing and lyrical Spanish accent, Banderas' swashbuckling charmer is an undeniable treat."[50] Michael O'Sullivan of The Washington Post gave the film three out of four stars, saying "Puss in Boots" proves there is at least one cat with multiple lives. The feature-length animated spinoff - a star turn for the popular "Shrek" supporting character voiced by Antonio Banderas - is almost shockingly good. And not just because a lot of you will approach it with lowered expectations."[51] Stephen Whitty of the Newark Star-Ledger gave the film three out of four stars, saying "An almost purr-fect little film that even a dog owner can enjoy."[52]

text: Joe Morgenstern of The Wall Street Journal gave the film a positive review, saying "Puss made his debut in "Shrek 2," then did time in the two decreasingly funny sequels. Now he's got a movie of his own, and not a moment too soon."[53] Lisa Kennedy of The Denver Post gave the film three out of four stars, saying "It would overstate matters to say Puss in Boots leaves its cat holding the bag (we had to get that in). But it also leaves its hero awaiting a richer fable, one befitting his charms and his portrayer's talents."[54] Anna Smith of Time Out gave the film three out of five stars, saying "Puss in Boots is uneven, but when it's on course, cat fans will be in heaven."[55] Amy Biancolli of the Houston Chronicle gave the film three out of five stars, saying "Puss in Boots prances along on three basic truths. One, cats are funny. Two, vain Spanish cats in high-heeled musketeer boots are even funnier. Lastly, booted, vain Spanish cats voiced by a breathy Antonio Banderas are flat-out hilarious."[56] Tasha Robinson of The A.V. Club gave the film a C+, saying "Puss In Boots makes a great theme-park ride, a thrill-a-minute feast for the eyes and the semicircular canals. But while the settings are impressively multidimensional, the characters are flatter than old-school cel drawings."[57]

text: Box office[edit]

text: The film grossed $149,260,504 in North America, and $405,726,973 in other countries, for a worldwide total of $554,987,477.[2] It is the eleventh highest-grossing film of 2011 and is also the third highest-grossing animated film that year behind Kung Fu Panda 2 ($665.7 million) and Cars 2 ($559.9 million).[58]

text: In North America, the film topped the box office on its opening day with $9.6 million.[59] On its opening weekend, the film made $34,077,439,[60][61] topping Saw III's record ($33.6 million) for the highest Halloween weekend opening ever.[62] It retained first place during its second weekend, with $33,054,644, declining only 3%.[63]

text: Outside North America, on its opening weekend, it earned second place with $17.2 million.[64] The film opened at #1 in both the UK with a weekend gross of £1.98 million ($3.1 million),[65] and Australia, with $2.98 million.[66] It topped the box office outside North America on its seventh weekend with $47.1 million from 40 countries.[67] It ranks as the ninth highest-grossing film of 2011 outside North America.[68] Its highest-grossing country after North America was Russia and the CIS ($50.6 million), followed by Germany ($33.9 million) and France and the Maghreb region ($33.2 million).[69]

text: Accolades[edit]

text:
Award
Category
Recipient
Result

Academy Awards[12]
Best Animated Feature
Chris Miller
Nominated

Alliance of Women Film Journalists[70]
Best Animated Film

Best Animated Female
Salma Hayek

Annie Awards[71]
Best Animated Feature

Animated Effects in an Animated Production
Can Yuksel

Character Animation in a Feature Production
Olivier Staphylas

Character Design in a Feature Production
Patrick Mate

Directing in a Feature Production
Chris Miller

Music in a Feature Production
Henry Jackman

Storyboarding in a Feature Production
Bob Logan

Voice Acting in a Feature Production
Zach Galifianakis

Editing in a Feature Production
Eric Dapkewicz

Critics' Choice Awards[72]
Best Animated Feature

Chicago Film Critics Association Awards
Animated Film

Golden Globe Awards[73]
Best Animated Feature Film

Kids Choice Awards[74][75]
Favorite Animated Movie

Won

Favorite Voice From an Animated Movie
Antonio Banderas
Nominated

Producers Guild of America Awards[76]
Best Animated Theatrical Motion Pictures
Joe M. Aguilar, Latifa Ouaou

Satellite Awards[77]
Best Animated or Mixed Media Film

Toronto Film Critics Association[78]
Best Animated Feature

Washington D.C. Area Film Critics Association Awards[79]
Best Animated Feature

Women Film Critics Circle[80]
Best Animated Females

Won

Saturn Awards[81]
Best Animated Film

Teen Choice Awards[82]
Choice Movie Actress Action/Adventure
Salma Hayek
Nominated

text: Expanded franchise[edit]

text: Sequel[edit]

text: In November 2012, executive producer Guillermo del Toro said that they already did a couple of script drafts for a sequel, and that the director Chris Miller wants to take Puss on an adventure to exotic places.[15] In April 2014, Antonio Banderas, the voice of Puss, said that the work on the sequel had just begun.[83] In June 2014, the movie was titled Puss in Boots 2: Nine Lives & 40 Thieves and was scheduled to be released on November 2, 2018.[84] Two months later, it was moved back to December 21, 2018.[6] In January 2015, Puss in Boots 2 was removed from the release schedule following corporate restructuring and DreamWorks Animation's new policy to release two films a year.[85][7] Two months later, Banderas said in an interview that the script was under restructuring, and that Shrek may appear in the film.[86]

text: Animated series[edit]

text: The film also spawned an animated series that premiered on Netflix on January 16, 2015.[5]

text: Video games[edit]

text:
Puss in Boots, a video game based on the film, developed by Blitz Games, and published by THQ on October 25, 2011 for Xbox 360, PlayStation 3, Wii, and Nintendo DS.[87] It features support for Kinect and PlayStation Move on the respective platforms.[88]
Fruit Ninja: Puss in Boots, a Puss in Boots-themed Fruit Ninja video game, which was released on October 20, 2011, on the iOS App Store,[89] and was released for Android devices on November 28, 2011, on the Amazon Appstore.[90]

text: Notes[edit]

text: ^ In July 2014, the film's distribution rights were purchased by DreamWorks Animation from Paramount Pictures.[91]

tag: ol


document_title: British Shorthair

question_text: what kind of cat was in pet sematary

question_tokens: what kind of cat was in pet sematary

text: British Shorthair

text: History[edit]

text: The origins of the British Shorthair most likely date back to the first century AD, making it one of the most ancient identifiable cat breeds in the world.[citation needed] It is thought that the invading Romans initially brought Egyptian domestic cats to Great Britain; these cats then interbred with the local European wildcat population. Over the centuries, their naturally isolated descendants developed into distinctively large, robust cats with a short but very thick coat, the better to withstand conditions on their native islands. Based on artists' representations, the modern British Shorthair is basically unchanged from this initial type.[2]

text: Selective breeding of the best examples of the type began in the nineteenth century, with emphasis on developing the unusual blue-grey variant called the "British Blue" or "English type" (to distinguish it from the more fine-boned "Russian type") in particular. Some sources directly credit UK artist and pioneering cat fancier Harrison Weir with the initial concept of standardizing the breed; others suggest a group of breeders may have been involved. The new British Shorthair was featured at the first-ever cat show, organised by Weir and held at the Crystal Palace in London in 1871, and enjoyed great initial popularity.[3]

text: By the 1890s, however, with the advent of the newly imported Persian and other long-haired breeds, the British Shorthair had fallen out of favour, and breeding stock had become critically rare by World War I.[citation needed] At least partially to alleviate this, British Shorthair breeders mixed Persians into their bloodlines.[citation needed] The genes thus introduced would eventually become the basis for the British Longhair; at the time, however, any long-haired cats produced were placed into the Persian breeding program.[citation needed] As all cats with the "blue" colouration were then judged together as variants on a de facto single breed, the Blue Shorthair, outcrossings of the British with the Russian Blue were also common.[2]

text: After the war, in an attempt to maintain the breed standard, the GCCF decided to accept only third-generation Persian/British Shorthair crosses.[citation needed] This contributed to another shortage of pure breeding stock by World War II, at which point the Persian and Russian Blue were reintroduced into the mix.[citation needed] British Shorthair breeders also worked with the French Chartreux, another ancient breed, which although genetically unrelated to the British Blue is a very similar cat in appearance. After the war, breeders worked to re-establish the true British type, and by the late 1970s the distinctive British Shorthair had achieved formal recognition from both the American a (CFA) and The International Cat Association (TICA).[2] According to the GCCF's 2013 registry data, it is once again the most popular pedigreed breed in its native country.[4]

text: Description[edit]

text: Appearance[edit]

text: The British Shorthair is a relatively powerful-looking large cat, having a broad chest, strong thick-set legs with rounded paws and a medium-length, blunt-tipped tail. The head is relatively large and rounded, with a short muzzle, broad cheeks (most noticeable in mature males, who tend to develop prominent jowls) and large round eyes that are deep coppery orange in the British Blue and otherwise vary in colour depending on the coat. Their large ears are broad and widely set.[5]

text: The 'British Blue' variant can often be confused with the grey Scottish Fold. However, the Shorthair can be characterised by having its pointy triangle ears, whereas the Fold has softer, folded ears.

text: They are slow to mature in comparison with most cat breeds, reaching full physical development at approximately three years of age. Unusually among domestic cats they are a noticeably sexually dimorphic breed, with males averaging 9–17 lb (4.1–7.7 kg) and females 7–12 lb (3.2–5.4 kg).[6]

text: Coat and colour[edit]

text: The British Shorthair's coat is one of the breed's defining features. It is very dense but does not have an undercoat; thus, the texture is plush rather than woolly or fluffy, with a firm, "crisp" pile that breaks noticeably over the cat's body as it moves.[2][5]

text: Although the British Blue remains the most familiar variant, British Shorthairs have been developed in many other colours and patterns. Black, blue, white, red, cream, silver, golden and—most recently—cinnamon and fawn are accepted by all official standards, either solid or in colourpoint, tabby, shaded and bicolour patterns; the GCCF and TICA also accept chocolate and its dilute lilac, disallowed in the CFA standard.[7] All colours and patterns also have tortoiseshell variants.[5]

text:
4-month-old golden shaded male kitten

5-month-old lilac female kitten

Blue bicolour adult male

6-month-old silver classic tabby male kitten

text:
Fawn and white bicolour adult male

Seal point with white adult female

Dilute blue-cream calico adult female

text: Temperament[edit]

text: They are an easygoing and dignified breed, not as active and playful as many but sweet-natured and devoted to their owners, making them a favourite of animal trainers. They tend to be safe around other pets and children since they will tolerate a fair amount of physical interaction, but as a rule do not like to be picked up or carried. They require only minimal grooming and take well to being kept as indoor-only cats; however, they can be prone to obesity unless care is taken with their diet.[2][6]

text: Health[edit]

text: The UK breed committee considers the British Shorthair a long-lived cat, with a life expectancy of 14–20 years.[8] Vet clinic data from England shows a median lifespan of 11.8 years.[9] Swedish insurance data puts the median lifespan of the breed at >12.5 years. 82% of British Shorthairs lived to 10 years or more and 54% lived to 12.5 years or more.[10]

text: Hypertrophic cardiomyopathy (HCM) can be a problem in the breed. A Danish prevalence study with more than 329 cats showed that 20.4% of males and 2.1% of the females had HCM. On top of this 6.4% of males and 3.5% of females were judged to be equivocal.[11][11] HCM testing of males used for breeding is now mandatory for breeders organized under the Danish Fife member, Felis Danica.[12]

text: The breed is thought to be at high risk of polycystic kidney disease (PKD).[13] A DNA test lab has noted a significant decrease of the PKD mutations in tested populations. Carrier frequency is now at 1%.[14]

text: In popular culture[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2018) (Learn how and when to remove this template message)

text:
Happycat (arguably the first lolcat, and also known as the "I Can Has Cheezburger?" cat), a male British Blue, is the star of a meme started on the Something Awful forums. The original picture apparently came from the front page of happycat.ru, a Russian cat food company.
Sir John Tenniel's famous illustration of the Cheshire Cat in Alice's Adventures in Wonderland by Lewis Carroll is based on the British Shorthair.
Smokey the cat in E.B. White's children's novel Stuart Little was a British Blue.
A silver tabby British Shorthair is the mascot of Whiskas brand cat food.
Winston Churchill (Church) from Pet Sematary is a British Blue.
Toby, of the ABC prime time drama Desperate Housewives, is a British Shorthair.
Arlene, Garfield the cat's girlfriend, is portrayed as a British Blue in Garfield: The Movie
Mick, from Kamen Rider W, is a British Shorthair who can turn into the Smilodon Dopant.
Ruby in the film adaptation of the memoir Girl, Interrupted by Susanna Kaysen is a British Blue.
Puss in Boots from the Shrek franchise is described as and closely resembles a British Shorthair, although he speaks with a strong Spanish accent.
Tsim Tung Brother Cream, a famous Hong Kong cat, is a cream and white British Shorthair.
Sir Claude the cat in the Australian CGI-animated film Blinky Bill the Movie is based on the iconic children's books by Dorothy Wall. Sir Claude is a feral British Shorthair cat voiced by Rufus Sewell.
One of the villains in JoJo's Bizarre Adventure: Diamond Is Unbreakable is a British Blue which transforms into a plant.


document_title: United Federation of Planets

question_text: when was the united federation of planets founded

text: United Federation of Planets

text: Conception[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. (June 2017) (Learn how and when to remove this template message)

text: The first mention of the United Federation of Planets was in the 1967 episode "A Taste of Armageddon", although other vague references such as just "the Federation" or to the "United Earth Space Probe Agency" ("Tomorrow is Yesterday") were used in prior episodes.[citation needed] As part of the anti-war message he wanted the show to convey, Star Trek creator Gene Roddenberry intended to depict the Federation as an ideal, optimistic version of the United Nations.[citation needed] In several following episodes of the original series that were intended as allegories to the then-current Cold War tensions, the Federation took on the role resembling NATO while the Klingons represented the Soviet Union.[1] Roberto Orci, writer of the 2009 Star Trek movie, explained that the utopianism of the series has many times been a thematic foil to ongoing world events, showing that peace is possible in times where there are fears of "perpetual war".[2]

text: The Federation is described as an interstellar federal polity with, as of the year 2373, more than 150 member planets and thousands of colonies spread across some 8,000,000 cubic light years of the Milky Way galaxy; each successive series in the timeline bringing in more races and planets into the Federation. The social structure within the Federation is classless and operates within a money-less "New World Economy". The Federation is described as stressing, at least nominally, the values of universal liberty, equality, justice, peace, and cooperation.[3][page needed][4] The Federation also maintains its own quasi-militaristic and scientific exploratory agency, known as Starfleet (also written as "Star Fleet" in some texts). Starfleet is seen handling many other governmental processes, often with no other agency's influence, such as border defense ("Balance of Terror", "Arena"), diplomatic envoy ("Mirror Mirror"), and has seen extensive use as a defensive military force ("Errand of Mercy", "Doomsday Machine").

text: Portrayal[edit]

text: The television series and films depict Earth and humanity as holding a center-stage political role within the Federation, in some ways first among equals. The legislature, the Federation Council, is located at the Presidio of San Francisco.[5] Several other bodies of the Federation have been depicted. There is an executive branch headed by a Federation President,[6] who keeps offices in the Palais de la Concorde in Paris. There is a judiciary branch as well, the highest court of which is the Federation Supreme Court.[7] The Federation's scientific, diplomatic and defensive/military arm is Starfleet, depicted as being headquartered at Fort Baker. The Federation comes into military conflict with other major powers in the galaxy such as the Klingon Empire, the Romulan Star Empire, the Cardassian Union, the Borg, and the Dominion.

text: The United Federation of Planets has existed as part of the Star Trek universe since the first season of the original series and is the primary focus of all the Star Trek series. Several episodes of Star Trek: Enterprise follow events leading up to the creation of the Federation, with the final episode featuring the signing of the Federation Charter.

text: In the series Star Trek: Enterprise, Earth Minister Nathan Samuels advocated the Coalition of Planets and invited other alien species, initially the Vulcans, Andorians and Tellarites, to become a part of this. The formation of the Coalition seems to have been the event that provoked the xenophobic Terra Prime incident in the episodes "Demons" and "Terra Prime". After Terra Prime leader John Frederick Paxton exploited the xenophobia on Earth, many of the aliens were unnerved and nearly abandoned the idea of a coalition. However, they were convinced by a speech from Captain Jonathan Archer to give the idea of a united organization of worlds a chance. Six years later in 2161,[8] the United Federation of Planets was organized.

text: The Federation is founded under a document known as the Charter of the United Federation of Planets October 9, 2161, which is occasionally referred to informally as the "Constitution". It draws text and inspiration from the United Nations Charter and other sources. An important guiding principle — it is listed as General Order One in the list of Starfleet general orders — is the Prime Directive, which forbids any interference in the natural development of any civilization which has not yet discovered faster-than-light (or warp) travel. This is intended to prevent even well-intentioned Federation personnel from introducing changes which could destabilize or even destroy other pre-warp era cultures through interference.[9] In practice, however, consistent application of the Prime Directive tends to be a controversial issue, and the Federation does not always abide strictly by it, as when it initially approved the forced relocation of the Ba'ku from their adopted homeworld—although it was eventually determined that the Ba'ku were not a pre-warp civilization.[10] Starfleet's Omega Directive supersedes the Prime Directive allowing for any means possible to destroy the Omega particle if encountered.[11] Other aspects of the articles provide for rule of law, equality among individuals, and protection of civil and creative liberties—all of which appear to be based on principles found in contemporary Western political theory. The charter includes guarantees of civil rights, the Seventh Guarantee being analogous to the Fifth Amendment to the United States Constitution and its protection against self-incrimination.

text: The Federation also has its own semi-independent black operations agency, known as Section 31, analogous to the Romulan Star Empire's Tal Shiar and the Cardassian Union's Obsidian Order.

text: The Federation has exacting requirements for prospective member worlds that wish to join. Caste-based discrimination is forbidden,[12] and major systematic violations of sentient rights, such as the unjust peacetime imprisonment of specially modified soldiers on Angosia, are not tolerated for any petitioner.[13] Furthermore, although most member worlds have single, unified world governments, this is not required for entry, since the Federation will consider associate membership of non-unified worlds.[14] Beyond that, the Federation at large does not interfere with any member planet's internal politics and how it governs its own people, provided it abides by the rules of conduct expected of all Federation worlds.

text: Government[edit]

text: The government of the United Federation of Planets consists of the central federal government and the local planetary governments, who share joint sovereignty. The chief of state or of government of most planets is referred to as Governor, Prime Minister, or First Minister. The central government is composed of the office of the president, the president's cabinet, the Federation Council—made up of an equal number of representatives from every member planet—and the Federation Supreme Court.

text: President[edit]

text: The President of the United Federation of Planets (informally, the Federation President or the President of the Federation) is the elected head of state and head of government of the United Federation of Planets and is responsible for the day-to-day operation of the government, setting and coordinating foreign policy, and dealing with resource distribution issues. The Federation President is also the commander-in-chief of all Starfleet forces.

text: The President is supported by the Cabinet, a special committee composed of the heads of the executive departments of the Federation government as mentioned in "Extreme Measures".

text: The Federation President's office is located in the city of Paris, France, on Earth.

text: Council[edit]

text: The Federation Council is the legislature of the UFP. Seats on the council are filled by representatives from the various Federation member worlds. In addition to legislation, the Federation Council is the only federal entity which may declare war. It frequently passes resolutions which the federation president and his or her staff must enact and enforce.

text: The makeup and location of the Council is somewhat vague and open to interpretation based upon canonical evidence.

text: Supreme Court[edit]

text: The Federation Supreme Court is the highest court in the Federation, and is led by an elected Chief Justice. The court was first mentioned in "Doctor Bashir, I Presume?".

text: History of the Federation[edit]

text: Twenty-first century[edit]

text: The film Star Trek: First Contact depicts the events surrounding the first meeting of humans with aliens. After the end of World War III on Earth, scientist Zefram Cochrane built Earth's first warp-capable vessel, the Phoenix, launched on April 5, 2063. Cochrane's warp tests of the Phoenix caught the attention of a Vulcan science ship operating just outside the Sol system. Vulcans, having not previously considered Sol or Earth worthy of their attention, established first contact with Cochrane and the inhabitants of his base in Bozeman, Montana when landing on Earth that same day. This meeting marked the point at which Earth first joined the interstellar community, and began the road toward the founding of the United Federation of Planets.

text: Twenty-second and twenty-third centuries[edit]

text: In the year 2119, an aging Zefram Cochrane opens the Warp 5 Complex on Earth, hoping to build the fastest human starship at the time. His project would eventually yield the Enterprise NX-01, humankind's first deep-space exploration vessel. In 2150 United Earth, a planetary government, was formed, which included nearly all the nations on Earth.[citation needed]

text: Although no single individual was responsible for the UFP's founding, the starship Enterprise NX-01 was a major catalyst. Under the command of her captain, Jonathan Archer, the ship helped forge an alliance between the formerly belligerent Vulcan, Andorian, and Tellarite worlds, and fostered a spirit of unity and cooperation in the region which culminated in a more formal union in 2161. The UFP's immediate predecessor was the Coalition of Planets, which was strongly opposed by the xenophobic group Terra Prime.

text: The Federation was formed in the immediate aftermath of the Earth-Romulan War of the late 2150s, which underscored the dire need for interstellar unity to prevent the horrors of conflict. Archer signed the Federation Charter after giving an historic speech that was still being studied two centuries later. According to a viewscreen seen in an episode of Enterprise, Archer went on to become a Federation ambassador to Andoria, a Federation councillor, and the UFP president from 2184 to 2192.[citation needed]

text: In about 2223 tensions began rising between the UFP and the Klingon Empire, and in 2267, after efforts by captain James Kirk and the heavy cruiser Enterprise NCC-1701 at Organia failed to broker a truce, the native energy beings the Organians imposed an enforced peace and a signed treaty which effectively ended major conflict. Over the next few decades the two interstellar powers remained in a state of cold war, with occasional minor skirmishes. In 2293, the Klingons sued for peace after the destruction of their moon Praxis, which led to the eventual signing of the Khitomer Accords (as depicted in Star Trek VI). The accords not only ended the war—they ushered in seven decades of relative peace.

text: During the original series era, Captain Kirk noted (in the episode "Metamorphosis") that humanity was on "a thousand planets and spreading out", a number that surely must include Earth's many offworld colonies as well as the far-flung worlds on which humans reside, and shouldn't be taken to mean the Federation had a thousand members at the time. Since many Federation members have many colonies like Earth does, the total number of planets within the Federation may be difficult to determine; still, First Contact establishes "over one hundred and fifty" planets as being in the Federation.

text: Early twenty-fourth century[edit]

text: In 2311, the Tomed incident saw thousands of Federation civilians and Starfleet personnel killed by Romulan forces. The unrest ended with the Treaty of Algeron, restoring the Neutral Zone and prohibiting Federation development of cloaking technology.

text: In 2344, the Romulan Star Empire assaulted the Klingon outpost at Narendra III. In an unexpected move, the USS Enterprise-C under captain Rachel Garrett came to the Klingons' defense; while the ship was destroyed in the skirmish, the crew's sacrifice did great honor to the Klingons, and the resultant goodwill forged the path toward a formal alliance between the one-time rivals.

text: Exploration and expansion in the 2340s and 2350s brought the Federation into conflict with several new powers, including the Talarians, the Sheliak, and, notably, the Cardassians.

text: Cardassian War[edit]

text: Federation contact with a race known as the Cardassians sparked an extended conflict. A representative incident was the massacre, in 2347, of Federation civilians on Setlik III. In 2370, a truce formed a demilitarized zone in which many Federation and Cardassian colonies found themselves within each other’s territory. Although an agreement was reached that provided for the eventual transfer of such colonies, the accord was fiercely opposed by a number of Federation colonists, some of whom formed a rebel movement, the Maquis, which continued resisting the Cardassians.

text: Mid twenty-fourth century[edit]

text: In 2365 the Federation first contacted the Borg Collective, which presented an existential threat to the alliance at the Battle of Wolf 359. Era events included the Klingon civil war, first contact with the Q, the start of relations with the Ferengi, and various time-travel incidents.

text: From 2363 to 2371, the USS Enterprise-D served as the Federation's flagship. (The events of Star Trek: The Next Generation.)

text: From 2371 to 2378, the USS Voyager (NCC-74656) was lost in the Delta Quadrant after being taken in the Badlands by the Caretaker's Array. (The events of Star Trek: Voyager.)

text: From 2373 to 2375, (depicted in Star Trek: Deep Space Nine) the Federation fought the Dominion War. By far the largest conflict the Federation had ever faced, it began in alliance with the Klingons and evolved to join with the Romulans against the combined forces of the Dominion, the Cardassians, and the Breen. The F-K-R alliance, with substantial casualties on all sides, eventually triumphed—in no small part to a Cardassian switching-of-sides after officials belatedly saw how the Dominion had effectively, and bloodlessly, conquered them.

text: In 2379 (the events of Star Trek: Nemesis), Reman praetor Shinzon seized control of the Romulan Empire. His coup was foiled by the crew of the Enterprise-E with help from Romulan-military dissidents. The event spurred a likely thaw in UFP/RSE relations frozen by over two centuries of chill, but the warming came at a steep cost: the power vacuum left by the death of Shinzon.

text: Future history[edit]

text: Prominent in some timelines is the Temporal Cold War, waged on a number of fronts throughout time, including the 28th and 31st centuries.

text: By the 29th century, the Federation explores time as it once did space.[15]

text: Alternate timeline (2009 and 2013 films)[edit]

text: In 2387, as shown in the Star Trek: Countdown comic series, the star Hobus neared its supernova phase in galaxy-threatening fashion, posing an end-stage threat to the Romulan Empire. On Romulus, Federation ambassador Spock created a plan to use volatile red matter to quell the nova, save billions of lives and halt the political destabilization of the Alpha and Beta quadrants—but the empire didn't act quickly enough on it, and Romulus was destroyed.

text: To avenge the loss of his family and his world, the Romulan captain Nero took to his augmented mining ship Narada and attacked Spock's craft as the ambassador sought to depart. (The captain blamed Spock, and the Federation in general, for the destruction of his homeworld and the death of his wife and child.) During the engagement, both ships were pulled into the Hobus nova's singularity and transported into a past altered by their very presence there. This blossomed into the alternate timeline seen in the eponymous 2009 Star Trek film, wherein the Narada, pulled further into the past than Spock, attacks the USS Kelvin with the resultant loss of its first officer, George Kirk, father of future captain James.

text: As portrayed in the 2013 sequel Into Darkness, the Federation in the Kelvin timeline faces a similar Klingon Empire mobilizing for war as its counterpart in prime reality.

text: Economics[edit]

text: Federation society has been portrayed as an economic utopia made possible in part by the replicator technology available to all its member worlds.[16] This tech produces consumer goods and material through recombinant subatomic arrangement of raw materials.

text: In the Voyager episode "Dark Frontier", Tom Paris describes rep tech as the "new world economy" that, from the late 22nd century onward, would make money obsolete—a fact echoed by Jean-Luc Picard when explaining the future timeline to Cochrane-era fighter Lily Sloane in First Contact.

text: First mention of the Federation's obsolescence of traditional money came in The Voyage Home when Kirk, freshly arrived in 1980s San Francisco from 2286, observes that "these people still use money" and, when asked if his crew uses cash in the future, answers back that "We don't". Picard, in "The Neutral Zone", explains to cryogenically-preserved people from the 20th century that 24th-century Federation economics differ, and that money as they know it is not used, or needed.

text: Financial transactions are invoked, in passing, in several instances of the episodes and films. Mentioned early in the in-universe timespan is a monetary unit called the credit, though a physical example of one never appears. In one such example, on Space Station K-7 in the original episode "The Trouble with Tribbles" set in 2267, Uhura is offered a pet tribble for 10 credits. In The Search for Spock in 2285, an earthbound McCoy tries to book transport to the Genesis planet and is warned it could be expensive, but it is never revealed how much it would cost, since he is quickly taken into custody for breach of Genesis secrecy. Genesis project creator Carol Marcus, in The Wrath of Khan, references the Federation's decision whether to fund her project or not, although in this context—since costs are not mentioned − "fund" may involve something other than credits. In Deep Space Nine's "You Are Cordially Invited...", station commander Benjamin Sisko's son Jake tells Ferengi businessman Quark that he has sold his first book. When Quark asks him how much he has earned, Sisko counters that "It's just a figure of speech." Sisko's colloquial use of "selling" here echoes similar mentions of financial-like transactions elsewhere, as when Enterprise engineer Montgomery Scott, in The Undiscovered Country, references having bought a boat—or when Kirk says he has sold his house in the film Generations.

text: Monetary topics abound in the Next Generation era. In the inaugural episode "Encounter at Farpoint" set in 2364, Enterprise medical officer Beverly Crusher buys a bolt of fabric and asks for it to be charged to her ship's account. Some officers are known to visit casinos, particularly near starbases, as in "Tapestry", and poker is often depicted as a favorite of Enterprise-D crewmembers, though actual money is never shown as part of the game. In Deep Space Nine's episode "Explorers", Benjamin Sisko recounts how, upon first entering Starfleet Academy and transporting back to his New Orleans home many times, he quickly spent an entire month's allotment of "transporter credits" (though these may not be a form of money). Later, in "The Changing Face of Evil", Sisko arranges for his wife's employer (the Bajorans, a non-Federation race) to give her a month's paid vacation, a fact emphasized in the episode. And, in Star Trek: Voyager's pilot, Tom Paris references having someone pay his bar bills.

text: "Credits" appear throughout Trek canon, yet are not cleanly defined. They may exist solely for financial transactions with races like the Ferengi that still use some form of currency. If so, the credit may hold its value primarily because the Federation says it does, and thereby be a kind of fiat money. In support of this view, Enterprise-D first officer Riker is seen bartering for information with Quark in the Next Generation episode "Firstborn" using vouchers won at a gambling table in Quark's bar.

text: Riker claims the vouchers are good for twelve bars of latinum, a Ferengi currency which he asserts can be spent "almost anywhere", while the vouchers themselves were only good in Quark's establishment. This suggests that while the Federation may not use money, currencies other than the "credit" can be given, paid out, amassed, and spent within Federation space.[17]

text: Altcanon references[edit]

text: In altcanon sources like the original 1975 Star Trek Star Fleet Technical Manual and Johnson's Worlds of the Federation, as well as the Next Generation Last Unicorn and original Fasa roleplaying games, the Federation's five founding members were Earth (or Terra), Vulcan, Tellar, Andor, and Alpha Centauri (known also as Al Rijil, or by the Terran astronomical abbreviation ACen). Fandom and various altcanon works assert that founding member Alpha Centauri is home to a human race (transplanted by the Preservers from classical third-century BC Greece) known as, variously, the Centaurans, the Centaurians, or the Centauri, a perspective supported by the description of Zefram Cochrane, in the classic episode "Metamorphosis", as "Zefram Cochrane of Alpha Centauri". Altcanon explanations hold that Cochrane was either a Centauri himself or, more likely, a resident (the novel Federation, for instance, sets his home on Alpha Centauri B II, the second planet orbiting the trinary's secondary star) of a Terran colony in the ACen system. The films have since cemented this in canonical truth, with Cochrane born on Earth but retiring to his final years on Alpha Centauri before his disappearance and presumed death.

text: The once-official but now altcanon 1980-to-2188 historical guide Star Trek Spaceflight Chronology posits the UFP as being incorporated at 'the first Babel Interplanetary Conference' in 2087.

text: Star Trek: Enterprise later portrays the Federation's actual founding in "Zero Hour" and "These Are the Voyages...", along with preparatory negotiations in "Demons" and "Terra Prime". Alpha Centauri never appears as a cofounder of the Federation, a compact initially and explicitly seen as being between only four peoples: mankind, Vulcans, Andorians, and Tellarites. The ACen colony could possibly have achieved independence between Terra Prime and These Are the Voyages..., and then helped form the wider Federation as a separate member; yet Alpha Centauri is only ever mentioned as an Earth colony on screen. In an alternate timeline in the Deep Space Nine episode "Past Tense" in which the Federation is never founded, the Alpha Centauri colony is under Romulan control.

text: In the six related novels A Time to Kill, A Time to Heal, A Time For War, A Time For Peace, Errand of Vengeance: Seeds of Rage, and Articles of the Federation, the Federation Council occupies the floors below the UFP president's office in the Palais de la Concorde. (This may contradict elements of The Voyage Home and Voyager.)

text: In altcanon works such as the Star Trek Star Fleet Technical Manual and the novel Articles of the Federation, the Federation's founding document is the Articles of Federation, in line with fan tradition. Yet in Voyager's "The Void", the founding document appears onscreen (its preamble a reworked version of the UN Charter's), with the heading "Charter of the United Federation of Planets", a founding document in accordance with canon. Charter also appears in Enterprise and in DS9's "Accession" in discussion of federation membership requirements. This episode intimates that while the timeframe for a planet's entry is ten years past the submission of its request, the Federation is willing to halve that time for Bajor, an exemption similarly seen in Insurrection. In Next Generation's "The Drumhead", Picard calls the founding document the Constitution, establishing that as an alternate designation. Novels like Articles of the Federation presume that it's known by all three names.

text: Various novels detail more fully the inner workings of Federation government, such as how member worlds choose their council members (it's up to each to decide how to do so) and how presidents are elected (candidates submit their names anonymously and are vetted by the Federation Council, which judges their qualifications for office; elections are by direct popular vote).

text: Reception[edit]

text: The optimistic view of the future present in the Federation has been highlighted as unique among most science fiction, showing how "civilized" the future could conceivably be.[18] Much debate has centered around how realistic is the "post-scarcity" economy of the Federation that has evolved beyond government-controlled monetary systems.[19] It has been described, along with the series as a whole, as a vehicle to explore what it means to be human, as well as exploring mankind's efforts to build a better society.[20] Other writers have noted that Star Trek's Federation has the same logistical and philosophical difficulties of other utopian economic and political schemes that make it seem unrealistic.[21]


document_title: The Bodyguard (1992 film)

question_text: what happens at the end of the movie the bodyguard

text: The Bodyguard (1992 film)

text: Plot[edit]

text: Rachel Marron (Whitney Houston) is an Academy Award-nominated music superstar who is being stalked and sent death threats. Things get dangerously out of hand when a bomb disguised as a doll explodes in her dressing room. Rachel's manager, Bill Devaney (Bill Cobbs), seeks the services of a professional bodyguard, Frank Farmer (Kevin Costner), to protect her.[7] He is a highly successful private bodyguard, mostly protecting corporate VIPs. Formerly he was a Secret Service agent who served as part of the presidential protection detail during two presidencies. Frank is reluctant to accept the offer to guard Rachel as he sees her as a spoiled diva who is oblivious to the threats against her life.

text: Frank's concerns are quickly realized when Rachel looks upon Frank as being paranoid and his extensive protection techniques as intrusive. Rachel's existing bodyguard Tony (Mike Starr) resents Frank's presence. But at a concert where Rachel is performing, a riot breaks out and Frank rescues her from danger. As a result, the two develop a closer relationship. Frank tries to remain professional, but the two sleep together. However, recognizing that this compromises his ability to protect his client, Frank breaks off their affair. Hurt, Rachel begins to defy Frank's painstaking security measures. She even goes as far as attempting to sleep with his former Secret Service colleague Greg Portman (Tomas Arana). But after she has personal contact with her stalker via a threatening phone call, Rachel realizes that she must put her trust in Frank ahead of her own desire for personal gratification. She finally recognizes the seriousness of the situation and cancels the rest of her tour.

text: Frank, Rachel, Rachel's driver Henry (Christopher Birt), Rachel's son Fletcher (DeVaughn Nixon), and her sister Nicki (Michele Lamar Richards) then travel to a large lakefront cabin in the mountains, the home of Frank’s father, Herb (Ralph Waite). The next day, Fletcher is almost killed when a bomb explodes inside the boat he rode moments before. After finding footprints around the cabin and sabotaged automobiles, Frank realizes that Rachel's stalker has followed them. After securing the house for the night, Frank learns that Rachel's obsessive stalker and the person trying to kill her are not the same person. Angry and drunk, Nicki admits that during a drug-induced fit of jealousy she hired a hitman to kill Rachel, but that the letters from the stalker came before that. However, she cannot call it off because she does not know the killer's identity.

text: Abruptly, the hitman breaks into the house and fatally shoots Nicki. Frank, who is armed with a semi-automatic pistol, ensures that his father has secured the rest of the group on the second floor. Upon tracking the killer and then pursuing him into the woods, Frank shoots but misses, allowing the shooter to escape capture. Frank learns the next day, from his Secret Service contacts, that they have apprehended the stalker and were interviewing him when Nicki was shot.

text: Frank and Rachel attend Nicki's funeral and then the Academy Awards ceremony, where Frank gives Rachel a panic button in the shape of a cross to immediately alert him to any trouble. A host of backstage technical issues hamper Frank's efforts to monitor the proceedings closely. During the actual show, Rachel freezes and runs offstage, angry at Frank for embarrassing her with overprotective measures. However, Rachel returns to the audience and is present when announced as the winner for Best Actress. As she comes toward the stage to accept the award, the hitman is revealed to be Portman. Frank notices Portman pointing a gun disguised as a camera at Rachel. As Portman prepares for the fatal shot, Frank runs on stage and leaps in front of Rachel, intercepting the shot. Once regaining his balance, he shoots Portman through his camera-gun, killing him. Frank is left wounded and Rachel calls for help—all the while urging him to stay with her.

text: Frank recovers from the shooting and goes to say goodbye to Rachel at the airport. After the plane starts to taxi, Rachel suddenly jumps out and runs to Frank for one last passionate kiss. The film ends with a scene from Frank's next assignment—protecting a mob-fighting U.S. congressman—where a priest, using the emergency cross earlier given to Rachel, provides a solemn benediction as the lawmaker's new bodyguard keeps a watchful eye.

text: Cast[edit]

text:
Kevin Costner as Frank Farmer
Whitney Houston as Rachel Marron
Gary Kemp as Sy Spector
Bill Cobbs as Bill Devaney
Ralph Waite as Herb Farmer
Tomas Arana as Greg Portman
Michele Lamar Richards as Nicki Marron
Mike Starr as Tony Scipelli
Christopher Birt as Henry Adams
DeVaughn Nixon as Fletcher Marron
Tony Pierce as the Stalker
Gerry Bamman as Ray Court
Joe Urla as Minella
Charles Keating as Klingman
Nathaniel Parker as Clive Healy
Richard Schiff as Skip Thomas
Donald Hotton as Reverend Hardy
Rollin Jarrett as Miami Reporter
Robert Wuhl as Academy Awards Host
Chris Connelly as Academy Awards Arrivals M.C.
Debbie Reynolds as herself

text: Background[edit]

text: Lawrence Kasdan's first screenplay,[5] the film was originally proposed in 1976 with Steve McQueen and Diana Ross in the leads,[8] but the project stalled.

text: Reception[edit]

text: Critical reception[edit]

text: The Bodyguard received mixed to negative reviews from film critics. As of August 2017, the film holds a 31% rating on the film aggregator website Rotten Tomatoes, with the consensus, "The Bodyguard is a cheesy, melodramatic potboiler with occasional moments of electricity from Whitney Houston."[9] It received seven Golden Raspberry Award nominations, including Worst Picture.[10] Owen Gleiberman of Entertainment Weekly reviewed the film negatively, stating, "To say that Houston and Costner fail to strike sparks would be putting it mildly." He added that "the movie gives us these two self-contained celebrity icons working hard to look as if they want each other. It's like watching two statues attempting to mate."[11] Other critics were more mixed or positive, including Roger Ebert, who praised the film and gave it three out of four stars, remarking, "The movie does contain a love story, but it's the kind of guarded passion that grows between two people who spend a lot of time keeping their priorities straight."[12]

text: Two songs from the film, "Run to You" and "I Have Nothing", were nominated for an Academy Award for Best Original Song.[13] The soundtrack was also nominated for four Grammy Awards, winning three, including Album of the Year for its album of the same name.[14] The film was nominated for several MTV Movie Awards, an Image Award, BMI Film & TV Awards, a Golden Screen Award in Germany and an Award of the Japanese Academy, according to the Internet Movie Database.

text: The film is listed in Golden Raspberry Award founder John Wilson's book The Official Razzie Movie Guide as one of The 100 Most Enjoyably Bad Movies Ever Made.[15]

text: Box office[edit]

text: In the United States, The Bodyguard opened on November 25, 1992 in 1,717 theaters; it grossed $16.6 million in its opening weekend, ranking third.[16] The film was in theaters for thirteen non-consecutive weeks, ultimately grossing $121.9 million domestically, and $410.9 million worldwide. It was the seventh highest-grossing film of 1992 in North America, and the second highest-grossing film of 1992, worldwide.[17] At the time, it was one of the top 100 highest-grossing films of all time, but it has since been overtaken by other films.[18]

text: Accolades[edit]

text: The film is recognized by American Film Institute in these lists:

text:
2002: AFI's 100 Years...100 Passions – Nominated[19]
2004: AFI's 100 Years...100 Songs:

"I Will Always Love You" – #65[20]

text: Soundtrack[edit]

text: The Bodyguard: Original Soundtrack Album became the best-selling soundtrack of all time. It has been certified diamond in the United States (sales of at least ten million) with shipments of over 17 million copies.[21] Worldwide, the sales are over 45 million copies.[22] In addition, Houston's cover of "I Will Always Love You" sold 12 million units worldwide.[23]

text: The soundtrack features five songs which were hit singles for Houston: "I Will Always Love You", "I'm Every Woman" (a cover of the Chaka Khan song), the two Oscar-nominated songs, "I Have Nothing" and "Run to You", and "Queen of the Night".

text: Other artists who appear on the soundtrack include fellow Arista recording artists Kenny G ("Even if My Heart Would Break", a duet with Aaron Neville), Lisa Stansfield ("Someday I'm Coming Back") and Curtis Stigers ("What's so Funny 'Bout Peace, Love and Understanding"). Also included is a cover of the Bill Withers standard "Lovely Day".

text: In 2013, La-La Land Records released a limited edition CD (3500 units) of Alan Silvestri's original score.[24]

text: Parodies[edit]

text:
The Simpsons—in the episode "Mayored to the Mob", Homer Simpson receives bodyguard training from an instructor singing "I Will Always Love You" after graduating his class. Also in the episode, Mark Hamill gets carried by Homer in a fashion which parodies the way Costner carries Houston in the film.
30 Rock—in the episode "Hard Ball", Tracy Jordan is rescued from a mob by his entourage; his character sang "I Will Always Love You" during the scene.
Bulletproof—a scene in the film parodies The Bodyguard with Adam Sandler's character singing "I Will Always Love You" and remarking that Damon Wayans's character can always be his bodyguard.
The Venture Bros.—in the second-season episode "I Know Why the Caged Bird Kills", after having fallen in love with her charge, Dr. Venture, bodyguard Myra Brandish says she was taught "Never let them out of your sight. Never let your guard down. Never fall in love", the tag line from the film.
In Living Color—Kim Wayans plays Grace Jones as the Whitney Houston character and Jim Carrey plays the Kevin Costner character, complete with bad hair. The scene when Kevin Costner carries Whitney Houston off-stage from the original movie is reversed with Grace Jones carrying Frank Farmer off while singing "I Will Always Love You".
The Hitman's Bodyguard—Teaser trailer featuring Houston's song "I Will Always Love You", and movie poster spoof.[25][26][27]

text: Sequel and remake[edit]

text: In 2011, Warner Bros. announced a remake that will update the story to reflect the world of the Internet; in which sites such as Twitter, Google Maps and other sites make access to celebrities easier than ever. The remake will be penned by Jeremiah Friedman and Nick Palmer. Singer Rihanna was once sought to play the role of Rachel.[28]

text: On March 10, 2011, Rihanna ruled out playing the part, saying "Absolutely not. I hate it when singers do singing movies all the time, because you can never look at them as anybody else. I want to play a character. My whole life is playing Rihanna; being a singer won't be a stretch for me."[29]

text: Musical adaptation[edit]

text: A musical adaptation of the film opened in London's Adelphi Theatre in the West End in Fall 2012. David Ian, who produces the musical, received the stage rights from Costner, a producer of the film as well as its star, and Kasdan, who wrote the film, reports Baz Bamigboye. The film's famous soundtrack is used as a score for the production. In addition to the mega-hit "I Will Always Love You", the songs include "I'm Every Woman", "Run to You", "Jesus Loves Me", and "Queen of the Night". Several of Houston's other songs are used as well, including "I'm Your Baby Tonight", "How Will I Know", and "I Wanna Dance with Somebody (Who Loves Me)". Tony Award-winning actress and singer Heather Headley was cast to play Rachel, the role played in the film by Houston. MOBO Award-winning and BRIT-nominated singer Beverley Knight took over Rachel in September 2013 through to May 2014; she was replaced by Alexandra Burke in June 2014, who was then replaced by Grammy award winning R&B singer Deborah Cox.


document_title: Morning of My Life

question_text: who wrote in the morning of my life

question_tokens: who wrote in the morning of my life

text: Morning of My Life

text:
"In the Morning"Song by Bee Geesfrom the album Inception/NostalgiaReleased
1970Recorded
June - July 1966Genre
FolkLength
2:52Label
Karussell (GER)  Triumph (France)Songwriter(s)
Barry GibbProducer(s)
Nat Kipner

text:
"Morning of My Life"Song by Bee Geesfrom the album MelodyReleased
1971Recorded
30 September 1970Genre
Baroque popLength
3:52Label
PolydorSongwriter(s)
Barry GibbProducer(s)
Robert Stigwood, Bee Gees

text: "Morning of My Life" (originally known as "In the Morning") is a song written by Barry Gibb in 1965[1] and later recorded by the Bee Gees and several other artists. It was recorded in 1966 during sessions for the album Spicks and Specks, and later was released as the opening track on the compilation Inception / Nostalgia in 1970. The first recording of the song to be released by any artist was by Ronnie Burns, first as a B-side to his Exit, Stage Right single in June 1967 and a month later on his Ronnie LP.[2]

text: In 1969, Barry and Maurice Gibb performed an acoustic version with their sister Lesley, in a BBC Two special, made during the period when Robin Gibb had left the group to pursue a solo career.

text: They re-recorded the song on September 30, 1970 (by which time Robin had rejoined the group, during sessions for 2 Years On on the same day as "Every Second, Every Minute", "The First Mistake I Made" and the unreleased "Don't Forget Me Ida".[3] This recording did not make the album but gave the song a whole new audience when used on the soundtrack of the 1971 film Melody along with other Bee Gees songs. [4] Its first inclusion on a Bee Gees album was the compilation Best of Bee Gees, Volume 2 in 1973 and it subsequently appeared on the Tales from the Brothers Gibb and Mythology box sets. Throughout their career, the Bee Gees performed the song live on many occasions, most notably at the One Night Only concert in Las Vegas in 1997.

text: Cover versions[edit]

text:
Esther and Abi Ofarim recorded the song in 1967; this version became a hit single in Germany. The B-side, "Garden of My Home" was written by all three Gibb brothers. It was released on Philips Records in August that year, produced by Robert Stigwood[5] with orchestral arrangement by Phil Dennys (who also arranged some songs on Bee Gees' 1st). The single was released in mono and the song also appeared on the Ofarims' album 2 in 3.[6]
Nina Simone recorded a version of the song for her 1968 album 'Nuff Said!. This version was recorded in the studio but applause was later added to give the effect of a live recording, following the theme of the rest of the album. The album also included a live cover version of the Bee Gees track "Please Read Me".
Andy Gibb recorded this song in 1980, while recording songs for his compilation Andy Gibb's Greatest Hits including "Time Is Time", "Me (Without You)", and a cover version of "Will You Love Me Tomorrow" with P.P. Arnold.[7]  His version of "Morning of my Life" was not released.
Baptist Generals have included a version of this song on their 2013 album Jackleg Devotional to the Heart.
Vera Lynn released a recording on her 1972 album Unforgettable Songs.
John Holt covered the song on his 1973 reggae album 1000 Volts of Holt'.
Emmy award winning Faith Rivera released a ukulele version of the song on her 2005 album "Suncatcher"
Sabrina Starke, a Dutch singer, released a single version in 2014.
Fleet Foxes covered this song for Record Store Day 2018, backing a choral version of their song Crack-Up.