document_title: Mr. Nobody (film)

question_text: who plays the old man in mr nobody

question_tokens: who plays the old man in mr nobody

text: Mr. Nobody (film)

text: Plot[edit]

text: In 2092, humanity has conquered mortality through the endless renewal of cells. The world watches in fascination as the 118-year-old Nemo Nobody, the last mortal on Earth, edges towards death. Curious to know of life before quasi-immortality, they interview Nemo. Dr. Feldheim, a psychiatrist, uses hypnosis to help Nemo recall some of his memories, while Nemo relates other memories to a journalist. As he is prodded, Nemo makes contradictory statements. He recounts his life at three primary points: at age 9, when his parents divorced, at age 15 when he fell in love, and at age 34 as an adult. All three unfold into their many possible outcomes.

text: Nemo explains that before birth, children remember everything that will happen in their lives. At the moment of conception, the Angels of Oblivion erase their memory. The Angels, however, forget about Nemo, allowing him to "remember" different possible futures for himself. At age 9, at a railway station, he is forced to choose as his mother leaves on a train while his father stays on the platform. In one case, he manages to board the train while in another he stays with his father.

text: Life with mother[edit]

text: A rebellious Nemo lives with his mother and her new partner, Harry, in Montreal. He sees a new girl, Anna, in his school and is immediately smitten. One day on the beach, Anna asks if he would like to swim with her and her friends. Nemo insults her friends and they barely see each other again.

text: In an alternate story line, Nemo admits to Anna he cannot swim; the two spend time together and fall in love. Anna turns out to be Harry's daughter and the two step siblings begin an illicit affair. They pledge their lives to one another. When Harry and Nemo's mother break up, Anna goes to New York with her father, and they lose touch. Years later, Nemo works as a pool cleaner, hoping to run into Anna by chance. They finally see one another at the train station and immediately recognize each other in a crowd of passers-by. After a passionate reunion, Anna announces she is not ready to immediately resume the relationship. She gives him her number, asks him to call her in two days and meet at the lighthouse. However, he loses her number when a sudden downpour makes her note illegible. Nemo waits at the lighthouse every day, but Anna does not come.

text: In a different storyline, Anna and Nemo are married with children. Nemo works at a television studio narrating educational videos. One evening, while returning home, he hits a bird, loses control of his car, plummets into a lake and drowns.

text: Life with father[edit]

text: Nemo stays with his father, who later becomes disabled. He works in a shop and spends his free time at home at the typewriter, writing a science fiction story about a journey to Mars. At a school dance, he meets Elise and falls in love. A few days later, Nemo goes to Elise's house but sees her with her 22-year-old boyfriend. Frustrated, he speeds away on his motorcycle, has an accident and is hospitalized in a vegetative state. Though he can perceive the world through his senses, Nemo cannot move or speak. He detects his parents' reunion at his bedside. Nemo tries to remember the movement of his fingers on the typewriter keyboard and eventually manages to lift a finger as this story line comes to a close.

text: In yet another alternate timeline, Nemo speaks with Elise at her house, and learns that she is still in love with her boyfriend, Stefano. Nemo does not back down and keeps assuring her of his feelings. Finally, Elise gives in and a few years later, they get married. In one version of the story line, Elise dies in an accident on the return from the wedding. Nemo keeps her ashes, having promised her to spread them on Mars. In a far future, Nemo carries Elise's ash to Mars and spreads them on the planet's surface. Aboard the spacecraft traveling back to Earth, he meets Anna. Before they can say much to each other, the ship is destroyed by meteoroids. In an alternate version of events, he works at the same television studio but his assistant drowns instead. The assistant's widow is Anna, whom he recognizes. Another storyline has Nemo and Elise married with three children. However, their marriage is unhappy as Elise suffers from borderline personality disorder and chronic depression. She has attacks of hysteria and, despite Nemo's attempts to save their marriage, ultimately leaves him to pursue Stefano.

text: Alternatively, after being rejected by Elise, Nemo resolves to marry the first girl who will dance with him at the school prom. That night, he dances with Jeanne. While taking her home, Nemo pledges to marry her and be successful. Despite being successful and have two children, Nemo is unhappy and bored with his life. Nemo writes over all his possessions to Jeanne and leaves his family. Now making all of his decisions randomly via coin toss, he goes to the airport, and pretends to be a passenger named Daniel Jones and is taken to a hotel by a waiting chauffeur. At Jones' hotel room, Nemo is murdered while taking a bath, and his body is dumped in the woods.

text: Running throughout all the many paths his life could take or has taken, the adult Nemo recurringly awakens in a surrealistic world dominated by argyle patterns. This setting seems artificial, like a movie set, and often appears to bleed over into his other lives. Following clues that he finds scattered throughout this city, he ultimately arrives at a crumbling, abandoned wooden-framed house. He stumbles upon a DVD player hooked up to a television screen. In the strangely interactive video, the 118-year-old Nemo converses with the 34-year-old one. He explains that the younger man does not exist. This is a universe where Nemo Nobody was never born, and his consciousness is stuck in some sort of limbo. He states that he is experiencing the story from the end and that he must stay alive until 5:50 AM on 12 February 2092.

text: Epilogue[edit]

text: Before his death, Mr. Nobody tells the journalist that neither of them exist. They are figments in the mind of the 9-year-old Nemo at the train station, as he was forced to make an impossible choice. The young boy tries to find the correct decision, following each choice to its conclusion. Eventually, the boy takes a third option: to not make the choice at all. He leaves both parents and runs away towards an unknown future. This ambiguous choice somehow leads to him and Anna reuniting happily. The film returns to old Nemo on his death bed. The calculated time arrives and Mr. Nobody's last words are watched by the world. The expansion of the universe comes to a halt and time appears to reverse. The universe ceases to dissipate, and finally begins contracting. Consequently, Nemo's life simplifies itself. He is able to return to his childhood, watch his parents get back together and be with Anna. The 118-year-old man cackles triumphantly as he springs back into awareness with the realization that his younger self has finally found his one true love and life.

text: Cast[edit]

text:
Jared Leto as Nemo Nobody, both 34- and 118-year-old. Nemo is a Latin word meaning "nobody". The name Nemo alludes to Captain Nemo, the main character of Jules Verne's novel Twenty Thousand Leagues Under the Sea.[2] It is the false name that Odysseus in Homer's poem Odyssey gives to the cyclops Polyphemus, to deceive him and save his own life.[2] Van Dormael said that Leto was chosen because he is "an actor who could transform himself, as much physically as vocally, rhythmically, his breathing."[3] Leto described his role saying, "Mr. Nobody is everyone and no one all at the same time, an illusion, the product of his own dreams. He's love, he's hope, he's fear, he's life and he's death. This is without doubt the most complex character I've ever played. It was a challenge to keep all these lives concentrated into one character for the duration of the filming without losing myself. But we had outlines and things that helped me to keep track of where we were."[4] Actor Toby Regbo portrays Nemo at fifteen and Thomas Byrne Nemo at nine.
Sarah Polley as Elise. Polley was the first to be cast in the film.[5] She describes Elise as "a young woman who carries a lot of love inside her. She yearns to be the best of mothers but just can't do it. She's frustrated because of this inability to live the way she would like to live, all of this stemming from her depression. She doesn't understand why she can't pull out of it. Over time she develops a feeling of shame and guilt towards her husband and her children."[4] Actress Clare Stone portrays Elise at fifteen.
Diane Kruger as Anna. Kruger described Anna as "the most complete of all the characters. She never makes any compromises, in any one of her lives. She gets married and keeps her promise until the end: she will not fall in love with anyone else."[4] Actress Eva Green was originally reported for the role, but the casting was not confirmed.[6] Actress Juno Temple portrays Anna at fifteen.
Linh Dan Pham as Jeanne. Pham said that Jeanne "loves Nemo Nobody with a passion but he doesn't love her. Their meeting was a misunderstanding. She thought he was honest and full of love for her. But as soon as they start a family she realizes that something is missing in their relationship, that he's never really there. It also shows that lives that seem perfect on paper might not be so perfect in reality."[4] Actress Audrey Giacomini portrays Jeanne at fifteen.
Rhys Ifans as Nemo's father. Van Dormael chose Ifans after seeing his "multifaceted" performances in Notting Hill (1999) and Enduring Love (2004).[3]
Natasha Little as Nemo's mother. Little was suggested by the casting director in London. Van Dormael said that "her role was decisive for the film: it was necessary that the mother should destroy the childhood happiness but that one would feel the need to go with her at the same time. That's what Natasha managed to achieve."[7]
Allan Corduner as Dr. Feldheim.
Ben Mansfield as Stefano, both 22 and 40 year-old, Elise's boyfriend.
Michael Riley as Harry, Anna's father.
Laurent Capelluto as Man in black.
Daniel Mays as Young journalist.

text: Director Jaco Van Dormael makes a cameo appearance as the Brazillian man.

text: Production[edit]

text: Development[edit]

text: Belgian director Jaco Van Dormael began seeking to film Mr. Nobody in 2001, an attempt that lasted six years before the director was able to make his English-language feature debut in 2007.[8] Van Dormael's project differed from other Belgian productions in being filmed in English instead of in one of Belgium's main languages. The director explained, "The story came to me in English. It's a story set over very long distances and time frames. One of the strands of the plot is about a kid who must choose between living with his mother in Canada or his father in England. There are also some incredible English-speaking actors I wanted to work with."[9] Mr. Nobody is Van Dormael's first feature film since the Belgian film Le huitième jour (The Eighth Day) in 1996. Van Dormael began preparing production of Mr. Nobody in February 2007 with actress Sarah Polley the first to be cast in the film.[5] Actor Jared Leto was later cast into the primary role of Nemo Nobody.[10]

text: The production budget for Mr. Nobody was €33 million (US$47 million), ranking it the most expensive Belgian film to date.[11] The budget was approved before casting was done, based on the prominence of the director's name and the strength of his script. Half of the budget was provided by the film's French producer Philippe Godeau through his production company Pan-Européenne, and the other half was financed by distributors Wild Bunch and Pathé.[9] Production took place throughout 2007, lasting 120 days and filming in Belgium, Germany, and Canada. Scenes were filmed on location in Montreal, Canada and at Babelsberg Studios in Berlin, Germany.[12] Van Dormael said, "I think the film needed that for these multiple lives. Each time a new style of setting is required. And each life is filmed in a different style, with a different grammar for the camera, the colours, the decor. At the same time, if all the styles have to be very contrasted, they knock together by fusing."[13] The three lives that Nemo Nobody experiences were separated by color-coding and musical cues. Each life's design was also based on the work of British photographer Martin Parr.[14]

text: Writing[edit]

text: The idea of parallel lives has been explored before in films such as Run Lola Run (1998) and Sliding Doors (1998) which influenced Van Dormael's writing. Unlike any of those, Mr. Nobody has philosophical underpinning inspired by scientific tomes on chaos theory and the butterfly effect, pigeon superstition, and the space-time continuum.[14] Van Dormael stated, "My starting point was a 12-minute short I made in 1982 called È pericoloso sporgersi. A kid runs behind a train with two possible choices: to go with his mother or with his father. From there we follow two possible futures. I started one version based on the fact that a woman jumps or doesn't jump on a train. Then Sliding Doors by Peter Howitt came out, followed by Run Lola Run by Tom Tykwer. I had to find something else. And that's when I realised that the story I was trying to tell was not binary, that I was above all interested by the multiplicity and complexity of choices. With this screenplay I wanted to make the viewer feel the abyss that is the infinity of possibilities. Beyond this, I wanted to find a different way of telling a story. I wanted the gaze of the child on his future to meet the gaze of the old man he has become on his past. I wanted to talk about complexity through cinema, which is a simplifying medium. While reality around us is more and more complex, the information is more and more succinct, political speeches are more and more simplistic. What interests me is complexity. Not the simple answers, which are reassuring but bound to be false."[15]

text: While producing the film, Van Dormael took the unique step of publishing his screenplay.[13] The director described the scale of the film, "My producers don't like me saying it, but it's really a big-budget experimental film about the many different lives one person can live, depending on the choices he makes. It's about the infinite possibilities facing any person. There are no good or bad choices in life. It's simply that each choice will create another life for you. What's interesting is to be alive."[12]

text: Visual effects[edit]

text: Jaco Van Dormael hired visual effects supervisor Louis Morin, known for his work in Eternal Sunshine of the Spotless Mind (2004), to create visual effects for Mr. Nobody.[16] All five hundred visual effects shots were produced in Quebec by Quebec companies. Modus FX announced having delivered 121 digital visual effects shots for the film.[17] The company was entrusted with complex sequences which could not be captured on film, involving the digital reproduction of entire cities, villages and other-worldly settings.[17] Modus FX also worked on several complex transitions between the different worlds and multiple lives of Nemo Nobody.[17] Modus FX's post-production contributions involved 37 digital artists and technicians across a six-month period.[16] A long list of software, including Autodesk's Softimage and Maya, Side Effects' Houdini and The Foundry's Nuke, and the creation of a multitude of in-house tools, programs and techniques was required for the shots delivered.[16]

text: Music[edit]

text: Like Jaco Van Dormael's previous films, the score for Mr. Nobody was written by Pierre Van Dormael. He worked on simple themes and out of synch loops, "a mixture of superficial simplicity and underlying complexity."[18] He wrote themes that overlapped to form new ones, each theme continuing to exist while being mixed with the others. The director did not want the music to be overtly emotional, so he and Pierre chose a minimalist orchestration, more often than not just a single guitar. Jaco said, "We wanted the instrument and the player to be felt. This stance actually sums up the whole adventure: a maximalist project with a minimalist approach."[18] Mr. Nobody is the last film of composer Pierre Van Dormael before his death in 2008.[19] His music won the Magritte Award for Best Original Score in 2012.[20]

text: The soundtrack features songs by Pierre Van Dormael, Buddy Holly, Hans Zimmer, Otis Redding, Eurythmics, Pixies, Wallace Collection, Nena, Ella Fitzgerald, and The Andrew Sisters, as well as versions of "Mr. Sandman" performed by The Chordettes, The King Brothers, Emmylou Harris, and Gob, and recordings of compositions by Erik Satie and Benjamin Britten, among others.[21]

text: Themes[edit]

text: Mr. Nobody is a tale about choice. Nemo, a nine-year-old boy, has been thrust into a position where he must make an impossible decision – to choose between his mother and father. In the seconds preceding the rest of his life, he wonders where each choice will take him. The forces of the universe working to bring about total chaos are counteracted by this boy's overactive imagination.[22] The dilemma that causes the film's main problem (not knowing the future) once solved makes it all the more difficult – "I don't know the future, therefore I cannot make a decision. Now that I know the future I still cannot make one."[22] The eloquent interplay between philosophical lifestyle and what forges reality, is epitomized by the constant change in storyline, between young boy, adolescent, and mature man. The film takes a four-dimensionalists view of the nature and existence of life in the universe.[23] Each decision thus branching off creating an entirely separate alternative universe. Mr. Nobody raises many ontological arguments about the subjective nature of time.[24] How actions have universal consequences, how the past inevitably shapes the future in a very impacting way – every single choice, no matter its simplicity or complexity can make, alter or change a lifetime.[25]

text: The film also makes substantial use of chaos theory, string theory, and the butterfly effect to accentuate the lack of control that humanity as individuals possesses.[26] Often at each stage of his life there is a scene where Nemo is subject to the whims of chance, often plunging into water, a place where humans lack all control. This is a visual symbol of the powerlessness attributed to the human condition.[27] The theories are used to compound reality in the film, it is why the smoke never goes back into the cigarette, time is always moving in one direction. At the end when it assumes that the universe is on the precipice of ultimate chaos, making use of the Big Crunch theory, time halts, and it begins to reverse.[28] Thus signalling the absolute freedom Nemo had been seeking – being able to live a life without choice, for while you never choose all things remain possible.[29] The tale of Nemo Nobody reflects a life of choices, whether or not we made the correct choice and what would happen if we could go back and change them. In the reveal Mr. Nobody age 118 states that it doesn't matter what we choose, because each choice, once made has just as much significance as any alternate choice.[30] The film portrays a life where we are all subject to chance, to the dimensions by which we construct our reality (height, length, width and time), and to the imagination of our former selves. And once the boy Nemo knows the outcomes of either choice, he instinctively opts for another.[31]

text: The different colors used in the film have symbolic meanings. Each of the three main storylines has its own unique hue that highlights their originality and unlikeness to each other. Color differentiation can be traced as far back as Nemo's childhood, where three girls sit on a bench. They are his possible future wives: Jeanne, Elise, and Anna; one in yellow, the other in blue, and the third in a red dress. In his life with Elise, Nemo experiences the consequences of depression and despair, themes associated with the color blue.[32] Choosing Jeanne, Nemo seeks material well-being and independence: yellow – the color of life and wealth – emphasizes this.[33] The true love and passionate relationship between Nemo and Anna is symbolized by the red color of Anna's dress.[34] It is noteworthy that the unborn Nemo is shown living in a white world. White contains all colors of the visible spectrum; this supports the allegorical message of the film that all things are possible until a choice is made.[35] By the end of his life, Nemo is a decrepit old man and lives in a white surrounding (room, clothes, doctor). This way we can see that the fate of the protagonist leads him back to the origins from where he started, the point at which everything is possible.[31]

text: Release[edit]

text: Theatrical run[edit]

text: An earlier, longer, work-in-progress version of the film was rejected for competition by the Cannes Film Festival, which offered that cut of Mr. Nobody an out-of-competition berth. Producer Philippe Godeau turned that down.[36] The decision by the Cannes Film Festival not to exhibit the film created a national controversy.[37] Eventually, the studio held the film's world premiere at the 66th Venice International Film Festival on 12 September 2009.[38] Six days later, Mr. Nobody screened as a special presentation during the 2009 Toronto International Film Festival.[39] Additionally, the film was screened at the Sitges Film Festival and the Stockholm International Film Festival before its theatrical release.[40][41] Mr. Nobody had its American premiere on 25 June 2011, at the Los Angeles Film Festival, nearly two years since its original debut.[42] It was among more than 200 feature films, short projects, and music videos, from more than 30 countries, to be shown at the festival. The Consul General of Belgium, Geert Criel, held a second United States screening of Mr. Nobody on 21 December 2011, at the Aero Theatre in Santa Monica.[43]

text: Mr. Nobody initially opened in 36 theaters in Belgium in its opening weekend and grossed USD $227,917, placing fourth and posting a per-theater average of $6,331.[44] Over the second weekend, the film dropped 21.9% in revenue, earning $178,098.[45] Grossing nearly $1 million, it became one of the ten highest-grossing 2010 films in Belgium.[46] The film was released in France on 13 January 2010, opening in 150 theaters and had a disappointing opening weekend due to the mixed response from French critics.[47] It finished eighth on its first weekend of release earning $640,517, and by its second weekend of release had dropped to the bottom of the top ten with a total of $1,051,211.[48][49] Magnolia Pictures released the film in the United States in select theaters on 1 November 2013.[50]

text: Home media[edit]

text: Mr. Nobody was released on DVD and Blu-ray Disc in France on 21 July 2010, through Pathé, in two formats: a single-disc wide-screen version which special features include a trailer, making-of and a photo gallery; and a two-disc wide-screen special edition.[51][52] The latter contains the director's cut of the film which has 1 re-cut, 23 extended scenes and 12 additional scenes integrated into the original footage, running about 16 minutes longer than the theatrical version.[53] The Warner Home Video Dutch release includes new specials features: interactive menu, scene access, a making-of, a behind the scenes, deleted scenes and a photo gallery.[54] On 11 January 2011, it was released in Canada through Entertainment One on DVD and Blu-ray Disc, with a making-of featurette, behind the scenes footage and deleted scenes.[55] Optimum Home Entertainment released Mr. Nobody to the British market on DVD and Blu-ray Disc on 12 September 2011, with few special features.[56] It contains a making-of with Leto interview and a trailer of the film.[57]

text: Critical reception[edit]

text: Upon its premiere at the 66th Venice International Film Festival, Mr. Nobody was positively received with a ten-minute standing ovation from the audience.[58] The film garnered a 64% approval rating from 28 critics—a weighted average rating of 6.6 out of 10—on the review aggregator website Rotten Tomatoes, with its consensus saying, "Mr. Nobodys narrative tangles may bedevil as much as they entertain, but its big ambitions and absorbing visuals make for an intriguing addition to director Jaco Van Dormael's filmography."[59] At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the film received a score of 63, based on 10 critics, indicating "generally favorable reviews".[60]

text: Jennie Punter of The Globe and Mail praised the film, stating "Van Dormael holds this fractured fairy tale together by giving it an emotional core and delivers two hours of time travel with a playful spirit and at a mostly hyperkinetic pace, sprinkling it with amusing side journeys and sometimes letting a scene unfold at a more natural tempo."[61] Bruce Kirkland of Jam! gave the film four stars out of five and wrote, "Expect the unexpected. Try to answer the unanswerable question that writer-director Van Dormael poses. It is a worthwhile exercise." He also described Leto's acting as a "marvelously full-blooded, brain-spinning, tour-de-force performance."[62] Ken Eisner from The Georgia Straight summarized the film as "a dazzling feat of philosophical fancy, and it attempts nothing less than the summing up of an entire life, and an epoch or two, with its free-spinning take on recent human history as projected into possible futures."[63]

text: Niels Matthijs, writing for Twitch Film, stated that "It's astounding how van Dormael turns each scene into a unique little cinematic event. There is hardly filler here, no scenes to drag out the running time or to fill some gaps in between other climaxes. Every scene matters and every scene is made to look like it matters. The director uses all means to his disposal to keep the viewer engaged and interested in the life of the main protagonist, Nemo Nobody."[64] Fred Topel, writing for Screen Junkies, praised the film's artistry, saying "All of Nemo's lives are painful. No matter what he chooses, he experiences heartbreak, death of loved ones, his own death, and clinical depression. My future seems brighter, but the film makes the strong point that every experience is worthwhile. The goal isn't to choose the easiest path. It's to live."[65] Chris Holt from Starburst magazine wrote that "Mr. Nobody is a film that is remarkable by its very existence and that in itself is something to be happy about. You may love it you may hate it, but you can bet that you will never forget it."[66] Exclaim!'s Robert Bell called the film "a powerful movie about what it means to be alive."[67]

text: Boyd van Hoeij of Variety magazine was more critical, writing "Though a lot of it is well written and directed and, quite often, funny or poignant, the individual scenes rarely become part of a larger whole." He praises Leto's acting, stating "The closest the film comes to having a gravitational center are in the scenes set in 2092. What makes them soar is not the imaginative staging of the future, but Leto's performance. His acting talent really comes into full view in his scenes as the last dying man on Earth." He also praised Regbo and Temple, saying "Regbo, as the teenage Nemo, and Juno Temple, as the teenage Anna, are impressive, bringing the hormonal battles of adolescence vividly to life."[68] Film critic Eric Lavallée listed Regbo as one of his "Top 10 New Faces & Voices" of 2009 Toronto International Film Festival. He notes that "newbie Toby Regbo might easily be Mr. Nobody's most "alive" character. Playing Nemo at age 16, the actor is mostly paired with Juno Temple – their unique love story is the film's heart pumping portions and plays a lot better than the artery clogging other brushes of romance."[69]

text: AlloCiné, a French cinema website, gave the film an average of three out of five stars, based on a survey of 24 reviews.[70] Xavier Leherpeur from Le Nouvel Observateur described it as "a fiction of sterile ramifications, weighed down by a script the labyrinthine constructions of which poorly conceal the poverty of inspiration".[71] Pierre Fornerod from Ouest-France wrote that "Van Dormael plays with chance and coincidence. The demonstration is long and heavy, but aesthetically, is superb."[72]

text: Accolades[edit]

text: Mr. Nobody was nominated for and won multiple awards from numerous film organizations and festivals. It was nominated for seven Magritte Awards and was awarded six at the 1st Magritte Awards: Best Film, Best Director and Best Screenplay for Jaco Van Dormael, Best Cinematography for Christophe Beaucarne, Best Original Score for Pierre Van Dormael, and Best Editing for Matyas Veress.[73] Emmanuel de Boissieu, Frédéric Demolder and Dominique Warnier lost the award for Best Sound to A Town Called Panic. In addition, the film was named Best Film of 2010 by the Belgian Film Critics Association winning the André Cavens Award, and was awarded Best Film at the 2010 Fonske Awards.[74][75] It also received the People's Choice Award for Best European Film at the 23rd European Film Awards, and won the Audience Award at the Biografilm Festival.[76][77]

text: At the 66th Venice International Film Festival, Sylvie Olivé was awarded the Golden Osella for Outstanding Technical Contribution and the film received the Biografilm Lancia Award.[78][79] It was also nominated for the Golden Lion but lost to Lebanon. Jared Leto was nominated for the Volpi Cup for Best Actor.[80] Christophe Beaucarne received Best Cinematography at the 20th Stockholm International Film Festival and Kaatje Van Damme won Best Makeup at the 42nd Sitges Film Festival.[81][82] Mr. Nobody has appeared on many critics top ten lists of 2010 and is frequently considered to be one of the greatest films of the year.[83] Kurt Halfyard, a film critic for Twitch Film, listed Van Dormael's film among the best science fiction films of the 21st century.[84] The American Film Institute listed Mr. Nobody as one of the best European films of 2010.[85]


document_title: List of Major League Baseball runs records

question_text: most runs scored by a team in a mlb season

root

text: 1800+ career runs scored[edit]

text:
Player
Runs[1]
Teams and seasons

Rickey Henderson
2295
Oakland Athletics (1979–84, 89–93, 94–95, 98), New York Yankees (1985–89), Toronto Blue Jays (1993), San Diego Padres (1996–97, 2001), Anaheim Angels (1997), New York Mets (1999–2000), Seattle Mariners (2000), Boston Red Sox (2002), Los Angeles Dodgers (2003)

Ty Cobb
2245
Detroit Tigers (1905–26), Philadelphia Athletics (1927–28)

Barry Bonds
2227
Pittsburgh Pirates (1986–92), San Francisco Giants (1993–2007)

Babe Ruth
2174
Boston Red Sox (1914–19), New York Yankees (1920–34), Boston Braves (1935)

Hank Aaron
2174
Mil-Atl Braves (1954–74), Milwaukee Brewers (1975–76)

Pete Rose
2165
Cincinnati Reds (1963–78, 84–86), Philadelphia Phillies (1979–83), Montréal Expos (1984)

Willie Mays
2062
NY-SF Giants (1951–52, 54–72), New York Mets (1972–73)

Alex Rodriguez
2002
Seattle Mariners (1994–2000), Texas Rangers (2001–03), New York Yankees (2004–2016)

Cap Anson
1999
Rockford Forest Citys (1871), Philadelphia Athletics (1872–75), Chicago Cubs (1876–97)

Stan Musial
1949
St. Louis Cardinals (1941–44, 46–63)

Derek Jeter
1923
New York Yankees (1995–2014)

Lou Gehrig
1888
New York Yankees (1923–39)

Tris Speaker
1882
Boston Red Sox (1907–15), Cleveland Indians (1916–26), Washington Senators (1927), Philadelphia Athletics (1928)

Mel Ott
1859
New York Giants (1926–47)

Craig Biggio
1844
Houston Astros (1988–2007)

Frank Robinson
1829
Cincinnati Reds (1956–65), Baltimore Orioles (1966–71), Los Angeles Dodgers (1972), California Angels (1973–74), Cleveland Indians (1974–76)

Eddie Collins
1821
Philadelphia Athletics (1906–14, 27–30), Chicago White Sox (1915–26)

Carl Yastrzemski
1816
Boston Red Sox (1961–83)

tag: table

text: Active players with 1500+ runs scored[edit]

text: (as of through 2017)

tag: p

text:
Player
Runs
Teams and seasons

Albert Pujols
1723
St. Louis Cardinals (2001–2011), Los Angeles Angels (2012–present)

text: Top 10 career runs scored leaders by league[edit]

text:
American League Player
Runs
National League Player
Runs

Ty Cobb
2245
Barry Bonds
2227

Babe Ruth
2161
Pete Rose
2165

Alex Rodriguez
2002
Hank Aaron
2107

Rickey Henderson
1939
Willie Mays
2062

Derek Jeter
1923
Stan Musial
1949

Lou Gehrig
1888
Mel Ott
1859

Tris Speaker
1882
Craig Biggio
1844

Eddie Collins
1821
Honus Wagner
1736

Carl Yastrzemski
1816
Cap Anson
1719

Ted Williams
1798
Paul Waner
1626

text: 155 runs scored in one season[edit]

text:
Player
Runs
Team[2]
Season

Billy Hamilton
192
Philadelphia Phillies
1894

Babe Ruth
177
New York Yankees
1921

Lou Gehrig
167
New York Yankees
1936

Billy Hamilton
166
Philadelphia Phillies
1895

Arlie Latham
163
St. Louis Cardinals (AA)
1887

Babe Ruth
163
New York Yankees
1928

Lou Gehrig
163
New York Yankees
1931

Hugh Duffy
160
Boston Beaneaters
1894

Bobby Lowe
158
Boston Beaneaters
1894

Babe Ruth
158
New York Yankees
1920

Babe Ruth
158
New York Yankees
1927

Chuck Klein
158
Philadelphia Phillies
1930

Rogers Hornsby
156
Chicago Cubs
1929

King Kelly
155
Chicago White Stockings
1886

Kiki Cuyler
155
Chicago Cubs
1930

text: Seven or more seasons with 120 runs scored[edit]

text:
Player
Seasons
Seasons and teams

Lou Gehrig[3]
12
1926–37 (New York Yankees)

Babe Ruth[4]
11
1920–21, 23–24, 26–32 (New York Yankees)

Sliding Billy Hamilton[5]
8
1889 (Kansas City Blues (AA)), 1890–92, 94–95 (Philadelphia Phillies), 1896–97 (Boston Beaneaters)

Jimmie Foxx[6]
8
1929–30, 32–34 (Philadelphia Athletics), 1936, 38–39 (Boston Red Sox)

Ted Williams[7]
8
1939–42, 46–49 (Boston Red Sox)

Alex Rodriguez[8]
8
1996, 98, 2000 (Seattle Mariners), 2001–03 (Texas Rangers), 2005, 07 (New York Yankees)

Hugh Duffy[9]
7
1889 (Chicago White Stockings), 1890 (Chicago Pirates (PL)), 1891 (Boston Reds (AA)), 1892–94, 97 (Boston Beaneaters)

Willie Keeler[10]
7
1894–98 (Baltimore Orioles (NL)), 1899, 1901 (Brooklyn Superbas)

Charlie Gehringer[11]
7
1929–30, 34–38 (Detroit Tigers)

Barry Bonds[12]
7
1993, 96–98, 2000–01, 04 (San Francisco Giants)

text: Five or more consecutive seasons with 120 runs scored[edit]

text:
Player
Seasons
Seasons and teams

Lou Gehrig
12
1926–37 (New York Yankees)

Ted Williams
8
1939–42, 46–49 (Boston Red Sox)1

Babe Ruth
7
1926–32 (New York Yankees)

Hugh Duffy
6
1889 (Chicago White Stockings), 1890 (Chicago Pirates (PL)), 1891 (Boston Reds (AA)), 1892–94 (Boston Beaneaters)

Willie Keeler
6
1894–98 (Baltimore Orioles (NL)), 1899 (Brooklyn Superbas)

Jesse Burkett[13]
5
1893–97 (Cleveland Spiders (NL))

Charlie Gehringer
5
1934–38 (Detroit Tigers)

Mickey Mantle[14]
5
1954–58 (New York Yankees)

text: Eleven or more seasons with 100 runs scored[edit]

text:
Player
Seasons
Seasons and teams

Hank Aaron[15]
15
1955–67, 69–70 (Mil-Atl Braves)

Lou Gehrig
13
1926–38 (New York Yankees)

Alex Rodriguez
13
1996–2000 (Seattle Mariners), 2001–03 (Texas Rangers), 2004–08 (New York Yankees)

Derek Jeter[16]
13
1996–2002, 04–07, 09–10 (New York Yankees)

Rickey Henderson[17]
13
1980, 82–84, 90–91, 98 (Oakland Athletics), 85–86, 88 (New York Yankees), 89 (NY Yankees–Oak Athletics), 93 (Oak Athletics–Tor Blue Jays), 96 (San Diego Padres)

Charlie Gehringer
12
1927–30, 1932–38, 40 (Detroit Tigers)

Willie Mays[18]
12
1954–65 (NY-SF Giants)

George Van Haltren[19]
11
1889 (Chicago White Stockings), 91–92 (Baltimore Orioles), 93 (Pittsburgh Pirates), 94–1900 (New York Giants)

Ty Cobb[20]
11
1909–12, 15–17, 21, 23–24 (Detroit Tigers), 27 (Philadelphia Athletics)

Babe Ruth
11
1919 (Boston Red Sox), 1920–21, 23–24, 26–32 (New York Yankees)

Jimmie Foxx
11
1929–30, 32–35 (Philadelphia Athletics), 36–40 (Boston Red Sox)

Stan Musial[21]
11
1943–44, 46–54 (St. Louis Cardinals)

text: Nine or more consecutive seasons with 100 runs scored[edit]

text:
Player
Seasons
Seasons and teams

Lou Gehrig
13
1926–38 (New York Yankees)

Hank Aaron
13
1955–1967 (Milwaukee Braves) (Atlanta Braves)

Alex Rodriguez
13
1996–2000 (Seattle Mariners), 2001–03 (Texas Rangers), 2004–08 (New York Yankees)

Willie Mays
12
1954–65 (NY-SF Giants)

Stan Musial
11
1943–44, 46–54 (St. Louis Cardinals)

Billy Hamilton
10
1889 (Kansas City Blues (AA)), 1890–95 (Philadelphia Phillies), 1896–98 (Boston Beaneaters)

George Van Haltren
10
1891–92 (Baltimore Orioles), 93 (Pittsburgh Pirates), 94–1900 (New York Giants)

Harry Stovey[22]
9
1883–89 (Philadelphia Athletics (AA)), 1890 (Boston Reds (PL)), 1891 (Boston Beaneaters)

Mickey Mantle
9
1953–61 (New York Yankees)

Johnny Damon[23]
9
1998–2000 (Kansas City Royals), 2001 (Oakland Athletics), 02–05 (Boston Red Sox), 2006 (New York Yankees)

text: League leader in runs scored, 5 or more seasons[edit]

text:
Player
Titles[24]
Years and teams

Babe Ruth
8
1919 (Boston Red Sox), 1920–21, 1923–24, 1926–28 (New York Yankees)

Ted Williams
6
1940–42, 46–47, 49 (Boston Red Sox)

Mickey Mantle
6
1954, 56–58, 60–61 (New York Yankees)

Ty Cobb
5
1909–11, 15–16 (Detroit Tigers)

George Burns
5
1914, 16–17, 19–20 (New York Giants)

Rogers Hornsby
5
1921–22, 24, 27 (St. Louis Cardinals), 29 (Chicago Cubs)

Stan Musial
5
1946, 48, 51–52, 54 (St. Louis Cardinals)

Rickey Henderson
5
1981, 90 (Oakland Athletics), 85–86 (New York Yankees), 89 (NY Yankees–Oak Athletics)

Alex Rodriguez
5
1996 (Seattle Mariners), 2001, 03 (Texas Rangers), 05, 07 (New York Yankees)

Albert Pujols
5
2003-05,09-10 (St. Louis Cardinals)

text: League leader in runs scored, 3 or more consecutive seasons[edit]

text:
Player
Titles
Seasons & Teams

Harry Stovey
3
1883-85 Philadelphia Athletics (AA)

King Kelly
3
1884-85 Chicago White Stockings

Ty Cobb
3
1909-11 Detroit Tigers

Eddie Collins
3
1912-14 Philadelphia Athletics

Babe Ruth
3
1919 (Boston Red Sox), 20-21 (New York Yankees)

Babe Ruth
3
1926-28 (New York Yankees)

Chuck Klein
3
1930-32 (Philadelphia Phillies)

Ted Williams
3
1940-42 (Boston Red Sox)

Mickey Mantle
3
1956-58 (New York Yankees)

Pete Rose
3
1974-76 (Cincinnati Reds)

Albert Pujols
3
2003-05 (St. Louis Cardinals)

Mike Trout
3
2012-14 (Los Angeles Angels)

text: League leader in runs scored, both leagues[edit]

text:
Player
League, team and year

Frank Robinson
NL: Cincinnati Reds (1956), AL: Baltimore Orioles (1966)

text: League leader in runs scored, three different teams[edit]

text:
Player
Teams and years

Rogers Hornsby
St. Louis Cardinals (1921–22, 24), New York Giants (1927), Chicago Cubs (1929)

Alex Rodriguez
Seattle Mariners (1996), Texas Rangers (2001, 03), New York Yankees (2005)

text: 6 runs scored by an individual in one game[edit]

text: 1000 runs scored by a team in one season[edit]

text:
Runs
Team[25]
Season

1220
Boston Beaneaters
1894

1143
Philadelphia Phillies
1894

1131
St. Louis Cardinals
1887

1068
Philadelphia Phillies
1895

1067
New York Yankees
1931

1065
New York Yankees
1936

1062
New York Yankees
1930

1041
Chicago Colts
1894

1027
Boston Red Sox
1950

1025
Boston Beaneaters
1897

1021
Brooklyn Grooms
1894

1011
Philadelphia Phillies
1893

1009
Cleveland Indians
1999

1008
Boston Beaneaters
1893

1004
St. Louis Cardinals
1930

1002
New York Yankees
1932

text: One or more runs scored in each inning of a game[edit]

text:
Team
Date[26]
Opponent
Venue2
Score

Cleveland Spiders
August 15, 1889
Boston Beaneaters
League Park
19–8[27]

Washington Senators (NL)
June 22, 1894
Boston Beaneaters
Boundary Field
26–12[28]

Cleveland Spiders
July 12, 1894
Philadelphia Phillies
League Park
20–10[29]

Chicago Colts
June 29, 1897
Louisville Colonels
West Side Park
36–7[30]

Boston Americans
September 16, 1903
Cleveland Indians
Huntington Avenue Grounds
14–7[31]

New York Giants
June 1, 1923
Philadelphia Phillies
Baker Bowl
22–8[32]

Cleveland Indians
July 7, 19233
Boston Red Sox
League Park
27–3[33]

St. Louis Cardinals
June 9, 1935
Chicago Cubs
Sportsman Park III
13-2[34]

New York Yankees
July 26, 1939
St. Louis Browns
Yankee Stadium
14–1[35]

Chicago White Sox
May 11, 1949
Boston Red Sox
Comiskey Park
12–8[36]

St. Louis Cardinals
September 13, 1964
Chicago Cubs
Wrigley Field
15–2[37]

Chicago Cubs
September 1, 1978
Houston Astros
Wrigley Field
14-11[38]

Kansas City Royals
September 14, 1998
Oakland Athletics
Kauffman Stadium
16–6[39]

Colorado Rockies
May 5, 1999
Chicago Cubs
Wrigley Field
13–6[40]

Colorado Rockies
September 24, 2001
San Diego Padres
Coors Field
15-11[41]

New York Yankees
April 29, 2006
Toronto Blue Jays
Yankee Stadium
17–6[42]

Detroit Tigers
August 2, 2014
Colorado Rockies
Comerica Park
11–5[43]

Milwaukee Brewers
August 11, 2016
Atlanta Braves
Miller Park
11–3[44]

Chicago White Sox
September 12, 2016
Cleveland Indians
U.S. Cellular Field
11–4[45]

text: Notes[edit]

text:
Ted Williams did not play 1943–45 due to military service in World War II.
The Chicago Colts, New York Giants, 1964 St. Louis Cardinals and 1999 Colorado Rockies accomplished their feats on the road, meaning they scored in all 9 innings they batted and are the sole instances of a team scoring a run in 9 innings. All remaining teams accomplished this feat at home, meaning they only scored in all 8 innings they batted.
Game 1 of a doubleheader.

tag: ol


document_title: The Red Vineyard

question_text: who did vincent van gogh sell his painting to

text: The Red Vineyard

text: Provenance[edit]

text: The Red Vineyard was exhibited for the first time at the annual exhibition of Les XX, 1890 in Brussels, and sold for 400 Francs (equal to about $1,000-1,050 today) to Anna Boch,[2] an impressionist painter, member of Les XX and art collector from Belgium;[3][4] Anna was the sister of Eugène Boch, another impressionist painter and a friend of Van Gogh, too, who had painted Boch's portrait (Le Peintre aux Étoiles) in Arles, in autumn 1888.

text: Like The Night Café, it was acquired by the famous Russian collector Sergei Shchukin,[5] was then nationalised by the Bolsheviks with the rest of his collection, which eventually passed to the Pushkin Museum of Fine Arts in Moscow.


document_title: Motion Picture Association of America film rating system

question_text: when did the motion picture rating system start

text: Ratings[edit]

text: MPAA film ratings[edit]

text: The MPAA film ratings are as follows:[3]

text:
Rating symbol
Meaning

G – General Audiences
All ages admitted. Nothing that would offend parents for viewing by children.

PG – Parental Guidance Suggested
Some material may not be suitable for children. Parents urged to give "parental guidance". May contain some material parents might not like for their young children.

PG-13 – Parents Strongly Cautioned
Some material may be inappropriate for children under 13. Parents are urged to be cautious. Some material may be inappropriate for pre-teenagers.

R – Restricted
Under 17 requires accompanying parent or adult guardian. Contains some adult material. Parents are urged to learn more about the film before taking their young children with them.

NC-17 – Adults Only
No One 17 and Under Admitted. Clearly adult. Children are not admitted.

text: Other labels[edit]

text: If a film has not been submitted for a rating or is an uncut version of a film that was submitted, the labels Not Rated (NR) or Unrated (UR) are often used. Uncut/extended versions of films that are labeled "Unrated" also contain warnings saying that the uncut version of the film contains content that differs from the theatrical release and might not be suitable for minors.

text: If a film has not yet been assigned a final rating, the label This Film Is Not Yet Rated is used in trailers and television commercials.

text: MPAA rating cards for theatrical trailers[edit]

text: The MPAA also rates film trailers, print advertising, posters, and other media used to promote a film. Green, yellow, or red title cards displayed before the start of a trailer indicate the trailer's rating.

text:
Green: When the trailer accompanies another rated feature, the wording on the green title card states "The following preview has been approved to accompany this feature." For trailers hosted on the internet, the wording has been slightly altered to "The following preview has been approved for appropriate audiences."[4]
Yellow: A yellow title card exists solely for trailers hosted on the internet, with the wording stipulating "The following preview has been approved only for age-appropriate internet users." The MPAA defines "age-appropriate internet users" as visitors to sites either frequented mainly by adults or accessible only between 9:00 p.m. and 4:00 a.m. The yellow card is reserved for trailers previewing films rated PG-13 or stronger.[5]
Red: A red title card indicates that the trailer is restricted and when it accompanies another feature, the wording states "The following restricted preview has been approved to accompany this feature only." For trailers hosted on the internet, the wording is tweaked to "The following restricted preview has been approved for appropriate audiences."[4] The red title card is reserved for trailers previewing R and NC-17 rated films. Trailers hosted on the internet carrying a red title card require viewers to pass an age verification test which entails users aged 17 and older to match their names, birthdays and ZIP Codes to public records on file.[5]

tag: ul

text: History[edit]

text: Replacement of Hays Code[edit]

text: Jack Valenti, who had become president of the Motion Picture Association of America in May 1966, deemed the Motion Picture Production Code – in place since 1930 and rigorously enforced since 1934 – as out of date and bearing "the odious smell of censorship". Filmmakers were pushing at the boundaries of the Code, and Valenti cited examples such as Who's Afraid of Virginia Woolf?, which contained the expressions "screw" and "hump the hostess"; and Blowup, which was denied Code approval due to nudity, resulting in the MPAA member studio releasing it through a subsidiary. He revised the Code to include the "SMA" (Suggested for Mature Audiences) advisory as a stopgap measure. To accommodate "the irresistible force of creators determined to make 'their films'", and to avoid "the possible intrusion of government into the movie arena", he developed a set of advisory ratings which could be applied after a film was completed. On November 1, 1968, the voluntary MPAA film rating system took effect, with three organizations serving as its monitoring and guiding groups: the MPAA, the National Association of Theater Owners (NATO), and the International Film Importers & Distributors of America (IFIDA).[6] Only films that premiered in the U.S. after November 1, 1968 had to carry the ratings.[7] Walter Reade was the only one of 75 top U.S. exhibitors who refused to use the ratings.[7] Warner-7 Arts' The Girl on a Motorcycle was the first film to receive the X rating and was distributed by their subsidiary, Claridge Pictures.[8] Two other films were rated X by the time the MPAA published their first weekly bulletin listing ratings, Paramount's Sin With a Stranger and Universal's Birds in Peru.  Both were to be released by subsidiaries.[9]

text: The ratings used from 1968 to 1970 were:[10][11]

text:
Rated G: Suggested for General Audiences
Rated M: Suggested for Mature Audiences – parental discretion advised
Rated R: Restricted – persons under 16 not admitted, unless accompanied by parent or adult guardian.
Rated X: Persons Under 16 Not Admitted

text: This content classification system originally was to have three ratings, with the intention of allowing parents to take their children to any film they chose. However, the National Association of Theater Owners urged the creation of an adults-only category, fearful of possible legal problems in local jurisdictions. The "X" rating was not an MPAA trademark and would not receive the MPAA seal; any producer not submitting a film for MPAA rating could self-apply the "X" rating (or any other symbol or description that was not an MPAA trademark).[6]

text: From M to GP to PG[edit]

text: In 1970 the ages for "R" and "X" were raised from 16 to 17.[12] Also, due to confusion over whether "M"-rated films were suitable for children,[12] "M" was renamed to "GP" (for General audiences, Parental guidance suggested),[13][14] and in 1971 the MPAA added the content advisory "Some material not generally suitable for pre-teenagers".[15] On February 11, 1972,[16] "GP" was revised to "PG".[12]

text: The ratings used from 1970 to 1972 were:

text:
Rated G: All Ages Admitted – General Audiences
Rated GP: All Ages Admitted – Parental Guidance Suggested [Sometimes a disclaimer would say "This film contains material which may not be suitable for pre-teenagers"]
Rated R: Restricted – Under 17 requires accompanying parent or adult guardian
Rated X: No one under 17 admitted

text: The ratings used from 1972 to 1984 were:[17]

text:
Rated G: General Audiences – All ages admitted
Rated PG: Parental Guidance Suggested – Some material may not be suitable for pre-teenagers
Rated R: Restricted – Under 17 requires accompanying parent or adult guardian.
Rated X: No one under 17 admitted

text: Addition of PG-13 rating[edit]

text: In the early 1980s complaints about violence and gore in films such as Indiana Jones and the Temple of Doom and Gremlins, both of which received PG ratings, refocused attention on films seen by small children and pre-teens.[18] According to author Filipa Antunes, this revealed the conundrum of a film which "could not be recommended for all children but also could not be repudiated for all children uniformly," leading to speculation that the rating system’s scope, in particular its PG classification, "no longer matched a notion of childhood most parents in America could agree on."[19] Steven Spielberg, director of Temple of Doom and executive producer of Gremlins, suggested a new intermediate rating between "PG" and "R".[20] The "PG-13" rating was introduced on July 1, 1984, with the advisory "Parents Are Strongly Cautioned to Give Special Guidance for Attendance of Children Under 13 – Some Material May Be Inappropriate for Young Children".  The first film to be released with this rating was the 1984 John Milius war film Red Dawn.[21]  In 1985, the wording was simplified to "Parents Strongly Cautioned – Some Material May Be Inappropriate for Children Under 13".[22] Around the same time, the MPAA won a trademark infringement lawsuit against the producers and distributors of I Spit on Your Grave over a fraudulent application of its R rating to the uncut version of the film,[23] and forced its member studios and several other home video distributors to put MPAA ratings on the packaging of MPAA-rated films via a settlement that would come into effect by fall that year.[24]

text: The ratings used from 1984 to 1990 were:

text:
Rated G: General Audiences – all ages admitted
Rated PG: Parental Guidance Suggested – some material may not be suitable for children
Rated PG-13: Parents Strongly Cautioned – some material may be inappropriate for children under 13
Rated R: Restricted – under 17 requires accompanying parent or adult guardian
Rated X: No one under 17 admitted

text: Tennessee law[edit]

text: In 1989, Tennessee state law set the minimum age to view a theatrically exhibited R-rated film without adult accompaniment at 18, instead of 17, and categorized the admission of minors to X-rated films as a misdemeanor. The statute stayed in force until 2013 when it was ruled to be in violation of the First Amendment. The law was amended in 2013 as to only prohibit persons under the age of 18 if the film was considered "harmful to minors".[25][26]

text: X replaced by NC-17[edit]

text: In the rating system's early years, "X"-rated films such as Midnight Cowboy (1969) and A Clockwork Orange (1971) were understood to be unsuitable for children, but non-pornographic and intended for the general public. However, pornographic films often self-applied the non-trademarked "X" rating, and it soon became synonymous with pornography in American culture.[27] In late 1989 and early 1990, two critically acclaimed art films featuring strong adult content, Henry: Portrait of a Serial Killer and The Cook, the Thief, His Wife & Her Lover, were released. Neither film was approved for an MPAA rating, thus limiting their commercial distribution, and prompting criticism of the rating system's lack of a designation for such films.[28][29]

text: In September 1990, the MPAA introduced the rating "NC-17" ("No Children Under 17 Admitted").[30] Henry & June – previously to be assigned an "X" rating – was the first film to receive the "NC-17" rating instead.[30][31] Although films with an "NC-17" rating had more mainstream distribution opportunities than "X"-rated films, many theaters refused to screen them, most entertainment media did not accept advertising for them, and many large video outlets refused to stock them.[32] In 1996,[33] the minimum age for "NC-17" films was raised to 18, by rewording it to "No One 17 and Under Admitted".[34]

text: The ratings used from 1990 to 1996 were:

text:
Rated G: General Audiences – all ages admitted
Rated PG: Parental Guidance Suggested – some material may not be suitable for children
Rated PG-13: Parents Strongly Cautioned – some material may be inappropriate for children under 13
Rated R: Restricted – under 17 requires accompanying parent or adult guardian
Rated NC-17: No children under 17 admitted

text: The ratings used since 1996 are:[3]

text:
Rated G: General Audiences – all ages admitted
Rated PG: Parental Guidance Suggested – some material may not be suitable for children
Rated PG-13: Parents Strongly Cautioned – some material may be inappropriate for children under 13
Rated R: Restricted – under 17 requires accompanying parent or adult guardian
Rated NC-17: No one 17 and under admitted

text: Since September 1990, the MPAA has included brief explanations of why each film received an "R" rating, allowing parents to know what type of content the film contained. For example, some films' explanations may read "Strong Brutal Violence, Pervasive Language, Some Strong Sexual Content, and Drug Material". In 2000, the MPAA began applying rating explanations for "PG", "PG-13", and "NC-17" films as well.[35][36]

text: Rating components[edit]

text: Violence[edit]

text: Depictions of violence are permitted under all ratings but must be moderated for the lower ones. Violence must be kept to a minimum in G rated films and must not be intense in PG rated films. Depictions of intense violence are permitted under the PG-13 rating, but violence that is both realistic and extreme or persistent will generally require at least an R rating.[2]

text: Language[edit]

text: Snippets of language that go "beyond polite conversation" are permitted in G rated films, but no stronger words are present. Profanity may be present in PG rated films, and use of one of the harsher "sexually-derived words" as an expletive will initially incur at least a PG-13 rating. Multiple occurrences will usually incur an R rating as will the usage of such an expletive in a sexual context. Nevertheless, the ratings board may still award a PG-13 rating passed by a two-thirds majority if they believe the language is justified by the context or by the manner in which the words are used.[2]

text: There are several exceptional cases in which PG-13 rated films contain multiple occurrences of the word fuck: Adventures in Babysitting, where the word is used twice in the same scene;[37] The Hip Hop Project, which has seventeen uses;[38] and Gunner Palace, a documentary of soldiers in the Second Gulf War, which has 42 uses of the word with two used sexually.[39] Both Bully, a 2011 documentary about bullying, and Philomena—which has two instances of the word—released in 2013, were originally given R ratings on grounds of the language but the ratings were dropped to PG-13 after successful appeals.[40][41]

text: Substance abuse[edit]

text: Drug use content is restricted to PG-13 and above.[2] An example of an otherwise PG film being assigned a PG-13 rating for a drug reference (momentary, along with brief language) is Whale Rider. The film contained only mild profanity, but was rated PG-13 because of a scene where drug paraphernalia were briefly visible. Critic Roger Ebert criticized the MPAA for the rating and called it "a wild overreaction".[42]

text: In May 2007, the MPAA announced that depictions of cigarette smoking would be considered in a film's rating.[43][44] Anti-smoking advocates stated that the child-friendly PG rating was inappropriate for the 2011 Nickelodeon-animated film Rango, which included over 60 depictions of characters smoking.[45]

text: Nudity[edit]

text: Nudity is restricted to PG and above, and anything that constitutes more than brief nudity will require at least a PG-13 rating. Nudity that is sexually oriented will generally require an R rating.[2] As of 2010, the MPAA has added a descriptor of "male nudity" to films featuring said content.[46]

text: Sexual content[edit]

text: The MPAA does not have any explicit criteria for sexual content other than excluding sex scenes from G rated films.[2]

text: Effects of ratings[edit]

text: Commercial viability of the NC-17 rating[edit]

text: The NC-17 rating has been described as a "kiss of death" for any film that receives it.[47] Like the X rating it replaced, NC-17 limits a film's prospects of being marketed, screened in theaters and sold in major video outlets.[32] In 1995, United Artists released the big-budget film Showgirls (1995); it became the most widely distributed film with an NC-17 rating (showing in 1,388 cinemas simultaneously), but it was a financial failure that grossed only 45% of its $45 million budget.[48] Some modest successes can be found among NC-17 theatrical releases, however; Fox Searchlight Pictures released the original NC-17-rated American edition of the European film The Dreamers (2003) in theaters in the United States, and later released both the original NC-17 and the cut R-rated version on DVD. A Fox Searchlight spokesman said the NC-17 rating did not give them much trouble in releasing this film (they had no problem booking it, and only the  Salt Lake City newspaper Deseret News refused to take the film's ad), and Fox Searchlight was satisfied with this film's United States box office result.[49] Another notable exception is Bad Education (2004), an NC-17 foreign-language film which grossed $5.2 million in the United States theatrically[50] (a moderate success for a foreign-language film[51]).

text: In 2000, the Directors Guild of America called the NC-17 rating an "abject failure", for causing filmmakers to re-edit films to receive an R rating, rather than accept an NC-17 rating. They argued that this was "not only compromising filmmakers’ visions, but also greatly increasing the likelihood that adult-oriented movies are seen by the very groups for which they are not intended."[52] As of March 2007, according to Variety, MPAA chairman Dan Glickman had been made aware of the attempts to introduce a new rating, or find ways to reduce the stigma of the NC-17 rating. Film studios have pressured the MPAA to retire the NC-17 rating, because of its likely impact on their film's box office revenue.[53][54]

text: During the controversy about the MPAA's decision to give the film Blue Valentine (2010) an NC-17 rating (The Weinstein Company challenged this decision, and the MPAA ended up awarding the same cut an R rating on appeal), actor Ryan Gosling, who stars in the film, noted that NC-17 films are not allowed wide advertisement and that, given the refusal of major cinema chains like AMC and Regal to show NC-17 rated movies, many such films will never be accessible to people who live in markets that do not have art house theatres.[55]

text: Legal scholar Julie Hilden wrote that the MPAA has a "masterpiece exception" that it has made for films that would ordinarily earn an NC-17 rating, if not for the broader artistic masterpiece that requires the violence depicted as a part of its message. She cites Saving Private Ryan, with its bloody depiction of the D-Day landings, as an example. This exception is troubling, Hilden argues, because it ignores context and perspective in evaluating other films and favors conventional films over edgier films that contribute newer and more interesting points to public discourse about violence.[56]

text: Issuance of "R Cards"[edit]

text: Starting in 2004, GKC Theatres (now AMC Theatres) introduced "R-Cards", which parents could obtain for their teenage children, under the age of 17, to see R-rated films without adult accompaniment. The cards generated much controversy; MPAA president Jack Valenti said in a news article: "I think it distorts and ruptures the intent of this voluntary film ratings system. All R-rated films are not alike."[57] John Fithian, the president of the National Association of Theatre Owners, also said that the cards can be harmful. He noted in a news article for the Christian Science Monitor that the R rating is "broad enough to include relatively family-friendly fare such as Billy Elliot and Erin Brockovich (which were both rated R for language) along with films that push the extremes of violence, including Pulp Fiction and Kill Bill."[58]

text: Criticisms[edit]

text: Emphasis on sex and language versus violence[edit]

text: The film rating system has had a number of high-profile critics. Film critic Roger Ebert has called for replacing the NC-17 rating with separate ratings for pornographic and non-pornographic adult film.[59] Ebert argued that the system places too much emphasis on sex, while allowing the portrayal of massive amounts of gruesome violence. The uneven emphasis on sex versus violence is echoed by other critics, including David Ansen, as well as many filmmakers. Moreover, Ebert argued that the rating system is geared toward looking at trivial aspects of the film (such as the number of times a profane word is used) rather than at the general theme of the film (for example, if the film realistically depicts the consequences of sex and violence). He called for an A (adults only) rating, to indicate films high in violence or mature content that should not be marketed to teenagers, but do not have NC-17 levels of sex. He also called for the NC-17 rating to be removed and have the X rating revived. He felt that everyone understood what X-rated means, while fewer people understood what NC-17 meant. He called for ratings A and X to identify whether an adult film is pornographic or not.[60][61][62]

text: MPAA chairman Dan Glickman has disputed these claims, stating that far more films are initially rated NC-17 for violence than for sex, but that these are later edited by studios to receive an R rating.[63]

text: Despite this, an internal critic of the early workings of the ratings system is film critic and writer Stephen Farber, who was a CARA intern for six months during 1969 and 1970. In The Movie Ratings Game,[64] he documents a prejudice against sex in relation to violence. This Film Is Not Yet Rated also points out that four times as many films received an NC-17 rating for sex than they did for violence according to the MPAA's own website, further mentioning a bias against homosexual content compared to heterosexual content, particularly with regards to sex scenes. Filmmaker Darren Stein further insists that his tame teen comedy G.B.F., which features multiple same-sex kisses but no intercourse, strong language, violence, or nudity, was "rated R for being gay."[65]

text: The 2011 documentary Bully received an R rating for the profanity contained within the film, which prevented most of the intended audience, middle and high schoolers, from seeing the film. The film's director, Lee Hirsch, has refused to recut the film, stating, "I feel a responsibility as a filmmaker, as the person entrusted to tell (these kids') stories, to not water them down." A petition collected more than 200,000 signatures to change the film's rating[66] and a version with less profanity was finally given a PG-13 rating. The same, however, could not be said about the 1995 teen drama Kids, which director Larry Clark wanted rated R so parents could take their kids to it for educational purposes, but the MPAA rated it NC-17 due to its content of teen sex and turned down Clark's appeal. The movie was then released unrated by Miramax (under Shining Excalibur Films as Miramax, owned by Disney, hesitated to release it as an NC-17 film).

text: Tougher standards for independent studios[edit]

text: Many critics of the MPAA system, especially independent distributors, have charged that major studios' releases often receive more lenient treatment than independent films. The independent film Saints and Soldiers, which contains no nudity, almost no sex (although, there is a scene in which a German soldier is about to rape a French woman), very little profanity, and a minimum of violence, was said to have been rated R for a single clip where a main character is shot and killed, and required modification of just that one scene to receive a PG-13 rating.[67][68] Eric Watson, producer of the independently-distributed, NC-17-rated Requiem for a Dream complained that the studios are paying the budget of the MPAA, which gives the studios leverage over the MPAA's decisions.[69]

text: The comedy Scary Movie, released by Dimension Films, at the time a division of The Walt Disney Company, contained "strong crude sexual humor, language, drug use and violence," including images of ejaculation and an erect penis, but was rated R, to the surprise of many reviewers and audiences; by comparison, the comparatively tame porn spoof Orgazmo, an independent release by South Park creators Matt Stone and Trey Parker, contained "explicit sexual content and dialogue" and received an NC-17 (the only on-screen penis seen in the film is a dildo). As Parker and Stone did not have the money and the time to edit the film, it retained its NC-17 rating. In contrast, Parker and Stone's second feature film, South Park: Bigger, Longer & Uncut, was distributed by a major studio (Paramount Pictures) and, after multiple submissions and notes from the MPAA, received an R rating.[69]

text: Call for publicizing the standards[edit]

text: Many critics of the system, both conservative and liberal, would like to see the MPAA ratings unveiled and the standards made public. The MPAA has consistently cited nationwide scientific polls (conducted each year by the Opinion Research Corporation of Princeton, New Jersey), which show that parents find the ratings useful. Critics such as Matt Stone in Kirby Dick's documentary This Film is not Yet Rated respond this proves only that parents find the ratings more useful than nothing at all.[70] In the film, it is also discussed how the MPAA will not reveal any information about how or why certain decisions are made, and that the association will not even reveal to the filmmaker the specific scenes that need to be cut in order to get alternative rating.

text: Accusation of "ratings creep"[edit]

text: Although there has always been concern about the content of films,[71] the MPAA has, in recent years, been accused of a "ratings creep", whereby the films that fall into today's ratings categories now contain more objectionable material than those that appeared in the same categories two decades earlier.[72] A study put forward by the Harvard School of Public Health in 2004 concluded that there had been a significant increase in the level of profanity, sex and violence in films released between 1992 and 2003.[73] Kimberly Thompson, director of the study, stated: "The findings demonstrate that ratings creep has occurred over the last decade and that today’s movies contain significantly more violence, sex, and profanity on average than movies of the same rating a decade ago."[73]

text: Questions of relevance[edit]

text: Slashfilm.com managing editor David Chen wrote on the website: "It's time for more people to condemn the MPAA and their outrageous antics. We're heading towards an age when we don't need a mommy-like organization to dictate what our delicate sensibilities can and can't be exposed to. I deeply hope that the MPAA's irrelevance is imminent."[74]

text: Chicago Tribune film critic Michael Phillips wrote that the MPAA ratings board "has become foolish and irrelevant, and its members do not have my interests at heart, or yours. They're too easy on violence yet bizarrely reactionary when it comes to nudity and language."[75]


document_title: Bone marrow

question_text: where is the red bone marrow where blood is created located

text: Bone marrow

text: Structure[edit]

text: The composition of marrow is dynamic, as the mixture of cellular and non-cellular components (connective tissue) shifts with age and in response to systemic factors. In humans, marrow is colloquially characterized as "red" or "yellow" marrow (Latin: medulla ossium rubra, Latin: medulla ossium flava, respectively) depending on the prevalence of hematopoetic cells vs fat cells. While the precise mechanisms underlying marrow regulation are not understood,[6] compositional changes occur according to stereotypical patterns.[9] For example, a newborn baby's bones exclusively contain hematopoietically active "red" marrow, and there is a progressive conversion towards "yellow" marrow with age. In adults, red marrow is found mainly in the central skeleton, such as the pelvis, sternum, cranium, ribs, vertebrae and scapulae, and variably found in the proximal epiphyseal ends of long bones such as the femur and humerus. In circumstances of chronic hypoxia, the body can convert yellow marrow back to red marrow to increase blood cell production.[10]

text: Hematopoietic components[edit]

text: At the cellular level, the main functional component of bone marrow includes the progenitor cells which are destined to mature into blood and lymphoid cells. Marrow contains hematopoietic stem cells which give rise to the three classes of blood cells that are found in circulation: white blood cells (leukocytes), red blood cells (erythrocytes), and platelets (thrombocytes).[11]

text:
Cellular constitution of the red bone marrow parenchyma[12]

Group
Cell type
Average
fraction
Reference
range

Myelopoietic
cells
Myeloblasts
0.9%
0.2–1.5

Promyelocytes
3.3%
2.1–4.1

Neutrophilic myelocytes
12.7%
8.2–15.7

Eosinophilic myelocytes
0.8%
0.2–1.3

Neutrophilic metamyelocytes
15.9%
9.6–24.6

Eosinophilic metamyelocytes
1.2%
0.4–2.2

Neutrophilic band cells
12.4%
9.5–15.3

Eosinophilic band cells
0.9%
0.2–2.4

Segmented neutrophils
7.4%
6.0–12.0

Segmented eosinophils
0.5%
0.0–1.3

Segmented basophils and mast cells
0.1%
0.0–0.2

Erythropoietic
cells
Pronormoblasts
0.6%
0.2–1.3

Basophilic normoblasts
1.4%
0.5–2.4

Polychromatic normoblasts
21.6%
17.9–29.2

Orthochromatic normoblast
2.0%
0.4–4.6

Other cell
types
Megakaryocytes
< 0.1%
0.0-0.4

Plasma cells
1.3%
0.4-3.9

Reticular cells
0.3%
0.0-0.9

Lymphocytes
16.2%
11.1-23.2

Monocytes
0.3%
0.0-0.8

text: Stroma[edit]

text: The stroma of the bone marrow includes all tissue not directly involved in the marrow's primary function of hematopoiesis.[6] Stromal cells may be indirectly involved in hematopoiesis, providing a microenvironment that influences the function and differentiation of hematopoeietic cells. For instance, they generate colony stimulating factors, which have a significant effect on hematopoiesis. Cell types that constitute the bone marrow stroma include:

text:
fibroblasts (reticular connective tissue)
macrophages, which contribute especially to red blood cell production, as they deliver iron for hemoglobin production.
adipocytes (fat cells)
osteoblasts (synthesize bone)
osteoclasts (resorb bone)
endothelial cells, which form the sinusoids. These derive from endothelial stem cells, which are also present in the bone marrow.[11]

text: Function[edit]

text: Mesenchymal stem cells[edit]

text: The bone marrow stroma contains mesenchymal stem cells (MSCs),[11] also known as marrow stromal cells. These are multipotent stem cells that can differentiate into a variety of cell types. MSCs have been shown to differentiate, in vitro or in vivo, into osteoblasts, chondrocytes, myocytes, marrow adipocytes and beta-pancreatic islets cells.

text: Bone marrow barrier[edit]

text: The blood vessels of the bone marrow constitute a barrier, inhibiting immature blood cells from leaving the marrow. Only mature blood cells contain the membrane proteins, such as aquaporin and glycophorin, that are required to attach to and pass the blood vessel endothelium.[13] Hematopoietic stem cells may also cross the bone marrow barrier, and may thus be harvested from blood.

text: Lymphatic role[edit]

text: The red bone marrow is a key element of the lymphatic system, being one of the primary lymphoid organs that generate lymphocytes from immature hematopoietic progenitor cells.[14] The bone marrow and thymus constitute the primary lymphoid tissues involved in the production and early selection of lymphocytes. Furthermore, bone marrow performs a valve-like function to prevent the backflow of lymphatic fluid in the lymphatic system.

text: Compartmentalization[edit]

text: Biological compartmentalization is evident within the bone marrow, in that certain cell types tend to aggregate in specific areas. For instance, erythrocytes, macrophages, and their precursors tend to gather around blood vessels, while granulocytes gather at the borders of the bone marrow.[11]

text: Society and culture[edit]

text: Animal bone marrow has been used in cuisine worldwide for millennia, such as the famed Milanese Ossobuco.[citation needed]

text: Clinical significance[edit]

text: Disease[edit]

text: The normal bone marrow architecture can be damaged or displaced by aplastic anemia, malignancies such as multiple myeloma, or infections such as tuberculosis, leading to a decrease in the production of blood cells and blood platelets. The bone marrow can also be affected by various forms of leukemia, which attacks its hematologic progenitor cells.[15] Furthermore, exposure to radiation or chemotherapy will kill many of the rapidly dividing cells of the bone marrow, and will therefore result in a depressed immune system. Many of the symptoms of radiation poisoning are due to damage sustained by the bone marrow cells.

text: To diagnose diseases involving the bone marrow, a bone marrow aspiration is sometimes performed. This typically involves using a hollow needle to acquire a sample of red bone marrow from the crest of the ilium under general or local anesthesia.[16]

text: Application of stem cells in therapeutics[edit]

text: Bone marrow derived stem cells have a wide array of application in regenerative medicine.[17]

text: Imaging[edit]

text: Medical imaging may provide a limited amount of information regarding bone marrow. Plain film x-rays pass through soft tissues such as marrow and do not provide visualization, although any changes in the structure of the associated bone may be detected.[18] CT imaging has somewhat better capacity for assessing the marrow cavity of bones, although with low sensitivity and specificity. For example, normal fatty "yellow" marrow in adult long bones is of low density (-30 to -100 Hounsfield units), between subcutaneous fat and soft tissue. Tissue with increased cellular composition, such as normal "red" marrow or cancer cells within the medullary cavity will measure variably higher in density.[19]

text: MRI is more sensitive and specific for assessing bone bone composition. MRI enables assessment of the average molecular composition of soft tissues, and thus provides information regarding the relative fat content of marrow. In adult humans, "yellow" fatty marrow is the dominant tissue in bones, particularly in the (peripheral) appendicular skeleton. Because fat molecules have a high T1-relaxivity, T1-weighted imaging sequences show "yellow" fatty marrow as bright (hyperintense). Furthermore, normal fatty marrow loses signal on fat-saturation sequences, in a similar pattern to subcutaneous fat.

text: When "yellow" fatty marrow becomes replaced by tissue with more cellular composition, this change is apparent as decreased brightness on T1-weighted sequences. Both normal "red" marrow and pathologic marrow lesions (such as cancer) are darker than "yellow" marrow on T1-weight sequences, although can often be distinguished by comparison with the MR signal intensity of adjacent soft tissues. Normal "red" marrow is typically equivalent or brighter than skeletal muscle or intervertebral disc on T1-weighted sequences.[20][21]

text: Fatty marrow change, the inverse of red marrow hyperplasia, can occur with normal aging,[22] though it can also be seen with certain treatments such as radiation therapy. Diffuse marrow T1 hypointensity without contrast enhancement or cortical discontinuity suggests red marrow conversion or myelofibrosis. Falsely normal marrow on T1 can be seen with diffuse multiple myeloma or leukemic infiltration when the water to fat ratio is not sufficiently altered, as may be seen with lower grade tumors or earlier in the disease process.[23]

text: Histology[edit]

text: Bone marrow examination is the pathologic analysis of samples of bone marrow obtained via biopsy and bone marrow aspiration. Bone marrow examination is used in the diagnosis of a number of conditions, including leukemia, multiple myeloma, anemia, and pancytopenia. The bone marrow produces the cellular elements of the blood, including platelets, red blood cells and white blood cells. While much information can be gleaned by testing the blood itself (drawn from a vein by phlebotomy), it is sometimes necessary to examine the source of the blood cells in the bone marrow to obtain more information on hematopoiesis; this is the role of bone marrow aspiration and biopsy.

text: The ratio between myeloid series and erythroid cells is relevant to bone marrow function, and also to diseases of the bone marrow and peripheral blood, such as leukemia and anemia. The normal myeloid-to-erythroid ratio is around 3:1; this ratio may increase in myelogenous leukemias, decrease in polycythemias, and reverse in cases of thalassemia.[24]

text: Donation and transplantation[edit]

text: In a bone marrow transplant, hematopoietic stem cells are removed from a person and infused into another person (allogenic) or into the same person at a later time (autologous). If the donor and recipient are compatible, these infused cells will then travel to the bone marrow and initiate blood cell production. Transplantation from one person to another is conducted for the treatment of severe bone marrow diseases, such as congenital defects, autoimmune diseases or malignancies. The patient's own marrow is first killed off with drugs or radiation, and then the new stem cells are introduced. Before radiation therapy or chemotherapy in cases of cancer, some of the patient's hematopoietic stem cells are sometimes harvested and later infused back when the therapy is finished to restore the immune system.[25]

text: Bone marrow stem cells can be induced to become neural cells to treat neurological illnesses,[7] and can also potentially be used for the treatment of other illnesses, such as inflammatory bowel disease.[8] In 2013, following a clinical trial, scientists proposed that bone marrow transplantation could be used to treat HIV in conjunction with antiretroviral drugs;[26][27] however, it was later found that HIV remained in the bodies of the test subjects.[28]

text: Harvesting[edit]

text: The stem cells are typically harvested directly from the red marrow in the iliac crest, often under general anesthesia. The procedure is minimally invasive and does not require stitches afterwards. Depending on the donor's health and reaction to the procedure, the actual harvesting can be an outpatient procedure, or can require 1–2 days of recovery in the hospital.[29]

text: Another option is to administer certain drugs that stimulate the release of stem cells from the bone marrow into circulating blood.[30] An intravenous catheter is inserted into the donor's arm, and the stem cells are then filtered out of the blood. This procedure is similar to that used in blood or platelet donation. In adults, bone marrow may also be taken from the sternum, while the tibia is often used when taking samples from infants.[16] In newborns, stem cells may be retrieved from the umbilical cord.[31]

text: Fossil record[edit]

text: The earliest fossilised evidence of bone marrow was discovered in 2014 in Eusthenopteron, a lobe-finned fish which lived during the Devonian period approximately 370 million years ago.[32] Scientists from Uppsala University and the European Synchrotron Radiation Facility used X-ray synchrotron microtomography to study the fossilised interior of the skeleton's humerus, finding organised tubular structures akin to modern vertebrate bone marrow.[32] Eusthenopteron is closely related to the early tetrapods, which ultimately evolved into the land-dwelling mammals and lizards of the present day.[32]


document_title: Erik Killmonger

question_text: who brings killmonger back to life in the comics

text: Erik Killmonger

text: Publication history[edit]

text: Erik Killmonger first appeared in the "Panther's Rage" storyline, initially in Jungle Action vol. 2, #6-8 (Sept. 1973 - Jan. 1974), and was created by writer Don McGregor and penciler Rich Buckler.

text: The character subsequently appeared in Jungle Action vol. 2, #12-18 (Nov. 1974-Nov. 1975), Iron Man Annual #5 (1982), Over the Edge #6 (April 1996), Black Panther vol. 3, #13 (Dec. 1999), #15-16 (Feb.-March 2000), #18-21 (May-Aug. 2000), Deadpool #44 (Sept. 2000), Black Panther vol. 3, #23-25 (Oct.-Dec. 2000), #60 (July 2003), and Black Panther vol. 4, #35-38 (May-Sept. 2008).

text: Erik Killmonger appeared in an entry in the 2006 reference book All-New Official Handbook of the Marvel Universe A-Z #6.

text: Fictional character biography[edit]

text: A native of Wakanda, he was born under the name N'Jadaka. When Ulysses Klaue and his mercenaries attacked Wakanda, they press-ganged N'Jadaka's father, N'Jobu, into helping them; when Klaue was defeated, his father died and his family was exiled. N'Jadaka ended up in Harlem, New York, nursing a hatred against the supervillain and T'Challa, the king who had exiled him. He changed his name to Erik Killmonger and studied at Massachusetts Institute of Technology, desperate to avenge his father's death.[volume & issue needed]

text: He eventually contacted King T'Challa and was repatriated back to Wakanda, settling in a village that would later change its name to N'Jadaka Village in his honor. He became a subversive, with dreams of ridding Wakanda of what he termed "white colonialist" cultural influences and return it entirely to its ancient ways.[volume & issue needed] He then took advantage of the Black Panther's frequent absences in America with the Avengers to stage a coup d'état, along with Baron Macabre.[volume & issue needed] He was defeated and killed,[1] until the Mandarin claimed his body.[2]

text: Resurrection[edit]

text: Using his rings, the Mandarin was able to amplify the Resurrection Altar and restore Killmonger to life.[volume & issue needed] Killmonger returned to his lover and ally, Madam Slay, and the two plotted to kill the Black Panther and return Wakanda to its ancient ways.[volume & issue needed]

text: While Tony Stark visited Wakanda, Madam Slay drugged Jim Rhodes and took him prisoner.[volume & issue needed] Killmonger appeared to have killed the Black Panther, and blamed Rhodes and Stark, convincing the Wakandans that he could lead them to vengeance.[volume & issue needed] The Black Panther returned, revealing that he had faked his death using a Life Model Decoy. The Black Panther defeated Killmonger.[volume & issue needed] The Mandarin recalled his ring, and Killmonger reverted to an inanimate skeleton. Killmonger's followers resurrected him again and he would clash with T'Challa on several other occasions.[volume & issue needed]

text: Wakanda takeover[edit]

text: In the wake of the sorcerer Reverend Achebe's attempted takeover of Wakanda, with T'Challa absent and control of the country left with his regent Everett Ross, Killmonger tried to gain control of the country via its economy, forcing T'Challa to stop him by nationalizing all foreign companies in Wakanda and cause a run on the stock market. The two foes fought in a vicious ritual combat over the right to rule the country, and Killmonger was finally able to defeat his foe and gain the status of Black Panther for his own. He maintained control of Wakanda for a while and even attempted to inherit T'Challa's Avengers status, but when he underwent the ascension rite needed to cement his position, his body had a severe reaction to the heart-shaped herb that he was required to consume - it was poisonous to all but the royal bloodline. Although it would have been convenient to allow him to die, and be unquestionably entitled to the position of the Black Panther, T'Challa preserved his rival's life.[volume & issue needed]

text: Killmonger eventually came out of his coma, thus reclaiming his position as chieftain over Wakanda. He went to New York and contacted Kasper Cole, an inner-city police officer masquerading as the Black Panther to help him with cases, and attempted to gain him as an ally (and one-up T'Challa) by offering him a buffered version of the Panther's heart-shaped herb and help finding his supervisor's kidnapped son. In exchange, he had to drop the Panther identity and take up that of a White Tiger acolyte of the Panther cult, and would owe Killmonger a favor. While Kasper agreed to this, he then used his new herb-enhanced abilities to track down the boy on his own to avoid owing Killmonger an unpayable debt.[volume & issue needed]

text: T'Challa is then once again the sole ruler of Wakanda when Killmonger resurfaces and takes control of the neighboring country of Niganda.[3] During a subsequent duel with T'Challa, Killmonger is killed by Monica Rambeau, whom he had previously captured and imprisoned. Killmonger's young son is last seen swearing vengeance against the Black Panther, much like N'Jadaka had done years earlier after the death of his own father.[4]

text: Powers and abilities[edit]

text: This section needs expansion. You can help by adding to it. (October 2017)

text: Erik Killmonger is an expert martial artist with peak-level strength and a genius-level intellect. He is also an expert tactician.

text: In other media[edit]

text: Television[edit]

text: Erik Killmonger appears in Lego Marvel Super Heroes - Black Panther: Trouble in Wakanda, voiced by Keston John.[5]

text: Film[edit]

text: Erik Killmonger is portrayed by Michael B. Jordan in Black Panther (2018).[6][7] This version is an American black-ops soldier named Erik Stevens (born N'Jadaka[8]) who earned the nickname "Killmonger".[9] Rather than a Wakandan exile, Killmonger was rewritten as the son of Prince N'Jobu and an American woman from Oakland, California, making him T'Challa's cousin.

text: Video games[edit]

text:
Erik Killmonger appears as a playable character in the Black Panther DLC pack for Lego Marvel's Avengers.[10]
Erik Killmonger appears as a playable character in Lego Marvel Super Heroes 2, voiced by Damian Lynch.[11] He appears in the Black Panther DLC that had no connection to the movie.
Erik Killmonger, as seen in the film Black Panther, appears as a playable character in Marvel: Future Fight.[12]
Erik Killmonger, as seen in the film Black Panther, appears as a playable character in Marvel: Contest of Champions.[13]

text: Music[edit]

text: Erik Killmonger is referenced in the song "King's Dead" by rappers Jay Rock, Kendrick Lamar and Future, from the 2018 film's soundtrack.


document_title: Banana production in the United States

question_text: when did bananas become popular in the us

text: Banana production in the United States

text: History[edit]

text: The first commercial banana farm in the United States was established in Florida, near Silver Lake, in 1876. A number of independent banana farms and cultivars have been located in a number of areas, reaching as far north as the southern Midwest and Ohio river, where wild banana trees can be found along the banks of the Ohio at far southern Illinois, Indiana, and Missouri, just north of Kentucky. This region equates roughly with the northernmost terminus of the subtropical crop-growing region of the US, which ends at about Cincinnati, Ohio, and further east in cities and locations such as Philadelphia, Pennsylvania, New York City and Long Island in New York, and coastal regions of southern New England. Banana growth further west along this ecological transition line, such as in central to northern Missouri and northern Kansas/far southern Nebraska is highly dubious and uncertain, due to extreme temperature fluctuations and an increase in aridity.

text: Other states that have been popular locations for independent banana farming have been Georgia, Louisiana, South Carolina, Mississippi, Arkansas, Texas, Oklahoma, Alabama, North Carolina, Hawaii, Virginia, Arizona, California, Nevada, and Maryland. Florida has seen a number of independent and big-name banana cultivars inhabit its land throughout history.

text: Bananas have also been cultivated in states of the Pacific Northwest, including in areas of Washington, Oregon, and various highland areas and sheltered oceanic/temperate valleys in southern Idaho.

text: In the 70's, a variety of bananas, including Ice Cream and Cavendish, were commonly grown throughout the Appalachian region, primarily throughout Tennessee, as well as in Kentucky along the Mississippi and Ohio rivers as well as in mountain areas of the eastern reaches of the state.

text: Current Production[edit]

text: Hawaii is by far the largest banana producer in the United States, followed by Florida. Banana plantation in Hawaii has followed a descending trend, from 13,181 mmt in 2000 to 8,090 mmt in 2010. Hawaii produces mainly the conventional Cavendish assortment and the Hawaiian apple banana, which are sold in the local markets due to high employment and land expenses. The chief US banana exporter is Florida, which produces mostly Thai and cooking bananas (Bluggoe type). In addition, US banana producers are looking for opportunities in the organic and specialty segments of the banana market in Florida, Texas, California, Mississippi, Alabama, South Carolina, and Georgia.[2] Banana cultivation in Florida has been about 500 acres, valued at roughly 2 million US $.[citation needed]

text: Other states that remain popular locations for independent banana farming, which usually only export on a highly domestic level, are Georgia, Louisiana, Mississippi, Arkansas, Texas, Oklahoma, Alabama, South Carolina, North Carolina, Virginia, Arizona, California, Nevada, and Maryland. These states produce a variety depending on the region, including Cavendish, Bluggoe, Ice Cream, Goldfinger, Lady Finger, Red Dacca, Latundan, Pisano Awak, and Balbisinia subtypes.

text: Independent banana cultivation in the United States is diverse, with some areas of the country able to sustain fields of a wide variety of banana trees perennially or near-perennially, similar to a plantation system. This is most notable (outside of Florida and Hawaii) in Texas, Louisiana, California, Arizona, Mississippi, Georgia, Alabama, South Carolina, and coastal North Carolina. In other areas of the country (northern Arkansas, southern Missouri, mountain Tennessee, southern Kansas, the far southern Midwest and along the Ohio river, Kentucky, and Virginia,) containing a climate similar to that of the banana growing region of inland south-central and eastern China (Sichuan, Anhui, Zhejiang, Hubei, Jiangsu, Henan, Jiangxi, Hunan, Chongqing, and Guizhou provinces,) banana cultivation is more seasonal.

text: If independent cultivation was counted towards a nations total of banana production, its estimated that the United States would rank at about the 4th or 5th country for banana production in the world.

text: Bananas are also grown commercially in Puerto Rico,[3] Guam, and American Samoa.[4]