document_title: Gir Forest National Park

question_text: in which indian state would you find gir forest

root

text: Gir Forest National Park

text: Geography[edit]

text: Water reserves[edit]

text: The seven major perennial rivers of the Gir region are Hiran, Shetrunji, Datardi, Shingoda, Machhundri, Godavari and Raval. The four reservoirs of the area are at four dams, one each on Hiran, Machhundri, Raval and Shingoda rivers, including the biggest reservoir in the area, the Kamleshwar Dam, dubbed 'the lifeline of Gir'. It is located at 21°08′08″N 70°47′48″E.

tag: p

text: During peak summer, surface water for wild animals is available at about 300 water points. When drought hits the area following a poor rainfall, surface water is not available at a majority of these points, and water scarcity becomes a serious problem (mainly in the eastern part of the sanctuary). Ensuring the availability of water during peak summer is one of the major tasks of the Forest Department staff.[citation needed]

text: Flora[edit]

text: More than 400 plant species were recorded in the survey of Gir forest by Samtapau & Raizada in 1955. The Botany department of M.S. University of Baroda has revised the count to 507 during their survey. According to the 1964 forest type classification by Champion & Sheth, the Gir forest falls under "5A/C-1a—very dry teak forest" classification. Teak occurs mixed with dry deciduous species. The degradation stages (DS) sub-types are thus derived as:

text:
5/DS1-Dry deciduous scrub forest and
5/DS1-Dry savannah forests (Locally known as "vidis"). It is the largest dry deciduous forest in western India.[1]

tag: ol

text: Teak bearing areas are mainly in the eastern portion of the forest, which constitutes nearly half of the total area. Several species of acacia are found. Also found here are ber, jamun, babul(acacia), flame of the forest, zizyphus, tendu and dhak. Also plants like karanj, umlo, amli, sirus, kalam, charal and an occasional vad or banyan tree are found. These broadleaf trees provide a cool shade and moisture content to the region. As part of the afforestation programme casuarina and prosopis have been planted along the coast borders of gir.

text: The forest is an important biological research area with considerable scientific, educational, aesthetic and recreational values. It provides nearly 5 million kilograms of green grass by annual harvesting, which is valued approximately at Rs. 500 million (US$10 million). The forest provides nearly 123,000 metric tons worth of fuel wood annually.

text: Wildlife[edit]

text: The count of 2,375 distinct fauna species of Gir includes about 38 species of mammals, around 300 species of birds, 37 species of reptiles and more than 2,000 species of insects.[1]

text: The carnivores group mainly comprises the Asiatic lion, Indian leopard, Indian cobra, jungle cat, striped hyena, Golden jackal,[6] Indian and Ruddy mongeese, and honey badger. Desert cats and rusty-spotted cats occur but are rarely seen.[1][4]

text: The main herbivores of Gir are chital, nilgai, sambar, four-horned antelope, chinkara and wild boar. Blackbucks from the surrounding area are sometimes seen in the sanctuary.[1]

text: Among the smaller mammals, porcupine and hare are common, but the pangolin is rare. The reptiles are represented by the mugger crocodile,[4][7] tortoise and monitor lizard which inhabit the sanctuary's bodies of water. Snakes are found in the bush and forest. Pythons are sighted at times along the stream banks. Gir has been used by the Gujarat State Forest Department which formed the Indian Crocodile Conservation Project in 1977 and released close to 1000 marsh crocodiles into Lake Kamaleshwar and other small bodies of water in and around Gir.

text: The plentiful avifauna population has more than 300 species of birds, most of which are resident. The scavenger group of birds has 6 recorded species of vultures. Some of the typical species of Gir include crested serpent eagle, endangered Bonelli's eagle, crested hawk-eagle, brown fish owl, Indian eagle-owl, rock bush-quail, Indian peafowl, brown-capped pygmy woodpecker, black-headed oriole, crested treeswift and Indian pitta. The Indian grey hornbill was not found from the last census of 2001.[1]

text: Asiatic lion habitat, distribution and population[edit]

text: The Asiatic lion's habitat is dry scrub land and open deciduous forest. These lions were once found across northern Africa, south west Asia and northern Greece. The lion population which was 411 in 2010 has increased to 523 in 2015 and all of them are in or around the Gir Forest National Park. The first modern day count of lions was done by Mark Alexander Wynter-Blyth, the principal of Rajkumar College, Rajkot and R.S. Dharmakumarsinhji sometime between 1948 and 1963, probably early in his tenure as the principal during that period. Even though the Gir Forest is well protected, there are instances of Asiatic lions being poached. They have also been poisoned for attacking livestock. Some of the other threats include floods, fires and the possibility of epidemics and natural calamities. Gir nonetheless remains the most promising long term preserve for them. While most would see the lions as aggressive and dangerous, the lions of Gir rarely attack people. They live in a very close proximity to people, which makes their behavior different almost as if they have an acquaintanceship with the neighboring people. The lions who remember being hunted have now taken the higher road and stopped the circle of life.[8]

text: The lion breeding programme and lion-counting[edit]

text:
Year
Count
Male:Female:Cub

1968
177
-

1974
180
-

1979
261
76:100:85

1984
252
88:100:64

1990
249
82:100:67

1995
265
94:100:71

2000
327
99:115:76

2005
359
-

2010
411
97:162:152

2015
523
109:201:213

text: The Lion Breeding Programme creates and maintains breeding centres. It also carries out studies of the behaviour of the Asiatic lions and also practices artificial insemination. One such centre has been established in the Sakkarbaug Zoo at the district headquarters of Junagadh, which has successfully bred about 180 lions. 126 pure Asiatic lions have been given to zoos in India and abroad.

text: The census of lions takes place every five years. Previously indirect methods like using pugmarks of the lion were adopted for the count. However, during the census of April 2005 (which originally was scheduled for 2006, but was advanced following the reports and controversy over vanishing tigers in India), "Block-Direct-Total Count" method was employed with the help of around 1,000 forest officials, experts and volunteers. It means that only those lions were counted that were "spotted" visually. Use of "live bait" (a prey that is alive and used as a bait) for the exercise, though thought to be a traditional practice, was not used this time. The reason believed to be behind this is the Gujarat High Court ruling of 2000 against such a use of animals.

text: During the 2010 census 'The Cat Women of Gir Forest' counted more than 411 lions in the park, and 523 in 2015. The women who do the counting are of traditional Muslim tribes in neighboring villages. There are over 40 women van raksha sahayaks, who seek only to protect the animals of the park. These women have worked hard to win cooperation not just from local villagers but also from maaldharis, the semi-nomadic tribal herdsmen who live in the sanctuary. While tourist numbers are increasing people do not seem to understand the phenomena taking place. The lions are almost tame in the presence of these female guards.

text: Gir Interpretation Zone, Devalia[edit]

text: Gir National Park and Sanctuary does not have a designated area for tourists. However, to reduce the tourism hazard to the wildlife and to promote nature education, an Interpretation Zone has been created at Devalia within the sanctuary. Within its chained fences, it covers all habitat types and wildlife of Gir with its feeding-cum-living cages for the carnivores and a double-gate entry system.


document_title: Come Back When You Grow Up

question_text: who sings come back when you grow up girl

text: Come Back When You Grow Up

text:
"Come Back When You Grow Up"

Single by Bobby Vee and The Strangers

from the album Come Back When You Grow Up

B-side
"Swahili Serenade"

Released
June 9, 1967

Genre
Pop rock

Length
2:15

Label
Liberty Records 55982

Songwriter(s)
Martha Sharp

Producer(s)
Dallas Smith

Bobby Vee and The Strangers singles chronology

"Here Today"
(1966)
"Come Back When You Grow Up"
(1967)
"Beautiful People"
(1967)

"Here Today"
(1966)
"Come Back When You Grow Up"
(1967)
"Beautiful People"
(1967)

tag: table

text: "Come Back When You Grow Up" is a song written by Martha Sharp and performed by Bobby Vee and The Strangers. The song was a comeback for the 24 year-old Vee, and it reached #3 on the Billboard Hot 100 in 1967.[1] The song appeared on his 1967 album, Come Back When You Grow Up.[2]

text: The song was produced by Dallas Smith and arranged by William Hood.[3]

text: The song was ranked #15 on Billboard magazine's Top Hot 100 songs of 1967.[4]

text: A slightly longer version from the album features a brief instrumental introduction before Vee comes in, while on the single version, the song begins with Vee's singing.

text: Other versions[edit]

text:
Johnny Tillotson recorded a version which was included on his 1967 album "Here I am".
Los Freddy's released a version entitled "Cuando Seas Mujer" on their 1968, Mató Mi Corazon.
Leif Garrett released a version as a single in 1976, which did not chart.

tag: ul


document_title: Arkle Challenge Trophy

question_text: who won the 2016 racing post arkle trophy trial chase

text: Arkle Challenge Trophy

text: History[edit]

text: The Arkle Challenge Trophy was introduced as a replacement for the Cotswold Chase, a previous event at the Cheltenham Festival, in 1969. Its title pays tribute to Arkle, a three-time winner of the Cheltenham Gold Cup in the mid-1960s. The race was formerly scheduled to be run on the second day of the Festival, but it was switched to its slot on the opening day in 1980.

text: The first sponsor of the "Arkle" was Waterford Castle, which began supporting the event in 1991. It was backed by Guinness from 1994 to 1999, and from 2000 to 2011 it was sponsored by the Irish Independent newspaper. In 2012 the Racing Post newspaper began sponsoring the race.

text: Several winners of the race have subsequently achieved victory in the most prestigious two-mile chase in the National Hunt calendar, the Queen Mother Champion Chase. The most recent was Sprinter Sacre, the winner of the latter event in 2013. The 1978 winner, Alverton, went on to win the following season's Cheltenham Gold Cup.

text: Records[edit]

text: Leading jockey since 1946 (4 wins):

text: Barry Geraghty – Moscow Flyer (2002), Forpadydeplasterer (2009), Sprinter Sacre (2012), Simonsig (2013)

text: Leading trainer since 1946 (6 wins):

text: Nicky Henderson – Remittance Man (1991), Travado (1993), Tiutchev (2000), Sprinter Sacre (2012), Simonsig (2013), Altior (2017)

text: Winners since 1946[edit]

text: Amateur jockeys indicated by "Mr".

text:
Year
Winner
Age
Jockey
Trainer

1946
Bright Penny
6
Glen Kelly
Bobby Norris

1947
no race 1947 [1]

1948
Top Cash
6
Glen Kelly
Bobby Norris

1949
Grand Refrain
5
Glen Kelly
Bobby Norris

1950
High Level
5
Johnny Bullock
Fred Rimell

1951
Red Steel
5
Dick Francis
Frank Cundell

1952
Nautical Print
5
Tommy Cusack
Gerry Wilson

1953
Bramble Tudor
5
Tim Molony
Stewart Wight

1954
Armorial III
5
René Emery
Fulke Walwyn

1955
Manuscrit
5
Johnny Bullock
Fulke Walwyn

1956
Sir Ken
9
Tim Molony
Willie Stephenson

1957
Ballyatom
5
Mr Bob McCreery
George Beeby

1958
Fortria
6
Tom Taaffe
Tom Dreaper

1959
Flame Gun
8
Fred Winter
Charlie Mallon

1960
Mazurka
6
Ron Harrison
Ron Smyth

1961
Mountcashel King
6
Pat Taaffe
Tom Dreaper

1962
Prudent Barney
8
Johnny East
Bobby Renton

1963
Ben Stack
6
Pat Taaffe
Tom Dreaper

1964
Greektown
8
Michael Scudamore
Willie Stephenson

1965
Flyingbolt
6
Pat Taaffe
Tom Dreaper

1966
Arctic Sunset
6
George Milburn
Ken Oliver

1967
Arctic Stream
7
Ben Hannon
Pat Rooney

1968
The Hustler
6
Barry Brogan
Earl Jones

1969
Chatham
5
Terry Biddlecombe
Fred Rimell

1970
Soloning
5
Paul Kelleway
Fred Winter

1971
Alpheus
6
Eddie Wright
Tom Dreaper

1972
Pendil
7
Richard Pitman
Fred Winter

1973
Denys Adventure
8
Graham Thorner
Tim Forster

1974
Canasta Lad
8
Jeff King
Peter Bailey

1975
Broncho II
6
Colin Tinkler
Tony Dickinson

1976
Roaring Wind
8
Reg Crank
Roy Cambidge

1977
Tip the Wink
7
Dessie Hughes
Pat Taylor

1978
Alverton
8
Graham Thorner
Peter Easterby

1979
Chinrullah
7
Dessie Hughes
Mick O'Toole

1980
Anaglogs Daughter
7
Tommy Carberry
Bill Durkan

1981
Clayside
7
Alan Brown
Peter Easterby

1982
The Brockshee
7
Tommy Carberry
Arthur Moore

1983
Ryeman
6
Alan Brown
Peter Easterby

1984
Bobsline
8
Frank Berry
Francis Flood

1985
Boreen Prince
8
Niall Madden
Andrew McNamara

1986
Oregon Trail
6
Ronnie Beggan
Simon Christian

1987
Gala's Image
7
Richard Linley
Mercy Rimell

1988
Danish Flight
9
Mark Dwyer
Jimmy FitzGerald

1989
Waterloo Boy
6
Richard Dunwoody
David Nicholson

1990
Comandante
8
Peter Hobbs
Josh Gifford

1991
Remittance Man
7
Richard Dunwoody
Nicky Henderson

1992
Young Pokey
7
Jamie Osborne
Oliver Sherwood

1993
Travado
7
Jamie Osborne
Nicky Henderson

1994
Nakir
6
Jamie Osborne
Simon Christian

1995
Klairon Davis
6
Francis Woods
Arthur Moore

1996
Ventana Canyon
7
Richard Dunwoody
Edward O'Grady

1997
Or Royal
6
Tony McCoy
Martin Pipe

1998
Champleve
5
Tony McCoy
Martin Pipe

1999
Flagship Uberalles
5
Joe Tizzard
Paul Nicholls

2000
Tiutchev
7
Mick Fitzgerald
Nicky Henderson

2001
no race 2001 [2]

2002
Moscow Flyer
8
Barry Geraghty
Jessica Harrington

2003
Azertyuiop
6
Ruby Walsh
Paul Nicholls

2004
Well Chief
5
Tony McCoy
Martin Pipe

2005
Contraband
7
Timmy Murphy
Martin Pipe

2006
Voy Por Ustedes
5
Robert Thornton
Alan King

2007
My Way de Solzen
7
Robert Thornton
Alan King

2008
Tidal Bay
7
Denis O'Regan
Howard Johnson

2009
Forpadydeplasterer
7
Barry Geraghty
Tom Cooper

2010
Sizing Europe
8
Andrew Lynch
Henry de Bromhead

2011
Captain Chris
7
Richard Johnson
Philip Hobbs

2012
Sprinter Sacre
6
Barry Geraghty
Nicky Henderson

2013
Simonsig
7
Barry Geraghty
Nicky Henderson

2014
Western Warhorse
6
Tom Scudamore
David Pipe

2015
Un de Sceaux
7
Ruby Walsh
Willie Mullins

2016
Douvan
6
Ruby Walsh
Willie Mullins

2017
Altior
7
Nico de Boinville
Nicky Henderson

text:
1 The 1947 edition was abandoned due to snow and frost.
2 The 2001 running was cancelled because of a foot-and-mouth crisis.


document_title: Stellar evolution

question_text: how do all stars begin their early development

text: Stellar evolution

text: Birth of a star[edit]

text: Protostar[edit]

text: Stellar evolution starts with the gravitational collapse of a giant molecular cloud. Typical giant molecular clouds are roughly 100 light-years (9.5×1014 km) across and contain up to 6,000,000 solar masses (1.2×1037 kg). As it collapses, a giant molecular cloud breaks into smaller and smaller pieces. In each of these fragments, the collapsing gas releases gravitational potential energy as heat. As its temperature and pressure increase, a fragment condenses into a rotating sphere of superhot gas known as a protostar.[3]

text: A protostar continues to grow by accretion of gas and dust from the molecular cloud, becoming a pre-main-sequence star as it reaches its final mass. Further development is determined by its mass. Mass is typically compared to the mass of the Sun: 1.0 M☉ (2.0×1030 kg) means 1 solar mass.

text: Protostars are encompassed in dust, and are thus more readily visible at infrared wavelengths. Observations from the Wide-field Infrared Survey Explorer (WISE) have been especially important for unveiling numerous Galactic protostars and their parent star clusters.[4][5]

text: Brown dwarfs and sub-stellar objects[edit]

text: Protostars with masses less than roughly 0.08 M☉ (1.6×1029 kg) never reach temperatures high enough for nuclear fusion of hydrogen to begin. These are known as brown dwarfs. The International Astronomical Union defines brown dwarfs as stars massive enough to fuse deuterium at some point in their lives (13 Jupiter masses (MJ), 2.5 × 1028 kg, or 0.0125 M☉). Objects smaller than 13 MJ are classified as sub-brown dwarfs (but if they orbit around another stellar object they are classified as planets).[6] Both types, deuterium-burning and not, shine dimly and die away slowly, cooling gradually over hundreds of millions of years.

text: Main sequence[edit]

text: For a more-massive protostar, the core temperature will eventually reach 10 million kelvin, initiating the proton–proton chain reaction and allowing hydrogen to fuse, first to deuterium and then to helium. In stars of slightly over 1 M☉ (2.0×1030 kg), the carbon–nitrogen–oxygen fusion reaction (CNO cycle) contributes a large portion of the energy generation. The onset of nuclear fusion leads relatively quickly to a hydrostatic equilibrium in which energy released by the core maintains a high gas pressure, balancing the weight of the star's matter and preventing further gravitational collapse. The star thus evolves rapidly to a stable state, beginning the main-sequence phase of its evolution.

text: A new star will sit at a specific point on the main sequence of the Hertzsprung–Russell diagram, with the main-sequence spectral type depending upon the mass of the star. Small, relatively cold, low-mass red dwarfs fuse hydrogen slowly and will remain on the main sequence for hundreds of billions of years or longer, whereas massive, hot O-type stars will leave the main sequence after just a few million years. A mid-sized yellow dwarf star, like the Sun, will remain on the main sequence for about 10 billion years. The Sun is thought to be in the middle of its main sequence lifespan.

text: Mature stars[edit]

text: Eventually the core exhausts its supply of hydrogen and the star begins to evolve off of the main sequence, without the outward pressure generated by the fusion of hydrogen to counteract the force of gravity the core contracts until either electron degeneracy pressure becomes sufficient to oppose gravity or the core becomes hot enough (around 100 MK) for helium fusion to begin. Which of these happens first depends upon the star's mass.

text: Low-mass stars[edit]

text: What happens after a low-mass star ceases to produce energy through fusion has not been directly observed; the universe is around 13.8 billion years old, which is less time (by several orders of magnitude, in some cases) than it takes for fusion to cease in such stars.

text: Recent astrophysical models suggest that red dwarfs of 0.1 M☉ may stay on the main sequence for some six to twelve trillion years, gradually increasing in both temperature and luminosity, and take several hundred billion more to collapse, slowly, into a white dwarf.[8][9] Such stars will not become red giants as they are fully convective and will not develop a degenerate helium core with a shell burning hydrogen. Instead, hydrogen fusion will proceed until almost the whole star is helium.

text: Slightly more massive stars do expand into red giants, but their helium cores are not massive enough to reach the temperatures required for helium fusion so they never reach the tip of the red giant branch. When hydrogen shell burning finishes, these stars move directly off the red giant branch like a post-asymptotic-giant-branch (AGB) star, but at lower luminosity, to become a white dwarf.[2] A star of about 0.5 M☉ will be able to reach temperatures high enough to fuse helium, and these "mid-sized" stars go on to further stages of evolution beyond the red giant branch.[10]

text: Mid-sized stars[edit]

text: Stars of roughly 0.5–10 M☉ become red giants, which are large non-main-sequence stars of stellar classification K or M. Red giants lie along the right edge of the Hertzsprung–Russell diagram due to their red color and large luminosity. Examples include Aldebaran in the constellation Taurus and Arcturus in the constellation of Boötes.

text: Mid-sized stars are red giants during two different phases of their post-main-sequence evolution: red-giant-branch stars, whose inert cores are made of helium, and asymptotic-giant-branch stars, whose inert cores are made of carbon. Asymptotic-giant-branch stars have helium-burning shells inside the hydrogen-burning shells, whereas red-giant-branch stars have hydrogen-burning shells only.[11] Between these two phases, stars spend a period on the horizontal branch with a helium-fusing core. Many of these helium-fusing stars cluster towards the cool end of the horizontal branch as K-type giants and are referred to as red clump giants.

text: Subgiant phase[edit]

text: When a star exhausts the hydrogen in its core, it leaves the main sequence and begins to fuse hydrogen in a shell outside the core. The core increases in mass as the shell produces more helium. Depending on the mass of the helium core, this continues for several million to one or two billion years, with the star expanding and cooling at a similar or slightly lower luminosity to its main sequence state. Eventually either the core becomes degenerate, in stars around the mass of the sun, or the outer layers cool sufficiently to become opaque, in more massive stars. Either of these changes cause the hydrogen shell to increase in temperature and the luminosity of the star to increase, at which point the star expands onto the red giant branch.[12]

text: Red-giant-branch phase[edit]

text: The expanding outer layers of the star are convective, with the material being mixed by turbulence from near the fusing regions up to the surface of the star. For all but the lowest-mass stars, the fused material has remained deep in the stellar interior prior to this point, so the convecting envelope makes fusion products visible at the star's surface for the first time. At this stage of evolution, the results are subtle, with the largest effects, alterations to the isotopes of hydrogen and helium, being unobservable. The effects of the CNO cycle appear at the surface during the first dredge-up, with lower 12C/13C ratios and altered proportions of carbon and nitrogen. These are detectable with spectroscopy and have been measured for many evolved stars.

text: The helium core continues to grow on the red giant branch. It is no longer in thermal equilibrium, either degenerate or above the Schoenberg-Chandrasekhar limit, so it increases in temperature which causes the rate of fusion in the hydrogen shell to increase. The star increases in luminosity towards the tip of the red-giant branch. Red giant branch stars with a degenerate helium core all reach the tip with very similar core masses and very similar luminosities, although the more massive of the red giants become hot enough to ignite helium fusion before that point.

text: Horizontal branch[edit]

text: In the helium cores of stars in the 0.8 to 2.0 solar mass range, which are largely supported by electron degeneracy pressure, helium fusion will ignite on a timescale of days in a helium flash. In the nondegenerate cores of more massive stars, the ignition of helium fusion occurs relatively slowly with no flash.[13] The nuclear power released during the helium flash is very large, on the order of 108 times the luminosity of the Sun for a few days[12] and 1011 times the luminosity of the Sun (roughly the luminosity of the Milky Way Galaxy) for a few seconds.[14] However, the energy is consumed by the thermal expansion of the initially degenerate core and thus cannot be seen from outside the star.[12][14][15] Due to the expansion of the core, the hydrogen fusion in the overlying layers slows and total energy generation decreases. The star contracts, although not all the way to the main sequence, and it migrates to the horizontal branch on the Hertzsprung–Russell diagram, gradually shrinking in radius and increasing its surface temperature.

text: Core helium flash stars evolve to the red end of the horizontal branch but do not migrate to higher temperatures before they gain a degenerate carbon-oxygen core and start helium shell burning. These stars are often observed as a red clump of stars in the colour-magnitude diagram of a cluster, hotter and less luminous than the red giants. Higher-mass stars with larger helium cores move along the horizontal branch to higher temperatures, some becoming unstable pulsating stars in the yellow instability strip (RR Lyrae variables), whereas some become even hotter and can form a blue tail or blue hook to the horizontal branch. The morphology of the horizontal branch depends on parameters such as metallicity, age, and helium content, but the exact details are still being modelled.[16]

text: Asymptotic-giant-branch phase[edit]

text: After a star has consumed the helium at the core, hydrogen and helium fusion continues in shells around a hot core of carbon and oxygen. The star follows the asymptotic giant branch on the Hertzsprung–Russell diagram, paralleling the original red giant evolution, but with even faster energy generation (which lasts for a shorter time).[17] Although helium is being burnt in a shell, the majority of the energy is produced by hydrogen burning in a shell further from the core of the star. Helium from these hydrogen burning shells drops towards the center of the star and periodically the energy output from the helium shell increases dramatically. This is known as a thermal pulse and they occur towards the end of the asymptotic-giant-branch phase, sometimes even into the post-asymptotic-giant-branch phase. Depending on mass and composition, there may be several to hundreds of thermal pulses.

text: There is a phase on the ascent of the asymptotic-giant-branch where a deep convective zone forms and can bring carbon from the core to the surface. This is known as the second dredge up, and in some stars there may even be a third dredge up. In this way a carbon star is formed, very cool and strongly reddened stars showing strong carbon lines in their spectra. A process known as hot bottom burning may convert carbon into oxygen and nitrogen before it can be dredged to the surface, and the interaction between these processes determines the observed luminosities and spectra of carbon stars in particular clusters.[18]

text: Another well known class of asymptotic-giant-branch stars are the Mira variables, which pulsate with well-defined periods of tens to hundreds of days and large amplitudes up to about 10 magnitudes (in the visual, total luminosity changes by a much smaller amount). In more-massive stars the stars become more luminous and the pulsation period is longer, leading to enhanced mass loss, and the stars become heavily obscured at visual wavelengths. These stars can be observed as OH/IR stars, pulsating in the infra-red and showing OH maser activity. These stars are clearly oxygen rich, in contrast to the carbon stars, but both must be produced by dredge ups.

text: Post-AGB[edit]

text: These mid-range stars ultimately reach the tip of the asymptotic-giant-branch and run out of fuel for shell burning. They are not sufficiently massive to start full-scale carbon fusion, so they contract again, going through a period of post-asymptotic-giant-branch superwind to produce a planetary nebula with an extremely hot central star. The central star then cools to a white dwarf. The expelled gas is relatively rich in heavy elements created within the star and may be particularly oxygen or carbon enriched, depending on the type of the star. The gas builds up in an expanding shell called a circumstellar envelope and cools as it moves away from the star, allowing dust particles and molecules to form. With the high infrared energy input from the central star, ideal conditions are formed in these circumstellar envelopes for maser excitation.

text: It is possible for thermal pulses to be produced once post-asymptotic-giant-branch evolution has begun, producing a variety of unusual and poorly understood stars known as born-again asymptotic-giant-branch stars.[19] These may result in extreme horizontal-branch stars (subdwarf B stars), hydrogen deficient post-asymptotic-giant-branch stars, variable planetary nebula central stars, and R Coronae Borealis variables.

text: Massive stars[edit]

text: In massive stars, the core is already large enough at the onset of the hydrogen burning shell that helium ignition will occur before electron degeneracy pressure has a chance to become prevalent. Thus, when these stars expand and cool, they do not brighten as much as lower-mass stars; however, they were much brighter than lower-mass stars to begin with, and are thus still brighter than the red giants formed from less-massive stars. These stars are unlikely to survive as red supergiants; instead they will destroy themselves as type II supernovas.

text: Extremely massive stars (more than approximately 40 M☉), which are very luminous and thus have very rapid stellar winds, lose mass so rapidly due to radiation pressure that they tend to strip off their own envelopes before they can expand to become red supergiants, and thus retain extremely high surface temperatures (and blue-white color) from their main-sequence time onwards. The largest stars of the current generation are about 100-150 M☉ because the outer layers would be expelled by the extreme radiation. Although lower-mass stars normally do not burn off their outer layers so rapidly, they can likewise avoid becoming red giants or red supergiants if they are in binary systems close enough so that the companion star strips off the envelope as it expands, or if they rotate rapidly enough so that convection extends all the way from the core to the surface, resulting in the absence of a separate core and envelope due to thorough mixing.[20]

text: The core grows hotter and denser as it gains material from fusion of hydrogen at the base of the envelope. In all massive stars, electron degeneracy pressure is insufficient to halt collapse by itself, so as each major element is consumed in the center, progressively heavier elements ignite, temporarily halting collapse. If the core of the star is not too massive (less than approximately 1.4 M☉, taking into account mass loss that has occurred by this time), it may then form a white dwarf (possibly surrounded by a planetary nebula) as described above for less-massive stars, with the difference that the white dwarf is composed chiefly of oxygen, neon, and magnesium.

text: Above a certain mass (estimated at approximately 2.5 M☉ and whose star's progenitor was around 10 M☉), the core will reach the temperature (approximately 1.1 gigakelvins) at which neon partially breaks down to form oxygen and helium, the latter of which immediately fuses with some of the remaining neon to form magnesium; then oxygen fuses to form sulfur, silicon, and smaller amounts of other elements. Finally, the temperature gets high enough that any nucleus can be partially broken down, most commonly releasing an alpha particle (helium nucleus) which immediately fuses with another nucleus, so that several nuclei are effectively rearranged into a smaller number of heavier nuclei, with net release of energy because the addition of fragments to nuclei exceeds the energy required to break them off the parent nuclei.

text: A star with a core mass too great to form a white dwarf but insufficient to achieve sustained conversion of neon to oxygen and magnesium, will undergo core collapse (due to electron capture) before achieving fusion of the heavier elements.[21] Both heating and cooling caused by electron capture onto minor constituent elements (such as aluminum and sodium) prior to collapse may have a significant impact on total energy generation within the star shortly before collapse.[22] This may produce a noticeable effect on the abundance of elements and isotopes ejected in the subsequent supernova.

text: Supernova[edit]

text: Once the nucleosynthesis process arrives at iron-56, the continuation of this process consumes energy (the addition of fragments to nuclei releases less energy than required to break them off the parent nuclei). If the mass of the core exceeds the Chandrasekhar limit, electron degeneracy pressure will be unable to support its weight against the force of gravity, and the core will undergo sudden, catastrophic collapse to form a neutron star or (in the case of cores that exceed the Tolman-Oppenheimer-Volkoff limit), a black hole. Through a process that is not completely understood, some of the gravitational potential energy released by this core collapse is converted into a Type Ib, Type Ic, or Type II supernova. It is known that the core collapse produces a massive surge of neutrinos, as observed with supernova SN 1987A. The extremely energetic neutrinos fragment some nuclei; some of their energy is consumed in releasing nucleons, including neutrons, and some of their energy is transformed into heat and kinetic energy, thus augmenting the shock wave started by rebound of some of the infalling material from the collapse of the core. Electron capture in very dense parts of the infalling matter may produce additional neutrons. Because some of the rebounding matter is bombarded by the neutrons, some of its nuclei capture them, creating a spectrum of heavier-than-iron material including the radioactive elements up to (and likely beyond) uranium.[23] Although non-exploding red giants can produce significant quantities of elements heavier than iron using neutrons released in side reactions of earlier nuclear reactions, the abundance of elements heavier than iron (and in particular, of certain isotopes of elements that have multiple stable or long-lived isotopes) produced in such reactions is quite different from that produced in a supernova. Neither abundance alone matches that found in the Solar System, so both supernovae and ejection of elements from red giants are required to explain the observed abundance of heavy elements and isotopes thereof.

text: The energy transferred from collapse of the core to rebounding material not only generates heavy elements, but provides for their acceleration well beyond escape velocity, thus causing a Type Ib, Type Ic, or Type II supernova. Note that current understanding of this energy transfer is still not satisfactory; although current computer models of Type Ib, Type Ic, and Type II supernovae account for part of the energy transfer, they are not able to account for enough energy transfer to produce the observed ejection of material.[24]

text: Some evidence gained from analysis of the mass and orbital parameters of binary neutron stars (which require two such supernovae) hints that the collapse of an oxygen-neon-magnesium core may produce a supernova that differs observably (in ways other than size) from a supernova produced by the collapse of an iron core.[25]

text: The most massive stars that exist today may be completely destroyed by a supernova with an energy greatly exceeding its gravitational binding energy. This rare event, caused by pair-instability, leaves behind no black hole remnant.[26] In the past history of the universe, some stars were even larger than the largest that exists today, and they would immediately collapse into a black hole at the end of their lives, due to photodisintegration.

text: Stellar remnants[edit]

text: After a star has burned out its fuel supply, its remnants can take one of three forms, depending on the mass during its lifetime.

text: White and black dwarfs[edit]

text: For a star of 1 M☉, the resulting white dwarf is of about 0.6 M☉, compressed into approximately the volume of the Earth. White dwarfs are stable because the inward pull of gravity is balanced by the degeneracy pressure of the star's electrons, a consequence of the Pauli exclusion principle. Electron degeneracy pressure provides a rather soft limit against further compression; therefore, for a given chemical composition, white dwarfs of higher mass have a smaller volume. With no fuel left to burn, the star radiates its remaining heat into space for billions of years.

text: A white dwarf is very hot when it first forms, more than 100,000 K at the surface and even hotter in its interior. It is so hot that a lot of its energy is lost in the form of neutrinos for the first 10 million years of its existence, but will have lost most of its energy after a billion years.[27]

text: The chemical composition of the white dwarf depends upon its mass. A star of a few solar masses will ignite carbon fusion to form magnesium, neon, and smaller amounts of other elements, resulting in a white dwarf composed chiefly of oxygen, neon, and magnesium, provided that it can lose enough mass to get below the Chandrasekhar limit (see below), and provided that the ignition of carbon is not so violent as to blow the star apart in a supernova.[28] A star of mass on the order of magnitude of the Sun will be unable to ignite carbon fusion, and will produce a white dwarf composed chiefly of carbon and oxygen, and of mass too low to collapse unless matter is added to it later (see below). A star of less than about half the mass of the Sun will be unable to ignite helium fusion (as noted earlier), and will produce a white dwarf composed chiefly of helium.

text: In the end, all that remains is a cold dark mass sometimes called a black dwarf. However, the universe is not old enough for any black dwarfs to exist yet.

text: If the white dwarf's mass increases above the Chandrasekhar limit, which is 1.4 M☉ for a white dwarf composed chiefly of carbon, oxygen, neon, and/or magnesium, then electron degeneracy pressure fails due to electron capture and the star collapses. Depending upon the chemical composition and pre-collapse temperature in the center, this will lead either to collapse into a neutron star or runaway ignition of carbon and oxygen. Heavier elements favor continued core collapse, because they require a higher temperature to ignite, because electron capture onto these elements and their fusion products is easier; higher core temperatures favor runaway nuclear reaction, which halts core collapse and leads to a Type Ia supernova.[29] These supernovae may be many times brighter than the Type II supernova marking the death of a massive star, even though the latter has the greater total energy release. This instability to collapse means that no white dwarf more massive than approximately 1.4 M☉ can exist (with a possible minor exception for very rapidly spinning white dwarfs, whose centrifugal force due to rotation partially counteracts the weight of their matter). Mass transfer in a binary system may cause an initially stable white dwarf to surpass the Chandrasekhar limit.

text: If a white dwarf forms a close binary system with another star, hydrogen from the larger companion may accrete around and onto a white dwarf until it gets hot enough to fuse in a runaway reaction at its surface, although the white dwarf remains below the Chandrasekhar limit. Such an explosion is termed a nova.

text: Neutron stars[edit]

text: Ordinarily, atoms are mostly electron clouds by volume, with very compact nuclei at the center (proportionally, if atoms were the size of a football stadium, their nuclei would be the size of dust mites). When a stellar core collapses, the pressure causes electrons and protons to fuse by electron capture. Without electrons, which keep nuclei apart, the neutrons collapse into a dense ball (in some ways like a giant atomic nucleus), with a thin overlying layer of degenerate matter (chiefly iron unless matter of different composition is added later). The neutrons resist further compression by the Pauli Exclusion Principle, in a way analogous to electron degeneracy pressure, but stronger.

text: These stars, known as neutron stars, are extremely small—on the order of radius 10 km, no bigger than the size of a large city—and are phenomenally dense. Their period of rotation shortens dramatically as the stars shrink (due to conservation of angular momentum); observed rotational periods of neutron stars range from about 1.5 milliseconds (over 600 revolutions per second) to several seconds.[30] When these rapidly rotating stars' magnetic poles are aligned with the Earth, we detect a pulse of radiation each revolution. Such neutron stars are called pulsars, and were the first neutron stars to be discovered. Though electromagnetic radiation detected from pulsars is most often in the form of radio waves, pulsars have also been detected at visible, X-ray, and gamma ray wavelengths.[31]

text: Black holes[edit]

text: If the mass of the stellar remnant is high enough, the neutron degeneracy pressure will be insufficient to prevent collapse below the Schwarzschild radius. The stellar remnant thus becomes a black hole. The mass at which this occurs is not known with certainty, but is currently estimated at between 2 and 3 M☉.

text: Black holes are predicted by the theory of general relativity. According to classical general relativity, no matter or information can flow from the interior of a black hole to an outside observer, although quantum effects may allow deviations from this strict rule. The existence of black holes in the universe is well supported, both theoretically and by astronomical observation.

text: Because the core-collapse supernova mechanism itself is imperfectly understood, it is still not known whether it is possible for a star to collapse directly to a black hole without producing a visible supernova, or whether some supernovae initially form unstable neutron stars which then collapse into black holes; the exact relation between the initial mass of the star and the final remnant is also not completely certain. Resolution of these uncertainties requires the analysis of more supernovae and supernova remnants.

text: Models[edit]

text: A stellar evolutionary model is a mathematical model that can be used to compute the evolutionary phases of a star from its formation until it becomes a remnant. The mass and chemical composition of the star are used as the inputs, and the luminosity and surface temperature are the only constraints. The model formulae are based upon the physical understanding of the star, usually under the assumption of hydrostatic equilibrium. Extensive computer calculations are then run to determine the changing state of the star over time, yielding a table of data that can be used to determine the evolutionary track of the star across the Hertzsprung–Russell diagram, along with other evolving properties.[32] Accurate models can be used to estimate the current age of a star by comparing its physical properties with those of stars along a matching evolutionary track.[33]


document_title: Legion (TV series)

question_text: when do new episodes of legion come out

question_tokens: when do new episodes of legion come out

text: Legion (TV series)

text: Premise[edit]

text: David Haller was diagnosed with schizophrenia at a young age and has been a patient in various psychiatric hospitals since. After Haller has an encounter with a fellow psychiatric patient, he is confronted with the possibility that there may be more to him than mental illness.[4] Hunted by the government agency Division 3 in the first season, Haller is saved by a group of mutants at a facility called Summerland, who explain that he is also a mutant. Haller eventually discovers that his mind is infected by the parasitic mutant Amahl Farouk / Shadow King, and is able to force the villain from his mind. In the second season, Haller is trapped by a mysterious orb for a year. In his absence, his Summerland allies join with Division 3 to stop Farouk and his plan to amass world-ending power.[5]

text: Cast and characters[edit]

text:
Dan Stevens as David Haller:
The mutant son of Charles Xavier, Haller was diagnosed with schizophrenia at a young age and meets the "girl of his dreams" in a psychiatric hospital.[6][7] The character possesses various psychic abilities, including telepathy and telekinesis.[8] Stevens joined the series because of showrunner Noah Hawley's involvement,[7] and did extensive research on mental health to prepare for the role, talking to both mentally ill persons and doctors.[9] Hawley and the cast kept secrets from Stevens about the character and plot so that he could identify with Haller's confusion about himself and reality.[10]
Rachel Keller as Sydney "Syd" Barrett:
A young mutant woman who becomes Haller's girlfriend.[6][7] Syd's mind trades places with that of anyone she touches, with hers entering their body, and vice versa.[8] Because of her abilities, the character is portrayed as "withdrawn", the opposite of Keller's breakout performance in the second season of Hawley's Fargo.[11] She is named after Roger "Syd" Barrett of the rock band Pink Floyd, whose music was an important influence on the series for Hawley.[12]
Aubrey Plaza as Lenore "Lenny" Busker:
Haller's friend, an "impossible optimist" despite a history of drug and alcohol abuse.[6][7] The character dies in the first episode, but returns as one of several forms the powerful mutant Amahl Farouk adopts within Haller's mind.[13] Farouk later gives Busker a new body to use, created by infusing Amy Haller's body with Busker's DNA.[14] Busker was originally written for a middle aged man, until Hawley met Plaza and rethought the character. However, Plaza insisted that the character's dialogue not be changed for her, instead choosing to play the character as both male and female. This led to Busker "making crass remarks about women and muttering vintage phrases".[15]
Bill Irwin as Cary Loudermilk:
A mutant scientist,[16][7][17] one of the founders of Summerland and one of Bird's specialists.[18] The character is introduced in the second episode, but Hawley sought to cast Irwin, for his "playful approach to characters", during filming on the pilot, before the character's role had been written.[19][7] Hawley "had to pitch him the weird, crazy character dynamic and that the show is about memory and identity", and Irwin agreed to join the project.[20]
Jeremie Harris as Ptonomy Wallace:
A former child prodigy and a mutant,[21][7] one of Bird's specialists.[18] A "memory artist", Ptonomy "remembers everything, and has the ability to take people back into their own memories".[8]
Amber Midthunder as Kerry Loudermilk:
A mutant who lives inside Cary's body; their mutant power allows them to coexist in one body or to become separate physical persons.[22][7] Kerry only ages when she is outside Cary, leaving her physically much younger than he is.
Katie Aselton as Amy Haller:
David's adoptive older sister, who tries to remain positive despite his history of mental illness.[23][7] Hawley said that she defined herself as normal "against her brother. She finds herself being looked at as if she might be crazy, as well."[17]
Jean Smart as Melanie Bird:
A demanding psychiatric therapist.[6][18] Smart joined the series immediately when asked by Hawley, despite knowing nothing about the show and its source material, due to her previous Emmy-nominated work with him on the second season of Fargo.[24]
Navid Negahban as Amahl Farouk / Shadow King: A malevolent presence in Haller's mind who takes on several different forms.[25][26]
Jemaine Clement as Oliver Bird: Melanie's husband.[27][26] He has spent the last 20 years on the astral plane.[20]
Hamish Linklater as Clark Debussy: An "Interrogator" for Division 3.[17][26]

text: Episodes[edit]

text: Season 1 (2017)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code
U.S. viewers
(millions)

1
1
"Chapter 1"
Noah Hawley
Noah Hawley
February 8, 2017 (2017-02-08)
XLN01001
1.62[28]

2
2
"Chapter 2"
Michael Uppendahl
Noah Hawley
February 15, 2017 (2017-02-15)
XLN01002
1.13[29]

3
3
"Chapter 3"
Michael Uppendahl
Peter Calloway
February 22, 2017 (2017-02-22)
XLN01003
1.04[30]

4
4
"Chapter 4"
Larysa Kondracki
Nathaniel Halpern
March 1, 2017 (2017-03-01)
XLN01004
0.75[31]

5
5
"Chapter 5"
Tim Mielants
Peter Calloway
March 8, 2017 (2017-03-08)
XLN01005
0.80[32]

6
6
"Chapter 6"
Hiro Murai
Nathaniel Halpern
March 15, 2017 (2017-03-15)
XLN01006
0.73[33]

7
7
"Chapter 7"
Dennie Gordon
Jennifer Yale
March 22, 2017 (2017-03-22)
XLN01007
0.72[34]

8
8
"Chapter 8"
Michael Uppendahl
Noah Hawley
March 29, 2017 (2017-03-29)
XLN01008
0.81[35]

text: Season 2 (2018)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code
U.S. viewers
(millions)

9
1
"Chapter 9"
Tim Mielants
Noah Hawley & Nathaniel Halpern
April 3, 2018 (2018-04-03)
XLN02001
0.67[36]

10
2
"Chapter 10"
Ana Lily Amirpour
Noah Hawley & Nathaniel Halpern
April 10, 2018 (2018-04-10)
XLN02002
0.44[37]

11
3
"Chapter 11"
Sarah Adina Smith
Noah Hawley & Nathaniel Halpern
April 17, 2018 (2018-04-17)
XLN02003
0.38[38]

12
4
"Chapter 12"
Ellen Kuras
Noah Hawley & Nathaniel Halpern
April 24, 2018 (2018-04-24)
XLN02004
0.43[39]

13
5
"Chapter 13"
Tim Mielants
Noah Hawley & Nathaniel Halpern
May 1, 2018 (2018-05-01)
XLN02005
0.46[40]

14
6
"Chapter 14"
John Cameron
Noah Hawley
May 8, 2018 (2018-05-08)
XLN02007
0.35[41]

15
7
"Chapter 15"
Charlie McDowell
Noah Hawley & Nathaniel Halpern
May 15, 2018 (2018-05-15)
XLN02006
0.45[42]

16
8
"Chapter 16"
Jeremy Webb
Noah Hawley & Jordan Crair
May 22, 2018 (2018-05-22)
XLN02008
0.41[43]

17
9
"Chapter 17"
Noah Hawley
Noah Hawley & Nathaniel Halpern
May 29, 2018 (2018-05-29)
XLN02011
TBD

18
10
"Chapter 18"[44]
Dana Gonzales
Noah Hawley & Nathaniel Halpern
June 5, 2018 (2018-06-05)
TBA
TBD

19
11
"Chapter 19"[44]
Keith Gordon
Noah Hawley
June 12, 2018 (2018-06-12)
TBA
TBD

text: Production[edit]

text: Development[edit]

text: After completing work on the first season of Fargo at FX in 2014, Noah Hawley was presented with the opportunity to develop the first live-action television series based on the X-Men comics, of which Hawley was a fan when growing up.[45] Hawley was initially pitched two different ideas for the potential series,[11] including an adaptation of the comics' Hellfire Club, but the ideas did not interest Hawley. Instead, he worked with X-Men film series writer and producer Simon Kinberg to reverse-engineer an idea for the series. After discussing an "interesting show in this genre ... that isn't being done", the two settled on the character of David Haller / Legion. Hawley found the character interesting because of his mental illness, and for the potential of the series to depict his unique mindset.[45] He pitched the series as "a deconstruction of a villain ... and a love story".[11]

text: In October 2015, FX ordered a pilot for Legion, with Marvel Television and FX Productions producing; FX Productions would handle the physical production. Hawley was set to write the pilot, and executive produce the series alongside X-Men film producers Lauren Shuler Donner, Bryan Singer, and Kinberg, Marvel Television executives Jeph Loeb and Jim Chory, and Hawley's Fargo collaborator John Cameron.[4] Steve Blackman, Alan Fine, Stan Lee, Joe Quesada, and Karim Zreik also executive produce.[46] Hawley's initial script for the series was described as "less fractured", "cohesive [and] much more regular." However, he quickly reconceived the series "and decided more Eternal Sunshine of the Spotless Mind, Terrence Malick, more whimsy, more impressionistic and went in that direction."[11] By January 2016, FX President John Landgraf was confident that the series would be picked up by the network, saying that "the vast majority of things that we pilot do go forward to series" and "the scripts [for Legion] are extraordinary."[47] That May, FX ordered an eight-episode first season of Legion.[16]

text: In June, Landgraf said that the series, if successful, could run for as many seasons as Hawley feels it needs to tell the story.[48] Discussing future seasons, Hawley said in January 2017 that he was open to continuing the story past the first season, but didn't want the audience to get to the end of the first run and have "no resolution of any kind at the end of it." Star Dan Stevens said, "I know for a fact that there are more issues that David has to deal with than the one that we really address in the first season."[9] Also at that time, Singer explained the executive producers' roles in the series, saying that he, Donner, and Kinberg brought their experience from making the X-Men films, but their involvement generally consisted of giving small notes on scripts and early cuts of episodes.[49] In March, FX ordered a second season of the series.[50] With the end of the first season, Hawley said that the second season would consist of ten episodes, and explained that he was unsure at that time how long he would like the series to run: "I think there were things about the first season that [I felt] would unfold faster than they did, and things that I thought would take longer that I dealt with more quickly. I think by the end of the second year I'll have a better sense of how many more years there are to go".[51]

text: Singer was removed as an executive producer on the series in January 2018, and his name was removed from the credits of the series' episodes beginning with the second season, due to sexual abuse allegations against him being made. Hawley said that it had been Singer who had asked for his name to be removed, and that Singer had only had limited involvement with the series anyway; he had initially expressed interest in directing the pilot of the series, but had not been directly involved since Hawley took over.[52] That month, Hawley stated that he was planning for a third season of the series,[53] and soon elaborated that the second season would clearly lead in to the third, and that "it’s not a show where each year there’s a new villain and the end of the table. It’s a three or four or five act story where each season is another chapter in that story."[54] In March, he discussed the proposed acquisition of 21st Century Fox by Disney, saying that he was unsure how it would affect the series and that he had not discussed the issue with either studio, but that he believed "as long as the show is making noise and is watched by people, I won’t be worried that they’re going to cancel Legion because it doesn’t fit in with their larger brand."[55]

text: Writing[edit]

text: Kinberg teased in November 2015 that the series would tell "X-Men stories in a slightly different way and even with a slightly different tone" from the films, noting the differences in tone between the "operatic" X-Men films and the "irreverent and hysterical" Deadpool, and feeling that Legion gives "us an opportunity to go even further ... in some ways to sort of blow up the paradigm of comic book or superhero stories and almost do our Breaking Bad of superhero stories."[56] Loeb noted that "the core" of all X-Men comic books has always been that "the X-Men were different ... We live in a world right now where diversity and uniqueness and whether or not we fit in is something that's on our minds twenty-four hours a day. The X-Men have never been more relevant than they are right now." Hawley added, "The great thing about exploring this character is before he has an opinion about anyone else, he has to figure out his own shit. That's what we all have to do. This journey isn't necessarily racing toward a battle with an entity, so much as embracing the battle within."[7]

text: In May 2016, Hawley described his take on the series as being inspired by the works of David Lynch, and said that "the structure of a story should reflect the content of the story. If the story, as in this case, is about a guy who is either schizophrenic or he has these abilities, i.e., he doesn't know what's real and what's not real, then the audience should have the same experience ... my goal with this is to do something whimsical and imaginative and unexpected. Not just because I want to do something different, but because it feels like the right way to tell this story."[57] Elaborating on structuring the series to reflect Haller's point of view, Hawley said, "I love the idea that even when you're in it on the journey, there is this Alice in Wonderland quality to it, of a story within a story."[45] Discussing the increasing popularity of unreliable narrators in television, Hawley said that he wanted to avoid making the audience think that the series is a puzzle that needs to be solved by solving the mysteries for them upfront—"We're going to take a character out of confusion into clarity and an audience out of mystery into clarity."[19] Hawley deliberately chose not to directly adapt any storylines from the comics, feeling that "you're bound to offend somebody, no matter what you do" in that situation. Instead, he wanted to take the character of Legion and basic set-up around him, and "play" with that,[45] which he described in relation to Fargo—"my job was not to remake the movie, to sort of retell a story that had already been told, but to try to tell a different story with the same effect, the same impact."[58]

text: Concerning the mental illness aspects of the character, Hawley said, "It's a tragic condition that people have, and so I don't want to use it for entertainment purposes ... if we can ground that [aspect] for the audience, then the idea that he's fallen in love and that he's not ill, there's a hope to that that the audience is gonna grab onto."[58] In January 2017, Hawley explained that he was willing to use different tropes from the superhero genre in the series, such as superhero costumes with capes, if necessary, but did want to avoid "sending a message that all conflict can only be resolved through battle. There is a sense in a lot of these stories that everything always builds to a big fight ... I wanted to find a story that was just as exciting and interesting but doesn't send the message that in the end that 'might makes right'."[8] At the end of the first season, Hawley said, "I like this idea of having to face our demons", with the first season seeing Haller go through an internal struggle with the malevolent Shadow King occupying his mind, and then the second season seeing that character possess someone else "making it an exterior agent. And there's going to be something very complicated about going to war with himself. It's been with him since he was a baby, it's like a phantom limb now, it's part of him." Hawley said he preferred this idea of a villain "worthy of creating a whole story around", rather than a villain-of-the year. He was unsure at the time how long that storyline would continue throughout the show, but said "it's a fascinating setup to follow."[51]

text: Casting[edit]

text: In January 2016, Rachel Keller was cast as the female lead of the series, after her breakout role in Fargo.[59] In early February, Stevens, Aubrey Plaza, and Jean Smart were cast as Haller, his friend Lenny Busker, and therapist Melanie Bird, respectively. Keller's role was revealed to be Syd Barrett.[6][7][18] Later that month, Jeremie Harris was cast in the regular role of Ptonomy Wallace,[21] and Amber Midthunder was cast as the savant Kerry Loudermilk.[22][7] In March, Katie Aselton was cast as Haller's older sister Amy.[23] With the full series order in May 2016, Bill Irwin was added to the cast,[16] in the role of Cary Loudermilk.[7]

text: Stevens, Keller, Plaza, Irwin, Harris, Midthunder, and Smart returned for the second season,[26] with Aselton making a guest appearance in the season before Amy's body is transformed into a new one for Busker.[14] They are joined by Navid Negahban, cast as the true form of the Shadow King, a character that appeared in several different forms throughout the first season.[25] Jemaine Clement and Hamish Linklater also star in the second season,[26] after having guest roles during the first season as Oliver Bird, the husband of Melanie, and the "Interrogator" Clark Debussy, respectively.[60][17]

text: Design[edit]

text: Though he put little thought into the aesthetics of the series when writing the pilot,[61] as a director Hawley wanted the series to be highly stylized, describing his vision for it as "a 1964 Terence Stamp movie".[27] It was not feasible to literally translate Bill Sienkiewicz's iconic artwork of the character to the screen, and Hawley wanted the series to have "its own visual aesthetic to it, and part of that is being a story kind of out of time and out of place". He stated that "the design of a show has to have its own internal logic", and compared this sensibility to the series Hannibal, which he said was "a great example of something that had this almost fetishistic beauty to everything that you saw, whether it was food or violence."[58] Hawley elaborated that the design choice of 60s British films came about because "this whole show is not the world, it's David's experience of the world. He's piecing his world together from nostalgia and memory and the world becomes that."[8]

text: Filming[edit]

text: Filming for the pilot took place in Vancouver,[62] with Hawley directing and Dana Gonzales serving as cinematographer.[57][63] With the series order, the rest of the first season were set to also film in Vancouver,[16][64] with Craig Wrobleski also working as a cinematographer. Both Ganzales and Wrobleski previously worked with Hawley on Fargo.[65] The pilot featured a large amount of in-camera effects, which Hawley admitted would be a challenge for the series' directors to maintain,[20] given he had 21 days to film the pilot, but the subsequent episodes were only scheduled 8 days of filming each. Some of these shoots ultimately had to be extended to 10 or 11 days filming to meet Hawley's vision.[19] For the second season, the series relocated its production to California to take advantage of tax incentives provided by the California Film Commission under its "Program 2.0" initiative.[66]

text: Music[edit]

text: Jeff Russo was revealed to be composing the series' score in October 2016.[12] Hawley stated that when first meeting with Russo about the series, he told the latter that he wanted the series to sound like Pink Floyd's The Dark Side of the Moon, explaining "that album more than anything is really the soundscape of mental illness to some degree".[27][12] Russo felt that "the important part is allowing the humanity of these characters to really shine through", and in addition to an orchestra he used "a bunch of old synthesizers" and "a lot of interesting sound design" to represent the "otherworldly" elements of the series.[67] With the series' premiere, Russo reiterated that the "through-line" of the series is the relationship between Haller and Barrett, and said that a love story "lends itself to musical moments. It allows it to underscore the character." After his early meetings with Hawley, Russo developed some initial ideas for the score, and created three different themes to represent Haller. He adapted these ideas to fit the episodes once they had been edited.[68] A soundtrack album for the first season was released digitally on February 24, 2017, on Amazon.com.[69]

text: Shared universe connections[edit]

text: Landgraf stated, in January 2016, that the series would be set in a universe parallel to the X-Men films where "the US government is in the early days of being aware that something called mutants exist but the public is not". He felt it was unlikely that characters would cross over between the show and films, but noted that this could change between then and the premiere of the series.[47] That July, an article on Marvel.com referred to Legion as one of several characters joining the Marvel Cinematic Universe (MCU), suggesting that Legion would be set in that shared universe like Marvel Television's other series.[70] The next month, Singer said that Legion had actually been designed to fit into the X-Men universe, but also to stand alone, so "you wouldn't have to label" the relationship between the series and the films. He teased plans to have the series "relate to future X-Men movies".[71]

text: At New York Comic-Con 2016, Donner said that the series is "far from the X-Men movies, but still lives in that universe. The only way for X-Men to keep moving forward is to be original and to surprise. And this is a surprise. It is very, very different." Hawley explained that because the series is depicting the title character's "subjective reality", it would not have to address any connections to the films straight away, noting that Fargo, which is connected to the 1996 film of the same name, at first "had to stand on its own feet" before exploring those connections more; "We have to earn the right to be part of this universe. My hope is we create something so strong that the people in the movie studio call and say they would be foolish enough not to connect these things." He did state that "you can't tell this story without" acknowledging that Legion is the son of Charles Xavier, who appears in the films. In regards to the MCU, Loeb stated that his involvement in the series was a sign that "bridges are being made" between Marvel and Fox, "but I don't want to make any promises ... Marvel heroes at their core are people who are damaged and are trying to figure out who they are in life. It doesn't matter whether or not they're X-Men, Tony Stark, Matt Murdock or Peter Parker ... If you start at a place as strong as David's character is and you have a storyteller like Noah, then it's Marvel. In that way, it is all connected."[7]

text: Loeb and Donner stated in January 2017 that there were no plans to have Legion be the first in a series of connected shows on FX, like Marvel Television's group of interconnected Defenders series on Netflix,[72] and that Legion and the X-Men series being developed for Fox are "not going to get in each other's way."[11] Donner stated that the series was just a chance to bring an X-Men character to the screen who was not going to be used by the films. The producers hoped that audiences would watch the show because of its character-focus and the talents of Hawley and the cast, rather than to "see a Marvel franchise show."[72] Donner also noted that having Hawley focus on Haller's perspective of reality rather than connections to the X-Men films allowed the series to avoid the convoluted continuity of the films, "because we play with so many different timelines, and we rebooted and not really rebooted and all that" throughout the films. Therefore, "the cinematic universe will not worry about Legion. They will not worry about these TV worlds at all. They will just continue in the way that they have been continuing."[11] For the onscreen confirmation that Xavier is Haller's father in "Chapter 7", with Xavier's signature wheelchair shown in a brief flashback, the series' production was able to choose from any of the variant wheelchairs used throughout the film series. They settled on the version from X-Men: Apocalypse, with the prop used in that film being brought out of storage for the show.[13][24]

text: Release[edit]

text:
Season
Episodes
Originally aired
DVD and Blu-ray release dates

First aired
Last aired
Region 1
Region 2
Region 4

1
8
February 8, 2017
March 29, 2017
March 27, 2018[73]
October 2, 2017[74]
November 22, 2017[75]

2
11[76]
April 3, 2018
June 12, 2018[76]
TBA
TBA
TBA

text: Broadcast[edit]

text: Legion airs on FX in the United States,[18] and on Fox channels in over 125 other countries, releasing using a "day-and-date" delivery system so that viewers around the world get the series on the same day as the U.S.; Fox Networks Group's sales division handle distribution of the series to third parties.[77]

text: Reception[edit]

text:
Season
Nielsen ratings
Critical response

Premiere total viewers
(in millions)
Finale total viewers
(in millions)
Season average total viewers,
inc. DVR (in millions)
Rotten Tomatoes
Metacritic

1
1.62[28]
0.81[35]
2.48
90% (71 reviews)[78]
82 (40 reviews)[79]

2
0.67[36]
TBD
TBD
92% (22 reviews)[80]
85 (10 reviews)[81]

text: Ratings[edit]

text: Writing for Screen Rant, J.M. Brandt noted that FX extensively advertised the series, but was debuting the 90 minute (with commercials) premiere at 10:00 pm on a Wednesday night, later than other genre "monster hits" like Game of Thrones and The Walking Dead. Brandt felt that the series' success would heavily depend on DVR viewing "to bolster what might be a likely smallish live audience".[82] Following the series premiere, Legion's debut ratings were described as "OK, not great", in line with other cable series debuts, but lower than other high-profile FX debuts such as American Crime Story and Hawley's own Fargo.[83]

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes reported a 90% approval rating for the first season, with an average rating of 8.42/10 based on 71 reviews. The website's critical consensus reads, "Bold, intelligent, and visually arresting, Legion is a masterfully surreal and brilliantly daring departure from traditional superhero conceits."[78] Metacritic, which uses a weighted average, assigned a score of 82 out of 100 based on 40 critics for the season, indicating what the website considers to be "universal acclaim".[79] A 92% approval rating for the second season was reported by Rotten Tomatoes, with an average rating of 7.86/10 based on 22 reviews, and a critical consensus reading, "Legion returns with a smart, strange second season that settles into a straighter narrative without sacrificing its unique sensibilities."[80] Metacritic assigned a score of 85 out of 100 based on 10 critics for the season, again indicating "universal acclaim".[81]

text: Analysis[edit]

text: Discussing the series' exploration of mental illness, Charles Pulliam-Moore of io9 stated that schizophrenia is widely featured in popular culture and is generally misrepresented, and noted that giving Haller schizophrenia was a change from the comics where the character had dissociative identity disorder. He felt that the series takes advantage of this change both to show "mind-bending, trippy moments meant to convey to viewers how fractured and disorienting David’s perceptions of reality can be" and by having characters like Melanie Bird insist that Haller can improve with treatment and counselling. Pulliam-Moore explained that other telepaths with mental illnesses in the X-Men franchise—Jason Stryker in X2, Jean Grey in X-Men: The Last Stand, and Charles Xavier in Logan—were all treated with drugs, and praised the alternative therapy explored in the series, as well as the fact that the removal of the Shadow King from Haller's mind was not an excuse to ignore the mental illness issues moving forward. He concluded, "It’s that idea—that healing is an ongoing, complex, and dynamic process—that made Legion's first season so strong", and hoped that it would be continued in the second season of the series.[84]

text: Accolades[edit]

text:
Year
Award
Category
Recipient
Result
Ref.

2017
TVLine's Performer of the Week
Performance in "Chapter 6"
Aubrey Plaza
Won
[85]

Golden Trailer Awards
Best Sound Editing (TV Spot/Trailer/Teaser for a series)
Legion
Won
[86]

Saturn Awards
Best Superhero Adaptation Television Series
Legion
Nominated
[87]

Gold Derby TV Awards
Drama Supporting Actress
Aubrey Plaza
Nominated
[88]

Drama Guest Actor
Jemaine Clement
Nominated

Camerimage International Film Festival
First Look – TV Pilots Competition
Dana Gonzales for "Chapter 1"
Nominated
[89]

IGN's Best of 2017 Awards
TV Series of the Year
Legion
Nominated
[90]

Best New Series
Legion
People's Choice
[91]

Best Action Series
Legion
Runner-Up (tied)
[92]

Best Dramatic TV Performance
Dan Stevens
Nominated
[93]

2018
Satellite Awards
Best Television Series – Genre
Legion
Nominated
[94]

ASC Awards
Outstanding Achievement in Cinematography in Regular Series for Commercial Television
Dana Gonzales for "Chapter 1"
Nominated
[95]

Visual Effects Society Awards
Outstanding Visual Effects in a Photoreal Episode
John Ross, Eddie Bonin, Sebastian Bergeron, Lionel Lim, Paul Benjamin for "Chapter 1"
Nominated
[96]

Empire Awards
Best TV Actor
Dan Stevens
Nominated
[97]

GLAAD Media Awards
Outstanding Individual Episode (in a series without a regular LGBTQ character)
"Chapter 8"
Nominated
[98]

Peabody Awards
Entertainment
Legion
Pending
[99]


document_title: Gimme a Break!

question_text: who played joey on gimme a break

question_tokens: who played joey on gim me a break

text: Gimme a Break!

text: Premise[edit]

text: The sitcom takes place in Glenlawn, a fictional California suburb (certain episodes differ as to of what California city suburb was Glenlawn). Nellie Ruth "Nell" Harper (Nell Carter) agrees to look after the Kanisky household as a special favor to her dying friend Margaret Huffman Kanisky (played in flashback by Sharon Spelman), who was the wife of police chief Carl Kanisky (Dolph Sweet), serving as a parental figure to the Chief's three teenage daughters, Katie (Kari Michaelsen),  Julie (Lauri Hendler), and Samantha (Lara Jill Miller). A foster son, Joey (Joey Lawrence), was added to the Kanisky household in Season 3.

text: Five episodes into the sixth and final season, the show changed locales from Glenlawn to New York City, when Nell, concerned for Joey's welfare after he moved there with his absentee father, traveled there to check on him. She subsequently assumed guardianship of Joey and his younger brother Matthew (played by Joey Lawrence's real-life brother Matthew Lawrence) at their father's request and was forced to permanently relocate there after Chief Kanisky's father Stanley (John Hoyt) sold the family's Glenlawn home.

text: Over the six-year run, a number of celebrities appeared on the show, including singers Whitney Houston, Andy Gibb, Sammy Davis, Jr., Ray Parker Jr., and The Pointer Sisters. More often than not, the guest singers would perform a song with Nell on the episodes. During the third season, Pat Sajak guest-starred as himself when Nell and her friend Addy (Telma Hopkins) were contestants on Wheel of Fortune. Other notable guest stars included Milton Berle, Danny Glover, Rue McClanahan, Tony Randall, Helen Hunt, Don Rickles, Gwen Verdon, Dennis Haysbert, Ernie Hudson, Gary Collins, and Elizabeth Berkley.

text: The episode "Cat Story" was performed and broadcast live on March 2, 1985, as a promotional gimmick, which the cast performed without major incident. An earlier episode (from the 1984–85 season), "Baby of the Family," ranked No. 38 on TV Land's list of "The 100 Most Unexpected TV Moments;" it depicted Joey dressing and performing in blackface at Nell's church benefit, a plan hatched by Samantha to retaliate for Nell forbidding her to go on an unchaperoned camping trip.[1]

text: The location of Glenlawn is never fully clarified, but Season 3 episode "Flashback" placed the town an hour away from Fresno, in the direction of Bakersfield. In yet another episode, Chief Kanisky boasts to the town mayor that his new police car will make it to Sacramento in just 23 minutes, putting the city of Glenlawn somewhere closer to the capital city than Fresno. Yet in another episode where exterior shooting took place, GlenLawn is on the ocean with palm trees. Still in another episode Nell states that Glenlawn is 300 miles from Santa Barbara. This places Glenlawn close to San Francisco. This is supported by episodes where Katie moves to San Francisco and Julie moves to nearby San Jose.

text: Cast[edit]

text: Main characters[edit]

text:
Nell Carter as Nellie Ruth "Nell" Harper. Nell was a singer from Tuscaloosa County, Alabama who ran away from home when she was 18. She met and became friends with Margaret Kanisky and promised to look after her family after she had died from cancer. In keeping her promise, Nell took on the role of housekeeper and mother to the kids and remained in the series for the entire 6-year run. She later became a foster mother to Joey Donovan in Season 3. Nell moved to Greenwich Village in New York City in Season 6 with Joey and Addy and worked as an assistant editor for a publishing company.
Dolph Sweet as Police Chief Carl "Chief" Kanisky (Seasons 1–4). Police Chief Carl Kanisky, known simply as "the Chief," was a widower with three teenage daughters. After Dolph Sweet's death on May 8, 1985, his character of the Chief was written out of the series as also having died, and the show continued with Nell taking over as head of the household.
Kari Michaelsen as Kathleen "Katie" Kanisky (Seasons 1–5). The Chief's eldest daughter, portrayed as a typical "blonde" and being promiscuous. She decided not to go to college and opened a boutique called Katie's Korner. After her boutique went out of business, she was written out of the series as having obtained a job in San Francisco. Her last appearance was the first episode of Season 6.
Lauri Hendler as Julie Kanisky Maxwell (Seasons 1–5).  The Chief's middle daughter, portrayed as being very intelligent. She married Jonathan Maxwell at the end of Season 4 and became pregnant in Season 5. In the Season 6 premiere, after Nell Maxwell had been born, the new three-member Maxwell family moved to San Jose and was therefore written out of the series.
Lara Jill Miller as Samantha "Sam" Kanisky (Seasons 1–5, recurring in season 6). The Chief's youngest daughter, portrayed as a typical tomboy in her preteen years but developed into a boy-crazy teenager. She moved to Warren County, New Jersey to go to Littlefield College and had a recurring role in Season 6.
Joey Lawrence as Joey Donovan (Seasons 3–6), who eventually became Nell and the Chief's foster son; before that he had been working as a con artist to raise money to join his uncle in Chicago. Later Joey became a key cast member. His father Tim Donovan appeared on the show in New Orleans and in New York City. Joey met his little brother and moved in with Tim at the beginning of season 6 but soon afterwards was reunited with Nell and lived with her and Addy in New York City.
Howard Morton as Officer Ralph Waldo Simpson (Seasons 3–5, previously recurring). A not very bright but lovable police officer who was a subordinate of the Chief's.
John Hoyt as Stanley "Grandpa" Kanisky (Seasons 2–6, previously recurring). The Chief's crusty but lovable Polish immigrant father. After his wife died, Grandpa Kanisky came to live with his son and granddaughters in Season 3. In Season 6 he moved to New York City, into the same building as Nell.
Telma Hopkins as Dr. Adelaide "Addy" Wilson (Seasons 4–6, previously recurring). Nell's childhood friend, Ph.D. and a Phi Beta Kappa, Addy was chief educational curriculum supervisor for postgraduate students who are studying for Doctorates in history, English and economic geography under the California university system and later moved to New York City; Nell eventually joined her there. Although Nell and Addy were friends, they were also constantly clashing.
Jonathan Silverman as Jonathan Maxwell (Season 5, previously recurring). Julie's husband, pizza-delivery man and archeology student. Jonathan went to Mexico on a three-month dig.  Jonathan, Julie, and their new baby left for San Jose after Season 5.
Rosetta LeNoire as Maybelle "Mama Maybelle" Harper (Season 6, previously recurring). Nell's stern, bitter and critical mother who was introduced in Season 4 ("Alabamy Bound: Part 1"). Previously, in Seasons 1 ("Nell Goes Home") and 3 ("A Kanisky Christmas"), the character's name was Emma, was played by Hilda Haynes and was soft-spoken.
Paul Sand as Marty (Season 6), The landlord of the building Nell, Addy, Joey, and Matthew lived in. He also owned the adjacent restaurant La Gazpacho, where he went by "Esteban."
Rosie O'Donnell as Maggie O'Brien (Season 6), Nell's dental hygienist neighbor in New York City.
Matthew Lawrence as Matthew Donovan (Season 6), Joey's little brother.

text: Recurring characters[edit]

text:
Alvernette Jimenez as Angie McDaniel. Nell's tall, skinny, and dim-witted friend, the typical airhead with a little girl's voice. The character was eventually written out of the show, but appeared in several episodes between seasons 1 and 4.
Jane Dulo as Mildred Kanisky (née Wuchetzky). Stanley Kanisky's wife and Carl's mother. Also played by Elvia Allman in "Katie the Cheat" and Elizabeth Kerr in "Grandma Fools Around." Dulo played the role in season 2. The character died, leaving Stanley a widower in Season 3.
Pete Schrum as Ed Kanisky, Carl's brother, an overweight mortician who loved to play practical jokes. Ed was a recurring character in Seasons 1 and 2, then got married and was written out of the series.
Patrick Collins as Tim Donovan. Joey and Matthew's father was a merchant seaman. Joey reunited with Tim in New Orleans in season 4 (when Tim was played by Fred McCarren). Joey went to live with Tim and Matthew in the beginning of season 6 when Tim decided to get a job in New York City. After realizing he couldn't handle a 9-to-5 job, Tim decided he wanted to go back to sea and Joey returned to Nell and Addy along with Matthew.
Jack Fletcher as Erwin J. Swackhammer. During the 1982–83 season, the family contended with this man who would annoy the Kanisky household in various ways, the most notable of which occurred when he was the manager of the telephone company and had Nell arrested and jailed. After 5 episodes, Swackhammer disappeared with no explanation.
Harrison Page as Hamilton Storm. A news reporter that appeared occasionally during Seasons 1 and 2 who appeared more concerned with his appearance than giving the news.

text: Broadcast history[edit]

text:
Season
Time

1981–82
Thursday at 9:30–10:00

1982–83
Saturday at 9:00–9:30 (1982)Thursday at 9:00–9:30 (1983)

1983–84
Thursday at 8:00–8:30

1984–85
Saturday at 8:30–9:00 (Episodes 1–9)Saturday at 9:00–9:30 (Episodes 10–25)

1985–86
Saturday at 8:00–8:30

1986–87
Wednesday at 9:00–9:30 (Episodes 1, 3–15, 17–21)Wednesday at 9:30–10:00 (Episodes 2, 16, 22)Tuesday at 9:00–9:30 (Episodes 23–25)

text: Episodes[edit]

text: Production information[edit]

text: The show was produced by Alan Landsburg Productions (renamed as Reeves Entertainment Group in 1985). The American syndication rights are held by NBCUniversal Television Distribution, the successor company to original syndicator MCA TV. FremantleMedia owns the international rights, as they own Thames Television, which acquired Reeves Entertainment Group in 1990. The creators of the show were Mort Lachman and Sy Rosen.

text: Over its run, the series used two different theme songs. The first was composed by Bob Christianson with lyrics by Bob Garrett and Marley Sims; two versions of this song were used, one for the first season and a new recording for the second. A new theme, with music by Jay Graydon and lyrics by Richard Page, was introduced in the third season and used for the remainder of the show's run. The new theme has similarities to the first but with a more positive attitude. Carter performed both themes.

text: Syndication[edit]

text: The show has been in syndication since 1985. Reruns have also aired nationally on WWOR EMI Service and USA.[2][3][4][5] Distribution rights are jointly owned by The Program Exchange and NBCUniversal Television Distribution, successor in interest to previous syndicator MCA Television. Reruns of the series are a mainstay of many of Sinclair Broadcast Group's The CW and MyNetworkTV stations, especially in low-traffic time periods, due to the low-cost barter setup of The Program Exchange.

text: Antenna TV has aired the show since January 2, 2018.

text: DVD releases[edit]

text: United States[edit]

text: Universal Studios Home Entertainment released a three-disc DVD of the complete first season of Gimme a Break! on February 14, 2006, available in the United States only. The Complete Series is now available in the US.

text: Canada[edit]

text: Visual Entertainment (under license from FremantleMedia) released the first two seasons of Gimme a Break! on DVD in Canada between 2006–07. In 2009, VEI announced that they plan on releasing the entire series in a complete series box set in 2010.[6]  VEI released Gimme a Break! The Complete Series on DVD in Canada on July 20, 2010.[7]  As of 2013, these releases have been discontinued and are out of print.

text: UK[edit]

text: Simply Media TV Ltd released the first and second series in the UK, although the series has never been broadcast on British television.

text: Awards and nominations[edit]

text: Nell Carter received two Emmy nominations as Best Actress in a Comedy Series (1982, 1983)[8] and two Golden Globe nominations as Best Actress in a Television Series-Comedy or Musical (1983, 1985).[9]


document_title: Mr. Bean's Holiday

question_text: where did mr bean go on holiday in the film

text: Mr. Bean's Holiday

text: Plot[edit]

text: Mr. Bean (Rowan Atkinson) drives to a church fete where he wins the first prize in a raffle – a holiday involving a train journey to Cannes, a video camera, and €200.

text: Following a misunderstanding involving a taxi at Paris railway station Gare du Nord, Bean is forced to make his way unorthodoxly towards the Gare de Lyon from La Defense to board his next train towards Cannes. However, a vending machine prevents him from boarding, and he misses his train. Whilst waiting for the next, he samples French seafood cuisine at the restaurant Le Train Bleu, mistakenly eating a langoustine whole and pouring the oysters he took a dislike to into a woman's handbag.

text: Back on the platform, Bean asks a man, Emil Duchevsky (Karel Roden), a Russian movie director, to use his camcorder to film his boarding the train, but spends so much time retaking the shot that the train starts to leave. Although Bean manages to get onto the train, the doors close before Emil can get on. Emil's son, Stepan (Max Baldry) is therefore left on board without his father.

text: Bean attempts without success to befriend the boy. At the next station, the train leaves without him when he disembarks to get his camcorder back from Stepan who had disembarked earlier. The train Emil has boarded does not stop at the station, and he instead holds up a sign showing a mobile number, with the last two digits inadvertently being covered by his fingers. Attempts at calling the number prove fruitless due to mistaken identity from Emil's housekeeper. Bean and Stepan board the next train but get kicked off as Bean had left his wallet and ticket on the telephone box.

text: Attempts at busking, including lip syncing to Puccini's "O mio babbino caro", prove successful, and Bean buys the pair food and bus tickets to Cannes. Bean manages to lose his ticket that attaches itself to a chicken's leg, and instead attempts to hitchhike his way there. Bean soon falls asleep, exhausted from walking and wakes up on what appears to be a quaint French village but is actually a film set for a yoghurt advert. Bean ends up as an extra in the advert, directed by Carson Clay (Willem Dafoe). When Bean's camera battery dies, he recharges it, but accidentally ends up destroying the set in an explosion.

text: Bean then tries to hitchhike again and is picked up by a lime-green Mini identical to his, driven by actress Sabine (Emma de Caunes), who offers him a lift to Cannes. She is an aspiring actress on her way to the 59th Cannes Film Festival, where the film in which she makes her debut as an extra will be presented. When they stop at a service station, Bean finds Stepan dancing in a cafe with a band. Sabine agrees to take him with them, assuming that Stepan is Bean's son, while Stepan thinks Sabine is Bean's fiancée. Bean uses Sabine's mobile phone to try to call Emil again, but to no avail, and the trio end up driving through the night.

text: The next morning, they reach Cannes. When Sabine goes into a petrol station to change for the premiere, she sees Bean's photo on the television; he is suspected of kidnapping Stepan while Sabine is Bean's accomplice. However, since the premiere in Cannes is scheduled to start in one hour, she decides not to go to the police to clear the misunderstandings. Therefore, to get into the premiere, Stepan and Bean disguise themselves as Sabine's daughter and mother, respectively, and manage to evade the police.

text: After sneaking into the premiere, Sabine and Bean are disappointed to see that her scene has been cut from the film. Bean plugs his video camera into the projector, projecting his video diary. The bizarre tale it tells fits director Carson Clay's narration well, and the director, Sabine, and Bean receive standing ovations as Stepan is finally reunited with his father.

text: After the screening, Bean leaves the building by the back door, and onto the beach, encountering other characters from the film. The film then ends with them all miming a musical finale. After the credits, Bean writes "fin" in the sand with his foot. He films it until the sea washes the words away, and the camera's battery dies.

text: Cast[edit]

text:
Rowan Atkinson as Mr. Bean
Emma de Caunes as Sabine
Max Baldry as Stepan Dachevsky
Willem Dafoe as Carson Clay
Jean Rochefort as the Maître d'Hôtel
Karel Roden as Emil Dachevsky
Catherine Hosmalin as Ticket Inspector
Urbain Cancelier as Bus Driver
Stéphane Debac as Traffic Controller
Julie Ferrier as The First AD
Steve Pemberton as The Vicar
Lily Atkinson as Lily

text: Music[edit]

text: The film music was written by Howard Goodall. It has a symphonic orchestration, a sophisticated score instead of the show's tendency to simple musical repetitions and features catchy leitmotifs for particular characters or scenes. The film's theme song was "Crash" by Matt Willis.

text: Release[edit]

text: In March 2005, news of the second film first broke out, suggesting that it would be written by Simon McBurney, but in December 2005, Atkinson stated that the screenplay was being written by himself, and his long time collaborator Richard Curtis. The screenplay was finally confirmed to have been written by Robin Driscoll, Simon McBurney and Hamish McColl.

text: In February 2001, before filming began on Scooby-Doo, Atkinson was lured into making a second movie starring Mr. Bean, with the promise of an Australian adventure. The working title was Down Under Bean.[6] However, this idea was dropped for Mr. Bean's Holiday. The film began shooting on 15 May 2006. Its working title was French Bean. It was the official film for Red Nose Day 2007, with money from the film going towards the charity Comic Relief.

text: In February 2007, Atkinson also said that Mr. Bean's Holiday would most likely be the last Mr. Bean story he appears in. He was quoted as saying "Never say never", but went on to add that it was highly unlikely he would appear as Mr. Bean again. Prior to the film's release, a new and exclusive Mr. Bean sketch, Mr. Bean's Wedding, was broadcast on the telethon for Comic Relief on BBC One on 16 March 2007.

text: The movie's official premiere took place at the Odeon Leicester Square, in London on Sunday, 25 March, and helped to raise money for both Comic Relief and the Oxford Children's Hospital Appeal charity. Universal Pictures released a teaser trailer in November 2006, and launched an official website online the following month.

text: Home media[edit]

text: Mr. Bean's Holiday was released on DVD and HD DVD on 27 November 2007. The DVD version is in separate widescreen and pan and scan for the markets formats in the United States. The DVD charted at No. 1 on the DVD chart in the United Kingdom on its week of release.

text: There are fifteen deleted scenes in the film. In a television commercial from 2007, there was a scene where Bean spills coffee on a laptop. Bean is seen by Stepan for the very first time in the other scene. In another scene, Bean tricks a man to get a train ticket, and stay with Stepan on the train.

text: In another, Bean carries Stepan all the way through a plaza. In other scenes, Sabine goes off with her emotions and is almost run over by a truck, Bean does silly moves along the road (which are later seen in Carson Clay's Playback Time), plays with the shadows of the morning, mimes his journey to Stepan at the cafeteria, is menaced by a projectionist at the Cannes Film Festival (at the playing of Clay's movie), accidentally cuts the film roll and tries to stick it again, and Carson Clay discovers the film roll accumulating at the projector's room. Finally, Bean is seen dancing at the beach, a scene that was replaced by the characters singing "La Mer".

text: Reception[edit]

text: On Rotten Tomatoes, the film has an approval rating of 51% based on 110 reviews with an average rating of 5.5/10. The site's critical consensus reads, "Mr. Bean's Holiday means well, but good intentions can't withstand the 90 minutes of monotonous slapstick and tired, obvious gags."[7] On Metacritic, the film has a score of 56 out of 100 based on 26 critics, indicating "mixed or average reviews".[8] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.[9]

text: BBC film critic Paul Arendt gave the film 3 out of 5 stars, saying "It's hard to explain the appeal of Mr Bean. At first glance, he seems to be moulded from the primordial clay of nightmares: a leering man-child with a body like a tangle of tweed-coated pipe cleaners and the gurning, window-licking countenance of a suburban sex offender. It's a testament to Rowan Atkinson's skill that, by the end of the film he seems almost cuddly."[10] Philip French of The Observer referred to the character of Mr. Bean as a "dim-witted sub-Hulot loner" and said the plot involves Atkinson "getting in touch with his retarded inner child". French also said "the best joke is taken directly from Tati's Jour de Fete."[11]

text: Wendy Ide of The Times gave the film 2 out of 5 stars and said "It has long been a mystery to the British, who consider Bean to be, at best, an ignoble secret weakness, that Rowan Atkinson's repellent creation is absolutely massive on the Continent." Ide said parts of the film are reminiscent of City of God, The Straight Story, and said two scenes are "clumsily borrowed" from Pee-wee's Big Adventure. Ide also wrote that the jokes are weak and one gag "was past its sell-by date ten years ago".[12]

text: Steve Rose of The Guardian gave the film 2 out of 5 stars, said the film was full of awfully weak gags, and "In a post-Borat world, surely there's no place for Bean's antiquated fusion of Jacques Tati, Pee-Wee Herman and John Major?",[13] while Colm Andrew of the Manx Independent said "the flimsiness of the character, who is essentially a one-trick pony, starts to show" and his "continual close-up gurning into the camera" becomes tiresome.

text: Peter Rainer of The Christian Science Monitor gave the film a "B" and said, "Since Mr. Bean rarely speaks a complete sentence, the effect is of watching a silent movie with sound effects. This was also the dramatic ploy of the great French director-performer Jacques Tati, who is clearly the big influence here."[14] Amy Biancolli of the Houston Chronicle gave the film 3 out of 4 stars, saying "Don't mistake this simpleton hero, or the movie's own simplicity, for a lack of smarts. Mr. Bean's Holiday is quite savvy about filmmaking, landing a few blows for satire." Biancolli said the humour is "all elementally British and more than a touch French. What it isn't, wasn't, should never attempt to be, is American. That's the mistake made by Mel Smith and the ill-advised forces behind 1997's Bean: The Movie."[15]

text: Ty Burr of the Boston Globe said "Either you'll find [Atkinson] hilarious—or he'll seem like one of those awful, tedious comedians who only thinks he's hilarious." Burr also said "There are also a few gags stolen outright from Tati", but concluded "Somewhere, Jacques Tati is smiling."[16] Tom Long of The Detroit News said "Watching 90 minutes of this stuff—we're talking broad, broad comedy here—may seem a bit much, but this film actually picks up steam as it rolls along, becoming ever more absurd." and also "Mr. Bean offers a refreshingly blunt reminder of the simple roots of comedy in these grim, overly manufactured times."[17]

text: Suzanne Condie Lambert of The Arizona Republic said, "Atkinson is a gifted physical comedian. And the film is a rarity: a kid-friendly movie that was clearly not produced as a vehicle for selling toys and video games", but also said, "It's hard to laugh at a character I'm 95 percent sure is autistic."[18] Lawrence Toppman of The Charlotte Observer gave the film 2½ stars out of 4 and said "If you like [the character], you will certainly like Mr. Bean's Holiday, a 10-years-later sequel to Bean. I found him intermittently funny yet almost unrelentingly creepy", and also "Atkinson doesn't have the deadpan elegance of a Buster Keaton or the wry, gentle physicality of a Jacques Tati (whose Mr. Hulot's Holiday inspired the title). He's funniest when mugging shamelessly..."[19]

text: Ruthe Stein of the San Francisco Chronicle said that "the disasters instigated by Bean's haplessness quickly become tiresome and predictable" but said that one scene later in the film is worth sticking around for.[20] Elizabeth Weitzman of the New York Daily News gave the film 2 out of 4 stars and said "If you've never been particularly fond of Atkinson's brand of slapstick, you certainly won't be converted by this trifle." and also "If the title sounds familiar, it's because Atkinson intends his movie to be an homage to the 1953 French classic Mr. Hulot's Holiday. Mr. Hulot was played by one of the all-time great physical comedians, Jacques Tati, and that movie is a genuine delight from start to finish. This version offers a few laughs and an admirable commitment to old-fashioned fun."[21] Phil Villarreal of the Arizona Daily Star gave the film 2 stars and said "If you've seen 10 minutes of Rowan Atkinson's Mr. Bean routine, you've seen it all", and "The Nazi stuff is a bit out of place in a G-rated movie. Or any movie, really", later calling Atkinson "a has-Bean".[22]

text: Claudia Puig of USA Today gave the film 1½ stars out of 4 and said "If you've been lobotomised or have the mental age of a kindergartener, Mr. Bean's Holiday is viable comic entertainment" and also, "The film, set mostly in France, pays homage to Jacques Tati, but the mostly silent gags feel like watered-down Bean."[23]

text: Awards and nominations[edit]

text:
Award
Category
Nominee
Result

29th Young Artist Awards (2008)
Best Performance in a Feature Film – Supporting Young Actor
Max Baldry
Nominated

First National Movie Awards (2007)
Comedy or Musical and Best Comedy

Nominated