document_title: My Three Sons

question_text: who played the mother on my three sons

question_tokens: who played the mother on my three sons

text: My Three Sons

text: History[edit]

text: ABC years[edit]

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

text: The show began on ABC in black-and-white. The first season, consisting of 36 episodes, was directed in its entirety by Peter Tewksbury, who produced and occasionally scripted the programs.[2]

text: These early episodes held to no specific generic type, so that any episode from one week to the next might be either comedic or dramatic. Tewksbury's episodes are also unusual for their use of cross-talk (a way of having the voices of off-screen characters heard in the background of the soundtrack, just under the voices of the main characters). Using this clever directorial twist, Tewksbury realistically portrayed the chaotic, fast-paced, and ever-changing sequence of events; coordinate and conflicting, that was the daily routine of living in the Douglas household.

text: An example of Tewksbury's use of cross-talk is the fourth episode, "Countdown", written by David Duncan, which chronicles the Douglas family's attempts to wake up, prepare for the day, have breakfast, and get out of the house by a common, agreed-upon time, all carefully synchronized to a televised rocket launch countdown – to comical and often ironic effect. Tewksbury returned to directing feature films after concluding the season because the producers could not handle his perfectionist attitude, which was costing thousands of dollars in lost time and reshoots.

text: During the 1964 fall season, William Frawley, who played Bub, was declared too ill to work by Desilu Studios, as the company was informed that insuring the actor would be too costly. Frawley continued in the role until a suitable replacement could be found at midseason. He was replaced by William Demarest, who had played his hard-nosed brother (great) Uncle Charley part way through the 1964-1965 season (the last on ABC). According to the storyline, Bub returns to Ireland to help his Auntie Kate celebrate her 104th birthday. Soon after, brother Charley visits and stays on. Charley, a cello-playing merchant sailor, was a soft-hearted curmudgeon, who proved to be a responsible caregiver. Frawley left the series before the end of the 1964-1965 season.

text: Directors[edit]

text: Peter Tewksbury directed the first season. The succeeding director, Richard Whorf, took over the reins for one season and was in turn followed by former actor-turned-director Gene Reynolds from 1962 to 1964. James V. Kern, an experienced Hollywood television director who had previously helmed the "Hollywood" and "Europe" episodes of I Love Lucy, continued in this role for two years until his untimely death in late 1966, aged 57. Director James Sheldon was also contracted to finish episodes that had been partly completed by Kern to complete that season. Fred De Cordova was the show's longest and most consistent director of the series (108 episodes) until he left in 1971 to produce The Tonight Show Starring Johnny Carson. Earl Bellamy rounded out the series as director of the show's final year.[3]

text: CBS years[edit]

text: My Three Sons moved to the CBS television network for the 1965-1966 season after ABC declined to commit to underwriting the expense of producing the program in color. Along with the change in networks and the transition to color, Tim Considine (who had earlier worked with Fred MacMurray on The Shaggy Dog), playing eldest son Mike, had chosen not to renew his contract due to a clash with executive producer Don Fedderson over Considine's wish to direct but not co-star in the series. (Considine did, however, direct one of the last black-and-white episodes for ABC.) According to Considine (Pat Sajak Show, August 1989), he also was devoted to automobile racing, which his contract forbade. His character was written out, along with Meredith MacRae, who had played his fiancee Sally, in a wedding episode that was the premiere of the 1965–1966 season on CBS. After this episode, which was the program's first in color, Mike is mentioned briefly in only four succeeding episodes (including one in which Ernie becomes adopted), and is never seen again, even at Robbie and Steve's weddings. In the episode "Steve and the Huntress" (first aired January 27, 1966), Mike is specifically mentioned as teaching at a college. MacRae joined Petticoat Junction the following year, the last of three actresses to play Billie Jo Bradley.

text: To keep the show's title plausible, the show's head writer, George Tibbles, fashioned a three-part story arc in which an orphaned friend of youngest brother Richard (Chip, played by Stanley Livingston), Ernie Thompson (played by his real-life brother, Barry Livingston), awaits adoption when his current foster parents are transferred to the Orient. Steve offers to adopt Ernie, but faces antagonism from Uncle Charley, who finds Ernie a bit grating, and forecasts major headaches over both the boy and his dog. It also transpires that a law requires a woman to live in the home of an adoptive family. A likable female social worker supervises the case, and the Douglases speculate that Steve might marry the woman, to make the adoption possible, but they both agree this is not reason enough for them to be married. The family also does not need to hire a housekeeper, since Uncle Charley already has things running smoothly. The family soon appears before a judge who researches the law, and determines that its intent is to ensure a full-time caregiver is in the household. With Charley meeting that role, and having had a change of heart about Ernie, Charley assents to a legal fiction declaring him "housemother" to the Douglas family.[4]

text: While the three sons were always central to the storyline, several major changes took place by the late 1960s. In the spring of 1967, the ratings for the series began to sag and My Three Sons finished its seventh season in 31st place in the Nielsen ratings. It was decided that the 1967-1968 season would bring the program not only a new time slot, but also new storylines to spice up the ratings. In the fall of 1967, CBS moved My Three Sons to Saturday night at 8:30 pm. In the season-premiere episode, "Moving Day", the Douglas family and Uncle Charley relocate from the fictional town of Bryant Park in the Midwest to Los Angeles. Robbie (Don Grady) marries his classmate/girlfriend, Katie Miller (Tina Cole). Tina Cole, in fact, had appeared in different roles on three previous episodes of My Three Sons: "House For Sale" from the fourth season (February 13, 1964), "The Coffee House Set" from the fifth season (November 19, 1964), and "Robbie and the Little Stranger" from the sixth season (February 17, 1966). At the end of the 1967-1968 season, the ratings had improved from the previous year with the series placing at 24th in the Nielsens. The following season, the newlyweds discover that Katie is pregnant, and she gives birth to triplets named Robert, Steven, and Charles. Although originally played by sets of uncredited twins, these babies were played uncredited by Guy, Gunnar, and Garth Swanson. The most familiar triplets in the show's last two seasons are played by Michael, Daniel, and Joseph Todd.

text: The following year in the tenth season, 1969-1970, Steve remarries, taking widowed teacher Barbara Harper (Beverly Garland) as his wife; she brings with her a 5-year-old daughter, Dorothy "Dodie" (Dawn Lyn), so Steven now had a stepdaughter whom he also subsequently adopts. Also, the last year-and-a-half of the series feature fewer appearances of both Don Grady and Stanley Livingston. Grady's character was written out of the show at the end of the 11th season, which allowed for his wife Katie and their triplet sons to remain within the Douglas household the following season (as a structural engineer Robbie was working on a bridge construction in Peru). Chip and his teen wife Polly (Ronne Troup) (who eloped after Polly's disciplinarian father refused to sanction the marriage) move into their own apartment.

text: At the end of the 1970-1971 season (the show's 11th year), My Three Sons was still garnering healthy ratings. By the spring of 1971, it had finished in 19th place. A 1971 television pilot with Don Grady and Tina Cole called Three of a Kind, then retitled Robbie—about Robbie, Katie, and the triplets moving to San Francisco—was filmed but not picked up as a series.[5]

text: The final episode of the 1970-1971 season, "After the Honeymoon", actually set up the premise for this pilot. The guest stars were Richard X. Slattery and Pat Carroll, who were featured as the landlords of the apartment block into which Robbie and Katie move. However, Don Grady had informed the producers of his intention to leave the series and pursue a new full-time career as a composer, which he ultimately did.

text: For the series' 12th season, CBS moved My Three Sons to Monday nights at 10:00 pm. In addition to the time changes for the 12th season, a new four-part story arc is introduced with MacMurray in a second role, that of his cousin, the Laird (Lord) Fergus McBain Douglas of Sithian Bridge. The voice of English actor Alan Caillou is awkwardly dubbed over MacMurray's. The plot centers around Lord Douglas's arrival in Los Angeles from the family's native Scotland, in search of a first lady to marry and return with him to Scotland.

text: He finds Terri Dowling (Anne Francis), a waitress at the Blue Berry Bowling Alley. While initially reluctant to give up her life in America and return to Scotland as royalty, she finally accepts. This storyline is a continuation of a plot idea that originally began in the fourth season, when the Douglases visit Scotland on the pretense of having been told they had inherited a castle in the highlands.[6]

text: With a later time slot, the show finished the season outside the top 30. To save the series, CBS moved it in midseason back to Thursday nights at 8:30 pm, its old time slot. Nevertheless, My Three Sons ended its primetime run in the spring of 1972 after 12 years on the air. CBS also aired daytime reruns starting in September 1971 (only the CBS color shows), for about one season.

text: Cast[edit]

text: Main cast[edit]

text:
Fred MacMurray, Steven "Steve" Douglas (1960–1972)
William Frawley, William Michael Francis Aloysius "Bub" O'Casey (1960–1965)
William Demarest, Charles Leslie "Uncle Charley" O'Casey, Bub's brother (1965–1972)
Tim Considine, Michael "Mike" Douglas (1960–1965)
Don Grady, Robert "Robbie" Douglas (1960–1971)
Stanley Livingston, Richard "Chip" Douglas (1960–1972)
Barry Livingston, Ernest "Ernie" Thompson/Douglas (1963–1972)
Meredith MacRae, Sally Ann Morrison Douglas (1963–1965)
Tina Cole, Kathleen "Katie" Miller Douglas (1967–1972)
Beverly Garland, Barbara Harper Douglas (1969–1972)
Dawn Lyn, Dorothy "Dodie" Harper Douglas (1969–1972)
Ronne Troup, Polly Williams Douglas (1970–1972)
Michael, Daniel, and Joseph Todd, playing Robbie, Stevie, and Charley Douglas respectively (1970–1972)

text: Recurring cast[edit]

text:
Cynthia Pepper, Jean Pearson (1960–1961)
Peter Brooks, Hank Ferguson (1960–1963)
Cheryl Holdridge, Judy Doucette (1960–1961)
Ricky Allen, Hubert 'Sudsy' Pfeiffer (1961–1963)
Hank Jones, Pete (1964–1966)
Bill Erwin, Joe Walters (1962–1964)
Doris Singleton, Helen Morrison (1964–65) and Margaret Williams (1970)
John Howard, Dave Welch (1965–1967)
Joan Tompkins, Lorraine Miller (1967–1970)

text: Musical connections[edit]

text: The series' cast had several music connections. MacMurray began his career as a saxophone player during the 1930s, and sometimes played it on the series, as well as clarinet. Actress Tina Cole (Katie) was born into the King Family, a popular 1950s–1960s group. Ronne Troup (Polly) was the step-daughter of singer Julie London and daughter of musician/composer Bobby Troup (who wrote the song Route 66 and also starred in the TV program Emergency! along with wife London), and Dawn Lyn is the younger sister of 1970s pop idol Leif Garrett. Don Grady (Robbie) composed and produced music, having created successful Las Vegas venues for Phantom of the Opera star Michael Crawford and pop star David Cassidy.

text: Grady also played drums in the '60s pop group Yellow Balloon. Musical arranger Frank De Vol, who did the toe-tapping theme, scored over thirty motion pictures and arranged for such vocalists as Sarah Vaughan, Jack Jones, Nat King Cole, Ella Fitzgerald, Tony Bennett, Vic Damone, Dinah Shore, Doris Day, and Jaye P. Morgan.

text: Episodes[edit]

text: My Three Sons had 36 episodes each in the first two seasons. The series had more than thirty episodes in each of the first eight seasons; the episode output then decreased by two episodes until the eleventh season, which had twenty-four episodes, along with the twelfth season. The first five seasons were filmed in black & white, then after the move to CBS, it was filmed in color for the remainder of its run.

text: Broadcast history[edit]

text:
Season
Time slot (ET)
Nielsen ratings[7]

Rank
Rating

1960–61
Thursday at 9:00-9:30 PM on ABC
13
25.8 (Tied with 77 Sunset Strip)

1961–62
11
24.7

1962–63
28
21.0

1963–64
Thursday at 8:30-9:00 PM on ABC
27
21.9

1964–65
13
25.5

1965–66
Thursday at 8:30-9:00 PM on CBS
15
23.8

1966–67
29
20.2 (Tied with I Spy, CBS Thursday Night Movie and The F.B.I.)

1967–68
Saturday at 8:30-9:00 PM on CBS
24
20.8

1968–69
14
22.8

1969–70
15
21.8 (Tied with Ironside and The Johnny Cash Show)

1970–71
19
20.8

1971–72
Monday at 9:00-9:30 PM on CBS (Episodes 1-12)
Thursday at 8:30-9:00 PM on CBS (Episodes 13-24) Daytime Reruns: 10:30-11:00am (EST) M-F 12/20/71-6/23/72 4:00-4:30pm (EST) M-F 6/26/72-9/1/72
colspan="2" data-sort-value="" style="background: #ececec; color: #2C2C2C; vertical-align: middle; font-size: smaller; text-align: center; " class="table-na" | N/A

text: Production schedule[edit]

text: The series was initially filmed at Desilu Studios in Hollywood, but at the start of the 1967–68 season, the cast and crew began filming the series at the CBS Studio Center in Studio City, California. The reasons behind this move concerned the sale of actress-comedian Lucille Ball 's studios to the Gulf + Western conglomerate, which owned Paramount Pictures, so Don Fedderson Productions, who produced My Three Sons (along with Family Affair starring Brian Keith), had to quickly make other arrangements for filming. The move also necessitated moves in the show's storyline as well, hence the family's move from the fictitious town of Bryant Park (in the Midwestern United States) to North Hollywood, California, although the town is never officially mentioned, simply just the city of Los Angeles.

text: Fred MacMurray was the only actor to appear in every episode of the series. Reportedly, MacMurray's contract stipulated that he work only 65 days per year. His scenes for each season were produced in two blocks of filming. He would report to the Desilu-Gower lot in late May and work 35 days (five days per week, weekends off), then take off for 10 weeks. He would then return to complete his remaining 30 days of shooting and was finished altogether around Thanksgiving. MacMurray's ten-week hiatus in the middle of each season's production schedule freed up the actor to follow other pursuits, while the filming of scenes with the other cast members continued. In short, all episodes were filmed out of sequence. Evidence of this is very apparent in several episodes, where plotlines had MacMurray's character on a business trip (e.g. "Small Adventure") or spending much of his time at the office (e.g. "Soap Box Derby"). This allowed him to seemingly take part in the entire episode with limited or no interaction with the other regulars during filming. This sometimes produced noticeable continuity problems onscreen, especially as the boys grew and changed styles.

text: Distribution[edit]

text: Although Don Fedderson gets the credit, My Three Sons was created by George Tibbles and produced by Don Fedderson Productions throughout the show's run, with MCA Television co-distributing the series during its 1960–65 ABC airing. When the series moved to CBS in 1965, the latter network assumed full production responsibilities (in association with Fedderson Productions) until the end of the series in 1972. CBS now holds the series' copyright. CBS Television Distribution presently owns distribution rights to the entire series (including the more widely seen and aforementioned 1965–72 CBS episodes). The show did not get syndicated until September 1976 (although CBS did air reruns of the show in its daytime lineup from December 1971 until the fall of 1972), and even then, only the CBS color episodes aired, while the black and white ABC episodes did not air on broadcast TV at all.

text: Nick at Nite aired My Three Sons from November 3, 1985 to October 28, 1991 with episodes from Seasons 1-5, the second half of season 11, and season 12. The Family Channel also aired only the black and white episodes from September 7, 1992 to July 30, 1993. The Seasons 1-3 episodes had the original Chevrolet closing credits. The Seasons 6–10 (and the first half of season 11) episodes were later aired on TV Land in the late 1990s. Odyssey ran all of the color episodes in the early 2000s. They also briefly aired the black and white episodes. In 2000, TV Land briefly aired the black & white episodes again, using the same syndication episode rights that were on Nick at Nite during the 1980s. In 2006 the Retro Television Network broadcast the show, airing only the color episodes.

text: Since fall 2004, only Seasons 6-10 are being distributed for syndication in the US-Domestic market, though very few stations air the show anymore.

text: In 2009, FamilyNet began airing the program as a lead-in for its Happy Days and Family Ties program block, which ended in February 2010. From 2012-14, and also from October 2015-February 2016, MeTV aired the Season 6-10 episodes in heavy rotation, and most closing credits included the original sponsor tags, such as those for Kellogg's. In 2016, Decades began airing the CBS (color) episodes in its "binge" blocks on some week-ends.

text: MeTV began airing the black and white episodes on May 29, 2017.[8]

text: Reunion special[edit]

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

text: MacMurray and most of the cast took part in Thanksgiving Reunion with The Partridge Family & My Three Sons, which aired on ABC on November 25, 1977. The retrospective special looked back at the history of My Three Sons and The Partridge Family (other than featuring single parents with a large family, the two series had no narrative, or even a studio link). The special was notable for featuring footage from early black and white episodes of My Three Sons that, at this point in time, were not in syndication. While most of the collected casts gathered in a studio to reminisce, Demarest appeared in a brief pre-taped segment.

text: DVD releases[edit]

text: CBS DVD (distributed by Paramount) has released the first two seasons of My Three Sons on DVD in Region 1.[9][10] It is unknown if the remaining seasons will be released.

text: In most episodes, the soundtrack was edited to remove the background musical score, which were originally stock music from the Capitol Records library; the licensing agreement with Capitol only covered broadcast rights, not home video rights, and clearing the music for home video release with the individual composers who worked on the Capitol recordings was deemed cost-prohibitive. The Capitol scores were replaced instead with more modern, synthesized music.[11] The original theme tune by Frank DeVol has been left unaltered; his musical scores in later seasons of the show, written specifically for the series, would less-likely be affected by licensing problems if the later seasons were released on DVD.[citation needed]

text:
DVD name
No. of
episodes
Release date

The First Season: Volume 1
18
September 30, 2008

The First Season: Volume 2
18
January 20, 2009

The Second Season: Volume 1
18
February 23, 2010

The Second Season: Volume 2
18
June 15, 2010


document_title: Black Death in England

question_text: where did the plague first strike in europe how long did it take to reach england

root

text: Black Death in England

text: Background[edit]

text: England in mid 14th Century[edit]

text: It is impossible to establish with any certainty the exact number of inhabitants in England at the eve of the Black Death, and estimates range from 3 to 7 million.[2] The number is probably in the higher end, and an estimate of around 6 million inhabitants seems likely.[3] Earlier demographic crises − in particular the Great Famine of 1315–1317 − had resulted in great numbers of deaths, but there is no evidence of any significant decrease in the population prior to 1348.[4] England was still a predominantly rural and agrarian society; close to 90% of the population lived on the countryside.[5] Of the major cities, London was in a class of its own, with perhaps as many as 70,000 inhabitants.[6] Further down the scale were Norwich, with around 12,000 people, and York with around 10,000.[5] The main export, and the source of the nation's wealth, was wool. Until the middle of the century the export had consisted primarily of raw wool to cloth makers in Flanders. Gradually though, the technology for cloth making used on the Continent was appropriated by English manufacturers, who started an export of cloths around mid-century that would boom over the following decades.[7]

tag: p

text: Politically, the kingdom was evolving into a major European power, through the youthful and energetic kingship of Edward III.[8] In 1346, the English had won a decisive battle over the Scots at the Battle of Neville's Cross,[9] and it seemed that Edward III would realise his grandfather Edward I's ambition of bringing the Scots under the suzerainty of the English crown.[10] The English were also experiencing military success on the continent. Less than two months before the Battle of Neville's Cross, a numerically inferior English army led by the king himself won a spectacular victory over the French royal forces at the Battle of Crécy.[11] The victory was immediately followed by Edward laying siege to the port city of Calais. When the city fell the next year, this provided the English with a strategically important enclave that would remain in their possession for over two centuries.[12]

text: The Black Death[edit]

text: The term "Black Death" –  which refers to the first and most serious outbreak of the Second Pandemic –  was not used by contemporaries, who preferred such names as the "Great Pestilence" or the "Great Mortality".[13] It was not until the seventeenth century that the term under which we know the outbreak today became common , probably derived from Scandinavian languages.[14] It is generally agreed today that the disease in question was plague, caused by Yersinia pestis bacteria.[15] These bacteria are carried by fleas, which can be transferred to humans through contact with rats. Flea bites carry the disease into the lymphatic system, through which it makes its way to the lymph nodes. Here the bacteria multiply and form swellings called buboes, from which the term bubonic plague is derived.[16] After three or four days the bacteria enter the bloodstream, and infect organs such as the spleen and the lungs. The patient will then normally die after a few days.[17] A different strain of the disease is pneumonic plague, where the bacteria become airborne and enter directly into the patient's lungs. This strain is far more virulent, as it spreads directly from person to person. These types of infection probably both played a significant part in the Black Death, while a third strain was more rare. This is the septicaemic plague, where the flea bite carries the bacteria directly into the blood stream, and death occurs very rapidly.[18]

text: A study reported in 2011 of skeletons exhumed from the "Black Death" cemetery in East Smithfield London found Yersina Pestis DNA. An archeological dig in the vicinity of Thornton Abbey in Lincolnshire was reported in the science section of The Guardian for Nov.30 2016 not only confirming evidence of Yersina Pestis in the DNA of the human remains exhumed there but dating it to mid-1349.

text: Genotyping showed that it was [at that time] a newly evolved strain, ancestor of all modern strains and proved the "Black Death" was caused by bubonic plague. Modern medical knowledge would suggest that because it was a new mutation meant immune systems would have had little or no defence against it, which helps to explain its virulence.[19]

text: The "Black Death" seems to have originated in Central Asia, where Yersina Pestis bacterium is endemic in the rodent population. It is unknown exactly what caused the outbreak, but a series of natural occurrences likely brought humans into contact with the infected rodents.[20] The epidemic reached Constantinople in the late spring of 1347, through Genoese merchants trading in the Black Sea.[21] From here it reached Sicily in October that same year, and by early 1348 it had spread all over the Italian mainland.[22] It spread rapidly through France, and had reached as far north as Paris in June 1348. Moving simultaneously westward, it arrived in the English province of Gascony around the same time.[23]

text: Progress of the plague[edit]

text:
In this year, in Melcombe, in the county of Dorset, a little before the Feast of St. John the Baptist, two ships, one of them from Bristol, came alongside. One of the sailors had brought with him from Gascony the seeds of the terrible pestilence and through him the men of the town of Melcombe were the first in England to be infected.

Grey Friars' Chronicle[24]

tag: div

text: According to the chronicle of the grey friars at King's Lynn, the plague arrived by ship from Gascony to Melcombe in Dorset –  today normally referred to as Weymouth –  shortly before "the Feast of St. John The Baptist" on 24 June 1348.[25] Other sources mention different points of arrival, including Bristol and Southampton.[26] Though the plague might have arrived independently at Bristol at a later point, the Grey Friars' Chronicle is considered the most authoritative account.[27] If it is assumed that the chronicle reports the first outbreak of the plague, rather than its actual arrival, then the arrival most likely happened around 8 May.[28]

text: From Weymouth the disease spread rapidly across the south-west. The first major city to be struck was Bristol.[29] London was reached in the autumn of 1348, before most of the surrounding countryside. This had certainly happened by November, though according to some accounts as early as 29 September.[30] Arrival in London happened by three principal roads: overland from Weymouth –  through Salisbury and Winchester –  overland from Gloucester, and along the coast by ship.[31] The full effect of the plague was felt in the capital early the next year.[32] Conditions in London were ideal for the plague: the streets were narrow and flowing with sewage, and houses were overcrowded and poorly ventilated.[33] By March 1349 the disease was spreading in a haphazard way across all of southern England.[34]

text: During the first half of 1349 the Black Death spread northwards. A second front opened up when the plague arrived by ship at the Humber, wherefrom it spread both south and north.[35] In May it reached York, and during the summer months of June, July and August, it ravaged the north.[36] Certain northern counties, like Durham and Cumberland, had been the victim of violent incursions from the Scots, and were therefore left particularly vulnerable to the devastations of the plague.[37] Pestilence is less virulent during the winter months, and spreads less rapidly.[38] The Black Death in England had survived the winter of 1348–49, but during the following winter it gave in, and by December 1349 conditions were returning to relative normalcy.[39] It had taken the disease approximately 500 days to traverse the entire country.[40]

text: Medical practice[edit]

text: In order to treat patients infected with the plague, various methods were used including sweating, bloodletting, forced vomiting, and urinating.[41] Several symptoms of the illness included blotches, hardening of the glands under the groin and underarms, and dementia.[42] Within the initial phase of the disease, bloodletting was performed on the same side of where the physical manifestations of the buboes or risings appeared. For instance, if a rising appeared on the right side of the groin the physician would bleed a vein in the ankle on the same side.[43] In the case of sweating, it was achieved with such medicines as Mithridate, Venice-Treacle, Matthiolus, Bezoar-Water, Serpentary Roots and Electuarium de Ovo.[44] Sweating was used when measures were desperate; if a patient had tokens, a severe version of risings, the physician would wrap the naked patient in a blanket drenched in cold water. This measure was only performed while the patient still had natural heat in his system. The desired effect was to make the patient sweat violently and thus purge all corruption from the blood which was caused by the disease.[45]

text: Another practice was the use of pigeons when treating swellings. Swellings which were white in appearance and deep were unlikely to break and must be anointed with Oil of Lillies or Camomil.[46] Once the swelling rises to a head and is red in appearance and not deep in the flesh, it can be broken with the use of a feather from a young pigeon's tail. The feather's fundament was held to the swelling and would draw out the venom. However, if the swelling dropped and became black in appearance since it had taken in coldness, the physician had to be cautious when drawing the cold from the swelling. If it was too late to prevent, the physician would take the young pigeon, cut her open from breast to back, break her open and apply the pigeon (while still alive) over the cold swelling. The cupping therapy was an alternative method which was heated and then placed over the swellings. Once the sore was broken, the physician would apply Mellilot Plaister with Linimentum Arcei and heal the sore with digence.[47]

text: Victims[edit]

text: Death toll[edit]

text: Although historical records for England were more extensive than those of any other European country,[48] it is still extremely difficult to establish the death toll with any degree of certainty. Difficulties involve uncertainty about the size of the total population, as described above, but also issues regarding the proportion of the population that died from the plague. Contemporary accounts are often grossly inflated, stating numbers as high as 90%.[49] Modern historians give estimates of death rates ranging from around 25% to over 60% of the total population.

text: The pioneering work in the field was made by Josiah William Russell in his 1948 British Medieval Population. Russell looked at inquisitions post mortem (IPMs) –  taken by the crown to assess the wealth of the greatest landowners after their death –  to assess the mortality caused by the Black Death, and from this arrived at an estimate of 23.6% of the entire population.[50] He also looked at episcopal registers for the death toll among the clergy, where the result was between 30–40%.[51] Russell believed the clergy was at particular risk of contagion, and eventually concluded with a low mortality level of only 20%.[52]

text: Several of Russell's assumptions have been challenged, and the tendency since has been to adjust the assessment upwards.[53] Philip Ziegler, in 1969, estimated the death rate to be at around one third of the population.[54] Jeremy Goldberg, in 1996, believed a number closer to 45% would be more realistic.[55] A 2004 study by Ole Jørgen Benedictow suggests the exceptionally high mortality level of 62.5%.[56] Assuming a population of 6 million, this estimate would correspond to 3,750,000 deaths. Such a high percentage would place England above the average that Benedictow estimates for Western Europe as a whole, of 60%.[56] A death rate at such a high level has not been universally accepted in the historical community.[57]

text: In 2016, Carenza Lewis reported the results of a new method of assessing the death toll. She argues that pottery before and after the Black Death is datable because there was a change at that time from the high medieval to the late medieval style, and that counts of pottery of each type therefore provide a useful proxy for long term changes in population. She and her colleagues analysed pottery sherds from test pits in over fifty continuously occupied rural settlements in eastern England, and found a decline in the number of pottery producing pits of 45%. Norfolk had the greatest drop of 65%, while there was no drop in 10% of settlements, mostly commercial centres.[58]

text: Impact of the Black Death: 1349[edit]

text: Archbishop Zouche of York issued a warning throughout the diocese in July 1348 (when the epidemic was raging further south) of ‘great mortalities, pestilences and infections of the air’.

text: The ‘Great Mortality’, as it was then known, entered Yorkshire around February 1349 and quickly spread through the diocese. The clergy were on the front line of the disease, bringing comfort to the dying, hearing final confessions and organising burials. This, almost by necessity, put them at a greater risk of infection.

text: Estimates suggest that the death rate of clergy in some parts of the archdiocese could have been as high as 48%. This is reflected in the Ordination Register, which shows a massive rise in ordained clergy over the period – some being recruited before the arrival of plague in a clerical recruitment drive, but many once plague had arrived, replacing those who had been killed. The nation's population decreased by a third causing a labor shortage and giving the lower class negotiating power against their overlords.[59] In 1346, 111 priests and 337 acolytes were recruited. In 1349, 299 priests and 683 acolytes are named, with 166 priests being ordained in one session alone in February 1350.”[60]

text: Social distribution[edit]

text: Russell trusted the IPMs to give a true picture of the national average, because he assumed death rates to be relatively equal across the social spectrum.[61] This assumption has later been proven wrong, and studies of peasant plague mortality from manor rolls have returned much higher rates. This could be a consequence of the elite's ability to avoid infection by escaping plague-infected areas. It could also result from lower post-infection mortality among those more affluent, due to better access to care and nursing.[62] If so, this would also mean that the mortality rates for the clergy –  who were normally better off than the general population –  were no higher than the average.[63]

text:
...destructive Death (who seizes young and old alike, sparing no one and reducing rich and poor to the same level) has lamentably snatched from both of us our dearest daughter, (whom we loved best of all, as her virtues demanded).

Edward III in a letter to King Alfonso of Castile[64]

text: The manorial records offer a good opportunity to study the geographical distribution of the plague. Its effect seems to have been about the same all over England,[65] though a place like East Anglia, which had frequent contact with the Continent, was severely affected.[66] On a local level, however, there were great variations. A study of the Bishop of Worcester's estates reveal that, while his manors of Hartlebury and Hambury had a mortality of only 19%, the manor of Aston lost as much as 80% of its population.[67] The manor rolls are less useful for studying the demographic distribution of the mortality, since the rolls only record the heads of households, normally an adult male.[68] Here the IPMs show us that the most vulnerable to the disease were infants and the elderly.[69]

text: There seem to have been very few victims of the Black Death at higher levels of society.[70] The only member of the royal family who can be said with any certainty to have died from the Black Death was in France at the time of her infection. Edward III's daughter Joan was residing in Bordeaux on her way to marry Pedro of Castile in the summer of 1348. When the plague broke out in her household she was moved to a small village nearby, but she could not avoid infection, and died there on 2 September.[71] It is possible that the popular religious author Richard Rolle, who died on 30 September 1349, was another victim of the Black Death.[72] The English philosopher William of Ockham has been mentioned as a plague victim.[73] This, however, is an impossibility. Ockham was living in Munich at the time of his death, on 10 April 1347, two years before the Black Death reached that city.[74]

text: Consequences[edit]

text: Economic, social and political effects[edit]

text: Among the most immediate consequences of the Black Death in England was a shortage of farm labour, and a corresponding rise in wages. The medieval world-view was unable to interpret these changes in terms of socio-economic development, and it became common to blame degrading morals instead.[75] The landowning classes saw the rise in wage levels as a sign of social upheaval and insubordination, and reacted with coercion. In 1349, King Edward III passed the Ordinance of Labourers, fixing wages at pre-plague levels. The ordinance was reinforced by Parliament's passing of the Statute of Labourers in 1351.[76] The labour laws were enforced with ruthless determination over the following decades.[77]

text: These legislative measures proved largely inefficient at regulating the market, but the government's repressive measures to enforce them caused public resentment.[78] These conditions were contributing factors to the Peasants' Revolt in 1381. The revolt started in Kent and Essex in late May, and once the rebels reached London they burnt down John of Gaunt's Savoy Palace, and killed both the Chancellor and the Treasurer. They then demanded the complete abolition of serfdom, and were not pacified until the young King Richard II personally intervened.[79] The rebellion was eventually suppressed, but the social changes it promoted were already irreversible. By around 1400 serfdom was virtually extinct in England, replaced by the form of tenure called copyhold.[80]

text: It is conspicuous how well the English government handled the crisis of the mid-fourteenth century, without descending into chaos and total collapse in the manner of the Valois government of France.[81] To a large extent this was the accomplishment of administrators such as Treasurer William de Shareshull and Chief Justice William Edington, whose highly competent leadership guided the governance of the nation through the crisis.[81] The plague's greatest effect on the government was probably in the field of war, where no major campaigns were launched in France until 1355.[82]

text: Another notable consequence of the Black Death was the raising of the real wage of England (due to the shortage of labour as a result of the reduction in population), a trait shared across Western Europe, which in general led to a real wage in 1450 that was unmatched in most countries until the 19th or 20th century.[83] The higher wages for workers combined with sinking prices on grain products led to a problematic economic situation for the gentry. As a result, they started to show an increased interest for offices like justice of the peace, sheriff and member of parliament. The gentry took advantage of their new positions and a more systematic corruption than before spread. A result of this was that the gentry as a group became highly disliked by commoners.[84]

text: Religious and cultural consequences[edit]

text: The omnipresence of death also inspired greater piety in the upper classes, which can be seen in the fact that three Cambridge colleges were founded during or shortly after the Black Death.[85] England did not experience the same trend of roving bands of flagellants, common on the continent.[86] Neither were there any pogroms against the Jews, since the Jews had been expelled by Edward I in 1290.[86] In the long run, however, the increase in public participation may have served to challenge the absolute authority of the church hierarchy, and thus possibly helped pave the way for the Protestant Reformation.[citation needed]

text: The high rate of mortality among the clergy naturally led to a shortage of priests in many parts of the country.[72] The clergy were seen to have an elevated status among ordinary people and this was partly due to their closeness with God, being his envoys on earth. However, as the church itself had given the cause of the Black Death to be the impropriety of the behaviour of men, the higher death rate among the clergy led the people to lose faith in the Church as an institution − it had proved as ineffectual against the horror of Y. Pestis as every other medieval institution. The corruption within the Catholic priesthood also angered the English people. Many priests abandoned the terrified people. Others sought benefits from the rich families who needed burials. The dissatisfaction led to anti-clericalism and the rise of John Wycliffe, an English priest. His ideas paved a path for the Christian reformation in England. Some people didn't lose their Christian faith, if anything it was renewed; they began to long for a more personal relationship with God − around the time after the Black Death many chantries (private chapels) began to spread in use from not just the nobility, but to among the well to do.[87] This change in the power of the papacy in England is demonstrated by the statutes of Praemunire.

text: The Black Death also affected arts and culture significantly. It was inevitable that a catastrophe of such proportions would affect some of the greater building projects, as the amount of available labour fell sharply. The building of the cathedrals of Ely and Exeter was temporarily halted in the years immediately following the first outbreak of the plague.[88] The shortage of labour also helped advance the transition from the Decorated style of building to the less elaborate Perpendicular style.[89] The Black Death may also have promoted the use of vernacular English, as the number of teachers proficient in French dwindled. This, in turn, would have contributed to the late-fourteenth century flowering of English literature, represented by writers such as Geoffrey Chaucer and John Gower.[90]

text: Recurrences[edit]

text: The Black Death was the first occurrence of the Second Pandemic,[91] which would continue to strike England and the rest of Europe more or less regularly until the eighteenth century. The first serious recurrence in England came in the years 1361−62. We know less about the death rates caused by these later outbreaks,[92] but this so-called pestis secunda may have had a mortality of around 20%.[93] This epidemic was also particularly devastating for the population's ability to recover, since it disproportionately affected infants and young men.[94] This was also the case with the next occurrence, in 1369, where the death rate was around 10−15%.[93]

text: Over the following decades the plague would return –  on a national or a regional level –  at intervals of five to twelve years, with gradually dwindling death tolls. Then, in the decades from 1430 to 1480, the disease returned in force. An outbreak in 1471 took as much as 10–15% of the population, while the death rate of the plague of 1479–80 could have been as high as 20%.[93] From this point on outbreaks became fewer and more manageable. This was to a large extent the result of conscious efforts by central and local governments –  from the late fifteenth century onwards –  to curtail the disease.[95] By the seventeenth century the Second Pandemic was over. One of its last occurrences in England was the famous Great Plague of London in 1665–66.[96]


document_title: Tennis court

question_text: what type of surface is the us open played on

text: Tennis court

text: Dimensions[edit]

text: The dimensions of a tennis court are defined and regulated by the International Tennis Federation (ITF) governing body and are written down in the annual 'Rules of Tennis' document.[1]  The court is 78 feet (23.77 metres) long. Its width is 27 feet (8.23 metres) for singles matches and 36 feet (10.97 metres) for doubles matches.[2] The service line is 21 feet (6.40 metres) from the net.[2] Additional clear space around the court is needed in order for players to reach overrun balls for a total of 60 feet (18 metres) wide and 120 feet (37 metres) long. A net is stretched across the full width of the court, parallel with the baselines, dividing it into two equal ends. The net is 3 feet 6 inches (1.07 metres) high at the posts, and 3 feet (0.91 metres) high in the center.[3] The net posts are 3 feet (0.91 metres) outside the doubles court on each side or, for a singles net, 3 feet (0.91 metres) outside the singles court on each side.

text: Smaller courts[edit]

text: The ITF's Play and Stay campaign promotes playing on smaller courts with slower red, orange and green balls for younger children. This gives children more time and control so they can serve, rally, and score from the first lesson on courts that are sized to fit their bodies. The ITF has mandated that official competition for children under 10 years of age should be played on "Orange" courts 18 m (59 ft) long by 6.4 m (21 ft) wide. Competition for children under 8 years is played on "Red" courts that are 11 m (36 ft) long and 5.5 m (18 ft) wide. The net is always 0.8 m high in the center.[4]

text: Surfaces[edit]

text: Tennis is played on a variety of surfaces and each surface has its own characteristics which affect the playing style of the game. There are four main types of courts depending on the materials used for the court surface: clay courts, hard courts, grass courts and carpet courts. The International Tennis Federation (ITF) lists different surfaces and properties and classifies surfaces into one of five pace settings:[5]

text:
Category 1 (slow)
Category 2 (medium-slow)
Category 3 (medium)
Category 4 (medium-fast)
Category 5 (fast)

tag: ul

text: Of the current four Grand Slam tournaments, the Australian and US Open use hard courts, French Open is played on clay, and Wimbledon, the only Grand Slam to have always been played on the same surface, is played on grass. The Australian Open switched to hard courts in 1988 and in its early years the French championship alternated between clay and sand/rubble courts. The US Open is the only major to have been played on three surfaces; it was played on grass from its inception until 1974, clay from 1975 until 1977 and hard courts since it moved from the West Side Tennis Club to the National Tennis Center in 1978.

text: ITF uses the following classification for tennis court surface types:[6]

text:
Surface code

Type

Description

A

Acrylic

Textured, pigmented, resin-bound coating

B

Artificial clay

Synthetic surface with the appearance of clay

C

Artificial grass

Synthetic surface with the appearance of natural grass

D

Asphalt

Bitumen-bound aggregate

E

Carpet

Textile or polymeric material supplied in rolls or sheets of finished product

F

Clay

Unbound mineral aggregate

G

Concrete

Cement-bound aggregate

H

Grass

Natural grass grown from seed

J

Other

E.g. modular systems (tiles), wood, canvas

tag: table

text: Clay courts[edit]

text: Clay courts are made of crushed shale, stone or brick.[7] The French Open is the only Grand Slam tournament to use clay courts.

text: Clay courts slow down the ball and produce a high bounce in comparison to grass or hard courts.[7] For this reason, the clay court takes away many of the advantages of big serves, which makes it hard for serve-based players to dominate on the surface. Clay courts are cheaper to construct than other types of tennis courts, but a clay surface costs more to maintain. Clay courts need to be rolled to preserve flatness. The clay's water content must be balanced; green clay courts generally require the courts to be sloped to allow water run-off.

text: Clay courts are more common in Europe and Latin America than in North America, and tend to heavily favour baseline players.

text: Historically for the Grand Slams clay courts have been used at the US Open from 1975 to 1977 and the French Open since 1891.

text: Grass courts[edit]

text: Grass courts are the fastest type of courts in common use.[7] They consist of grass grown on very hard-packed soil, which adds additional variables: bounces depend on how healthy the grass is, how recently it has been mowed, and the wear and tear of recent play. Points are usually very quick where fast, low bounces keep rallies short, and the serve plays a more important role than on other surfaces. Grass courts tend to favour serve-and-volley tennis players.

text: Grass courts were once among the most common tennis surfaces, but are now rare due to high maintenance costs as they must be watered and mown often, and take a longer time to dry after rain than hard courts. The grass surface, however, is the most physically forgiving to the human body because of its softness.

text: Historically for the Grand Slams grass courts have been used at the Australian Open from 1905 to 1987, the US Open from 1881 to 1974, and Wimbledon since 1877.

text: Hard courts[edit]

text: Hard courts are made of uniform rigid material, often covered with an acrylic surface layer[7] to offer greater consistency of bounce than other outdoor surfaces.[8] Hard courts can vary in speed, though they are faster than clay but not as fast as grass courts. The quantity of sand added to the paint can greatly affect the rate at which the ball slows down.[9]

text: The US Open is played on DecoTurf while the Australian Open is played on Plexicushion, both acrylic-topped hard court surfaces.

text: Historically for the Grand Slams hard courts have been used at the Australian Open since 1988 and the US Open since 1978.

text: Carpet courts[edit]

text: "Carpet" in tennis means any removable court covering.[7] Indoor arenas store rolls of rubber-backed court surfacing and install it temporarily for tennis events, but they are not in use any more for professional events. A short piled form of artificial turf infilled with sand is used for some outdoor courts, particularly in Asia. Carpet is generally a fast surface, faster than hardcourt, with low bounce.[7]

text: Notable tennis tournaments previously held on carpet courts were the WCT Finals, Paris Masters, U.S. Pro Indoor and Kremlin Cup. Since 2009, their use has been discontinued on the top tier of the ATP. ATP Challenger Tour tournaments such as the Trofeo Città di Brescia still use carpet courts. The WTA Tour has one remaining carpet court event, the International-level Tournoi de Québec.

text: Indoor courts[edit]

text: Some tennis courts are indoor, which allows to play regardless of weather conditions and is more comfortable for spectators. Because of the lack of wind, gameplay is considerably different versus outdoor courts.

text: Any court surface may be used indoors. Hard courts[8] are most common indoors, as they are made with the most versatile materials and surface finishes. Clay courts are installed indoors with underground watering systems, and used mostly for Davis Cup matches. The conclusion of the Wimbledon Championships, in 2012, was played on the lawn of Centre Court under the closed roof and artificial lights. The Halle Open has also seen a number of matches played on its grass court in the Gerry Weber Stadion with the roof closed. Carpet surfaces have been used both on the ATP World Tour and World Championship Tennis circuit, though no events currently use them. Historically, other surfaces have been used indoors such as hardwood at the defunct World Covered Court Championships and London Indoor Professional Championships. Currently, the ATP World Tour Finals event is the most important indoor tennis tournament.

text: Terminology[edit]

text: Common tennis court terms:

text:
Advantage service box or ad court: The receiver's left side service box, or the opponent's right for the server; significant as the receiving side for an advantage point.
Alley or Tramlines:[10] The lanes on each side of the singles court. These are only used when playing doubles.
Back court: The area between the baseline and the service line.
Baseline: The rearmost line of the court, furthest from and parallel to the net.
Center service line: The line dividing the two service boxes on each side.
Center mark: The 12-inch mark at the halfway point of the baseline used to distinguish the two halves (and service boxes) of a tennis court.
Deuce service box or deuce court: The receiver's right side service box, or the opponent's left for the server, significant as the receiving side for a deuce point.
Service box: The area on each side bounded by the singles sideline, the service line, and the net. There are left and right service boxes, separated by the center service line.
Service line: The line that is parallel to the net and is located between the baseline and the net. It marks the end of the service boxes.
Side T: The T shape formed by the service line and the singles sideline. There are four such side Ts, two on each side of the net.
T or Middle T: The T shape formed by the service line and the center service line.


document_title: Diamond color

question_text: yellow colour in diamonds is caused by the presence of

text: Diamond color

text: Possible colors[edit]

text: Diamonds occur in a variety of colors—steel gray, white, blue, yellow, orange, red, green, pink to purple, brown, and black.[1][2] Colored diamonds contain interstitial impurities or structural defects that cause the coloration, whilst pure diamonds are perfectly transparent and colorless. Diamonds are scientifically classed into two main types and several subtypes, according to the nature of impurities present and how these impurities affect light absorption:

text: Type I diamonds have nitrogen atoms as the main impurity, commonly at a concentration of 0.1%. If the nitrogen atoms are in pairs they do not affect the diamond's color; these are Type IaA. If the nitrogen atoms are in large even-numbered aggregates they impart a yellow to brown tint (Type IaB). About 98% of gem diamonds are type Ia, and most of these are a mixture of IaA and IaB material: these diamonds belong to the Cape series, named after the diamond-rich region formerly known as Cape Province in South Africa, whose deposits are largely Type Ia. If the nitrogen atoms are dispersed throughout the crystal in isolated sites (not paired or grouped), they give the stone an intense yellow or occasionally brown tint (Type Ib); the rare canary diamonds belong to this type, which represents only 0.1% of known natural diamonds. Synthetic diamond containing nitrogen is Type Ib. Type I diamonds absorb in both the infrared and ultraviolet region, from 320 nm (3.2×10−7 m). They also have a characteristic fluorescence and visible absorption spectrum (see Optical properties of diamond).[3]

text: Type II diamonds have no measurable nitrogen impurities. Type II diamonds absorb in a different region of the infrared, and transmit in the ultraviolet below 225 nm (2.25×10−7 m), unlike Type I diamonds. They also have differing fluorescence characteristics, but no discernible visible absorption spectrum. Type IIa diamond can be colored pink, red, or brown due to structural anomalies[4] arising through plastic deformation during crystal growth—these diamonds are rare (1.8% of gem diamonds), but constitute a large percentage of Australian production. Type IIb diamonds, which account for 0.1% of gem diamonds, are usually light blue due to scattered boron within the crystal matrix; these diamonds are also semiconductors, unlike other diamond types (see Electrical properties of diamond). However, a blue-grey color may also occur in Type Ia diamonds and be unrelated to boron.[5] Also not restricted to type are green diamonds, whose color is caused by GR1 color centers in the crystal lattice produced by exposure to varying quantities of radiation.[3]

text: Pink and red are caused by plastic deformation of the crystal lattice from temperature and pressure. Black diamonds are caused by microscopic black or gray inclusions of other materials such as graphite or sulfides and/or microscopic fractures. Opaque or opalescent white diamonds are also caused by microscopic inclusions.[6] Purple diamonds are caused by a combination of crystal lattice distortion and high hydrogen content.[7]

text: Grading white diamonds[edit]

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

text: The majority of diamonds that are mined are in a range of pale yellow or brown color that is termed the normal color range. Diamonds that are of intense yellow or brown, or any other color are called fancy color diamonds. Diamonds that are of the very highest purity are totally colorless, and appear a bright white. The degree to which diamonds exhibit body color is one of the four value factors by which diamonds are assessed. Diamonds have a color grading system that refers to the absence of color. This system goes from D to Z. The more colorless a diamond is, the rarer and more valuable it is because it appears white and brighter to the eye.[8]

text: History of color grading[edit]

text: Color grading of diamonds was performed as a step of sorting rough diamonds for sale by the London Diamond Syndicate.

text: As the diamond trade developed, early diamond grades were introduced by various parties in the diamond trade. Without any co-operative development these early grading systems lacked standard nomenclature, and consistency. Some early grading scales were; I, II, III; A, AA, AAA; A, B, C. Numerous terms developed to describe diamonds of particular colors: golconda, river, jagers, cape, blue white, fine white, gem blue, brown, etc.

text: Grading the normal color range[edit]

text: Refers to a grading scale for diamonds in the normal color range used by internationally recognized laboratories (GIA & IGI for example). The scale ranges from D which is totally colorless to Z which is a pale yellow or brown color. Brown diamonds darker than K color are usually described using their letter grade, and a descriptive phrase, for example M Faint Brown. Diamonds with more depth of color than Z color fall into the fancy color diamond range.

text: Diamond color is graded by comparing a sample stone to a master stone set of diamonds. Each master stone is known to exhibit the very least amount of body color that a diamond in that color grade may exhibit. A trained diamond grader compares a diamond of unknown grade against the series of master stones, assessing where in the range of color the diamond resides. This process occurs in a lighting box, fitted with daylight equivalent lamps. Accurate color grading can only be performed with diamond unset, as the comparison with master stones is done with diamond placed on its table facet and pavilion side facing upwards. When color grading is done in the mounting, the grade is expressed as an estimated color grade and commonly as a range of color. Grading mounted diamonds involves holding the mounted diamonds table close to the table facet of the master stone and visually comparing the diamond color under the same color conditions as unmounted diamond grading. The resulting grade is typically less accurate, and is therefore expressed as a range of color. While a grading laboratory will possess a complete set of master stones representing every color grade, the independent grader working in a retail environment works with a smaller subset of master stones that covers only the typical grade range of color they expect to encounter while grading. A common subset of master stones would consist of five diamonds in two grade increments, such as an E, G, I, K, and M. The intermediate grades are assessed by the graders judgement.

text: Diamonds in the normal color range are graded loose (for example F–G).

text:
Diamond color grading scales[9]

GIA
Status: current
AGS
Status: current
AGS
Status: historical: pre 1995
CIBJO
Status: current
IDC
Status: current
Scan. D.N.
Status: current
Old World Terms
Status: historical

grade and description[10]
grade and electronic colorimeter scale[11]
grade and electronic colorimeter scale[11]
grade[12]
grade and description[12]
grade for .50ct and over[13]
grade for under .50ct
series 1 scale[12]
series 2 scale[12]

D
Colorless
0
0–0.49
0
0–0.75
Exceptional white +
Exceptional white +
Colorless
River
White
Finest White
Jager

E
0.5
0.5–0.99
Exceptional white
Exceptional white
River

1
0.76–1.35

F
1.0
1.0–1.49
Rare white +
Rare white +
Colorless when viewed through the crown
Top Wesselton
Fine White

2
1.36–2.00

G
Near Colorless
1.5
1.5–1.99
Rare white
Rare white
Top Wesselton

H
2.0
2.0–2.49
3
2.01–2.50
White
White
Wesselton
White
Wesselton

I
2.5
2.5–2.99
4
2.51–3.0
Slightly tinted white
Slightly tinted white
Slightly colored
Top Crystal
Slightly tinted white
Commercial White
Top Crystal

J
3.0
3.0–3.49
5
3.01–3.75
Crystal
Top silver cape
Crystal

K
Faint Yellow
3.5
3.5–3.99
Tinted white
Tinted white
Top cape
Tinted white
Top cape

6
3.76–4.5
Silver cape

L
4.0
4.0–4.49

M
4.5
4.5–4.99
7
4.51–5.50
Tinted color 1
Tinted color
Slightly colored to colored
Cape
Tinted color
Light cape
Cape

N
Very Light Yellow
5.0
5.0–5.49
Tinted color 2
Low Cape

O
5.5
5.5–5.99
8
5.51–7.0
Light yellow
Cape
Very light yellow

P
6.0
6.0–6.49
Light yellow

Q
6.5
6.5–6.99

R
7.0
7.0–7.49
9
7.01–8.5

Dark cape

S
Light Yellow
7.5
7.5–7.99
Tinted color 3
Yellow

T
8.0
8.0–8.49

U
8.5
8.5–8.99
10
8.51–10

V
9.0
9.0–9.49

W
9.5
9.5–9.99

X
10
10+
10+

Y

Z

text: Grading fancy color diamonds[edit]

text: Yellow or brown color diamonds having color more intense than "Z", as well as diamonds exhibiting color other than yellow or brown are considered fancy colored diamonds. These diamonds are graded using separate systems which indicate the characteristics of the color, and not just its presence. These color grading systems are more similar to those used for other colored gemstones, such as ruby, sapphire, or emerald, than they are to the system used for white diamonds.[14]

text: Colored diamond grading system[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2016) (Learn how and when to remove this template message)

text: Diamond colors more saturated than this scale are known as "fancy color" diamonds. Any light shade of diamond other than Light Yellow or Light Brown automatically falls out of the scale. For instance, a pale blue diamond won't get a "K", "N", or "S" color grade, it will get a Faint Blue, very Light Blue or Light Blue grade.

text: Laboratories use a list of 27 color hues that span the full spectrum for colored gems and diamonds (Red, Orangish-Red, Reddish-Orange, orange, Yellowish-Orange, Yellow-Orange, Orange-Yellow, Orangish-Yellow, Yellow, Greenish-Yellow, Green-Yellow, Yellow-Green, Yellowish-Green, Green, Bluish-Green, Blue-Green, Green-Blue, Greenish-Blue, Blue, Violetish-Blue, Bluish-Violet, Violet, Purple, Reddish-Purple, Red-Purple, Purple-Red, Purplish-Red). A modifying color combination can also be added (e.g., Olive or Brown-Olive) for stones without the purest hues. Additionally, for diamonds the following colors are used: White (which are milky), Black (which are opaque), Gray, Pink, Brown.

text: The saturation of these hues is then described with one of nine descriptors: Faint, Very Light, Light, Fancy Light, Fancy, Fancy Dark, Fancy Intense, Fancy Deep, Fancy Vivid.

text: The terms "Champagne", "Cognac" and "Coffee" refer to different types of brown diamonds. In the diamond processing/dealing industry, the word "Brown" is considered a killer as far as diamond value goes. Even though champagne is a light yellow color, champagne diamonds are Light Brown. Cognac is usually used to describe a diamond that is Orangish-Brown because cognac is a deep golden-orange color. Coffee is usually used to describe a diamond that is a Deep Brown or Vivid Brown color. Some grading agencies may also describe brown stones as Fancy Yellowish-Brown, Fancy Light Brown, Fancy Intense Brown, etc.

text: Value of colored diamonds[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2010) (Learn how and when to remove this template message)

text: Diamonds that enter the Gemological Institute of America's scale are valued according to their clarity and color. For example, a "D" or "E" rated diamond (both grades are considered colorless) is much more valuable than an "R" or "Y" rated diamond (light yellow or brown). This is due to two effects: high-color diamonds are rarer, limiting supply; and the bright white appearance of high-color diamonds is more desired by consumers, increasing demand. Poor color is usually not enough to eliminate the use of diamond as a gemstone: if other gemological characteristics of a stone are good, a low-color diamond can remain more valuable as a gem diamond than an industrial-use diamond, and can see use in diamond jewelry. Furthermore, it is much more cost effective to purchase a near-colorless grade diamond (e.g. "G" rated) instead of a colorless grade diamond (e.g. "D" rated), as they are nearly indistinguishable to the naked untrained eye, especially when mounted on a ring setting.[15]

text: Fancy diamonds are valued using different criteria than those used for regular diamonds. When the color is rare, the more intensely colored a diamond is, the more valuable it becomes. Another factor that affects the value of Fancy-Colored diamonds is fashion trends. For example, pink diamonds fetched higher prices after Jennifer Lopez received a pink diamond engagement ring.[citation needed] Traditional industrial use and low-grade quality has not stopped creative merchants, such as Le Vian, from marketing dark brown diamonds as so-called "chocolate diamonds".[16]

text: Fancy-colored diamonds such as the deep blue Hope Diamond are among the most valuable and sought-after diamonds in the world. In 2009 a 7-carat (1.4 g) blue diamond fetched the then highest price per carat ever paid for a diamond when it was sold at auction for 10.5 million Swiss francs (US$9.5 million at the time) which is in excess of US$1.3 million per carat.[17] This record was broken in 2013 when an orange diamond sold for US$35 million or US$2.4 million per carat.[18] It was again broken in 2016 when the Oppenheimer Blue, a 14.62-carat (2.924 g) vivid blue diamond became the most expensive jewel ever sold at auction.[19] It is the largest fancy vivid blue diamond classified by the Gemological Institute of America ever sold at auction; it sold at Christie's in Geneva in May 2016 for US$50.6 million (GBP 34.7m; 56.83m SFr).[20]


question_text: who plays shredder in tmnt out of the shadows

text: Plot[edit]

text: Two years after their battle with Shredder and Eric Sacks, the Teenage Mutant Ninja Turtles, Leonardo, Donatello, Raphael, and Michelangelo, still live beneath the sewers of New York City, having allowed Vern Fenwick to take the credit for Shredder's defeat. At Grand Central Station, April O'Neil discovers and informs the turtles that scientist Baxter Stockman is working for Shredder and plans to bust him out of prison. As Shredder is transferred between prisons alongside criminals Bebop and Rocksteady by corrections officer Casey Jones, the Foot Clan attack the convoy transporting them. Despite the turtles' interference, Shredder escapes when Stockman uses a teleportation device. Shredder is hijacked mid-teleport, winds up in another dimension, and meets the alien warlord Krang, who reveals his plans to invade Earth. He gives Shredder a purple mutagenic compound in exchange for his promise to find three components of a machine that Krang sent to Earth long ago which will open a portal to his dimension when united, knowing that Shredder and Stockman have the first piece. Casey tells NYPD chief Rebecca Vincent what happened to Shredder but is met with disbelief, and decides to go out on his own.

text: Shredder returns to NY, recruits Bebop and Rocksteady, who also escaped, and has Stockman use Krang's mutagen to transform them into powerful animal mutants—a humanoid warthog and rhinoceros. April witnesses their transformation and is able to steal the remaining mutagen vial. Pursued by the Foot, she is rescued by Casey, who uses hockey gear, but the vial is taken into police custody. April then introduces Casey to the turtles, and Raphael and Michelangelo make fun of and pull pranks on him. In the lair, Donatello deduces that the mutagen could be used to turn the turtles into humans, enabling them to live normal lives above ground, but Leonardo refuses and insists on keeping it a secret from the others. However, Michelangelo overhears their conversation and tells Raphael, which enrages Raphael and leads to a fierce argument between the brothers. Leonardo benches Raphael and takes Michelangelo off the mission. In the Natural History Museum, Shredder, Bebop, and Rocksteady find the second piece and steal it before Leonardo and Donatello arrive. Still furious, Raphael recruits Michelangelo, April, Casey, and Vern to break into the NYPD headquarters and retrieve the mutagen. Vern distracts the police while April and Casey retrieve the mutagen, but the Foot arrive ahead of them. In the ensuing battle, the turtles' existence is revealed to the police, who react with fear and hatred, and April and Casey are arrested while helping the brothers escape with the mutagen. Vincent also sees on TCRI's cameras that April stole the mutagen, but Stockman had edited the tape so only April is seen.

text: The turtles track Bebop and Rocksteady as they recover the final piece of the device in the rainforests of Manaus, Brazil, and board Rocksteady and Bebop's jet in midair. In the resulting battle, the jet is critically damaged after Rocksteady fires a tank-mounted machine gun in the cargo hold, and crashes into a river. As the Turtles fight Bebop in the river for control of the piece, Rocksteady emerges in the tank and helps Bebop escape with the piece. The turtles return to NY as Shredder and Stockman complete the device and open a portal to Krang's dimension through which his modular war machine, the Technodrome, begins to emerge. Shredder betrays Stockman and his men take him to their headquarters in Tokyo. When entering the Technodrome, Krang likewise betrays Shredder, freezing him and locking him with his collection of other defeated foes.

text: Seeing no way to reach the Technodrome as the police pursue them, the turtles debate over taking the mutagen to become human and fight openly. While Leonardo agrees, Raphael shatters the vial, realizing they must accept who they are. Upon April's request, Vern recovers the security footage from a hidden TCRI camera disguised as a clock that proves Stockman and Shredder's collaboration and secures April and Casey's release. April arranges a meeting between the turtles and Vincent, and convinces her that they are not enemies and were the ones who defeated Shredder in the first place. With the help of the police, the turtles are able to jump from the Chrysler Building and confront Krang aboard the still-assembling Technodrome. Although Krang is able to overpower all four turtles easily, they defeat him when Donatello short circuits Krang's robotics body. April, Casey and Vern raid the Foot Clan facility, defeat Bebop, Rocksteady and Shredder's lieutenant Karai and take control of the device. The turtles are able to hurl the ship's beacon back through the portal, taking Krang and the rest of the Technodrome with it, as April, Casey, and Vern shut the portal down. As he disappears, Krang vows to return stronger for revenge.

text: A week later, Bebop and Rocksteady are back in custody, while Stockman remains at large. At night, the turtles are honored by Vincent and the NYPD along with April, Casey, and Vern, and given golden keys to the city. Vincent offers to introduce the turtles to the public, allowing them to lead normal lives, but the turtles opt to keep their existence a secret while still helping as they always have. On top of the Statue of Liberty, the Teenage Mutant Ninja Turtles celebrate their victory over the vanquished Krang.

text: Cast[edit]

text: Voice actors and motion-capture[edit]

text:
Pete Ploszek as Leonardo: The leader of the turtles who wields a pair of Katanas in battle
Alan Ritchson as Raphael: The hot-headed brother who wields a pair of Sais in battle.
Noel Fisher as Michelangelo: The light-hearted brother known for his pranks and jokes and who wields a pair of nunchucks in battle.
Jeremy Howard as Donatello: The intelligent brother known for his scientific and technological expertise who builds equipment and machinery for the turtles and wields a bo-staff.
Tony Shalhoub (voice) and Peter D. Badalamenti (motion capture) as Splinter: The mentor and father-figure of the turtles.
Gary Anthony Williams as Bebop:[6] A criminal partner of Rocksteady who was genetically mutated into an anthropomorphic warthog.
Sheamus as Rocksteady:[7] A criminal partner of Bebop who was genetically mutated into an anthropomorphic rhinoceros.
Brad Garrett as Krang:[8][9] A megalomaniacal ruthless extraterrestrial life-form equipped with a robotic prototype body, who seeks to destroy Earth and enslave the universe.

text: Live action[edit]

text:
Megan Fox as April O'Neil: A reporter for Channel 6 who had befriended the turtles in the previous film, who now helps them fight the released Shredder and his allies.
Stephen Amell as Casey Jones: A corrections officer turned vigilante who wears a hockey-mask and wields a hockey stick as a weapon. He eventually meets and befriends the turtles and April.
Will Arnett as Vern Fenwick: April's cameraman and friend who is revealed to have taken credit for the turtles actions in saving New York City. He again assists the turtles in stopping Shredder once again.
Laura Linney as Police Chief Rebecca Vincent:[10] the chief of NYPD who initially detests but later allies with the turtles in saving New York City.
Brian Tee[11] as Oroku Saki / Shredder: The leader of the Foot Clan who now seeks revenge on the turtles and allies with Krang.
Tyler Perry as Dr. Baxter Stockman: A mad scientist who allies with Shredder in the latter's aims to take over New York City.
Brittany Ishibashi as Karai:[12] Shredder's second in-command .

text: Dean Winters appears as a bartender. Supermodel Alessandra Ambrosio has a cameo appearance.[13] NBA players Carmelo Anthony, DeAndre Jordan, Lou Amundson, J. J. Redick, Austin Rivers, Matt Barnes, and Spencer Hawes also made cameos in the film.[14][15][16] Series co-creator Kevin Eastman makes a cameo appearance as a pizza delivery man named after himself in the film's opening.[17] Jill Martin also made a cameo appearance in the basketball scene in the film. Judith Hoag, who previously played April O'Neil in the original 1990 film, plays a cameo as Rita, April's boss, in a deleted scene. Jane Wu plays Jade, a police officer.

text: Production[edit]

text: Development[edit]

text: After the 2014 film exceeded box office expectations, Paramount and Nickelodeon officially announced a sequel was greenlit, and set to be released in theatres on June 3, 2016,[18] with plans to incorporate the characters Casey Jones and Bebop and Rocksteady.[19] Jonathan Liebesman and Bradley Fuller were also interested in doing a storyline that involved Dimension X and Krang.[20] In December 2014, it was revealed Paramount was in early negotiations with Earth to Echo director Dave Green to helm the sequel, also revealing Jonathan Liebesman was no longer a part of the project.[21] Known briefly as Teenage Mutant Ninja Turtles: Half Shell,[22] Paramount revealed in December 2015 that the title had officially been changed to Teenage Mutant Ninja Turtles: Out of the Shadows.[23][24]

text: Casting[edit]

text: Megan Fox and Will Arnett were confirmed to be returning as April O'Neil and Vern Fenwick respectively; also confirmed were the Shredder's return, and Bebop and Rocksteady debut in the movie.[25] In an interview, William Fichtner stated that he would be returning as Eric Sacks, but for unknown reasons, he ultimately did not appear in the final film. However, he could return in the third installment, considering he (along with the turtle actors, Noel Fisher, Jeremy Howard, Alan Ritchson and Pete Ploszek) signed on for three TMNT films.[26] Production was confirmed to start in April 2015,[27] along with the casting of Alessandra Ambrosio, and several members of the Los Angeles Clippers.[28][29] On March 31, Stephen Amell was cast as Casey Jones, after test reading alongside several different actors.[30] Amell acknowledged the character bore similarities to his Oliver Queen from Arrow. He stated the characters are "fundamentally different" from one another, but that Casey did resemble Oliver from older versions.[31] On April 23, Tyler Perry was cast as scientist Baxter Stockman, replacing K. Todd Freeman, who played the role in the 2014 film.[32] On April 27, Brian Tee joined the cast as the Shredder, replacing Tohoru Masamune from the first film.[33] On April 30, Laura Linney was cast in an unspecified role.[10] On May 14, Gary Anthony Williams was cast as Bebop,[6] while on May 28, WWE wrestler Stephen "Sheamus" Farrelly was confirmed to play Rocksteady.[7] On May 27, Minae Noji was replaced with Brittany Ishibashi in the role of Karai.[12] In August 2015, CM Punk revealed that he lost the role of Rocksteady to Sheamus.[34] In March 2016, it was announced that Fred Armisen would voice Krang in the film.[35][36] However, in May 2016, shortly before the film's release, it was revealed that Brad Garrett would voice Krang instead due to Armisen having schedule conflicts.[37] In April 2016, while promoting Elvis & Nixon, Johnny Knoxville revealed that he was not asked to return for the sequel as the voice of Leonardo.[38]

text: Music[edit]

text: On April 2, 2016, Steve Jablonsky revealed that he would compose the music score, replacing Brian Tyler from the first film.[39] Mexican teen boy band CD9 performed an updated version of the original show's theme song for the film.[40] The film score soundtrack was released on June 3, 2016, on digital platforms but excluded compact discs.[41]

text: Filming[edit]

text: Filming began in April in New York City and Buffalo, spending about $70 million in the state.[42] Filming began on April 27, 2015, when the film crew was spotted filming in Midtown Manhattan and moved out to Foz do Iguaçu, Brazil.[43] Filming in Buffalo began on May 4, 2015, along the Kensington Expressway[44][45] and ended May 17, 2015.[46] Filming wrapped up in August 2015.[47][48] Additional filming occurred in New York City on January 30, and ended on February 1. Farelly and Williams recorded additional dialogue for the film in February 2016.[49][unreliable source]

text: Release[edit]

text: The film premiered in New York City on May 22, 2016,[50] and was released in the United Kingdom on May 30, 2016, and the United States on June 3, 2016.[51]

text: Marketing[edit]

text: Concept art of Bebop and Rocksteady was shown at Paramount Pictures’ CinemaCon panel on April 22, 2015.[52] A 14-second teaser of the trailer was released by Stephen Amell on December 9, 2015.[53] The full trailer debuted the following day.[54][55] On January 5, 2016, a toy catalog for the film was leaked online. The toys debuted at the 2016 Toy Fair in February. A 30-second TV spot premiered at the 2016 Super Bowl 50 on February 7, 2016.[56] A 7-second sneak preview of the TV spot was released three days prior.[57] On February 12, 2016, a second TV spot was released. On February 17, 2016, Paramount released four character posters featuring the four turtles.[58] On February 25, 2016, Megan Fox and Stephen Amell announced a sweepstakes for the film.[59] On March 2, 2016, Paramount released four more ninja turtle posters.[60]

text: Will Arnett debuted the first official clip from the film at the 2016 Kids' Choice Awards, on March 12, 2016.[61] That same evening, the awards show and Brian Tee gave fans the first look at Shredder in full armor.[62] On March 24, 2016, it was announced that the toys from the film will be released in stores in April. The following day, Paramount released two more Bebop and Rocksteady posters and a new trailer from the film.[63] New footage of the film was also shown during that week at WonderCon.[35] On April 1, 2016, another Bebop and Rocksteady poster was released.[64] On April 8, 2016, another teaser trailer was released.[65] Another trailer with brand new footage debuted on April 11, 2016, along with a new poster.[66] Two new TV spots were released on April 18, 2016.[67] The next day, another TV spot was released.[68] Two days later, another TV spot debuted.[69] On May 3, 2016, another trailer debuted.[70] From May 12–16, 2016, six new TV spots debuted.[71][72][73] On May 19, 2016, Paramount debuted two additional TV spots.[74] The final full trailer for the film was released the following day.[75] Paramount released a trailer, which focused primarily on Bebop and Rocksteady, on May 26, 2016, which also aired during the May 30th episode of WWE Raw since Sheamus was in the film as Rocksteady.[76] Four new TV spots then debuted from May 28–30, 2016.[77][78]

text: Home media[edit]

text: Teenage Mutant Ninja Turtles: Out of the Shadows was released on Digital HD on September 6, 2016,[79] and on 4K Ultra HD, Blu-ray, Blu-ray 3D and DVD on September 20, 2016.[80][81][82] The film debuted in first place on the overall home video sales chart and in second place on the Blu-ray sales chart for the week ending on September 25, 2016.[83]

text: Reception[edit]

text: Box office[edit]

text: Teenage Mutant Ninja Turtles: Out of the Shadows grossed $82.1 million in the United States and Canada and $163.6 million in other territories for a worldwide total of $245.6 million, against its production budget of $135 million.[4] It made around 50% less than its predecessor, which had grossed $493 million.[84]

text: In the U.S. and Canada, the film was projected to gross around $30–40 million from 4,071 theaters in its opening weekend, with some estimates going as high as $49 million.[85][86][87][88][89] It received a one-week special run across 331 IMAX and IMAX 3D theaters from June 2 up to June 9.[90][91] The film made $2 million from Thursday night previews which began at 5 p.m., compared to the first film's $4.6 million.[92][93][94] On its opening day it earned $12.5 million (including previews), with $4.4 million (36%) coming from 3D showings.[95] In its opening weekend, it grossed $35.3 million, finishing first at the box office.[95] However, its opening was down 45% from the first film's $65.6 million debut.[96] Paramount vice chairman Rob Moore said that while the studio was hoping for a stronger opening, he believed that the film could make up some ground in the coming weeks since most films aimed at younger audiences play at better multiples.[97]

text: Outside North America, the film was released in about 30 overseas IMAX markets, beginning Wednesday, June 1, with additional markets throughout the summer, including China on July 2.[90] It opened across 40 markets the same weekend as its U.S. release, including big markets like the United Kingdom, Mexico and Russia, which is about 39% of its total international marketplace, and was projected to make around $36 million.[85][88][98] It ended up grossing $33 million, which is down 11% when compared to the first film's same suite of markets, and had No. 1 debuts in 21 markets out of the 40.[99] The top openings were in China ($26.1 million), the UK ($5.1 million), Russia ($4.8 million) and Mexico ($4.5 million).[100][101] In the United Kingdom, it came in second place – behind Warcraft – with a £3.49 million ($5 million) seven-day opening from 513 theaters.[100][102]

text: In China the film was granted a rare July release date (along with The Legend of Tarzan,[103] where it grossed an estimated $26.1 million from 6,600 screens in two days. It had a limited opening on Friday, July 1 and opened wide the following day. It faced competition from local film Bounty Hunters which had the advantage of opening wide right from Friday. Yet, Out of the Shadows emerged victorious at the end of the weekend ahead of the latter's $18 million opening. As a result, Out of the Shadows became the ninth consecutive Hollywood import film to debut atop the chart beginning from May 6, 2016. In comparable to Saturday releases, the figure is almost double the launch of Big Hero 6; 41% above the first film; and 18% higher than The Angry Birds Movie.[101][104][105] It fell precipitously in its second weekend by 74%, earning $6.6 million and thereby slipped in to fourth place. It opened in key markets such as Germany and Austria on August 11 as well as Japan on August 26, 2016.[106]

text: Critical response[edit]

text: On Rotten Tomatoes, the film has an approval rating of 37% based on 161 reviews, with a rating average of 4.7/10. The site's critical consensus reads, "Teenage Mutant Ninja Turtles: Out of the Shadows is a slight improvement over its predecessor, but still lacks the wit or anarchic energy of the comics that birthed the franchise."[107] On Metacritic, the film has a score of 40 out of 100, based on 30 critics, indicating "mixed or average reviews".[108] Audiences polled by CinemaScore gave the film an average grade of "A-" on an A+ to F scale, an improvement over the first film's "B".[109]

text: Glenn Kenny of The New York Times gave the film a positive review writing, "This movie is, it happens, easier to sit through than the 2014 film", while also adding that "The 3-D action, overseen by the director Dave Green, is not wholly incoherent. The production values (showcasing new mutants and many gear-heavy extra-dimensional machines undreamed of in any actual engineering philosophy) are ultrashiny. And there are even a couple of amusing, albeit unmemorable, sight gags and one-liners."[110] Edward Douglas of New York Daily News gave the film three out of five stars, saying, "As with the best popcorn flicks, Out of the Shadows offers plenty of mindless entertainment and mind-numbing silliness that somehow works well enough to leave even the Ninja Turtles' biggest detractors shell-shocked."[111] Michael O'Sullivan of The Washington Post praised the film's action sequences and story while overall writing that, "Out of the Shadows is, at least, deliciously silly, even if it is also decidedly forgettable. Like a well-plated but nutrition-free meal, it registers on the senses while being bad for you."[112]

text: Peter Hartlaub of San Francisco Chronicle gave the film a negative review, writing, "Your 11-year-old is going to love this film. Then he'll grow up and wonder what he was thinking."[113] Sara Stewart of The New York Post gave the film two out of four stars and wrote, "despite the title, the wisecracking turtles named for Renaissance painters are never allowed to shine... It’s a bummer, dude."[114] Lindsey Bahr of the Associated Press gave the film one star out of four and said, "Teenage Mutant Ninja Turtles: Out of the Shadows is a Saturday morning cartoon on Michael Bay steroids. For the under 12 set, that's fine. For the rest of us? It's something to actively avoid."[115]

text: Accolades[edit]

text:
Award
Category
Nominee
Result
Ref.

2016 Teen Choice Awards
Choice Summer Movie Star: Female
Megan Fox
Nominated
[116]

Choice Summer Movie Star: Male
Stephen Amell

37th Golden Raspberry Awards
Worst Prequel, Remake, Ripoff or Sequel
Teenage Mutant Ninja Turtles: Out of the Shadows
Nominated
[117]

Worst Actress
Megan Fox

2017 Kids' Choice Awards
Favorite Movie
Teenage Mutant Ninja Turtles: Out of the Shadows
Nominated
[118]

Favorite Movie Actress
Megan Fox

Favorite Movie Actor
Will Arnett

Squad
Noel Fisher, Jeremy Howard, Pete Ploszek, Alan Ritchson

text: Possible sequel[edit]

text: On August 16, 2014, Noel Fisher revealed in an interview that he and the other turtle actors have signed on for three more films.[119] Megan Fox has also signed on for three films.[120] On May 20, 2016, Tyler Perry said that if a third film is to be made, his character, Baxter Stockman, would probably mutate into his fly form during the movie.[121] Pete Ploszek has also expressed his interests in reprising his role in a third film as Leonardo.[122] On October 29, 2016, producer Andrew Form indicated that no plans were currently underway for a third film.[123]

text:
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