document_title: Bo (Lost Girl)

question_text: when does bo learn trick is her grandfather

text: Bo (Lost Girl)

text: Biography[edit]

text: Childhood and early years[edit]

text: Bo is a succubus who grew up in an adopted human family, unaware of her non-human nature and of the Fae world she descended from. In "Raging Fae", she told Kenzi that she began to feel "different" when she entered puberty and didn't know she was not normal until she accidentally killed her high school boyfriend by draining his life energy during her first sexual activity. When she told her parents what had happened, they broke the news to Bo that she had been adopted. Not knowing what she was and what she had done, Bo hated herself and ran away from home, exchanging her previous life for one without family or friends, moving from place to place and assuming a false identity whenever she killed again.

text: Powers[edit]

text: As a succubus, she can seduce and manipulate both humans and Fae with the touch of her skin; and has the power to absorb the life force (the "chi", or Qi) of humans and Fae by drawing it out through their mouths. She feeds and heals from oral chi intake, and chi absorbed from the sexual energy created with males or females. At first she could not feed without killing her sexual partners; but with Lauren's help Bo learned to control her sexual drive and chi-drawing powers so that she could have sex with both Fae and humans without injuring or killing them. Although Fae are stronger than humans and can better endure her feeding on them, they are not immune from being drained. Without self-control Bo can render them comatose or dead. In "(Dis)Members Only", Dyson's chi is drained by Bo's succubus birth mother, Aife, and Bo brings him back to life by transferring some of her own life energy into him.

text: Relationships[edit]

text: Kenzi[edit]

text: A young human woman who becomes Bo’s best friend and sidekick after Bo saved her from a rapist who had surreptitiously drugged her with a "roofie" in her drink. A pickpocket and scam artist with a long rap sheet, she can speak Russian fluently, possesses excellent street-smarts, and has family connections in organized crime. Kenzi ran away from home and lived on the streets and underground for a long time before meeting Bo. During the "trial" by the local Fae leaders to choose alignment with either the Light or Dark, Bo chose to side with humanity after Kenzi risked her life to discover where Bo had been taken by force and what they were doing to her, and called out to Bo to help her break out of a spell she had been put under during the trial. Kenzi suggested to Bo that she should take advantage of her bewitching powers and neutrality to become a private investigator, with her as partner. She was declared Bo's "property" and pet to allow her to participate within Fae society. Kenzi does not care about fae politics.

text: Dyson[edit]

text: A Wolf-Shapeshifter and homicide detective in the human police force. He is over 1,500 years old, very strong, possesses a sharp sense of smell, and is acutely knowledgeable about Fae politics. A member of the Light Fae, his true allegiance is to Trick rather than The Ash. He fell in love with Bo while under orders from Trick to keep an eye on her, and is best friends with Hale, his Light Fae detective partner. In the Season One finale, he involuntarily sacrificed his love for Bo when he offered his wolf to the Norn in return for her giving Bo the strength to defeat her maniacal mother, Aife; but the Norn, who demanded his wolf the first time he supplicated her intervention, realized that his wolf was no longer what he valued most and instead took Dyson's love for Bo and ability to love anyone else again; leaving him with the memory of their relationship but unable to feel his passion for her. He has since made efforts to remain friends with Bo, which was initially awkward when Bo couldn't understand why he had become distant. After being reunited with his old love, Ciara, they began a relationship which was hampered by Dyson's reluctance to reveal his encounter with the Norn and what he had lost in the exchange; however, he eventually admitted to her that he had offered his wolf but it had cost him his being able to love anyone. His ability to love was restored by the Norn after Kenzi threatened to mutilate and cut down her Ancient Tree with a chainsaw. It is revealed in Season 5 that he has a son named Mark. He is scornful of humans

text: Dr. Lauren Lewis[edit]

text: A Human owned by the Ash as his property, she serves as a doctor and scientist for the Light Fae. She was seduced by Bo during their first meeting and hence fell in love with her. She has extensive knowledge of the different types of Fae and their abilities. In the first season, she helped Bo learn how to control her powers so that she could have sex with both Fae and humans without hurting or killing them. It is later revealed that she had a human girlfriend, Nadia, who had fallen into a coma five years earlier after contracting a mysterious virus while in the Congo with her. In exchange for her servitude, The Ash offered Lauren access to the Light Fae's laboratory and resources to find a cure for Nadia's condition. Lauren learned from Lachlan in "Masks" that she was tricked by the previous Ash: he ordered a Dark Fae Shaman to curse Nadia into a coma to insure that Lauren would do everything in her power to find an antidote to the fever that was killing Fae, and then pulled her into the Light clan's fold. After Bo (unbeknownst to Lauren) removed the curse, Lauren and Nadia reunited; but their relationship was soon shattered when it was revealed that Nadia had been infected by the Garuda and he could control her mind and body. Bo was forced to kill Nadia when she threatened Lauren's life leaving Lauren devastated. Grieving, Lauren seeks comfort in Bo and the two grow closer emotionally. In the Season 2 finale, Lauren relinquishes her chance for freedom from the Light Fae to stay with Bo, despite encouragement from Dyson to leave while she can.

text: In "Caged Fae", Bo asks Lauren to be together in a committed relationship. However, in "Delinquents", Tamsin visits Lauren to furtively carry out one of her mercenary tasks, and intentionally provokes Lauren by telling her that she and Bo kissed without Bo feeding from her (not knowing that the kiss was caused by Trick and Stella touching the Dawning invitation machine at the moment they shared a first kiss in "Fae-ge Against The Machine", which made the machine spark, and propelled Tamsin towards Bo to kiss her). Overwhelmed by the all the stress and loss she had experienced, and feeling inadequate in satisfying Bo's succubus nature, Lauren tells Bo that she needs to take a "break" from the relationship. As time passes, however, Bo becomes concerned that it might not be a temporary separation. In "Adventures In Fae-bysitting", a part of Lauren's past is disclosed and we learn that her real name is Karen Beattie and that she is a fugitive wanted by the International Criminal Offences and Criminal Intelligence Bureau. In addition to English she is also fluent in Spanish, French and Swahili. In "Those Who Wander" Lauren feigns being through with Bo in the presence of Dr. Isaac Taft and rejects her to protect Bo, and herself, from him. After this encounter, Bo and Lauren go their separate ways. Lauren then sabotages Taft's plan to extract Dyson's DNA and transfer the cells into him so as to become a Wolf-Shapeshifter, and turns Taft into a human/Cabbit hybrid instead, making him an easy kill for Dyson. She goes missing thereafter. (The conversation that she and Dyson had during a phone call in "Sleeping Beauty School" showed that Dyson was aware of Lauren's motives for subjecting him to the deceptive procedure.) In "Turn to Stone", Lauren reveals to Crystal that she has a brother, they had been inseparable, and decided together "to change the world", but their cause had turned into blowing up pipelines. Lauren knew how to build pipe bombs and made them for her brother to position; however, one location was supposed to have been deserted but wasn't, and eleven people were killed in the explosion. This led Lauren (Karen Beattie) to go on the run, change her identity, and keep running ever since. Lauren confesses that not a day goes by that she doesn't hate herself for what happened. (By the details in the ICOCIB wanted poster, the incident occurred in 1998, when Lauren was 17 or 18 years old.) In "Let the Dark Times Roll", Bo and Lauren are reunited at a Dark Fae party after the passage of a month, during which Lauren's memory of Bo was removed by The Wanderer. They jump into each other's arms and kiss passionately. Lauren told Bo that she had fled for her life after the Una Mens began to kill humans. The Dark Fae (i.e. The Morrigan) came looking for her, offering refuge, protection, and freedom to come and go as she pleased in exchange for working for the clan. When Bo tells Lauren that she can offer her protection by claiming her, Lauren turns her down. After being owned by The Ash for over five years, Lauren doesn't want to be owned by anyone, even Bo. Bo walks away, stunned and bewildered by Lauren's response. In "Dark Horse", Bo and Lauren reconciled after Bo saved Lauren from Massimo. Lauren saw that Bo was wearing the necklace gift from Lauren she had found in "Turn to Stone". When a defiant Lauren tells Bo that she's not afraid of the Fae, Bo admiringly told her, "You really are Dark"; to which Lauren replied, "No, Bo. I'm yours." Bo starts to leave, but turns around and walks back to Lauren and kisses her.

text: At the start of Season 5, Bo and Lauren have remained good friends, putting behind their previous tensions. In Big in Japan, when Bo felt that she was alone, following Kenzi's departure, Lauren was among those who reassured Bo that she would never be alone, because she stole her heart. In Here Comes the Night, Bo and Lauren made love again since their breakup in Season 3. They were seen by Tamsin, who had initiated a sexual relationship with Bo and thought the two were now "girlfriends". When Bo realized their 'friends with benefits' had been misunderstood she told Tamsin that she did love her, but not in a romantic way. In "End of Faes", Tamsin told Bo that it didn't matter where her body was, because her heart will always be with Lauren; that she and Lauren will always be a couple, even when they were not. Afterwards, Bo stopped Lauren to talk about what happened between them the day before and told her, "There's always going to be a reason for us not to be together. And I don't want to put this off any longer." Bewildered, Lauren simply says, "Oh, Boy." Bo asks, "'Oh, Boy', No. Or 'Oh, Boy', Yes?" Tamsin later tells Lauren that she and Bo should get back together. Tamsin told Lauren "I entered the game and I lost. That's life. The best woman won. I'm over it. You should be, too." Later, Bo, Lauren and Dyson are searching for Mark, Dyson's son. Bo had to leave to find one of the Ancient Fae, Iris, while Lauren and Dyson search for Mark, but before they went different ways, Lauren tells Bo, "Oh, Boy, Yes"; letting her know that she, too, wanted to resume their relationship. In "Rise", as the series comes to an end, Lauren tells Bo that she wants to spend the rest of her life with her, acknowledging mistakes that she would never make again. Both admit their relationship is messy and complicated, but after Lauren assures Bo that she is willing to weather the inevitable complications of their lives, Bo, gladdened, accepts her proposal. They embrace and kiss, this time forever.

text: Fitzpatrick "Trick" McCorrigan[edit]

text: The bartender and owner of the only Fae pub in town, The Dal Riata, which is neutral ground where Light and Dark Fae can freely socialize and find sanctuary. Trick is very powerful: he is a Blood Sage and can alter fate by writing it with his blood. Once known as the Blood King, he forced the truce and wrote the decrees that ended the war between Light and Dark Fae; and though few are now aware of his former position in the Fae hierarchy, he is on equal terms with the Fae Elders. Compared to other Fae, who have contempt for humans, he is tolerant and often fond of humans, even trading away his most prized possession to help save Kenzi's life after she was infected with a lethal Fae virus. He respects Lauren and when necessary seeks her opinion and expertise with matters involving Fae. Trick is extremely reluctant to use his blood powers as it can have unforeseen consequences; for example, his writing a culmination where Aife’s maternal instincts emerge and stop her from hurting and killing Bo not only left him weakened and wounded from the loss of blood, but also signaled his whereabouts to an ancient enemy of the Fae, the Garuda. Near the end of the second season, it was revealed that Trick is Bo's maternal grandfather.

text: Hale Santiago[edit]

text: A Siren and Dyson's colleague as another Light Fae undercover agent in the human police force. He can pacify, control, and kill humans and Fae alike with his whistling; in addition, he can cure pain and heal wounds with it. He is the son of the leader of one of the three most powerful Light Fae clans, the Clan Zamora, but despite his family's high social status he disdains their social contacts and makes his own way in life (although Bo and Kenzi used his contacts when they needed to infiltrate a high-class Fae event). Hale is good friends with Kenzi, with an undercurrent of mutual attraction gradually developing between them. He helped save Kenzi's life by using his siren's whistle to cauterize her wound in the Season Two finale. In the third season, he became the acting Ash after Lachlan's death.


document_title: Sympathy for the Devil

question_text: who plays lead guitar on sympathy for the devil

root

text: Sympathy for the Devil

text: Inspiration[edit]

text: "Sympathy for the Devil" is credited to Jagger and Richards, though the song was largely a Jagger composition.[1] The working title of the song was "The Devil Is My Name", having earlier been called "Fallen Angels", and it is sung by Jagger as a first-person narrative from the point of view of the Devil, recounting his control over the events of human existence.

tag: p

text: In the 2012 documentary Crossfire Hurricane, Jagger stated that his influence for the song came from Baudelaire and from the Russian author Mikhail Bulgakov's novel The Master and Margarita (which had just appeared in English translation in 1967). The book was given to him by Marianne Faithfull.

text: In a 1995 interview with Rolling Stone, Jagger said, "I think that was taken from an old idea of Baudelaire's, I think, but I could be wrong. Sometimes when I look at my Baudelaire books, I can't see it in there. But it was an idea I got from French writing. And I just took a couple of lines and expanded on it. I wrote it as sort of like a Bob Dylan song."[1] It was Richards who suggested changing the tempo and using additional percussion, turning the folk song into a samba.[2]

text: Backed by an intensifying rock arrangement, the narrator, with narcissistic relish, recounts his exploits over the course of human history and warns the listener: "If you meet me, have some courtesy, have some sympathy, and some taste; use all your well-learned politesse, or I'll lay your soul to waste." Further more, Jagger stated in the Rolling Stone interview: "it's a very long historical figure — the figures of evil and figures of good — so it is a tremendously long trail he's made as personified in this piece."[1] By the time Beggars Banquet was released, the Rolling Stones had already raised some hackles for sexually forward lyrics such as "Let's Spend the Night Together"[3] and for allegedly dabbling in Satanism[4] (their previous album, while containing no direct Satanic references in its music or lyrics, was titled Their Satanic Majesties Request), and "Sympathy" brought these concerns to the fore, provoking media rumours and fears among some religious groups that the Stones were devil-worshippers and a corrupting influence on youth.[4]

text: The lyrics focus on atrocities in the history of mankind from Satan's point of view including the trial and death of Jesus Christ ("Made damn sure that Pilate washed his hands to seal his fate"), European wars of religion ("I watched with glee while your kings and queens fought for ten decades for the gods they made"), the violence of the Russian Revolution of 1917 and the 1918 shooting of the Romanov family ("I stuck around St. Petersburg when I saw it was a time for a change/Killed the Tsar and his ministers/Anastasia screamed in vain"), and World War II ("I rode a tank, held a general's rank when the blitzkrieg raged, and the bodies stank"). The song was originally written with the line "I shouted out 'Who killed Kennedy?'" After Robert F. Kennedy's death on 6 June 1968, the line was changed to "I shouted out 'Who killed the Kennedys?'"[5]

text: Jagger sings the final lines of the coda, before the fade, in a high falsetto.

text: The song may have been spared further controversy when the first single from the album, "Street Fighting Man", became even more controversial in view of the race riots and student protests occurring in many cities in Europe and in the United States.[6]

text: Recording[edit]

text: The recording of "Sympathy for the Devil" began at London's Olympic Sound Studios on 4 June 1968 and continued into the next day; overdubs were done on 8, 9 and 10 June.[7] Personnel included on the recording include Nicky Hopkins on piano, Rocky Dijon on congas and Bill Wyman on maracas.

text: It is often mentioned that Marianne Faithfull, Anita Pallenberg, Brian Jones, Charlie Watts, producer Jimmy Miller, Wyman and Richards performed backup vocals, singing the "woo woos", repeatedly, as this can be seen in the film Sympathy for the Devil (see below) by Jean-Luc Godard. Richards plays bass on the original recording,[citation needed] and also electric guitar. Jones is seen playing an acoustic guitar in the film, but it is not audible in the finished mix.

text: In the 2003 book According to the Rolling Stones, Watts said: "'Sympathy' was one of those sort of songs where we tried everything. The first time I ever heard the song was when Mick was playing it at the front door of a house I lived at in Sussex ... He played it entirely on his own ... and it was fantastic. We had a go at loads of different ways of playing it; in the end I just played a jazz Latin feel in the style of Kenny Clarke would have played on 'A Night in Tunisia' – not the actual rhythm he played, but the same styling."[2]

text: On the overall power of the song, Jagger continued in Rolling Stone: "It has a very hypnotic groove, a samba, which has a tremendous hypnotic power, rather like good dance music. It doesn't speed up or slow down. It keeps this constant groove. Plus, the actual samba rhythm is a great one to sing on, but it is also got some other suggestions in it, an undercurrent of being primitive—because it is a primitive African, South American, Afro-whatever-you-call-that rhythm (candomblé). So to white people, it has a very sinister thing about it. But forgetting the cultural colors, it is a very good vehicle for producing a powerful piece. It becomes less pretentious because it is a very unpretentious groove. If it had been done as a ballad, it wouldn't have been as good."[1]

text: Aftermath[edit]

text: In an interview with Creem, Jagger said, "[When people started taking us as devil worshippers], I thought it was a really odd thing, because it was only one song, after all. It wasn't like it was a whole album, with lots of occult signs on the back. People seemed to embrace the image so readily, [and] it has carried all the way over into heavy metal bands today. Some people have made a living out of doing this; for example, Jimmy Page." [4]

text: Of the change in public perception the band experienced after the song's release, Richards said in a 1971 interview with Rolling Stone, "Before, we were just innocent kids out for a good time, they're saying, 'They're evil, they're evil.' Oh, I'm evil, really? So that makes you start thinking about evil... What is evil? Half of it, I don't know how much people think of Mick as the devil or as just a good rock performer or what? There are black magicians who think we are acting as unknown agents of Lucifer and others who think we are Lucifer. Everybody's Lucifer."[8]

text: Contrary to a widespread misconception, it was "Under My Thumb" and not "Sympathy for the Devil" that the Rolling Stones were performing when Meredith Hunter was killed at the Altamont Free Concert.[4] Rolling Stone magazine's early articles on the incident misreported that the killing took place during "Sympathy for the Devil",[9] but the Stones in fact played "Sympathy for the Devil" earlier in the concert; it was interrupted by a fight and restarted, Jagger commenting, "We're always having—something very funny happens when we start that number." Several other songs were performed before Hunter was killed.[7]

text: Personnel[edit]

text:
Mick Jagger – lead vocals
Keith Richards – guitar solo, bass guitar, backing vocals
Brian Jones – backing vocals
Bill Wyman – maracas, backing vocals
Charlie Watts – drums, backing vocals, cowbell
Nicky Hopkins – piano, backing vocals
Rocky Dijon – congas
Anita Pallenberg, Marianne Faithfull – backing vocals

tag: ul

text: The 1968 film and others[edit]

text: Sympathy for the Devil is also the title of a producer's edit of a 1968 film by Jean-Luc Godard whose own original version is called One Plus One. The film, a depiction of the late 1960s American counterculture, also featured the Rolling Stones in the process of recording the song in the studio. On the filming, Jagger said in Rolling Stone: "[it was] very fortuitous, because Godard wanted to do a film of us in the studio. I mean, it would never happen now, to get someone as interesting as Godard. And stuffy. We just happened to be recording that song. We could have been recording 'My Obsession.' But it was 'Sympathy for the Devil', and it became the track that we used."[1]

text: Guns N' Roses version[edit]

text:
"Sympathy for the Devil"

Single by Guns N' Roses

from the album Interview with the Vampire soundtrack

B-side
"Escape to Paris" (by Elliot Goldenthal)

Released
13 December 1994 (1994-12-13)

Recorded
October 1994

Genre

Hard rock
heavy metal

Length
7:36

Label
Geffen

Producer(s)

Guns N' Roses
Mike Clink
Matthias Gohl

Guns N' Roses singles chronology

"Since I Don't Have You"
(1994)
"Sympathy for the Devil"
(1994)
"Chinese Democracy"
(2008)

"Since I Don't Have You"
(1994)
"Sympathy for the Devil"
(1994)
"Chinese Democracy"
(2008)

tag: table

text: Guns N' Roses recorded a cover in 1994 which reached number 55 on the Billboard Hot 100; it was featured in the closing credits of Neil Jordan's film adaptation of Anne Rice's Interview with the Vampire (except the 4K cut of the film) and was included on their Greatest Hits album. This cover is noteworthy for causing an incident involving incoming guitarist, Paul "Huge" Tobias, that was partially responsible for guitarist Slash departing from the band in 1996.[10] Slash has described the Guns N' Roses version of the song as "the sound of the band breaking up".[11]

text: Rhythm guitarist Gilby Clarke, who does not appear on the recording, noted that the recording foreshadowed his departure from the band, stating: "They did that while I was on the road touring for my solo record. […] I knew that that was the ending because nobody told me about it. Officially I was in the band at that time, and they did that song without me. That was one of the last straws for me, because nobody had said anything to me, and they recorded a song by one of my favorite bands. It was pretty clear I'm a big Rolling Stones fan, and they recorded the song without me. So I knew that was it."[12]

text: Personnel[edit]

text:
Axl Rose – lead vocals, piano
Slash – lead and rhythm guitars
Duff McKagan – bass guitar, backing vocals
Matt Sorum – drums, percussion
Dizzy Reed – keyboards
Paul Tobias – rhythm and lead guitars, backing vocals

text: Charts[edit]

text:
Chart (1994–1995)
Peak
position

Australia (ARIA)[13]
12

Austria (Ö3 Austria Top 40)[14]
17

Belgium (Ultratop 50 Flanders)[15]
18

Belgium (Ultratop 50 Wallonia)[16]
40

Finland (The Official Finnish Charts)[17]
2

France (SNEP)[18]
15

Germany (Official German Charts)[19]
20

Ireland (IRMA)[20]
16

Netherlands (Single Top 100)[21]
9

New Zealand (Recorded Music NZ)[22]
13

Norway (VG-lista)[23]
5

Sweden (Sverigetopplistan)[24]
7

Switzerland (Schweizer Hitparade)[25]
15

UK Singles (Official Charts Company)[26]
10

US Billboard Hot 100[27]
55

US Mainstream Rock (Billboard)[28]
10

text: Sales and certifications[edit]

text:
Region
Certification
Certified units/Sales

Japan (RIAJ)[29]
Gold
50,000^

^shipments figures based on certification alone

text: Other recorded versions[edit]

text:
In 2005, Cuban drummer and percussionist Horacio Hernandez ("El Negro") recorded a Latin Jazz version of the song, sung by Latin great Rubén Blades.[30]
British gothic rock band Inkubus Sukkubus released a cover of the song on their 2007 album Science and Nature.[31]
Indie rock bands Band of Skulls and John & Jehn covered the song for the French TV show Taratata broadcast in March 2010.[32]
Motörhead covered the song for their 2015 album Bad Magic.[33]
Sandie Shaw covered the song for her 1969 album Reviewing the Situation.[34]
Blood, Sweat & Tears released a version in 1970 on the band's third album.
Tiamat covered the song for their 1999 album Skeleton Skeletron.


document_title: Fantastic Beasts and Where to Find Them (film)

question_text: when was fantastic beasts and where to find them set

text: Plot[edit]

text: In 1926, British wizard and "magizoologist" Newt Scamander arrives by ship to New York en route to Arizona. He encounters Mary Lou Barebone, a No-Maj woman who heads the New Salem Philanthropic Society. As Newt listens to her speech about how witches and wizards are real and dangerous, a Niffler escapes from Newt's magically expanded suitcase, which houses various magical creatures. As Newt attempts to capture the Niffler, he meets No-Maj cannery worker and aspiring baker Jacob Kowalski, and they unwittingly swap suitcases. Demoted Auror Tina Goldstein arrests Newt for the chaos caused by the Niffler and takes him to the Magical Congress of the United States of America (MACUSA) headquarters, hoping to regain her former position. However, as Jacob's suitcase contains only baked goods, Newt is released. At Jacob's tenement apartment, several creatures escape from Newt's suitcase.

text: After Tina and Newt find Jacob and the suitcase, Tina takes them to her apartment and introduces them to Queenie, her Legilimens sister. Jacob and Queenie are mutually attracted, though American wizards are forbidden to marry or even meet No-Majs. Newt takes Jacob inside his magically expanded suitcase, where Jacob encounters a contained Obscurus, a parasite that develops inside magically gifted children if they suppress their magical abilities. Newt extracted it from a young girl who died, those afflicted rarely living past the age of ten. Newt persuades Jacob to help search for the missing creatures. After re-capturing two of the three escaped beasts, they re-enter the suitcase, which Tina returns to MACUSA. Officials arrest them, believing one of Newt's beasts to be responsible for killing Senator Henry Shaw, Jr. Director of Magical Security Percival Graves accuses Newt of conspiring with the infamous dark wizard Gellert Grindelwald, and decides to destroy Newt's suitcase and erase Jacob's recent memories of magic. Newt and Tina are sentenced to immediate death, but Queenie and Jacob rescue them, and they and escape after retrieving Newt's suitcase. Following a tip from Tina's old goblin informant Gnarlack, the foursome find and re-capture the last of the creatures.

text: Meanwhile, Graves approaches Mary Lou's adopted son Credence and offers to free him from his abusive mother. In exchange, Graves wants Credence to find an Obscurus, which he believes has caused the mysterious destructive incidents around the city. Credence finds a wand under his adopted sister Modesty's bed. Mary Lou assumes it is Credence's wand, but Modesty says it is hers. When Modesty is about to be punished, the Obscurus kills Mary Lou and her eldest daughter Chastity. Graves arrives, and after Credence leads him to Modesty, whom he assumes is the Obscurus's host, he dismisses Credence as being a Squib and refuses to teach him magic. Credence reveals he is the real host, having lived longer than any other host due to the intensity of his magic. In a fit of rage, Credence transforms and attacks the city.

text: Newt finds Credence hiding in a subway tunnel, but he is attacked by Graves. Tina, who knows Credence, arrives and attempts to calm him, while Graves tries to convince Credence to listen to him. As Credence begins to settle into human form, Aurors arrive and apparently disintegrate him to protect the magical society; however, a tiny Obscurus fragment escapes. Graves admits to unleashing the Obscurus to expose the magical community to the No-Majs and framing Newt for it, and angrily claims that MACUSA protects the No-Majs more than themselves. After being subdued by one of Newt's beasts, he is revealed as Grindelwald in disguise and is taken into custody.

text: MACUSA fears their secret world has been exposed, but Newt releases his Thunderbird to disperse a poultice as rainfall over the city that erases all New Yorkers' recent memories as MACUSA wizards repair the destruction. Queenie kisses Jacob goodbye as the rain erases his memories. Newt departs for Europe, but promises to return and visit Tina when his book is finished; he also anonymously leaves Jacob a case of silver Occamy eggshells to fund his bakery. His breads and pastries are unconsciously inspired by Newt's creatures, and Queenie visits him in his shop.

text: Cast[edit]

text:
Eddie Redmayne as Newt Scamander:[8] an eccentric, introverted British wizard, magizoologist and an employee at the Ministry of Magic. Scamander is the future author of the Hogwarts School of Witchcraft and Wizardry standard textbook Fantastic Beasts and Where to Find Them. Redmayne was cast in June 2015.[8] Matt Smith and Nicholas Hoult were also considered for the role.[9][10]
Katherine Waterston as Tina Goldstein:[11] a grounded, down-to-earth witch and a former Auror employed by MACUSA. She longs to fight for what is right, but was demoted to a position well below her skill level.[11]
Dan Fogler as Jacob Kowalski: a genial No-Maj cannery worker and aspiring baker who is accidentally exposed to the New York City magical community upon meeting Newt.[12][13]
Alison Sudol as Queenie Goldstein:[14] Tina's younger sister and roommate, she's described as a free-spirited and big-hearted bombshell, and is accomplished in Legilimency. The film is Sudol's feature film debut.[15]
Ezra Miller as Credence Barebone:[16][13][17] Mary Lou's troubled adopted son.
Samantha Morton as Mary Lou Barebone:[18] a narrow-minded No-Maj and the sinister leader of the New Salem Philanthropic Society or "The Second-Salemers", a group whose goals include exposing and killing wizards and witches.
Jon Voight[19] as Henry Shaw Sr.: a newspaper owner and the father of U.S. senator Henry Shaw Jr. and Langdon Shaw.
Carmen Ejogo as Seraphina Picquery: the President of MACUSA, the Magical Congress of the United States of America. As such, she is the American equivalent of a Minister for Magic in the United Kingdom.
Colin Farrell as Percival Graves:[20] a high-ranking Auror and Director of Magical Security for MACUSA. He is charged with the protection of wizards.
Ron Perlman[21] as Gnarlack: a goblin gangster who owns a magical speakeasy nightclub called "The Blind Pig".
Ronan Raftery as Langdon Shaw: the youngest of Henry Shaw Sr.'s sons, who begins to believe in magic.
Josh Cowdery as Henry Shaw Jr.: the eldest of Henry Shaw Sr.'s sons, an arrogant and cruel U.S. senator who holds a rally picketed by the New Salem Philanthropic Society.
Faith Wood-Blagrove as Modesty Barebone: a haunted young girl and the youngest of Mary Lou's adopted children. Wood-Blagrove was chosen for the role following thousands of auditions in an open casting call.[22]
Jenn Murray as Chastity Barebone: the eldest of Mary Lou's adopted children.[16][23]
Kevin Guthrie as Mr. Abernathy: Tina and Queenie's MACUSA supervisor.
Johnny Depp as Gellert Grindelwald: a famous powerful dark wizard who seeks to lead a new Wizarding Order, believing in wizarding superiority.[24]
Zoë Kravitz as Leta Lestrange: Newt's former love who betrayed his trust.[25]

text: Production[edit]

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

text: Development[edit]

text: Fantastic Beasts and Where to Find Them is mentioned several times as a school textbook in the Harry Potter book series, although Scamander himself does not appear in any of the books. In 2001 Rowling published an edition of the "textbook" to be sold to raise money for the British charity Comic Relief. The book is a directory of magical creatures written with an introduction by its author Newt Scamander; it does not contain a storyline narrative. (In literature, the creation of such a long work not part of a novel's narrative storyline is known as a false document.[26])

text: First announced in September 2013, the project marks Rowling's debut as a screenwriter.[27] The film sees the return of producer David Heyman, as well as writer Steve Kloves, both veterans of the Potter film franchise.[28] After Alfonso Cuarón declined involvement,[29][30] Warner Bros. announced that David Yates would direct at least the first instalment of a planned trilogy.[31] James Newton Howard was contracted to compose the score.[32]

text: Filming[edit]

text: Principal photography commenced on 17 August 2015, at Warner Bros. Studios, Leavesden and was completed in January 2016.[16][18][33][34] Several scenes were also shot on location in London.[35] After two months, the production moved to the Cunard Building and St George's Hall in Liverpool, which was transformed into 1920s New York City.[36] Framestore in London produced the visual effects for the film.[37]

text: Music[edit]

text: On 9 April 2016, it was announced that James Newton Howard would write and compose the film's score.[38] On 24 October, Pottermore published an official first look at the film's main theme composed by Howard.[39] The main theme incorporated John Williams' themes from earlier films, such as "Hedwig's Theme".[40] The soundtrack was released by WaterTower Music on 18 November 2016.[41]

text: Release[edit]

text: Fantastic Beasts and Where to Find Them held its world premiere at Alice Tully Hall in New York City on 10 November 2016. The film was released worldwide on 18 November 2016, in 2D, 3D and the new IMAX 4K Laser system.[8][42] It would premiere one day earlier in a number of other countries, including Argentina, Australia, Brazil, Germany and Italy, on 17 November. The film will be released in a total of 1,028 IMAX screens worldwide (388 screens in the United States and Canada, 347 screens in China, 26 screens in Japan and 267 screens in other countries). This marked the second time—after Doctor Strange—that a film secured a release in over 1,000 IMAX screens worldwide.[43][44]

text: Marketing[edit]

text: Publicity[edit]

text: On 4 November 2015, Entertainment Weekly released the first official publicity shots of the film, containing pictures of characters Newt, Tina, and Queenie, and production and filming being held in various sets designed to mirror 1920s New York City. On 10 December 2015, it was announced that an "announcement trailer" would be released five days later, on 15 December.[45] Along with the one-minute trailer, a teaser poster was released.[46][47]

text: During "A Celebration of Harry Potter" at Universal Orlando Resort in February 2016, a featurette was released showcasing several interviews with various cast and crew members, as well as the first official behind-the-scenes footage.[48] On 10 April 2016, the first "teaser trailer" was released during the MTV Movie Awards.[49] On 10 August, more information and publicity shots for the film were released through Entertainment Weekly, with new information on Ezra Miller's character Credence Barebone and the news that Zoë Kravitz would have a role in the series.[50][51] New images released include the quartet running down a New York City alleyway, David Yates chatting to stars Katherine Waterston and Eddie Redmayne on the set in front of a blown out Subway station, Colin Farrell's character Percival Graves interrogating an arrested and handcuffed Newt, and Graves and Credence putting up anti-magic propaganda.[50][52]

text: Tie-in literature and merchandise[edit]

text: On 26 April 2016, it was announced that the film's script would be released in the form of a book on 19 November.[53] The book, titled Fantastic Beasts and Where to Find Them: The Original Screenplay, was written by Rowling herself. In an effort to avoid revealing plot details before the film's release, the novelization of the film was released the following day of the film's premiere, on 19 November 2016.[54]

text: On 7 March 2016 a trailer-preview was released about the History of Magic in North America as it is in the Harry Potter universe.[55] On 7 October 2016, Rowling also released on Pottermore four pieces of writing exclusively as an introduction to the film Fantastic Beasts and Where to Find Them, titled History of Magic in North America. It includes information about scourers in North America, brutal and violent magical mercenaries who played a significant role in the historic Salem witch trials of the 1600s, as well as info about various American wand makers; the role magic played in World War I; Native American magic; the foundation of MACUSA; the harsh enforcement No-Maj/Wizarding segregation; and life in 1920s Wizarding America; with info about wand permits and prohibition.[56][57]

text: On 28 June 2016, Rowling released a second part to her History of Magic in North America series, concerning the fictitious Ilvermorny School of Witchcraft and Wizardry, detailing the founding of the pre-eminent American Wizarding academy and allowing users to sort themselves into one of the four houses of the school. The school itself is mentioned in the film.[58]

text: A "story pack" based on Fantastic Beasts and Where to Find Them was released for the video game Lego Dimensions by WB Games and TT Games. The pack includes a constructible model of MACUSA, figures of Newt Scamander and a Niffler, and a six-level game campaign that adapts the film's events. The pack was released on the same day as the film, alongside a "fun pack" containing figures of Tina Goldstein and a Swooping Evil. The cast of the film reprises their roles in the game.[59]

text: Home media[edit]

text: Fantastic Beasts was released on Digital HD on 7 March 2017, and on 4K UHD, 3D Blu-ray, Blu-ray and DVD on 28 March 2017.[60]

text: Reception[edit]

text: Box office[edit]

text: Fantastic Beasts and Where to Find Them grossed $234 million in the United States and Canada and $580 million in other countries for a total of $814 million.[5] The film was made on a budget of $180 million, with an additional $150 million spent on marketing.[4][61] Worldwide, the film grossed $219.9 million during its opening weekend from around 64 markets in 24,200 screens, both the fifth-biggest in Rowling's wizarding cinematic universe, and the seventh-biggest of the month of November.[62][63] IMAX totalled $15 million from 605 screens.[43] Deadline.com calculated the net profit of the film to be $164 million, when factoring together all expenses and revenues for the film, making it the ninth-most profitable release of 2016.[64]

text: United Kingdom and Ireland[edit]

text: Fantastic Beasts went on general release in the United Kingdom and Ireland on 18 November 2016. It debuted with £15.33 million ($19.15 million) from 666 cinemas, the biggest debut of any film in 2016, ahead of the previous record holder, Batman v Superman: Dawn of Justice (£14.62 million).[43][65] The film was surpassed during the last days of 2016 by Rogue One: A Star Wars Story which gained over one million pounds.[66]

text: United States and Canada[edit]

text: In the United States and Canada, tracking had the film grossing $68–85 million in its opening weekend, with some estimates going as high as $100 million. The film was released on 18 November in 4,143 cinemas, of which 388 were IMAX screens, and over 3,600 were showing the film in 3D.[67][68][69] It grossed $29.7 million on its first day, the second-lowest opening day among Rowling's adaptations (behind the $29.6 million Friday of Harry Potter and the Chamber of Secrets).[70] This included $8.75 million it earned from Thursday night preview screenings beginning at 6 pm in 3,700 cinemas.[71] In total, the film earned $74.4 million in its opening weekend, falling in line with projections and finishing first at the box office, but recorded the lowest opening among Rowling's Harry Potter universe.[62][72] It made $8 million from 388 IMAX screens, $9 million from 500 premium large format locations and $1.75 million from Cinemark XD.[62]

text: The film's opening was considered a hit taking into account how the story was not based on a popular existing source, and the film itself was void of the franchise's main character, Harry Potter.[61] It was the top choice among moviegoers, representing 47% of the weekend's total $157.6 million tickets sales.[73] On its second Friday, it had a gradual drop of 37% ($18.5 million) from the week before, the second-best Friday drop for any Harry Potter film, behind The Philosopher's Stone. This was in part due to Black Friday, the most lucrative day of the Thanksgiving Day stretch.[74] It ended up grossing $45.1 million in its second weekend (a drop of just 39.4%), finishing 2nd at the box office behind newcomer Moana.[75]

text: Other markets[edit]

text: Outside North America, the film debuted day-and-date in 63 countries, along with its North American release, where it was projected to gross $90–125 million in its opening weekend.[76][77] It opened 16 November 2016 in 9 countries, earning $6.9 million from 5,070 screens.[78][79] It opened in 38 more countries on 18 November, earning $16.6 million for a total of $23.5 million in two days.[78] In three days, it made $53.6 million.[80] Through Sunday, 20 November, the film had a five-day opening weekend of $145.5 million from 63 countries, which is way above the initial projections.[43] It earned another $132 million in its second weekend after a large debut in China and Japan.[44]

text: It recorded the biggest opening day of all-time among the Harry Potter franchise in Korea ($1.7 million),the Philippines ($1.2 million),[81] the UAE ($429,000) and Ukraine, the second biggest in Mexico ($1.8 million), Russia and the CIS ($1.7 million), Brazil ($1.3 million) and in Indonesia ($480,000), all behind Harry Potter and the Deathly Hallows – Part 2 and the third biggest in the United Kingdom ($5.4 million), behind Part 1 and Part 2.[78] It also scored the second biggest Warner Bros. opening of all-time in the Czech Republic and Slovakia.[78] Notably, France opened with $1.8 million, Spain with $1.4 million, and Germany with $1 million ($2 million including paid previews).[78] In terms of opening weekend, the film posted the biggest opening among the Harry Potter franchise in 16 markets, including South Korea ($14.2 million, also the third-biggest opening for the studio), Russia ($9.8 million) and Brazil ($6.4 million), the biggest opener of the year in Germany ($10.2 million), Sweden, Belgium and Switzerland and the biggest Warner Bros. debut in those along with France ($10.2 million), Holland and Denmark. Italy debuted with $6.6 million, the biggest for a U.S. film in the country. Australia opened with $7.4 million, followed by Mexico ($5.8 million) and Spain ($4.5 million).[43]

text: It opened in China on 25 November alongside Disney's animated Moana but did not face significant competition from it. It earned $11.2 million on its opening day from 11,600 screens, the best among the Rowlings cinematic universe.[82][83] In total, it had an opening weekend of $41.1 million, dominating 60% of the top five films with 70,000 screenings per day. This alone surpassed the entire lifetime total of all Harry Potter films save the last one.[44][84] Similarly in Japan—typically the biggest or second biggest market for the previous Harry Potter films—it debuted with $15.5 million, besting the total lifetime of all the previous films except for Harry Potter and the Half-Blood Prince and Deathly Hallows – Part 2.[44]

text: The film also set a number of IMAX records. In total, the opening weekend was worth $7 million from 276 screens, which is the second-highest ever in the Wizarding World, behind Deathly Hallows – Part 2. In 33 territories, it opened at number one. Moreover, it's also the third-highest-grossing November international IMAX opening ever, and the No. 1 start for IMAX in November in 19 countries including Japan ($1.1 million), the UK, Russia, Germany, and the Netherlands.[43] In China, it had the biggest IMAX opening among the franchise with $5.1 million from 347 IMAX screens.[44] Overall, the film has earned a global cumulative total of $19.1 million from the format.[44]

text: It has become the highest-grossing film in Rowling's cinematic universe in Russia ($16.7 million) and the second-highest in South Korea ($24.6 million). China ($41.1 million) the United Kingdom ($37.6 million), followed by Germany ($18.4 million), France ($16.7 million), and Spain ($13.3 million) are the film's biggest-earning markets.[44]

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes sampled 293 critics and judged 74% of the reviews as positive, with an average rating of 6.9/10. The website's critical consensus reads, "Fantastic Beasts and Where to Find Them draws on Harry Potter's rich mythology to deliver a spinoff that dazzles with franchise-building magic all its own."[85] Metacritic, which assigns a normalised rating to reviews, gives the film a score 66 out of 100, based on 50 critics, indicating generally favourable reviews.[86] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[87]

text: Peter Bradshaw of The Guardian gave the film five out of five, hailing it as "a rich, baroque, intricately detailed entertainment" and a "terrifically good-natured, unpretentious and irresistibly buoyant film".[88] NME's Larry Bartleet also gave it five out of five, calling it "more enchanting to your inner kid than the Potter films ever were".[89] IndieWire's Eric Kohn gave the film a B+ saying that it "delivers the most satisfying period fantasy since Tim Burton's Sweeney Todd: The Demon Barber of Fleet Street ", and that its layers of sophistication made it one of the best Hollywood blockbusters of the year.[90]

text: Mike Ryan of Uproxx gave the film a positive review, writing "Newt Scamander is nothing like Harry, but it has to be this way. It all has to be different. And it is, but, again, with just enough 'sameness' to make us feel like we are at home again. I'm looking forward to wherever these movies are taking us".[91] John DeFore of The Hollywood Reporter wrote that the film is "likely to draw in just about everyone who followed the Potter series and to please most of them".[92] However, New York Magazine's David Edelstein deemed the film a "distinctly unmagical slog", remarking that the beasts "aren’t especially fantastic and the effects are too blandly corporate to be exhilarating".[93] In a mixed review, Ignatiy Vishnevetsky of The A.V. Club found the film "patchy but occasionally charming."[94]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipients
Result
Ref(s)

Academy Awards
26 February 2017
Best Production Design
Stuart Craig and Anna Pinnock
Nominated
[95][96]

Best Costume Design
Colleen Atwood
Won

Art Directors Guild Awards
11 February 2017
Excellence in Production Design for a Fantasy Film
Stuart Craig
Nominated
[97]

British Academy Film Awards
12 February 2017
Best British Film
David Heyman, Steve Kloves, J. K. Rowling, Lionel Wigram and David Yates
Nominated
[98]

Best Production Design
Stuart Craig and Anna Pinnock
Won

Best Costume Design
Colleen Atwood
Nominated

Best Special Visual Effects
Tim Burke, Pablo Grillo, Christian Manz and David Watkins
Nominated

Best Sound
Niv Adiri, Glenn Freemantle, Simon Hayes, Andy Nelson and Ian Tapp
Nominated

Costume Designers Guild Awards
21 February 2017
Excellence in Fantasy Film
Colleen Atwood
Nominated
[99]

Critics' Choice Movie Awards
11 December 2016
Best Art Direction
Stuart Craig, James Hambidge and Anna Pinnock
Nominated
[100]

Best Costume Design
Colleen Atwood
Nominated

Best Hair and Makeup
Fantastic Beasts and Where to Find Them
Nominated

Best Visual Effects
Fantastic Beasts and Where to Find Them
Nominated

Diversity in Media Awards
15 September 2017
Movie of the Year
Fantastic Beasts and Where to Find Them
Nominated
[101]

Empire Awards
19 March 2017
Best British Film
Fantastic Beasts and Where to Find Them
Nominated
[102]

Best Actor
Eddie Redmayne
Won

Best Costume Design
Fantastic Beasts and Where to Find Them
Won

Best Make-Up and Hairstyling
Fantastic Beasts and Where to Find Them
Won

Best Production Design
Fantastic Beasts and Where to Find Them
Won

Best Visual Effects
Fantastic Beasts and Where to Find Them
Nominated

Evening Standard British Film Awards
9 December 2016
Editor's Award
Fantastic Beasts and Where to Find Them
Won
[103]

Irish Film & Television Awards
8 April 2017
Best Supporting Actor
Colin Farrell
Nominated
[104]

Make-Up Artists & Hair Stylists Guild Awards
19 February 2017
Feature-Length Motion Picture – Best Period and/or Character Make-Up
Fae Hammond and Marilyn MacDonald
Nominated
[105]

Feature-Length Motion Picture – Best Period and/or Character Hair Styling
Fae Hammond and Marilyn MacDonald
Nominated

Feature-Length Motion Picture – Best Special Make-Up Effects
Fae Hammond
Nominated

People's Choice Awards
18 January 2017
Favorite Year-End Blockbuster
Fantastic Beasts and Where to Find Them
Won
[106]

Saturn Awards
28 June 2017
Best Fantasy Film
Fantastic Beasts and Where to Find Them
Nominated
[107]

Best Supporting Actor
Dan Fogler
Nominated

Best Music
James Newton Howard
Nominated

Best Production Design
Stuart Craig
Nominated

Best Costume Design
Colleen Atwood
Won

Best Make-up
Nick Knowles
Nominated

Best Special Effects
Tim Burke, Christian Manz and David Watkins
Nominated

St. Louis Gateway Film Critics Association
18 December 2016
Best Production Design
Stuart Craig and James Hambidge
Runner-up[a]
[108]

Teen Choice Awards
31 July 2016
Choice AnTEENcipated Movie
Fantastic Beasts and Where to Find Them
Nominated
[109]

Visual Effects Society Awards
7 February 2017
Outstanding Visual Effects in a Photoreal Feature
Tim Burke, Pablo Grillo, Christian Manz, David Watkins and Olly Young
Nominated
[110]

Outstanding Animated Performance in a Photoreal Feature
Gabriel Beauvais-Tremblay, Luc Girard, Laurent Laban and Romain Rico
Nominated

Washington D.C. Area Film Critics Association
5 December 2016
Best Art Direction
Stuart Craig and Anna Pinnock
Nominated
[111]

text: Jump up ^ Tied with Jean Rabasse for Jackie and David Wasco for La La Land

tag: ol

text: Sequels[edit]

text: Initially, in October 2014, the studio announced the film would be the start of a trilogy. The sequel is set to be released on 16 November 2018, followed by the third on 20 November 2020.[112][113][114] In July 2016, David Yates confirmed that Rowling had written the screenplay for the second film and has ideas for the third.[115] In October 2016, Rowling confirmed that the series would comprise five films.[116] In November 2016 it was confirmed that Johnny Depp will have a starring role in the sequel, reprising his role as Gellert Grindelwald.[117] In April 2017, it was confirmed that Jude Law had been cast for the role of Albus Dumbledore at around the time he was the Transfiguration professor at Hogwarts.[118] The second film will take place in the United Kingdom and Paris.[119] Principal photography for the second film began in July 2017.[120]


document_title: Society of Saint Vincent de Paul

question_text: who founded the st vincent de paul society

text: Society of Saint Vincent de Paul

text: History[edit]

text: France[edit]

text: The Society of St. Vincent de Paul was founded in 1833 to help impoverished people living in the slums of Paris, France.[6] The primary figure behind the Society's founding was Blessed Frédéric Ozanam, a French lawyer, author, and professor in the Sorbonne. Frédéric collaborated with Emmanuel Bailly, editor of the Tribune Catholique, in reviving a student organization which had been suspended during the revolutionary activity of July 1830. Ozanam was 20 years old when he founded the Society.[7] He was beatified by Pope John Paul II in 1997.[8] Emmanuel Bailly was chosen as the first President.

text: The Society took Saint Vincent de Paul as its patron under the influence of Sister Rosalie Rendu, DC. Sister Rosalie, beatified in November 1999 by Pope John Paul II, was a member of the Daughters of Charity of St. Vincent de Paul, earlier known for her work with people in the slums of Paris. She guided Frédéric and his companions in their approach towards those in need.[9]

text: SVP gradually expanded outside Paris in the mid-19th century and received benefactors in places such as Tours where figures such as the Venerable Leo Dupont, known as the Holy Man of Tours, became collaborators.[10]

text: The Society is part of the Vincentian Family which also includes two congregations founded by St. Vincent de Paul – the Congregation of the Mission with Vincentian priests and brothers and the Ladies of Charity – along with the Sisters of Charity in the Setonian tradition and several others, including some religious groups that are part of the Anglican Communion like the Company of Mission Priests.[9][1]

text: England and Wales[edit]

text: Servant of God Fr. Ignatius Spencer from London came to know the Society in visits to Paris. Parisian Monsieur Baudon, who would assume the presidency of SVDP in 1847, visited London in 1842 and persuaded Spencer to write about the Society in the Catholic Magazine. Then in January 1844 M. Pagliano, a London restaurateur and recent convert to Catholicism, gathered 13 Catholic men and the first English SVP conference was founded.[11] Early initiatives included the formation of the Catholic Shoe Black Brigade, providing boys with gainful employment and the first home of “the Rescue Society” which under various names still offers child care in many dioceses.[12]

text: In 2013 there were more than 10,000 members in more than 1,000 Conferences in the United Kingdom, making over 500,000 recorded visits annually to more than 100,000 people.[12]

text: United States[edit]

text: The Society’s first Conference in the United States was established in 1845 in St. Louis, Missouri, at the Basilica of St. Louis King of France, or "Old Cathedral". Fr. John Timon, CM, had learned of the Society while visiting with his Vincentian superiors in Paris. From Dublin, Ireland, he brought to St. Louis copies of the SVP Rule. On November 16, 1845, Bishop Peter Richard Kenrick dedicated the new St. Vincent de Paul church on South Eighth Street and invited Timon to preach. Timon discussed the Society in his sermon,[13] in the presence of prominent laymen who took hold of the idea and held an organizational meeting on November 20, 1845. The Conference included Dr. Moses Linton, founder of the St. Louis Medical and Surgical Journal, and as chair Judge Bryan Mullanphy who would become mayor of St. Louis.[14][15] Bishop Kenrick appointed Fr. Ambrose Heim as spiritual advisor to the Conference.[16]

text: Australia[edit]

text: Father Gerald Ward was born in London in 1806 and was recruited for the Melbourne mission by the pioneering father, later bishop, Patrick Geoghegan. Ward was familiar with SVP from London and, observing the plight of the poor after the Victorian gold rush, established the Society in Australia in 1854. Ward served as its first president and helped establish the SVP orphanage in South Melbourne.[17] Charles O'Neill, an engineer and parliamentarian who had led the Society in Scotland, established it in Sydney.

text: New Zealand[edit]

text: Fr. Chataigner, SM, established the first Conference in New Zealand in July 1867, but did not affiliate with the Council-General in Paris. The first to affiliate was the Wellington Conference founded in 1908 by Fr. Petitjean, SM, and Charles O'Neill, followed by other Conferences out of Wellington.[18][19]

text: Scotland[edit]

text: Charles Gordon O'Neill was born in Glasgow in 1828. He graduated as a member of the Institution of Civil Engineers. Upon graduation he had joined the Society of St Vincent de Paul. He was secretary at Dumbarton in 1851. He led the St Vincent de Paul Society in the Western Districts of Scotland between 1859 and 1863. By 1863 he was president of the Superior Council of Glasgow and a member of the Council-General in Paris.[20]

text: India[edit]

text: SVP came to Mumbai in 1862 when the Conference of Our Lady of Hope, Bhuleshwar, was established at the cathedral by the future bishop Fr. Leo Meurin, S.J. With the closure of the cathedral in 1942, the Conference was transferred to the Church of Our Lady of Health, Cavel. Meurin also established a Conference at St. Teresa, Girgaum, in 1862, and four more in Mumbai in 1863: St. Peter, Bandra; St. Joseph, Umarkhadi; Our Lady of Victories, Mahim; and St. Anne, Mazagaon.[21] The Society is active in southern India, especially through the Syro-Malabar Catholic Church headquartered in Kerala.

text: Today[edit]

text: The Society numbers about 800,000 members in some 140 countries worldwide, whose members operate through "conferences".[4] A Conference may be based out of a church, school, community center, hospital, etc., and is composed of Catholic volunteers who pursue their own Christian growth in the service of the poor. Some Conferences exist without affiliating with any local Council, and so are not counted in statistics. Non-Catholics may join and the Society serves all regardless of their personal beliefs.[4]

text: Ireland[edit]

text: The Society of St. Vincent de Paul was founded in Ireland in 1844 when it was part of the United Kingdom. It is the largest voluntary charitable organisation in Ireland. During its history it has helped people in need through a famine, a civil war, a war of independence, two world wars, and several economic recessions. It is one of Ireland's best known and most widely supported organisations of social concern and action with over 11,500 volunteers, active in every county in Ireland.[22]

text: Australia[edit]

text: In Australia the "Vinnies" number about 58,000.[23] Works include Conferences, Special Works, and Vinnies shops,[24] assisting over 2,200,000 people in Australia each year.[25]

text: New Zealand[edit]

text: In New Zealand, SVP operates in 23 regions with over 50 shops which serve as centres for welfare service, including food banks and food trucks. Most Catholic schools have Young Vinnies who help with fundraising and with training for dealing directly with the poor. The work is varied, following the Vinnie motto: "No act of charity is foreign to the society."[26]

text: United States[edit]

text: The national headquarters is in St. Louis. Membership in the United States in 2015 exceeded 97,000 in 4,400 communities. Expenditures to people in poverty were $473,821,563. Programs include visits to homes, prisons, and hospitals, housing assistance, disaster relief, job training and placement, food pantries, dining halls, clothing, transportation and utility costs, care for the elderly, and medicine.[27] Revenue is raised through a large network of thrift stores.[28]

text: Monaco[edit]

text: The first Conference of the Society of Saint Vincent de Paul in Monaco was created in 1876. The Conference of the immaculate Conception of Monaco-City whose commemorative plaque is on the Place de la Visitation, thanks among others to Monsieur Thheuret, Apostolic Protonotary in Monaco and to Mr Gastaldi, Mayor of Monaco. Mr. Theuret was appointed first Honorary President. The Vice-President of Honor being the Marquis de la Riva, first Chambellan of the Sovereign Prince.

text: The first active President was Lieutenant Plati. The Sovereign Prince, Prince Charles III, was one of the first benefactors. At the time, the Immaculate Conception Conference was attached to the Particular Council of the Nice Conferences.

text: St. Vincent de Paul Society in Monaco is located on 32 Rue Grimaldi, in the Condamine neighbourhood.

text: St. Vincent de Paul thrift stores[edit]

text: The St. Vincent de Paul Society runs thrift stores in many countries including Australia, New Zealand, the United States, and Canada, as seen from websites for some in the US: St. Louis area with 7 such stores,[29] Cincinnati area with 7,[30] Omaha with 3,[31] Dayton with 2,[32] Des Moines with 2,[33] Florida with 35,[34] California with 26,[34] Pennsylvania with 24,[28] Western Oregon with 15,[28] Georgia with 12,[28] Arizona with 10,[35] and Idaho with 3.[36] Items from clothing to automobiles are sold for a small price, often with home pick-up for large items. Money, and at times donated items, are distributed to the poor.[37]


document_title: Finale (The Office)

question_text: who played erin's dad in the office

question_tokens: who played erin 's dad in the office

text: Finale (The Office)

text: Plot[edit]

text: One year since the documentary has aired, the crew has returned to gain more footage for the DVD bonus features. Dwight Schrute (Rainn Wilson) and Angela Martin (Angela Kinsey) are about to get married. Andy Bernard (Ed Helms), after being humiliated with his talent show audition tape going viral on the internet, has found a job at his alma mater Cornell University in the Admissions Office. Darryl Philbin (Craig Robinson) has helped expand Athlead, now named Athleap, opening a branch in Austin, Texas. Stanley Hudson (Leslie David Baker) is enjoying retirement in Florida and Phyllis Vance (Phyllis Smith) tries to get Stanley's replacement Malcolm (Malcolm Barrett) fat on chocolates to make him look like Stanley. After being fired by Dwight, Kevin Malone (Brian Baumgartner) bought a bar and Toby Flenderson (Paul Lieberstein) started a career as an author in New York City. Nellie Bertram (Catherine Tate) has moved to Poland. Creed Bratton (Creed Bratton) had faked his death but was then revealed to be a wanted fugitive, so Dwight replaced him with former employee Devon White (Devon Abner). Oscar Martinez (Oscar Nunez) is preparing to run for a State Senate seat and is now Phillip's godfather. Andy, Darryl, Stanley, Toby, and Nellie return to Scranton for the wedding as well as a panel for the documentary.

text: Jim Halpert (John Krasinski) has been appointed best man at the wedding and proceeds to plan a series of "good surprises" ("Guten Pranken") for Dwight during his bachelor party, which consists of most of the current and former male employees. At the bachelor party, the group has Dwight fire a bazooka and receive a lap dance from Elizabeth the Stripper (Jackie Debatin), though Dwight thinks she is their waitress and remains oblivious. At the bachelorette party, with the current and former female employees plus Angela's sister Rachael (Rachael Harris), the group is shocked to see that the stripper hired for entertainment is Meredith Palmer's (Kate Flannery) son Jake (Spencer Daniels). Angela is then kidnapped by Dwight's cousin Mose (Michael Schur). After hearing about Angela's kidnapping, Dwight and the male employees visit the bar that Kevin owns, where Dwight, at Jim's insistence to bury the hatchet, is forced to apologize to Kevin and confirm that his firing was not personal but based solely on his job performance, which cheers him up. The two decide to make amends. Mose then leads Dwight and Jim out to his car where Angela is stuck in the trunk and finally let out.

text: The following day, a panel is held for the office so that audience members can ask them questions. Dunder Mifflin CEO David Wallace (Andy Buckley) openly states his distaste for the documentary. Pam Halpert (Jenna Fischer) is pressed with questions about why she did not allow Jim to follow his dream after he has paid her so many romantic gestures. Jim attempts repeatedly to disperse the resulting tension. Erin Hannon (Ellie Kemper) finally meets her birth parents (Ed Begley, Jr. and Joan Cusack) who had put her up for adoption.

text: At the wedding, Kelly Kapoor (Mindy Kaling) arrives with her husband Ravi (Sendhil Ramamurthy), where Ryan Howard (B. J. Novak) surprises them with a baby, his son Drake, that he had with a former girlfriend who then abandoned them both. Jim tells Dwight that under Schrute tradition, he is not allowed to be best man as he is younger than him. Jim surprises him with the arrival of Michael Scott (Steve Carell). The wedding proceeds in Schrute tradition with Michael as Dwight's new best man. At the reception, Michael shows Pam pictures of his kids with Holly Flax, and Pam notes that he is paying for two phones just to hold all the images. Ryan deliberately gives Drake an allergic reaction so that Ravi, a pediatrician, can attend and Ryan can steal Kelly away. Kevin tells Ravi that Ryan wanted him to keep Drake so that Ryan can have Kelly and the two can start a new life together. Ravi then gives Kevin the baby to give to Child Services before leaving, but Nellie, who has still been wanting a child, takes Drake instead.

text: When Jim and Pam briefly return home, Jim is surprised to find Carol Stills (Nancy Carell) showing their house to another couple. Pam comes clean and admits she has been showing the house for two months. She wants to repay Jim for all his romantic gestures and says she wants him to go to Athleap in Austin, at which point the couple seeing the house make an offer. Jim and Pam go to an after party at the warehouse where they inform an elated Darryl of their plans, with Jim being able to rejoin the company with no change. Pam unveils a new painted mural featuring the history of their branch. A final picture is taken with the employees and the camera crew before the employees go back up to the office for a final toast. Jim and Pam tell Dwight they are quitting, but Dwight fires them instead so he can give them hefty severance packages, as a last gesture of friendship. The employees are surprised to find Creed, who has been living in Ryan's old closet since faking his death, in the office. Creed sings a song on the guitar for the office before being arrested. The employees give one last round of interviews before leaving, with Pam taking her watercolor of the office building that Michael bought from her in the third-season episode "Business School".

text: Production[edit]

text: Writing and filming[edit]

text:
"Finale" was written by series developer and showrunner Greg Daniels, making it his second writing credit for the year, after the season debut "New Guys", and his 12th writing credit overall.[2][3] The episode was directed by Ken Kwapis. Kwapis had originally directed the series' pilot episode.[4] Daniels joked that Kwapis was "the country vet who birthed this puppy" and had come "back to put it down".[5] His last directorial credit for the series, prior to "Finale", however, was the fifth season episode "Company Picnic".[6] The initial idea for the finale was thought of by Daniels during production of the third season, described as "a reunion show", in the fashion of the post-competition cast rehashes familiar from reality shows like Survivor".[7]
Daniels, at one point, approached Jeff Probst, the host of Survivor, to appear in the finale as a moderator for the fictional reunion, although he declined.[7] The initial table read for the episode took place on March 4, 2013.[8] Filming commenced on March 6.[9] According to Jenna Fischer, the episode took nine days to film, with the cast devoting 12 hours a day to the episode.[10] The finale was described as "ambitious", featuring multiple location shoots, including one in an AT&T Office Building, which stood in for the Scranton Cultural Center.[7] Filming for the episode and series as a whole came to an end on March 16, 2013.[11] Wilson later tweeted a picture of the empty set after all filming had been finished.[12]

text: Originally, the episode was supposed to be the 23rd and 24th episodes of the season, which would have meant that the series aired exactly 200 episodes. However, the series' penultimate episode was elongated into 2 separate episodes, resulting in "Finale" being the 24th and 25th episodes of the season. This meant that the last part of "Finale" is the series' 201st episode.[13] Once filming finished Daniels, in an interview with TVLine, expressed his hope to expand the episode, stating, "I was very excited with the footage we got ... It's very big. I'm going to beg NBC to super-size it or extend it."[14] Daniels later commented that when the editors cut together the first act, it was 23 minutes long; this is much longer than a normal first act for an hour long episode of television.[15] In response, OfficeTally—the largest fan site for the series—started an online petition to supersize the finale, similar to the petition to expand the second-season finale, "Casino Night".[15] By May 2, the petition had received over 20,000 signatures.[15] On May 7, it was announced that NBC had extended the episode by 15 minutes, meaning that the episode would air in a 75-minute time slot.[16] The episode is approximately 52 minutes in length.[17]

text: Casting[edit]

text: The series finale guest stars Rachael Barrett, Dakota Johnson, Joan Cusack, Ed Begley, Jr., and Malcolm Barrett.[18] The episode features the return of several of the series' actors and actresses, including former series writers and stars B. J. Novak and Mindy Kaling, as well as Andy Buckley, Robert R. Shafer, Michael Schur, and Matt L. Jones.[18] Other minor recurring characters also make appearances, such as Nancy Carell as Carol Stills (who played the recurring role as Michael's real-estate agent and short-time girlfriend), Sendhil Ramamurthy as Ravi (who first appeared in the eight season episode "Angry Andy"), Eric Wareheim as Gabor (who first appeared in the earlier ninth-season episode "Junior Salesman"), James Urbaniak as Rolf (who first appeared in the fifth-season episode "Company Picnic"), Jackie Debatin as Elizabeth (who first appeared in the third-season episode "Ben Franklin"), Devon Abner as Devon (who was a former Dunder Mifflin employee fired in second-season episode "Halloween"), and Spencer Daniels as Jake Palmer (who first played Meredith's son in the second-season episode "Take Your Daughter to Work Day").[3][19][20] The episode also features Bill Hader and Seth Meyers playing themselves.[3][20]

text: Many members of the show's crew made cameos in the episode. The documentary crewman's voice that speaks to Dwight was played by camera operator Matt Sohn. The "frat boy" who mocks Andy at the restaurant was Greg Daniels' former assistant, Jonah Platt. Jay Falk, a script editor for the series, and his wife stood in for the couple buying Jim and Pam's house.[20] Jennifer Celotta, a series writer and director, makes an appearance at Dwight's wedding. The episode's call sheet listed her character as "Jen Celotta Schrute".[21] Producer and writer Graham Wagner also makes a cameo in both Mose's group, as well as at the wedding.[20] Many of the individuals who asked questions were writers on the show: Brent Forrester asked about seeing their lives on TV, Amelie Gillette asked the question regarding Jim giving up Athlead, Steve Burgess asked if the camera changed the characters' behavior, Steve Hely asked if life has no meaning, Allison Silverman made the statement that Jim is attractive, and Dan Sterling asked what was in the teapot. Daniels' wife, Susanne Daniels, was the Q&A moderator.[20][22] Daniels himself appeared during the documentary after-party along with executive producer Howard Klein, editors David Rogers and Claire Scanlon, script supervisor Veda Semarne, first assistant director Rusty Mahmood, prop master Phil Shea, and casting director Allison Jones. The remaining extras in the scene were members of the crew of The Office.[19][20]

text: Jennie Tan, the founder of the largest The Office fansite OfficeTally appears in the episode as a fictional version of herself asking the members of the office questions. She initially emailed Daniels, asking if she could appear in the background in one of the scenes. He, however, hired her as a day actor and wrote her seven lines. During the filming, Daniels re-wrote part of Tan's line to make it more "pointed".[22] Tan called the experience "surreal", because she was "playing [herself] but talking to Jim and Pam", rather than Krasinski and Fischer.[22]

text:
"I figured the character would go back and visit everybody, but he wouldn't do it on camera at this point. I think he had grown past the idea of being in the documentary, that was my take on it. That [Michael Scott] had said goodbye to that aspect of his life, that that's not what was important to him. I just thought, yeah he'd go back and visit, but he wouldn't want the camera crew to be documenting it."
—Steve Carell, explaining his initial hesitation to return to The Office.[23]

tag: div

text: Early during production for the season, Kinsey and Wilson noted in an interview that the cast and crew were hoping for the return of former lead actor Carell.[24] In mid-December, Krasinski later revealed that he was optimistic about a return; in an interview with E! Online Krasinski said that the producers were supposedly "still trying to figure out [Carell's] schedule" and that the finale "just wouldn't be the same without him".[25] However, NBC chairman Robert Greenblatt later admitted during an interview that while he was "hopeful", he did not think Carell would return; he noted that Carell was satisfied with his character's exit and did not want to tarnish it.[26] On January 16, Daniels revealed that Carell would not appear in the finale in any capacity,[4] a decision that Carell later reiterated.[27] Several months later, however, TVLine reported that the producers for The Office mounted "an 11th hour effort" to get Carell to make a cameo in the show's final episode.[28] According to the article, "while no one is confirming that the final diplomatic push proved successful, no one is denying it either."[28] Carell's personal representative confirmed that Carell was on the set for the final episode, but that he did not film any scenes. However, an anonymous source close to the show cryptically said "don't rule anything out".[28] TVLine later reported on May 6, that Carell would appear in a cameo, although NBC declined to comment and Carell's representatives continued to deny the reports.[29] A month after the episode aired, Carell explained in an interview with TVLine that he "lied for months to the press, to almost everyone, really".[30] He noted that he "felt terribly for the cast and for [executive producer] Greg Daniels, because they all lied, too."[30] Krasinski, on the other hand, explained that "It was so thrilling. We all just flat-out lied... It was just one of those things that we all vowed and had to protect".[30] Even at the initial table read for the script, Carell's appearance was not revealed. In fact, his first line was not included in the read at all, and his second was scripted to be delivered by Creed Bratton.[31]

text: Deleted scenes[edit]

text: The Season Nine DVD contains a number of deleted scenes from this episode. Notable cut scenes include: more scenes from the Q&A panel; Pete discussing what he learned working at Dunder Mifflin; Angela's sister, Phyllis, and Andy giving toasts at the wedding; more scenes with Erin and her biological parents in which they reconnect; further shots of the office members reminiscing about shared memories; and the office taking one of the potted plants outside and planting it in actual soil. Erin's parents explain that they, like Erin, are puppeteers, and when they worked on the movie The Dark Crystal it gave them such gloomy thoughts they didn't think they could handle bringing up a baby.[32] The episode originally was scripted to begin with a different cold open; it would have entailed a prank on Dwight by Jim, in which Dwight is led to believe that he is actually living in the Matrix, a computer-simulation from the eponymous 1999 film of the same name. The scene was either not filmed, or cut from the episode and not included with the other deleted scenes. A table read of it—along with the rest of the episode—was included as a bonus feature on the ninth season DVD.[31]

text: Cultural references[edit]

text: The episode makes a reference to Creed being a member of the rock band The Grass Roots. In fact, Creed Bratton, who portrays a fictionalized version of himself on the show, actually did play with the band from 1967 to 1969.[33] The song he performs near the end is titled "All the Faces", which he wrote himself.[34] Andy mentions that both the "Double Rainbow Guy" and the "Star Wars Kid" reached out to help him after his viral video mishap.[35] Both Hader and Meyers appear in a fictional Saturday Night Live Weekend Update sketch involving Andy's viral fame.[36] After Pam compares her and Jim's relationship to a great book that never ends, Tan's character asks if it is comparable to the Harry Potter series.[22] Dwight claims that Google Inc. is actually a front for either the United States government or "the government of other countries".[37]

text: The episode also features several callback references to previous episodes. Oscar saying "Whazzup!" serves as a reference to a scene from "Pilot" between Michael, Dwight, and Jim.[19] Jim's description in his final talking head of his job is a direct quote from his first talking head in "Pilot".[38] Dwight hires Devon back after Creed quits, a reference to "Halloween", when Creed convinced Michael to fire Devon.[19] Pam sits at reception one final time and answers the phone, saying "Dunder Mifflin, this is Pam." This is a reference to Pam's former role as office receptionist and a common phrase that she said during the early seasons.[35] Pam's painting of the office building, introduced in "Business School", plays a prominent role in the final scene.[35]

text: Reception[edit]

text: Ratings[edit]

text: "Finale" originally aired on May 16, 2013, on NBC in a 75-minute timeslot, preceded by a one-hour retrospective.[39][40] The retrospective was viewed by 4.37 million viewers and received a 2.1/7% rating among adults between the ages of 18 and 49.[41] The finale itself was viewed by 5.69 million viewers and received a 3.0 rating/8% share among adults between the ages of 18 and 49.[41] This means that it was seen by 3.0 percent of all 18- to 49-year-olds, and 8 percent of all 18- to 49-year-olds watching television at the time of the broadcast. This marked a significant increase, of over one million viewers, in the ratings from the previous episode, "A.A.R.M.".[41][42] It also ranks as the highest-rated episode of the season, as well as the highest-rated episode for the series since the eighth season entry, "Pool Party", which was viewed by 6.02 million viewers and received a 3.0/7% share.[41][43] The episode ranked second in its timeslot, being beaten by the ABC medical drama series, Grey's Anatomy.[41] NBC increased their usual ad price by 200 percent for "Finale", asking for $400,000 per commercial. This was largely due to the anticipated increase in viewership that the finale would bring.[44] Via DVR viewing, the episode was watched by an additional 2.38 million viewers with an added 18- to 49-year rating of 1.4, bringing the total to 8.07 million viewers and an 18- to 49-year rating of 4.4.[45]

text: Reviews[edit]

text: "Finale" was met with acclaim from television critics.[46] Alan Sepinwall of HitFix gave the episode a highly positive review and called it "a tremendously satisfying conclusion to a show that could make us gasp with laughter, but that could also make us cry or smile".[19] Sepinwall noted that, despite the inconsistency in the last few seasons, "the world was rich enough to fuel a lovely 75-minute trip through the past, present and future of The Office.[19] Ultimately, he noted that the "biggest emotional moments" belonged to Jim and Pam, and their final talking heads.[19] Roth Cornet of IGN awarded the episode a 9 out of 10, denoting an "amazing" episode. She was highly pleased with the final fifteen minutes, noting that "in those final moments, this series hit every note we could have wanted, without overplaying any of them." She concluded that it "was a strong hour of television [and] the finale shone and delivered on all of its promise."[47] Hillary Busis of Entertainment Weekly praised the entry, writing that "for anyone who's stuck with The Office through thick and thin ... last night's 75-minute-long finale was pretty much perfect."[48] She wrote that "the finale had no shortage of sob-inducing moments", and positively applauded all of the characters' various happy endings.[48]

text: Nick Campbell of TV.com wrote that the episode was "just right" for the series, and that it highlighted the fact that "the ending was more about the fact that you took a journey with these characters."[49] He wrote that all of the character's subplots had emotion, even if they appeared slightly contrived. Ultimately he concluded that "it felt okay to say goodbye because it was the right atmosphere."[49] James Poniewozik of Time wrote that the finale was "touching, sweet, funny, messy, a little manipulative. And in the end, it worked."[33] He found that "The stuff that was like latter-seasons Office", such as Andy and Dwight's antics, were "all right" but that "the stuff that recalled the sweep of the whole series was wonderful."[33] Poniewozik was slightly critical of Pam and Jim's story, noting that in the grand scheme of the show it was successful, but that it makes slightly less sense when one examines it closely; however, he felt that even "if the details don't add up, the emotions do".[33] He concluded that the episode "worked mostly as an epilogue" and allowed the cast of the series to have their final moments.[33]

text: Brian Lowry of Variety positively wrote that the finale "ignored" the last few seasons' missteps and was "awash in warmth and inside gags".[50] He concluded that the show "deserved to finish on top", and that while some of the scenes, such as Dwight's wedding seemed "a little bit trite", the resulting product was successful.[50] Michael Tedder of Vulture awarded the episode five stars out of five and wrote that the episode was able to provide solid conclusions for all of the characters.[35] Erik Adams of The A.V. Club awarded the episode an "A–" and wrote that "the quality of this series finale is found in the way it functions right now, in the afterglow of a TV show to which many devoted more than 100 hours of their lives. Some aspects of the episode fall flat, but when it hits, it hits."[51] Ultimately, he found that "'Finale' is not a great piece of television" but that it was the finale that "The Office needed" because it was "the right point to jump off ... the circular track", due to the series idea of thematic reoccurrence.[51] Tom Gliatto of People magazine, however, gave the episode a negative review, and wrote that "this episode was poorly conceived and clumsily structured. It really wasn't worthy of all the years of affectionate humor that had gone before it."[46]

text: Steve Carell's cameo received glowing reviews from critics. Campbell noted that he was "glad [Carell's] return was still uncertain [before the episode aired] because the reveal was made that much sweeter."[49] Sepinwall noted that Carell's return managed to not "overshadow the stories of the people who remained after he left, but which made sense for the characters, and the end of the series."[19] Adams noted that "Carell doesn't get a lot to say—he's already had his chance to say goodbye—but that just makes each of his lines count more".[51] Cornet felt that the cameo's "brevity" was "the perfect amount of Michael for this particular episode".[47] Poniewozik described it as "a way that as best as possible walked the line between overplaying and underplaying Steve Carell's cameo."[33] Lowry called it a "perfectly orchestrated cameo".[50] Basis wrote that the appearance was "pretty great" and that "the notion of Michael finally getting the family he's always wanted was enough to melt the heart of even the nit-pickiest fan."[48]

text: Accolades[edit]

text: This episode received three Primetime Emmy Award nominations for the 65th Primetime Emmy Awards. Greg Daniels was nominated for Outstanding Writing for a Comedy Series and Ben Patrick, John W. Cook, and Rob Carr were nominated for Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation. David Rogers and Claire Scanlon won for Outstanding Single-Camera Picture Editing for a Comedy Series, marking the fifth win for The Office at the Emmys overall and the series' first win since 2009.[52][53] Rogers and Scanlon also won an ACE Eddie award for Best Edited Half-Hour Series for Television.[54]


document_title: Inlays and onlays

question_text: the metal of choice for inlay and onlay cast restorations is

text: Inlays and onlays

text: Inlays[edit]

text: Sometimes, a tooth is planned to be restored with an intracoronal restoration, but the decay or fracture is so extensive that a direct restoration, such as amalgam or composite, would compromise the structural integrity of the restored tooth or provide substandard opposition to occlusal (i.e., biting) forces.  In such situations, an indirect gold or porcelain inlay restoration may be indicated.

text: Comparison of inlays and direct fillings[edit]

text:
When an inlay is used, the tooth-to-restoration margin may be finished and polished to a very fine line of contact to minimize recurrent decay. Opposed to this, direct composite filling pastes shrink a few percent in volume during hardening. This can lead to shrinkage stress and rarely to marginal gaps and failure. Although improvements of the composite resins could be achieved in the last years, solid inlays do exclude this problem.[2] Another advantage of inlays over direct fillings is that there is almost no limitations in the choice of material.
While inlays might be ten times the price of direct restorations, it is often expected that inlays are superior in terms of resistance to occlusal forces, protection against recurrent decay, precision of fabrication, marginal integrity, proper contouring for gingival (tissue) health, and ease of cleansing offers. However, this might be only the case for gold. While short term studies come to inconsistent conclusions, a respectable number of long-term studies detect no significantly lower failure rates of ceramic
[3]
or composite
[4]
inlays compared to composite direct fillings. Another study detected an increased survival time of composite resin inlays but it was rated to not necessarily justify their bigger effort and price.
[5]

text: Onlays[edit]

text: When decay or fracture incorporate areas of a tooth that make amalgam or composite restorations inadequate, such as cuspal fracture or remaining tooth structure that undermines perimeter walls of a tooth, an onlay might be indicated[6].  Similar to an inlay, an onlay is an indirect restoration which incorporates a cusp or cusps by covering or onlaying the missing cusps.  All of the benefits of an inlay are present in the onlay restoration.  The onlay allows for conservation of tooth structure when the only  alternative is to totally eliminate cusps and perimeter walls for restoration with a crown.  Just as inlays, onlays are fabricated outside of the mouth and are typically made out of gold or porcelain.  Gold restorations have been around for many years and have an excellent track record.  In recent years, newer types of porcelains have been developed that seem to rival the longevity of gold.  If the onlay or inlay is made in a dental laboratory, a temporary is fabricated while the restoration is custom-made for the patient.  A return visit is then required to fit the final prosthesis.  Inlays and onlays may also be fabricated out of porcelain and delivered the same day utilizing techniques and technologies relating to CAD/CAM dentistry.[7][8]

text: A systemic review found that the most common cause of onlay failure is ceramic fracture, followed by ceramic de-bonding from the tooth structure, and the occurrence of secondary caries which is seen as a discolouration at the margins of the restoration. High failure rates were associated with teeth that had previous root canal treatment, and with patients who exhibit para-functional habits such as bruxism , or teeth clenching. [9]