document_title: When Calls the Heart

question_text: who is clara on when calls the heart

question_tokens: who is clara on when calls the heart

text: When Calls the Heart

text: Plot[edit]

text: When Calls the Heart tells the story of Elizabeth Thatcher (Erin Krakow), a young teacher accustomed to her high-society life. She receives her first classroom assignment in Coal Valley, a small coal-mining town in Western Canada which is located just south of Robb, Alberta. There, life is simple—but often fraught with challenges. Elizabeth charms most everyone in Coal Valley, except Royal North West Mounted Police Constable Jack Thornton (Daniel Lissing). He believes Thatcher’s wealthy father has doomed the lawman's career by insisting he be assigned in town to protect the shipping magnate’s daughter. The town of Coal Valley was renamed Hope Valley in Episode 2, Season 2 after the coal mine was closed.

text: Living in this 1910 coal town, Elizabeth must learn the ways of the Canadian frontier movement if she wishes to thrive in the rural west on her own. Lori Loughlin portrays Abigail Stanton, whose husband, the foreman of the mine, and her only son—along with 45 other miners—have recently been killed in an explosion, which turns out to have been a tragic accident waiting to happen—a result of the mining-company site manager's irresponsible management and lack of due care in his management of the mine. The newly widowed women find their faith tested when they must go to work in the mine to keep a roof over their heads, food on the table, and compile a wage for the town's teacher.[9]

text: Episodes[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
12
January 11, 2014 (2014-01-11)
March 29, 2014 (2014-03-29)

2
7
April 25, 2015 (2015-04-25)
June 13, 2015 (2015-06-13)

New Year's Wish
December 26, 2015 (2015-12-26)

3
8
February 21, 2016 (2016-02-21)
April 10, 2016 (2016-04-10)

Christmas
December 25, 2016 (2016-12-25)

4
10
February 19, 2017 (2017-02-19)
April 23, 2017 (2017-04-23)

The Christmas Wishing Tree
December 25, 2017 (2017-12-25)

5
10
February 18, 2018 (2018-02-18)
April 22, 2018 (2018-04-22)

text: Cast[edit]

text: Main[edit]

text:
Erin Krakow as Elizabeth Thatcher Thornton
Daniel Lissing as Jack Thornton (Seasons 1-5)
Lori Loughlin as Abigail Stanton
Jack Wagner as Bill Avery
Martin Cummins as Henry Gowen
Pascale Hutton as Rosemary LeVeaux Coulter
Kavan Smith as Leland Coulter

text: Recurring[edit]

text:
Paul Greene as Carson Shepherd
Gracyn Shinyei as Emily Montgomery
Loretta Walsh as Florence Blakeley
Erica Carroll as Dottie Ramsey
Mark Humphrey as Frank Hogan
Johannah Newmarch as Molly Sullivan
Mitchell Kummen as Gabe Montgomery
Logan Williams as Miles Montgomery
Ben Rosenbaum as Mike Hickam
Carter Ryan Evancic as Cody Hastings
Chelah Horsdal as Cat Montgomery
Steve Bacic as Charles Spurlock
Kristina Wagner as Nora Avery
Aren Buchholz as Jesse Flynn
Charlotte Hegele as Julie Thatcher
Andrea Brooks as Faith Carter
Eva Bourne as Clara Stanton
Ava Grace Cooper as Opal
Max Lloyd-Jones as Tom Thornton
Brooke Shields as Charlotte Thornton
Devon Weigel as Viola Thatcher
Marcus Rosner as Charles Kensington
Mamie Laverock as Rosaleen Sullivan
Adrian Hough as Reverend Anderson
Lynda Boyd as Grace Thatcher
Will Verchere-Gopaulsingh as Caleb Dunbar
Ali Skovbye as Becky Hastings
Garwin Sanford as William Thatcher
Laura Bertram as Mary Dunbar
Derek Hamilton as Dewitt Graves
Niall Matter as Shane Cantrell (season 4)
Spencer Drever as Cyrus Rivera (season 4)
Josie Bissett as AJ Foster

text: Characters[edit]

text: This section may contain an excessive amount of intricate detail that may interest only a particular audience. Please help by spinning off or relocating any relevant information, and removing excessive detail that may be against Wikipedia's inclusion policy. (April 2018) (Learn how and when to remove this template message)

text:
Elizabeth Thatcher Thornton is an independent, strong-minded, passionate and dedicated young teacher from the city. The middle daughter of William and Grace Thatcher, Elizabeth has two sisters, older sister Viola and younger sister Julie. Elizabeth finds herself in Coal Valley, a small community on the Canadian frontier in need of a teacher, and quickly discovers it is not an easy place to live, lacking the creature comforts and luxuries of her privileged life with her family. She soon meets the newly appointed and charismatic Mountie Jack Thornton and develops an immediate dislike for him. However, over time they become good friends, and develop an obvious attraction to one another. In the final episode of season 1, "Prelude to a Kiss" (also titled as "Final Adieu"), after overcoming many obstacles throughout the season, Jack tells Elizabeth "You're the one, you're the only one" and they share a kiss. Throughout season 2, Elizabeth's feelings for Jack are high at times as well as low. Finally, in the season 2 finale, she admits that his job as a Mountie scares her. After being comforted both admitting that they love each other, Jack and Elizabeth kiss.
Jack Thornton is a laid back country boy. Jack is the son of Mountie Thomas Thornton and his wife Charlotte Thornton. Jack has a younger brother, Tom (named after his father). As a Mountie and a man of stout character and integrity, he often finds himself protecting and saving people. In season 1's "A Telling Silence," Jack finds a basset hound whom he names Rip (after Rip Van Winkle) and takes home with him. A source of comfort and companion in the small town, Jack often goes to Rip when times in his life are difficult. In season 2's "With All My Heart," Rip, who's afraid of thunder, hides in the mine shafts during a storm. Jack and Elizabeth search for him; in their search, their relationship grows stronger. Upon his first meeting of Elizabeth, Jack developed an instant dislike and it appeared she irritated him. However, he grew to like and then fall madly and completely in love with her over time. In "Rules of Engagement" (S.1), it is revealed that Jack was briefly engaged to Rosemary LeVeaux when she comes looking for him. However, they have both changed and realize that they cannot have a relationship as they once did ever again. In "Prelude to a Kiss" (S.1), Jack found out that Elizabeth may be leaving Coal Valley. Taking her on a walk and giving her a framed picture of them that he had sketched, he asks her not to leave Coal Valley and tells her, "You're the one, you're the only one." She replied that she was "not going anywhere", Coal Valley was where she belonged before they share a kiss. In season 2, Elizabeth and Jack share a hot-and-cold relationship until the finale, "With All My Heart." They both admit that they love each other and share another kiss. Jack's brother, Tom, is introduced season 2's "Trials of the Heart," and their rocky relationship continues until "Coming Together, Coming Apart." Jack gently reminds his younger brother how their father was so proud of him, but he wouldn't be proud of the way he was currently living. Both in tears, Jack tells his younger brother that he believes in him and that he can turn his life around. More recently, Jack has become good friends with the sawmill operator, Lee Coulter. In season 3, Jack begins the new year knowing that Elizabeth only has eyes for him and that her relationship with Charles is over for good. In "Hearts In Question," Jack's mother Charlotte shows up unexpectedly. She meets Elizabeth and is suspicious of her, but through staying her sees Elizabeth for who she really is: a trustworthy, dedicated teacher. In the season finale, "Prayers From The Heart," Jack is injured in a flood. But he miraculously recovers in time to serve as Lee's best man at his wedding.
Abigail Stanton is a Coal Valley woman who tragically lost her husband and son in the mining accident. Abigail is a very kind woman, and she stands strongly for the things she believes in. She is one of the first women to welcome Elizabeth and the two women quickly become friends. When Elizabeth accidentally burns down the little teacherage, Abigail gladly welcomes her into her home to live. After being complimented on her cooking, Abigail decides to open a cafe in Coal Valley. Together, Abigail and Elizabeth move into the rooms above the cafe. At the end of season 1, Abigail enjoys the company of Bill Avery, a Mountie, serving as a Forensic Investigator and friend of Jack Thornton's. In season 2, Abigail takes in her daughter-in-law, Clara, the wife of her late son Peter whom Abigail sees as the daughter she never had. With Bill's past being revealed, Abigail ends their friendship and spends more time with the new pastor, Frank Hogan. Also, she is a strong independent woman that is set on doing the things that are right and tries to help Elizabeth.
Bill Avery is a mysterious, quiet man. He first appears in season 1's "Rules of Engagement," in order to help Jack expose Mr. Gowen's wrongdoings. Bill is immediately attracted to widow Abigail Stanton. Things are going well until Abigail discovers a picture of Bill's family and his wedding ring. He later tells her that his son died, as well as his wife. However, his wife, Nora, comes to confront him in season 2's "Heart's Desire."
Henry Gowen is a cold, cynical man who formerly owned the coal mine. After the mine was shut down, Henry became the mayor of Hope Valley and still creates a cold, cynical presence whenever people are around him. Henry is highly disliked and feared in the town. He frequently uses bribery to get what he wants, which is never for the good of the town.
Rosemary "Rosie" LeVeaux Coulter is a flamboyant, enthusiastic actress from New York. She was briefly engaged to Jack Thornton, but they both realized that it wouldn't work out. Rosie immediately disliked Elizabeth and viewed her as "the competition," but eventually came to really care about Elizabeth, even if she has a hard time showing it. At the beginning of season 2, Rosemary began working at the cafe with Abigail and the two quickly became friends. Spending time with Abigail helped tone down some of Rosemary's enthusiasm and made her a more likable person. Rosemary even came to like Elizabeth, even if only on an acquaintance level. Truthfully, she cares about everyone in Hope Valley, especially Lee, with whom she shares an mutual attraction. When Rosie is not spending time with Lee, talking to Abigail, or dreaming about the glamorous life of an actress, she can often be found somewhere writing her weekly advice column for Hope Valley's newspaper! In season 3, Rosemary's friendship with Elizabeth deepened. Instead of viewing her as an adversary, she finds a friend in Elizabeth. Throughout season 3, Rosemary's relationship with Lee becomes more romantic. In "Heart Of A Hero," seeing that Lee needs to spend more time at the sawmill to help the new settlers find jobs, Rosemary tells Lee that the theatre doesn't have to be built. He insists, but she says how important his job is. He smiles and tells her he will one day build her theatre, telling her that she is "the best part of his life." The couple shares in their first kiss. In "A Gentle Heart," Lee is injured. Thinking he is asleep, Rosemary pours out her heart to him, telling how much she loves him. In "Heartbreak," Rosemary is offered a job in Hollywood filming. This has always been Rosemary's dream, to be an actress. Lee unselfishly tells her to do whatever she feels best, but it is obvious that the thought of her leaving Hope Valley hurts him. Rosemary considers her options and realizes that her place is in Hope Valley, with Lee. Lee then tells her that he has another "role" that he thinks would be perfect for her and proposes marriage. She happily accepts. In "Hearts In Question," Rosemary enthusiastically plans for their wedding. The couple weds in the season 3 finale "Prayers From The Heart," with Elizabeth and Abigail as her maids of honor.
Leland "Lee" Coulter is a kind, laidback, patient man who opens a sawmill in Hope Valley. When timber becomes Coal Valley's major source of natural resources, the town is renamed Hope Valley. He shares a mutual attraction to Rosemary and proves to be one of the few people who can outwit her. When she declines his romantic intentions, Lee recruits his friend, Molly Sullivan, to make Rosemary jealous; the ploy succeeds and Rosemary accepts his suit, appreciating Lee's good qualities. Despite her dramatic and occasionally prickly personality, Lee's compassion and patience never fails with her. With Rosemary's help, Lee beat Mr. Gowen at his own game in "Heart and Home." When not at work, Lee enjoys being with friends, including Jack Thornton, who shares Lee's simple and laidback outlook, allowing the men to discuss their lives and exchange romantic advice. In season 3, Lee's mill is unfortunately sabotaged by a man inside. Through Bill and Jack's investigation, they find the culprit. In season 3's "Heart Of A Hero," Rosemary unselfishly gives up the theatre that Lee promised to build her. Lee promises that one day, he will build her the theatre at a time when he isn't so involved with the sawmill and finding people jobs. In "A Gentle Heart," Lee is injured. Thinking Lee is asleep, Rosemary pours out her heart to Lee, telling him how afraid she was when she heard he had been injured. He however hears each and every word. She told him how much she loves him and to never leave her. In the episode "Heartbreak," Lee thinks Rosemary may leave Hope Valley when she is offered a movie job in Hollywood. When she gives up the movie, seeing her future in Hope Valley with him, he asks her to marry him. The couple weds in the season 3 finale, "Prayers From The Heart." Jack serves the role of Lee's best man.
Julie Thatcher is Elizabeth's hopeless romantic younger sister. She often gets herself into sticky situations by falling head over heels for men who aren't quite what they seem. In season 2 she gets involved with Jack's brother Tom, which causes trouble with her family and for Jack and Elizabeth's relationship.
Cat Montgomery is a kind, encouraging woman in Coal Valley. She is a widow and mother of three: Gabe, Miles, and Emily. Cat was one of the first mothers to show kindness to Elizabeth when she first came. She desperately wants her children to remember the good memories of their father as seen by her self-sacrificing acts in "Secrets and Lies." Possessing a great sense of teamwork and encouragement, Cat supports the women of Coal Valley while working in the mines in "Cease and Desist." She is good friends with Elizabeth and Abigail. In "These Games," she also helps Jack catch a thief.
Florence Blakeley is a feisty gossip in Hope Valley. She often has a pessimistic perspective and always seems to find the negative, even in a very positive situation. In "Heart and Home," Abigail told Florence what she really thought about her, which causes Florence to rein in her negativity somewhat, though she remains fairly outspoken. While not always likable, Florence adds spice to life in Hope Valley.
Molly Sullivan is a friend of Lee Coulter and Elizabeth Thatcher. Molly's husband was killed in the mine disaster. She has a daughter Rosaleen. In season 1's "A Telling Silence," Rosaleen has trouble in school because she misses her father so much. When she runs away, Elizabeth finds her in the mine, feeling guilty that she didn't bring her father his lunch the day of the disaster because she wanted to play with a friend instead. She fears her mother will blame her, but Elizabeth convinces her that Molly will "say that she loves her more than life itself." Molly is reunited with her daughter, to the joy of the town's people. In season 2's "With All My Heart," Lee feels it's time to "play hard to get" with Rosemary, so he enlists help from Molly. She pretends to be interested in him romantically. This ploy works and Rosemary admits that she does in fact like him. Molly is a kind woman and was among the first to welcome Elizabeth to town.
Clara Stanton is the wife of Abigail's late son Peter, and is a sweet, quiet, and sensitive young woman. Abigail never knew she had a daughter-in-law until season 2's "Trials of the Heart;" with Peter having married Clara only three days before he was killed. In "Heart's Desire," Abigail invites Clara to come live with her in Hope Valley, an offer that Clara accepts.
Charles Kensington III is an old friend of Elizabeth with whom she reconnects while in Hamilton. He is interested in her, though her feelings for Jack get in the way of their relationship.

text: Production[edit]

text: The series, originally planned to be filmed in Colorado, is filmed south of Vancouver, British Columbia, on a farm surrounded by vineyards. The fictional frontier town of Coal Valley was erected in late 2013. Some of the set trimmings and a stage coach came from the Hell on Wheels set.[10] The Thatcher home is the University Women's Club of Vancouver.[11]

text: The series was renewed for a second season,[12] which aired from April 25 to June 13, 2015. Hallmark Channel announced in July 2015 that the series had been renewed for a third season, which aired from February 21 to April 10, 2016,[13] with a sneak peek airing during the 2015 Christmas season.[14]

text: In mid-2016, it was announced that Season 4 would premiere on the Hallmark Channel Christmas Day with a two-hour special. On April 11, 2016, Lissing and Krakow announced via the series' Facebook page that Hallmark Channel had renewed the series for a fourth season, which aired from February 19 to April 23, 2017.[15][16]

text: Filming for season five began in Vancouver on August 22, 2017, and ended on December 21, 2017.[17][18]

text: Broadcast[edit]

text: The first season of the series was subsequently picked up by CBC Television for rebroadcast as a summer series in 2015.[19] The network has since aired all five seasons.[20][21] The series became available internationally on Netflix in August 2017.


document_title: The Jeffersons

question_text: who sing the theme song to the jeffersons

root

text: The Jeffersons

text: Show[edit]

text: The show focuses on George and Louise Jefferson, a prosperous African-American couple who have been able to move from Queens to Manhattan owing to the success of George's dry-cleaner chain. The show was launched as the second spin-off of All in the Family, on which the Jeffersons had been the neighbors of Archie and Edith Bunker.[5][6] The show was the creation of Norman Lear.[5][7] The Jeffersons eventually evolved into more of a traditional sitcom but did reference such issues as alcoholism, racism, suicide, gun control and adult illiteracy. The epithets "nigger" and "honky" were used occasionally, especially during the earlier seasons.[2][4]

tag: p

text: The Jeffersons had one spin-off, titled Checking In. The series was centered on the Jeffersons' housekeeper, Florence.[8] Checking In only lasted four episodes, after which Florence returned to The Jeffersons.[9] The Jeffersons also shared continuity with the show E/R, which featured Lynne Moody, who made a guest appearance in one episode of The Jeffersons.[10] Sherman Hemsley guest-starred as George in two episodes of the series, which lasted for one season.[11]

text: The Jeffersons ended in controversy after CBS abruptly canceled the series without allowing for a proper series finale. The cast was not informed until after the July 2, 1985, episode "Red Robins", and actor Sherman Hemsley said he found out that the show was canceled by reading it in the newspaper.[12] Sanford, who heard about the cancellation through her cousin who read about it in the tabloids, has publicly stated that she found the cancellation with no proper finale to be disrespectful on the network's part.[13]

text: The cast reunited in a stage play based on the sitcom.[14] In the 1996 series finale of The Fresh Prince of Bel-Air, the Jeffersons made a guest appearance and bought the house from the Banks family.[1] In an episode of Tyler Perry's House of Payne in 2011, Sherman Hemsley and Marla Gibbs reprised their roles of George Jefferson and Florence Johnston.[15]

text: In 1985, Hemsley and Sanford made a special joint guest appearance in the Canale 5 comedy show Grand Hotel, starring Italian actors Paolo Villaggio, Franco & Ciccio comic duo and Carmen Russo. They were guests in the fictional hotel, and appeared just twice during the show, for a total of five minutes. Their voices were dubbed by Italian actors Enzo Garinei (George) and Isa di Marzio (Louise), who also dubbed their characters for the full series.[citation needed]

text: Series development[edit]

text: Louise Jefferson, played by Isabel Sanford, first appeared in the All in the Family episode "Lionel Moves Into the Neighborhood", which was broadcast on March 2, 1971. The episode, the eighth of the series, centers on Louise, her son Lionel, and her husband George's moving next door to Archie and Edith Bunker in the working-class section of Queens.[2] Lionel, played by Mike Evans, first appeared in "Meet the Bunkers", the premiere episode of All in the Family.[2]

text: Norman Lear created the character of George Jefferson specifically for Hemsley. Lear originally intended for George to appear in the first season of the series; however, Hemsley was starring in the Broadway musical Purlie at the time, and Lear decided to postpone introduction of the character until Hemsley was available. Lear created the character of Henry Jefferson, George's younger brother, and replaced George with Henry in the series's scripts until Purlie finished its run. Mel Stewart was cast as Henry.[2][3] George was introduced in the episode "Henry's Farewell", and Hemsley and Stewart share their only scene together in its final minutes. The episode marked the final appearance of Henry.

text: George, Louise, and Lionel continued to appear on All in the Family until 1975, when the spin-off The Jeffersons, also created by Lear, premiered.[8] The characters of Lionel's biracial fiancée, Jenny, and her family, all of whom first appeared in the 1974 All in the Family episode "Lionel's Engagement", were also written into the new series.[16] However, the roles were all recast, with Berlinda Tolbert taking over the role of Jenny, veteran actor Franklin Cover playing her father, Tom Willis, whose first name was changed from Louis, as it was in their first AITF appearance, and Roxie Roker as her mother, Helen.

text: Synopsis[edit]

text: During the January 11, 1975 episode of All in the Family, titled "The Jeffersons Move Up", Edith Bunker gave a tearful good-bye to her neighbor Louise Jefferson, as her husband George, their son Lionel, and she moved from a working-class section of Queens, New York into a luxury apartment in Manhattan.[17] The Jeffersons premiered the following week, on January 18, 1975.[8]

text: George's career as a dry-cleaner began in the first season of All in the Family, in the third episode, "Oh, My Aching Back" (though the character himself did not appear on-camera). After his car was rear-ended by a bus, he filed a civil action and won $3200, enough to open his first store in Queens.[3] At the beginning of The Jeffersons, he was operating five stores throughout New York City, with another two opening during the following seasons.

text: Louise made friends with Tom and Helen Willis, an interracial couple with two adult children of their own[8] (whom George insultingly called "zebras"):[1][18] son Allan (played by Andrew Rubin in the first-season finale, and by Jay Hammer throughout season 5), a white-passing college drop-out; and daughter Jenny, an aspiring fashion designer. Jenny and Lionel became a couple, were married on December 24, 1976, and later became the parents of a daughter, Jessica (played in later seasons by Ebonie Smith).[8][19] Lionel and Jenny experienced marital issues, and filed for divorce in 1985.[8]

text: Marla Gibbs portrayed the role of Florence Johnston, the Jeffersons' back-talking, wisecracking, and devoutly religious housekeeper. Florence often teased George, mostly about his short stature and receding hairline.[20] Paul Benedict arrived as Harry Bentley, a loyal, kind, friendly yet somewhat dimwitted British next-door neighbor,[8] who worked as an interpreter at the United Nations.[21]

text: A common sight-gag of the show was George slamming the door in Bentley's face mid-conversation.[21] Bentley also had a bad back, and frequently needed George to walk on his back.[22][23] He also became known for addressing the Jeffersons as "Mr. J" and "Mrs. J".[23] Zara Cully played George's mother, Olivia "Mother" Jefferson, who constantly disparaged her daughter-in-law.[6][18][19] Cully, who had first appeared in the 1974 All in the Family episode, "Lionel's Engagement", reprised her role.[24] She appeared regularly in the first two seasons, but made sporadic appearances over the next two years and was written out in the fifth season (Cully died in 1978, from lung cancer; no episode was centered on Mother Jefferson's death, but it was mentioned that she had died in season 5). Ned Wertimer played the doorman, Ralph Hart, throughout the series,[25] along with Danny Wells who played Charlie the bartender.[26]

text: Cast changes[edit]

text: Mike Evans ("Lionel") left the show after the first season; his replacement was Damon Evans (no relation),[6] who took over the role until halfway through the fourth season.[8] Damon Evans's last episode was "Lionel Gets the Business".

text: Mike Evans and Tolbert returned in the 1979–1980 season, with Tolbert's character, Jenny, pregnant with a daughter named Jessica. However, Mike Evans appeared for only one more season, along with Tolbert.[8] The Jeffersons' sixth season peaked at #8 in the summer of 1980. The characters of Lionel and Jenny were written out by stating that they had marital problems, the result of which became a two-part episode storyline as the series' eighth-season premiere. The series' eighth season was the first African-American sitcom in years (since Sanford and Son) to peak in the top 5 (the series' eighth season debuted at #3).

text: Evans and Tolbert appeared in the two-part episode together; Evans also appeared in one episode during the series' ninth season in 1982, and made his final appearance in two episodes during the series' eleventh and final season. Tolbert became a regular guest star throughout the rest of the series. In the spring of 1981, Paul Benedict left the show for a season and a half, returning in the final two seasons of the series.[8] However, the ratings sank below the top 30, and The Jeffersons aired its last episode, "Red Robins", on July 2, 1985.[27]

text: Main cast[edit]

text:
Actor/Actress
Character
Seasons

1
2
3
4
5
6
7
8
9
10
11

Isabel Sanford
Louise Jefferson
Main

Sherman Hemsley
George Jefferson
Main

Mike Evans
Lionel Jefferson
Main

Main
Recurring

Recurring

Damon Evans

Main

Roxie Roker
Helen Willis
Main

Franklin Cover
Thomas "Tom" Willis
Main

Zara Cully
Olivia "Mother" Jefferson
Main

Berlinda Tolbert
Jenny Willis Jefferson
Main
Recurring

Paul Benedict
Harry Bentley
Main

Main

Marla Gibbs
Florence Johnston
Recurring
Main

Jay Hammer
Allan Willis

Main

Ned Wertimer
Ralph Hart
Recurring

Danny Wells
Charlie the bartender
Recurring

tag: table

text: Notable guest appearances[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2017) (Learn how and when to remove this template message)

text:
Frances Bay
Johnny Brown
Barbara Cason
Charo
Gary Coleman[1]
Andrae Crouch
Sammy Davis, Jr.[9]
Frank De Vol
Phyllis Diller (as herself)
David Dukes
Famous Amos
Bernard Fox
Joe Frazier
Susie Garrett
Louis Gossett, Jr.
Rosie Grier
Robert Guillaume[9]
Moses Gunn
Kene Holliday
Reggie Jackson
Victor Kilian
Lincoln Kilpatrick
Mabel King
Gladys Knight
Peter Lawford (voice)
Larry Linville
Carl Lumbly
Helen Martin
Edie McClurg
Garrett Morris
Greg Morris[9]
Josephine Premice[28]
Sheryl Lee Ralph
Thalmus Rasulala
Susan Ruttan
Sister Sledge[29]
Michael Spinks
Amzie Strickland
Ernest Lee Thomas
Liz Torres
Donald Trump
Vernee Watson
Jaleel White
Billy Dee Williams[9]
Hal Williams

tag: ul

text: Episodes[edit]

text: The Jeffersons had many two-part episodes, either over two consecutive weeks, or aired as an hour-long episode.

text: Theme song[edit]

text: Ja'net Dubois (from Good Times) and Jeff Barry co-wrote The Jeffersons theme song, "Movin' on Up", which was sung by Dubois with a gospel choir.[31] The song was covered by Sammy Davis, Jr., in 1978.[citation needed]

text: Broadcast history and Nielsen ratings[edit]

text: The Jeffersons changed time slots at least 15 different times during its 11-year run, unusual for a popular long running series.[32] The most common time slot was on Sunday night.[7]

text: In its first season (1974–75), the show ranked at number four, surpassed by its parent series All in the Family (which landed at number one for the fifth year in a row).[33] The show's ratings for the following two seasons placed it in the Top 30, but during the 1977–78 and 1978–79 seasons (the show's fourth and fifth seasons), it fell out of the top 30.[19]

text: It returned to the Top 10 in 1979–80, and at the end of the 1981–82 season, The Jeffersons finished third overall, only surpassed by fellow CBS series Dallas and 60 Minutes. As a result, the series remained among the Top 20 for the next two seasons.[19]

text:
Season
Time slot (ET)
Rank
Rating

1974–1975
Saturday at 8:30 pm
4
27.6

1975–1976
Saturday at 8:00 pm
21
21.5

1976–1977
Saturday at 8:00 pm (Episodes 1–6)
Wednesday at 8:00 pm (Episodes 7–14)
Monday at 8:00 pm (Episodes 15–24)
24
24.2

1977–1978
Saturday at 9:00 pm (Episodes 1, 3–22, 25–26)
Saturday at 9:30 pm (Episode 2)
Saturday at 8:00 pm (Episode 23)
Saturday at 8:30 pm (Episode 24)
Not in the Top 30

1978–1979
Wednesday at 8:00 pm (Episodes 1–6, 8–24)
Saturday at 8:00 pm (Episode 7)

1979–1980
Sunday at 9:30 pm
8
24.3

1980–1981
Sunday at 9:30 pm (Episodes 1–2, 5–18, 20)
Sunday at 10:00 pm (Episode 3)
Sunday at 10:30 pm (Episode 4)
Sunday at 9:00 pm (Episode 19)
6
23.5

1981–1982
Sunday at 9:30 pm
3
23.4

1982–1983
Sunday at 9:00 pm
12
20.0 (Tied with Knots Landing)

1983–1984
Sunday at 9:00 pm (Episodes 1, 3–22)
Sunday at 9:30 pm (Episode 2)
19
18.6

1984–1985
Sunday at 9:00 pm (1984)
Tuesday at 8:00 pm (Episodes 9–17, 23–24)
Tuesday at 8:30 pm (Episodes 18–22)
Not in the Top 30

text: Awards and nominations[edit]

text: The Jeffersons received 14 Emmy Award nominations during its time on the air.[34] Marla Gibbs was nominated for Best Supporting Actress in a Comedy Series each year from 1981-85. Sherman Hemsley was nominated for Best Actor in 1984. Larry M. Harris won the Emmy for Outstanding Video Tape Editing for a Series in 1983.[34]

text: Isabel Sanford was nominated for seven consecutive Best Actress Emmys, from 1979 until 1985.[34] Her victory in 1981 made her the first African-American actress to win an Emmy for Best Actress in a Comedy Series,[1][19][35] and the second to win any Emmy Award; Gail Fisher, who played Peggy on the TV show Mannix, preceded her in 1970. Sanford was also the recipient of five of the eight Golden Globe Awards nominations the program received.[36]

text: DVD and Internet releases[edit]

text: Sony Pictures Home Entertainment released the first six seasons of The Jeffersons on DVD in Region 1 between 2002 and 2007.[37] These releases have been discontinued and are now out of print.

text: On August 27, 2013, it was announced that Mill Creek Entertainment had acquired the rights to various television series from the Sony Pictures library including The Jeffersons.[38] They subsequently re-released the first two seasons on DVD on May 20, 2014.[39]

text: On August 8, 2014, it was announced that Shout! Factory had acquired the rights to the series; they subsequently released the complete series on DVD in a 33-disc collection on December 9, 2014.[40][41]

text: On April 28, 2015, Shout! released season 7 on DVD in Region 1.[42] Season 8 was released on August 11, 2015.[43]

text: As of 2016, all eleven seasons of The Jeffersons are available for online streaming on the STARZ network.[44][45]

text:
DVD Name
Ep #
Release Date

The Complete First Season
13
August 6, 2002
May 20, 2014 (re-release)

The Complete Second Season
24
May 13, 2003
May 20, 2014 (re-release)

The Complete Third Season
24
April 12, 2005

The Complete Fourth Season
26
October 11, 2005

The Complete Fifth Season
24
August 15, 2006

The Complete Sixth Season
24
March 27, 2007

The Complete Seventh Season
20
April 28, 2015

The Complete Eighth Season
25
August 11, 2015

The Complete Series
253
December 9, 2014


document_title: Never Say Never Again

question_text: who sang the theme song to never say never again

text: Never Say Never Again

text: Plot[edit]

text: After MI6 agent James Bond, 007, fails a routine training exercise, his superior, M, orders Bond to a health clinic outside London to get back into shape. While there, Bond witnesses a mysterious nurse named Fatima Blush giving a sadomasochistic beating to a patient in a nearby room. The man's face is bandaged and after Blush finishes her beating, Bond sees the patient using a machine which scans his eye. Bond is seen by Blush, who sends an assassin, Lippe, to kill him in the clinic gym, but Bond manages to kill Lippe.

text: Blush and her charge, a United States Air Force pilot named Jack Petachi, are operatives of SPECTRE, a criminal organisation run by Ernst Stavro Blofeld. Petachi has undergone an operation on his right eye to make it match the retinal pattern of the US President, which he uses to circumvent iris recognition security at the fictitious RAF Station Swadley, an American military base in England.  While doing so, he replaces the dummy warheads of two AGM-86B cruise missiles with live nuclear warheads; SPECTRE then steals the warheads, intending to extort billions of dollars from NATO governments. Blush murders Petachi, by causing his car to crash and explode, to cover SPECTRE's tracks.

text: Under orders from the Foreign Secretary, Lord Ambrose, M reluctantly reactivates the double-0 section and Bond is assigned the task of tracking down the missing weapons. He meets Domino Petachi, the pilot's sister, and her wealthy lover, Maximillian Largo, SPECTRE's highest-ranking agent. Bond follows Largo and his yacht to the Bahamas, where he spars with Blush and Largo.

text: Bond is informed by Nigel Small-Fawcett of the British High Commission that Largo's yacht is now heading for Nice, France. There, Bond joins forces with his French contact Nicole, and his CIA counterpart and friend, Felix Leiter. Bond goes to a health and beauty centre where he poses as an employee and, while giving Domino a massage, is informed by her that Largo is hosting an event at a casino that evening. At the charity event, Largo and Bond play a 3-D video game called Domination; the loser of each turn receives a series of electric shocks of increasing intensity or pays a corresponding cash bet. After losing a few games, Bond ultimately wins. While dancing with Domino, Bond informs her that her brother had been killed on Largo's orders. Bond returns to his villa to find Blush has killed Nicole by drowning her in a water bed. After a vehicle chase on his Q-branch motorbike, Blush captures Bond. She admits that she is impressed with him, and forces Bond to declare in writing that she is his "Number One" sexual partner. Bond distracts her with promises, then uses his Q-branch-issue fountain pen to kill Blush with an explosive dart.

text: Bond and Leiter attempt to board Largo's motor yacht, the Flying Saucer, in search of the missing nuclear warheads. Bond finds Domino. He attempts to make Largo jealous by kissing Domino in front of a two-way mirror. Largo becomes enraged, traps Bond and takes him and Domino to Palmyra, Largo's base of operations in North Africa. Largo coldly punishes Domino for her betrayal by selling her to some passing Arabs. Bond subsequently escapes from his prison and rescues her.

text: Domino and Bond reunite with Leiter on a United States Navy submarine and track Largo to a location known as the Tears of Allah, below a desert oasis on the Ethiopian Coast. Bond and Leiter infiltrate the underground facility and a gun battle erupts between Leiter's team and Largo's men in the temple. In the confusion, Largo makes a getaway with the second of the warheads, the first already defused in Washington DC. Bond catches and fights Largo underwater. Just as Largo tries to use a spear gun to shoot Bond, he is shot with a spear gun by Domino, taking revenge for her brother's death. Bond returns to the Bahamas with Domino, vowing to never again go back to his old habits.

text: Cast[edit]

text:
Sean Connery as James Bond, MI6 agent 007.
Klaus Maria Brandauer as Maximillian Largo, who is based on the character Emilio Largo. Billionaire businessman & SPECTRE Number 1, SPECTRE's senior-most agent.
Barbara Carrera as Fatima Blush, based on Fiona Volpe; SPECTRE Number 12, assigned to hunt down & kill Bond.
Kim Basinger as Domino Petachi, sister of Jack Petachi and girlfriend/mistress of Maximillian Largo. The surname was changed to Petrescu for the Italian release of the film.
Rowan Atkinson as Nigel Small-Fawcett, Foreign Office representative in the Bahamas.
Bernie Casey as Felix Leiter, Bond's CIA contact and friend.
Max von Sydow as Ernst Stavro Blofeld, the head of SPECTRE.
Edward Fox as M, Bond's superior at MI6.
Gavan O'Herlihy as Captain Jack Petachi, a USAF pilot used by SPECTRE to steal the nuclear missiles, and Domino Petachi's brother.
Alec McCowen as Algernon/Q, Double-0 section Quartermaster who issues specialised equipment to Bond.
Ronald Pickup as Elliott, a government agent working under M.
Pamela Salem as Miss Moneypenny, M's secretary.
Saskia Cohen Tanugi as Nicole, Bond's ill fated French contact.
Prunella Gee as Patricia Fearing, a physiotherapist at the clinic.
Valerie Leon as Lady in Bahamas, a fisher & tourist attracted to Bond.
John Stephen Hill as Communications Officer.
Milow Kirek as Dr. Kovacs, a nuclear physicist recruited by SPECTRE to oversee the recovery & deployment of the nuclear warheads. Based on Dr. Ladislav Kutze.
Pat Roach as Lippe, a SPECTRE assassin who tries to kill Bond at the clinic.
Anthony Sharp as Lord Ambrose, Foreign Secretary who orders M to reactivate the Double-0 section.

text: Production[edit]

text: Never Say Never Again had its origins in the early 1960s, following the controversy over the 1961 Thunderball novel.[1] Fleming had worked with independent producer Kevin McClory and scriptwriter Jack Whittingham on a script for a potential Bond film, to be called Longitude 78 West,[2] which was subsequently abandoned because of the costs involved.[3] Fleming, "always reluctant to let a good idea lie idle",[3] turned this into the novel Thunderball, for which he did not credit either McClory or Whittingham;[4] McClory then took Fleming to the High Court in London for breach of copyright[5] and the matter was settled in 1963.[2] After Eon Productions started producing the Bond films, it subsequently made a deal with McClory, who would produce Thunderball, and then not make any further version of the novel for a period of ten years following the release of the Eon-produced version in 1965.[6]

text: In the mid-1970s McClory again started working on a project to bring a Thunderball adaptation to production and, with the working title Warhead, he brought writer Len Deighton together with Sean Connery to work on a script.[7] The script ran into difficulties after accusations from Eon Productions that the project had gone beyond copyright restrictions, which confined McClory to a film based on the Thunderball novel only, and once again the project was deferred.[6]

text: Towards the end of the 1970s developments were reported on the project under the name James Bond of the Secret Service,[6] but when producer Jack Schwartzman became involved and cleared a number of the legal issues that still surrounded the project[1] he brought on board scriptwriter Lorenzo Semple, Jr.[8] to work on the screenplay. Connery was unhappy with some aspects of the work and asked Tom Mankiewicz, who had rewritten Diamonds Are Forever, to work on the script; however, Mankiewicz declined as he felt he was under a moral obligation to Eon's Albert R. Broccoli.[9] Connery then hired British television writers Dick Clement and Ian La Frenais[10] to undertake re-writes, although they went uncredited for their efforts despite much of the final shooting script being theirs. This was because of a restriction by the Writers Guild of America.[11]

text: The film underwent one final change in title: after Connery had finished filming Diamonds Are Forever he had pledged that he would "never" play Bond again.[7] Connery's wife, Micheline, suggested the title Never Say Never Again, referring to her husband's vow[12] and the producers acknowledged her contribution by listing on the end credits "Title "Never Say Never Again" by: Micheline Connery". A final attempt by Fleming's trustees to block the film was made in the High Court in London in the spring of 1983, but this was thrown out by the court and Never Say Never Again was permitted to proceed.[13]

text: Cast and crew[edit]

text: When producer Kevin McClory had first planned the film in 1964 he held initial talks with Richard Burton for the part of Bond,[14] although the project came to nothing because of the legal issues involved. When the Warhead project was launched in the late 1970s, a number of actors were mentioned in the trade press, including Orson Welles for the part of Blofeld, Trevor Howard to play M and Richard Attenborough as director.[7]

text: In 1978 the working title James Bond of the Secret Service was being used and Connery was in the frame once again, potentially going head-to-head with the next Eon Bond film, Moonraker.[15] By 1980, with legal issues again causing the project to founder,[16] Connery thought himself unlikely to play the role, as he stated in an interview in the Sunday Express: "when I first worked on the script with Len I had no thought of actually being in the film".[17] When producer Jack Schwartzman became involved, he asked Connery to play Bond; Connery agreed, asking (and getting) a fee of $3 million, ($7 million in 2017 dollars[18]) a percentage of the profits, as well as casting and script approval.[19] Subsequent to Connery reprising the role, the script has several references to Bond's advancing years – playing on Connery being 52 at the time of filming[19] – and academic Jeremy Black has pointed out that there are other aspects of age and disillusionment in the film, such as the Shrubland's porter referring to Bond's car ("They don't make them like that anymore."), the new M having no use for the 00 section and Q with his reduced budgets.[20]

text:
For the main villain in the film, Maximillian Largo, Connery suggested Klaus Maria Brandauer, the lead of the 1981 Academy Award-winning Hungarian film Mephisto.[21] Through the same route came Max von Sydow as Ernst Stavro Blofeld,[22] although he still retained his Eon-originated white cat in the film.[23] For the femme fatale, director Irvin Kershner selected former model and Playboy cover girl Barbara Carrera to play Fatima Blush – the name coming from one of the early scripts of Thunderball.[11] Carrera's performance as Fatima Blush earned her a Golden Globe Award nomination for Best Supporting Actress,[24] which she lost to Cher for her role in Silkwood.[25]
Micheline Connery, Sean's wife, had met up-and-coming actress Kim Basinger at a hotel in London and suggested her to Connery, which he agreed upon.[11] For the role of Felix Leiter, Connery spoke with Bernie Casey, saying that as the Leiter role was never remembered by audiences, using a black Leiter might make him more memorable.[21] Others cast included comedian Rowan Atkinson, who later parodied Bond in his role of Johnny English.[26]

text: Former Eon Productions' editor and director of On Her Majesty's Secret Service, Peter R. Hunt, was approached to direct the film but declined due to his previous work with Eon.[27] Irvin Kershner, who had achieved success in 1980 with The Empire Strikes Back was then hired. A number of the crew from the 1981 film Raiders of the Lost Ark were also appointed, including first assistant director David Tomblin, director of photography Douglas Slocombe, second unit director Mickey Moore and production designers Philip Harrison and Stephen Grimes.[21][28]

text: Filming[edit]

text: Filming for Never Say Never Again began on 27 September 1982 on the French Riviera for two months[11] before moving to Nassau, the Bahamas in mid-November[8] where filming took place at Clifton Pier, which was also one of the locations used in Thunderball.[29] The Spanish city of Almería was also used as a location.[30] Largo's Palmyran fortress was actually historic Fort Carré in Antibes.[31] Largo's ship, the Flying Saucer, was portrayed by the yacht Kingdom 5KR, then owned by Saudi billionaire Adnan Khashoggi and called the Nabila.[32] Principal photography finished at Elstree Studios where interior shots were filmed.[29] Elstree also housed the Tears of Allah underwater cavern, which took three months to construct.[29] Most of the filming was completed in the spring of 1983, although there was some additional shooting during the summer of 1983.[8]

text: Production on the film was troubled,[33] with Connery taking on many of the production duties with assistant director David Tomblin.[29] Director Irvin Kershner was critical of producer Jack Schwartzman, saying that, while he was a good businessman, "he didn't have the experience of a film producer".[29] After the production ran out of money, Schwartzman had to fund further production out of his own pocket and later admitted he had underestimated the amount the film would cost to make.[33] There was tension on set between Schwartzman and Connery, who at times barely spoke to each other. Connery was unimpressed with the perceived lack of professionalism behind the scenes and was on record as saying that the whole production was a 'bloody Mickey Mouse operation!'[34]

text: Steven Seagal, who was the fight choreographer for this film, broke Connery's wrist while training. On an episode of The Tonight Show with Jay Leno, Connery revealed he did not know his wrist was broken until over a decade later.[35]

text: Many of the elements of the Eon-produced Bond films were not present in Never Say Never Again for legal reasons. These included the gun barrel sequence, where a screen full of 007 symbols appeared instead, and similarly there was no "James Bond Theme" to use, although no effort was made to supply another tune.[8] A pre-credits sequence was filmed but not used;[36] instead the film opens with the credits run over the top of the opening sequence of Bond on a training mission.[29]

text: Music[edit]

text: James Horner was both Kershner's and Schwartzman's first choice to compose the score after being impressed with his work on Star Trek II: The Wrath of Khan. Horner, who worked in London for most of the time, wound up unavailable according to Kershner, though Schwartzman later claimed Sean Connery vetoed the American. Frequent Bond composer John Barry was invited, but declined out of loyalty to Eon.[37] The music for Never Say Never Again was written by Michel Legrand, who composed a score similar to his work as a jazz pianist.[38] The score has been criticised as "anachronistic and misjudged",[29] "bizarrely intermittent"[28] and "the most disappointing feature of the film".[21] Legrand also wrote the main theme "Never Say Never Again", which featured lyrics by Alan and Marilyn Bergman—who had also worked with Legrand in the Academy Award-winning song, "The Windmills of Your Mind"[39]—and was performed by Lani Hall[21] after Bonnie Tyler, who disliked the song, had reluctantly declined.[40]

text: Phyllis Hyman also recorded a potential theme song, written by Stephen Forsyth and Jim Ryan, but the song—an unsolicited submission—was passed over given Legrand's contractual obligations with the music.[41]

text: Release and reception[edit]

text: Never Say Never Again premiered in New York on 7 October 1983,[29] grossing $9.72 million ($24 million in 2017 dollars[18]) on its first weekend,[42] which was reported to be "the best opening record of any James Bond film"[42] up to that point and surpassing Octopussy's $8.9 million ($22 million in 2017 dollars[18]) from June that year.[43] The film went on general release in the US in 1,500 cinemas on 14 October 1983[42] and had its UK premiere at the Warner West End cinema in Leicester Square on 14 December 1983.[29] Worldwide, Never Say Never Again grossed $160 million[44] in box office returns, which was a solid return on the budget of $36 million.[44] The film ultimately earned less than Octopussy which grossed $187.5 million.[45][46]

text: Warner Bros. released Never Say Never Again on VHS and Betamax in 1984,[47] and on laserdisc in 1995.[48] After Metro-Goldwyn-Mayer purchased the distribution rights in 1997 (see Legacy, below), the company has released the film on both VHS and DVD in 2001,[49] and on Blu-ray in 2009.[50]

text: Contemporary reviews[edit]

text: Never Say Never Again was broadly welcomed and praised by the critics: Ian Christie, writing in the Daily Express, said that Never Say Never Again was "one of the better Bonds",[51] finding the film "superbly witty and entertaining, ... the dialogue is crisp and the fight scenes imaginative."[51] Christie also thought that "Connery has lost none of his charm and, if anything, is more appealing than ever as the stylish resolute hero."[51] David Robinson, writing in The Times also concentrated on Connery, saying that: "Connery ... is back, looking hardly a day older or thicker, and still outclassing every other exponent of the role, in the goodnatured throwaway with which he parries all the sex and violence on the way".[52] For Robinson, the presence of Connery and Klaus Maria Brandauer as Maximillian Largo "very nearly make it all worthwhile."[52] The reviewer for Time Out summed up Never Say Never Again saying "The action's good, the photography excellent, the sets decent; but the real clincher is the fact that Bond is once more played by a man with the right stuff."[53]

text: Derek Malcolm in The Guardian showed himself to be a fan of Connery's Bond, saying the film contains "the best Bond in the business",[54] but nevertheless did not find Never Say Never Again any more enjoyable than the recently released Octopussy (starring Roger Moore), or "that either of them came very near to matching Dr. No or From Russia with Love."[54] Malcolm's main issue with the film was that he had a "feeling that a constant struggle was going on between a desire to make a huge box-office success and the effort to make character as important as stunts."[54] Malcolm summed up that "the mix remains obstinately the same – up to scratch but not surpassing it."[54] Writing in  The Observer, Philip French noted that "this curiously muted film ends up making no contribution of its own and inviting damaging comparisons with the original, hyper-confident Thunderball".[55] French concluded that "like an hour-glass full of damp sand, the picture moves with increasing slowness as it approaches a confused climax in the Persian Gulf."[55]

text: Writing for Newsweek, critic Jack Kroll thought the early part of the film was handled "with wit and style",[56] although he went on to say that the director was "hamstrung by Lorenzo Semple's script".[56] Richard Schickel, writing in Time magazine praised the film and its cast. He wrote that Klaus Maria Brandauer's character was "played with silky, neurotic charm",[57] while Barbara Carrera, playing Fatima Blush, "deftly parodies all the fatal femmes who have slithered through Bond's career".[57] Schickel's highest praise was saved for the return of Connery, observing "it is good to see Connery's grave stylishness in this role again. It makes Bond's cynicism and opportunism seem the product of genuine worldliness (and world weariness) as opposed to Roger Moore's mere twirpishness."[57]

text: Janet Maslin, writing in The New York Times, was broadly praising of the film, saying she thought that Never Say Never Again "has noticeably more humor and character than the Bond films usually provide. It has a marvelous villain in Largo."[58] Maslin also thought highly of Connery in the role, observing that "in Never Say Never Again, the formula is broadened to accommodate an older, seasoned man of much greater stature, and Mr. Connery expertly fills the bill."[58] Writing in The Washington Post, Gary Arnold was fulsome in his praise, saying that Never Say Never Again is "one of the best James Bond adventure thrillers ever made",[59] going on to say that "this picture is likely to remain a cherished, savory example of commercial filmmaking at its most astute and accomplished."[59] Arnold went further, saying that "Never Say Never Again is the best acted Bond picture ever made, because it clearly surpasses any predecessors in the area of inventive and clever character delineation".[59]

text: The critic for The Globe and Mail, Jay Scott, also praised the film, saying that Never Say Never Again "may be the only instalment of the long-running series that has been helmed by a first-rate director".[60] According to Scott, the director, with high-quality support cast, resulted in the "classiest of all the Bonds".[60] Roger Ebert gave the film 3½ out of 4 stars, and wrote that Never Say Never Again, while consisting of a basic "Bond plot", was different from other Bond films: "For one thing, there's more of a human element in the movie, and it comes from Klaus Maria Brandauer, as Largo."[61] Ebert went on to add, "there was never a Beatles reunion ... but here, by God, is Sean Connery as Sir James Bond. Good work, 007."[61]

text: Reflective reviews[edit]

text: Because Never Say Never Again is not an Eon-produced film, it has not been included in a number of subsequent reviews. Norman Wilner of MSN said that 1967's Casino Royale and Never Say Never Again "exist outside the 'official' continuity, [and] are excluded from this list, just as they're absent from MGM's megabox. But take my word for it; they're both pretty awful".[62] Of the more recent reviews, opinion on Never Say Never Again is still mixed. The film review aggregator Rotten Tomatoes sampled 47 critics and judged 44% of the reviews as positive, with an average rating of 5.5/10.[63] The score is still more positive than some of the Eon films, with Rotten Tomatoes ranking Never Say Never Again 16th among all Bond films in 2008.[64] On Metacritic, the film has a weighted average score of 68 out of 100 based on 15 critics, indicating broadly favourable reviews.[65] Empire gives the film three of a possible five stars, observing that "Connery was perhaps wise to call it quits the first time round".[66] IGN gave Never Say Never Again a score of 5 out of 10, claiming that the film "is more miss than hit".[67] The review also thought that the film was "marred with too many clunky exposition scenes and not enough moments of Bond being Bond".[67]

text: In 1995 Michael Sauter of Entertainment Weekly rated Never Say Never Again as the ninth best Bond film to that point, after 17 films had been released. Sauter thought the film "is successful only as a portrait of an over-the-hill superhero."[68] He did admit, however, that "even past his prime, Connery proves that nobody does it better".[68] James Berardinelli, in his review of  Never Say Never Again, thinks the re-writing of the Thunderball story has led to a film which has "a hokey, jokey feel, [it] is possibly the worst-written Bond script of all".[69] Berardinelli concludes that "it's a major disappointment that, having lured back the original 007, the film makers couldn't offer him something better than this drawn-out, hackneyed story."[69] Critic Danny Peary wrote that "it was great to see Sean Connery return as James Bond after a dozen years".[70] He also thought the supporting cast was good, saying that Klaus Maria Brandauer's Largo was "neurotic, vulnerable ... one of the most complex of Bond's foes"[70] and that Barbara Carrera and Kim Basinger "make lasting impressions."[70] Peary also wrote that the "film is exotic, well acted, and stylishly directed ... It would be one of the best Bond films if the finale weren't disappointing. When will filmmakers realize that underwater fight scenes don't work because viewers usually can't tell the hero and villain apart and they know doubles are being used?"[70]

text: Legacy[edit]

text: In the 1990s, McClory announced plans to make another adaptation of the Thunderball story starring Timothy Dalton entitled Warhead 2000 AD, but the film was eventually scrapped.[71] In 1997 Sony Pictures acquired McClory's rights for an undisclosed amount,[2] and subsequently announced that it intended to make a series of Bond films, as the company also held the rights to Casino Royale.[72] This move prompted a round of litigation from MGM, which was settled out-of-court, forcing Sony to give up all claims on Bond; McClory still claimed he would proceed with another Bond film,[73] and continued his case against MGM and Danjaq;[74] On 27 August 2001 the court rejected McClory's suit.[74] McClory died in 2006.[71]

text: On 4 December 1997, MGM announced that the company had purchased the rights to Never Say Never Again from Schwartzman's company Taliafilm.[75][76] The company has since handled the release of both the DVD and Blu-ray editions of the film.[77][50]


document_title: Restaurant rating

question_text: what is the highest number of michelin stars a resturant can receive

text: Restaurant rating

text: Restaurant guides[edit]

text: One of the best known guides is the Michelin series which award one to three stars to restaurants they perceive to be of high culinary merit. One star indicates a "very good restaurant"; two stars indicate a place "worth a detour"; three stars means "exceptional cuisine, worth a special journey".

text: Several bigger newspapers employ restaurant critics and publish online dining guides for the cities they serve, such as the Irish Independent for Irish restaurants.

text: List of notable restaurant guides[edit]

text: Europe (original working area)[edit]

text:
Name
Working area
Type of rating
Method

Michelin Guide
Worldwide
1 to 3 stars
Professional inspectors

Gault Millau
Europe
1 to 20 points
Inspectors of local agents

Automobile Association
United Kingdom
1 to 5 rosettes
Professional inspectors

Gambero Rosso
Italy and San Marino
1 to 3 forks
N/A

Harden's
United Kingdom
Rating out of 5
Annual survey

La Liste
Worldwide
Ranking
Proprietary algorithm

The Good Food Guide
United Kingdom
Rating out of 10
Inspections by correspondents

The World's 50 Best Restaurants
Worldwide
Ranking
N/A

text: America[edit]

text:
Name
Working area
Type of rating
Method

Michelin Guide
New York, Chicago, D.C., and San Francisco
1 to 3 stars
Professional inspectors

Gayot Guide/Gault Millau
United States
1 to 20 points
Inspectors of local agents

American Automobile Association
United States
1 to 5 diamonds
AAA employees hired specifically to rate hotels

Forbes Travel Guide
United States
1 to 5 stars
Professionals, consumers, and self-reporting by restaurants

Zagat
United States
30 point scale
Public reviews

text: Asia[edit]

text:
Name
Working area
Type of rating
Method

Miele Guide
Asia
N/A
N/A

Kingfisher Explocity Food Guide[2]
India
N/A
Inspectors

text: Internet restaurant review sites have empowered regular people to generate non-expert reviews. This has sparked criticism from restaurant establishments about the non-editorial, non-professional critiques. Those reviews can be falsified or faked.[1][3]

text: Rating criteria[edit]

text: The different guides have their own criteria. Not every guide looks behind the scenes or decorum. Others look particularly sharply to value for money. This is why a restaurant can be missing in one guide, while mentioned in another. Because the guides work independently, it is possible to have simultaneous multiple recognitions.[4][5][6][7][8]

text: Ratings impact[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 2015) (Learn how and when to remove this template message)

text: A top restaurant rating can mean success or failure for a restaurant, particularly when bestowed by an influential sources such as Michelin. Still, a good rating is not enough for economic success and many Michelin starred and/or highly rated restaurants have met the same fate as the Dutch restaurant De Swaen.

text: In 2004, Michelin came under fire after bipolar chef Bernard Loiseau committed suicide after he was rumoured to be in danger of losing one of his three Michelin stars. However, the Michelin guide had stated he would not be downgraded. Most news reports attributed his suicide to the downgrade carried out by the rival Gault Millau guide.

text: Sanitation[edit]

text: Many countries have a system of checks and inspections in place for sanitation. Only a few countries, amongst others the United States and Canada, create and publish restaurant ratings based on this. However, the whole of the United Kingdom is covered - as is Denmark.[citation needed]

text: United States[edit]

text: In the United States, several states have imposed uniform statewide restaurant grading systems, under which safety and hygiene inspection reports are used to compute numerical scores or letter grades, and those must be prominently posted by restaurants.[9] The first state to enact such a statewide system was South Carolina in 1995.[9] Tennessee and North Carolina later enacted legislation imposing similar statewide systems.[9]

text: In many other states, the mandatory posting of restaurant grades is neither required nor prohibited statewide, which means it is purely a matter for local governments like cities and counties.[9]

text: Los Angeles[edit]

text: In November 1997, a KCBS-TV sweeps news story called Behind The Kitchen Door focused attention on problems in Los Angeles's top restaurants. The station used hidden cameras to catch restaurant employees practicing unsafe food handling practices such as picking up food from the floor and re-serving it, vermin crawling near food to be served, and mixing uncooked meat and vegetables.[citation needed] The KCBS report also reviewed inspection reports, which have always been public records, but were available only on request (and at the time required an in-person visit to the health department), and found that many problems had already been expressly identified in the inspection reports but had not been adequately publicized.[citation needed]

text: As a result of this report, in December 1997 the Board of Supervisors of Los Angeles County introduced a letter grading system already in use for some years in two other nearby counties, San Diego County and Riverside County. Instead of merely listing violations in a report, the restaurant inspection system was changed to a point system, with each restaurant starting each inspection with a perfect score of 100 points.[9] Environmental health specialists were required to use a standard form called the Food Official Inspection Report to identify violations as they inspected establishments; the form required them to subtract a certain number of points for each violation found.[9] Based on the number of points remaining, letter grades were then assigned and required to be prominently posted at all establishments selling food, and all establishments were also required to provide a copy of the underlying inspection report to any customer on request.[9] Grades are available at the County Public Health Department's web site.[10]

text: Two Stanford University economics researchers found that higher lettered restaurants scored a rise in revenue, while lower lettered restaurants have seen their revenues decline. The quality of restaurants in the entire county became more acceptable, with the average score going up from about 75% to nearly 90% in the year after restaurant grading was implemented. The researchers concluded that the results were not explained solely by consumers switching to higher quality restaurants, and that some of the effect had to do with restaurants making changes due to grade cards.[11][12] Another study estimated a 13.1% reduction in hospitalization for food borne illnesses in the year following implementation of the program, suggesting that implementing a restaurant grading program could improve public safety.[13]

text: Although Los Angeles County was not the first local jurisdiction to require restaurants to post grades, its success in implementing such a program inspired many other local governments during the 2000s to enact similar programs based on the Los Angeles model, such as Toronto, Las Vegas, Dallas, and New York City.[9]


document_title: Time-out (sport)

question_text: nba rules who can call a time out

question_tokens: nba rules who can call a time out

text: Time-out (sport)

text: List of time-out rules by sport[edit]

text: Baseball[edit]

text: Baseball players and managers of both the offense and defense, as well as umpires, can request time out for a number of purposes, such as for a batter to step out of the batter's box to better prepare for a pitch, to replace a worn ball, for a manager to speak with a player or umpire or to replace one player with another (for which a time-out is required by the rules), etc. The requested time out is not effective unless an umpire grants it verbally or by hand signal (both hands raised). Since there is no clock in baseball, the main effect of a time out is to temporarily prevent the defensive team from tagging base runners out or delivering a pitch as well as to prevent base runners from advancing. However, the catcher may also request timeout once the pitcher has stepped on the rubber; usually with the intention of either "resetting" the play, or to deliver some information to the pitcher via either signals or a visit to the mound. Under certain (uncommon) circumstances specified by the rules, umpires are required to call time out, even while a play is in progress, such as certain cases of interference. Unlike many other sports, the rules of baseball do not limit time outs, either by number or duration. The end of the time out is indicated by an umpire verbally declaring "Play!" and/or by pointing at the pitcher while he is holding the ball (these umpire signals are identical to those used to start a game or resume play after the ball has become "dead," for example due to a half-inning ending). Since baseball provides natural breaks in the action when teams exchange offensive and defensive roles between half-innings (two minutes, five seconds normally; two minutes and twenty-five seconds for nationally televised games[1]), TV timeouts are not necessary.

text: Other than coaching visits, which the umpires ensure stay brief, timeouts theoretically have no time limits. However, when no runners occupy a base, a pitcher must deliver the pitch within twelve seconds of receiving the ball from the catcher or else a "delay of game" is called, resulting in a ball.[2] Also, any relief pitcher is limited to eight warm-up throws before play resumes, except in special circumstances (such as a pitcher substitution due to injury).

text: Though not officially recognized as a "timeout," a stoppage in play can also be requested by the defense. This can be accomplished in several ways. First, once in his "set" position, the pitcher may stop play by stepping off the rubber prior to his windup. Secondly, the catcher may visit the pitcher at any point before he steps on the rubber. Finally, the manager or pitching coach may also visit the pitcher before he steps on the rubber (called a "coaching visit"). Under MLB rules, a team is limited to one visit per inning and a maximum of three per game. Under NFHS (high school) rules, a team receives three mound visits for the game and can use more than one an inning. If a team exceeds the limit in either MLB or high school ball, the pitcher must be removed immediately.

text: Basketball[edit]

text: In American college basketball, there are two systems of timeouts used. In games that are not broadcast, each team is allowed four 75-second and two 30-second timeouts per regulation game. In games which are being broadcast, as of the 2015-16 season, each team is granted one 60-second timeout and three 30-second timeouts per game in addition to the media timeouts (at the first dead ball under 16, 12, 8 and 4 minutes remaining in each half). A maximum of three 30-second timeouts may carry over into the second half. Any called timeout that occurs within the 30 seconds prior to a scheduled media timeout break automatically takes the place of the upcoming media timeout, with the only exception to this rule being the first called timeout of the second half. A timeout cannot be called by a coach when the ball is live. Previously, under NCAA rules in prior seasons, teams had a total of five timeouts, and timeouts superseding media timeouts were only used in the women's rules.[3]

text: High school basketball allots five timeouts per game, with three 60-second and two 30-second timeouts. In overtime games, each team is given one additional 60-second timeout, and is allowed to carry over any unused timeouts from regulation or – if the case may be – previous overtimes. Media timeouts are typically reserved for televised state tournament games only.

text: In the North American National Basketball Association, the rule on timeouts is more complex. Effective the 2017-18 NBA season, teams are allowed seven timeouts, of 75 seconds in length. There is no limit on substitutions. In overtime periods, each team is allowed two timeouts. A request for a timeout by a player in the game or the head coach shall be granted only when the ball is dead or in control of a player on the team making the request.

text: In each quarter, there are two mandatory timeouts required. If no team has taken a timeout prior to 6:59 of the period, the official scorer will take it at the first dead ball and charge it to the home team. If no subsequent timeouts have been taken prior to 2:59 of the period, the official scorer will take it and charge it to the team not previously charged. The first and second timeouts in a quarter are extended to 2:45 for locally televised games and 3:15 for nationally televised games, to accommodate advertising.

text: A team is limited to a maximum of four timeouts in the fourth quarter, losing any timeouts not yet taken. Following the later of three minutes remaining in the fourth quarter or the second mandatory timeout in the quarter, a team is limited to two timeouts. With less than two minutes to go in the game or overtime period, if the offensive team takes a timeout prior to inbounding the ball or if they secure the ball from a rebound or turnover but prior to advancing it, they may choose to advance the ball to half court. [4]

text: The rule changes were made to eliminate the distinction between "full" and "20-second" timeouts (which were actually 60 seconds by rule[5] ) and to speed up the pace of play. A third mandatory timeout in the second and fourth quarters was also eliminated. The common complaint of fans that the last few minutes of a game stretched out interminably due to multiple timeouts being called was also addressed.[6] However, this has led to coaches using timeouts quickly prior to three minutes remaining in the game, to avoid losing them.[7]

text: Beach volleyball[edit]

text: In beach volleyball, the Fédération Internationale de Volleyball (FIVB) stipulates one 30-second time-out allowed per team, per set. In FIVB World Competitions, there is an additional 30-second technical time-out in sets 1-2 when the sum of both scores is equal to 21.[8]

text: Cricket[edit]

text: During the 2009 season of the Indian Premier League of T20 cricket, the halfway point of each innings contained a seven-and-a-half minute television timeout, two-thirds of which were devoted to additional advertising time. After complaints by viewers and players (criticizing its commercial purpose and for breaking the flow of the game), the following season replaced them with two sponsored and compulsory two-and-a-half minute "strategic timeouts" that must be taken by each side at certain points during the innings; one must be taken by the bowling team between the 6th to 10th overs, and the batting team between the 11th to 16th overs.[9][10][11]

text: Floorball[edit]

text: In floorball, each team is allowed one thirty-second time-out per game, which may only be taken during a normal stoppage of play. The time-out is measured from when all the players are gathered around the team benches.

text: Gridiron football[edit]

text: In gridiron football, the use and rationing of time-outs is a major part of strategy; calling time-out stops the clock (which normally is running between plays except in the case of a penalty, an incomplete pass, officials requiring time to re-spot the ball and/or down markers, or when the ball is run out of bounds), extending the time a team has to score. Timeouts can be called by both players (typically the quarterback or a linebacker) and the head coach. The number of timeouts is limited to three per team per half in the National Football League, and college and high school levels; to two per half in amateur Canadian football, and to one per half in the Canadian Football League. Unused timeouts carry over between the first and second quarters and between the third and fourth quarters, but they do not carry over between halves. If overtime is required in the NFL, each team is given two timeouts during a fifteen-minute sudden-death period, while in college football each team gets one timeout per possession. If a timeout above these limits is called, it is usually ignored and no penalty is assessed (however, in many leagues, a coach attempting to call a timeout when he has no timeouts left can be assessed a 5-yard Delay Of Game penalty).

text: Teams use several methods to stop the clock without exhausting a timeout. These include:

text:
Running out of bounds with the ball. In the NFL, this only stops the clock in the final two minutes of the first half and final five minutes of the second half; the rest of the time, the clock stops only temporarily, restarting when the ball is set for the next play. In arena football, the clock stops only for out-of-bounds plays in the final minute of the half.
Throwing the ball out of bounds. This is an incomplete pass, but sometimes, the team may choose to sacrifice a down to stop the clock.
Spiking the ball. This, likewise, is an incomplete pass and sacrifices a down.
Waiting for the two-minute warning in the NFL, three-minute warning in Canadian football, one-minute warning in Arena football if it is approaching. College and high school football do not have any of these stoppages.
Committing an offense for which a minor penalty may be called. In some leagues, late in the game, a 10-second runoff may be assessed to discourage this.
Feigning the injury of a player. If this occurs more than once in a game, a timeout may be charged, and/or a penalty may be assessed. In some leagues, if time is called because of an injury, the injured player may be ordered to sit out at least the next play as a way of discouraging the feigning of injury.

text: In the NFL, college football, and CFL, a timeout is assessed against a team if a head coach unsuccessfully challenges a play.

text: A common practice in gridiron football is to call a timeout right before a potential game-winning or game-tying field goal, a strategy known as "icing the kicker." In theory, this strategy works because the kicker has prepared himself mentally to make the kick only to have the timeout break his concentration. While this strategy has seemingly worked on occasion, statistics suggest that not only is this an ineffective strategy, but is actually counterproductive because kickers are more likely to make a field goal after a timeout is called—possibly because they have come to expect a timeout to be called, if the opposing team still has one.[12] There have also been times when the tactic has directly backfired; for example, in an NFL game played on November 19, 2007, between the Denver Broncos and Tennessee Titans, Broncos head coach Mike Shanahan called a timeout to ice the kicker. It was difficult to hear the whistle and the play continued, with Titans kicker Rob Bironas badly shanking a 56-yard field goal. The play was restarted, this time without a timeout, and the kick was good. Since a team is not allowed to call multiple timeouts between plays, they are prohibited from trying to ice a kicker more than once on the same kick; attempting to do so results in an unsportsmanlike conduct penalty, giving the kicking team 15 yards and an automatic first down. It has only happened once in the NFL, in a 2007 game between the Buffalo Bills and the Washington Redskins, when Redskins head coach Joe Gibbs called a timeout just before Bills kicker Rian Lindell attempted a 51-yard field goal. The kick was good, but Gibbs was awarded the timeout. Gibbs then called a second timeout when Lindell was preparing to kick the ball again, because Gibbs was unaware of the rule. Gibbs was issued an unsportsmanlike conduct penalty, which narrowed the attempt from 51 yards to 36 yards out. Lindell made the 36-yard field goal to win the game for the Bills, 18–17.

text: Another common practice, particularly in high school, college and the NFL, is for a team that, with its defense on the field, is trailing the opposing team near the end of the regulation by a touchdown or less to use their time outs when the winning team is using the victory formation to run out the clock. Since winning teams using the quarterback kneel can run off the last 90 seconds to 2 minutes of a game (depending on the level) with three successive kneels, the losing team will call a time out to stop the clock, force the winning team to run a standard play (as only a few seconds are taken off the clock with the kneel itself, the clock restarting only upon the snap) or make a first down and thus increase the chances that the trailing team will get the ball back on offense.

text: Ice hockey[edit]

text: In ice hockey, each team is allowed one thirty-second time-out per game, which may only be taken during a normal stoppage of play. In the National Hockey League, only one team is permitted a time out during stoppage. However, in the International Ice Hockey Federation rules, both teams are permitted a time out during the same stoppage, but the second team must notify the referee before the opponent's time-out expires.

text: In the NHL, teams lose their time-out if they unsuccessfully challenge a goaltender interference call, and cannot challenge if they are already without their time-out.

text: Since the 2017-18 season, teams cannot utilize their time-out after an icing. In addition, they retain their timeout after every offside call is challenged; unsuccessful offside challenges result in a minor penalty for delay of game.

text: Team handball[edit]

text: In team handball, one sixty-second time-out per half per team is allowed. Time-outs are called by the head coach by handing a green time-out card to the match official, and can only be called when the team is in possession of the ball.

text: Volleyball[edit]

text: In volleyball, the Fédération Internationale de Volleyball (FIVB) stipulates two 30-second time-outs allowed per team, per set. In FIVB World and Official Competitions, there are two additional 60-second technical time-outs in each set when the leading team reaches the 8th and 16th points, however there is no technical time-out in a tie-breaking set (5th set) (though there is a change of ends at 8 points).[13]

text: Water polo[edit]

text: In water polo, each team is entitled two sixty-second time-outs in regular time, and one extra time-out in extra time. The time-out can only be called if the team is in possession of the ball.


document_title: Yellow flag (contagion)

question_text: flag flown on a ship to indicate the presence of a disease

text: Yellow flag (contagion)

text: In International maritime signal flags, plain yellow, green, and even black flags have been used to symbolize disease in both ships and ports, with the color yellow having a longer historical precedent, as a color of marking for houses of infection, previous to its use as a maritime marking color for disease.

text: The present flag used for the purpose is the "Lima" (L) flag, which is a mixture of yellow and black flags previously used. It is sometimes called the "yellow jack", which became a name for yellow fever. Cholera ships also used a yellow flag.[1]

text: The plain yellow flag ("Quebec" or Q in international maritime signal flags), perhaps derives its letter symbol for its initial use in quarantine, but this flag in modern times indicates the opposite—a ship that declares itself free of quarantinable disease, and requests boarding and inspection by Port State Control to allow the grant of "free pratique".[2]

text: Plain yellow flags are still commonly used to mark a recent death in a neighborhood in cities such as Jakarta, regardless of the cause. They are placed in intersections leading to the home of the recently deceased as direction markers for mourners, and to mark the funeral convoy so that it is given the right of way.[3]


document_title: You Can Get It If You Really Want

question_text: who wrote you can get it if you really want

text: You Can Get It If You Really Want

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

text: "You Can Get It If You Really Want" is a famous late rocksteady song written and performed by the Jamaican reggae singer songwriter Jimmy Cliff. A version was recorded by Jamaican singer Desmond Dekker, becoming a hit in its own right as a single released in a number of markets, reaching number 2 on the UK Singles Chart. It was classified as number 27 on the 1970 Year-end Chart in the UK.

text: Covers[edit]

text: The UK's Jamaican origin reggae band The Cimarons released it as a single in 1974.

text: The song has been covered by a great number of artists including by Italian pop singer Sabrina (Sabrina Salerno) in her 1991 album Over the Pop and by Stiff Little Fingers on their 1999 album Hope Street where the song is retitled "You Can Get It (If Yu Really Want It)".

text: French singer Johnny Hallyday sang it in French under the title T'as le bonjour de l'amour released on his album Hollywood in 1979.

text: In popular culture[edit]

text: The Jimmy Cliff song was famously used in the 1972 film The Harder They Come.

text: In 1990, the song was used in the cd "Sebastian from The Little Mermaid" as most of the songs were performed by Samuel E. Wright as Sebastian the crab. Wright also performed this version in Sebastian's Caribbean Jambore.

text: The Jimmy Cliff version was used in the soundtrack of the 1997 film Speed 2: Cruise Control.

text: Cliff version was used as a musical number in the inaugural episode of the British television musical comedy drama serial Blackpool whereas the Desmond Dekker version was also used in the soundtrack of the 2010 British film Made in Dagenham.

text: Appearances[edit]

text: Jimmy Cliff included his own version of the song on his 2004 compilation album Reggae Night. The Dekker version on the other hand was included in the triple-disc compilation album released Now That's What I Call Reggae in June 2012.

text:
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text: 1970 songsJimmy Cliff songsDesmond Dekker songs1970s song stubs

text: Articles lacking sources from September 2017All articles lacking sourcesAll stub articles


document_title: Sohrab and Rustum

question_text: the story of sohrab and rustum is taken from

text: Sohrab and Rustum

text: Sohrab and Rustum: An Episode is a narrative poem with strong tragic themes first published in 1853 by Matthew Arnold.[1] The poem retells a famous episode from Ferdowsi's Persian epic Shahnameh relating how the great warrior Rustum unknowingly slew his long-lost son Sohrab in single combat. Arnold, who was unable to read the original, relied on summaries of the story in John Malcolm's History of Persia and Sainte-Beuve's  review of a French prose translation of Ferdowsi.[2] In Sohrab and Rustum,  Arnold attempted to imitate the "grandeur and rapidity" of Homer's style which he was to discuss in his lectures On Translating Homer (1861).[3] The poem consists of 892 lines of blank verse.

text: Notes[edit]

text:
Jump up ^ Arnold, Matthew Poetical Works Oxford University Press, 1950.

Jump up ^ Poetical Works, pp.488–493

Jump up ^ Craig W. Kallendorf A Companion to the Classical Tradition (John Wiley & Sons, 2010) p.87

tag: ol


document_title: Pierce Gagnon

question_text: who plays clay's son on one tree hill

question_tokens: who plays clay 's son on one tree hill

text: Pierce Gagnon

text: Personal life[edit]

text: Gagnon was born in Atlanta, Georgia.[2] He has three younger siblings, including his brother Steele. He currently resides in Los Angeles.

text: Career[edit]

text: Gagnon played Logan Evans, the son of Clay Evans (Robert Buckley), in season 9 of the CW drama series One Tree Hill.

text: In January 2011, he was cast in the action thriller film Looper as Cid Harrington, a child with unusual telekinetic abilities, who becomes a warlord called the "Rainmaker". Rian Johnson said, "Looking back I'm kind of terrified that I hinged the success of the backend of the movie on finding someone like Pierce. It's really rare to find a kid who can do what he does. He would do three-page dialogue scenes with Emily [Blunt] and Joe [Gordon-Levitt] and hold his own against them all the way through."[3]

text: After voicing Tiago in Rio 2, the sequel to the 2011 film Rio,[4] Gagnon played Tucker Bloom in the comedy-drama film Wish I Was Here.[5] He played Ethan Woods, the android son of Molly Woods (Halle Berry), in the CBS science fiction drama series Extant.[6] Gagnon was named one of the best actors under twenty years of age.[7]

text: Filmography[edit]

text: Film[edit]

text:
Year
Title
Role
Notes

2010
The Crazies
Distraught Son

2010
The Way Home
Little Joe

2012
Looper
Cid Harrington

2014
Wish I Was Here
Tucker Bloom

2014
Rio 2
Tiago
Voice only

2014
A Merry Friggin' Christmas
Douglas Mitchler

2015
Tomorrowland
Nate Newton

text: Television[edit]

text:
Year
Title
Role
Notes

2012
One Tree Hill
Logan Evans
7 episodes

2013
Big Thunder
Jack Carson
Pilot

2014–15
Extant
Ethan Woods
26 episodes

2017
Twin Peaks
Sonny Jim Jones
9 episodes

2018
The Boss Baby: Back in Business
Timothy Leslie "Tim" Templeton
Voice only


document_title: All the Pretty Horses (film)

question_text: where did they film all the pretty horses

text: All the Pretty Horses (film)

text: Plot[edit]

text: In 1949, young cowboy John Grady Cole's maternal grandfather dies. John had grown up on his grandfather's ranch, but it was put up for sale when the old man died. His mother has no ties to it anymore, and would rather have the money. With no home, John asks his best friend Lacey Rawlins to leave his family ranch in San Angelo, Texas and join him to travel on horseback to cross the border 150 miles south, to seek work in Mexico. They encounter a peculiar 13-year-old boy named Jimmy Blevins on the trail to Mexico, whom they befriend but from whom they then separate. Later on they meet a young aristocrat's daughter, Alejandra Villarreal, with whom Cole falls in love.

text: Cole and Rawlins become hired hands for Alejandra's father, who likes their work, but Cole's romantic interest in Alejandra is not welcomed by her wealthy aunt. After Alejandra's father takes her away, Cole and Rawlins are arrested by Mexican police and taken to jail, where they again encounter Blevins, who has been accused of stealing a horse and of murder, and is killed by a corrupt police captain. Cole and Rawlins are sent to a Mexican prison for abetting Blevins' crimes, where they must defend themselves against dangerous inmates. The pair are both nearly killed.

text: Alejandra's aunt frees Cole and Rawlins, on the condition that she never sees them again. While Rawlins returns to his parents' ranch in Texas, Cole attempts to reunite with Alejandra over her family's objections. Her aunt is confident that Alejandra will keep her word and not get back together with Cole - so much so that she even gives Cole her niece's phone number. Cole urges Alejandra to come to Texas with him. She, however, decides she must keep her word and though she loves him, she will not go with him.

text: Cole then sets out to get revenge on the captain who took the Blevins boy's life, as well as to get back his, Lacey's and Blevins' horses. After making the captain his prisoner, he turns him over to Mexican men, including one with whom Cole had previously shared a cell when they were imprisoned by the captain. Cole is spared the decision to kill the captain, but it is implied the men whom the captain was turned over to will do that.

text: Reentering the USA and riding through a small town in Texas, towing two horses behind the one he is riding, he stops to inquire what day it is (it is Thanksgiving Day). He asks a couple of men if they would be interested in buying a rifle, as he needs the money. One is a sheriff's deputy and arrests him because all three horses have different brands, and they suspect Cole is a horse thief.

text: In court, Cole tells the judge his story from the beginning. The judge believes him and orders Cole freed and the horses returned to him. Later that evening, Cole shows up at the judge's home, troubled. The judge had said good things about him in court, but Cole feels guilty that Blevins was killed - and while there was nothing he could have done to prevent the killing, he never even spoke up at the time and is upset with himself for that. The judge tells him he is being too hard on himself and it could not have been helped; he must go on and live his life. Cole rides to Rawlins' family's ranch, where he asks his friend if he wants his horse back.

text: Cast[edit]

text:
Matt Damon as John Grady Cole

Jesse Plemons as young John Grady Cole

Penélope Cruz as Alejandra Villarreal
Henry Thomas as Lacey Rawlins
Lucas Black as Jimmy Blevins
Ruben Blades as Don Hector de la Rocha
Robert Patrick as Cole
Julio Oscar Mechoso as Captain
Míriam Colón as Doña Alfonsa
Bruce Dern as The Judge
Sam Shepard as J.C. Franklin

text: Production[edit]

text: All the Pretty Horses was filmed on location in New Mexico and Texas.[citation needed]

text: The version that Thornton presented to Miramax was over three hours long. Harvey Weinstein demanded that the film be cut down to under two hours and also put aside the original musical score by Daniel Lanois, having Marty Stuart replace it.[3]

text: Peter Biskind suggests in his book Down and Dirty Pictures (2004)[4] that the demand to cut the length of the film was at least partially done as payback for Thornton's refusal to cut Sling Blade (1996).

text: Thornton's cut had an effect on the storytelling. Matt Damon publicly criticized Weinstein's decision, saying to Entertainment Weekly, "You can't cut 35% of the movie and expect it to be the same movie."[citation needed]

text: In an interview with Playboy, Damon expressed his displeasure with the changes, saying, "Everybody who worked on All the Pretty Horses took so much time and cared so much. As you know, the Cormac McCarthy book is set in 1949 and is about a guy trying to hold on to his old way of life. The electric guitar became popular in 1949, and the composer Daniel Lanois got an old 1949 guitar and wrote this spare, haunting score. We did the movie listening to his score. It informed everything we did. We made this very dark, spare movie, but the studio wanted an epic with big emotions and violins. They saw the cast, the director, Billy Bob Thornton, and the fact that we spent $50 million, and they never released our movie—though the cut still exists. Billy had a heart problem at that time, and it was because his heart fucking broke from fighting for that film. It really fucked him up. It still bothers me to this day."[3]

text: The idea of releasing the Thornton cut of the film is complicated by the fact that Lanois still owns the rights to his score and has so far refused to license it.[3]

text: Critical response[edit]

text: Reviews were generally negative, criticizing it as a poor adaptation of the novel and a dramatically un-involving film. It currently holds a 32% rating on Rotten Tomatoes based on 99 reviews.[5]

text: Entertainment Weekly critic Lisa Schwarzbaum said: "Faced with a choice of blunt instruments with which to beat a good book into a bad movie, director Billy Bob Thornton chooses heavy, random, arty imagery and a leaden pace."[6] The New York Times reviewer A. O. Scott thought the film "as slick and superficial as a Marlboro advertisement".[7]

text: Roger Ebert disagreed, awarding the film three-and-a-half out of a possible four.[8]

text: Awards[edit]

text: Best Screenplay - National Board of Review (Ted Tally)

text:
Best Original Score - Golden Globes (Marty Stuart, Kristin Wilkinson, and Larry Paxton)
Grand Prix - Paris Film Festival (Billy Bob Thornton)
Best Supporting Actor - Young Artist Awards (Lucas Black)