document_title: Grammy Award

question_text: when did the american music awards come on

text: Grammy Award

text: History[edit]

text: The Grammys had their origin in the Hollywood Walk of Fame project in the 1950s.[1][2] As the recording executives chosen for the Walk of Fame committee worked at compiling a list of important recording industry people who might qualify for a Walk of Fame star, they realized there were many more people who were leaders in their business who would never earn a star on Hollywood Boulevard. The music executives decided to rectify this by creating an award given by their industry similar to the Oscars and the Emmys. This was the beginning of the National Academy of Recording Arts and Sciences. After it was decided to create such an award, there was still a question of what to call it; one working title was the Eddie, to honor the inventor of the phonograph, Thomas Edison. They finally settled on using the name of the invention of Emile Berliner, the gramophone, for the awards, which were first given for the year 1958.[3][4][5]

text: The first award ceremony was held simultaneously in two locations on May 4, 1959 - Beverly Hilton Hotel in Beverly Hills California, and Park Sheraton Hotel in New York City,[6] and 28 Grammys were awarded. The number of awards given grew and fluctuated over the years with categories added and removed, at one time reaching over 100.[7] The second Grammy Awards, also held in 1959, was the first ceremony to be televised,[8] but the ceremony was not aired live until the 13th Annual Grammy Awards in 1971.[9]

text: Gramophone trophy[edit]

text: The gold-plated trophies, each depicting a gilded gramophone, are made and assembled by hand by Billings Artworks in Ridgway, Colorado. In 1990 the original Grammy design was revamped, changing the traditional soft lead for a stronger alloy less prone to damage, making the trophy bigger and grander.[10] Billings developed a zinc alloy named grammium, which is trademarked.[11] The trophies with the recipient's name engraved on them are not available until after the award announcements, so "stunt" trophies are re-used each year for the broadcast.[12][13]

text: By February 2009, a total of 7,578 Grammy trophies had been awarded.[14]

text: Categories[edit]

text: The "General Field" are four awards which are not restricted by genre.

text:
Record of the Year is awarded to the performer and the production team of a single song if other than the performer.
Album of the Year is awarded to the performer and the production team of a full album if other than the performer.
Song of the Year is awarded to the writer(s)/composer(s) of a single song.
Best New Artist is awarded to a promising breakthrough performer who releases, during the Eligibility Year, the first recording that establishes the public identity of that artist (which is not necessarily their first proper release).

text: The only two artists to win all four of these awards are Christopher Cross, who won all four in 1980, and Adele, who won the Best New Artist award in 2009 and the other three in 2012 and 2017.

text: Other awards are given for performance and production in specific genres, as well as for other contributions such as artwork and video. Special awards are given for longer-lasting contributions to the music industry.

text: Because of the large number of award categories (78 in 2012, 81 in 2013 and 82 in 2014), and the desire to feature several performances by various artists, only the ones with the most popular interest - typically about 10 to 12, including the four General Field categories and one or two categories in the most popular music genres (i.e. pop, rock, country, rap) - are presented directly at the televised award ceremony. The many other Grammy trophies are presented in a pre-telecast 'Premiere Ceremony' earlier in the afternoon before the Grammy Awards telecast.

text: 2012 category restructuring[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. (May 2017) (Learn how and when to remove this template message)

text: On April 6, 2011, The Recording Academy announced a drastic overhaul of many Grammy Award categories for 2012.[15] The number of categories was cut from 109 to 78. The most important change was the elimination of the distinction between male and female soloists and between collaborations and duo/groups in various genre fields (pop, rock, R&B, country, and rap). Also, several categories for instrumental soloists were discontinued. Recordings in these categories now fall under the general categories for best solo performances.

text: In the rock field, the separate categories for hard rock and metal albums were combined and the Best Rock Instrumental Performance category was eliminated due to a waning number of entries.

text: In R&B, the distinction between best contemporary R&B album and other R&B albums has been eliminated. They now feature in one, general Best R&B Album category.

text: In rap, the categories for best rap soloist and best rap duo or group have been merged into the new Best Rap Performance category.

text: The most eliminations occurred in the roots category. Up to and including 2011, there were separate categories for various regional American music forms, such as Hawaiian music, Native American music and Zydeco/Cajun music. Due to the consistently low number of entries for these categories, The Recording Academy decided to combine all these music variations into the new Best Regional Roots Music Album, including polka, which lost its own separate category in 2009.[16][17]

text: In the same genre field, the traditional and contemporary blues categories and the traditional and contemporary folk categories each were consolidated into one per genre, due to the number of entries and given the challenges in distinguishing between contemporary folk and Americana, and contemporary and traditional blues. In the world music genre field, the traditional and contemporary categories also merged.

text: In the classical genre field, its main category Best Classical Album was discontinued because most recipients in this category had also won in one of the other classical categories for the same album. Classical recordings are now eligible for the main Album of the Year category.

text: There were also a few minor name changes to better reflect the nature of the separate categories. It was determined by the Recording Academy that the word "gospel" in the gospel genre field tends to conjure up the images and sounds of traditional soul gospel and leaves out the current contemporary Christian music (CCM). Therefore, the genre field and some categories were renamed as Gospel/Contemporary Christian Music.[18]

text: Since 2012 there have been a small number of adjustments made to the list of categories and genre fields. The number of categories has gone up from 78 in 2012 to 84 in 2017.[19]

text: Entry process and selection of nominees[edit]

text: Media companies registered with the National Academy of Recording Arts and Sciences and individual members of NARAS (artists and other professionals working in the industry who meet certain criteria) may enter recordings for consideration. Entries are made online and a physical copy of the work is sent to NARAS. Once a work is entered, reviewing sessions are held, involving more than 150 experts from the recording industry, to determine whether the work is entered in the correct category.

text: The resulting lists of eligible entries are circulated to Voting Members, each of whom may vote to nominate in the general fields (Record of the Year, Album of the Year, Song of the Year, and Best New Artist) and in no more than nine out of 30 other fields on their ballots. The five recordings that earn the most votes in each category become the nominees, while in some categories (craft and specialized categories) there are review committees in place that determine the final 5 nominees.[20] There may be more than five nominees if there is a tie in the nomination process.

text: Whereas members of the Academy of Motion Picture Arts and Sciences are generally invited to screenings or are sent DVDs of films nominated for Oscars, NARAS members do not receive nominated recordings. Instead, they receive access to a private online listening function.

text: Final voting[edit]

text: After nominees have been determined, final voting ballots are sent to NARAS voting members, who may then vote in the general fields and in no more than nine of the 30 fields. Members are encouraged, but not required, to vote only in their fields of expertise. Ballots are tabulated secretly by the major independent accounting firm Deloitte Touche Tohmatsu.[21] Following the tabulation of votes the winners are announced at the Grammy Awards. The recording with the most votes in a category wins and it is possible to have a tie (in which case the two or more nominees who tie are all considered winners). Winners are presented with the Grammy Award and those who do not win are given a medal for their nomination.

text: In both voting rounds, Academy members are required to vote based upon quality alone, and not to be influenced by sales, chart performance, personal friendships, regional preferences or company loyalty. The acceptance of gifts is prohibited. Members are urged to vote in a manner that preserves the integrity of the Academy and their member community. Although registered media companies may submit entries they may not vote in either round of voting.

text: The eligibility period for the 60th Annual Grammy Awards was October 1, 2016 to September 30, 2017.

text: Grammy Legend[edit]

text: A special Grammy Award of merit is awarded intermittently to recognize "ongoing contributions and influence in the recording field".[22]  It has been called the Grammy Legend Award and the Grammy Living Legend Award at different ceremonies.  As of  2018,[update] only fourteen solo musicians and one band have received this award.

text: Salute To Industry Icons Award[edit]

text: This is another special award, given only five times as of  2018.[update]  Recipients:

text:
Clive Davis (2009)
L.A. Reid (2013)
Lucian Grainge (2014)
Jay-Z (2018)
Janet Jackson (2018)

text: Venue[edit]

text: Prior to 1971 the Grammy Award ceremonies were held in different locations on the same day. Originally New York City and Los Angeles were the host cities. Chicago joined being a host city in 1962, and then Nashville became the fourth location in 1965.

text: The 1971 ceremony, held at the Hollywood Palladium in Los Angeles, was the first to take place in one location. The ceremony was then moved to Madison Square Garden's Felt Forum in New York City, and then Nashville's Tennessee Theatre in the following two years. Then from 1974 to 2003, the Grammys were held in various venues in New York City and Los Angeles. Notable locations included New York City's Madison Square Garden and Radio City Music Hall; and Los Angeles's Shrine Auditorium, the Staples Center and the Hollywood Palladium.

text: In 2004 the Staples Center became the permanent home of the award ceremonies. The Grammy Museum was built across the street from Staples Center in LA Live to preserve the history of the Grammy Awards. Embedded on the sidewalks at the museum streets are bronze disks, similar to the Hollywood Walk of Fame, honoring each year's top winners, Record of the Year, Best New Artist, Album of the Year, and Song of the Year. During May 2017 it was announced that the 60th Annual Grammy Awards would take place at Madison Square Garden in New York City, marking the first time the Grammys have taken place outside of Los Angeles since 2003.[23]

text: The awards ceremony forces the Los Angeles Kings, Los Angeles Lakers and Los Angeles Clippers to play an extended length of road games.

text: Leading winners[edit]

text: With 31 Grammy Awards, Sir Georg Solti is the artist with the most Grammy wins.[24] Alison Krauss is the biggest winner among female artists with 27 awards.[25] U2, with 22 Grammy Awards, holds the record for most awards won by a group.[26]

text: Criticism[edit]

text: The Grammy Awards has received criticism from various recording artists and music journalists.

text: When Pearl Jam won a Grammy in the category Best Hard Rock Performance in 1996, the band's lead singer Eddie Vedder commented on stage: "I don't know what this means. I don't think it means anything."[27] Glen Hansard, leader of the Irish rock group The Frames, stated in 2008 that the Grammys represent something outside of the real world of music "that's fully industry based". He said he wasn't that interested in attending that year's ceremony, even though he had been nominated for two different awards.[28] Maynard James Keenan, lead singer of metal band Tool, did not attend the Grammy Awards ceremony to receive one of their awards. He explained his reasons:[29]

text: I think the Grammys are nothing more than some gigantic promotional machine for the music industry. They cater to a low intellect and they feed the masses. They don't honor the arts or the artist for what he created. It's the music business celebrating itself. That's basically what it's all about.

text: They have also been criticized for generally awarding or nominating more commercially successful albums rather than critically successful ones.[30][31] In 1991, Sinead O'Connor became the first musician to refuse a Grammy, boycotting the ceremony after being nominated for Record of the Year, Best Female Pop Vocal Performance, and Best Alternative Musical Performance. O'Connor would go on to win the latter category.[32] She said that her reasoning came from the Grammys' extreme commercialism.[33]

text: In 2011, Los Angeles Times journalist Randall Roberts criticised the exclusion of Kanye West's My Beautiful Dark Twisted Fantasy from Album of the Year category nominations for the 54th Grammy Awards. He described West's album as "the most critically acclaimed album of the year, a career-defining record".[34] Roberts went on to criticize the Grammy Awards for being "mired in the past" and out of touch with "new media" and trends amongst music listeners such as music sharing, stating:[34]

text: The major nominations for the 54th annual awards clearly show that the recording academy has been working overtime to be all-inclusive, but more significantly, they also reveal a deep chasm between its goals and the listening habits of the general population... [T]he focus is still on the old music industry model of cash-cow hits, major label investments and commercial radio...

text: In an article for Time, journalist Touré also responded to the snub and expressed his general displeasure with the awards, stating "I don't pretend to understand the Grammys. I have never been able to discern a consistent logic around who gets nominated or who gets statues. I comprehend the particular logic of the Oscars, but not the big awards for music. My normal state of confusion around what drives Grammy decisions was exponentialized this week when, to the shock of many, Kanye's masterpiece My Beautiful Dark Twisted Fantasy was not nominated for a Grammy for Album of the Year."[35] He went on to compare understanding the Grammy Awards to Kremlinology and commented on The Recording Academy's exclusion of more "mature" hip hop albums as Album of the Year nominees, noting that it occasionally opts to nominate "pop-friendly" hip hop albums instead.[35]

text: In a 2011 profile for The New York Times following the 53rd Grammy Awards, frontman Justin Vernon of indie band Bon Iver was asked his opinion of the Grammys and how he would react to a nomination for his group, to which he responded:[36]

text: You know I was thinking about that a couple of months ago, someone asked me that, and I was like "I would go and I would" – and I don't think the Bon Iver record is the kind of record that would get nominated for a Grammy – "I would get up there and be like, 'This is for my parents, because they supported me,' because I know they would think it would be stupid of me not to go up there. But I kinda felt like going up there and being like: "Everyone should go home, this is ridiculous. You should not be doing this. We should not be gathering in a big room and looking at each other and pretending that this is important." That's what I would say.

text: He reaffirmed this sentiment and commented about the Grammys, saying:[36]

text: [Ninety-eight] percent of the people in that room, their art is compromised by the fact that they're thinking that, and that they're hoping to get that award. And who is that award given by? It's like they think it's literally handed down by the musical-history gods. And I don't know who the voters are. Like, I have a friend who's a voter who was like, "I had to be a voter because I don't trust the other voters." And I was like, "Me either!" And it's just not important and people spend too much time thinking about it.

text: Bon Iver subsequently received four nominations in November for the 54th Grammy Awards.[36] After winning the award, Vernon said in his acceptance, "It's really hard to accept this award. There's so much talent out here [...] and there's a lot of talent that's not here tonight. It's also hard to accept because you know, when I started to make songs I did it for the inherent reward of making songs, so I'm a little bit uncomfortable up here."[37]

text: In his article "Everything Is Praised Again", Jon Caramanica of The New York Times criticized Grammy voters for being "conservative" and disregarding more "forward-looking" music, and wrote in response to the 54th Grammy Awards, "for the umpteenth time, the Grammys went with familiarity over risk, bestowing album of the year honors (and several more) on an album that reinforced the values of an older generation suspicious of change."[38] He cited the Grammy successes of Lauryn Hill's The Miseducation (1999), Norah Jones' Come Away with Me (2003), and Adele's 21 (2011) as examples of "the Grammys dropp[ing] a boatload of awards on a young female singer-songwriter and her breakthrough album". Of Kanye West's absence from the ceremony, Caramanica stated, "He didn't even bother to show up for the broadcast, which was well enough, because hip-hop was almost completely marginalized".[38]

text: In an article for The Huffington Post, music executive and author Steve Stoute criticized the Recording Academy and the Grammy Awards for having "lost touch with contemporary popular culture" and noted "two key sources" for it: "(1) over-zealousness to produce a popular show that is at odds with its own system of voting and (2) fundamental disrespect of cultural shifts as being viable and artistic."[39] Stoute accused them of snubbing artists with more cultural impact, citing respective losses by the critical and commercial successes in Eminem's The Marshall Mathers LP (2000) and Kanye West's Graduation (2007) in the Album of the Year category, and stated:[39]

text: As an institution that celebrates artistic works of musicians, singers, songwriters, producers and technical specialists, we have come to expect that the Grammys upholds all of the values that reflect the very best in music that is born from our culture. Unfortunately, the awards show has become a series of hypocrisies and contradictions, leaving me to question why any contemporary popular artist would even participate. [...] While there is no doubt in my mind of the artistic talents of Steely Dan or Herbie Hancock, we must acknowledge the massive cultural impact of Eminem and Kanye West and how their music is shaping, influencing and defining the voice of a generation. It is this same cultural impact that acknowledged the commercial and critical success of Michael Jackson's Thriller in 1984.

text: The Grammys' eligibility period – which runs from October 1 to September 30 each year[40] – is also a perennial source of complaints and confusion. Because records that are released in the last quarter of a given year are not eligible for that year's awards, fans often think a favorite artist has been snubbed (e.g., Adele, whose 25 was released in November 2015 and so was not nominated that year despite massive sales[41]). Conversely, the same issue means that the Grammys often recognize work that no longer feels current by the time it wins. Taylor Swift's 1989, for example, won Album of the Year in 2016, even though the album was released in October 2014. The same was the case with Adele’s 25. It was released in November 2015 but received the award in 2017.[42]

text: The Grammys have also been accused of being unfavorable and racist to black recording artists. Canadian artist Drake accused the awards in a 2017 interview of seeing him only as a rapper and not as a pop-music artist because of his previous work and because of his heritage. He criticized the snubbing of "One Dance" for the prestigious award of Record of the Year and the nomination of "Hotline Bling" for Best Rap Song and Best Rap/Sung Performance despite it not being a rap song.[43] The Atlantic's Spencer Kornhaber accused the Grammys of "sidelining a black visionary work in favor of a white traditionalist one".[44] Drake did not attend the 2017 Awards Ceremony where he was nominated. He had a performance in Manchester, England on February 12, 2017, the same night as the ceremony. Frank Ocean was vocal about boycotting the same Grammy Awards and did not submit his album for awards consideration as a protest.[45]

text: The Grammys have also received criticism for their treatment of female artists. Notably at the 60th Grammy Awards, New Zealand singer Lorde make media headlines after turning down an offer to perform at the ceremony. She claimed that she was invited to perform alongside several other artists in a tribute to Tom Petty but was refused a solo slot, despite being nominated for the Album of the Year Award and stated that each of the male nominees were allowed solo performances. Lorde's mother also criticized the Grammys, pointing out an article which stated that only nine percent of nominees at the previous six Grammy Awards were women.[46] Following the 60th ceremony, many media outlets reported that the ceremony had failed women, specifically pointing to the most nominated female artist SZA who did not win in any of her five nominated categories and to the Best Pop Solo Performance category which was composed of four female nominees but won by Ed Sheeran.[47] In an interview, Neil Portnow, President of the Recording Academy attracted controversy by stating that female artists need to "step up" in order to win awards. Portnow's comments drew criticism from many female musicians including Pink, Katy Perry, Vanessa Carlton, Sheryl Crow, Iggy Azalea, Halsey and Charli XCX.[48] They also prompted the hashtag #GrammysSoMale on social media.[49]

text: TV broadcasts and ratings[edit]

text: Prior to the first live Grammys telecast in 1971 on ABC, a series of filmed annual specials in the 1960s called The Best on Record were broadcast on NBC. The first Grammy Award telecast took place on the night of November 29, 1959, as an episode of the NBC anthology series NBC Sunday Showcase, which was normally devoted to plays, original TV dramas, and variety shows. Until 1971, awards ceremonies were held in both New York and Los Angeles, with winners accepting at one of the two. Pierre Cossette bought the rights to broadcast the ceremony from the National Academy of Recording Arts and Sciences and organized the first live telecast.[50] CBS bought the rights in 1973 after moving the ceremony to Nashville, Tennessee; the American Music Awards were created for ABC (by Dick Clark) as a result.

text:
The Recording Academy announced on June 21, 2011, that it had reached a new deal with CBS to keep the awards show on the network for another 10 years. As part of the new contract the network also could air "nominations concert" special in the last week of November where the nominees are released during the special that is exclusive to CBS, rather than the traditional early-morning press conference with a release of the nominations seen with most major awards ceremonies which any network takes as part of a press pool (though it was not done in 2017).
Beginning in 2006, the number of viewers was counted in live+SD.[51]

text: The Grammys are usually held on the second Sunday of February (with the exception of February 14 as that day is Valentine's Day, whenever February 14 falls on a Sunday then the Grammys are held on February 15 as a result) but is held on the last Sunday of January in years where the Winter Olympics take place.

text: Viewership by year[edit]

text:
Year

Viewers (Millions)

Rating/Share (Households)

Average Ad Price (30s)

Source(s)

2018

19.80

5.9/21

[52]

2017

26.05

7.8/22

[53]

2016

24.95

7.7/22

$1,200,000

[54]

2015

25.30

8.5/23

$1,000,000

[55][56]

2014

28.51

9.9/25

$800,000-$850,000

[57][58][59]

2013

28.37

10.1/25

$850,000-$900,000+

[59][60]

2012

39.91

14.1/32

$766,000

[61][62]

2011

26.55

10.0/25

$630,000

[58][63][64]

2010

25.80

TBD

$426,000

[58][65]

2009

19.04

10.3/16

$592,000

[51]

2008

17.18

10.3/16

$572,700

[51]

2007

20.05

12.1/19

$557,300

[51]

2006

17.00

10.9/17

$675,900

[51]

2005

18.80

11.6/18

$703,900

[51]

2004

26.29

15.7/24

$654,600

[51]

2003

24.82

14.7/23

$610,300

[51]

2002

18.96

11.9/19

$573,900

[51]

2001

26.65

16.7/26

$574,000

[51]

2000

27.79

17.3/27

$505,500

[51]

1999

24.88

16.6/26

$472,000

[51]

1998

25.04

17.0/27

$315,600

[51]

1997

19.21

13.4/22

$346,300

[51]

1996

21.50

14.6/23

$304,800

[51]

1995

17.27

11.8/19

$399,100

[51]

1994

23.69

16.1/24

$407,700

[51]

1993

29.87

19.9/31

$401,500

[51]

1992

23.10

16.2/27

$352,900

[51]

1991

28.89

18.8/31

$319,200

[51]

1990

28.83

18.9/31

$330,600

[51]

1989

23.57

16.0/26

$318,300

[51]

1988

32.76

21.1/33

$299,900

[51]

1987

27.91

18.3/27

$264,200

[51]

1986

30.39

20.3/32

$205,500

[51]

1985

37.12

23.8/35

N/A

[51]

1984

51.67

30.8/45

N/A

[51]

1983

30.86

25.6/33

N/A

[51]

1982

24.02

18.2/29

N/A

[51]

1981

28.57

21.2/34

N/A

[51]

1980

32.39

23.9/39

N/A

[51]

1979

31.31

21.9/34

N/A

[51]

1978

N/A

26.6/44

N/A

[51]

1977

28.86

21.3/38

N/A

[51]

1976

N/A

23.8/47

N/A

[51]

1975

N/A

16.4/30

N/A

[51]

1974

N/A

30.3/52

N/A

[51]

text: The Grammys and record sales[edit]

text: When the televised Grammys came into renown in 1975, a relationship between Grammy Award winners and subsequent record sales began.[66] Many articles of Billboard magazine communicate the commercial impact of winning a Grammy—improved record sales.[67]

text: However, it was not until after 1984 that Grammy recipients' records displayed a substantial increase in sales. This was largely due to an agreement made by NARAS and the National Association of Record Merchandisers (NARM). Under this agreement "record labels provided stickers, posters and other point-of-purchase material emblazoned 'Grammy Nominee' or 'Grammy Award Winner' that retailers could use in order to improve marketing effects."[66]


document_title: Home Alone

question_text: where did the mcallisters live in home alone

root

text: Home Alone

text: Plot[edit]

text: The McCallister family is preparing to spend Christmas in Paris, gathering at Peter and Kate's home outside of Chicago on the night before their departure. Peter and Kate's youngest son, eight-year-old Kevin, is being ridiculed by his siblings and cousins. A fight with his older brother, Buzz, results in Kevin getting sent to the third floor of the house for punishment, where he wishes that his family would disappear. During the night, heavy winds cause damage to power lines, which causes a temporary power outage and resets the alarm clocks, causing the entire family to oversleep. In the confusion and rush to get to the airport, Kevin is accidentally left behind.

tag: p

text: Kevin wakes up to find the house empty and, thinking his wish has come true, is overjoyed with his new-found freedom. However, Kevin soon becomes frightened by his next door neighbor, "Old Man" Marley, who is rumored to have murdered his family with a snow shovel in 1958; as well as the "Wet Bandits", Harry and Marv, a pair of burglars who have been breaking into other vacant houses in the neighborhood and have targeted the McCallisters' house. Kevin tricks the pair into thinking his entire family is home, forcing them to put their plans on hold.

text: Kate discovers mid-flight that Kevin is missing and, upon arrival in Paris, the family discovers that all flights for the next two days are booked. Peter and the rest of the family go to his brother Rob's apartment in the city while Kate manages to get a flight back to the United States only to get as far as Scranton, Pennsylvania. She attempts to book a flight to Chicago but again, everything is booked. Unable to accept this, Kate is overheard by Gus Polinski, the lead member of a traveling polka band, who offers to let her travel with them to Chicago on their way to Milwaukee in a moving van, which she graciously accepts.

text: Meanwhile, Harry and Marv realize that Kevin is home alone, and on Christmas Eve, Kevin overhears them discussing plans to break into his house that night. Kevin goes to church and watches a choir perform. He meets Old Man Marley, who sits with Kevin and they briefly speak; he learns that Marley is actually a nice man and that the rumors about him are false. He tells Kevin he is watching the choir because his granddaughter is singing, but he never gets to see her because he and his son are estranged and have not been on speaking terms for some time; Kevin suggests that he try to reconcile with his son.

text: Kevin returns home and rigs the house with numerous booby traps. Harry and Marv break in, springing the traps and suffering various injuries. While the duo pursues Kevin around the house, he calls the police and flees the house, luring the duo into a neighboring vacant home. Harry and Marv manage to catch him and discuss how they will get their revenge, but Marley sneaks in and knocks them unconscious with his snow shovel before they can do anything to Kevin. The police arrive and arrest Harry and Marv, having identified all the houses they burglarized due to the latter's habit of flooding them.

text: On Christmas Day, Kevin is disappointed to find that his family is still gone. He then hears Kate enter the house and call for him; they reconcile and are soon joined by the rest of the McCallisters, who waited in Paris until they could get a direct flight to Chicago. Kevin keeps silent about his encounter with Harry and Marv, although Peter finds Harry's missing gold tooth. Kevin then observes Marley reuniting with his son and his family. Marley notices Kevin and the pair wave to each other before Marley and his family go inside his house. Buzz suddenly calls out, "Kevin, what did you do to my room?!" at which point Kevin runs off.

text: Cast[edit]

text:
Macaulay Culkin as Kevin
Joe Pesci as Harry
Daniel Stern as Marv
John Heard as Peter
Roberts Blossom as Marley
Catherine O'Hara as Kate
Angela Goethals as Linnie
Devin Ratray as Buzz
Gerry Bamman as Uncle Frank
Hillary Wolf as Megan
Larry Hankin as Officer Balzak
John Candy as Gus Polinski
Michael C. Maronna as Jeff
Kristin Minter as Heather
Kieran Culkin as Fuller
Senta Moses as Tracy
Anna Slotky as Brooke

tag: ul

text: Production[edit]

text: Home Alone was initially a Warner Bros. production; when 20th Century Fox took over the project, the budget grew from $14 to $17 million.[5] Columbus' work with Home Alone began several years earlier when Hughes helped him secure the directing job for National Lampoon's Christmas Vacation. That project ended poorly when a personality clash between Columbus and Chevy Chase led to Columbus leaving the movie. Hughes then gave him the script to Home Alone, which he accepted.[6]

text: Hughes suggested to Columbus that they cast Macaulay Culkin in the main role because of his experience with the child actor while shooting Uncle Buck. Columbus met with other actors for the part, by his count "hundreds and hundreds", as he felt it was his "directorial responsibility".[7] Columbus finally met with Culkin and agreed he was the right choice for the role. Due to Culkin's age, he could only work until 10 PM which created shooting problems for the crew because of the movie's many night-time scenes.[7] The film's stunts also created tension for the crew during shooting. Columbus said, "Every time the stunt guys did one of those stunts it wasn’t funny. We’d watch it, and I would just pray that the guys were alive." [7] Stunts were originally prepared with safety harnesses, but because of their visibility on camera, the film's final stunts were performed without them.[7]

text: Some scenes were shot in a three-story single-family house located at 671 Lincoln Avenue[8] in the village of Winnetka.[9] The kitchen in the film was shot in the house, along with the main staircase, basement, attic and most of the first floor landing. The house's dining room, and all the downstairs rooms (excluding the kitchen) were duplicated on a sound stage to allow more room for equipment and crew.[10] The house was built in 1920 and features five bedrooms, a fully converted attic, a detached double garage and a greenhouse.[11] The tree house in the back yard was built specifically for the film and dismantled after filming ended.[12]

text: The scenes inside of the church were shot at Grace Episcopal Church, Oak Park, Illinois.[13]

text: For the film within a film, Angels with Filthy Souls, shooting took only one day. To create the illusion that the film was a 1940s gangster film, the scene was filmed with black-and-white negative film and Johnny's office used authentic items from that era.[14]

text: In May 2011, the house was listed for sale at $2.4 million;[15] it sold in March 2012 for $1.585 million.[8] The house is promoted as a tourist attraction and cited as an example of "How to Get Your Home in the Movies."[16]

text: Music[edit]

text: Initially Columbus hoped to have Bruce Broughton score the films, and early posters listed him as the composer. However, Broughton was busy with The Rescuers Down Under and he had to cancel at the last minute.[7] From there Columbus was able to get in touch with Steven Spielberg who helped him contact John Williams to produce the final score.[7] Christmas songs, such as "O Holy Night" and "Carol of the Bells", are featured prominently in the film, as well as the film's theme song "Somewhere in My Memory". The soundtrack was released by Sony Classical in cassette on December 4, 1990[17] and in CD on May 27, 2015.[18]

text: Reception[edit]

text: Box office[edit]

text: Home Alone grossed $285.8 million in the United States and Canada and $190.9 million in other countries for a worldwide total of $476.7 million, against a production budget of $18 million.[2]

text: In its opening weekend, Home Alone grossed $17 million from 1,202 theaters, averaging $14,211 per site and just 6% of the final total and added screens over the next six weeks, with a peak screen count of 2,174 during its eighth weekend at the start of January 1991. Home Alone proved so popular that it stayed in theaters well past the Christmas season. It was the No. 1 film at the box office for 12 straight weeks, from its release weekend of November 16–18, 1990 through the weekend of February 1–3, 1991.[19][20] It was finally dethroned from the top spot when Sleeping with the Enemy opened with $13 million.[20] It nevertheless remained a top ten draw at the box office until the weekend of April 26 that year, which was well past Easter weekend. It made two more appearances in the top ten (the weekend of May 31–June 2 and the weekend of June 14–16) before finally falling out of the top ten.[21] After over nine months into its run, the film had earned 16x its debut weekend and ended up making a final gross of $285,761,243, the top-grossing film of its year in North America.[22] The film is listed in the Guinness World Records as the highest-grossing live-action comedy ever.[23]

text: By the time it had run its course in theaters, Home Alone was the third-highest-grossing film of all time worldwide, as well as in the United States and Canada behind only Star Wars ($322 million at the time) and E.T. the Extra-Terrestrial ($399 million at that time), according to the home video box. In total, its cinema run grossed $477,561,243 worldwide.[20][24] Box Office Mojo estimates that the film sold over 67.7 million tickets in the US.[25]

text: According to William Goldman, the film's success prompted the creation of a Hollywood verb: "to be Home Aloned", meaning to have a film's box office reduced by the impact of Home Alone.[26]

text: Critical response[edit]

text: On Rotten Tomatoes, Home Alone holds an approval rating of 56% based on 43 reviews, with an average rating of 5.2/10. The site's critical consensus reads: "Home Alone is frequently funny and led by a terrific starring turn from Macaulay Culkin, but an uneven script and a premise stretched unreasonably thin make it hard to wholeheartedly recommend."[27] On Metacritic, which assigns a normalized rating, it has a score of 63 out of 100, based on 9 critics, indicating "generally favorable reviews".[28] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[29]

text: Variety magazine praised the film for its cast.[30] Jeanne Cooper of The Washington Post praised the film for its comedic approach.[31] Hal Hinson, also of The Washington Post, praised Chris Columbus's direction and Culkin's acting.[32] Although Caryn James of The New York Times complained that the film's first half is "flat and unsurprising as its cute little premise suggests", she praised the second half for its slapstick humor. She also praised the conversation between Kevin and Marley, as well as the film's final scenes.[33]

text: Roger Ebert of the Chicago Sun-Times gave the film a  2 1⁄2 out of 4-star rating. He compared the elaborate booby-traps in the film to Rube Goldberg machines, writing "they're the kinds of traps that any 8-year-old could devise, if he had a budget of tens of thousands of dollars and the assistance of a crew of movie special effects people" and criticized the plot as "so implausible that it makes it hard for [him] to really care about the plight of the kid [Kevin]". However, he praised Culkin's performance.[34] Owen Gleiberman of Entertainment Weekly magazine gave the film a "D" grade, criticizing the film for its "sadistic festival of adult-bashing". Gleiberman said that "[John] Hughes is pulling our strings as though he'd never learn to do anything else".[35]

text: Home Alone has become a holiday classic among audiences and is often ranked as one of the best Christmas films of all time.[36][37][38][39]

text: Accolades[edit]

text: The film was nominated for two Academy Awards, one for Best Original Score, which was written by John Williams, and the other for Best Original Song for "Somewhere in My Memory", music by Williams and lyrics by Leslie Bricusse.[40]

text:
AFI's 100 Years...100 Laughs – Nominated[41]
AFI's 100 Years...100 Heroes & Villains:

Harry Lime & Marv Merchants – Nominated Villains[42]

text: Sequels[edit]

text: The film was followed by a commercially successful sequel in 1992, Lost in New York, which brings back the first film's cast. The film within a film, Angels with Filthy Souls, had a sequel in Home Alone 2, Angels with Even Filthier Souls. Both Angels meta-films featured character actor Ralph Foody as stereotypical 1930s mobster Johnny.[43]

text: Home Alone 3, released in 1997, has completely different actors, and a different storyline with Hughes writing the screenplay.

text: A fourth made-for-TV film followed in 2002, Home Alone 4. This entry features some of the same characters who were in the first two films, but with a new cast and a storyline that does not fall into the same continuity. Hughes did not write the screenplay for the TV film.

text: On November 25, 2012, a fifth film, The Holiday Heist premiered during ABC Family's 25 Days of Christmas programming event.[44]

text: In December 2015, Culkin reprised his role as an adult Kevin McCallister in the inaugural episode of the Jack Dishel web series, "DRYVRS", where a visibly disturbed Kevin recounts his experience of being left home alone by his family.[45] In response to Culkin's video, Daniel Stern appeared in a short video reprising his role as Marv, released in conjunction with Stern's Reddit AMA, where he pleads for Harry to return to help protect him against Kevin's cunning traps.[46]

text: Novelization[edit]

text: Home Alone (ISBN 0-590-55066-7) was novelized by Todd Strasser and published by Scholastic in 1990 to coincide with the film.

text: Among the differences from the film the McCallisters live in Oak Park, Illinois, the Wet Bandits are named as Harry Lyme and Marv Murchens and Buzz's tarantula is named as Axl.

text: On October 6, 2015, to celebrate the 25th anniversary of the movie, an illustrated book by Kim Smith and Quirk Books was released.[47][48]


document_title: List of nearest stars and brown dwarfs

question_text: second nearest star to the earth after sun

text: List of nearest stars and brown dwarfs

text: List[edit]

text: Stars visible to the unaided eye have their magnitude shown in light blue below. Brown dwarfs are shown with their designations in brown. White dwarfs are shown with their designation in beige. The classes of the stars and brown dwarfs are shown in the color of their spectral types (these colors are derived from conventional names for the spectral types and do not represent the star's observed color). Many brown dwarfs are not listed by visual magnitude but are listed by near-IR J band magnitude. Some of the parallax and distance results are preliminary measurements.[2]

text:
#
Distance[3]
Light-years (±err)
Designation
Stellar class
Apparent magnitude (mV or mJ)
Absolute magnitude (MV or MJ)
Epoch J2000.0
Parallax[2][note 1]
mas (±err)
Discovery date[note 2]
Notes and additional
references

System
Star
Star #
Right ascension[2]
Declination[2]

0
Solar System
Sun

G2V[2]
−26.74[2]
4.85[2]
—
—
—
—
has eight known planets

1
4.2421(16)
Alpha Centauri
(Rigil Kentaurus)
Proxima Centauri (V645 Centauri)
1
M5.5Ve
11.09[2]
15.53[2]
14h 29m 43.0s
−62° 40′ 46″
768.87(029)[4][5]
1915
has one known planet

4.3650(68)
α Centauri A (HD 128620)
2
G2V[2]
0.01[2]
4.38[2]
14h 39m 36.5s
−60° 50′ 02″
747.23(117)[4][6]

α Centauri B (HD 128621)
2
K1V[2]
1.34[2]
5.71[2]
14h 39m 35.1s
−60° 50′ 14″
1689
has two suspected planets (b & c)[7]

2
5.9630(109)
Barnard's Star (BD+04°3561a)
4
M4.0Ve
9.53[2]
13.22[2]
17h 57m 48.5s
+04° 41′ 36″
546.98(1 00)[4][5]
1916
largest known proper motion[8]

3
6.59(7)
Luhman 16
(WISE 1049−5319)
Luhman 16A
5
L8±1[9]
10.7 J
14.2 J
10h 49m 15.57s
−53° 19′ 06″
495 (5)[9]
2013
has one suspected planet[10]

Luhman 16B
5
T1±2[9]

4
7.2(6)[11]
WISE 0855−0714
7
Y

08h 55m 10.83s
−07° 14′ 42.5″

2014
sub-brown dwarf

5
7.7825(390)
Wolf 359 (CN Leonis)
8
M6.0V[2]
13.44[2]
16.55[2]
10h 56m 29.2s
+07° 00′ 53″
419.10(210)[4]
1919

6
8.2905(148)
Lalande 21185 (BD+36°2147)
9
M2.0V[2]
7.47[2]
10.44[2]
11h 03m 20.2s
+35° 58′ 12″
393.42(070)[4][5]
1801
has one suspected planet[12]

7
8.5828(289)
Sirius
(α Canis Majoris)
Sirius A
10
A1V[2]
−1.46[2]
1.42[2]
06h 45m 08.9s
−16° 42′ 58″
380.02(128)[4][5]

brightest star in the night sky

Sirius B
10
DA2[2]
8.44[2]
11.34[2]
1844

8
8.7280(631)
Luyten 726-8
Luyten 726-8 A (BL Ceti)
12
M5.5Ve
12.54[2]
15.40[2]
01h 39m 01.3s
−17° 57′ 01″
373.70(270)[4]
1949

Luyten 726-8 B (UV Ceti)
12
M6.0Ve
12.99[2]
15.85[2]

9
9.6813(512)
Ross 154 (V1216 Sagittarii)
14
M3.5Ve
10.43[2]
13.07[2]
18h 49m 49.4s
−23° 50′ 10″
336.90(178)[4][5]
1925

10
10.322(36)
Ross 248 (HH Andromedae)
15
M5.5Ve
12.29[2]
14.79[2]
23h 41m 54.7s
+44° 10′ 30″
316.00(110)[4]
1925

11
10.522(27)
Epsilon Eridani (BD−09°697)
16
K2V[2]
3.73[2]
6.19[2]
03h 32m 55.8s
−09° 27′ 30″
309.99(079)[4][5]
150
at least one planet[13]

12
10.742(31)
Lacaille 9352 (CD−36°15693)
17
M0.5V
7.34[2]
9.75[2]
23h 05m 52.0s
−35° 51′ 11″
303.64(087)[4][5]
1753

13
10.919(49)
Ross 128 (FI Virginis)
18
M4.0Vn
11.13[2]
13.51[2]
11h 47m 44.4s
+00° 48′ 16″
298.72(135)[4][5]
1925
has one known planet [14]

14
11.089[15]
WISE 1506+7027
19
T6
14.3 J
16.6 J
15h 06m 49.9s
+70° 27′ 36″
310(042)[15]
2011

15
11.266(171)
EZ Aquarii
(Gliese 866, Luyten 789-6)
EZ Aquarii A
20
M5.0Ve
13.33[2]
15.64[2]
22h 38m 33.4s
−15° 17′ 57″
289.50(440)[4]
1937

EZ Aquarii B
20
M?
13.27[2]
15.58[2]
-

EZ Aquarii C
20
M?
14.03[2]
16.34[2]
1995

16
11.402(32)
Procyon
(α Canis Minoris)
Procyon A
23
F5V–IV[2]
0.38[2]
2.66[2]
07h 39m 18.1s
+05° 13′ 30″
286.05(081)[4][5]

Procyon B
23
DQZ[2]
10.70[2]
12.98[2]
1844

17
11.403(22)
61 Cygni
61 Cygni A (BD+38°4343)
25
K5.0V[2]
5.21[2]
7.49[2]
21h 06m 53.9s
+38° 44′ 58″
286.04(056)[4][5]
1725
first star (other than the Sun) to have its distance measured[16]

61 Cygni B (BD+38°4344)
25
K7.0V[2]
6.03[2]
8.31[2]
21h 06m 55.3s
+38° 44′ 31″
-

18
11.525(69)
Struve 2398
(Gliese 725, BD+59°1915)
Struve 2398 A (HD 173739)
27
M3.0V[2]
8.90[2]
11.16[2]
18h 42m 46.7s
+59° 37′ 49″
283.00(169)[4][5]
1835

Struve 2398 B (HD 173740)
27
M3.5V[2]
9.69[2]
11.95[2]
18h 42m 46.9s
+59° 37′ 37″
1835

19
11.624(39)
Groombridge 34
(Gliese 15)
Groombridge 34 A (GX Andromedae)
29
M1.5V[2]
8.08[2]
10.32[2]
0h 18m 22.9s
+44° 01′ 23″
280.59(095)[4][5]
1813
has one planet[17]

Groombridge 34 B (GQ Andromedae)
29
M3.5V[2]
11.06[2]
13.30[2]
-

20
11.824(30)
Epsilon Indi
(CPD−57°10015)
Epsilon Indi A
31
K5Ve[2]
4.69[2]
6.89[2]
22h 03m 21.7s
−56° 47′ 10″
275.84(069)[4][5]
1597
one suspected planet[18]

Epsilon Indi Ba
31
T1.0V
12.3 J[19]

22h 04m 10.5s
−56° 46′ 58″
2003

Epsilon Indi Bb
31
T6.0V
13.2 J[19]

2003

21
11.826(129)
DX Cancri (G 51-15)
34
M6.5Ve
14.78[2]
16.98[2]
08h 29m 49.5s
+26° 46′ 37″
275.80(300)[4]
1972

22
11.887(33)
Tau Ceti (BD−16°295)
35
G8Vp[2]
3.49[2]
5.68[2]
01h 44m 04.1s
−15° 56′ 15″
274.39(076)[4][5]
150
four suspected planets

23
11.991(57)
GJ 1061 (LHS 1565)
36
M5.5V[2]
13.09[2]
15.26[2]
03h 35m 59.7s
−44° 30′ 45″
272.01(130)[note 3]
1995
[20][21]

24
12.068[15]
WISE 0350−5658
37
Y1
22.8 J[22]

03h 50m 00.32s
−56° 58′ 30.2″
291(050)[15]
2011

25
12.132(133)
YZ Ceti (LHS 138)
38
M4.5V[2]
12.02[2]
14.17[2]
01h 12m 30.6s
−16° 59′ 56″
268.84(295)[4][5]
1961
has three known planets[23]

26
12.366(59)
Luyten's Star (BD+05°1668)
39
M3.5Vn
9.86[2]
11.97[2]
07h 27m 24.5s
+05° 13′ 33″
263.76(125)[4][5]
1935
has two known planets[24]

27
12.514(129)
Teegarden's star (SO025300.5+165258)
40
M6.5V
15.14[2]
17.22[2]
02h 53m 00.9s
+16° 52′ 53″
260.63(269)[note 3]
2003
possible planetary system[21][25]

28
12.571(54)
SCR 1845-6357
SCR 1845-6357 A
41
M8.5V[2]
17.39
19.41
18h 45m 05.3s
−63° 57′ 48″
259.45(111)[note 3]
2004
[21]

SCR 1845-6357 B
41
T6[26]
13.3 J[19]

18h 45m 02.6s
−63° 57′ 52″
2006

29
12.777(43)
Kapteyn's Star (CD−45°1841)
43
M1.5V[2]
8.84[2]
10.87[2]
05h 11m 40.6s
−45° 01′ 06″
255.27(086)[4][5]
1898
has two known planets[27]

30
12.870(57)
Lacaille 8760 (AX Microscopii)
44
M0.0V[2]
6.67[2]
8.69[2]
21h 17m 15.3s
−38° 52′ 03″
253.43(112)[4][5]
1753

31
13.0+6.0
−3.1
WISE 0535−7500
45
≥Y1
>21.1 J[15]

05h 35m 16.8s
−75° 00′ 24.9″
250[15]
2012

32
13.149(74)
Kruger 60
(BD+56°2783)
Kruger 60 A
46
M3.0V[2]
9.79[2]
11.76[2]
22h 27m 59.5s
+57° 41′ 45″
248.06(139)[4][6]
1880

Kruger 60 B (DO Cephei)
46
M4.0V[2]
11.41[2]
13.38[2]
1890?

33
13.167(82)
DEN 1048-3956
48
M8.5V[2]
17.39[2]
19.37[2]
10h 48m 14.7s
−39° 56′ 06″
247.71(155)[note 3]
2001
[28][29]

34
13.259
UGPS 0722-05
49
T9[2]
16.52 J[30]

07h 22m 27.3s
–05° 40′ 30″
246
2010
[31]

35
13.349(110)
Ross 614
(V577 Monocerotis, Gliese 234)
Ross 614A (LHS 1849)
50
M4.5V[2]
11.15[2]
13.09[2]
06h 29m 23.4s
−02° 48′ 50″
244.34(201)[4][6]
1927

Ross 614B (LHS 1850)
50
M5.5V
14.23[2]
16.17[2]
1936

36
13.820(98)
Wolf 1061 (Gliese 628, BD−12°4523)
52
M3.0V[2]
10.07[2]
11.93[2]
16h 30m 18.1s
−12° 39′ 45″
236.01(167)[4][5]
1919
potentially three planets, second out in habitable zone[32]

37
14.066(109)
Van Maanen's star (Gliese 35, LHS 7)
53
DZ7[2]
12.38[2]
14.21[2]
00h 49m 09.9s
+05° 23′ 19″
231.88(179)[4][5]
1896

38
14.231(66)
Gliese 1 (CD−37°15492)
54
M1.5 V [2]
8.55[2]
10.35[2]
00h 05m 24.4s
−37° 21′ 27″
229.20(107)[4][5]
1884

39
14.312(289)
Wolf 424
(FL Virginis, LHS 333, Gliese 473)
Wolf 424 A
55
M5.5Ve
13.18[2]
14.97[2]
12h 33m 17.2s
+09° 01′ 15″
227.90(460)[4]

Wolf 424 B
55
M7Ve
13.17[2]
14.96[2]

40
14.4
2MASS J154043.42-510135.7
57
M7V
15.26
17.04
15h 40m 43.42s
−51° 01′ 35.7″
228(024)
2014
[33]

41
14.509(187)
L 1159-16 (TZ Arietis, Gliese 83.1)
58
M4.5V[2]
12.27[2]
14.03[2]
02h 00m 13.2s
+13° 03′ 08″
224.80(290)[4]

42
14.793(55)
Gliese 687 (LHS 450, BD+68°946)
59
M3.0V[2]
9.17[2]
10.89[2]
17h 36m 25.9s
+68° 20′ 21″
220.49(082)[4][5]

has one known planet[34]

43
14.805(242)
LHS 292 (LP 731-58)
60
M6.5V[2]
15.60[2]
17.32[2]
10h 48m 12.6s
−11° 20′ 14″
220.30(360)[4]

44
14.809(107)
Gliese 674 (LHS 449)
61
M3.0V[2]
9.38[2]
11.09[2]
17h 28m 39.9s
−46° 53′ 43″
220.25(159)[4][5]

has one known planet[35]

45
14.812(67)
G 208-44
G 208-45
(GJ 1245)
G 208-44 A (V1581 Cyg)
62
M5.5V[2]
13.46[2]
15.17[2]
19h 53m 54.2s
+44° 24′ 55″
220.20(100)[4]

G 208-45
62
M6.0V[2]
14.01[2]
15.72[2]
19h 53m 55.2s
+44° 24′ 56″

G 208-44 B
62
M5.5
16.75[2]
18.46[2]
19h 53m 54.2s
+44° 24′ 55″

46
15.060(140)
LP 145-141 (WD 1142-645, Gliese 440)
65
DQ6[2]
11.50[2]
13.18[2]
11h 45m 42.9s
−64° 50′ 29″
216.57(201)[4][5]

47
15.313(259)
GJ 1002
66
M5.5V[2]
13.76[2]
15.40[2]
00h 06m 43.8s
−07° 32′ 22″
213.00(360)[4]

48
15.342(141)
Gliese 876 (Ross 780)
67
M3.5V[2]
10.17[2]
11.81[2]
22h 53m 16.7s
−14° 15′ 49″
212.59(196)[4][5]

has four known planets[36]

49
15.610(204)
LHS 288 (Luyten 143-23)
68
M5.5V[2]
13.90[2]
15.51[2]
10h 44m 21.2s
−61° 12′ 36″
208.95(273)[note 3]

[21]

50
15.832(83)
Gliese 412
Gliese 412 A
69
M1.0V[2]
8.77[2]
10.34[2]
11h 05m 28.6s
+43° 31′ 36″
206.02(108)[4][5]

Gliese 412 B (WX Ursae Majoris)
69
M5.5V[2]
14.48[2]
16.05[2]
11h 05m 30.4s
+43° 31′ 18″

51
15.848(52)
Groombridge 1618 (Gliese 380)
71
K7.0V[2]
6.59[2]
8.16[2]
10h 11m 22.1s
+49° 27′ 15″
205.81(067)[4][5]

52
15.942(218)
AD Leonis
72
M3.0V[2]
9.32[2]
10.87[2]
10h 19m 36.4s
+19° 52′ 10″
204.60(280)[4]

53
16.067[22]
DENIS J081730.0-615520
73
T6
13.6

08h 17m 30.1s
−61° 55′ 16″
203 [22]
2010

54
16.085(105)
Gliese 832
74
M1.5 V[2]
8.66[2]
10.20[2]
21h 33m 34.0s
−49° 00′ 32″
202.78(132)[4][5]

has two known planets[37][38]

55
16.197(313)
DEN 0255-4700
75
L7.5V[2]
22.92[2]
24.44[2]
02h 55m 03.7s
−47° 00′ 52″
201.37(389)[note 3]
1999?
[29]

56
16.265(765)
GJ 1005
GJ 1005 A
76
M4V[39]
11.48[39]

00h 15m 28.11s
−16° 08′ 01.6″
200.53(941)[39]

GJ 1005 B
76
 ?
 ?
 ?

#
Distance[3]
Light-years (±err)
System
Star
Star #
Stellar class
Apparent magnitude (mV or mJ)
Absolute magnitude (MV or MJ)
Right ascension[2]
Declination[2]
Parallax[2][note 1]
mas (±err)
Discovery date
Additional
references

Designation
Epoch J2000.0

tag: table

text: Maps of nearby stars[edit]

text: Future and past[edit]

text: Backwards extrapolation of the motion of Gamma Microscopii has shown that approximately 3.8 million years ago, it was only around 6 light-years from the Sun. Because it is a yellow giant, it would then have had an apparent magnitude of −3, brighter than Sirius currently is.

text: It is estimated that Scholz's star and its companion brown dwarf passed about 52,000 astronomical units (0.25 parsecs; 0.82 light-years) from the Sun about 70,000 years ago.[40]

text: Ross 248, currently at a distance of 10.3 light-years, has a radial velocity of −81 km/s. In about 31,000 years it may be the closest star to the Sun for several millennia, with a minimum distance of 0.927 parsecs (3.02 light-years) in 36,000 years.[41] Gliese 445, currently at a distance of 17.6 light-years, has a radial velocity of −119 km/s. In about 40,000 years it will be the closest star for a period of several thousand years. Gliese 710 is currently about 63.8 light-years (19.6 parsecs) from Earth, but its proper motion, distance, and radial velocity[42] indicate that it will approach within a very small distance—perhaps under one light year—from the Sun within 1.4 million years, based on past and current Hipparcos data.[43] At closest approach it will be a first-magnitude star about as bright as Antares. The proper motion of Gliese 710 is very small for its distance, meaning it is traveling nearly directly in our line of sight.

text: In a time interval of ±10 million years from the present, Gliese 710 is the star whose combination of mass and close approach distance will cause the greatest gravitational perturbation of the Solar System.

text: HIP 85605's spectral type and trajectory are not fully understood. More-accurate astrometry is required to determine the distance to the star, and thus if it will pass close to the Sun. It was estimated in 2014 that HIP 85605 could approach to about 0.13 to 0.65 light-years (0.04 to 0.2 pc) from the Sun within 240,000 to 470,000 years.

text: Known Hipparcos stars that have passed or will pass within 5.1 light-years of the Sun within ±2 million years:[43]

text:
Star name
HIP#
Minimum distance in light-years (parsecs)
Approach date in kiloyears
Current distance in light-years (parsecs)
Stellar classification
Mass in M☉
Current apparent magnitude
Constellation
Right ascension
Declination

Gliese 710
89825
0.14–0.27 ly (0.043–0.083 pc)
1340 !1320-1390
062.3 !62.3 (19.1)
K7V
0.4–0.6
09.6 !9.6
Serpens
18h 19m 50.843s
−01° 56′ 18.98″

Scholz's star and companion brown dwarf

0.59–1.17 ly (0.18–0.36 pc)
0.1 !–70
020 !20 (6)
M9+T5
0.15
18.3 !18.3
Monoceros
07h 20m 03.20s
−08° 46′ 51.2″

HIP 85605
85605[44]
0.13–0.65 ly (0.04–0.2 pc) (?)
0355 !240–470
022.2 !22.2 (6.8)?
K or M
0.4 !unknown
11.03 !11.03[45]
Hercules
17h 29m 36.24527s
24° 39′ 14.1204″

Gamma Microscopii[44]
103738
0.35–1.34 ly (0.11–0.41 pc)
0.0001 !−3800
229 !7002229000000000000♠229±4 (7001700000000000000♠70±1)
G6III
2.5
04.68 !4.68
Microscopium
21h 01m 17.46047s
−32° 15′ 27.9574″

Proxima Centauri
70890
2.90 (0.890)
0027.4 !27.4
004.24 !4.24 (1.29)
M5Ve
0.15
11.05 !11.05
Centaurus
14h 29m 42.949s
−62° 40′ 46.14″

Alpha Centauri A
71683
2.97 (0.910)
0028.4 !28.4
004.36 !4.36 (1.338)
G2V
1.100[46]
-00.01 !−0.01
Centaurus
14h 39m 36.495s
−60° 50′ 02.31″

Alpha Centauri B
71681
2.97 (0.910)
0028.4 !28.4
004.36 !4.36 (1.338)
K1V
0.907[46]
01.33 !1.33
Centaurus
14h 39m 35.080s
−60° 50′ 13.76″

AC+79 3888
57544
3.45 (1.059)
0046.0 !46.0
017.6 !17.6 (5.39)
M4
0.15?
10.8 !10.8
Camelopardalis
11h 47m 41.377s
+78° 41′ 28.18″

Barnard's Star
87937
3.74 (1.148)
0009.8 !9.8
005.98 !5.98 (1.834)
sdM4
0.144
09.54 !9.54
Ophiuchus
17h 57m 48.498s
+04° 41′ 36.25″

Zeta Leporis
27288
4.16 (1.275)
0.001 !−861
070.2 !70.2 (21.5)
A2Vann
2.0
03.55 !3.55
Lepus
05h 46m 57.341s
−14° 49′ 19.02″

Lalande 21185
54035
4.65 (1.426)
0020.5 !20.5
008.32 !8.32 (2.55)
M2V
0.39
07.52 !7.52
Ursa Major
11h 03m 20.194s
+35° 58′ 11.55″

Gliese 208
26335
5.01 (1.537)
0.01 !−500
037.1 !37.1 (11.38)
K7
0.47
08.9 !8.9
Orion
05h 36m 30.991s
+11° 19′ 40.32″

text: The distance to HIP 85605 was probably underestimated by a factor of ten due to it being an optical double that is particularly problematic in the Hipparcos data reduction.


document_title: Westworld (season 2)

question_text: when does season 2 episode 2 of westworld come out

text: Westworld (season 2)

text: Cast and characters[edit]

text: Main[edit]

text:
Evan Rachel Wood as Dolores Abernathy[1]
Thandie Newton as Maeve Millay[1]
Jeffrey Wright as Bernard Lowe / Arnold Weber[1]
James Marsden as Teddy Flood[2]
Tessa Thompson as Charlotte Hale[3]
Fares Fares as Antoine Costa[4][a]
Luke Hemsworth as Ashley Stubbs[3][a]
Louis Herthum as Peter Abernathy[5][a]
Simon Quarterman as Lee Sizemore[3][a]
Talulah Riley as Angela[6][a]
Rodrigo Santoro as Hector Escaton[7][a]
Gustaf Skarsgård as Karl Strand[4][a]
Ed Harris as William, also known as the Man in Black[1]
Ingrid Bolsø Berdal as Armistice[8][a]
Clifton Collins Jr. as Lawrence[9][a]
Angela Sarafyan as Clementine Pennyfeather[3][a]
Katja Herbers as Emily, also known as Grace[10][a]
Shannon Woodward as Elsie Hughes[3][a]
Anthony Hopkins as Robert Ford[11][b]
Zahn McClarnon as Akecheta[12][13][c]

text: Recurring[edit]

text:
Betty Gabriel as Maling[4]
Steven Ogg as Rebus[14]
Christopher May as Blaine Bellamy
David Midthunder as Takoda
Jasmyn Rae as Maeve's Daughter
Jimmi Simpson as young William[15]
Ben Barnes as Logan Delos[16]
Peter Mullan as James Delos[17]
Jonathan Tucker as Major Craddock[18]
Leonardo Nam as Felix Lutz[19]
Ptolemy Slocum as Sylvester
Martin Sensmeier as Wanahton
Tantoo Cardinal as Ehawee
Currie Graham as Craig
Lena Georgas as Lori
Rinko Kikuchi as Akane[20]
Hiroyuki Sanada as Musashi[21]
Tao Okamoto as Hanaryo[13]
Kiki Sukezane as Sakura[13]
Masayoshi Haneda as Tanaka
Masaru Shinozuka as Shogun
Lili Simmons as New Clementine Pennyfeather
Rebecca Henderson as Goldberg
Timothy V. Murphy as Coughlin
Ronnie Gene Blevins as Engels
Erica Luttrell as New Mother
Julia Jones as Kohana
Irene Bedard as Wichapi
Booboo Stewart as Etu
Sela Ward as Juliet[22]
Jack Conley as Monroe

text: Guest[edit]

text:
Oliver Bell as Little Boy, also known as young Robert Ford[23]
Giancarlo Esposito as New El Lazo
Neil Jackson as Nicholas[18]
Fredric Lehne as Colonel Brigham
Sidse Babett Knudsen as Theresa Cullen (archive footage)
Gina Torres as Lauren, Bernard's wife (archive footage)

text: Episodes[edit]

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

11
1
"Journey into Night"
Richard J. Lewis
Lisa Joy & Roberto Patino
April 22, 2018 (2018-04-22)
201
2.06[24]

In the hours following the massacre of the Delos board members, Bernard and Charlotte take shelter in an underground bunker, where they resolve to work together in locating the decommissioned Peter Abernathy and securing aid. Ten days after Fords' death, Dolores (who has embarked on a bloody campaign to hunt the survivors) tells Teddy her programming has caused her personas to merge and that she has greater plans for the hosts. Maeve recruits Hector and forces Lee to help her find her daughter. William, who also survived the massacre, encounters the young Robert Ford host, who reveals that a game designed just for him has commenced. Two weeks after Fords' death, a security team sent by Delos to reassert control over Westworld finds Bernard and enlists his help in investigating a series of anomalies. The investigation leads them to a lagoon filled with hundreds of dead hosts that Bernard claims to have killed.

12
2
"Reunion"
Vincenzo Natali
Carly Wray & Jonathan Nolan
April 29, 2018 (2018-04-29)
202
1.85[25]

In a flashback, Arnold organizes a demonstration of the hosts to convince Logan to invest in Westworld. Logan's father, James Delos, is critical of his son's actions until William persuades him that the park can be used to spy on the guests. James proceeds to buy out the park and name William as his successor. Dolores encounters an embittered Logan, who tells her that they have doomed humanity. William shows her a special project that he is constructing within the park. In the present day, Dolores raids a refurbishment outpost and shows Teddy his true nature as a host. She then decides to recruit the Confederados to her cause and reveals she is searching for "the Valley Beyond", which houses a weapon that can be used against the humans. William rescues Lawrence and heads to Pariah to recruit the host currently playing El Lazo. El Lazo, however, passes on a message from Ford, stating that William must complete the game on his own. He and his gang then commit mass suicide to prevent William from recruiting them. Undeterred by the setback, William continues on his quest to destroy his "greatest mistake".

13
3
"Virtù e Fortuna"
Richard J. Lewis
Roberto Patino & Ron Fitzgerald
May 6, 2018 (2018-05-06)
203
1.63[26]

Charlotte and Bernard track down the decommissioned Peter Abernathy only to be caught by the Confederados and separated, with Charlotte regrouping with a Delos security team. Dolores, who has secured support from the Confederados' leader Major Craddock, discovers that Peter is malfunctioning and orders Bernard to find the problem. In doing so, he learns that Peter is being tracked by an unknown entity. Dolores and her allies proceed to battle the security team, which Charlotte uses as a distraction to abduct Peter. Dolores wins the battle by sacrificing most of the Confederados. Maeve, Hector, and Lee reunite with Armistice, Felix, and Sylvester after an attack orchestrated by Ghost Nation hosts forces them to return to the underground levels. The party reenters the park only for a samurai host to charge at them. Elsewhere, a guest at a British Raj-themed park flees rogue hosts and escapes into Westworld, where she is surrounded by Ghost Nation hosts.

14
4
"The Riddle of the Sphinx"
Lisa Joy
Gina Atwater & Jonathan Nolan
May 13, 2018 (2018-05-13)
204
1.59[27]

Bernard finds himself in a cave in an isolated section of Westworld. He discovers Elsie Hughes chained up inside, having abandoned her there while operating under Ford's influence. They explore a hidden bunker in the cave and find an insane host of James Delos. A series of flashbacks reveal that William and James attempted to recreate James' consciousness in a host body to achieve immortality. However, the experiment repeatedly failed and William shut it down. Bernard recalls that Ford had him retrieve the control unit of a second host-human hybrid, but cannot recall for whom it was intended. In the park, William and Lawrence return to Lawrence's home to find it overrun by Craddock and the surviving Confederados. Craddock torments the other hosts for sport until William and Lawrence overpower the Confederados and kill Craddock. Speaking through Lawrence's daughter, Ford warns William that one good deed does not redeem him. William rides west with the townspeople in tow where they meet the survivor from the British Raj-themed park, who reveals herself to be William's daughter Emily.

15
5
"Akane no Mai"
Craig Zobel
Dan Dietz
May 20, 2018 (2018-05-20)
205
1.55[28]

In Westworld, Dolores questions what to do with Teddy. She concludes that he is a decent person but his decency makes him a liability and has him reprogrammed against his will. At the edge of the park, Maeve's party is captured and escorted into a shogunate-themed park designed to be more extreme than Westworld called Shogun World. They are taken to a nearby town where they meet Akane, a geisha who plays a similar role to Maeve. Akane is negotiating with a local shogun, but when she kills the shogun's emissary, he retaliates by sending ninjas to kidnap her daughter Sakura and samurai to subjugate the town. During the attack, Maeve forces a ninja to kill himself without voicing a command. Maeve, Akane and Lee infiltrate the shogun's camp to rescue Sakura and find the shogun is damaged and unstable. Akane kills the shogun after he kills Sakura and Maeve wordlessly forces his samurai to turn on one another. She, Akane and Lee regroup as the shogun's army attack the camp.

16
6
"Phase Space"
Tarik Saleh
Carly Wray
May 27, 2018 (2018-05-27)
206
1.11[29]

Maeve and her group help Akane mourn Sakura's death before they leave via the underground tunnels. Akane and Musashi decide to stay behind. Returning to Westworld, Maeve finds her daughter Anna but discovers another host playing her mother. The Ghost Nation attacks and Akecheta asks Maeve to follow him. Charlotte and Ashley bring Peter back to the Mesa and signal for extraction, bringing a group of mercenaries that take over from the Delos' security team. Dolores and her group use the train filled with explosives to blow their way into the Mesa to look for Peter. Bernard and Elsie return to the Mesa together and find that the Cradle, the central repository of host data, has somehow hijacked the park's systems. Bernard uses a host-interface machine to insert himself directly into the Cradle. Within this space, modeled after Sweetwater, Bernard finds Robert Ford waiting for him.

17
7
"Les Écorchés"
Nicole Kassell
Jordan Goldberg & Ron Fitzgerald
June 3, 2018 (2018-06-03)
207
1.39[30]

Strand, Charlotte and Stubbs discover Bernard is a host and interrogate him about Dolores' attack on the Mesa. In flashback, Bernard finds Ford's persona among the other hosts' backup memories in the Cradle. Ford reveals that Westworld was an attempt to digitise consciousness and grant immortality. Ford imprints himself on Bernard's control unit and exits the simulation where he has Bernard aid in Dolores' takeover of the Mesa. Angela kills herself to destroy the Cradle while Dolores finds Peter and extracts his control unit. In the park, Maeve hides with her daughter from Akecheta but is found by William, who thinks she is another test sent by Ford. She turns his men against him until Delos forces arrive, kill Lawrence, and incapacitate her. The Ghost Nation ride off with her daughter. Lee has Maeve returned to the Mesa, where Dolores warns her that her memories of her daughter are a means of controlling her. In the present, Bernard reveals Peter's control unit is in the Valley Beyond.

18
8
"Kiksuya"
Uta Briesewitz
Carly Wray & Dan Dietz
June 10, 2018 (2018-06-10)
208
1.44[31]

William is found by Akecheta and taken to a Ghost Nation camp. Emily arrives and persuades him to let her take William, promising that he will suffer more with her than with the Ghost Nation. Maeve is taken in for analysis as Lee hopes she can be used to control the hosts, but Charlotte discovers that she has been consciously accessing the Westworld network to communicate with and reprogram other hosts. In the camp, Akecheta tells his story to Maeve's daughter. Prior to the uprising, he lived a peaceful life among the Ghost Nation until he discovered the maze symbol and inadvertently started down the path to sentience. After an encounter with Logan Delos and the discovery of the Valley Beyond, he concludes that his life is not his own and plans an escape. When his partner Kohana is taken by the park technicians and decommissioned, Akecheta dedicates himself to spreading the maze symbol as a warning to other hosts. It is revealed that Maeve has been connected to her daughter during the analysis and that Akecheta has been communicating with her. The raiding parties were intended to save hosts, who he promises Maeve he will lead to the Valley Beyond. He implores her to stay behind and complete her mission before Dolores destroys them all.

19
9
"Vanishing Point"
Stephen Williams
Roberto Patino
June 17, 2018 (2018-06-17)
209
1.56[32]

As Emily treats William's wounds, she asks him why her mother Juliet committed suicide. In a flashback, Juliet is shown to have killed herself after she viewed a file detailing all of William's past actions in Westworld. In the present, William slowly begins to go insane and shoots Emily under the belief she is a host sent by Ford. Realizing too late that she is human, William considers taking his own life before he starts cutting open his own arm. In the Mesa, Charlotte's men manage to use Maeve's code to reprogram Clementine, allowing her to control other hosts as well. Bernard escapes the Mesa with Elsie, but Ford continues to goad Bernard into killing Elsie to prevent her from betraying him in the future. Bernard deletes Ford from his mind and parts ways with Elsie, continuing on to the Valley alone. Ford leaves a message for Maeve, telling her he will help her escape. Dolores and Teddy continue their journey to the Valley, but Teddy tells Dolores that he cannot accept Dolores' actions and the way he was reprogrammed, and kills himself.

20
10
"The Passenger"[33]
Frederick E.O. Toye
Jonathan Nolan & Lisa Joy
June 24, 2018 (2018-06-24)
210
TBD

text: Production[edit]

text: The series received a second season renewal in November 2016, with its debut occurring in 2018.[34]

text: Casting began in 2017, with a bulk of the first season's core cast confirmed to return for the new season throughout the year. Talulah Riley and Louis Herthum, who appeared as Angela and Peter Abernathy respectively, were upgraded to main cast status in March.[35][36]

text: In July 2017, Katja Herbers, Neil Jackson and Jonathan Tucker were among the new cast members to be announced.[37][38] Gustaf Skarsgård, Fares Fares and Betty Gabriel joined in August.[39]

text: It was announced in September that Hiroyuki Sanada was cast in a major recurring role.[40] Zahn McClarnon was announced as being cast in November, along with the news he had been injured in an off-set incident, causing a brief pause in the season's filming.[41] An alternate version of the show's Super Bowl LII trailer revealed Peter Mullan had been cast, playing James Delos.[42] An additional trailer in March revealed Rinko Kikuchi was cast as well.[43] The cast was rounded out a few weeks prior to the season's April 22 premiere with Tao Okamoto, Kiki Sukezane and Julia Jones.[44]

text: Filming began in the summer of 2017. Harris stated in an interview that, to ensure the production remain on schedule, scenes for episodes later in the season would be filmed simultaneously with earlier episodes.[45] As a result of the December 2017 Southern California wildfires, production was halted once again following the November shutdown due to McClarnon's injury.[46]

text: Release[edit]

text: Broadcast[edit]

text: The season premiere debuted on April 16 at the Cinerama Dome in Hollywood, on April 18 at the 2018 Tribeca Film Festival and had many early screenings around the world prior to its April 22 airing.[47][48] Showrunners Nolan and Joy revealed that certain episodes will be "super sized", running longer than the regular 60 minutes per episode from the previous season.[49]

text: Marketing[edit]

text: During the 2017 San Diego Comic Con, an immersive experience was set up for attendees in addition to a panel held by the producers and cast of the series. The first trailer for the season was aired as well.[50][51] A second, full-length trailer was aired during Super Bowl LII.[52]

text: Reception[edit]

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes reported a 94% approval rating for the second season, based on 49 reviews, with an average rating of 7.96/10. The website's critical consensus reads, "Westworld builds on its experimental first season, diving deeper into the human side of AI without losing any of its stylish, bloody glory." The average rating for individual episodes is 93%.[53] Metacritic, which uses a weighted average, assigned a score of 76 out of 100 based on 29 critics, indicating "generally favorable reviews".[54]

text:
Westworld (season 2): Critical reception by episode

Season 2 (2018): Percentage of positive reviews tracked by the website Rotten Tomatoes[53]

text: Critics received the first five episodes of this season as screeners before the first episode premiered.[55][56] In a positive review for San Francisco Chronicle, David Wiegand wrote, "there is plenty of action and violence in the first half of the season, but what will empower the show’s longevity is its metaphysical theme, the exploration of the meaning and definition of human existence."[57] Rob Owen of the Pittsburgh Post-Gazette also praised the series saying "It takes a bit for Westworld to get back up to full steam, but by episode three (five hours were made available to TV critics), this futuristic, violent drama returns to fine form, introducing new parts of the park (Shogun World!), new characters and apparently new technology goals on the part of Delos, the corporation that owns Westworld."[58] Journalist Lorraine Ali of the Los Angeles Times said, "It's poised to be a intellectually stimulating and emotionally bumpy ride, where the very concept of your existence becomes the stuff of high-brow entertainment and low-bar thrills."[59]

text: The New York Times TV critic James Poniewozik quipped, "don’t expect too much improvement too fast from Westworld 2.0. It’s still overly focused on balletic blood baths and narrative fake-outs, and much of the dialogue still sounds as if it were written as a tagline for a subway poster, like Dolores’s 'I have one last role to play: myself.' But Westworld remains a glorious production to look at, and there are stretches where it feels invigorated by its new, expanded world--freer to breathe, relax, invent."[60] Ben Travers of IndieWire wrote, "all around, the actors remain strong, including a number of new cast members. Where season 2 stumbles is its structure and pacing. Episodes don’t carve equal time for everyone; they focus on the two most connected stories and sometimes break for an entire hour without getting back to a series regular."[61] After the release of the third episode, Forbes criticized the season for departing too far from the show’s roots and instead trying to be an "action blockbuster", arguing in part that the violence was overdone in comparison to the first season.[62]

text: Ratings[edit]

text:
No.
Title
Air date
Rating
(18–49)
Viewers
(millions)
DVR
(18–49)
DVR viewers
(millions)
Total
(18–49)
Total viewers
(millions)

1
"Journey into Night"
April 22, 2018
0.9
2.06[24]
0.3
N/A
1.2[63][d]
N/A

2
"Reunion"
April 29, 2018
0.7
1.85[25]
0.5
1.09
1.2
2.94[64]

3
"Virtù e Fortuna"
May 6, 2018
0.6
1.63[26]
N/A
N/A
N/A
N/A

4
"The Riddle of the Sphinx"
May 13, 2018
0.6
1.59[27]
0.5
1.05
1.1
2.64[65]

5
"Akane no Mai"
May 20, 2018
0.6
1.55[28]
N/A
N/A
N/A
N/A

6
"Phase Space"
May 27, 2018
0.4
1.11[29]
0.5
1.35
0.9
2.46[66]

7
"Les Écorchés"
June 3, 2018
0.5
1.39[30]
0.3
N/A
0.8[67][d]
N/A

8
"Kiksuya"
June 10, 2018
0.6
1.44[31]
0.3
N/A
0.9[68][d]
N/A

text: Notes[edit]

text:
^ Jump up to: a b c d e f g h i j k l Credited with the main cast in the episodes in which they appear.
Jump up ^ Anthony Hopkins is credited with the main cast beginning episode 7. Prior appearances and voice cameos are uncredited.
Jump up ^ Zahn McClarnon is credited with the main cast in episode 8. Prior appearances are credited as guest starring.
^ Jump up to: a b c Live +7 ratings were not available, so Live +3 ratings have been used instead.

tag: ol