document_title: Peter Ndlovu

question_text: who is the first african to play in epl

question_tokens: who is the first african to play in epl

text: Peter Ndlovu

text: Playing career[edit]

text: Coventry City[edit]

text: Ndlovu was originally spotted by John Sillett, prior to his official signing from Highlanders by Terry Butcher in July 1991. He made an immediate impact by scoring away at Arsenal and then became the toast of Highfield Road with a thunderbolt winner against Aston Villa in November 1991, endearing him to the Sky Blues fans.[2]

text: Although he would go on to play a major role at several clubs in the Championship, it is his time at Coventry he is particularly known for given the club's top flight status at that time. He would play a significant role in two major teams, Bobby Gould's attacking team of 1992/93 and the expansive squad of the mid and late 1990s, during which time Ron Atkinson and then Gordon Strachan managed the club. Bobby Gould's team in 1992–93 are widely regarded as under-achievers, finishing 15th in the first Premier League season, having spent much of the season in considerably higher positions.

text: On 19 August 1992, Peter Ndlovu made history by being the first African footballer to play in the new English Premier League. Having acquired the legendary striker Micky Quinn in November 1992 they continued what had already been a blistering start, with away wins at Tottenham Hotspur (2–0) Sheffield Wednesday (2–1) and Wimbledon (2–1) to add to already impressive home wins against Middlesbrough (2–1). By the early autumn the Sky Blues briefly topped the inaugural Premier league and would only lose five league games prior to Christmas. The addition of Micky Quinn to the squad led to further outstanding home wins against Aston Villa (3–0) and Liverpool (5–1). In February 1993, they won 4-2 against title chasing, big spending Blackburn Rovers. However, a barren final few weeks of the season and a run in that would see back to back games against Man Utd, Liverpool, Chelsea and Leeds Utd saw them slip from fifth in the league in February to 15th in the final table. The season finished with a thrilling performance from Ndlovu in a 3–3 draw against Leeds Utd. Ndlovu was a key component throughout the season in Gould's fast pacey front line which included John Williams, Kevin Gallacher (until his departure to Blackburn) and Robert Rosario, who formed a worthy partnership with Micky Quinn. Peter Ndlovu's goal against Norwich City, in a 1–1 draw in late September, was a signature piece of Ndlovu flair which earned him the Match of Day 'Goal of the month' competition.[2]

text: The 1993–94 season would see a managerial shift in the autumn as Gould resigned and was succeeded by his assistant Phil Neal - but not before the legendary curtain raiser to the second Premier League season. Bobby Gould's first day gamble would be to play without traditional full backs. This novel formation gave Peter Ndlovu full licence to play a large part in a memorable opening day triumph in the capital. The 3–0 victory at Highbury over Arsenal saw Micky Quinn score a hat-trick in front of the newly refurbished North Bank. It also ensured that the Sky Blues made one of their customary lightning starts to the season, so synonymous of this era. After an early Ian Wright threat on the Coventry goal, it was Ndlovu who made a darting run into the Arsenal penalty box which produced a clumsy challenge from Lee Dixon. The resulting penalty was calmly converted by Micky Quinn for the opener. The second half would see Ndlovu and Roy Wegerle lead the Gunners defence a merry dance, Wegerle in particular enjoying possibly his finest game for the club. So shocked were Arsenal by the 3–0 defeat that manager George Graham cancelled the proposed post-match lap of honour at the final whistle, which was to parade their League Cup and FA Cup silverware. The explanation given by Arsenal was 'Reasons beyond the club's control!'. It is reported that Coventry rejected a £4million offer from Arsenal for Ndlovu during the 1993-94 season - a deal which would have made Ndlovu the most expensive player signed by an English club. The dramatic resignation of Bobby Gould, after a 5–1 mauling at Loftus Road in October 1993, was reputedly inspired by the possible imminent sale of Ndlovu to a top six club.

text: However, Ndlovu stayed but the 11th-place finish secured that season was not repeated in the 1994–95 campaign. Phil Neal was replaced by Ron Atkinson in February. Big Ron was credited with saving the club from relegation in the spring of 1995, and brought in Gordon Strachan as his assistant. This second significant phase for Ndlovu would once again promise much - the 'new era' of big money signings heralded by Atkinson's appointment saw the arrival of Huckerby, Whelan, Salako and McAllister together with Neal's £2million signing Dion Dublin. Big Ron provided vital impetus early on, but the following season his stylish and classy team sheet rarely 'clicked' in the traditional sense. However, Ndlovu still scored some memorable goals for the Sky Blues during this period, including the first away player to secure a hat-trick at Anfield for 30 years. Other memorable goals in Sky Blue included a vital winning goal away at Wimbledon in a relegation six-pointer and a dynamic last minute rifling winner in a 3rd Round FA Cup tie at West Bromwich Albion.[2]

text: Ndlovu gradually suffered due to inconsistency. The large and expansive side Gordon Strachan inherited, well equipped with attacking options, saw fierce competition for places from Whelan, Huckerby, Salako and Telfer. An increasingly cosmopolitan Premier league too would eventually see Coventry turn to Steve Froggatt and Moroccan internationals Mustapha Hadji and Youssef Chippo in the years following Ndlovu's departure. He was known as 'Nuddy' by Coventry City fans[3] and his other nicknames being 'The Bulawayo Bullet'[4] and 'Nsukuzonke'[5] a isiNdebele word referring to his ability to turn on the style everytime/day he played.

text: Birmingham City[edit]

text: Ndlovu eventually moved to Birmingham City in July 1997, signed by Trevor Francis for a fee of £1.6m. Ndlovu is generally considered a success by Blues fans, despite failing to reach the Premiership whilst "Nuddy" was in their ranks. Ndlovu's old-school wing play helped propel the Blues to two successive play-off appearances in Nationwide Division One, though both appearances would ultimately end in semi-final defeats. After spending time on loan for Huddersfield Town in 2000, he moved to Sheffield United in February 2001.

text: Sheffield United[edit]

text: Ndlovu also enjoyed success at Sheffield United and was known to their fans as 'Nuddy'. With him playing on the right side of midfield, United managed to get to two semi-finals of major cup competitions, in addition to the final of the Championship (formerly Division 1) play-offs in the 2002–03 season.

text: He scored the winning goal against Leeds United in the 2002 Worthington Cup competition and scored a hat-trick against Cardiff City in 2003–04. He left the Blades in the summer of 2004 having scored 25 goals in 135 league games. In all, Ndlovu scored more than 90 goals during his 12 seasons and 338 appearances in the top two flights of the English football league.

text: In South Africa[edit]

text: Ndlovu signed for South African Premier Soccer League outfit Mamelodi Sundowns during the 2004 off-season. Thanda Royal Zulu have made one of their major signings before transfer window closes today by bringing former Mamelodi Sundowns striker Peter Ndlovu on board. Ndlovu was released from his contract by Thanda Royal Zulu at the end of 2008–09 after they were relegated from South Africa's top division. He stayed for two years without playing football.

text: Coaching career[edit]

text: In 2011 Ndlovu became the assistant manager of the Zimbabwe national football team.[citation needed]

text: Personal life[edit]

text: Peter's brothers, Adam and Madinda, were also international players. The brothers played on the streets of Makokoba, Zimbabwe, where they grew up. Peter also played in both his primary (Lotshe Primary) and secondary (Mzilikazi) schools and his hometown team Highlanders before joining Coventry in 1991. In 2017 Peter Ndlovu announced his candidate to be presesident of Zimbabwe for the upcoming election in 2018.

text: His surname is commonly mispronounced by British commentators and, as a result, fans as well. Throughout his career, he was referred to as 'Und-luv', when in fact, the pronunciation of his surname is closer to 'End-lo-vu'.[6]

text: Ndlovu was left in a "critical" condition in hospital after a car crash near the Victoria Falls Airport in Zimbabwe on 16 December 2012.[7] Ndlovu's BMW X5 had suffered a tyre blow out which caused it to come off the road and hit a tree. He suffered internal injuries, head injuries, broken ribs and a broken leg whilst his brother Adam, and a female passenger were killed.[8] Ndlovu subsequently faced trial the following March for culpable homicide, with the prosecution claiming he was responsible for failing to control his car properly.[9] He was acquitted in April 2013, with the court citing a lack of evidence to prove Ndlovu's responsibility.[10]

text: Bibliography[edit]

text: Brown, Jim (2000). Coventry City: The Elite Era. Desert Island Books. ISBN 978-1-874287-36-0.


question_text: 3 billboards outside ebbing missouri where was it filmed

root

text: Plot[edit]

text: In the town of Ebbing, Missouri, Mildred Hayes is grieving the rape and murder of her teenage daughter, Angela, seven months earlier. Angry over the lack of progress in the investigation, Mildred rents three abandoned billboards near her home, and posts on them: "Raped While Dying", "Still No Arrests?", and "How Come, Chief Willoughby?" The billboards upset the townspeople, including Chief Bill Willoughby and Officer Jason Dixon, the latter being a racist and a violent alcoholic. The open secret that Willoughby suffers from terminal pancreatic cancer adds to everyone's disapproval. Mildred and her son Robbie are harassed and threatened, but to Robbie's chagrin, she stays firm about keeping the billboards up.

tag: p

text: While Willoughby is sympathetic to Mildred's frustration, he finds the billboards an unfair attack on his character. Angered by Mildred's lack of respect for his authority, Dixon threatens businessman Red Welby, who rented Mildred the billboards, and he arrests her friend and coworker, Denise, on trivial marijuana possession charges. Mildred is also visited by her abusive ex-husband Charlie, who blames her for their daughter's death.

text: Willoughby brings Mildred in for questioning after she drills a hole in her dentist's thumb when he threatens her. During the interview, Willoughby coughs up blood. He leaves the hospital against medical advice and spends an idyllic day with his wife Anne and their two daughters, then commits suicide due to his illness. He leaves suicide notes for several people, including Mildred, in which he explains that she was not a factor in his suicide and that he secretly paid to keep the billboards up for another month, amused at the trouble this will bring her and hope that they will keep attention on the murder. Dixon reacts to the news of Willoughby's death by assaulting Welby and throwing him out of a window. This is witnessed by Willoughby's replacement, Abercrombie, who fires Dixon. In the meanwhile, Mildred is threatened by a crop-haired stranger in her store.

text: The billboards are destroyed by arson. Mildred retaliates by tossing Molotov cocktails at the police station, which she believes is unoccupied for the night. However, Dixon is there to read Willoughby's letter to him, which advises him to let go of hate and learn to love, as the only way to realize his wish to become a detective. Dixon escapes with Angela's case file but suffers severe burns. Mildred's acquaintance James witnesses the incident and provides Mildred with an alibi, claiming they were on a date. Dixon is treated for his burns, and he is temporarily confined in the same hospital room as Welby, to whom he apologizes.

text: Discharged from the hospital, Dixon overhears the man who threatened Mildred bragging in a bar of an incident similar to Angela's murder. He notes the Idaho license plate number of the man's vehicle, then provokes a fight by scratching the man's face. At home later, he removes a sample of the man's DNA from under his fingernails. Meanwhile, Mildred goes on a date with James to thank him for the alibi. Charlie enters with his 19-year-old girlfriend Penelope and admits to burning the billboards while intoxicated. After accidentally causing James to leave, Mildred tells Charlie to treat Penelope well and leaves.

text: Though commending him, Abercrombie informs Dixon that the DNA sample does not match DNA found on Angela's body, and that the man was overseas on military duty at the time of the murder. Dixon concludes that the man must be guilty of some other rape, and joins Mildred on a trip to Idaho in order to kill him. On the way, Mildred confesses to Dixon that she set the police station on fire. He indicates that he knew already. They express reservations about their mission but agree to decide what to do along the way.

text: Cast[edit]

text:
Frances McDormand as Mildred Hayes
Woody Harrelson as William 'Bill' Willoughby
Sam Rockwell as Jason Dixon
Abbie Cornish as Anne Willoughby
John Hawkes as Charlie Hayes
Peter Dinklage as James
Caleb Landry Jones as Red Welby
Kerry Condon as Pamela
Darrell Britt-Gibson as Jerome
Lucas Hedges as Robbie Hayes
Željko Ivanek as Desk Sergeant
Amanda Warren as Denise
Kathryn Newton as Angela Hayes
Samara Weaving as Penelope
Clarke Peters as Chief Abercrombie

tag: ul

text: Production[edit]

text: Development[edit]

text: While traveling through the Southern United States in around 1998, Martin McDonagh came across a couple of accusatory billboards about an unsolved crime, which he described as "raging and painful and tragic [sic]". The billboards highlighted the incompetence of police work and deeply affected McDonagh; he said that the image "stayed in my mind [...] kept gnawing at me" and presumed that they were put up by the victim's mother.[5][a] This incident, combined with his desire to create strong female characters, inspired him to write the story for Three Billboards Outside Ebbing, Missouri.[5] McDonagh discussed the creative process, saying that it took him about ten years to "[decide] that it was a mother who had taken these things out. It all became fiction [...] based on a couple of actual billboards".[7][8]

text: Casting and filming[edit]

text: The character of Mildred was written with Frances McDormand in mind, and likewise the character of Dixon was written specifically for Rockwell.[9] McDormand initially felt that she was older than the character as it was written, and suggested that Mildred instead be Angela's grandmother; McDonagh disagreed, feeling that it would change the story too much.[9][10] McDormand's husband Joel Coen persuaded her to take the part regardless.[9] McDormand took inspiration for her character from John Wayne; and Rockwell, wanting to make his character "the exact opposite" of Mildred, took inspiration for his character in part from Wayne's co-star in The Man Who Shot Liberty Valance, Lee Marvin.[9]

text: Principal photography began on May 2, 2016, in Sylva, North Carolina,[11] and ran for 33 days.[12] Allison Outdoor Advertising of Sylva built the actual billboards, which were put in a pasture near Black Mountain, North Carolina because that location was better. Most of the time the billboards were covered because people in the area found them upsetting. David Penix of Arden, North Carolina bought the billboards and used the wood for a roof in Douglas Lake in Tennessee, though the messages are no longer in order.[13] Town Pump Tavern in Black Mountain, which had appeared in The World Made Straight, was used as a set and was closed for three days during filming. A pool table and booths were added. The bar's actual sign appeared in the movie.[14]

text: Music[edit]

text: The musical score was written by Carter Burwell, who had also supplied the score for McDonagh's films In Bruges and Seven Psychopaths. As well as Burwell's score, the film features songs by ABBA, Joan Baez, The Felice Brothers, the Four Tops, Monsters of Folk and Townes Van Zandt. [15]

text: Release[edit]

text: Three Billboards Outside Ebbing, Missouri premiered in competition at the 74th Venice International Film Festival on September 4, 2017.[16] It also had screenings at the 2017 Toronto International Film Festival,[17] the 2017 San Sebastián International Film Festival (where it won the Audience Award),[18] the BFI London Film Festival,[19] and the 2017 Zurich Film Festival.[20] It was also screened at the Mar del Plata International Film Festival.[21]

text: In the United States, the film was released, by Fox Searchlight Pictures, on November 10, 2017, beginning with a limited release, before "going wide" on December 1.[4] The film was released on 4K Ultra HD, Blu-ray and DVD on February 27, 2018.[22] Six Shooter, McDonagh's Academy Award-winning short film, is included as a bonus.

text: Reception[edit]

text: Box office[edit]

text: Three Billboards Outside Ebbing, Missouri grossed $54.5 million in the United States and Canada, and $104.1 million in other countries, for a worldwide total of $158.6 million.[4]

text: In its limited opening weekend, the film made $322,168 from four theaters for a per-theater average of $80,542, the fourth best of 2017.[23] The film made $1.1 million from 53 theaters in its second weekend and $4.4 million from 614 in its third, finishing a respective 9th and 10th at the box office.[24] In the weekend following its four Golden Globe wins the film was added to 712 theaters (for a total of 1,022) and grossed $2.3 million, and increase of 226% from the previous week's $706,188.[25] The weekend of January 27, 2018, following the announcement of the film's seven Oscar nominations, it made $3.6 million (an increase of 87% over the previous week's $1.9 million), finishing 13th.[26] The weekend of March 9–11, following its two Oscar wins, the film made $705,000, down 45% from the previous week's $1.3 million.[27]

text: Critical response[edit]

text: This section needs expansion. You can help by adding to it. (April 2018)

tag: table

text: On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 92% based on 317 reviews, and an average rating of 8.5/10. The website's critical consensus reads, "Three Billboards Outside Ebbing, Missouri deftly balances black comedy against searing drama – and draws unforgettable performances from its veteran cast along the way."[28] On Metacritic, which assigns a normalized rating to reviews, the film had a weighted average score of 88 out of 100, based on 50 critics, indicating "universal acclaim."[29] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[30]

text: Owen Gleiberman of Variety praised the film's performances, stating "It's Mildred's glowering refusal to back down that defines her, and McDormand brilliantly spotlights the conflicted humanity beneath the stony façade," and called Rockwell's performance a "revelation."[31] Steve Pond, writing for TheWrap, praised McDonagh's writing, calling it "Very funny, very violent and surprisingly moving."[32]

text: Some criticized the script for McDonagh's insincere or incorrect portrayal of small town America. The New York Times columnist Wesley Morris called McDonagh's portrayal of America a caricature: "a set of postcards from a Martian lured to America by a cable news ticker and by rumors of how easily flattered and provoked we are."[33] Tim Parks in The New Yorker praised the “magnificently photographed images” but wrote that the plot contained “a thousand cheap coincidences”. He concluded that the film is "empty of emotional intelligence" and "devoid of any remotely honest observation of the society it purports to serve." [34] In her review for The New York Times, Manohla Dargis wrote "[McDonagh's] jokes can be uninterestingly glib with tiny, bloodless pricks that are less about challenging the audience than about obscuring the material's clichés and overriding theatricality."[35]

text: The film was also controversial for its insensitive handling of racial themes, particularly surrounding the redemptive arc of Officer Dixon. In The Daily Beast, blogger Ira Madison III called the treatment of Rockwell's character "altogether offensive...McDonagh's attempts to script the black experience in America are often fumbling and backward and full of outdated tropes."[36] Alyssa Rosenberg noted in The Washington Post that "[Dixon's] redemption doesn’t merely defang his previous venomous bigotry; it softens Mildred’s character development."[37]

text: Accolades[edit]

text: At the 75th Golden Globe Awards, Three Billboards Outside Ebbing, Missouri won for Best Motion Picture – Drama, Best Actress – Drama (McDormand), Best Supporting Actor (Rockwell), and Best Screenplay, and was nominated for Best Director and Best Original Score.[38] At the 71st British Academy Film Awards, it received nine nominations, including Best Film, Best Director, and Best Actress in a Leading Role (McDormand), and Best Actor in a Supporting Role for both Rockwell and Harrelson.[39][40] It won five awards, including Best Film and Outstanding British Film (making it the only film along with The King's Speech to win both awards since the latter category was reintroduced in 1992)[41] while both McDormand and Rockwell won the Lead Actress and Supporting Actor awards respectively.[42] It was nominated for four awards at the 24th Screen Actors Guild Awards, winning three, including Outstanding Performance by a Cast in a Motion Picture. At the 90th Academy Awards it received seven nominations, including Best Picture, Best Actress for Frances McDormand, Best Original Screenplay for Martin McDonagh and two Best Supporting Actor nominations for both Sam Rockwell and Woody Harrelson. McDormand and Rockwell took home their respective awards.

text: It was named one of the top 10 films of the year by the American Film Institute.[43] At the 2017 Toronto International Film Festival,[17] the film won its top prize, the People's Choice Award.[44] At the 2017 San Sebastián International Film Festival, it won the Audience Award.[18]

text: Impact[edit]

text: On February 15, 2018, Justice4Grenfell, an advocacy group created in response to the Grenfell Tower fire, hired three vans with electronic screens in a protest against perceived inaction in response to the fire.[45] The vans were driven around London, and displayed messages in the style of the billboards in the film: '71 Dead', 'And Still No Arrests?', 'How Come?'[46]

text: In response to the Stoneman Douglas High School shooting that took place on February 14, 2018, in Parkland, Florida, activist group Avaaz had three vans circle Florida senator Marco Rubio's offices displaying 'Slaughtered in School', 'And Still No Gun Control?', 'How Come, Marco Rubio?'[47][48]

text: On the night of February 15, 2018, the movement #OccupyJustice set up three billboards and a number of banners in Malta, marking the four-month anniversary of the murder of the journalist Daphne Caruana Galizia. The billboards bore the text 'A Journalist Killed. No Justice.', 'A Country Robbed. No Justice.', and 'No Resignations. No Justice.'[49][50] The authorities removed the billboards the following day,[51] stating that they were illegal.[52] The government was criticized for this move,[53][54] and a day after their removal, activists laid down banners with similar text near Auberge de Castille, the Office of the Prime Minister.[52]

text: Outside the Bristol city centre on February 3, 2018, a mural was erected depicting three billboards reading 'Our NHS is dying', 'And still no more funding', and 'How come, Mrs May'. It was installed by the groups People’s Republic of Stokes Croft and Protect Our NHS in response to the alleged privatization of the National Health Service (NHS) and the death of a 15-year-old girl attributed by some to a purported lack of resources by the NHS.[55]

text: On February 22, 2018, the Union of Medical Care and Relief Organizations, protesting the inaction of the UN's role within the Syrian Civil War, set up three billboards outside the United Nations building in New York that read '500,000 Dead in Syria', 'And still no action?', and 'How come, Security Council'.[56][57]

text: On or around March 1, around the time of the 2018 Oscars, three billboards were taken out in Los Angeles, stating "WE ALL KNEW AND STILL NO ARRESTS", "AND THE OSCAR FOR BIGGEST PEDOPHILE GOES TO..." and "NAME NAMES ON STAGE OR SHUT THE HELL UP!", as an attempt to protest both the Oscars and the #MeToo movement.[58]

text: On March 8, on International Women's Day, three billboards were put in downtown Pristina, Kosovo,[59] to protest the death of two women as a result of domestic violence.[60]

text: Both McDormand and McDonagh have responded positively to the protests, with McDonagh saying "You couldn't ask for anything more than for an angry film to be adopted by protests,"[61][62] and McDormand saying she is “thrilled that activists all over the world have been inspired by the set decoration of the three billboards in Martin’s film.”[63]

text: On March 24, 2018, signs inspired by Three Billboards appeared at March for Our Lives gun safety rallies across the US and around the world.[64][65]

text: Explanatory notes[edit]

text: Jump up ^ The billboards were later found along the Interstate 10, and had been put by James Fulton, whose daughter Kathy Page was assaulted and killed in 1991.[6]

tag: ol


document_title: Nim's Island

question_text: where was the movie nim's island filmed

question_tokens: where was the movie nim 's island filmed

text: Nim's Island

text: Plot[edit]

text: Nim (Abigail Breslin) is an 11-year-old girl whose mother, Emily, has died. Nim's father, Jack Rusoe (Gerard Butler), a marine biologist, has told her that Emily was swallowed  by a blue whale after it was scared by a ship called The Buccaneer. Nim lives with her father on a South Pacific island and has several local animals for company: Selkie the sea lion, Fred the bearded dragon, Chica the sea turtle, and Galileo the pelican. Jack takes the boat for a two-day scientific mission to find Protozoa nim (a new species of plankton he named after his daughter); he wants to take his daughter along, but she convinces him that she needs to stay to oversee the imminent hatching of Chica's eggs and can manage on her own; they will be able to communicate by satellite phone.

text: Nim, who is fond of Alex Rover adventure books written by Alexandra Rover (Jodie Foster), receives an email addressed to her father with an inquiry about his field of knowledge. The sender, "Alex Rover", seems to be the explorer, but is actually Alexandra, a neurotic San Franciscan who constantly imagines that she is speaking to her fictional character Alex Rover (also portrayed by Butler). An email conversation follows. She goes to the island with the volcano, but is injured.

text: Jack suffers a shipwreck in a cyclone, making it impossible for him to communicate with Nim, and does not return as planned. Galileo brings Jack things he needs to fix his ship. Nim explains the situation to "Alex", but Alexandra suffers from agoraphobia and never leaves the house or even opens the door. The island is visited by loud, ugly tourists from Brisbane, Australia, whom Nim believes to be pirates. As the tourists approach the island, Nim makes it seem uninhabitable by catapulting lizards to shore. She also makes a fire in the crater of the volcano, which fools the tourists into thinking the volcano is erupting. By rolling down boulders to simulate an avalanche. While doing this, she inadvertently triggers an actual eruption. Without revealing herself, she gets out of the crater just in time as a plume of ash bursts out. Down at the beach the tourists scramble to the boats. One of them, a boy, Edmund, sees and catches up with Nim. He is confused by her presence and she tells him she lives on the island. He tells the others, but they do not believe him. Meanwhile, Alexandra travels to the island to "rescue" Nim, but she, expecting "Alex" (the fictional male character), at first rejects Alexandra.

text: Nim later relents and they share a meal. The next day, Nim starts to cry, reasoning that her ever-successful father would be back by then if he were still alive. Fortunately, Jack reaches the island windsurfing on a makeshift catamaran. Jack and Alex meet and begin to get to know each other (Alex amazed at Jack being identical to how she pictured her fictional character), and the film ends with them all playing on the beach using a coconut as a ball.

text: Cast[edit]

text:
Abigail Breslin as Nim Rusoe[3]
Jodie Foster as Alexandra "Alex" Rover[3]
Gerard Butler as Jack Rusoe / Alex Rover[4][5]
Anthony Simcoe as First Mate
Alphonso McAuley as Russell[6]
Morgan Griffin as Alice[7]
Michael Carman as Captain
Christopher Baker as Ensign
Maddison Joyce as Edmund
Peter Callan as Edmund's Father

text: Production[edit]

text: Shooting took place on Hinchinbrook Island, off the northeast coast of Queensland, Australia over three weeks and ended in October 2007.[8]

text: Reception[edit]

text: The review aggregator Rotten Tomatoes reports that 51% of 101 surveyed critics gave the film a positive review; the average rating is 5.7/10. The site's consensus reads: "Despite good intentions, Nim's Island flounders under an implausible storyline, simplistic stock characters, and distracting product placement."[9] Metacritic reported the film had an average score of 55 out of 100 based on 24 reviews.[10] In its opening weekend, Nim's Island grossed $13.3 million in 3,513 theaters in the United States and Canada, ranking #2 at the box office behind 21.[11] The film had a US box office gross of $48 million and a foreign gross of $52 million, for a total gross of $100 million worldwide.[2] The film was nominated by the Visual Effects Society Awards in the category of Outstanding Supporting Visual Effects in a Feature Motion Picture.[12]

text: Home media release[edit]

text: Nim's Island was released on DVD on 5 August 2008. It opened at #1 at the DVD sales chart, selling 466,326 DVD units and earning $8.4 million. As per the latest figures, 1,013,100 DVD units have been sold, grossing $21.4 million in the US.[13]

text: Soundtrack[edit]

text: The score to Nim's Island was composed by award-winning composer Patrick Doyle. He recorded his score with the Hollywood Studio Symphony at the Sony Scoring Stage during the week of 3 February 2008. This marked the first time in a decade that he recorded a score in Los Angeles.[14]

text: The song playing over the closing credits is "Beautiful Day" by U2.

text: The film's soundtrack CD was released on 8 April 2008 from Varèse Sarabande.[15]

text: Sequel[edit]

text: A sequel, Return to Nim's Island, was released theatrically in Australia on 4 April 2013 in 77 screens with an opening weekend box office take of AUS$176,848. It aired on the Hallmark Channel on 15 March in the U.S. and was released on DVD 19 March 2013, exclusively to Wal-Mart, and two days later on 21 March worldwide. Box Office Mojo reports AUS$1.1 million in revenues overall.[16]

text: Bindi Irwin replaced Abigail Breslin as Nim Rusoe, Toby Wallace replaced Maddison Joyce as Edmund, and Matthew Lillard replaced Gerard Butler as Jack Rusoe, Nim's father.


document_title: Manorialism

question_text: who owned the manor in the middle ages

question_tokens: who owned the manor in the middle ages

text: Manorialism

text: Historical and geographical distribution[edit]

text: The term is most often used with reference to medieval Western Europe. Antecedents of the system can be traced to the rural economy of the later Roman Empire (Dominate). With a declining birthrate and population, labor was the key factor of production.[citation needed] Successive administrations tried to stabilise the imperial economy by freezing the social structure into place: sons were to succeed their fathers in their trade, councilors were forbidden to resign, and coloni, the cultivators of land, were not to move from the land they were attached to. The workers of the land were on their way to becoming serfs.[6]

text: Several factors conspired to merge the status of former slaves and former free farmers into a dependent class of such coloni: it was possible to be described as servus et colonus, "both slave and colonus".[7] Laws of Constantine I around 325 both reinforced the semi-servile status of the coloni and limited their rights to sue in the courts; the Codex Theodosianus promulgated under Theodosius II extended these restrictions. The legal status of adscripti, "bound to the soil",[8] contrasted with barbarian foederati, who were permitted to settle within the imperial boundaries, remaining subject to their own traditional law.

text: As the Germanic kingdoms succeeded Roman authority in the West in the fifth century, Roman landlords were often simply replaced by Germanic ones, with little change to the underlying situation or displacement of populations.

text: The process of rural self-sufficiency was given an abrupt boost in the eighth century, when normal trade in the Mediterranean Sea was disrupted. The thesis put forward by Henri Pirenne, while disputed widely, supposes that the Arab conquests forced the medieval economy into even greater ruralization and gave rise to the classic feudal pattern of varying degrees of servile peasantry underpinning a hierarchy of localised power centers.[citation needed]

text: History[edit]

text: The word derives from traditional inherited divisions of the countryside, reassigned as local jurisdictions known as manors or seigneuries; each manor being subject to a lord (French seigneur), usually holding his position in return for undertakings offered to a higher lord (see Feudalism). The lord held a manorial court, governed by public law and local custom. Not all territorial seigneurs were secular; bishops and abbots also held lands that entailed similar obligations.

text: By extension, the word manor is sometimes used in England to mean any home area or territory in which authority is held, often in a police or criminal context.[9][10]

text: In the generic plan of a medieval manor[11] from Shepherd's Historical Atlas,[12] the strips of individually worked land in the open field system are immediately apparent. In this plan, the manor house is set slightly apart from the village, but equally often the village grew up around the forecourt of the manor, formerly walled, while the manor lands stretched away outside, as still may be seen at Petworth House. As concerns for privacy[dubious – discuss] increased in the 18th century,[citation needed] manor houses were often located a farther distance from the village. For example, when a grand new house was required by the new owner of Harlaxton Manor, Lincolnshire, in the 1830s, the site of the existing manor house at the edge of its village was abandoned for a new one, isolated in its park, with the village out of view.[citation needed]

text: In an agrarian society, the conditions of land tenure underlie all social or economic factors. There were two legal systems of pre-manorial landholding. One, the most common, was the system of holding land "allodially" in full outright ownership. The other was a use of precaria or benefices, in which land was held conditionally (the root of the English word "precarious").

text: To these two systems, the Carolingian monarchs added a third, the aprisio, which linked manorialism with feudalism. The aprisio made its first appearance in Charlemagne's province of Septimania in the south of France, when Charlemagne had to settle the Visigothic refugees, who had fled with his retreating forces, after the failure of his Zaragoza expedition of 778. He solved this problem by allotting "desert" tracts of uncultivated land belonging to the royal fisc under direct control of the emperor. These holdings aprisio entailed specific conditions. The earliest specific aprisio grant that has been identified was at Fontjoncouse, near Narbonne (see Lewis, links). In former Roman settlements, a system of villas, dating from Late Antiquity, was inherited by the medieval world.

text: Common features[edit]

text: Manors each consisted of up to three classes of land:

text:
Demesne, the part directly controlled by the lord and used for the benefit of his household and dependents;
Dependent (serf or villein) holdings carrying the obligation that the peasant household supply the lord with specified labour services or a part of its output (or cash in lieu thereof), subject to the custom attached to the holding; and
Free peasant land, without such obligation but otherwise subject to manorial jurisdiction and custom, and owing money rent fixed at the time of the lease.

text: Additional sources of income for the lord included charges for use of his mill, bakery or wine-press, or for the right to hunt or to let pigs feed in his woodland, as well as court revenues and single payments on each change of tenant. On the other side of the account, manorial administration involved significant expenses, perhaps a reason why smaller manors tended to rely less on villein tenure.[original research?]

text: Dependent holdings were held nominally by arrangement of lord and tenant, but tenure became in practice almost universally hereditary, with a payment made to the lord on each succession of another member of the family. Villein land could not be abandoned, at least until demographic and economic circumstances made flight a viable proposition; nor could they be passed to a third party without the lord's permission, and the customary payment.

text: Although not free, villeins were by no means in the same position as slaves: they enjoyed legal rights, subject to local custom, and had recourse to the law subject to court charges, which were an additional source of manorial income. Sub-letting of villein holdings was common, and labour on the demesne might be commuted into an additional money payment, as happened increasingly from the 13th century.

text: This description of a manor house at Chingford, Essex in England was recorded in a document for the Chapter of St Paul's Cathedral when it was granted to Robert Le Moyne in 1265:

text: Variation among manors[edit]

text: Like feudalism which, together with manorialism, formed the legal and organizational framework of feudal society, manorial structures were not uniform. In the later Middle Ages, areas of incomplete or non-existent manorialization persisted while the manorial economy underwent substantial development with changing economic conditions.

text: Not all manors contained all three classes of land. Typically, demesne accounted for roughly a third of the arable area, and villein holdings rather more; but some manors consisted solely of demesne, others solely of peasant holdings. The proportion of unfree and free tenures could likewise vary greatly, with more or less reliance on wage labour for agricultural work on the demesne.

text: The proportion of the cultivated area in demesne tended to be greater in smaller manors, while the share of villein land was greater in large manors, providing the lord of the latter with a larger supply of obligatory labour for demesne work. The proportion of free tenements was generally less variable, but tended to be somewhat greater on the smaller manors.

text: Manors varied similarly in their geographical arrangement: most did not coincide with a single village, but rather consisted of parts of two or more villages, most of the latter containing also parts of at least one other manor. This situation sometimes led to replacement by cash payments or their equivalents in kind of the demesne labour obligations of those peasants living furthest from the lord's estate.

text: As with peasant plots, the demesne was not a single territorial unit, but consisted rather of a central house with neighbouring land and estate buildings, plus strips dispersed through the manor alongside free and villein ones: in addition, the lord might lease free tenements belonging to neighbouring manors, as well as holding other manors some distance away to provide a greater range of produce.

text: Nor were manors held necessarily by lay lords rendering military service (or again, cash in lieu) to their superior: a substantial share (estimated by value at 17% in England in 1086) belonged directly to the king, and a greater proportion (rather more than a quarter) were held by bishoprics and monasteries. Ecclesiastical manors tended to be larger, with a significantly greater villein area than neighbouring lay manors.[citation needed]

text: The effect of circumstances on manorial economy is complex and at times contradictory: upland conditions tended to preserve peasant freedoms (livestock husbandry in particular being less labour-intensive and therefore less demanding of villein services); on the other hand, some upland areas of Europe showed some of the most oppressive manorial conditions, while lowland eastern England is credited with an exceptionally large free peasantry, in part a legacy of Scandinavian settlement.

text: Similarly, the spread of money economy stimulated the replacement of labour services by money payments, but the growth of the money supply and resulting inflation after 1170 initially led nobles to take back leased estates and to re-impose labour dues as the value of fixed cash payments declined in real terms.[citation needed]


document_title: The Longest Ride (film)

question_text: who plays the girl in the longest ride

question_tokens: who plays the girl in the longest ride

text: The Longest Ride (film)

text: Plot[edit]

text: Luke Collins (Scott Eastwood) is a bull rider on the Professional Bull Riders (PBR) tour, who is seriously injured one night while performing. A year later after recovering, he starts riding again and meets Sophia Danko (Britt Robertson) after she attends the show. She is an art lover living at a sorority house with an internship secured in New York City. On the way home from their first date, they spot a car crash in the woods and help rescue an older man who is stuck inside. Sophia also pulls a wicker box from the vehicle.

text: While in the hospital, Sophia continuously visits the man she and Luke rescued, Ira Levinson (Alan Alda). He explains that there are letters in the box, which he wrote as a teenager, and she offers to read them to him. They tell the story of how he met his late wife, Ruth (Oona Chaplin), on April 10, 1940. Their stories start to interweave. Luke finds an old photograph of Ira and Ruth that fell out of the box in his car and takes it to him at the hospital. In flashbacks, Ruth tells a young Ira that she wants a big family and, eventually, he proposes to her before leaving to fight in World War II. However, Ira is shot during an attack and is later informed by the doctor that he can no longer have children, news that causes distance between him and Ruth when he returns; as he knows how much she wants to be a mother. They decide to make it work regardless and move in together, decorating the house with many paintings that he and Ruth love.

text: Luke continues riding bulls, no matter the risk of being hurt again, while he and Sophia fall in love. Ira is now out of the hospital and has been moved to a nursing home, where Sophia continues to visit. She gets a call from her boss in New York asking her to attend an art exhibit in Charlotte the following week, which she invites Luke to. While they're there, Luke makes a rude comment to Sophia's boss, which causes an argument between them. They talk about how their worlds are so different and Luke doesn't feel that their romance will work out because of it. Back home, Sophia goes to Ira for advice. He then tells the story of how they made their situation work. Ruth was a school teacher who became very attached to a young boy named Daniel McDonald in her class. Because Daniel lives with his uncaring half-brother and his wife, she and Ira begin taking him in as their own and Ruth later decides to officially adopt him as her son, but his hardhearted relatives wouldn't allow it.

text: Meanwhile, Luke injures himself again, causing him to be rushed to the hospital. As Sophia is leaving for New York, she gets a call and goes to see him. Luke is advised not to ride again but refuses to accept that his career is over. Following an argument, Luke and Sophia break up. In flashbacks, Ira and Ruth also break up because she can't see a life with him without children in their future. However, weeks later, Ruth returns and they confess their love for one another. One morning, now eighty years old, Ira wakes up to find Ruth has died in her sleep. He boxes up all of the paintings they collected together to sell them at an auction. One night, a woman knocks on his door claiming to be the wife of Daniel McDonald, the child they almost adopted when they were younger, to inform him that Daniel, who later became an astronomer in Britain, has died. She gives him a portrait of Ruth that Daniel had painted and the photograph Daniel had kept of Ira and Ruth (the one Luke found in his car the day of the crash) with a message on the back that reads: "Ruth Levinson, third grade teacher. She told me I could be anything I wanted to be when I grew up". Daniel became a professor of astronomy in memory of his favorite teacher.

text: Sophia continues her studies at Wake Forest and Luke continues to ride bulls. One day, they are both contacted by Ira's attorney, (Sophia receives a phone call while in class; Luke opens a letter after a difficult ride) to inform them that Ira has died and that there will be an auction held for the paintings. Luke wins his last ride and wins the championship bull cup, but feels disappointed because Sophia isn't there with him. He then decides to go to the auction, where he buys the first painting, Daniel's portrait of Ruth. Sophia and Luke talk, and he tells her he won't ride anymore because what he really wants is to be with her. While they kiss, an uproar breaks out in the auction room. Luke is informed that he is now the owner of all of Ira's paintings since Ira left a message in his will stating that whoever bought the portrait would get them all since it was the most important one to him, making Luke very wealthy in the process.

text: One year later, Luke and Sophia, now married, have built a museum dedicated to Ira and Ruth and their paintings. Luke takes Sophia to the old college where Ira and Ruth used to spend their wedding anniversary. They sit under exactly the same tree and read Ira's letters together.

text: Cast[edit]

text:
Scott Eastwood as Luke Collins
Britt Robertson as Sophia Danko
Alan Alda as Ira Levinson
Jack Huston as Young Ira
Oona Chaplin as Ruth
Melissa Benoist as Marcia
Lolita Davidovich as Linda Collins
Gloria Reuben as Adrienne Francis
Barry Ratcliffe as the Auctioneer
Brett Edwards as Jared Middleton
Hunter Burke as David Stein
Alina Lia as Brooke
Rango the Bull as Himself[4][5]

text: Production[edit]

text: Development[edit]

text: In April 2014, Fox 2000 Pictures set a film adaptation to be released on April 10, 2015, with George Tillman Jr. in final talks to direct, Craig Bolotin adapting the screenplay, and Britt Robertson as Sophia Danko, Oona Chaplin as Ruth, Scott Eastwood as Luke Collins, Jack Huston as Young Ira, and Alan Alda as old Ira.[6][7][8][9][10]

text: Filming[edit]

text: Principal photography began on June 16, 2014, in Wilmington and Winston-Salem, North Carolina.[11][12][13] On July 28, filming started in Jacksonville, where a major rodeo scene was shot. The PBR was the technical advisor and producer for all of the bull riding events.[14] PBR bull riders doubled for Scott and appeared in the film.[14] The star bull in the movie is played by beloved top ranking PBR bull Rango.[5] The crew then moved to Winston-Salem at the Lawrence Joel Veterans Memorial Coliseum.[15][16]

text: Reception[edit]

text: Box office[edit]

text: The Longest Ride has grossed $37,446,117 in North America and $25,498,698 in other territories for a worldwide total of $62,944,815.[3]

text: In its opening weekend, the film grossed $13,019,686, finishing third at the box office behind Furious 7 ($59,585,930) and Home ($18,532,280).[3]

text: Critical reception[edit]

text: The Longest Ride has received negative reviews from critics. On review aggregator website Rotten Tomatoes, the film has a rating of 29%, based on 112 reviews, with an average rating of 4.4/10. The site's critical consensus reads, "The Longest Ride is less manipulative than the average Nicholas Sparks film, but it's still saccharine and hopelessly contrived — not that it'll matter to the target audience."[17] On Metacritic, which assigns a normalized rating, the film has a score of 33 out of 100, based on 30 critics, indicating "generally unfavorable reviews".[18] It earned an average grade of "A" in CinemaScore poll on an A+ to F scale,[19] marking the first Sparks feature adaptation to earn an A in 11 years since The Notebook (2004).[20]

text: Accolades[edit]

text:
Year
Ceremony
Category
Recipient(s)
Result

2015
Teen Choice Awards
Choice Movie: Drama
The Longest Ride
Nominated

Choice Movie Actor: Drama
Scott Eastwood
Won

Choice Movie Actress: Drama
Britt Robertson
Nominated

Choice Movie: Breakout Star
Scott Eastwood
Nominated

2016
People's Choice Awards
Favorite Dramatic Movie
The Longest Ride
Nominated

text: Home media[edit]

text: The Longest Ride was released on DVD and Blu-ray on July 14, 2015.


document_title: Batman: The Enemy Within

question_text: when does episode 5 of the enemy within come out

text: Batman: The Enemy Within

text: Gameplay[edit]

text: Like most Telltale games, the game features a similar episodic format found in other titles (such as Game of Thrones, The Walking Dead, The Wolf Among Us and Tales from the Borderlands). The player controls Bruce Wayne and his alter-ego Batman, with the game evenly split for both characters. The game features a branching narrative, similar to past Telltale games, giving the player options in approaching a situation and having that choice affect later events in the game. If the player had played the previous game, choices made, such as saving certain characters or stopping a criminal, may also be imported, though the game can be played as a standalone title. The game includes action sequences that are resolved similar to Telltale's other games, using quick time events. The series also includes investigation sequences, allowing the player to use Batman's detective skills to investigate areas. Sections of the game also present situations to the player where they may choose to approach as Bruce Wayne or as Batman. Crowd Play, a feature implemented in the predecessor, also returns for The Enemy Within, allowing streamers to let their audience interact with their session with the game.

text: Synopsis[edit]

text: Characters[edit]

text: The player once again assumes control of Bruce Wayne/Batman (Troy Baker), a billionaire who secretly fights crime in Gotham. His butler and former legal guardian Alfred Pennyworth (Enn Reitel), Police Commissioner James Gordon (Murphy Guyer), and Wayne Enterprises Chief of Technology Lucius Fox (Dave Fennoy) return to assist Batman in the field. The game introduces "The Agency", a mysterious government organization with its own agenda led by the ruthless Amanda Waller (Debra Wilson). New supporting characters are also introduced, including Special Agent Iman Avesta (Emily O'Brien), one of the Agency's operatives, and Tiffany Fox (Valarie Rae Miller), the daughter of Lucius and an employee at Wayne Enterprises.

text: "John Doe" (Anthony Ingruber) and Selina Kyle/Catwoman (Laura Bailey) also return, now members of a group of criminals called "the Pact". Other members of the group include Riddler (Robin Atkin Downes), Bane (J. B. Blanc), Dr. Victor Fries/Mr. Freeze (Matthew Mercer) and Harleen Quinzel/Harley Quinn (Laura Post).

text: Detective Renee Montoya (Sumalee Montano), Reporter Jack Ryder (Robert Clotworthy) and Wayne Enterprises Chairwoman Regina Zellerbach (Lorri Holt) return with smaller roles within the series. New minor characters introduced include Police Detective Harvey Bullock (Keith Szarabajka), Agency operative Vernon Blake (Christian Lanz), international arms dealer Rumi Mori (Keone Young), Riddler's second-in-command Eli Knable (Alex Hernandez), and Stacked Deck patrons Frank Dumfree and Willy Deever (Kirk Thornton and Dave B. Mitchell respectively).

text: Setting[edit]

text: The Enemy Within is set in the same Batman continuity introduced in Batman: The Telltale Series, which took place a number of years into Batman's career. Like the previous installment, the game is set during the mid-to-late 2010s in Gotham City, primarily the Batcave, Wayne Enterprises and Gotham City Police Headquarters. The game also follows the events of the previous game, taking place between a couple of months to a year after these events.

text: Plot[edit]

text: Approximately a year after the defeat of the Children of Arkham, Batman continues to patrol Gotham while slowly regaining his reputation as Bruce Wayne. While targeting an arms dealer, he witnesses the return of the Riddler, one of Gotham's first super-criminals. Confronting the criminal with help from Gordon and the GCPD, he fails to capture him and is assisted by the Agency and their operatives. During their clean up, Batman meets Amanda Waller, the director of the Agency, who take over the investigation and offers to assist him in tracking Riddler. After returning to the Batcave with a puzzle left by Riddler, Bruce solves it, though is fazed when discovering a signal emitter. When Lucius Fox, the chief of technology at Wayne Enterprises investigates, he is mysteriously killed in an explosion. At Lucius' funeral, Bruce reunites with former Arkham patient "John Doe", who has been discharged for good behavior. John, having made a number of "friends" after his release, asks Bruce to meet and joined his group, which he refers to as "the Pact". When finding out that Bruce is searching for Riddler, John gives him a lead to investigate in Gotham's East End.

text: With Gordon, Batman follows the lead to discover Riddler's lair, where he discovers clues to his plans and a death trap to solve. He also finds a radio wave guided homing missile and deduces that the signal was actually a homing guide and had drawn a missile to its location if allowed to play long enough, resulting Fox's death. Using evidence he finds, Batman deduces that Riddler plans to target the Agency, having hacked the agent's phones and making them send the targeting signal to call missiles to their locations. Determined to find Riddler, Bruce follows another lead and tracks him to a freight ship. After escaping a deadly game set up by Riddler, Batman manages to redirect the missiles and defeats the criminal. As he is interrogated by the vigilante, Riddler is shot with a poisoned dart and dies, revealing that he is also a member of the Pact. As the Agency and GCPD arrive, Waller takes over law enforcement in Gotham and reveals to Batman her knowledge of his true identity. Waller suggests that he infiltrates the Pact as his alter-ego and gives him an ultimatum: work with the Agency to help arrest the Pact or risk having his identity exposed.

text: Several moments later, a series of explosions go off throughout the city. Responding to an attack at the police arsenal, Batman battles another member of the Pact, Bane, who easily overpowers him with help from a steroid called Venom. Surviving thanks to help from either Gordon or Waller, Batman decides to follow the latter's advice and meets with John to accept his offer. The two meet at a bar, where he is introduced to John's former psychiatrist Harleen Quinzel, now the criminal Harley Quinn. Suspicious of Bruce, Harley gives him a chance to prove himself by stealing a prototype electrical skeleton key from Wayne Enterprises, with them joining him during the heist. Despite problems, including an unexpected encounter with Lucius' grieving daughter Tiffany, he is able to get the device to them and an EMP generator. After this show of compliance, Bruce is called to meet the other members of the Pact, Bane and Mr. Freeze, and convince them to vote him into the group. Successful, he joins them on their latest heist: a mysterious package guarded by an Agency convoy. With Waller refusing to help, Bruce is forced to assist the Pact and escapes with them. Upon returning to the group's hideout, the target is revealed to have been the Riddler's body and that his former ally Catwoman is also a member of the Pact.

text: After copying Riddler's eyes, Harley reveals one of Riddler's laptops, which he had left in their possession, and Bruce, John and Catwoman head to his hideout to find the location of their mark. After solving another death trap hidden in the lair, they discover the target to be an organization called SANCTUS, which Riddler was formerly associated with. The Pact also begin to suspect a mole, due to the time it took for the job to escalate, and suspicions fall on Bruce. After retrieving Harley's laptop through help from either Selina or John, Bruce finds that SANCTUS was one of the Agency's former divisions in charge of experimentation. The laptop contains evidence of a biological weapon called LOTUS and the lab's location, where it is being kept. After the Pact learn of the lab's location, Bruce is forced to either give himself or Selina up as the mole, leading to the Pact attempting to execute them.

text: Depending on the decision, Bruce either accompanies them during the heist and sabotages it or escapes from his fate and confronts the group as Batman, possibly with Catwoman's help. During the heist, Harley betrays the Pact and escapes with the virus, whilst Freeze and Bane are captured by the Agency. While searching for her, Bruce learns that Project LOTUS was a failed restorative agent, with Riddler being the only known survivor of the experiment. The members of the Pact have planned to use his blood to convert the virus into a healing serum to cure their own ailments. However, Waller has been aware of this plan and plotting to blackmail them into joining the Agency, with the promise of a cure. Unknown to all parties, using even the working version can cause mental problems for the user. After following another lead given by John, Bruce finds him surrounded by agents' bodies. Claiming it to be self defense, John realizes the truth about their "friendship" and reveals his knowledge of Bruce's activities as Batman. Regardless of whether he believes him, Bruce leaves to help the Agency capture a volatile Harley Quinn. During the confrontation, John arrives and attacks the Agency, escaping with LOTUS and potentially Quinn, the latter depending on the player's choices.

text: Several weeks later, John, now known as "Joker", reemerges, now either a vigilante with a twisted sense of right and wrong or a criminal collaborating with Quinn to get revenge on Bruce. The former has Batman briefly working with Joker to fights off the Agency, until he kidnaps and attempts to kill Waller. However, the latter has Joker and Harley terrorizing the city with LOTUS and forcing Bruce into a demented game, pitting him against his allies. Regardless of the path, Bruce learns that Tiffany murdered Riddler to avenge her father and he eventually defeats Joker. Following Joker's capture, Waller orders the Agency to leave Gotham and promises not to reveal Bruce's identity. As Batman, Bruce confronts Tiffany, leading to her either leaving to work for the Agency, joining him in his crusade against crime, escaping to become a fugitive, or being handed over to the authorities for murder. Returning to the manor, Bruce learns that Alfred has decided to leave Gotham to return home, having been struggling to continue since he was kidnapped by Lady Arkham. After a heated discussion, Bruce either decides to leave the life of vigilantism behind to convince Alfred to stay or allows him to leave whilst he continues to operate as Batman.

text: In a post credits scene, Joker is shown to have been returned to Arkham Asylum. If he was a vigilante, he is either visited by Bruce or decides to become the hero's archenemy. However, if he was a criminal, he is shown playing with a doll version of Bruce, which he promises to see again.

text: Episodes[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original release date

1
1
"The Enigma"
Kent Mudle
James Windeler, Patrick Kevin Day & Shanon Ingles
August 8, 2017 (2017-08-08)

2
2
"The Pact"
Matthew Leach
Luke McMullen, Chris Hockabout, Shanon Ingles & Patrick Kevin Day
October 3, 2017 (2017-10-03)

3
3
"Fractured Mask"
Sean Manning
Ross Beeley, Shanon Ingles, Lauren R. Mee & Josh R. Trujillo
November 21, 2017 (2017-11-21)

4
4
"What Ails You"
Chris Rieser
Patrick Kevin Day & Lauren R. Mee
January 23, 2018 (2018-01-23)

5
5
"Same Stitch"
Kent Mudle
Meghan Thornton, Ross Beeley & Lauren R. Mee
March 27, 2018 (2018-03-27)

text: Reception[edit]

text: Critical reception[edit]

text: This section may lend undue weight to certain ideas, incidents, or controversies. Please help to create a more balanced presentation. Discuss and resolve this issue before removing this message. (April 2018)

text: Batman: The Enemy Within received generally positive reviews from critics, some of which considered it an improvement over its predecessor, earning praise for its story, choices, action sequences, and portrayal of the Batman mythos.[3][4][5] The game won the award for "Performance in a Drama, Supporting" with Debra Wilson at the 17th Annual National Academy of Video Game Trade Reviewers Awards, whereas its other nomination was for "Game, Franchise Adventure".[6][7]

text: Many reviewers praised the game's unique depiction of the Joker, with the player being given the opportunity to try to prevent him from becoming a villain. For example, Scott Maslow from GQ was happily surprised by this version of the Joker and said it managed to make "Batman's most overexposed villain" interesting again: "The Joker has always said his past is multiple-choice, but this is the first time I’ve felt like I was the one checking the boxes."[8] Bradley Shankar from MobileSyrup was especially positive with a review titled "Batman: The Enemy Within offers one of the greatest Joker stories ever told". He explained: "... while there have been numerous great interpretations of the Batman-Joker relationship over the years, there has never been one quite as complex and morally grey as what Telltale has created with The Enemy Within".[9] Tamoor Hussain from GameSpot gave the final episode a 9/10, concluding: "While Telltale's first Batman season stuck a bit too close to established mythos and delivered an underwhelming ending, the second is a memorable Joker origin story that Bat-fans should make a point of playing."[10] Stephanie Chan from VentureBeat was slightly less enthusiastic but still gave the game a score of 80/100 and said: "By the end of the series, I’ll say that Batman: The Enemy Within has tentatively won me over. That’s purely on the strength of the relationship between Batman and The Joker."[11]


document_title: Grammar–translation method

question_text: mention any one limitation of the grammar translation method

text: Grammar–translation method

text: Criticism of the term[edit]

text: The overall concept of grammar-translation has been criticized due to a lack of verifiable sources that supported the existence of such a method in the nineteenth century, or earlier.[2]

text: History and philosophy[edit]

text: The grammar–translation method originated from the practice of teaching Latin. In the early 1500s, Latin was the most widely studied foreign language due to its prominence in government, academia, and business. However, during the course of the century the use of Latin dwindled, and it was gradually replaced by English, French, and Italian. After the decline of Latin, the purpose of learning it in schools changed. Whereas previously students had learned Latin for the purpose of communication, it came to be learned as a purely academic subject[citation needed].

text: Throughout Europe in the 18th and 19th centuries, the education system was formed primarily around a concept called faculty psychology. This theory dictated that the body and mind were separate and the mind consisted of three parts: the will, emotion, and intellect. It was believed that the intellect could be sharpened enough to eventually control the will and emotions. The way to do this was through learning classical literature of the Greeks and Romans, as well as mathematics.[3] Additionally, an adult with such an education was considered mentally prepared for the world and its challenges.

text: At first it was believed[by whom?] that teaching modern languages was not useful for the development of mental discipline and thus they were left out of the curriculum.[citation needed] When modern languages did begin to appear in school curricula in the 19th century, teachers taught them with the same grammar–translation method as was used for classical Latin and Greek.[4] As a result, textbooks were essentially copied for the modern language classroom. In the United States of America, the basic foundations of this method were used in most high school and college foreign language classrooms.

text: Principles and goals[edit]

text: There are two main goals to grammar–translation classes. One is to develop students' reading ability to a level where they can read literature in the target language.[5] The other is to develop students' general mental discipline. The users of foreign language wanted simply to note things of their interest in the literature of foreign languages. Therefore, this method focuses on reading and writing and has developed techniques which facilitate more or less the learning of reading and writing only. As a result, speaking and listening are overlooked.[6]

text: Method[edit]

text: Grammar–translation classes are usually conducted in the students' native language. Grammar rules are learned deductively; students learn grammar rules by rote,[7] and then practice the rules by doing grammar drills and translating sentences to and from the target language. More attention is paid to the form of the sentences being translated than to their content. When students reach more advanced levels of achievement, they may translate entire texts from the target language. Tests often consist of the translation of classical texts.

text: There is not usually any listening or speaking practice, and very little attention is placed on pronunciation or any communicative aspects of the language. The skill exercised is reading, and then only in the context of translation.

text: Materials[edit]

text: The mainstay of classroom materials for the grammar–translation method is the textbook. Textbooks in the 19th century attempted to codify the grammar of the target language into discrete rules for students to learn and memorize. A chapter in a typical grammar–translation textbook would begin with a bilingual vocabulary list, after which there would be grammar rules for students to study and sentences for them to translate.[4] Some typical sentences from 19th-century textbooks are as follows:

text: The philosopher pulled the lower jaw of the hen.

text: My sons have bought the mirrors of the Duke.

text: Reception[edit]

text: The method by definition has a very limited scope. Because speaking or any kind of spontaneous creative output was missing from the curriculum, students would often fail at speaking or even letter writing in the target language . A noteworthy quote describing the effect of this method comes from Bahlsen, who was a student of Plötz, a major proponent of this method[citation needed] in the 19th century. In commenting about writing letters or speaking he said he would be overcome with "a veritable forest of paragraphs, and an impenetrable thicket of grammatical rules".[9]

text: According to Richards and Rodgers, the grammar–translation has been rejected as a legitimate language teaching method by modern scholars:

text: [T]hough it may be true to say that the Grammar-Translation Method is still widely practiced, it has no advocates. It is a method for which there is no theory. There is no literature that offers a rationale or justification for it or that attempts to relate it to issues in linguistics, psychology, or educational theory.[10]

text: Influence[edit]

text: The grammar–translation method was the standard way languages were taught in schools from the 17th to the 19th century. Despite attempts at reform from Roger Ascham, Montaigne, Comenius and John Locke, no other methods gained any significant popularity during this time.

text: Later, theorists such as Viëtor, Passy, Berlitz, and Jespersen began to talk about what a new kind of foreign language instruction needed, shedding light on what the grammar–translation was missing. They supported teaching the language, not about the language, and teaching in the target language, emphasizing speech as well as text. Through grammar–translation, students lacked an active role in the classroom, often correcting their own work and strictly following the textbook.

text: Despite all of these drawbacks, the grammar–translation method is still the most used method all over the world in language teaching. This is not surprising as most language proficiency books and tests are in the format of grammar–translation method; and hence the use of the method continues.

text: Notes[edit]

text:
Jump up ^ Zhou, G. & Niu, X. (2015). Approaches to language teaching and learning. Journal of Language Teaching and Research, 6(4), p. 798
Jump up ^ Bonilla Carvajal 2013, p. 247.
Jump up ^ Hatfield, Gary (1997). Easton, Patricia, ed. Logic and the Workings of the Mind: The Logic of Ideas and Faculty Psychology in Early Modern Philosophy. Ridgeview Publishing Co. pp. 21–45.
^ Jump up to: a b Richards & Rodgers 2001, p. 4.
Jump up ^ Richards & Rodgers 2001, p. 5.
Jump up ^ Kho, Mu-Jeong (2016). How to Implant a Semiotic and Mathematical DNA into Learning English, Seoul: Booklab Publishing Co. ISBN 979-11-87300-04-5 (53740), 261 pages.
Jump up ^ 1943-, Richards, Jack C.,. Approaches and methods in language teaching. Rodgers, Theodore S. (Theodore Stephen), 1934- (Third ed.). New York. ISBN 9781107675964. OCLC 864808581.
Jump up ^ Titone 1968, p. 28, cited in Richards & Rodgers 2001, p. 4.
Jump up ^ Bahlsen, Leopold (1905). The Teaching of Modern Languages. Boston: Ginn & Co. p. 12.
Jump up ^ Richards & Rodgers 2001, p. 7.


document_title: Aaron Hotchner

question_text: when did hotch get stabbed by the reaper

text: Aaron Hotchner

text: Development[edit]

text: Gibson was cast as Hotchner having previously starred in the comedy series Dharma and Greg. Of the transition to Criminal Minds, he explained: "It's very nice to do a little bit of the darkness after a little bit of the lightness. Variety is the spice of life. I enjoy both and hopefully I will be able to do as big a variety as I possibly can."[2] Gibson's family lives in San Antonio, Texas, while he commutes to Los Angeles to film Criminal Minds on a weekly basis, something he feels gives him an insight into Hotch's divided priorities.[3] Discussing the effect working in the BAU has on the agents' personal lives, Gibson opined: "I think it can't help but take some toll. And the first casualty may not be the agents themselves, but their families, spouses and children."[4] Prior to Hotch and Haley's separation, in a 2007 interview Gibson stated that he hoped the two would make their relationship last, explaining: "Marriage can certainly survive lots of hardships. You think about in real life the marriages that survive. They certainly suffer... and I think it's going to be very interesting to see how they work it out because I know it's certainly taking its toll. Haley wanted the marriage to work out."[3] Discussing the conflict between Hotch's career and home life, Gibson detailed:

text: He knows his family is getting the short shift. He knows his job is costing him in time spent with his wife and son. I think he's sincere when he says he wants to be there for his family. But it's really, really hard doing what they do - being on call and dedicated to the job. To be able to pull both of those things off, I think that his ambitions have to come face to face with a certain reality that's in contradiction with what he thought was possible. It'll be very interesting to see how it all shakes out, because I think his realistic appraisal of all the balls he thought he was capable of keeping in the air at the same time - something's gotta give... I'm not sure he's reconciled what's gotta give. His job is very important.

text: Gibson characterized Hotch as having "moments of levity", but continued: "Unfortunately, he has a very, very, probably-dusty-it's-so-dry sense of humor. It's pretty dark. It's pretty bone dry. We all need a little levity, but I wouldn't necessarily look for him to break into song and dance. I think Hotch feels there's a lot at stake all the time."[3] Prior to the departure of Mandy Patinkin's Jason Gideon from the series, Gibson described Gideon and Hotch as "an old married couple", deeming them father figures to the rest of the BAU and professional peers to one another.[3] Of Hotch's relationship with the rest of the BAU team, Gibson commented:

text: I think they all know he is dedicated to doing the job. I think he understands how to negotiate both his responsibilities to the team and his own responsibilities to the job and put aside some of the things that might be sources of conflict within the time. When you spend that much time with people you're going to have conflict, and he's aware of that... There's also a kind of detachment that has to be there for you to do this job acceptably, but at the same time there's a very engaged quality to the work where you have to dedicate yourself to the idea that you're putting yourself in these criminals' shoes, because that's how they're effective at doing it.[3]

text: Before Gibson was cast in the role, the character was originally envisioned as a "blonde haired, blue-eyed Mormon".[5]

text: Storylines[edit]

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text: Backstory[edit]

text: Hotch first met his future wife Haley Brooks in high school. They married soon thereafter, and were initially happy together. Before joining the FBI, Hotch worked as a prosecutorE301 for the District Attorney's office.E319 He has a younger brother named Sean (Eric Johnson), a New York City-based chef.E116 His mother is an alumna of Mary Baldwin College in Staunton, VA.E11. Their father was a workaholic lawyer who survived cancer,E219 and suffered a heart attack at 47, dying while Sean was still a child.E116

text: Upon joining the FBI, Hotch was initially assigned to the Field Office in Seattle, Washington, before transferring to Quantico, Virginia.

text: In "Natural Born Killer", Hotchner spoke to a serial killer, Vincent Perotta (Patrick Kilpatrick), and discussed the physical abuse he suffered as a child at the hands of his father. Perotta claimed that everyone who is abused as a child becomes a serial killer, with Hotchner correcting him by saying that "some people grow up to become serial killers". When Perotta caught the correction, he asked what the use of "some" meant. Hotchner replied by saying "and some people grow up to catch them". From his explanation to Perotta earlier, it seems Hotchner and his mother were abused, but she did not do anything with the issue.

text: Criminal Minds[edit]

text: In general, Hotchner is depicted as a hard-working, (mostly) humorless, no-nonsense agent who rarely smiles or acts out in anger; his aloof demeanor and composure tend to be mistaken for a complete lack of emotion. He takes great care to avoid antagonizing witnesses, local law enforcement and suspects unless he believes provoking them will cause them to reveal information, occasionally chastising his team mates for needlessly flippant or hostile behavior. With few exceptions, he takes the ethics of his profession very seriously, as evidenced by his angry reaction to Elle Greenaway's killing of a suspect, which he (correctly) believed was cold-blooded murder. Though lacking evidence, he very clearly stated he would arrest her if he had such. He occasionally sympathizes with the subjects he pursues, although he universally condemns their behavior and never allows them to justify it.

text: Following the birth of his son Jack, Hotch's work with the BAU began disrupting his family life. Following a two-week suspension in 2007 (engineered by office rival Section Chief Erin Strauss after a case at a college campus in Flagstaff, Arizona that ended in disaster when both serial killer Nathan Tubbs and copycat killer Anna Begley died), he requested a transfer to a different division, which pleased Haley, until Derek Morgan (Shemar Moore) convinced him to help the team with a case in Milwaukee. He changed his mind about leaving the department, and when he returned home, he found that Haley had taken Jack and left him.E302 He was later served with divorce papers at work.E311 Hotch attempted to see Jack weekly, but was unable to spend time with him as often as he would like.E416

text: At the beginning of the show's fourth season, it was shown that the car exploding at the end of season three was Hotch's SUV. Both he and SSA Kate Joyner were caught in the bombing outside the New York City Federal Plaza. Kate eventually died from her injuries, and Hotch suffered shrapnel wounds and a punctured eardrum which resulted in hyperacusis, causing temporary hearing problems.E402 Later in the season, the team worked one of Hotch's old cases: the case of the Boston Reaper. Hotch revealed to Rossi that he had maintained an interest in the case over the ten years since he had investigated it. It was also shown that the Reaper, a power-hungry predator, had taken an interest in Hotch himself.

text: After being misled for a time, Hotch and the team finally identified the Reaper as George Foyet, the only one to have supposedly survived the Reaper by injuring himself. Hotch and the team arrested Foyet but he escaped from prison shortly afterward, going on the run. In the season four finale, "...And Back", Hotch was confronted in his apartment by the Reaper (identified by his trademark mask).E426 Foyet stabbed Hotch nine times and tortured him with a knife before delivering him to the hospital. Although Hotch survived, Foyet took Haley's and Jack's address from Hotch's apartment, requiring them to be placed in protective custody and unable to contact Hotch while Foyet was at large. Following the encounter with Foyet and subsequent loss of contact with Hotch's family, there was concern within the Bureau, and also on the part of Agent Morgan, that Agent Hotchner was suffering the effects of Post Traumatic Stress Disorder, and Hotchner's actions were analyzed more closely.E502 In season 9, Hotch is hospitalized due to complications from the old stab wounds after collapsing in the team's conference room.

text:
When Chief Strauss began putting pressure on Hotchner to
justify all of his tactical decisions, E505 Hotch decided to step down as unit chief to avoid being reassigned to a different unit. He relinquished his position to Morgan, which he accepted on the condition that he would step down once Foyet had been captured. Shortly thereafter Foyet reappeared,E508 baiting Hotchner through correspondence with an old unsub (The Fox) who had been convicted and imprisoned after being captured in the Season 1 episode, "The Fox". With the help of the team, Hotchner proceeded to track Foyet,E509 who posed as a US Marshal in order to locate Haley and Jack. Having gained access to her Witsec-issued home, Foyet forced Haley to call Hotch on speaker phone. Hotch managed to issue a code to their son, Jack, which meant for him to go hide in his secret place. However, Hotch was unable to save Haley, whom Foyet murdered while she was still talking to him on the phone.

text: Upon arriving at the house, Hotch found Haley's body in the bedroom and noticed Foyet hiding behind the curtains. He repeatedly shot at his shadow outlined in the curtains only to discover Foyet was wearing a bullet-proof vest. A full-out hand-to-hand fight then ensued, with Foyet eventually lying on the floor with Hotch sitting on top of him. In shock, enraged and afraid for his son's life, Hotchner continued to pummel Foyet's head and face, literally beating him to death. Although dead, he continued pounding on Foyet until the rest of the team arrived; Morgan had to physically restrain Hotch to get him to stop. During the post-incident inquiry by Section Chief Strauss, the team demonstrated complete support of Agent Hotchner and his actions, despite Strauss's persistence in painting them as premeditated. Her position towards the events eventually changed upon speaking directly with Agent Hotchner who, when asked what he believed would have happened if Foyet had lived, responded: "I don't have to think; I know that he would have tried to kill my son, too." Chief Strauss concluded that Hotchner's actions were entirely justifiable.

text:
After his ex-wife's murder, Hotch took time off to grieve and spend time with his son. He spoke at Haley's funeral.E510 It was clear that Jack was missing his mother, and was comforted by sleeping in his dad's bed. Hotch was offered early retirement from the BAU in order to be with his son. However, after Haley's sister, Jessica, offered to stay with Jack when Hotch had to go away, Hotch agreed and decided to return to the BAU.
Since then, Hotch has attempted to build a better relationship with his son by being his pillar of support. Many of Jack's actions make it clear that he holds his father in high regard. For example, in one scene,E510 Jack is shown playing with two figures at the dinner table. He explains to his father that one figure is Hotch, while the other is a "bad guy". When Jack's Aunt Jessica, who is making pancakes for dinner, asks Jack who is going to win, he replies: "Daddy. No one beats Daddy."

text: In another episode,E606 he refuses to dress up as Spider-Man for Halloween because "he's not a real super hero". Instead Jack puts on a suit that is slightly too large for him, and when Hotch asks him what hero he's supposed to be, he says, "I'm you, Daddy." Later on, Hotch is asked to coach Jack's soccer team when the team's performance lacks and he decides to do it with a little help from Rossi, whom he takes on as his assistant. At the end of the episode, Hotch and Rossi are shown coaching Jack's team and making them win. Despite his many responsibilities, after JJ's departure from the team, Hotch has chosen to take on part of JJ's role as media liaison, a move that he shares with Penelope Garcia. Former Media Communications Officer Jennifer "JJ" Jareau has moved on to become an official full-time profiler.

text: Hotchner requested to run the psych review on his team following Prentiss' "death". This request was granted by Strauss, and saw the different reactions from his team. Strauss questioned why he had not submitted a psych report for himself, he made an excuse. Hotch is also very protective of Spencer Reid, which is shown in small ways throughout the episodes. In the pilot episode "Extreme Aggressor", Hotch explains that they introduce him as Dr. Spencer Reid instead of Special Agent Spencer Reid so that people will respect him despite his youth. He has mostly taken over the fatherly role with Spencer after Gideon's departure. In the season seven premiere, it was revealed that Hotch was assigned to temporary duty with an investigative task force in Pakistan during the period between seasons. Once Hotch gets back, he tells JJ it's time for the team to learn that Prentiss is alive.

text: Although JJ isn't sure it's a good idea, Hotch tells her Prentiss is already on her way. He quickly tells the team what happened with Prentiss on the operating table. Rossi, Morgan, Reid, and Garcia are all shocked. Later, in "Proof", Hotch witnesses Reid's hostile behavior towards JJ and tells him to take his anger out on him and not JJ. Reid only replies that it wasn't to Hotch whom he spent ten weeks crying over Prentiss, it was JJ, and she never said a word. In addition to being a BAU Special Agent and also the BAU Unit Chief, Hotch has been promoted to Section Chief because Erin Strauss, the former Section Chief, resigned in the episode "Self-Fulfilling Prophecy" because she had been drinking on the job. This was despite the fact that his involvement in the above mentioned, bungled Arizona case led to his being told that he was not likely to be considered for a promotion.

text: Later, Hotch makes a connection with a female runner while training for a triathlon. Hotch is hesitant and Rossi feels that is because Hotch doesn't think enough time has passed since Haley was murdered two years ago. While on the plane, the group - including Garcia - debate the issue of Hotch's dating. After their recent case, Hotch admits to Rossi that he will go on a bike ride with the woman. At the end of the episode, the woman, Beth, makes it clear that she's interested in him romantically, which leaves Hotch smiling. During the beginning of the episode "Closing Time", it is revealed that Hotch and Beth have continued training as well as having lunches together. Hotch then asks her out on a date, which she says yes to. At the end of the episode Hotch shows up a day early with roses, and he and Beth have their first kiss. Later, after running the triathlon, Hotch finally introduces his son to Beth.


document_title: In Real Life (band)

question_text: when did in real life become a band

question_tokens: when did in real life become a band

text: In Real Life (band)

text: History

text: The 10-episode season began with 30 young male vocalists competing to become a member of the new five-piece boy band. Each week, the boys would rotate into different groups and perform, at the end, the "architects" would put either two or three boys up for elimination and through live voting, a boy would be saved by America. At the end of the season, the final five remaining boys would form the boy band and receive a recording contract with Hollywood Records[2] After a 24-hour voting period the week before, it was announced at the final live show on August 24, 2017 that Tutton, Perez, Ramos, Calderon, and Conor were the winning members and formed In Real Life. There, they premiered their debut single, "Eyes Closed". In Real Life performed live on Total Request Live in November 2017,[3] Good Morning America in December 2017,[4] on Live with Kelly and Ryan and Jimmy Kimmel Live in February 2018,[5] and performed "How Badly" on Despierta América in April 2018. In 2018, the band released the singles "Tattoo (How 'Bout You)" and "How Badly".

text: In May 2018, it was announced that In Real Life would open in a supporting slot in July and August on the 2018 American Idol summer tour.[6]

text: Members

text: Brady Tutton

text: Brady Patrick Tutton was born on  (2001-12-07) December 7, 2001 (age 16) and is from Shorewood, Wisconsin. For his Boy Band, audition, Tutton sang "On Bended Knee" by Boyz II Men. He went through the ten-week competition without being placed in the bottom two and/or three. He is a trained opera singer, as well as an actor. He played "Brock" on the ABC sitcom Fresh Off the Boat in 2015. Tutton is also the lead actor in the 2018 movie, The Rocket.

text: Chance Perez

text: Chance Nickolas Perez was born on  (1997-11-10) November 10, 1997 (age 20) and originates from Seal Beach, California. In 2016, Perez auditioned for America's Got Talent along with his bandmates Jordan Perez and Tyler Reardon as "The WVKE". The group was buzzed by Howie Mandel and Heidi Klum and criticized by Simon Cowell, leading to their elimination during the audition phase, however, Chance's vocals were individually praised by Cowell. In 2017, Perez auditioned for Boy Band singing "Somebody to Love" by Queen, immediately becoming a frontrunner in the competition. Like Tutton, he was never put up for elimination.

text: Drew Ramos

text: Drew Ramos was born  (1997-10-23) October 23, 1997 (age 20) and originates from The Bronx, New York. In 2017, Ramos auditioned for the first season of ABC's Boy Band, with Sam Smith's "Stay With Me." Along with Tutton and Perez, Ramos went through the competition without being placed in a bottom two or three. His breakout performance during the competition was MAXED's performance of Lauryn Hill's rendition of "Can't Take My Eyes Off You".

text: Sergio Calderon

text: Sergio Calderon was born on  (2000-10-06) October 6, 2000 (age 17). He is from Redwood City, California. Calderon auditioned for Boy Band, with a Spanglish rendition of Prince Royce's "Stand by Me". On August 10, 2017, Calderon was placed in the bottom two along with former contestant Devin Hayes, but he was saved by America.

text: Michael Conor

text: Conor Michael Smith[7] (known professionally as Michael Conor) was born on  (1999-06-07) June 7, 1999 (age 19). He is from Shaker Heights, Ohio. He auditioned for Boy Band as a rapping-violinist with "A Little More" by Machine Gun Kelly. Like Tutton, Perez, and Ramos, he was never in danger of elimination.

text: Some of his influences include Logic, Machine Gun Kelly and Future.

text: Discography

text: Singles

text:
Title

Year

Peak chart positions

Album

US Pop

"Eyes Closed"

2017

—

TBA

"Feel This Christmas/I'll Be Home For Christmas"

—

non-album single

"Tattoo (How Bout' You)"

2018

29[8]

TBA

"How Badly"

—

TBA

"Tonight Belongs to You"

—

TBA

text: Music videos

text:
2017: "Eyes Closed"
2017: "Eyes Closed Acoustic"
2017: "Feel This Christmas"
2017: "I'll Be Home For Christmas"
2018: "Tattoo (How Bout' You)"
2018: "Tonight Belongs to You"

text: Tours

text: Tonight Belongs to You Tour