document_title: Spartan army

question_text: what does the symbol on spartan shields mean

text: Spartan army

text: Mycenaean age[edit]

text: The first reference to the Spartans at war is in the Iliad, in which they featured among the other Greek contingents. Like the rest of the Mycenaean-era armies, it was depicted as composed largely of infantry, equipped with short swords, spears, and Dipylon-type ("8"-shaped simple round bronze shields). This was the Golden Age of Warfare.

text: Each opposing army tried to fight through the other line on the right (strong or deep) side and then turn left; wherefore they would be able to attack the vulnerable flank. When this happened, it as a rule caused the army to be routed. The fleeing enemy were put to the sword only as far as the field of battle extended. The outcome of this one battle would determine the outcome of a particular issue. In the Golden Age of War defeated armies were not massacred; they fled back to their city and conceded superiority to the victors. It wasn't until after the Peloponnesus War that indiscriminate slaughter, enslavement and depredations were countenanced among the Greeks.

text: War chariots were used by the elite, but unlike their counterparts in the Middle East, they appear to have been used for transport, with the warrior dismounting to fight on foot and then remounting to withdraw from combat, although some accounts show warriors throwing their spear from the chariot before dismounting.[5]

text: Archaic Age and expansion[edit]

text: Mycenaean Sparta, like much of Greece, was engulfed in the Dorian invasions, which ended the Mycenaean civilization and ushered in the so-called "Greek Dark Ages". During this time, Sparta (or Lacedaemon) was merely a Doric village on the banks of the river Eurotas in Laconia. However, in the early 8th century BC, Spartan society was transformed. The reforms, which were ascribed by later tradition to the possibly mythical figure of Lycurgus, created new institutions and established the military nature of the Spartan state.[6] This "constitution of Lycurgus" remained essentially unchanged for five centuries.[6] From ca. 750 BC, Sparta embarked on a steady expansion, first by subduing Amyclae and the other settlements of Laconia, and later, in the First Messenian War, conquering the fertile country of Messenia. By the beginning of the 7th century BC, Sparta was, along with Argos, the dominant power in the Peloponnese.

text: Establishment of Spartan hegemony over the Peloponnese[edit]

text: Inevitably, these two powers collided. Initial Argive successes, such as the victory at the Battle of Hysiae in 669 BC, led to an uprising of the Messenians, which tied down the Spartan army for almost 20 years.[7] Over the course of the 6th century, Sparta secured her control of the Peloponnese peninsula: Arcadia was forced to recognize Spartan overlordship; Argos lost Cynuria (the SE coast of the Peloponnese) in about 546 and suffered a further crippling blow from Cleomenes I at the Battle of Sepeia in 494, while repeated expeditions against tyrannical regimes throughout Greece greatly raised their prestige.[8] By the early 5th century, Sparta was the unchallenged master in southern Greece, as the leading power (hegemon) of the newly established Peloponnesian League (which was more characteristically known to its contemporaries as "the Lacedaemonians and their allies").[9]

text: Persian and Peloponnesian Wars[edit]

text: By the late 6th century BC, Sparta was recognized as the preeminent Greek city-state. King Croesus of Lydia established an alliance with the Spartans,[10] and later, the Greek cities of Asia Minor appealed to them for help during the Ionian Revolt.[10] In the second Persian invasion of Greece, under Xerxes, Sparta was assigned the overall leadership of Greek forces on land and at sea. The Spartans played a crucial role in the repulsion of the invasion, notably at the battles of Thermopylae and Plataea. In the aftermath, however, due to the plottings of Pausanias with the Persians and their unwillingness to campaign too far from home, the Spartans withdrew into a relative isolation, leaving the rising power of Athens to lead the continued effort against the Persians. This isolationist tendency was further reinforced by the revolts of some of her allies and a great earthquake in 464, which was followed by a large scale revolt of the Messenian helots.[8]

text: The parallel rise of Athens as a major power in Greece led to friction with Sparta, and to two large-scale conflicts, (the First and Second Peloponnesian Wars), which devastated Greece. Sparta suffered several defeats during these wars, including, for the first time, the surrender of an entire Spartan unit at Sphacteria in 425 BC, but ultimately emerged victorious, primarily through the aid it received from the Persians. Under its admiral Lysander, the Persian-funded Peloponnesian fleet captured the cities of the Athenian alliance, and a decisive naval victory at Aegospotami forced Athens to capitulate.[8] The Athenian defeat left Sparta and its military forces in a dominant position in Greece.

text: End of Hegemony[edit]

text: Spartan ascendancy did not last long. By the end of the 5th century BC, Sparta had suffered serious casualties in the Peloponnesian Wars, and its conservative and narrow mentality alienated many of its former allies. At the same time, its military class - the Spartiate caste - was in decline for several reasons:

text:
Population decline due to Sparta's frequent wars in the late 5th century. Since Spartiates were required to marry late, birth rates remained low, making it difficult to replace their losses.
One could be demoted from Spartiate status for a number of reasons such as cowardice in battle or the inability to pay for membership in the syssitia. Inability to pay became such an increasingly severe problem because commercial activity had started to develop in Sparta.[clarification needed][why would this reduce wealth?] Some Spartiates had to sell the land from which they drew their income. As the constitution made no provisions for promotion to Spartiate caste, numbers gradually dwindled.

text: As Sparta's military power waned, Thebes repeatedly challenged its authority. The ensuing Corinthian War led to the humiliating Peace of Antalcidas that destroyed Sparta's reputation as the protector of the independence of Greek city-states. At the same time, Spartan military prestige suffered a severe blow when a mora of 600 men was decimated by peltasts (light troops) under the command of the Athenian general Iphicrates. Spartan authority finally collapsed after their disastrous defeat at the Battle of Leuctra by the Thebans commanded by Epaminondas in 371 BC. The battle, in which large numbers of Spartiates were killed, resulted in the loss of the fertile Messenia region.

text: Army organization[edit]

text: Social structure[edit]

text:
"... the allies of the Lacedaemonians were offended at Agesilaus, because ... they themselves [provided] so many [soldiers], and the Lacedaemonians, whom they followed, so few. ... Agesilaus, wishing to refute their argument with numbers ... ordered all the allies to sit down by themselves promiscuously, the Lacedaemonians apart by themselves. Then his herald called upon the potters to stand up first, and after them the smiths, next, the carpenters in their turn, and the builders, and so on through all the handicrafts. In response, almost all the allies rose up, but not a man of the Lacedaemonians; for they were forbidden to learn or practice a manual art. Then Agesilaus said with a laugh: 'You see, O men, how many more soldiers than you we are sending out.'"

Plutarch, The Life of Agesilaus, 26

text: The Spartan people (the "Lacedaemonians") were divided into three classes:

text:
Full citizens, known as the Spartiates proper, or Hómoioi ("equals" or peers), who received a grant of land (kláros or klēros, "lot") for their military service.
Perioeci (the "dwellers nearby"), free non-citizens, generally merchants, craftsmen and sailors, who were used as light infantry and on auxiliary roles on campaign.[9]
The third and most numerous class were the Helots, state-owned serfs used to farm the Spartiate klēros. By the 5th century BC, the helots too were used as light troops in skirmishes.[1]

text: The Spartiates were the core of the Spartan army: they participated in the Assembly (Apella) and provided the hoplites in the army. Indeed, they were supposed to be soldiers and nothing else, being forbidden to learn and exercise any other trade.[1] To a large degree, the constant war footing of Spartan society was needed to keep the vastly more numerous helots subdued.[11] One of the major problems of later Spartan society was the steady decline in fully enfranchised citizens, which also meant a decline in available military manpower: the number of Spartiates decreased from 6,000 in 640 BC to 1,000 in 330 BC.[12] The Spartans were therefore forced to use helot hoplites, and occasionally they freed some of the Laconian helots, the neodamōdeis (the "newly enfranchised"), and gave them land to settle in exchange for military service.[13]

text: The Spartiate population was subdivided into age groups. The youngest at 20 were counted as weaker due to lack of experience, and the oldest, up to 60 or in a crisis 65, were only called up in an emergency, to defend the baggage train.

text: Tactical structure[edit]

text: The principal source for the organization of the Spartan Army is Xenophon, who admired the Spartans and whose Constitution of Sparta offers a detailed overview of the Spartan state and society at the beginning of the 4th century BC. Other authors, notably Thucydides, also provide information, but it is not always as reliable as Xenophon's first-hand accounts.[14]

text: Little is known of the earlier organisation, and much is left open to speculation. The earliest form of social and military organization (during the 7th century BC) seems to have been the three tribes (phylai: the Pamphyloi, Hylleis and Dymanes), who appear in the Second Messenian War (685–668 BC). A further subdivision was the "fraternity" (phratra), of which 27, or nine per tribe, are recorded.[15] Eventually this system was replaced by five territorial divisions, the obai ("villages"), which supplied a lochos of ca. 1,000 men each.[16] This system was still used during the Persian Wars, as implied by references to the lochoi made by Herodotus in his history.[17]

text: The changes that occurred between the Persian and the Peloponnesian Wars are not documented, but according to Thucydides, at Mantinea in 418 BC there were 7 lochoi present, each subdivided into four pentekostyes of 128 men, which were further subdivided into four enōmotiai of 32 men, giving a total of 3,584 men for the main Spartan army.[18] By the end of the Peloponnesian War, the structure had evolved further, both to address the shortages in manpower and to create a more flexible system that allowed the Spartans to send smaller detachments on campaign or to garrisons outside their homeland.[19] According to Xenophon, the basic Spartan unit remained the enōmotia, with 36 men in three files of twelve under an enōmotarches.[20] Two enōmotiai formed a pentēkostys of 72 men under a pentēkontēr, and two pentēkostyai were grouped into a lochos of 144 men under a lochagos. Four lochoi formed a mora of 576 men under a polemarchos, the largest single tactical unit of the Spartan army.[21] Six morai composed the Spartan army on campaign, to which were added the Skiritai and the contingents of allied states.

text: The kings and the hippeis[edit]

text: The full army was normally led in battle by the two kings; initially, both went on campaign, but after the 6th century BC only one, with the other remaining at home.[6] Unlike other states, their authority was severely circumscribed; actual power rested with the five elected ephoroi.[1] The kings were accompanied by a select group of 300 men as a royal guard, who were termed hippeis ("cavalrymen"). Despite their title, they were infantry hoplites like all Spartiatai. Indeed, the Spartans did not utilize a cavalry of their own until late into the Peloponnesian War, when small units of 60 cavalrymen were attached to each mora.[21] The hippeis belonged to the first mora and were the elite of the Spartan army, being deployed on the honorary right side of the battle line. They were selected every year by specially commissioned officials, the hippagretai, from among experienced men who had sons, so that their line would continue.[17]

text: Training[edit]

text:
"Ὦ ξεῖν’, ἀγγέλλειν Λακεδαιμονίοις ὅτι τῇδε
κείμεθα, τοῖς κείνων ῥήμασι πειθόμενοι."
"Go tell the Spartans, thou that passest by, that here,
obedient to their laws, we lie."

Simonides of Ceos, Epitaph on the burial mound of the Spartans who fell at Thermopylae[22]

text: At first, in the archaic period of 700–600 BC, education for both sexes was, as in most Greek states, centred on the arts, with the male citizen population later receiving military education. However, from the 6th century onwards, the military character of the state became more pronounced, and education was totally subordinated to the needs of the military.[23]

text: Both boys and girls were brought up by the city women until the age of seven, when boys (paidia) were taken from their mothers and grouped together in "packs" (agelai) and were sent to what is almost equivalent to present-day military boot camp. This military camp was known as the Agoge. They became inured to hardship, being provided with scant food and clothing; this also encouraged them to steal, and if they were caught, they were punished – not for stealing, but for being caught.[11] There is a characteristic story, told by Plutarch: "The boys make such a serious matter of their stealing, that one of them, as the story goes, who was carrying concealed under his cloak a young fox which he had stolen, suffered the animal to tear out his bowels with its teeth and claws, and died rather than have his theft detected."[24] The boys were encouraged to compete against one another in games and mock fights and to foster an esprit de corps. In addition, they were taught to read and write and learned the songs of Tyrtaios, that celebrated Spartan exploits in the Second Messenian War. They learned to read and write not for cultural reasons, but so they could be able to read military maps.[25] At the age of twelve, a boy was classed as a "youth" (meirakion). His physical education was intensified, discipline became much harsher, and the boys were loaded with extra tasks. The youths had to go barefoot, and were dressed only in a tunic both in summer and in winter.[11]

text: Adulthood was reached at the age of 18, and the young adult (eiren) initially served as a trainer for the boys. At the same time, the most promising youths were included in the Krypteia. At 20, Spartans became eligible for military service and joined one of the messes (syssitia), which included 15 men of various ages.[26] Those who were rejected retained a lesser form of citizenship, as only the soldiers were ranked among the homoioi. However, even after that, and even during marriage and until about the age of 30, they would spend most of their day in the barracks with their unit. Military duty lasted until the 60th year, but there are recorded cases of older people participating in campaigns in times of crisis.[15]

text: Throughout their adult lives, the Spartiates continued to be subject to a training regime so strict that, as Plutarch says, "... they were the only men in the world with whom war brought a respite in the training for war."[27] Bravery was the ultimate virtue for the Spartans: Spartan mothers would give their sons the shield with the words "[Return] With it or [carried] on it!" (Ἢ τὰν ἢ ἐπὶ τᾶς),[28] that is to say, either victorious or dead, since in battle, the heavy hoplite shield would be the first thing a fleeing soldier would be tempted to abandon –- rhipsaspia, "dropping the shield", was a synonym for desertion in the field.[29]

text: The army on campaign[edit]

text: Tactics[edit]

text: Like the armies of the other Greek states, the Spartan army was an infantry-based army that fought using the phalanx formation. The Spartans themselves did not introduce any significant changes or tactical innovations in hoplite warfare, but their constant drill and superb discipline made their phalanx much more cohesive and effective. The Spartans employed the phalanx in the classical style in a single line, uniformly deep in files of 8 to 12 men. When fighting alongside their allies, the Spartans would normally occupy the honorary right flank. If, as usually happened, the Spartans achieved victory on their side, they would then wheel left and roll up the enemy formation.[30]

text: During the Peloponnesian War, engagements became more fluid, light troops became increasingly used and tactics evolved to meet them, but in direct confrontations between two opposing phalanxes, stamina and "pushing ability" were what counted.[31] It was only when the Thebans, under Epaminondas increased the depth of a part of their formation at the Battle of Leuctra that the Spartan phalanx broke.

text: On the march[edit]

text: According to Xenophon, the army was mobilized by the ephors, and after a series of religious ceremonies and sacrifices, the army assembled and set out.[32] The army proceeded led by the king, with the skiritai and cavalry detachments acting as an advance guard and scouting parties.[33] The necessary provisions (barley, cheese, onions and salted meat) were carried along with the army, and each Spartan was accompanied by a helot manservant.[34] Each mora marched and camped separately, with its own baggage train.[35] Sacrifice was given every morning and before battle by the king and the officers; if the omens were not favourable, a pious leader might refuse to march or to engage the enemy.[36] The only people who could have a gravestone were women who died in child birth and warriors who died in battle; both were considered lives given for the state.

text: Clothing, arms and armor[edit]

text: The Spartans used the same typical hoplite equipment as the other Greek neighbors; the only distinctive Spartan features were the crimson tunic (chitōn) and cloak (himation),[37] and long hair, which the Spartans retained to a far later date than most Greeks. To the Spartans, long hair retained its older Archaic meaning as the symbol of a free man; to the other Greeks, by the 5th century, its peculiar association with the Spartans had come to signify pro-Spartan sympathies.[38]

text: Classical period[edit]

text: The letter lambda (Λ), standing for Laconia or Lacedaemon, which was painted on the Spartans' shields, was first adopted in the 420s BC, and quickly became a widely known Spartan symbol.[39] Military families passed on their shields to each generation as family heirlooms. The technical evolution and design of Spartan shields evolved from bashing and shield wall tactics, and were of such great importance in the Spartan army that while losing a sword and a spear was an exception, to lose a shield was a sign of disgrace. Not only does it protect the user, but it also protects the whole phalanx formation. To come home without the shield was the mark of a deserter; rhipsaspia or "dropping the shield", was a synonym for desertion in the field. Mothers bidding farewell to their sons would encourage them to come back with their shields, often saying goodbyes like "Son, either with this or on this" (Ἢ τὰν ἢ ἐπὶ τᾶς).[40][41]

text: Spartan hoplites were often depicted bearing a transverse horsehair crest on their helmet, which was possibly used to identify officers.[42] In the Archaic period, Spartans were armored with flanged bronze cuirasses, leg greaves, and a helmet, often of the Corinthian type. It is often disputed which torso armor the Spartans wore during the Persian Wars, though it seems likely they either continued to wear bronze cuirasses of a more sculptured type, or instead had adopted the linothōrax. During the later 5th century BC, when warfare had become more flexible and full-scale phalanx confrontations became rarer, the Greeks abandoned most forms of body armor. The Lacedaemonians also adopted a new tunic, the exōmis, which could be arranged so that it left the right arm and shoulder uncovered and free for action in combat.[43]

text: The Spartan's main weapon was the dory spear. For long range, they carried a javelin. The Spartiates were always armed with a xiphos as a secondary weapon. Among most Greek warriors, this weapon had an iron blade of about 60 centimeters; however, the Spartan version was typically only 30-45 centimetres. The Spartans' shorter weapon proved deadly in the crush caused by colliding phalanxes formations – it was capable of being thrust through gaps in the enemy's shield wall and armor, where there was no room for longer weapons. The groin and throat were among the favorite targets. In one account, an Athenian asked a Spartan why his sword was so short and after a short pause he replied, "It's long enough to reach your heart." In another, a Spartan complained to his mother that the sword was short, to which she simply told him to step closer to the enemy. As an alternative to the xiphos, some Spartans selected the kopis as their secondary weapon. Unlike the xiphos, which is a thrusting weapon, the kopis was a hacking weapon in the form of a thick, curved iron sword. In Athenian art, Spartan hoplites were often depicted using a kopis instead of the xiphos, as the kopis was seen as a quintessential "bad guys" weapon in Greek eyes.[44] The Spartans retained the traditional hoplite phalanx until the reforms of Cleomenes III, when they were re-equipped with the Macedonian sarissa and trained in the style of the phalanx.

text: Spartans trained in pankration, a famous martial art in Ancient Greece that consisted of boxing and grappling. Spartans were so adept in pankration that, when it was inducted in the Olympic Games, they were mostly forbidden to compete.[citation needed]

text: Hellenistic period[edit]

text: During the Hellenistic period Spartan equipment evolved drastically. Since the early 5th century BC the pilos helmet had become almost standard within the Spartan army, being in use by the Spartans until the end of the Classical era. Also after the "Iphicratean reforms" peltasts became a much more common sight on the Greek battlefield and themselves became more heavily armed. In response to Iphicrates' victory over Sparta in 392 BC, Spartan hoplites started abandoning body armour and eventually wore almost no armour apart from a shield, leg greaves, bracelets, helmet and a robe. In later periods Spartans did start to readopt armour, but on a much lesser scale than during the Archaic period. Finally during 227 BC, Cleomenes' reforms introduced updated equipment to Sparta, including the Macedonian sarissa (pike). However pike-men armed with the sarissa never outnumbered troops equipped in the hoplite style. It was also in that time Sparta adopted its own cavalry and archers.

text: Philosophy, education and the Spartan code[edit]

text: Spartan philosophy[edit]

text: Contrary to popular belief, Spartans valued knowledge and education more than the Athenians did.[45] Spartan philosophers include Lycurgus and Chilon of Sparta. Although Athens has been praised as the "inventor" of democracy and philosophy, Sparta often has been viewed in popular culture as a society characterized by brutal, mindless discipline and merciless emphasis on physical fitness.[citation needed] Sparta, however, had its own democratic government. Sparta also wasn't a totalitarian state as many believed.[citation needed] In the Appella or Demos as early as 700 BC, Spartans elect leaders and voted by range voting and shouting. Every male age 30 and above could participate. Aristotle called the Spartan electoral process "childish" in contrast to the stone ballots cast by the Athenians. Sparta adopted its procedure for the sake of simplicity, and to prevent any bias voting, bribing, or cheating that was predominant in the early democratic elections.[46]

text: Spartan education[edit]

text: The Spartan public education system, the agoge, trained the mind as well as the body. Spartans were not only literate, but admired for their intellectual culture and poetry. Socrates said the "most ancient and fertile homes of philosophy among the Greeks are Crete and Sparta, where are found more sophists than anywhere on earth."[47] Public education was provided for girls as well as boys, and consequently literacy rate was higher in Sparta than in other Greek city-states.[48] In education, sports was given the most emphasis in teaching.[48]

text: Self-discipline, not kadavergehorsam (mindless obedience) was the goal of Spartan education. Sparta placed the values of liberty, equality, and fraternity at the center of their ethical system. These values applied to every full Spartan citizen, immigrant, merchant, and even to the helots, but not to the dishonored. Helots are unique in the history of slavery in that unlike traditional slaves, they were allowed to keep and gain wealth. They could keep half their agricultural produce and presumably sell it; thus accumulating wealth. There are known to have been some occasions that a helot with enough money was allowed to purchase their freedom from the state.[49]

text: Spartan code of honor[edit]

text: The Spartan hoplite followed a strict laconic code of honor. No soldier was considered superior to another.[48] Suicidal recklesness, berserkery, and rage were prohibited in a Spartan army, as these behaviors endangered the phalanx. Recklessness could lead to dishonor, as in the case of Aristodemus.[50] Spartans regarded those who fight, while still wishing to live, as more valorous than those who don't care if they die.[50] They believed that a warrior must not fight with raging anger, but with calmed determination.[51] By the laconic way of life, Spartans must walk without any noise, and speak only with few words.[48] Other ways for Spartans to be dishonored were dropping the shield (rhipsaspia), failing to complete the training, and deserting in battle. Dishonored Spartans were labeled outcasts, and were forced to wear different clothing for public humiliation.[48] In battle, stories of valor were told to inspire troops and, before a major confrontation, they sang soft songs to calm the nerves.[52]

text: Spartan Navy[edit]

text: Throughout their history, the Spartans were a land based force par excellence. During the Persian Wars, they contributed a small navy of 20 triremes, and provided the overall fleet commander, but they largely relied on their allies, primarily the Corinthians, for naval power. This fact meant that, when the Peloponnesian War broke out, the Spartans were supreme on land, but the Athenians supreme at sea. The Spartans repeatedly ravaged Attica, but the Athenians kept being supplied by sea, and were able to stage raids of their own around the Peloponnese with their navy. Eventually, it was the creation of a navy that enabled Sparta to overcome Athens. With Persian gold, Lysander, appointed navarch in 407 BC, was able to master a strong navy, and successfully challenge and destroy Athenian predominance in the Aegean Sea.[8] The Spartan engagement with the sea would be short-lived, however, and did not survive the turmoils of the Corinthian War: in the Battle of Cnidus of 394 BC, the Spartan navy was decisively defeated by a joint Athenian-Persian fleet, marking the end of Sparta's brief naval supremacy. The final blow would be given 20 years later, at the Battle of Naxos in 376 BC. A small fleet was periodically maintained thereafter, but its effectiveness was limited; the last revival of Spartan naval power was under Nabis, who, with aid from his Cretan allies, created a fleet to control the Laconian coastline.

text: The fleet was commanded by navarchs, who were appointed for a strictly one-year term, and apparently could not be reappointed. The admirals were subordinated to the vice-admiral, called epistoleus. This position is seemingly independent of the one-year term clause, because it was used, in 405 B.C. to give Lysander command of the fleet after he was already an admiral for a year.

text: Wars and battles[edit]

text: Messenian Wars[edit]

text:
Dates
Battle
Allies
Opponents
Outcome

743 BC – 724 BC
First Messenian War
Sparta
Messenia
Spartan Victory

685 BC – 668 BC
Second Messenian War
Sparta
Messenia
Spartan Victory

text: Wars with Argos[edit]

text:
Dates
Battle
Allies
Opponents
Outcome

669 BC – 668 BC
First Battle of Hysiae
Sparta
Argos
Spartan Victory

494 BC
Battle of Sepeia
Sparta
Argos
Spartan Victory

text: Persian Wars[edit]

text:
Thermopylae
Artemisium
Salamis
Plataea
Mycale
Marathon

text: Peloponnesian War[edit]

text:
Sybota
Potidaea
Chalcis
Rhium
Naupactus
Mytilene
Tanagra
Olpae
Pylos
Sphacteria
Amphipolis
First Mantinea
Sicilian Expedition
Syme
Cynossema
Abydos
Cyzicus
Notium
Arginusae
Aegospotami

text: The Corinthian War[edit]

text:
Dates
Battle
Allies
Opponents
Outcome

395 BC
Battle of Haliartus
Sparta
Thebes
Spartan Defeat

394 BC
Battle of Nemea
Sparta
Argos
Athens
Corinth
Thebes
Spartan Victory

394 BC
Battle of Cnidus
Sparta
Athens
Achaemenid Empire
Spartan Defeat

394 BC
Battle of Coronea
Sparta
Orchomenus
Argos
Thebes
Spartan Victory

391 BC
Battle of Lechaeum
Sparta
Athens
Spartan Defeat

text: The Boeotian War[edit]

text:
Dates
Battle
Allies
Opponents
Outcome

376 BC
Battle of Naxos
Sparta
Athens
Spartan Defeat

July 6, 371 BC
Battle of Leuctra
Sparta
Boeotian League (Thebes)
Spartan Defeat

July 4, 362 BC
Second Battle of Mantinea
Sparta
Athens
Elis
Mantineia League
Arcadia
Boeotian League
Thebes
Spartan Defeat

text: Chremonidean War[edit]

text: The Cleomenean War[edit]

text:
Dates
Battle
Allies
Opponents
Outcome

227 BC
Battle of Mount Lycaeum
Sparta
Achaean League
Spartan Victory

227 BC
Battle of Ladoceia
Sparta
Achaean League
Spartan Victory

226 BC
Battle of Dyme
Sparta
Achaean League
Spartan Victory

222 BC
Battle of Sellasia
Sparta
Achaean League
Macedon
Spartan Defeat

text: War against Nabis[edit]

text:
Dates
Battle
Allies
Opponents
Outcome

195 BC
Battle of Gythium
Sparta
Achaean League
Macedon
Pergamon
Rhodes
Rome
Spartan Defeat

text: In popular culture[edit]

text:
In the Halo universe, the SPARTAN program is a project designed to produce genetically augmented, power armored supersoldiers. The SPARTANs serve as the protagonists of several works and as major characters in many others; the main character of the Halo trilogy is John-117, a SPARTAN-II supersoldier, and the protagonist of Halo: Reach is SPARTAN-B312, a SPARTAN-III supersoldier. Twice in the novel Halo: Ghosts of Onyx, companies of 300 SPARTAN-IIIs are sent against numerically superior Covenant forces and succeed in their objective, but suffer almost 100% casualty rates, similar to the Battle of Thermopylae.
The Gates of Fire, a novel by Steven Pressfield, which provides a gritty, first-person account of the Battle of Thermopylae from the view of a Helot.
300, a graphic novel and a movie based on the graphic novel, both interpreting the Battle of Thermopylae.
Many colleges and universities have the Spartan as a school mascot, some of which include Michigan State University (see also Sparty, Michigan State's costumed mascot), Case Western Reserve University, and San Jose State University. The Spartan South Midlands Football League is an English football league named after them.
Kratos, the main protagonist in God of War is a legendary Spartan demigod warrior and hero who also served the Spartan army as a high-ranking officer.
A number of military aircraft have been named after the Spartans, including the Alenia C-27J Spartan, C-27A Spartan, and the Simmonds Spartan.
On Season 1 of the television program Deadliest Warrior, the Spartan defeated the Ninja while in Season 2, the Spartan was brought back to defeat the Samurai.
The Spartan army is the inspiration for a popular branded Obstacle Race, Spartan Race.


document_title: War for the Planet of the Apes

question_text: where did they film planet of the apes 2017

root

text: War for the Planet of the Apes

text: Plot[edit]

text: Two years after the U.S. military was called to fight off an increasingly intelligent and dangerous tribe of apes, starting a devastating war between the two species, the apes' clan, led by the chimpanzee Caesar, are attacked in the woods by a rogue paramilitary faction known as Alpha-Omega, led by a mysterious Colonel. Alpha-Omega has in its service apes (called "donkeys") that had previously followed Koba, a vengeful, human-hating bonobo who led a failed coup against Caesar and started the war after leading a vengeful attack against human survivors in San Francisco.

tag: p

text: During Alpha-Omega's attack, the human soldiers are met by heavy ape resistance. Four soldiers and a "donkey" gorilla named Red are captured by the apes. Caesar arrives and releases the human soldiers, telling them to deliver a message to the Colonel - that he killed Koba for starting the war and that he desires peace between the humans and apes. Caesar then orders that Red is to be imprisoned but Red escapes, injuring albino gorilla Winter.

text: Soon after, Caesar's son, Blue Eyes, and his lieutenant Rocket return from a journey to find a safe haven for the apes. They report that they have found a place across the desert that is perfect for the clan. Winter, still frightened from the soldiers' attack, wants to leave immediately, but Caesar does not think they are prepared to leave so soon. That night, a group of Alpha-Omega soldiers, led by the Colonel, infiltrates the apes' home behind a waterfall. The apes discover their presence and kill them all except the Colonel, whom Caesar encounters preparing to escape. Discovering that the Colonel has killed his wife Cornelia along with Blue Eyes, an enraged Caesar lunges at the Colonel but fails to prevent him from escaping out of the waterfall. Upon discovering that Winter has disappeared, Luca, a gorilla and Caesar's secondary lieutenant, believes that he has betrayed them out of cowardice.

text: Leaving his younger son Cornelius in the care of Blue Eyes' wife Lake, Caesar departs to exact revenge on the Colonel for the deaths of his wife and oldest son. He is accompanied by Maurice, an orangutan and Caesar's adviser, Luca, and Rocket. The other apes head for the desert. During their journey, the apes enter an abandoned village, encounter a soldier, and kill him. Caesar, Maurice, Luca, and Rocket search the dead soldier's home. Maurice discovers a girl who the soldier was looking after. She is apparently unable to speak. Maurice befriends and adopts the girl, giving her a small rag doll.

text: Caesar's party eventually sneak inside an Alpha-Omega camp on a beach and encounter Winter, who has volunteered to become a "donkey" for the soldiers in return for sparing his life. He tells Caesar's group that the Colonel has departed for a location called the "border", where soldiers further north will meet them. Winter tries to call out to the Alpha-Omega soldiers to save him, and Caesar and the others restrain him from making noise. In the struggle, Caesar accidentally smothers and kills Winter. Caesar begins to worry that he is becoming like Koba by killing his fellow apes and seeking revenge.

text: While following the soldiers to the border, the group discover some soldiers who have been shot and left for dead. Their examination of a soldier who survived reveals that he, like the girl, cannot speak. At the soldier's urging, Caesar kills him. Later, they encounter Bad Ape, a reclusive chimpanzee. Bad Ape reveals that the human soldiers are encamped at the border and hesitantly agrees to lead them there.

text: When the group arrives at the border, they see hundreds of apes held captive inside a former quarantine facility. While getting a closer look, Luca is killed protecting Caesar from an Alpha-Omega patrol, angering Caesar and causing him to proceed alone. Caesar discovers that the captured apes belong to his clan, and are being forced to build a wall with no food or water. After Caesar is captured by Red, the Colonel reveals to Caesar that the Simian Flu virus has mutated and now causes humans who survived the original strain to become mute, which he believes is a sign of devolution to a primitive state. Caesar deduces that the Colonel is barricading the facility to fend off remnants of the U.S. Army from the north who are coming to execute him because he favors massacring any infected humans, including his own son, to stop the spread of the virus. Caesar is commended by the Colonel for his intelligence, and the Colonel explains that he is fighting a "holy war" for humanity's survival.

text: While Caesar is tortured with starvation, the mute girl, whom Maurice names Nova, sneaks into the facility to give Caesar food, water, and her rag doll (originally given to her by Maurice). To prevent Nova from being discovered, Rocket allows himself to be captured as a diversion. The next day, the Colonel comes to see if Caesar is still alive, and confiscates Nova's doll upon discovering it. Together, Caesar and Rocket are able to work out a means of escape via an underground tunnel that leads out of the facility. Maurice and Bad Ape use the tunnel to rescue the apes, and Caesar orders the others to escape while he goes to confront the Colonel as the facility comes under attack by the northern army. Caesar reaches the Colonel and prepares to kill him, but discovers that Nova's doll has infected him with the mutated virus, rendering him unable to speak. Caesar spares the Colonel and watches as he uses his pistol to commit suicide.

text: During the battle between Alpha-Omega and the northern army, the escaping apes come under fire from Alpha-Omega. Red watches the apes struggle to escape and being picked off by the humans, and seems to be disturbed by watching his own kind suffer such a fate. Caesar attempts to attack the Alpha-Omega forces from behind, but is shot with a crossbow by Preacher, one of the Alpha-Omega soldiers he had previously set free. In an act of redemption, Red saves Caesar's life by killing Preacher with a grenade launcher, and gets shot by an Alpha-Omega superior as a result. In the chaos, Caesar blows up a large fuel tank, causing a cascade of explosions which destroys the Alpha-Omega facility, allowing the northern army to win the battle. However, the army is subsequently devastated by an avalanche, which Caesar and the other apes, carrying Nova, survive by climbing nearby trees.

text: The remaining apes depart the facility and cross the desert to find an oasis. While the other apes joyously celebrate their new home, Maurice discovers Caesar's wound. Maurice then speaks, telling the dying Caesar that Cornelius will know who his father was, what he stood for and what he did to protect the apes. Caesar then slowly and silently succumbs to his wounds, dying peacefully while Maurice mourns his passing as the other apes look on.

text: Cast[edit]

text: Apes[edit]

text:
Andy Serkis as Caesar, an intelligent common chimpanzee who is leader to a tribe of genetically enhanced apes.[7]
Steve Zahn as "Bad Ape", a common chimpanzee who lived in a zoo before the Simian Flu outbreak, and was a hermit before joining Caesar's group.[8][9]
Karin Konoval as Maurice, a Bornean orangutan who is Caesar's adviser.[7]
Terry Notary as Rocket, a common chimpanzee who is Caesar's brother-figure.[10]
Ty Olsson as Red, a Western lowland gorilla who was once a follower of Koba, now serving the Colonel to defeat Caesar. Olsson previously played Chief Hamill in Rise.[11]
Michael Adamthwaite as Luca, a Western lowland gorilla in Caesar's tribe.[12]
Toby Kebbell as Koba, a bonobo who had previously waged war against the humans in Dawn of the Planet of the Apes, now appears in Caesar's hallucinations.
Judy Greer as Cornelia, Caesar's wife.[7]
Sara Canning as Lake, a common chimpanzee in Caesar's tribe, who is also Blue Eyes' mate and later Cornelius's caretaker.[13]
Max Lloyd-Jones as Blue Eyes, Caesar and Cornelia's oldest son.[14]
Devyn Dalton as Cornelius, Caesar and Cornelia's youngest son, and Blue Eyes' younger brother. Dalton previously played Cornelia in Rise.
Aleks Paunovic as Winter, an albino Western lowland gorilla in Caesar's tribe who sided with the Colonel out of fear.[15]

tag: ul

text: Humans[edit]

text:
Woody Harrelson as The Colonel, the leader of the paramilitary organization Alpha-Omega, who is obsessed with wiping out Caesar and his tribe to preserve humans as the dominant species.[16][17]
Amiah Miller as Nova, a mute orphan whom Maurice befriends and cares for.[18][19]
Gabriel Chavarria as Preacher, a human soldier working under the Colonel in Alpha-Omega.[20]

text: Production[edit]

text: Development[edit]

text: After seeing his cut of Dawn, 20th Century Fox and Chernin Entertainment signed Matt Reeves to return as director for a third installment of the reboot series. In January 2014, the studio announced the third film, with Reeves returning to direct and co-write along with Bomback, and Peter Chernin, Rick Jaffa and Amanda Silver serving as producers.[21][22] During an interview in mid-November 2014 with MTV, Andy Serkis said they did not know the next film's setting. "...It could be five years after the event. It could be the night after the events of where we left 'Dawn.'"[23] In May 2015, the title was first given as War of the Planet of the Apes.[24] By October 2015, it had been retitled as War for the Planet of the Apes.[8]

text: When director Reeves and screenwriter Bomback came on board to helm Dawn, the film already had a release date, which led to an accelerated production schedule. However, with the third installment, Fox wanted to give the duo plenty of time to write and make the film. Taking advantage of this, the two bonded with each other more than before.[25]

text: In interviews for Dawn, Reeves talked about the inevitable war Caesar would have with the humans: "As this story continues, we know that war is not avoided by the end of Dawn. That is going to take us into the world of what he is grappling with. Where he is going to be thrust into circumstances that he never, ever wanted to deal with, and was hoping he could avoid. And now he is right in the middle of it. The things that happen in that story test him in huge ways, in the ways in which his relationship with Koba haunts him deeply. It’s going to be an epic story. I think you’ve probably read that I sort of described it where in the first film was very much about his rise from humble beginnings to being a revolutionary. The second movie was about having to rise to the challenge of being a great leader in the most difficult of times. This is going to be the story that is going to cement his status as a seminal figure in ape history, and sort of leads to an almost biblical status. He is going to become like a mythic ape figure, like Moses."[26]

text: Toby Kebbell, who portrayed Koba in Dawn, had expressed interest in reprising his role or performing as other characters.[27] Plans to include Koba in a larger role in the film were abandoned early, with Bomback saying, "If you stayed until the very end of Dawn of the Planet of the Apes, you hear Koba’s breathing. We did that to give us a tiny crack of a possibility that we could revive Koba if we wanted to. Very early on in spitballing, we realized there was nothing more to do with Koba – certainly nothing that would exceed what he had done in the last story. But we knew we wanted to keep him alive as an idea. In playing out the reality of what happened at the end of the last film, Caesar would be traumatized by having to kill his brother. That would have resonance, and we wanted to make sure that didn’t get lost. So the answer was that we could go inside Caesar’s mind at this point and revisit Koba that way."[28]

text: Casting[edit]

text: In August 2015, Deadline reported that Gabriel Chavarria had been cast as one of the humans in the film.[29] In September 2015, The Hollywood Reporter announced that Woody Harrelson had been cast as the film's antagonist, and that Chavarria's role was supporting.[16] In October 2015, TheWrap reported that Steve Zahn was cast as a new ape in the film.[8] It was also announced that actress Amiah Miller was cast as one of the film's humans, with Judy Greer and Karin Konoval reprising their roles as Cornelia and Maurice,[7][18] while Aleks Paunovic and Sara Canning were cast as new apes.[15][13]

text: Filming[edit]

text: Principal photography on the film began on October 14, 2015 in the Lower Mainland in Vancouver, under the working title Hidden Fortress.[30][31] Filming was expected to take place there until early March 2016.[32] Parts of the film were expected to shoot for up to five days in the Kananaskis in late January and early February.[33] In March, Serkis confirmed that he had finished shooting his portions.[34]

text: Visual effects[edit]

text: As with Rise and Dawn, the visual effects for War were created by Weta Digital; the apes were created with a mixture of motion-capture and CGI key-frame animation, as they were performed in motion-capture technology and animated in CGI.

text: Influences[edit]

text: At New York Comic-Con 2016, Reeves explained that he and Bomback were influenced by many films before writing. He said, "One of the first things that Mark and I did because we had just finished Dawn was that we decided to watch a million movies. We decided to do what people fantasize what Hollywood screenwriters get to do but no one actually does. We got Fox to give us a theater and we watched movie after movie. We watched every Planet of the Apes movie, war movies, westerns, Empire Strikes Back... We just thought, 'We have to pretend we have all the time in the world,' even though we had limited time. We got really inspired."[35]

text: Additionally, during production, Reeves and Bomback sought broader inspirations from films like Bridge on the River Kwai and The Great Escape. Feeling that there was a need to imbue Biblical themes and elements, they also watched Biblical epics like Ben-Hur and The Ten Commandments. The influences and inspirations were made evident in the relationship between Caesar and Woody Harrelson's Colonel, a military leader with pretensions toward godhood. Reeves has compared their relationship to the dynamic between Alec Guinness's British Commander and Sessue Hayakawa's prison camp Colonel in Bridge on the River Kwai. Another comparison is in Caesar's journey to find the Colonel, flanked by a posse of close friends – a situation Reeves explicitly tied to Clint Eastwood's war-weary soldier in The Outlaw Josey Wales.[25] Influences from the film Apocalypse Now, notably Harrelson's character and his Alpha-Omega faction being similar to Colonel Kurtz's renegade army, were also noted by several journalists.[36][37][38] Harrelson has also acknowledged the similarities and inspiration.[39]

text: Soundtrack[edit]

text:
War for the Planet of the Apes

Soundtrack album by Michael Giacchino

Released
July 7, 2017 (Digital)
July 21, 2017 (Physical)

Recorded
2017

Genre
Film score

Label
Sony Masterworks

Michael Giacchino film scores chronology

Spider-Man: Homecoming
(2017)Spider-Man: Homecoming2017
War for the Planet of the Apes
(2017)
Coco
(2017)Coco2017

tag: table

text: On October 17, 2015, it was confirmed that Michael Giacchino, the composer and writer of the soundtrack for Dawn, would return to compose War's score.[1] The soundtrack was digitally released to iTunes and Amazon on July 7, 2017,[40] and in its physical form by Sony Masterworks on July 21, 2017.[41]

text: Track listing[edit]

text: All music composed by Michael Giacchino.

text:
No.
Title
Length

1.
"Apes’ Past is Prologue"
10:53

2.
"Assault of the Earth"
5:29

3.
"Exodus Wounds"
4:23

4.
"The Posse Polonaise"
1:39

5.
"The Bad Ape Bagatelle"
1:13

6.
"Don’t Luca Now"
3:53

7.
"Koba Dependent"
2:54

8.
"The Ecstasy of the Bold"
1:57

9.
"Apes Together Strong"
7:12

10.
"A Tide in the Affairs of Apes"
5:31

11.
"Planet of the Escapes"
2:42

12.
"The Hating Game"
2:04

13.
"A Man Named Suicide"
5:32

14.
"More Red Than Alive"
2:41

15.
"Migration"
2:03

16.
"Paradise Found"
5:35

17.
"End Credits"
9:30

Total length:
75:11

text: Release[edit]

text: The film was initially set for a July 29, 2016, release. However, in January 2015, Fox postponed the film's release date to about a year later on July 14, 2017.[42][6]

text: Marketing[edit]

text: Special behind-the-scenes footage for the film was aired on TV on November 22, 2015, as part of a contest announcement presented by director Matt Reeves and Andy Serkis.[43] The footage aired during The Walking Dead on AMC.[44][45] The announcement allowed winners to wear a performance-capture suit and appear in a scene as an ape.[46] The announcement was released on 20th Century Fox's official YouTube page later the same day.[47]

text: At a New York Comic Con special event on October 6, Reeves, Serkis and producer Dylan Clark debuted an exclusive look at the film.[48]

text: Serkis has also mentioned that the film would be accompanied by a video game, for which he performed motion capture.[49] Titled Planet of the Apes: Last Frontier, the game is set for release for the PlayStation 4, Xbox One and PC in fall 2017.[50]

text: Home media[edit]

text: War for the Planet of the Apes was released on Digital HD on October 10, 2017, and on Blu-ray and DVD on October 24, 2017 by 20th Century Fox Home Entertainment.[51]

text: Reception[edit]

text: Box office[edit]

text: War for the Planet of the Apes grossed $146.9 million in the United States and Canada and $343.8 million in other territories for a worldwide total of $490.7 million, against a production budget of $150 million.[5]

text: In North America, the film was projected to gross $50–60 million in its opening weekend,[52] however, given its acclaimed status and strong word-of-mouth, rival studios believed the film had the potential to debut as high as $70–80 million.[4][53][54] War was closely monitored by analysts while the summer was witnessing a decline in ticket sales, a situation that they blamed on franchise fatigue for an overabundance of sequels and reboots (such as Pirates of the Caribbean: Dead Men Tell No Tales, Transformers: The Last Knight and The Mummy). However, box office analysts noted that well-reviewed films have tended to perform in-line with estimates (Guardians of the Galaxy Vol. 2, Wonder Woman and Spider-Man: Homecoming).[55][56][57] The film grossed $5 million from Thursday night previews at 3,021 theaters, up 22% from the $4.1 million earned by its predecessor, and $22.1 million on its first day. It went on to debut to $56.3 million, topping the box office, albeit with a 22% drop from Dawn's $72.6 million debut.[58][59] In its second weekend, the film grossed $20.9 million (a drop of 62.9%, more than the 50.4% fall Dawn saw), finishing 4th at the box office.[60] In its third weekend, the film made $10.5 million (dropping another 49.9%), finishing 6th at the box office. It was lower than the third weeks of both Rise ($16.1 million) and Dawn ($16.8 million).[61]

text: Outside North America, War for the Planet of the Apes received a scattered release in a span of three months (July–September). The film began its release in about a third of the marketplace on July 14, albeit only in two major markets, and was projected to have an opening of $50–60 million, with the potential to go higher if smaller Asian markets over-perform, as they have for recent tent poles.[4] The film ended up having an international debut of $44.2 million, including $9.27 million in the United Kingdom.[62]

text: Critical response[edit]

text: War for the Planet of the Apes received critical acclaim for the performances of its cast (particularly Serkis), direction, musical score, visual effects, cinematography and morally complex storyline.[63] On review aggregator site Rotten Tomatoes, the film has an approval rating of 93%, based on 280 reviews, with a rating average of 8.1/10. The site's critical consensus reads, "War for the Planet of the Apes combines breathtaking special effects and a powerful, poignant narrative to conclude this rebooted trilogy on a powerful – and truly blockbuster – note."[64] On review aggregator Metacritic, which assigns a weighted average rating to reviews, the film has a score of 82 out of 100, based on 50 critics, indicating "universal acclaim".[65] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale, the same score earned by its two immediate predecessors.[58] Scott Collura of IGN awarded the film a score of 9.5 out of 10, saying: "War for the Planet of the Apes is an excellent closing act to this rebooted trilogy, but also one that does enough world-building that the series can potentially continue from here – and it’s a rare case where, after three movies, we’re left wanting more."[66]

text: A.O. Scott of The New York Times said of the film, "“War for the Planet of the Apes,” directed by Matt Reeves, is the grimmest episode so far, and also the strongest, a superb example — rare in this era of sloppily constructed, commercially hedged cinematic universes — of clear thinking wedded to inventive technique in popular filmmaking," and lauded Andy Serkis's performance in the film, stating that "Andy Serkis’s performance as Caesar is one of the marvels of modern screen acting."[67] Peter Travers of Rolling Stone gave the film 3.5 out of 4 stars, and said that Serkis performed "with a resonant power and depth of feeling that's nearly Shakespearean. Oscar, get busy: Serkis deserves the gold," and went on to say that "War for the Planet of the Apes – No. 9 in the simian cinema canon – is the best of the Apes films since the 1968 original.[68] Eric Kohn of Indiewire gave the film a B+ rating, and praised Matt Reeves's directing, saying "It’s a given that an expensive 21st century sci-fi movie with talking animals, exploding tanks, and jarring machine guns would look and sound great, but Reeves applies these effects with such a measured strategy that they’re always working in service of a greater narrative agenda." Kohn went on to applaud the visuals, cinematography, and musical score, stating that "The breathlessly paced montage of flying bullets and angry monkeys raining down on terrified men, aided by Michael Giacchino’s vibrant score, is a strong indicator of the next-level craftsmanship that distinguishes these movies from so many cacophonous Hollywood spectacles; not only is the action easy to follow, but you care for the motion-captured characters at the center of it, while the humans cower in fear."[69]

text: Accolades[edit]

text:
List of awards and nominations

Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

Golden Trailer Awards
June 6, 2017
Best Motion/Title Graphics
War for the Planet of the Apes: 20th Century Fox, Wild Card
Nominated
[70][71]

Best Summer 2017 Blockbuster TV Spot

Hollywood Film Awards
November 5, 2017
Hollywood Visual Effects Award
Dan Barrett, Dan Lemmon, Joe Letteri, and Erik Winquist
Won
[72][73]

Hollywood Post Alliance
November 16, 2017
Outstanding Visual Effects - Feature Film
Dan Barrett, Anders Langlands, Dan Lemmon, Joe Letteri, Luke Millar, Erik Winquist, and Weta Digital
Won
[74][75]

Washington D.C. Area Film Critics Association
December 8, 2017
Best Motion Capture Performance
Andy Serkis
Won
[76]

Best Motion Capture Performance
Steve Zahn
Nominated

San Francisco Film Critics Circle
December 10, 2017
Best Actor
Andy Serkis
Won
[77][78]

Best Original Score
Michael Giacchino
Nominated

Chicago Film Critics Association
December 12, 2017
Best Original Score
Michael Giacchino
Nominated
[79]

Seattle Film Critics Society
December 18, 2017
Best Original Score
Michael Giacchino
Nominated
[80][81]

Best Visual Effects
Joe Letteri, Dan Lemmon, Dan Barrett, and Joel Whist
Won

Los Angeles Online Film Critics Society
January 3, 2018
Best Animated / Visual Effect Performance
Andy Serkis
Pending
[82][83]

Best Score
Michael Giacchino

Best Action / War
War for the Planet of the Apes

Best Blockbuster

Best Visual Effects

Houston Film Critics Society
January 6, 2018
Best Actor
Andy Serkis
Pending
[84]

Best Original Score
Michael Giacchino

Best Visual Effects
War for the Planet of the Apes

Critics' Choice Movie Awards
January 11, 2018
Best Action Movie
War for the Planet of the Apes
Pending
[85]

Best Visual Effects

Screen Actors Guild Awards
January 21, 2018
Outstanding Performance by a Stunt Ensemble in a Motion Picture
War for the Planet of the Apes
Pending
[86][87]

Annie Awards
February 3, 2018
Outstanding Achievement for Character Animation in a Live Action Production
Daniel Barrett, Sidney Kombo-Kintombo, Emile Ghorayeb, Luisma Lavin Peredo, and Alessandro Bonora
Pending
[88]

Satellite Awards
February 10, 2018
Best Film Editing
William Hoy
Pending
[89]

Best Original Score
Michael Giacchino

Best Sound
War for the Planet of the Apes

Best Visual Effects

text: Possible fourth film[edit]

text: In October 2016, it was reported that a fourth Planet of the Apes film was being discussed.[90][91]


document_title: List of solar eclipses visible from the United Kingdom

question_text: next total eclipse of the sun in england

text: 12th century (AD 1101 – 1200)[edit]

text:
2 August 1133[4]

"King Henry's Eclipse": A total eclipse, recorded in the Peterborough Chronicle (under 1135 due to the vagaries of the dating system in use[5]): and the next day, as he lay asleep on ship, the day darkened over all lands, and the Sun was all **

20 March 1140[6]

A total eclipse, recorded by William of Malmesbury in his Historia Novella. In his opinion this was a sign which foretold the capture of King Stephen in the Battle of Lincoln in 1141. This is the Lenten eclipse also reported in the Peterborough Chronicle as being on the thirteenth day before the kalends of April: 'After this, during Lent, the sun and the day darkened about the noon-tide of the day, when men were eating; and they lighted candles to eat by. That was the thirteenth day before the kalends of April. Men were greatly wonderstricken[7] Totality was experienced at about 3.00 pm at the centre line of the eclipse (near Derby).

text: 15th to 16th centuries (AD 1401 – 1600)[edit]

text:
26 June 1424[8]

A total eclipse of almost 2 and a half minutes duration in the extreme north of Scotland, Orkney and Shetland.

17 June 1433[9]

Another Scottish total eclipse from the Hebrides in the north-west to the English borders in the east and then a strip of the Yorkshire coast.

16 March 1485[10]

Partial eclipse visible in London the same day as Richard III's queen, Anne Neville, died. Claimed as an ill omen by Richard's Tudor opponents.

25 February 1598 (March 7, 1598 by Gregorian calendar)

A total eclipse with a diagonal track from Cornwall in the south-west to Aberdeen in the north-east of Scotland.

text: 17th to 19th centuries (AD 1601–1900)[edit]

text:
8 April 1652

Another total solar eclipse with a diagonal track, this time across Pembrokeshire, the Lake District and then Scotland from the south-west to the north-east, including most of the major cities.

text: 3 May 1715 Cambridge, England

text:
12 August 1654

Yet another total eclipse for Scotland, this time a track across the north of Scotland near Aberdeen.

23 September 1699

A narrow path of totality just clipped the north-east corner of Scotland, including Wick.

3 May 1715

A marvellous British Total Solar Eclipse from Cornwall in the south-west to Lincolnshire and Norfolk in the east. Edmund Halley, (later the second man to be appointed Astronomer Royal), observed the eclipse from London. The city of London enjoyed 3 minutes 33 seconds of totality.

22 May 1724

A fine Total Solar Eclipse with a north-west to south-east track, from southern Wales and Devon in the west, eastwards to Hampshire and Sussex, but passing to the south of London.

There was no Total Solar Eclipse visible from the United Kingdom between 1724 and 1925.

text: 20th century (AD 1901 – 2000)[edit]

text:
24 January 1925

Total Solar Eclipse: A short duration total eclipse at sunset in British waters to the north of the Hebrides. Although it nowhere touched land, the path of totality ran very close to several outlying Scottish islands, including St Kilda; the islet of Sula Sgeir experienced 99.9% totality.

29 June 1927

Total Solar Eclipse: A mere 24 seconds of totality in the early morning, along a narrow track from North Wales, through Lancashire to the English north-east coast, but weather was very poor with cloud and high winds. However the Astronomer Royal's expedition to Giggleswick in North Yorkshire was amongst the few to catch sight of totality.

30 June 1954

Total Solar Eclipse at Unst in the Shetland Islands, although the centre line was north of British territorial waters. A large partial eclipse was widely observed over the whole of the UK.

2 October 1959

A partial eclipse visible over the whole of the United Kingdom ranging from approximately 20% in Northern Scotland to approximately 40% in South West Cornwall.

15 February 1961

The United Kingdom was greeted at dawn with a large portion of the Sun covered with maximum eclipse being approximately on the horizon ranging from 85% in Northern Scotland to between 92% and 95% in Southern England.

text: Partial solar eclipses also occurred on 20 May 1966, 22 September 1968, 25 February 1971, 10 July 1972, 30 June 1973, 11 May 1975, 29 April 1976, 20 July 1982, 15 December 1982, 4 December 1984, 21 May 1993 and 10 May 1994. (Source: HMNAO Eclipses On-line Portal.)

text:
12 October 1996

A partial solar eclipse which covered 60% of the Sun over the British Isles.

11 August 1999

Total Solar Eclipse over Cornwall and part of south Devon, partial over the rest of the United Kingdom. Totality was observable from English Channel and the island of Alderney in the Channel Islands, but was almost universally clouded out on the British mainland. The clouds did clear in the Newquay area, though, allowing observation of full totality. A large partial eclipse was visible in the south-east of England and south Wales. Observers in various places noted birds falling silent, daylight colours turning to grey, and temperatures falling, augmented by a passing wisp of cloud at the moment of peak eclipse.

text: 21st century (AD 2001 – 2100)[edit]

text:
31 May 2003

An annular solar eclipse at sunrise was visible in the far north-west of Scotland.

3 October 2005

Partial eclipse approaching 70% partial in South West England.

29 March 2006

A partial solar eclipse was visible across the UK. South East England saw the greatest magnitude at around 25%, northern Scotland the least at around 15%. The eclipse was total in Libya and Turkey.

1 August 2008

A small partial eclipse over the whole of the UK as a total eclipse crosses central Russia east of the Urals. 40% in the north of Scotland falling to less than 20% in the south-west of England.

4 January 2011

A partial eclipse, which was nowhere total, could be seen at sunrise in South East England, where with a favourable south-eastern horizon a Sun 75% covered by the Moon was seen.

20 March 2015

An eclipse which was total across the north Atlantic including the Faroe Islands resulted in a large partial eclipse across the UK, greater than 80% everywhere. While the line of totality didn't touch land in the United Kingdom, it passed less than ten kilometres to the north-west of the island of Rockall.

21 August 2017

A total solar eclipse in parts of the USA results in a small partial eclipse visible at sunset.

11 August 2018

A very small partial eclipse, about 2%, on the northern coast of Scotland, Orkney and Shetland.

2 July 2019

Although not visible from the British Isles, this eclipse is of note as the next total eclipse visible from British territory; the line of totality passes over Oeno Island in the Pacific Ocean.

10 June 2021

An eclipse which is annular across Canada and the Arctic gives rise to partial eclipse across Britain ranging from 50% in northern Scotland to 30% in south-east England.

25 October 2022

An eclipse which is nowhere total results in a partial eclipse across Britain with north-east Scotland the most favoured, at around 35% falling to less than 20% in Cornwall.

8 April 2024

A partial eclipse may be visible from parts of Britain just before sunset.

29 March 2025

Partial ranging from 40% partial in Kent to about 50% partial in the north-west of Scotland.

12 August 2026

An eclipse which is total across Iceland, the Atlantic Ocean and Spain results in a very large partial eclipse across Britain with western Ireland the most favoured, at around 96% in Cornwall falling to 91% in Aberdeen.

2 August 2027

Partial ranging from about 30% partial in the north of Scotland to almost 60% partial in the south-west of England. Total eclipse from Gibraltar.

26 January 2028

About 40% partial at sunset.

1 June 2030

About 50% partial at sunrise.

21 August 2036

60–70% partial, greatest in the north of Scotland.

16 January 2037

50–60% partial at sunrise, most in the north of Scotland.

5 January 2038

Less than 20% partial nationwide at sunset.

2 July 2038

Less than 20% partial nationwide.

21 June 2039

Over 60% partial, touching 80% in the north of Scotland.

11 June 2048

Annular passing just north of Shetland. Over 60% across mainland UK.

14 November 2050

Over 80% partial across all except south and south west of England.

12 September 2053

40–60% partial, best in south.

5 November 2059

70–80% partial at sunrise, best in SW England.

3 September 2062

Partial grazing the north of Scotland, best in Shetland but still less than 20% partial.

5 February 2065

Partial; over 80% for whole UK. No totality.

21 April 2069

Partial eclipse, peaking at around 50% in NW Scotland.

12 September 2072

Limited partial eclipse peaking at around 40% in NE Scotland.

13 July 2075

Over 60% partial at sunrise nationally.

26 November 2076

Partial, between 40 and 60% partial

1 May 2079

Over 40% partial over 60% in NW Scotland.

3 September 2081

Totality in the Channel Islands, over 80% partial across England, Wales and Northern Ireland. Over 60% through Scotland.

27 February 2082

60–80% partial at sunset, best in the south.

21 April 2088

Around 40–50% partial, best in the south east.

23 September 2090

Total Solar Eclipse: the next total eclipse visible in the UK follows a track similar to that of 11 August 1999, but shifted slightly further north and occurring very near sunset. Maximum duration in Cornwall will be 2 minutes and 10 seconds. Same day and month as the eclipse of 23 September 1699.

18 February 2091

Partial Solar Eclipse: viewable from most areas of the UK. It will be visible from 08:25am to 10:55am, and at its peak at around 09:30am. From southern England about 55% of the Sun will be eclipsed. From northern Scotland, over 60% will be eclipsed.

7 February 2092

40–50% partial at sunset.

23 July 2093

Annular eclipse over southern Scotland, Northern England and most of Northern Ireland. Over 80% partial for the rest of the country. Near the centre line, just over 5 minutes of annularity will be observed. The centre line runs roughly from Ayr to Newcastle.

text: 22nd century (AD 2101 – 2200)[edit]

text:
3 June 2133

Total eclipse over the far north-west of Scotland, including the Isles of Lewis, Harris, northern Skye and Shetland, partial eclipse elsewhere. Maximum duration will be 3 minutes and 36 seconds.

7 October 2135

Total eclipse over central and southern Scotland and north-east England. The centre line runs from the islands of Tiree and Mull, north of Glasgow and south of Edinburgh, through Livingston to Seahouses in Northumberland. Maximum duration will be 4 minutes and 50 seconds.

14 June 2151

Total eclipse over south-west Scotland, Northern Ireland, the Isle of Man, north, central and eastern England and north-east Wales. The centre line runs from the southern tip of the Kintyre peninsula in Argyll and Bute, through Lancashire, West and South Yorkshire, Lincolnshire and the Wash to the Suffolk coast. Maximum duration will be 3 minutes and 48 seconds.

4 June 2160

Total eclipse over Land's End in Cornwall and the Scilly Isles, as well as the far southwestern tip of Ireland, partial eclipse elsewhere. Maximum duration will be 2 minutes and 58 seconds.

8 November 2189

Total eclipse over Cornwall and south Devon and the Channel Islands, as well as southwest Ireland, partial eclipse elsewhere. The centre line runs from Tralee, through Truro and passing just to the south of Jersey. Maximum duration will be 4 minutes and 10 seconds.

14 April 2200

Total eclipse over Northern Ireland and northern England. The centre line runs from Enniskillen, through Armagh, Downpatrick, the Isle of Man, Morecambe Bay and North Yorkshire to the East coast between Bridlington and Hornsea. Maximum duration will be 1 minute and 23 seconds.


document_title: Orange Is the New Black

question_text: when did orange is the new black come out

text: Orange Is the New Black

text: Plot[edit]

text:
Season
Episodes
Originally released

1
13
July 11, 2013 (2013-07-11)

2
13
June 6, 2014 (2014-06-06)

3
13
June 11, 2015 (2015-06-11)

4
13
June 17, 2016 (2016-06-17)

5
13
June 9, 2017 (2017-06-09)

text: The series revolves around Piper Chapman (Taylor Schilling), a woman in her 30s living in New York City who is sentenced to 15 months in Litchfield Penitentiary, a minimum-security women's federal prison (initially operated by the "Federal Department of Corrections," a fictional version of the Federal Bureau of Prisons, and later acquired by Management & Correction Corporation (MCC), a private prison company) in upstate New York. Piper had been convicted of transporting a suitcase full of drug money for her girlfriend Alex Vause (Laura Prepon), an international drug smuggler. The offense was 10 years prior to the start of the series and in that time Piper had moved on to a quiet, law-abiding life among New York's upper middle class. Her sudden and unexpected indictment severely disrupted her relationships with her fiancé, family and friends.

text: In prison, Piper is reunited with Alex (who named Piper in her trial, resulting in Piper's arrest) and they re-examine their relationship. Simultaneously, Piper must learn how to survive in prison and how to overcome its numerous, inherent struggles. Episodes often feature flashbacks of significant events from various inmates' and prison guards' pasts. These flashbacks typically explain how the inmate came to be in prison or develop the character's backstory.

text: The show pays close attention to how corruption, drug smuggling, funding cuts, overcrowding and guard brutality affect the prisoners' health and well-being and the prison's basic ability to fulfil its fundamental responsibilities and ethical obligations as a federal corrections institution. One of the show's key conflicts involves the prison Director of Human Activities, Joe Caputo, whose efforts and aims as a warden constantly conflict with the business interests of MCC, which acquired the facility when it was about to be shut down.

text: Cast and characters[edit]

text: Main cast[edit]

text:
Taylor Schilling as Piper Chapman, inmate
Laura Prepon as Alex Vause, inmate
Michael Harney as Sam Healy, correctional officer[a]
Michelle Hurst as Miss Claudette Pelage, inmate (season 1)
Kate Mulgrew as Galina "Red" Reznikov, inmate
Jason Biggs as Larry Bloom, Piper's fiancé (season 1–2, guest season 5)
Uzo Aduba as Suzanne "Crazy Eyes" Warren, inmate
Danielle Brooks as Tasha "Taystee" Jefferson, inmate
Natasha Lyonne as Nicky Nichols, inmate
Taryn Manning as Tiffany "Pennsatucky" Doggett, inmate
Selenis Leyva as Gloria Mendoza, inmate
Adrienne C. Moore as Cindy "Black Cindy" Hayes, inmate
Dascha Polanco as Dayanara "Daya" Diaz, inmate
Nick Sandow as Joe Caputo, Director of Human Activities, later Warden
Yael Stone as Lorna Morello, inmate
Samira Wiley as Poussey Washington, inmate (seasons 1–4, guest season 5)
Jackie Cruz as Marisol "Flaca" Gonzales, inmate
Lea DeLaria as Carrie "Big Boo" Black, inmate
Elizabeth Rodriguez as Aleida Diaz, former inmate
Jessica Pimentel as Maria Ruiz, inmate

text: Recurring cast[edit]

text: Inmates[edit]

text:
Laverne Cox as Sophia Burset
Annie Golden as Norma Romano
Laura Gómez as Blanca Flores
Diane Guerrero as Maritza Ramos
Vicky Jeudy as Janae Watson
Julie Lake as Angie Rice
Emma Myles as Leanne Taylor
Abigail Savage as Gina Murphy
Constance Shulman as Erica "Yoga" Jones
Lori Tan Chinn as Mei Chang
Tamara Torres as Gerrman "Weeping Woman"
Lin Tucci as Anita DeMarco
Beth Fowler as Sister Jane Ingalls (seasons 1-4)
Barbara Rosenblat as Rosa "Miss Rosa" Cisneros (seasons 1–2, guest season 3)
Madeline Brewer as Tricia Miller (season 1)
Kimiko Glenn as Brook Soso (season 2–present)
Dale Soules as Frieda Berlin (season 2–present)
Lori Petty as Lolly Whitehill (seasons 2–4)
Lorraine Toussaint as Yvonne "Vee" Parker (season 2)
Emily Althaus as Maureen Kukudio (season 3–present)
Blair Brown as Judy King (season 3–present)
Ruby Rose as Stella Carlin (seasons 3–4)
Rosal Colon as Carmen "Ouija" Aziza (season 4–present)
Francesca Curran as Helen Van Maele (season 4–present)
Daniella De Jesus as "Zirconia" Cabrera (season 4–present)
Asia Kate Dillon as Brandy Epps (season 4–present)
Shannon Esper as Alana Dwight (season 4–present)
Arianda Fernandez as Michelle Carreras (season 4–present)
Kelly Karbacz as Kasey Sankey (season 4–present)
Miriam Morales as Ramona "Pidge" Contreras (season 4–present)
Jolene Purdy as Stephanie Hapakuka (season 4–present)
Amanda Stephen as Alison Abdullah (season 4–present)

text: Staff

text:
Catherine Curtin as Wanda Bell
Joel Marsh Garland as Scott O'Neill
Matt Peters as Joel Luschek
Alysia Reiner as Natalie "Fig" Figueroa
Brendan Burke as Wade Donaldson (seasons 1-4)
Lolita Foster as Eliqua Maxwell (seasons 1–3)
Germar Terrell Gardner as Charles Ford (seasons 1–3)
Matt McGorry as John Bennett (seasons 1–3)
Pablo Schreiber as George "Pornstache" Mendez (seasons 1–3, guest season 5)
Lauren Lapkus as Susan Fischer (seasons 1–2)
Alan Aisenberg as Baxter "Gerber" Bayley (season 3–present)
Beth Dover as Linda Ferguson / "Amelia Von Barlow" (season 3–present)
Jimmy Gary Jr. as Felix Rikerson (season 3–present)
James McMenamin as Charlie "Donuts" Coates (season 3–present)
Mike Birbiglia as Danny Pearson (seasons 3-4)
Marsha Stephanie Blake as Berdie Rogers (season 3)
Nick Dillenburg as Ryder Blake (season 4–present)
Evan Arthur Hall as Stratman (season 4–present)
Mike Houston as Lee Dixon (season 4–present)
Brad William Henke as Desi Piscatella (seasons 4–5)
John Palladino as Josh (season 4–present)
Emily Tarver as Artesian McCullough (season 4–present)
Michael Torpey as Thomas "Humps" Humphrey (seasons 4–5)

text: Others

text:
Michael Chernus as Cal Chapman (seasons 1–4)
Tanya Wright as Crystal Burset (seasons 1–4)
Tracee Chimo as Neri Feldman (seasons 1–3)
Berto Colon as Cesar (seasons 1–3, 5)
Deborah Rush as Carol Chapman (seasons 1–3, 5)
Maria Dizzia as Polly Harper (seasons 1–2)
Ian Paola as Yadriel (season 2–present)
John Magaro as Vince Muccio (season 3–present)
Mary Steenburgen as Delia Powell-Mendez (season 3, guest season 5)

text: Production[edit]

text: Show creator Jenji Kohan read Piper Kerman's memoir after a friend sent it to her. She then set up a meeting with Kerman to pitch her on a TV adaptation, which she notes she "screwed up" as she spent most of the time asking Kerman about her experiences she described in the book rather than selling her on the show. This appealed to Kerman as it let her know that she was a fan and she signed off on the adaptation.[9] Kohan would later go on to describe the main character, Piper Chapman, as a "trojan horse" for the series, allowing it to focus on characters whose demographics would not normally be represented on TV.[10]

text: In July 2011, it was revealed that Netflix was in negotiations with Lionsgate for a 13-episode TV adaptation of Kerman's memoirs with Kohan as creator.[11] In November 2011, negotiations were finalized and the series had been greenlit.[12] Casting announcements began in August 2012 with Taylor Schilling, the first to be cast, in the lead role as Piper Chapman,[13] followed by Jason Biggs as Piper's fiancé Larry Bloom.[14]

text: Laura Prepon and Yael Stone were next to join the series.[2] Abigail Savage, who plays Gina, and Alysia Reiner, who plays Fig, had auditioned for role of Alex Vause.[9][15] Prepon initially auditioned for Piper Chapman,[16] however Kohan felt she would not worry about her [in prison], noting a "toughness and a presence to her that wasn’t right for the character." Kohan instead gave her the role of Alex.[9] Stone had originally auditioned for the role of Nicky Nichols, but she was not considered "tough enough" for the character;[17] she was asked to audition for Lorna Morello instead.[18] Likability was important for Morello, whom casting director Jen Euston deemed "a very helpful, nice, sweet Italian girl."[18] Laverne Cox, a black transgender woman, was cast as Sophia Burset, a transgender character. The Advocate touted Orange Is the New Black as possibly the first women-in-prison narrative to cast a transgender woman for this type of role.[19] Natasha Lyonne was to audition for Alex, but was asked to read for the character Nicky Nichols; "[Kohan knew] she could do Nicky with her eyes closed. She was perfect," said Euston.[18] Uzo Aduba read for the part of Janae Watson but was offered the character Suzanne "Crazy Eyes" Warren.[18][20] Taryn Manning was offered the role of Tiffany "Pennsatucky" Doggett.[18] This American Life host Ira Glass was offered a role as a public radio host, but he declined. The role instead went to Robert Stanton, who plays the fictional host Maury Kind.[21]

text: The series is set in a fictional prison in Litchfield, New York, which is a real town in upstate New York, but it does not have a federal penitentiary.[22] The series began filming in the old Rockland Children's Psychiatric Center in Rockland County, New York, on March 7, 2013.[23] The title sequence features photos of real former female prisoners including Kerman herself.[24]

text: On June 27, 2013, prior to the series premiere, Netflix renewed the show for a second season consisting of 13 episodes.[25] For the second season, Uzo Aduba, Taryn Manning, Danielle Brooks, and Natasha Lyonne were promoted to series regulars.[26] Laura Prepon did not return as a series regular for a second season because of scheduling conflicts, but returned for season 3 as a regular.[27] On May 5, 2014, the series was renewed for a third season, as revealed by actress Laura Prepon.[28] For the third season, several actors were promoted to series regulars, including Selenis Leyva, Adrienne C. Moore, Dascha Polanco, Nick Sandow, Yael Stone, and Samira Wiley.[29] Both Jason Biggs and Pablo Schreiber were confirmed as not returning for the third season, but Schreiber appeared in the 10th episode of the third season.[30][31][32] The series was renewed for a fourth season on April 15, 2015, prior to its third-season premiere.[33][34] For the fourth season, Jackie Cruz and Lea DeLaria were promoted to series regulars; with Elizabeth Rodriguez also being promoted by the season's sixth episode.[35] On February 5, 2016, the series was renewed for a fifth, sixth and seventh season.[4]

text: Reception[edit]

text: Critical response[edit]

text:
Season
Critical response

Rotten Tomatoes
Metacritic

1
93% (40 reviews)
79 (32 reviews)

2
98% (42 reviews)
89 (31 reviews)

3
96% (24 reviews)
83 (53 reviews)

4
95% (39 reviews)
86 (19 reviews)

5
74% (35 reviews)
67 (20 reviews)

text: Orange Is the New Black has received critical acclaim, particularly praised for humanizing prisoners[36][37] and for its depiction of race, sexuality, gender and body types.[38]

text: The first season received positive reviews from critics, review aggregator Metacritic gave it a weighted average score of 79 out of 100 based on reviews from 32 critics, indicating favorable reviews.[39] On Rotten Tomatoes, season one has a 93% approval rating based on 40 reviews, with an average rating of 8.2 out of 10 . The site's critical consensus is "Orange Is the New Black is a sharp mix of black humor and dramatic heft, with interesting characters and an intriguing flashback structure."[40]

text: Hank Stuever, television critic for The Washington Post, gave Orange Is the New Black a perfect score. In his review of the series, he stated: "In Jenji Kohan's magnificent and thoroughly engrossing new series, Orange Is the New Black, prison is still the pits. But it is also filled with the entire range of human emotion and stories, all of which are brought vividly to life in a world where a stick of gum could ignite either a romance or a death threat."[41] Maureen Ryan, of The Huffington Post, wrote: "Orange is one of the best new programs of the year, and the six episodes I've seen have left me hungry to see more."[42]

text: The second season also received critical acclaim. Rotten Tomatoes gave a rating of 98%, with an average rating of 9.1 out of 10 based on 42 reviews. The site's critical consensus reads: "With a talented ensemble cast bringing life to a fresh round of serial drama, Orange Is the New Black's sophomore season lives up to its predecessor's standard for female-led television excellence.[43] Metacritic gave the second season a score of 89 out of 100 based on 31 critics, indicating "universal acclaim."[44] David Wiegland of the San Francisco Chronicle gave the season a positive review, calling the first six episodes "not only as great as the first season, but arguably better."[45]

text: The third season received critical acclaim. On Metacritic, it has a score of 83 out of 100 based on 24 reviews.[46] On Rotten Tomatoes, it has a 96% rating with an average score of 8.2 out of 10 based on 53 reviews. The site's critical consensus reads: "Thanks to its blend of potent comedy and rich character work, Orange is the New Black remains a bittersweet pleasure in its third season."[47]

text: The fourth season received critical acclaim. On Metacritic, it has a score of 86 out of 100 based on 19 reviews.[48] On Rotten Tomatoes, it has a 95% rating with an average score of 8.6 out of 10 based on 39 reviews. The site's critical consensus reads: "Orange is the New Black is back and better than ever, with a powerful fourth season full of compelling performances by the ensemble cast."[49] James Poniewozik of The New York Times reviewed the fourth season as "Do you measure the quality of a TV season as a beginning-to-end average or by how well it ends? By the first yardstick, Season 4 is ambitious but uneven; by the latter, it's the series' best."[50]

text: The fifth season has received "generally favorable reviews".[51] On Metacritic, it has a score of 67 out of 100 based on 20 reviews.[51] On Rotten Tomatoes, it has a 76% rating with an average score of 7.47 out of 10 based on 33 reviews.[52]

text: Accolades[edit]

text: Orange Is the New Black has received many accolades since its debut. The series has garnered 16 Emmy Award nominations and four wins. For its first season, it received 12 Emmy Award nominations, including Outstanding Comedy Series, Outstanding Writing for a Comedy Series, and Outstanding Directing for a Comedy Series, winning three.[53] Taylor Schilling received a Golden Globe Award nomination for Best Actress in a Television Series – Drama.[54] In 2013, the American Film Institute selected the series as one of the Top 10 Television Programs of the Year.[55]

text: A new Emmy rule in 2015, classifying half-hour shows as comedies and hour-long shows as dramas, forced the series to change categories from comedy to drama for its second season.[56] That year, the series received four Emmy nominations, including Outstanding Drama Series, and Aduba won her second Emmy Award, for Outstanding Supporting Actress in a Drama Series.[53] Orange Is the New Black became the first series to receive Emmy nominations in both comedy and drama categories.[8] For its second season, the series also received three Golden Globe Award nominations: Best Television Series – Musical or Comedy, Best Actress – Television Series Musical or Comedy for Schilling, and Best Supporting Actress – Series, Miniseries or Television Film for Aduba. At the 21st Screen Actors Guild Awards, the series won Outstanding Performance by an Ensemble in a Comedy Series and Aduba won Outstanding Performance by a Female Actor in a Comedy Series.[57]

text: For its third season, Orange Is the New Black won Screen Actors Guild Awards for Outstanding Performance by an Ensemble in a Comedy Series and Outstanding Performance by a Female Actor in a Comedy Series (Aduba).[58] It received a Golden Globe Award nomination for Best Television Series – Musical or Comedy.[54] The series has also received, among other accolades, six Writers Guild of America Award nominations,[59] five Satellite Awards,[60][61] four Critics' Choice Television Awards,[62][63] a GLAAD Media Award,[64] an American Cinema Editors Award,[65] a Producers Guild of America Award,[66] and a Peabody Award.[67]

text: Broadcast[edit]

text:
Netflix is famously tight-fisted when it comes to offering up viewership data about its original series. But execs with the streaming giant have repeatedly confirmed that OITNB is its most-watched original series. That has been backed up by the efforts of outside measurement companies to track viewing in the Netflix eco-system.

—Variety[4]

tag: div

text: The series began airing on broadcast television in New Zealand on TV2 on August 19, 2013.[68] It premiered in Australia on October 9, 2013, on Showcase.[69] The second season began on Showcase on July 16, 2014,[70] and the third season premiered on June 11, 2015.[71] The first season began airing on broadcast television in the UK on Sony Channel from April 19, 2017.[72]

text: In April 2017, it was reported that a cybercriminal had stolen the first ten episodes of the fifth season in a security breach of a post-production company. Netflix failed to respond to ransom demands, and the cybercriminal leaked the episodes online. Netflix confirmed the security breach and an ongoing investigation by federal law enforcement.[73][74] Multichannel News reported that demand for the series significantly increased over the seven-day period following the leak of the episodes. It was also said that the leak would likely cause a decrease in demand for the fifth season when Netflix releases it in June.[75]

text: Ratings[edit]

text: Orange Is the New Black generated more viewers and hours viewed in its first week than the other Netflix original series House of Cards and Arrested Development.[76][77] In October 2013, Netflix stated that the show is a "tremendous success" for the streaming platform. "It will end the year as our most watched original series ever and, as with each of our other previously launched originals, enjoys an audience comparable with successful shows on cable and broadcast TV."[78][79] As reported in February 2016, Orange Is the New Black remains Netflix's most-watched original series.[4][6][80] In 2016, a New York Times study of the 50 TV shows with the most Facebook Likes found that Orange Is the New Black is one of the shows most watched in urban areas, and despite its "minority-rich ensemble cast," the series "appeals more to a white audience."[81]

text: Notes[edit]

text: Jump up ^ Michael J. Harney was credited as main cast for season 5 but did not make a single appearance.

tag: ol


document_title: Keeping up with the Joneses

question_text: where did the saying keeping up with the joneses come from

text: Keeping up with the Joneses

text: Origins[edit]

text: The phrase originates with the comic strip Keeping Up with the Joneses, created by Arthur R. "Pop" Momand in 1913. The strip ran until 1940 in The New York World and various other newspapers. The strip depicts the social climbing McGinis family, who struggle to "keep up" with their neighbors, the Joneses of the title. The Joneses were unseen characters throughout the strip's run, often spoken of but never shown. The idiom keeping up with the Joneses has remained popular long after the strip's end.[1][2][3][4][5]

text: Use of the name Jones for neighbors involved in social comparison predates Momand's comic strip. In 1879, English writer E. J. Simmons wrote in Memoirs of a Station Master of the railroad station as a place for social exchange: "The Joneses, who don't associate with the Robinsons, meet there."[1] American humorist Mark Twain made an allusion to Smith and Jones families with regard to social custom in the essay "Corn Pone Opinions," written in 1901 but first published in 1923. "The outside influences are always pouring in upon us, and we are always obeying their orders and accepting their verdicts. The Smiths like the new play; the Joneses go to see it, and they copy the Smith verdict."[6] Starting in 1908, D.W. Griffith directed a series of comedy shorts starring The Biograph Girl, Florence Lawrence, featuring the people next door, The Joneses.

text: An alternative explanation is that the Joneses of the saying refer to the wealthy family of Edith Wharton's father, the Joneses.[7] The Joneses were a prominent New York family with substantial interests in Chemical Bank as a result of marrying the daughters of the bank's founder, John Mason.[8] The Joneses and other rich New Yorkers began to build country villas in the Hudson Valley around Rhinecliff and Rhinebeck, which had belonged to the Livingstons, another prominent New York family to whom the Joneses were related. The houses became grander and grander. In 1853, Elizabeth Schermerhorn Jones built a 24-room gothic villa called Wyndcliffe described by Henry Winthrop Sargent in 1859 as being very fine in the style of a Scottish castle, but by Edith Wharton, Elizabeth's niece, as a gloomy monstrosity.[9] The villa reportedly spurred more building, including a house by William B. Astor (married to a Jones cousin), a phenomenon described as "keeping up with the Joneses". The phrase is also associated with another of Edith Wharton's aunts, Mary Mason Jones, who built a large mansion at Fifth Avenue and 57th Street, then undeveloped. Wharton portrays her affectionately in The Age of Innocence as Mrs. Manson Mingott, "calmly waiting for fashion to flow north".

text: A slightly different version is that the phrase refers to the grand lifestyle of the Joneses who by the mid-century were numerous and wealthy, thanks to the Chemical Bank and Mason connection. It was their relation Mrs William Backhouse Astor, Jr who began the "patriarchs balls", the origin of "The Four Hundred", the list of the society elite who were invited. By then the Joneses were being eclipsed by the massive wealth of the Astors, Vanderbilts and others but the four hundred list published in 1892 contained many of the Joneses and their relations—old money still mattered.

text: Social effects[edit]

text: The philosophy of "keeping up with the Joneses" has widespread effects on some societies. According to this philosophy, conspicuous consumption occurs when people care about their standard of living in relation to their peers.[10] The term was re-introduced in 1976 when an article about parenting included it[citation needed] and has remained a commercial and cultural watchword ever since.

text: According to Roger Mason, "the demand for status goods, fueled by conspicuous consumption, has diverted many resources away from investment in the manufacture of more material goods and services in order to satisfy consumer preoccupations with their relative social standing and prestige".[11]

text: Social status once depended on one's family name; however, the rise of consumerism in the United States gave rise to social mobility. With the increasing availability of goods, people became more inclined to define themselves by what they possessed and the subtle quest for higher status accelerated. Conspicuous consumption and materialism have been an insatiable juggernaut ever since.[12] The desire to increase one's position in the social hierarchy is responsible for much of the social mobility in America. The upward mobility over the past few decades in America is due in part to the large number of women joining the labor force. U.S. women have slowly and steadily increased their participation in the labor force from 46% of all women (age 16+) in 1974 to almost 60% in 2004.[13]

text: Even in countries where the desire for upward social mobility via consumerism and conspicuous consumption is strong, the poor may not be able to better themselves. Doug Henwood observed that "both the US and British poor were more likely to stay poor for a long period of time: almost half of all people who were poor for one year stayed poor for five or more years, compared with 30% in Canada and 36% in Germany. And, despite claims of great upward mobility in the United States, 45% of the poor rose out of poverty in a given year, compared with 45% in the UK, 53% in Germany, and 56% in Canada. And of those who did exit poverty, 15% of Americans were likely to make a round trip back under the poverty line, compared with 16% in Germany, 10% in the UK, and 7% in Canada".[14] The level of income inequality in a country has an inverse relationship with social mobility according to the authors of The Spirit Level.[15]

text: Inability to "keep up with the Joneses" might result in dissatisfaction, even for people whose status is high.[16]

text: One area in which "living above one's means" has caused negative social effects is that of credit card use. In the first quarter of 2002, total credit debt was $660 billion. By 2005, the total credit card debt had increased to $735 billion.[17] America's average credit card debt in 2007 was $8,400 per household. By the end of 2007, consumer debt in America had risen to $2.5 trillion.[18]

text: In popular culture[edit]

text: In the 1936 book The Next 100 Years, Clifford C. Furnas writes that the phenomenon of "'Keeping up with the Joneses' ... is descended from the spreading of the peacock's tail."[19]

text: The phrase is also referenced in the song "Luckenbach, Texas (Back to the Basics of Love)" by Waylon Jennings.

text: In the UK, when Princess Margaret married the fashionable photographer Anthony Armstrong-Jones in 1960, the media would sometimes mention 'keeping up with the Armstrong-Joneses'.

text: Ahmad Lewis has a song off his hit record called "The Joneses."

text: The phase appears in the song "I Wanna Go Back" by Christian singer David Dunn on his 2017 album "Yellow Balloons."

text: Dominic West makes reference to the phrase “Keeping up with the Joneses” in the 2003 film Mona Lisa Smile.