document_title: The Watcher in the Woods

question_text: where was the watcher in the woods filmed

text: The Watcher in the Woods

text: Plot[edit]

text: Americans Helen and Paul Curtis and their daughters Jan and Ellie, move into a manor in rural England. Mrs. Aylwood, the owner of the residence who now lives in the guest house next door, notices that Jan bears a striking resemblance to her daughter, Karen, who disappeared inside an abandoned chapel in the woods thirty years earlier.

text: Jan senses something unusual about the property almost immediately, and begins to see strange blue lights in the woods, triangles, and glowing objects. Eventually, Ellie goes to buy a puppy she inexplicably names "Nerak" (an anagram for Karen). After seeing the reflection of the name "Nerak" (Karen spelled backwards), Jan is told about the mystery of Mrs. Aylwood's missing daughter by Mike Fleming, the teenage son of a local woman, Mary.

text: One afternoon, Nerak runs into woods, and Ellie chases after him. Jan, realizing her sister has disappeared from the yard, goes into the woods to find her, eventually locating her at a pond. In the water, she sees a blue circle of light, and is blinded by a flash, causing her to fall in; she nearly drowns, but Mrs. Aylwood saves her. Mrs. Aylwood brings Jan and Ellie to her home, and recounts the night her daughter disappeared.

text: Later, Mike discovers that his mother, Mary, was with Karen when she disappeared, but she evades his questions. Meanwhile, Jan attempts to get information from John Keller, a reclusive aristocrat who was also there that night, but he refuses to speak to her. On her way home, Jan cuts through the woods, where she encounters a local hermit, Tom Colley, who tells Jan he was also present at Karen's disappearance. He claims that during a seance-like ceremony on the night of a lunar eclipse, Karen vanished when lightning struck the church bell tower.

text: Jan decides to recreate the ceremony during the upcoming solar eclipse, hoping it will bring Karen back. She gathers Mary, Tom, and John at the abandoned chapel, and they attempt to repeat the ceremony. Meanwhile, Ellie, while watching the eclipse from the front yard, suddenly goes into a trance-like state, apparently possessed, and enters the woods. At the chapel, the ceremony is interrupted by a powerful wind that shatters the windows, and Ellie appears. In a voice that is not her own, she explains that an accidental switch took place thirty years ago, in which Karen traded places with an alien presence from an alternate dimension; thus, the Watcher has been haunting the woods since, while Karen has remained suspended in time.

text: The Watcher then leaves Ellie's body, manifesting as a pillar of light, fueled by the "circle of friendship". It engulfs Jan and lifts her into the air, but Mike intercedes and pulls her away before the Watcher disappears. Simultaneously, the eclipse ends, and Karen, still the same age as when she disappeared, reappears – still blindfolded. She removes the blindfold just as Mrs. Aylwood enters the chapel.

text: Cast[edit]

text:
Bette Davis as Mrs. Aylwood
Carroll Baker as Helen Curtis
David McCallum as Paul Curtis
Lynn-Holly Johnson as Jan Curtis
Kyle Richards as Ellie Curtis
Ian Bannen as John Keller
Richard Pasco as Tom Colley
Frances Cuka as Mary Fleming
Benedict Taylor as Mike Fleming
Eleanor Summerfield as Mrs. Thayer
Georgina Hale as Young Mrs. Aylwood
Katherine Levy as Karen Aylwood (Replaced by an uncredited actor in the 1981 version)

text: Production[edit]

text: Development[edit]

text: The Watcher in the Woods is based on Florence Engel Randall's 1976 novel A Watcher in the Woods. Producer Tom Leetch pitched the project to Disney executive Ron Miller, stating that "This could be our Exorcist."[4] Brian Clemens adapted the novel into a screenplay. However, Disney decided that Clemens' version—which had a different conclusion than that of the novel—was too dark and had Rosemary Anne Sisson revise it.[5] This script was later revised again by Gerry Day in July 1979.[6] During filming, Ron Miller would often intervene to tone down intense scenes, leading to tension between himself and Leetch. Miller recruited John Hough to direct the film after seeing his previous movie, The Legend of Hell House with Roddy McDowall.

text: When the film was pulled from theatres, several new endings were penned by various writers at Disney to substitute for the original. In addition to the work of studio writers, a number of science fiction writers, including Robert Silverberg, Joe Haldeman, and the Niven/Pournelle team, all working separately, were brought in and paid for alternate endings, but apparently none of those were used. Harrison Ellenshaw, the visual effects designer, later stated that there were "roughly 152" possible endings.[7] Ellenshaw wrote the version of the ending that eventually accompanied the re-release of the film.

text: Casting[edit]

text: According to director John Hough during his audio commentary on the 2002 Anchor Bay DVD release, casting the role of the young Mrs. Aylwood was complicated, since the character is featured in two separate time periods; Bette Davis, who was already cast as Mrs. Aylwood, was considered for playing both the young and old versions of the character.

text:
"You couldn't play a scene with Bette Davis and not really think and not be on your toes, as you just wouldn't have any impact on the scene at all."

John Hough, 2002[8]

tag: div

text: According to Hough, Davis "desperately" wanted to play both parts; so much so, that the production crew had make-up and hair specialists flown in from Los Angeles in order to work on Davis in preparation for screen tests; the goal was to reverse her age appearance by thirty years. After the screen tests were completed and viewed by the crew, Hough was concerned about Davis playing the younger character, and felt that the make-up and hair work had "maybe knocked about twenty years off of her age, but not forty";[8] Davis was 72 years old at the time. Upon viewing the tests, Hough cued for the crew to leave the screening room, and said, "Bette, I don't think you've made it". After taking one long drag from her cigarette, Davis replied: "You're goddamn right".[8] British actress Georgina Hale ended up taking the role of the younger Mrs. Aylwood; according to Hough, she took the part largely because of her admiration for Davis.

text: In casting the leading part of Jan, Diane Lane had been the initial choice;[9] however, due to complications, the part eventually went to Lynn-Holly Johnson, who had gained attention in the United States as a professional figure skater, as well as for her acting role as a blind ice skater in the 1978 film, Ice Castles, for which she received a Golden Globe nomination.

text: Carroll Baker, who was living in London at the time, was asked to play the part for Hough (who had long admired her work). She accepted the role. Eleven-year-old Kyle Richards - who played Ellie, the youngest sister in the film - had previously worked with Hough on Escape to Witch Mountain in an uncredited role as a younger version of her sister, Kim Richards.

text: Filming and reshoots[edit]

text: The film was shot primarily at Pinewood Studios in Buckinghamshire, England, and the surrounding areas.[10] The house used in the film was on location; it has since been deconstructed and turned into apartments.[8] Hough used several locations that are also seen in Robert Wise's The Haunting, most notably the grand mansion in which John Keller's character lives; this was the same house used for filming The Haunting (Ettington Park, Warwickshire).[8]

text: After critical backlash during the film's limited theatrical run in New York in April 1980, the film was pulled from theaters and reshoots of its ending began without director Hough.[8] Due to the 1980 actors strike, Davis was unable to return to England to film reshoots, so her additional footage was shot in California.[11] The film had a total of three different endings, which are presented below. Each of these conclusions are featured on the film's 2002 Anchor Bay DVD release; the "other world" ending and the 1980 ending are included as supplemental material, while the final 1981 ending is the official ending of the movie. An "other world" sequence was an integral part of the intended ending for the film; it was never completed.[8]

text:
The original ending featured an appearance by the growling Watcher, a skeletal, insectoid alien, which picks Jan up in the chapel and disappears. At this point, the two were supposed to fly across an alien landscape to the Watcher's crippled spacecraft. Inside, Karen was trapped in a pyramidal prism. According to Sam Nicholson, the visual effects supervisor, "For some reason, the girl who disappeared imbalanced this alien's craft when she went through this portal. Which in turn caused this alien to crash."[12]

Final, 1981 theatrical ending of the film, which was employed by Walt Disney Pictures and shot by a different director; this ending includes no physical manifestation of the 'watcher', besides an eerie beam of light.

Jan reached out to Karen, and when the two embraced they were teleported back to the chapel. The girls then returned to the manor, where Mrs. Aylwood and her daughter were reunited. As they walked arm in arm, Jan explained everything to Ellie: the Watcher – who was switched with Karen by accident during the eclipse – needed Jan to free the girl. The visual effects for the "other world" scenes were not finished in time for the release because the film was rushed out to coincide with Bette Davis's 50th anniversary as a film actor in 1980 (Davis was first hired by Universal Studios in 1930). Rather than finish the existing effects shots, Disney opted to rewrite and re-shoot the ending, toning down the references to the occult, deeming them too dark.[8]

text: The first theatrical ending, which was shown with the film's week-long screening in New York City (see Release history)[13] featured only part of the intended ending, leaving out all of the "other world" sequence and replacing it with Helen's interrogation of Tom, Mary, and John at the chapel, after Jan disappears during their re-enactment of the séance. It did, however, include the appearance of the alien creature as it picks up Jan and disappears into thin air. While Helen is questioning everyone in the chapel, Jan re-appears, and emerges from a beam of light, hand-in-hand with Karen. The girls return to the house, where Mrs. Aylwood and Karen are re-united in the front yard, and Jan discusses the watcher with Ellie. This ending forced the film to rely on Jan's brief, cryptic explanation to provide closure. This conclusion to The Watcher in the Woods was nearly unintelligible as a result, thus giving the film the reputation of not having an ending. It also omitted Mrs. Aylwood's condemnation of recreating the séance on the basis that it was witchcraft.

text: The 1981 theatrical release is the "official" version of the movie and can be found on any VHS, laserdisc, or DVD release of The Watcher in the Woods. It is summarized above in the film's synopsis. In the official ending, the re-imagined Watcher (an ectoplasmic pillar of light) was less threatening and more supernatural. The nature of Karen and the Watcher's switch was clearly explained by Ellie in the chapel (whilst possessed by the Watcher). The new footage (including the forest scenes that replaced the original opening credits) was directed by Vincent McEveety, although he was not credited due to union rules which forbade a screen credit unless the director worked on the film for a certain number of hours.[14]

text: Release and reception[edit]

text: The Watcher in the Woods had a limited theatrical test run in New York City beginning April 17, 1980.[11] After negative audience reaction, the film was pulled from theaters the following week, prompting Disney to undertake reshoots of the film's ending, which cost the production an additional $1 million.[11][13] Vincent Canby of The New York Times panned the film during its 1980 theatrical run, writing: "I challenge even the most indulgent fan to give a coherent translation of what passes for an explanation at the end."[15] He also criticized the special effects, noting that the creature in the film's finale "looks as if it had been stolen from a Chinese New Year's parade."[15]

text: Gene Shalit of Ladies Home Journal also criticized the film, writing: "The Watcher in the Woods wastes the talents of Bette Davis and wastes our time with the non-talents of two children who speak in monotones... This dreary Disney movie may scare some ten-year-old girls who enjoy teenage mysteries, but parents and other adults will be exasperated.[16] In a review published in Essence, Bonnie Allen noted: "I could not figure out what audience the film was made for. The plot has no new twist on the haunted English mansion scenario. Bette Davis, as the mother of the hauntee, is not enough to legitimize this horrid horror. As a matter of fact, The Watcher in the Woods is best left unwatched."[17] A review published in Variety gave the film a middling review, noting: "The acting and writing are barely professional but the art direction, especially Alan Hume’s stunning camerawork, gives the pic a gloss."[18]

text: The film was re-released eighteen months later on October 9, 1981, after extensive reshoots and an entirely new ending. Promotional material for the film presented it a straightforward suspense film aimed for more mature audiences, a new endeavor for Disney; the film's theatrical trailer began with a title card reading:

text: Walt Disney Productions ushers in a new decade of motion picture entertainment with the following invitation to spend ninety minutes on the edge of your seat.[19]

text: The film's second theatrical run with a brand new ending garnered it some critical praise, with The Hollywood Reporter calling it a "A rattlingly good suspense yarn. The ending is seamless, satisfying, resolving the mystery. The film is genuinely eerie and scary."[20] An article published in The New York Times commented on the revised version of the film, writing: "The early good reviews for the revised Watcher in the Woods do not, by any means, solve all of Disney's problems. The PG-rated (Parental Guidance Suggested) movie is tense and scary enough to appeal to the teen-age audience that the studio has been trying to woo for the last four or five years. But can any film with a Disney label attract teen-agers?"[11]

text: A review published in TV Guide criticized the film even with the revised ending and gave it one out of four stars, noting: "From the start it's apparent that [the setting] is no ordinary glen teeming with cute little Disney squirrels. Johnson, however, isn't intimidated by the woods, but strange incidents begin occurring when she becomes possessed by the spirit of Davis's long-dead daughter. Though the filmmakers make some effort to create a creepy atmosphere, they fail at one of horror's most basic formats—the haunted house story."[21]

text: In the first week of this theatrical run, the film grossed a respectable USD$1.2 million[11] and would go on to gross a total of $5 million domestically.[1]

text: Home media[edit]

text: Though the film was released on VHS in the 1980s, it was not until 2002 that it was picked up for a DVD release by Anchor Bay Entertainment. There are a total of three separate DVD versions of the film released, each described below:

text: Released by Anchor Bay Entertainment on DVD April 2, 2002. This was the film's first official DVD release, and was shrouded in controversy over distribution rights. When Anchor Bay Entertainment obtained the rights to release The Watcher in the Woods on DVD, it spearheaded an effort to find the original film elements and enlist director John Hough's help in re-editing the film. They planned to release two versions of the film: the 1981 theatrical version as well as John Hough's director's cut, which would feature the censored opening credits (in which the Watcher scares a girl and incinerates her doll) and a finished version of the "other world" ending.

text: However, Anchor Bay encountered considerable resistance from Disney. In the end, they were forced to drop the original credits and release the "other world" footage as an abbreviated (14 minute long) and unfinished alternate ending. The other alternate ending (6 minutes long) is an approximation of the first theatrical ending. Both of these alternate endings were later included in Disney's own DVD release of the film in 2004. This version comes with a wealth of extras including an audio commentary by director John Hough, a detailed biography of Hough, two alternate endings, three theatrical trailers, and a TV commercial. The DVD also comes with a 20-page collectible booklet and card insert of the film's original poster art (seen on the DVD's front cover). The Anchor Bay DVD is now permanently out of print.

text: On August 3, 2004, Walt Disney re-released the film on DVD. This version has far less features than the Anchor Bay release, featuring only two of the three alternate endings and two theatrical trailers. It does not come with the audio commentary, biography, third trailer, TV commercial, booklet, or card insert.

text: Accolades[edit]

text:
The film was nominated for a Saturn Award (Best International Film 1982).
Kyle Richards was nominated for a Saturn Award (Best Supporting Actress 1982) and Young Artist Award (Best Young Motion Picture Actress 1982) for her portrayal of Ellie Curtis.


document_title: Stress (linguistics)

question_text: where is the stress in french words typically placed

root

text: Stress (linguistics)

text: Phonetic realization[edit]

text: There are various ways in which stress manifests itself in the speech stream, and these depend to some extent on which language is being spoken. Stressed syllables are often louder than non-stressed syllables, and may have a higher or lower pitch. They may also sometimes be pronounced longer. There are sometimes differences in place or manner of articulation – in particular, vowels in unstressed syllables may have a more central (or "neutral") articulation, while those in stressed syllables have a more peripheral articulation. Stress may be realized to varying degrees on different words in a sentence; sometimes the difference between the acoustic signals of stressed and unstressed syllables are minimal.

tag: p

text: These particular distinguishing features of stress, or types of prominence in which particular features are dominant, are sometimes referred to as particular types of accent – dynamic accent in the case of loudness, pitch accent in the case of pitch (although this term usually has more specialized meanings), quantitative accent in the case of length,[1] and qualitative accent in the case of differences in articulation. These can be compared to the various types of accent in music theory. In some contexts, the term stress or stress accent is used to mean specifically dynamic accent (or as an antonym to pitch accent in its various meanings).

text: A prominent syllable or word is said to be accented or tonic; the latter term does not imply that it carries phonemic tone. Other syllables or words are said to be unaccented or atonic. Syllables are frequently said to be in pretonic or post-tonic position; certain phonological rules apply specifically to such positions. For instance, in American English, /t/ and /d/ are flapped in post-tonic position.

text: In Mandarin Chinese, which is a tone language, stressed syllables have been found to have tones realized with a relatively large swing in fundamental frequency, while unstressed syllables typically have smaller swings.[2] (See also Stress in Standard Chinese.)

text: Stressed syllables are often perceived as being more forceful than non-stressed syllables. Research has shown, however, that although dynamic accent is accompanied by greater respiratory force, it does not mean a more forceful articulation in the vocal tract.[citation needed]

text: Lexical stress[edit]

text: Lexical stress, or word stress, is the stress placed on a given syllable in a word. The position of lexical stress in a word may depend on certain general rules applicable in the language or dialect in question, but in other languages, it must be learned for each word, as it is largely unpredictable.

text: Languages in which position of the stress can usually be predicted by a simple rule are said to have fixed stress. For example, in Czech, Finnish, Icelandic and Hungarian, the stress almost always comes on the first syllable of a word. In Armenian the stress is on the last syllable of a word.[3] In Quechua and Polish, the stress is almost always on the penult (second-last syllable). In Macedonian, it is on the antepenult (third-last syllable).

text: Other languages have stress placed on different syllables but in a predictable way, as in Classical Arabic and Latin (whose stress is conditioned by the structure of the penult). They are said to have a regular stress rule.

text: Statements about the position of stress are sometimes affected by the fact that when a word is spoken in isolation, prosodic factors (see below) come into play, which do not apply when the word is spoken normally within a sentence. French words are sometimes said to be stressed on the final syllable, but that can be attributed to the prosodic stress that is placed on the last syllable (unless it is a schwa, when it is the second-last) of any string of words in that language. Thus, it is on the last syllable of a word analyzed in isolation. The situation is similar in Standard Chinese. French (some authors add Chinese[4]) can be considered to have no real lexical stress.

text: Languages in which the position of stress in a word is less predictable are said to have variable stress like English, Russian, Italian, Portuguese and Spanish. Stress is usually truly lexical and must be memorized as part of the pronunciation of an individual word. In some languages, such as in Spanish, in Portuguese and, to some extent in Italian, stress is even represented in writing using diacritical marks, for example in the Spanish words célebre and celebré. In Russian, diacritical marks are sometimes written for people learning the language, whether as a first or second language.

text: In such languages with variable stress, stress may be phonemic in that it can serve to distinguish otherwise identical words. For example, the English words insight and incite are distinguished in pronunciation only by the fact that the stress falls on the first syllable in the former and on the second syllable in the latter. Other examples include umschreiben ("rewrite") vs. umschreiben ("paraphrase, outline") in German, земли́ (genitive of "earth, land") vs. зе́мли (plural of "earth, land") in Russian, and ancora ("anchor"), ancora ("more, still, yet") in Italian, and the triple example sábia ("wise woman"), sabia ("he/she knew"), sabiá ("true thrush") from Portuguese. English compound nouns can change their meaning based on stress, as with paper bág (a bag made of paper) and páper bag (a bag for carrying newspapers).

text: Dialects of the same language may have different stress placement. For instance, the English word laboratory is stressed on the second syllable in British English (labóratory often pronounced "labóratry", the second o being silent), but the first syllable in American English, with a secondary stress on the "tor' syllable (láboratory often pronounced "lábratory"). The Spanish word video is stressed on the first syllable in Spain (vídeo) but on the second syllable in the Americas (vidéo). The Portuguese words for Madagascar and the continent Oceania are stressed on the third syllable in European Portuguese (Madagáscar and Oceânia), but on the fourth syllable in Brazilian Portuguese (Madagascár and Oceanía).

text: Levels of stress[edit]

text: Some languages are described as having both primary stress and secondary stress. A syllable with secondary stress is stressed relative to unstressed syllables but not as strongly as a syllable with primary stress. As with primary stress, the position of secondary stress may be more or less predictable depending on language. In English, it is not fully predictable: the words organization and accumulation both have primary stress on the fourth syllable, but the secondary stress comes on the first syllable in the former word and on the second syllable in the latter. In some analyses, for example the one found in Chomsky and Halle's The Sound Pattern of English, English has been described as having four levels of stress: primary, secondary, tertiary, and quaternary, but the treatments often disagree with one another.

text: Peter Ladefoged and other phoneticians have noted that it is possible to describe English with only one degree of stress, as long as unstressed syllables are phonemically distinguished for vowel reduction.[5] They believe that the multiple levels posited for English, whether primary–secondary or primary–secondary–tertiary, are mere phonetic detail and not true phonemic stress, and often, the alleged secondary stress is not characterized by the increase in respiratory activity normally associated with primary stress in English or with all stress in other languages. (For further detail see Stress and vowel reduction in English.)

text: Prosodic stress[edit]

text:
Extra stress

ˈˈ◌

tag: table

text: Prosodic stress, or sentence stress, refers to stress patterns that apply at a higher level than the individual word – namely within a prosodic unit. It may involve a certain natural stress pattern characteristic of a given language, but may also involve the placing of emphasis on particular words because of their relative importance (contrastive stress).

text: An example of a natural prosodic stress pattern is that described for French above; stress is placed on the final syllable of a string of words (or if that is a schwa, the next-to-final syllable). A similar pattern has been claimed for English (see § Levels of stress above): the traditional distinction between (lexical) primary and secondary stress is replaced partly by a prosodic rule stating that the final stressed syllable in a phrase is given additional stress. (A word spoken alone becomes such a phrase, hence such prosodic stress may appear to be lexical if the pronunciation of words is analyzed in a standalone context rather than within phrases.)

text: Another type of prosodic stress pattern is quantity sensitivity – in some languages additional stress tends to be placed on syllables that are longer (moraically heavy).

text: Prosodic stress is also often used pragmatically to emphasize (focus attention on) particular words or the ideas associated with them. Doing this can change or clarify the meaning of a sentence; for example:

text:
I didn't take the test yesterday. (Somebody else did.)
I didn't take the test yesterday. (I did not take it.)
I didn't take the test yesterday. (I did something else with it.)
I didn't take the test yesterday. (I took a different one.)
I didn't take the test yesterday. (I took something else.)
I didn't take the test yesterday. (I took it some other day.)

text: As in the examples above, stress is normally transcribed as italics in printed text or underlining in handwriting.

text: In English, stress is most dramatically realized on focused or accented words. For instance, consider the dialogue

text:
"Is it brunch tomorrow?"
"No, it's dinner tomorrow."

text: In it, the stress-related acoustic differences between the syllables of "tomorrow" would be small compared to the differences between the syllables of "dinner", the emphasized word. In these emphasized words, stressed syllables such as "din" in "dinner" are louder and longer.[6][7][8] They may also have a different fundamental frequency, or other properties.

text: The main stress within a sentence, often found on the last stressed word, is called the nuclear stress.[9]

text: Stress and vowel reduction[edit]

text: In many languages, such as Russian and English, vowel reduction may occur when a vowel changes from a stressed to an unstressed position. In English, unstressed vowels may reduce to schwa-like vowels, though the details vary with dialect (see Stress and vowel reduction in English). The effect may be dependent on lexical stress (for example, the unstressed first syllable of the word photographer contains a schwa /fəˈtɒɡrəfər/, whereas the stressed first syllable of photograph does not /ˈfoʊtəˌgræf -grɑːf/), or on prosodic stress (for example, the word of is pronounced with a schwa when it is unstressed within a sentence, but not when it is stressed).

text: Many other languages, such as Finnish and the mainstream dialects of Spanish, do not have unstressed vowel reduction; in these languages vowels in unstressed syllables have nearly the same quality as those in stressed syllables.

text: Stress and rhythm[edit]

text: Some languages, such as English, are said to be stress-timed languages; that is, stressed syllables appear at a roughly constant rate and non-stressed syllables are shortened to accommodate this. This contrasts with languages that have syllable timing (e.g. Spanish) or mora timing (e.g. Japanese), where syllables or moras are spoken at a roughly constant rate regardless of stress. For details, see Isochrony.

text: Historical effects of stress[edit]

text: It is common for stressed and unstressed syllables to behave differently as a language evolves. For example, in the Romance languages, the original Latin short vowels /e/ and /o/ have often become diphthongs when stressed. Since stress takes part in verb conjugation, this has produced verbs with vowel alternation in the Romance languages. For example, the Spanish verb volver has the form volví in the past tense but vuelvo in the present tense (see Spanish irregular verbs). Italian shows the same phenomenon but with /o/ alternating with /uo/ instead. This behavior is not confined to verbs; note for example Spanish viento "wind" from Latin ventum, or Italian fuoco "fire" from Latin focum.

text: Stress "deafness"[edit]

text: An operational definition of word stress may be provided by the stress "deafness" paradigm.[10] The idea is that if listeners perform poorly on reproducing the presentation order of series of stimuli that minimally differ in the position of phonetic prominence (e.g. [númi]/[numí]), the language doesn't have word stress. The task involves a reproduction of the order of stimuli as a sequence of key strokes, whereby key '1' is associated with one stress location (e.g. [númi]) and key '2' with the other (e.g. [numí]). A trial may be from 2 to 6 stimuli in length. Thus, the order [númi-númi-numí-númi] is to be reproduced as '1121'. It was found that listeners whose native language was French performed significantly worse than Spanish listeners in reproducing the stress patterns by key strokes. The explanation is that Spanish has lexically contrastive stress, as evidenced by the minimal pairs like tópo ("mole") and topó (“met”), while in French, stress does not convey lexical information and there is no equivalent of stress minimal pairs as in Spanish.

text: Spelling and notation for stress[edit]

text: The orthographies of some languages include devices for indicating the position of lexical stress. Some examples are listed below:

text:
In Modern Greek, all polysyllables are written with an acute accent over the vowel of the stressed syllable. (The acute accent is also used on some monosyllables in order to distinguish homographs, as in η ("the") and ή ("or"); here the stress of the two words is the same.)
In Spanish orthography, stress may be written explicitly with a single acute accent on a vowel. Stressed antepenultimate syllables are always written with this accent mark, as in árabe. If the last syllable is stressed, the accent mark is used if the word ends in the letters n, s, or a vowel, as in está. If the penultimate syllable is stressed, the accent is used if the word ends in any other letter, as in cárcel. That is, if a word is written without an accent mark, the stress is on the penult if the last letter is a vowel, n, or s, but on the final syllable if the word ends in any other letter. However, as in Greek, the acute accent is also used for some words to distinguish various syntactical uses (e.g. té "tea" vs. te a form of the pronoun tú; dónde "where" as a pronoun or wh-complement, donde "where" as an adverb). For more information, see Stress in Spanish.
In Portuguese, stress is sometimes indicated explicitly with an acute accent (for i, u, and open a, e, o), or circumflex (for close a, e, o). The orthography has an extensive set of rules that describe the placement of diacritics, based on the position of the stressed syllable and the surrounding letters.
In Italian, the graphic accent is needed in words ending with an accented vowel, e.g. città, "city", and in some monosyllabic words that might otherwise be confused with other words, like là ("there") and la ("the"). It is optional for it to be written on any vowel if there is a possibility of misunderstanding, such as condomìni ("condominiums") and condòmini ("joint owners"). See Italian alphabet § Diacritics.

tag: ul

text: Though not part of normal orthography, a number of devices exist that are used by linguists and others to indicate the position of stress (and syllabification in some cases) when it is desirable to do so. Some of these are listed here.

text:
In the International Phonetic Alphabet (IPA), primary stress is indicated by a high vertical line before the stressed element, secondary stress by a low vertical line. For example, [sɪˌlæbəfɪˈkeɪʃən] or /sɪˌlæbəfɪˈkeɪʃən/. Extra stress can be indicated by doubling the symbol: ˈˈ◌. Most commonly, the stress mark is placed before the beginning of the stressed syllable, where a syllable is definable. However, it is occasionally placed immediately before the vowel.[11]
Linguists frequently mark primary stress with an acute accent over the vowel, and secondary stress by a grave accent. Example: [sɪlæ̀bəfɪkéɪʃən] or /sɪlæ̀bəfɪkéɪʃən/. This has the advantage that it does not require a decision about syllable boundaries.
In English dictionaries that show pronunciation by respelling, stress is typically marked with a prime mark placed after the stressed syllable: /si-lab′-ə-fi-kay′-shən/.
In ad hoc pronunciation guides, stress is often indicated using a combination of bold text and capital letters. For example, si-lab-if-i-KAY-shun or si-LAB-if-i-KAY-shun
In Russian and Ukrainian dictionaries, stress is indicated with an acute accent (´) on a syllable's vowel (example: вимовля́ння) or, in other editions, an apostrophe[12] just after it (example: гла'сная). Stressing is rare in general texts, but is still used when necessary: compare за́мок (castle) and замо́к (lock). Stress marks are generally used only in materials for foreign learners of the language.
In Dutch, ad hoc indication of stress is usually marked by an acute accent on the vowel (or, in the case of a diphthong or double vowel, the first two vowels) of the stressed syllable. Compare achterúítgang (deterioration) and áchteruitgang (back exit).


document_title: Mairzy Doats

question_text: where did the song mares eat oats come from

text: Mairzy Doats

text: Creation of the song[edit]

text: Drake joined Hoffman and Livingston to come up with a tune for the new version of the rhyme, but for a year no one was willing to publish a "silly song." Finally, Hoffman pitched it to his friend Al Trace, bandleader of the Silly Symphonists. Trace liked the song and recorded it. It became a huge hit, most notably with the Merry Macs' 1944 recording.[3]

text: Milton Drake, one of the writers, said the song had been based on an English nursery rhyme. According to this story, Drake's four-year-old daughter came home singing, "Cowzy tweet and sowzy tweet and liddle sharksy doisters."[4] (Cows eat wheat and sows eat wheat and little sharks eat oysters.)

text: Origins[edit]

text: The scholars Iona and Peter Opie have noted that the last two lines of the song appear in an old catch which, when said quickly, appears to be in Latin:[5]

text:
In fir tar is,
In oak none is,
In mud eels are,
In clay none are,
Goat eat ivy,
Mare eat oats.

text: They trace the origin of the joke to a manuscript of about 1450 which has "Is gote eate yvy? Mare eate ootys".[5]

text: Other recordings[edit]

text: In 1958, New Orleans R&B singer Tommy Ridgley released a rock and roll version of "Mairzy Doats" on the Herald Records label as a 7" 45 rpm single (number 526).

text: In 1959, Dodie Stevens released "Mairzy Doats" as her first recording under Dot Records.

text: Bing Crosby included the song in a medley on his album Join Bing and Sing Along (1959)

text: In 1963, an up-tempo rock and roll version of "Mairzy Doats" was also recorded by Carlo Mastrangelo of the Belmonts and released as a 7" record on Laurie Records the same year.

text: "Mairzy Doats" received a minor revival in 1967, when it was recorded by The Innocence, who took it to Number 75 on the Pop Top 100 on Kama Sutra Records.

text: Spike Jones was among several other artists who covered it, characteristically substituting sound effects for the "food" words.


document_title: Three-point field goal

question_text: when was the nba three point line introduced

text: Three-point field goal

text: History[edit]

text: The three-point line was first tested at the collegiate level in a 1945 NCAA game between Columbia and Fordham but it was not kept as a rule. At the direction of Abe Saperstein, the American Basketball League became the first basketball league to institute the rule in 1961. Its three-point line was a radius of 25 feet (7.62 m) from the baskets, except along the sides.[2] The Eastern Professional Basketball League followed in its 1963–64 season.

text: The three-point shot later became popularized by the American Basketball Association after its introduction in the 1967–68 season. ABA commissioner George Mikan stated the three-pointer "would give the smaller player a chance to score and open up the defense to make the game more enjoyable for the fans."[3] During the 1970s, the ABA used the three-point shot, along with the slam dunk, as a marketing tool to compete with the National Basketball Association (NBA).

text: In the 1979–80 season, after having tested it in the previous pre-season, the NBA adopted the three-point line despite the view of many that it was a gimmick.[4] Chris Ford of the Boston Celtics is widely credited with making the first three-point shot in NBA history on October 12, 1979. Kevin Grevey of the Washington Bullets also made one on the same day.

text: The sport's international governing body, FIBA, introduced the three-point line in 1984, at a distance of 6.25 m (20 ft 6 in).

text: The NCAA's Southern Conference became the first collegiate conference to use the three-point rule, adopting a 22-foot (6.71 m) line for the 1980–81 season.[5][6] Ronnie Carr of Western Carolina University was the first to score a three-point field goal in college basketball history on November 29, 1980.[6][7][8] Over the following five years, NCAA conferences differed in their use of the rule and distance required for a three-pointer. The line was as close as 17 ft 9 in (5.41 m) in the Atlantic Coast Conference, and as far away as 22 feet in the Big Sky Conference.[9] Used in conference play, it was adopted by the NCAA for the 1986–87 men's season at 19 ft 9 in (6.02 m), and was first used in the NCAA Tournament in 1987.[10] In the same 1986–87 season, the NCAA adopted the three-pointer in women's basketball on an experimental basis, using the same 19 ft 9 in distance, and made its use mandatory beginning in 1987–88.[11] In 2007, the NCAA lengthened the men's three-point distance to 20 ft 9 in (6.32 m), with the rule coming into effect at the beginning of the 2008–09 season.[12] The NCAA women's three-point distance was moved to match the men's distance in 2011–12.[11] American high schools, along with elementary and middle schools, adopted a 19 ft 9 in (6.02 m) line nationally in 1987, a year after the NCAA.[13] The NCAA used the FIBA three-point line (see below) in the 2018 National Invitation Tournament.[14]

text: During the 1994–95, 1995–96, and 1996–97 seasons, the NBA attempted to address decreased scoring by shortening the distance of the line from 23 ft 9 in (7.24 m) (22 ft (6.71 m) at the corners) to a uniform 22 ft (6.71 m) around the basket. From the 1997–98 season on, the NBA reverted the line to its original distance of 23 ft 9 in (22 ft at the corners, with a 3 inch differential). Ray Allen is currently the NBA all-time leader in career made three-pointers with 2,973.[15]

text: In 2008, FIBA announced that the distance would be increased by 50 cm (19.69 in) to 6.75 m (22 ft 1 3⁄4 in), with the change being phased in beginning in October 2010. In December 2012, the WNBA announced that it would be using FIBA's distance, too, as of the 2013 season. The NBA has discussed adding a four-point line, according to president Rod Thorn.[16]

text: In the NBA, three-point field goals have become increasingly more frequent along the years, with effectiveness increasing slightly. The 1979-80 season had an average 2.2 three-point goals per game and 6.6 attempts (28% effectiveness). The 1989-90 season had an average 4.8 three-point goals per game and 13.7 attempts (35% effectiveness). The 2009-10 season had an average 6.4 three-point goals per game and 18.1 attempts (36% effectiveness). The 2016-17 season had an average 9.7 three-point goals per game and 27.0 attempts (36% effectiveness).[17]

text: Rule specifications[edit]

text: A three-point line consists of an arc at a set radius measured from the point on the floor directly below the center of the basket, and two parallel lines equidistant from each sideline extending from the nearest end line to the point at which they intersect the arc. In the NBA and FIBA standard, the arc spans the width of the court until it is a specified minimum distance from each sideline. The three-point line then becomes parallel to the sidelines from those points to the baseline. The unusual formation of the three-point line at these levels allows players some space from which to attempt a three-point shot at the corners of the court; the arc would be less than 2 feet (0.61 m) from each sideline at the corners if it was a continuous arc. In the NCAA and American high school standards, the arc spans 180° around the basket, then becomes parallel to the sidelines from the plane of the basket center to the baseline (5 feet 3 inches or 1.60 metres). The distance of the three-point line to the center of the hoop varies by level:

text:
Arc radius
Minimum distance from sidelines

National Basketball Association
23 feet 9 inches (7.24 m)
3 feet (0.91 m)
[18]

FIBA (also used by WNBA)
6.75 meters (22 ft 2 in)
0.90 meters (2 ft 11 in)
[19]

National Collegiate Athletic Association
20 feet 9 inches (6.32 m)
4 feet 3 inches (1.30 m)
[20]

American high school basketball
19 feet 9 inches (6.02 m)
5 feet 3 inches (1.60 m)
[21]

text: A player's feet must be completely behind the three-point line at the time of the shot or jump in order to make a three-point attempt; if the player's feet are on or in front of the line, it is a two-point attempt. A player is allowed to jump from outside the line and land inside the line to make a three-point attempt, as long as the ball is released in mid-air.

text: An official raises his/her arm with three fingers extended to signal the shot attempt. If the attempt is successful, he/she raises his/her other arm with all fingers fully extended in manner similar to a football official signifying successful field goal to indicate the three-point goal. The official must recognize it for it to count as three points. Instant replay has sometimes been used, depending on league rules. The NBA,[22] WNBA, FIBA and the NCAA specifically allow replay for this purpose. In NBA, FIBA, and WNBA games, video replay does not have to occur immediately following a shot; play can continue and the officials can adjust the scoring later in the game, after reviewing the video. However, in late game situations, play may be paused pending a review.

text: If a shooter is fouled while attempting a three-pointer and subsequently misses the shot, the shooter is awarded three free-throw attempts. If a player completes a three-pointer while being fouled, the player is awarded one free-throw for a possible 4-point play. Conceivably, if a player completed a three-pointer while being fouled, and that foul was ruled as either a Flagrant 1 or a Flagrant 2 foul, the player would be awarded two free throws for a possible 5-point play.

text: Related concepts[edit]

text: Major League Lacrosse features a two-point line which forms a 15-yard (14 m) arc around the front of the goal. Shots taken from behind this line count for two points, as opposed to the standard one point.

text: In gridiron football, a standard field goal is worth three points; various professional and semi-pro leagues have experimented with four-point field goals. NFL Europe and the Stars Football League adopted a rule similar to basketball's three-point line in which an additional point was awarded for longer field goals; in both leagues any field goal of 50 yards (46 m) or more was worth four points. The Arena Football League awards four points for any successful drop kicked field goal (like the three-point shot, the drop kick is more challenging than a standard place kick, as the bounce of the ball makes a kick less predictable, and arena football also uses narrower goal posts for all kicks than the outdoor game does).

text: During the existence of the World Hockey Association in the 1970s, there were proposals for two-point hockey goals for shots taken beyond an established distance (one proposal was a 44-foot (13.4m) arc, which would have intersected the faceoff circles), but this proposal gained little support and faded after the WHA merged with the NHL. It was widely believed that long-distance shots in hockey had little direct relation to skill (usually resulting more from goalies' vision being screened or obscured), plus with the lower scoring intrinsic to the sport a two-point goal was seen as disruptive of the structure of the game.

text: The Super Goal is a similar concept in Australian rules football, in which a 50-meter (55 yd) arc determines the value of a goal; within the arc, it is the usual 6 points, but 9 points are scored for a "super goal" scored from outside the arc. To date the super goal is only used in pre-season games and not in the season proper.[23]

text: The National Professional Soccer League II, which awarded two points for all goals except those on the power play, also used a three-point line, drawn 45 feet (14 m) from the goal. It has since been adopted by some other indoor soccer leagues.


document_title: List of The Middle episodes

question_text: when is the final episode of the middle going to air

text: List of The Middle episodes

text: Series overview[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
24
September 30, 2009 (2009-09-30)
May 19, 2010 (2010-05-19)

2
24
September 22, 2010 (2010-09-22)
May 25, 2011 (2011-05-25)

3
24
September 21, 2011 (2011-09-21)
May 23, 2012 (2012-05-23)

4
24
September 26, 2012 (2012-09-26)
May 22, 2013 (2013-05-22)

5
24
September 25, 2013 (2013-09-25)
May 21, 2014 (2014-05-21)

6
24
September 24, 2014 (2014-09-24)
May 13, 2015 (2015-05-13)

7
24
September 23, 2015 (2015-09-23)
May 18, 2016 (2016-05-18)

8
23
October 11, 2016 (2016-10-11)
May 16, 2017 (2017-05-16)

9
24[4]
October 3, 2017 (2017-10-03)
May 22, 2018 (2018-05-22)

text: Episodes[edit]

text: Season 1 (2009–10)[edit]

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

1
1
"Pilot"
Julie Anne Robinson
DeAnn Heline & Eileen Heisler
September 30, 2009 (2009-09-30)
276047
8.71[5]

2
2
"The Cheerleader"
Lee Shallat Chemel
DeAnn Heline & Eileen Heisler
October 7, 2009 (2009-10-07)
3X5701
6.79[6]

3
3
"The Floating Anniversary"
Gail Mancuso
Rob Ulin
October 14, 2009 (2009-10-14)
3X5703
6.77[7]

4
4
"The Trip"
Lee Shallat Chemel
Jana Hunter & Mitch Hunter
October 21, 2009 (2009-10-21)
3X5704
6.53[8]

5
5
"The Block Party"
Ken Whittingham
Alex Reid
October 28, 2009 (2009-10-28)
3X5702
6.49[9]

6
6
"The Front Door"
Michael Spiller
Russ Woody
November 4, 2009 (2009-11-04)
3X5705
6.04[10]

7
7
"The Scratch"
Wendey Stanzler & Alex Reid
DeAnn Heline & Eileen Heisler
November 18, 2009 (2009-11-18)
3X5707
7.06[11]

8
8
"Thanksgiving"
Michael Spiller
Vijal Patel
November 25, 2009 (2009-11-25)
3X5706
6.00[12]

9
9
"Siblings"
Barnet Kellman
Rob Ulin
December 2, 2009 (2009-12-02)
3X5709
6.19[13]

10
10
"Christmas"
Reginald Hudlin
Roy Brown
December 9, 2009 (2009-12-09)
3X5708
7.69[14]

11
11
"The Jeans"
Jamie Babbit
Jana Hunter & Mitch Hunter
January 6, 2010 (2010-01-06)
3X5710
7.55[15]

12
12
"The Neighbor"
Lee Shallat Chemel
Jana Hunter & Mitch Hunter
January 6, 2010 (2010-01-06)
3X5712
8.17[15]

13
13
"The Interview"
Ken Whittingham
Vijal Patel
January 13, 2010 (2010-01-13)
3X5711
5.95[16]

14
14
"The Yelling"
Elliot Hegarty
Rob Ulin
February 3, 2010 (2010-02-03)
3X5713
7.32[17]

15
15
"Valentine's Day"
Chris Koch
Bruce Rasmussen
February 10, 2010 (2010-02-10)
3X5714
7.83[18]

16
16
"The Bee"
Ken Whittingham
Eileen Heisler & DeAnn Heline
March 3, 2010 (2010-03-03)
3X5717
6.02[19]

17
17
"The Break-Up"
Wendey Stanzler
Vijal Patel
March 10, 2010 (2010-03-10)
3X5715
6.32[20]

18
18
"The Fun House"
Chris Koch
Roy Brown
March 24, 2010 (2010-03-24)
3X5716
7.16[21]

19
19
"The Final Four"
Alex Reid
Rob Ulin
March 31, 2010 (2010-03-31)
3X5719
6.23[22]

20
20
"TV or Not TV"
Lee Shallat Chemel
Vijal Patel
April 14, 2010 (2010-04-14)
3X5718
6.70[23]

21
21
"Worry Duty"
Lee Shallat Chemel
Bruce Rasmussen
April 28, 2010 (2010-04-28)
3X5720
7.10[24]

22
22
"Mother's Day"
Barnet Kellman
Mitch Hunter & Jana Hunter
May 5, 2010 (2010-05-05)
3X5721
6.75[25]

23
23
"Signals"
Jamie Babbit
DeAnn Heline & Eileen Heisler
May 12, 2010 (2010-05-12)
3X5722
7.49[26]

24
24
"Average Rules"
Wendey Stanzler
DeAnn Heline & Eileen Heisler
May 19, 2010 (2010-05-19)
3X5723
7.55[27]

text: Season 2 (2010–11)[edit]

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

25
1
"Back to School"
Wendey Stanzler
DeAnn Heline & Eileen Heisler
September 22, 2010 (2010-09-22)
3X6501
8.81[28]

26
2
"Homecoming"
Ken Whittingham
Rob Ulin
September 29, 2010 (2010-09-29)
3X6502
8.35[29]

27
3
"The Diaper Incident"
Wendey Stanzler
Vijal Patel
October 6, 2010 (2010-10-06)
3X6503
8.03[30]

28
4
"The Quarry"
Lee Shallat Chemel
Alex Reid
October 13, 2010 (2010-10-13)
3X6505
7.97[31]

29
5
"Foreign Exchange"
Paul Lazarus
Jana Hunter & Mitch Hunter
October 20, 2010 (2010-10-20)
3X6506
8.54[32]

30
6
"Halloween"
Jamie Babbit
Roy Brown
October 27, 2010 (2010-10-27)
3X6507
9.54[33]

31
7
"A Birthday Story"
Ken Whittingham
Vijal Patel
November 3, 2010 (2010-11-03)
3X6508
9.42[34]

32
8
"Errand Boy"
Lee Shallat Chemel
Tim Hobert
November 17, 2010 (2010-11-17)
3X6509
9.29[35]

33
9
"Thanksgiving II"
Ken Whittingham
Rob Ulin
November 24, 2010 (2010-11-24)
3X6504
8.25[36]

34
10
"A Simple Christmas"
Elliot Hegarty
Mitch Hunter & Jana Hunter
December 8, 2010 (2010-12-08)
3X6510
8.68[37]

35
11
"Taking Back the House"
Barnet Kellman
DeAnn Heline & Eileen Heisler
January 5, 2011 (2011-01-05)
3X6511
9.31[38]

36
12
"The Big Chill"
Lee Shallat Chemel
Rob Ulin
January 12, 2011 (2011-01-12)
3X6512
10.09[39]

37
13
"Super Sunday"
Paul Lazarus
Vijal Patel
January 19, 2011 (2011-01-19)
3X6513
8.32[40]

38
14
"Valentine's Day II"
Lee Shallat Chemel
Roy Brown
February 9, 2011 (2011-02-09)
3X6515
8.84[41]

39
15
"Friends, Lies and Videotape"
Alex Reid
Tim Hobert
February 16, 2011 (2011-02-16)
3X6514
7.85[42]

40
16
"Hecks on a Plane"
Elliot Hegarty
DeAnn Heline & Eileen Heisler
February 23, 2011 (2011-02-23)
3X6516
7.96[43]

41
17
"The Math Class"
Alex Reid
Jana Hunter & Mitch Hunter
March 2, 2011 (2011-03-02)
3X6517
7.86[44]

42
18
"Spring Cleaning"
Barnet Kellman
Vijal Patel
March 23, 2011 (2011-03-23)
3X6518
7.05[45]

43
19
"The Legacy"
Adam Davidson
Rob Ulin
April 13, 2011 (2011-04-13)
3X6519
6.14[46]

44
20
"Royal Wedding"
Ken Whittingham
Vijal Patel
April 20, 2011 (2011-04-20)
3X6520
6.82[47]

45
21
"Mother's Day II"
Lee Shallat Chemel
Tim Hobert
May 4, 2011 (2011-05-04)
3X6521
7.08[48]

46
22
"The Prom"
Ken Whittingham
Michael Saltzman
May 11, 2011 (2011-05-11)
3X6522
7.25[49]

47
23
"The Bridge"
Lee Shallat Chemel
Roy Brown
May 18, 2011 (2011-05-18)
3X6523
7.68[50]

48
24
"Back to Summer"
Ken Whittingham
DeAnn Heline & Eileen Heisler
May 25, 2011 (2011-05-25)
3X6524
7.33[51]

text: Season 3 (2011–12)[edit]

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

49

50
1

2
"Forced Family Fun"
Lee Shallat Chemel

Ken Whittingham
Vijal Patel
September 21, 2011 (2011-09-21)
3X6901

3X6902
9.74[52]

51
3
"Hecking Order"
Elliot Hegarty
Roy Brown
September 28, 2011 (2011-09-28)
3X6903
8.68[53]

52
4
"Major Changes"
Lee Shallat Chemel
Eileen Heisler & DeAnn Heline
October 5, 2011 (2011-10-05)
3X6904
9.13[54]

53
5
"The Test"
Elliot Hegarty
Tim Hobert
October 12, 2011 (2011-10-12)
3X6905
8.87[55]

54
6
"Bad Choices"
Lee Shallat Chemel
Jana Hunter & Mitch Hunter
October 19, 2011 (2011-10-19)
3X6906
9.13[56]

55
7
"Halloween II"
Elliot Hegarty
David S. Rosenthal
October 26, 2011 (2011-10-26)
3X6907
10.16[57]

56
8
"Heck's Best Thing"
Lee Shallat Chemel
Vijal Patel
November 2, 2011 (2011-11-02)
3X6908
9.41[58]

57
9
"The Play"
Eyal Gordin
Story by: Roy Brown & Jana Hunter & Mitch Hunter
Teleplay by: Roy Brown
November 16, 2011 (2011-11-16)
3X6909
9.19[59]

58
10
"Thanksgiving III"
Elliot Hegarty
Tim Hobert
November 23, 2011 (2011-11-23)
3X6910
9.08[60]

59
11
"A Christmas Gift"
Blake Evans
Jana Hunter & Mitch Hunter
December 7, 2011 (2011-12-07)
3X6911
8.72[61]

60
12
"Year of the Hecks"
Elliot Hegarty
David S. Rosenthal
January 4, 2012 (2012-01-04)
3X6912
9.99[62]

61
13
"The Map"
Lee Shallat Chemel
DeAnn Heline & Eileen Heisler
January 11, 2012 (2012-01-11)
3X6913
9.45[63]

62
14
"Hecking It Up"
Blake T. Evans
Vijal Patel
January 18, 2012 (2012-01-18)
3X6914
8.08[64]

63
15
"Valentine's Day III"
Lee Shallat Chemel
Jana Hunter & Mitch Hunter
February 8, 2012 (2012-02-08)
3X6915
8.44[65]

64
16
"The Concert"
Phil Traill
Roy Brown
February 15, 2012 (2012-02-15)
3X6916
8.04[66]

65
17
"The Sit Down"
Lee Shallat Chemel
Tim Hobert
February 22, 2012 (2012-02-22)
3X6917
7.48[67]

66
18
"Leap Year"
Alex Hardcastle
David S. Rosenthal
February 29, 2012 (2012-02-29)
3X6918
8.23[68]

67
19
"The Paper Route"
Lee Shallat Chemel
Jack Burditt
March 14, 2012 (2012-03-14)
3X6919
6.93[69]

68
20
"Get Your Business Done"
Blake T. Evans
Vijal Patel
April 11, 2012 (2012-04-11)
3X6920
7.06[70]

69
21
"The Guidance Counselor"
Lee Shallat Chemel
Jana Hunter & Mitch Hunter
May 2, 2012 (2012-05-02)
3X6921
6.63[71]

70
22
"The Clover"
Phil Traill
Roy Brown
May 9, 2012 (2012-05-09)
3X6922
6.60[72]

71
23
"The Telling"
Lee Shallat Chemel
Tim Hobert
May 16, 2012 (2012-05-16)
3X6923
6.53[73]

72
24
"The Wedding"
Phil Traill
Vijal Patel
May 23, 2012 (2012-05-23)
3X6924
6.52[74]

text: Season 4 (2012–13)[edit]

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

73

74
1

2
"Last Whiff of Summer"
Lee Shallat Chemel
Eileen Heisler & DeAnn Heline
September 26, 2012 (2012-09-26)
3X7451

3X7452
9.16[75]

75
3
"The Second Act"
Blake T. Evans
Tim Hobert
October 3, 2012 (2012-10-03)
3X7453
7.72[76]

76
4
"Bunny Therapy"
Elliot Hegarty
Jana Hunter & Mitch Hunter
October 10, 2012 (2012-10-10)
3X7454
7.90[77]

77
5
"The Hose"
Lee Shallat Chemel
Stacey Pulwer
October 17, 2012 (2012-10-17)
3X7455
8.39[78]

78
6
"Halloween III: The Driving"
Phil Traill
Roy Brown
October 24, 2012 (2012-10-24)
3X7456
8.80[79]

79
7
"The Safe"
Lee Shallat Chemel
Robin Shorr
November 7, 2012 (2012-11-07)
3X7457
9.04[80]

80
8
"Thanksgiving IV"
Blake T. Evans
Tim Hobert
November 14, 2012 (2012-11-14)
3X7459
8.79[81]

81
9
"Christmas Help"
Phil Traill
Jana Hunter & Mitch Hunter
December 5, 2012 (2012-12-05)
3X7460
7.98[82]

82
10
"Twenty Years"
Phil Traill
David S. Rosenthal
December 12, 2012 (2012-12-12)
3X7458
7.29[83]

83
11
"Life Skills"
Lee Shallat Chemel
Roy Brown
January 9, 2013 (2013-01-09)
3X7461
8.39[84]

84
12
"One Kid at a Time"
Elliot Hegarty
David S. Rosenthal
January 16, 2013 (2013-01-16)
3X7462
8.21[85]

85
13
"The Friend"
Lee Shallat Chemel
Robin Shorr
January 23, 2013 (2013-01-23)
3X7463
8.55[86]

86
14
"The Smile"
Elliot Hegarty
Tim Hobert
February 6, 2013 (2013-02-06)
3X7464
8.21[87]

87
15
"Valentine's Day IV"
Phil Traill
Jana Hunter & Mitch Hunter
February 13, 2013 (2013-02-13)
3X7465
7.72[88]

88
16
"Winners and Losers"
John Putch
David S. Rosenthal
February 20, 2013 (2013-02-20)
3X7466
8.27[89]

89
17
"Wheel of Pain"
Lee Shallat Chemel
Michael Saltzman
February 27, 2013 (2013-02-27)
3X7467
7.97[90]

90
18
"The Name"
Alex Hardcastle
Roy Brown
March 27, 2013 (2013-03-27)
3X7468
6.90[91]

91
19
"The Bachelor"
Lee Shallat Chemel
Tim Hobert
April 3, 2013 (2013-04-03)
3X7469
7.22[92]

92
20
"Dollar Days"
Phil Traill
Jana Hunter & Mitch Hunter
April 10, 2013 (2013-04-10)
3X7470
7.55[93]

93
21
"From Orson with Love"
Lee Shallat Chemel
Robin Shorr
May 1, 2013 (2013-05-01)
3X7471
7.41[94]

94
22
"Hallelujah Hoedown"
Blake T. Evans
David S. Rosenthal
May 8, 2013 (2013-05-08)
3X7472
6.80[95]

95
23
"The Ditch"
Lee Shallat Chemel
Roy Brown
May 15, 2013 (2013-05-15)
3X7473
6.76[96]

96
24
"The Graduation"
Eileen Heisler
Tim Hobert
May 22, 2013 (2013-05-22)
3X7474
7.70[97]

text: Season 5 (2013–14)[edit]

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

97
1
"The Drop Off"
Lee Shallat Chemel
DeAnn Heline & Eileen Heisler
September 25, 2013 (2013-09-25)
4X5501
8.94[98]

98
2
"Change in the Air"
Blake T. Evans
Jana Hunter & Mitch Hunter
October 2, 2013 (2013-10-02)
4X5502
8.03[99]

99
3
"The Potato"
Lee Shallat Chemel
Tim Hobert
October 9, 2013 (2013-10-09)
4X5503
8.25[100]

100
4
"The 100th"
Blake T. Evans
David S. Rosenthal
October 23, 2013 (2013-10-23)
4X5504
8.31[101]

101
5
"Halloween IV: The Ghost Story"
Lee Shallat Chemel
Roy Brown
October 30, 2013 (2013-10-30)
4X5505
8.03[102]

102
6
"The Jump"
Elliot Hegarty
Robin Shorr
November 13, 2013 (2013-11-13)
4X5508
8.93[103]

103
7
"Thanksgiving V"
Lee Shallat Chemel
David S. Rosenthal
November 20, 2013 (2013-11-20)
4X5507
8.53[104]

104
8
"The Kiss"
Elliot Hegarty
Jana Hunter & Mitch Hunter
December 4, 2013 (2013-12-04)
4X5506
7.41[105]

105
9
"The Christmas Tree"
Lee Shallat Chemel
Tim Hobert
December 11, 2013 (2013-12-11)
4X5509
8.08[106]

106
10
"Sleepless in Orson"
Blake T. Evans
Roy Brown
January 8, 2014 (2014-01-08)
4X5510
8.82[107]

107
11
"War of the Hecks"
Lee Shallat Chemel
Robin Shorr
January 15, 2014 (2014-01-15)
4X5511
7.51[108]

108
12
"The Carpool"
Julie Anne Robinson
Jana Hunter & Mitch Hunter
January 22, 2014 (2014-01-22)
4X5512
8.04[109]

109
13
"Hungry Games"
Lee Shallat Chemel
David S. Rosenthal
February 5, 2014 (2014-02-05)
4X5513
8.56[110]

110
14
"The Award"
Phil Traill
Katy Ballard
February 26, 2014 (2014-02-26)
4X5514
6.98[111]

111
15
"Vacation Days"
Phil Traill
Tim Hobert
March 5, 2014 (2014-03-05)
4X5515
7.32[112]

112
16
"Stormy Moon"
John Putch
Robin Shorr
March 12, 2014 (2014-03-12)
4X5516
7.48[113]

113
17
"The Walk"
Lee Shallat Chemel
David S. Rosenthal
March 26, 2014 (2014-03-26)
4X5517
7.28[114]

114
18
"The Smell"
Phil Traill
Roy Brown
April 2, 2014 (2014-04-02)
4X5518
7.20[115]

115
19
"The Wind Chimes"
Lee Shallat Chemel
Jana Hunter & Mitch Hunter
April 23, 2014 (2014-04-23)
4X5519
7.19[116]

116
20
"The Optimist"
Lee Shallat Chemel
Tim Hobert
April 30, 2014 (2014-04-30)
4X5520
7.39[117]

117
21
"Office Hours"
Lee Shallat Chemel
Ben Adams
May 7, 2014 (2014-05-07)
4X5521
6.65[118]

118
22
"Heck on a Hard Body"
Blake T. Evans
Jana Hunter & Mitch Hunter
May 14, 2014 (2014-05-14)
4X5522
7.14[119]

119
23
"Orlando"
Eileen Heisler
David S. Rosenthal
May 21, 2014 (2014-05-21)
4X5523
7.85[120]

120
24
"The Wonderful World of Hecks"
Lee Shallat Chemel
Tim Hobert
May 21, 2014 (2014-05-21)
4X5524
7.85[120]

text: Season 6 (2014–15)[edit]

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

121
1
"Unbraceable You"
Lee Shallat Chemel
Tim Hobert
September 24, 2014 (2014-09-24)
4X6601
7.59[121]

122
2
"The Loneliest Locker"
Blake T. Evans
Jana Hunter & Mitch Hunter
October 1, 2014 (2014-10-01)
4X6602
7.42[122]

123
3
"Major Anxiety"
Phil Traill
Rich Dahm
October 8, 2014 (2014-10-08)
4X6603
7.44[123]

124
4
"The Table"
Lee Shallat Chemel
Roy Brown
October 22, 2014 (2014-10-22)
4X6604
7.29[124]

125
5
"Halloween V"
Lee Shallat Chemel
Robin Shorr
October 29, 2014 (2014-10-29)
4X6605
6.99[125]

126
6
"The Sinkhole"
Melissa Kosar
Katie Ballard
November 12, 2014 (2014-11-12)
4X6606
8.10[126]

127
7
"Thanksgiving VI"
Lee Shallat Chemel
Tim Hobert
November 19, 2014 (2014-11-19)
4X6607
8.32[127]

128
8
"The College Tour"
Blake T. Evans
Rich Dahm
December 3, 2014 (2014-12-03)
4X6608
7.04[128]

129
9
"The Christmas Wall"
Lee Shallat Chemel
Roy Brown
December 10, 2014 (2014-12-10)
4X6609
8.11[129]

130
10
"Pam Freakin' Staggs"
Elliot Hegarty
Jana Hunter & Mitch Hunter
January 7, 2015 (2015-01-07)
4X6611
8.46[130]

131
11
"A Quarry Story"
Clare Kilner
Ilana Wernick
January 14, 2015 (2015-01-14)
4X6610
7.79[131]

132
12
"Hecks on a Train"
Lee Shallat Chemel
Tim Hobert
February 4, 2015 (2015-02-04)
4X6612
8.26[132]

133
13
"Valentine's Day VI"
Lee Shallat Chemel
Rich Dahm
February 11, 2015 (2015-02-11)
4X6615
7.82[133]

134
14
"The Answer"
Phil Traill
Tim Hobert
February 18, 2015 (2015-02-18)
4X6616
7.70[134]

135
15
"Steaming Pile of Guilt"
Lee Shallat Chemel
Robin Shorr
February 25, 2015 (2015-02-25)
4X6613
7.47[135]

136
16
"Flirting with Disaster"
Phil Traill
Roy Brown
March 4, 2015 (2015-03-04)
4X6614
8.20[136]

137
17
"The Waiting Game"
Danny Salles
Katy Ballard
March 25, 2015 (2015-03-25)
4X6618
7.34[137]

138
18
"Operation Infiltration"
Melissa Kosar
Ilana Wernick
April 1, 2015 (2015-04-01)
4X6619
7.64[138]

139
19
"Siblings and Sombreros"
Melissa Kosar
Jana Hunter & Mitch Hunter
April 8, 2015 (2015-04-08)
4X6617
7.28[139]

140
20
"Food Courting"
Blake T. Evans
Jana Hunter & Mitch Hunter
April 15, 2015 (2015-04-15)
4X6620
7.52[140]

141
21
"Two of a Kind"
Danny Salles
Tim Hobert
April 22, 2015 (2015-04-22)
4X6621
7.82[141]

142
22
"While You Were Sleeping"
Blake T. Evans
Roy Brown
April 29, 2015 (2015-04-29)
4X6622
7.39[142]

143
23
"Mother's Day Reservations"
Lee Shallat Chemel
Rich Dahm
May 6, 2015 (2015-05-06)
4X6623
6.99[143]

144
24
"The Graduate"
Eileen Heisler
Eileen Heisler & DeAnn Heline
May 13, 2015 (2015-05-13)
4X6624
7.03[144]

text: Season 7 (2015–16)[edit]

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

145
1
"Not Your Brother's Drop Off"
Lee Shallat Chemel
Tim Hobert
September 23, 2015 (2015-09-23)
4X7101
8.21[145]

146
2
"Cutting the Cord"
Danny Salles
Rich Dahm
September 30, 2015 (2015-09-30)
4X7102
7.91[146]

147
3
"The Shirt"
Lee Shallat Chemel
Jana Hunter & Mitch Hunter
October 7, 2015 (2015-10-07)
4X7103
7.30[147]

148
4
"Risky Business"
Phil Traill
Ilana Wernick
October 14, 2015 (2015-10-14)
4X7104
7.12[148]

149
5
"Land of the Lost"
Lee Shallat Chemel
Roy Brown
October 21, 2015 (2015-10-21)
4X7105
7.08[149]

150
6
"Halloween VI: Tick Tock Death"
Elliot Hegarty
Tim Hobert
October 28, 2015 (2015-10-28)
4X7106
7.43[150]

151
7
"Homecoming II: The Tailgate"
Lee Shallat Chemel
Ilana Wernick
November 11, 2015 (2015-11-11)
4X7107
7.62[151]

152
8
"Thanksgiving VII"
Elliot Hegarty
Rich Dahm
November 18, 2015 (2015-11-18)
4X7108
7.93[152]

153
9
"The Convention"
Lee Shallat Chemel
Jana Hunter & Mitch Hunter
December 2, 2015 (2015-12-02)
4X7109
7.64[153]

154
10
"Not So Silent Night"
Melissa Kosar
DeAnn Heline & Eileen Heisler
December 9, 2015 (2015-12-09)
4X7110
8.06[154]

155
11
"The Rush"
Lee Shallat Chemel
Roy Brown
January 6, 2016 (2016-01-06)
4X7111
7.84[155]

156
12
"Birds of a Feather"
Victor Nelli
Tim Hobert
January 13, 2016 (2016-01-13)
4X7112
7.46[156]

157
13
"Floating 50"
Lee Shallat Chemel
Rich Dahm
January 20, 2016 (2016-01-20)
4X7113
7.24[157]

158
14
"Film, Friends and Fruit Pies"
Blake T. Evans
Jana Hunter & Mitch Hunter
February 10, 2016 (2016-02-10)
4X7114
6.85[158]

159
15
"Hecks at a Movie"
Lee Shallat Chemel
Ilana Wernick
February 17, 2016 (2016-02-17)
4X7115
7.29[159]

160
16
"The Man Hunt"
Danny Salles
Roy Brown
February 24, 2016 (2016-02-24)
4X7116
7.30[160]

161
17
"The Wisdom Teeth"
Lee Shallat Chemel
Stacey Pulwer
March 16, 2016 (2016-03-16)
4X7117
7.15[161]

162
18
"A Very Donahue Vacation"
Jaffar Mahmood
Rich Dahm
March 23, 2016 (2016-03-23)
4X7118
7.24[162]

163
19
"Crushed"
Lee Shallat Chemel
Tim Hobert
April 6, 2016 (2016-04-06)
4X7119
7.04[163]

164
20
"Survey Says..."
Lee Shallat Chemel
Ilana Wernick
April 13, 2016 (2016-04-13)
4X7120
6.98[164]

165
21
"The Lanai"
Blake T. Evans
Jana Hunter & Mitch Hunter
April 27, 2016 (2016-04-27)
4X7121
6.72[165]

166
22
"Not Mother's Day"
Lee Shallat Chemel
Rich Dahm
May 4, 2016 (2016-05-04)
4X7122
7.02[166]

167
23
"Find My Hecks"
Phil Traill
Roy Brown
May 11, 2016 (2016-05-11)
4X7123
6.73[167]

168
24
"The Show Must Go On"
Lee Shallat Chemel
Tim Hobert
May 18, 2016 (2016-05-18)
4X7124
6.73[168]

text: Season 8 (2016–17)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date [note 1]
Prod.
code
U.S. viewers
(millions)

169
1
"The Core Group"
Lee Shallat Chemel
Illana Wernick
October 11, 2016 (2016-10-11)
T12.15251
6.78[169]

170
2
"A Tough Pill to Swallow"
Phil Traill
Rich Dahm
October 18, 2016 (2016-10-18)
T12.15252
6.02[170]

171
3
"Halloween VII: The Heckoning"
Lee Shallat Chemel
Tim Hobert
October 25, 2016 (2016-10-25)
T12.15253
5.72[171]

172
4
"True Grit"
Victor Nelli Jr.
Jana Hunter & Mitch Hunter
November 1, 2016 (2016-11-01)
T12.15254
5.43[172]

173
5
"Roadkill"
Lee Shallat Chemel
Roy Brown
November 15, 2016 (2016-11-15)
T12.15255
6.21[173]

174
6
"Thanksgiving VIII"
Elliot Hegarty
Ilana Wernick
November 22, 2016 (2016-11-22)
T12.15256
6.88[174]

175
7
"Look Who's Not Talking"
Lee Shallat Chemel
Tim Hobert
November 29, 2016 (2016-11-29)
T12.15257
6.62[175]

176
8
"Trip and Fall"
Elliot Hegarty
Rich Dahm
December 6, 2016 (2016-12-06)
T12.15258
6.06[176]

177
9
"A Very Marry Christmas"
Lee Shallat Chemel
Jana Hunter & Mitch Hunter
December 13, 2016 (2016-12-13)
T12.15259
6.39[177]

178
10
"Escape Orson"
Jaffar Mahmood
Roy Brown
January 3, 2017 (2017-01-03)
T12.15260
6.62[178]

179
11
"Hoosier Maid"
Elliot Hegarty
Bruce Rasmussen
January 10, 2017 (2017-01-10)
T12.15261
7.30[179]

180
12
"Pitch Imperfect"
Melissa Kosar
Rich Dahm
January 17, 2017 (2017-01-17)
T12.15262
6.67[180]

181
13
"Ovary and Out"
Elliot Hegarty
Ilana Wernick
February 7, 2017 (2017-02-07)
T12.15263
6.42[181]

182
14
"Sorry Not Sorry"
Phil Traill
Tim Hobert
February 14, 2017 (2017-02-14)
T12.15264
6.32[182]

183
15
"Dental Hijinks"
Lee Shallat Chemel
Jana Hunter & Mitch Hunter
February 21, 2017 (2017-02-21)
T12.15265
6.27[183]

184
16
"Swing and a Miss"
Danny Salles
Roy Brown
March 7, 2017 (2017-03-07)
T12.15266
6.12[184]

185
17
"Exes and Ohhhs"
Lee Shallat Chemel
Rich Dahm
March 14, 2017 (2017-03-14)
T12.15267
5.92[185]

186
18
"The Par-tay"
Jaffar Mahmood
Ilana Wernick
April 4, 2017 (2017-04-04)
T12.15268
5.44[186]

187
19
"The Confirmation"
Charlie McDermott
Tim Hobert
April 11, 2017 (2017-04-11)
T12.15269
5.29[187]

188
20
"Adult Swim"
Lee Shallat Chemel
Jana Hunter & Mitch Hunter
April 18, 2017 (2017-04-18)
T12.15270
5.25[188]

189
21
"Clear and Present Danger"
Phil Traill
Roy Brown
May 2, 2017 (2017-05-02)
T12.15271
5.07[189]

190
22
"The Final Final"
Lee Shallat Chemel
Rich Dahm
May 9, 2017 (2017-05-09)
T12.15272
5.02[190]

191
23
"Fight or Flight"
Eileen Heisler
Ilana Wernick
May 16, 2017 (2017-05-16)
T12.15273
5.27[191]

text: Season 9 (2017–18)[edit]

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

192
1
"Vive La Hecks"
Lee Shallat-Chemel
Tim Hobert
October 3, 2017 (2017-10-03)
T12.15651
6.21[192]

193
2
"Please Don't Feed the Hecks"
Phil Traill
Ilana Wernick
October 10, 2017 (2017-10-10)
T12.15652
5.93[193]

194
3
"Meet the Parents"
Lee Shallat-Chemel
Jana Hunter & Mitch Hunter
October 17, 2017 (2017-10-17)
T12.15653
5.53[194]

195
4
"Halloween VIII: Orson Murder Mystery"
Phil Traill
Rich Dahm
October 24, 2017 (2017-10-24)
T12.15654
5.80[195]

196
5
"Role of a Lifetime"
Lee Shallat-Chemel
Roy Brown
October 31, 2017 (2017-10-31)
T12.15655
5.05[196]

197
6
"The Setup"
Victor Nelli Jr.
Tim Hobert
November 7, 2017 (2017-11-07)
T12.15656
5.63[197]

198
7
"Thanksgiving IX"
Phil Traill
Jana Hunter & Mitch Hunter
November 14, 2017 (2017-11-14)
T12.15657
5.70[198]

199
8
"Eyes Wide Open"
Jaffar Mahmood
Rich Dahm
November 21, 2017 (2017-11-21)
T12.15658
6.05[199]

200
9
"The 200th"
Lee Shallat-Chemel
Roy Brown
December 5, 2017 (2017-12-05)
T12.15659
5.78[200]

201
10
"The Christmas Miracle"
Lee Shallat-Chemel
Ilana Wernick
December 12, 2017 (2017-12-12)
T12.15660
5.68[201]

202
11
"New Year's Revelations"
Lee Shallat-Chemel
Tim Hobert
January 2, 2018 (2018-01-02)
T12.15661
6.36[202]

203
12
"The Other Man"
Victor Nelli Jr.
Jana Hunter & Mitch Hunter
January 9, 2018 (2018-01-09)
T12.15662
5.42[203]

204
13
"Mommapalooza"
Phil Traill
Roy Brown
January 16, 2018 (2018-01-16)
T12.15663
6.13[204]

205
14
"Guess Who's Coming to Frozen Dinner"
Lee Shallat-Chemel
Ilana Wernick
February 6, 2018 (2018-02-06)
T12.15664
5.63[205]

206
15
"Toasted"
Lee Shallat-Chemel
A.J. Blum
February 27, 2018 (2018-02-27)
T12.15665
5.23[206]

207
16
"The Crying Game"
Phil Traill
Rich Dahm
March 13, 2018 (2018-03-13)
T12.15666
4.80[207]

208
17
"Hecks vs. Glossners: The Final Battle"
Elliot Hegarty
Tim Hobert
March 20, 2018 (2018-03-20)
T12.15667
5.83[208]

209
18
"Thank You for Not Kissing"
Lee Shallat-Chemel
Jana Hunter & Mitch Hunter
April 3, 2018 (2018-04-03)
T12.15668
8.38[209]

210
19
"Bat Out of Heck"
Danny Salles
Ilana Wernick
April 10, 2018 (2018-04-10)
T12.15669
7.52[210]

211
20
"Great Heckspectations"[211]
Lee Shallat-Chemel
Roy Brown
May 1, 2018 (2018-05-01)
T12.15670
TBD

212
21
"The Royal Flush"[212]
TBA
TBA
May 8, 2018 (2018-05-08)
TBA
TBD

213
22
"Split Decision"[213]
TBA
TBA
May 15, 2018 (2018-05-15)
TBA
TBD

214

215
23

24
"A Heck of a Ride"[214]
Lee Shallat-Chemel
Eileen Heisler & DeAnn Heline
May 22, 2018 (2018-05-22)
TBA
TBD

text: Notes[edit]

text: Jump up ^ The first 12 episodes of season eight were broadcast one day earlier in Canada.

tag: ol


document_title: Rocket Raccoon

question_text: who does the voice of rocket raccoon in guardians of the galaxy

text: Rocket Raccoon

text: Publication history[edit]

text: The character was created by Bill Mantlo and Keith Giffen,[1] and inspired by the Beatles song "Rocky Raccoon".[2] Other references to the song were featured in Rocket's appearance in The Incredible Hulk #271 (May 1982), which was titled "Now Somewhere In the Black Holes of Sirius Major There Lived a Young Boy Named Rocket Raccoon" and saw the Hulk help Rocket stop a villain trying to steal "Gideon's Bible", which in the Marvel Universe was a book that contained the sum of all knowledge on the Loonies colony.[3]

text: Rocket Raccoon first appeared in Marvel Preview #7 (Summer 1976), in the back-up feature "The Sword in the Star", under the name "Rocky".[4][5] He would next appear in The Incredible Hulk #271 (May 1982), where it is learned that "Rocky" is short for "Rocket". In 1985, he received his own four-issue limited series and in an afterword to the first issue, Mantlo himself asserted that this was the same character seen in Preview, penciled by Mike Mignola and inked by Al Gordon with Al Milgrom. Rocket appeared in Quasar #15 in 1990 and later appeared in three issues of Sensational She-Hulk in 1992 (#44-46).[3] The character only appeared in a total of ten comic books in his first thirty years of existence.[6]

text: Besides a brief appearance in a 2006 issue of Exiles,[3] Rocket Raccoon was next seen in 2007's Annihilation: Conquest and Annihilation: Conquest - Star-Lord limited series,[3][7] and their spin-off series, a new volume of Guardians of the Galaxy.[3][8] He remained a regular member of the series cast until it was canceled with issue #25 in 2010, also appearing in the follow-up limited series The Thanos Imperative.[4] Along with fellow Guardian Groot, Rocket starred in backup features in Annihilators #1-4 (March–June 2011) and Annihilators: Earthfall #1-4 (Sept.–Dec. 2011).[4]

text: Rocket Raccoon, along with the other members of the Guardians, appeared in issues #4-8 of Avengers Assemble,[9] a series intended as a jumping-on point for fans of the film The Avengers.[10] He appears prominently in Guardians of the Galaxy vol. 3, a part of the 2012 Marvel NOW! relaunch.[11]

text: In February 2014, it was announced that Skottie Young will be the writer and artist for a Rocket Raccoon ongoing series.[12] The series began in July 2014, with the first issue selling over 300,000 copies.[13] Jake Parker replaced Young as the artist beginning with issue #5.[14] The series ended in May 2015 as one of many titles to be cancelled for Marvel's Secret Wars event.[15] A new volume, titled Rocket Raccoon and Groot, began in January 2016 as part of the All-New, All-Different Marvel relaunch.[16]

text: Fictional character biography[edit]

text: Rocket Raccoon acts as the "Guardian of the Keystone Quadrant", an area of outer space sealed off from the rest of the cosmos by the so-called Galacian Wall. Rocket is captain of the starship Rack 'n' Ruin, and he and his first mate Wal Rus (a talking walrus) come from the planet Halfworld in the Keystone Quadrant, an abandoned colony for the mentally ill where the animal companions were genetically manipulated to grant them human level intelligence and bipedal body construction for many to become caretakers of the inmates. Rocket was Halfworld's chief law officer ("ranger") who protected the colony against various threats.[17]

text: At one point, Judson Jakes tried to steal the Halfworld Bible, but was thwarted by Rocket and various animal associates. Later, Lord Dyvyne abducted Rocket's friend Lylla, and Jakes began the Toy War.[18] As the Toy War continued, Blackjack O'Hare teamed up with Rocket, and Rocket was reunited with Lylla.[19] The Rack 'n' Ruin was soon destroyed, as Judson Jakes and Lord Dyvyne teamed up to kill Rocket Raccoon.[20] Rocket Raccoon and his friends cured the Loonies of their mental illnesses, as Judson Jakes and Lord Dyvyne were apparently killed. Rocket and the animals as well as the robots left Halfworld and took off into space for their own adventures.[21] Some time later, Rocket was revealed to have been a laboratory subject on the Stranger's planet, and escaped his captivity there.[22]

text: Guardians of the Galaxy[edit]

text: Rocket Raccoon resurfaced as a member of the team chosen to accompany Star-Lord on his mission to stop a Phalanx infiltration of the Kree homeworld.[23] Rocket is depicted as a gifted military tactician who is fearless, loyal, and insightful. It is heavily implied that he has a case of obsessive compulsive disorder.[24] Rocket's trademark rocket skates are absent.[23]

text: Rocket joins the new Guardians of the Galaxy at the behest of his friend Star-Lord.[25] It is he who suggests that the team adopt that moniker after hearing it mentioned by Major Victory.[26] Later, when the team almost disbands and Peter Quill (Star-Lord) disappears (sent into the Negative Zone by Ronan), Rocket keeps the team alive, and brings in Groot as member, as they had become firm friends.[27] Rocket takes over as leader until they rescue Peter and save the Earth from an alien invasion.[28] When the team tries to halt the growing War of Kings, Rocket leads the portion of the team assigned to make contact with the Shi'ar. They are unable to teleport into the Emperor Vulcan's flagship and have to be rescued by the Starjammers and Rocket's old friend Ch'od.[29] They are able to bring back the rightful queen of the Shi'ar, but she is killed after Rocket departs, much to his horror.[30]

text: After the Guardians disband,[31] Rocket Raccoon takes up a normal job with Timely Inc.[32] He and Groot were reunited and tricked into returning to Halfworld: there, he found that his memories of the place were mostly half-truths and deliberately crafted fake memories. In reality, Jakes and Blackjack O'Hare had worked with Rocket in providing security at Halfworld Asylum for the Criminally Insane; Doctor Dyvyne had been Head of Psychology there; and both the anthropomorphic animals and the automaton clowns were deliberately created to work at the asylum, as their appearance would calm the inmates. The crises that Rocket half-remembered had been caused by the psychic supervillain the Star Thief, who had been admitted as an inmate and used his psychic powers to turn the inhabitants against each other. Rocket had turned the warders into a biological "key" to keep Star-Thief locked up, and deliberately altered his mind and left Halfworld so it could never be opened - but he was tricked into returning by the Thief, whose mind had escaped into the asylum after his host body died.[33]

text: When the Guardians of the Galaxy title was relaunched in 2013, Rocket was again a member of the team.[34]

text: In the first issue of Secret Wars, the Guardians of the Galaxy take part in the incursion between Earth-616 and Earth-1610, in which Rocket and Groot are killed by the Children of Tomorrow.[35]

text: All-New, All-Different Marvel[edit]

text: As part of the All-New, All-Different Marvel, Rocket Raccoon takes leadership of the Guardians of the Galaxy while Star-Lord was busy handling things on Spartax.[36]

text: Powers and abilities[edit]

text: Rocket Raccoon possesses the normal attributes of an Earth raccoon, including speed (which has been additionally amplified by his training), and an acute sense of smell, sight, hearing and touch. Sharp claws allow him to scale walls, buildings, and trees with ease. He is an accomplished starship pilot, an expert marksman with the two laser pistols he carries as well as having an affinity for heavy weapons. He is a master military tactician and leader, attributes that help him take charge of the Guardians of the Galaxy when Star-Lord is unavailable.

text: In other media[edit]

text: Television[edit]

text:
Rocket Raccoon (along with the other Guardians of the Galaxy) appears in The Avengers: Earth's Mightiest Heroes, voiced by Greg Ellis.[37] He (along with the other Guardians of the Galaxy) is seen in the episode "Michael Korvac".
Rocket Raccoon appears in the Ultimate Spider-Man cartoon series,[38][37] voiced by Billy West (in the episodes "Guardians of the Galaxy") and later by Trevor Devall (for subsequent episodes). In the episode "Guardians of the Galaxy", he is shown as a member of the Guardians of the Galaxy and Sam Alexander's trainer. Spider-Man and the Guardians save Earth from Korvac's Chitauri army. In the episode "The Return of the Guardians of the Galaxy", Rocket Raccoon was with the Guardians of the Galaxy when they land on Earth to repair their spaceship at the time when Titus leads the Chitauri into targeting Sam's Nova helmet. The episode "Return to the Spider-Verse" Pt. 2 features a pirate version of Rocket Raccoon that lives in a pirate reality. He and Cosmo the Spacedog assisted Howard the Duck in a mutiny against Web Beard the Pirate when he claimed the treasure for himself. With help from Spider-Man and Kid Arachnid, the mutineers and Web Beard got back together even when helping Spider-Man and Kid Arachnid into fighting the Kraken.
Rocket Raccoon appears in Avengers Assemble,[37][39] voiced initially by Seth Green (in "Guardians and Spaceknights"), and later by Trevor Devall (in "Widow's Run").
Rocket Raccoon appears in the Hulk and the Agents of S.M.A.S.H. episode "It's a Wonderful Smash", where Seth Green reprises the role.[37][40]
Rocket Raccoon appears in the Marvel Disk Wars: The Avengers episode "Guardians of the Galaxy", voiced by Fumihiro Okabayashi.
Trevor Devall reprises his role in the Guardians of the Galaxy series.[41][42]
Rocket Raccoon appears in the Christmas TV special Marvel Super Hero Adventures: Frost Fight!, voiced again by Trevor Devall.[citation needed] In order to afford money to repair their ship, Rocket Raccoon and Groot take on the bounty to obtain Santa Claus and end up meeting Mrs. Claus.
Rocket Raccoon appears in the Rocket and Groot shorts, voiced again by Trevor Devall.[citation needed]

text: Film[edit]

text:
An adaptation of the character appears in the live-action Marvel Studios film Guardians of the Galaxy,[43] portrayed by Sean Gunn via motion capture[44] and voiced by Bradley Cooper.[45] His real name in the film is 89P13. In addition to being genetically altered, Rocket is shown to have cybernetic implants within his body. He is only referred to as Rocket in the film, and asks "What's a Raccoon?" when told of his resemblance to the animal by Peter Quill. He serves as the team's pilot and technical expert, providing the weapon that Quill uses against Ronan the Accuser in the final confrontation and piloting a Ravager ship in the final assault against Ronan's fleet. Rocket also displays a talent for engineering jailbreaks. Having previously escaped from 22 prisons, he devises and executes a scheme to free his eventual teammates from a Nova Corps prison. Screenwriter Nicole Perlman has stated that early drafts of the film did not include the character due to "a little bit of a fear that he would come across as cartoonish because he's a raccoon." Marvel Studios president Kevin Feige was persuaded to approve Rocket's inclusion in the film.[46] A live raccoon named "Oreo" was used on set to help animators accurately capture the motion and behaviors of it for their CGI model.[47] Director James Gunn took Oreo to the film's European premiere.[48]
Cooper and Gunn reprised their roles for Rocket in the sequel, Guardians of the Galaxy Vol. 2, released in 2017.[49] In the film, he causes the team to get chased by the Sovereign after stealing their anulax batteries, much to Quill and Gamora's ire. He is left on the planet they crash landed in (as a result of him and Quill fighting over the controls) to guard Nebula with Baby Groot after the rest explore Ego's planet. They are captured by the Ravagers and imprisoned with Yondu. During their imprisonment, Rocket and Yondu bond over their similarities and manage to escape the ship alongside Groot and Yondu's right-hand man Kraglin. They assist the other Guardians in combating Ego's forces. When Rocket tries to assist Yondu in escaping the planet before it explodes, Yondu requests to stay behind to help Quill. Rocket gives him a protective suit and jet pack and welcomes him as a member of the Guardians. He is saddened by Yondu's sacrifice in the climax. A running gag throughout the film involves Rocket being repeatedly mistaken for different animals, and being angered when called a raccoon.
Cooper and Gunn will also play the character in the upcoming film Avengers: Infinity War.[50]

text: Video games[edit]

text:
Rocket Raccoon is a playable character in the MMORPG Marvel Super Hero Squad Online; he is in the Rocket Box.[51]
Rocket Raccoon is a playable character in the crossover fighting game Ultimate Marvel vs. Capcom 3,[52] voiced by Greg Ellis in a Cockney accent.[53][54]
Rocket Raccoon is a playable character in the MMORPG Marvel Heroes,[55] voiced by Steven Blum.[56]
Rocket Raccoon is a playable character in Lego Marvel Super Heroes,[57] voiced by John DiMaggio.[56]
Rocket Raccoon is a playable character in the Facebook game Marvel: Avengers Alliance.
Rocket Raccoon is a playable character in Disney Infinity: Marvel Super Heroes,[58] voiced by Nolan North.[59] He also appears in Disney Infinity 3.0.[citation needed]
Rocket Raccoon is a playable character in Marvel Contest of Champions.
Rocket Raccoon is a playable character in the mobile game Marvel: Future Fight.
Rocket and Groot appear as a combined character in Marvel Puzzle Quest.
Rocket Raccoon appears in Guardians of the Galaxy: The Telltale Series, voiced by Nolan North.[60]
Rocket Raccoon will appear as a playable character in Marvel vs. Capcom: Infinite, with Trevor Devall reprising his role.[61] He will be assisted by Groot during gameplay.
Rocket Raccoon is a playable character in Lego Marvel Super Heroes 2, voiced by Mikey O’Connor.[62]

text: Toys[edit]

text:
A Rocket Raccoon action figure was available as part of a Guardians of the Galaxy three pack in 2011 as part of the Marvel Universe toyline.
Rocket Raccoon is a build-a-figure in the Marvel Legends toyline released in 2013.[63]
A Rocket Raccoon and Groot figure set with a "Dancing Baby Groot" will be released by Hot Toys.[64]

text: Newspaper comic strips[edit]

text: Rocket Raccoon began appearing in The Amazing Spider-Man newspaper comic strip in December 2016, in a story where Spider-Man and Mary Jane discover him in a spaceship that has crashed upon the Earth.[citation needed]

text: Theme park[edit]

text: Rocket appears in the ride Guardians of the Galaxy Mission Breakout at Disney's California Adventure with Bradley Cooper reprising his role from the films.[citation needed] He and the rest of the Guardians were captured by the Collector to be put on display, but he manages to escape and enters the room the guests are in through a vent (where he's an audio animatronic) and hijacks the video to explain his plan on rescuing his friends. The guests will use their access passes to enter the gantry lift while Rocket rides on top to blow up the generator so that the Guardians, as well as the other creatures in the collection, can escape. The Guardians will then reunite with Mantis so that they can escape.

text: Collected editions[edit]

text:
Rocket Raccoon: Guardian of the Keystone Quadrant (hardcover, Aug. 2011, ISBN 978-0-7851-5527-0) collects: The Incredible Hulk #271, Rocket Raccoon Vol. 1 #1–4, and the story from Marvel Preview #7 ("The Sword in the Star!: Stave 2: Witchworld!").
Rocket Raccoon & Groot: The Complete Collection (softcover, April 2013, ISBN 978-0-7851-6713-6) collects: a story from Tales to Astonish #13, the story from Marvel Preview #7, The Incredible Hulk #271, Rocket Raccoon Vol. 1 #1–4, Annihilators #1–4, and Annihilators: Earthfall #1–4.
Rocket Raccoon: A Chasing Tail! (hardcover, March 2015, ISBN 978-0785193890) collects: Rocket Raccoon Vol. 2 #1-6.
Rocket Raccoon: Storytailor! (hardcover, August 2015, ISBN 978-0785193906) collects: Rocket Raccoon Vol. 2 #7-11.
Rocket Raccoon & Groot Vol. 0: Bite and Bark (softcover, October 2016, ISBN 978-1302902186) collects: Rocket Raccoon Vol. 2 #1-11, Groot #1-6, and material from Guardians of the Galaxy: Tomorrow's Avengers #1.
Rocket Raccoon & Groot Vol. 1: Tricks of the Trades! (softcover, August 2016, ISBN 978-0785199731) collects: Rocket Raccoon & Groot #1-6.
Rocket Raccoon & Groot Vol. 2: (softcover, November 2016, ISBN 978-0785199748) collects: Rocket Raccoon & Groot #7-10, TBD.