document_title: Impressionism

question_text: in the 19th century in france what gave impressionist painters so much new subject matter

text: Impressionism

text: Overview[edit]

text: Radicals in their time, early Impressionists violated the rules of academic painting. They constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted realistic scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were usually painted in a studio.[1] The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air. They portrayed overall visual effects instead of details, and used short "broken" brush strokes of mixed and pure unmixed colour—not blended smoothly or shaded, as was customary—to achieve an effect of intense colour vibration.

text: Impressionism emerged in France at the same time that a number of other painters, including the Italian artists known as the Macchiaioli, and Winslow Homer in the United States, were also exploring plein-air painting. The Impressionists, however, developed new techniques specific to the style. Encompassing what its adherents argued was a different way of seeing, it is an art of immediacy and movement, of candid poses and compositions, of the play of light expressed in a bright and varied use of colour.

text: The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style.

text: By recreating the sensation in the eye that views the subject, rather than delineating the details of the subject, and by creating a welter of techniques and forms, Impressionism is a precursor of various painting styles, including Neo-Impressionism, Post-Impressionism, Fauvism, and Cubism.

text: Beginnings[edit]

text: In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris and waged war—the Académie des Beaux-Arts dominated French art. The Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued; landscape and still life were not. The Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of precise brush strokes carefully blended to hide the artist's hand in the work.[2] Colour was restrained and often toned down further by the application of a golden varnish.[3]

text: The Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of such artists as Jean-Léon Gérôme and Alexandre Cabanel.

text: In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and Frédéric Bazille—met while studying under the academic artist Charles Gleyre. They discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. Following a practice that had become increasingly popular by mid-century, they often ventured into the countryside together to paint in the open air, but not for the purpose of making sketches to be developed into carefully finished works in the studio, as was the usual custom.[4] By painting in sunlight directly from nature, and making bold use of the vivid synthetic pigments that had become available since the beginning of the century, they began to develop a lighter and brighter manner of painting that extended further the Realism of Gustave Courbet and the Barbizon school. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were often led by Édouard Manet, whom the younger artists greatly admired. They were soon joined by Camille Pissarro, Paul Cézanne, and Armand Guillaumin.[5]

text: During the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style.[6] In 1863, the Salon jury rejected Manet's The Luncheon on the Grass (Le déjeuner sur l'herbe) primarily because it depicted a nude woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, they condemned Manet for placing a realistic nude in a contemporary setting.[7] The jury's severely worded rejection of Manet's painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists.

text: After Emperor Napoleon III saw the rejected works of 1863, he decreed that the public be allowed to judge the work themselves, and the Salon des Refusés (Salon of the Refused) was organized. While many viewers came only to laugh, the Salon des Refusés drew attention to the existence of a new tendency in art and attracted more visitors than the regular Salon.[8]

text: Artists' petitions requesting a new Salon des Refusés in 1867, and again in 1872, were denied. In December 1873, Monet, Renoir, Pissarro, Sisley, Cézanne, Berthe Morisot, Edgar Degas and several other artists founded the Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs ("Cooperative and Anonymous Association of Painters, Sculptors, and Engravers") to exhibit their artworks independently.[9] Members of the association were expected to forswear participation in the Salon.[10] The organizers invited a number of other progressive artists to join them in their inaugural exhibition, including the older Eugène Boudin, whose example had first persuaded Monet to adopt plein air painting years before.[11] Another painter who greatly influenced Monet and his friends, Johan Jongkind, declined to participate, as did Édouard Manet. In total, thirty artists participated in their first exhibition, held in April 1874 at the studio of the photographer Nadar.

text: The critical response was mixed. Monet and Cézanne received the harshest attacks. Critic and humorist Louis Leroy wrote a scathing review in the newspaper Le Charivari in which, making wordplay with the title of Claude Monet's Impression, Sunrise (Impression, soleil levant), he gave the artists the name by which they became known. Derisively titling his article The Exhibition of the Impressionists, Leroy declared that Monet's painting was at most, a sketch, and could hardly be termed a finished work.

text: He wrote, in the form of a dialog between viewers,

text: The term Impressionist quickly gained favour with the public. It was also accepted by the artists themselves, even though they were a diverse group in style and temperament, unified primarily by their spirit of independence and rebellion. They exhibited together—albeit with shifting membership—eight times between 1874 and 1886. The Impressionists' style, with its loose, spontaneous brushstrokes, would soon become synonymous with modern life.[3]

text: Monet, Sisley, Morisot, and Pissarro may be considered the "purest" Impressionists, in their consistent pursuit of an art of spontaneity, sunlight, and colour. Degas rejected much of this, as he believed in the primacy of drawing over colour and belittled the practice of painting outdoors.[13] Renoir turned away from Impressionism for a time during the 1880s, and never entirely regained his commitment to its ideas. Édouard Manet, although regarded by the Impressionists as their leader,[14] never abandoned his liberal use of black as a colour, and never participated in the Impressionist exhibitions. He continued to submit his works to the Salon, where his painting Spanish Singer had won a 2nd class medal in 1861, and he urged the others to do likewise, arguing that "the Salon is the real field of battle" where a reputation could be made.[15]

text: Among the artists of the core group (minus Bazille, who had died in the Franco-Prussian War in 1870), defections occurred as Cézanne, followed later by Renoir, Sisley, and Monet, abstained from the group exhibitions so they could submit their works to the Salon. Disagreements arose from issues such as Guillaumin's membership in the group, championed by Pissarro and Cézanne against opposition from Monet and Degas, who thought him unworthy.[16] Degas invited Mary Cassatt to display her work in the 1879 exhibition, but also insisted on the inclusion of Jean-François Raffaëlli, Ludovic Lepic, and other realists who did not represent Impressionist practices, causing Monet in 1880 to accuse the Impressionists of "opening doors to first-come daubers".[17] The group divided over invitations to Paul Signac and Georges Seurat to exhibit with them in 1886. Pissarro was the only artist to show at all eight Impressionist exhibitions.

text: The individual artists achieved few financial rewards from the Impressionist exhibitions, but their art gradually won a degree of public acceptance and support. Their dealer, Durand-Ruel, played a major role in this as he kept their work before the public and arranged shows for them in London and New York. Although Sisley died in poverty in 1899, Renoir had a great Salon success in 1879.[18] Monet became secure financially during the early 1880s and so did Pissarro by the early 1890s. By this time the methods of Impressionist painting, in a diluted form, had become commonplace in Salon art.[19]

text: Impressionist techniques[edit]

text: French painters who prepared the way for Impressionism include the Romantic colourist Eugène Delacroix, the leader of the realists Gustave Courbet, and painters of the Barbizon school such as Théodore Rousseau. The Impressionists learned much from the work of Johan Barthold Jongkind, Jean-Baptiste-Camille Corot and Eugène Boudin, who painted from nature in a direct and spontaneous style that prefigured Impressionism, and who befriended and advised the younger artists.

text: A number of identifiable techniques and working habits contributed to the innovative style of the Impressionists. Although these methods had been used by previous artists—and are often conspicuous in the work of artists such as Frans Hals, Diego Velázquez, Peter Paul Rubens, John Constable, and J. M. W. Turner—the Impressionists were the first to use them all together, and with such consistency. These techniques include:

text:
Short, thick strokes of paint quickly capture the essence of the subject, rather than its details. The paint is often applied impasto.
Colours are applied side-by-side with as little mixing as possible, a technique that exploits the principle of simultaneous contrast to make the colour appear more vivid to the viewer.
Grays and dark tones are produced by mixing complementary colours. Pure impressionism avoids the use of black paint.
Wet paint is placed into wet paint without waiting for successive applications to dry, producing softer edges and intermingling of colour.
Impressionist paintings do not exploit the transparency of thin paint films (glazes), which earlier artists manipulated carefully to produce effects. The impressionist painting surface is typically opaque.
The paint is applied to a white or light-coloured ground. Previously, painters often used dark grey or strongly coloured grounds.
The play of natural light is emphasized. Close attention is paid to the reflection of colours from object to object. Painters often worked in the evening to produce effets de soir—the shadowy effects of evening or twilight.
In paintings made en plein air (outdoors), shadows are boldly painted with the blue of the sky as it is reflected onto surfaces, giving a sense of freshness previously not represented in painting. (Blue shadows on snow inspired the technique.)

text: New technology played a role in the development of the style. Impressionists took advantage of the mid-century introduction of premixed paints in tin tubes (resembling modern toothpaste tubes), which allowed artists to work more spontaneously, both outdoors and indoors.[20] Previously, painters made their own paints individually, by grinding and mixing dry pigment powders with linseed oil, which were then stored in animal bladders.[21]

text: Many vivid synthetic pigments became commercially available to artists for the first time during the 19th century. These included cobalt blue, viridian, cadmium yellow, and synthetic ultramarine blue, all of which were in use by the 1840s, before Impressionism.[22] The Impressionists' manner of painting made bold use of these pigments, and of even newer colours such as cerulean blue,[3] which became commercially available to artists in the 1860s.[22]

text: The Impressionists' progress toward a brighter style of painting was gradual. During the 1860s, Monet and Renoir sometimes painted on canvases prepared with the traditional red-brown or grey ground.[23] By the 1870s, Monet, Renoir, and Pissarro usually chose to paint on grounds of a lighter grey or beige colour, which functioned as a middle tone in the finished painting.[23] By the 1880s, some of the Impressionists had come to prefer white or slightly off-white grounds, and no longer allowed the ground colour a significant role in the finished painting.[24]

text: Content and composition[edit]

text: Prior to the Impressionists, other painters, notably such 17th-century Dutch painters as Jan Steen, had emphasized common subjects, but their methods of composition were traditional. They arranged their compositions so that the main subject commanded the viewer's attention. The Impressionists relaxed the boundary between subject and background so that the effect of an Impressionist painting often resembles a snapshot, a part of a larger reality captured as if by chance.[25] Photography was gaining popularity, and as cameras became more portable, photographs became more candid. Photography inspired Impressionists to represent momentary action, not only in the fleeting lights of a landscape, but in the day-to-day lives of people.[citation needed]

text: The development of Impressionism can be considered partly as a reaction by artists to the challenge presented by photography, which seemed to devalue the artist's skill in reproducing reality. Both portrait and landscape paintings were deemed somewhat deficient and lacking in truth as photography "produced lifelike images much more efficiently and reliably".[26]

text: In spite of this, photography actually inspired artists to pursue other means of creative expression, and rather than compete with photography to emulate reality, artists focused "on the one thing they could inevitably do better than the photograph—by further developing into an art form its very subjectivity in the conception of the image, the very subjectivity that photography eliminated".[26] The Impressionists sought to express their perceptions of nature, rather than create exact representations. This allowed artists to depict subjectively what they saw with their "tacit imperatives of taste and conscience".[27] Photography encouraged painters to exploit aspects of the painting medium, like colour, which photography then lacked: "The Impressionists were the first to consciously offer a subjective alternative to the photograph".[26]

text: Another major influence was Japanese ukiyo-e art prints (Japonism). The art of these prints contributed significantly to the "snapshot" angles and unconventional compositions that became characteristic of Impressionism. An example is Monet's Jardin à Sainte-Adresse, 1867, with its bold blocks of colour and composition on a strong diagonal slant showing the influence of Japanese prints[29]

text: Edgar Degas was both an avid photographer and a collector of Japanese prints.[30] His The Dance Class (La classe de danse) of 1874 shows both influences in its asymmetrical composition. The dancers are seemingly caught off guard in various awkward poses, leaving an expanse of empty floor space in the lower right quadrant. He also captured his dancers in sculpture, such as the Little Dancer of Fourteen Years.

text: Main Impressionists[edit]

text: The central figures in the development of Impressionism in France, listed alphabetically, were:

text:
Frédéric Bazille (who only posthumously participated in the Impressionist exhibitions) (1841–1870)
Gustave Caillebotte (who, younger than the others, joined forces with them in the mid-1870s) (1848–1894)
Mary Cassatt (American-born, she lived in Paris and participated in four Impressionist exhibitions) (1844–1926)
Paul Cézanne (although he later broke away from the Impressionists) (1839–1906)
Edgar Degas (who despised the term Impressionist) (1834–1917)
Armand Guillaumin (1841–1927)
Édouard Manet (who did not participate in any of the Impressionist exhibitions) (1832–1883)[31]
Claude Monet (the most prolific of the Impressionists and the one who embodies their aesthetic most obviously)[32] (1840–1926)
Berthe Morisot (1841–1895)
Camille Pissarro (1830–1903)
Pierre-Auguste Renoir (1841–1919)
Alfred Sisley (1839–1899)

text: Gallery[edit]

text:
Frédéric Bazille, Paysage au bord du Lez, 1870, Minneapolis Institute of Art

Alfred Sisley, Bridge at Villeneuve-la-Garenne, 1872, Metropolitan Museum of Art

Berthe Morisot, The Cradle, 1872, Musée d'Orsay

Armand Guillaumin, Sunset at Ivry (Soleil couchant à Ivry), 1873, Musee d'Orsay

Édouard Manet, Boating, 1874, Metropolitan Museum of Art

Alfred Sisley, La Seine au Point du jour, 1877, Museum of modern art André Malraux - MuMa, Le Havre

Édouard Manet, The Plum, 1878, National Gallery of Art, Washington, D.C.

Édouard Manet, A Bar at the Folies-Bergère (Un Bar aux Folies-Bergère), 1882, Courtauld Institute of Art

Edgar Degas, After the Bath, Woman Drying Herself, c. 1884–1886 (reworked between 1890 and 1900), MuMa, Le Havre

Edgar Degas, L'Absinthe, 1876, Musée d'Orsay, Paris

Edgar Degas, Dancer with a Bouquet of Flowers (Star of the Ballet), 1878

Edgar Degas, Woman in the Bath, 1886, Hill-Stead Museum, Farmington, Connecticut

Edgar Degas, Dancers at The Bar, 1888, The Phillips Collection, Washington, D.C.

Gustave Caillebotte, Paris Street, Rainy Day, 1877, Art Institute of Chicago

Pierre-Auguste Renoir, On the Terrace, 1881, Art Institute of Chicago

Pierre-Auguste Renoir, Girl with a Hoop, 1885

Claude Monet, The Cliff at Étretat after the Storm, 1885, Clark Art Institute, Williamstown, Massachusetts

Mary Cassatt, The Child's Bath (The Bath), 1893, oil on canvas, Art Institute of Chicago

Berthe Morisot, Portrait of Mme Boursier and Her Daughter, c. 1873, Brooklyn Museum

text: Timeline: lives of the Impressionists[edit]

text: The Impressionists

text: Associates and influenced artists[edit]

text: Among the close associates of the Impressionists were several painters who adopted their methods to some degree. These include Giuseppe De Nittis, an Italian artist living in Paris who participated in the first Impressionist exhibit at the invitation of Degas, although the other Impressionists disparaged his work.[33] Federico Zandomeneghi was another Italian friend of Degas who showed with the Impressionists. Eva Gonzalès was a follower of Manet who did not exhibit with the group. James Abbott McNeill Whistler was an American-born painter who played a part in Impressionism although he did not join the group and preferred grayed colours. Walter Sickert, an English artist, was initially a follower of Whistler, and later an important disciple of Degas; he did not exhibit with the Impressionists. In 1904 the artist and writer Wynford Dewhurst wrote the first important study of the French painters published in English, Impressionist Painting: its genesis and development, which did much to popularize Impressionism in Great Britain.

text: By the early 1880s, Impressionist methods were affecting, at least superficially, the art of the Salon. Fashionable painters such as Jean Béraud and Henri Gervex found critical and financial success by brightening their palettes while retaining the smooth finish expected of Salon art.[34] Works by these artists are sometimes casually referred to as Impressionism, despite their remoteness from Impressionist practice.

text: The influence of the French Impressionists lasted long after most of them had died. Artists like J.D. Kirszenbaum were borrowing Impressionist techniques throughout the twentieth century.

text: Beyond France[edit]

text: As the influence of Impressionism spread beyond France, artists, too numerous to list, became identified as practitioners of the new style. Some of the more important examples are:

text:
The American Impressionists, including Mary Cassatt, William Merritt Chase, Frederick Carl Frieseke, Childe Hassam, Willard Metcalf, Lilla Cabot Perry, Theodore Robinson, Edmund Charles Tarbell, John Henry Twachtman, Catherine Wiley and J. Alden Weir.
The Australian Impressionists, including Tom Roberts, Arthur Streeton, Walter Withers, Charles Conder and Frederick McCubbin (who were prominent members of the Heidelberg School), and John Peter Russell, a friend of Van Gogh, Rodin, Monet and Matisse.
The Amsterdam Impressionists in the Netherlands, including George Hendrik Breitner, Isaac Israëls, Willem Bastiaan Tholen, Willem de Zwart, Willem Witsen and Jan Toorop.
Anna Boch, Vincent van Gogh's friend Eugène Boch, Georges Lemmen and Théo van Rysselberghe, Impressionist painters from Belgium.
Ivan Grohar, Rihard Jakopič, Matija Jama, and Matej Sternen, Impressionists from Slovenia. Their beginning was in the school of Anton Ažbe in Munich and they were influenced by Jurij Šubic and Ivana Kobilca, Slovenian painters working in Paris
Wynford Dewhurst, Walter Richard Sickert, and Philip Wilson Steer were well known Impressionist painters from the United Kingdom. Pierre Adolphe Valette, who was born in France but who worked in Manchester, was the tutor of L. S. Lowry.
The German Impressionists, including Lovis Corinth, Max Liebermann, Ernst Oppler, Max Slevogt and August von Brandis.
László Mednyánszky in Hungary
Theodor von Ehrmanns and Hugo Charlemont who were rare Impressionists among the more dominant Vienna Secessionist painters in Austria
William John Leech, Roderic O'Conor, and Walter Osborne in Ireland
Konstantin Korovin and Valentin Serov in Russia
Francisco Oller y Cestero, a native of Puerto Rico and a friend of Pissarro and Cézanne
James Nairn in New Zealand.
William McTaggart in Scotland.
Laura Muntz Lyall, a Canadian artist
Władysław Podkowiński, a Polish Impressionist and symbolist
Nicolae Grigorescu in Romania
Nazmi Ziya Güran, who brought Impressionism to Turkey
Chafik Charobim in Egypt
Eliseu Visconti in Brazil
Joaquín Sorolla in Spain
Faustino Brughetti, Fernando Fader, Candido Lopez, Martín Malharro, Walter de Navazio, Ramón Silva in Argentina
Skagen Painters a group of Scandinavian artists who painted in a small Danish fishing village
Nadežda Petrović in Serbia
Ásgrímur Jónsson in Iceland
Fujishima Takeji in Japan
Frits Thaulow in Norway and later France.

text: Sculpture, photography and film[edit]

text: The sculptor Auguste Rodin is sometimes called an Impressionist for the way he used roughly modeled surfaces to suggest transient light effects.[35]

text: Pictorialist photographers whose work is characterized by soft focus and atmospheric effects have also been called Impressionists.

text: French Impressionist Cinema is a term applied to a loosely defined group of films and filmmakers in France from 1919–1929, although these years are debatable. French Impressionist filmmakers include Abel Gance, Jean Epstein, Germaine Dulac, Marcel L’Herbier, Louis Delluc, and Dmitry Kirsanoff.

text: Music and literature[edit]

text: Musical Impressionism is the name given to a movement in European classical music that arose in the late 19th century and continued into the middle of the 20th century. Originating in France, musical Impressionism is characterized by suggestion and atmosphere, and eschews the emotional excesses of the Romantic era. Impressionist composers favoured short forms such as the nocturne, arabesque, and prelude, and often explored uncommon scales such as the whole tone scale. Perhaps the most notable innovations of Impressionist composers were the introduction of major 7th chords and the extension of chord structures in 3rds to five- and six-part harmonies.

text: The influence of visual Impressionism on its musical counterpart is debatable. Claude Debussy and Maurice Ravel are generally considered the greatest Impressionist composers, but Debussy disavowed the term, calling it the invention of critics. Erik Satie was also considered in this category, though his approach was regarded as less serious, more musical novelty in nature. Paul Dukas is another French composer sometimes considered an Impressionist, but his style is perhaps more closely aligned to the late Romanticists. Musical Impressionism beyond France includes the work of such composers as Ottorino Respighi (Italy) Ralph Vaughan Williams, Cyril Scott, and John Ireland (England), and Manuel De Falla, and Isaac Albeniz (Spain).

text: The term Impressionism has also been used to describe works of literature in which a few select details suffice to convey the sensory impressions of an incident or scene. Impressionist literature is closely related to Symbolism, with its major exemplars being Baudelaire, Mallarmé, Rimbaud, and Verlaine. Authors such as Virginia Woolf, D.H. Lawrence, and Joseph Conrad have written works that are Impressionistic in the way that they describe, rather than interpret, the impressions, sensations and emotions that constitute a character's mental life.

text: Post-Impressionism[edit]

text: Post-Impressionism developed from Impressionism. During the 1880s several artists began to develop different precepts for the use of colour, pattern, form, and line, derived from the Impressionist example: Vincent van Gogh, Paul Gauguin, Georges Seurat, and Henri de Toulouse-Lautrec. These artists were slightly younger than the Impressionists, and their work is known as post-Impressionism. Some of the original Impressionist artists also ventured into this new territory; Camille Pissarro briefly painted in a pointillist manner, and even Monet abandoned strict plein air painting. Paul Cézanne, who participated in the first and third Impressionist exhibitions, developed a highly individual vision emphasising pictorial structure, and he is more often called a post-Impressionist. Although these cases illustrate the difficulty of assigning labels, the work of the original Impressionist painters may, by definition, be categorised as Impressionism.

text:
Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884–1886, The Art Institute of Chicago

Vincent van Gogh, Cypresses, 1889, Metropolitan Museum of Art

Paul Gauguin, The Midday Nap, 1894, Metropolitan Museum of Art

Paul Cézanne, The Card Players, 1894–1895, Musée d'Orsay, Paris


document_title: Moana (soundtrack)

question_text: who sang you're welcome in moana credits

question_tokens: who sang you 're welcome in moana credits

root

text: Moana (soundtrack)

text: Recording[edit]

text: For the soundtrack, Disney wanted to combine traditional South Pacific culture with pop and Broadway sensibilities, which led to the hiring of Broadway playwright, songwriter and composer Lin-Manuel Miranda, composer Mark Mancina and Tokelauan singer-songwriter Opetaia Foa'i. The first song they completed was "We Know the Way", which Foa'i began after his first meeting with Disney in December 2013. The trio worked together in New Zealand and in Los Angeles.[5][6] At the same time, Miranda was also developing and starring in the Broadway musical Hamilton, which meant he was able to recruit Hamilton stars Phillipa Soo, Christopher Jackson, and Renée Elise Goldsberry as well as In The Heights star Marcy Harriell to help him record demos of his songs.[7]

tag: p

text: The songs feature Foa'i's New Zealand-based vocal group Te Vaka, as well as a choir from Fiji.[6] The soundtrack contains seven original songs, two reprises, and two end-credits versions of songs from the film.[8] Mancina composed the score and produced both the score and the songs. In addition to guitars and strings, the score features Polynesian vocals and percussion, woodwinds made from bamboo from the South Pacific, and traditional hide-covered Tyka drums.[5]

text: According to Miranda, "Shiny" was inspired by the Flight of the Conchords' tribute to David Bowie at the Aspen Comedy Festival in 2004, as well as listening to Bowie's songs on a loop shortly after the singer's death in January 2016.[9]

text: Commercial performance[edit]

text: "How Far I'll Go" appears during the film performed by actress Auli'i Cravalho, and during the end credits performed by Canadian singer-songwriter Alessia Cara.[10] A music video for Cara's version of the song was released on November 3, 2016.[11] It reached number 88 on the Billboard Hot 100 for the week of December 17, 2016.[12] South African singer Lira[13] and Filipino singer Janella Salvador[14] recorded two English-language versions of “How Far I’ll Go” that will play over the end credits on the South African and Filipino release of the film, while Indonesian singer Maudy Ayunda and Malaysian singer Ayda Jebat recorded their own versions of the song respectively in Indonesian[15] and Malaysian[16] language.

text: Lin-Manuel Miranda and Jordan Fisher sing a duet on "You're Welcome", which plays over the end credits. The song as performed by Dwayne Johnson appears in the film.[17] Johnson's version of "You're Welcome" peaked at number 83 on the Billboard Hot 100 for the week of December 17, 2016.[18] The soundtrack also features Jemaine Clement, who voices the coconut crab Tamatoa.[19]

text: The album has so far sold a total of 509,000 copies in the United States making it the third soundtrack to surpass a half-million in sales in 2017, following Suicide Squad and Trolls.[20]

text: Accolades[edit]

text: At the 74th Golden Globe Awards, "How Far I'll Go" was nominated for Best Original Song.[3] It also received a nomination for Best Original Song at the 89th Academy Awards.[4]

text: Track listing[edit]

text:
[show]Disc one

No.
Title
Lyrics
Music
Performer(s)
Length

1.
"Tulou Tagaloa"
Opetaia Foa'i
Opetaia Foa'i
Olivia Foa'i
0:51

2.
"An Innocent Warrior"
Opetaia Foa'i
Opetaia Foa'i
Vai Mahina, Sulata Foai-Amiatu & Matthew Ineleo
1:37

3.
"Where You Are"
Lin-Manuel Miranda
Opetaia Foa'i, Miranda, Mark Mancina
Christopher Jackson, Rachel House, Nicole Scherzinger, Auli'i Cravalho & Louise Bush
3:30

4.
"How Far I'll Go"
Miranda
Miranda
Auli'i Cravalho
2:43

5.
"We Know the Way"
Opetaia Foa'i, Miranda
Opetaia Foa'i
Opetaia Foa'i & Miranda
2:21

6.
"How Far I'll Go (Reprise)"
Miranda
Miranda, Mancina
Auli'i Cravalho
1:27

7.
"You're Welcome"
Miranda
Miranda
Dwayne Johnson
2:43

8.
"Shiny"
Miranda
Miranda, Mancina
Jemaine Clement
3:05

9.
"Logo Te Pate"
Opetaia Foa'i
Opetaia Foa'i
O. Foa'i, Op. Foa'i & Talaga Steve Sale
2:10

10.
"I Am Moana (Song of the Ancestors)"
Opetaia Foa'i, Miranda
Opetaia Foa'i, Miranda, Mancina
House & Cravalho
2:42

11.
"Know Who You Are"
Opetaia Foa'i, Miranda
Opetaia Foa'i, Miranda, Mancina
Cravalho, Mahina, O. Foa'i, Op. Foa'i & Ineleo
1:12

12.
"We Know the Way (Finale)"
Opetaia Foa'i, Miranda
Opetaia Foa'i
Miranda & Op. Foa'i
1:09

13.
"How Far I'll Go" (Alessia Cara version)
Miranda
Miranda
Alessia Cara
2:55

14.
"You're Welcome" (featuring Lin-Manuel Miranda)
Miranda
Miranda
Jordan Fisher (produced by Illmind)
2:17

15.
"Prologue"

Mancina
Mancina
2:25

16.
"He Was You"

Mancina
Mancina
0:50

17.
"Village Crazy Lady"

Mancina
Mancina
0:45

18.
"Cavern"

Mancina
Mancina
2:05

19.
"The Ocean Chose You"

Mancina
Mancina
1:17

20.
"The Hook"

Mancina
Mancina
1:09

21.
"Tala's Deathbed"

Mancina
Mancina
2:00

22.
"Battle of Wills"

Mancina
Mancina
3:10

23.
"Kakamora"

Mancina
Mancina
4:33

24.
"Wayfinding"

Mancina
Mancina
1:52

25.
"Climbing"

Mancina
Mancina
0:54

26.
"Tamatoa's Lair"

Mancina
Mancina
2:45

27.
"Great Escape"

Mancina
Mancina
0:59

28.
"If I Were the Ocean"

Mancina
Mancina
3:01

29.
"Te Ka Attacks"

Mancina
Mancina
1:41

30.
"Maui Leaves"

Mancina
Mancina
2:05

31.
"Heartache"

Mancina
Mancina
0:39

32.
"Tala Returns"

Mancina
Mancina
1:01

33.
"Sails to Te Fiti"

Mancina
Mancina
5:46

34.
"Shiny Heart"

Mancina
Mancina
0:36

35.
"Te Fiti Restored"

Mancina
Mancina
1:03

36.
"Hand of a God"

Mancina
Mancina
0:30

37.
"Voyager Tagaloa"

Mancina
Mancina
0:57

38.
"Toe Feiloa'i"

Mancina
Mancina
1:25

39.
"Navigating Home"

Mancina
Mancina
0:47

40.
"The Return to Voyaging"

Mancina
Mancina
1:01

Total length:
1:15:48

tag: table

text:
[show]Disc two

No.
Title
Music
Performer(s)
Length

1.
"Unstoppable" (outtake)
Lin-Manuel Miranda, Opetaia Foa'i, Mark Mancina
Miranda
3:59

2.
"More" (outtake)
Miranda, Foa'i, Mancina
Marcy Harriell
3:16

3.
"More (Reprise)" (outtake)
Miranda, Foa'i, Mancina
Harriell
2:38

4.
"Warrior Face" (outtake)
Miranda, Foa'i, Mancina
Miranda
2:16

5.
"Where You Are" (demo)
Miranda, Foa'i, Mancina
Miranda
3:01

6.
"You're Welcome" (demo)
Miranda, Foa'i, Mancina
Miranda
2:37

7.
"Shiny" (demo)
Miranda, Foa'i, Mancina
Miranda
3:04

8.
"Prologue" (score demo)
Mancina
Mancina
2:26

9.
"Village Crazy Lady" (score demo)
Mancina
Mancina
0:45

10.
"Cavern" (score demo)
Mancina
Mancina
2:05

11.
"Kakamora" (score demo)
Mancina
Mancina
3:58

12.
"It's Called Wayfinding" (score demo)
Mancina
Mancina
0:53

13.
"Maui Leaves" (score demo)
Mancina
Mancina
2:04

14.
"Sails to Te Fiti" (score demo)
Mancina
Mancina
1:37

15.
"Maui Battles" (score demo)
Mancina
Mancina
1:57

16.
"Sea Monsters" (score demo)
Mancina
Mancina
0:45

17.
"Tala Returns" (score demo)
Mancina
Mancina
1:15

18.
"How Far I'll Go" (instrumental)
Miranda, Foa'i, Mancina

2:44

19.
"You're Welcome" (instrumental)
Miranda, Foa'i, Mancina

2:44

Total length:
44:04

text: Charts[edit]

text: Weekly charts[edit]

text:
Chart (2016–17)
Peak
position

Australian Albums (ARIA)[21]
2

Austrian Albums (Ö3 Austria)[22]
Vaiana
8

Belgian Albums (Ultratop Flanders)[23]
Vaiana
49

Belgian Albums (Ultratop Wallonia)[24]
Vaiana
48

Canadian Albums (Billboard)[25]
4

Danish Albums (Hitlisten)[26]
Vaiana
12

Dutch Albums (MegaCharts)[27]
Vaiana
50

French Albums (SNEP)[28]
Vaiana
20

German Albums (Offizielle Top 100)[29]
Vaiana
11

Irish Albums (IRMA)[30]
9

New Zealand Albums (RMNZ)[31]
1

Norwegian Albums (VG-lista)[32]
Vaiana
5

Polish Albums (ZPAV)[33]
Vaiana
39

Scottish Albums (OCC)[34]
5

Spanish Albums (PROMUSICAE)[35]
Vaiana
61

Swiss Albums (Schweizer Hitparade)[36]
Vaiana
18

Taiwanese Albums (Five Music)[37]
12

UK Albums (OCC)[38]
7

UK Soundtrack Albums (OCC)[39]
1

US Billboard 200[40]
[2]
2

US Soundtrack Albums (Billboard)[41]
1

text: Tracks[edit]

text:
Track title
Performer(s)
Peak positions

US
[12][18][42]
AUS
[43]
CAN
[44]
NZ
[45]
UK
[46][47]

"How Far I'll Go"
Auli'i Cravalho
41
49
58
—[A]
84

"How Far I'll Go"
Alessia Cara
56
15
46
3
49

"You're Welcome"
Dwayne Johnson
65
77
85
—[B]
—

"We Know the Way"
Opetaia Foa'i & Lin-Manuel Miranda
93
—
—
—[C]
—

"Shiny"
Jemaine Clement
—[D]
—
—
—[E]
—

"Where You Are"
Christopher Jackson, Rachel House, Nicole Scherzinger, Auli'i Cravalho & Louise Bush
—
—
—
—[F]
—

"I Am Moana (Song of the Ancestors)"
Rachel House & Auli'i Cravalho
—
—
—
—[G]
—

"—" denotes a recording that did not chart.

text: Certifications[edit]

text:
Region
Certification
Certified units/Sales

Australia (ARIA)[49]
Gold
35,000^

Canada (Music Canada)[50]
Platinum
80,000^

France (SNEP)[51]
Gold
50,000*

Mexico (AMPROFON)[52]
Gold
30,000^

New Zealand (RMNZ)[53]
Gold
7,500^

United Kingdom (BPI)[54]
Gold
100,000^

United States (RIAA)[55]
Platinum
1,000,000

*sales figures based on certification alone
^shipments figures based on certification alone

text: Notes[edit]

text:
Jump up ^ "How Far I'll Go" did not enter the NZ Top 40 Singles Chart, but peaked at number one on the NZ Heatseekers Singles Chart.[45]
Jump up ^ "You're Welcome" did not enter the NZ Top 40 Singles Chart, but peaked at number three on the NZ Heatseekers Singles Chart.[45]
Jump up ^ "We Know the Way" did not enter the NZ Top 40 Singles Chart, but peaked at number two on the NZ Heatseekers Singles Chart.[45]
Jump up ^ "Shiny" did not enter the Billboard Hot 100, but peaked at number six on the Bubbling Under Hot 100 Singles chart.[48]
Jump up ^ "Shiny" did not enter the NZ Top 40 Singles Chart, but peaked at number five on the NZ Heatseekers Singles Chart.[45]
Jump up ^ "Where You Are" did not enter the NZ Top 40 Singles Chart, but peaked at number six on the NZ Heatseekers Singles Chart.[45]
Jump up ^ "I Am Moana (Song of the Ancestors)" did not enter the NZ Top 40 Singles Chart, but peaked at number eight on the NZ Heatseekers Singles Chart.[45]

tag: ol


document_title: April Kepner

question_text: when does kepner come on grey's anatomy

question_tokens: when does kepner come on grey 's anatomy

text: April Kepner

text: Storylines[edit]

text:
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text: April Kepner was born in Columbus, Ohio on April 23, 1982.[8] Her mother Karen is a teacher and her father Joe is a farmer. She is the second of four daughters; her sisters are Libby, Kimmie, and Alice. Kepner is initially a surgical resident at Mercy West Hospital. She joins the staff at Seattle Grace Mercy West after the merger of the two hospitals, alongside Jackson Avery (Jesse Williams), Reed Adamson (Nora Zehetner), and Charles Percy (Robert Baker). Kepner is first shown to possess a red diary, in which she writes all her feelings and thoughts which is stolen by Lexie Grey (Chyler Leigh). Grey uses the personal information written in the notebook to unnerve and blackmail Kepner but later apologizes. After she made a mistake that led to a patient's death, she is fired. However, Derek Shepherd (Patrick Dempsey) rehires her when he becomes the new Chief of Surgery. As she is not confident anymore, she spends her time doing errands for Shepherd and develops a crush on him, earning her the nickname "Shepherd's flunky". In the season six finale, she discovers the body of her best friend Reed Adamson, who has been shot. She later runs into the shooter, Gary Clark, who lets her go after she tells him about her life after remembering a technique she says she learned from Oprah. Following the shooting, Kepner and Avery move into Meredith Grey's (Ellen Pompeo) house.

text: Kepner reveals that she is a virgin because she is a Christian and made a promise to God to stay a virgin until she was married, she also states that she thinks men find her annoying after yelling at Alex, Meredith, Lexie and Jackson about secrets, she claims that the fact that she is a 28 year old virgin is not a drinks conversation. She shows potential as a trauma surgeon during a trauma drill. She develops feelings for Alex Karev (Justin Chambers) who almost makes her lose her virginity. When Avery, now her best friend finds out about this, he assaults Karev. Later, Kepner agrees to go on a date with Robert Stark, believing him to have a good side. Her fellow residents make fun of her which prompts her to break up with him. April also impresses Owen Hunt (Kevin McKidd) and she is ultimately granted the position of Chief Resident in the season seven finale. Kepner initially struggles with her new status as her fellow doctors do not listen to her and do not take her seriously.

text: As the end of the fifth year of residency is near, the surgical residents, including Kepner, prepare for their boards exams for the different fellowships they plan on joining. The night before taking the exam, April loses her virginity to Avery. This causes her to re-evaluate her faith during her Boards Exams, making the examiners feel uncomfortable. It is revealed that she is the only one out of the residents to have failed her Boards Exams. She receives phone calls from other hospital retracting their offers of fellowships and is laid off from Seattle Grace. Although Avery has true feelings for her, she pushes him away because she believes that he feels guilty for having sex with her. As a celebration of the conclusion of their residencies, the former chief of surgery Richard Webber (James Pickens, Jr.) organizes his annual dinner for them. The eighth season ends with Kepner, Avery, Karev and Webber waiting for Meredith and Yang, who are victims of an aviation accident.

text: Months later, Hunt goes to visit April, who had moved back to her parents' farm in Moline, Ohio. In the wake of the tragic aviation accident, he offers her an attending position at the hospital. When she gets back to Seattle Grace, she resumes her sexual relationship with Avery, despite claiming she wants to re-virginise. April has a pregnancy scare and Jackson promises that he will be there every step of the way, even marry her, if she tests positive. When April finds out that she is not pregnant, she is overjoyed, but inadvertently hurts Jackson's feelings by saying that they dodged a bullet, seemingly thrilled that they don't have to get married anymore. Jackson breaks up with April.

text: April suggests to Jackson that they each take a date to Bailey's wedding in an attempt to move on. Jackson takes intern Stephanie; the two bond and eventually have sex. When Jackson tells April that he is sleeping with somebody else, she is visibly crushed and tells him that they can't be friends again until she has gotten over him. In the next episode, a very attractive paramedic named Matthew (Justin Bruening) asks April out for coffee and they start seeing each other. Shortly afterwards she turns to Jackson for dating advice and it is hinted that Jackson is still in love with her when he shows signs of jealousy but Jackson overcomes his jealousy and they then re-establish their friendship. She confesses to Matthew that she is not a virgin anymore as she led him to believe and he breaks up with her because she lied to him. However, in the next episode, Matthew forgives April and they get back together. He asks her to marry him through a flash mob and she says yes. In the season 9 finale, April thinks she lost Jackson when a bus blew up and tells him she loves him, but he only has a few injuries. She remains engaged to Matthew while Jackson dates Stephanie. At the wedding, Jackson realizes he still loves April and stands up professing his love. Jackson and April are seen driving off together at the start of the following episode and later it is revealed that they have secretly eloped.

text: At first April and Jackson do not tell their friends about their marriage, but later they do because of a new rule at the hospital. Catherine Avery is not at all happy about her son's elopement with April, and the fact that there wasn't a prenuptial agreement. They soon make up after April signs a postnuptial agreement. Jackson and April soon hit a rough patch when they realize that they have different views in the way their children should be raised religious. Not long after their fight, April realizes she is pregnant. April and Jackson's baby is diagnosed during pregnancy with Osteogenesis Imperfecta type 2, and learn that the baby will not survive long after birth. Jackson believes that termination is the best option, however April would rather give birth to the baby knowing it will not live very long. They scheduled an induction for the next day, at the beginning of the appointment they are asked to sign their baby's death certificate, which is too hard for the couple to bear. April doesn't sign the papers and returns to work the same day praying for a miracle, while at work she has a heart to heart with a lady who lost her fiancé the night before. They decide to give birth to the baby via induction at 24 weeks gestation having it baptized right then. She gave birth to Samuel Norbert Avery, and he died a few hours after birth. In the following weeks after Samuel's death, April and Jackson find it hard to be around each other and be intimate with one another. After April tries to seduce Jackson in a supply closet, Jackson asks if she is sure she wants this so soon after the death of their son, leaving April to storm out in anger. In the series 11 finale April decides to join Owen Hunt for 3 months as a trauma surgeon with the army; this not being well received by Jackson. But after April states she needs this in order to grieve Samuel - Jackson lets her leave. Over the following months April lengthens her stay in the army, this having a strain on her and Jackson's marriage as Jackson can rarely get a hold of her or talk to her over the phone. On Christmas Day after already being away for some time, April announces to Jackson while on video chat that she is staying for a longer service period, Jackson becomes angry with April but the conversation is cut short by sounds of gunfire and explosions from April's base camp, leaving her to terminate the call; meanwhile Jackson is unsure whether his wife is hurt or if she is ever coming home. On Valentine's Day April returns to the hospital surprising Jackson, and they embrace in the foyer.

text: In Season 12, April and Jackson go through divorce proceedings started by Jackson. The morning before they sign the divorce papers, April discovers that she is expecting a second baby. She does not inform Jackson, and he is told by Arizona Robbins, which leads to additional tension. After Catherine Avery convinces Jackson to fight for full custody of his unborn child, April takes out a restraining order against him. The Averys' lawyer asks for all documentation of their marriage, when reading through their wedding vows, Jackson realizes that they should fix the situation for their child. He and April decide to raise their son or daughter together as friends. Complications arise when April's water breaks and when rushed to the hospital, she appears to be in critical condition; however she survives the delivery (via c-section) and she and Jackson are shown their new daughter.

text: Development[edit]

text: Casting and creation[edit]

text:
"I think it's a really fun character and, of course, getting to be on that show is wonderful and exciting for any actress in Hollywood."

Drew on her role in Grey's Anatomy.[2]

tag: div

text: Drew was cast in late September 2009 and first appeared on the show in the fifth episode of the sixth season as one of the residents from the Mercy West Hospital after its merger with Seattle Grace.[2] Drew was brought aboard Grey's Anatomy after former collaborations with the Series' producer and creator Shonda Rhimes;[3] she was formally featured as a guest in two episodes of Private Practice in 2008 and was one of the main cast in Rhimes television pilot Inside the Box (2009) which was eventually not picked up by ABC.[3] Her casting came after the absence of some of the central cast members, notably Katherine Heigl departure after her maternity leave and Ellen Pompeo's absence due to pregnancy.[2][3]

text: Drew was originally contracted to guest star in a multi-episodes story arc where her character would be eventually fired from the series after two episodes.[3] She explained: "I came on to the show and I was told from day one that I was only going to be there for two episodes. I did not expect anything beyond that. The morning my firing episode aired, my agent got a call that they were talking about a contract and I was just completely floored."[3] However she was promoted to a series regular on June 9, 2010 for the seventh season of the show.[9] Rhimes said in the wake of the news: "Kepner has really been folded into the group" of Grey's Anatomy adding "It'll depend on what the studio and the network decide to do with those actors, but I fully advocate to have [the characters]".[10] Drew received the call for her promotion the morning after the sixth episode of season six was telecast on October 29, 2009. She described the call as a "totally happy surprise".[11]

text: Characterization[edit]

text: "I love the idea that there's this person that everybody kind of hates, yet they all have to deal with, [and even] lean on. She is one of them, even though they find her terribly annoying, and I think that that's sort of charming."[12]

text: Drew's character has been called intelligent, hardworking, thorough and determined by Grey's Anatomy executives.[13] But she is also considered vulnerable, insecure, sensitive and overly eager by her colleagues.[13] Of the character, Drew said: "April is a very, very good doctor. She really knows what she's doing, she's worked really hard, and she certainly wants to do her best and stick around."[2] but also described her as "annoying", "neurotic" and "really insecure".[14] In the eighth season, April's position as chief resident and her struggle to get a handle on her fellow residents formed the central arc of her storyline. Rhimes explained: "Watching April try to be in charge of Cristina and Alex and Jackson is a pretty impossible task, and it’s made for comedy, it’s one of the funniest things we’re working on this season."[15] One of Kepner's central characteristics is her religious belief, notably her chastity and her instance on saving herself for someone she truly loves.[16] In an interview, Drew assessed that: There certainly has never been a 28-year-old virgin on Grey’s. I don’t even think there’s been a 28-year-old virgin on television. Unless it’s someone who is sort of a recluse. A normal, smart, doctor….pretty, healthy…that in and of itself is really fascinating, and really interesting, and totally different. It’s neat to see someone who is just totally clueless in that area. Everyone else [On Grey' Anatomy] seems like they know exactly what they’re doing. April is totally, totally clueless. Shonda told one of the directors, there are virgins that have sort of done everything else. But not April. April’s really pretty much done nothing. She’s completely untouched."[17]

text: Relationships[edit]

text: Kepner entertained several relationships throughout her time on Grey's Anatomy. In her early appearances, she is introduced as the best friend and roommate of her fellow Mercy West resident, Reed Adamson. In the season six finale, when Reed is tragically murdered by Gary Clark during the shooting, April is the first to find her when she trips over her dead body. In season seven April forms a friendship with Meredith Grey and she eventually moves into her house. Ellen Pompeo offered regarding their bond: "Meredith will accept April in order to get the audience to accept her,"[18] and Drew further explained: "She’s being plugged into the community. Meredith has really taken her under her wing, is really looking out for her. Having Meredith come around to April helps the audience come around to April."[17]

text: She first develops a crush on Derek Shepherd in season six. Carina MacKenzie from The Los Angeles Times called it "ridiculous" and added: "April is drooling all over Chief McDreamy. Vomit. (...) She's been reduced to a 12-year-old with hearts in her eyes and a painful inability to be subtle."[7] Drew herself was skeptical about it, saying: "The biggest thing that people did not like about my character was they thought I was a threat for the Mer/Der relationship, which I kind of found was super ridiculous (...) I never saw it as anything that would ever transpire into something that might threaten them. I only saw it as a really pathetic little crush."[17] She briefly has feelings for Alex Karev who almost makes her lose her virginity when he tries to sleep with her in Something's Gotta Give. Wetpaint commented that he made her feel "worthless and unwanted when she was at her most vulnerable."[19] Kepner also briefly dates Dr. Robert Stark, a senior pediatric surgical attending. After her fellow residents make fun of her, she breaks up with him, creating a coldness between them. However, it is Stark who recommends her as chief resident to Dr. Hunt. Drew stated: “She sees a side to Dr. Stark that he doesn’t show to anyone else at the hospital, and she finds that part endearing...I think they enjoy the companionship.”[20]

text: In the end of season eight, Kepner embarks on a relationship with her best friend turned lover Jackson Avery (Williams), who she loses her virginity to and that eventually leads her to reflect on her faith and fail her boards.[21] Critics praised the chemistry between April and Jackon.[22] Rhimes commented on the dynamic between the two in season nine and said: “I think it’s going to be funny, sexy, and good.”[23]

text: Reception[edit]

text: The character received mixed reviews from critics and fans alike. Initially, Carina MacKenzie of the Los Angeles Times highly praised the characterization of Kepner. writing: "One of my favorite Mercy Westers is intern April (Sarah Drew). Her saccharine-sweet attitude and wide-eyed insincerity were hilarious, as was her super-mysterious hot pink notebook full of morale-boosting platitudes."[7] However, she criticized the later development of her story, especially her crush on Derek Shepherd calling it "vomit"[24] PopSugar noted similarities between Kepner and Lexie Grey, stating: "Am I the only one who thinks the new doctor is kind of like Lexie 2.0? Their dynamic reminded me of when Lexie first started and tries really hard to make nice with Mere, but gets the cold shoulder in return."[25] Mariella Mosthof from Wetpaint stated: "Despite her obnoxious yet well-meaning tendencies, we briefly flirted with the idea of liking April's character last season, and it looks like there's plenty of opportunity for her to come back and charm us again yet again this time around." Reviewing the first part of the eight season, Courtney Morrison of TV Fanatic wrote: "Although the girl has grown in terms of likeability, her downfalls still outweigh the positives. She doesn't really bring too much to the table. She wasn't the best choice for Chief Resident; she doesn't seem to be on the same level surgical wise and she hasn't carried a story on her own that makes us care about her."[26]

text: Kepner was included in TV Guide's list of The Most Loathed TV Characters, adding: "The extremely neurotic April (she makes Liz Lemon look laid back) has slowly made strides with fans thanks to her personal setbacks — she lost her treasured virginity to her best friend and failed her boards — but she still has a long way to go."[6] Entertainment Weekly also named her one of the "21 Most Annoying TV Characters Ever", commenting: "April's lightened up a little this season [season 9], but a few episodes of sympathetic behavior can't erase the painful memories of Seattle Grace-Mercy West's most irritating doctor being."[27] TV Fanatic included her in their list of Worst Character on TV. Christina Tran commented: "Could she be any more annoying?!?"[28] Drew stated that it was initially "hard" for her as an actress to play an unpopular character but deemed her "interesting" and when she was informed by the writers that her character would get Dr. Shepherd (Dempsey) shot in the season six finale, her reaction was: "Oh, come on, guys, really? They already hate my character, now they're going to hate her even more!"[14]

text: Critics reception gradually changed positively. Entertainment Weekly noted: "April was chirpy, irritating, and immature, and her crush on Derek didn't endear her to us either. But these days, we say hooray for April; since Meredith declared that the two of them are pals, April's become a lot more tolerable, instead of being Lexie 2.0."[29] Courtney Morrison of TVFanatic wrote: "April has grown since her character was introduced. She’s no longer much less annoying than she used to be, and she’s honest. A girl with principles is a girl you want to do well." and described her and Avery as "a couple for whom viewers can root".[30] The Hollywood Reporter also remarked: "It's nice to see April with a bit of a backbone and putting Alex in his place as the newfound confidence suits her well."[31]


document_title: List of Winnie-the-Pooh characters

question_text: what's the kangaroos name in winnie the pooh

question_tokens: what 's the kangaroos name in winnie the pooh

text: List of Winnie-the-Pooh characters

text: Main characters[edit]

text: Winnie-the-Pooh[edit]

text: Winnie-the-Pooh, or Pooh for short, is an anthropomorphic, soft-voiced, cuddly, loveable and quiet toy bear and the main protagonist. Despite being naïve and slow-witted, he is a friendly, thoughtful and sometimes insightful character who is always willing to help his friends and try his best. A prime motivation is his love for honey, which quite often leads to trouble.

text: In the books, Pooh is a talented poet, and the stories are frequently punctuated by his poems and "hums." He is humble about his slow-wittedness, but comfortable with his creative gifts.

text: In the Disney adaptations, Pooh has a soft voice, wears a red shirt and his catchphrases are "Oh, Bother!" and "Think, think, think". He has been voiced by Sterling Holloway (1966–1977), Hal Smith (1981–1986) and by Jim Cummings (1988–present).

text: Christopher Robin[edit]

text: The sole human character in the story books, he has a "cheerful" and compassionate personality and is someone who Pooh and the others look up to. Despite being a child, he is much wiser and more mature than many of the other characters. Pooh considers both Christopher Robin and Piglet to be his best friends.

text: Christopher Robin matures considerably over the course of the books. Several chapters in The House at Pooh Corner are concerned with Christopher Robin beginning to go to school and his increasing book-learning. In the final chapter, Christopher Robin leaves his stuffed animals behind and asks Pooh to understand and to always remember him.

text: In the Disney adaptations, he is 10 years old and he only goes to day school and like in the books he is best friends with both Piglet and Pooh. He and Pooh always do nothing together. He has a best friend named Darby who is a 6 year old girl and hosts My Friends Tigger & Pooh but he only appeared on the show two times. He has been voiced by Bruce Reitherman (1966), Timothy Turner (1974), Jon Walmsley (1968), Kim Christianson (1983), Tim Hoskins (1988–1991), Edan Gross (1991), Brady Bluhm (1997–1999), Tom Attenborough (2000), Tom Wheatley (2003), William Green (2002), Paul Tiesler (2001–2003), Struan Erlenborn (2007–2010), Jack Boulter (2011), and Oliver Bell (2017).

text: Piglet[edit]

text: Pooh's best friend besides Christopher Robin. In the books he is a timorous small animal, who often takes his lead from Pooh unless overcome by fear. But increasingly through the stories he shows himself to be very brave when faced with a crisis and given sufficient encouragement (usually by Pooh). He is fond of "haycorns".

text: In the Disney series he is kind, gentle and ordinarily quite shy, but with Pooh by his side, he often overcomes his fears. His catchphrase is "Oh, D-D-Dear!". Piglet lives in a beech tree that he likes to keep neat and tidy, and can sing very well. He has been voiced by John Fiedler (1968–2005), Phil Baron (1983–1986) and by Travis Oates (2005–present).

text: Eeyore[edit]

text: Pooh's ever-glum, sarcastic and pessimistic donkey friend who has trouble keeping his tail attached to his bottom, since the nail keeps falling out. Eeyore has a house made of sticks, which falls apart (many times in the Disney films as a running gag) and has to be rebuilt.

text: In the Disney cartoons, Eeyore is slow-talking and more cautious than some of the other animals, and is often reluctant to go along with their actions, but usually does not bother trying to oppose anyone because he believes it to be futile to try. His catchphrase is "Thanks for noticing" as indicated to himself. He has been voiced by Ralph Wright (1966–1983), Ron Feinberg (1981), Ron Gans (1983–1986), Peter Cullen (1988–present) and by Bud Luckey (2011).

text: Kanga[edit]

text: Kanga is a female kangaroo and the doting mother of Roo. The two live in a house near the Sandy Pit in the northwestern part of the forest. Kanga is the only female character to appear in the books. She was based on a stuffed toy that belonged to Christopher Robin Milne.

text: When Kanga and Roo first come to the forest in chapter seven of Winnie-the-Pooh, everyone thinks Kanga is a fierce animal, but discover this to be untrue and become friends with her. In the books, when Tigger comes to the forest, she welcomes him into her home, attempts to find him food he likes and allows him to live with her and Roo. After this, Kanga treats him much the way she does her own son.

text: Kanga is kind-hearted, calm, patient and docile. She likes to keep things clean and organized, and offers motherly advice and food to anyone who asks her. She is protective over Roo, almost obsessively, and treats him with kind words and gentle discipline. She also has a sense of humor, as revealed in chapter seven of Winnie-the-Pooh when Rabbit connives to kidnap Roo, leaving Piglet in his place; Kanga pretends not to notice that Piglet is not Roo and proceeds to give him Roo's usual bath, much to Piglet's dismay.

text: In the Disney adaptations, Kanga's personality is unchanged (though she is a little more sensible and does give Roo some level of independence), but she plays a slightly lesser role and does not appear as often as Roo does. Additionally, Tigger lives in his own house instead of with Kanga (although he is seen frequently visiting her house). Kanga also has a love for carrots. She has been voiced by Barbara Luddy (1966–1977), Julie McWhirter (1983), Patricia Parris (1988–1991), Tress MacNeille (1999), Kath Soucie (2000–2010) and by Kristen Anderson-Lopez (2011–present).

text: Roo[edit]

text: Kanga's cheerful, playful and energetic joey, who is her son and moved to the Hundred Acre Wood with her. His best friend is a young Heffalump named Lumpy who love to play with him. Roo is the youngest of the main characters.

text: Voiced in the Disney films by Clint Howard (1966–1977), Dori Whitaker (1974), Dick Billingsley (1983), Kim Christianson (1983–1986), Nicholas Melody (1988–1990), Nikita Hopkins (1999–2005), Jimmy Bennett (2004–2005), Max Burkholder (2007–2010) and by Wyatt Hall (2011–present).

text: Rabbit[edit]

text: Rabbit is one of the characters not based on a toy once owned by Christopher Robin Milne. He is friendly, yet capable of being impatient and irritable. He fancies himself the smartest animal in the Hundred Acre Wood, since he is not scatterbrained like Owl. He insists on doing things his way and is obsessed with rules, planning and order. He often bosses others around, but deep down, he cares a lot about his friends.

text: In the Walt Disney films, he takes pride in his garden and dislikes it when the other characters disrupt it. Disney's Rabbit likes gardening, cleaning, and magic tricks.

text: Voiced in the Disney films by Junius Matthews (1966–1977), Ray Erlenborn (1983), Will Ryan (1983–1986), Ken Sansom (1988–2010) and by Tom Kenny (2011-present).

text: Tigger[edit]

text: Pooh's exuberant, happy, less-than-responsible and sometimes trouble-making tiger friend. He bounces around, especially bouncing on others. He is full of energy, outgoing, and likes to have fun and is so overconfident that he thinks that any task is "what tiggers do best". He becomes Roo's best friend and later Pooh's when Roo and Lumpy become best friends.

text: In the Disney films Tigger commonly mispronounces words, like 'ridickerus' (ridiculous) or 'vill-i-an' (villain) and often causes chaos rather than good. However, Tigger is also shown to be tough, fearless, optimistic and resourceful; he is shown to be protective of Roo when Kanga's not around, as seen in "Too Smart For Strangers". His main catchphrase is "Hoo Hoo Hoo Hoo!" when he is happy. He has been voiced by Paul Winchell (1968–1999), Will Ryan (1983–1986) and by Jim Cummings (1989–present).

text: He often uses nicknames for the other characters, calling Pooh "Pooh Boy", "Fluff Boy" and "Buddy Bear", Rabbit "Old Long Ears" and "Bunny Boy" and Eeyore "Donkey Boy" (with Tigger pronouncing it as 'dunkey'). In The Tigger Movie and The Book of Pooh Tigger also sometimes calls Owl "Beak Lips".

text: Owl[edit]

text: Owl is the stuffy and talkative eldest main character who presents himself as a mentor and teacher to the others. He was not based on a stuffed toy, so in the illustrations, he looks more like a live animal.

text: Owl and most of his friends believe that he is the most intelligent animal in the wood, but he is really quite scatterbrained. He often rambles on into long-winded speeches and uses words that his friends do not understand. Though Owl likes to present himself as very knowledgeable, like most of the other characters he does not spell very well—he even spells his own name "Wol". When Pooh comes to him for help in writing a birthday greeting for Eeyore, Owl tells Pooh that he is writing, "A very happy birthday with love from Pooh," but in fact writes "HIPY PAPY BTHUTHDTH THUTHDA BTHUTHDY." Pooh, who cannot read or write himself, goes on his way happy with Owl's work and grateful for his help. When Rabbit (who is quite literate) comes to Owl to discuss a notice that Christopher Robin has left, Owl cannot read the notice. But rather than admit this, Owl anxiously bluffs his way through the conversation until he finally tricks Rabbit into reading the notice out loud, at which point Owl resumes his wise demeanor as if he had known all along what it said.

text: In the books, Owl has a superior but kindly manner towards the others. He can be cross and easily annoyed, especially when his friends ignore or interrupt his long-winded speeches. He sometimes wears reading glasses and he uses his talons for hands, not his wings like in the Disney version. He lives in a tree known as The Chestnuts, described as an "old world residence of great charm". That house is blown down by a storm in the eighth chapter of The House at Pooh Corner. Eeyore eventually discovers what he believes is the perfect new house for Owl, apparently without noticing that it is actually Piglet's house. Nonetheless, Piglet offers the house to Owl. Owl calls his new home "The Wolery".

text: In the Disney adaptations, Owl is much more jovial and friendly. He speaks with a strong Southern English accent. He enjoys telling stories about his relatives, including his cousin, Dexter, whenever something reminds him of one, but many of his stories are pointless or absurd. His house blows down and he moves into Piglet's house in Winnie the Pooh and the Blustery Day, but these events are disregarded from Winnie the Pooh and a Day for Eeyore onward. In Return to Pooh Corner, Owl always wears glasses and loves to cook. He does not appear in My Friends Tigger and Pooh.

text: He has been voiced by Hal Smith (1966–1991), Andre Stojka (1997–2007) and by Craig Ferguson (2011–present).

text: Minor characters in the books[edit]

text: Bees[edit]

text: A swarm of honeybees makes their debut in the very first chapter. They live in the hive where Pooh tries to get his honey. They frequently appear in virtually every version of the Disney adaptations. There appear to be several different beehives in the Hundred Acre Wood. Whenever Pooh and his friends encounter the bees, trouble usually occurs with the bees going after them.

text: Rabbit's friends and relations[edit]

text: Many small mammals and insects in the books are collectively known as Rabbit's Friends and Relations. They do not generally do much or have much character development, and only a few of them are named.

text:
Alexander Beetle is briefly mentioned on page 119 of Winnie-the-Pooh, and he appears to have become upset and hidden himself in a crack for two days, then went to live with his aunt. He is also the subject of a poem in Now We Are Six.
Small (short for Very Small Beetle) is the subject of a search that Rabbit organizes to find him. Making his debut in My Friends Tigger & Pooh, he is the first new Milne character to appear in the Disney adaptations since the debut of Tigger in Winnie the Pooh and the Blustery Day.
Henry Rush is a beetle. He had a brief mention in The House at Pooh Corner, and has been expanded in Return to the Hundred Acre Wood. He attended the Spelling Bee, kept score at the cricket game, and danced at the Harvest Festival.
Late and Early are two friends mentioned briefly at the end of The House at Pooh Corner and expanded in Return to the Hundred Acre Wood. They attended Christopher Robin's coming home party and received sugar mice. They also attended the Spelling Bee. Although it is never mentioned what species they are, illustrations point to them being mice.
Smallest-of-All, or S. of A. for short, is mentioned near the end of The House at Pooh Corner and near the beginning of Return to the Hundred Acre Wood. He has a tendency to be unsure of what he sees. His species is never revealed.
Rabbit's family appears alongside Rabbit in the books. Many relatives appear in The New Adventures of Winnie the Pooh episode "Party Poohper" and he occasionally mentions them at other times in the Disney adaptations.

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text: Heffalumps[edit]

text: Heffalumps are elephant-like monsters first mentioned in the fifth chapter of the first book and in the third chapter of the second. In the books, Piglet twice has a run-in with a Heffalump that is only a figment of his imagination. The Disney version establishes them as real creatures. Like Pooh imagined in the books, Heffalumps are fond of honey and like to take it for themselves. There have been several real Heffalump characters in the Disney version. Some Heffalumps are villainous creatures and some are genuinely good. Lumpy the heffalump is Roo's good friend, appearing in Pooh's Heffalump Movie and My Friends Tigger and Pooh.

text: Woozles[edit]

text: A Woozle is a weasel-like monster imagined by the characters in the third and ninth chapters of Winnie-the-Pooh. No Woozles actually appear in A. A. Milne's original stories, but the book depicts them as living in cold, snowy places. They are first mentioned when Pooh and Piglet attempt to capture one, which they assume made the tracks in the snow going around a larch spinney. The more they follow them, the more sets of tracks they find, but Christopher Robin shows them that the tracks around the spinney are their own.

text: Woozles appear in the song "Heffalumps and Woozles" in Winnie the Pooh and the Blustery Day, which establishes their fondness for stealing honey and their association with Heffalumps. In The New Adventures of Winnie the Pooh, Woozles are real creatures. A Woozle named Stan and his sidekick Heff the Heffalump are recurring villains. They once recruited a giant Woozle named Wooster (also voiced by Jim Cummings) who turned against them when Pooh and his friends taught him the value of friendship. Woozles do not appear in the Disney adaptations nearly as often as Heffalumps do and, unlike Heffalumps, always attempt to act as villains, with Wooster being the only one to change his mind on this.

text: Jagulars[edit]

text: Jagulars are imagined jaguar-like fierce creatures that are only mentioned in the fourth chapter of The House at Pooh Corner, in which Pooh and Piglet mistake Tigger for one. According to Pooh, they always yell "Help" (or "Halloo" in Winnie the Pooh and Tigger Too!), hang in trees, and drop on you when you look up. Jagulars have yet to actually appear in any Disney adaptations. Their most prominent role to date is in The New Adventures of Winnie the Pooh where they are mentioned more often and are the main antagonists in a couple of episodes.

text: The Backson[edit]

text: The Backson is a creature imagined by the characters after misunderstanding Christopher Robin's note, which meant he would be "back soon" from school. He is mentioned but not seen in The House at Pooh Corner as "the Spotted or Herbaceous Backson" He is the main antagonist in Winnie the Pooh where the animals think he has captured Christopher Robin. Owl describes him as a large, ugly, mean and scary purple and blue creature who ruins or destroys many everyday items, such as books, socks and crayons. Pooh and his friends build a trap to try to capture him (a pit with a trail of books, socks, dishes, toys and other items leading to it), but Christopher Robin reveals that he was never captured, just away at school. At the end of the film, the Backson turns out to be real, but he is a kind and helpful creature who wants to return people's things to them. However, the trap does capture him, as he picks up all the items and then falls into the pit.

text: The Backson is voiced by Huell Howser.

text: Scary trees[edit]

text: Evil living trees that tend to frighten those who encounter them. They first appeared in Boo to You Too! Winnie the Pooh where Piglet encounters two of them while fleeing in the woods. They make most of their appearances in video games.

text: Uncle Robert[edit]

text: Owl's uncle whose portrait hangs on Owl's wall. He is mentioned in the eighth chapter of The House at Pooh Corner, but never actually appears. His portrait appears in Winnie the Pooh and a Day for Eeyore when Owl says Uncle Robert celebrated his 103rd birthday, despite claiming to be 97. Return to the Hundred Acre Wood reveals that Uncle Robert is dead, but Owl keeps his ashes in a vase and attempts to write his biography.

text: Characters in Return to the Hundred Acre Wood[edit]

text: Lottie[edit]

text: Lottie is an otter and the only new major character in Return to the Hundred Acre Wood. Lottie is a "feisty" character who is also good at cricket and insists on proper etiquette.[1] She wears a pearl necklace and can play the mouth organ, but is a little snide and snobby in her remarks. She makes her home in a wooden trunk filled with water that she calls Fortitude Hall. According to Benedictus, "Lottie the Otter truly embodies Winnie-the-Pooh's values of friendship and adventure seen throughout Milne's work, thus making the perfect companion for everyone's favourite bear."

text: Grandad Buck[edit]

text: Grandad Buck is Rabbit's grandfather. He wears glasses and is described as "Very Ancient and the Head of the Rabbit Family". He does not entirely approve of Rabbit, but gives him advice anyway. He knew Owl's late Uncle Robert, who sent him letters.

text: Thesaurus[edit]

text: A Thesaurus is what Piglet imagines to be a large reptilian creature in a similar way to how the characters imagined Heffalumps and other creatures in the original books. Even after Piglet learns what the word "thesaurus" means, he still imagines it to be an animal.

text: Major characters created by Disney[edit]

text: The Narrator[edit]

text: The storyteller who speaks off-screen. Sometimes the characters, who are aware that they are in a book, speak with him while facing him. They sometimes affectionately call him "Mr. Narrator". He sometimes uses his position to help the characters, since he can manipulate the book and pages. Some stories, such as Pooh's Grand Adventure: The Search for Christopher Robin have a narrator, but omit the "book" feature, so the characters are unaware of him. Welcome to Pooh Corner is the only time when viewers actually see his face. He does not appear at all in The New Adventures of Winnie the Pooh, Piglet's Big Movie and Pooh's Heffalump Movie (in Pooh's Heffalump Movie, Pooh is the narrator). He is the only Disney-only character who returns for Winnie the Pooh. Typically, he speaks with a Southern English Accent.

text: Voiced by Sebastian Cabot, Laurie Main, David Warner, John Hurt, David Ogden Stiers, Michael York and most recently John Cleese

text: Gopher[edit]

text: Gopher is a fictional gray anthropomorphic bucktoothed gopher with a habit of whistling out his sibilant consonants. He is based on the beaver in Lady and the Tramp. He often accidentally falls into one of the many holes he makes in the forest ground by forgetting to watch where he is going. Gopher first appears in Winnie the Pooh and the Honey Tree and regularly breaks the fourth wall by pointing out that he is "not in the book", although this simply means that he is 'not in the Phone Book', and the purpose of his statement being to get better business. Originally, he was intended to replace Piglet, but he later became his own character. He also appears in Winnie the Pooh and the Blustery Day with a smaller role, warning Pooh about the "Windsday".

text: Gopher is a much more prominent character in The New Adventures of Winnie the Pooh. The series depicts him as a hard worker who takes pride in building tunnels and doing other work, and enjoys blowing things up with dynamite. Gopher and Rabbit often disagree with and complain at each other. In the episode "Lights Out", he is afraid of the dark (mostly instigated by Tigger's claims of dangerous creatures living within his dark tunnels). His grandfather also appears. Gopher's most recent appearances were in A Winnie the Pooh Thanksgiving, Winnie the Pooh: A Valentine for You and Boo to You Too! Winnie the Pooh. The latter was included as part of Pooh's Heffalump Halloween Movie. Gopher was notably absent from the 2011 film.[2]

text: Voiced by Howard Morris (1966–1977) and most recently Michael Gough (1988–2002)

text: Kessie[edit]

text: Kessie is a blue bird with a white belly. She debuted in The New Adventures of Winnie the Pooh episode "Find Her, Keep Her". Kessie is cheerful, brave and eager to prove herself. As a baby, Rabbit saved her from a snowstorm and she came to live with him and nicknamed him "Rabbie". Rabbit was very protective of her and initially did not want her to fly. After she finally learned to fly, she migrated south for the winter, despite a reluctant Rabbit, but returned in "A Bird in the Hand", where she is now older. In later appearances, she has reverted to being a young bird. After appearing in Seasons of Giving, Kessie was relaunched as a main character in The Book of Pooh, her first regular role, though after the series, Kessie is never seen or mentioned again.

text: Voiced by Laura Mooney, Stephanie D'Abruzzo and Amanda Maddock.

text: Lumpy[edit]

text: Heffridge Trumpler Brompet "Lumpy" Heffalump, IV is a young lavender Heffalump with a tuft of purple hair on his head, a furry bobble-tail and a British accent and is Roo's closest best friend. He lives in a part of the forest called Heffalump Hollow with his mother. He has a stuffed alligator named Alvin and enjoys a snack called rumpledoodles. Lumpy debuts in Pooh's Heffalump Movie. The characters were initially afraid of Heffalumps and set out to capture one. Likewise, Lumpy's mother told him not to leave Heffalump Hollow because of scary creatures outside of it. After Roo "captured" Lumpy, they became best friends and no one was afraid of each other anymore. Lumpy also features in Pooh's Heffalump Halloween Movie and My Friends Tigger & Pooh.

text: Voiced by Kyle Stanger.

text: Darby[edit]

text: Darby is a feisty, imaginative and tomboyish red-headed girl who is the hostess of My Friends Tigger & Pooh and is Christopher Robin's younger best friend and sister. She takes care of Tigger, Pooh, and the Hundred Acre Wood gang while her older brother and best friend, Christopher Robin goes to college. She is the leader of the problem-solving Super Sleuths along with Tigger, Pooh and her pet puppy Buster. They are the only four characters to appear in every episode. Darby is brave, inquisitive, clever and imaginative. Her catchphrases are "Time to slap my cap" and "Good sleuthin', everyone!" For the most part, she replaced Christopher Robin, who was away at college and rarely appears in the My Friends Tigger and Pooh, but the episode "Christopher Froggin" reveals that she is Christopher Robin's young best friend. Christopher Robin only appeared in two episodes. After the cancellation of the series, she and other new characters from the series ceased appearing, until returning in 2016 when the series returned on Disney Junior for Pooh's 90th anniversary.

text: Voiced by Chloë Grace Moretz.

text: Buster[edit]

text: Buster is Darby's beloved and curious pet puppy and sidekick in My Friends Tigger & Pooh. He is white and wears a red collar with a gold tag. He appears in every episode and is a member of the Super Sleuths. Though he often seems to be only tagging along with the group, he is often a valuable asset in their work. Buster likes to yap loudly when he is excited or on the scent of something.

text: Voiced by Dee Bradley Baker

text: Recurring characters in The New Adventures of Winnie the Pooh[edit]

text: Birdzilla[edit]

text: A Dragon-like monster that appeared in the episode "Pooh Oughta Be in Pictures", it was based on Godzilla.

text: Bugs[edit]

text: A swarm of green insects who invade Rabbit's garden in several episodes of The New Adventures of Winnie the Pooh and try to eat his vegetables. They resemble caterpillars, but are much shorter and have only six limbs. The leader wears an old-fashioned bicorne and acts like an army general. They are the main antagonists in Winnie the Pooh and Christmas Too.

text: Christopher Robin's mother[edit]

text: Appearing only in The New Adventures of Winnie the Pooh and in The Book of Pooh: Stories from the Heart, Christopher Robin's mother's face is never shown. She is normally seen from behind, and when we see the front of her, she is usually seen from the chest down. She enforces the rules on her son, but is usually calm and patient with him and loves him very much. His father is never seen or mentioned. Just like her son, she has light brown hair.

text: Voiced by Patricia Parris and most recently Vicki Kenderes-Eibner.

text: Crows[edit]

text: A flock of crows appears in several episodes of The New Adventures of Winnie the Pooh trying to steal Rabbit's vegetables. There are commonly three or four of them. A bigger and more fiendish version of the crows appear only in "A Very Very Large Animal" stealing food from a picnic and eating corn in Rabbit's garden. A redesigned version of the crows appears briefly in Springtime with Roo.

text: Dexter[edit]

text: Owl's young cousin who wears glasses. He appeared in "Owl in the Family" and "The Bug Stops Here". In the former, his parents Torbet and Ophelia appear, and in the latter, he becomes friends with Roo, who is the same age as him, while Pooh babysits them. He talks in a similar manner to Owl.

text: Voiced by Hal Smith.

text: Grandfather Gopher[edit]

text: Gopher's grandfather who prefers to "dream" rather than "do". Gopher calls him "Grandpappy". He appears in "To Dream the Impossible Scheme" during the "Pewter Pickaxe" contest that Gopher is desperate to see him win by building an above-ground underground city. He also appears briefly in "Easy Come, Easy Gopher" and is mentioned in "Grown But Not Forgotten".

text: Voiced by Jim Cummings.

text: Father, Mother, and Junior Heffalump[edit]

text: A family of Heffalumps who appeared in "There's No Camp Like Home" and "Trap as Trap Can". Piglet was afraid of Heffalumps before they met and became friends. They live in a house made of logs. Junior wants to make his father, who has many implausible allergies, proud of him.

text: The Pack Rats[edit]

text: Three rodents (all voiced by Jim Cummings) who appear as recurring antagonists. They steal anything they can and leave a walnut in exchange, thinking it as payment. The orange Pack Rat is fat and dimwitted, the brown one is grumpy and complaining, and the gray one is their leader. They debut in "Nothing But the Tooth" where they are more like real villains, but in "The Rats Who Came to Dinner", they turn out to be misunderstood and actually help the characters. However, they always return to their urge to steal. Their third and final appearance is in "Oh, Bottle!"

text: Skippy[edit]

text: A very large sheepdog belonging to a neighbor of Christopher Robin's. He appears in "Sorry, Wrong Slusher" and "A Pooh Day Afternoon". He is a nice dog, but sometimes makes trouble for the characters. Piglet is afraid of him (as shown in "Sorry, Wrong Slusher", where he thinks Skippy is the "slusher" that Christopher Robin and the animals are afraid of). Unlike other animal characters, Skippy is not anthropomorphized.

text: Stan and Heff[edit]

text: Stan and Heff are gangster-like villains who appeared in the episodes "The Great Honey Pot Robbery" and "A Bird in the Hand". They are a Woozle and a Heffalump respectively and try to steal as much honey as they can. Stan is the smarter and more irritable of the two and does most of the scheming, while his dimwitted sidekick Heff provides the muscle. He is also afraid of mice and thinks that Roo is a giant mouse.

text: Voiced by Ken Sansom and Chuck McCann respectively.

text: Wooster[edit]

text: A giant woozle who only appears in "The Great Honey Pot Robbery." He is actually revealed to be a nice woozle, despite his size.

text: Recurring characters in My Friends Tigger and Pooh[edit]

text: Beaver[edit]

text: Beaver lives in a dam near Poohsticks Bridge. He bears a strong resemblance to Gopher, who does not appear in My Friends Tigger and Pooh. Both are hard working rodents with similar appearances and personalities, although Beaver is a little more easygoing.

text: Voiced by Jim Cummings.

text: Holly[edit]

text: Holly is one of Santa's reindeer. She and her mother Vixen appear in Super Sleuth Christmas Movie. Holly came to the forest to find Santa's lost magic bag. The characters rescue her, help her find the bag and accompany her home. When they reach the North Pole, she flies for the first time. She returns for a visit in the episode "Home For the Holly Days". She is voiced by Makaila Baumel.

text: Mama Heffalump[edit]

text: Mama Heffalump is Lumpy's mother and the biggest resident of the Hundred Acre Wood. She first appears in Pooh's Heffalump Movie saving Roo from being trapped in a pile of logs, and later appears in episodes of My Friends Tigger and Pooh.

text: Voiced by Brenda Blethyn/Patricia Parris.

text: Porcupine[edit]

text: Porcupine can play the flute and has a passion for cooking but cannot see without her glasses. She is a close friend with Turtle, who is the only character who can hug her because of her sharp quills. They were pen pals before he came to the forest.

text: Voiced by Tara Strong.

text: Possums[edit]

text: Twin possum siblings first appear in "Topsy Turvy Tigger," where they attempt to invite others to their birthday party through use of upside-down drawings. They later appear in "Darby's Im-possum-ible Case", in which the characters are shown meeting them for the first time. They look alike, but have opposite personalities. The boy is zippy and outgoing, while the girl is shy and flees from crowds.

text: Voiced by Sydney Saylor.

text: Raccoon[edit]

text: Raccoon first appears in "Darby's Lost and Found" and later makes regular appearances in the series. He is in charge of a junk/fix-it shop. He speaks a bit like a hippie, and is annoyed when Tigger refers to his "mask," which is just part of his fur.

text: Voiced by Rob Paulsen.

text: Skunk[edit]

text: Skunk first appears in "Skunk's Non-Scents". He is initially upset that he cannot produce a skunk's foul odor. After it is revealed why and when skunks spray, he accomplishes it, pleasing himself. In "Beaver Gets Skunked", Beaver is reluctant to accept him due to skunks' reputation, but overcomes his prejudice and they become friends.

text: Voiced by James Arnold Taylor.

text: Squirrels[edit]

text: Various unnamed squirrels appear frequently in the Hundred Acre Wood. They usually do not speak. They appear numerous times in My Friends Tigger and Pooh, occasionally playing a role in the plot of an episode, and Buster likes to chase them. Squirrels also appear in The Tigger Movie and Piglet's Big Movie.

text: Turtle[edit]

text: Turtle has been Porcupine's friend and pen pal since before he came to live in the forest. He lives a slow and easy life, moves slowly, and speaks with a southeastern United States accent. Turtle enjoys quiet activities like bird watching or playing checkers with his friends. Because of his shell, he is the only character who can hug Porcupine.

text: Voiced by Mark Hamill.

text: Woodpecker[edit]

text: Woodpecker is an absent-minded woodpecker who irritates Rabbit by pecking on his house and talks in a fast, bouncy and high-pitched voice. Although Owl does not appear in the series, Woodpecker does share some characteristics with him.

text: Voiced by Dee Bradley Baker.

text: Springs[edit]

text: A bouncing robot who only appears in "Tigger Gets Bounced." Rabbit built Springs to replace Tigger's bouncing. Tigger and Springs compete in a bouncing contest that ends with Springs winning, which gratefully hurts Tigger's feelings. After Beaver foolishly tries to use Springs to mash dirty water (even though Rabbit warns him that Springs isn't supposed to get wet), Springs then short circuits and becomes hostile. Tigger battles Springs while protecting others. After Tigger and Springs disappear behind a hill, an unseen fight is heard. In the end, Tigger comes out from behind the hill, concluding that he had defeated Springs.

text: Other characters[edit]

text: Pygmy Piglets[edit]

text: The Pygmy Piglets only appear in "The Piglet Who Would Be King", an episode of The New Adventures of Winnie the Pooh. They are about half the height of Piglet and are all clad in white clothing. They reside in the Land of Milk and Honey, which is where Piglet and his friends go to collect more honey for Pooh. They proclaim Piglet their king and a spring from a broken Jack-in-the-box, given to Piglet as a friendship present from Pooh, is thought to be the tail of a Piglet statue with a honey fountain. When the spring is removed later, the volcano of honey erupts, but Piglet, with the assistance of the Pygmies, diverts the honey flow using two statues and is hailed as a hero.

text: Long John Cottontail[edit]

text: Long John Cottontail is Rabbit's deceased great-great uncle. He only appears in The New Adventures of Winnie the Pooh episode "Rabbit Marks the Spot". Rabbit is annoyed at Pooh, Piglet, Tigger and Gopher for digging up his garden when pretending to be pirates, so he buries a treasure chest full of rocks in the ground and tells them it was the treasure of Long John Cottontail. He gives them a map showing where it is. They find it (despite Rabbit regretting his action and trying to stop them). Rabbit admits that he buried the rocks, but Pooh, Piglet, Tigger and Gopher still believe it was Long John Cottontail, and the rocks were very useful to them. The ghost of Long John Cottontail then appears and says that the animals found his buried rocks, which scares them all away. He is confused as to why they are scared of him, ending the episode.

text: Babysitter[edit]

text: A babysitter appears in The New Adventures of Winnie the Pooh episode "Babysitter Blues". Christopher Robin, Pooh, Piglet and Tigger repeatedly make a mess at night when his mother is out, and the babysitter gets upset, at one point telling him that if his mother saw the mess she'd never let her babysit again. However, at the end of the episode, Christopher Robin does not make a mess and the babysitter thinks he has been swapped with someone else.

text: Like Christopher Robin's mother, the Babysitter's face is not shown.

text: Pooh, Piglet, and Tigger look-alikes[edit]

text: Three stuff animals who look almost like Pooh, Piglet, and Tigger, but resemble gangsters and are partly bad guys. They only appear in "How Much is That Rabbit in the Window" where they try to steal Rabbit's tag in hopes of getting someone to buy them from the toy store, but the store's owner is seemly unaware of them. After Christopher Robin bought Rabbit, he encouraged them that someone will buy them one day. They then take Rabbit's advice and continue to wait for someone to buy them.