document_title: Horror film

question_text: when was the first horror movie made in america

text: Horror film

text: History[edit]

text: The first depictions of supernatural events appear in several of the silent shorts created by the film pioneer Georges Méliès in the late 1890s, the best known being Le Manoir du Diable, which is sometimes credited as being the first horror film.[2] Another of his horror projects was La Caverne maudite (1898) (a.k.a. The Cave of the Demons, literally "the accursed cave").[2] Japan made early forays into the horror genre with Bake Jizo (Jizo the Spook) and Shinin no Sosei (Resurrection of a Corpse), both made in 1898.[3] The era featured a slew of literary adaptations, adapting the works of Poe and Dante, among others. In 1908, Selig Polyscope Company produced Dr. Jekyll and Mr. Hyde.

text: United States[edit]

text: In 1910, Edison Studios produced the first filmed version of Frankenstein.[4] The macabre nature of the source materials used made the films synonymous with the horror film genre.[5]

text: Though the word "horror" to describe the film genre would not be used until the 1930s (when Universal Pictures released their initial monster films), earlier American productions often relied on horror themes. Some notable examples include The Hunchback of Notre Dame (1923), The Phantom of the Opera (1925), The Cat and the Canary (1927), The Unknown (1927), and The Man Who Laughs (1928). Many of these early films were considered dark melodramas because of their stock characters and emotion-heavy plots that focused on romance, violence, suspense, and sentimentality.[6]

text: The trend of inserting an element of macabre into American pre-horror melodramas continued into the 1920s. Directors known for relying on macabre in their films during the 1920s were Maurice Tourneur, Rex Ingram, and Tod Browning. Ingram's The Magician (1926) contains one of the first examples of a "mad doctor" and is said to have had a large influence on James Whale's version of Frankenstein.[7] The Unholy Three (1925) is an example of Browning's use of macabre and unique style of morbidity; he remade the film in 1930 as a talkie, though The Terror (1928) was the first horror film with sound.

text: Germany[edit]

text: Before and during the Weimar Republic era, German Expressionist filmmakers would significantly influence later productions. Paul Wegener's The Student of Prague (1913) and The Golem trilogy (1915–20), as well as Robert Wiene's The Cabinet of Dr. Caligari (1920), Arthur Robison's Warning Shadows (1923), and Paul Leni's Waxworks (1924), were influential films at the time. The first vampire-themed movie, Nosferatu (1922), was made during this period; it was an unauthorized adaptation of Bram Stoker's Dracula.

text: Sweden, Denmark and France[edit]

text: Other European countries also, contributed to the genre during this period. Victor Sjöström's The Phantom Carriage (Sweden, 1920) is a cautionary tale about a supernatural legend, Benjamin Christensen's Häxan (Denmark/Sweden, 1922) is a documentary-style, horror film, about witchcraft and superstition, and in 1928, Frenchman, Jean Epstein produced an influential film, The Fall of the House of Usher, based on the Poe tale.

text: During the early period of talking pictures, Universal Pictures began a successful Gothic horror film series. Tod Browning's Dracula (1931) was quickly followed by James Whale's Frankenstein (1931) and The Old Dark House (1932), both featuring monstrous mute antagonists. Some of these films blended science fiction with Gothic horror, such as Whale's The Invisible Man (1933) and featured a mad scientist, mirroring earlier German films. Frankenstein was the first in a series of remakes which lasted for years. The Mummy (1932) introduced Egyptology as a theme; Make-up artist Jack Pierce was responsible for the iconic image of the monster, and others in the series. Universal's horror cycle continued into the 1940s with B movies including The Wolf Man (1941), as well as a number of films uniting several of the most common monsters.[8]

text: Other studios followed Universal's lead. The once controversial Freaks (1932), based on the short story "Spurs", was made by MGM, though the studio disowned the completed film, and it remained banned, in the United Kingdom, for thirty years.[9] Dr. Jekyll and Mr. Hyde (Paramount, 1931) is remembered for its innovative use of photographic filters to create Jekyll's transformation before the camera.[10] With the progression of the genre, actors like Boris Karloff and Bela Lugosi were beginning to build entire careers in horror. Both appeared in three of Val Lewton's atmospheric B movies for RKO in the mid-1940s, including The Body Snatcher (1945).

text: With advances in technology, the tone of horror films shifted from the Gothic towards contemporary concerns. Two subgenres began to emerge: the Doomsday film and the Demonic film.[13] Low-budget productions featured humanity overcoming threats such as alien invasions and deadly mutations to people, plants and insects. Japan's experience with Hiroshima and Nagasaki bore the well-known Godzilla (1954) and its sequels, featuring mutation from the effects of nuclear radiation.

text: Hollywood directors and producers found ample opportunity for audience exploitation through gimmicks. House of Wax (1953) used the advent of 3-D film to draw audiences, while The Tingler used electric seat buzzers in 1959. Filmmakers continued to merge elements of science fiction and horror over the following decades. Considered a "pulp masterpiece"[14] of the era was The Incredible Shrinking Man (1957), based on Richard Matheson's existentialist novel. The film conveyed the fears of living in the Atomic Age and the terror of social alienation.

text: During the later 1950s, the United Kingdom emerged as a major producer of horror films.[15] The Hammer company focused on the genre for the first time, enjoying huge international success from films involving classic horror characters which were shown in color for the first time.[16] Drawing on Universal's precedent, many films produced were Frankenstein and Dracula remakes, followed by many sequels. Christopher Lee starred in a number of Hammer Horror films, including The Curse of Frankenstein (1957), which Professor Patricia MacCormac called the "first really gory horror film, showing blood and guts in colour".[17] Other British companies contributed to a boom in horror film production in the United Kingdom during the 1960s and 1970s.

text: Released in May 1960, the British psychological thriller Peeping Tom (1960) by Michael Powell is a progenitor of the contemporary "slasher film".[18] Alfred Hitchcock cemented the subgenre with Psycho released later that year. France continued the mad scientist theme, while Italian horror films became internationally notable. American International Pictures (AIP) made a series of Edgar Allan Poe–themed films.

text: Films in the era used the supernatural premise to express the horror of the demonic. The Innocents (1961) based on the Henry James novel The Turn of the Screw. Meanwhile, ghosts were a dominant theme in Japanese horror, in such films as Kwaidan, Onibaba (both 1964) and Kuroneko (1968).

text: Rosemary's Baby (1968) is an American psychological horror film written and directed by Roman Polanski, based on the bestselling 1967 novel of the same name by Ira Levin. Another influential American horror film of this period was George A. Romero's Night of the Living Dead (1968). Produced and directed by Romero on a budget of $114,000, it grossed $30 million internationally. An Armageddon film about zombies, it began to combine psychological insights with gore. Distancing the era from earlier gothic trends, late 1960s films brought horror into everyday life. Low-budget splatter films from the likes of Herschell Gordon Lewis also gained prominence.[19]

text: The financial successes of the low-budget gore films of the ensuing years, and the critical and popular success of Rosemary's Baby, led to the release of more films with occult themes during the 1970s. The Exorcist (1973), the first of these movies, was a significant commercial success and was followed by scores of horror films in which a demon entity is represented as the supernatural evil, often by impregnating women or possessing children.

text: "Evil children" and reincarnation became popular subjects. Robert Wise's film Audrey Rose (1977) for example, deals with a man who claims that his daughter is the reincarnation of another dead person. Alice, Sweet Alice (1977), is another Catholic-themed horror slasher about a little girl's murder and her sister being the prime suspect. Another popular occult horror movie was The Omen (1976), where a man realizes that his five-year-old adopted son is the Antichrist. Invincible to human intervention, Demons became villains in many horror films with a postmodern style and a dystopian worldview. Another example is The Sentinel (1977), in which a fashion model discovers that her new brownstone residence may actually be a portal to Hell.

text: During the 1970s, Italian filmmakers Mario Bava, Riccardo Freda, Antonio Margheriti and Dario Argento developed giallo horror films that became classics and influenced the genre in other countries. Representative films include: Black Sunday, Blood and Black Lace, Castle of Blood, Twitch of the Death Nerve, The Bird with the Crystal Plumage, Deep Red and Suspiria.

text: Don't Look Now (1973), a independent British-Italian film directed by Nicolas Roeg, was also notable. Its focus on the psychology of grief was unusually strong for a film featuring a supernatural horror plot. Another notable film is The Wicker Man (1973), a British mystery horror film dealing with the practice of ancient pagan rituals in the modern era. It was written by Anthony Shaffer and directed by Robin Hardy.

text: The ideas of the 1960s began to influence horror films, as the youth involved in the counterculture began exploring the medium. Wes Craven's The Hills Have Eyes (1977) and The Last House on the Left (1972) along with Tobe Hooper's The Texas Chain Saw Massacre (1974)[20] (based on the Ed Gein case) recalled the Vietnam War; while George A. Romero satirized the consumer society in his zombie sequel, Dawn of the Dead (1978). Meanwhile, the subgenre of comedy horror re-emerged in the cinema with The Abominable Dr. Phibes (1971), Young Frankenstein (1974), The Rocky Horror Picture Show (1975), and An American Werewolf in London (1981) among others.

text: Also in the 1970s, the works of the horror author Stephen King began to be adapted for the screen, beginning with Brian De Palma's adaptation of Carrie (1976), King's first published novel, for which the two female leads (Sissy Spacek and Piper Laurie) gained Oscar nominations. Next, was his third published novel, The Shining (1980), directed by Stanley Kubrick, which was a sleeper at the box office. At first, many critics and viewers had negative feedback toward The Shining. However, the film is now known as one of Hollywood's most classic horror films.

text: This psychological horror film has a variety of themes; "evil children", alcoholism, telepathy and insanity. This type of film is an example of how Hollywood's idea of horror started to evolve. Murder and violence were no longer the main themes of horror films. During the 1970s and 1980s, psychological and supernatural horror started to take over cinema. Another classic Hollywood horror film is Tobe Hooper's Poltergeist (1982). Poltergeist is ranked the 20th scariest movie ever made by the Chicago Film Critics Association. Both The Shining and Poltergeist involve horror being based on real-estate values. The evil and horror throughout the films come from where the movies are taking place.[21][22]

text: The Amityville Horror is a 1979 supernatural horror film directed by Stuart Rosenberg, based on Jay Anson's 1977 book of the same name. It stars James Brolin and Margot Kidder as a young couple who purchase a home they come to find haunted by combative supernatural forces. The Changeling is a 1980 Canadian psychological horror film directed by Peter Medak.

text: A cycle of slasher films was made during the 1970s and 1980s. John Carpenter created Halloween (1978), Sean S. Cunningham made Friday the 13th (1980), Wes Craven directed A Nightmare on Elm Street (1984), and Clive Barker made Hellraiser (1987). This subgenre would be mined by dozens of increasingly violent movies throughout the subsequent decades, and Halloween became a successful independent film. Another notable 1970s slasher film is Bob Clark's Black Christmas (1974). Sleepaway Camp (1983) is known for its twist ending, which is considered by some to be one of the most shocking endings among horror films. My Bloody Valentine (1981) is a slasher film dealing with Valentine's Day fiction. The boom in slasher films provided enough material for numerous comedic spoofs of the genre including Saturday the 14th (1981), Student Bodies (1981), National Lampoon's Class Reunion (1983), and Hysterical (1983).

text: Some films explored urban legends such as "The babysitter and the man upstairs". A notable example is When a Stranger Calls (1979), an American psychological horror film directed by Fred Walton starring Carol Kane and Charles Durning.

text: Steven Spielberg's Jaws (1975) began a new wave of killer animal stories, such as Orca (1977) and Up from the Depths (1979). Jaws is often credited as being one of the first films to use traditionally B movie elements such as horror and mild gore in a big-budget Hollywood film. In 1979, Don Coscarelli's Phantasm was the first of the Phantasm franchise.

text: Alien (1979), a British-American science-fiction horror film directed by Ridley Scott was very successful, receiving both critical acclaim and being a box office success. John Carpenter's movie The Thing (1982) was also a mix of horror and sci-fi, but it was neither a box-office nor critical hit, but soon became a cult classic. However, nearly 20 years after its release, it was praised for using ahead-of-its-time special effects and paranoia.

text: The 1980s saw a wave of gory "B movie" horror films – although most of them were poorly reviewed by critics, many became cult classics and later saw success with critics. A significant example is Sam Raimi's Evil Dead movies, which were low-budget gorefests but had a very original plotline which was later praised by critics.

text: Vampire horror was also popular in the 1980s, including cult vampire classics such as Fright Night (1985), The Lost Boys (1987), and Near Dark (also 1987). In 1984, Joe Dante's seminal monster comedy Gremlins became a box office hit with critics and audiences, and inspired a trend of "little monster" films such as Critters and Ghoulies.[citation needed]

text: David Cronenberg's films such as Shivers (1975), Rabid (1977), The Brood (1979), The Dead Zone (1983), The Fly (1986) dealt with "body horror" and "mad scientist" themes.[23]

text: Several science fiction action horror movies were released in the 1980s, notably Aliens (1986) and Predator (1987). Notable comedy horror films of the 1980s include Re-Animator (1985) and Night of the Creeps (1986).

text: Day of the Dead is a 1985 horror film written and directed by George A. Romero and the third film in Romero's Night of the Living Dead series.

text: Henry: Portrait of a Serial Killer is a 1986 psychological horror crime film directed and co-written by John McNaughton about the random crime spree of a serial killer who seemingly operates with impunity. Pumpkinhead (1988) is a dark fantasy horror film, which is the directorial debut of special effects artist Stan Winston.

text: Child's Play (1988), Night of the Demons (1988) and Pet Sematary (1989) are notable supernatural horror films of the late 1980s.

text: In the first half of the 1990s, the genre still contained many of the themes from the 1980s. The slasher films A Nightmare on Elm Street, Friday the 13th, Halloween and Child's Play all saw sequels in the 1990s, most of which met with varied amounts of success at the box office, but all were panned by critics, with the exception of Wes Craven's New Nightmare (1994) and the hugely successful Silence of the Lambs (1991). The latter, which stars Jodie Foster and Anthony Hopkins, is considered a major horror movie of all times.[24] Misery (1990) also deals with a psychopath, and the film received critical acclaim for Kathy Bates's performance as the psychopathic Annie Wilkes.

text: New Nightmare, with In the Mouth of Madness (1995), The Dark Half (1993), and Candyman (1992), were part of a mini-movement of self-reflexive or metafictional horror films. Each film touched upon the relationship between fictional horror and real-world horror. Candyman, for example, examined the link between an invented urban legend and the realistic horror of the racism that produced its villain. In the Mouth of Madness took a more literal approach, as its protagonist actually hopped from the real world into a novel created by the madman he was hired to track down. This reflective style became more overt and ironic with the arrival of Scream (1996).

text: In Interview with the Vampire (1994), the "Theatre de Vampires" (and the film itself, to some degree) invoked the Grand Guignol style, perhaps to further remove the undead performers from humanity, morality and class. The horror movie soon continued its search for new and effective frights. In the 1985 novel The Vampire Lestat by the author Anne Rice (who penned Interview...'s screenplay and the 1976 novel of the same name) suggests that its antihero Lestat inspired and nurtured the Grand Guignol style and theatre.

text: Two main problems pushed horror backward during this period: firstly, the horror genre wore itself out with the proliferation of nonstop slasher and gore films in the eighties. Secondly, the adolescent audience which feasted on the blood and morbidity of the previous decade grew up, and the replacement audience for films of an imaginative nature were being captured instead by the explosion of science-fiction and fantasy films, courtesy of the special effects possibilities with advances made in computer-generated imagery.[25] Examples of these CGI include movies like Species (1995), Anaconda (1997), Mimic (1997), Blade (1998), Deep Rising (1998), House on Haunted Hill (1999), Sleepy Hollow (1999), and The Haunting (1999).

text: To re-connect with its audience, horror became more self-mockingly ironic and outright parodic, especially in the latter half of the 1990s. Peter Jackson's Braindead (1992) (known as Dead Alive in the United States) took the splatter film to ridiculous excesses for comic effect. Wes Craven's Scream (written by Kevin Williamson) movies, starting in 1996, featured teenagers who were fully aware of, and often made reference to, the history of horror movies, and mixed ironic humour with the shocks (despite Scream 2 and Scream 3 utilising less use of the humour of the original, until Scream 4 in 2011, and rather more references to horror film conventions). Along with I Know What You Did Last Summer (1997) (written by Kevin Williamson as well) and Urban Legend (1998), they re-ignited the dormant slasher film genre.

text: Event Horizon (1997) is a British-American science fiction horror film directed by Paul W. S. Anderson. The Sixth Sense (1999) is a supernatural horror film written and directed by M. Night Shyamalan, which tells the story of Cole Sear (Haley Joel Osment), a troubled, isolated boy who is able to see and talk to the dead, and an equally troubled child psychologist named Malcolm Crowe (Bruce Willis) who tries to help him.

text: House on Haunted Hill is a 1999 horror film directed by William Malone which follows a group of strangers who are invited to a party at an abandoned asylum, where they are offered $1 million each by an amusement park mogul if they are able to survive the night. It is a remake of the 1959 film of the same title. Other horror films of the late 1990s include Cube (1997), The Faculty (1998), Stir of Echoes (1999), Stigmata (1999), Existenz (1999).

text: Monster horror was quite popular in the 1990s. Tremors (1990) is the first installment of the Tremors franchise. Lake Placid (1999) is another monster horror film, written by David E. Kelley and directed by Steve Miner.

text: Another successful horror film is Audition, a 1999 Japanese film based on the novel of the same name, directed by Takashi Miike. Around this period, Japanese horror started becoming popular in English speaking countries.

text: The film The Last Broadcast (1998) served as inspiration for the highly successful The Blair Witch Project (1999), which popularized the found footage horror subgenre. The theme of witchcraft was also addressed in The Craft (1996), a supernatural horror film directed by Andrew Fleming.

text: Valentine (2001), notably starring David Boreanaz, had some success at the box office, but was derided by critics for being formulaic and relying on foregone horror film conventions. Franchise films such as Jason X (2001) and Freddy vs. Jason (2003) also made a stand in theaters. Final Destination (2000) marked a successful revival of teen-centered horror and spawned five installments. Jeepers Creepers series was also successful. Films such as Hollow Man (2000), Orphan (2009), Wrong Turn (2003), Cabin Fever (2002), House of 1000 Corpses (2003), and the previous mentions helped bring the genre back to Restricted ratings in theaters. Comic book adaptations like the Blade series, Constantine (2005), and Hellboy (2004) also became box office successes. Video game adaptations like Doom (2005) and Silent Hill (2006) also had moderate box office success while Van Helsing (2004) and Underworld series had huge box office success. Ginger Snaps (2000) is a Canadian film dealing with the tragic transformation of a teenage girl who is bitten by a werewolf. Signs (2002) revived the science fiction alien theme. The Descent, a 2005 British adventure horror film written and directed by Neil Marshall was also successful. Another notable film is Drag Me to Hell, a 2009 American supernatural horror film co-written and directed by Sam Raimi. The Strangers (2008) deals with unprovoked stranger-on-stranger violence. The House of the Devil (2009) is inspired by the "satanic panic" of the 1980s. Trick 'r Treat is a 2007 anthology horror film written and directed by Michael Dougherty and produced by Bryan Singer. Black Water (2007) is British-Australian natural horror film.

text: Some pronounced trends have marked horror films. Films from non-English language countries have become successful. The Devil's Backbone (2001) is such an example. It is a 2001 Spanish-Mexican gothic horror film directed by Guillermo del Toro, and written by del Toro, David Muñoz, and Antonio Trashorras. A French horror film Brotherhood of the Wolf (2001) became the second-highest-grossing French language film in the United States in the last two decades. The Swedish film Let the Right One In (2008) was also successful. REC is a 2007 Spanish zombie horror film, co-written and directed by Jaume Balagueró and Paco Plaza. Martyrs (2008), a French-Canadian horror film, was controversial upon its release, receiving polarizing reviews. Another notable film is The Orphanage (2007), a Spanish horror film and the debut feature of Spanish filmmaker J. A. Bayona.

text: Another trend is the emergence of psychology to scare audiences, rather than gore. The Others (2001) proved to be a successful example of a psychological horror film. A minimalist approach which was equal parts Val Lewton's theory of "less is more" (usually employing the low-budget techniques utilized on The Blair Witch Project, (1999) has been evident, particularly in the emergence of Asian horror movies which have been remade into successful Americanized versions, such as The Ring (2002), The Grudge (2004), Dark Water (2005), and Pulse (2006). In March 2008, China banned the movies from its market.[26]

text: The Resident Evil video game franchise was adapted into a film released in March 2002, and several sequels followed. The films I Am Legend (2007), Quarantine (2008), Zombieland (2009), and 28 Days Later (2002) featured an update of the apocalyptic and aggressive zombie genre. The latter film spawned a sequel: 28 Weeks Later (2007). An updated remake of Dawn of the Dead (2004) soon appeared as well as the zombie comedy Shaun of the Dead (2004) and Spanish -Cuban comedy zombie film Juan of the Dead (2012). This resurgence led George A. Romero to return to his Living Dead series with Land of the Dead (2005), Diary of the Dead (2007) and Survival of the Dead (2009).[27]

text: The Australian film Wolf Creek (2005) written, co-produced, and directed by Greg McLean revolves around three backpackers who find themselves taken captive and after a brief escape, hunted down by Mick Taylor in the Australian outback. The film was ambiguously marketed as being "based on true events"; the plot bore elements reminiscent of the real-life murders of tourists by Ivan Milat in the 1990s, and Bradley Murdoch in 2001; and contained more extreme violence. An extension of this trend was the emergence of a type of horror with emphasis on depictions of torture, suffering and violent deaths, (variously referred to as "horror porn", "torture porn", "splatterporn" and "gore-nography") with films such as Ghost Ship (2002), The Collector (2009), Saw (2004), Hostel (2005), and their respective sequels, frequently singled out as examples of emergence of this subgenre.[28] The Saw film series holds the Guinness World Record of the highest-grossing horror franchise in history.[29] Finally, with the arrival of Paranormal Activity (2007), which was well received by critics and an excellent reception at the box office, minimalist horror approach started by The Blair Witch Project was reaffirmed. The Mist (2007) is a science-fiction horror film based on the 1980 novella of the same name by Stephen King. Antichrist (2009) is an English-language Danish experimental horror film written and directed by Lars von Trier, and starring Willem Dafoe and Charlotte Gainsbourg.

text: Remakes of earlier horror movies became routine in the 2000s. In addition to the remake of Dawn of the Dead (2004), as well as the remake of both Herschell Gordon Lewis' cult classic 2001 Maniacs (2003) and the remake of Tobe Hooper's classic The Texas Chainsaw Massacre (2003), there was also the 2007 Rob Zombie-written and -directed remake of John Carpenter's Halloween.[30] The film focused more on Michael's backstory than the original did, devoting the first half of the film to Michael's childhood. It was critically panned by most,[31][32] but was a success in its theatrical run, spurring its own sequel. This film helped to start a "reimagining" riot in horror filmmakers. Among the many remakes or "reimaginings" of other popular horror films and franchises are films such as Thirteen Ghosts (2001), The Texas Chainsaw Massacre (2003), The Hills Have Eyes (2006), Friday the 13th (2009),[33] Children of the Corn (2009),[34] Halloween (2007), Prom Night (2008), The Omen (2006), Carrie (2002), The Wicker Man (2006), Day of the Dead (2008), Night of the Demons (2009), My Bloody Valentine (2009), Willard (2003), Black Christmas (2006), The Amityville Horror (2005), April Fool's Day (2008), The Fog (2005), The Hitcher (2007), It's Alive (2009), When a Stranger Calls (2006), The Last House on the Left (2009).

text: Remakes remain popular, with films such as A Nightmare on Elm Street (2010),[35] The Crazies (2010), I Spit on Your Grave (2010), Don't Be Afraid of the Dark (2010), Fright Night (2011), Maniac (2012), and Poltergeist (2015). The 1976 film Carrie saw its second remake in 2013, which is the third film adaptation of Stephen King's 1974 novel of the same name. Child's Play saw a sequel with Curse of Chucky (2013), while Halloween, Friday the 13th, and Hellraiser all had reboots in the works.[36][37][38] The 2013 Evil Dead is the fourth installment in the Evil Dead franchise, and serves as a soft reboot of the original 1981 film and as a continuation to the original film trilogy.

text: Serialized, found footage style web videos featuring Slender Man became popular on YouTube in the beginning of the decade. Such series included TribeTwelve, EverymanHybrid, and Marble Hornets, the latter of which has been adapted into a feature film. The character as well as the multiple series is credited with reinvigorating interest in found footage as well as urban folklore. Horror has become prominent on television with The Walking Dead, American Horror Story, and The Strain. Also, many popular horror films have had successful television series made: Psycho spawned Bates Motel, The Silence of the Lambs spawned Hannibal, and both Scream and Friday the 13th had TV series in development.[39][40]

text: You're Next (2011) and The Cabin in the Woods (2012) led to a return to the slasher genre; the latter was intended also as a critical satire of torture porn.[41] The Green Inferno (2015) pays homage to the controversial horror film Cannibal Holocaust (1980). Australian psychological horror The Babadook (2014) was met with critical acclaim. It Follows (2014) subverted traditional horror tropes of sexuality and slasher films and enjoyed commercial and critical success. The Conjuring deal with the paranormal. Sinister (2012) is a British-American supernatural horror film directed by Scott Derrickson and written by Derrickson and C. Robert Cargill. Another notable supernatural horror film is Insidious (2010). The Witch (2015) is a historical period supernatural horror film written and directed by Robert Eggers in his directorial debut, which follows a Puritan family encountering forces of evil in the woods beyond their New England farm. Get Out (2017) received universal acclaim from critics and audiences alike. Adapted from the Stephen King novel, It (2017) set a box office record for horror films by grossing $123.1 million on opening weekend in the United States and nearly $185 million globally.[42] Other horror films include Frozen (2010), Oculus (2013), Mama (2013), Green Room (2015), The Invitation (2015), Hush (2016), Lights Out (2016), Don't Breathe (2016).

text: The success of non-English language films continued with the Swedish film Marianne (2011), while Let the Right One In (2008) was the subject of a Hollywood remake, Let Me In (2010). South Korean horror produced I Saw the Devil (2010) and Train to Busan (2016). Raw is a 2016 French-Belgian horror drama written and directed by Julia Ducournau, and starring Garance Marillier.

text: Subgenres[edit]

text:
Action horror – A subgenre combining the intrusion of an evil force, event, or personage of horror movies with the weapon fights and frenetic chases of the action genre. Themes or elements often prevalent in typical action-horror films include gore, demons, aliens, vicious animals, vampires and, most commonly, zombies. This category also fuses the fantasy genre. Examples include: Aliens, Predator, Dog Soldiers, From Dusk till Dawn, I Saw the Devil, Priest, Feast and Train to Busan.
Horror adventure - A film that blends expeditions, exploration, exotic places and other adventure elements in a horror setting. Examples include: King Kong, The Descent, Silent Hill, Jaws, Cannibal Holocaust.
Comedy horror – Combines elements of comedy and horror fiction. The comedy horror genre often crosses over with the black comedy genre and are occasionally also horror films with a lower rating aimed at a family audience. The short story The Legend of Sleepy Hollow by Washington Irving is cited as "the first great comedy-horror story".[43] Examples of comedy horror films include: An American Werewolf in London, Beetlejuice, Jennifer's Body, Teeth, Nina Forever, Slither, Army of Darkness, Zombieland, Scary Movie and Idle Hands. Gremlins and Ghostbusters were examples of comedy horror films aimed at a family audience.
Body horror – In which the horror is principally derived from the graphic destruction or degeneration of the body. Other types of body horror include unnatural movements, or the anatomically incorrect placement of limbs to create 'monsters' out of human body parts. David Cronenberg is one of the notable directors of the genre. Body horror films include: Starry Eyes, Videodrome, Dead Ringers, Contracted, The Thing, The Fly and American Mary.
Horror drama – A film that focuses on imperiled characters dealing with realistic emotional struggles, often involving dysfunctional family relations, in a horror setting. The film's horror elements often serve as a backdrop to an unraveling dramatic plot. Examples include: Dark Water, The Exorcism of Emily Rose, Lights Out, The Babadook, It, Let the Right One In, Antichrist, Excision, Mama, Mirrors and Audition.
Holiday horror – A film which depicts horror events which are set during a holiday or holiday season. It often involves a psychopathic killer stalking a sequence of victims in a violent manner. It is set during Christmas, Halloween, Valentine's Day, April Fools' Day, or Thanksgiving. Examples include: Silent Night, Deadly Night, Black Christmas, Halloween, My Bloody Valentine, Home Sweet Home, April Fool's Day, Valentine, Trick 'r Treat and All Through the House.
Psychological horror – Relies on characters' fears, guilt, beliefs, eerie sound effects, relevant music, emotional instability and at times, the supernatural and ghosts, to build tension, scare and further the plot. Notable psychological horror films include: Repulsion, Rosemary's Baby, The Shining, May, Credo, Black Swan, The Changeling, The Uninvited and Get Out.
Science fiction horror – Often revolves around subjects that include but are not limited to killer aliens, mad scientists, and/or experiments gone wrong. Examples include: Frankenstein, Species, Mimic, Alien, The Thing, The Blob, Apollo 18, Event Horizon and Resident Evil.
Slasher film – Often revolves around a serial killer who systematically murders people through violent means. Examples include: Psycho, The Texas Chain Saw Massacre, Halloween, Friday the 13th, Black Christmas, A Nightmare on Elm Street, Child's Play (1988), and Scream.
Splatter film – These films deliberately focus on graphic portrayals of gore and graphic violence. Through the use of special effects and excessive blood and guts, they tend to display an overt interest in the vulnerability of the human body and the theatricality of its mutilation. Examples of splatter horror films include: Inside, Train, The Human Centipede, Hostel, Saw, Blood Feast, Storm Warning and Maniac.
Supernatural horror – Includes menacing ghosts, demons, or other depictions of supernatural occurrences. Supernatural horror films often combine elements of religion into the plot. Common themes include vengeful ghosts, witches, the devil, and demonic possession. Examples include: The Ring, The Grudge, The Amityville Horror, It, The Omen, The Exorcist, Paranormal Activity, The Blair Witch Project, The Conjuring, Silent Hill, Sinister
Gothic horror – Gothic horror is a type of story that contains elements of goth and horror. At times it may have romance that unfolds in the setting of a horror tale, usually suspenseful. Some of the earliest horror movies were of this subgenre. Examples include: Dracula, Sleepy Hollow, The Others, The Phantom of the Opera, Kill, Baby, Kill, Nosferatu, and Crimson Peak.
Natural horror – A subgenre of horror films "featuring nature running amok in the form of mutated beasts, carnivorous insects, and normally harmless animals or plants turned into cold-blooded killers."[44] This genre may sometimes overlap with the science fiction and action and adventure genres. Examples include: The Birds, Jaws, Piranha, Bats, Lake Placid, Rogue, Alligator, Black Water
Zombie film – Zombie films feature creatures who are usually portrayed as either reanimated corpses or mindless human beings. Distinct subgenres have evolved, such as the zombie comedy, which may or may not retain a significant horror theme, and often crosses into black comedy. Examples include: White Zombie, Night of the Living Dead, Dawn of the Dead, REC, 28 Days Later, Deadgirl, Dead Snow, Night of the Creeps and Messiah of Evil.
Found footage horror: A film "technique" sometimes referred to as a subgenre which involves giving the audience a first person view of the story that is discovered from an original recording source within the plot. Recording film in this way merges the audience with the character’s experiences inducing suspense, shock, and bafflement.[45] Examples of first-person horror include The Blair Witch Project (1999), Paranormal Activity (2007), Cloverfield (2008), and Devil's Due (2014) [46]
Teen horror – A horror subgenre that victimizes teenagers while usually promoting strong, anti-conformity teenage leads, appealing to young generations. This subgenre often depicts themes of sex, under-aged drinking, and gore. It was most popular in 1964-1965.[47]

text: Influences[edit]

text: Influences on society[edit]

text: Horror films' evolution throughout the years has given society a new approach to resourcefully utilize their benefits. The horror film style has changed over time, but in 1996 Scream set off a "chain of copycats", leading to a new variety of teenage, horror movies.[48] This new approach to horror films began to gradually earn more and more revenue as seen in the progress of Scream movies; the first movie earned $6 million and the third movie earned $101 million.[48] The importance that horror films have gained in the public and producers’ eyes is one obvious effect on our society.

text: Horror films' income expansion is only the first sign of the influences of horror flicks. The role of women and how women see themselves in the movie industry has been altered by the horror genre. Early horror films such as My Bloody Valentine (1981), Halloween (1978), and Friday the 13th (1980) were produced mostly for male audiences in order to "feed the fantasies of young men".[49] This idea is no longer prevalent in horror films, as women have become not only the main audience and fans of horror films but also the main protagonists of contemporary horror films.[50] Movie makers have also begun to integrate topics more broadly associated with other genres into their films in order to grow audience appeal.[49]

text: Many early horror films created high social and legal controversy. In the US, the Motion Picture Production Code was in force between 1930 and 1968, although it was strictly enforced only from 1934 to the late 1950s. The Code set guidelines of what was morally acceptable to show in movies, and, as such, it restrained movies containing controversial themes, severe violence, explicit sexuality or nudity. The gradual abandonment of the Code, and eventually its formal repeal in 1968 (when it was replaced by the MPAA film rating system) offered more freedom to the movie industry. Nevertheless, controversy continued to surround horror movies, and many continued to face censorship issues in many countries. An example of such film is the 1978 I Spit on Your Grave, an American rape-and-revenge exploitation horror film written, co-produced, directed, and edited by Meir Zarchi. The film was received negatively by critics, but it attracted a great deal of national and international attention due to its explicit scenes of rape, murder and prolonged nudity which led it to be banned in many countries, including Ireland, Norway, Iceland, and West Germany. Many of these countries have in later years removed the ban, but the film remains prohibited in Ireland.[51]

text: Influences internationally[edit]

text: While horror is only one genre of film, the influence it presents to the international community is large. Horror movies tend to be a vessel for showing eras of audiences issues across the globe visually and in the most effective manner. Jeanne Hall, a film theorist, agrees with the use of horror films in easing the process of understanding issues by making use of their optical elements.[52] The use of horror films to help audiences understand international prior historical events occurs, for example, to show the horridness of the Vietnam War, the Holocaust and the worldwide AIDS epidemic.[53] However, horror movies do not always present positive endings. In fact, in many occurrences the manipulation of horror presents cultural definitions that are not accurate, yet set an example to which a person relates to that specific cultural from then on in their life.[54]

text: The visual interpretations of films can be lost in the translation of their elements from one culture to another like in the adaptation of the Japanese film Ju on into the American film The Grudge. The cultural components from Japan were slowly "siphoned away" to make the film more relatable to a western audience.[55] This deterioration that can occur in an international remake happens by over-presenting negative cultural assumptions that, as time passes, sets a common ideal about that particular culture in each individual.[54] Holm's discussion of The Grudge remakes presents this idea by stating, "It is, instead, to note that The Grudge films make use of an untheorized notion of Japan... that seek to directly represent the country."


document_title: Meredith Grey

question_text: what happened to meredith's husband on grey's anatomy

question_tokens: what happened to meredith 's husband on grey 's anatomy

root

text: Meredith Grey

text: Storylines and Characteristics[edit]

text: Dr. Meredith Grey is the daughter of world-renowned surgeon Ellis Grey, and grew up in her shadow. Ellis was a deeply flawed, emotionally and verbally abusive, neglectful mother towards her. Meredith is described as a "dark and twisty," damaged person who sees the world in varying shades of gray morality. Because of this, she is an emotionally complex person capable of empathizing with others when they're at their lowest points, and a sensitive observer of the people around her. Meredith is a graduate of Dartmouth College and nearly did not attend med school due to conflicts with her mother. Meredith was directionless after obtaining her undergrad and had plans to sleep and party her way through Europe. After a month abroad, Meredith was called back to care for Ellis, who had developed early-onset Alzheimer's disease, and Meredith obtained her M.D.

tag: p

text: The night before Meredith's internship begins, she has a one-night stand with Derek Shepherd (Patrick Dempsey), a stranger she meets at a bar. She discovers the next day that he is the recently hired attending and new head of neurosurgery at her new workplace, Seattle Grace Hospital. Meredith is assigned to work under resident Miranda Bailey (Chandra Wilson), and befriends her fellow interns, George O'Malley (T.R. Knight), Izzie Stevens (Katherine Heigl), Cristina Yang (Sandra Oh) and Alex Karev (Justin Chambers).

text: She is particularly close with Cristina Yang, who becomes her best friend and "person". Though she initially thinks poorly of him, Alex Karev also evolves into Meredith's "person" and the two assume a sibling-esque familial relationship. Meredith has a conflicted relationship with Richard Webber (James Pickens Jr.), the Chief of Surgery at Seattle Grace. Richard was very close to Ellis when Meredith was a child, which inclines him to save or mentor Grey and make exceptions for her. Meredith has a habit of "collecting strays", allowing her friends and coworkers to live in the house her mother left her and become her pseudo-family. Meredith is endlessly loyal to those she deems her family, and bends traditional morality as needed in order to keep them safe.

text: Having grown up in a hospital, Meredith shows immense natural talent. She possesses a steadfast, calm ease during medical procedures and emergencies, and is a natural observer of people. She exhibits a knack for catching subtle hints and accurately determining difficult-to-catch diagnoses. Her placid, non-judgmental bedside manner often causes people to open up and trust her. Her surgical skills are solidly impressive and she shows a talent and patience for medical research trials and dealing with psychologically damaged patients.

text: Meredith resists Derek's advances throughout her internship, but is eventually charmed into starting a relationship with him despite misgivings about an intern dating an attending. She is therefore shocked by the arrival of Addison Montgomery (Kate Walsh), Derek's wife, unaware that he was married. Derek struggles to choose between the two, but ultimately returns to Addison, despite Meredith begging to be chosen instead.

text: Meredith is devastated and turns to multiple, self-destructive means of coping. Initially she falls on old habits of self-medicating with tequila and sex, and buys a dog. She also tries to resolve some issues by searching for her long-absent father, Thatcher.[1] She learns that her father, who left when she was five and she has not seen since, remarried and had two more daughters. The two do not become close, but Grey becomes fond of her stepmother.

text: Meredith spirals further when Ellis is admitted to the hospital, revealing Ellis' diagnosis of early-onset Alzheimer's and her verbally abusive tendencies. Meredith self-destructive behavior increases when she saves a patient with a bomb in their chest by impulsively inserting her hand to hold it until the bomb squad can remove it. Mereidth has a series of one-night stands, including one with George, who is in love with her. When she cries in the middle of their encounter, their friendship temporarily ends. Meredith swears off her behavior, agrees to be friends only with Shepherd, and embarks on a relationship with veterinarian Finn Dandridge (Chris O'Donnell).

text: Derek regrets his decision to return to his wife and Meredith must decide whether to continue a relationship with Finn, or allow Derek a second chance.

text: When Ellis experiences a rare, completely lucid day, and expresses her immense disappointment at how ordinary Meredith has turned out to be, she becomes depressed and possibly suicidal. During a ferryboat accident, Meredith is knocked into the water and chooses to give up and drown, rather than fight and swim. She flatlines at the hospital, and awakens in an "afterlife", where she interacts with deceased former acquaintances. Ellis dies in the interim, and Meredith meets with her mother, who tells her that she is anything but ordinary. She is subsequently resuscitated at the insistence of Cristina. Derek distances himself from Meredith as the result of her self recklessness, prompting her to seek therapy to address her problems. Meredith sees a therapist, Dr. Wyatt (Amy Madigan), to seek happiness and begins to successfully tackle her issues. Meredith found her mother's diaries, dredging up old memories and secrets for her to work through. Meanwhile, Meredith nearly fails her intern exam after a drunken Thatcher publicly blames Meredith for the death of his wife, Susan, a distraught Grey sits through her entire test without writing a single answer. Dr. Webber gives her a second chance, saving her from destroying her career.

text: After Meredith is promoted to a resident, her younger half-sister Lexie Grey (Chyler Leigh) begins working at Seattle Grace as an intern. Meredith initially rejects Lexie's attempts to form a relationship, but slowly softens towards her. The sisters are very different people with different childhoods. Lexie had an idealistic family life and often has difficulty understanding her much darker sister, who does not have the same positive associations with family as Lexie.

text: She later initiates a neurosurgical clinical trial, enlisting Derek as a consulting neurosurgeon. The trial fails repeatedly, but the final patient they treat survives, which leads them to reuniting and moving in together. Their relationship is healthier than before, but still experiences snags as the two attempt to understand each other and navigate what they now look on as a permanent, long-term relationship. Meredith relies heavily on Cristina for emotional support and guidance. Eventually, Derek and Meredith decide to marry, but on their wedding day, the pair give their "perfect" wedding ceremony to Izzie and Alex, to marry each other during the planned ceremony instead.

text: Meredith and Derek marry by writing their wedding vows on a post-it note. Meredith spends the majority of a season out of commission after donating part of her liver to Thatcher and supporting Cristina's new relationship with Owen Hunt, an army doctor with worrisome PTSD.

text: Meredith experiences another immense trauma after the hospital is put under a lockdown from an active mass-shooter seeking revenge against Derek. Meredith offers her own life in exchange for his and miscarries her baby during the crisis. She goes through this traumatic experience with Cristina, who operates on Derek while threatened at gunpoint. Meredith hides her loss and the trauma psychiatrist refuses to clear neither Cristina nor Meredith for their return to surgery. Meredith is able to work through her issues and become cleared, but Cristina remains deeply traumatized. Meredith covers for and supports her friend through her dark time, but is ultimately unable to fully help her return to surgery.

text: Meredith decides to actively try to become pregnant, but learns that she has a "hostile uterus", which leads her to consider her other possible genetic flaws. Derek, who is constantly worried about the possibility that she will develop Alzheimer's, initiates a clinical trial hoping to cure the disease. Meredith opts to work on the trial and appears to be leaning towards a neuro specialty.

text: When the chief of surgery, Richard Webber (James Pickens Jr.)'s wife, Adele, is diagnosed with Alzheimer's, she receives a spot on the trial. Meredith tampers with the drugs so that Adele does not receive the placebo. She and Derek decide to adopt Zola, an orphaned baby from Malawi, and make their marriage legal. When the truth about the tampering comes out, however, a furious Derek tells her he cannot raise a child with her because of her moral ambiguity. Meredith is fired, and tries to conceal both this and her marital separation from the adoption counselor in order to keep Zola. Although Dr. Webber steps down as chief of surgery and takes the blame for the trial tampering to protect Meredith, Zola is taken away. She and Derek reconcile. Meredith chooses a general specialty over neuro, and they successfully fight to get Zola back.

text: As her last year of residency is coming to a close, the residents travel around the country, searching for the best jobs in their specialties. In order to finish their residency, the residents must take the medical boards. Meredith takes the exam while sick with the flu. She decides to take a job offer at The Brigham and Women's Hospital as the next step in her career. During a medical flight to undertake a prestigious surgery involving conjoined twins, Meredith, Derek, Cristina, and Lexie, among others, are involved in an aviation accident. The plane crash kills Lexie, and the survivors are trapped in the wooded wilderness for days waiting for help. Following their rescue, Merdith becomes an attending general surgeon at Seattle Grace, now Seattle Grace-Mercy West. While Cristina flees Seattle for her fellowship, Meredith, afraid of flying and change, declines her job offer, and clings to what remains in Seattle. Cristina and Meredith begin calling the hospital Seattle Grace Mercy Death in light of the immense amount of trauma, death, and pain they have experienced there.

text: Meredith's newfound attitude and sarcasm leads to her being dubbed "Medusa" by the hospital's new batch of interns. In the aftermath of the plane accident, the hospital is sued and eventually found guilty of negligence. Each victim including Derek, Cristina, Arizona Robbins (Jessica Capshaw) and herself must receive $15 million of compensation, which leads the hospital to a near bankruptcy as the insurance company refuses to pay due to a loophole. The doctors along with Callie Torres (Sara Ramirez) buy the hospital with the help of the Harper Avery Foundation to prevent it from closing and become new members of the directing board.

text: Meredith asks Dr. Bailey to perform gene mapping on her to finally know whether she has Alzheimer's genes like her mother. She tests positive for more than one of the genetic markers for the disease.

text: Meredith moves to the completed dream home and sells her house to Alex, who purchases it as the only true home he's ever known. He continues Meredith's tradition of keeping the house open to any "strays" needing a home. Meredith discovers she is pregnant and gives birth to a son. The baby is delivered via C-section. While stitching Meredith up, the obstetrician who operated on her is called away to another patient and intern Shane Ross completes the stitching. When blood begins to appear from everywhere, Meredith diagnoses herself in as being in DIC. Dr. Bailey performs a spleen removal, which saves her life. In return, Derek and Meredith name their son Bailey.

text: As a spouse, surgeon, and mother, Meredith has cited a number times that she did not want to be like either of her parents: her father had followed her mother around pathetically before leaving to be happy, while her mother valued her career over her family. Meredith is frequently conflicted trying to balance between the two, and fears her family are hindering her medical aspirations, as much as she fears becoming like her mother whenever she's tempted to choose surgery over family. Meredith and Cristina have a huge rift when Cristina confirms Meredith's fears by stating that Meredith's skills have fallen behind Cristina's due to her familial obligations taking her away from OR time.

text: Meredith and Derek come to an agreement that he, already established in his career and reputation, would take a step back to take care of the children and allow her to shine. Meredith attempts to regain some ground by starting a promising research trial 3-D printing portal veins. The conflict between Cristina and Meredith widens when Cristina commandeers Meredith's resources for her own trial, ultimately garnering a Harper Avery nomination for Cristina. Cristina and Meredith repair their relationship when Meredith confesses that Cristina was correct, her skills have surpassed Meredith's. Cristina moves to Switzerland take up a job offer from Dr. Preston Burke, her former attending, mentor and fiancé, who was looking for a replacement at a research hospital he was running, thus leaving Alex in charge of being Meredith's "person" in her place, an honor he gladly accepts.

text: Meredith and Derek's marriage becomes strained when Derek goes against his promise and accepts an offer from the U.S. President to participate in the Brain Mapping Initiative, which consumes his time and eclipses Meredith, who is feeling increasingly left behind and mommy-tracked. He receives an offer to head the project itself in Washington D.C., meaning that he would have to be based there permanently. Meredith puts her foot down as she does not want to uproot their young family to move across the country for his career at the sacrifice of her own. They begin a series of on-and-off arguments and "cold wars" over their careers. Derek accepts the job in the heat of the moment and promptly leaves for Washington. During a phone call with Meredith, they agree to work things out after she tells him that she did not want them to become "one of those couples" and he reciprocates, saying that he missed her. She privately admits to Alex that she has realized that she could live independently of Derek, but chooses not to.

text: Meredith finds out she has a maternal half sister named Maggie Pierce who is now working in Grey Sloan Memorial. Meredith is in denial and rejects Maggie, thinking she would have remembered if her mother was pregnant until she finds a hospital document confirming the revelation. Meredith tries to piece together her relationship with her mother and half sister by going through old videos of her mother. She eventually recovers her repressed memories of the pregnancy when she views her mother's diary and has a change of heart, choosing to accept Maggie and begin building a relationship.

text: Meredith is widowed when Derek is killed in a car accident and was taken to an understaffed hospital. The doctors failed to recognize his head injury in time and allowed personal conflicts to interfere. Derek is declared brain dead, and Meredith must go to the medical center to consent to remove him from life support, shortly before she's hit with the first waves of morning sickness. She tells Penny, the intern who was assigned to Derek that every doctor has "that one" patient who dies on their watch and haunts them forever and "that one will make you work harder, and they make you better."

text: After Derek's death, Meredith returns to Grey Sloan Memorial to inform the others of his passing. Following the funeral service, Meredith impulsively packs up her belongings and leaves with the children to San Diego. Months pass by while her friends and family are unaware of her whereabouts. Eventually, parallels show similarities in Meredith's and Ellis' lives: Both have lost the love of their life, both run away from Seattle following their loss, and both eventually give birth to a daughter. Meredith names her newborn daughter after her mother. Although still grieving over Derek, Meredith returns to Seattle with the children and later becomes chief of general surgery. She sells the "dream house" and moves back to her mother's house, having purchased it back from Alex, and now lives there with Maggie and Amelia Shepherd, her sister-in-law.

text: Meredith hosts a dinner party and at the party Callie brings Penny as a date. Later at the event Meredith finds out Penny will be joining her at Grey Sloan Memorial. Meredith eventually forgives Penny, who becomes her favorite resident over Alex's girlfriend, Jo. Alex and Meredith continue their close, sibling-like relationship of being each other's "person", despite Jo's displeasure and inability to understand their closeness. He supports her when she is violently attacked by a disoriented patient, and she supports him through his legal difficulties. Alex initiates a weekly family waffle day where he makes waffles for everyone in the house.

text: Meredith recovers enough to start seeing Nathan Riggs, Owen Hunt's former best friend, by season 13, although their relationship is complicated by the fact that Maggie confesses to Meredith that she has feelings for Riggs and Meredith is not ready to declare their relationship formally or publicly. Eventually she accepts her relationship with Riggs, but it's complicated by the unexpected return of Owen's sister, Megan Hunt, Riggs' fiancée. Meredith finds herself in another love triangle when Megan rejects Riggs because he is still in love with Meredith, but Meredith pushes them to be together. After her relationship with Riggs ends, Meredith is nominated for a Harper Avery Award for her groundbreaking surgery on Megan. In the 300th episode, after failing to attend the awards ceremony to stay for a medical trauma, post-surgery, Meredith learns with all her closest friends in the OR and gallery that she has won the Harper Avery Award.

text: Development[edit]

text: Casting and creation[edit]

text: Pompeo discovered Grey's Anatomy after an extended period of doing nothing in the acting profession. Her agent suggested she audition amongst other projects.[2] While casting actresses for the part of Meredith Grey, series' creator Shonda Rhimes said: "I kept saying we need a girl like that girl from Moonlight Mile, and after a while, they were like, 'We think we can get that girl from Moonlight Mile.' I spent time with her and got to know her, and then we started casting for the men." She reported that Grey was not an easy role to cast because of the strong verbal possibilities.[3] Rhimes was informed that the actress in question was Pompeo, who had a deal in place with ABC, having previously tested for a pilot show on the network.[4] It has been speculated that Pompeo was the first character to be cast, but when asked, she said she did not know of this.[5] When asked of how she created Pompeo's character, Rhimes said:

text:
“
"[I was] in my pajamas at home, which is where I spent a lot of time writing. I kept asking myself, 'What kind of woman should the heroine be?' I thought she should be someone who had made some big mistakes. As it turns out, Meredith also has another problem: She is trying to live up to her mother's renowned career in surgery. Meredith is the daughter of a mother who basically never spent any time with her—the daughter of a mother who now has Alzheimer's and doesn't even remember her."[6]
”

tag: table

text: Pompeo was cast as the program's titular character, described by Mary McNamara of the Los Angeles Times as "a prickly, independent sort whose ambition, and ambivalence, is fueled by the fact that her mother was a gifted surgeon and now suffers from Alzheimer's."[7] Grey also serves as the show's narrator, and as such was likened in early reviews to Carrie Bradshaw (Sarah Jessica Parker), the narrator and protagonist of Sex and the City.[8][9] After her initial contract with Grey's Anatomy expired, Pompeo negotiated a new one, in which she would be paid US$200,000 per episode, making her and Dempsey the highest-paid cast members on the show.[10] In 2012, Forbes recognized Pompeo as the eighth highest-paid actress on television, with a salary of US$275,000 per episode for her role on Grey's Anatomy.[11]

text: Pompeo's second contract with Grey's Anatomy expired after the eighth season, and speculation arose that she would be leaving subsequently.[12] In September 2011, Pompeo reported that she is open to the idea of extending her contract, if invited. She told TV Guide: "I would never turn up my nose at [Grey's Anatomy]. As long as the stories are honest and truthful, and Patrick [Dempsey] and I feel there is material for us to be passionate about, it still beats a 9-to-5 job any day. If I hear from the fans that they want us to keep going, then I would continue because we owe them everything." E! Online reported in May 2012, that Pompeo, as well as all original cast members have signed on for two more years.[13] With the Huffington Post's announcement of season nine having officially been renewed, the contract is set into place for Pompeo to return.[14]

text: Pompeo's contract expired again at the end of the twelfth season. She signed a new contract to keep her in the starring role on the series for the thirteenth season.[15] According to a report in Deadline.com, Pompeo was earning $300,000 per episode under the new deal.[16]

text: On January 17, 2018, it was announced by ABC that Ellen Pompeo's contract had been renewed through season 16. Not only does the contract renewal secure that Pompeo’s return as Meredith Grey, but it also makes her a producer of Grey's Anatomy and a co-executive producer of the spin-off series. The deal will make Pompeo the highest paid actress currently on a dramatic TV series, with her making $575,000 per episode and over $20 million yearly.[17]

text: Characterization[edit]

text:
Whatever I come up with, [Pompeo] is always game to play. She's been so good at what she's done that I've just let the character do what I've wanted the character to do, which has been wonderful. She's managed to sell every single thing because she's really believed it. The incredible thing is that you can have no fear to write what you think because she is always able to deliver.

Executive producer Betsy Beers on developing Pompeo's character[18]

tag: div

text: Grey is the protagonist and focal point of the series. She has been called "intelligent, compassionate, hard-working, oftentimes outspoken, easily distracted, and indecisive" by Grey's Anatomy executives.[19] Pompeo says she is unaware if her character knows how to have fun, adding: "All of my scenes with [Dempsey] are the same—we're either breaking up or having sex."[20] Her personality has evolved over the past few seasons from depressed, to happy and "fixed". Pompeo said to Good Morning America, "I am so incredibly lucky to have Patrick [Dempsey], to have the chemistry that we do, we have an amazing relationship, and it's like any other relationship, you have your ups and downs. But we work it out, and we've found a way to do this for this long and still get along, and make it work and believe in what we're doing." Pompeo told Entertainment Weekly: "It's awkward with Patrick [Dempsey] because he's like my brother. As soon as the camera is off, I'm like, 'Is your hand on my butt?' But there are millions of girls who have been waiting for this, so I feel an obligation to the fans."[21] Rhimes used the dog "Doc", which Meredith and Derek shared, as a metaphor of their relationship during the second season.[22] She characterizes Grey as doing what she thinks is right:

text:
“
Meredith is the girl who put her hand on a bomb in a body cavity. Meredith is the girl who tried to help a serial killer kill himself, so that he could donate his organs. Meredith—and this is obvious—has a compass that has always led her to shades of grey. She does not believe in black-and-white, she does not believe in good or bad, she does what she thinks is right.[23]
”

text: The character had a one-night stand with George O'Malley, in the second season. Series writer Stacy McKee, said of the sexual encounter: "There’s no turning back. There’s nothing George and Meredith can do. The damage is done – things will never be the same. They’ve just changed something important in their lives FOREVER and…they are freaking out."[24] Grey's character development has also been known as an influence on the creation of her half-sister, Lexie Grey. Particularly, it has been made clear that they both share the same motives. McKee offered her thoughts: "Meredith and Lexie both want to succeed. They want to be strong. They want to feel normal. They want, so much, to be whole. But it’s a struggle – a genuine struggle for them. Being hardcore doesn’t come naturally. Sometimes, they have to fake it."[25] Grey's personality has been compared with that of Alex Karev's. Rhimes offered the insight:

text: "I like to create moments for him and Meredith. Because, in my head, they are very similar people. Even though Karev can be such an ass, even though he’s arrogant, even though he gave O'Malley the Syph. He and Meredith are both lost, both lonely, both former screw-ups who got their acts together. In another lifetime, they would be really good friends. So throughout the season, we watch them pause from time to time to look at each other and see that they are mirrors of one another.

text: Pompeo fights for a truthful storyline for her character—she wants it to be realistic and says you can't always wrap it up in a neat little package.[27] Referring to Grey's tampering with Shepherd's trial, Pompeo said: "Listen, what Meredith did clearly crossed a line. Derek has a right to be pissed."[28] Following the tampering, Rhimes said she believes that Grey and Shepherd are meant to be together and that it in the end, they will end up with each other.[23] Grey's relationship with Cristina Yang, has been looked upon as "sisterhood", and Yang has repeatedly referred to Grey as "her person". This led to the two being dubbed "the twisted sisters". At the conclusion of season three, the duo went on a "honeymoon" together, and Rhimes called it her favorite detail of the finale.[29] Grey has been characterized, by some, as "whiny". Rhimes offered her insight:

text:
“
I've heard a lot of talk about Meredith being whiny but the truth is, she's got a mom [who died of] Alzheimer's, no other family to speak of, and the man she loves is married. She's pretty freaking lonely, people. She's got a right to get her whine on. So, when she falters, it's partly because she's got nothing to hang on to. As she says in the first episode, she needs a reason to go on, she needs some hope.[30]
”

text: Rhimes felt that the 100th episode showed well Meredith's evolution throughout the show from a "dark and twisty girl" to a "happy woman". She said: "She is the thing her mother wished for her. She is extraordinary. Because, to get past the crap of your past? To move on? To let the past go and change? That is extraordinary. To love? Without fear? Without screwing it up? That is extraordinary. It makes me happy to see her happy."[31]

text: Following the departure of Patrick Dempsey's character, Rhimes was quoted as saying that "... Meredith and the entire Grey’s Anatomy family are about to enter uncharted territory as we head into this new chapter of her life. The possibilities for what may come are endless." [32] With at least a year left in Pompeo's contract with the show, viewers are sure to witness some of the most difficult times of Meredith's life yet.

text: Reception[edit]

text: Reviews[edit]

text: The character has received both overwhelmingly positive reviews to weary response from television critics throughout the course of the show. The initial response to the character was positive but as the series progressed Meredith Grey became immensely popular and Pompeo established the character as a critic and fan favorite featuring on a number of Top TV Character lists. The development of the character has been deemed as the highlight of the show. Grey has constantly been defined as "the heroine of Grey's Anatomy".[33] At the time of inception Newsday's Diane Werts praised the character stating, "Like Hugh Laurie's irascible "House" title character, star Ellen Pompeo's newly minted Dr. Grey conveys such substance that you simply can't stop watching."[34] Ellen A. Kim of After Pompeo not receiving an Emmy nomination for her work as Grey, McNamara of the Los Angeles Times suggested that Pompeo, "who has worked very hard and against all narrative odds to make Meredith Grey an interesting character at last" should have received a nomination at the 61st Primetime Emmy Awards.[35] Later, during the twelfth season Western Gazette gave Ellen Pompeo the credit for carrying the show and re-ittirated." (It's) time for Pompeo to finally win an Emmy Award."[36] Tanner Stransky of Entertainment Weekly referred to Grey as the "trusty voice over master" of Grey's Anatomy.

text: Former television columnist for The Star-Ledger Alan Sepinwall expressed his boredom on the focus given on Grey's relationships storylines while reviewing the second season's finale: "On those occasions when Meredith's not involved in a plot about her love life, I do kind of like her, but those moments are so infrequent compared to her constant angsting over McDreamy -- not to mention all those seemingly unrelated storylines that always turn into a metaphor for that relationship -- that I really, really can't stand her."[37] During the show's third season, the development of the character received negative reviews, with Cristopher Monfette of IGN stating that her storyline has become "some bizarrely under-developed sub-plot about depression and giving Derek a season's worth of reconsidering to do."[38] Also during the third season, Robert Rorke of the New York Post noted the decline in Meredith's role in the show, expressing disappointment: "She used to be the queen of the romantic dilemmas, but lately, she's been a little dopey, what with the endless McDreamy soliloquies."[39] Similarly, Macleans.ca found their storyline in the fourth season overused, "This whole 'Oh I need more time,' but 'Oh, I'm jealous if you look at someone else' angst was tired in the second season, frustrating in the third and now a total channel changer. The will-they-or-won't-they plot doesn't work because they've already been in and out of that relationship too many times. Meredith is a nag and McDreamy is henpecked."[40] On a more positive note, her relationship with Shepherd was included in AOL TV's list of the "Best TV Couples of All Time" and in the same list by TV Guide.[41][42] During the sixth season the development of the character was praised, Glenn Diaz of BuddyTV commented that "You gotta love Mer when she's gloomy.", in addition to praising Pompeo's performance. In her review of the episode Tainted Obligation she wrote "I felt for Meredith, but after Lexie's heartfelt begging and pleading, I was happy that Mere finally grows up and casts her selfishness aside. Three seasons ago Meredith would never have dreamed of putting Lexie first, and I was proud of her for giving up part of her liver—her offer to get to know her dad was an even bigger milestone."[43] Reviewing the first part of the eighth season, TV Fanatic lauded the character and wrote: "this season belongs to Meredith Grey. She is the heart and soul of the show and has been outstanding. This is a character that used to be so dark and twisty and has now grown into a more mature woman. Ellen Pompeo has been at the top of her game this season."[44]

text: Wit & Fancy praised the transformation of the character and stated, "Of course Meredith will still make rash decisions like when she took off with Zola, or tampered with the trial but she does things out of love and the kindness of her heart now and not because she is dark and twisty. Considering where Meredith was at the beginning and where she is now, I think she went through a remarkable journey and did more than just growing up, she finally became “all whole and healed“."[45]

text: Maura O'Malley of Bustle also lauded the development of the character ahead of season 12 saying, "When the series began, Meredith was just a girl sitting in a bar celebrating the exciting next phase of her life. She had graduated medical school, she was starting her residency at a prestigious hospital, and she was simply looking for a no-strings attached, one night stand. What she got instead was a complicated romantic relationship that rivals Romeo and Juliet — but the key is, she wasn't searching for love. Working and learning were — and continue to be — her priorities, while McDreamy was simply an added perk. Hopefully, the new season of Grey's Anatomy will reflect this change in tone, because Meredith is a strong, independent woman — and she will be just fine."[46]

text: Later in the series, Ellen Pompeo received critical acclaim with numerous critics lauding her portrayal of the character. Reviewing the episode She's Leaving Home CarterMatt called her the "anchor" for Grey's saying, "Throughout, this was an episode completely anchored by Ellen Pompeo, who has done some of her best work ever on the show the past couple of weeks. Tonight, she cried, she fought, and she learned that she was carrying his child."[47] and added that Pompeo is often "ovelooked" saying, "Her subtlety is probably why she is often overlooked."[48] Rick Porter of Zap2it reviewing "How to Save a Life" wrote, "Without Meredith, and without one of Pompeo's strongest performances in her long time on the show, "How to Save a Life" would have run the risk of coming across as a baldly manipulative death episode, the likes of which the show has done several times before. He added. "How to Save a Life" may not be the ideal Emmy-submission episode for Pompeo, considering Meredith is off screen for more than half of it. But it's among the best work she's ever done on the show."[49] USA Today also lauded Pompeo saying, " In some ways, the episode (How to Save a Life) was even more of a showcase for Pompeo. She had some of the more memorable and well-played scenes, from her angry response to the doctor who tries to tell her what her choices are, to her resignation when she realizes she has to comfort and motivate the young doctor whose mistakes cost Derek his life."[50]

text: The relation between Meredith and Cristina has been acclaimed and been a highlight of the show. Mark Perigard of the Boston Herald considered the friendship to be "the secret core of Grey's". Aisha Harris of Slate called their relation The Best Female Friendship on TV adding that "With those two characters, showrunner Shonda Rhimes and her team of writers created one of the most nuanced and realistic portrayals of female friendship on television."[51] Samantha Highfill of Entertainment Weekly called Cristina and Meredith the best female friends on TV because "they don’t try to be". There’s nothing fake about them, which is a rarity in how female friends are portrayed on television. She further went on to call them 'soulmates', " And even though they’d never dare get sappy enough to say it, they’re soul mates.[52] Margaret Lyons of Vulture (magazine) called the friendship " dream BFF relationship." and the primary focus of the show, "One of the series' calling cards has been its depiction of female friendship and particularly the primacy that friendship enjoyed over romantic relationships." [53]

text:
“
"I wanted to create a world in which you felt as if you were watching very real women. Most of the women I saw on TV didn't seem like people I actually knew. They felt like ideas of what women are. They never got to be nasty or competitive or hungry or angry. They were often just the loving wife or the nice friend. But who gets to be the bitch? Who gets to be the three-dimensional woman?" - Rhimes on Cristina-Meredith friendship.[54]
”

text: E! at the time of Sandra Oh's exit wrote, "In Grey's Anatomy's 10-year history, the doctor duo has been through a lot together: weddings, deaths, plane crashes, bomb threats, shooting, you name it, they've lived (and danced) through it. " and added, "And with the three words, "You're my person." Cristina Yang and Meredith Grey solidified their status as the small screen's best best friends ever."[55] Marama Whyte of Hypable wrote, "Critically, the key relationship in Meredith’s life was not her romance with Derek Shepherd, but her passionate, indestructible, absolutely enviable friendship with Cristina. Talk about relationship goals; who wants McDreamy when Cristina Yang could be your person. These two were the real powerhouse, and Shonda Rhimes didn’t shy away from making the audience remember this. Derek was the love of her life, but Cristina was her soul mate. More than anyone else, Cristina challenged Meredith, was honest with her, and inspired her. For these reasons, it was Cristina who was constantly the source of Meredith’s character development, not Derek."[56]

text: Pompeo's character has also been used to define the image a strong woman, Bustle previewing the 12th season wrote, "Meredith Grey has always been capable of being on her own. Grey's Anatomy is about Meredith's journey. Men and romantic interests are a part of her life, but they are not the priority. She doesn't need McDreamy. Grey's Anatomy doesn't need McDreamy. So even if the writers do decide to create a new love interest for Ms. Grey (Martin Henderson, perhaps?), it wouldn't matter. I have faith that the show's writers will do this storyline justice, because TV needs more strong single women — and Meredith seems like the perfect candidate." The site added, "This past season was almost a trial run for a McDreamy-less Grey's Anatomy. When Derek left for Washington D.C. to pursue his research, Meredith stayed behind and focused on her own career. She didn't chase him. Her priority were her children and the Grey Sloan Memorial Hospital. Meredith showed that she would never put aside her own dreams and aspirations for a man, and I believe that this won't change after Derek's death."[46]

text: Awards[edit]

text: Pompeo has won and has been nominated for multiple awards for her portrayal of Grey. She and the Grey's Anatomy cast won Best Ensemble in a Television Series at the 2006 Satellite Awards.[57] During the following year's ceremony, she was named Best Actress in a Television Drama Series.[58] She was among the Grey's Anatomy cast members awarded the Outstanding Performance by an Ensemble in a Drama Series accolade at the 13th Screen Actors Guild Awards,[59] and received nominations in the same category in 2006[60] and 2008.[61] Pompeo received a Best Performance by an Actress in a Drama Series nomination at the 64th Golden Globe Awards – the program won Best Drama Series at the same ceremony.[62] Also in 2007, Pompeo and the female cast and crew of Grey's Anatomy received the Women in Film Lucy Award, which honors those "whose work in television has positively influenced attitudes toward women."[63]

text: Pompeo's performance has garnered her multiple People's Choice Awards. At the 37th People's Choice Awards, she was nominated against Dempsey and Oh in the Favorite TV Doctor category,[64] and the following year, she was a contender in the Favorite TV Drama Actress category.[65] Since 2012 Pompeo has received nomination at the People's Choice Awards every year in two categories at 40th People's Choice Awards alongside Patrick Dempsey and Sandra Oh respectively. She won the Best Drama Actress Award at both the 39th People's Choice Awards[66] and the 41st People's Choice Awards.[67] In 2007, show-business awards reporter Tom O'Neil commented that Pompeo was overdue an Emmy Award nomination for her role in Grey's Anatomy.[68] Readers of O'Neil's awards website, The Envelope, included Pompeo in their 2009 nominations for Best Drama Actress in the site's Gold Derby TV Awards.[69] Entertainment Weekly launched the EWwy Awards in 2008, to honor actors who have not received Emmy nominations. Pompeo was nominated in the Best Actress in a Drama Series category, and placed fourth, with 19 percent of readers' votes.[70]


document_title: Ace Ventura: Pet Detective

question_text: who played ray finkle's mom in ace ventura

question_tokens: who played ray finkle 's mom in ace ventura

text: Ace Ventura: Pet Detective

text: Plot[edit]

text: Ace Ventura is a Miami private investigator who specializes in the retrieval of tamed or captive animals. Despite the occasional successes, he struggles to pay rent and repair his battered 1970s Chevrolet Monte Carlo. He keeps dozens of different animals in his apartment, and his eccentricities make him the laughing stock of the Miami-Dade Police Department.

text: Two weeks before the Miami Dolphins football team is due to play in the Super Bowl, the team mascot, a bottlenose dolphin named Snowflake, is stolen. Besides notifying the police, Melissa Robinson, the team's Chief Publicist, also hires Ace to find Snowflake. Ace discovers a rare triangular-cut orange amber stone, which he speculates to be part of a 1984 AFC Championship ring. Ace tracks down the players in the team photo and sees their ring, but is dismayed to find every ring intact.

text: Roger Podacter, Miami Dolphins's Head of Operations, mysteriously falls to his death from his apartment. At the crime scene, Miami Police Lieutenant Lois Einhorn concludes the death to be a suicide. However, Ace proves it was a murder, embarrassing and infuriating Einhorn. Ace learns of a former Dolphins player named Ray Finkle, who also owned a ring but did not appear in the team photo, as he was added later in the season. Finkle missed the field goal kick at the end of Super Bowl XVII, which cost the Dolphins the championship and ruined his career. Ace visits Finkle's parents and discovers that he blames Dan Marino for taking the snap incorrectly, causing him to miss the kick. Finkle became so obsessed with the loss and Marino that he became insane and was committed to a mental hospital. However, despite Ace warning Melissa to send extra protection, Marino is still kidnapped. Ace visits Einhorn and explains his theory: Finkle kidnapped Marino out of revenge due to blaming him for his career having failed. Also, he took offense to the Dolphins giving Snowflake his number and teaching it to kick a field goal, and presumably killed Podactor after he found Finkle snooping around. Einhorn compliments him on his finding with an unexpected kiss, and tells him to let the police finish the job. Ace declines, saying it is his job to find Snowflake.

text: Ace and Robinson go to the mental hospital where Finkle was committed. Ace searches Finkle's belongings and discovers a newspaper article about a missing woman named Lois Einhorn. Studying this, Ace eventually realizes that Lieutenant Lois Einhorn is, indeed, Ray Finkle; after escaping the mental hospital, Finkle got gender reassignment surgery and stole the original Einhorn's identity. Soon after, Ace makes himself vomit and sets his clothes on fire, feeling disgusted that he made out with Finkle.

text: On Super Bowl Sunday, Ace follows Finkle to an abandoned yacht storage facility, where he finds Snowflake and Marino. Ace subdues Finkle's henchmen, but before he can rescue Marino, Finkle holds him at gunpoint. When the police arrive, Finkle claims that Ace is the kidnapper and orders them to shoot him. Ace strips Finkle and with a little help from Marino, exposes his true identity: as it turns out, Finkle didn't have penectomy and vaginoplasty done to perfect the disguise, and merely chose to tuck his genitals between his legs. Podacter discovered this during an earlier rendezvous with Finkle, so he murdered him to protect his secret. Finkle attempts to kill Ace, but Ace subdues him and takes off his ring, a 1984 AFC Championship ring missing a stone. Finkle is then arrested and charged with kidnapping and murder, among other things.

text: Marino and Snowflake return in time for the Super Bowl between the Miami Dolphins and Philadelphia Eagles. At halftime, Ventura sees an albino pigeon (worth a $25,000 reward), but Swoop, the Eagles' mascot, shoos it away before he can catch it. Enraged, Ventura beats the mascot while he is thanked on the JumboTron for saving Marino and Snowflake. Ventura briefly stops fighting Swoop and smiles as the audience cheers for him.

text: Cast[edit]

text:
Jim Carrey as Ace Ventura
Courteney Cox as Chief Publicist Melissa Robinson
Sean Young as Lt. Lois Einhorn / Ray Finkle
Tone Lōc as Emilio
Dan Marino as Himself
John Capodice as Sgt. Aguado
Noble Willingham as Riddle
Troy Evans as Roger Podacter
Raynor Scheine as Woodstock
Udo Kier as Ronald Camp
Frank Adonis as Vinnie
Tiny Ron as Roc
David Margulies as Doctor
Bill Zuckert as Mr. Finkle
Judy Clayton as Martha Mertz
Alice Drummond as Mrs. Finkle
Rebecca Ferratti as Sexy Woman
Mark Margolis as Mr. Shickadance, his landlord
Randall "Tex" Cobb as Gruff Man
Cannibal Corpse as themselves

tag: ul

text: Reception[edit]

text: Ace Ventura: Pet Detective received mixed reviews. It holds a 45% rating on Rotten Tomatoes, based on 51 reviews, with an average rating of 4.5/10,[2] while it gained a 37 out of 100 on Metacritic based on 14 reviews.[3] However, it was much more popular with the general public, making back over six times its budget at the U.S. box office and embedding itself, the Ventura character, and his catch-phrases in pop culture. Along with The Mask and Dumb and Dumber, the film is widely credited with launching the career of actor Jim Carrey. Carrey was nominated for the 1994 MTV Movie Award for Best Comedic Performance but lost to Robin Williams in Mrs. Doubtfire.[4] Carrey was also nominated for a Razzie Award for "Worst New Star". The film's popularity spawned a 1995 sequel, Ace Ventura: When Nature Calls, with Carrey returning in the lead role.

text: American Film Institute recognition:

text:
AFI's 100 Years... 100 Laughs – Nominated[5]
AFI's 100 Years...100 Movie Quotes:

"All-righty then!" – Nominated[6]

text: Box office[edit]

text: Ace Ventura grossed $12,115,105 in 1,750 theaters in its first week. When it stopped showing in theaters in the US and Canada, the total gross was $72,217,396. It went on to gross $35,000,000 internationally.[1]

text: Criticism[edit]

text: The film has been accused by commentators as being sexist, transphobic, and homophobic for its depiction and treatment of the character Lois Einhorn.[7] Julia Serano cited the film as an example of the trope of "deceptive transsexuals" in the media.[8]