document_title: Dark Paradise

question_text: what is lana del rey dark paradise about

text: Dark Paradise

text: Background and release[edit]

text: In an interview in June 2012, Del Rey said she would not release the song as a single but did plan to release a music video in September 2012.[2] However, no music video was released, and on January 29, 2013, an official radio edit of "Dark Paradise" was serviced to German radio stations. On the same day, it was announced that the song would serve as the fifth single in Austria and Germany, and the sixth single in Switzerland.[3] It was released as a digital download in the three countries on March 1, 2013.

text: Lyrics and composition[edit]

text: Billboard said about the song's lyrics: "Del Rey once again declares her undying love for her bad-boy lover," adding that the song's melody "recalls late-'80s Madonna".[4]

text: Critical reception[edit]

text: The song garnered mixed reviews from critics. Most critical reviews came from the melodramatic tone of the song, along with the lyrical content and repetitive production. Billboard gave the song a negative review, saying that "fatigue sets in" when this song comes up on the album, and that the song "would be a subpar ballad for Del Rey" even if she had never released "Blue Jeans" or "Video Games".[4] Jaime Gill from BBC Music used the song as an example as why "Born to Die" isn't perfect, saying that "it slumps slightly towards the end, and the glossy trip-hop production grows wearying on lesser [G]othic melodramas like Dark Paradise."[1] David Edwards from Drowned in Sound said along with "Carmen" that they weren't the best tracks on the album, saying "The dreary fallen angel whimsy of ‘Carmen’ sums up precisely the unfocused drift that critics often use to malign her and on songs such as ‘Dark Paradise’, the caricature extends beyond our empathy."[5]

text: On the other hand, many critics believed that the criticism towards the song attracted it as a standout towards the album. Los Angeles Times named it among the best tracks on the album along with "Video Games" and "Summertime Sadness".[6] MuuMuse highlighted the album as a standout, saying "Yet beneath the song’s gothic exterior lies an deeply romantic sentiment, suggesting that love trumps all circumstances–even death [...]"[7]

text: Track listings[edit]

text: All tracks written by Lana Del Rey and Rick Nowels.

text:
CD single and digital download[8][9]No.TitleProducer(s)Length1."Dark Paradise" (Radio Mix)
Nowels
Devrim Karaoglu
3:522."Dark Paradise"Emile Haynie4:04Total length:7:56

text: Credits and personnel[edit]

text: Credits adapted from the liner notes of Born to Die and Dark Paradise.[10][11]

text:
Lana Del Rey - vocals
Maria Vidal - additional vocals

text:
Emile Haynie - drums, keyboard
Devrim Karaoglu - additional synthesizer, orchestral drums
Rick Nowels - guitar
Dean Reid - pads
Patrick Warren - chamberlain strings

text:
John Davis - mastering
Chris Galland - mixing assistant
Larry Gold - string arrangement, conductor
Emile Haynie - production (Album Version)
Devrim Karaoglu - production (Radio Mix)
Erik Madrid - mixing assistant
Manny Marroquin - mixing
Rick Nowels - co-production (Album Version); production (Radio Mix)
Steve Tirpak - string assistant

text: Charts[edit]

text:
Chart (2013)

Peakposition

Austria (Ö3 Austria Top 40)[12]

42

Germany (Official German Charts)[13]

45

Poland (Polish Airplay Top 100)[14]

5

Switzerland (Schweizer Hitparade)[15]

48

text: Release history[edit]

text:
Country

Date

Format(s)

Label

Austria[16]

March 1, 2013

CD single
digital download

Vertigo
Universal

Germany[8][17]

Switzerland[18]


document_title: Optic nerve

question_text: where is the optic nerve located in the brain

root

text: Optic nerve

text: Structure[edit]

text: The optic nerve is the second of twelve paired cranial nerves and is technically part of the central nervous system, rather than the peripheral nervous system because it is derived from an out-pouching of the diencephalon (optic stalks) during embryonic development. As a consequence, the fibers of the optic nerve are covered with myelin produced by oligodendrocytes, rather than Schwann cells of the peripheral nervous system, and are encased within the meninges. Peripheral neuropathies like Guillain–Barré syndrome do not affect the optic nerve. However, most typically the optic nerve is grouped with the other eleven cranial nerves and considered to be part of the peripheral nervous system.

tag: p

text: The optic nerve is ensheathed in all three meningeal layers (dura, arachnoid, and pia mater) rather than the epineurium, perineurium, and endoneurium found in peripheral nerves. Fiber tracts of the mammalian central nervous system (as opposed to the peripheral nervous system) are incapable of regeneration, and, hence, optic nerve damage produces irreversible blindness. The fibres from the retina run along the optic nerve to nine primary visual nuclei in the brain, from which a major relay inputs into the primary visual cortex.

text: The optic nerve is composed of retinal ganglion cell axons and glial cells. Each human optic nerve contains between 770,000 and 1.7 million nerve fibers,[3] which are axons of the retinal ganglion cells of one retina. In the fovea, which has high acuity, these ganglion cells connect to as few as 5 photoreceptor cells; in other areas of retina, they connect to many thousand photoreceptors.

text: The optic nerve leaves the orbit (eye socket) via the optic canal, running postero-medially towards the optic chiasm, where there is a partial decussation (crossing) of fibres from the temporal visual fields (the nasal hemi-retina) of both eyes. The proportion of decussating fibers varies between species, and is correlated with the degree of binocular vision enjoyed by a species.[4] Most of the axons of the optic nerve terminate in the lateral geniculate nucleus from where information is relayed to the visual cortex, while other axons terminate in the pretectal nucleus and are involved in reflexive eye movements. Other axons terminate in the suprachiasmatic nucleus and are involved in regulating the sleep-wake cycle. Its diameter increases from about 1.6 mm within the eye to 3.5 mm in the orbit to 4.5 mm within the cranial space. The optic nerve component lengths are 1 mm in the globe, 24 mm in the orbit, 9 mm in the optic canal, and 16 mm in the cranial space before joining the optic chiasm. There, partial decussation occurs, and about 53% of the fibers cross to form the optic tracts. Most of these fibres terminate in the lateral geniculate body.[1]

text: Based on this anatomy, the optic nerve may be divided in the four parts as indicated in the image at the top of this section (this view is from above as if you were looking into the orbit after the top of the skull had been removed): 1. the optic head (which is where it begins in the eyeball (globe) with fibers from the retina; 2. orbital part (which is the part within the orbit). 3. intracanicular part (which is the part within a bony canal known as the optic canal); and, 4. cranial part (the part within the cranial cavity, which ends at the optic chiasm).[2]

text: From the lateral geniculate body, fibers of the optic radiation pass to the visual cortex in the occipital lobe of the brain. In more specific terms, fibers carrying information from the contralateral superior visual field traverse Meyer's loop to terminate in the lingual gyrus below the calcarine fissure in the occipital lobe, and fibers carrying information from the contralateral inferior visual field terminate more superiorly, to the cuneus[citation needed].

text: Function[edit]

text: The optic nerve transmits all visual information including brightness perception, color perception and contrast (visual acuity). It also conducts the visual impulses that are responsible for two important neurological reflexes: the light reflex and the accommodation reflex. The light reflex refers to the constriction of both pupils that occurs when light is shone into either eye; the accommodation reflex refers to the swelling of the lens of eye that occurs when one looks at a near object as in reading (lens adjusts to near vision).[1]

text: The eye's blind spot is a result of the absence of photoreceptors in the area of the retina where the optic nerve leaves the eye.[1]

text: Clinical significance[edit]

text: Disease[edit]

text: Damage to the optic nerve typically causes permanent and potentially severe loss of vision, as well as an abnormal pupillary reflex, which is diagnostically important. The type of visual field loss will depend on which portions of the optic nerve were damaged. In general:

text:
Damage to the optic nerve anterior to the optic chiasm causes loss of vision in the eye on the same side as the damage.
Damage at the optic chiasm typically causes loss of vision laterally in both visual fields (bitemporal hemianopsia). It may occur with large pituitary tumors pituitary adenoma. (see image on right of Paris seen with bitemporal hemianopsia)

tag: ul

text: Damage to the optic tract, which is behind (posterior) to the chiasm, causes loss of the entire visual field from the side opposite the damage (so if the left optic tract is cut, there is a loss of vision from the entire right visual field).

text: Injury to the optic nerve can be the result of congenital or inheritable problems like Leber's Hereditary Optic Neuropathy, glaucoma, trauma, toxicity, inflammation, ischemia, infection (very rarely), or compression from tumors or aneurysms. By far, the three most common injuries to the optic nerve are from glaucoma, optic neuritis (especially in those younger than 50 years of age), and anterior ischemic optic neuropathy (usually in those older than 50).

text: Glaucoma is a group of diseases involving loss of retinal ganglion cells causing optic neuropathy in a pattern of peripheral vision loss, initially sparing central vision. Glaucoma is associated with increased intraocular pressure that damages the optic nerve as it exits the eyeball. Although glaucoma does eventually damage the optic nerve, it is primarily a disease of eye not of the nerve.

text: Optic neuritis is inflammation of the optic nerve. It is associated with a number of diseases, the most notable one being multiple sclerosis. The patient will likely experience varying vision loss and eye pain. The condition tends to be episodic.

text: Anterior ischemic optic neuropathy is commonly known as "stroke of the optic nerve" and affects the optic nerve head. There is usually a sudden loss of blood supply and nutrients to the optic nerve head (where the nerve exits the eyeball). Vision loss is typically sudden and most commonly occurs upon waking up in the morning. This condition is most common in diabetic patients 40–70 years old.

text: Optic nerve hypoplasia is the underdevelopment of the optic nerve resulting in little to no vision in the affected eye.

text: Tumors, especially those of the pituitary gland, can put pressure on the optic nerve causing various forms of visual loss. Similarly, cerebral aneurysms (swelling of blood vessels) can also affect the nerve.

text: Trauma can cause serious injury to the nerve. Direct optic nerve injury can occur from a penetrating injury to the orbit, but the nerve can also be injured by indirect trauma in which severe head impact or movement stretches or even tears the nerve [1]

text: Ophthalmologists and optometrists can detect and diagnose some optic nerve diseases but neuro-ophthalmologists are often best suited to diagnose and treat diseases of the optic nerve.

text: The International Foundation for Optic Nerve Diseases (IFOND) sponsors research and provides information on a variety of optic nerve disorders.

text: Regeneration[edit]

text: Similar to other CNS tracts, the optic has very limited regenerative potential after injury. However, some new techniques are being developed to increase this potential.[5]

text: Additional images[edit]

text:
MRI scan of human eye showing optic nerve.

The ophthalmic artery and its branches. (optic nerve is yellow)

Superficial dissection of brain-stem. Lateral view.

Dissection of brain-stem. Lateral view.

Scheme showing central connections of the optic nerves and optic tracts.

Nerves of the orbit. Seen from above.

Nerves of the orbit, and the ciliary ganglion. Side view.

The terminal portion of the optic nerve and its entrance into the eyeball, in horizontal section.

Structures of the eye labeled

This image shows another labeled view of the structures of the eye

Optic nerve.Deep dissection.Inferior view.

Optic nerve.Deep dissection.Inferior view.

Optic nerve

Optic nerve

Human brain dura mater (reflections)

Optic nerve

Optic nerve

Optic nerve

Cerebrum.Inferior view.Deep dissection

Cerebral peduncle, optic chasm, cerebral aqueduct. Inferior view. Deep dissection.


document_title: The Hills Have Eyes (2006 film)

question_text: where did they film the hills have eyes

question_tokens: where did they film the hills have eyes

text: The Hills Have Eyes (2006 film)

text: Plot[edit]

text: In the New Mexico desert, a group of scientists are killed by a mutant named Pluto (Michael Bailey Smith). Later, Bob Carter (Ted Levine) and his wife, Ethel (Kathleen Quinlan) are traveling from Cleveland, Ohio to San Diego, California for their silver anniversary. With them are their teenage children Bobby (Dan Byrd) and Brenda (Emilie de Ravin), eldest daughter Lynn (Vinessa Shaw), Lynn's husband Doug Bukowski (Aaron Stanford), Lynn and Doug's baby Catherine (Maisie Camilleri Preziosi), and their German Shepherds, Beauty and Beast.

text: In the New Mexico desert, they meet a gas station attendant named Jeb (Tom Bower), who tells them of a short-cut through the hills. After taking the supposed short-cut, their tires are punctured by a hidden spike strip. Doug and Bob go look for help, while the rest of the family stays behind.

text: Later that day Bobby chases a panicked Beauty into the hills and finds her mutilated body. Frightened, he runs and falls, knocking himself unconscious. A young female mutant named Ruby (Laura Ortiz) finds him and protects him from her brother Goggle (Ezra Buzzington).

text: As Doug travels towards the interstate, he finds a vast area full of craters that are filled with numerous abandoned cars and other items.

text: Bob goes back to the gas station for help, and after finding news clippings detailing various disappearances that have occurred in the area, he realizes the attendant purposefully led them to danger by suggesting they take an alternative route through the hills. When Bob exits he finds the hysterical Jeb, who commits suicide in front of him. In fear, Bob attempts to flee, but is attacked by the mutant leader, Papa Jupiter (Billy Drago), and dragged into the mining caves by Jupiter, Jupiter's eldest son Lizard (Robert Joy), and Pluto.

text: Bobby returns to the trailer, but doesn't mention Beauty's death not wanting to frighten the rest of the family. Later that night, the family is awakened by Bob's screams, and they all rush from the trailer, except for Brenda and the baby, who are left behind. Outside they find Bob being burned alive on a stake and frantically try to save him, but to no avail. Meanwhile, Pluto and Lizard use the distraction to ransack the trailer, and Lizard beats and rapes Brenda. When Lynn returns to the trailer she is greeted by Lizard and Pluto, and forced to let Lizard drink from her breasts while her baby is held at gunpoint. When Ethel returns she is shot by Lizard, and Lynn stabs Lizard in the leg, prompting him to shoot Lynn in the head. Lizard and Pluto flee with the baby after Lizard attempts to shoot Brenda with an unloaded gun.

text: Doug and Bobby return to the trailer and discover Lynn and Ethel, who die shortly afterward. Goggle, who is watching the Carters with a pair of binoculars, is attacked by Beast, who tears his throat out, killing him. The next morning, Doug and Beast set out to rescue Catherine. During his search, Doug comes across an abandoned nuclear testing village, and is knocked unconscious by Big Mama (Ivana Turchetto). Upon awakening, he escapes an ice box filled with human body parts and continues his search, only to encounter Big Brain (Desmond Askew). After Big Brain tells him the mutants' origins, Doug is attacked by Pluto, who beats him and severs two of his fingers with an axe. Pluto almost kills Doug, but Doug manages to gain the upper hand while Pluto is distracted, and kills him with his own axe.

text: Outside, Doug kills the mutant Cyst (Gregory Nicotero) and continues to search for Catherine. After ordering Lizard to kill Catherine, Big Brain is mauled to death by Beast. Lizard takes a cleaver and prepares to kill Catherine, but finds that Ruby has replaced the baby with a piglet and taken her. Doug sees Ruby running through the hills with Catherine and follows her. At the trailer, Brenda and Bobby discover their mother's body missing and track it to find Papa Jupiter eating her, so they lure him towards the trailer and prepare an explosive trap, which destroys the trailer, apparently killing Papa Jupiter.

text: Doug catches up with Ruby, but before she can return Catherine, Lizard attacks him. Lizard and Doug have fight and Lizard is presumed dead. Ruby gives Doug his daughter back. Lizard, who is still alive aims a shotgun at Doug. In order to save Doug, Ruby tackles Lizard off a cliff, sending them falling to their deaths. Bobby and Brenda find that Papa Jupiter managed to survive their trap, and Brenda finishes him off. They are then reunited with an exhausted and bloody Doug, Catherine, and Beast. As the survivors of the Carter family embrace, an unknown mutant watches them through binoculars from the hills.

text: Cast[edit]

text:
Aaron Stanford as Doug Bukowski
Kathleen Quinlan as Ethel Carter
Vinessa Shaw as Lynn Carter-Bukowski
Emilie de Ravin as Brenda Carter
Dan Byrd as Bobby Carter
Tom Bower as Jeb, the Gas Station Attendant
Billy Drago as Papa Jupiter
Robert Joy as Lizard
Ted Levine as "Big" Bob Carter
Desmond Askew as Big Brain
Ezra Buzzington as Goggle
Michael Bailey Smith as Pluto
Laura Ortiz as Ruby
Maisie Camilleri Preziosi as Catherine Bukowski
Gregory Nicotero as Cyst
Ivana Turchetto as Big Mama
Maxime Giffard as First Victim
Judith Jane Vallette as Venus
Adam Perrell as Mercury

text: Production[edit]

text:
Wes Craven, director and writer of the original film, considered a remake after he saw the success of other horror remakes such as The Texas Chainsaw Massacre and The Amityville Horror. The search then began for filmmakers to helm the project. Marianne Maddalena, Craven's long time producing partner, came across Alexandre Aja and his art director/collaborator Grégory Levasseur who had previously made the French slasher film Haute Tension. After showing the film to Craven and the rest of the production crew, they were impressed with the pair. Craven comments that they "demonstrated a multi-faceted understanding of what is
profoundly terrifying" and "After viewing the film and then meeting the film makers, I knew
I wanted to work with them."[2] Aja and Levasseur then began to re-write the story in what is the pair's first American production.

text: Director Aja and art director Grégory Levasseur chose not to film in the original's filming location of Victorville, California, and instead scouted many locations for filming including Namibia, South Africa, New Mexico, and Mexico. The two settled on Ouarzazate in Morocco, which was also known as "the gateway to the Sahara Desert".[2]

text: The film is set in New Mexico, and strongly implies that a large number of atmospheric nuclear weapon tests were performed in that state. In fact, the only atmospheric nuclear detonation in New Mexico was the Trinity test, the first test of a nuclear device conducted on July 16, 1945. The United States carried out most of its atmospheric nuclear weapons tests at the Nevada Test Site and in the Marshall Islands at the lagoons of Bikini and Eniwetok, between 1946 and 1962. The theatrical poster shows Vinessa Shaw's character lying down with a mutant hand on her face.

text: Effects[edit]

text: Prior to filming, Aja and Levasseur had already conceived an idea for the mutants' appearance. "We based all our descriptions and directions on real documents, pictures and footage that we found on the effects of nuclear fallout in Chernobyl and Hiroshima", explains Aja. The Hills Have Eyes utilized the K.N.B. EFX Group Inc. who had done previous work on films such as The Chronicles of Narnia (for which they were nominated for an Academy Award) and Sin City.

text: K.N.B. spent over six months designing the mutants, first using 3D designer tools, such as ZBrush, allowing them to use a computer to generate their sculptures. After prosthetics were made, they could be fitted to the actors before filming. Robert Joy, who plays the mutant Lizard, explained, "Every day, these amazing artists took more than three hours to transform me into something that could only be found in a nightmare."[2]

text: K.N.B. artist Gregory Nicotero was also made a cameo as Cyst, the mutant with the halo head-gear.

text: Jamison Goei and his team, who had done previous work on Hellraiser: Hellseeker and Halloween: Resurrection, had done over 130 visual effects for the film. A large part of that was digitally constructing the testing village, which in actuality was only one built street with others digitally added. The team also warped the mutant's faces slightly, which is shown mostly in the character of Ruby.

text: Papa Jupiter displays no deformities. However, as shown in "The Making Of", Papa Jupiter appears to have a large parasitic twin attached to his upper left torso. The young children of the film had their deformities added by CGI, with the exception of Ruby, who had a combination of CGI and makeup.

text: Casting[edit]

text: The casting process began with the selection of The Silence of the Lambs's Ted Levine as the character Big Bob. Levine was also a fan of the film Haute Tension. Afterward, Kathleen Quinlan was cast as Ethel in her first role starring in a horror film (despite appearing in Twilight Zone: The Movie and Event Horizon). Next, Aaron Stanford was cast as Doug Bukowski who "undergoes the most radical transformation of anyone in the Carter family"[2] Stanford even asked not to see any of the mutants in make-up before his character's battle in the testing village so, that way, he'd be truly frightened. When casting Lynn, Doug's wife, Aja wanted to cast Vinessa Shaw who he had wanted to work with since seeing her in Stanley Kubrick's 1999 film Eyes Wide Shut. Shaw was hesitant to play the role, but after watching Haute Tension, she agreed, explaining: "There was such an odd combination of beauty and terror, it felt almost like an art film. So, after meeting with Alex and Greg, I decided to do it."[2] For the role of Brenda, the filmmakers sought a young actress who had relatively little exposure and found it in Emilie de Ravin who was beginning her rise in the television series Lost. After de Ravin, Dan Byrd was cast as Bobby. Byrd had previous genre experience starring in Salem's Lot.

text: Aja then had the six actors arrive in the filming location of Morocco early to bond together.

text: When casting for the mutants, associate producer Cody Zwieg explained: "We needed to find actors who could not only perform the stunt work, handle the extensive makeup and perform in that makeup, but who truly could embody the fierce, primal nature of the mutants' way of life."[2] To play the role of Pluto, Aja looked to Michael Bailey Smith, who had been in A Nightmare on Elm Street 5: The Dream Child. For Lizard, the filmmakers cast Robert Joy, who had made previous genre films such as Amityville 3-D and George A. Romero's Land of the Dead. Ezra Buzzington, impressed with the filmmakers, agreed to play the role of Goggle and even watched a documentary about human cultures engaging in cannibalism. To play the mutant leader, Billy Drago was cast. Drago had previously had a role in Brian De Palma's The Untouchables and other horror features. The most difficult mutant to cast was Ruby, who was a "touch of sweetness to the madness of the mutants."[2] Laura Ortiz was ultimately cast, making her film debut.

text: Release[edit]

text: Box office[edit]

text: The Hills Have Eyes was a commercial success, playing in total 2,521 theaters and taking in its opening weekend $15,708,512.[3] The film grossed $41,778,863 in the United States Box Office[4] and $70,000,000 worldwide,[3] surpassing its budget costs by over fourfold.

text: The film placed third at the box office during its opening week.[5] It dropped to fifth after its second week of release, and to eighth after its third week. It fell out of the Top 10 into twelfth place after four weeks in release. After five weeks, it placed seventeenth at the box office, and it fell out of the Top 20 into twenty-first place after its sixth week. It continued to fall in subsequent weeks.[5]

text: The Hills Have Eyes was in first release for a total of 105 days, or 15 weeks, with its final showing on June 22, 2006.[3]

text: Critical reception[edit]

text: Reviews were mixed, with an average critic "Rotten" rating of 50% on Rotten Tomatoes and a critical consensus stating "Faster paced for today's audiences, this 'Hills' remake ratchets up the gore for the hardcore horror fans, but will turn away casual audiences."[6] The Washington Post said: "this remake of the alleged 1977 Wes Craven classic has one very disturbing quality: It's too damned good."[7] Some have gone on to refer to the film as torture porn.[8] Bloody Disgusting, however, was scathing of those who referred to the movie's genre as such, saying "some may call it 'Torture porn' - these people are idiots".[9] Roger Ebert also gave a negative review, mentioning that the characters in the film are not familiar with horror movies, and went on to cite that the film should have focused more on the characters rather than the violence, saying "The Hills Have Eyes finds an intriguing setting in 'typical' fake towns built by the government [...] But its mutants are simply engines of destruction. There is a misshapen creature who coordinates attacks with a walkie-talkie; I would have liked to know more about him, but no luck."[10]

text: Soundtrack[edit]

text:
The Hills Have Eyes
Film score by VariousReleased
March 7, 2006Genre
SoundtracksFilm scoresLength
70:14Label
Lakeshore Records 33852Various chronology

The Hills Have Eyes

The Hills Have Eyes 2String Module Error: Match not foundString Module Error: Match not found

tag: table

text: The soundtrack score was composed by "tomandandy". The record was released on March 7, 2006 via Lakeshore Records label.[11]

text: US Edition[12]

text:
Leave the Broken Hearts - The Finalist
Blue Eyes Woman - The Go
Highway Kind - Moot Davis
Summers Gonna Be My Girl - The Go
More and More - Webb Pierce
The Walls - Vault
In the Valley of the Sun - Buddy Stuart
Daisy - Wires on Fire
California Dreamin' - The Mamas and the Papas
Forbidden Zone
Gas Haven
Out House
Praying
Beauty
Ravens
Daddy Daddy
Beast Finds Beauty
Trailer
Aftermath
Ethel's Death
Next Morning
Mine
Village Test
Breakfast Time
Play with Us
The Quest I
The Quest II
Sacrifice
It's Over?

tag: ol


question_text: where was teenage mutant ninja turtles out of the shadows filmed

text: Plot[edit]

text: Two years after their battle with Shredder and Eric Sacks,  the Teenage Mutant Ninja Turtles, Leonardo, Donatello, Raphael, and Michelangelo, still live beneath the sewers of New York City, having allowed Vern Fenwick to take the credit for Shredder's defeat. At Grand Central Station, April O'Neil discovers and informs the turtles that scientist Baxter Stockman is working for Shredder and plans to bust him out of prison. As Shredder is transferred between prisons alongside criminals Bebop and Rocksteady by corrections officer Casey Jones, the Foot Clan attack the convoy transporting them. Despite the turtles' interference, Shredder escapes when Stockman uses a teleportation device. Shredder is hijacked mid-teleport, winds up in another dimension, and meets the alien warlord Krang, who reveals his plans to invade Earth. He gives Shredder a purple mutagenic compound in exchange for his promise to find three components of a machine that Krang sent to Earth long ago which will open a portal to his dimension when united, knowing that Shredder and Stockman have the first piece. Casey tells NYPD chief Rebecca Vincent what happened to Shredder but is met with disbelief, and decides to go out on his own.

text: Shredder returns to NY, recruits Bebop and Rocksteady, who also escaped, and has Stockman use Krang's mutagen to transform them into powerful animal mutants—a humanoid warthog and rhinoceros. April witnesses their transformation and is able to steal the remaining mutagen vial. Pursued by the Foot, she is rescued by Casey, who uses hockey gear, but the vial is taken into police custody. April then introduces Casey to the turtles, and Raphael and Michelangelo make fun of and pull pranks on him. In the lair, Donatello deduces that the mutagen could be used to turn the turtles into humans, enabling them to live normal lives above ground, but Leonardo refuses and insists on keeping it a secret from the others. However, Michelangelo overhears their conversation and tells Raphael, which enrages Raphael and leads to a fierce argument between the brothers. Leonardo benches Raphael and takes Michelangelo off the mission. In the Natural History Museum, Shredder, Bebop, and Rocksteady find the second piece and steal it before Leonardo and Donatello arrive. Still furious, Raphael recruits Michelangelo, April, Casey, and Vern to break into the NYPD headquarters and retrieve the mutagen. Vern distracts the police while April and Casey retrieve the mutagen, but the Foot arrive ahead of them. In the ensuing battle, the turtles' existence is revealed to the police, who react with fear and hatred, and April and Casey are arrested while helping the brothers escape with the mutagen. Vincent also sees on TCRI's cameras that April stole the mutagen, but Stockman had edited the tape so  only April is seen.

text: The turtles track Bebop and Rocksteady as they recover the final piece of the device in the rainforests of Manaus, Brazil, and board Rocksteady and Bebop's jet in midair. In the resulting battle, the jet is critically damaged after Rocksteady fires a tank-mounted machine gun in the cargo hold, and crashes into a river. As the Turtles fight Bebop in the river for control of the piece, Rocksteady emerges in the tank and helps Bebop escape with the piece. The turtles return to NY as Shredder and Stockman complete the device and open a portal to Krang's dimension through which his modular war machine, the Technodrome, begins to emerge. Shredder betrays Stockman and his men take him to their headquarters in Tokyo. When entering the Technodrome, Krang likewise betrays Shredder, freezing him and locking him with his collection of other defeated foes.

text: Seeing no way to reach the Technodrome as the police pursue them, the turtles debate over taking the mutagen to become human and fight openly. While Leonardo agrees, Raphael shatters the vial, realizing they must accept who they are. Upon April's request, Vern recovers the security footage from a hidden TCRI camera disguised as a clock that proves Stockman and Shredder's collaboration and secures April and Casey's release. April arranges a meeting between the turtles and Vincent, and convinces her that they are not enemies and were the ones who defeated Shredder in the first place. With the help of the police, the turtles are able to jump from the Chrysler Building and confront Krang aboard the still-assembling Technodrome. Although Krang is able to overpower all four turtles easily, they defeat him when Donatello short circuits Krang's robotics body. April, Casey and Vern raid the Foot Clan facility, defeat Bebop, Rocksteady and Shredder's lieutenant Karai and take control of the device. The turtles are able to hurl the ship's beacon back through the portal, taking Krang and the rest of the Technodrome with it, as April, Casey, and Vern shut the portal down. As he disappears, Krang vows to return stronger for revenge.

text: A week later, Bebop and Rocksteady are back in custody, while Stockman remains at large. At night, the turtles are honored by Vincent and the NYPD along with April, Casey, and Vern, and given golden keys to the city. Vincent offers to introduce the turtles to the public, allowing them to lead normal lives, but the turtles opt to keep their existence a secret while still helping as they always have. On top of the Statue of Liberty, the Teenage Mutant Ninja Turtles celebrate their victory over the vanquished Krang.

text: Cast[edit]

text: Voice actors and motion-capture[edit]

text:
Pete Ploszek as Leonardo: The leader of the turtles who wields a pair of katana in battle
Alan Ritchson as Raphael: The hot-headed brother who wields a pair of sai in battle.
Noel Fisher as Michelangelo: The light-hearted brother known for his pranks and jokes and who wields a pair of nunchucks in battle.
Jeremy Howard as Donatello: The intelligent brother known for his scientific and technological expertise who builds equipment and machinery for the turtles and who wields a bo-staff in battle.
Peter D. Badalamenti (motion-capture) and Tony Shalhoub (voice) as Splinter: The mentor and father-figure of the turtles. His motion-capture was previously performed by Danny Woodburn in the first film.
Gary Anthony Williams as Bebop:[6] A criminal partner of Rocksteady who was genetically mutated into an anthropomorphic warthog.
Sheamus as Rocksteady:[7] A criminal partner of Bebop who was genetically mutated into an anthropomorphic rhinoceros.
Brad Garrett as Krang:[8][9] A megalomaniacal ruthless extraterrestrial life-form equipped with a robotic prototype body, who seeks to destroy Earth and enslave the universe.

text: Live action[edit]

text:
Megan Fox as April O'Neil: A reporter for Channel 6 who had befriended the turtles in the previous film, who now helps them fight the released Shredder and his allies.
Stephen Amell as Casey Jones: A corrections officer turned vigilante who wears a hockey-mask and wields a hockey stick as a weapon. He eventually meets and befriends the turtles and April.
Will Arnett as Vern Fenwick: April's cameraman and friend who is revealed to have taken credit for the turtles actions in saving New York City. He again assists the turtles in stopping Shredder once again.
Laura Linney as Police Chief Rebecca Vincent:[10] the chief of NYPD who initially detests but later allies with the turtles in saving New York City.
Brian Tee[11] as The Shredder: The leader of the Foot Clan who now seeks revenge on the turtles and allies with Krang. He was previously portrayed by Tohoru Masamune in the first film.
Tyler Perry as Dr. Baxter Stockman: A mad scientist and former worker at Sacks Industries who allies with Shredder in the latter's aims to take over New York City.
Brittany Ishibashi as Karai:[12] Shredder's second in-command.

text: Dean Winters appears as a bartender. Supermodel Alessandra Ambrosio has a cameo appearance.[13] NBA players Carmelo Anthony, DeAndre Jordan, Lou Amundson, J. J. Redick, Austin Rivers, Matt Barnes, and Spencer Hawes also made cameos in the film.[14][15][16] Series co-creator Kevin Eastman makes a cameo appearance as a pizza delivery man named after himself in the film's opening.[17] Jill Martin also made a cameo appearance in the basketball scene in the film. Judith Hoag, who previously played April O'Neil in the original 1990 film, plays a cameo as Rita, April's boss, in a deleted scene. Jane Wu plays Jade, a police officer.

text: Production[edit]

text: Development[edit]

text: After the 2014 film exceeded box office expectations, Paramount and Nickelodeon officially announced a sequel was greenlit, and set to be released in theatres on June 3, 2016,[18] with plans to incorporate the characters Casey Jones and Bebop and Rocksteady.[19] Jonathan Liebesman and Bradley Fuller were also interested in doing a storyline that involved Dimension X and Krang.[20] In December 2014, it was revealed Paramount was in early negotiations with Earth to Echo director Dave Green to helm the sequel, also revealing Jonathan Liebesman was no longer a part of the project.[21] Known briefly as Teenage Mutant Ninja Turtles: Half Shell,[22] Paramount revealed in December 2015 that the title had officially been changed to Teenage Mutant Ninja Turtles: Out of the Shadows.[23][24]

text: Casting[edit]

text: Megan Fox and Will Arnett were confirmed to be returning as April O'Neil and Vern Fenwick respectively; also confirmed were the Shredder's return, and Bebop and Rocksteady debut in the movie.[25] In an interview, William Fichtner stated that he would be returning as Eric Sacks, but for unknown reasons, he ultimately did not appear in the final film. However, he could return in the third installment, considering he (along with the turtle actors, Noel Fisher, Jeremy Howard, Alan Ritchson and Pete Ploszek) signed on for three TMNT films.[26] Production was confirmed to start in April 2015,[27] along with the casting of Alessandra Ambrosio, and several members of the Los Angeles Clippers.[28][29] On March 31, Stephen Amell was cast as Casey Jones, after test reading alongside several different actors.[30] Amell acknowledged the character bore similarities to his Oliver Queen from Arrow. He stated the characters are "fundamentally different" from one another, but that Casey did resemble Oliver from older versions.[31] On April 23, Tyler Perry was cast as scientist Baxter Stockman, replacing K. Todd Freeman, who played the role in the 2014 film.[32] On April 27, Brian Tee joined the cast as the Shredder, replacing Tohoru Masamune from the first film.[33] On April 30, Laura Linney was cast in an unspecified role.[10] On May 14, Gary Anthony Williams was cast as Bebop,[6] while on May 28, WWE wrestler Sheamus was confirmed to play Rocksteady.[7] On May 27, Minae Noji was replaced with Brittany Ishibashi in the role of Karai.[12] In August 2015, CM Punk revealed that he lost the role of Rocksteady to Sheamus.[34] In March 2016, it was announced that Fred Armisen would voice Krang in the film.[35][36] However, in May 2016, shortly before the film's release, it was revealed that Brad Garrett would voice Krang instead due to Armisen having schedule conflicts.[37] In April 2016, while promoting Elvis & Nixon, Johnny Knoxville revealed that he was not asked to return for the sequel as the voice of Leonardo.[38]

text: Music[edit]

text: On April 2, 2016, Steve Jablonsky revealed that he would compose the music score, replacing Brian Tyler from the first film.[39] Mexican teen boy band CD9 performed an updated version of the original show's theme song for the film.[40] The film score soundtrack was released on June 3, 2016, on digital platforms but excluded compact discs.[41]

text: Filming[edit]

text: Filming began in April in New York City and Buffalo, spending about $70 million in the state.[42] Filming began on April 27, 2015, when the film crew was spotted filming in Midtown Manhattan and moved out to Foz do Iguaçu, Brazil.[43] Filming in Buffalo began on May 4, 2015, along the Kensington Expressway[44][45] and ended May 17, 2015.[46] Filming wrapped up in August 2015.[47][48] Additional filming occurred in New York City on January 30, and ended on February 1. Farelly and Williams recorded additional dialogue for the film in February 2016.[49][unreliable source]

text: Release[edit]

text: The film premiered in New York City on May 22, 2016,[50] and was released in the United Kingdom on May 30, 2016, and the United States on June 3, 2016.[51]

text: Marketing[edit]

text: Concept art of Bebop and Rocksteady was shown at Paramount Pictures’ CinemaCon panel on April 22, 2015.[52] A 14-second teaser of the trailer was released by Stephen Amell on December 9, 2015.[53] The full trailer debuted the following day.[54][55] On January 5, 2016, a toy catalog for the film was leaked online. The toys debuted at the 2016 Toy Fair in February. A 30-second TV spot premiered at the 2016 Super Bowl 50 on February 7, 2016.[56] A 7-second sneak preview of the TV spot was released three days prior.[57] On February 12, 2016, a second TV spot was released. On February 17, 2016, Paramount released four character posters featuring the four turtles.[58] On February 25, 2016, Megan Fox and Stephen Amell announced a sweepstakes for the film.[59] On March 2, 2016, Paramount released four more ninja turtle posters.[60]

text: Will Arnett debuted the first official clip from the film at the 2016 Kids' Choice Awards, on March 12, 2016.[61] That same evening, the awards show and Brian Tee gave fans the first look at Shredder in full armor.[62] On March 24, 2016, it was announced that the toys from the film will be released in stores in April. The following day, Paramount released two more Bebop and Rocksteady posters and a new trailer from the film.[63] New footage of the film was also shown during that week at WonderCon.[35] On April 1, 2016, another Bebop and Rocksteady poster was released.[64] On April 8, 2016, another teaser trailer was released.[65] Another trailer with brand new footage debuted on April 11, 2016, along with a new poster.[66] Two new TV spots were released on April 18, 2016.[67] The next day, another TV spot was released.[68] Two days later, another TV spot debuted.[69] On May 3, 2016, another trailer debuted.[70] From May 12–16, 2016, six new TV spots debuted.[71][72][73] On May 19, 2016, Paramount debuted two additional TV spots.[74] The final full trailer for the film was released the following day.[75] Paramount released a trailer, which focused primarily on Bebop and Rocksteady, on May 26, 2016, which also aired during the May 30th episode of WWE Raw since Sheamus was in the film as Rocksteady.[76] Four new TV spots then debuted from May 28–30, 2016.[77][78]

text: Home media[edit]

text: Teenage Mutant Ninja Turtles: Out of the Shadows was released on Digital HD on September 6, 2016,[79] and on 4K Ultra HD, Blu-ray, Blu-ray 3D and DVD on September 20, 2016.[80][81][82] The film debuted in first place on the overall home video sales chart and in second place on the Blu-ray sales chart for the week ending on September 25, 2016.[83]

text: Reception[edit]

text: Box office[edit]

text: Teenage Mutant Ninja Turtles: Out of the Shadows grossed $82.1 million in the United States and Canada and $163.6 million in other territories for a worldwide total of $245.6 million, against its production budget of $135 million.[4] It made around 50% less than its predecessor, which had grossed $493 million.[84] In October 2016, in response to the film's poor commercial performance, producers Andrew Form and Brad Fuller said they still "love" the movie and "loved making it", but they were still "surprised" by the film's performance and "it just didn’t find an audience."[85] The Hollywood Reporter estimated the film lost the studio at least $75 million, when factoring together all expenses and revenues.[86]

text: In the U.S. and Canada, the film was projected to gross around $30–40 million from 4,071 theaters in its opening weekend, with some estimates going as high as $49 million.[87][88][89][90][91] It received a one-week special run across 331 IMAX and IMAX 3D theaters from June 2 up to June 9.[92][93] The film made $2 million from Thursday night previews which began at 5 p.m., compared to the first film's $4.6 million.[94][95][96] On its opening day it earned $12.5 million (including previews), with $4.4 million (36%) coming from 3D showings.[97] In its opening weekend, it grossed $35.3 million, finishing first at the box office.[97] However, its opening was down 45% from the first film's $65.6 million debut.[98] Paramount vice chairman Rob Moore said that while the studio was hoping for a stronger opening, he believed that the film could make up some ground in the coming weeks since most films aimed at younger audiences play at better multiples.[99]

text: Outside North America, the film was released in about 30 overseas IMAX markets, beginning Wednesday, June 1, with additional markets throughout the summer, including China on July 2.[92] It opened across 40 markets the same weekend as its U.S. release, including big markets like the United Kingdom, Mexico and Russia, which is about 39% of its total international marketplace, and was projected to make around $36 million.[87][90][100] It ended up grossing $33 million, which is down 11% when compared to the first film's same suite of markets, and had No. 1 debuts in 21 markets out of the 40.[101] The top openings were in China ($26.1 million), the UK ($5.1 million), Russia ($4.8 million) and Mexico ($4.5 million).[102][103]  In the United Kingdom, it came in second place – behind Warcraft – with a £3.49 million ($5 million) seven-day opening from 513 theaters.[102][104]

text: In China the film was granted a rare July release date (along with The Legend of Tarzan,[105] where it grossed an estimated $26.1 million from 6,600 screens in two days. It had a limited opening on Friday, July 1 and opened wide the following day. It faced competition from local film Bounty Hunters which had the advantage of opening wide right from Friday. Yet, Out of the Shadows emerged victorious at the end of the weekend ahead of the latter's $18 million opening. As a result, Out of the Shadows became the ninth consecutive Hollywood import film to debut atop the chart beginning from May 6, 2016. In comparable to Saturday releases, the figure is almost double the launch of Big Hero 6; 41% above the first film; and 18% higher than The Angry Birds Movie.[103][106][107] It fell precipitously in its second weekend by 74%, earning $6.6 million and thereby slipped in to fourth place. It opened in key markets such as Germany and Austria on August 11 as well as Japan on August 26, 2016.[108]

text: Critical response[edit]

text: On Rotten Tomatoes, the film has an approval rating of 37% based on 161 reviews, with a rating average of 4.7/10. The site's critical consensus reads, "Teenage Mutant Ninja Turtles: Out of the Shadows is a slight improvement over its predecessor, but still lacks the wit or anarchic energy of the comics that birthed the franchise."[109] On Metacritic, the film has a score of 40 out of 100, based on 30 critics, indicating "mixed or average reviews".[110] Audiences polled by CinemaScore gave the film an average grade of "A-" on an A+ to F scale, an improvement over the first film's "B".[111]

text: Glenn Kenny of The New York Times gave the film a positive review writing, "This movie is, it happens, easier to sit through than the 2014 film", while also adding that "The 3-D action, overseen by the director Dave Green, is not wholly incoherent. The production values (showcasing new mutants and many gear-heavy extra-dimensional machines undreamed of in any actual engineering philosophy) are ultrashiny. And there are even a couple of amusing, albeit unmemorable, sight gags and one-liners."[112] Edward Douglas of New York Daily News gave the film three out of five stars, saying, "As with the best popcorn flicks, Out of the Shadows offers plenty of mindless entertainment and mind-numbing silliness that somehow works well enough to leave even the Ninja Turtles' biggest detractors shell-shocked."[113] Michael O'Sullivan of The Washington Post praised the film's action sequences and story while overall writing that, "Out of the Shadows is, at least, deliciously silly, even if it is also decidedly forgettable. Like a well-plated but nutrition-free meal, it registers on the senses while being bad for you."[114]

text: Peter Hartlaub of San Francisco Chronicle gave the film a negative review, writing, "Your 11-year-old is going to love this film. Then he'll grow up and wonder what he was thinking."[115] Sara Stewart of The New York Post gave the film two out of four stars and wrote, "despite the title, the wisecracking turtles named for Renaissance painters are never allowed to shine... It’s a bummer, dude."[116] Lindsey Bahr of the Associated Press gave the film one star out of four and said, "Teenage Mutant Ninja Turtles: Out of the Shadows is a Saturday morning cartoon on Michael Bay steroids. For the under 12 set, that's fine. For the rest of us? It's something to actively avoid."[117]

text: Accolades[edit]

text:
Year
Award
Category
Recipients
Result
Ref.

2016

2016 Teen Choice Awards
Choice Summer Movie Star: Female
Megan Fox
Nominated
[118]

Choice Summer Movie Star: Male
Stephen Amell

2017

37th Golden Raspberry Awards
Worst Prequel, Remake, Ripoff or Sequel
Teenage Mutant Ninja Turtles: Out of the Shadows
[119]

Worst Actress
Megan Fox

2017 Kids' Choice Awards
Favorite Movie
Teenage Mutant Ninja Turtles: Out of the Shadows
[120]

Favorite Movie Actress
Megan Fox

Favorite Movie Actor
Will Arnett

Squad
Noel Fisher, Jeremy Howard, Pete Ploszek and Alan Ritchson

text: Future[edit]

text: On August 16, 2014, Noel Fisher stated in an interview that he and the other Turtle actors have signed on for three more films.[121] Megan Fox has also signed on for three films.[122] On May 20, 2016, Tyler Perry said that if a third film is to be made, his character, Baxter Stockman, would probably mutate into his fly form during the movie.[123] Pete Ploszek has also expressed his interests in reprising his role in a third film as Leonardo.[124] On October 29, 2016, producer Andrew Form indicated that no plans were underway for a third film.[85]

text: On June 20, 2018, it was reported that Paramount Pictures will once again reboot the series.[125][126]

text: Film in the United States portalSuperhero fiction portalComedy portal2010s portal


document_title: Tin Woodman

question_text: who in wizard of oz needed a heart

question_tokens: who in wizard of oz needed a heart

text: Tin Woodman

text: Character in the book series[edit]

text: Originally an ordinary man by the name of Nick Chopper (the name first appearing in The Marvelous Land of Oz), the Tin Woodman used to make his living chopping down trees in the forests of Oz, as his father had before him. The Wicked Witch of the West enchanted his axe to prevent him from marrying his sweetheart, after being bribed by the lazy old woman who kept the Munchkin maiden as a servant, and did not wish to lose her. (In a later book of the series, The Tin Woodman of Oz, the woman is said to be the Witch's servant, and it is the Witch herself who decides to enchant Nick's axe.) The enchanted axe chopped off his limbs, one by one. Each time he lost a limb, Ku-Klip the tinsmith replaced it with a prosthetic limb made of tin. Finally, nothing was left of him but tin. However, Ku-Klip neglected to replace his heart. Once Nick Chopper was made entirely of tin, he was no longer able to love the lady he had fallen for.

text: In The Wonderful Wizard of Oz, Dorothy Gale befriends the Tin Woodman after they find him rusted in the forest, as he was caught in rain, and use his oil can to release him. He follows her to the Emerald City to get a heart from The Wizard. They are joined on their adventure by the Scarecrow and the Cowardly Lion. The Wizard sends Dorothy and her friends to the Winkie Country to kill the Wicked Witch of the West. The Tin Woodman's axe proves useful in this journey, both for chopping wood to create a bridge or raft as needed, and for chopping the heads off animals that threaten the party. When the Winged monkeys are sent by the Witch of the West against the group, they throw the Tin Woodman from a great height, damaging him badly. However Winkie Tinsmiths are able to repair him after the death of the Witch.

text: His desire for a heart notably contrasts with the Scarecrow's desire for brains, reflecting a common debate between the relative importance of the mind and the emotions. This occasions philosophical debate between the two friends as to why their own choices are superior; neither convinces the other, and Dorothy, listening, is unable to decide which one is right. Symbolically, because they remain with Dorothy throughout her quest, she is provided with both and need not select.[1] The Tin Woodman states unequivocally that he has neither heart nor brain, but cares nothing for the loss of his brain. Towards the end of the novel, though, Glinda praises his brain as not quite that of the Scarecrow's.

text: The Wizard turns out to be a "humbug" and can only provide a placebo heart made of silk and filled with sawdust. However, this is enough to please the Tin Woodman, who, with or without a heart, was all along the most tender and emotional of Dorothy's companions (just as the Scarecrow was the wisest and the Cowardly Lion the bravest). When he accidentally crushes an insect, he is grief-stricken and, ironically, claims that he must be careful about such things, while those with hearts do not need such care. This tenderness remains with him throughout the series, as in The Patchwork Girl of Oz, where he refuses to let a butterfly be maimed for the casting of a spell.[2]

text: When Dorothy returns home to her farm in Kansas, the Tin Woodman returns to the Winkie Country to rule as emperor. Later, he has his subjects construct a palace made entirely of tin — from the architecture all the way down to the flowers in the garden.

text: Baum emphasized that the Tin Woodman remains alive, in contrast to the windup mechanical man Tik-Tok Dorothy meets in a later book. Nick Chopper was not turned into a machine, but rather had his flesh body replaced by a metal one. Far from missing his original existence, the Tin Woodman is proud (perhaps too proud) of his untiring tin body.

text: A recurring problem for the Tin Woodman in The Wonderful Wizard of Oz and afterward was his tendency to rust when exposed to rain, tears, or other moisture. For this reason, in The Marvelous Land of Oz the character has himself nickel-plated before helping his friend the Scarecrow fight to regain his throne in the Emerald City. Even so, the Tin Woodman continues to worry about rusting throughout the Oz series.

text: This is inaccurate, in that tin does not rust; only iron does. This may reflect the usage where an object made of iron or steel but coated with tin (in order to prevent rusting) is called a "Tin" object, as a "tin bath", a "tin toy", or a "tin can"; thus, the Tin Woodman might be interpreted (in English, at least) as being made of steel with a tin veneer. One passage in The Road to Oz, by Baum himself, wherein the Woodman attends Ozma's birthday party accompanied by a Winkie band playing a song called "There's No Plate Like Tin," strongly implies that this is the case. Another explanation may be that the Woodman is chiefly made of tin, with iron joints; in some of the illustrations, his joints are a different color from the rest of his body.[3] In Alexander Volkov's Russian adaptation of The Wonderful Wizard of Oz, Volkov avoided this problem by the translation of "The Tin Woodman" as the "Iron Woodchopper".

text: The Tin Woodman appeared in most of the Oz books that followed. He is a major character in the comic page Baum wrote with Walt McDougall in 1904-05, Queer Visitors from the Marvelous Land of Oz. In Ozma of Oz, he commands Princess Ozma's army, and is briefly turned into a tin whistle. In Dorothy and the Wizard in Oz, he serves as defense counsel in the trial of Eureka. He affects the plot of a book most notably in The Patchwork Girl of Oz, in which he forbids the young hero from collecting the wing of a butterfly needed for a magical potion because his heart requires him to protect insects from cruelty. Baum also wrote a short book titled The Scarecrow and the Tin Woodman, part of the Little Wizard Stories of Oz series for younger readers.

text: In The Tin Woodman of Oz, Nick Chopper finally sets out to find his lost love, Nimmie Amee, but discovers that she has already married Chopfyt, a man constructed partly out of his own dismembered and discarded limbs. For the Tin Woodman, this encounter with his former fiancée is almost as jarring as his experiences being transformed into a tin owl, meeting another tin man, Captain Fyter, and conversing with his ill-tempered original head.

text: Baum's successors in writing the series tended to use the Tin Woodman as a minor character, still ruling the Winkie Country but not governing the stories' outcome. Two exceptions to this pattern are Ozoplaning with the Wizard of Oz, by Ruth Plumly Thompson, and Lucky Bucky in Oz, by John R. Neill. The biggest exception is in Rachel Cosgrove's The Hidden Valley of Oz, in which the Tin Woodman leads the forces in the defeat of Terp the Terrible and cuts down the Magic Muffin Tree that gives Terp his great size.

text: The fact that Nick includes the natural deaths of his parents in the story of how he came to be made of tin has been a major element of debate. In his eponymous novel, he proclaims that no one in Oz ever died as far back as Lurline's enchantment of the country, which occurred long before the arrival of any outsiders such as the Wizard. (It should be noted, however, that although the living creatures of Oz do not die of age or disease, they may die of accidents or be killed by others.)

text: The Tin Man in later fiction[edit]

text: In the 1998 novel The Tin Man, by Dale Brown, the eponymous protagonist is a power-armored vigilante whom the media and police have dubbed The Tin Man for his physical resemblance to the Wizard of Oz character.

text: The Tin Woodman is a minor character in author Gregory Maguire's 1995 revisionist novel Wicked: The Life and Times of the Wicked Witch of the West, its 2003 Broadway musical adaptation and Maguire's 2005 sequel Son of a Witch. In the book, Nessarose - the Wicked Witch of the East - is seen enchanting the axe to swing around and chop off Nick Chopper's limbs. She does this for a peasant woman who wishes to stop her servant, probably Nimmie Amee, from marrying Nick Chopper. This seems to be close to the Tin Man's origin in the original books, but from the Witch's perspective.

text: In the musical adaptation of Wicked the Tin Man is revealed to be Boq, a Munchkin whom Nessarose, the Wicked Witch of the East, fell in love with when they were at school together. When she discovered his heart belonged to Glinda, she botched a spell that was meant to make him fall in love with her by taking his heart, but instead shrunk his heart to nothing by taking it away without 'giving' it to Nessa. To save his life, Elphaba, the Wicked Witch of the West, was forced to turn him into tin. Not understanding her reasons, he pursues Elphaba with a single-minded vengeance for his current form. The Tin Man's humble origin in the novel conflicts with his having been the aristocratic Boq.

text: In Oz Squad, Nick was shown in a sexual relationship with "Rebecca Eastwitch" in order to get closer to Nimmie Amee and attempt to elope with her.

text: A darker twist to the beloved woodman is made by author James A. Owen in the fourth installment of his series, The Chronicles of the Imaginarium Geographica when his identity is revealed to be Roger Bacon.[4]

text: The Tin Woodman appears in the 2011 TV series Once Upon a Time episode "Where Bluebirds Fly" portrayed by Austin Obiajunwa (as a teenager) and by Alex Désert (as an adult).[5] In this version he goes by the name Stanum (derived from the Latin word "stannum", which means "tin").

text: Since youth, Stanum has been a woodcutter and one day when he first met Zelena, the daughter of another woodsman, he finds out that Zelena has magic and befriends her, regardless of whatever the children say about Zelena, who they see as a freak. Many years later, Stanum, now a man, is punished by the Wicked Witch of the North for chopping down a tree in her domain, and his body slowly begins to transform into tin. To prevent himself from completely becoming tin, Stanum seeks out help from Zelena (now the Wicked Witch of the West) at the Emerald City of Oz. Zelena agrees to help him seek out the Crimson Heart, which can save him. During their quest, Stanum tells Zelena that she doesn't have to be lonely but she is doing her best to deny his advice. Suddenly, a lion comes of nowhere to attack Stanum, and Zelena uses her magic to make the lion go away (at this point the lion has become as Zelena would put it, cowardly). When they finally arrived to the location of the Crimson Heart, the two learned that the only way to make it work is through the absorption of another person's magic. Unfortunately Zelena's actions and selfish greed for magic causes her to betray Stanum, whom she suspect was aligned with Dorothy by keeping the Crimson Heart for herself, leaving Stanum to transform into the Tin Man permanently. Some time later, when Robin Hood arrives in Oz in the episode "Heart of Gold", the Tin Man is seen on the side of the Yellow Brick Road, torn apart.

text: Depictions on stage and screen[edit]

text:
In 1902, Baum helped to adapt The Wizard of Oz into a wildly successful stage extravaganza. David C. Montgomery played the Tin Woodman, Niccolo Chopper (who played the piccolo), opposite Fred Stone as the Scarecrow, and the team became headliners. The piccolo would continue to appear in early adaptations, such as the 1910 film, but was largely forgotten, and the name "Niccolo" never appeared in one of the books. Revisionist books like Oz Squad have referred to him as "Nicholas," a name not found in the books, either.
In the classic 1939 film The Wizard of Oz, the Tin Man was played by actor Jack Haley. Originally, Ray Bolger was cast to play the role of Tin Man, despite his desire to play the Scarecrow. Buddy Ebsen was, at the time, cast as Scarecrow, and was convinced to swap roles with Bolger.[6] While this pleased Bolger, it led to medical problems for Ebsen. The Tin Man's makeup originally contained aluminum powder which got into Ebsen's lungs, bringing him to the edge of death. He was rushed to a hospital and had to give up the role. Despite this, and the fact that the Tin Man's makeup was changed to a safer aluminum paste, Ebsen went on to outlive both Bolger and Haley. Haley based his breathy speaking style in the movie on the voice he used for telling his son bedtime stories. His portrayal of the character is by far the most famous. There is no explanation in the film of how the Tin Man became the Tin Man. It is subtly implied that he was always made of tin; the only reference to the tinsmith is the Tin Man's remark "The tinsmith forgot to give me a heart". Unlike the costumes of the Scarecrow (in the National Museum of American History) and Cowardly Lion (two sets in private hands), that of the Tin Man "was largely destroyed".[7][8] Haley also portrayed the Tin Man's Kansas counterpart, Hickory (one of Aunt Em and Uncle Henry's farmworkers). Screenwriter Noel Langley created this character for the film.[9] Hickory helps Zeke (Lion's alter ego) lower a bed into its place on a wagon at the farm. Unlike Zeke, Hickory and Hunk (Scarecrow's alter ego) lose their hats with Uncle Henry as they struggle to open the cellar when the tornado approaches the farm. He reunites with Dorothy when she awakes from being unconscious. Hickory is seen with Aunt Em, Uncle Henry, Zeke, and Hunk as well as Professor Marvel (The Wizard's alter ego).
In the original Broadway version of The Wiz, Tiger Haynes played the Tinman, a human woodcutter who became tin after the Wicked Witch of the East cursed his axe to chop him up (as in the book). Nipsey Russell played the Tinman in the film adaptation of The Wiz. In this version, as in the 1939 movie, there is no explanation of how he became tin, just a reference of the "genius who created me". He worked as the carnival barker and when the park was closed, he was abandoned, rusted and squeezed by his fourth wife, "Teeny" (a heavy tin sculpture of a fat lady). He was saved by Dorothy and the Scarecrow. Ne-Yo played the Tinman in the TV special The Wiz Live!. This version portrayed him as a construction worker on whom the Wicked Witch of the East developed an unrequited crush. When she found out he already had a girlfriend, "Bertha", she became so jealous, she turned him into a heartless tinman. The Witch boasted afterwards that if she couldn't have his heart, then no one could. Like Jack Haley in the 1939 movie, Ne-Yo also played one of Aunt Em's farmhands - John, who walks with a metal leg brace.
Other notable actors who have played the Tin Woodman include Oliver Hardy in a 1925 silent version of The Wizard of Oz directed by and starring Larry Semon, in which a villainous farmhand briefly fell into a tin pile and emerged as a "Tin Woodsman" [sic]. In subsequent scenes the tin was removed and he became "Knight of the Garter". In the 1960 television adaptation of The Land of Oz, he was played by vaudeville comedian Gil Lamb; in the 1969 film, The Wonderful Land of Oz he was played by Al Joseph; and in the 1985 film Return to Oz, he was played by Deep Roy, a little person who was able to fit inside a costume that looked nearly identical to John R. Neill's artwork.
In the 1961 animated TV series, Tales of the Wizard of Oz and its sequel, the 1964 NBC animated television special Return to Oz, the Tin Man (here named Rusty) was voiced by Larry D. Mann.
In the 1970s, the Tin Woodman appeared in a series of short animated educational films about heart health from Joleron Productions.
In an episode of The World's Greatest Super Friends, Superman temporarily became the Tin Man after a tornado took him, Wonder Woman, and Aquaman to Mister Mxyzptlk's planet of Oz.
In a 1981 episode of Scooby-Doo and Scrappy-Doo, Scrappy is dressed as the Tin Man after a tornado took him, Shaggy, and Scooby to "Ahz", a direct spoof of Oz with a different spelling by its enunciation.
In 1985, the Tin Woodman appeared in the educational film Act on Arthritis as well as in promotional commercials.
Roger Daltrey portrayed this character in the 1995 television stage performance The Wizard of Oz in Concert: Dreams Come True. The Kansas farmworker Hickory does not appear in this production. Daltrey performed a rock and roll tempo of "If I Only Had a Heart" in which he swung his microphone mimicking his Who persona. He also performed the bridge verses sung by the Tin Man in Nathan Lane's long version of "If I Only Had the Nerve". Toward the end, he hugged the Wizard (Joel Grey) saying to him "Thank you from the bottom of my heart!".
In 1996, they made a cartoon animated The Oz Kids. He has a son named Tin Boy. Like his father he can cut wood with his ax. And he has to be careful with water and snow or he'll be rust. His voice played by Andy Milder.
Hiroki Tsujiai from Ultra Maniac dresses as the Tin Man in the costume party.
James Kall portrayed the Tin Man in the 2001 ABC miniseries Life with Judy Garland: Me and My Shadows.
The Muppet Gonzo plays a similar role, the Tin Thing, in 2005's television film The Muppets' Wizard of Oz. In this version, he is the Wicked Witch's research assistant, transformed into a robot to prevent him wanting a day off to marry Camilla. Gonzo's other role is himself. He appears at the end of this film in the Muppets' show.
In 2006, the Tin Man was the protagonist in a pair of television commercials for Chef Boyardee brand canned Beef Ravioli, in a costume identical to the design used in the 1939 Oz film. In the commercials, the Tin Man (played by Australian actor David Somerville) is pursued by groups of children due to the fact that an oversized Beef Ravioli can label has been affixed to the back of his cylindrical torso (which he doesn't notice until the midpoint of the first commercial); thus, he appears to be a very large, mobile can of ravioli. In the first ad, the Tin Man escapes from his pursuers only to discover that the building he ducked into is an elementary school cafeteria full of hungry children and a teacher. The second ad begins with the Tin Man running through a residential neighborhood, accidentally adding to his pursuers when he stumbles across a backyard birthday party; after fleeing across a golf course (while dodging balls from the driving range), he is cornered in another backyard and threatened with a garden hose (playing on the Tin Man's classic weakness of rusting). As the scene shifts to the image of a Beef Ravioli can, sounds of water hitting metal and the Tin Man's cries for help are heard.
In 2006, the Chicago Under Ground Film Festival premiered Lee Lynch’s feature film titled Transposition of the Great Vessels. Based on the story of his own parents, who moved from Redding to Los Angeles, in hopes of making a better life. His father wanted to work for the forest service, and his mother wanted to be a cook, but their baby was born with a rare heart condition. They were forced to give up those dreams, and make choices that would give them insurance and stability. A naturalist movie interspersed with dream sequences; the “Tin Woodman” makes an appearance while on his deathbed, at UCLA Medical Center.
At Sundance of 2007, a film premiered by young director Ray Tintori entitled Death to the Tinman. It is a somewhat modernized retelling that takes place at sometime in the 1900s, in the town Verton, rather than Oz. However, the book of the same name, which tells the origins of the character, is cited by opening intertitles as the source. Although the basic premise is nearly identical, much of the details and all names and locations have been changed. This is partially due to the film's satirical look at criminal reenactments, as it states at the beginning that names "have been changed to protect the innocent." Perhaps the most interesting change that story makes, though, is the origin of the curse upon the Tinman's Axe, which is changed from being the Witch to being a curse from God. This film won a short filmmaking award at Sundance.
A 2007 CG animated short film called "After Oz",[10] produced by the film students at Vancouver Film School, centered on a stylized version of the Tin Man, after he has received his heart from Oz. The movie shows him moving through a colorful Oz city with his brand-new mechanical heart, before meeting a reddish female Tin Woman (or robot?) to whom he gives the heart. She proceeds to cruelly play with the heart.
An internet-collaboration, CG animated feature based on Baum's book The Tin Woodman of Oz was produced by A:M Films, and completed in 2009.
In 2010, Whitestone Motion Pictures[11] produced a 23-minute live-action short film, Heartless: The Story of the Tin Man. The film is based on the book The Tin Woodman of Oz, where Woot the Wanderer visits the Tin Man and asks how he came to be made of tin. In the film, the Tin Man appears to be more steam- or coal-powered. His chest cavity is covered by a door which reads "Pedudoe Tin Co." but this is a reference to the workings of the film company, and not a reference to any Oz book or material. The movie was made available for free viewing online and free downloading of its soundtrack.
In the 2013 prequel, Oz the Great and Powerful, although the Tin Woodman does not physically appear, the film introduces his creator, the Master Tinker, portrayed by Bill Cobbs.[12]
Tin Man appears in the animated film Legends of Oz: Dorothy's Return (which is based on Dorothy of Oz), voiced by Kelsey Grammer.
The Woodsman, a 2012 stage play written by James Ortiz with music by Edward W. Hardy, tells the backstory of the Tin Man, using puppetry, movement, and music. The play has received multiple Off Broadway productions, and won a 2016 Obie Award for Ortiz's puppet design.[13]
In the TV series Emerald City, the Tin Woodman equivalent is Jack (Gerran Howell), a friend of the enigmatic Tip, who helps 'him' escape from his imprisonment by a witch. When it is revealed that Tip is actually a girl whose true identity was suppressed by a potion, her strained emotional state causes her to push Jack over a balcony after he kisses her. Jack is subsequently found and rebuilt by scientists in a cyborg-like state; his head and right arm are still organic, but his heart and the rest of his body has been replaced or covered by mechanical armour.
The Tin Man appears in Once Upon a Time. In this show, he started out as a woodcutter named Stanum (portrayed by Austin Obiajunwa as a young man and by Alex Désert as an adult) who encountered a younger Zelena when she saved a bird's nest. When two bullies show up to harm Zelena, Stanum helped to fend them off. Years later, Stanum comes to Zelena for help. He tells Zelena that he is slowly turning to tin after he was cursed by the Wicked Witch of the North for cutting down a tree in her area. Stanum states that the Crimson Heart artifact might be able to help him, but needs Zelena's help to get by the beast that guards it. When close to its location, Stanum is attacked by a lion who is then fended off by Zelena. When they get to the heart, Zelena picks it up and felt some of her magic draining. When Zelena claims that Dorothy Gale put Stanum up to this task, Stanum commented that he never met Dorothy. He also stated that Zelena once claimed on the day they met that she would be happy being a normal human. As Stanum fully turns to tin and is unable to move, Zelena takes the box containing the Crystal Heart and leaves while telling Stanum that perhaps Dorothy will meet Stanum and free him.

text: Modern works[edit]

text: This article gives self-sourcing examples without describing their significance in the context of the article. Please help improve this article by adding citations to reliable sources that describe the examples' significance, and by removing less pertinent examples. Unsourced or poorly sourced material may be challenged or removed. (November 2017) (Learn how and when to remove this template message)

text:
The song "Country Robot/A Letter to Dorothy" by The Incredible Moses Leroy is written from the Tin Man's perspective; it includes the lyrics "You gave me oil, I was a rusty load/ You even helped me find my heart."
In the song "Tin Man" by the band America, the lyrics state that "Oz never did give nothin' to the Tin Man, that he didn't, didn't already have." The rest of the song has nothing to do with the Tin Man or Oz.
Country artist Kenny Chesney recorded the song "Tin Man" for his album "All I Need to Know". The first verse and refrain state:
Tracy Chapman included a song titled "Remember the Tinman" on her 1995 album New Beginning.
In the VeggieTales episode The Wonderful Wizard of Ha's, the Tin Man and his Kansas counterpart from the 1939 film were played by Larry the Cucumber.
In the 2007 Sci-Fi miniseries Tin Man, a "Tin Man" is a term used for the law enforcers of Central City in the Outer Zone (O.Z.) One of the story's protagonists, Wyatt Cain (played by Neal McDonough in the title role), is a Tin Man whose past left him hardened and distant from others. In addition, he is first found by Dorothy imprisoned in an iron suit that replays a non-stop loop of the capture of his wife and child.
The Avett Brothers 2009 Album I and Love and You features a song called "Tin Man".
Verses of the Future Islands 2010 post-pop, synth-ballad Tin Man contain numerous metaphorical, Tin-Man related references. The song also features a powerful and climactic end chorus consisting solely of the repeated line - "I am the Tin Man".
In the 2011 direct-to-DVD animated film Tom and Jerry and the Wizard of Oz, the Tin Man was voiced by Rob Paulsen.
The Tin Man appears in Dorothy and the Witches of Oz played by Jordan Turnage. He appears in the form of a man named Nick (played by Billy Boyd).
A 1990 episode of Star Trek: The Next Generation is titled "Tin Man."
The Phineas & Ferb episode "Wizard of Odd" features the Tin Man in his rusted state, but he is never freed from this condition. He is also featured in an end credits song entitled "Rusted."
Mickey Mouse Clubhouse did a parody special entitled "The Wizard of Dizz," in which the role of the Tin Man is played by Mickey Mouse.
The parody The Muppets' Wizard of Oz featured Gonzo the Great in the role of the Tin Man.
In the game Code Name: S.T.E.A.M., Tin Man, along with other Oz characters, is a playable character. His design is more based on Japanese culture and he have the ability to give steam to allies.
The Tin Woodman appears as a major antagonist in Danielle Paige's Dorothy Must Die novel series. In this series, Dorothy and her friends have been corrupted by Dorothy's use of magic and the 'magic' in the gifts they received from the Wizard, with the Tin Woodman now driven by a twisted 'love' for Dorothy that is nevertheless unrequited. He is described as possessing a more twisted appearance, with his legs compared to horses' legs and his hands possessing knives for fingers. At the conclusion of the first novel, series protagonist Amy Gumm cuts out his heart, having been informed by the Wizard that she must take the gifts of Dorothy's companions to kill Dorothy herself.

text: Sources of the Tin Man image[edit]

text: Economics and history professors have published scholarly studies that indicate the images and characters used by Baum and Denslow closely resembled political images that were well known in the 1890s.[14] They state that Baum and Denslow did not simply invent the Lion, Tin Woodman, Scarecrow, Yellow Brick Road, Silver Slippers, cyclone, monkeys, Emerald City, little people, Uncle Henry, passenger balloons, witches and the wizard. These were all common themes in the editorial cartoons of the previous decade. The notion of a "Tin Man" has deep roots in European and American history, according to Green (2006), and often appeared in cartoons of the 1880s and 1890s.[15] Baum and Denslow, like most writers and illustrators, used the materials at hand that they knew best. They built a story around them, added Dorothy, and added a series of lessons to the effect that everyone possesses the resources they need (such as brains, a heart and courage) if only they had self-confidence. The Wonderful Wizard of Oz was a children’s book, of course, but as Baum warned in the preface, it was a "modernized" fairy tale as well.

text: The Tin Man—the human turned into a machine—was a common feature in political cartoons and in advertisements in the 1890s. Indeed, he had been part of European folk art for 300 years. In political interpretations of The Wonderful Wizard of Oz, the Tin Woodman is supposedly described as a worker, dehumanized by industrialization. The Tin Woodman little by little lost his natural body and had it replaced by metal; so he has lost his heart and cannot move without the help of farmers (represented by the Scarecrow); in reality he has a strong sense of cooperation and love, which needs only an infusion of self-confidence to be awakened. In the 1890s many argued that to secure a political revolution a coalition of Farmers and Workers was needed.[16]

text: The 1890 editorial cartoon to the right shows President Benjamin Harrison wearing improvised tin armor because he wanted a tariff on tin. Such images support the argument that the figure of a "tin man" was in use as political allegory in the 1890s. The man on the right is politician James G. Blaine.

text: The oil needed by the Tin Woodman had a political dimension at the time because Rockefeller's Standard Oil Company stood accused of being a monopoly (and in fact was later found guilty by the Supreme Court). In the 1902 stage adaptation, which is full of topical references that do not appear either in the novel or in any of the film adaptations (unless they are satirical), the Tin Woodman wonders what he would do if he ran out of oil. "You wouldn't be as badly off as John D. Rockefeller," the Scarecrow responds, "He'd lose six thousand dollars a minute if that happened."[17]


document_title: The People's Court

question_text: who pays the winner on people's court

question_tokens: who pays the winner on people 's court

text: The People's Court

text: Conception[edit]

text: When John Masterson devised the original camera-in-court concept in 1975, he first pitched it to Monty Hall, the producer and host of the game show Let's Make a Deal, and his partner, producer-writer Stefan Hatos. They put a young associate, Stu Billett, in charge of selling it, but the networks were not interested. Billett later went out on his own and refined the concept into a show shot in a studio rather than a real courtroom. Small-claims court participants agreed to drop their court cases and accept binding arbitration in a simulated courtroom. The networks expressed interest, but still did not buy it; however, it did sell into the first-run syndication market.[3] The series was executive produced by Ralph Edwards, who also created and hosted the documentary show This Is Your Life, and Stu Billett, who later went on to create Moral Court. John Masterson, whom many consider a pioneer and originator of "reality TV" also created Bride and Groom and Breakfast in Hollywood.

text: The People's Court is the first court show to use binding arbitration, introducing the format into the genre in 1981. The system has been duplicated by most of the show's successors in the judicial genre. Moreover, The People's Court is the first popular, long-running reality in the judicial genre. It was preceded only by a few short-lived realities in the genre; these short-lived predecessors were only loosely related to judicial proceedings, except for one: Parole (1959) took footage from real-life courtrooms holding legal proceedings.[4] Prior to The People's Court, the vast majority of TV courtroom shows used actors, and recreated or fictional cases (as did radio before that). Among examples of these types of court shows include Famous Jury Trials and Your Witness.

text: The People's Court has had two incarnations. The show's first life was presided over solely by former Los Angeles County Superior Court Judge Joseph Wapner.[5][6] His tenure lasted from the show's debut on September 14, 1981, until May 17, 1993, when the show was cancelled due to low ratings.[7] This left the show with a total of 2,484 half-hour episodes and 12 seasons. The show was taped in Los Angeles during its first life. After being cancelled, reruns aired in syndication until September 9, 1994,[8] and on the USA Network from October 16, 1995, to June 6, 1997.[9][10]

text: On September 8, 1997, after being out of production for four years, The People's Court was revived for a second life in first-run syndication as a 60-minute program. Former lawyer and Mayor of New York Ed Koch was chosen as arbiter, which he maintained for two seasons. By the 1999–2000 season, former New York State Supreme Court Judge Jerry Sheindlin (husband of Judy Sheindlin from Judge Judy) succeeded Koch. Sheindlin only lasted one and a half seasons and was replaced towards the end of the 2000–01 season. Since spring 2001, Marilyn Milian has been the judge.

text: First version (1981-93)[edit]

text: The People's Court pilot episode was taped on October 23, 1980, with a second pilot episode taped on January 13, 1981. It debuted in syndication on September 14, 1981.

text: The judge from the show's original 12 years (including the 1980 pilot), was Joseph Wapner. Rusty Burrell was his bailiff,[11] Jack Harrell was the announcer, and Doug Llewelyn was the host and court reporter, who announced the matter of the dispute at the beginning of each trial. He also interviewed the plaintiff and the defendant after the court ruling, to gauge their responses to the verdict. Llewelyn often ended each episode with a jaunty "If you're in a dispute with another party and you can't seem to work things out, don't take the law into your own hands; you take 'em to court," which became something of a 1980s catchphrase. If a case ended with a verdict for the defendant, however, Llewelyn instead ended the episode by saying, "If someone files a lawsuit against you and yet you're convinced you've done nothing wrong, don't be intimidated. The best policy is to go to court and stand up for your rights."

text: The cases often had pun-related names, such as "The Case of the Overdone Underthings" and "A Head with a Beer on It".

text: Judge Wapner greeted his litigants by saying, "I know you've been sworn. I've read your complaint..."

text: Occasionally, if an episode wrapped up a few minutes early, Judge Wapner fielded questions from the courtroom observers, or the legal consultant explained the legal reasons behind Wapner's decisions.

text: The People's Court deals in small-claims matters. When the show premiered in 1981, litigants could not sue for more than US$1,500, which was the limit for small-claims court at the time in California. As the laws in California changed, so did this amount. Starting in 1990, litigants could sue for up to US$5,000, which is now the law in most states.

text: Researchers for the show examined small-claims filings in Southern California and approached the plaintiff and defendant in interesting cases. The producers offered to have Judge Wapner arbitrate the dispute if they would agree to dismiss their action and be bound by Judge Wapner's decision. Through this approach, the show could get real people with real cases. Though the show is decorated and run like a real courtroom, it is not a real court or part of any judicial system, but instead a form of binding arbitration.

text: The losing party does not actually need to pay the judgment, as such. Instead (as is stated in the disclaimer at the end of each show), both parties are paid from a fund (set up by Ralph Edwards-Stu Billett Productions). This fund was based on the amount of the lawsuit claim, but an exact formula was not stated. The fund was to be first divided equally, then any monetary judgment ordered was subtracted from the loser's half (and presumably both halves in the case of cross judgments). Each litigant received at least what remained of their half in shows concluding with that disclaimer.

text: The disclaimer did not call this fund an "appearance fee", a term which appeared later in connection with The People's Court and other court shows. There may have been a later period when The People's Court paid the judgment, plus expenses and only a modest appearance fee to each litigant.[12]

text: Cancellation[edit]

text: After 12 seasons on The People's Court, Wapner was not invited back to the court show in 1993. The producers of The People's Court wished to revamp the series, but they didn't notify him of the decision, which he eventually learned of from his brother-in-law, who read about it in The San Francisco Chronicle. Wapner expressed holding great resentment and bitterness at the court show's producers for finding out this way, and additional resentment over being let go when, according to him, the show was still doing well. However, although the show had a good run ratings-wise, the ratings had dropped to an all-time low at around the time The People's Court was cancelled.

text: Wapner stated that he was told years later that the producers did not want to hurt his feelings, but that it was exactly what they did. He also stated that he was not notified when the producers decided to revamp the series, and that he held no opinions on The People's Court judges who succeeded him as he never watched the program. He did, however, note that the two People's Court judges who succeeded him, Ed Koch and Jerry Sheindlin, only lasted two seasons each, whereas he lasted 12 seasons. He also emphasized that judges need to be respectful of litigants.[13]

text: Second version (1997-present)[edit]

text: On September 8, 1997, a new version of The People's Court debuted in first-run syndication as a 60-minute program. The series as a whole reached its 32nd season on September 5, 2016, with its 20th season in its current production cycle. By that point, the 1997 revival has already outlasted its original version, which ran 12 seasons. The show's second life has been headed by three judges since its debut.

text: Ed Koch (seasons one-two, 1997-99)[edit]

text: When the new People's Court premiered in 1997, former New York newscaster Carol Martin of WCBS-TV hosted from a studio with Harvey Levin, who was involved with the prior edition of the series as a legal consultant, serving as a co-host in the field taking questions and opinions from people at the Manhattan Mall, then returning to the studio at the end of the show for a wrap-up. Curt Chaplin was hired to serve as the show's announcer and to fill Doug Llewelyn's position as the court reporter, although with the addition of a host, his role was limited to interviewing the litigants after the conclusion of each case.

text: Former New York City Mayor Ed Koch presided over the court from September 8, 1997, to June 25, 1999 (with reruns airing until September 10).[14] Several months into the run, Martin departed the series and Levin became the series' sole host. The studio segments were done away with and Levin hosted the entire episodes from the viewing area, which eventually moved from the Manhattan Mall to the Times Square visitors' center. Since Levin is now based in Los Angeles with TMZ, the viewing area has moved to the Third Street Promenade in Santa Monica, California, while production of The People's Court has moved to Connecticut. The opening outlines of the taped cases are shown to people in the outdoor viewing area on a monitor. Their responses are edited into the program.

text: Jerry Sheindlin (seasons three-four, 1999-March 2001)[edit]

text: Judge Jerry Sheindlin (husband of former New York Family Court Judge Judith Sheindlin, the presiding judge over the court show Judge Judy[15][16]) sat on the bench from September 13, 1999,[14] to March 9, 2001, and ratings on the show lagged.[17] The bailiff for both of these judges' tenures was Josephine Ann Longobardi.

text: Marilyn Milian era (since season four, 2001–present)[edit]

text: On March 12, 2001, late in The People's Court's fourth season, retired Florida State Circuit Court Judge Marilyn Milian replaced Sheindlin as presiding judge on the court show.[18] Under Milian, People's Court ratings improved significantly.[17] Milian is the first Latina judge to preside over a courtroom series.[1] Milian is also the show's youngest and first female arbitrator. By the completion of the 16th season of The People's Court (2012–13), Milian had completed 12 and a half seasons presiding over the series, officially making her the longest reigning judge over the program—outlasting Joseph Wapner's reign of 12 seasons. Now in its 20th revival season, Milian enters her 16th season presiding over the series. For the remainder of the 2000–01 season, Davey Jones took over the role as bailiff, replacing Longobardi. In September 2001, Jones was replaced by Douglas McIntosh, who remains in the position as of March 2018[update].

text: In 2008, The People's Court, under Milian's reign, was nominated for a Daytime Emmy Award under a new Courtroom/Legal Show category created by the Academy of Television Arts & Sciences. In 2009 and 2010, the show was nominated again for the Daytime Emmy Award under the same category, but did not win. On May 1, 2013, The People's Court had again been nominated for an Outstanding Legal/Courtroom Program Daytime Emmy, but again did not win.[19]

text: The People's Court finally won a Daytime Emmy in 2014 and again in 2015

text: The show taped in Manhattan for the first 15 seasons of the revival, and began taping in Stamford, Connecticut, in the 16th season (2012–13), where it continues to originate.[20]

text: For the show's 20th season, Doug Llewelyn returned to the series for the first time since the end of the original series. He resumed his previous role as reporter, replacing Curt Chaplin, who remains in his announcer role as of March 2017[update]. For his first show back, Judge Milian welcomed him "home" and handed him his suit jacket and microphone.[21]

text: Series overview[edit]

text: Opening monologue[edit]

text: When the original People's Court first hit the air, the monologue was:

text: What you are about to witness is real. The participants are not actors. They are the actual people who have already either filed suit or been served a summons to appear in a California municipal court. Both parties in the suit have agreed to dismiss their court cases and have their disputes settled here, in our forum: The People's Court.

text: Later, the show opened with:

text: What you are witnessing is real. The participants are not actors. They are actual litigants with a case pending in a California municipal court. Both parties have agreed to dismiss their court cases and have their disputes settled here, in our forum: The People's Court.

text: In the 1997 revival, the line was:

text: What you are witnessing is real. The participants are not actors. They are actual litigants with a case pending in a New York metropolitan area court/civil court. Both parties/sides have agreed to drop their claims and have their disputes settled here, in our/Judge Jerry Sheindlin's forum (the latter from the period when Jerry Sheindlin was the presiding judge): The People's Court.

text: When Marilyn Milian replaced Sheindlin in 2001, the previous introduction was revised:

text: What you are witnessing is real. The participants are not actors. They are actual litigants with real cases. They will settle their disputes here, in Judge Marilyn Milian's forum: The People's Court.

text: Later, Milian's introduction was revised:

text: There's a new judge in town, the honorable Marilyn Milian. She will be hearing real cases presented by real litigants who have agreed to have their disputes settled here in our forum: The People's Court.

text: Then the opening was changed to:

text: The whole country's talking about the honorable Marilyn Milian... [soundbite of Judge Milian saying, "Judge here!"]... the hottest judge on television. [Soundbite of Judge saying, "It's my ruling!"] She'll hear real cases from real litigants. Here, in our forum: The People's Court.

text: After a few months the soundbites of Judge Milian's voice were dropped from the opening, and the wording of Curt Chaplin's introduction was slightly changed:

text: Everybody's talking about the honorable Marilyn Milian, the hottest judge on television. Real cases, real litigants. Here, in our forum: The People's Court.

text: In September 2009, the new opening was revealed when the new season premiered:

text: What you are about to witness is real. The participants are not actors. They are actual litigants with a case pending in civil court. Both parties have agreed to drop their claims and have their cases settled here, before Judge Marilyn Milian, in our forum: The People's Court.

text: Litigant compensation[edit]

text: At the end of each show, the following disclaimer appears:

text: Both the plaintiff and the defendant have been paid from a fund for their appearance. The amount, if any, awarded in the case, is deducted from this fund, and the remainder is divided equally between both litigants. The amount of the fund is dependent on the size of the judgment.

text: No information is given as to what relation the amount of the fund bears to the size of the judgment, nor the amount of the fund if a verdict for the defense is rendered.[citation needed]

text: In a talk-show appearance, Judge Wapner gave a few more specifics as to how compensation was typically calculated. In his words, if the plaintiff won, the show would pay his/her judgment and give the defendant $50 for his time, whereas if the defendant won, the parties would "split $500".[citation needed]

text: In 1989, a litigant sued the producers, claiming, "I was only willing to appear because they guaranteed me $1,500. I never would have appeared on that show and made a fool out of myself for a chintzy $250." (In response, an associate producer said that before going on the show, participants are given a packet of information "where everything is clearly outlined to the nth degree.")[12]

text: The New York Post reported on some of the details surrounding compensation for a lawsuit filed by Claudia Evart. "The show pays all damages awarded to defendants and plaintiffs, as well as a $250 appearance fee."[22]

text: Production notes[edit]

text: The 1981–93 life of the show was initially taped at Golden West Broadcasters and, later, Metromedia in Los Angeles, before moving to The Production Group. In New York City, The People's Court first taped episodes at the NEP/Image studios in the former Grand Ballroom of the Hotel Pennsylvania, which was also the studio for the talk show Maury. In 1998, the show began taping at the MTI Studios on the 8th floor at 401 Fifth Avenue, where the courtroom received a makeover. In 2006, the MTI Studios were sold to NEP/Image. At the end credits of some episodes, the show is said to be taped at the NEP/Image studios. The former MTI studios are officially part of NEP Broadcasting's NEP Penn Studios.[citation needed]

text: In 2012, the show moved to the Connecticut Film Center in Stamford.[23] The aired episodes are sometimes spliced together in a different order from which they are taped. This is why the judge's blouse color may change and why fewer courtroom observers may be seen during the second half of the show than during the first half. For the 2012 season, the show started broadcasting in widescreen standard definition.

text: The People's Court is "A Ralph Edwards-Stu Billett Production" in association with Telepictures Productions and distributed by Warner Bros. Domestic Television Distribution. The original series was distributed by Telepictures, and later Lorimar-Telepictures, which is now part of Warner Bros.

text: Theme music[edit]

text: The theme music, "The Big One (People's Court Theme)", was composed by Alan Stanley Tew. The uptempo theme music, with prominent piano theme and bongo drum rhythm, has been sampled by many artists, including Nelly. It has also been featured in several films and television shows, including the 1977 pornographic film Barbara Broadcast, the 1979 low-budget film Malibu High, the BCTV current affairs show Webster!, SpongeBob SquarePants, The Simpsons, "Blue Harvest", the sixth-season premiere episode of Family Guy, the December 5, 2005, and December 21, 2009, editions of WWE Raw in Tampa, Florida, Malibu High, Boy Meets World, and Popular.[citation needed]

text: Ratings[edit]

text: As of September 2017 The People's Court ranks third behind number one Judge Judy and number two Hot Bench in the ratings for TV court shows.[24]

text: British version[edit]

text: A British version of the show was produced by STV Productions (then known as "SMG TV Productions") to replace Trisha Goddard's talk show on ITV in 2005. The court reporter was Carol Smillie, the male judge was Jerome Lynch, and the female judge was Rhonda Anderson.[25] The show was considered a failure and not renewed.