document_title: Triceratops

question_text: what is the closest relative to the triceratops

text: Triceratops

text: Description[edit]

text: Individual Triceratops are estimated to have reached about 7.9 to 9.0 m (25.9–29.5 ft) in length, 2.9 to 3.0 m (9.5 to 9.8 ft) in height,[14][15] and 6.1–12.0 tonnes (13,000–26,000 lb) in weight.[16] The most distinctive feature is their large skull, among the largest of all land animals. The largest known skull (specimen MWC 7584, formerly BYU 12183) is estimated to have been 2.5 metres (8.2 ft) in length when complete,[9] and could reach almost a third of the length of the entire animal.[6] A specimen of T. horridus named Kelsey measured 7.3 metres (24 ft) long with a 1.98 metres (6.5 ft) skull, stood about 2.3 metres (7.5 ft) tall, and was estimated by the Black Hills institute to weight nearly 6 tonnes (5.9 long tons; 6.6 short tons).[17] A Triceratops 8 metres (26 ft) long has been estimated by Gregory S. Paul to have massed 9.3 tonnes (9.2 long tons; 10.3 short tons).[18] It bore a single horn on the snout, above the nostrils, and a pair of horns approximately 1 m (3.3 ft) long, with one above each eye.[19] In 2010, paleontologists revealed a fossil (named "Yoshi's Trike," MOR 3027) with 115-centimetre-long (3.77 ft) horn cores, housed and displayed at the Museum of the Rockies in Montana.[20][21] To the rear of the skull was a relatively short, bony frill, adorned with epoccipitals in some specimens. Most other ceratopsids had large fenestrae in their frills, while those of Triceratops were noticeably solid.[22] T. horridus can be distinguished from T. prorsus by having a shallower snout.[18]

text: Triceratops species possessed a sturdy build, with strong limbs, short hands with three hooves each, and short feet with four hooves each.[4] Although certainly quadrupedal, the posture of these dinosaurs has long been the subject of some debate. Originally, it was believed that the front legs of the animal had to be sprawling at angles from the thorax in order to better bear the weight of the head.[8] This stance can be seen in paintings by Charles Knight and Rudolph Zallinger. Ichnological evidence in the form of trackways from horned dinosaurs and recent reconstructions of skeletons (both physical and digital) seem to show that Triceratops and other ceratopsids maintained an upright stance during normal locomotion, with the elbows flexed and slightly bowed out, in an intermediate state between fully upright and fully sprawling (as in the modern rhinoceros).[4][23][24][25]

text: The hands and forearms of Triceratops retained a fairly primitive structure compared to other quadrupedal dinosaurs such as thyreophorans and many sauropods. In those two groups, the forelimbs of quadrupedal species were usually rotated so that the hands faced forward with palms backward ("pronated") as the animals walked. Triceratops, like other ceratopsians and the related quadrupedal ornithopods, walked with most of their fingers pointing out and away from the body, the primitive condition for dinosaurs also retained by bipedal forms like the theropods. In Triceratops, the weight of the body was carried by only the first three fingers of the hand, while digits 4 and 5 were vestigial and lacked claws or hooves.[4] The phalangeal formula is 2-3-4-3-1, meaning that the innermost finger of the forelimb has two bones, the next has three, etc.[26]

text: Discovery and identification[edit]

text: The first named specimen now attributed to Triceratops is a pair of brow horns attached to a skull roof, found near Denver, Colorado in the spring of 1887.[27] This specimen was sent to Othniel Charles Marsh, who believed that the formation from which it came dated from the Pliocene, and that the bones belonged to a particularly large and unusual bison, which he named Bison alticornis.[27][28] He realized that there were horned dinosaurs by the next year, which saw his publication of the genus Ceratops from fragmentary remains,[29] but he still believed B. alticornis to be a Pliocene mammal. It took a third and much more complete skull to change his mind. The specimen, collected in 1888 by John Bell Hatcher from the Lance Formation of Wyoming, was initially described as another species of Ceratops.[30] After reflection, Marsh changed his mind and gave it the generic name Triceratops, accepting his Bison alticornis as another species of Ceratops[31] (it would later be added to Triceratops[32]). The sturdy nature of the animal's skull has ensured that many examples have been preserved as fossils, allowing variations between species and individuals to be studied. Triceratops remains have subsequently been found in the American states of Montana and South Dakota (in addition to Colorado and Wyoming), and in the provinces of Saskatchewan and Alberta, Canada.

text: An earlier specimen, also recovered from the Lance Formation, was named Agathaumas sylvestris by Edward Drinker Cope in 1872. Originally identified as a hadrosaur, this specimen consists only of post-cranial remains and is only provisionally considered an example of Triceratops.[33]

text: Species[edit]

text: Within the first decades after Triceratops was described, various skulls were collected, which varied to a lesser or greater degree from the original Triceratops, named T. horridus by Marsh (from the Latin horridus; "rough, rugose", suggesting the roughened texture of those bones belonging to the type specimen, later identified as an aged individual). This variation is unsurprising, given that Triceratops skulls are large three-dimensional objects, coming from individuals of different ages and both sexes, and which were subjected to different amounts and directions of pressure during fossilization.[8] Discoverers would name these as separate species (listed below), and came up with several phylogenetic schemes for how they were related to each other.

text: In the first attempt to understand the many species, Lull found two groups, although he did not say how he distinguished them: one composed of T. horridus, T. prorsus, and T. brevicornus; the other of T. elatus and T. calicornis. Two species (T. serratus and T. flabellatus) stood apart from these groups.[32] By 1933, and his revision of the landmark 1907 Hatcher-Marsh-Lull monograph of all known ceratopsians, he retained his two groups and two unaffiliated species, with a third lineage of T. obtusus and T. hatcheri that was characterized by a very small nasal horn.[34] T. horridus-T. prorsus-T. brevicornus was now thought to be the most conservative lineage, with an increase in skull size and a decrease in nasal horn size, and T. elatus-T. calicornis was defined by large brow horns and small nasal horn.[34][35] C. M. Sternberg made one modification, adding T. eurycephalus and suggesting that it linked the second and third lineages closer together than they were to the T. horridus lineage.[36] This pattern was followed until the major studies of the 1980s and 1990s.

text: With time, the idea that the differing skulls might be representative of individual variation within one (or two) species gained popularity. In 1986, Ostrom and Wellnhofer published a paper in which they proposed that there was only one species, Triceratops horridus.[37] Part of their rationale was that generally there are only one or two species of any large animal in a region (modern examples being the elephant and the giraffe in modern Africa). To their findings, Lehman added the old Lull-Sternberg lineages combined with maturity and sexual dimorphism, suggesting that the T. horridus-T. prorsus-T. brevicornus lineage was composed of females, the T.calicornis-T.elatus lineage was made up of males, and the T. obtusus-T. hatcheri lineage was of pathologic old males.[38] His reasoning was that males had taller, more erect horns and larger skulls, and females had smaller skulls with shorter, forward-facing horns.

text: These findings were contested a few years later by Catherine Forster, who reanalyzed Triceratops material more comprehensively and concluded that the remains fell into two species, T. horridus and T. prorsus, although the distinctive skull of T. ("Nedoceratops") hatcheri differed enough to warrant a separate genus.[39] She found that T. horridus and several other species belonged together, and T. prorsus and T. brevicornus stood alone, and since there were many more specimens in the first group, she suggested that this meant the two groups were two species. It is still possible to interpret the differences as representing a single species with sexual dimorphism.[8][40]

text: In 2009, John Scannella and Denver Fowler supported the separation of T. prorsus and T. horridus, and noted that the two species are also separated stratigraphically within the Hell Creek Formation, indicating that they did not live together at the same time.[41]

text: Valid species[edit]

text:
T. horridus (Marsh, 1889) (originally Ceratops) (type species)
T. prorsus (Marsh, 1890)

text: Synonyms and doubtful species[edit]

text: Some of the following species are synonyms. The synonymised species is notified between brackets in every case (by means of "=T. horridus" or "=T. prorsus"). All the others in the list are considered nomina dubia ("dubious names") because they are based on remains that are too poor or incomplete to be distinguished from pre-existing Triceratops species.

text:
T. albertensis (C. M. Sternberg, 1949)
T. alticornis (Hatcher, Marsh, and Lull, 1907 [originally Bison alticornis, Marsh 1887, and Ceratops alticornis, Marsh 1888])
T. brevicornus (Hatcher, 1905) (=T. prorsus)
T. calicornis (Marsh, 1898) (=T. horridus)
T. elatus (Marsh, 1891) (=T. horridus)
T. eurycephalus (Schlaikjer, 1935)
T. flabellatus (Marsh, 1889) (=T. horridus)
T. galeus (Marsh, 1889)
T. hatcheri (Lull, 1907) (contentious; see Nedoceratops below)
T. ingens (Lull, 1915)
T. maximus (Brown, 1933)
T. mortuarius (Cope, 1874) (nomen dubium; originally Polyonax mortuarius)
T. obtusus (Marsh, 1898) (=T. horridus)
T. serratus (Marsh, 1890) (=T. horridus)
T. sulcatus (Marsh, 1890)
T. sylvestris (Cope, 1872) (nomen dubium; originally Agathaumas sylvestris)

text: Classification[edit]

text: Triceratops is the best known genus of the Ceratopsidae, a family of large North American horned dinosaurs. The exact location of Triceratops among the ceratopsians has been debated over the years. Confusion stemmed mainly from the combination of short, solid frills (similar to that of Centrosaurinae), and the long brow horns (more akin to Ceratopsinae, also known as Chasmosaurinae).[42] In the first overview of horned dinosaurs, R. S. Lull hypothesized two lineages, one of Monoclonius and Centrosaurus leading to Triceratops, the other with Ceratops and Torosaurus, making Triceratops a centrosaurine as the group is understood today.[32] Later revisions supported this view, formally describing the first, short-frilled group as Centrosaurinae (including Triceratops), and the second, long-frilled group as Chasmosaurinae.[34][43]

text: In 1949, C. M. Sternberg was the first to question this and favoured instead that Triceratops was more closely related to Arrhinoceratops and Chasmosaurus based on skull and horn features, making Triceratops a ceratopsine (chasmosaurine of his usage) genus.[36] He was largely ignored, with John Ostrom,[44] and later David Norman both placing Triceratops within Centrosaurinae.[45]

text: Subsequent discoveries and analyses upheld Sternberg's view on the position of Triceratops, with Lehman defining both subfamilies in 1990 and diagnosing Triceratops as ceratopsine (chasmosaurine of his usage) on the basis of several morphological features. In fact, it fits well into the ceratopsine subfamily, apart from its one feature of a shortened frill.[38] Further research by Peter Dodson, including a 1990 cladistic analysis[46] and a 1993 study using RFTRA (resistant-fit theta-rho analysis),[47] a morphometric technique which systematically measures similarities in skull shape, reinforces Triceratops' placement in the ceratopsine subfamily.

text: The below cladogram follows Longrich (2014), who named a new species of Pentaceratops, and included nearly all species of chasmosaurine.[48]

text:
Chasmosaurinae

Mercuriceratops

Judiceratops

Chasmosaurus

Mojoceratops

Agujaceratops

Pentaceratops aquilonius

Williams Fork chasmosaur

Pentaceratops sternbergii

Utahceratops

Kosmoceratops

Anchiceratops

Almond Formation chasmosaur

Bravoceratops

Coahuilaceratops

Arrhinoceratops

Triceratopsini

Titanoceratops

Torosaurus

Triceratops

text: For many years after its discovery, the evolutionary origins of Triceratops remained largely obscure. In 1922, the newly discovered Protoceratops was seen as its ancestor by Henry Fairfield Osborn,[8] but many decades passed before additional findings came to light. Recent years have been fruitful for the discovery of several dinosaurs related to ancestors of Triceratops. Zuniceratops, the earliest known ceratopsian with brow horns, was described in the late 1990s, and Yinlong, the first known Jurassic ceratopsian, in 2005.

text: These new finds have been vital in illustrating the origins of horned dinosaurs in general, suggesting an Asian origin in the Jurassic, and the appearance of truly horned ceratopsians by the beginning of the late Cretaceous in North America.[49] As Triceratops is increasingly shown to be a member of the long-frilled Ceratopsinae subfamily, a likely ancestor may have resembled Chasmosaurus, which thrived some 5 million years earlier.

text: In phylogenetic taxonomy, the genus Triceratops has been used as a reference point in the definition of Dinosauria; dinosaurs have been designated as all descendants of the most recent common ancestor of Triceratops and Neornithes (i.e. modern birds).[50] Furthermore, the bird-hipped dinosaurs, Ornithischia, have all been designated dinosaurs with a more recent common ancestor to Triceratops than modern birds.[51]

text: Paleobiology[edit]

text: Although Triceratops are commonly portrayed as herding animals, there is currently little evidence that they lived in herds. While several other genera of horned dinosaurs are known from bonebeds preserving bones from two to hundreds or thousands of individuals, to date there is only one documented bonebed dominated by Triceratops bones: a site in southeastern Montana with the remains of three juveniles. It may be significant that only juveniles were present.[52] Another, more recent find may reveal that Triceratops lived in small family groups. In 2012, a group of three Triceratops in relatively complete condition, each of varying sizes from a full-grown adult to a small juvenile, were found in Wyoming, near Newcastle. The remains are currently under excavation by paleontologist Peter Larson and a team from the Black Hills Institute. It is believed that the animals were traveling as a family unit, but it remains unknown if the group consists of a mated pair and their offspring, or two females and a juvenile they were caring for. The remains also show signs of predation or scavenging from Tyrannosaurus, particularly on the largest specimen, with the bones of the front limbs showing breakage and puncture wounds from Tyrannosaurus teeth.[53]

text: For many years, Triceratops finds were known only from solitary individuals.[52] These remains are very common; for example, Bruce Erickson, a paleontologist of the Science Museum of Minnesota, has reported having seen 200 specimens of T. prorsus in the Hell Creek Formation of Montana.[54] Similarly, Barnum Brown claimed to have seen over 500 skulls in the field.[8]:79 Because Triceratops teeth, horn fragments, frill fragments, and other skull fragments are such abundant fossils in the Lancian faunal stage of the late Maastrichtian (late Cretaceous, 66 mya) Period of western North America, it is regarded as among the dominant herbivores of the time, if not the most dominant herbivore. In 1986, Robert Bakker estimated it as making up 5/6ths of the large dinosaur fauna at the end of the Cretaceous.[55] Unlike most animals, skull fossils are far more common than postcranial bones for Triceratops, suggesting that the skull had an unusually high preservation potential.[56]

text: Triceratops was one of the last ceratopsian genera to appear before the Cretaceous–Paleogene extinction event. The related Torosaurus, and the more distantly related diminutive Leptoceratops, were also present, though their remains have been rarely encountered.[8]

text: Dentition and diet[edit]

text: Triceratops were herbivorous, and because of their low head, their primary food was probably low growth, although they may have been able to knock down taller plants with their horns, beak, and bulk.[49][57] The jaws were tipped with a deep, narrow beak, believed to have been better at grasping and plucking than biting.[44]

text: Triceratops teeth were arranged in groups called batteries, of 36 to 40 tooth columns, in each side of each jaw with 3 to 5 stacked teeth per column, depending on the size of the animal.[49] This gives a range of 432 to 800 teeth, of which only a fraction were in use at any given time (tooth replacement was continuous and occurred throughout the life of the animal).[49] They functioned by shearing in a vertical to near-vertical orientation.[49] The great size and numerous teeth of Triceratops suggests that they ate large volumes of fibrous plant material,[49] with some suggesting palms and cycads,[58][59] and others suggesting ferns, which then grew in prairies.[60]

text: Functions of the horns and frill[edit]

text: There has been much speculation over the functions of Triceratops' head adornments. The two main theories have revolved around use in combat, or display in courtship, with the latter thought now to be the most likely primary function.[49]

text: Early on, Lull postulated that the frills may have served as anchor points for the jaw muscles to aid chewing by allowing increased size and thus power for the muscles.[61] This has been put forward by other authors over the years, but later studies do not find evidence of large muscle attachments on the frill bones.[62]

text: Triceratops were long thought to have possibly used their horns and frills in combat with predators such as Tyrannosaurus, the idea being discussed first by C. H. Sternberg in 1917 and 70 years later by Robert Bakker.[55][63] There is evidence that Tyrannosaurus did have aggressive head-on encounters with Triceratops, based on partially healed tyrannosaur tooth marks on a Triceratops brow horn and squamosal; the bitten horn is also broken, with new bone growth after the break. Which animal was the aggressor is not known.[64] Since the Triceratops wounds healed, it is most likely that the Triceratops survived the encounter and managed to overcome the Tyrannosaurus. Paleontologist Peter Dodson estimates that if Tyrannosaurus attacked a bull Triceratops, the Triceratops had the upper hand and would successfully defend itself by inflicting fatal wounds to the Tyrannosaurus using its sharp horns.[65] Tyrannosaurus is also known to have fed on Triceratops. Evidence for this includes a heavily tooth-scored Triceratops ilium and sacrum.[7]

text: In addition to combat with predators using horns, Triceratops are classically shown engaging each other in combat with horns locked. While studies show that such activity would be feasible, if unlike that of present-day horned animals,[66] there is disagreement about whether they did so. Although pitting, holes, lesions, and other damage on Triceratops skulls (and the skulls of other ceratopsids) are often attributed to horn damage in combat, a 2006 study finds no evidence for horn thrust injuries causing these forms of damage (for example, there is no evidence of infection or healing). Instead, non-pathological bone resorption, or unknown bone diseases, are suggested as causes.[67] A newer study compared incidence rates of skull lesions and periosteal reaction in Triceratops and Centrosaurus and showed that these were consistent with Triceratops using its horns in combat and the frill being adapted as a protective structure, while lower pathology rates in Centrosaurus may indicate visual rather than physical use of cranial ornamentation, or a form of combat focused on the body rather than the head.[68] The frequency of injury was found to be 14% in Triceratops.[69] The researchers also concluded that the damage found on the specimens in the study was often too localized to be caused by bone disease.[70] Histological examination reveals that the frill of Triceratops is composed of fibrolamellar bone[71] which contains fibroblasts that play a critical role in wound healing, and are capable of rapidly depositing bone during remodeling.[72][73]

text: One skull, assigned to Triceratops, was observed to have a hole in the jugal which appears to be a puncture wound that was sustained while this individual was still alive. This is supported by signs of healing that are present in the bone around the supposed wound. When examined closely, the hole in the bone has a diameter that is very similar to diameter of the distal end of a Triceratops horn. This, and other apparent healed wounds in the skulls of ceratopsians, has been cited as evidence of non-fatal intraspecific competition in these dinosaurs.[74][75]

text: The large frill also may have helped to increase body area to regulate body temperature.[76] A similar theory has been proposed regarding the plates of Stegosaurus,[77] although this use alone would not account for the bizarre and extravagant variation seen in different members of the Ceratopsidae.[49] This observation is highly suggestive of what is now believed to be the primary function, display.

text: The theory of their use in sexual display was first proposed by Davitashvili in 1961 and has gained increasing acceptance since.[38][62][78] Evidence that visual display was important, either in courtship or in other social behavior, can be seen in the fact that horned dinosaurs differ markedly in their adornments, making each species highly distinctive. Also, modern living creatures with such displays of horns and adornments use them in similar behavior.[79] A 2006 study of the smallest Triceratops skull, ascertained to be a juvenile, shows the frill and horns developed at a very early age, predating sexual development and thus probably important for visual communication and species recognition in general.[80] The use of the exaggerated structures in dinosaurs as species identification has been questioned, as no such function exists for structures in modern species.[81]

text: Growth and ontogeny[edit]

text: In 2006, the first extensive ontogenetic study of Triceratops was published in the journal Proceedings of the Royal Society. The study, by John R. Horner and Mark Goodwin, found that individuals of Triceratops could be divided into four general ontogenetic groups, babies, juveniles, subadults, and adults. With a total number of 28 skulls studied, the youngest was only 38 cm (15 in) long. 10 of the 28 skulls could be placed in order in a growth series with one representing each age. Each of the four growth stages were found to have identifying features. Multiple ontogenetic trends were discovered, including the size reduction of the epoccipitals, development and reorientation of postorbital horns, and hollowing out of the horns.[82]

text: Torosaurus as growth stage of Triceratops[edit]

text: Torosaurus is a ceratopsid genus first identified from a pair of skulls in 1891, two years after the identification of Triceratops. The Torosaurus genus resembles Triceratops in geological age, distribution, anatomy and physical size and it has been recognised as a close relative.[83] Its distinguishing features are an elongated skull and the presence of two fenestrae, or holes, in the frill. Paleontologists investigating dinosaur ontogeny (growth and development of individuals over the life span) in the Hell Creek Formation, Montana, US, have recently presented evidence that the two represent a single genus.

text: John Scannella, in a paper presented in Bristol, UK at the conference of the Society of Vertebrate Paleontology (25 September 2009) reclassified Torosaurus as especially mature Triceratops individuals, perhaps representing a single sex. Jack Horner, Scannella's mentor at Bozeman Campus, Montana State University, noted that ceratopsian skulls consist of metaplastic bone. A characteristic of metaplastic bone is that it lengthens and shortens over time, extending and resorbing to form new shapes. Significant variety is seen even in those skulls already identified as Triceratops, Horner said, "where the horn orientation is backwards in juveniles and forward in adults". Approximately 50% of all subadult Triceratops skulls have two thin areas in the frill that correspond with the placement of "holes" in Torosaurus skulls, suggesting that holes developed to offset the weight that would otherwise have been added as maturing Triceratops individuals grew longer frills.[84] A paper describing these findings in detail was published in July 2010 by Scannella and Horner. It formally argues that Torosaurus and the similar contemporary Nedoceratops are synonymous with Triceratops.[9]

text: The assertion ignited debate. Andrew Farke had in 2006 stressed that, apart from the frill, no systematic differences could be found between Torosaurus and Triceratops.[83] He nevertheless disputed Scannella's conclusion by arguing in 2011 that the proposed morphological changes required to "age" a Triceratops into a Torosaurus would be without precedent among ceratopsids. Creatures would require the growth of epoccipitals, reversion of bone texture from adult to immature forms back to adult, and growth of frill holes at a later stage than usual.[11] A study by Nicholas Longrich and Daniel Field analyzed 35 specimens of both Triceratops and Torosaurus. The authors concluded that Triceratops individuals too old to be considered immature forms are represented in the fossil record, as are Torosaurus individuals too young to be considered fully mature adults. The synonymy of Triceratops and Torosaurus cannot be supported, they said, without more convincing intermediate forms than Scannella and Horner initially produced. Scannella's Triceratops specimen with a hole on its frill, they argued, could represent a diseased or malformed individual rather than a transitional stage between an immature Triceratops and mature Torosaurus form.[12][13]

text: Given the abundance of fossils, particularly of Triceratops, additional field discoveries are expected to settle the debate in time.

text: Other genera as growth stages of Triceratops[edit]

text: Opinion has varied on the validity of a separate genus for Nedoceratops. John Scannella and Jack Horner regarded it as an intermediate growth stage between Triceratops and Torosaurus.[9][85] Andrew Farke, in his 2011 redescription of the only known skull, concluded that it was an aged individual of its own valid taxon, Nedoceratops hatcheri.[11] Nicholas Longrich and Daniel Fields also did not consider it a transition between Torosaurus and Triceratops, suggesting that the frill holes were pathological.[13]

text: As described above, John Scannella had argued in 2010 that Nedoceratops should be considered a synonym of Triceratops.[9] Andrew Farke (2011) maintained that it represents a valid distinct genus.[11] Nick Longrich agreed with Scannella about Nedoceratops and made a further suggestion: that the recently described Ojoceratops was likewise a synonym. The fossils, he argued, are indistinguishable from the T. horridus specimens that were previously attributed to the defunct species T. serratus.

text: Longrich observed that another newly described genus, Tatankaceratops, displayed a strange mix of characteristics already found in adult and juvenile Triceratops. Rather than representing a distinct genus, Tatankaceratops could as easily represent a dwarf Triceratops or a Triceratops individual with a developmental disorder that caused it to stop growing prematurely.[86]

text: Paleoecology[edit]

text: Triceratops lived during the Late Cretaceous of North America, its fossils have come from the Evanston Formation, Scollard Formation, Laramie Formation, Lance Formation, Denver Formation, and Hell Creek Formation.[87] These fossil formations date back to the time of the Cretaceous-Paleogene Extinction Event, and has been dated to 66 ± 0.07 million years ago.[88] Many animals and plants have been found in these formations, but mostly from the Lance Formation and Hell Creek Formation.[87]

text: Theropods from these formations include genera of tyrannosaurids, ornithomimids, troodontids,[87] avialans,[89] caenagnathids,[90] and dromaeosaurids. Acheroraptor and Dakotaraptor are dromaeosaurids from the Hell Creek Formation. Indeterminate dromaeosaurs are known from other fossil formations. Common teeth previously referred to Dromaeosaurus and Saurornitholestes later were considered to be Acheroraptor.[91] The tyrannosaurids from the formation are Nanotyrannus and Tyrannosaurus, although the former might be a junior synonym of the latter. Among ornithomimids are the genera Struthiomimus as well as Ornithomimus,[87] although an undescribed animal named "Orcomimus" could be from the formation.[92] Troodontids are only represented by Pectinodon and Paronychodon in the Hell Creek Formation; with a possible species of Troodon from the Lance Formation. One species of coelurosaur is known from Hell Creek and similar formations by a single species, Richardoestesia. Only three oviraptorosaurs are from the Hell Creek Formation, Anzu, Leptorhynchos[90] and a giant species of caenagnathid, very similar to Gigantoraptor, from South Dakota. However, only fossilized foot prints were discovered.[93] The avialans known from the formation are Avisaurus,[87] multiple species of Brodavis,[94] and several other species of hesperornithoforms, as well as several species of true birds including Cimolopteryx.[89]

text: Ornithischians are abundant in the Scollard Lance, Laramie, Lance, Denver, and Hell Creek Formation. The main groups of ornithischians are ankylosaurians, ornithopods, ceratopsians, and pachycephalosaurians. Three ankylosaurians are known, Ankylosaurus, Denversaurus, and possibly a species of Edmontonia or an undescribed genus. Multiple genera of ceratopsians are known from the formation other than Triceratops, the leptoceratopsid Leptoceratops, and the chasmosaurine ceratopsids Torosaurus,[87]Nedoceratops and Tatankaceratops.[95] Ornithopods are common in the Hell Creek Formation, and are known from several species of the ornithopod Thescelosaurus, and the hadrosaurids Edmontosaurus,[87][96] and a possible species of Parasaurolophus. Several pachycephalosaurians have been found in the Hell Creek Formation and in similar formations. Among them are the derived pachycephalosaurids Stygimoloch,[87] Dracorex,[97] Pachycephalosaurus,[87] Sphaerotholus, and an undescribed specimen from North Dakota. The first two might be junior synonyms of Pachycephalosaurus.

text: Mammals are plentiful in the Hell Creek Formation. Groups represented include multituberculates, metatherians, and eutherians. The multituberculates represented include Paracimexomys,[98] the cimolomyids Paressonodon,[99] Meniscoessus, Essonodon, Cimolomys, Cimolodon, and Cimexomys; and the neoplagiaulacids Mesodma, and Neoplagiaulax. The alphadontids Alphadon, Protalphodon, and Turgidodon, pediomyids Pediomys,[98] Protolambda, and Leptalestes,[100] the stagodontid Didelphodon,[98] the deltatheridiid Nanocuris, the herpetotheriid Nortedelphys,[99] and the glasbiid Glasbius all represent metatherians of the Hell Creek Formation. A few eutherians are known, being represented by Alostera,[98] Protungulatum,[100] the cimolestids Cimolestes and Batodon, the gypsonictopsid Gypsonictops, and the possible nyctitheriid Paranyctoides.[98]

text: Depiction in popular media[edit]

text: Triceratops (the species are not identified) is the official state fossil of South Dakota,[101] and the official state dinosaur of Wyoming.[102] The distinctive appearance of Triceratops has led to them being frequently depicted in films, computer games and documentaries, such as the 1993 film Jurassic Park and the 1999 BBC television documentary Walking with Dinosaurs. A recurring theme, especially in children's dinosaur books, is a climactic showdown or battle between Triceratops and Tyrannosaurus. In 1942, Charles R. Knight painted a mural incorporating a confrontation between the two dinosaurs in the Field Museum of Natural History for the National Geographic Society, establishing them as enemies in popular thought.[103] Paleontologist Bob Bakker said of the imagined rivalry between Tyrannosaurus and Triceratops, "No matchup between predator and prey has ever been more dramatic. It's somehow fitting that those two massive antagonists lived out their co-evolutionary belligerence through the very last days of the very last epoch of the Age of Dinosaurs."[103]


document_title: The Song of Roland

question_text: setting of the story of the song of roland

root

text: The Song of Roland

text: Manuscripts and dating[edit]

text: Set in the Carolingian era, it was written much later. There are nine extant manuscripts of the Song of Roland in Old French. The oldest of these manuscripts is held at the Bodleian Library at Oxford. This copy dates between 1129 and 1165 and was written in Anglo-Norman.[2]

tag: p

text: Some scholars estimate that the poem was written, possibly by a poet named Turold, between approximately 1040 and 1115, and most of the alterations were performed by about 1098. Some favor an earlier dating, because it allows one to say that the poem was inspired by the Castilian campaigns of the 1030s, and that the poem went on to be a major influence in the First Crusade. Those who prefer a later dating do so on grounds of what they interpret as brief references made in the poem to events of the First Crusade.

text: In the poem, the term d'oltre mer or l'oltremarin comes up three times in reference to named Muslims who came from oltre mer to fight in Spain and France. Oltre mer, modern French Outremer, literally "oversea, beyond sea, other side of the sea", is a native French term from the classical Latin roots ultra = "beyond" and mare = "sea". The name was commonly used by the Crusaders to refer to Palestine.[citation needed]

text: The occurrence of this term in the poem cannot be interpreted as showing influence from the Crusades in the poem; on the contrary, the way it is used in the poem, in which it is simply a Muslim land, indicates that the author of the poem was unacquainted with the Crusades, and that the term was in French before the Crusades began meaning the far side of the Mediterranean Sea. The bulk of the poem is adjudged to date from before the Crusades (which started in 1098), but there are a few items where questions remain about these items being late additions shortly after the Crusades started.

text: After two manuscripts were found in 1832 and 1835, the Song of Roland became recognized as France's national epic when an edition was published in 1837.[3]

text: Critical opinions[edit]

text: Oral performance of the Song compared to manuscript versions[edit]

text: Scholarly consensus has long accepted that the Song of Roland differed in its presentation depending on oral or textual transmission; namely, although a number of different versions of the song containing varying material and episodes would have been performed orally, the transmission to manuscript resulted in greater cohesiveness across versions.

text: Early editors of the Song of Roland, informed in part by patriotic desires to produce a distinctly French epic, could thus overstate the textual cohesiveness of the Roland tradition. This point is clearly expressed by Andrew Taylor, who notes,[4] "[T]he Roland song was, if not invented, at the very least constructed. By supplying it with an appropriate epic title, isolating it from its original codicological context, and providing a general history of minstrel performance in which its pure origin could be located, the early editors presented a 4,002 line poem as sung French epic".

text: Plot[edit]

text: Charlemagne's army is fighting the Muslims in Spain. They have been there for seven years, and the last city standing is Saragossa, held by the Muslim King Marsile. Threatened by the might of Charlemagne's army of Franks, Marsile seeks advice from his wise man, Blancandrin, who councils him to conciliate the Emperor, offering to surrender and giving hostages. Accordingly, Marsile sends out messengers to Charlemagne, promising treasure and Marsile's conversion to Christianity if the Franks will go back to France.

text: Charlemagne and his men, tired of fighting, accept his peace offer and select a messenger to Marsile's court. The protagonist Roland, Charlemagne's nephew, nominates his stepfather Ganelon as messenger. Ganelon, who fears to be murdered by the enemy and accuses Roland of intending this, takes revenge by informing the Saracens of a way to ambush the rear guard of Charlemagne's army, led by Roland, as the Franks re-enter France through the mountain passes.

text: As Ganelon predicted, Roland leads the rear guard, with the wise and moderate Oliver and the fierce Archbishop Turpin. The Muslims ambush them at Roncesvalles and the Christians are overwhelmed. Oliver pleads with Roland to blow his horn to call for help, but Roland tells him that blowing his horn in the middle of the battle would be an act of cowardice. If Roland continues to refuse, Oliver will not let Roland see his sister again whom Roland loves the most. However, Archbishop Turpin intervenes and tells them that the battle will be fatal for all of them and so instructs Roland to blow his horn oliphant (the word is an old alternative to "elephant", and was used to refer to a hunting horn made from an elephant tusk) to call for help from the Frankish army. The emperor hears the call on their way to France. Charlemagne and his noblemen gallop back even though Count Ganelon tries to trick them.

text: The Franks fight well, but are outnumbered, until almost all Roland's men are dead and he knows that Charlemagne's army can no longer save them. Despite this, he blows his olifant to summon revenge, until his temples burst and he dies a martyr's death. Angels take his soul to Paradise.

text: When Charlemagne and his men reach the battlefield, they find the dead bodies of Roland's men, who have been utterly annihilated. They pursue the Muslims into the river Ebro, where the Muslims drown. Meanwhile, Baligant, the powerful emir of Babylon, has arrived in Spain to help Marsile. His army encounters that of Charlemagne at Roncesvalles, where the Christians are burying and mourning their dead. Both sides fight valiantly. When Charlemagne kills Baligant, the Muslim army scatters and flees, leaving the Franks to conquer Saragossa. With Marsile's wife Bramimonde, Queen of Saragossa, Charlemagne and his men ride back to Aix, their capital in France.

text: The Franks discover Ganelon's betrayal and keep him in chains until his trial, where Ganelon argues that his action was legitimate revenge, not treason. While the council of barons assembled to decide the traitor's fate is initially swayed by this claim, one man, Thierry, argues that because Roland was serving Charlemagne when Ganelon delivered his revenge on him, Ganelon's action constitutes a betrayal.

text: Ganelon's friend Pinabel challenges Thierry to trial by combat. By divine intervention, Thierry kills Pinabel. By this the Franks are convinced of Ganelon's treason. Thus, he is torn apart by having four galloping horses tied one to each arm and leg and thirty of his relatives are hanged.

text: Form[edit]

text: The poem is written in stanzas of irregular length known as laisses. The lines are decasyllabic (containing ten syllables), and each is divided by a strong caesura which generally falls after the fourth syllable. The last stressed syllable of each line in a laisse has the same vowel sound as every other end-syllable in that laisse. The laisse is therefore an assonal, not a rhyming stanza.

text: On a narrative level, the Song of Roland features extensive use of repetition, parallelism, and thesis-antithesis pairs. Roland proposes Ganelon for the dangerous mission to Sarrogossa; Ganelon designates Roland to man the rearguard. Charlemagne is contrasted with Baligant.[5] Unlike later Renaissance and Romantic literature, the poem focuses on action rather than introspection. The characters are presented through what they do, not through what they think or feel.

text: The narrator gives few explanations for characters' behavior. The warriors are stereotypes defined by a few salient traits; for example, Roland is loyal and trusting while Ganelon, though brave, is traitorous and vindictive.

text: The narrator is openly biased towards the Franks. His moral view is very black-and-white: the Franks are good, and the pagans are bad.

text: The story moves at a fast pace, occasionally slowing down and recounting the same scene up to three times but focusing on different details or taking a different perspective each time. The effect is similar to a film sequence shot at different angles so that new and more important details come to light with each shot.

text: Characters[edit]

text: Principal characters[edit]

text:
Andriodos, helpless boy; despite the honor came from King Charlemagne.
Baligant, emir of Babylon; Marsile enlists his help against Charlemagne.
Blancandrin, wise pagan; suggests bribing Charlemagne out of Spain with hostages and gifts, and then suggests dishonouring a promise to allow Marsile's baptism
Bassalt, came from the name of rocks that are solid and may occur in the second phrase of the poem; captured the horse of the king.
Bramimonde, Queen of Saragossa, King Marsile's wife; captured and converted by Charlemagne after the city falls.
Charlemagne, Holy Roman Emperor; his forces fight the Saracens in Spain.
Ganelon, treacherous lord and Roland's stepfather who encourages Marsile to attack the French army.
King Marsile, Saracen king of Spain; Roland wounds him and he dies of his wound later.
Naimon, Charlemagne's trusted adviser.
Oliver, Roland's friend; mortally wounded by Margarice. He represents wisdom.
Roland, the hero of the Song; nephew of Charlemagne; leads the rear guard of the French forces; bursts his temples by blowing his olifant-horn, wounds from which he eventually dies facing the enemy's land.
Turpin, Archbishop of Rheims, represents the force of the Church.

tag: ul

text: Secondary characters[edit]

text:
Aude, the fiancée of Roland and Oliver's sister
Basan, French baron, murdered while serving as Ambassador of Marsile.
Bérengier, one of the twelve paladins killed by Marsile’s troops; kills Estramarin; killed by Grandoyne.
Besgun, chief cook of Charlemagne's army; guards Ganelon after Ganelon's treachery is discovered.
Geboin, guards the French dead; becomes leader of Charlemagne's 2nd column.
Godefroy, standard bearer of Charlemagne; brother of Thierry, Charlemagne’s defender against Pinabel.
Grandoyne, fighter on Marsile’s side; son of the Cappadocian King Capuel; kills Gerin, Gerier, Berenger, Guy St. Antoine, and Duke Astorge; killed by Roland.
Hamon, joint Commander of Charlemagne's Eighth Division.
Lorant, French commander of one of the first divisions against Baligant; killed by Baligant.
Milon, guards the French dead while Charlemagne pursues the Saracen forces.
Ogier, a Dane who leads the third column in Charlemagne's army against Baligant's forces.
Othon, guards the French dead while Charlemagne pursues the Saracen forces.
Pinabel, fights for Ganelon in the judicial combat.
Thierry, fights for Charlemagne in the judicial combat.

text: Durandal[edit]

text: According to the Song of Roland, this legendary sword was first given to Charlemagne by an angel. It contained one tooth of Saint Peter, blood of Saint Basil, hair of Saint Denis, and a piece of the raiment of the Blessed Virgin Mary, and was supposedly the sharpest sword in all existence. In the story of the Song of Roland, the weapon is given to Roland, and he uses it to defend himself single-handedly against thousands of Muslim attackers. According to one 12th century legend from the French town of Rocamadour, Roland threw the sword into a cliffside. You can still see the sword embedded into the cliff-face.

text: Historical adaptations[edit]

text: A Latin poem, Carmen de Prodicione Guenonis, was composed around 1120, and a Latin prose version, Historia Caroli Magni (often known as "The Pseudo-Turpin") even earlier. Around 1170, a version of the French poem was translated into the Middle High German Rolandslied by Konrad der Pfaffe[5] (formerly thought to have been the author of the Kaiserchronik). In his translation Konrad replaces French topics with generically Christian ones. The work was translated into Middle Dutch in the 13th century.

text: It was also rendered into Occitan verse in the 14th- or 15th-century poem of Ronsasvals, which incorporates the later, southern aesthetic into the story. An Old Norse version of the Song of Roland exists as Karlamagnús saga, and a translation into the artificial literary language of Franco-Venetian is also known; such translations contributed to the awareness of the story in Italy. In 1516 Ludovico Ariosto published his epic Orlando Furioso, which deals largely with characters first described in the Song of Roland.

text: There is also Faroese adoption of this ballad named "Runtsivalstríðið" (Battle of Roncevaux).[6] The ballad is one of many sung during the Faroese folkdance tradition of chain dancing.

text: Modern adaptations[edit]

text: The Chanson de Roland has an important place in the background of Graham Greene's The Confidential Agent. The book's protagonist had been a Medieval scholar specialising in this work, until the outbreak of the Spanish Civil War forced him to become a soldier and secret agent. Throughout the book, he repeatedly compares himself and other characters with the characters of "Roland". Particularly, the book includes a full two pages of specific commentary, which is relevant to its 20th-century plot line: "Oliver, when he saw the Saracens coming, urged Roland to blow his horn and fetch back Charlemagne – but Roland wouldn't blow. A big brave fool. In war one always chooses the wrong hero. Oliver should have been the hero of that song, instead of being given second place with the blood-thirsty Bishop Turpin.(...) In the Oxford version Oliver is reconciled in the end, he gives Roland his death-blow by accident, his eyes blinded by wounds. [But] the story had been tidied up. In truth, Oliver strikes his friend down in full knowledge – because of what he has done to his men, all the wasted lives. Oliver dies hating the man he loves – the big boasting courageous fool who was more concerned with his own glory than with the victory of his faith. This makes the story tragedy, not just heroics".[7]

text: It is also adapted by Stephen King, in the Dark Tower series in which Roland Deschain wishes to save the Dark Tower from the Crimson King.

text: The Song of Roland is part of the Matter of France (the Continental counterpart to the Arthurian legendarium known as the Matter of Britain), and related to Orlando Furioso. The names Roland and Orlando are cognates.

text: Emanuelle Luzzati’s animated short film, I paladini di Francia, together with Giulio Gianini, in 1960, was turned into the children’s picture-story book, with verse narrative, I Paladini de Francia ovvero il tradimento di Gano di Maganz, which translates literally as “The Paladins of France or the treachery of Gano of Maganz” (Ugo Mursia Editore, 1962). This was then republished, in English, as Ronald and the Wizard Calico (1969). The Picture Lion paperback edition (William Collins, London, 1973) is a paperback imprint of the Hutchinson Junior Books edition (1969), which credits the English translation to Hutchinson Junior Books.

text: Luzatti’s original verse story in Italian is about the plight of a beautiful maiden called Biancofiore – White Flower, or Blanchefleur – and her brave hero, Captain Rinaldo, and Ricardo and his paladins – the term used for Christian knights engaged in Crusades against the Saracens and Moors. Battling with these good people are the wicked Moors – North African Muslims and Arabs – and their Sultan, in Jerusalem. With the assistance of the wicked and treacherous magician, Gano of Maganz, Biancofiore is stolen from her fortress castle, and taken to become the reluctant wife of the Sultan. The catalyst for victory is the good magician, Urlubulu, who lives in a lake, and flies through the air on the back of his magic blue bird. The English translators, using the original illustrations, and the basic rhyme patterns, slightly simplify the plot, changing the Christians-versus-Muslim-Moors conflict into a battle between good and bad magicians and between golden knights and green knights. The French traitor in The Song of Roland, who is actually Roland’s cowardly step-father, is Ganelon – very likely the inspiration for Luzzati’s traitor and wicked magician, Gano. Orlando Furioso (literally, Furious or Enraged Orlando, or Roland), includes Orlando’s cousin, the paladin Rinaldo, who, like Orlando, is also in love with Angelica, a pagan princess. Rinaldo is, of course, the Italian equivalent of Ronald. Flying through the air on the back of a magic bird is equivalent to flying on a magic hippogriff.

text: On July 22, 2017, Michael Eging and Steve Arnold released a novel ″The Silver Horn Echoes: A Song of Roland," inspired by the La Chanson de Roland. This work is more closely based on a screen play written by Michael Eging in 2008, simply known as "Song of Roland" and first optioned to Alan Kaplan at Cine LA that same year. The book explores the untold story of how Roland finds himself at Ronceveaux, betrayed by Ganelon and facing the expansive Saragossan host. Primary characters in the novel include Charles (Charlemagne), Ganelon, Bishop Turpin, Oliver, Aude, Marsilion, Blancandarin and others recognizable from the poem. Introduced in this tale are additional characters that inject intrigue and danger to the story, including Charles oldest son, Pepin, Marsilion's treacherous son, Saleem, and the scheming Byzantine emissary, Honorius. The cover artwork was hand painted by Jordan Raskin. The authors determined when writing both the screenplay and the novel to remain in the world created by the poem; thus Charles remains an older man near the end of his long reign rather than in 778 when the attack on the rearguard actually occurred. Further, this novel bookends the story with William the Conqueror's use of the poem as a motivator for Norman forces prior to the Battle of Hastings in 1066. [8]


document_title: The Curious Case of Benjamin Button (film)

question_text: who played benjamin button as an old man

text: Plot[edit]

text: In August 2005, elderly Daisy Fuller is on her deathbed in a New Orleans hospital as Hurricane Katrina approaches. She starts rambling to her daughter, Caroline, about a train station built in 1918 and Mr. Gateau, the best clockmaker in all of the South, who was hired to make a clock for it. Mr. Gateau was blind, and lost his son in World War I, which crushed him, but he continued to labor over his clock. When it was unveiled at the station, the public was surprised to see that the clock ran backwards, to which Mr. Gateau says he made it that way so that the boys they lost in the war could come back again and live their lives that were ended too soon. After that, Mr. Gateau was never seen again, and people speculated he died of a broken heart or went out to sea.

text: Daisy then asks Caroline to read aloud from the diary of Benjamin Button.

text: From the reading, it is revealed that on the evening of November 11, 1918, a boy was born with the appearance and physical maladies of an elderly man. The baby's mother died after giving birth, and the father, Thomas Button, abandons the infant on the porch of a nursing home. Queenie and Mr. "Tizzy" Weathers, workers at the nursing home, find the baby, and Queenie decides to care for him as her own.

text: Benjamin learns to walk in 1925, after which he uses crutches in place of a wheelchair. On Thanksgiving 1930, Benjamin meets seven-year-old Daisy, whose grandmother lives in the nursing home. He and Daisy become good friends. Later, he accepts work on a tugboat captained by Mike Clark. Benjamin also meets Thomas Button, who does not reveal that he is Benjamin's father. In Autumn 1936, Benjamin leaves New Orleans for a long-term work engagement with the tugboat crew; Daisy later is accepted into a dance company in New York City under choreographer George Balanchine.

text: In 1941, Benjamin is in Murmansk, where he begins having an affair with Elizabeth Abbott, wife of the British Trade Minister. That December, Japan attacks Pearl Harbor, thrusting the United States into World War II. Mike volunteers the boat for the U.S. Navy; the crew is assigned to salvage duties. During a patrol, the tugboat finds a sunken U.S. transport and the bodies of many American troops. A German submarine surfaces; Mike steers the tugboat full speed towards it while a German gunner fires on the tugboat, killing most of the crew, including Mike. The tugboat rams the submarine, causing it to explode, sinking both vessels. Benjamin and another crewman are rescued by U.S. Navy ships the next day.

text: In May 1945, Benjamin returns to New Orleans and reunites with Queenie. A few weeks later, he reunites with Daisy; they go out for dinner. Upon failing to seduce him afterward, she departs. Benjamin later reunites with Thomas Button, who, terminally ill, reveals he is Benjamin's father and wills Benjamin his button company and his estate.

text: In 1947, Benjamin visits Daisy in New York unannounced but departs upon seeing that she has fallen in love with someone else. In 1954, Daisy's dancing career ends when her leg is crushed in an automobile accident in Paris. When Benjamin visits her, Daisy is amazed by his youthful appearance, but, frustrated by her injuries, she tells him to stay out of her life.

text: In 1962, Daisy returns to New Orleans and reunites with Benjamin. Now of comparable physical age, they fall in love and go sailing together. They return to learn that Queenie has died, then move in together. In 1967, Daisy, who has opened a ballet studio, tells Benjamin that she is pregnant; she gives birth to a girl, Caroline, in the spring of 1968. Believing he can not be a proper father to his daughter due to his reverse aging, Benjamin departs after selling his belongings, leaving a bank account book holding the proceeds behind for Daisy and Caroline; he travels alone during the 1970s.

text: Benjamin returns to Daisy in 1980. Now married, Daisy introduces him, as a family friend, to her husband and daughter. Daisy admits that he was right to leave; she could not have coped otherwise. She later visits Benjamin at his hotel, where they again share their passion for each other, then part once more.

text: In 1990, widowed Daisy is contacted by social workers who have found Benjamin—now physically a pre-teen. When she arrives, they explain that he was living in a condemned building and was taken to the hospital in poor physical condition, and that they found her name in his diary. The bewildered social workers also say he is displaying early signs of dementia. Daisy moves into the nursing home in 1997 and cares for Benjamin for the rest of his life.

text: Daisy says that in 2002, a new clock replaced Mr. Gateau's in the train station, a digital clock that ran forward, not backwards. Then, a year later in the spring of 2003, Benjamin dies in Daisy's arms, physically an infant but chronologically 84 years of age. Having finally revealed the story of Caroline's father to her, Daisy dies as Hurricane Katrina approaches.

text: The final scene of the movie ends with Benjamin’s narration about what people were brought into this world for, recapping all the individuals that he loved and lost throughout his life. The film ends with alarms wailing as Katrina quickly floods a dimly lit storage room that holds Mr. Gateau’s forgotten clock, which continues to tick backwards.

text: Cast[edit]

text:
Brad Pitt as Benjamin Button (adult), Caroline's biological father

Robert Towers as Benjamin Button (apparent adult)
Peter Donald Badalamenti II as Benjamin Button (apparent adult)
Tom Everett as Benjamin Button (apparent adult)
Spencer Daniels as Benjamin Button (apparent age 12)
Chandler Canterbury as Benjamin Button (apparent age 8)
Charles Henry Wyson as Benjamin Button (apparent age 6)

Cate Blanchett as Daisy Fuller (adult)

Elle Fanning as Daisy Fuller (age 7)
Madisen Beaty as Daisy Fuller (age 10)

Taraji P. Henson as Queenie
Julia Ormond as Caroline Fuller (adult), Benjamin and Daisy's daughter

Katta Hules as Caroline Fuller (age 12)
Shiloh Jolie-Pitt as Caroline Fuller (age 2)

Jason Flemyng as Thomas Button, Benjamin's father
Mahershala Ali as Tizzy Weathers
Jared Harris as Captain Mike Clark
Faune A. Chambers as Dorothy Baker
Elias Koteas as Monsieur Gateau, a blind clockmaker in a story Daisy tells Caroline
Ed Metzger as Theodore Roosevelt
Phyllis Somerville as Grandma Fuller
Josh Stewart as Pleasant Curtis
Tilda Swinton as Elizabeth Abbott
Bianca Chiminello as Daisy's friend
Rampai Mohadi as Ngunda Oti
Lance E. Nichols as Preacher

text: Production[edit]

text: Development[edit]

text: Producer Ray Stark bought the film rights to do The Curious Case of Benjamin Button in the mid-1980s, and it was optioned by Universal Pictures. The first choice to direct it was Frank Oz, with Martin Short attached for the title role, but Oz could not work out how to make the story work. The film was optioned in 1991 by Steven Spielberg, with Tom Cruise attached for the lead role, but Spielberg left the project to direct Jurassic Park and Schindler's List. Other directors attached were Patrick Read Johnson and Agnieszka Holland. Stark eventually sold the rights to producers Kathleen Kennedy and Frank Marshall, who took the film to Paramount Pictures, with Universal Pictures still on as a co-production partner. By summer 1994, Maryland Film Office chief Jack Gerbes was approached with the possibility of making the film in Baltimore. In October 1998, screenwriter Robin Swicord wrote for director Ron Howard an adapted screenplay of the short story, a project which would potentially star actor John Travolta.[5] In May 2000, Paramount Pictures hired screenwriter Jim Taylor to adapt a screenplay from the short story. The studio also attached director Spike Jonze to helm the project.[6] Screenwriter Charlie Kaufman had also written a draft of the adapted screenplay at one point.[7] In June 2003, director Gary Ross entered final negotiations to helm the project based on a new draft penned by screenwriter Eric Roth.[8] In May 2004, director David Fincher entered negotiations to replace Ross in directing the film.[9]

text: Casting[edit]

text: In May 2005, actors Brad Pitt and Cate Blanchett entered negotiations to star in the film.[10] In September 2006, actors Tilda Swinton, Jason Flemyng and Taraji P. Henson entered negotiations to be cast into the film.[11] The following October, with production yet to begin, actress Julia Ormond was cast as Daisy's daughter, to whom Blanchett's character tells the story of her love for Benjamin Button.[12] Brad Pitt had collaborated with many of his co-stars in previous films. He co-starred with Ormond in Legends of the Fall, with Flemyng in Snatch, with Jared Harris in Ocean's Twelve, with Blanchett in Babel and with Swinton in Burn After Reading.

text: Filming[edit]

text: For Benjamin Button, New Orleans, Louisiana and the surrounding area was chosen as the filming location for the story to take advantage of the state's production incentives, and shooting was slated to begin in October 2006.[13] By filming in Louisiana and taking advantage of the state's film incentive, the production received $27 million, which was used to finance a significant portion of the film's $167 million budget.[14][15] Filming of Benjamin Button began on November 6, 2006 in New Orleans. In January 2007, Blanchett joined the shoot.[16] Fincher praised the ease of accessibility to rural and urban sets in New Orleans and said that the recovery from Hurricane Katrina did not serve as an atypical hindrance to production.[17]

text: In March 2007, production moved to Los Angeles for two more months of filming. Principal photography was targeted to last a total of 150 days. Additional time was needed at visual effects house Digital Domain to make the visual effects for the metamorphosis of Brad Pitt's character to the infant stage.[18] The director used a camera system called Contour, developed by Steve Perlman, to capture facial deformation data from live-action performances.[19]

text: Several digital environments for the film were created by Matte World Digital, including multiple shots of the interior of the New Orleans train station, to show architectural alterations and deterioration throughout different eras. The train station was built as a 3D model and lighting and aging effects were added, using Next Limit's Maxwell rendering software—an architectural visualization tool.[20] Overall production was finished in September 2007.[21]

text: Music[edit]

text: The score to The Curious Case of Benjamin Button was written by French composer Alexandre Desplat, who recorded his score with an 87-piece ensemble of the Hollywood Studio Symphony at the Sony Scoring Stage.[22]

text: Awards[edit]

text: At the Academy Awards the film won in three categories: Best Achievement in Art Direction, Best Achievement in Makeup, and Best Achievement in Visual Effects. It was also nominated in ten other categories: Best Motion Picture of the Year, Best Performance by an Actor in a Leading Role, Best Performance by an Actress in a Supporting Role, Best Achievement in Directing, Best Writing, Adapted Screenplay, Best Achievement in Cinematography, Best Achievement in Film Editing, Best Achievement in Costume Design, Best Achievement in Music Written for Motion Pictures, Original Score, and Best Achievement in Sound Mixing.

text: Taraji P. Henson won Best Actress at the BET Awards for her role in the film combined with two other performances in Not Easily Broken, and The Family That Preys.

text: The film won all four awards it was nominated for at the 7th Visual Effects Society Awards, the categories of "Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture," "Best Single Visual Effect of the Year," "Outstanding Animated Character in a Live Action Feature Motion Picture," and "Outstanding Compositing in a Feature Motion Picture."

text: Reception[edit]

text: The Curious Case of Benjamin Button was originally slated for theatrical release in May 2008,[23] but it was pushed back to November 26, 2008.[24] The release date was moved again to December 25 in the United States, January 16, 2009 in Mexico, February 6 in the United Kingdom, February 13 in Italy[25] and February 27 in South Africa.

text: Box office performance[edit]

text: On its opening day, the film opened in the number two position behind Marley & Me, in North America with $11,871,831 in 2,988 theaters with a $3,973 average.[4] However, during its opening weekend, the film dropped to the third position behind Marley & Me and Bedtime Stories with $26,853,816 in 2,988 theaters with an $8,987 average. The film has come to gross $127.5 million domestically and $206.4 million in foreign markets, with a total gross of $333.9 million.[4]

text: Critical response[edit]

text: The film has received positive reviews, with Pitt's performance receiving praise. The review aggregator Rotten Tomatoes reports that 72% of critics gave the film positive reviews based on 238 reviews. Consensus reads: "Curious Case of Benjamin Button is an epic fantasy tale with rich storytelling backed by fantastic performances."[26] According to Metacritic, the film received an average score of 70 out of 100, based on 37 reviews.[27] Yahoo! Movies reported the film received a B+ average score from critical consensus, based on 12 reviews.[28]

text: Todd McCarthy of Variety magazine gave the film a positive review, calling it a "richly satisfying serving of deep-dish Hollywood storytelling."[29] Peter Howell of The Toronto Star says: "It's been said that the unexamined life is not worth living. The Curious Case of Benjamin Button suggests an addendum: a life lived backwards can be far more enriching" and describes the film as "a magical and moving account of a man living his life resoundingly in reverse" and "moviemaking at its best."[30] Rod Yates of Empire awarded it five out of a possible five stars.[31] Kirk Honeycutt of The Hollywood Reporter felt the film was "superbly made and winningly acted by Brad Pitt in his most impressive outing to date." Honeycutt praised Fincher's directing of the film and noted that the "cinematography wonderfully marries a palette of subdued earthen colors with the necessary CGI and other visual effects that place one in a magical past." Honeycutt states the bottom line about Benjamin Button is that it is "an intimate epic about love and loss that is pure cinema."[32]

text: A. O. Scott of The New York Times states: "The Curious Case of Benjamin Button, more than two and a half hours long, sighs with longing and simmers with intrigue while investigating the philosophical conundrums and emotional paradoxes of its protagonist’s condition in a spirit that owes more to Jorge Luis Borges than to Fitzgerald." Scott praised director David Fincher and writes "Building on the advances of pioneers like Steven Spielberg, Peter Jackson and Robert Zemeckis, Mr. Fincher has added a dimension of delicacy and grace to digital filmmaking" and further states: "While it stands on the shoulders of breakthroughs like Minority Report, The Lord of the Rings and Forrest Gump, Benjamin Button may be the most dazzling such hybrid yet, precisely because it is the subtlest." He also stated: "At the same time, like any other love—like any movie—it is shadowed by disappointment and fated to end."[33] On the other hand, Anne Hornaday of The Washington Post states: "There's no denying the sheer ambition and technical prowess of The Curious Case of Benjamin Button. What's less clear is whether it entirely earns its own inflated sense of self-importance" and further says, "It plays too safe when it should be letting its freak flag fly."[34] Kimberley Jones of the Austin Chronicle panned the film and states, "Fincher's selling us cheekboned movie stars frolicking in bedsheets and calling it a great love. I didn't buy it for a second."[35]

text: Roger Ebert of the Chicago Sun-Times gave the film two and a half stars out of four, saying that it is "a splendidly made film based on a profoundly mistaken premise." He goes on to elaborate that "the movie's premise devalues any relationship, makes futile any friendship or romance, and spits, not into the face of destiny, but backward into the maw of time."[36] Peter Bradshaw in The Guardian called it "166 minutes of twee tedium", giving it one star out of a possible five.[37]

text: Cosmo Landesman of the Sunday Times wrote: "The film's premise serves no purpose. It's a gimmick that goes on for nearly three hours," concluding "The Curious Case of Benjamin Button is an anodyne Hollywood film that offers a safe and sanitised view of life and death. It's Forrest Gump goes backwards," while awarding the film two out of five stars.[38] James Christopher in The Times called it "a tedious marathon of smoke and mirrors. In terms of the basic requirements of three-reel drama the film lacks substance, credibility, a decent script and characters you might actually care for"[39] while Derek Malcolm of London's Evening Standard notes that "never at any point do you feel that there's anything more to it than a very strange story traversed by a film-maker who knows what he is doing but not always why he is doing it."[40]

text: Home media[edit]

text: The film was released on DVD on May 5, 2009 by Paramount, and on Blu-ray and 2-Disc DVD by The Criterion Collection. The Criterion release includes over three hours of special features, and a documentary about the making of the film.[41]

text: As of November 1, 2009 the DVD has sold 2,515,722 DVD copies and has generated $41,196,515 in sales revenue.[42]

text: Accolades[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2010) (Learn how and when to remove this template message)

tag: table

text:
Award
Category
Recipient
Result
Ref(s)

81st Academy Awards
Best Picture
Kathleen Kennedy
Frank Marshall
Ceán Chaffin
Nominated

[43]

Best Director
David Fincher
Nominated

Best Actor in a Leading Role
Brad Pitt
Nominated

Best Actress in a Supporting Role
Taraji P. Henson
Nominated

Best Adapted Screenplay
Eric Roth
Nominated

Best Film Editing
Kirk Baxter
Angus Wall
Nominated

Best Cinematography
Claudio Miranda
Nominated

Best Art Direction
Donald Graham Burt
Victor J. Zolfo
Won

Best Costume Design
Jacqueline West
Nominated

Best Makeup
Greg Cannom
Won

Best Original Score
Alexandre Desplat
Nominated

Best Sound Mixing
David Parker
Michael Semanick
Ren Klyce
Mark Weingarten
Nominated

Best Visual Effects
Eric Barba
Steve Preeg
Burt Dalton
Craig Barron
Won

American Society of Cinematographers
Outstanding Achievement in Cinematography in Theatrical Releases
Claudio Miranda
Nominated

[44]

Austin Film Critics Association
Best Supporting Actress
Taraji P. Henson
Won

[45]

British Academy Film Awards
Best Film
Kathleen Kennedy
Frank Marshall
Ceán Chaffin
Nominated

[46]

Best Makeup & Hair

Won

Best Director
David Fincher
Nominated

Best Adapted Screenplay
Eric Roth
Nominated

Best Leading Actor
Brad Pitt
Nominated

Best Costume Design

Nominated

Best Music
Alexandre Desplat
Nominated

Best Cinematography
Claudio Miranda
Nominated

Best Editing

Nominated

Best Production Design

Won

Best Visual Effects

Won

Broadcast Film Critics Association
Best Film

Nominated

[47]

Best Actor
Brad Pitt
Nominated

Best Actress
Cate Blanchett
Nominated

Best Director
David Fincher
Nominated

Best Supporting Actress
Taraji P. Henson
Nominated

Best Cast

Nominated

Best Screenplay
Eric Roth
Nominated

Best Composer
Alexandre Desplat
Nominated

Chicago Film Critics Association
Best Picture

Nominated

Best Director
David Fincher
Nominated

Best Screenplay, Adapted
Eric Roth
Nominated

Best Cinematography
Claudio Miranda
Nominated

Best Original Score
Alexandre Desplat
Nominated

Directors Guild of America Awards
Outstanding Directorial Achievement in Motion Pictures
David Fincher
Nominated

Golden Globe Awards
Best Motion Picture Drama

Nominated

[48]

Best Actor - Motion Picture Drama
Brad Pitt
Nominated

Best Director - Motion Picture
David Fincher
Nominated

Best Screenplay
Eric Roth
Nominated

Best Original Score
Alexandre Desplat
Nominated

Houston Film Critics Society Awards
Best Picture

Won

Best Director
David Fincher
Nominated

Best Actor
Brad Pitt
Nominated

Best Actress
Cate Blanchett
Nominated

Best Supporting Actress
Taraji P. Henson
Nominated

Best Screenplay
Eric Roth
Nominated

Best Cinematography
Claudio Miranda
Won

Best Score
Alexandre Desplat
Nominated

Las Vegas Film Critics Society Awards
Best Art Direction

Won

Best Cinematography
Claudio Miranda
Won

Best Costume Design
Jacqueline West
Won

London Film Critics' Circle
Best Film

Nominated

Director of the Year
David Fincher
Won

British Supporting Actress of the Year
Tilda Swinton
Won

Screenwriter of the Year
Eric Roth
Nominated

MTV Movie Awards
Best Female Performance
Taraji P. Henson
Nominated

[49]

National Board of Review
National Board of Review: Top Ten Films

Won

[47][50]

Best Director
David Fincher
Won

Best Adapted Screenplay
Eric Roth
Won

Satellite Awards
Best Adapted Screenplay
Eric Roth
Robin Swicord
Nominated

Best Art Direction and Production Design
Donald Graham Burt
Tom Reta
Nominated

Best Cinematography
Claudio Miranda
Nominated

Best Costume Design
Jacqueline West
Nominated

Saturn Award
Best Fantasy Film

Won

Best Actor
Brad Pitt
Nominated

Best Actress
Cate Blatchett
Nominated

Best Supporting Actress
Tilda Swinton
Won

Best Director
David Fincher
Nominated

Best Writing
Eric Roth
Nominated

Best Music
Alexandre Desplat
Nominated

Best Make-Up

Won

Best Visual Effects

Nominated

Scream Awards
Best Fantasy Actor
Brad Pitt
Nominated

Screen Actors Guild Awards
Outstanding Performance by a Male Actor in a Leading Role
Brad Pitt
Nominated

Outstanding Performance by a Female Actor in a Supporting Role
Taraji P. Henson
Nominated

Outstanding Performance by a Cast in a Motion Picture

Nominated

St. Louis Gateway Film Critics Association Awards
Best Film

Won

[51]

Vancouver Film Critics Circle Awards
Best Director
David Fincher
Won

[52]

Visual Effects Society Awards
Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture
Eric Barba, Edson Williams, Nathan McGuinness, Lisa Beroud
Won
[53]

Best Single Visual Effect of the Year
Eric Barba, Lisa Beroud, Steve Preeg, Jonathan Litt for "Benjamin's Secret"
Won

Outstanding Animated Character in a Live Action Feature Motion Picture
Steve Preeg, Matthias Wittmann, Tom St. Amand, David McLean for "Benjamin Button"
Won

Outstanding Compositing in a Feature Motion Picture
Janelle Croshaw, Paul Lambert, Sonja Burchard, Sarahjane Javelo for "Benjamin Comes Together"
Won

Washington D.C. Area Film Critics Association
Best Art Direction

Won

Writers Guild of America Awards
Writers Guild of America Award for Best Adapted Screenplay
Eric Roth
Robin Swicord
Nominated


document_title: Cy Young Award

question_text: least amount of wins for cy young winner

text: Cy Young Award

text: History[edit]

text: The Cy Young Award was first introduced in 1956 by Commissioner of Baseball Ford C. Frick in honor of Hall of Fame pitcher Cy Young, who died in 1955.[1] The award would be given to pitchers only. Originally given to the single best pitcher in the major leagues, the award changed its format over time. From 1956 to 1966, the award was given to one pitcher in Major League Baseball. After Frick retired in 1967, William Eckert became the new Commissioner of Baseball. Due to fan requests, Eckert announced that the Cy Young Award would be given out both in the American League and the National League.[1] From 1956 to 1958, a pitcher was not allowed to win the award on more than one occasion; this rule was eliminated in 1959. After a tie in the 1969 voting for the Cy Young Award, the process was changed, in which each writer was to vote for three different pitchers: the first-place vote received five points, the second-place vote received three points, and the third-place vote received one point.[1]

text: The first recipient of the Cy Young Award was Don Newcombe of the Dodgers. In 1957, Warren Spahn became the first left-handed pitcher to win the award. In 1963, Sandy Koufax became the first pitcher to win the award in a unanimous vote; two years later he became the first multiple winner. In 1978, Gaylord Perry (age 40) became the oldest pitcher to receive the award, a record that stood until broken in 2004 by Roger Clemens (age 42).[1] The youngest recipient was Dwight Gooden (age 20 in 1985).  In 2012, R.A. Dickey became the first knuckleball pitcher to win the award.[4]

text: In 1974, Mike Marshall won the award, becoming the first relief pitcher to win the award.[1] In 1992, Dennis Eckersley was the first modern closer (first player to be used almost exclusively in ninth-inning situations)[5][6][7] to win the award, and since then only one other relief pitcher has won the award, Éric Gagné in 2003 (also a closer). A total of nine relief pitchers have won the Cy Young Award across both leagues.[8]

text: Steve Carlton in 1982 became the first pitcher to win more than three Cy Young Awards, while Greg Maddux in 1994 became the first to win at least three in a row (and received a fourth straight the following year), a feat later repeated by Randy Johnson.[9]

text: Winners[edit]

text:
Key

Year

Each year is linked to an article about that Major League Baseball season.

ERA

Earned run average

*

Also named Most Valuable Player (11 occurrences as of 2017)

**

Also named Rookie of the Year (1 occurrence as of 2017, by Fernando Valenzuela)

Member of the National Baseball Hall of Fame and Museum (20 individuals as of 2015)

text: Major Leagues combined (1956–1966)[edit]

text:
Year

Pitcher

Team

Record[B]
Saves[C]
ERA
K's

1956

Don Newcombe*

Brooklyn Dodgers (NL)

27–7

0

3.06

139

1957

Warren Spahn

Milwaukee Braves (NL)

21–11

3

2.69

111

1958

Bob Turley

New York Yankees (AL)

21–7

1

2.97

168

1959

Early Wynn

Chicago White Sox (AL)

22–10

0

3.17

179

1960

Vern Law

Pittsburgh Pirates (NL)

20–9

0

3.08

120

1961

Whitey Ford

New York Yankees (AL)

25–4

0

3.21

209

1962

Don Drysdale

Los Angeles Dodgers (NL)

25–9

1

2.84

232

1963

Sandy Koufax*

Los Angeles Dodgers (NL)

25–5

0

1.88

306

1964

Dean Chance

California Angels (AL)

20–9

4

1.65

207

1965

Sandy Koufax

Los Angeles Dodgers (NL)

26–8

2

2.04

382

1966

Sandy Koufax

Los Angeles Dodgers (NL)

27–9

0

1.73

317

text: National League (1967–present)[edit]

text:
Year

Pitcher

Team

Record[B]
Saves[C]
ERA
K's

1967

Mike McCormick

San Francisco Giants

22–10

0

2.85

150

1968

Bob Gibson*

St. Louis Cardinals

22–9

0

1.12

268

1969

Tom Seaver

New York Mets

25–7

0

2.21

208

1970

Bob Gibson

St. Louis Cardinals

23–7

0

3.12

274

1971

Ferguson Jenkins

Chicago Cubs

24–13

0

2.77

263

1972

Steve Carlton

Philadelphia Phillies

27–10

0

1.98

310

1973

Tom Seaver

New York Mets

19–10

0

2.08

251

1974

Mike Marshall

Los Angeles Dodgers

15–12

21

2.42

143

1975

Tom Seaver

New York Mets

22–9

0

2.38

243

1976

Randy Jones

San Diego Padres

22–14

0

2.74

93

1977

Steve Carlton

Philadelphia Phillies

23–10

0

2.64

198

1978

Gaylord Perry

San Diego Padres

21–6

0

2.73

154

1979

Bruce Sutter

Chicago Cubs

6–6

37

2.22

110

1980

Steve Carlton

Philadelphia Phillies

24–9

0

2.34

286

1981

Fernando Valenzuela**

Los Angeles Dodgers

13–7

0

2.48

180

1982

Steve Carlton

Philadelphia Phillies

23–11

0

3.11

286

1983

John Denny

Philadelphia Phillies

19–6

0

2.37

139

1984

Rick Sutcliffe

Chicago Cubs

16–1

0

2.69

155

1985

Dwight Gooden

New York Mets

24–4

0

1.53

268

1986

Mike Scott

Houston Astros

18–10

0

2.22

306

1987

Steve Bedrosian

Philadelphia Phillies

5–3

40

2.83

74

1988

Orel Hershiser

Los Angeles Dodgers

23–8

1

2.26

178

1989

Mark Davis

San Diego Padres

4–3

44

1.85

92

1990

Doug Drabek

Pittsburgh Pirates

22–6

0

2.76

131

1991

Tom Glavine

Atlanta Braves

20–11

0

2.55

192

1992

Greg Maddux

Chicago Cubs

20–11

0

2.18

199

1993

Greg Maddux

Atlanta Braves

20–10

0

2.36

197

1994

Greg Maddux

Atlanta Braves

16–6

0

1.56

156

1995

Greg Maddux

Atlanta Braves

19–2

0

1.63

181

1996

John Smoltz

Atlanta Braves

24–8

0

2.94

276

1997

Pedro Martínez

Montreal Expos

17–8

0

1.90

305

1998

Tom Glavine

Atlanta Braves

20–6

0

2.47

157

1999

Randy Johnson

Arizona Diamondbacks

17–9

0

2.49

364

2000

Randy Johnson

Arizona Diamondbacks

19–7

0

2.64

347

2001

Randy Johnson

Arizona Diamondbacks

21–6

0

2.49

372

2002

Randy Johnson

Arizona Diamondbacks

24–5

0

2.32

334

2003

Éric Gagné

Los Angeles Dodgers

2–3

55

1.20

137

2004

Roger Clemens

Houston Astros

18–4

0

2.98

218

2005

Chris Carpenter

St. Louis Cardinals

21–5

0

2.83

213

2006

Brandon Webb

Arizona Diamondbacks

16–8

0

3.10

178

2007

Jake Peavy

San Diego Padres

19–6

0

2.54

240

2008

Tim Lincecum

San Francisco Giants

18–5

0

2.62

265

2009

Tim Lincecum

San Francisco Giants

15–7

0

2.48

261

2010

Roy Halladay

Philadelphia Phillies

21–10

0

2.44

219

2011

Clayton Kershaw

Los Angeles Dodgers

21–5

0

2.28

248

2012

R.A. Dickey

New York Mets

20–6

0

2.73

230

2013

Clayton Kershaw

Los Angeles Dodgers

16–9

0

1.83

232

2014

Clayton Kershaw*

Los Angeles Dodgers

21–3

0

1.77

239

2015

Jake Arrieta

Chicago Cubs

22–6

0

1.77

236

2016

Max Scherzer

Washington Nationals

20–7

0

2.96

284

2017

Max Scherzer

Washington Nationals

16–6

0

2.51

268

text: American League (1967–present)[edit]

text:
Year

Pitcher

Team

Record[B]
Saves[C]
ERA
K's

1967

Jim Lonborg

Boston Red Sox

22–9

0

3.16

246

1968

Denny McLain*

Detroit Tigers

31–6

0

1.96

280

1969

Mike Cuellar

Baltimore Orioles

23–11

0

2.38

182

1969

Denny McLain

Detroit Tigers

24–9

0

2.80

181

1970

Jim Perry

Minnesota Twins

24–12

0

3.04

168

1971

Vida Blue*

Oakland Athletics

24–8

0

1.82

301

1972

Gaylord Perry

Cleveland Indians

24–16

1

1.92

234

1973

Jim Palmer

Baltimore Orioles

22–9

1

2.40

168

1974

Catfish Hunter

Oakland Athletics

25–12

0

2.49

143

1975

Jim Palmer

Baltimore Orioles

23–11

1

2.09

193

1976

Jim Palmer

Baltimore Orioles

22–13

0

2.51

159

1977

Sparky Lyle

New York Yankees

13–5

26

2.17

68

1978

Ron Guidry

New York Yankees

25–3

0

1.74

248

1979

Mike Flanagan

Baltimore Orioles

23–9

0

3.08

190

1980

Steve Stone

Baltimore Orioles

25–7

0

3.23

149

1981

Rollie Fingers*

Milwaukee Brewers

6–3

28

1.04

61

1982

Pete Vuckovich

Milwaukee Brewers

18–6

0

3.34

105

1983

LaMarr Hoyt

Chicago White Sox

24–10

0

3.66

148

1984

Willie Hernández*

Detroit Tigers

9–3

32

1.92

112

1985

Bret Saberhagen

Kansas City Royals

20–6

0

2.87

158

1986

Roger Clemens*

Boston Red Sox

24–4

0

2.48

238

1987

Roger Clemens

Boston Red Sox

20–9

0

2.97

256

1988

Frank Viola

Minnesota Twins

24–7

0

2.64

193

1989

Bret Saberhagen

Kansas City Royals

23–6

0

2.16

193

1990

Bob Welch

Oakland Athletics

27–6

0

2.95

127

1991

Roger Clemens

Boston Red Sox

18–10

0

2.62

241

1992

Dennis Eckersley*

Oakland Athletics

7–1

51

1.91

93

1993

Jack McDowell

Chicago White Sox

22–10

0

3.37

158

1994

David Cone

Kansas City Royals

16–5

0

2.94

132

1995

Randy Johnson

Seattle Mariners

18–2

0

2.48

294

1996

Pat Hentgen

Toronto Blue Jays

20–10

0

3.22

177

1997

Roger Clemens

Toronto Blue Jays

21–7

0

2.05

292

1998

Roger Clemens

Toronto Blue Jays

20–6

0

2.65

271

1999

Pedro Martínez

Boston Red Sox

23–4

0

2.07

313

2000

Pedro Martínez

Boston Red Sox

18–6

0

1.74

284

2001

Roger Clemens

New York Yankees

20–3

0

3.51

213

2002

Barry Zito

Oakland Athletics

23–5

0

2.75

182

2003

Roy Halladay

Toronto Blue Jays

22–7

0

3.25

204

2004

Johan Santana

Minnesota Twins

20–6

0

2.61

265

2005

Bartolo Colón

Anaheim Angels

21–8

0

3.48

157

2006

Johan Santana

Minnesota Twins

19–6

0

2.77

265

2007

CC Sabathia

Cleveland Indians

19–7

0

3.21

209

2008

Cliff Lee

Cleveland Indians

22–3

0

2.54

170

2009

Zack Greinke

Kansas City Royals

16–8

0

2.16

242

2010

Félix Hernández

Seattle Mariners

13–12

0

2.27

232

2011

Justin Verlander*

Detroit Tigers

24–5

0

2.40

250

2012

David Price

Tampa Bay Rays

20–5

0

2.56

205

2013

Max Scherzer

Detroit Tigers

21–3

0

2.90

240

2014

Corey Kluber

Cleveland Indians

18–9

0

2.44

269

2015

Dallas Keuchel

Houston Astros

20–8

0

2.48

216

2016

Rick Porcello

Boston Red Sox

22–4

0

3.15

189

2017

Corey Kluber

Cleveland Indians

18-4

0

2.25

265

text: Multiple winners[edit]

text: Nineteen pitchers have won the award multiple times. Roger Clemens currently holds the record for the most awards won, with seven - his first and last wins separated by eighteen years. Greg Maddux (1992–1995) and Randy Johnson (1999–2002) share the record for the most consecutive awards won. Clemens, Johnson, Pedro Martínez, Gaylord Perry, Roy Halladay and Max Scherzer are the only pitchers to have won the award in both the American League and National League; Sandy Koufax is the only pitcher who won multiple awards during the period when only one award was presented for all of Major League Baseball. Roger Clemens was the youngest pitcher to win a second Cy Young Award, while Tim Lincecum is the youngest pitcher to do so in the National League and Clayton Kershaw is the youngest left-hander to do so.  Clayton Kershaw is the youngest pitcher to win a third Cy Young Award.

text:
Pitcher

# of Awards

Years

Roger Clemens

7

1986, 1987, 1991, 1997, 1998, 2001, 2004

Randy Johnson

5

1995, 1999, 2000, 2001, 2002

Steve Carlton

4

1972, 1977, 1980, 1982

Greg Maddux

4

1992, 1993, 1994, 1995

Sandy Koufax

3

1963, 1965, 1966

Pedro Martínez

3

1997, 1999, 2000

Jim Palmer

3

1973, 1975, 1976

Tom Seaver

3

1969, 1973, 1975

Clayton Kershaw

3

2011, 2013, 2014

Max Scherzer

3

2013, 2016, 2017

Bob Gibson

2

1968, 1970

Tom Glavine

2

1991, 1998

Roy Halladay

2

2003, 2010

Corey Kluber

2

2014, 2017

Tim Lincecum

2

2008, 2009

Denny McLain

2

1968, 1969

Gaylord Perry

2

1972, 1978

Bret Saberhagen

2

1985, 1989

Johan Santana

2

2004, 2006

text: Wins by teams[edit]

text: Only four teams have never had a pitcher win the Cy Young Award. The Brooklyn/Los Angeles Dodgers have won more than any other team with 12.

text:
Team

# of Awards

Years

Brooklyn/Los Angeles Dodgers

12

1956, 1962–1963, 1965–1966, 1974, 1981, 1988, 2003, 2011, 2013–2014

Milwaukee/Atlanta Braves

7

1957, 1991, 1993–1996, 1998

Philadelphia Phillies

7

1972, 1977, 1980, 1982–1983, 1987, 2010

Boston Red Sox

7

1967, 1986–1987, 1991, 1999–2000, 2016

Baltimore Orioles

6

1969, 1973, 1975–1976, 1979–1980

Arizona Diamondbacks

5

1999–2002, 2006

Detroit Tigers

5

1968–1969, 1984, 2011, 2013

New York Mets

5

1969, 1973, 1975, 1985, 2012

New York Yankees

5

1958, 1961, 1977–1978, 2001

Oakland Athletics

5

1971, 1974, 1990, 1992, 2002

Chicago Cubs

5

1971, 1979, 1984, 1992, 2015

Cleveland Indians

5

1972, 2007–2008, 2014, 2017

Kansas City Royals

4

1985, 1989, 1994, 2009

Minnesota Twins

4

1970, 1988, 2004, 2006

San Diego Padres

4

1976, 1978, 1989, 2007

Toronto Blue Jays

4

1996–1998, 2003

Chicago White Sox

3

1959, 1983, 1993

Houston Astros

3

1986, 2004, 2015

San Francisco Giants

3

1967, 2008–2009

St. Louis Cardinals

3

1968, 1970, 2005

Montreal Expos/Washington Nationals

3

1997, 2016–2017

Los Angeles Angels

2

1964, 2005

Milwaukee Brewers

2

1981–1982

Pittsburgh Pirates

2

1960, 1990

Seattle Mariners

2

1995, 2010

Tampa Bay Rays

1

2012

Cincinnati Reds

0

none

Colorado Rockies

0

none

Miami Marlins

0

none

Texas Rangers

0

none

text: Unanimous winners[edit]

text: There have been 17 players who unanimously won the Cy Young Award, for a total of 23 wins.

text: Five of these unanimous wins were accompanied with a win of the Most Valuable Player award (marked with * below; ** denotes that the player's unanimous win was accompanied with a unanimous win of the MVP).

text: In the National League, 11 players have unanimously won the Cy Young Award, for a total of 14 wins.

text:
Sandy Koufax (1963*, 1965, 1966)
Greg Maddux (1994, 1995)
Bob Gibson (1968*)
Steve Carlton (1972)
Rick Sutcliffe (1984)
Dwight Gooden (1985)
Orel Hershiser (1988)
Randy Johnson (2002)
Jake Peavy (2007)
Roy Halladay (2010)
Clayton Kershaw (2014*)

text: In the American League, 6 players have unanimously won the Cy Young Award, for a total of 9 wins.

text:
Denny McLain (1968**)
Ron Guidry (1978)
Roger Clemens (1986*, 1998)
Pedro Martínez (1999, 2000)
Johan Santana (2004, 2006)
Justin Verlander (2011*)