document_title: Interstate 80 in Nebraska

question_text: what is the speed limit on the interstate in nebraska

text: Interstate 80 in Nebraska

text: History[edit]

text: Built along the pathway of the Great Platte River Road, I-80 in Nebraska follows the same route as many historic trails, including the Oregon Trail, the California Trail, and the Mormon Trail.[6] Starting in 1957 after federal funding was allotted, Nebraskans began planning their Interstate construction. Led by the Nebraska State Highway Commission, there were hearings across the state to decide where the route was going to be. Aside from the federally mandated "control points" in Omaha and Scottsbluff, the route could vary across the state. Dozens of meetings were held in Grand Island, Kearney, and North Platte, among other locations. The commission addressed issues of whether the highway would be north or south of the Platte River or whether it would follow U.S. Highway 30 US-30. The South Platte Chamber of Commerce and various cities were very active in these sessions, and debate over where the Interstate would be constructed continued into the 1960s.[1]

text: After the first contract for building the Interstate was awarded in 1957, a 6.5-mile (10.5 km) section near Gretna was the first section to be completed that year.[7] The first long segment to be opened was a 50-mile (80 km) section between Dodge Street in Omaha and the West Lincoln interchange in Lincoln in 1961.[8] During a "Golden Link" ceremony, the last section of I-80 in Nebraska was completed when a brass connector was inserted in the roadway near Sidney on April 1, 1974.[4] This was designed to emulate the golden spike ceremonially used to complete the Trancontinental Railroad in 1869.[9]

text: The total length of the Nebraska section is 455.27 miles (732.69 km) long, and was completed at a cost of $435 million.[4]

text: Legacy[edit]

text: The beginning of the I-80 construction in Nebraska in 1957 led the Nebraska Legislature to split the Department of Roads and Irrigation in order to create three separate agencies in the state, including the Department of Motor Vehicles, Department of Water Resources and the Department of Roads, which was the first Nebraska agency solely responsible for highway planning, construction, and maintenance in Nebraska history.[10]

text: Interstate construction led the state to focus on other highways in Nebraska, as well. Surfaced shoulders, new safety sections beyond shoulders and other developments across the state were attributed to the influence of the Interstate.[11] The 1965 state legislature also authorized a study of the needs of every public road in Nebraska, including state highways, county roads, and city streets.[12]

text: Speeds[edit]

text: The following are speed limits that have existed on I-80 in Nebraska since it was opened in 1957.[13]

text:
Rural speed limits on I-80

Year
Speed limit(s)

1960
70 mph (115 km/h)

1964
75 mph (120 km/h) for cars and 65 mph (105 km/h) for trucks

1974
55 mph (90 km/h) national speed limit, effective March 3, 1974

1987
65 mph (105 km/h)

1995
75 mph (120 km/h)

text: Route description[edit]

text: Designated sections[edit]

text: The entirety of the Interstate Highway System was named the "Dwight D. Eisenhower System of Interstate and Defense Highways" in 1990, and the first signage in Nebraska was posted in 1993.[14] Several sections of I-80 in Nebraska have special designations. The I-80 intersection with US-34 has been designated a "Purple Heart Memorial Highway", and South 108th Street bridge over I-80 in Omaha has been designated the "Purple Heart Bridge", both in honor of all recipients of the Purple Heart.[15] A section of I-80 in Nebraska is also designated as a Blue Star Memorial Highway.

text: Details[edit]

text: In Nebraska, I-80 has 82 interchanges, 442 bridges on or over the roadway, 25 rest areas, and one scenic overlook, each spaced 35–50 miles (56–80 km) apart for convenience. The I-80 rights-of-way in Nebraska feature 28 types of grasses and forbs, 31 types of shrubs, 12 varieties of coniferous trees, and 39 types of deciduous trees are planted on the median of I-80 in Nebraska. There are also 570 informational and directional signs along the way.[16] Mile markers with the interstate shield are posted every 1⁄5 mile (0.32 km) beginning at mile 379.0 going east.

text: Exit list[edit]

text:
County
Location
mi[2]
km
Exit
Destinations
Notes

Kimball

0.00
0.00

 I-80 west – Cheyenne
Continuation into Wyoming

0.48
0.77
1
 L-53B north (State Line Road) to US 30 – Pine Bluffs, Wyoming

Bushnell
8.46
13.62
8
 L-53C – Bushnell

20.71
33.33
20
 N-71 south – Kimball
west end of N-71 overlap

22.69
36.52
22
 N-71 north – Gering, Scottsbluff
east end of N-71 overlap

Dix
29.76
47.89
29
 L-53A – Dix

Cheyenne
Potter
38.96
62.70
38
 L-17B – Potter

48.82
78.57
48
 L-17C

51.31
82.58
Sidney Rest Area (eastbound); location of the Golden Link[17]

Sidney
55.37
89.11
55
 N-19 – Sidney

59.92
96.43
59
 L-17J to US 385 – Sidney, Bridgeport

Sunol
69.63
112.06
69
 L-17E – Sunol

Lodgepole
76.61
123.29
76
 L-17F – Lodgepole

Deuel
Chappell
85.22
137.15
85
 L-25A to US 385 – Chappell
There is no interchange where US 385 crosses I-80 (between exits 85 and 95)

95.02
152.92
95
 N-27 – Julesburg, Oshkosh

101.19
162.85
101
 US 138 – Big Springs, Julesburg

102.59
165.10
102
 I-76 south – Denver
Left exit westbound, left entrance eastbound

Big Springs
107.36
172.78
107
 L-25B – Big Springs

Keith
Brule
117.25
188.70
117
 L-51A – Brule

Ogallala
126.69
203.89
126
 US 26 / N-61 – Ogallala, Grant

Roscoe
133.97
215.60
133
 L-51B – Roscoe

Paxton
145.65
234.40
145
 L-51C – Paxton

Lincoln
Sutherland
158.01
254.29
158
 N-25 – Sutherland, Wallace

Hershey
164.51
264.75
164
 L-56C – Hershey

North Platte
177.16
285.11
177
 US 83 – North Platte, McCook

179.19
288.38
179
 L-56G to US 30 – North Platte

Maxwell
190.42
306.45
190
 S-56A – Maxwell

Brady
198.97
320.21
199
 L-56D – Brady

Dawson
Gothenburg
211.77
340.81
211
 N-47 – Gothenburg

Cozad
222.46
358.01
222
 N-21 – Cozad

231.10
371.92
231
 L-24A – Darr

Lexington
237.19
381.72
237
 US 283 – Arapahoe, Lexington, Elwood

Overton
248.53
399.97
248
 L-24B – Overton

Buffalo
Elm Creek
257.01
413.62
257
 US 183 – Holdrege, Elm Creek

Odessa
263.66
424.32
263
 L-10B – Odessa

Kearney
272.60
438.71
272
 N-44 – Kearney, Archway Monument

275.59
443.52
275
 N-10 north (East Entrance) – Kearney
Western end of N-10 overlap

279.89
450.44
279
 N-10 south – Minden
Eastern end of N-10 overlap

Gibbon
285.63
459.68
285
 L-10C – Gibbon

Shelton
291.36
468.90
291
 L-10D – Shelton, Kenesaw

Hall
Wood River
300.10
482.96
300
 N-11 north / S-40D south – Wood River

305.66
491.91
305
 L-40C – Alda

Grand Island
312.07
502.23
312
 US 34 / US 281 (Tom Osborne Expressway) – Hastings, Grand Island

314.11
505.51
314
Locust Street – Grand Island

Hamilton

318.14
512.00
318
 N-2 – Phillips, Grand Island

Giltner
324.14
521.65
324
 S-41B – Giltner

Aurora
332.15
534.54
332
 N-14 – Aurora

Hampton
338.12
544.15
338
 L-41D – Hampton

York
Henderson
342.11
550.57
342
 S-93A – Henderson

348.09
560.20
348
 L-93E – Bradshaw

York
353.09
568.24
353
 US 81 – Geneva, York

360.11
579.54
360
 L-93B – Waco

Seward

366.13
589.23
366
 L-80F – Utica

Beaver Crossing
369.12
594.04
369
 L-80E – Beaver Crossing

Goehner
373.09
600.43
373
 L-80G – Goehner

379.08
610.07
379
 N-15 – Seward, Fairbury

Milford
382.08
614.90
382
 L-80H – Milford

388.11
624.60
388
 N-103 – Crete

Lancaster
Lincoln
395.59
636.64
395
 L-55K (NW 48th Street) to US 6 – Lincoln

396.36
637.88
396
 US 6 (O Street) – Lincoln
Closed; was eastbound exit and westbound left entrance only[18]

397.27
639.34
397
 US 77 south – Lincoln, Beatrice
West end of US 77 overlap

399.01
642.14
399
NW 12th Street / Cornhusker Highway / Adams Street – Lincoln Airport

401.04
645.41
401
 I-180 south / US 34 / 9th Street – Downtown
Eastbound exits signed as 401A (south/east) and 401B (west)

403.48
649.34
403
27th Street

405.75
652.99
405
 US 77 north / L-55X south (56th Street) – Lincoln, Fremont, Wahoo
East end of US 77 overlap

Waverly
409.74
659.41
409
 US 6 – East Lincoln, Waverly

Cass
Ashland
420.91
677.39
420
 N-63 – Ashland, Greenwood

426.06
685.68
426
 N-66 – South Bend, Louisville, Ashland
Mahoney State Park

Sarpy

432.94
696.75
432
 N-31 to US 6 – Gretna, Ashland

439.19
706.81
439
 N-370 – Bellevue, Papillion, Gretna
Werner Park (stadium), Offutt Air Force Base

Chalco
440.63
709.13
440
 N-50 (144th Street) – Springfield, West Omaha

442.89
712.76
442
Giles Road / Harrison Street

Douglas
Omaha
444.56
715.45
445
Q Street
Westbound exit only; access from C/D lanes originating at West Center Rd. exit

445.05
716.24
 US 275 / N-92 (L Street)
Cloverleaf interchange accessible to and from C/D lanes

445.34
716.71
I Street
Westbound exit and eastbound entrance accessible to and from C/D lanes

445.97
717.72
446
 I-680 north

446.63
718.78
445
West Center Road
No eastbound exit; C/D lanes provide access to I-L-Q St. exits

448.29
721.45
448
84th Street

449.30
723.08
449
72nd Street

450.31
724.70
450
60th Street

451.83
727.15
451
42nd Street

452.85
728.79
452
 I-480 / US 75 north (Gerald R. Ford Expressway) – Downtown, Eppley Airfield
 US 75 south (Kennedy Freeway) – Bellevue
Exits to southbound US 75 also include direct exit ramp onto F Street

453.04
729.10
453
24th Street
Eastbound exit and westbound entrance

454.14
730.87
454
13th Street – Gardens, Zoo
Former US 73 / US 75

Missouri River
455.31
732.75
Interstate 80 Bridge; Nebraska–Iowa state line

 I-80 east – Des Moines
Continuation into Iowa

1.000 mi = 1.609 km; 1.000 km = 0.621 mi

      Closed/former
      Concurrency terminus
      Incomplete access

text: Auxiliary routes[edit]

text: Interstate 80 has three auxiliary routes in Nebraska. One is a loop around the city of Omaha, one is a loop through the city of Omaha, and the other is a spur into Lincoln.

text:
I-180 is a spur into downtown Lincoln, co-signed with US-34 for its entire length.
 I-480 is a loop route in Omaha extending from I-29 in Council Bluffs west towards I-80. It serves as the inner of two loops in Omaha. It is cosigned with US-75 for approximately 2.5 miles (4.0 km) and with US-6 for less than one mile (1.6 km) as it crosses the Missouri River into Iowa.
 I-680 is a loop around the northwest of Omaha. It serves as the outer of the two Omaha loops. The section from I-80 in Omaha to I-29 in Crescent was originally designated as I-280, but because it extended into Iowa, and because it conflicted with I-280 in the Quad Cities area of Iowa, the route was renumbered I-680.


document_title: Zero Dark Thirty

question_text: who played the seals in zero dark thirty

question_tokens: who played the seals in zero dark thirty

root

text: Zero Dark Thirty

text: Plot[edit]

text: Maya (Jessica Chastain) is a U.S. Central Intelligence Agency analyst, recruited "out of high school" around 1999, tasked with finding the al-Qaeda leader Osama bin Laden (Ricky Sekhon). In 2003 she is stationed at the U.S. embassy in Pakistan. She and fellow officer Dan (Jason Clarke), attend the blacksite interrogations of Ammar (Reda Kateb), a detainee with suspected links to several of the 2001 hijackers in the September 11 attacks, who is subjected to approved torture interrogation techniques. Ammar provides unreliable information on a suspected attack in Saudi Arabia, but does reveal to Maya the previously unknown name of the personal courier for bin Laden, Abu Ahmed al-Kuwaiti. Other detainee intelligence connects courier traffic by Abu Ahmed between Abu Faraj al-Libbi (Yoav Levi) and bin Laden. In 2005, Faraj denies knowing about a courier named Abu Ahmed; she interprets this as an attempt by Faraj to conceal the importance of Abu Ahmed.

tag: p

text: In 2009, during the Camp Chapman attack, Maya's fellow officer and friend Jessica (Jennifer Ehle) is killed. On the same day a case manager that likes the Abu Ahmed lead, shares with her an interrogation with a Jordanian detainee claiming to have personally buried Abu Ahmed in 2001. Maya learns what the CIA was told five years earlier, that Morocco caught Ibrihim Sayeed traveling under the name of Abu Ahmed al-Kuwaiti. Realizing her lead may be alive, Maya contacts Dan, now a senior officer at the CIA headquarters. She speculates that the CIA's photograph of "Abu Ahmed" is that of his brother, Habeeb, who was killed in Afghanistan. Maya says that their beards and native clothes make all of the brothers look alike. This would explain Ammar's account of Abu Ahmed's "death" in 2001.

text: Maya wants the telephone number of Ibrihim Sayeed's mother, and it comes from a Kuwaiti prince for the price of a Lamborghini. CIA operatives use electronic methods to pinpoint a caller in a vehicle who persistently exhibits tradecraft behaviors that delay confirmation of his identity. The vehicle is physically tracked to a large urban compound in Abbottabad, Pakistan, near the Pakistan Military Academy. Gunmen attack Maya while she is in her vehicle; the action indicates to the agency that her cover is blown, so she is recalled to Washington, D.C.

text: When the compound is put under surveillance, the habits and culture of the inhabitants are analyzed but no conclusive photographic identification of bin Laden is obtained. The President's National Security Advisor tasks the CIA with creating a plan to capture or kill bin Laden. Two stealth helicopters from Area 51 are flown by the Army's 160th Special Operations Aviation Regiment to enter Pakistan, insert members of DEVGRU and the CIA's SAD/SOG and raid the compound. Before briefing President Barack Obama, the CIA Director (James Gandolfini) holds a meeting of his senior officers, who assess that bin Laden being there is a chance of 60–80%, rather than another high-value target. Maya, also in attendance, uses the "habits" intelligence to shore-up her conclusion to 100% that bin Laden is there.

text: The raid is approved and is executed on May 2, 2011. A helicopter crashes, the SEALs gain entry and kill a number of people within the compound—among them a man in the building who is believed to be bin Laden. At a U.S. base in Jalalabad, Afghanistan, Maya visually confirms the identity of the corpse. Maya is seen boarding a military transport to return to the U.S.; the only passenger in the vast interior. The pilot asks her the destination; she does not reply.

text: As the plane's cargo-hold door closes, Maya begins to cry softly.[15]

text: Cast[edit]

text: CIA

text:
Jessica Chastain as Maya, a CIA intelligence analyst[16]
Jason Clarke as Dan, a CIA intelligence officer
Jennifer Ehle as Jessica, a senior CIA analyst
Mark Strong as George, a senior CIA supervisor[16]
Kyle Chandler as Joseph Bradley, Islamabad CIA Station Chief
James Gandolfini as CIA Director
Harold Perrineau as Jack, a CIA analyst
Mark Duplass as Steve, a CIA analyst
Fredric Lehne as 'The Wolf', a CIA section chief
John Barrowman as Jeremy, a CIA executive
Jessie Collins as Debbie, a CIA analyst
Édgar Ramírez as Larry, a CIA (SAD/SOG) operative
Fares Fares as Hakim, a CIA SAD/SOG operative
Scott Adkins as John, a CIA SAD/SOG operative

tag: ul

text: US Navy

text:
Joel Edgerton as Patrick, DEVGRU (SEAL Team 6) team leader
Chris Pratt as Justin, DEVGRU operator
Callan Mulvey as Saber, DEVGRU operator
Taylor Kinney as Jared, DEVGRU operator
Mike Colter as Mike, DEVGRU operator
Frank Grillo as DEVGRU Commanding officer
Christopher Stanley as Vice Admiral Bill McRaven[N 1]

text: Other

text:
Stephen Dillane as the National Security Advisor
Mark Valley as C-130 pilot
Reda Kateb as Ammar
Homayoun Ershadi as Hassan Ghul
Yoav Levi as Abu Farraj al-Libbi
Ricky Sekhon as Osama bin Laden

text: Production[edit]

text: Titles[edit]

text: The film's working title was For God and Country.[17] The title Zero Dark Thirty was officially confirmed at the end of the film's teaser trailer.[18] Bigelow has explained that "it's a military term for 30 minutes after midnight, and it refers also to the darkness and secrecy that cloaked the entire decade-long mission."[19]

text: Writing[edit]

text: Bigelow and Boal had initially worked on and finished a screenplay centered on the December 2001 Battle of Tora Bora, and the long, unsuccessful efforts to find Osama bin Laden in the region. The two were about to begin filming when news broke that bin Laden had been killed.

text: They immediately shelved the film they had been working on and redirected their focus, essentially starting from scratch. "But a lot of the homework I'd done for the first script and a lot of the contacts I made, carried over," Boal remarked during an interview with Entertainment Weekly. He added, "The years I had spent talking to military and intelligence operators involved in counter-terrorism was helpful in both projects. Some of the sourcing I had developed long, long ago continued to be helpful for this version."[20]

text: Along with painstakingly recreating the historic night-vision raid on the Abbottabad compound, the script and the film stress the little-reported role of the tenacious young female CIA officer who tracked down Osama bin Laden. Screenwriter Boal said that while researching for the film, "I heard through the grapevine that women played a big role in the CIA in general and in this team. I heard that a woman was there on the night of the raid as one of the CIA's liaison officers on the ground – and that was the start of it." He then turned up stories about a young case officer who was recruited out of college, who had spent her entire career chasing bin Laden. Maya's tough-minded, monomaniacal persona, Boal said, is "based on a real person, but she also represents the work of a lot of other women."[21] In December 2014 Jane Mayer of The New Yorker wrote that "Maya" was modeled in part after CIA officer Alfreda Frances Bikowsky.[22]

text: Filming[edit]

text:
Parts of the film were shot at PEC University of Technology in Chandigarh, India.[23][24] Some parts of Chandigarh were designed to look like Lahore and Abbottabad in Pakistan, where Osama bin Laden was found and killed on May 2, 2011.[25] Parts of the film were shot in Mani Majra.[26] Local members of Hindu Nationalist parties protested, expressing anti-bin Laden and anti-Pakistan sentiments as they objected to Pakistani locations being portrayed on Indian soil.[27][28]
For a lone scene shot in Poland, the city of Gdańsk was reportedly offended for depicting it as a location for the CIA's clandestine and dark operations.[29]

text: National security expert Peter Bergen, who reviewed an early cut of the film as an unpaid adviser, said at the time that the film's torture scenes "were overwrought". Boal said they were "toned down" in the final cut.[30]

text: Music[edit]

text: Alexandre Desplat composed and conducted the film's score.[31] The score, performed by the London Symphony Orchestra, was released as a soundtrack album by Madison Gate Records on December 19, 2012.[32]

text: No.TitleLength1."Flight to Compound"5:072."Drive to Embassy"1:443."Bombings"3:464."Ammar"4:065."Monkeys"2:596."Northern Territories"3:467."Seals Take Off"2:348."21 Days"2:049."Preparation for Attack"1:4510."Balawi"3:1511."Dead End"3:2612."Maya on Plane"3:5913."Area 51"1:4214."Tracking Calls"3:4615."Picket Lines"3:0316."Towers"2:0217."Chopper"1:4818."Back to Base"2:41

tag: table

text: Marketing[edit]

text: Electronic Arts promoted Zero Dark Thirty in its video game Medal of Honor: Warfighter by offering downloadable maps of locations depicted in the film. Additional maps for the game were made available on December 19, to coincide with the film's initial release. Electronic Arts donates $1 to nonprofit organizations that support veterans for each Zero Dark Thirty map pack sold.[33]

text: Release[edit]

text: Critical response[edit]

text: The examples and perspective in this section deal primarily with the United States and do not represent a worldwide view of the subject. You may improve this article, discuss the issue on the talk page, or create a new article, as appropriate. (August 2018) (Learn how and when to remove this template message)

text: On Rotten Tomatoes the film has an approval rating of 91% based on 275 reviews, with an average rating of 8.6/10. The website's critical consensus reads, "Gripping, suspenseful, and brilliantly crafted, Zero Dark Thirty dramatizes the hunt for Osama bin Laden with intelligence and an eye for detail."[34] On Metacritic the film has a weighted average score of 95 out of 100, based on 46 critics, indicating "universal acclaim". It was the site's best-reviewed film of 2012.[35] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[36]

text: The film appeared on 95 critics' top ten lists of 2012, more than any film in its year, whilst 17 had the film in number-one spot.[37]

text: New York Times critic Manohla Dargis, who designated the film a New York Times critics' pick, said that the film "shows the dark side of that war. It shows the unspeakable and lets us decide if the death of Bin Laden was worth the price we paid." Continued Dargis:

text: There is much else to say about the movie, which ends with the harrowing siege of Bin Laden's hideaway by the Navy SEALs (played by, among others, Joel Edgerton and Chris Pratt), much of it shot to approximate the queasy, weirdly unreal green of night-vision goggles. Ms. Bigelow's direction here is unexpectedly stunning, at once bold and intimate: she has a genius for infusing even large-scale action set pieces with the human element. One of the most significant images is of a pool of blood on a floor. It's pitiful, really, and as the movie heads toward its emphatically non-triumphant finish, it is impossible not to realize with anguish that all that came before – the pain, the suffering and the compromised ideals – has led to this.[38]

text: Richard Corliss' review in Time magazine called it "a fine" movie and "a police procedural on the grand scale", saying it "blows Argo out of the water".[39] Todd McCarthy of The Hollywood Reporter said, "it could well be the most impressive film Bigelow has made, as well as possibly her most personal." Peter Debruge of Variety said: "The ultra-professional result may be easier to respect than enjoy, but there's no denying its power." Critic Katey Rich of The Guardian said: "Telling a nearly three-hour story with an ending everyone knows, Bigelow and Boal have managed to craft one of the most intense and intellectually challenging films of the year."[40] Calling Zero Dark Thirty "a milestone in post-Sept. 11 cinema", critic A. O. Scott of The New York Times listed the film at number six of the top 10 films of 2012.[41]

text: The New Yorker film critic David Denby lauded the filmmakers for their approach. "The virtue of Zero Dark Thirty," wrote Denby, "is that it pays close attention to the way life does work; it combines ruthlessness and humanity in a manner that is paradoxical and disconcerting yet satisfying as art." But Denby faulted the filmmakers for getting lodged on the divide between fact and fiction.

text: Yet, in attempting to show, in a mainstream movie, the reprehensibility of torture, and what was done in our name, the filmmakers seem to have conflated events, and in this they have generated a sore controversy: the chairs of two Senate committees have said that the information used to find bin Laden was not uncovered through waterboarding. Do such scenes hurt the movie? Not as art; they are expertly done, without flinching from the horror of the acts and without exploitation. But they damage the movie as an alleged authentic account. Bigelow and Boal – the team behind The Hurt Locker – want to claim the authority of fact and the freedom of fiction at the same time, and the contradiction mars an ambitious project.[42]

text: Steve Coll criticized the early claims for "journalism" with the use of composite characters. He took issue with the film's using the names of historical figures and details of their lives for characters, such as using details for "Ammar" to suggest that he was Ali Abdul Aziz Ali, whose nom de guerre was Ammar al-Baluchi. Coll said the facts about him were different from what was portrayed in the film, which suggests the detainee will never leave the black site. Al-Baluchi was transferred to Guantanamo in 2006 for a military tribunal. Coll writes:

text: He has been an active, defiant participant in Guantánamo court proceedings and his lawyers have sought permission from military judges to introduce evidence in his defense that he was tortured while in CIA custody, and to pursue information about the identities of the agency officers who interrogated him.[43]

text: The Washington Post's critic Ann Hornaday, who named Zero Dark Thirty as the year's best film, noted the divergent takes on the film: "As Boal and Bigelow gather critics' plaudits and awards, the movie itself has entered a fascinating parallel conversation – part food fight for cable-news channels desperate for post-election fodder, part valuable (if belated) civic debate."[44] Writing in the Los Angeles Times, critic Kenneth Turan singled out actress Chastain for her performance. "Her single-minded ferocity and stubbornness not only prove essential in the hunt, but also make up the emotional through line that engages us in the story of Zero Dark Thirty."[45]

text: Writing in The Wall Street Journal, film critic Joe Morgenstern said:

text: This is the work of a commanding filmmaker who is willing, as well as able, to confront a full spectrum of moral ambiguity. [...] Others will debate the facts, but I can tell you that Zero Dark Thirty does not apologize for torture, any more than it denounces it. What it does in the course of telling a seminal story of our time is what contemporary films so rarely do, serve as brilliant provocation.[46]

text: Roger Ebert of the Chicago Sun-Times gave the film three stars out of four and said:

text: The film's opening scenes are not great filmmaking. They're heavy on jargon and impenetrable calculation, murky and heavy on theory. [...] My guess is that much of the fascination with this film is inspired by the unveiling of facts, unclearly seen. There isn't a whole lot of plot – basically, just that Maya thinks she is right, and she is.[47]

text: David Edelstein said that "[a]s a moral statement, Zero Dark Thirty is borderline fascistic", but "[a]s a piece of cinema, it's phenomenally gripping – an unholy masterwork."[48] The journalist Matt Taibbi wrote:

text: The real problem is what this movie says about us. When those Abu Ghraib pictures came out years ago, at least half of America was horrified. The national consensus (albeit by a frighteningly slim margin) was that this wasn't who we, as a people, wanted to be. But now, four years later, Zero Dark Thirty comes out, and it seems that that we've become so blunted to the horror of what we did and/or are doing at Abu Ghraib and Guantanamo and Bagram and other places that we can accept it, provided we get a boffo movie out of it.[49]

text: The film was met with a few negative reviews including the Daily Mail's Chris Tookey remarking, in a 1/5 star review, that Chastain's character was "a cold, opaque, one-dimensional figure, as involving as a pre-programmed cyborg." while adding that "There was the opportunity here to examine a complex, important subject central to the history of our time. However, complexity, depth and character are not Ms Bigelow's forte."[50]

text: The film was also criticised for its factual inaccuracies and its stereotypical portrayal of Pakistan, with dismay being expressed at the botched depiction of, among other things, languages Pakistani nationals speak (Arabic instead of Urdu and other regional languages) and the obsolete headgear they wear.[51]

text: Top ten lists[edit]

text: Zero Dark Thirty was listed on many critics' top ten lists.[52]

text:
1st – Richard Roeper
1st – David Denby, The New Yorker (tied with Lincoln)
1st – Lisa Schwarzbaum, Entertainment Weekly
1st – Michael Phillips, Chicago Tribune
1st – Ann Hornaday, The Washington Post
1st – Scott Foundas, Village Voice
1st – Mary Pols, Time
1st – David Edelstein, New York
1st – Peter Knegt & Nigel M. Smith, Indiewire[53]
1st – Christopher Orr, The Atlantic
1st – Keith Phipps, The A.V. Club
2nd – Peter Travers, Rolling Stone
2nd – Eric Kohn, Indiewire
2nd – Stephanie Zacharek, Film.com
2nd – Joshua Rothkopf, Time Out New York
2nd – A.A. Dowd and Ben Kenigsberg, Time Out Chicago
2nd – Noel Murray, The A.V. Club
2nd – Gregory Ellwood, Hitfix
2nd – Scott Mantz, Access Hollywood
2nd – James Berardinelli, Reelviews
3rd – Stephen Holden, The New York Times
3rd – Ty Burr, Boston Globe
3rd – Betsy Sharkey, Los Angeles Times
3rd – Mick LaSalle, San Francisco Chronicle
3rd – Elizabeth Weitzman, New York Daily News
3rd – Bill Goodykoontz, Arizona Republic
3rd – Lou Lumenick, New York Post
3rd – Anne Thompson & Caryn James, Indiewire
3rd – Tasha Robinson, The A.V. Club
4th – Andrew O'Hehir, Salon.com
4th – Glenn Kenny, MSN Movies
4th – Marlow Stern, The Daily Beast
5th – Owen Gleiberman, Entertainment Weekly
5th - Christy Lemire, Associated Press
5th – Drew McWeeny, HitFix
5th – Todd McCarthy, The Hollywood Reporter
5th – Kyle Smith, New York Post
6th – Richard Corliss, Time
6th – A.O. Scott, The New York Times
7th – Kevin Jagernauth, Indiewire
7th – Lisa Kennedy, Denver Post
7th – Alison Willmore, The A.V. Club
8th – Scott Tobias, The A.V. Club
9th – Joe Neumaier, New York Daily News
10th – Steven Rea, Philadelphia Inquirer
10th – Dana Stevens, Slate
Top 10 (ranked alphabetically) – Richard Lawson, The Atlantic
Top 10 (listed alphabetically) – Manohla Dargis, The New York Times
Top 10 (ranked alphabetically) – Calvin Wilson, St. Louis Post-Dispatch
Top 10 (listed alphabetically) – Joe Morgenstern, The Wall Street Journal
Best of 2012 (listed alphabetically, not ranked) – Kenneth Turan, Los Angeles Times

text: it was picked as the 57th greatest film since 2000 in a 2016 critics' poll by BBC.[54]

text: Box office[edit]

text: The limited release of Zero Dark Thirty grossed $417,150 in the United States and Canada in only five theaters.[55] A wide release followed on January 11.

text: Entertainment Weekly wrote, "The controversial Oscar contender easily topped the chart in its first weekend of wide release with $24.4 million."[56] Zero Dark Thirty grossed $95,720,716 in the U.S. and Canada, along with $37,100,000 in other countries, for a worldwide total of $132,820,716.[2] It was the top-grossing film of its wide release premiere weekend.[57]

text: Accolades[edit]

text:
Zero Dark Thirty was nominated for five Academy Awards at the 85th Academy Awards: Best Picture,
Best Actress, Best Original Screenplay, Best Sound Editing and Best Film Editing. Paul N. J. Ottosson won the Academy Award for Best Sound Editing, tying with Skyfall. This was only the sixth tie in Academy Awards history, and the first since 1994. Zero Dark Thirty was nominated for four Golden Globe Awards at the 70th Golden Globe Awards, including Best Motion Picture – Drama, Best Director, Best Screenplay, with Chastain winning Best Actress – Motion Picture Drama.

text: The Washington D.C. Area Film Critics Association's award for Best Director was given to Bigelow, the second time the honor has gone to a woman (the first also being Bigelow for The Hurt Locker). The film swept critics groups' awards for Best Director and Best Picture including the Washington D.C., New York Film Critics Online, Chicago and Boston film critics associations.[58]

text: Home media[edit]

text: Zero Dark Thirty was released on DVD[59] and Blu-ray Disc on March 19, 2013.[60]

text: Prequel[edit]

text: Writer Boal has stated his interest in making the original film on the 2001 Tora Bora hunt for bin Laden that he and Bigelow conceived. That finished screenplay had been set aside after bin Laden was killed in 2011 to focus on what became Zero Dark Thirty. "I love reporting, so being on a big story is really exciting to me," said Boal, a former war journalist, of his scramble to write a new script after the event. "But nobody likes to throw out two years of work."[61]

text: Historical accuracy[edit]

text: Zero Dark Thirty has received criticism for historical inaccuracy. Former Assistant Secretary of Defense Graham T. Allison has opined that the film is inaccurate in three important regards: the overstatement of the positive role of enhanced interrogation methods, the understatement of the role of the Obama administration, and the portrayal of the efforts as being driven by one agent battling against the CIA "system".[62]

text: On May 21, 2015, journalist Seymour Hersh reported that the Pakistani Inter-Services Intelligence (ISI) had kept bin Laden under house arrest at Abbottabad since 2006, and that Pakistani Army chief Pervez Kayani and ISI director Ahmad Shuja Pasha aided the U.S. mission to kill, not capture bin Laden.[63][64] Hersh's U.S. and Pakistani intelligence sources stated that the U.S. had learned of bin Laden's location through an ISI walk-in seeking the $25 million reward and not through tracking a courier; this had been previously reported by R.J. Hillhouse and was afterward partly supported by NBC News.[63][65][66] The White House denied Hersh's report.[67][68]

text: Controversy[edit]

text: Allegations of partisanship[edit]

text: Partisan political controversy arose related to the film before shooting began.[20] Opponents of the Obama Administration charged that Zero Dark Thirty was scheduled for an October release just before the November presidential election to support his re-election, as Bin Laden's killing is regarded as a success for President Obama.[69][70] Sony denied that politics was a factor in release scheduling and said the date was the best available spot for an action-thriller in a crowded lineup. The film's screenwriter added, "the president is not depicted in the movie. He's just not in the movie."[71]

text: The distributor Columbia Pictures, sensitive to political perceptions, considered rescheduling the film release for as late as early 2013. It set a limited-release date for December 19, 2012, well after the election and rendering moot any alleged political conflict.[17][72][73][74][75] The nationwide release date was pushed back to January 11, 2013, moving it out of the crowded Christmas period and closer to the Academy Awards.[76] After the film's limited release, given the controversy related to the film's depiction of torture and its role in gaining critical information, The New York Times columnist Frank Bruni concluded that the film is "a far, far cry from the rousing piece of pro-Obama propaganda that some conservatives feared it would be".[77] Two months later, the paper's columnist Roger Cohen wrote that the film was "a courageous work that is disturbing in the way that art should be". Cohen disagreed with Steve Coll's critique of the screenwriter's stated effort not to "play fast and loose with history", writing that "Boal has honored those words". Cohen ended with a note about a Timothy Garton Ash analysis of George Orwell mixing fact and "invented" stories in Down and Out in Paris and London – as further support for Boal's method.[78]

text: Allegations of improper access to classified information[edit]

text: Several Republican sources charged the Obama Administration of improperly providing Bigelow and her team access to classified information during their research for the film. These charges, along with charges of other leaks to the media, became a prevalent election season talking point by conservatives. The Republican national convention party platform even claimed Obama "has tolerated publicizing the details of the operation to kill the leader of Al Qaeda."[73] No release of these details has been proven.[79]

text: The Republican congressman Peter T. King requested that the CIA and the U.S. Defense Department investigate if classified information was inappropriately released; both departments said they would look into it.[80] The CIA responded to Congressman King writing, "the protection of national security equities – including the preservation of our ability to conduct effective counterterrorism operations – is the decisive factor in determining how the CIA engages with filmmakers and the media as a whole."[81]

text: The conservative watchdog group Judicial Watch publicized CIA and U.S. Defense Department documents obtained through a Freedom of Information Act (FOIA) request, and alleged that "unusual access to agency information" was granted to the filmmakers. But, an examination of the documents showed no evidence that classified information was leaked to the filmmakers. In addition, CIA records did not show any involvement by the White House in relation to the filmmakers.[17][73] The filmmakers have said they were not given access to classified details about Osama bin Laden's killing.[13]

text: In January 2013, Reuters reported that the United States Senate Select Committee on Intelligence will review the contacts between the CIA and the filmmakers to find out whether Bigelow and Boal had inappropriate access to classified information.[82] In February, Reuters reported that the inquiry was dropped.[83]

text: In June 2013, an unreleased U.S. Defense Department Inspector General's office report stated that former CIA Director Leon Panetta, while giving a presentation at a private awards ceremony, disclosed information classified as "Secret" and "Top Secret" regarding personnel involved in the raid on the Bin Laden compound.[84]

text: Allegations of pro-torture stance[edit]

text: The film has been both criticized and praised for its handling of subject matter, including the portrayal of harsh interrogation techniques, commonly classified as torture. The use of these techniques was long kept secret by the Bush administration. (See Torture Memos.) Glenn Greenwald, in The Guardian, stated that the film takes a pro-torture stance, describing it as "pernicious propaganda" and stating that it "presents torture as its CIA proponents and administrators see it: as a dirty, ugly business that is necessary to protect America."[6] Critic Frank Bruni concluded that the film appears to suggest "No waterboarding, no Bin Laden".[77] Jesse David Fox writes that the film "doesn't explicitly say that torture caught bin Laden, but in portraying torture as one part of the successful search, it can be read that way."[85] Emily Bazelon said, "The filmmakers didn't set out to be Bush-Cheney apologists", but "they adopted a close-to-the-ground point of view, and perhaps they're in denial about how far down the path to condoning torture this led them."[86] Journalist Michael Wolff slammed the film as a "nasty piece of pulp and propaganda" and Bigelow as a "fetishist and sadist" for distorting history with a pro-torture viewpoint. Wolff disputed the efficacy of torture and the claim that it contributed to the discovery of bin Laden.[7] In an open letter, social critic and feminist Naomi Wolf criticized Bigelow for claiming the film was "part documentary" and speculated over the reasons for Bigelow's "amoral compromising" of film-making, suggesting that the more pro-military a film, the easier it is to acquire Pentagon support for scenes involving expensive, futuristic military equipment. Wolf likened Bigelow to the acclaimed director and propagandist for the Nazi regime, Leni Riefenstahl, saying: "Like Riefenstahl, you are a great artist. But now you will be remembered forever as torture's handmaiden."[8] Author Karen J. Greenberg wrote that "Bigelow has bought in, hook, line, and sinker, to the ethos of the Bush administration and its apologists" and called the film "the perfect piece of propaganda, with all the appeal that naked brutality, fear, and revenge can bring".[9] Peter Maass of The Atlantic said the film "represents a troubling new frontier of government-embedded filmmaking".[87]

text: Jane Mayer of The New Yorker, who has published The Dark Side, a book about the use of torture during the Bush administration, criticized the film, saying that Bigelow was

text: milk[ing] the U.S. torture program for drama while sidestepping the political and ethical debate that it provoked.... [By] excising the moral debate that raged over the interrogation program during the Bush years, the film also seems to accept almost without question that the CIA's 'enhanced interrogation techniques' played a key role in enabling the agency to identify the courier who unwittingly led them to bin Laden.[88]

text: Author Greg Mitchell wrote that "the film's depiction of torture helping to get bin Laden is muddled at best – but the overall impression by the end, for most viewers, probably will be: Yes, torture played an important (if not the key) role."[89] Filmmaker Alex Gibney called the film a "stylistic masterwork" but criticized the "irresponsible and inaccurate" depiction of torture, writing:

text: there is no cinematic evidence in the film that EITs led to false information – lies that were swallowed whole because of the misplaced confidence in the efficacy of torture. Most students of this subject admit that torture can lead to the truth. But what Boal/Bigelow fail to show is how often the CIA deluded itself into believing that torture was a magic bullet, with disastrous results.[90]

text: Philosopher Slavoj Žižek, in an article for The Guardian, criticized what he perceived a "normalization" of torture in the film, arguing that the mere neutrality on an issue many see as revolting is already a type of endorsement per se. Žižek proposed that if a similar film was made about a brutal rape or the Holocaust, such a movie would "embody a deeply immoral fascination with its topic, or it would count on the obscene neutrality of its style to engender dismay and horror in spectators." Žižek further panned Bigelow's stance of coldly presenting the issue in a rational manner, instead of being dogmatically rejected as a repulsive, unethical proposition.[91]

text: Journalist Steve Coll, who has written on foreign policy, national security and the bin Laden family, criticized the filmmakers for saying the film was "journalistic", which implies that it is based in fact. At the same time, they claimed artistic license, which he described "as an excuse for shoddy reporting about a subject as important as whether torture had a vital part in the search for bin Laden".[43] Coll wrote that "arguably, the film's degree of emphasis on torture's significance goes beyond what even the most die-hard defenders of the CIA interrogation regime [...] have argued", as he said it was shown as critical at several points.[43]

text: U.S. Senator John McCain, who was tortured during his time as a prisoner of war in North Vietnam, said that the film left him sick – "because it's wrong". In a speech in the Senate, he said, "Not only did the use of enhanced interrogation techniques on Khalid Sheikh Mohammed not provide us with key leads on bin Laden's courier, Abu Ahmed, it actually produced false and misleading information."[92] McCain and fellow senators Dianne Feinstein and Carl Levin sent a critical letter to Michael Lynton, chairman of the film's distributor, Sony Pictures Entertainment, stating, "[W]ith the release of Zero Dark Thirty, the filmmakers and your production studio are perpetuating the myth that torture is effective. You have a social and moral obligation to get the facts right."[93]

text: Michael Morell, the CIA's acting director, sent a public letter on December 21, 2012 to the agency's employees, which said that Zero Dark Thirty

text: takes significant artistic license, while portraying itself as being historically accurate.... [The film] creates the strong impression that the enhanced interrogation techniques that were part of our former detention and interrogation program were the key to finding Bin Ladin. That impression is false. (...) [T]he truth is that multiple streams of intelligence led CIA analysts to conclude that Bin Ladin was hiding in Abbottabad. Some came from detainees subjected to enhanced techniques, but there were many other sources as well. And, importantly, whether enhanced interrogation techniques were the only timely and effective way to obtain information from those detainees, as the film suggests, is a matter of debate that cannot and never will be definitively resolved.[94]

text: The Huffington Post writer, G. Roger Denson, countered this, saying that the filmmakers were being made scapegoats for information openly admitted by government and intelligence officials. Denson said that Leon Panetta, three days after Osama bin Laden's death, seemed to say that waterboarding was a means of extracting reliable and crucial information in the hunt for bin Laden.[95] Denson noted Panetta speaking as the CIA chief in May 2011, saying that "enhanced interrogation techniques were used to extract information that led to the mission's success". Panetta said waterboarding was among the techniques used.[96] In a Huffington Post article written a week later, Denson cited other statements from Bush government officials saying that torture had yielded information to locate bin Laden.[95]

text: National security reporter Spencer Ackerman said the film "does not present torture as a silver bullet that led to bin Laden; it presents torture as the ignorant alternative to that silver bullet".[97] Critic Glenn Kenny said that he "saw a movie that subverted a lot of expectations concerning viewer identification and empathy" and that "rather than endorsing the barbarity, the picture makes the viewer in a sense complicit with it", which is "[a] whole other can of worms".[98] Writer Andrew Sullivan said, "the movie is not an apology for torture, as so many have said, and as I have worried about. It is an exposure of torture. It removes any doubt that war criminals ran this country for seven years".[99] Filmmaker Michael Moore similarly said, "I left the movie thinking it made an incredible statement against torture", and noted that the film showed the abject brutality of torture.[100] Critic Andrew O'Hehir said that the filmmaker's position on torture in the film is ambiguous, and creative choices were made and the film poses "excellent questions for us to ask ourselves, arguably defining questions of the age, and I think the longer you look at them the thornier they get".[101]

text: Screenwriter Boal described the pro-torture accusations as "preposterous", stating that "it's just misreading the film to say that it shows torture leading to the information about bin Laden", while director Bigelow added: "Do I wish [torture] was not part of that history? Yes. But it was."[102] In February 2013 in the Wall Street Journal, Boal responded to the Senate critics, being quoted as saying "[D]oes that mean they can use the movie as a political platform to talk about what they've been wanting to talk about for years and years and years? Do I think that Feinstein used the movie as a publicity tool to get a conversation going about her report? I believe it, ..." referring to the intelligence committee's report on enhanced interrogations. He also said the senators' letter showed they were still concerned about public opinion supporting the effectiveness of torture and didn't want the movie reinforcing that. Boal said, though, "I don't think that [effectiveness] issue has really been resolved" if there is a suspect with possible knowledge of imminent attack who will not talk.[103]

text: Writer Mark Bowden argued that the film is neither pro- nor anti-torture: "[P]ure storytelling is not always about making an argument, no matter how worthy. It can be simply about telling the truth."[104] In an interview with Time magazine, Bigelow said: "I'm proud of the movie, and I stand behind it completely. I think that it's a deeply moral movie that questions the use of force. It questions what was done in the name of finding bin Laden."[105] In a 2013 interview on The Colbert Report, Bigelow said the film showed many techniques of intelligence gathering used to find bin Laden, such as electronic surveillance, troops at the ground level, and "good, old-fashioned, boots-on-the-ground sleuthing".[106]

text: Objections over the unattributed use of recordings of 9/11 victims[edit]

text: According to the relatives of Betty Ong, a flight attendant on a hijacked American Airlines plane, a clip from her call to headquarters was used in the beginning of the film without attribution.[107] They demanded that, if the film won any awards, the filmmakers apologize at the Academy Awards ceremony for using the clip without getting her heirs' consent. Her family also asked that the film's U.S. distributors make a charitable donation in Ong's name, and should go on record that the Ong family does not endorse the use of torture. The end of the film already includes a statement paying tribute to the victims and the families of the 9/11 attacks, and the film producers have already contributed to the National September 11 Memorial & Museum. Mary and Frank Fetchet, parents of Brad Fetchet, who worked on the 89th floor of the World Trade Center's south tower, criticized the filmmakers for using a recording of their son's voicemail without permission. The recording has previously been heard in broadcast TV news reports and in testimony for the 9/11 Commission.[108]


document_title: De novo synthesis

question_text: where does de novo synthesis of purine occur

text: De novo synthesis

text: De novo DNA synthesis[edit]

text: De novo DNA synthesis is DNA replication without the need for precursor template DNA. It's also referred to as artificial gene synthesis. Primase is an RNA polymerase, and it can add a primer to an existing strand awaiting replication. DNA polymerase cannot add primers, and therefore, needs primase to add the primer de novo.

text: De novo pathways[edit]

text: De novo pathways do not use free bases: adenine (abbreviated as A), guanine (G), cytosine (C), thymine (T), or uracil (U). The purine ring is built up one atom or a few atoms at a time and attached to ribose throughout the process. Pyrimidine ring is synthesized as orotate and attached to ribose phosphate and later converted to common pyrimidine nucleotides. De novo synthesis enzymes are predicted to be present as large multienzyme complexes, although this hypothesis has yet to be thoroughly proven.


document_title: Christmas with the Kranks

question_text: who plays blair on christmas with the kranks

text: Christmas with the Kranks

text: Plot[edit]

text: After Riverside, Illinois couple Luther (Tim Allen) and Nora Krank (Jamie Lee Curtis) see their daughter, Blair (Julie Gonzalo), depart for a Peace Corps assignment in Peru on the Sunday following Thanksgiving, empty nest syndrome sets in. Luther calculates the couple spent $6,132 during the previous year's holiday season and, not looking forward to celebrating Christmas without their daughter, he suggests they invest the money usually spent on decorations, gifts, and entertainment and treat themselves to a ten-day Caribbean cruise instead. Skeptical at first, Nora finally agrees under the condition that they still give a donation to the church and Children's Hospital. Luther tries to refuse but finally agrees and they begin planning the trip.

text: The Kranks are amazed to discover they are considered pariahs as a result of their decision. Luther's co-workers think he has become Ebenezer Scrooge when he gives all his employees letters that state about his Christmas boycott, local stationer Aubie is distressed to lose the couple's order for their engraved greeting cards and Christmas Eve party invitations, the Boy Scout troop is upset and angered when the Kranks refuse to purchase one of their Christmas trees to help the scouts make enough money for a camporee, and the police are stunned to discover they won't be buying this year's calendar from them. Most vocal in their objections are neighbors Vic Frohmeyer (Dan Aykroyd) and Walt Scheel (M. Emmet Walsh). Vic, who's the unelected leader of the street, organizes a campaign to force the Kranks to decorate their home so Hemlock Street won't lose the coveted award for best decorations. Vic has political and bureaucratic connections in Chicago. Walt doesn't seem to like Luther, so his efforts are primarily personal. However, it is revealed that Walt's wife Bev is suffering from cancer, perhaps dampening his holiday spirits. Children picket, led by Vic's son Spike (Erik Per Sullivan), neighbors constantly call, and Christmas carolers try to revive the Kranks' holiday spirit by singing on their lawn, which Luther stops by freezing his front lawn. Even the newspaper gets into the act by publishing a front page story complete with a photograph of the unlit Krank house and states that the Kranks' street has lost the prize and won sixth place because of how Luther and Nora refused to decorate their house. Still, Luther and Nora continue to stand their ground.

text: The two are in the process of packing on Christmas Eve morning when they receive a call from Blair, who announces she's at Miami International Airport, en route home with her Peruvian fiancé as a surprise for her parents. She's anxious to introduce Enrique to her family's holiday traditions, and when she asks if they're having their usual party that night, a panicked Nora says yes. Comic chaos ensues as the couple finds themselves trying to decorate the house and coordinate a party with only twelve hours to spare before their daughter and future son-in-law arrive.

text: While Nora scrambles to find food, especially Blair's favorite honey glazed ham, Luther goes to buy a tree from the Boy Scouts but they only have one worthless non-green tree left since their sales went big and rapid. Luther decides to give a donation by giving them money but taking the tree in the process; he then rejects it by throwing it in his backyard. While Spike leads a picket at the Kranks', Luther arranges to borrow the tree of neighbor Wes Trogdon (who is going away for a week with his kids and wife to close relatives) being given the warning that he is not to break one ornament or damage it. Luther and Spike try to transport it across the street on Spike's Radio Flyer wagon, only for the neighbors to confuse this with Luther stealing the family's Christmas tree and end up calling for the police to arrest him for theft. Spike comes to Luther's rescue by showing the neighbors and officers that Luther has Trogdon's keys and thus was given permission to borrow the tree. Nora comes home enraged at Luther for making the borrowed Christmas tree a "Disaster" and how she had to buy "Smoked Trout" to replace the honey ham (which was crushed by a truck). Once it is established why Luther is trying frantically to decorate his home, the neighbors, led by Vic, come out full force to help him and Nora ready it for Blair. Blair calls to say she landed from Miami; despite this, she is sent by a police transport to their house thus leaving her still unaware of the chaos.

text: After subtly giving everybody, including Blair and Enrique, a half-hearted toast, Luther tries to convince Nora to accept the cruise when she confronts him for the toast, but she refuses, disgusted that he isn't happy Blair is home. Having a change of heart, Luther sadly slips out of the house and goes across the street to the Scheel home. Bev's cancer, once in remission, has returned and, knowing this may be their last holiday together, Luther insists they take the cruise in place of him and Nora, going so far as to offer to take care of their hated cat, Muffles, so they can go. At first Walt and Bev decline, but ultimately decide to accept his generosity; as a result, Luther, whose holiday spirit has been renewed, realizes skipping Christmas wasn't as good an idea as he had originally thought.

text: Cast[edit]

text:
Tim Allen as Luther Krank
Jamie Lee Curtis as Nora Krank, Luther's wife
Dan Aykroyd as Vic Frohmeyer, the Kranks' domineering neighbor
Dava Hulsey as Amanda Frohmeyer, the doting wife of Vic and loving mother of Spike.
Julie Gonzalo as Blair Krank, the Kranks' daughter
M. Emmet Walsh as Walt Scheel, the Kranks' obnoxious neighbor
Elizabeth Franz as Bev Scheel, Walt's ailing wife
Erik Per Sullivan as Spike Frohmeyer, Vic's kid
Cheech Marin as Officer Salino
Jake Busey as Officer Treen, Salino's partner
Austin Pendleton as Marty, an umbrella salesman who is actually Santa Claus
Tom Poston as Father Zabriskie, a priest
Kim Rhodes as Julie, Luther's employee
Arden Myrin as Daisy
René Lavan as Enrique Decardenal, Blair's fiance
Patrick Breen as Aubie, a stationier
Caroline Rhea as Candi, a friend of Nora's
Felicity Huffman as Merry, a friend of Nora's
Kevin Chamberlin as Duke Scanlon, a Boy Scout leader

text: Production[edit]

text: Development[edit]

text: Joe Roth knew about John Grisham's Skipping Christmas before it was even published in 2001. He was asked by Grisham to read the book in galley form, assuming he could direct a movie based on it. Roth recalls: "It turns out he was right. Even while I was reading it, all I could think was that this would make a great Christmas movie. It had humor, it had wonderful characters and it had heart." It was a huge change for him as he, who previously directed thrillers, would now do work for a film lighter in tone and style. With the rights of the book received and the May 2000 founding of Revolution Studios, he stated that "as a start-up company, there was a great deal of work to do in order to get up and running."[2]

text: Later, filmmaker Chris Columbus, who also bought the rights to Skipping Christmas and had written a screenplay, called Roth about directing the adaption. As Roth explains: "Naturally, I thought he was going to direct it. But he said, 'No, you should direct it.' It turns out I was getting ready to direct another project. But when I read Chris's script, I knew I had to at least try to direct it. I promised myself that if I could get the right cast in place, I would do it." Producer Michael Barnathan said, "Joe read the script on a Sunday, bought it on Monday, decided he wanted to direct it on Tuesday and by Friday had cast Tim [Allen] and Jamie Lee [Curtis]. The following Monday morning we started pre-production."[2]

text: Setting[edit]

text: Christmas with the Kranks takes place mostly in the Kranks's neighborhood of Hemlock Street in Riverside, a suburb of Chicago, Illinois, over the course of four weeks from Thanksgiving to Christmas Eve. Production designer Garreth Stover originally looked for locations with the right weather conditions and suburban ambience for Hemlock Street, as described specifically in Columbus's script of the film. He was scouting from the metropolitan area of Chicago to Minnesota, but due to the extreme conditions of this part of the United States at the time, the filmmakers felt it was better to set up the neighborhood in an empty location instead of finding one.[2]

text: When looking for a place to build the set 15 weeks before filming began, Stover chose a parking lot of a former Boeing aircraft factory in Downey, California, about 15 miles away from downtown Los Angeles and in the midst of Downey Studios. The rest of the first three weeks were spent on designing the houses with assistance from construction coordinator David Elliott. In the next 12 weeks, hundreds of carpenters, plasterers and painters working built had built what would become the largest exterior set ever for a movie, being more than 700 feet long and including 16 houses. What Stover called "the core five" were the houses of the Kranks, the Frohmeyers, the Scheels, the Beckers and Trogdons, which he claimed had "full ground floors that are dressed and you can see into." He also said that the second floor of the Kranks' was built on a soundstage. Producer Michael Barnathan claimed that the set would later be available for other movies, TV series and commercials to use.[2]However, due to health complaints from the locals over toxic residues from factory period and lack of profit, the studio closed in 2012 and was razed to build a mall.[3]

text: Costumes[edit]

text: Susie DeSanto handled the costume design of Christmas with the Kranks. According to DeSanto, "I was looking for a project that was really textural, and maybe a bit nostalgic. I saw Christmas With the Kranks like a Christmas card, a beautiful Christmas memory of how we wish the holiday to be. So a lot of the fabrics I chose were not so much high-tech bright colors, but wools, plaids and mixing patterns. Joe [Roth] was specific about what he wanted, but within that, he allowed me a great deal of freedom to express myself.”[2]

text: DeSanto viewed that all the characters in Christmas with the Kranks would wear dresses that are supposed to serve as their "accents" rather than overtly defining them. Luther Krank is seen wearing the same-colored shirt and suit at work all the time, and according to DeSanto, this "tells that Luther’s a punch-the-clock kind of guy, so the whole idea of skipping Christmas and going off on a tropical vacation is completely averse to anything he’s ever done." She described Nora as "tasteful and kind of folksy, a middle-American woman approaching middle age. In our first meeting, Jamie Lee Curtis was totally prepared. She wanted to look like a real Midwestern woman who lives in the suburbs of Chicago and is as obsessed with Christmas as everyone around her. Nora dresses for the seasons and I found out by speaking to people at Marshall Field’s in Chicago that the Christmas sweater is a big deal. And Jamie wears it so well.” As for Vic Frohmeyer, she saw him as "a sort of commander-in-chief of the neighborhood, so I wanted something with a bit of a military flair. Since he’s also a college professor, we cut the pattern from a general’s jacket and made it professorial by using a vintage tweed mixed with corduroy.”[2]

text: Music[edit]

text: The soundtrack features many holiday standards, including "Jingle Bell Rock" by Brenda Lee; "Rudolph the Red-Nosed Reindeer" by Billy May & His Orchestra with vocal by Alvin Stoller; "I Saw Mommy Kissing Santa Claus" by Eddie Dunstedter; "White Christmas" by Dean Martin; "Frosty the Snowman" by Steve Van Zandt; "Blue Christmas" by Elvis Presley; and "The Christmas Song" by Ella Fitzgerald.

text: Critical reception[edit]

text: On Rotten Tomatoes, the film has an approval rating of 5% based on 131 reviews with an average rating of 2.8/10. The site's critical consensus reads, "A mirthless movie as fresh as last year's fruit cake, Christmas with the Kranks is a coarse, garish comedy that promotes conformity."[4] On Metacritic, the film has a score of 22 out of 100 based on 33 critics, indicating "generally unfavorable reviews".[5] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.[6]

text: Home media[edit]

text: Christmas with the Kranks was released on DVD and VHS on November 8, 2005.

text: Box office[edit]

text: The film was a box office success. On its opening weekend, it earned $21,570,867 on 3,393 screens, ranking #3 behind National Treasure and The Incredibles. It eventually grossed $96,572,480 worldwide.[1]


document_title: Mad About You

question_text: who sings theme song for mad about you

question_tokens: who sings theme song for mad about you

text: Mad About You

text: Plot[edit]

text: The series focuses mainly on newlyweds Paul Buchman, a documentary filmmaker, and Jamie Stemple Buchman, a public relations specialist, as they deal with everything from humorous daily minutiae to major struggles. Near the end of the show's run, they have a baby daughter, whom they name Mabel.

text: Production[edit]

text: Helen Hunt and Paul Reiser were paid $1 million per episode for the last season (with their contracts calling for them to be paid equally). However, ratings fell sharply that year as the series was shuffled away from its Tuesday slot to prop up a fledgling Monday night line-up of comedies on NBC.

text: The show's theme song, "Final Frontier", was composed by Reiser and Don Was. The theme was originally performed by Andrew Gold, but a version performed by Anita Baker made its debut at the beginning of the sixth season. Baker's version was used on several episodes of the last two seasons, in addition to Gold's version, and appears on the show's soundtrack album. Gold's version is available on the collection Thank You for Being a Friend: The Best of Andrew Gold.

text: Cast and characters[edit]

text: Main[edit]

text:
Paul Reiser as Paul Buchman (born April 19, 1962), a filmmaker. After attending the New York University Film School, he struggled for recognition before finally succeeding in filmmaking in New York City. He and his family reside in Union Square.
Helen Hunt as Jamie "James" Buchman (née Stemple, born February 19, 1963), the younger daughter of Gus and Theresa Stemple. After seven boyfriends at Yale University, she met Paul Buchman at a New York newsstand by stealing his copy of The New York Times with an implausible excuse. Her difficult relationship with her mother-in-law is an ongoing source of jokes on the show.
Maui as Murray, the Buchmans' collie mix dog. He was a puppy when Paul found him, and Paul met Jamie while walking him. He sometimes chases an invisible mouse, and often ends up crashing into the bedroom wall. In a later episode, Jamie does discover the real mouse that Murray has been chasing. In the two-part series finale, The Final Frontier, adult Mabel says that Murray died when she was six, but she was not told until she was twelve. Twice voted the most popular dog by the readers of TV Guide,[2] Murray is loyal and endearing while being very laid back and a bit thick-skulled. Maui was originally found in a Castaic, California, animal shelter by noted Hollywood animal trainer Boone Narr. Maui weighed 58 pounds and was primarily trained by Betty Linn. His first assignments came in TV commercials and as the backup for the top dog in the feature film "Bingo."[3]
Anne Ramsay as Lisa Stemple, Jamie's older sister. Lisa has unfathomable psychological issues. Jamie is referred to as "Stella" in a book written by Lisa's therapist: "It was Stella's overprotectiveness that suffocated her ability to relate to others, and tethered her to a lifetime of insecurity and neurosis." After an envious rage, she blames Jamie for all of her problems in an interview with her shrink that becomes a chapter of a book called "Manics." With no place else to go, she does her laundry at Paul and Jamie's apartment while scavenging through her sister's clothes and food. Every visit from her parents triggers her eating disorder. In between bouts of weirdness, she still cares deeply for Paul and Jamie and is often trusted to house sit for them, usually with unfortunate results.
Leila Kenzle as Fran Devanow, Jamie's best friend. She is the regional vice president at Farrer-Gantz Public Relations who hired Jamie as her assistant. Near 1989, Fran quits Farrer-Gantz to spend time with her obnoxious five-year-old son, Ryan, and husband, Mark. Jamie is then promoted to Fran's position. Fran and Mark's relationship lasts 10 years, and their separation shocks Jamie and Paul. After divorcing Mark, Fran returns to her old position at Farrer-Gantz, since Jamie had quit, but she, too, eventually quits and goes into business with Jamie. Fran and Mark eventually reconcile.
John Pankow as Ira Buchman, Paul's cousin. He first appears in the episode "The Wedding Affair." Ira is from the Sheepshead Bay section of Brooklyn. He worked for Paul's father, Burt, at Buchman's Sporting Goods. Paul and Ira have a close friendship, but their hidden rivalry came out when Ira took ownership of Buchman's Sporting Goods upon Burt's retirement. Even so, he frequently appears as loving and supportive towards Paul and Jamie.
Cynthia Harris as Sylvia Buchman, Paul's mother. Sylvia almost always gives Jamie a hard time, but occasionally does show kindness towards her daughter-in-law.
Louis Zorich as Burt Buchman, Paul's father. Burt runs a sporting goods store – until he passes it on to Ira upon retirement. His signature line in the show occurs whenever he visits Paul and Jamie's apartment, exclaiming at the door, "It's me, Burt! Burt Buchman--your father!"
Alyssa and Justin Baric (twins) as Mabel Buchman, Paul and Jamie's daughter. She was finally named when Jamie's overbearing mother proclaimed that "Mothers Always Bring Extra Love." (This gag is a homage to The Dick Van Dyke Show where Rob and Laura explain how their son Ritchie got his middle name). Alyssa and Justin Baric played Mabel from the beginning of season six when Mabel was brought home from the hospital ("Coming Home"). They continued to play the role of Mabel for numerous episodes. Carter and Madison Gayle play the role at a later time. In the season six episode "Letters to Mabel," an 18-year-old Mabel is played by Meredith Bishop. In the series finale, a teen Mabel is played by Cara DeLizia, and an adult Mabel is played by Janeane Garofalo.
Richard Kind as Dr. Mark Devanow, Fran's ex-husband, with whom she is on good terms. A former obstetrician, Mark left Fran and their young son because he felt smothered and wanted to see the world. After returning to New York, he converts to Buddhism and works for a grocery store, although he eventually returns to his old profession. He eventually is able to win Fran back.

text: Recurring[edit]

text:
Jerry Adler as Mr. Wicker, the apartment building superintendent (10 episodes) -- previously as a Police Sergeant (1 episode)
Hank Azaria as Nat Ostertag, Jamie and Paul's dog walker (15 episodes)
Robin Bartlett as Debbie Buchman, Paul's sister (29 episodes)
Patrick Bristow as Troy, Jamie's scheming office underling (5 episodes) -- previously as a Hotel Clerk (1 episode)
Mel Brooks as Uncle Phil, Paul's uncle (4 episodes)
Carol Burnett as Theresa Stemple, Jamie's mother (10 episodes)
Penny Fuller as Theresa Stemple, Jamie's mother (4 episodes)
Mo Gaffney as Dr. Sheila Kleinman, Jamie and Paul's therapist (13 episodes)
Jeff Garlin as Marvin, Ira's employee and semi-pro wrestler (13 episodes)
Judy Geeson as Maggie Conway, British neighbor across the hall (32 episodes)
Tommy Hinkley as Jay Selby, Paul's college friend (13 episodes, season 1 only). The disappearance of Selby is never explained, a fact referenced in season 5, episode 21 ("Guardianhood")
Lisa Kudrow as Ursula Buffay, absent-minded waitress at Riff's (24 episodes)
Cyndi Lauper as Marianne Lugasso, Ira's on and off girlfriend/ex-wife (5 episodes)
Lyle Lovett (2 episodes)
Gates McFadden as Allison Rourke, Paul Buchman's boss (4 episodes)
Larry Miller as Lou Bonaparte (5 episodes)
Carroll O'Connor as Gus Stemple, Jamie's father (4 episodes)
John Karlen as Gus Stemple, Jamie's father (3 episodes)
George O. Petrie as Sid, Paul's film editor colleague (10 episodes)
Suzie Plakson as Dr. Joan Golfinos, Debbie Buchman's life partner (and Jamie's Ob/Gyn for a while) (18 episodes)
Alan Ruck as Lance Brockwell (4 episodes)
Eric Stoltz as Alan Tofsky, Jamie's ex-boyfriend (6 episodes)
Paxton Whitehead as Maggie's first and third husband Hal (9 episodes)
Jim Piddock as Maggie's second husband Hal (7 episodes)
Steven Wright as Warren Mermelman (5 episodes)

text: Notable guest stars[edit]

text:
Andre Agassi (season 2, episode 15)
Ed Asner (2 episodes)
John Astin (season 2, episode 23)
Kevin Bacon (season 5, episode 7)
Christie Brinkley (season 2, episode 15)
Garth Brooks (season 2, episode 23)
Michael Buffer (season 7, episode 17)
Steve Buscemi (season 1, episode 7)
Sid Caesar (season 5, episode 15)
James Cameron (season 6, episode 23)
Dan Castellaneta (season 7, episode 10)
William Christopher (season 7, episode 2)
Ellen DeGeneres (season 6, episode 23)
Paul Dooley (season 1, episode 5)
Nancy Dussault (season 1, episode 5)
Patrick Ewing (season 3, episode 20)
Jamie Farr (season 7, episode 16)
Barbara Feldon (season 1, episode 20)
Janeane Garofalo (season 7, episode 21)
Marita Geraghty (season 3, episode 10)
Rudolph "Rudy" Giuliani (season 3, episode 10)
Al Gore (season 6, episode 10)
Kerri Green (season 1, episode 4)
Seth Green (season 5, episode 21)
Billy Joel (season 7, episode 15)
Robert Klein (season 7, episode 9)
Vanessa Lock (season 6, episode 12)
Nathan Lane (season 6, episode 11)
Phil Leeds (season 1, episode 6)
Eugene Levy (season 6, episode 22)
Jerry Lewis (season 1, episode 17)
Mark McGwire (season 7, episode 13)
Yoko Ono (season 4, episode 6)
Regis Philbin (season 1, episode 18)
Sydney Pollack (season 6, episode 13)
Beata Poźniak season 1, episode 12)
Carl Reiner as Alan Brady (season 3, episode 16)
Michael Richards as Cosmo Kramer (season 1, episode 8)
Al Roker (season 3, episode 6)
Jerry Seinfeld (season 7, episode 1)
Brent Spiner (season 3, episode 15)
Carol Ann Susi (season 1, episode 9)
Wayne Tippit (season 1, episode 11)
Patrick Warburton (season 1, episode 16)
Bruce Willis (season 5, episode 24)
Randy Poffo (season 7, episode 17)

text: Episodes[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
22
September 23, 1992
May 22, 1993

2
25
September 16, 1993
May 19, 1994

3
24
September 22, 1994
May 18, 1995

4
24
September 24, 1995
May 19, 1996

5
24
September 17, 1996
May 20, 1997

6
23
September 23, 1997
May 19, 1998

7
22
September 22, 1998
May 24, 1999

text: Crossovers[edit]

text: Mad About You has had numerous connections to other NBC sitcoms set in New York City, as well as various other programs.

text: Friends (owned by Warner Bros. Television): Lisa Kudrow played the recurring role of Ursula, a flaky waitress at Riff's Bar, a local restaurant that Paul and Jamie frequented. Kudrow went on to star in the NBC sitcom Friends, playing the also somewhat flaky character of Phoebe Buffay, and for a time both series shared the same Thursday night line-up. While not originally intended, the characters of Ursula and Phoebe were later found to be identical twin sisters. In a Friends episode ("The One With The Two Parts", 1st Season), as part of a night of NBC sitcom crossovers, Jamie and Fran walk into Central Perk and mistake Phoebe for Ursula. Hunt and Kenzle were not identified on screen as Jamie and Fran. In the season three episode "Pandora's Box", Jamie causes a citywide power blackout in New York City, and the effects of the blackout are seen in the Friends episode, "The One with the Blackout", and there was also a blackout in the episode "Birthday in the Big House" of the short-lived NBC sitcom Madman of the People, which leaves open the possibility that the characters from this program may also exist in the same universe as the characters of Mad About You. All three episodes originally aired during the evening of November 3, 1994, alongside a Seinfeld episode which did not incorporate the blackout premise.

text: Seinfeld: In one episode ("The Apartment", 1st Season), Paul, pressured by Jamie, decides to sign over the lease of his old "bachelor pad" to the current tenant who is subleasing. When the tenant is revealed to be Cosmo Kramer (Michael Richards) of Seinfeld, Paul asks Kramer "What ever happened to that Jerry guy who used to live there?". Seinfeld, however, twice contradicted this connection, once even featuring a running joke about George's distaste for his fiancee Susan's fondness for watching Mad About You. In the Mad About You season seven episode "Season Opener", Paul, under the effects of Viagra, ran into Jerry Seinfeld in the street, who tells Paul to go away. At this point in Seinfeld's chronology, Jerry Seinfeld was supposed to be in prison.

text: The Dick Van Dyke Show: Carl Reiner reprised the role of Alan Brady from the 1960s sitcom (a series acknowledged as an inspiration for Mad About You). The episode made several references to the older show, such as Jamie at one point crying and whining "Oh, Paul!" – a signature move by Mary Tyler Moore's character Laura Petrie. Ten episodes earlier, Paul almost trips over a box and says, "Get me, I'm Dick Van Dyke."

text: Nielsen ratings[edit]

text:
1992–93: #54 (10.18 rating)
1993–94: #31 (12.69 rating)
1994–95: #11 (15.2 rating[4])
1995–96: #37 (10.8 rating)
1996–97: #24 (11.0 rating[5])
1997–98: #32 (13.4 million viewers[6])
1998–99: #85 (9.1 million viewers[7])

text: Awards[edit]

text: Mad About You won a Golden Globe Award, a Peabody Award, a Genesis Award, received five Emmy Award nominations for Outstanding Comedy Series, and was chosen Best Quality Comedy by the Viewers for Quality Television. Helen Hunt won the Primetime Emmy Award for Outstanding Lead Actress – Comedy Series four years in a row (1996–99).

text: Media[edit]

text: Soundtrack[edit]

text: In 1997, Atlantic Records released a Mad About You soundtrack. The soundtrack from and inspired by the sitcom, is composed of fun and sentimental songs and clips from the show. The tracks are organized chronologically marking the milestones of the couple's relationship. The album is bookended by the two versions of Paul Reiser's song "Final Frontier"—the first track is the classic version used in the show's opening, and the last track is Anita Baker's jazzy, full-length rendition, with Reiser on keyboard. The 21 tracks are as follows:

text:
"Final Frontier (TV Theme)" – Andrew Gold
"Who I Am" – Faith Hill
"No Pressure" – Paul Reiser & Helen Hunt
"I've Been Lonely Too Long" – The Young Rascals
"At Last" – Etta James
"That's Marriage?" – Paul Reiser & Helen Hunt
"Ice Cream" – Sarah McLachlan
"I Love the Way You Love Me" – Eric Martin
"Nobody Knows Me" – Lyle Lovett
"Sneaky Feelings" – Elvis Costello
"A Talk in the Park" – Paul Reiser & Helen Hunt
"Love and Forgiveness" – Julia Fordham
"A Magic Moment" – Paul Reiser & Helen Hunt
"The Things We've Handed Down" – Marc Cohn
"Lullaby for You" – BeBe Winans
"She Crawls Away" – Hootie & the Blowfish
"My First Child" – Nil Lara
"Beautiful Boy (Darling Boy)" – John Lennon
"Baby Girl" – The Tony Rich Project
"Unconditional Love" – Paul Reiser & Helen Hunt
"Mad About You – The Final Frontier" – Anita Baker

tag: ol

text: Home media[edit]

text: Sony Pictures Home Entertainment has released the first three seasons of Mad About You on DVD in Region 1 and 4. The first two seasons were also released in Region 2. Due to poor sales, no subsequent seasons were released by Sony Pictures Home Entertainment.

text: In February 2010, Shout! Factory acquired the rights to release the remaining seasons of Mad About You on DVD. They subsequently released seasons 4 and 5 on DVD.[8][9]

text: On August 27, 2013, it was announced that Mill Creek Entertainment had acquired the rights to various television series from the Sony Pictures library including Mad About You.[10] They subsequently re-released the first and second seasons on DVD on August 5, 2014.[11]

text: Mill Creek released the complete series on a 14-DVD set on May 3, 2016.[12]

text: Season releases[edit]

text:
DVD name
Ep. #
Release date

The Complete 1st Season
22
October 22, 2002

The Complete 2nd Season
25
April 22, 2003

The Complete 3rd Season
24
February 6, 2007

The Complete 4th Season
24
June 29, 2010

The Complete 5th Season
24
November 2, 2010

The Complete Series
164
May 3, 2016

text: Best-of releases[edit]

text:
DVD name
Release date
Ep. #
Additional information

Mad About You Collection
February 8, 2005
22

Blooper Reel: The Seven Warning Signs of Madness
Audio commentaries: Paul Reiser & Helen Hunt on "The Final Frontier" and "The Pilot"
Featurette: Paul Reiser & Helen Hunt Are Mad About the Theme
Featurette: Paul Reiser & Helen Hunt Are Mad About the Guest Stars
Paul and Helen introduce and discuss each episode

text: Adaptations[edit]

text: A Chinese adaptation will air on Dragon TV from January 4, 2016.[13] An Argentine remake titled Loco por vos will air on Telefe from August, 2016.[14]