document_title: Wonder Woman (2017 film)

question_text: when did wonder woman come out in australia

text: Wonder Woman (2017 film)

text: Plot[edit]

text: In present-day Paris, Diana Prince receives a photographic plate of herself and four men taken during World War I, prompting her to recall her past. Daughter of Queen Hippolyta, Diana was raised on the hidden island of Themyscira, home to the Amazonian warrior women created by Zeus to protect mankind. Hippolyta shares the Amazonian history with Diana, including how Ares, Zeus's son, became jealous of humanity and orchestrated its destruction. When the other gods attempted to stop him, Ares killed all but Zeus, who wounded Ares and forced his retreat. Zeus left the Amazons a weapon, the "Godkiller", to prepare them for Ares' return.

text: Initially forbidding Diana to train as a warrior, Hippolyta allows her sister Antiope to train Diana, but only if the training is more rigorous that any other warrior. In 1918, Diana, now a young woman, rescues American pilot Captain Steve Trevor when his plane crashes off the Themyscira coast. The island is soon invaded by a German cruiser pursuing Trevor. The Amazons kill the crew, but Antiope sacrifices herself to save Diana. Steve is interrogated with the Lasso of Hestia, where he reveals that a war is consuming the outside world, and that he is an Allied spy. He has stolen a notebook of the Spanish chief chemist Isabel Maru, who is attempting to engineer a deadlier form of mustard gas, under the orders of General Erich Ludendorff. Diana believes Ares is responsible for the war. She arms herself with the "Godkiller" sword, the lasso, and her armor before leaving Themyscira with Steve to find and destroy Ares.

text: In London, they deliver Maru's notebook to the Supreme War Council, where Sir Patrick Morgan is trying to negotiate an armistice with Germany. Diana translates Maru's notes and reveals that the Germans plan to release the deadly gas at the War Front. Although forbidden by his commanders to act, Steve, with secret funding from Sir Patrick, recruits spy Sameer, marksman Charlie, and smuggler Chief to help prevent the gas from being released. When the team reaches the Western Front in Belgium, they are halted by the enemy lines. Diana goes alone through No Man's Land and captures the enemy trench, allowing the Allied forces to help her liberate the village of Veld. The team briefly celebrates, while Diana and Steve grow closer romantically.

text: The team learns a gala will be held at the nearby German High Command. Steve and Diana each infiltrate the party, with Steve intending to locate the gas and destroy it while Diana intends to kill Ludendorff, believing that he is Ares and killing him will end the war. Steve stops her to avoid jeopardizing the mission, and Ludendorff unleashes the gas on Veld, killing its inhabitants. Outraged, and blaming Steve for intervening, Diana pursues Ludendorff to a base where the gas is being loaded into a bomber aircraft bound for London. Diana fights and kills Ludendorff but is confused when his death does not stop the war.

text: Sir Patrick appears and reveals himself as Ares. He tells Diana that although he has subtly given humans ideas and inspirations, as well using Ludendorff and Maru as pawns, it is ultimately their decision to cause violence as they are inherently corrupt. She attempts to kill Ares with the Godkiller sword but he destroys it. Ares reveals Diana to be the "Godkiller", as the daughter of Zeus and Queen Hippolyta, but he fails to persuade her to help him destroy humankind to restore paradise on Earth. While the two battle, the others on Steve's team destroy Maru's laboratory. Steve pilots the bomber carrying the gas to a safe altitude and detonates it, sacrificing himself in the process. Ares attempts to direct Diana's rage and grief at Steve's death by convincing her to kill Maru, but memories of her experience with Steve cause her to realize that mankind has good within it. She spares Maru and redirects Ares' lightning into him, killing him. Later, the team celebrates the end of the war. In the present day, Diana sends an email to Bruce Wayne thanking him for the photographic plate of her and Steve, and reaffirms her new mission to protect and give love to the world.

text: Cast[edit]

text: Gal Gadot as Diana:

text: Chris Pine as Steve Trevor:

text: Robin Wright as Antiope:

text: Danny Huston as General Erich Ludendorff:

text: David Thewlis as Ares:

text: Connie Nielsen as Hippolyta:

text: Elena Anaya as Isabel Maru / Doctor Poison:

text: Lucy Davis as Etta Candy:

text: Saïd Taghmaoui as Sameer:

text: Ewen Bremner as Charlie:

text: Eugene Brave Rock as Chief Napi:

text: Lisa Loven Kongsli as Menalippe:

text: Additionally, Mayling Ng, Florence Kasumba, Madeleine Vall Beijner, Hayley Jane Warnes and Ann Wolfe portray Orana, Acantha, Egeria, Aella and Artemis, respectively, all of whom are Amazons.[61][62][63][64] James Cosmo appears as Field Marshal Haig, Steffan Rhodri appears as Colonel Darnell, and Dutch model Doutzen Kroes portrays the Amazon Venelia.[63] Samantha Jo was cast as the Amazonian Euboea, and previously played the Kryptonina, Car-Vex, in Man of Steel.[65] Zack Snyder also makes a brief cameo appearance in the film as an unnamed soldier.[66]

text: Production[edit]

text: Background[edit]

text: Development for a live action Wonder Woman feature film began in 1996, with Ivan Reitman attached as producer and possible director.[67] In 1999 the project became attached to Jon Cohen, who adapted Wonder Woman for producer Joel Silver, with the hope that Sandra Bullock would star.[68] By 2001, Todd Alcott was hired to write the screenplay, with Silver Pictures backing the project.[69] At that time, performers such as Mariah Carey and Catherine Zeta-Jones were also rumored to be possible candidates for the role of Wonder Woman.[70] Leonard Goldberg, however, focused on Bullock[71] who said that she was approached for the role. In addition, wrestler Chyna also expressed interest. Lucy Lawless, the star of Xena: Warrior Princess, was also under consideration, though she stated that she would have been more interested if Wonder Woman was portrayed as a "flawed hero."[72] The screenplay went through various drafts written by Alcott, Cohen, Becky Johnston, and Philip Levens,[73] and by August 2003, Levens had been replaced by screenwriter Laeta Kalogridis.[74]

text: In March 2005, Warner Bros. and Silver Pictures announced that Joss Whedon would write and direct the film,[75] with a reported salary was of $2 to $3 million.[76] Since Whedon was directing Serenity at the time, and required time to research Wonder Woman's background, he did not begin the screenplay until late 2005.[77][78][79] Early drafts of his screenplay included Steve Trevor as the narrator, a fierce battle between Diana and her mother over Trevor's welfare, and after leaving Themyscira, his need to frequently rescue a Diana rendered helpless by the modern world.[80] Whedon was not able to complete a final version of his screenplay however, and left the project in 2007.[81][82]

text: Although Whedon stated in May 2005 that he would not cast the part of Wonder Woman until he finished the script,[83] actors such as Kate Beckinsale were linked to the part.[84] In 2010 however, Whedon admitted that he did have an actress in mind for the part, stating that "Wonder Woman was basically Angelina Jolie."[80][85] A few years later in May 2017, Indie Ground Films leaked a version of Whedon's script in-progress online.[86] Some reacted negatively to it on social media in June 2017, shortly after the release of Patty Jenkins version of the film.[87][88][89][90][91] When asked about this response to his script, Jenkins said in a June 2017 interview that she has not read it and that Whedon is "in the DC universe now, and I don't think there's any reason to go there […] It was what it was. I'm lucky that I'm the person who got to do it. But I don't see what would be beneficial about comparing what he would've done versus what I would have done."[92][93]

text: A day before Whedon's departure from Wonder Woman, Warner Bros. and Silver Pictures purchased a spec script for the film written by Matthew Jennison and Brent Strickland. Set during World War II, the script impressed executives at Silver Pictures.[82] However, Silver stated that he had purchased the script because he did not want the rights reverting; while stating the script had good ideas, Silver did not want the film to be a period piece.[94] By April 2008, Silver hired Jennison and Strickland to write a new script set in contemporary times that would not depict Wonder Woman's origin, but explore Paradise Island's history.[95] In November 2008, Beyoncé met with representatives from DC Comics and Warner Bros., to discuss her interest in portraying Wonder Woman.[96]

text: In 2010, Warner Bros. stated that a film was in development, along with films based on DC Comics superheroes the Flash and Aquaman.[97] Both Wonder Woman and Aquaman were still under consideration for solo film subjects as of June 2013.[98] DC Chief Diane Nelson said Wonder Woman "has been, since I started, one of the top three priorities for DC and for Warner Bros. We are still trying right now, but she's tricky."[99] On October 5, 2013, WB chairman Kevin Tsujihara said he wanted to get Wonder Woman in a film or on TV.[100] Shortly afterward, Paul Feig said he had pitched the studio an idea for Wonder Woman as an action-comedy film.[101][102] The studio then began to search for female directors to direct the film.[103] While Michelle MacLaren was the studio's initial choice to direct (and while she initially indicated interest),[104][105][106] she eventually left the project due to creative differences.[107]

text: Development[edit]

text: In 2015, Patty Jenkins accepted an offer to direct Wonder Woman,[108] based on a screenplay by Allan Heinberg and a story co-written by Heinberg, Zack Snyder, Geoff Johns and Jason Fuchs.[109] Of this version, Gadot stated that,

text: for a long time, people didn't know how to approach the story. When Patty and I had our creative conversations about the character, we realized that Diana can still be a normal woman, one with very high values, but still a woman. She can be sensitive. She is smart and independent and emotional. She can be confused. She can lose her confidence. She can have confidence. She is everything. She has a human heart.[5]

text: This version was conceived of as a prequel to the first live-action, theatrical appearance of Wonder Woman, in the 2016 film, Batman v Superman: Dawn of Justice,[110] placing Wonder Woman in the 1910s and World War I (a decision which differs from her comic book origins as a supporter of the Allies during World War II).[111] As for story development, Jenkins credits the stories by the character's creator William Moulton Marston in the 1940s and George Perez's seminal stories in the 1980s in which he modernized the character.[112] In addition, it follows some aspects of DC Comics' origin changes in The New 52 reboot, where Diana is the daughter of Zeus.[10][113] Jenkins cited Richard Donner's Superman as an inspiration.[114]

text: Casting[edit]

text:
"I remember when I read in the news that Wonder Woman had been cast and my heart sank […] I'm sure we wouldn't have made the same choice. And then I started paying attention to her, and watching her and looking at her and it was just unbelievable. Frankly, I think they did a better job than I could have because I don't know that I would have scoured the earth as hard to find her […] They were looking for all the same things I would have looked for—all the values that Wonder Woman stands for exuding from someone in an honest way, and boy did they find it […] She shares every quality with Wonder Woman and that's no joke. It's one of those rare things. You need someone who can appear to be Wonder Woman on screen […] Every once in a while, there's superhero casting that transcends, because that person is so authentic to the character that it becomes identified with them, like Lynda Carter or Christopher Reeve."

– Director Patty Jenkins[115] in response to the interview questions: "Let's talk a bit about Gal. You inherited her from Zack Snyder. Was it difficult to not get to choose your own Wonder Woman?" and "What is it about Gal that makes her such a good fit?"

text: In late 2013, Zack Snyder cast Gal Gadot in the role of Wonder Woman for the 2016 film, Batman v Superman: Dawn of Justice over Élodie Yung and Olga Kurylenko.[116][117][118][119] Some fans initially reacted to this choice by criticizing Gadot's appearance.[120] Snyder would later comment on his decision to cast Gadot, stating that he

text: tested a bunch of actresses, as you can imagine. But the thing with Gal is that she's strong, she's beautiful, and she's a kind person, which is interesting, but fierce at the same time. It's that combination of being fierce but kind at the same time that we were looking for.[121]

text: Gadot described Diana as having "the heart of a human so she can be emotional, she's curious, she's compassionate, she loves people. And then she has the powers of a goddess. She's all for good, she fights for good."[5] She also said that Diana has "many strengths and powers, but at the end of the day she's a woman with a lot of emotional intelligence".[122] As to how her character is different from her appearance in Batman v Superman: Dawn of Justice, Gadot said "We go back 100 years to when she's more naive", further explaining, "She's this young idealist. She's pure. Very different to the experienced, super-confident, grown-up woman you've seen".[123] Gadot underwent a diet and training regimen, practiced different martial arts and gained 17 pounds of muscle for the role.[124][125] Gadot was previously offered a different role (as a villain) in Man of Steel, which she declined because she was pregnant at the time; this allowed her to later be cast as Wonder Woman in the film's follow-up.[126] Gadot signed a three-picture deal.[118] She was only paid a base salary of $300,000 for the film itself.[127]

text: Chris Pine was cast as Steve Trevor,[19][128] a character he described as a "rogue-ish, cynical realist who's seen the awful brutish nature of modern civilization" and added that he is a "worldly guy, a charming guy".[129] He signed a multi-picture deal.[19] Lucy Davis' performance as Etta Candy is the first live-action cinematic portrayal of the character.[130] As well, Elena Anaya's performance as Doctor Poison is the cinematic debut of that character. Nicole Kidman was in negotiations for the role of Queen Hippolyta, but was forced to drop out due to scheduling conflicts with Big Little Lies.[131][132]

text: Filming[edit]

text: Production began on November 21, 2015,[133][134] under the working title Nightingale.[135][136] Among the film sets were Lower Halstow, Kent,[137] Australia House,[138] and the Sassi di Matera,[139] Castel del Monte[139] and Camerota[140] in Southern Italy. Matthew Jensen was the director of photography,[141] filming in the United Kingdom, France and Italy.[142] Production in London ended on March 13, 2016.[143] On March 20, 2016, filming was underway in Italy. In late April, filming took place at a museum in France, where a Wayne Enterprises truck was spotted alongside Gadot.[144] Production ended on May 9, 2016.[145] Patty Jenkins and director of photography Matt Jensen revealed that the film's look was inspired by painter John Singer Sargent.[146] Reshoots took place in November 2016, while Gadot was five months pregnant. A green cloth was placed over her stomach to edit out her pregnancy during post-production.[147]

text: To find the perfect location to shoot the Amazon island of Themyscira, the birthplace of Wonder Woman herself, the film's producers searched all over the world, finally settling on the Amalfi Coast: a stretch of coastline on the Tyrrhenian Sea, located in the Province of Salerno in Southern Italy.[148] It was chosen because most beaches in the world that sit below big cliffs disappear beneath the tide for part of every day. Production designer Aline Bonetto and her location manager Charles Somers considered 47 countries and visited several of them before they found what they were looking for. Bonetto explained that, "Italy had beautiful weather, a beautiful blue-green sea, not too much tide, not too much wave. Our effects team added some cliffs in post-production, and it was the perfect way to go".[149]

text: Post-production[edit]

text: Bill Westenhofer served as the visual effects supervisor for the film[150] and Martin Walsh served as editor.[141]

text: Music[edit]

text: On November 3, 2016, Rupert Gregson-Williams was hired to write and compose the film's music.[151] He was joined by Evan Jolly, Tom Howe,[152] Paul Mounsey,[153] and Andrew Kawczynski,[154] who provided additional music. The soundtrack was released on CD, digital, and vinyl the same day as the film.[155]

text: Australian musician Sia sang a song for the film, titled "To Be Human", featuring English musician Labrinth. Written by Florence Welch and Rick Nowels, the track is also featured on the soundtrack.[156]

text: Additional music featured in the film are: "Another Little Drink Wouldn't Do Us Any Harm" by Clifford Grey and Nat Ayer and performed by Edgar Trevor and Cecil Cooper; "Molly O'Morgan" written by Fred Godfrey and Will Letters and performed by Ella Retford; "It's a Long Way to Tipperary" written by Jack Judge and Harry Williams; "Sous les ponts de Paris" written by Jean Rodor and Vincent Scotto and performed by Lucienne Delyle; "I'll Walk Beside You" written by Edward Lockton and Alan Murray and performed by Ewen Bremner; "Green Grow the Rushes, O" written by Robert Burns and performed by Ewen Bremner; and "Schatzwalzer Op. 4" written by Johann Strauss II and performed by the Berlin String Quartet.[157] Also features samples from the movie's soundtrack "Is She with You" from Batman v Superman: Dawn of Justice composed by Hans Zimmer and Junkie XL.

text: Release[edit]

text: Wonder Woman had its world premiere on May 25, in Los Angeles.[158] The film's London premiere, which was scheduled to take place on May 31, 2017 at the Odeon Leicester Square, was cancelled due to the 2017 Manchester Arena bombing.[159] The film had its Latin America premiere in Mexico City on May 27. It was released in most of the world, including in IMAX,[160] on June 2, 2017, after originally being scheduled for June 23.[161][162] Belgium, Singapore and South Korea received the film first, with May 31 openings.[163][164][165] On April 17, it was announced that Wonder Woman would be released in China on June 2, the same day as its North American release.[166]

text: Marketing[edit]

text: The success of the superhero television series Supergirl informed the marketing and promotion strategy used for Wonder Woman.[167] According to Time Warner chief marketing officer Kristen O'Hara, they wanted to approach the Wonder Woman marketing campaign in a light manner, similar to how they did with Supergirl. O'Hara elaborated that the modest campaign route they took for Supergirl aided in establishing a large central fanbase among women well in advance of the series, which reportedly generated 5 million female superhero fans in one week.[167] They were then able to model over time, and grow that audience leading up to the 15-months-later release of Wonder Woman.[167] Though neither the film nor the series are aimed exclusively at women, the latter's campaign gave them their first opportunity to begin collecting data about female superhero fans.[167] In May 2017, a promo for Wonder Woman was released during the season finale of Supergirl, featuring a remix of the song "These Boots Are Made for Walkin'" and Supergirl (Melissa Benoist) wearing Wonder Woman's boots.[168] The promo included an appearance by Lynda Carter, star of the 1970s Wonder Woman, who plays the American president on Supergirl.[168]

text: The costs for television advertisements for Wonder Woman are higher in comparison to that of previous DCEU film Suicide Squad. Warner Bros. has spent over $3 million on advertisements for Wonder Woman, whereas they spent $2.6 million on advertisements for Suicide Squad.[169]

text: Ticket selling site Fandango reported that Wonder Woman rounded the final leg of its marketing campaign as the most anticipated blockbuster of summer 2017, according to a poll conducted by 10,000 voters, the biggest survey in company history.[170] Separately, Fandango also found that 92% of people surveyed said that they are looking forward to seeing a film that features a standalone woman superhero, and 87% wished Hollywood would make more women-led superhero films.[171]

text: In May 2017, NASCAR driver Danica Patrick drove her No. 10 car with a Wonder Woman paint scheme at the Go Bowling 400 in Kansas and at the Monster Energy Open in Charlotte.[172]

text: Home media[edit]

text: The film was released on Digital HD on August 29, 2017 and on Blu-ray, Blu-ray 3D, 4K Ultra-HD Blu-ray and DVD on September 19, 2017.[173]

text: Controversies[edit]

text: Bans[edit]

text: On May 31, Wonder Woman was banned in Lebanon after the Campaign to Boycott Supporters of Israel asked the Lebanese government's Ministry of Economy and Trade to block the film because its star, Gal Gadot, had served in the Israeli military.[174] The Lebanese government did not, however, ban Gadot's Fast & Furious films which did screen in Lebanon.[175][176] On June 7, Variety reported that a Tunisian court suspended the theatrical release of Wonder Woman after a lawsuit brought by the Al-Chaab party and the Tunisian Association of Young Lawyers to have the film blocked due to Gadot's Israeli citizenship, military service, and public comments in support of the Israeli military during the 2014 war in Gaza.[177] Jordan was reportedly also considering a ban of the film and suspended screenings pending a decision,[178] but on June 11, Al Bawaba reported that the government decided not to do so, as there was no legal precedent for it.[179]

text: Women-only screenings[edit]

text: Some men were unhappy with women-only screenings held at the Alamo Drafthouse Cinema in Austin, with some opponents of the gender-restricted screening stating on platforms such as Facebook that such screenings were discriminatory against men.[180][181][182]

text: A gay Albany Law School professor initiated a complaint with Austin's Equal Employment and Fair Housing Office claiming discrimination against male prospective customers and employees of the theater.[183] The chain responded with an online statement saying the event "may have created confusion—we want everybody to see this film" and announced a similar event at their Brooklyn location. Tickets sold out in less than an hour, prompting the chain to schedule additional screenings.[180] On July 18, Alamo Drafthouse proposed settlement offers of a Wonder Woman DVD to the complainants, stating "Respondent did not realize that advertising a 'women's only' screening was a violation of discrimination laws"[184]

text: Reception[edit]

text: Box office[edit]

text: As of October 8, 2017[update], Wonder Woman has grossed $412.4 million in the United States and Canada and $408.8 million in other territories for a worldwide total of $821.2 million, against a production budget of $149 million.[4] Estimates for the number the film needed to surpass internationally in order to cover its production and promotional costs and break even ranged from $300 million[185] to $460 million.[186]

text: North America[edit]

text: In May 2017, early tracking had Wonder Woman opening with $65–75 million, and possibly as high as $105 million.[187][188][189][190][185] The film opened Friday, June 2, 2017, across 4,165 theaters and made $38.7 million on its opening day, including $3.7 million in IMAX. It was the biggest single-day gross for a woman-directed film, ahead of the $35.9 million opening Friday of Catherine Hardwicke's Twilight in 2008 and the biggest opening day for a woman-led comic book superhero film, ahead of Ghost in the Shell ($7 million).[191] This included $11 million it made from Thursday previews, also the best start for a film directed by a woman, surpassing Fifty Shades of Grey's $8.6 million which was directed by Sam Taylor-Johnson, and the third-biggest of the year, behind Beauty and the Beast and Guardians of the Galaxy Vol. 2. Of that, $1.5 million came from IMAX screenings.[192][193]

text: Earning a total of $103.3 million on its opening weekend, the film recorded a number of records: the biggest domestic opening of all time for a female director (surpassing previous record holder Fifty Shades of Grey by Sam Taylor-Johnson), the biggest DC Comics release without Batman or Superman (ahead of Constantine), the sixth-biggest non-sequel comic book superhero debut ever, as well as the sixth-biggest June debut weekend.[194] Its three-day opening alone made it the highest-grossing woman-led comic book superhero film ever (surpassing Ghost in the Shell).[195] It was also the 16th superhero film to cross $100 million in its domestic box office launch.[196] About 9% ($9 million) of the opening weekend came from IMAX screenings from 343 theaters.[197] In its second week the film grossed $58.5 million, again topping the box office. It marked a 43.3% drop for its second weekend at the box office, better than the average 50–60% decline superhero films tend to see, and was a better second weekend than Batman v Superman: Dawn of Justice ($51.3 million) and Suicide Squad ($43.5 million).[198] In its third weekend it grossed $40.8 million, finishing second behind newcomer Cars 3 ($53.5 million). It was the second-best third weekend ever for Warner Bros. and was nearly double what Batman v Superman ($23.3 million), Suicide Squad ($20.9 million) and Man of Steel ($20.7 million) made in their third weekends. It earned $24.9 million and $15.7 million in its fourth and fifth weekends, respectively, dropping just 39% and 36% despite facing rough competition from opening films Transformers: The Last Knight and Despicable Me 3.[199] It eventually became the highest-grossing film directed by a woman, surpassing the previous records of Jennifer Yuh Nelson's Kung Fu Panda 2 and Phyllida Lloyd's Mamma Mia!.[8] By August 8, the film had garnered $400 million in ticket sales, becoming the second female-fueled film (after Disney's Beauty and the Beast), Warner Bros.' third-biggest movie (after Christopher Nolan's The Dark Knight and The Dark Knight Rises), holding the record of the highest origin superhero film; supplanting the previous record held by Spider-Man (2002) and also becoming the highest-earning film with a female director in terms of domestic earnings, surpassing Frozen (2013).[200][201]

text: International[edit]

text: Internationally, the film was released day-and-date with its North American debut in 55 markets (72% of its total release), and was projected to debut with anywhere between $92–118 million.[185] It ended up opening to $125 million, including $38 million in China, $8.5 million in Korea, $8.4 million in Mexico, $8.3 million in Brazil and $7.5 million in the UK.[202] In its second week of release, the film brought in another $60 million, including holding the top spot on France, the UK, Australia and Brazil.[203] As of June 25, 2017, the biggest markets of Wonder Woman outside North America are China (US$90 million) followed by Brazil (US$34 million), UK (US$28 million) and Australia (US$24 million). In the Philippines, it broke 2017 box office record for highest-earning non-holiday opening day—earning $4.7 million and becoming the 6th-most successful commercial film of all time as well overtaking the record set by Batman v Superman: Dawn of Justice.[204][205][206] The film opened in its last market, Japan, on August 25 and debuted to $3.4 million, helping the international gross cross the $400 million mark.[207]

text: Critical response[edit]

text: Wonder Woman received largely positive reviews, with some critics calling it the best film in the DC Extended Universe, and praising Jenkins' direction, performances, chemistry of Gadot and Pine and musical score.[7][211] On the review aggregator Rotten Tomatoes, the film holds an approval rating of 92% based on 346 reviews, with an average rating of 7.6/10. The site's critical consensus reads, "Thrilling, earnest, and buoyed by Gal Gadot's charismatic performance, Wonder Woman succeeds in spectacular fashion."[212] It is the highest-rated superhero film on the site.[213][note 1] On Metacritic, which assigns a normalized rating, the film has a score of 76 out of 100, based on 50 critics, indicating "generally favorable reviews".[214] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[215]

text: Critics commented favorably on Gadot's performance and Chris Pine's Steve Trevor.[216][217][210] Andrew Barker of Variety found the film to be more lighthearted than recent DC Comics films: "Never prone to stewing in solitude, and taking more notes from Richard Donner than from Christopher Nolan, Patty Jenkins' Wonder Woman provides a welcome respite from DC's house style of grim darkness—boisterous, earnest, sometimes sloppy, yet consistently entertaining—with star Gal Gadot proving an inspired choice for this avatar of truth, justice, and the Amazonian way."[218] Vox stated "Trevor is the superhero girlfriend comic book movies need".[219] The San Francisco Chronicle's Mick LaSalle lauded the performances of Gadot, Pine, Huston, and Thewlis while commending the film's "different perspective" and humor.[220] Richard Roeper of Chicago Sun-Times described Gadot's performance as inspirational, heroic, heartfelt and endearing and the most "real" Wonder Woman portrayal.[221]

text: A. O. Scott of The New York Times wrote that it "briskly shakes off blockbuster branding imperatives and allows itself to be something relatively rare in the modern superhero cosmos. It feels less like yet another installment in an endless sequence of apocalyptic merchandising opportunities than like … what's the word I'm looking for? A movie. A pretty good one, too."[222] Michael Phillips of Chicago Tribune compared the film to Captain America: The First Avenger, noting that as with "the first Captain America movie over in the Marvel Comics universe, DC's Wonder Woman offers the pleasures of period re-creation for a popular audience. Jenkins and her design team make 1918-era London; war-torn Belgium; the Ottoman Empire; and other locales look freshly realized, with a strong point of view. There are scenes here of dispossessed war refugees, witnessed by an astonished and heartbroken Diana, that carry unusual gravity for a comic book adaptation."[223] Katie Erbland of IndieWire commended its thematic depth, explaining that "Wonder Woman is a war movie. Patty Jenkins' first—and we hope not last—entry into the DC Expanded Universe is primarily set during World War I, but while the feature doesn't balk at war-time violence, it's the internal battles of its compelling heroine that are most vital."[224] Alonso Duralde of TheWrap similarly felt that, "Diana's scenes of action are thrilling precisely because they're meant to stop war, not to foment it; the idea of a demi-god using love to fight war might sound goofy in the abstract, but Jenkins makes the concept work."[225] Ann Hornaday of The Washington Post praised Gadot and Pine's performances as well the film's detailed plot and narrative while comparing of some slow-motion action sequences to The Matrix.[226] Stephanie Zacharek of Time magazine hailed the film as a "cut above nearly all the superhero movies that have been trotted out over the past few summers" while praising Gadot's performance as "charming" and "marvelous" and commending Jenkins' direction of the film as a step forward for women directors in directing big-budget blockbuster films in Hollywood.[227]

text: Elise Jost of Moviepilot observed that "Gadot's take on Wonder Woman is one of those unique cases of an actor merging with their story, similar to Robert Downey Jr.'s Tony Stark. Gal Gadot is Wonder Woman, and Wonder Woman is Gal Gadot."[210] Jost praised Gadot's interpretation of Wonder Woman as the one in which Gadot "absolutely nails the character's unwaveringly positive outlook on life. She's a force of nature who believes in the greater good; her conviction that she's meant to save the world is stronger than her bullet-deflecting shield. She's genuine, she's fun, she's the warm source of energy at the heart of the movie."[210] The Federalist suggests that Wonder Woman is "a story of Jesus". "The movie is wrapped up in faux Greek mythology, true, but there's no mistaking the Christology here."[228] "Perhaps Christ in the form of a beautiful and kick-ass Amazon is all that our contemporary society can handle right now", stated M. Hudson, a Christian feminist.[228] On HuffPost cultural critic, G. Roger Denson, who regards the superhero genre as a source of contemporary "Mainstream Mythopoetics" ("the making of new yet vitally meaningful, if not symbolic, stories filled with imagery reflecting, yet also shaping and advancing, the political, legal, moral and social practices of today"), wrote that the "No Man's Land" scene "that people are crying over in theaters and raving about afterward happens to be among the most powerfully mythopoetic scenes ever filmed at the same time it is one of the oldest myths to have been utilized by artists and writers after it had been invented by early military strategists and leaders." Specifically "used by director Patty Jenkins", the scene raises "the esteem for powerful yet compassionate women as heroes and leaders to a level equal with that of men for having won over a huge and adoring popular audience around the world".[229]

text: Steve Rose in The Guardian criticized the film for failing to explore the material's potential for "patriarchy-upending subversion".[230] Peter Travers of Rolling Stone criticized the film's over-reliance on exposition: "Wonder Woman is hobbled by a slogging origin story and action that only comes in fits and starts. Just when Gadot and director Patty Jenkins…are ready to kick ass, we get backstory."[231]

text: "Gas was intended to win the war. On that much Wonder Woman is absolutely right." said David Hambling in Popular Mechanics.[232] Rachel Becker of The Verge stated that despite the scientific liberties of using a "hydrogen-based" chemical weapon as a plot device, the film succeeds in evoking real and horrifying history. "First off, mustard gas is such a horrible, terrifying weapon, it doesn't need to be made more potent. But if you were a chemist bent on raining destruction on the Allied forces, you wouldn't do it by replacing the sulfur atom in mustard gas with a hydrogen atom. You'd know that sulfur is the linchpin holding together this poisonous molecule."[233]

text: Feminist debate[edit]

text: Wonder Woman has been the subject of a discussion regarding the appearance and representation of female power in general, and of female action heroes in particular[234] since her initial 1941 appearance in Sensation Comics,[234] as she was created to document "the growth in the power of women", while wearing "a golden tiara, a red bustier, blue underpants and knee-high, red leather boots."[235] She was blacklisted a year later in 1942 in the "Publications Disapproved for Youth" because, the group behind the list argued, she was "not sufficiently dressed".[235][236]

text: A few decades later, Second-wave feminist Gloria Steinem's[237] Ms. Magazine debuted in 1972 with an image of Wonder Woman on the cover. Historian Tim Hanley suggested that this move shifted "the focus away from female superiority to sisterhood and equality, essentially making her a mascot of the women's movement".[234][238][239] This perception shifted over the years, however, as demonstrated in December 2016 when the United Nations decided to drop the title of "honorary ambassador for the empowerment of women and girls" which it had given to Wonder Woman a few months before in a ceremony that included Lynda Carter and Gal Gadot (and had referenced the DCEU films that included the character).[240] The title was dropped in response to claims that Wonder Woman undermines female empowerment due to "an overtly sexualised image at a time when the headline news in United States and the world is the objectification of women and girls".[241][242][238] Wonder Woman director Patty Jenkins responded to the U.N.'s decision by stating that she thinks "it's sexist to say you can't have both".[243]

text: The debate continued with the release of Jenkins' 2017 film, Wonder Woman, which according to the BBC had "some thinking it's too feminist and others thinking it's not feminist enough".[244][245][246][247][248] Kyle Killian found an inherent contradiction in the construction of Wonder Woman as "a warrior" whom, she states, is also highly sexualized. Killian thus suggests that these elements "should not be the focus of a kickass heroine—her beauty, bone structure, and sexiness—if she is to be a feminist icon".[249] Theresa Harold concurred, comparing Wonder Woman to Katniss Everdeen (of The Hunger Games), who "didn't have to wear a teenager's wet dream of a costume to fight in".[250] Christina Cauterucci also felt that Wonder Woman's ability to be considered a "feminist antidote" was undermined by her "sex appeal".[251]

text: Jenkins disagrees with this line of critique, however. She has stated that she was raised by a Second wave "feminist mother",[252][253] who taught her to be "both super aware that there had been sexism but also: 'Congratulations – thank you, now I get to do whatever I want, Mom!'"[252] Jenkins thus notes that it is this upbringing which has led her to question a feminist critique of Wonder Woman’s costume.[254] When she was working on her own version of Wonder Woman's "Gladiator" re-design of the outfit (in the 2016 film Batman v Superman: Dawn of Justice)[255] Jenkins decided that Wonder Woman (as well as the other Amazons) "shouldn't be dressed in armor like men [...] It should be different [...] I, as a woman, want Wonder Woman to be hot as hell, fight badass, and look great at the same time – the same way men want Superman to have huge pecs and an impractically big body."[15] Jenkins also notes that she is "frustrated" by the critique of Wonder Woman's appearance, stating "when people get super critical about her outfit, who's the one getting crazy about what a woman wears? That's who she is; that's Wonder Woman."[253]

text: Critics such as Valerie Estelle Frankel support Jenkins' vision. Frankel argues that the film subverts the male gaze,[254] stating that the construction of Wonder Woman tends to shift every few decades as it reflects the state of feminism during different time periods, including Third-wave feminism (which reflects Jenkins' approach).[254][256][257] Zoe Williams offers a similar argument stating that while Wonder Woman "is sort of naked a lot of the time" it isn't, at the same time, "objectification so much as a cultural reset: having thighs, actual thighs you can kick things with, not thighs that look like arms, is a feminist act".[258] Williams then juxtaposes Wonder Woman to past female action heroes such as Sarah Connor, Ellen Ripley, and Lara Croft, whom she suggests were all constructed for the male gaze, in which a "female warrior becomes a sex object", (a point which she argues that Jenkins directly references in the film).[258] Gloria Steinem thought that the film "was very good" as it made Wonder Woman's "Amazon origin story clear; she was stopping war, not perpetuating it." Steinem also noted that she knew "some women were disappointed by all the makeup, but I may be desperate—I was just happy that the Amazons had wild hair!" Her only complaint lay in the choice to eliminate the World War II setting as the Wonder Woman comic book developed in response to existing comics that were "so sadistic and racist that there was a congressional hearing on the subject".[259] Gal Gadot concurs with Jenkins, arguing that the character "is a feminist"[260] as "feminism is about equality and choice and freedom. And the writers, Patty and myself all figured that the best way to show that is to show Diana as having no awareness of social roles. She has no gender boundaries. To her, everyone is equal."[261] In contrast, other critics refer to Jenkins' vision of Wonder Woman as "an implausible post-feminist hero".[236][262]

text: American director James Cameron continued this debate through his critique of the representation of female power in Jenkins' film. In an August 2017 interview with The Guardian, Cameron qualifies Jenkins' vision of Wonder Woman as "an objectified icon" and called the film "a step backwards". In contrast, he states, his character Sarah Connor (from his Terminator films) "was not a beauty icon. She was strong, she was troubled, she was a terrible mother, and she earned the respect of the audience through pure grit."[263] Jenkins stated in response that Cameron's "inability to understand what 'Wonder Woman' is, or stands for, to women all over the world is unsurprising as, though he is a great filmmaker, he is not a woman". She further argued "there is no right and wrong kind of powerful woman" because "if women have to always be hard, tough and troubled to be strong, and we aren't free to be multidimensional or celebrate an icon of women everywhere because she is attractive and loving, then we haven't come very far have we."[264] Reaction to this debate was mixed. Julie Miller sided with Cameron whom she states refers to himself as "a pretty hardcore feminist" and who told Vulture that "I have no problem writing a script in which the males become subservient to the females, which is what happens in Aliens [...] It's up to Ripley to win the day." In contrast, Miller argues that Jenkins and Gadot envisioned Wonder Woman as "a woman who exuded both femininity and strength, along with genuine confusion as to why men would treat women differently than they do other men".[265] Susannah Breslin also agreed with Cameron, describing Jenkins' Wonder Woman as "a Playmate with a lasso" and "female power with no balls".[266] Others were more critical of Cameron's critique.[267] An article in Newsweek suggested that Cameron's films include "lot of objectification", and included quotes from Hollywood celebrities such as Jesse McLaren who commented that "James Cameron's just confused there's a female hero whose motivations aren't centered around motherhood."[268] Noah Berlatsky found areas of agreement between both Cameron and Jenkins, stating that while Cameron's objection is "an old point that's been made over and over for decades", Jenkins film isn't "solely focused on objectifying Gal Gadot for a male audience".[269]

text: A few weeks later in September, Cameron reiterated his criticism in an interview with the Hollywood Reporter. He compared Gal Gadot's representation of the character to Raquel Welch's films in the 1960s,[270] and reinforced a comparison with Linda Hamilton's portrayal of Sarah Connor. He argued that Connor was "if not ahead of its time, at least a breakthrough in its time" because though she "looked great", she "wasn't treated as a sex object".[270] He also stated that he while he "applaud[s] Patty directing the film and Hollywood, uh, 'letting' a woman direct a major action franchise, I didn't think there was anything groundbreaking in Wonder Woman. I thought it was a good film. Period."[270] Former Wonder Woman actress Lynda Carter responded to Cameron's Hollywood Reporter interview by asking him to "Stop dissing WW." Like Jenkins, she suggests that while Cameron does "not understand the character" she does. She also refers to Cameron's critiques as "thuggish jabs at a brilliant director" that "are ill advised" as the "movie was spot on". Carter also states that she has the authority to make these observations because she has "embodied this character for more than 40 years".[271][272][273] A month later, Jenkins responded to Cameron's comments once again in an interview with Variety, stating that she "was not upset at all" as "everybody is entitled to their own opinion. But if you're going to debate something in a public way, I have to reply that I think it's incorrect."[274] Tricia Ennis was also critical of Cameron's statements, stating that "while he may consider himself a feminist and an ally to women, [he] is not very good at it" as being an ally means using his position of privilege "without silencing the voices of those you're trying to help". She also states that it "is not enough to simply call yourself a feminist. It's not even enough to create a strong female character [...] You have to bring women to the table. You have to let them speak. You cannot speak for them. But speaking for women is exactly what Cameron is doing through his comments [...] Cameron is using his position of power as a respected producer and director to silence women."[275]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

IndieWire Critic's Poll
December 19, 2016
Most Anticipated of 2017
Wonder Woman
Nominated
[276]

Golden Trailer Awards
June 6, 2017
Best of Show
Won
[277]
[278]

Best Fantasy / Adventure

Best Summer 2017 Blockbuster Poster

Teen Choice Awards
August 13, 2017
Choice Action Movie
[279]
[280]
[281]

Choice Action Movie Actor
Chris Pine

Choice Action Movie Actress
Gal Gadot

Choice Movie Ship
Gal Gadot & Chris Pine
Nominated

Choice Liplock
Chris Pine & Gal Gadot

Choice Summer Movie
Wonder Woman

Choice Summer Movie Actor
Chris Pine

Choice Summer Movie Actress
Gal Gadot

Dragon Awards
September 3, 2017
Best Science Fiction or Fantasy Movie
Wonder Woman
Won
[282]

text: Sequel[edit]

text: Originally signed for three feature films, with Wonder Woman and Justice League being her second and third films, Gadot signed an extension to her contract for additional films.[283] Jenkins initially signed for only one film,[284] but in an interview with Variety, Geoff Johns revealed that he and Jenkins are writing the treatment for a Wonder Woman sequel and that he has a "cool idea for the second one". At the 2017 San Diego Comic Con, Warner Bros. officially announced a sequel would be released on December 13, 2019, and would be titled Wonder Woman 2.[9][285][286] Later, Jenkins was officially signed to return as director, with confirmation that Gadot will be returning as the titular role.[287] On August 19, 2017, actress Geena Davis stated that she would like very much to play a role in Wonder Woman 2 and that she is in talks with Jenkins about that matter.[288] Days later, the studio hired Dave Callaham to co-write the film's script with Jenkins and Johns.[289]

text: Notes[edit]

text: Jump up ^ This is by an adjusted Tomatometer with at least 20 reviews each that, uses a weighted Bayesian based formula to account for the differences in ratings.


document_title: New Girl (season 5)

question_text: what episode does jess return to new girl

root

text: New Girl (season 5)

text: Production[edit]

text: On March 31, 2015, New Girl was renewed for a fifth season.[4] The show remained in production after wrapping season four in order to get a jump on season 5 ahead of Deschanel's maternity leave.[5] Deschanel was absent in 6 episodes of the fifth season.[6][7] The onscreen reason for her absence being that her character was sequestered for jury duty.[8]

tag: p

text: John Cho was the first guest announced after New Girl was renewed for season 5.[9] Fred Armisen, Stephen Rannazzisi and Ally Maki all signed up to guest star this season.[10]

text: Megan Fox was cast in the role of Reagan and will temporarily fill in for Zooey Deschanel after she pre-taped her episodes last spring before taking a maternity leave.[11] This did not premiere in the Fall but instead January 2016, with what Fox states to be "its first-ever season of virtually uninterrupted originals."[12] Damon Wayans, Jr. is set to make his return for a two episode arc this season.[13]

text: Cast[edit]

text: Main[edit]

text:
Zooey Deschanel as Jessica "Jess" Day
Jake Johnson as Nick Miller
Max Greenfield as Schmidt
Lamorne Morris as Winston Bishop
Hannah Simone as Cece

tag: ul

text: Special guest[edit]

text: Damon Wayans, Jr. as Coach[13]

text: Recurring[edit]

text:
Megan Fox as Reagan
Curtis Armstrong as Principal Foster
Steve Agee as Outside Dave
Meaghan Rath as May
Peter Gallagher as Gavin[14]
David Walton as Sam[15]
Nasim Pedrad as Aly Nelson
Nelson Franklin as Robby
Fred Melamed as J. Cronkite Valley-Forge
Rebecca Reid as Nadia

text: Guest[edit]

text:
John Cho as Daniel Grant[9]
Anna George as Priyanka
Rob Riggle as Big Schmidt
Taran Killam as Fred[9][16]
Julie Hagerty as Nancy
Henry Winkler as Flip
Sam Richardson as Dunston[17]
Fred Armisen as Brandon[10]
Stephen Rannazzisi as Todd Ploons[10]
Ally Maki as Kumiko[10]
Busy Philipps as Connie[18]
Sonequa Martin-Green as Rhonda[19]
apl.de.ap as himself
Kiersey Clemons as KC
Bill Burr as Bob
Lennon Parham as Carol
Ian Roberts as Billy
Clea DuVall as Camilla
Demetri Martin as Juror 237B/Gary
Elizabeth Berkley Lauren as Becky Cavatappi
Lucy Punch as Genevieve
Gillian Vigman as Kim
Kal Penn as Tripp[20]
Nora Dunn as Louise[20]
Kim Wayans as Susan[20]
Caitlin FitzGerald as Diane[21]

text: Episodes[edit]

text:
No.overallNo. inseasonTitleDirected byWritten byOriginal air dateProd.codeU.S. viewers(millions)951"Big Mama P"Erin O'MalleyBerkley JohnsonJanuary 5, 2016 (2016-01-05)5ATM033.33[22]
Schmidt and Cece give the honor of best man and maid of honor to Nick and Jess, respectively. Jess plans an elaborate engagement party for the couple, with the intent of surprising Cece with a visit from her mother, Priyanka (Anna George). Nick is given the responsibility of picking up Cece's mother from the airport, but picks up the wrong woman. After saving a boy's life from under the weight of a car, Winston becomes tired of being labeled as a hero instead of being known for his pranking side.
962"What About Fred"Eric AppelMatt Fusfeld & Alex CuthbertsonJanuary 12, 2016 (2016-01-12)5ATM013.25[23]
Jess has a hard time relating to her new boyfriend Fred (Taran Killam), and would rather spend time with his fun loving parents Flip and Nancy (Henry Winkler and Julie Hagerty). Nick and Schmidt are officially co-owners of the bar, and Schmidt's strict rules of the establishment puts pressure on Nick to be a tougher boss.
973"Jury Duty"Trent O'DonnellJosh Malmuth & Nina PedradJanuary 19, 2016 (2016-01-19)5ATM022.95[24]
Jess is thrilled when she is called for jury duty, but an opportunity to be acting principal presents itself with her now wanting to get out of jury duty. Nick and Cece's constant bickering about the apartment rules puts Schmidt between them.
984"No Girl"Elizabeth MeriwetherRob RosellJanuary 26, 2016 (2016-01-26)5ATM042.84[25]
With Jess still in jury duty, Nick rents out the loft to pay for Schmidt's bachelor party that they plan on having in Tokyo. Winston thinks that KC is cheating on him, so he asks Cece for advice to get even with her.
995"Bob & Carol & Nick & Schmidt"Jake JohnsonRob RosellFebruary 2, 2016 (2016-02-02)5ATM052.94[26]
Nick's cousin Bob (Bill Burr) and his wife Carol (Lennon Parham) want to use Nick's sperm to have a baby. Winston helps Cece buy a wedding dress.
1006"Reagan"Trent O'DonnellKim RosenstockFebruary 9, 2016 (2016-02-09)5ATM063.10[27]
Nick tries to get Reagan (Megan Fox), an attractive bisexual pharmaceutical sales representative, to temporarily move into the loft while Jess is still in jury duty. Schmidt learns that Cece and Reagan had a sexual encounter years ago, making him uncomfortable.
1017"Wig"Christine GernonDavid FeeneyFebruary 16, 2016 (2016-02-16)5ATM072.80[28]
Nick has a hard time being comfortable around Reagan, so he spends a lot of his time in the loft in Schmidt's room, even during the time that Schmidt wants to have sex with Cece. Winston helps Reagan break up with her most recent fling Camilla (Clea DuVall).
1028"The Decision"Trent O'DonnellLuvh RakheFebruary 23, 2016 (2016-02-23)5ATM082.68[29]
When Nick and Winston are unable to make decisions on anything, Reagan puts pressure on them to decide among themselves on who should have sex with her. While searching for the perfect wedding venue, Schmidt and Cece run into his old college bully Benjamin (David Neher) and his fiancée Mimi (Angela Trimbur).
1039"Heat Wave"Erin O'MalleyMatt Fusfeld & Alex CuthbertsonMarch 1, 2016 (2016-03-01)5ATM092.62[30]
A heat wave hits the city, with Nick stubbornly refusing Reagan's offer of hanging out in her air-conditioned room. The back and forth ultimately leads to Nick and Reagan to finally express their romantic feelings for each other. Winston finds that people take him a lot more seriously when he uses his "cop voice". Cece refuses to go to a news broadcasting audition, which forces Schmidt to use his own "cop voice" to make her go.
10410"Goosebumps Walkaway"Trent O'DonnellBerkley JohnsonMarch 8, 2016 (2016-03-08)5ATM102.65[31]
Jess finally comes home from jury duty. Reagan's last day in town closely arrives, however she is reluctant to fully express her romantic feelings for Nick. Schmidt and Cece accompany Winston to his freestyle dancing group.

Note: Despite Fox promoting this episode as the 100th episode, it is actually the 104th episode produced and aired. "Reagan" is the actual 100th episode of the series.
10511"The Apartment"Christine GernonNina PedradMarch 15, 2016 (2016-03-15)5ATM112.30[32]
Jess becomes overwhelmed by the workload given by her new principal Becky Cavatappi (Elizabeth Berkley Lauren), while also helping Cece move out of her apartment to move into the loft with Jess and the guys. While Cece packs up her things, she begins to have second thoughts about marrying Schmidt. Winston becomes tired of hearing Aly talk about her boyfriend, so he is given a new partner named Dunston (Sam Richardson), who has similar interests as him, but is way more incompetent. A flasher comes in and out of the bar, with Nick not really having a problem with him, which has Schmidt concerned.
10612"D-Day"Michael SchultzJosh MalmuthMarch 22, 2016 (2016-03-22)5ATM122.25[33]
When Schmidt becomes highly stressed from planning the wedding, and with Cece getting a new job, Jess decides take over with some of the wedding preparations. When getting champagne for the wedding, Jess falls for Gavin (Peter Gallagher), a charming wine store owner, who she later finds out is Schmidt's father. Nick and Winston argue over who has the tougher profession.
10713"Sam, Again"Steve WelchEthan Sandler & Adrian WennerMarch 29, 2016 (2016-03-29)5ATM132.21[34]
Jess applies for a new teaching job at a more subdued, free-spirited school run by Genevieve (Lucy Punch), who she later learns is dating Sam (David Walton). Schmidt has Nick and Cece  quarantined, when they both get sick, so he doesn't get sick himself right before he plans on doing a big presentation at work. Winston is nervous about going on a date, to get over being heartbroken by Aly.
10814"300 Feet"Trent O'DonnellSophia LearApril 12, 2016 (2016-04-12)5ATM142.65[35]
Sam gets a restraining order on Jess. Presh, a fancy bar across the street owned by Connie (Busy Philipps), becomes competition for The Griffin, Nick and Schmidt's bar.
10915"Jeff Day"Jay ChandrasekharJoe WengertApril 19, 2016 (2016-04-19)5ATM151.92[36]
Jess and Sam are back together, which causes tension between him and Nick. When buying a new car, Jess creates a male alter-ego named "Jeff Day" to deal with Billy (Ian Roberts), a sexist salesman. Schmidt and Cece become worried that Winston's newest girlfriend Rhonda (Sonequa Martin-Green), is way too much into pulling pranks, and wanting Winston to revoke his plus one invitation for her to come to their wedding.
11016"Helmet"Josh GreenbaumSarah Nevada SmithApril 19, 2016 (2016-04-19)5ATM181.92[36]
Jess has a sex dream about Nick, which involved an old Chicago Bears helmet that Nick gave her when they dated. This is especially stressful for Jess as she is about to meet Sam's parents. Aly's boyfriend Tripp (Kal Penn), an agent for animal actors, competes with Winston and his cat Furguson to get his own prized cat Patches a role in the next Avatar film.
11117"Road Trip"Trent O'DonnellNoah GarfinkelApril 26, 2016 (2016-04-26)5ATM162.42[37]
Schmidt questions his manhood, after being too scared to protect Cece from a hostile driver during a traffic run-in. To come off as more manly, Schmidt, Nick and Winston along with Big Schmidt (Rob Riggle), Robby (Nelson Franklin) and  J. Cronkite Valley-Forge (Fred Melamed), take a road trip to the desert for Schmidt's bachelor party.
11218"A Chill Day In"Erin O'MalleySarah TapscottApril 26, 2016 (2016-04-26)5ATM171.87[37]
While the guys are at their bachelor party, Jess and Cece stay in and smoke marijuana. After destroying a bread maker given by Schmidt's mother, Jess and Cece go to the store to get it replaced. In doing so the run into Aly and Tripp, who are having difficulties in their relationship.
11319"Dress"Trent O'DonnellDavid Feeney & Josh MalmuthMay 3, 2016 (2016-05-03)5ATM192.27[38]
Jess procrastinates when tasked to alter Cece's wedding dress, so Schmidt helps Jess by having her make alterations to it in the unused men's room at his job. With Winston and Aly now dating, they have difficulty keeping their relationship a secret from the other police officers. Nick awaits a response from Reagan after asking her in a text to be his plus one for Schmidt and Cece's wedding.
11420"Return to Sender"Russ AlsobrookVeronica McCarthyMay 3, 2016 (2016-05-03)5ATM201.88[38]
Sam reunites with Diane (Caitlin FitzGerald), an old medical school colleague, who has unresolved romantic feelings for him, putting Jess in the middle. Nick is worried for Schmidt, fearing that Gavin hasn't stopped his "deadbeat dad" ways. Winston's feelings are hurt when Sam refuses to wear a bird shirt that Winston gave him.
11521"Wedding Eve"Trent O'DonnellNina Pedrad & Kim RosenstockMay 10, 2016 (2016-05-10)5ATM212.34[39]
Jess finds a wedding ring in Sam's jacket pocket and becomes nervous thinking that Sam will propose to her. On the day before the Schmidt and Cece's wedding, Schmidt's mom Louise (Nora Dunn) and her life partner Susan (Kim Wayans) stay over at the loft. Winston fears that he may scared off Aly by referring to her as a "bride". Coach (Damon Wayans, Jr.) is back from New York to visit for the wedding.
11622"Landing Gear"Erin O'MalleyLuvh RakheMay 10, 2016 (2016-05-10)5ATM222.17[39]
On the day of Schmidt and Cece's wedding, Schmidt travels to Portland to get Cece's mom, Priyanka to come. However, he ends up stuck on the plane, still on the tarmac, missing the wedding. Reagan visits for the wedding with Nick wanting to make the move of having a steady relationship. Jess, who reveals that Sam broke up with her the day before, realizes that she still may have  romantic feelings for Nick. While Schmidt is missing the wedding, Jess asks Winston to revert back to his pranking ways in an attempt to stall the wedding until the groom arrives.

tag: table


document_title: Carrie (1976 film)

question_text: who played carrie mother in the original movie

text: Carrie (1976 film)

text: Plot[edit]

text: Shy, bullied high school student Carrie White experiences her first period as she showers with other girls after gym class. Unaware of what is happening to her, she panics and pleads for help. The other girls respond by pelting her with tampons, laughing and chanting "Plug it up! Plug it up!" Gym teacher Miss Collins breaks up the commotion and attempts to console Carrie. A light bulb mysteriously breaks as Carrie reaches the height of her panic.

text: Later, the school principal seems uncomfortable as Miss Collins expresses bewilderment that Carrie is so uninformed. As he dismisses Carrie from school for the afternoon, she becomes frustrated at both cigarette smoke emanating from an ashtray, and the principal repeatedly referring to her by the name "Cassie", causing the ashtray to flip from his desk and shatter. On her way home, a young boy teases Carrie, and she makes him fall off his bicycle with just a look. At home, Carrie is abused by her fanatically religious mother, Margaret, who rants about menstruation being the result of sinful thoughts. Carrie is locked in a small closet and forced to pray for forgiveness. When she is finally allowed to return to her room, she gazes into her reflection, causing the mirror to shatter.

text: Carrie's classmate Sue feels guilty, so she arranges for her boyfriend, handsome and popular Tommy, to ask Carrie to the upcoming prom. Reluctant at first, Carrie accepts after encouragement from Miss Collins. Another classmate, Chris, throws a tantrum and skips her detention for bullying Carrie, so she is banned from the prom. Swearing vengeance, she recruits her delinquent boyfriend Billy to play a prank on Carrie. They slaughter pigs from a nearby farm and place a bucket of their blood above the stage at the school’s gymnasium.

text: Margaret discovers Carrie's prom plans and attempts to abuse her again. Having researched her telekinesis, Carrie asserts her power and stands up to her mother. Margaret responds by accusing Carrie of being a satanic witch.

text: At the prom, Carrie finds acceptance among her peers and shares a kiss with Tommy. Chris's friend Norma rigs the election and Carrie is crowned Prom Queen. Carrie’s joy is cut short when Chris pulls a rope to dump the pigs' blood on her. Chris and Billy escape through a back door, while the bucket falls on Tommy's head, knocking him unconscious. The blood-soaked Carrie hallucinates that everyone in the gymnasium is laughing at her and soon unleashes telekinetic fury upon the crowd, guilty and innocent alike. The doors slam shut, a high-pressure water hose assaults many people (including Norma, who is knocked unconscious), the principal is electrocuted, and Miss Collins is crushed to death. As the gym catches fire, Carrie calmly walks out and locks the remaining students inside. Chris and Billy attempt to run over Carrie as she walks home, but Carrie causes their car to flip and explode.

text: At home, Carrie is comforted by her mother, who strokes her daughter's hair as she tenderly comforts her in her arms; revealing her guilt about having conceived Carrie through her only act of sexual intercourse with Carrie's drunken father, which she had in part enjoyed. As they pray together, Margaret stabs her daughter in the back and pursues her through the house. Defending herself, Carrie causes kitchen utensils to fly through the air and crucify Margaret. Distraught over her mother's death, Carrie loses control of her powers as the house crumbles and burns down around her.

text: Sometime after Carrie’s death, Sue, the sole survivor of the prom massacre, is seen laying flowers on the charred remains of Carrie's home beside a vandalized For Sale sign saying "Carrie White burns in Hell!". Just then, a bloody arm reaches from the rubble and grabs her, causing Sue to wake up from her nightmare screaming.

text: Cast[edit]

text:
Sissy Spacek as Carrie White
Piper Laurie as Margaret White
Amy Irving as Sue Snell
William Katt as Tommy Ross
Betty Buckley as Miss Collins
Nancy Allen as Chris Hargensen
John Travolta as Billy Nolan
P. J. Soles as Norma Watson
Sydney Lassick as Mr. Fromm
Stefan Gierasch as Principal Morton
Priscilla Pointer as Mrs. Snell
Edie McClurg as Helen Shyres

text: Production[edit]

text: Development[edit]

text: Carrie was the first Stephen King novel to be published and the first to be adapted into a feature film.[4] In an interview in Port Charlotte, Florida at a public appearance near his home on the Gulf coast on March 20, 2010, King said he was 26 years old at the time and was paid just $2,500 for the film rights, but added "I was fortunate to have that happen to my first book."[5] De Palma told Cinefantastique magazine in an interview in 1977:

text: I read the book. It was suggested to me by a writer friend of mine. A writer friend of his, Stephen King, had written it. I guess this was almost two years ago [circa 1975]. I liked it a lot and proceeded to call my agent to find out who owned it. I found out that nobody had bought it yet. A lot of studios were considering it, so I called around to some of the people I knew and said it was a terrific book and I'm very interested in doing it. Then nothing happened for, I guess, six months.[6]

text: Lawrence D. Cohen was hired as the screenwriter, and produced the first draft, which had closely followed the novel's intentions.[7] United Artists accepted the second draft but only allocated De Palma a budget of $1.6 million, a small amount considering the popularity of horror films at the time. The budget eventually rose to $1.8 million.[8] Certain scripted scenes were omitted from the final version, mainly due to financial limitations.[9][10]

text: Casting[edit]

text: Many young actresses auditioned for the lead role, including Melanie Griffith. Sissy Spacek was persuaded by husband Jack Fisk to audition for the title role. Fisk then convinced De Palma to let her audition, and she read for all of the parts. De Palma's first choice for the role of Carrie was Betsy Slade, who received good notices for her role in the film Our Time (1974). Determined to land the leading role, Spacek backed out of a television commercial she was scheduled to film,[11] rubbed Vaseline into her hair, didn't bother to wash her face, and arrived for her screen test clad in a sailor dress which her mother had made her in the seventh grade, with the hem cut off,[6] and was given the part.

text: Nancy Allen was the last to audition, and her audition came just as she was on the verge of leaving Hollywood.[7] She and De Palma later married.[12]

text: Filming[edit]

text: De Palma began with director of photography Isidore Mankofsky, who was eventually replaced by Mario Tosi after conflict between Mankofsky and De Palma ensued.[13] Gregory M. Auer, assisted by Ken Pepiot,[14] served as the special effects supervisor for Carrie, with Jack Fisk, Spacek's husband, as art director.

text: The White house was filmed in Santa Paula, California and to give the home a Gothic theme, director and producers went to religious shops looking for artifacts to place in the home.[15]

text: A wraparound segment at the beginning and end of the film was scripted and filmed which featured the Whites' home being pummeled by stones that hailed from the sky. The opening scene was filmed as planned, though on celluloid, the tiny pebbles looked like rain water.[7] A mechanical malfunction botched production the night when the model of the Whites' home was set to be destroyed, so they burned it down instead and dropped the scenes with the stones altogether. The original opening scene is presumed lost.[7]

text: The final scene, in which Sue reaches toward Carrie's grave, was shot backwards to give it a dreamlike quality. This scene was inspired by the final scene in Deliverance (1972).[7] Spacek had insisted on using her own hand in the given scene, so she was positioned under the rocks and gravel. De Palma stated, "Sissy, come on, I'll get a stunt person. What do you want? To be buried in the ground?!" However, Spacek declared, "Brian, I have to do this." De Palma explains that they "had to bury her. Bury her! We had to put her in a box and stick her underneath the ground. Well, I had her husband bury her because I certainly didn't want to bury her. I used to walk around and set up the shot and every once in a while we'd hear Sissy: 'Are we ready yet?' 'Yeah, Sissy, we're going to be ready real soon.'"[7]

text: Music[edit]

text: The score for Carrie was composed by Pino Donaggio. In addition, Donaggio scored two pop songs ("Born to Have It All" and "I Never Dreamed Someone Like You Could Love Someone Like Me") with lyrics by Merrit Malloy for the early portion of the prom sequence. These songs were performed by Katie Irving (no relation to star Amy Irving and her mother, Priscilla Pointer). Donaggio would work again with De Palma on Home Movies, Dressed to Kill, Blow Out, Body Double, Raising Cain, and Passion.

text: The soundtrack album was originally released on vinyl in 1976 from United Artists Records.[16] A deluxe CD edition containing a few tracks of dialogue from the film was released by Rykodisc in 1997, and a 2005 CD re-release of the original soundtrack (minus dialogue) was available from Varèse Sarabande.[17] In 2010, Kritzerland Records released all 35 cues of Donaggio's score for the film on a two-disc CD set which was presented as the complete score. Also included in this edition were the versions of "Born to Have It All" and "I Never Dreamed..." which were heard in the film, as well as instrumentals of both songs, and hidden at the end of the final track, a version of the "Calisthenics" cue with Betty Buckley's studio-recorded voice-over from the detention scene. The second disc was a remastered copy of the original 13-track album. The Kritzerland release was a limited edition of 1,200 copies. Kritzerland re-released the first disc as "The Encore Edition" in February 2013; this release was limited to 1,000 copies.[18]

text: Release and reception[edit]

text: Carrie received largely positive reviews and is widely regarded as one of the best films of 1976.[19][20][21]

text: Roger Ebert of the Chicago Sun-Times stated the film was an "absolutely spellbinding horror movie", as well as an "observant human portrait", giving three and a half stars out of four.[22] Pauline Kael of The New Yorker stated that Carrie was "the best scary-funny movie since Jaws – a teasing, terrifying, lyrical shocker". Take One Magazine critic Susan Schenker said she was "angry at the way Carrie manipulated me to the point where my heart was thudding, and embarrassed because the film really works."[23] A 1998 edition of The Movie Guide stated Carrie was a "landmark horror film", while Stephen Farber prophetically stated in a 1978 issue of New West Magazine, "it's a horror classic, and years from now it will still be written and argued about, and it will still be scaring the daylights out of new generations of moviegoers."[24] Quentin Tarantino placed Carrie at number 8 in a list of his favorite films ever.[25]

text: Nevertheless, the film was not without its detractors. Andrew Sarris of The Village Voice commented, "There are so few incidents that two extended sequences are rendered in slow-motion as if to pad out the running time..."[24]

text: In addition to being a box office success - earning $14.5 million in theater rentals by January 1978[26] - Carrie is notable for being one of the few horror films to be nominated for multiple Academy Awards. Sissy Spacek and Piper Laurie received nominations for Best Actress and Best Supporting Actress awards, respectively. The film also won the grand prize at the Avoriaz Fantastic Film Festival, while Sissy Spacek was given the Best Actress award by the National Society of Film Critics. In 2008, Carrie was ranked number 86 on Empire Magazine's list of The 500 Greatest Movies of All Time.[27] This movie also ranked number 15 on Entertainment Weekly's list of the 50 Best High School Movies, and No. 46 on the American Film Institute's list of 100 Greatest Cinema Thrills, and was also ranked eighth for its famous ending sequence on Bravo's The 100 Scariest Movie Moments (2004).[28]

text: In a 2010 interview, King replied that he thought, although dated now, Carrie was a "good movie."[5]

text: Legacy[edit]

text: AFI's 100 Years...100 Thrills – number 46[29]

text: Related productions[edit]

text: Carrie, along with the novel, has been reproduced and adapted several times.

text: Sequel[edit]

text: The Rage: Carrie 2 was released in 1999. It featured another teenager with telekinetic powers who is revealed to have shared a father with Carrie White. The film received universally negative reviews and was a box office failure. Amy Irving reprises her role of Sue Snell from the previous film.

text: 2002 television film[edit]

text: In 2002, a television film based on King's novel and starring Angela Bettis in the titular role was released. The film updated the events of the story to modern-day settings and technology while simultaneously attempting to be more faithful to the book's original structure, storyline, and specific events. However, the ending was drastically changed: instead of killing her mother and then herself, the film has Carrie killing her mother, being revived via CPR by Sue Snell and being driven to Florida to hide. This new ending marked a complete divergence from the novel and was a signal that the film served as a pilot for a Carrie television series, which never materialized. In the new ending, the rescued Carrie vows to help others with similar gifts to her own. Although Bettis' portrayal of Carrie was highly praised, the film was cited by most critics as inferior to the original.[30]

text: 2013 film[edit]

text: In May 2011, Metro-Goldwyn-Mayer and Screen Gems announced that Carrie would be adapted to film once more.[31] Playwright Roberto Aguirre-Sacasa wrote the script as "a more faithful adaptation" of King's novel but shared a screenplay credit with the 1976 film's writer Lawrence D. Cohen. Aguirre-Sacasa had previously adapted King's epic novel The Stand into comic-book form in 2008.

text: The role of Carrie was played by 16-year-old actress Chloë Grace Moretz.[32] Julianne Moore starred as Carrie's mother Margaret White, and Gabriella Wilde as Sue Snell.[33] Alex Russell and Broadway actor Ansel Elgort played Billy Nolan and Tommy Ross respectively.[34] Portia Doubleday was given the role of Chris Hargensen and Judy Greer was cast as Miss Desjardin.[35]

text: Kimberly Peirce, known for her work on Boys Don't Cry, directed the new adaptation.[36] It was released on October 18, 2013 and received mixed reviews.

text: Stage productions[edit]

text: A 1988 Broadway musical of the same name, based on King's novel and starring Betty Buckley, Linzi Hateley and Darlene Love, closed after only 16 previews and five performances. An English pop opera filtered through Greek tragedy, the show was so notorious that it provided the title to Ken Mandelbaum's survey of theatrical disasters, Not Since Carrie: Forty Years of Broadway Musical Flops.[37]

text: Early in the 21st century, playwright Erik Jackson attempted to secure the rights to stage another production of Carrie the musical, but his request was rejected. Jackson eventually earned the consent of King[38] to mount a new, officially-sanctioned, non-musical production of Carrie, which debuted Off-Broadway in 2006 with female impersonator Sherry Vine in the lead role.[39] Similarly, many other unofficial spoofs have been staged over the years, usually with a gym teacher named "Miss Collins" (as opposed to the novel's "Miss Desjardin" and the musical's "Miss Gardner"), most notably the "parodage" Scarrie the Musical,[40] which hit the Illinois stage in 1998 and was revived in 2005; Dad's Garage Theatre's 2002 production of Carrie White the Musical;[41] and the 2007 New Orleans production of Carrie's Facts of Life,[42] which was a hybrid of Carrie and the classic American sitcom The Facts of Life.