document_title: Shameless (season 8)

question_text: who is carls girlfriend in shameless season 8

text: Shameless (season 8)

text: Cast and characters[edit]

text: Main[edit]

text:
William H. Macy as Frank Gallagher[5]
Emmy Rossum as Fiona Gallagher[5]
Jeremy Allen White as Philip "Lip" Gallagher[6]
Ethan Cutkosky as Carl Gallagher
Shanola Hampton as Veronica Fisher[7]
Steve Howey as Kevin Ball[6]
Emma Kenney as Deborah "Debbie" Gallagher[6]
Cameron Monaghan as Ian Gallagher[8]
Isidora Goreshter as Svetlana Yevgenivna Fisher

text: Special Guest[edit]

text:
Dermot Mulroney as Sean Pierce
Richard Flood as Ford[9]

text: Recurring[edit]

text:
Christian Isaiah as Liam Gallagher
Jim Hoffmaster as Kermit
Michael Patrick McGill as Tommy
Alan Rosenberg as Professor Youens
Ruby Modine as Sierra Morton[10]
Zack Pearlman as Neil[11]
Elliot Fletcher as Trevor
Juliette Angelo as Geneva
Alicia Coppola as Sue
Scott Michael Campbell as Brad
Levy Tran as Eddie
Jessica Szohr as Nessa Chabon[12]
Perry Mattfeld as Mel
David Brackett as Duran
Sharon Lawrence as Margo Mierzejewski
Faran Tahir as Adeeb[13]
Raffi Barsoumian as Bahir
Sammi Hanratty as Kassidi Gallagher
Chet Hanks as Charlie
Tina Ivlev as Freelania Alexeyevich
Scarlet Spencer as Xan

text: Episodes[edit]

text:
No.overallNo. inseasonTitleDirected byWritten byOriginal air dateUS viewers(millions)851"We Become What We... Frank!"Iain B. MacDonaldJohn WellsNovember 5, 2017 (2017-11-05)1.86[14]
Fiona begins renovating and selling apartments in her new building. Frank returns from the monastery and begins to apologize to everyone he has wronged in the past. Lip tries to get his drinking problem under control while also trying to win back Sierra. Debbie gets a new job and begins night school where she's learning to become a welder. Ian tries to win back the heart of Trevor by helping teens at the youth center. Carl begins selling the meth that Monica left him and his siblings before she passed away while also staying in shape for military school over the summer break. Liam is used by the faculty of his new school to show off the school's diversity for prospective parents. Kevin learns some disturbing news about his health and Veronica tries to take back the Alibi from Svetlana.
862"Where's My Meth?"Anthony HemingwayNancy M. PimentalNovember 12, 2017 (2017-11-12)1.37[15]
Fiona grapples with evicting someone from the apartment building. Frank finds a job for the first time and tries to be a respectable citizen. Lip tries to sabotage Sierra's relationship. Ian goes with Trevor to a chub bar in an effort to fix their relationship. Carl tries to sell Ian's portion of Monica's meth but makes a troubling discovery about her. Liam visits a rich friend's house and is astonished by the luxury that others have. Kevin is sent off to a cancer support group and finds people he can relate to, trying to be ready for the operation that is coming.
873"God Bless Her Rotting Soul"Michael MorrisKrista VernoffNovember 19, 2017 (2017-11-19)1.34[16]
While Kevin's tumour is benign, he becomes obsessed with being healthy and, upon researching his genetics, discovers that he comes from an inbred community in Kentucky. Fiona's evicted tenant destroys her room so Fiona attempts to find a new renter but comes into conflict with Nessa's girlfriend, Mel. Neil breaks up with Debbie. Ian continues to struggle with Monica's death. Lip tries to help Professor Yeouens deal with his alcoholism. Frank, now going by Francis, remains committed to becoming a better person. Svetlana tries to sell the Alibi, forcing Veronica to visit her in prison and make a deal, resulting in her release and partial-ownership of the bar. Monica's partner threatens the Gallaghers and they dig up her body in order to retrieve the meth.
884"Fuck Paying It Forward"Regina KingDominique MorisseauNovember 26, 2017 (2017-11-26)1.59[17]
Frank is helping as much as he can at Liam's school, and meets a potential love interest amongst the mothers. Fiona is furious when Sean, now clean and married, returns to try and make amends. Lip is sex-crazed, and ends up sleeping with his co-worker, Eddie (Levy Tran). Ian lets a shelter girl of Trevor's sleep over to help her out of a bad spot, and gets chewed out by Trevor for it, but later they make amends, and Ian promises to try and find a living situation for some of the shelter kids. Debbie has moved back in, and is sad to be missing Frannie's growing up because of work. Carl attempts to catch a junkie breaking into houses on the block. Another black child join Liam's school. Kevin and Veronica meet Kevin's family; Kev is overwrought with emotion, whereas Veronica fears his family is racist.
895"The (Mis)Education of Liam Fergus Beircheart Gallagher"Iain B. MacDonaldSheila CallaghanDecember 3, 2017 (2017-12-03)1.51[18]
Fiona tries to raise the profile of the neighborhood; Ian helps Trevor raise money for a youth shelter; Carl loses his scholarship; Lip stands up to a friend; Frank teaches parents about the working class.
906"Icarus Fell And Rusty Ate Him"Zetna FuentesMark SteilenDecember 10, 2017 (2017-12-10)1.52[19]
After she discovers one of her tenants dead, Fiona is forced to reflect on her own life, as the rift between her and Ian grows deeper. Meanwhile, Lip enlists Carl's help to search for his AA sponsor, Brad, after he started drinking again. After having sex with Duran, Debbie has a pregnancy scare and tries to get a morning-after pill. Frank enjoys having his first-ever credit card, while Kev and V are making discoveries about their sexualities.
917"Occupy Fiona"Iain B. MacDonaldMolly Smith MetzlerDecember 17, 2017 (2017-12-17)1.58[20]
Ian keeps testing Fiona's patience, and starts a "Occupy Fiona" movement next to her building. With the support of Brad, Lip tries to help Youens for his DUI trial, after the latter's fifth drunk driving conviction. Meanwhile, an unemployed Frank goes on a job hunt, while Debbie is facing a rude doctor at her own work. Carl gets close to Kassidi, one of his rehab clients, who comes up with a plan to get him easy money. An unsure Kev is learning how to sexually dominate V.
928"Frank's Northern Southern Express"Emmy RossumNancy M. PimentalDecember 31, 2017 (2017-12-31)0.81[21]
Fiona considers moving into one of her apartments, while she tries to get closer to Ford. Frank starts a business, by smuggling Muslims and drugs through the US-Canada border. Meanwhile, Lip interviews new AA sponsors, and discovers something about Charlie, Sierra's boyfriend. Ian confronts a pastor preaching gay conversion, as Carl tries to reconcile his job with Kassidi, his new mercurial girlfriend. As she tries to find a new job and some money, Debbie thinks she may be pregnant again. Kev starts showing his dominating tricks against Svetlana at work, to the pleasure of V.
939"The Fugees"Jeffrey ReinerDominique MorisseauJanuary 7, 2018 (2018-01-07)1.65[22]
Frank's business takes a turn for the worse, as it sends him on the run through the Great White North. Ian's run-in with a minister brings about some unexpected and new allies. Meanwhile, Fiona tries and fails to fit in with Ford's group of friends, while Carl's new girlfriend Kassidi suffers separation anxiety. As he gets closer to Eddie, Lip must decide whether to tell Sierra about Charlie's secret baby or not. Debbie finds a new money opportunity thanks to the dog she is watching. After a visit from a former employee, Svetlana reveals to Kevin and V how bad she feels about her current miserable life.
9410"Church of Gay Jesus"Anna MastroSheila CallaghanJanuary 14, 2018 (2018-01-14)1.52[23]
Ian tries to get a handle on his newfound fame and attention from his "followers", as Frank finds a way to cash in. Meanwhile, Fiona struggles with her conscience as she decides to help the worker who fell off her roof. Lip deals with the sudden death of someone important to him, while Debbie starts doing some dangerous welding gigs. As Carl finds himself forced to marry Kassidi, Kev and V decide to help Svetlana to find a sugar daddy.
9511"A Gallagher Pedicure"Iain B. MacDonaldMark SteilenJanuary 21, 2018 (2018-01-21)1.52[24]
Fiona's homeless tenants sue her, while barricading themselves inside her apartment. Frank considers his retirement, while Lip decides to help a terrified Sierra against her newly released father. Despite warnings, Ian wants to provide sanctuary to a runaway teen, as Carl is showing Kassidi his life before dating her.  After her injury, Debbie decides to sacrifice her toe surgery over her school, as she can't pay for both. As Kev and V are unable to get her a sugar daddy, Svetlana finds an unconventional solution to her problem.
9612"Sleepwalking"John WellsJohn WellsJanuary 28, 2018 (2018-01-28)1.73[25]
With the help of Ford, Fiona decides to "go Gallagher" to get rid of her homeless tenants and their lawsuit. Frank enrolls Liam in planning a burglary at his rich friend's house, but Liam is having second thoughts. After things got out of hand, Ian is forced to hide from the authorities. Debbie considers  joint custody of Franny with Derek, in exchange for child support. As Lip makes a decision regarding his life and his relationship with Sierra, Carl tries to find a way to go back to military school behind Kassidi's back. Meanwhile, Kev and V help Svetlana to go through with her scheme.

text: Ratings[edit]

text:
No.

Title

Air date
Rating(18–49)
Viewers(millions)
DVR(18–49)
DVR viewers(millions)
Total(18–49)
Total viewers(millions)

1

"We Become What We ... Frank!"

November 5, 2017
0.7
1.86[14]
0.5
1.16
1.2
3.02[26]

2

"Where's My Meth?"

November 12, 2017
0.5
1.37[15]
N/A
N/A
N/A
N/A

3

"God Bless Her Rotting Soul"

November 19, 2017
0.5
1.34[16]
N/A
N/A
N/A
N/A

4

"Fuck Paying It Forward"

November 26, 2017
0.6
1.59[17]
0.6
1.26
1.2
2.86[27]

5

"The (Mis)Education of Liam Fergus BeircheartGallagher"

December 3, 2017
0.6
1.51[18]
0.5
1.42
1.1
2.93[28]

6

"Icarus Fell And Rusty Ate Him"

December 10, 2017
0.5
1.52[19]
0.6
1.40
1.1
2.92[29]

7

"Occupy Fiona"

December 17, 2017
0.5
1.58[20]
N/A
N/A
N/A
N/A

8

"Frank's Northern Southern Express"

December 31, 2017
0.2
0.81[21]
N/A
N/A
N/A
N/A

9

"The Fugees"

January 7, 2018
0.7
1.65[22]
N/A
N/A
N/A
N/A

10

"Church of Gay Jesus"

January 14, 2018
0.6
1.52[23]
0.5
1.37
1.1
2.90[30]

11

"A Gallagher Pedicure"

January 21, 2018
0.5
1.52[24]
0.6
1.38
1.1
2.89[31]

12

"Sleepwalking"

January 28, 2018
0.6
1.73[25]
0.5
1.27
1.1
3.00[32]


document_title: The Fly (1986 film)

question_text: who played in the original movie the fly

question_tokens: who played in the original movie the fly

root

text: The Fly (1986 film)

text: Plot[edit]

text: Seth Brundle, a brilliant but eccentric scientist, meets Veronica Quaife, a science journalist, at a press event. He takes her back to his warehouse home and laboratory and shows her his invention: a set of "telepods" that allows instantaneous teleportation from one pod to another. Seth convinces Veronica to keep the invention secret in exchange for exclusive rights to the story, and she begins to document his work. Although the telepods can transport inanimate objects, they mutilate live tissue, as is demonstrated when a baboon is turned inside-out during an experiment.

tag: p

text: Seth and Veronica begin a relationship. Their first sexual encounter inspires Seth to reprogram the telepod to cope with living tissue, and he successfully teleports a second baboon. Veronica departs before they can celebrate, and Seth worries that she is rekindling her relationship with her editor Stathis Borans; in reality, Veronica has left to confront Stathis about a veiled threat, spurred by his jealousy of Seth, to publish the telepod story without her consent. Seth decides to teleport himself alone, unaware that a housefly has slipped inside the transmitter pod with him. He emerges from the receiving pod seemingly normal.

text: Seth and Veronica reconcile. Seth begins to exhibit increased strength, stamina, and sexual potency, which he believes is a result of the teleportation "purifying" his body. He has sugar cravings and Veronica is concerned about Seth's insanity and strange, bristly hairs growing from his back. He becomes arrogant and violent, insisting that the teleportation process is beneficial, and tries to force Veronica to undergo teleportation. When she refuses, he abandons her, goes to a bar and partakes in an arm-wrestling match, leaving his opponent with a compound fracture. He meets a woman named Tawny and brings her back to his warehouse, where Veronica rescues her from teleportation. Seth throws Veronica out, but when his fingernails begin falling off, he realizes something went wrong during his teleportation. He checks his computer's records and discovers that the telepod computer, confused by the presence of two lifeforms in the sending pod, merged him with the fly at the molecular-genetic level.

text: Seth continues to deteriorate, losing body parts and becoming less human in appearance. He reconnects with Veronica and theorizes that he is becoming "Brundlefly," a hybrid of human and insect. He has begun vomiting digestive enzymes onto his food to dissolve it and has gained the ability to cling to walls and ceilings. He realizes he is losing his human reason and compassion, driven by primitive impulses he cannot control.

text: Seth installs a fusion program into the Telepod computer, planning to dilute the fly genes in his body with human DNA. Veronica learns that she is pregnant by Seth and has a nightmare of giving birth to a giant maggot. She has Stathis persuade a doctor to perform an abortion in the middle of the night. Having overheard their conversation, Seth abducts Veronica before the abortion can take place and begs her to carry the child to term, since it may be the last remnant of his humanity. Stathis breaks into Seth's lab with a shotgun, but Seth disfigures him with his corrosive vomit.

text: Seth reveals his desperate plan to Veronica: He will use the telepods to fuse himself and Veronica, together with their unborn child, into one entity. As Seth drags her into one of the telepods, she accidentally rips off his jaw and an enormous insectoid-human creature bursts from Seth's skin. It traps Veronica inside the first telepod and enters the other. The wounded Stathis uses his shotgun to sever the cables connecting Veronica's telepod to the computer, allowing Veronica to escape. Breaking out of its own pod just as the fusion process is activated, Brundlefly is gruesomely fused with the metal door and cabling of Telepod 2. As the deformed Brundlefly/Telepod creature crawls out of the receiving pod, it begs Veronica to end its suffering with the shotgun, and Veronica tearfully shoots it.

text: Cast[edit]

text:
Jeff Goldblum as Dr. Seth Brundle
Geena Davis as Veronica "Ronnie" Quaife
John Getz as Stathis Borans
Joy Boushel as Tawny
Leslie Carlson as Dr. Brent Cheevers
George Chuvalo as Marky
David Cronenberg as Gynecologist
Michael Copeman as Roy

tag: ul

text: Production[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2016) (Learn how and when to remove this template message)

tag: table

text: In the early 1980s, co-producer Kip Ohman approached screenwriter Charles Edward Pogue with the idea of remaking the classic science fiction horror film The Fly.[4] Pogue began by reading George Langelaan's short story and then watching the original film, which he had never seen. Deciding that this was a project in which he was interested, he talked with producer Stuart Cornfeld about setting up the production, and Cornfeld very quickly agreed.[5] The duo then pitched the idea to executives at 20th Century Fox and received an enthusiastic response, and Pogue was given money to write a first draft screenplay. He initially wrote an outline similar to that of Langelaan's story, but both he and Cornfeld thought that it would be better to rework the material to focus on a gradual metamorphosis instead of an instantaneous monster. However, when executives read the script, they were so unimpressed that they immediately withdrew from the project. After some negotiation, Cornfeld orchestrated a deal whereby Fox would agree to distribute the film if he could set up financing through another source.[4]

text: The new producer was Mel Brooks and the film was to be produced by his company, Brooksfilms. Cornfeld was a frequent collaborator and friend of Brooks, who together also produced David Lynch's film The Elephant Man.[5] Cornfeld gave the script to Brooks, who liked it but felt that a different writer was needed. Pogue was then removed from the project and Cornfeld hired Walon Green for a rewrite, but it was felt that his draft was not a step in the right direction, so Pogue was then brought back to polish the material.[4] At the same time, Brooks and Cornfeld were trying to find a suitable director. Their first choice was David Cronenberg, but he was working on an adaptation of Total Recall for Dino De Laurentiis and was unable to accept.[5] Cornfeld decided on a young British director named Robert Bierman after seeing one of his short films. Bierman was flown to Los Angeles to meet with Pogue, and the film was in the very early stages of preproduction when tragedy struck. Bierman's family had been vacationing in South Africa and his daughter was killed in an accident.[5] Bierman boarded a plane to go to his family, and Brooks and Cornfeld waited for a month before approaching him about resuming work on the picture. Bierman told them that he was unable to start working so soon, and Brooks told him that he would wait three months and contact him again. At the end of the three months, Bierman told him that he could not commit to the project. Brooks told him that he understood and had freed him from his contract. Brooks left his name off the credits so as people would not go to the movie expecting what one would expect from Mel Brooks.

text: Cornfeld then heard that Cronenberg was no longer associated with Total Recall and once again approached him with The Fly.[5] Cronenberg agreed to sign on as director if he would be allowed to rewrite the script.[6][7][8]

text: Geoff and Barbara Powell are a happily married couple. Geoff, a brilliant scientist, has been working on a teleportation machine, but is unwilling to tell his employer, Phillip DeWitt, or his friend, Harry Chandler, about the nature of the project. DeWitt is greatly displeased by this, and threatens to pull his funding of the mystery project unless he is given full disclosure. After several failed experiments, such as a monkey's atoms never reintegrating after disintegration, Geoff eventually is successful in teleporting both inanimate and living objects. However, when he tries it on himself, a housefly slips into the booth with him. Seemingly normal at first, Geoff soon develops incredible strength, stamina, and energy. After sprouting fly-hairs and losing his fingernails, Geoff eventually discovers that the fly has been absorbed into his body, and that its cells are now taking over his own.

text: As he slowly mutates into a giant fly, Geoff loses body parts, and becomes able to climb walls, as well as digest food with corrosive vomit. Barb is horrified to learn that she is pregnant by Geoff, and cannot be sure if the child was conceived before or after his teleportation. Eventually, Chandler discovers the teleporter's existence, reveals it to DeWitt, and demonstrates it on a cat, only to have the lost monkey atoms return from the ether and create a horrible "monkey-cat" creature, which DeWitt beats to death with a metal rod. Despite this failed experiment, DeWitt sees the substantial monetary value of the device, and so takes possession of the teleporter. Geoff (now mostly transformed into a fly-monster and unable to speak) learns of this, and goes to DeWitt's office building, followed by Barb. Geoff confronts DeWitt, starts a fire in the lab where the teleporter is now housed, and kills DeWitt by vomiting and feeding on him. He then traps himself in one of the teleportation booths just as Barb arrives to watch the fire kill him and destroy the teleporter—his intent all along. In a coma, Barb dreams of giving birth to a giant maggot, only to wake up in a hospital, where it is revealed that she's given birth to a healthy baby boy.

text: The revised script differed greatly from Pogue's screenplay, though it still retained the basic plot and the central concept of a gradual mutation. Cronenberg rewrote the characters and most of the dialogue from scratch (as well as fusing DeWitt and Chandler--who had romantic intentions toward Barb in the Pogue draft--into Stathis Borans), and carried over a few key moments and concepts. Certain aspects of the transformation from Pogue's draft (such as the hero's loss of body parts) were expanded upon, and Cronenberg also layered in his trademark themes of sexuality, body horror, and personal identity. He also made it a point to keep Seth Brundle as articulate as possible for as long as possible, as opposed to Pogue's draft, in which Geoff Powell loses his ability to speak two-thirds of the way through the script.

text: Seth Brundle's increasing mania and personality changes in the early stages of the transformation were emphasized in the rewrites, and the notion of the transformation itself being a horrible (and very metaphorical) disease became a key factor in the new script. Also, in this version, Brundle was clearly transforming into a bizarre hybrid creature as the result of a genetic fusion, whereas in Pogue's version, Powell was being taken over by the fly's cells, which had been absorbed into his body (thus slowly transforming him literally into a giant fly, rather than Brundle's deformed man-fly mixture). Cronenberg's version also retained such moments as Brundle catching a fly in mid-air, the fingernail-pulling, and the maggot-baby dream (which was moved to an earlier point in the story, and used for thematic and plot purposes rather than as an end-of-film shock moment).

text: The "monkey-cat" of Pogue's script was repurposed by Cronenberg into a twisted, desperate attempt by Brundle to find a cure, and Pogue's sequence of a fly leg hatching from Geoff's side was taken one step further, with Brundle amputating the twitching limb with his teeth. Pogue's script also featured a bag lady being murdered by Geoff in an alley, and Cronenberg revised this so that the woman was killed by vomit-drop (as with DeWitt's murder at the end of the original draft) rather than Geoff cutting her throat accidentally (however, Cronenberg never filmed his version of this sequence, which was written out of the final shooting script). While Cronenberg's script did not end with Veronica Quaife giving birth, it did end with a coda which revealed that she was pregnant with a normal baby, conceived by Borans after Brundle's death (and the abortion of Brundle's possibly tainted fetus).

text: Despite the extensive rewrite of Pogue's script, Cronenberg insisted during Writers Guild arbitrations that he and Pogue share screenplay credit, since he felt that his version could not have come to pass without Pogue's script to serve as a foundation.[6]

text: With a script that everyone approved of, Cronenberg assembled his usual crew and began the process of casting the picture, ultimately deciding on Jeff Goldblum and Geena Davis for the leads. Chris Walas, who had designed the creatures in Gremlins, was hired to handle the film's extensive special effects. Filming took place in Toronto in 1985–1986.

text: The producers also commissioned musician Bryan Ferry to record a song for the film for promotional purposes. The resulting track was entitled "Help Me". A music video was made for the song, and footage from the film was prominently featured in it. Cronenberg admitted to liking the song, but felt that it was inappropriate to the film itself. Brooks and Cornfeld originally wanted to play the song over the closing credits, but after Cronenberg screened it for them, they agreed with the director that it did not mesh with the movie. As a result, the song is featured only briefly in the film, in the background during the scene where Brundle challenges Marky in the bar. "Help Me" became rather obscure as it was not included on the film's soundtrack release. The song resurfaced in 1993 on the Roxy Music/Bryan Ferry compact disc Ultimate Collection.[9]

text: The design of Brundle's telepods was inspired by the engine cylinder of Cronenberg's Ducati Desmo.[10]

text: Deleted and alternate scenes[edit]

text: After filming ended early in 1986, a rough cut of The Fly was shown to Fox executives, who were very impressed. A rough cut was then previewed at Toronto's Uptown Theatre in the spring of that year. Due to a strong audience reaction, the graphic and infamous "monkey-cat" sequence was cut from the film to make it easier for audiences to maintain sympathy for Brundle's character. Another preview screening was subsequently held at the Fox lot in Los Angeles, and this version featured the "butterfly baby" coda. As before, the screening results dictated that the scene be cut.[6][7]

text: As with most of David Cronenberg's movies, The Fly was tightly edited to maintain a strong pace and to downplay the gore. The final cut runs a brisk 95 minutes, and although very few full scenes were cut, many others were trimmed down. The DVD and Blu-ray editions of the film feature both the shooting script and a great deal of deleted, extended and alternate footage which had never been seen before.

text: The most notable deleted and alternate scenes include:

text:
Second interview: a short scene that features Veronica Quaife conducting a videotaped interview with Seth Brundle (after his superhuman exercise as seen in the completed film), in which he mistakenly theorizes that being teleported has somehow improved him. A slightly different version of this scene appears in The Fly II, which contains alternate takes and dialogue that does not appear in the workprint version of the scene as presented on the DVD. Additionally, Geena Davis's dialogue is overdubbed by Saffron Henderson, who took over the role of Veronica in the sequel.
Monkey-cat: a legendary and infamous sequence in which the desperate Brundle (in a transitional makeup stage which appears only in this scene) uses the Telepods to merge an alley cat and the surviving baboon together in an attempt to find a cure for his condition. However, the resulting "monkey-cat" creature comes out of the receiving Telepod terribly deformed and in unendurable pain. The creature attacks Brundle, who ends up beating the two-headed creature to death with a metal pipe so as to end its misery. The sequence goes on to show the disturbed Brundle scaling the wall of his lab up to the roof, only to feel a sharp pain in his left side (specifically, in the hernia-like bulge seen in the final cut of the film when Brundle first demonstrates his wall-crawling powers). He accidentally slips off the roof, slides down the wall, lands on a metal awning, and watches as a small, fly-like leg emerges from his torso. Horrified by this new appendage, Brundle amputates it with his teeth.

text: Brundle's motivation for fusing the two animals together was intended to be somewhat ambiguous in the context of the sequence, which featured a "test run" for Brundle's fusion "cure" seen at the end of the movie. Thematically, the point of the scene was that Brundle was trying to find some kind of cure for his rapidly deteriorating condition, but was clearly losing his sanity at the same time. The end of the sequence also revealed exactly what the hernia-like bulge on Brundle's torso was, as well as revealing the final fate of the second baboon, story points that are both left unresolved in the final cut.

text: As noted, this sequence was included in the rough cut shown at the Toronto preview screening. The audience had a strong reaction, with at least one person alleged to have vomited. The general consensus from the preview audience was that Brundle was being cruel to the animals (and thus the scene played as being gratuitous, which was not the filmmakers' intent) and, as a result, they lost sympathy for him for the duration of the film. The scene was cut, and remained lost for nearly 20 years. For the 2005 DVD, the scene was restored from the original negative (which was editorially conformed to the workprint version), with tracked-in sound effects and music taken from the completed film.

text: After amputating the insect leg, the script additionally called for Brundle to encounter a homeless woman in the alley, upon whose face he would vomit and subsequently consume. However, this segment was written out of The Fly before filming, even though an actress had already been hired to play the baglady. The scripted sequence appears on the DVD.

text: Butterfly baby; the film's deleted epilogue was shot four different ways (all of which can be seen on the DVD and Blu-Ray releases of the film). In the version of the scene that was originally scripted (and previewed for the Los Angeles test audience), Veronica Quaife is seen in bed with Stathis Borans (having married him) some time after Seth Brundle's death. She awakens from another nightmare in which she gives birth to Brundle's child, and Stathis reassures her that she is safe, and that the baby she is now carrying (having presumably aborted Brundle's) is his. Veronica then falls back to sleep, and she is now dreaming of a beautiful human baby with butterfly wings hatching from a cocoon and flying off towards a distant light source.

text:
Veronica in bed with Stathis (much the same as the version that was previewed), but without her being pregnant. Instead, Stathis reassures her that "there's no baby". She then falls back to sleep and has the butterfly-baby dream.
Veronica waking up alone and in her own bed, then falling back asleep and having the butterfly-baby dream. In this version, she is clearly still pregnant with Brundle's baby.
Veronica waking up alone and in her own bed, then having the butterfly-baby dream. In this version, she is not visibly pregnant (thus leaving the ending ambiguous).

text: The epilogue was intended as an upbeat bookend for Veronica's earlier maggot-baby dream, and to give the surviving characters a more hopeful ending. However, the coda did not fare well with the preview audience, since they were too stunned by the film's climax to focus on the coda, which raised a number of questions. Further, due to the dynamics between the characters that evolved during filming, the chemistry between Brundle and Ronnie proved so strong that no one wanted to see her end up with Stathis Borans (which is one reason why the alternate, Borans-less versions of the coda were shot). The filmmakers also agreed that the story should end with Brundle's mercy-killing at Veronica's hands, despite the unanswered questions about Veronica's unborn child that would be raised by the deletion of the epilogue.

text: The climax of the film also went through several incarnations in the various drafts of the script before the final version was filmed:

text: In one early version of the ending, Veronica is unconscious after Brundlefly throws her into Telepod 1. When the Brundlepod emerges from the prototype Telepod, the raging and mortally wounded creature crawls toward the injured Stathis Borans, who manages to grab a loose wire jutting from the Telepod-human-fly hybrid creature's back and jams it into an electrical socket. The Brundlepod is liquified by the electricity.

text: A later version of the scene is nearly identical, except that the Brundlepod crawls toward Stathis (whether it wants to attack him or is just desperate for help is left ambiguous) and then dies.

text: In the version of the script that appears on the 2005 DVD, Veronica is conscious during the final scene, and when the Brundlepod emerges from the receiving Telepod and crawls toward her, she aims Stathis' shotgun at it, but the creature ends up dying at her feet. Eventually, this was slightly changed to the mercy-killing seen in the completed film.

text: Makeup and creature effects[edit]

text: The Academy Award-winning makeup was designed and executed by Chris Walas, Inc. over a period of three months. The final "Brundlefly" creature was designed first, and then the various steps needed to carry protagonist Seth Brundle to that final incarnation were designed afterwards. The transformation was intended to be a metaphor for the aging process. To that end, Brundle loses hair, teeth and fingernails, with his skin becoming more and more discolored and lumpy. The intention of the filmmakers was to give Brundle a bruised and cancerous look that gets progressively worse as the character's altered genome slowly asserts itself, with the final Brundlefly hybrid creature literally bursting out of Brundle's hideously-deteriorated human skin. The creature itself was designed to appear horribly asymmetrical and deformed, and not at all a viable or robust organism.

text: Various looks were tested for the makeup effects. Some early test footage can be seen on the 2005 The Fly: Collector's Edition DVD, as well as the Blu-ray release.

text: The transformation was broken up into seven distinct stages, with Jeff Goldblum spending many hours in the makeup chair for Brundle's later incarnations.[7]

text:
Stages 1 and 2: subtle, rash-like skin discoloration that leads to facial lesions and sores, with tiny fly hairs dotting Goldblum's face, in addition to the patch of fly hairs growing out of the wound on Brundle's back.
Stages 3 and 4-A: piecemeal prosthetics covering Goldblum's face (and later his arms, feet, and torso), wigs with bald spots, and crooked, prosthetic teeth (beginning with stage 4-A).
Stage 4-B: deleted from the film, this variant of stage 4 was seen only in the "monkey-cat" scene, and required Goldblum to wear the first of two full-body foam latex suits, as Brundle has stopped wearing clothing, at this point.
Stage 5: the second full-body suit, with more exaggerated deformities, and which also required Goldblum to wear distorting contact lenses that made one eye look larger than the other.
Stage 6: the final "Brundlefly" creature (referred to as the "space bug" by the film's crew), depicted by various partial and full-body cable- and rod-controlled puppets.
Stage 7: another puppet which represented the mortally-injured Brundlefly-Telepod fusion creature (initially dubbed the "Brundlebooth" and later the "Brundlething" by the crew) as seen in the film's final moments.

text: Music[edit]

text: The score to The Fly was composed and conducted by Howard Shore, and performed by the London Philharmonic Orchestra. It was released on record, cassette and compact disc (with three additional tracks exclusively included on the latter) by Varese Sarabande, and in 2005 was remastered and reissued on a two-disc set with Christopher Young's album for The Fly II.

text: Titles in bold are exclusive to the CD release.

text:
Main Title 1:54
Plasma Pool 1:54
The Last Visit 2:25
Stathis Enters 2:20
The Phone Call 2:07
Seth Goes Through 2:02
Ronnie Comes Back 0:55
The Jump 1:21
Seth and the Fly 2:21
Particle Magazine 1:02
The Armwrestle 0:51
Brundlefly 1:43
Ronnie's Visit 0:35
The Street 0:43
The Stairs 1:25
The Fingernails 2:35
Baboon Teleportation 0:58
The Creature 2:08
Steak Montage 0:59
The Maggot/Fly Graphic 1:37
Success With Baboon 0:58
The Ultimate Family 1:59
The Finale 2:51

tag: ol

text: Reception and legacy[edit]

text: The Fly was critically acclaimed with most praise going to Goldblum's performance and the special effects. Despite being a gory remake of a classic made by a controversial, non-mainstream director, the film was a commercial success, the biggest of Cronenberg's career, and was the top-grossing film in the United States for two weeks, earning a total domestic gross of $40,456,565. Audiences reacted strongly to the graphic creature effects and the tragic love story, and the film received much attention at the time of its release.

text: David Cronenberg was surprised when The Fly was seen by some critics as a cultural metaphor for AIDS, since he originally intended the film to be a more general analogy for disease itself, terminal conditions like cancer and, more specifically, the aging process:

text: If you, or your lover, has AIDS, you watch that film and of course you'll see AIDS in it, but you don't have to have that experience to respond emotionally to the movie and I think that's really its power. This is not to say that AIDS didn't have an incredible impact on everyone and, of course, after a certain point, people were seeing AIDS stories everywhere, so I don't take any offense that people see that in my movie. For me though, there was something about The Fly story that was much more universal: aging and death—something all of us have to deal with.[9][11][12][13]

text: Film critic Gene Siskel named The Fly as the tenth best film of 1986.[14] In 1989, Premiere and American Film magazines both conducted independent polls of American film critics, directors and other such groups to determine the best films of the 1980s, and The Fly appeared on both lists.

text: The Fly holds a 91% approval rating on Rotten Tomatoes, based on 57 reviews.[15] In 2005, Time magazine film critics Richard Corliss and Richard Schickel included The Fly in their list of the All-TIME 100 Greatest Movies.[16] Time later named it one of the 25 best horror films.[17] The film was ranked #33 on Bravo's 100 Scariest Movie Moments.[18] Similarly, the Chicago Film Critics Association named The Fly the 32nd scariest film ever made.[19]

text: In 2008, the American Film Institute distributed ballots to 1,500 directors, critics and other people associated with the film industry in order to determine the top ten American films in ten different genre categories. Cronenberg's version of The Fly was nominated under the science fiction category, although it did not make the top ten.[20] It was also nominated for AFI's 100 Years... 100 Thrills[21] and AFI's 100 Years...100 Passions[22] and Veronica's warning to Tawny in the film—"Be afraid. Be very afraid."—was nominated for AFI's 100 Years... 100 Movie Quotes.[23]

text: The quote "Be afraid. Be very afraid." was also used as the film's marketing tagline, and became so ingrained in popular culture (as it—and variants—have appeared in countless films and TV series) that a large number of people who are familiar with the phrase are unaware that it originated in The Fly.[9]

text: Awards and nominations[edit]

text: The Fly was nominated for the awards in the chart below. Many genre fans and film critics at the time thought that Jeff Goldblum's performance would receive a Best Actor Oscar nomination,[24] but this did not come to pass. Gene Siskel subsequently stated that Goldblum most likely "got stiffed" out of a nomination because the older academy voters generally do not honor horror films.[25]

text:
Award
Category
Subject
Result

Academy Award
Best Makeup
Chris Walas & Stephan Dupuis
Won

BAFTA Award
Best Makeup and Hair
Nominated

Hugo Award
Best Dramatic Presentation
Nominated

Saturn Award
Best Actor
Jeff Goldblum
Won

Best Actress
Geena Davis
Nominated

Best Makeup
Chris Walas
Won

Best Horror Film
Won

Best Director
David Cronenberg
Nominated

text: Sequels[edit]

text: Whereas the 1958 original was followed by two sequels, Cronenberg has said that the stories in his films have definitive beginnings and endings, and he has never considered making a sequel to one of his own films, although others have made sequels to Cronenberg films, including Scanners (1981).

text: The Fly II[edit]

text: The Fly II (1989) was directed by Chris Walas, the man behind the makeup and creature effects of both films, and is a direct continuation of The Fly. It features Veronica Quaife giving birth to Brundle's mutant son before dying, and focuses on the Bartok company's attempts to get the Telepods working again.

text: David Cronenberg was not involved with the project. The only actor to return for the sequel was John Getz as an embittered Stathis Borans. Veronica Quaife appears briefly in the film, and is played by Saffron Henderson, since Geena Davis declined to reprise the role. Jeff Goldblum appears in archival footage of Seth Brundle in two scenes, including the post-teleportation interview segment that was deleted from the first film, but put to good use for the sequel.

text: An early treatment for a sequel, written by Tim Lucas, involved Veronica Quaife dealing with the evils of the Bartok company. Brundle's consciousness had somehow survived within the Telepod computer, and the Bartok scientists had enslaved him and were using him to develop the system for cloning purposes. Brundle becomes able to communicate with Veronica through the computer, and he eventually takes control of the Bartok complex's security systems to gruesomely attack the villains. Eventually, Veronica frees Brundle by conspiring with him to reintegrate a non-contaminated version of his original body. Cronenberg endorsed this concept at the time. Geena Davis was open to doing a sequel (and only pulled out of The Fly II because her character was to be killed in the opening scene), while Goldblum was not (although he was okay with a cameo), and this treatment reflects that.[26] However, a later treatment written by Jim and Ken Wheat was used as the basis for the final script, written by Frank Darabont. Mick Garris also wrote a treatment, with elements incorporated into the final film.

text: The Fly: Outbreak[edit]

text: Beginning in March 2015 IDW Publishing released a five-issue comic book miniseries titled The Fly: Outbreak, written by Brandon Seifert.[27] The story is a direct sequel to the events of The Fly II, and features Seth Brundle's son, Martin, inadvertently causing a transgenic outbreak while attempting to cure Anton Bartok, to whom he'd previously transferred his mutant genes at the end of The Fly II.

text: Other projects[edit]

text: Renny Harlin's alternate sequel[edit]

text: In the 1990s, Geena Davis was reportedly involved with an alternate sequel to The Fly, to be directed by her then-husband, Renny Harlin, titled Flies. The script by Richard Jefferies was said to feature a story where Veronica gives birth to twin boys, and herself survives the ordeal.[citation needed]

text: Todd Lincoln's second remake[edit]

text: In 2003, it was announced that a second remake of The Fly was being developed, to be directed by Todd Lincoln, produced by Fox Searchlight Pictures, and released in 2006, but this did not happen.[28][29]

text: David Cronenberg's sequel[edit]

text: In 2009, it was rumored that David Cronenberg himself was preparing to direct a second remake of The Fly,[30] but it was not until 2011 that the director addressed the rumors. Cronenberg stated that he had written not a remake, but rather a "sort of" sequel script to his 1986 version, and would film it if 20th Century Fox gave the project the go-ahead:

text: I have written a script that is more of a strange lateral, let's say oblique sequel than it is a true sequel, and it's certainly not a remake of the original. It's financed by Fox, and whether it will get made or not, I cannot say at the moment because there are a lot of up-in-the-air factors that deal with internal studio politics and a bunch of other things that I'm not in control of. But I would make it if they greenlight it, let's put it that way.

text: Cronenberg elaborated further when interviewed by Empire in 2012:

text: Well, I did talk to Fox, because my agent found out that they were approaching people to do a remake of my film. He sort of said, "Well, you know, what about David?" And they said, "Well, we never thought of that!" I think they'd been to Guillermo del Toro and Michael Bay. I said, "Long ago I proposed a sequel to Mel Brooks when he said he wanted to make a sequel." He didn't like what I proposed because he said it wasn't the same as the original movie. "A sequel," he said, "should be more of the same." And I said, "Well, Mel, then I'm not interested." And he went off and did his sequels [sic] and they had nothing to do with me and they weren't very successful. But I still had this idea in mind—which no, I won't tell you—and I said to Fox, "I'll write that idea up because, as I think of it, it could be interesting." And they were excited about it enough to pay me to write a script. And then for various reasons it kind of got bogged down. I don't know exactly why. It seems now that it's not going to happen. But it's a script that I like and would do. It's not exactly a sequel, and it's certainly not a remake. More a meditation [...] it involves teleportation.[31]

text: In a late 2012 interview, Cronenberg provided additional details on why the project had stalled, citing

text: Budget constraints and other things. I think maybe the script that I wrote was a little too radical for Fox, and they felt it really needed to be a very low-budget film at that point. However, what was in it that attracted them could not be done low-budget. So I think that was the problem.[32]

text: He also described the project as "more of a sequel or a sidebar. It was a meditation on fly-ness. None of the same characters or anything and, of course, with an understanding of modern technology."[33]

text: Despite Cronenberg's prior assertions that he does not make sequels to his films, he returned to The Fly for the opera The Fly in 2008, and his proposed sequel film project would mark a second return to the material, as well as his first sequel to one of his previous movies.[34][35] However, the film is not moving forward.[36]

text: On June 15, 2018, Jeff Goldblum said he would be interested in doing a sequel only if Cronenberg was involved even though his character died. "“I don’t think my character would be involved because of course I got tragically mutated with the fly and then the machine, oh boy. But maybe I show up as a grandchild of the original Seth Brundle, or Seth Brundle had a brother. Had a brother that emerges in some ways! Who knows, I don’t know but David Cronenberg was a thrill to work with. Boy, if he was involved I’d like to work with him again, I’ll tell you that.”[37]

text: Merchandise[edit]

text: A 6-inch figure of "Brundlefly" was created by McFarlane Toys for their Movie Maniacs line in 2000. Also, a 15-inch polystone statue of "Brundlefly" was made by Sideshow Collectibles in 2008.[citation needed]


document_title: Giant tube worm

question_text: how do chemoautotrophic bacteria and archaea that live near hydrothermic vents obtain energy

text: Giant tube worm

text: Development[edit]

text: Riftia develop from a free-swimming, pelagic, non-symbiotic trochophore larva, which enters juvenile (metatrochophore) development, becoming sessile and subsequently acquiring symbiotic bacteria.[3][4] The symbiotic bacteria, on which adult worms depend for sustenance, are not present in the gametes, but are acquired from the environment via the skin in a process akin to an infection. The digestive tract transiently connects from a mouth at the tip of the ventral medial process to a foregut, midgut, hindgut and anus and was previously thought to have been the method by which the bacteria is introduced into adults. After symbionts are established in the midgut, it undergoes substantial remodelling and enlargement to become the trophosome, while the remainder of the digestive tract has not been detected in adult specimens.[5]

text: Body structure[edit]

text: They have a highly vascularized, red "plume" at the tip of their free end which is an organ for exchanging compounds with the environment (e.g., H2S, CO2, O2, etc.). The tube worm does not have many predators. If threatened, the plume may be retracted into the worm's protective tube. The plume provides essential nutrients to bacteria living inside the trophosome. Tube worms have no digestive tract, but the bacteria (which may make up half of a worm's body weight) convert oxygen, hydrogen sulfide, carbon dioxide, etc. into organic molecules on which their host worms feed. This process, known as chemosynthesis, was recognized within the trophosome by Colleen Cavanaugh.[6]

text: The bright red color of the plume structures results from several extraordinarily complex hemoglobins, which contain up to 144 globin chains (each presumably including associated heme structures). These tube worm hemoglobins are remarkable for carrying oxygen in the presence of sulfide, without being inhibited by this molecule as hemoglobins in most other species are.[7][8]

text: Nitrate and nitrite are toxic, but nitrogen is required for biosynthetic processes. The chemosynthetic bacteria within the trophosome convert this nitrate to ammonium ions, which then are available for production of amino acids in the bacteria, which are in turn released to the tube worm. To transport nitrate to the bacteria, R. pachyptila concentrate nitrate in their blood, to a concentration 100 times more concentrated than the surrounding water. The exact mechanism of R. pachyptila’s ability to withstand and concentrate nitrate is still unknown.[9]

text: Energy and nutrient source[edit]

text: With sunlight not available directly as a form of energy, the tube worms rely on bacteria in their habitat to oxidize hydrogen sulfide,[10] using dissolved oxygen in the water as an electron acceptor. This reaction provides the energy needed for chemosynthesis. For this reason, tube worms are partially dependent on sunlight as an energy source, since they use free oxygen, which has been liberated by photosynthesis in water layers far above, to obtain nutrients. In this way tube worms are similar to many forms of ocean life which live at depths that sunlight cannot penetrate. However, tube worms are remarkable in being able to use bacteria to indirectly obtain almost all the materials they need for growth from molecules dissolved in water. Some nutrients have to be filtered out of the water. Tube worm growth resembles that of hydroponically grown fungi more than it does that of typical animals which need to "eat". One other species is known to have a very similar lifestyle: the giant shipworm (which is a mollusc, not a worm, though it bears a superficial resemblance).

text: Reproduction[edit]

text: To reproduce, Riftia pachyptila females release lipid-rich eggs into the surrounding water so they start to float upwards. The males then unleash sperm bundles that swim to meet the eggs. After the eggs have hatched, the larvae swim down to attach themselves to the rock.

text: Growth rate and age[edit]

text: Riftia pachyptila has the fastest growth rate of any known marine invertebrate. These organisms have been known to colonize a new site, grow to sexual maturity and increase in length to 4.9 feet (1.5 m) in less than two years.[11] This is in sharp contrast to Lamellibrachia luymesi, the tube worms that live at deep sea cold seeps and grow very slowly for most of their lives. It takes from 170 to 250 years for Lamellibrachia luymesi to grow 2 meters in length, and even longer worms have been discovered.[12]


document_title: Chuck Bass

question_text: where does chuck bass live in gossip girl

text: Chuck Bass

text: Novel series[edit]

text: Chuck Bass is introduced by author Cecily von Ziegesar in her Gossip Girl series of teen novels, the first of which was published in 2002. In the novels, Chuck is a relatively minor character, and has a series of flings with male and female characters across the course of the series. He got his name, Chuck Bass, from his signature chuckle in a bass tone, which often sounds like a raspy whisper. Chuck's role is initially that of an antagonist to the main characters. Chuck resides with his family at the Plaza Hotel on the Upper East Side and attends school at the Riverside Preparatory School for Boys on the Upper East Side, along with scholarship student Dan Humphrey. Chuck is largely friendless, but is tolerated by the others because of his family's enormous wealth. He is described as having flamboyant fashion sense, with a penchant for scarves, and has a pet monkey named Sweetie whom he carries around with him everywhere. Lazy, and vain, Chuck's only interests are sex and money, and he is frequently chided by his father for lacking ambition and performing poorly in school. Following flings with numerous females and males, his only serious relationship comes near the end of the series, when he begins dating Blair Waldorf, a self-obsessed, luxury loving teenager. In the twelfth book in the series, Gossip Girl: It Had To Be You (2007), Chuck is rejected from colleges because of poor grades and is sent to military school by his father. When next mentioned in Gossip Girl spin-off, The Carlyles (2008), it is stated that Chuck never showed up to military school, and his whereabouts thereafter are unknown. In the thirteenth Gossip Girl novel, I Will Always Love You (2009), it is revealed that Chuck went off to school in California and returned a changed man, and to have dated main character Blair Waldorf in Oxford, England for a year.

text: TV series[edit]

text: This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (August 2013) (Learn how and when to remove this template message)

text: Constance Billiard School is an exaggerated version of Gossip Girl author Cecily von Ziegesar's alma mater, the Nightingale-Bamford School. It was revealed in preparation for the 2007 TV series debut, Josh Schwartz hired recent graduates of Ziegesar's alma mater to retool several characters.[2]

text: Chuck Bass was then reconfigured as a more central character, an antiheroic playboy whose on-off relationship with Blair Waldorf serves as one of the show's major ongoing storylines. Chuck is the resident "bad boy" of the Upper East Side, and like Blair, is both vengeful and manipulative; the two often scheme elaborate plans together. As the show progresses, Chuck develops a softer side, specifically towards Lily, Eric, and Serena, his adoptive mother, brother, and sister.

text: Season 1[edit]

text: Chuck grew up on the Upper East Side with his three best friends and fellow elites Nate Archibald, Blair Waldorf, and future-stepsister Serena van der Woodsen. His father is Bart Bass, a self-made billionaire, which is irregular, compared to the Bass' old money friends. Chuck is often described as the "bad boy of his circle." Chuck is a playboy and womanizer who sees women as recreational tools. Chuck frequently skips class and smokes cannabis.

text: In the pilot episode, Chuck attempts to rape both Serena and Jenny Humphrey. When speaking about Serena in the pilot episode, Chuck says, "Serena looked effin' hot last night. There's something wrong with that level of perfection. It needs to be violated." With time, he attenuates his behaviors as a sexual predator and becomes more of a manipulating womanizer, however, his lecherous attitude continues as he makes multiple advances on his step-sister at the time, Serena.

text: In episode seven, "Victor/Victrola", Chuck purchases a burlesque club, Victrola. After Nate and Blair break up, Blair visits Chuck at Victrola where she ends up performing on stage. She later loses her virginity to him in the back of his limousine. Though she tries to deny the encounter, Chuck buys a necklace for her and admits that he feels "butterflies" in her presence, leading to a clandestine sexual relationship. Despite this, Nate and Blair rekindle their relationship, leading to a jealous Chuck revealing to the anonymous "Gossip Girl" that Blair and Chuck had a sexual relationship. This leads Chuck to have a temporary rift with both Blair and Nate.

text: As Bart Bass and Lily van der Woodsen's relationship progresses, they decide to move their families in together. Chuck and Eric van der Woodsen, Lily's son and Serena's younger brother, become especially close. When Serena begins receiving mysterious packages (pornography in the mail, alcohol delivered to her at school), she automatically blames Chuck. Given the creepy remarks Chuck has made about "bathing together" and "turning that onepiece into a no-piece." Serena is not to blame. Bart subsequently forces Chuck to move out of the family home. Serena discovers that the culprit was actually Georgina Sparks, a past classmate of both Serena and Chuck. It is later revealed that Chuck lost his virginity to Georgina in the sixth grade. Chuck and Blair join together to prevent Georgina from further harming and embarrassing Serena. This process rekindles their bond, and they succeed in getting rid of Georgina.

text: At Bart and Lily's wedding at the end of Season 1, Chuck apologizes and confesses to Nate that he was in love with Blair. During the wedding reception, Chuck gives a speech about forgiveness that is implied to be directed towards Blair. She accepts his apology and the two kiss. However, as they are about to embark on a trip to Tuscany together, Chuck gets cold feet. Blair leaves for Tuscany without him, as Chuck has decided to seduce Amelia, tossing the roses for Blair in the trash can.

text: Season 2[edit]

text: In the season premiere, "Summer Kind of Wonderful", we learn Blair has stayed in Europe. Chuck regretted his actions but told this to Blair too late as she was already dating Lord Marcus Beaton. Blair asks Chuck to tell her he loves her, but his fear of commitment stops him.

text: In order to gather material for a story, Dan tags along with Chuck for a night, ending with the two of them in jail after a fistfight. While in jail, Chuck tells Dan in confidence that Chuck's mother died while giving birth to him, and that his father blames him for her death, which explains their icy relationship. When Chuck later discovers that Dan was using him for a story, he feels betrayed and tells Dan that he was lying about all of it.

text: Chuck's storyline throughout season 2 mainly deals with his inability to tell Blair that he loves her. Eventually, his father is killed in a car accident. Lily adopts him so that he's able to own Bass Industries, making Serena and Eric his sister and brother. When Blair begins dating Nate again, Chuck realizes his true feelings for her. The two team up to take down Poppy Lifton, and Blair realizes that she still has feelings for Chuck as well. She breaks up with Nate. In the final episode of season 2, Chuck admits to Blair his true feelings and the two finally begin a relationship.

text: Season 3[edit]

text: When Season 3 returns, Chuck and Blair are very happy and very much in love. Chuck struggles to run Bass Industries to his deceased father's impeccably high standards. He buys The Empire Hotel. Halfway through the season, Chuck meets a woman claiming to be his mother called Elizabeth Fisher. After initially rejecting her, Chuck finally accepts Elizabeth and is then met with a sexual harassment claim from his former employees. Despite his innocence, he settles to keep the scandal out of the media. Jack Bass, Chuck's sinister uncle, informs the media anyway and necessitates Chuck signing the hotel over to Elizabeth to appease the public. She betrays him and signs the hotel over to Jack, whom she loves. However, she calls Chuck to say goodbye and reveals that Jack chose the hotel over her. She then reveals to Chuck that she is not his mother and she does not know whether his real mother is alive or dead.

text: Chuck and Blair agree to team up to take down Jack to get the hotel back. Jack tells them both (separately) that he will only give up the hotel if he has sex with Blair. Unbeknown to Blair, Chuck sets the situation up and Blair goes to Jack's. After a kiss, Jack tells Blair the truth about Chuck's involvement. Blair breaks up with Chuck and he gets the hotel back, vowing to get Blair back too. Chuck tries desperately to win Blair back, doing everything from banning all of the other Upper East Side men from dating her to asking her to meet him on top of the Empire State Building. Blair decides that Chuck is her true love and she's going to meet him, but Dorota suddenly goes into labor and she ends up being two hours late. Chuck, thinking she is finally over him, leaves the building heartbroken and nearly suicidal. When he gets home, he sees that Jenny Humphrey has arrived looking for Nate. The two drunkenly sleep together, heartbroken that their true loves don't return their feelings.

text: Blair appears later in Chuck's suite, apologizing for being late, and the two reunite (sleep together). Chuck is about to propose to Blair at the hospital, as they visit Dorota and her new baby, when Dan appears and rashly delivers a punch to Chuck's face. He then forces Chuck to tell Blair what happened between him and Jenny. Blair breaks things off with Chuck and informs him that it's over for good. She also threatens to ruin Jenny's life if she doesn't leave Manhattan immediately. Chuck then travels to Prague to escape New York for a while, feeling as though he has nothing left. He gets robbed by two muggers who insist on taking the ring that Chuck intended on proposing to Blair with and when Chuck puts up a fight, he gets shot. The last shot of season 3 is him lying in an alley, presumably dying.

text: Season 4[edit]

text: In the first episode of season four, we find that Chuck is alive and well, having been rescued by Czech girl, Eva (Clémence Poésy) who has no idea of his wealth or who he is. He creates a fake name and persona as he no longer wants to be the manipulative Chuck Bass. He eventually reveals who he really is and returns to New York City with her, at the request of Blair and Serena. Blair insists she no longer loves him, but still schemes to undermine his new relationship. He eventually falls for one of her schemes and breaks up with Eva. He realizes his mistake and begs her to take him back, but she refuses, saying that he showed his true feelings by continuing to believe Blair over anyone else.

text: Chuck asks Blair whether she still has feelings for him, and she denies it, prompting him to declare "war" on her. He tries to "take" Columbia from her, and arranges for Jenny Humphrey to return to the city in order to stir up trouble for Blair, who still hasn't told her minions why she banished Jenny from the Upper East Side in the first place. After Jenny declares that it's only a matter of time before they both destroy each other, Chuck and Blair agree to a truce. They even draw up a contract, with the stipulation "no touching," but their mutual attraction proves too powerful and they soon fall into an enemies-with-benefits relationship.

text: In "The Witches of Bushwick", Chuck accidentally tells Blair during foreplay that he loves her and, not knowing whether his words are true, Blair chooses to gloss over the moment. Although Chuck and Blair spend the episode striving for different ends which will eventually alienate each other (Blair to become the face of Anne Archibald's charity, Girls Inc, and Chuck to increase the revenue of The Empire by returning to his bad boy persona), Blair makes the decision to attend Chuck's Saints and Sinners party in order to confront him. Chuck confesses that he loves her, and the pair kiss in front of everyone after the curtain concealing them is pulled down. Anne tells Blair that she can no longer be a part of Girls Inc just as Chuck's publicist KC tells Chuck that she thinks Blair will be good for business. Blair re-thinks her decision to sacrifice it all for their relationship, and she and Chuck break up once again. Chuck promises he'll wait for her, and both affirm their belief that their love will reunite them in the end.

text: On Thanksgiving Chuck and Blair run into each other at Serena's house, Chuck offers to leave but she tells him that she was heading to JFK anyway and came to drop off the traditional pie and that they should get used to this. They hear about Serena being hospitalized and while they're sharing that maybe nothing can change between them, Jenny walks in and interrupts their conversation. While driving Blair home, Chuck tells her that he showed up only for Serena. When she told him that what happened with Serena made her question what she told him after the Saints & Sinners party; Chuck tells her that he cannot be her friend now as much as he wishes he could. After that Blair still sends him her traditional pie, saying that even if they can't be friends it doesn't mean that they aren't.

text: In "The Townie" episode, It was revealed that Lily was going to sell Bass Industries instead of giving Chuck the company back. So he sets off to New Zealand, where his uncle Jack Bass is currently living. In the following episodes Chuck returns to the Upper East Side with revenge for Lily. Chuck's new love interest is Raina and her father is Russell Thorpe, a former rival of Chuck's late father Bart Bass. Russell is the main contender to buy Bass industries. Chuck, however, manages to save the company after it is revealed that Russell accidentally killed his wife in a building fire that Bart was originally accused of.

text: In "The Princess and the Frog" he learns that Blair's relationship with Louis is serious, and that there is talk about them getting engaged. He gets drunk and embarrasses Blair in front of Louis' mother, and later tries to force himself on her, while pushing her down and smashing a glass window right next to her face, after she tells him about her engagement. Blair ends up with her cheek being cut.

text: Later, Blair is kidnapped by Russell, but Chuck saves her, and the two go to a Bar Mitzah. There, the two are seen dancing and smiling happily. Blair pulls him off the dance floor into a private room and the two have sex. Blair decides she is going to leave Louis, but Chuck stops her, telling her that she needs to be with Louis because he makes her happy. At the end of the episode, Chuck decides to spend the summer traveling with Nate.

text: Controversy[edit]

text: Following the 20th episode of Season 4, Safran spoke on behalf of the series regarding the scene in which Chuck became violent with Blair.[3]

text: The way we viewed it, I think it's very clear that Blair is not afraid in those moments, for herself. They have a volatile relationship, they always have, but I do not believe—or I should say we do not believe—that it is abuse when it's the two of them. Chuck does not try to hurt Blair. He punches the glass because he has rage, but he has never, and will never, hurt Blair. He knows it and she knows it, and I feel it's very important to know that she is not scared—if anything, she is scared for Chuck—and what he might do to himself, but she is never afraid of what he might do to her. Leighton and I were very clear about that.

text: Season 5[edit]

text: In the first episode of season 5, we find out that Chuck has spent his summer traveling the world with Nate. The two arrive in Los Angeles to meet up with Serena, who is working as an assistant on a film set. Seemingly over his break up with Blair, Chuck exhibits a positive outlook on life, telling Serena and Nate that he's seeking to experience everything he can in life. However, his heartbreak soon becomes apparent when he receives an invitation to Blair's upcoming wedding, which causes him to drive recklessly and get into a motorbike accident. In the following episode, it is revealed that Chuck has an emotional disorder as a result of his losing Blair, and which now causes him to be numb to physical and emotional stimuli. Dan decides to help Chuck break through this emotional barrier, and gets him a dog, hoping to spark some emotion. However, it is only when Blair reveals to him that she is pregnant with Louis's baby does Chuck begin feel again – he is shown crying over the revelation at the end of the episode. He names the dog "Monkey" (a homage to the pet monkey Chuck's character had in the books). He forms a reluctant friendship with Dan from here on.

text: He meets a psychiatrist, Eliza Barnes, who tells him that he acts out because he never had a childhood, and needs help. When he finds himself falling back into his old patterns, he calls Dr. Barnes, ready to seek that help. However, it is revealed that Blair's fiance, Louis, gives Dr. Barnes money to upset Chuck, in hopes that he will do something reckless and drive Blair away forever. When Chuck finds this out, he publicly exposes both Dr. Barnes and Louis, leaving Blair devastated. Later that same night, he goes to Blair's apartment to finally apologize to her for all the times he's hurt her and let her down. His apology recounts all the obstacles Chuck and Blair have faced in their relationship thus far, and prompts an emotional Blair to thank him. Chuck assures her that she is going to be "an amazing mother", having come to terms with her relationship with Louis.

text: He resolves to keep his distance from her after that, but in "The Big Sleep No More", a conflicted Blair seduces him in the hope to prove that his efforts to be a better man is just a ploy to win her back. When he kisses her, she slaps him, and tells him that he will never change. It is later revealed that he conspired with Dorota and kissed Blair in order to confirm her suspicions of him, and push her back to Louis. In the episode "Riding in Town Cars with Boys" he admits to Blair that he still loves her. They profess their love for one another in Chuck's limo. This occurs whilst the limo is being chased by paparazzi on motorbikes and results in a car crash. Lily reveals at the conclusion of the episode that Blair is awake and doing fine, but whether or not Chuck has survived was not revealed.

text: We later discover that Chuck did indeed survive the accident after a blood transfusion was donated to him. He wakes up to a very distant Blair, very opposite to the one he got into an accident with. For the next few episodes he chases her to discover what has changed her mind – unbeknownst to him, Blair has made a pact with God over his life, where if she breaks her promise to Louis, Chuck will surely die. This leads to Blair going to Chuck's penthouse in the episode "The End of the Affair" where she tells him what a good man he has become and to not let the ending of their relationship destroy him.

text: In G.G., Chuck is willing to accept the fact that Blair is marrying another man, when Blair's mother tries to convince him to stop the wedding. He makes one final play for Blair, but Blair – despite saying that she "loves him more and more every day, if it's even possible to love somebody that much" – once more rebuffs him, saying that she's actually doing this for him. Their conversation is unknowingly recorded, and released in a blast by Gossip Girl during the wedding. Despite this, Blair still marries Louis, but flees the reception with Dan when Louis reveals that their relationship is now strictly business.

text: With the help of Dan, Blair tries to leave for the Dominican Republic to get a divorce from Louis without his consent due to a loophole in the Dominican Republic's law, but forgets her passport. Chuck, Nate and Serena eventually find Blair hiding out in a hotel room with Dan. However, Sophia finds Blair and threatens to forcefully sell Eleanor's company as dowry if Blair chooses not to return. Blair reluctantly goes back to Louis, despite an offer from Chuck to pay her dowry.

text: In "Cross Rhodes", Blair realizes she now has feelings for Dan, and Chuck and Serena struggle with watching their loves with their friends.

text: In "The Princess Dowry", Chuck pays Blair's dowry so she can be free, but wishes for it to remain a secret. She finds out and accuses him of wanting to own her. He admits that he paid the dowry, but for her freedom and her freedom only. At the end of the episode, Blair begins a relationship with Dan.

text: In "Con Heir", Chuck invites his uncle, Jack, back to New York to thank him for saving his life in the car accident by donating blood, but starts to doubt Jack's story when Chuck investigates and learns that Jack was recently diagnosed positive with Hepatitis C, and a test on Chuck turns to be negative. This kicks off a lot of "mother/father" issues for Chuck – he believes that it was Elizabeth Fisher who donated the blood, then Diana says that she is his mother when Bart cheated on Elizabeth with her (she claims that an arrangement was made with Diana leaving town alone, leaving Chuck to be raised by Bart and Elizabeth because Elizabeth couldn't get pregnant), but in "Despicable B", Nate receives a picture from Elizabeth that indeed shows her pregnant with Chuck. Chuck is more interested in the man in the picture with Elizabeth – his face is cut out, but his tattooed arm is still visible. Jack Bass has exactly the same tattoo.

text: It all comes to a head in "Raiders of the Lost Art", when he, Blair, Serena, Nate and Lola team together to crack the code in Diana's day planner – the code they believe will lead them to Jack Bass. They end up at a brothel that Diana is in charge of. Diana realizes that they are there and has the event shut down. During the chaos, Blair searches one of the rooms, still looking for Jack, and is shocked by what she sees. Blair later tells Chuck to re-enter the building once everyone is gone, which he does, and it is revealed that Bart Bass is still alive.

text: Bart reveals that he faked his death to save Chuck and Lily, and has been hiding from everyone for the past three years. The car crash actually happened, and that it was ordered by one of Bart's enemies. When he was in the hospital, he paid the doctor to say he died and then recruited Diana Payne to help him hide. Diana kept Bart informed of when Chuck was in trouble, so when Chuck was in the hospital, Bart was the one who donated his blood to save Chuck.

text: In "The Return of the Ring", Bart drops the bombshell that he will be returning to Bass Industries as "the only Bass in Bass Industries", pushing Chuck out of the company. Bart tells Chuck that the most he did was 'redecorate' and give everything up for Blair. After this, Blair declares her love for Chuck, admitting she finally really wants them to be together. Chuck rejects her in anger, shadowing the words she once said to him: "I don't want to be Mr. Blair Waldorf."

text: Chuck pairs up with an unlikely partner – Jack – to take down his father. They meet in a casino in Monte Carlo. Blair turns up, informed by Jack of Chuck's whereabouts. Blair reveals she is 'all in' and one hundred per cent ready to be with him. His decision on the matter is thus far unknown.

text: Season 6[edit]

text: At the beginning of the season Chuck and Blair make a pact not to be together until Blair succeeds at Waldorf designs and Chuck takes down Bart. After many failed attempts of taking down Bart, Bart and Chuck end up in a fight. This leads to Bart falling off a building and dying. Blair is the only witness to this event and so Chuck and Blair get married so Blair does not have to testify against Chuck.

text: In the 5-year flash forward, Chuck and Blair are happily married with a son (Henry). They are all gathered at the Bass house for Dan and Serena's wedding.

text: Characterization[edit]

text: Ed Westwick who portrays the character on the television series said: "As the [first] season's progressed, I think everyone's had sympathy for him. I think he's an alluring character; he's very interesting. He has these slices of his personality. He can be the devil, but at times he can be very charming. It can be a very dangerous concoction. I think he has a good heart, but his heart is often tempted by corrupt desires."[4] He later added: "He's intelligent and quite slimy in the way he manipulates to his gain. He goes after what he wants. Sometimes that's not a good thing. He's got a long way to go before he's a nice guy."[5] Westwick also said: "Chuck's just this vain kind of metrosexual Manhattan eccentric living in a flash world." While describing Chuck as "mischievous", Westwick noted the second season displayed a "more good-guy" side of him.[6] Ultimately, he said Chuck is a "kid trying to find his way in the world."[7]

text: Denise Martin of the Los Angeles Times characterizes him as more of "a would-be Casanova than a seasoned predator. He's the charming devil at the center of all the intrigues, the go-to guy when something naughty needs to be said and he's the most self-aware of the Upper East Side high schoolers.[8]

text: Stephanie Savage, one of the television series' creators, described him as "entertaining and observationally smart, he's the friend who says all the things you want to say but can't, and he tempts you in ways, at that age, you want to be tempted." She compared his relationship with Blair to Glenn Close and John Malkovich's in Dangerous Liaisons.[8] She found Westwick's portrayal of Chuck was similar to James Spader of Pretty in Pink and Robert Downey, Jr..[8]

text: Savage said about the character's evolution during the six seasons: "I feel like Chuck has gone on the biggest journey of any one on the show. In the pilot, he's pretty much a pure villain. He's not a character that has a lot of layers. That was something Ed Westwick really brought as an actor. And his chemistry with Leighton [Meester] — when we saw them together on screen and the power of the two of them working together but also being attracted to each other, which really inspired us to grow that character and give him some more layers."[9]

text: Reception[edit]

text: This section needs expansion. You can help by adding to it. (June 2010)

text: Entertainment Weekly named Chuck Bass and Blair Waldorf number one in their "Best Dressed TV characters of 2008" list, as well as in their "Best Performances" list for Ed Westwick, alongside co-star Leighton Meester.[10] His relationship with Blair was included in TV Guide's list of "The Best TV Couples of All Time"[11] as well as Entertainment Weekly's "30 Best 'Will They/Won't They?' TV Couples".[12] The character also made the "Forbes Fictional 15" ranking at number 13 with an estimated $1.1 billion fortune.[13]

text: In February 2012, Zap2it held a poll to determine TV's Most Crushworthy. Chuck was elected TV's Most Crushworthy 1% Male over Oliver Queen of Smallville.[14] The 1 percenters are people that "have everything going for them with their fantastic good looks and their opulent lifestyle".[15]


document_title: A River Runs Through It (film)

question_text: who plays old norman in a river runs through it

text: A River Runs Through It (film)

text: Plot[edit]

text: The Maclean brothers, Norman and Paul, grow up in Missoula, Montana with their father, Presbyterian minister John, from whom they learn a love of fly fishing for trout in the Blackfoot River. They learn to cast using a ticking metronome. The boys become accomplished fishermen as a result. Norman and Paul are home taught and must adhere to the strict moral and educational code of their father. As they grow older, it becomes clear that Norman is more disciplined and studious, while Paul is fun-loving, wild, and the more talented fisherman.

text: Norman attends a July 4th dance with his friends after returning home from six years away at Dartmouth, where he meets Jessie Burns. Paul has become a reporter at a newspaper in Helena. He has angered many of the locals by falling behind in a big poker game at a bar that is a front for gambling and prostitution. He is also dating an Indian woman, Mabel, who is deemed inferior by the community. Paul is arrested after fighting a man who has insulted her, and Norman is awakened in the middle of the night by a phone call from the police to come and bail Paul out of jail.

text: After Norman and Jessie go on several dates, she asks that Norman make an effort to get along with her brother Neal, who is visiting from California. Norman and Paul do not like Neal, but at Jessie's insistence they invite him to go fishing. Neal shows up drunk with a woman he met at a bar the night before. Norman and Paul decide to fish anyway and return to their car hours later to find that Neal and the woman have drunk all the beer and passed out naked in the sun.

text: Norman returns a painfully sunburned Neal home, where Jessie is waiting for them. She is angry that the brothers did not fish with Neal. Norman asks Jessie to drive him home, as he had brought Neal back in Neal's car, and he tells her that he is falling for her. She drives away angry but a week later asks Norman to come to the train station to see Neal off. After the train departs, Norman shows Jessie a letter from the University of Chicago: a job offer for an English Literature teaching position. Norman asks Jessie to marry him.

text: When Norman tells Paul about the job offer and marriage proposal, he urges Paul to come with him and Jessie to Chicago. Paul says that he will never leave Montana. Just before leaving for Chicago, Norman, Paul, and their father go fly fishing one last time. Paul catches a huge fish that drags him down the river through a set of rapids before he finally lands it. John proudly tells him what a wonderful fisherman he has become, and how he is an artist in the craft, much to Paul's delight. They pose for pictures with the huge fish.

text: Soon after the fishing excursion, Norman is called by the police, who tell him that Paul has been found beaten to death in an alley. Norman goes home and tells his parents the news. Years later, Mrs. Maclean, Norman, Jessie, and their two children listen to a sermon being given by John, who dies soon after. Norman is now an old man, back in the Montana river where he used to fish with his family many years before. He says that nearly everyone from his youth is dead, including Jessie, and that he is haunted by waters.

text: Cast[edit]

text:
Craig Sheffer as Norman Maclean
Joseph Gordon-Levitt as Young Norman Maclean
Arnold Richardson as Old Norman (narrator, voice by Robert Redford)
Brad Pitt as Paul Maclean
Vann Gravage as Young Paul Maclean
Tom Skerritt as Reverend John Maclean
Brenda Blethyn as Clara Maclean
Emily Lloyd as Jessie Burns
Stephen Shellen as Neal Burns
Edie McClurg as Mrs. Burns
Nicole Burdette as Mabel
Susan Traylor as Rawhide, woman with Neal

text: Production[edit]

text: Filming[edit]

text: Although both the book and movie are set in Missoula and on the Blackfoot River, it was filmed in late June, early July 1991 in south central Montana in Livingston and Bozeman,[3]  and on the nearby upper Yellowstone, Gallatin, and Boulder Rivers.  The waterfall shown is Granite Falls in Wyoming.[4][5] Filming was completed in early September 1991.

text: An article published in the Helena Independent Record in July 2000, based on recollections of people who knew both brothers, noted a number of specifics about the Macleans — notably various chronological and educational details about Paul Maclean's adult life — that differ somewhat from their portrayal in the film and novella.[6]

text: Music[edit]

text: Mark Isham, who would go on to compose the scores to most Robert Redford-directed films, composed the musical score for the film. Originally, Elmer Bernstein was hired to score the film. However, after Redford and Bernstein disagreed over the tone of the music, Bernstein was replaced by Isham.[7] Rushed for time, Isham completed the score within four weeks at Schnee Studio of Signet Sound Studios in Hollywood, CA. Upon release, the music was met with positive reviews earning the film both nominations for Grammy and Academy awards. The A River Runs Through It (Original Motion Picture Soundtrack) was released on October 27, 1992.[8]

text: In some home video releases of the film, Elmer Bernstein is credited as the film's composer despite his score being rejected during post-production.

text: Release[edit]

text: Critical reception[edit]

text: Released on October 9, 1992, the film grossed $43,440,294 in US domestic returns.[2] The film holds an 81% rating on Rotten Tomatoes based on 43 polled critical reviews. The site's consensus reads: "Tasteful to a fault, this period drama combines a talented cast (including a young Brad Pitt) with some stately, beautifully filmed work from director Robert Redford."[9] Much of the praise focused on Pitt's portrayal of Paul, which has been cited as his career-making performance.[10]

text: Awards and honors[edit]

text: The film was nominated for three Academy Awards in 1993, including Best Cinematography (Philippe Rousselot); Best Music, Original Score (Mark Isham); and Best Writing, Screenplay Based on Material from Another Medium (Richard Friedenberg). Rousselot won for Best Cinematography. At the Golden Globes, Robert Redford was nominated for Best Director - Motion Picture, but did not win.


document_title: Power outage

question_text: when is the name of the electrical disturbance that happens with an extended reduction of power

text: Power outage

text: Types of power outage[edit]

text: Power outages are categorized into three different phenomena, relating to the duration and effect of the outage:

text:
A permanent fault is a massive loss of power typically caused by a fault on a power line. Power is automatically restored once the fault is cleared.
A brownout is a drop in voltage in an electrical power supply. The term brownout comes from the dimming experienced by lighting when the voltage sags. Brownouts can cause poor performance of equipment or even incorrect operation.
A blackout is the total loss of power to an area and is the most severe form of power outage that can occur. Blackouts which result from or result in power stations tripping are particularly difficult to recover from quickly. Outages may last from a few minutes to a few weeks depending on the nature of the blackout and the configuration of the electrical network.

text: Protecting the power system from outages[edit]

text: In power supply networks, the power generation and the electrical load (demand) must be very close to equal every second to avoid overloading of network components, which can severely damage them. Protective relays and fuses are used to automatically detect overloads and to disconnect circuits at risk of damage.

text: Under certain conditions, a network component shutting down can cause current fluctuations in neighboring segments of the network leading to a cascading failure of a larger section of the network. This may range from a building, to a block, to an entire city, to an entire electrical grid.

text: Modern power systems are designed to be resistant to this sort of cascading failure, but it may be unavoidable (see below). Moreover, since there is no short-term economic benefit to preventing rare large-scale failures, researchers have expressed concern that there is a tendency to erode the resilience of the network over time, which is only corrected after a major failure occurs. In a 2003 publication, Carreras and co-authors claimed that reducing the likelihood of small outages only increases the likelihood of larger ones.[1] In that case, the short-term economic benefit of keeping the individual customer happy increases the likelihood of large-scale blackouts.

text: Protecting computer systems from power outages[edit]

text: Computer systems and other electronic devices containing logic circuitry are susceptible to data loss or hardware damage that can be caused by the sudden loss of power. These can include data networking equipment, video projectors, alarm systems as well as computers. To protect computer systems against this, the use of an uninterruptible power supply or 'UPS' can provide a constant flow of electricity if a primary power supply becomes unavailable for a short period of time. To protect against surges (events where voltages increase for a few seconds), which can damage hardware when power is restored, a special device called a surge protector that absorbs the excess voltage can be used.

text: Restoring power after a wide-area outage[edit]

text: Restoring power after a wide-area outage can be difficult, as power stations need to be brought back on-line. Normally, this is done with the help of power from the rest of the grid. In the total absence of grid power, a so-called black start needs to be performed to bootstrap the power grid into operation. The means of doing so will depend greatly on local circumstances and operational policies, but typically transmission utilities will establish localized 'power islands' which are then progressively coupled together. To maintain supply frequencies within tolerable limits during this process, demand must be reconnected at the same pace that generation is restored, requiring close coordination between power stations, transmission and distribution organizations.

text: Blackout inevitability and electric sustainability[edit]

text: Self-organized criticality[edit]

text: It has been argued on the basis of historical data[2] and computer modeling[3][4] that power grids are self-organized critical systems. These systems exhibit unavoidable[5] disturbances of all sizes, up to the size of the entire system. This phenomenon has been attributed to steadily increasing demand/load, the economics of running a power company, and the limits of modern engineering.[6] While blackout frequency has been shown to be reduced by operating it further from its critical point, it generally isn’t economically feasible, causing providers to increase the average load over time or upgrade less often resulting in the grid moving itself closer to its critical point. Conversely, a system past the critical point will experience too many blackouts leading to system-wide upgrades moving it back below the critical point. The term critical point of the system is used here in the sense of statistical physics and nonlinear dynamics, representing the point where a system undergoes a phase transition; in this case the transition from a steady reliable grid with few cascading failures to a very sporadic unreliable grid with common cascading failures. Near the critical point the relationship between blackout frequency and size follows a power-law distribution.[4][6]

text: Other leaders are dismissive of system theories that conclude that blackouts are inevitable, but do agree that the basic operation of the grid must be changed. The Electric Power Research Institute champions the use of smart grid features such as power control devices employing advanced sensors to coordinate the grid[7]. Others advocate greater use of electronically controlled high-voltage direct current (HVDC) firebreaks to prevent disturbances from cascading across AC lines in a wide area grid.[8]

text: Cascading failure becomes much more common close to this critical point. The power-law relationship is seen in both historical data and model systems.[6] The practice of operating these systems much closer to their maximum capacity leads to magnified effects of random, unavoidable disturbances due to aging, weather, human interaction etc. While near the critical point, these failures have a greater effect on the surrounding components due to individual components carrying a larger load. This results in the larger load from the failing component having to be redistributed in larger quantities across the system, making it more likely for additional components not directly affected by the disturbance to fail, igniting costly and dangerous cascading failures.[6] These initial disturbances causing blackouts are all the more unexpected and unavoidable due to actions of the power suppliers to prevent obvious disturbances (cutting back trees, separating lines in windy areas, replacing aging components etc.). The complexity of most power grids often makes the initial cause of a blackout extremely hard to identify.

text: OPA model[edit]

text: In 2002, researchers at Oak Ridge National Laboratory (ORNL), Power System Engineering Research Center of the University of Wisconsin (PSerc),[9] and the University of Alaska Fairbanks proposed a mathematical model for the behavior of electrical distribution systems.[10][11] This model has become known as the OPA model, a reference to the names of the authors' institutions. OPA is a cascading failure model. Other cascading failure models include Manchester, Hidden failure, CASCADE, and Branching.[12]

text: Mitigation of power outage frequency[edit]

text: The effects of trying to mitigate cascading failures near the critical point in an economically feasible fashion are often shown to not be beneficial and often even detrimental. Four mitigation methods have been tested using the OPA blackout model:[1]

text:
Increase critical number of failures causing cascading blackouts – Shown to decrease the frequency of smaller blackouts but increase that of larger blackouts.
Increase individual power line max load – Shown to increase the frequency of smaller blackouts and decrease that of larger blackouts.
Combination of increasing critical number and max load of lines – Shown to have no significant effect on either size of blackout. The resulting minor reduction in the frequency of blackouts is projected to not be worth the cost of the implementation.
Increase the excess power available to the grid – Shown to decrease the frequency of smaller blackouts but increase that of larger blackouts.

text: In addition to the finding of each mitigation strategy having a cost-benefit relationship with regards to frequency of small and large blackouts, the total number of blackout events was not significantly reduced by any of the above-mentioned mitigation measures.[1]

text: A complex network-based model to control large cascading failures (blackouts) using local information only was proposed by A. E. Motter.[13]

text: One of the proposed solutions proposed to reduce the impact of power outage was introduced by M. Saleh.[14]

text: Key performance indicators[edit]

text: Utilities are measured on three specific performance measures:

text:
System Average Interruption Duration Index, measured in minutes
Customer Average Interruption Duration Index, measured in minutes
Customer Average Interruption Frequency Index