document_title: Brave New World

question_text: what is the society called in brave new world

text: Brave New World

text: Title[edit]

text: Brave New World's title derives from Miranda's speech in William Shakespeare's The Tempest, Act V, Scene I:[5]

text:
O wonder!
How many goodly creatures are there here!
How beauteous mankind is! O brave new world,
That has such people in't.

text: Translations of the title often allude to similar expressions used in domestic works of literature: the French edition of the work is entitled Le Meilleur des mondes (The Best of All Worlds), an allusion to an expression used by the philosopher Gottfried Leibniz[7] and satirised in Candide, Ou l'Optimisme by Voltaire (1759).

text: History[edit]

text: Huxley wrote Brave New World while living in Sanary-sur-Mer, France, in the four months from May to August 1931.[8] By this time, Huxley had already established himself as a writer and social satirist. He was a contributor to Vanity Fair and Vogue magazines, and had published a collection of his poetry (The Burning Wheel, 1916) and four successful satirical novels: Crome Yellow (1921), Antic Hay (1923), Those Barren Leaves (1925), and Point Counter Point (1928). Brave New World was Huxley's fifth novel and first dystopian work.

text: Huxley said that Brave New World was inspired by the utopian novels of H. G. Wells, including A Modern Utopia (1905) and Men Like Gods (1923).[9] Wells's hopeful vision of the future's possibilities gave Huxley the idea to begin writing a parody of the novel, which became Brave New World. He wrote in a letter to Mrs. Arthur Goldsmith, an American acquaintance, that he had "been having a little fun pulling the leg of H. G. Wells," but then he "got caught up in the excitement of [his] own ideas."[10] Unlike the most popular optimist utopian novels of the time, Huxley sought to provide a frightening vision of the future. Huxley referred to Brave New World as a "negative utopia", somewhat influenced by Wells's own The Sleeper Awakes (dealing with subjects like corporate tyranny and behavioural conditioning) and the works of D. H. Lawrence.

text: George Orwell believed that Brave New World must have been partly derived from the novel We by Yevgeny Zamyatin.[11] However, in a 1962 letter, Huxley says that he wrote Brave New World long before he had heard of We.[12] According to We translator Natasha Randall, Orwell believed that Huxley was lying.[13] The scientific futurism in Brave New World is believed to be cribbed from Daedalus by J. B. S. Haldane.[14]

text: The events of the Depression in Britain in 1931, with its mass unemployment and the abandonment of the gold currency standard, persuaded Huxley to assert that stability was the "primal and ultimate need" if civilisation was to survive the present crisis.[15] The Brave New World character Mustapha Mond, Resident World Controller of Western Europe, is named after Sir Alfred Mond. Shortly before writing the novel, Huxley visited Mond's technologically advanced plant near Billingham, north east England, and it made a great impression on him.[15]

text: Huxley used the setting and characters in his science fiction novel to express widely held opinions, particularly the fear of losing individual identity in the fast-paced world of the future. An early trip to the United States gave Brave New World much of its character. Not only was Huxley outraged by the culture of youth, commercial cheeriness and sexual promiscuity, and the inward-looking nature of many Americans,[16] he had also found the book My Life and Work by Henry Ford on the boat to America, and he saw the book's principles applied in everything he encountered after leaving San Francisco.[17]

text: Plot[edit]

text: The novel opens in the World State city of London in AF 632 (AD 2540 in the Gregorian calendar), where citizens are engineered through artificial wombs and childhood indoctrination programs into predetermined classes (or castes) based on intelligence and labour. Lenina Crowne, a hatchery worker, is popular and sexually desirable, but Bernard Marx, a psychologist, is not. He is shorter in stature than the average member of his high caste, which gives him an inferiority complex. His work with sleep-learning allows him to understand, and disapprove of, his society's methods of keeping its citizens peaceful, which includes their constant consumption of a soothing drug called soma. Courting disaster, Bernard is vocal and arrogant about his criticisms, and his boss contemplates exiling him to Iceland because of his nonconformity. His only friend is Helmholtz Watson, a gifted writer who finds it difficult to use his talents creatively in their pain-free society.

text: Bernard takes a holiday with Lenina outside the World State to a Savage Reservation in New Mexico, in which the two observe natural-born people, disease, the aging process, other languages, and religious lifestyles for the first time. (The culture of the village folk resembles the contemporary Native American groups of the region, descendants of the Anasazi, including the Puebloan peoples of Acoma, Laguna and Zuni.) Bernard and Lenina witness a violent public ritual and then encounter Linda, a woman originally from the World State who is living on the reservation with her son John, now a young man. She too visited the reservation on a holiday many years ago but became separated from her group and was left behind. She had meanwhile become pregnant by a fellow-holidaymaker (who is revealed to be Bernard's boss, the Director of Hatcheries and Conditioning). She did not try to return to the World State because of her shame at her pregnancy. Despite spending his whole life in the reservation, John has never been accepted by the villagers, and his and Linda's lives have been hard and unpleasant. Linda has taught John to read, although from the only two books in her possession: a scientific manual and the complete works of Shakespeare. Ostracised by the villagers, John is able to articulate his feelings only in terms of Shakespearean drama, especially the tragedies of Othello, Romeo and Juliet and Hamlet. Linda now wants to return to London, and John too wants to see this "brave new world". Bernard sees an opportunity to thwart plans to exile him, and gets permission to take Linda and John back. On their return to London, John meets the Director and calls him his "father", a vulgarity which causes a roar of laughter. The humiliated Director resigns in shame before he can follow through with exiling Bernard.

text: Bernard, as "custodian" of the "savage" John who is now treated as a celebrity, is fawned on by the highest members of society and revels in attention he once scorned. Bernard's popularity is fleeting, though, and he becomes envious that John only really bonds with the literary-minded Helmholtz. Considered hideous and friendless, Linda goes into a permanent soma state, while John refuses to attend social events organised by Bernard, appalled by what he perceives to be an empty society. Lenina and John are physically attracted to each other, but John's view of courtship and romance, based on Shakespeare, is utterly incompatible with Lenina's freewheeling attitude to sex. She tries to seduce him, but he attacks her, before suddenly being informed that his mother is on her deathbed. He rushes to Linda's bedside, causing a scandal as this is not the "correct" attitude to death. Some children who enter the ward for "death-conditioning" come across as disrespectful to John until he attacks one physically. He then tries to break up a distribution of soma to a lower-caste group, telling them that he is freeing them. Helmholtz and Bernard rush in to stop the ensuing riot, which the police end up handling.

text: Bernard, Helmholtz and John are all brought before Mustapha Mond, the "Resident World Controller for Western Europe", who tells Bernard and Helmholtz that they are to be exiled to islands for antisocial activity. Bernard pleads for a second chance, but Helmholtz welcomes the opportunity to be a true individual, and chooses the Falkland Islands as his destination, believing that their bad weather will inspire his writing. Mond says that Bernard does not know that exile is actually a reward. The islands are full of the most interesting people in the world, individuals who did not fit in the World State community. Mond outlines for John the events that led to the present society and his arguments for a caste system and social control. John rejects Mond's arguments, and Mond sums up John's views by claiming that John demands "the right to be unhappy". John asks if he may go to the islands as well, but Mond refuses and says he wishes to see what happens to him next.

text: Jaded with his new life, John moves to an abandoned hilltop tower, near the village of Puttenham, where he intends to adopt a solitary ascetic lifestyle in order to purify himself of civilization, practising self-flagellation. This soon draws reporters and eventually hundreds of amazed sightseers, hoping to witness his bizarre behaviour; one of them is implied to be Lenina. At the sight of the woman he both adores and loathes, John attacks her with his whip. The onlookers are wildly aroused by the display and John is caught up in the crowd's soma-fueled frenzy. The next morning, he remembers the previous night's events and is stricken with remorse. Onlookers and journalists who arrive that evening discover John dead, having hanged himself.

text: Characters[edit]

text: John – the illicit son of the Director and Linda, born and reared on the Savage Reservation ("Malpais") after Linda was unwittingly left behind by her errant lover. John ("the Savage", as he is often called) is an outsider both on the Reservation—where the natives still practice marriage, natural birth, family life and religion—and the ostensibly civilised World State, based on principles of stability and shallow happiness. He has read nothing but the complete works of William Shakespeare, which he quotes extensively, and, for the most part, aptly, though his allusion to the "Brave New World" (Miranda's words in The Tempest) takes on a darker and bitterly ironic resonance as the novel unfolds. John is intensely moral according to a code that he has been taught by Shakespeare and life in Malpais but is also naïve: his views are as imported into his own consciousness as are the hypnopedic messages of World State citizens. The admonishments of the men of Malpais taught him to regard his mother as a whore; but he cannot grasp that these were the same men who continually sought her out despite their supposedly sacred pledges of monogamy. Because he is unwanted in Malpais, he accepts the invitation to travel back to London and is initially astonished by the comforts of the World State. However, he remains committed to values that exist only in his poetry. He first spurns Lenina for failing to live up to his Shakespearean ideal and then the entire utopian society: he asserts that its technological wonders and consumerism are poor substitutes for individual freedom, human dignity and personal integrity. After his mother's death, he becomes deeply distressed with grief, surprising onlookers in the hospital. He then ostracizes himself from society and attempts to purify himself of "sin" (desire), but is finally unable to do so and hangs himself in despair.

text: Bernard Marx – an Alpha-Plus (the higher end of society)[clarification needed] sleep-learning specialist at the Central London Hatchery and Conditioning Centre. Bernard is a misfit. He is unusually short for an Alpha; an alleged accident with alcohol in Bernard's blood-surrogate before his decanting has left him slightly stunted. Bernard's independence of mind stems more from his inferiority complex and depressive nature than from any depth of philosophical conviction. Unlike his fellow utopians, Bernard is often angry, resentful, and jealous. At times, he is also cowardly and hypocritical. His conditioning is clearly incomplete. He doesn't enjoy communal sports, solidarity services, or promiscuous sex. He doesn't even get much joy out of soma. Bernard is in love with Lenina but he doesn't like her sleeping with other men, even though "everyone belongs to everyone else". Bernard's triumphant return to utopian civilisation with John the Savage from the Reservation precipitates the downfall of the Director, who had been planning to exile him. Bernard's triumph is short-lived. Success goes to his head. Despite his tearful pleas, he is ultimately banished to an island for his non-conformist behaviour.

text: Helmholtz Watson – a handsome and successful Alpha-Plus lecturer at the College of Emotional Engineering and a friend of Bernard. He feels unfulfilled writing endless propaganda doggerel, and the stifling conformism and philistinism of the World State make him restive. Helmholtz is ultimately exiled to the Falkland Islands—a cold asylum for disaffected Alpha-Plus non-conformists—after reading a heretical poem to his students on the virtues of solitude and helping John destroy some Deltas' rations of soma following Linda's death. Unlike Bernard, he takes his exile in his stride and comes to view it as an opportunity for inspiration in his writing.

text: Lenina Crowne – a young, beautiful fetus technician at the Central London Hatchery and Conditioning Centre. She is part of the 30% of the female population that are not freemartins (sterile women). Lenina is promiscuous and popular but somewhat quirky in their society: she had a four-month relation with Henry Foster, choosing not to have sex with anyone but him for a period of time. She is basically happy and well-conditioned but will use soma to suppress unwelcome emotions, as is expected. Lenina has a date with Bernard, to whom she feels ambivalently attracted, and she goes to the Reservation with him. On returning to civilisation, she tries and fails to seduce John the Savage. John loves and desires Lenina but he is repelled by her forwardness and the prospect of pre-marital sex, rejecting her as an "impudent strumpet". Lenina visits John at the lighthouse but he attacks her with a whip, unwittingly inciting onlookers to do the same. Her exact fate is left unspecified.

text: Mustapha Mond – Resident World Controller of Western Europe, "His Fordship" Mustapha Mond presides over one of the ten zones of the World State, the global government set up after the cataclysmic Nine Years' War and great Economic Collapse. Sophisticated and good-natured, Mond is an urbane and hyperintelligent advocate of the World State and its ethos of "Community, Identity, Stability". Among the novel's characters, he is uniquely aware of the precise nature of the society he oversees and what it has given up to accomplish its gains. Mond argues that art, literature, and scientific freedom must be sacrificed to secure the ultimate utilitarian goal of maximising societal happiness. He defends the genetic caste system, behavioural conditioning, and the lack of personal freedom in the World State: these, he says, are a price worth paying for achieving social stability, the highest social virtue because it leads to lasting happiness.

text: Fanny Crowne – Lenina Crowne's friend (they have the same last name because only ten thousand last names are in use in the World State). Fanny voices the conventional values of her caste and society, particularly the importance of promiscuity: she advises Lenina that she should have more than one man in her life because it is unseemly to concentrate on just one. Fanny then, however, warns Lenina away from a new lover whom she considers undeserving, yet she is ultimately supportive of the young woman's attraction to the savage John.

text: Henry Foster – One of Lenina's many lovers, he is a perfectly conventional Alpha male, casually discussing Lenina's body with his coworkers. His success with Lenina, and his casual attitude about it, infuriate the jealous Bernard. Henry ultimately proves himself every bit the ideal World State citizen, finding no courage to defend Lenina from John's assaults despite having maintained an uncommonly longstanding sexual relationship with her.

text: Benito Hoover – Another of Lenina's lovers. She remembers that he is particularly hairy when he takes his clothes off.

text: The Director of Hatcheries and Conditioning (DHC), also known as Thomas "Tomakin" – He is the administrator of the Central London Hatchery and Conditioning Centre, where he is a threatening figure who intends to exile Bernard to Iceland. His plans take an unexpected turn, however, when Bernard returns from the Reservation with Linda (see below) and John, a child they both realize is actually his. This fact, scandalous and obscene in the World State not because it was extramarital (which all sexual acts are) but because it was procreative, leads the Director to resign his post in shame.

text: Linda – John's mother, decanted as a Beta-Minus in the World State and subsequently lost during a storm while visiting the New Mexico Savage Reservation with the Director many years before the events of the novel. Despite following her usual precautions, Linda became pregnant with the Director's son during their time together and was therefore unable to return to the World State by the time that she found her way to Malpais. Having been conditioned to the promiscuous social norms of the World State, Linda finds herself at once popular with every man in the pueblo (because she is open to all sexual advances) and also reviled for the same reason, seen as a whore by the wives of the men who visit her and by the men themselves (who come to her nonetheless). Linda is desperate to return to the World State and to soma, wanting nothing more from her remaining life than comfort until death.

text: The Arch-Community-Songster – The secular equivalent of the Archbishop of Canterbury in the World State society.

text: The Warden – An Alpha-Minus, the talkative chief administrator for the New Mexico Savage Reservation. He is blond, short, broad-shouldered, and has a booming voice.[18]

text: Darwin Bonaparte – a "big game photographer" (i.e. filmmaker) who films John flogging himself. Darwin Bonaparte is known for two other works: "feely of the gorillas' wedding",[19] and "Sperm Whale's Love-life".[19] He has already made a name for himself[20] but still seeks more. He renews his fame by filming the savage, John, in his newest release "The Savage of Surrey".[21] His name alludes to Charles Darwin and Napoleon Bonaparte.

text: Others[edit]

text: Freemartins: These women have been deliberately made sterile by exposure to hormones during fetal development. In the book, government policy requires freemartins to form 70% of the female population.

text: Of Malpais[edit]

text:
Popé, a native of Malpais. Although he reinforces the behaviour that causes hatred for Linda in Malpais by sleeping with her and bringing her mescal, he still holds the traditional beliefs of his tribe. In his early years John also attempts to kill him. He gave Linda a copy of the Complete Works of Shakespeare.
Mitsima, an elder tribal shaman who also teaches John survival skills such as rudimentary ceramics (specifically coil pots, which were traditional to Native American tribes) and bow-making.

text: Background figures[edit]

text: These are non-fictional and factual characters who lived before the events in this book, but are of note in the novel:

text:
Henry Ford, who has become a messianic figure to the World State. "Our Ford" is used in place of "Our Lord", as a credit to popularising the use of the assembly line. Huxley's description of Ford as a central figure in the emergence of the Brave New World might also be a reference to the utopian industrial city of Fordlândia commissioned by Ford in 1927.[speculation?]
Sigmund Freud, "Our Freud" is sometimes said in place of "Our Ford" because Freud's psychoanalytic method depends implicitly upon the rules of classical conditioning, and because Freud popularized the idea that sexual activity is essential to human happiness, beyond its role in procreation. (It is also strongly implied that citizens of the World State believe Freud and Ford to be the same person.)[22]
H. G. Wells, "Dr Wells", British writer and utopian socialist, whose book Men Like Gods was an incentive for Brave New World. "All's well that ends Wells", wrote Huxley in his letters, criticising Wells for anthropological assumptions Huxley found unrealistic.
Ivan Petrovich Pavlov, whose conditioning techniques are used to train infants.
William Shakespeare, whose banned works are quoted throughout the novel by John, "the Savage". The plays quoted include Macbeth, The Tempest, Romeo and Juliet, Hamlet, King Lear, Troilus and Cressida, Measure for Measure and Othello. Mustapha Mond also knows them because as a World Controller he has access to a selection of books from throughout history, including the Bible.
Thomas Robert Malthus, 19thc British economist, believed the people of the Earth would eventually be threatened by their inability to raise enough food to feed the population. In the novel, the eponymous character devises the contraceptive techniques (Malthusian belt) that are practised by women of the World State.
Reuben Rabinovitch, the Russian-Jewish character on whom the effects of sleep-learning, hypnopædia, are first observed.
John Henry Newman, 19thc Catholic theologian and educator, believed university education the critical element in advancing post-industrial Western civilization. Mustapha Mond and The Savage discuss a passage from one of Newman's books.

text: Sources of names and references[edit]

text: The limited number of names that the World State assigned to its bottle-grown citizens can be traced to political and cultural figures who contributed to the bureaucratic, economic, and technological systems of Huxley's age, and presumably those systems in Brave New World.[23]

text: Critical reception[edit]

text: Upon publication, Rebecca West praised Brave New World as "The most accomplished novel Huxley has yet written",[24] Joseph Needham lauded it as "Mr. Huxley's remarkable book",[25] and Bertrand Russell also praised it, stating, "Mr. Aldous Huxley has shown his usual masterly skill in Brave New World."[26]

text: However, Brave New World also received negative responses from other contemporary critics, although his work was later embraced.[27]

text: In an article in the 4 May 1935 issue of the Illustrated London News, G. K. Chesterton explained that Huxley was revolting against the "Age of Utopias". Much of the discourse on man's future before 1914 was based on the thesis that humanity would solve all economic and social issues. In the decade following the war the discourse shifted to an examination of the causes of the catastrophe. The works of H. G. Wells and George Bernard Shaw on the promises of socialism and a World State were then viewed as the ideas of naive optimists. Chesterton wrote:

text: After the Age of Utopias came what we may call the American Age, lasting as long as the Boom. Men like Ford or Mond seemed to many to have solved the social riddle and made capitalism the common good. But it was not native to us; it went with a buoyant, not to say blatant optimism, which is not our negligent or negative optimism. Much more than Victorian righteousness, or even Victorian self-righteousness, that optimism has driven people into pessimism. For the Slump brought even more disillusionment than the War. A new bitterness, and a new bewilderment, ran through all social life, and was reflected in all literature and art. It was contemptuous, not only of the old Capitalism, but of the old Socialism. Brave New World is more of a revolution against Utopia than against Victoria.[28]

text: Similarly, in 1944 economist Ludwig von Mises described Brave New World as a satire of utopian predictions of socialism: "Aldous Huxley was even courageous enough to make socialism's dreamed paradise the target of his sardonic irony."[29]

text: Fordism and society[edit]

text: The World State is built upon the principles of Henry Ford's assembly line: mass production, homogeneity, predictability, and consumption of disposable consumer goods. While the World State lacks any supernatural-based religions, Ford himself is revered as the creator of their society but not as a deity, and characters celebrate Ford Day and swear oaths by his name (e.g., "By Ford!"). In this sense, some fragments of traditional religion are present, such as Christian crosses, which had their tops cut off to be changed to a "T". The World State calendar numbers years in the "AF" era—"Anno Ford"—with the calendar beginning in AD 1908, the year in which Ford's first Model T rolled off his assembly line. The novel's Gregorian calendar year is AD 2540, but it is referred to in the book as AF 632.[citation needed]

text: From birth, members of every class are indoctrinated by recorded voices repeating slogans while they sleep (called "hypnopædia" in the book) to believe their own class is superior, but that the other classes perform needed functions. Any residual unhappiness is resolved by an antidepressant and hallucinogenic drug called soma.

text: The biological techniques used to control the populace in Brave New World do not include genetic engineering; Huxley wrote the book before the structure of DNA was known. However, Gregor Mendel's work with inheritance patterns in peas had been rediscovered in 1900 and the eugenics movement, based on artificial selection, was well established. Huxley's family included a number of prominent biologists including Thomas Huxley, half-brother and Nobel Laureate Andrew Huxley, and his brother Julian Huxley who was a biologist and involved in the eugenics movement. Nonetheless, Huxley emphasises conditioning over breeding (nurture versus nature); human embryos and fetuses are conditioned through a carefully designed regimen of chemical (such as exposure to hormones and toxins), thermal (exposure to intense heat or cold, as one's future career would dictate), and other environmental stimuli, although there is an element of selective breeding as well.

text: Comparisons with George Orwell's Nineteen Eighty-Four [edit]

text: Social critic Neil Postman contrasted the worlds of Nineteen Eighty-Four and Brave New World in the foreword of his 1985 book Amusing Ourselves to Death. He writes:

text: What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for there would be no one who wanted to read one. Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egotism. Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance. Orwell feared we would become a captive culture. Huxley feared we would become a trivial culture, preoccupied with some equivalent of the feelies, the orgy porgy, and the centrifugal bumblepuppy. As Huxley remarked in Brave New World Revisited, the civil libertarians and rationalists who are ever on the alert to oppose tyranny "failed to take into account man's almost infinite appetite for distractions." In 1984, Orwell added, people are controlled by inflicting pain. In Brave New World, they are controlled by inflicting pleasure. In short, Orwell feared that our fear will ruin us. Huxley feared that our desire will ruin us.

text: Journalist Christopher Hitchens, who himself published several articles on Huxley and a book on Orwell, noted the difference between the two texts in the introduction to his 1999 article "Why Americans Are Not Taught History":

text: We dwell in a present-tense culture that somehow, significantly, decided to employ the telling expression "You're history" as a choice reprobation or insult, and thus elected to speak forgotten volumes about itself. By that standard, the forbidding dystopia of George Orwell's Nineteen Eighty-Four already belongs, both as a text and as a date, with Ur and Mycenae, while the hedonist nihilism of Huxley still beckons toward a painless, amusement-sodden, and stress-free consensus. Orwell's was a house of horrors. He seemed to strain credulity because he posited a regime that would go to any lengths to own and possess history, to rewrite and construct it, and to inculcate it by means of coercion. Whereas Huxley ... rightly foresaw that any such regime could break because it could not bend. In 1988, four years after 1984, the Soviet Union scrapped its official history curriculum and announced that a newly authorized version was somewhere in the works. This was the precise moment when the regime conceded its own extinction. For true blissed-out and vacant servitude, though, you need an otherwise sophisticated society where no serious history is taught.[30]

text: Brave New World Revisited[edit]

text: Brave New World Revisited (Harper & Brothers, US, 1958; Chatto & Windus, UK, 1959),[31] written by Huxley almost thirty years after Brave New World, is a non-fiction work in which Huxley considered whether the world had moved toward or away from his vision of the future from the 1930s. He believed when he wrote the original novel that it was a reasonable guess as to where the world might go in the future. In Brave New World Revisited, he concluded that the world was becoming like Brave New World much faster than he originally thought.

text: Huxley analysed the causes of this, such as overpopulation, as well as all the means by which populations can be controlled. He was particularly interested in the effects of drugs and subliminal suggestion. Brave New World Revisited is different in tone because of Huxley's evolving thought, as well as his conversion to Hindu Vedanta in the interim between the two books.

text: The last chapter of the book aims to propose action which could be taken to prevent a democracy from turning into the totalitarian world described in Brave New World. In Huxley's last novel, Island, he again expounds similar ideas to describe a utopian nation, which is generally known as a counterpart to his most famous work.

text: Censorship/banning instances, accusation of plagiarism[edit]

text: The American Library Association ranks Brave New World as No. 52 on their list of most challenged books.[32] The following list includes some notable incidents in which it has been censored, banned, or challenged:

text:
In 1932, the book was banned in Ireland for its language, and for supposedly being anti-family and anti-religion.[33][34]
In 1965, a Maryland English teacher alleged that he was fired for assigning Brave New World to students. The teacher sued for violation of First Amendment rights but lost both his case and the appeal.[35]
The book was banned in India in 1967, with Huxley accused of being a "pornographer".[36]
In 1980, it was removed from classrooms in Miller, Missouri among other challenges.[37]
In 1982, Polish author Antoni Smuszkiewicz, in his analysis of Polish science-fiction Zaczarowana gra ("The Magic Game"), presented accusations of plagiarism against Huxley. Smuszkiewicz showed similarities between Brave New World and two science fiction novels written earlier by Polish author Mieczysław Smolarski, namely Miasto światłości ("The City of Light", 1924) and Podróż poślubna pana Hamiltona ("Mr Hamilton's Honeymoon Trip", 1928).[38] Smolarski wrote in his open letter to Huxley: "This work of a great author, both in the general depiction of the world as well as countless details, is so similar to two of my novels that in my opinion there is no possibility of accidental analogy."[39]
George Orwell claimed that Aldous Huxley's Brave New World (1932) must be partly derived from We by Yevgeny Zamyatin.[40] However, in a letter to Christopher Collins in 1962, Huxley says that he wrote Brave New World as a reaction to H. G. Wells's utopias long before he had heard of We.[12] According to one translator of We, Natasha Randall, Orwell believed that Huxley was lying.[13]
Kurt Vonnegut said that in writing Player Piano (1952), he "cheerfully ripped off the plot of Brave New World, whose plot had been cheerfully ripped off from Yevgeny Zamyatin's We".[41]
In 2010, the book was listed on the American Library Association's "Most Challenged Books" list.[42]

text: Related works[edit]

text: Previous[edit]

text:
The First Men in the Moon (1901) by H. G. Wells. A lunar population lives in a single harmonious society, where the offspring starts life in small containers. There it is decided what kind of caste they will belong to for the rest of their existence, and their development at this stage is influenced to make sure they fit their caste perfectly.
We (1921) by Yevgeny Zamyatin. George Orwell claimed that Aldous Huxley's Brave New World (1932) must be partly derived from We.[40] However, in a letter to Christopher Collins in 1962, Huxley says that he wrote Brave New World as a reaction to H. G. Wells's utopias long before he had heard of We.[12] According to one translator of We, Natasha Randall, Orwell believed that Huxley was lying.[13]
Crome Yellow (1921) by Aldous Huxley. Looking forward to Brave New World, this earlier novel has Mr Scogan, a believer in "the goddess of Applied Science", looking forward optimistically to "the next few centuries" when "In vast state incubators, rows upon rows of gravid bottles will supply the world with the population it requires. The family system will disappear; society, sapped at its very base, will have to find new foundations; and Eros, beautifully and irresponsibly free, will flit like a gay butterfly from flower to flower through a sunlit world."
Men Like Gods (1923) by H. G. Wells is a utopian novel that was a source of inspiration for Huxley's novel. Wells' earlier work, A Modern Utopia included the notion of a world state exiling dissidents to islands, where they would be free to live in ways unacceptable for the rest of the world.
The Scientific Outlook (1931) by philosopher Bertrand Russell. When Brave New World was released, Russell thought that Huxley's book was based on his book The Scientific Outlook, released the previous year. Russell contacted his own publisher and asked whether he should do something about this "apparent plagiarism". His publisher advised him not to, and Russell followed this advice.[43]

text: Following[edit]

text:
Nineteen Eighty-Four (1949) by George Orwell. The two novels are often compared and sometimes regarded as the greatest works depicting dystopias propagandized as "perfect" societies.
Kurt Vonnegut said that in writing Player Piano (1952) he "cheerfully ripped off the plot of Brave New World, whose plot had been cheerfully ripped off from Yevgeny Zamyatin's We."[44]
Fahrenheit 451 (1953) by Ray Bradbury
Walden Two (1948) by B. F. Skinner. Skinner was a Harvard psychologist who put his formal research in Operant Conditioning and Behaviorism into fictional practice by creating a utopian society based on these scientific principles.
THX 1138 (1971) the George Lucas film, depicts a dystopian future in which the populace is partially controlled through use of drugs.

text: Adaptations[edit]

text: Theatre[edit]

text: Brave New World (opened 4 September 2015) in co-production by Royal & Derngate, Northampton and Touring Consortium Theatre Company which toured the UK. The adaptation was by Dawn King, composed by These New Puritans and directed by James Dacre.

text: Radio[edit]

text:
Brave New World (radio broadcast) CBS Radio Workshop (27 January and 3 February 1956): music composed and conducted by Bernard Herrmann. Adapted for radio by William Froug. Introduced by William Conrad and narrated by Aldous Huxley. Featuring the voices of Joseph Kearns, Bill Idelson, Gloria Henry, Charlotte Lawrence,[45] Byron Kane, Sam Edwards, Jack Kruschen, Vic Perrin, Lurene Tuttle, Herb Butterfield, Paul Hebert, Doris Singleton.[46]
Brave New World (radio broadcast) BBC Radio4 (May 2013)
Brave New World (radio broadcast) BBC Radio4 (22, 29 May 2016)

text: Film[edit]

text:
Brave New World (1980), a television film directed by Burt Brinckerhoff
Brave New World (1998), a television film directed by Leslie Libman and Larry Williams

text: Future adaptation[edit]

text: In 2009, Ridley Scott and Leonardo DiCaprio announced that they would collaborate on a new adaptation of the book.[47] However, as of 2013, the project has been on hold while Scott has been involved with other projects.[48]

text: Television[edit]

text: In May 2015, The Hollywood Reporter reported that Steven Spielberg's Amblin Entertainment will bring Brave New World to the SyFy TV channel as a scripted series, written (adapted) by Les Bohem.[49]

text: Publications[edit]

text: Brave New World title listing at the Internet Speculative Fiction Database:

text:
Brave New World

Aldous Huxley; Perennial, Reprint edition, 1 September 1998; ISBN 0-06-092987-1

Brave New World Revisited

Aldous Huxley; Perennial, 1 March 2000; ISBN 0-06-095551-1

Brave New World and Brave New World Revisited

Aldous Huxley (with a foreword by Christopher Hitchens); Harper Perennial Modern Classics, 2005; ISBN 0-06-077609-9

Brave New World & Brave New World Revisited

Aldous Huxley (with an introduction by Margaret Atwood); Vintage Canada Edition, 2007; ISBN 978-0-307-35655-0

Huxley's Brave New World (Cliffs Notes)

Charles and Regina Higgins; Cliffs Notes, 30 May 2000; ISBN 0-7645-8583-5

Spark Notes Brave New World

Sterling, 31 December 2003; ISBN 1-58663-366-X

Aldous Huxley's Brave New World (Barron's Book Notes)

Anthony Astrachan, Anthony Astrakhan; Barrons Educational Series, November 1984; ISBN 0-8120-3405-8

text: Also publications for NSW HSC students.


document_title: United States two-dollar bill

question_text: when did they start making 2 dollar bills

root

text: United States two-dollar bill

text: Denomination overview[edit]

text: The denomination of two dollars was authorized under a congressional act, and first used in March 1862.[1] The denomination was continuously used until the 1960s; by this time the United States Note was the only remaining class of U.S. currency the two dollar bill was assigned to. In 1966 it was decided to discontinue all two dollar United States Notes from production.[2] The $2 bill initially was not reassigned to the Federal Reserve Note class of United States currency and was thus fully discontinued; the Treasury Department cited the $2 bill's low use and unpopularity as the reason for not immediately resuming use of the denomination. In 1976 production of the two-dollar denomination was resumed and the two-dollar bill was finally assigned as a Federal Reserve Note, with a new reverse design featuring John Trumbull's depiction of the drafting of the United States Declaration of Independence replacing the previous design of Monticello. It has remained a current denomination since then.[3] It was estimated that if the two-dollar bill replaced approximately half of the one-dollar bills in circulation, the federal government would be able to save about $26 million in 1976 dollars ($109 million adjusted for inflation)[4] over the period from 1976 to 1981, due to reduced production, storage, and shipping costs.[5]

tag: p

text: However, due to their limited use, two-dollar bills are not frequently reissued in a new series like other denominations which are printed according to demand.[6] Though some cash registers accommodate it, its slot is often used for things like checks and rolls of coins. Some bill acceptors found in vending machines, self checkout lanes, and other automated kiosks are configured to accommodate two-dollar bills, even if the fact is not stated on the label.[7] Although they usually are not handed out arbitrarily, two-dollar bills are usually available at banks. Many banks stocking $2 bills will not use them except upon specific request by the customer, and even then, may cause a delay with a trip to the vault.[8]

text: Rarity[edit]

text: The seeming rarity of a $2 bill can be attributed to its low printing numbers as a Federal Reserve Note. Hoarding of the series due to lack of public knowledge of the $2 bill has resulted in very few bills seen in circulation. After its initial release, supplies of the Series 1976 $2 bill were allowed to dwindle until August 1996 when a new series dated 1995 began to be printed. This series was only printed for the Federal Reserve Bank of Atlanta.[9]

text: Today, there is a common misconception by the general public that the $2 bill is no longer in production. According to the Treasury, it "receives many letters asking why the $2 bill is no longer in circulation".[10] In response, the Treasury stated: "The $2 bill remains one of our circulating currency denominations... As of April 30, 2007 there were $1,549,052,714 worth of $2 bills in circulation worldwide."

text: Things such as unusual serial numbers (example: A11111111A), and replacement notes designated by a star in the serial number can raise the collector value. "Collectible" $2 bills have been made and sold by coin dealers and others in recent years merely by adding colors and special graphics to regular issue bills by using computer printers. However, these bills are not authorized by the Bureau of Engraving and Printing (BEP) and are not worth anything more than face value on the collectors' market.[11]

text: Certain conventions and tourism/convention bureaus capitalize on the rarity of $2 bills in circulation, encouraging convention attendees and tourists to spend $2 bills in order to illustrate to the host communities the economic impact that the conventions and tourism bring. Sometimes known as "SpendTom" campaigns, the $2 bills linger in the community as a constant reminder. Some campaigns encourage people to participate in a hunt for the bills in order to win prizes.[12]

text: History[edit]

text: Large size notes[edit]

text: (approximately 7.4218 × 3.125 in ≅ 189 × 79 mm)

text: In March 1862, the first $2 bill was issued as a Legal Tender Note (United States Note) with a portrait of Alexander Hamilton; the portrait of Hamilton used was a profile view and is not the same portrait used currently for the $10 bill. The continental congress based on defending the United States, released on June 25, 1776, began to authorize $2 credit, the circulation of 49000 copies. Pass two dollars bill was first used in March 1862. Between 1966 and 1976, two dollar notes were not printed.

text: By 1869, the $2 United States Note was redesigned with the now familiar portrait of Thomas Jefferson to the left and a vignette of the United States Capitol in the center of the obverse. This note also featured green tinting on the top and left side of the obverse. Although this note is technically a United States Note, TREASURY NOTE appeared on it instead of UNITED STATES NOTE. The reverse was completely redesigned. This series was again revised in 1874, changes on the obverse included removing the green tinting, adding a red floral design around WASHINGTON D.C., and changing the term TREASURY NOTE to UNITED STATES NOTE. The 1874 design was also issued as Series of 1875 and 1878 and by 1880 the red floral design around WASHINGTON D.C. on the United States Note was removed and the serial numbers were changed to blue. This note with the red floral design was also issued as Series of 1917 but with red serial numbers by that time.[13]

text: National Bank Notes were issued in 1875 and feature a woman unfurling a flag and a big 2 (Lazy Duce) on the obverse, the reverse has the king of England smoking tobacco and an eagle with a shield.[14]

text: In 1886, the first $2 silver certificate with a portrait of United States Civil War General Winfield Scott Hancock on the left of the obverse was issued. This design went on until 1891 when a new $2 Silver Certificate was issued with a portrait of U.S. Treasury Secretary William Windom in the center of the obverse.[15]

text: Two-dollar Treasury or "Coin Notes" were first issued for government purchases of silver bullion in 1890 from the silver mining industry. The reverse featured large wording of TWO in the center and a numeral 2 to the right surrounded by an ornate design that occupied almost the entire note. In 1891 the reverse of the Series of 1890 Treasury Note was redesigned because the treasury felt that it was too "busy" which would make it too easy to counterfeit. More open space was incorporated into the new design.[16]

text: In 1896, the "Educational Series" Silver Certificate was issued. The entire obverse of the note was covered in artwork with an allegorical figure of science presenting steam and electricity to commerce and manufacture. The reverse of the note featured portraits of Robert Fulton and Samuel F. B. Morse surrounded by an ornate design that occupied almost the entire note. By 1899, however, The $2 Silver Certificate was redesigned with a small portrait of George Washington surrounded by allegorical figures representing agriculture and mechanics.[17]

text: The only large-sized, Federal Reserve Note–like $2 bill was issued in 1918 as a Federal Reserve Bank Note. Each note was an obligation of the issuing Federal Reserve Bank and could only be redeemed at the corresponding bank. The obverse of the note featured a border-less portrait of Thomas Jefferson to left and wording in the entire center. The reverse featured a World War I battleship.[18]

text: Beginning in the 1950s, production of $2 bills began to decrease. The relative scarcity of the bills lead some to start saving any they found, with the inevitable result that the notes became rarer in circulation. Currently, the circulation of $2 bills accounts for around 1% of the U.S. currency in circulation.

text: Because they are scarce in circulation, many believe the myth that $2 bills are no longer being produced, but the Bureau of Engraving and Printing Web site lists the $2 bill as one of the US Currency Small Denominations.

text: Small size notes[edit]

text: (6.14 × 2.61 in ≅ 156 × 66 mm)

text: In 1928, when all U.S. currency was changed to its current size, the $2 bill was issued only as a United States Note. The obverse featured a cropped version of Thomas Jefferson's portrait that had been on previous $2 bills. The reverse featured Jefferson's home, Monticello. The note's seal and serial numbers were red. The Series of 1928 $2 bill featured the treasury seal superimposed by the United States Note obligation to the left and a large gray TWO to the right.[19]

text: In 1953 the $2 bill received minor design changes analogous to the $5 United States Note. The treasury seal was made smaller and moved to the right side of the bill; it was superimposed over the gray word TWO. The United States Note obligation now became superimposed over a gray numeral 2. The reverse remained unchanged.[20]

text: The final change to $2 United States Notes came in 1963 when the motto IN GOD WE TRUST was added to the reverse over the Monticello.[21] And, because dollar bills were soon to no longer be redeemable in silver, WILL PAY TO THE BEARER ON DEMAND was removed from the obverse. These $2 bills were officially discontinued in August 1966, although they remain legal tender.

text: On April 13, 1976, the Treasury Department reintroduced the $2 bill as a cost-saving measure.[22] Series 1976 $2 bills were redesigned and issued as a Federal Reserve Note. The obverse design remains basically unchanged since 1928 and features the same portrait of Jefferson. A green treasury seal and serial numbers replace the red used on the previous United States Notes. Since the reissue of the bill coincided with the United States Bicentennial, it was decided to use a bicentennial themed design on the reverse. An engraved rendition (not an exact reproduction) of John Trumbull's The Declaration of Independence replaced Monticello on the reverse. First day issues of the new $2 bills could be taken to a post office and stamped with the date "APR 13 1976". In all, 590,720,000 notes from Series 1976 were printed.

text: Currently, stamped series 1976 $2 bills typically trade for about twice their face value. If the bills were stamped in an exotic place, the value may be slightly higher. However, no first day issued 1976 $2 bills with stamps are especially rare or valuable.

text: Despite their age, crisp, uncirculated series 1976 $2 bills are not uncommon and are not particularly valuable. These notes were saved and hoarded upon their original issue and are plentiful today. A typical single uncirculated 1976 $2 bill is worth only slightly above face value. If the note is circulated, then it is only worth its $2 face value.

text: In 1996 and 1997, 153,600,000 bills were printed[23] as Series 1995 for the Federal Reserve District of Atlanta. In 2004, 121,600,000 of the Series 2003 bills were printed for the Minneapolis Federal Reserve Bank. An issue of Series 2003A $2 bills was printed from July to September 2006 for all 12 Federal Reserve Banks. In all, 220,800,000 notes were printed. [24]

text: In February 2012, the B.E.P. printed 512,000 Series 2009 $2 Star Notes, in anticipation of more regular runs being printed later in 2012. Series 2009 $2 bills were issued to banks during the summer of 2012.[25][26]

text: In November 2013, the B.E.P. began printing series 2013 $2 bills for the Federal Reserve Bank of Atlanta; these notes entered circulation in early 2014. A total of 44,800,000 notes were ordered for fiscal year 2014, which ran from October 2013 through September 2014.[27]

text: Series dates[edit]

text: Large size[edit]

text:
Type
Series
Registerα
Treasurerα
Sealα
Notes

Legal Tender Note
1862
Lucius E. Chittenden
F.E. Spinner
Small Red w/rays
Also called a "Greenback".

Legal Tender Note
1869
John Allison
F.E. Spinner
Large Red
Nicknamed: "Rainbow Note" from its
red, white, and blue colors.[28]

Legal Tender Note
1874
John Allison
F.E. Spinner
Small Red w/rays

Legal Tender Note
1875
John Allison
New & Wyman
Small Red w/rays

Legal Tender Note
1878
Allison & Scofield
James Gilfillan
Small Red w/rays
Scofield/Gilfillan combo is scarce

Legal Tender Note
1880
Scofield, Bruce,
Rosecrans, and Tillman
Gilfillan, Wyman, Huston,
Nebeker, and Morgan
Large Brown/Red
Small Red scalloped

Legal Tender Note
1917
Teehee, Elliott,
and Speelman
John Burke & White
Small Red scalloped

National Bank Note
Original
Colby, Jeffries, and Allison
F.E. Spinner
Small Red w/rays
Jeffries/Spinner combo is very rare

National Bank Note
1875
Allison & Scofield
New, Wyman, and Gilfillan
Small Red scalloped
Nicknamed: "Lazy Deuce" along with
the original series from the position
of the "2" on the note.[29]

Silver Certificate
1886
William S. Rosecrans
Jordan, Hyatt, and Huston
Large Brown/Red
Small Red scalloped

Silver Certificate
1891
William S. Rosecrans
Benjamin Harrison
Large Red

Silver Certificate
1891
Rosecrans & Tillman
Nebecker & Morgan
Small Red scalloped

Silver Certificate
1896
Tillman & Bruce
Morgan & Roberts
Small Red w/rays
Part of the "Educational Series".

Silver Certificate
1899
Lyons, Vernon, Napier,
Parker, Teehee, Elliott,
and Speelman
Roberts, Treat, McClung,
Thompson, Burke, and White
Blue

Treasury Note
1890
William S. Rosecrans
Huston & Nebecker
Large Brown
& Small Red scalloped

Treasury Note
1890
William S. Rosecrans
Benjamin Harrison
Large Red

Treasury Note
1891
Rosecrans, Tillman, and Bruce
Nebecker, Morgan, and Roberts
Small Red scalloped

Federal Reserve Bank Note
1918
Teehee & Elliott
John Burke
Blue
Nicknamed: "Battleship note" from
the reverse design.[30]

tag: table

text: Small size[edit]

text:
Type
Series
Treasurerα
Secretaryα
Seal

Legal Tender Note
1928, 1928-A to G
Tate, Woods, Julian,
Clark
Mellon, Mills, Morgenthau,
Vinson, Snyder
Red

Legal Tender Note
1953, 1953-A to C
Priest, Smith, Granahan
Humphrey, Anderson, Dillon
Red

Legal Tender Note
1963, 1963-A
Kathryn E. Granahan
Dillon & Fowler
Red

Federal Reserve Note
1976
Francine I. Neff
William E. Simon
Green

Federal Reserve Note
1995
Mary Ellen Withrow
Robert E. Rubin
Green

Federal Reserve Note
2003
Rosario Marin
John W. Snow
Green

Federal Reserve Note
2003-A
Anna Escobedo Cabral
John W. Snow
Green

Federal Reserve Note
2009
Rosa Gumataotao Rios
Timothy F. Geithner
Green

Federal Reserve Note
2013
Rosa Gumataotao Rios
Jack Lew
Green

text: Visual snapshot[edit]

text: A chronological display of the American two-dollar bill.

text: Usage[edit]

text: Over 4.3 million $2 bills are entered at the American currency-tracking Web site Where's George?[32] Because $2 bills are uncommon in daily use, their use can make a particular group of spenders visible. A documented case of using two-dollar bills to send a message to a community is the case of Geneva Steel and the communities in surrounding Utah County. In 1989, Geneva Steel paid its employee bonuses in $2 bills. When the bills began to appear in different places, people recognized the importance of the company to the local economy.[33]

text: Use of the two-dollar bill is also being suggested by some gun rights activists to show support for Second Amendment rights, particularly at stores that allow Open Carry or Concealed carry of weapons on their premises.[34][35] Two dollar notes have also seen increased usage in situations where tipping is encouraged, especially in strip clubs. This is due to the idea that tips will increase because of the ease of use of a single, higher-denomination bill as the lowest common note in use.[36]

text: The use of the two-dollar bill is popular among fans and alumni of Clemson University who often bring notes with them when traveling to university athletic events in other localities as a demonstration of their economic impact in an area. The idea was first popularized in 1977 when Georgia Tech had threatened to no longer play the Tigers in football and has since caught on as a token of fandom when traveling to other locations. Fans will often stamp an orange tiger paw (Clemson's logo) on the note as a sign of its origin.[37]

text: During the 1930s, the $2 bill was often used at East Coast horse race tracks to make a bet. Because of the German and Jewish influence, the bill was locally known in parts of New Jersey as a "zwei-buck", and the upper right corner "2" was sometimes torn off to increase the luck.

text: Incidents[edit]

text: The relative scarcity of the $2 bill in everyday circulation has led to confusion at points of sale, as well as overreaction and prosecution of the individual attempting to tender the bill.

text: In 2005, a man was jailed for attempting to use legally circulating $2 bills to pay a car stereo installation fee that Best Buy originally agreed to waive in the first place.[38]

text: In 2016, a 13-year-old girl was detained by police, and prevented from eating lunch that day, for attempting to use a legally circulating $2 bill to pay for chicken nuggets in the school cafeteria.[39]

text: Uncut currency sheets[edit]

text: Uncut currency sheets are available from the Bureau of Engraving and Printing. Some of the recent $2 uncut sheets from Series 1995 and Series 2003 have been collectibles as they come from special non-circulation printings. Most of the Series 1995 $2 uncut sheets had a higher suffix letter in the serial number than regular circulation $2 bills. Uncut $2 sheets from Series 2003 were printed for the Boston (A), New York (B), Atlanta (F), Chicago (G), Minneapolis (I), and Dallas (K) Federal Reserve Districts despite the fact that notes from the Minneapolis district were the only ones released for circulation. Uncut sheets of Series 2003A have also been produced, although in this case circulating currency for all districts has also been made. All two dollar bills beginning with Series 1995 have been printed in the BEP facility in Fort Worth, Texas.[24][40][41]

text: Uncut sheets of $2 bills are available in various sizes. A 32-subject sheet, which is the original size sheet on which the notes are printed, is available. Other sheet sizes available have been cut from the original 32-subject sheet. These include half (16-note), quarter (8-note), and eighth (4-note) sheets for $2 bills. Uncut sheets are sold for more than their respective face values.[42] Uncut sheets of large size notes (issued before 1928) also exist, but are extremely rare.[43]

text: Steve Wozniak, a co-founder of Apple Inc., has been using $2 banknotes separated from 4-bill uncut sheets (glued together into pads), to surprise merchants and waiters; also, because of notes' unusual appearance, he has been interviewed by a Secret Service agent.[44][45]


document_title: Cult of Chucky

question_text: when did the cult of chucky come out on netflix

text: Cult of Chucky

text: Plot[edit]

text: Four years after the events of Curse of Chucky, an adult Andy Barclay is revealed to have the original Chucky's head, which is still conscious and deformed after being repeatedly tortured by Andy in retribution for his crimes. Nica Pierce has spent the past four years in a mental institution after being framed by Chucky for the murders of her family. After intense therapy, she now believes she was responsible for the murders and that Chucky was just a manifestation of her psychosis. As a result of her "breakthrough", her doctor, Dr. Foley, has her transferred to the medium security facility Harrogate Psychiatric Hospital.

text: Nica becomes part of a regular group therapy session, which is composed of Malcolm, a man with multiple identity disorder; Angela, an old woman who believes she is dead; Claire, a woman who burned her house down; and Madeleine, a patient who smothered her infant son to death. Dr. Foley introduces a new therapy technique which involves a Good Guy doll to the group. Most of the patients are unsettled by the doll except for Madeleine, who treats it as her baby.

text: Nica is visited by Tiffany Valentine, the legal guardian of her niece, Alice. Tiffany reveals that Alice has died and leaves her a Good Guy doll, which she claims was a gift from Alice. That night, Chucky awakens and discovers that Nica has attempted suicide. The next morning, Nica finds that her wrists have been stitched up, with a message stating "not so fast." She discovers that Angela has died, with the message "Chucky did it" in her blood. After realizing that Valentine was the last name of Charles Lee Ray's girlfriend, Nica begins to believe that Chucky is real. Believing Madeleine is in danger, Nica has Malcolm try to warn her. However, Madeline throws both the doll and Malcolm into an empty grave. The orderlies rescue Malcolm, but it is implied that Chucky has transferred his soul into his body. Chucky kills Claire next. Andy learns about the murders online and realizes that Chucky has somehow managed to transfer his soul into multiple bodies at once.

text: In a private session with Foley, Nica agrees to be hypnotized in order to regain any repressed memories about her involvement in the murders. While hypnotized, it is revealed that Foley has been sexually abusing Nica. Foley is then hit from behind by Chucky. Foley believes Nica is the one who assaulted him but is willing to keep quiet in order to blackmail her for sexual favors. Madeleine smothers her Good Guy doll with a pillow, forcing her to confront the repercussions of her real child's death. The orderlies bury the doll as a form of catharsis for Madeleine.

text: Andy hatches a plan to end the carnage by committing himself to the institution. He gets committed by assaulting one of the security guards. Foley receives a package brought in by Carlos. It is another Good Guy doll. Madeleine is visited by her doll, who has risen from the grave, and allows him to kill her so she can finally be with her baby. Foley attempts to assault Nica but is knocked out by one of the Chucky dolls. The Chucky doll awakens the doll Andy had sent. The three Chuckys reveal that the original Chucky found a voodoo spell on the Internet, which allowed him to separate his soul into multiple host bodies. Alice was one of his hosts, but was killed. Carlos is then killed by all the dolls in front of Nica.

text: Tiffany returns, killing a security guard. One of the Chucky's transfers his soul into Nica, causing her to have the ability to walk again. She kills Foley and stumbles upon Malcolm, who is killed by Madeline's Chucky. The short-haired Chucky attacks Andy but Andy reaches into Chucky's chest and pulls out a gun he planted there. He shoots the doll before stomping its head, killing him. He attempts to shoot Nica, but has wasted all of his ammunition. The institution is sent into lockdown, resulting in Andy being locked inside his cell, Madeline's Chucky going into hiding, and Nica escaping. Nica reunites with Tiffany before driving off together with the Tiffany doll, which is revealed to be alive as well.

text: In a post-credits scene, Andy's former foster sister Kyle from the second film enters Andy's house, having been sent by Andy to continue torturing the original Chucky's severed head.

text: Cast[edit]

text:
Fiona Dourif as Nica Pierce[4]
Michael Therriault as Dr. Foley
Adam Hurtig as Multiple Malcolm
Alex Vincent as Andy Barclay[4]
Elisabeth Rosen as Madeleine
Grace Lynn Kung as Claire[5]
Marina Stephenson Kerr as Angela
Zak Santiago as Nurse Carlos
Ali Tataryn as Nurse Ashley
Jennifer Tilly as Tiffany Valentine[4]
Brad Dourif as the voice of Chucky[4]
Summer H. Howell as Alice Pierce
Christine Elise as Kyle

tag: ul

text: Production[edit]

text: Development[edit]

text: In December 2013, following the release of Curse of Chucky, Don Mancini confirmed that he was planning on developing a seventh installment in the Chucky franchise.[6] By February 2015, Mancini was in the process of writing the script for the film.[7] A year later, Mancini, Jennifer Tilly and Fiona Dourif confirmed that shooting would soon begin for the film.[8] In December 2016, the production office for the film was opened in Winnipeg, Manitoba, Canada.[9] On January 5, 2017, the premise, cast, production schedule and distribution details for Cult of Chucky were revealed, with shooting set to commence four days later.[3]

text: Casting[edit]

text: On January 5, 2017, the principal cast for Cult of Chucky was announced, featuring the talent of Brad Dourif as Chucky, Fiona Dourif as Nica Pierce, Alex Vincent as Andy Barclay, Jennifer Tilly as Tiffany and Summer H. Howell as Alice.[4][10] Each of the first announced members were featured in previous films, with Brad Dourif and Vincent from Child's Play (1988), Tilly from Bride of Chucky (1998), and Fiona Dourif and Howell from Curse of Chucky (2013). Cult of Chucky marks Vincent's first principal role in the franchise since he was a child actor in Child's Play 2, twenty-seven years prior.[4] Although Andy was in Child's Play 3, he was played by a different actor, Justin Whalin due to the events taking place 8 years after the second film, which came out less than a year earlier. Andy also appeared in Curse of Chucky, during a post-credits scene.

text: Filming[edit]

text: Principal photography for Cult of Chucky began in Winnipeg on January 9, 2017, with the cinematographer from Curse of Chucky, Michael Marshall, returning in the same capacity.[3] Tony Gardner returned to create and perform the Chucky character as he had done previously for Seed of Chucky and Curse of Chucky.[11] Filming ended on February 18, 2017.[12]

text: Release[edit]

text: Cult of Chucky was released on Blu-ray, DVD, and Netflix on October 3, 2017.[13] Unlike the Blu-ray and DVD versions of the film, the Netflix version was not unrated.[14] The rated version is about a minute shorter than the unrated cut[14] and does not have a post-credits scene.[14]

text: Reception[edit]

text: On review aggregator Rotten Tomatoes, the film has an approval rating of 81% based on 16 reviews, and an average rating of 6.7/10.[15]

text: An early review posted on Bloody Disgusting, was very favorable of the film. Benedict Seal stated: "Seventh films have no right to be this good or break this much new ground. Cult of Chucky takes this wild story in a whole host of new directions that franchise fans are sure to get a kick out of. There are so many batshit delights, especially as things escalate towards the finale, but to spoil them would be to ruin Mancini and co.’s grand carnival. Without a doubt, Child's Play is a horror franchise worth treasuring."[16] Stephen Dalton of The Hollywood Reporter also had mostly positive things to say about it, stating that "the bratty quips and cheerfully nasty murders come thick and fast, with drillings and decapitations, high heels and compressed air canisters all part of their repertoire. Mancini’s low-key shooting style also shifts up a gear with slow-motion split-screen action and deranged psycho-lesbian clinches, like Brian de Palma on an indie-movie budget. A lean 91 minutes long, Cult of Chucky is part self-spoofing slasher, part lowbrow bloodbath and all guilty pleasure."[17] Scott Mendelson of Forbes said "Cult of Chucky is either the Final Chapter or a New Beginning. Either way, this most tenacious of horror franchises can walk on with its head held high."[18] William Bibbiani writing for IGN gave the film 7.4 out of 10 stated "Too many horror sequels feel like cheap and soulless cash ins. Cult of Chucky has big ideas, strong performances and some moments that rank among the best in the series. The other classic slasher franchises may be failing, but lately, Chucky is making entertaining horror sequels look like child’s play."[19]

text: Sequel[edit]

text: In July 2017, Don Mancini spoke of concept for a Child's Play film set in space.[20] In October 2017, Don Mancini expressed an interest in having Glen/Glenda from Seed of Chucky return in a future film, and that most references to that character had been cut from Cult of Chucky.[21]


document_title: Name of Toronto

question_text: what is the meaning of the word toronto

question_tokens: what is the meaning of the word toronto

text: Name of Toronto

text: History[edit]

text: Prior to the Iroquois inhabitation of the Toronto region, the Wyandot (Huron) people inhabited the region, later moving north to the area around Lake Huron and Georgian Bay. The word "toronto", meaning "plenty" appears in a French lexicon of the Huron language in 1632.[3] Toronto however, did not appear on any map of the region before 1650.[3] After 1650, and the destruction of Fort Sainte Marie, the Hurons left the region.[4]

text: The term "Toronto" became associated with Matchedash Bay, and was recorded with various spellings in French and English, including Tarento, Tarontha, Taronto, Toranto, Torento, Toronto, and Toronton.[5] "Taronto" later referred to "The Narrows", a channel of water through which Lake Simcoe discharges into Lake Couchiching. This narrows was called tkaronto by the Mohawk, meaning "where there are trees standing in the water",[1] and was recorded as early as 1615 by Samuel de Champlain.[6] Today the area is partially surrounded by trees along the water's edge with the rest with marinas and location of the historic Mnjikaning Fish Weirs.

text: By 1680, Lake Simcoe appeared as Lac de Taronto on a map created by French court official Abbé Claude Bernou; by 1686, Passage de Taronto referred to a canoe route tracking what is now the Humber River. The river became known as Rivière Taronto as the canoe route became more popular with French explorers, and by the 1720s a fort to the east of the delta on Lake Ontario was named by the French Fort Toronto.[1] Rivière Taronto was renamed to Humber River by Simcoe.[1]

text: The change of spelling from Taronto to Toronto is thought to originate on a 1695 map by Italian cartographer Vincenzo Coronelli.[1]

text: During his travels in Upper Canada in 1796, Isaac Weld wrote about Simcoe's policy of assigning English names to locations in Upper Canada. He opposed the renaming scheme, stating:[7]

text: It is to be lamented that the Indian names, so grand and sonorous, should ever have been changed for others. Newark, Kingston, York are poor substitutes for the original names of the respective places Niagara, Cataraqui, Toronto.

text: The name has also sometimes been identified with Tarantou,[6][8] a village marked on a 1656 map of New France by Nicolas Sanson. However, the location on this map is east of Lake Nipissing and northwest of Montreal in what is now Quebec.[8][9]

text: Beginnings of Upper Canada[edit]

text: In 1786, Lord Dorchester arrived in Quebec City as Governor-in-Chief of British North America. His mission was to solve the problems of the newly landed Loyalists. At first, Dorchester suggested opening the new Canada West as districts under the Quebec government, but the British Government made known its intention to split Canada into Upper and Lower Canada. Dorchester began organizing for the new province of Upper Canada, including a capital. Dorchester's first choice was Kingston, but was aware of the number of Loyalists in the Bay of Quinte and Niagara areas, and chose instead the location north of the Bay of Toronto, midway between the settlements and 30 miles (48 km) from the US. Under the policy of the time, the British recognized aboriginal title to the land and Dorchester arranged to purchase the lands from the Mississaugas.[10]

text: Dorchester intended for the location of the new capital to be named Toronto. Instead, Lieutenant Governor Simcoe ordered the name of the new settlement to be called York, after the Duke of York, who had guided a recent British victory in Holland. Simcoe is recorded as both disliking aboriginal names and disliking Dorchester. The new capital was instead named York on August 27, 1793. In 1804, settler Angus MacDonald petitioned the Upper Canada Legislature to restore the name Toronto but this was rejected.[11] To differentiate from York in England and New York City, the town was known as "Little York."[4]

text: Incorporation of the City of Toronto[edit]

text: In 1834, the Legislative Council sought to incorporate the city, then still known as York. By this time, it was already the largest city in Upper Canada, growing greatly in the late 1820s and early 1830s following the slow growth from its founding in the 1790s. The Council was petitioned to rename the city Toronto during its incorporation, and on March 1, 1834 debated the issue. In Debate on Name Toronto in Incorporation Act, March 1, 1834, records indicate various council members noting their support for or opposition to the measure. The most vocal opponents were John Willson, and Mr. Jarvis and Mr. Bidwell. Proponents were William Chisholm, William Bent Berczy, and Mr. Clark. The Speaker noted that "this city will be the only City of Toronto in the world",[12] to cheers from council.

text: The name was chosen in part to avoid the negative connotations that "York" had engendered in the city's residents, especially that of dirty Little York. Toronto was also considered more pleasing, as the speaker noted during the debate, "He hoped Honourable Members had the same taste for musical sounds as he had".[13] Berczy noted that "it is the old, original name of the place, and the sound is in every respect much better".[13]

text: On March 6, 1834, York was officially incorporated as Toronto.

text: Pronunciation[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2012) (Learn how and when to remove this template message)

text: The stress is on the second syllable; with careful enunciation "Toronto" is pronounced /toʊˈrɒntoʊ/ toh-RON-toh or /təˈrɒntoʊ/ tə-RON-toh. In conversation, locals generally pronounce it /təˈrɒnoʊ/[citation needed] tə-RON-oh, /ˈtrɒnoʊ/ TRON-oh, /ˈtrɒntoʊ/ TRON-toh, /toʊˈrɒnə/ toh-RON-ə, or /təˈrɒnə/ ( listen) tə-RON-ə, or, in its most abbreviated form, /ˈtrɒnə/ TRON-ə.[citation needed] As with other words beginning with tr, the stressed /tr/ often sounds almost like [tʃʰʷɹʷ] chr, for pronunciations such as CHRON-oh and CHRON-ə. The same speaker may pronounce "Toronto" differently depending on the subject of the conversation in which it is used.

text: Canadian francophones say [toʁɔ̃to], with the French nasal on on the second syllable and, if the word is said at the end of a phrase, the stress on the third syllable.

text: Nicknames[edit]

text: Toronto has garnered various nicknames throughout its history. Among the earliest of these was the disparaging Muddy York, used during the settlement's early growth. At the time, there were no sewers or storm drains, and the streets were unpaved. During rainfall, water would accumulate on the dirt roads, transforming them into often impassable muddy avenues.[14] A more disparaging nickname used by the early residents was Little York,[1] referring to its establishment as a collection of twelve log homes at the mouth of the Don River surrounded by wilderness, and used in comparison to New York City in the United States and York in England. This changed as new settlements and roads were established, extending from the newly established capital.

text:
“
...all roads, all new determinations of settlement radiated from the single muddy street of log houses east of the white-painted wooden church dedicated to St. James, the first representative of the present stately Cathedral...
”

— Toronto: past and present[15]

text: Adjectives were sometimes attached to Little York; records from the Legislative Council of the time indicate that dirty Little York and nasty Little York were used by residents.[12]

text:
“
He hoped the name of Toronto would be adopted, and by that means the inhabitants would not be subjected to the indignity of residing in a place designated "dirty little York".
”

— The Town of York[13]

text:
“
It would in some measure meet his notice for a change of the seat of Government as much as could be done this Session, for it would change the name from "Nasty Little York" to the CITY OF TORONTO.
”

— The Town of York[13]

text: In his book Naming Canada: Stories about Canadian Place Names, Alan Rayburn states that "no place in Canada has as many sobriquets as Toronto."[16] Among them are the nicknames:

text:
"Centre of the Universe",[16] as mentioned in the documentary film Let's All Hate Toronto,[17] as the term is used derisively by residents of the rest of Canada in reference to the city. It is also infrequently used by the media.[18][19][20] Outside Toronto, it is sometimes said to be used by residents of the city.[21] The moniker "Center of the Universe" was originally a popular nickname for New York City, and more specifically Times Square in Midtown Manhattan. It has since been used to refer to other cities.
"TO" or "T.O.", from Toronto, Ontario, or from Toronto; pronounced "Tee-Oh". Sometimes used as T-dot.[22]
"The Megacity", referring to the amalgamation of the former Metropolitan Toronto.[23]
"The City That Works", first mentioned in a Harper's Magazine article written by The Washington Post correspondent Anthony Astrachan in 1975.[16] It refers to the city's reputation for successful urban planning.[24][25][26]
"The Big Smoke",[27][28][29] used by Allan Fotheringham, a writer for Maclean's magazine, who had first heard the term applied by Aboriginal Australians to Australian cities.[16] The Big Smoke was originally a popular nickname for London, England, and is now used to refer to various cities throughout the world.
"Hogtown", said to be related to the livestock that was processed in Toronto, largely by the city's largest pork processor and packer, the William Davies Company.[30][31]

Possibly derived from the Anglo-Saxon word for York, Eoforwic, which literally translates to "wild boar village".
A by-law which imposed a 10-cent-per-pig fine on anyone allowing pigs to run in the street.[32]

"Toronto the Good",[33][34] from its history as a bastion of 19th century Victorian morality and coined by mayor William Holmes Howland.[35][36] An 1898 book by C.S. Clark was titled Of Toronto the Good. A Social Study. The Queen City of Canada As It Is.[37] The book is a facsimile of an 1898 edition. Today sometimes used ironically to imply a less-than-great or less-than-moral status.
"Queen City", a reference now most commonly used by French Canadians ("La Ville-Reine") or speakers of Quebec English,[37][38] other French-language or Franco-Ontarian newsmedia such as Le Droit or in advertising.[39] The second part of the three-part Toronto: City of Dreams documentary about the city was titled The Queen City (1867-1939).[40]
"Methodist Rome", an analogy identifying the city as a centre for Canadian Methodism.[citation needed]
"City of Churches".[41]
"Hollywood North", referring to the film industry.[42][43][44]
"Broadway North",[16] in reference to the Broadway theatre area in Manhattan. Toronto is home to the world's third largest English-speaking theatre district after London and NYC.[45]
"The 416", referring to the original telephone area code for much of the city (the other area codes are 647 and 437); the surrounding GTA suburbs, now using area codes 905, 289, and 365, are similarly "the 905".
"The Six" (also written as "The 6" or "The 6ix") popularized in 2015 by Toronto-born musician, Drake, with his mixtape If You're Reading This It's Too Late and 2016 album Views. Drake himself credits Toronto rapper Jimmy Prime with inventing the handle, but it was used by other Toronto rappers in the early 2000s, in songs such as Baby Blue Soundcrew's "Love 'Em All". The usage of the nickname in many of Drake's songs has since brought it to global attention. While the meaning of the term was initially unclear,[46] Drake clarified in a 2016 interview by Jimmy Fallon on The Tonight Show that it derived from the city's 416 area code and the six municipalities that amalgamated into the modern City of Toronto in 1998.[47]


document_title: Some Like It Hot

question_text: what instrument did tony curtis play in some like it hot

text: Some Like It Hot

text: Plot[edit]

text: It is February 1929 in the city of Chicago, during the era of prohibition.  Joe (Tony Curtis) is an irresponsible jazz saxophone player, gambler and ladies' man; his friend Jerry (Jack Lemmon) is a sensible jazz double-bass player; both are working in a speakeasy (disguised as a funeral home) owned by mob gangster "Spats" Colombo (George Raft).  When the joint is raided by the police after being tipped off by informant "Toothpick" Charlie (George E. Stone), Joe and Jerry flee—only to accidentally witness Spats and his henchmen exacting his revenge on "Toothpick" and his own gang (inspired by the real-life Saint Valentine's Day Massacre).  Penniless and in a mad rush to get out of town, the two musicians take a job with Sweet Sue (Joan Shawlee) and her Society Syncopators, an all-female band headed to Miami. Disguised as women and renaming themselves Josephine and Daphne, they board a train with the band and their male manager, Bienstock. Before they board the train, Joe and Jerry notice Sugar Kane (Marilyn Monroe), the band's vocalist and ukulele player.

text: Joe and Jerry become enamored of Sugar and compete for her affection while maintaining their disguises. Sugar confides to Joe that she has sworn off male saxophone players, who have stolen her heart in the past and left her with "the fuzzy end of the lollipop". She has set her sights on finding a sweet, bespectacled millionaire in Florida. During the forbidden drinking and partying on the train, Josephine and Daphne become intimate friends with Sugar, and have to struggle to remember that they are supposed to be girls and cannot make a pass at her.

text: Once in Miami, Joe woos Sugar by assuming a second disguise as a millionaire named Junior, the heir to Shell Oil, while feigning disinterest in Sugar. An actual millionaire, the much-married aging mama's boy Osgood Fielding III, (Joe E. Brown) tries repeatedly to pick up Daphne, who rebuffs him. Osgood invites Daphne for a champagne supper on his yacht. Joe convinces Daphne to keep Osgood occupied onshore so that Junior can take Sugar to Osgood's yacht, passing it off as his. Once on the yacht, Junior explains to Sugar that, due to psychological trauma, he is impotent and frigid, but that he would marry anyone who could change that. Sugar tries to arouse some sexual response in Junior, and begins to succeed. Meanwhile, Daphne and Osgood dance the tango ("La Cumparsita") till dawn. When Joe and Jerry get back to the hotel, Jerry explains that Osgood has proposed marriage to Daphne and that he, as Daphne, has accepted, anticipating an instant divorce and huge cash settlement when his ruse is revealed. Joe convinces Jerry that he cannot actually marry Osgood.

text: The hotel hosts a conference for "Friends of Italian Opera", which is in fact a front for a major meeting of various branches of La Cosa Nostra. Spats and his gang from Chicago recognize Joe and Jerry as the witnesses to the Valentine's Day murders. Joe and Jerry, fearing for their lives, realize they must quit the band and leave the hotel. Joe breaks Sugar's heart by telling her that he, Junior, has to marry a woman of his father's choosing and move to Venezuela. After several chases, Joe and Jerry witness additional mob killings, this time of Spats and his boys. Joe, dressed as Josephine, sees Sugar onstage singing that she will never love again. He kisses her before he leaves, and Sugar realizes that Joe is both Josephine and Junior.

text: Sugar runs from the stage at the end of her performance and manages to jump into the launch from Osgood's yacht New Caledonia just as it is leaving the dock with Joe, Jerry, and Osgood. Joe tells Sugar that he is not good enough for her, that she would be getting the "fuzzy end of the lollipop" yet again, but Sugar wants him anyway. Jerry, for his part, comes up with a list of reasons why he and Osgood cannot get married, ranging from a smoking habit to infertility. Osgood dismisses them all; he loves Daphne and is determined to go through with the marriage. Exasperated, Jerry removes his wig and shouts, "I'm a man!". Osgood, unfazed, simply responds, "Well, nobody's perfect."

text: Cast[edit]

text:
Marilyn Monroe as Sugar "Kane" Kowalczyk, a ukulele player and singer
Tony Curtis as Joe/"Josephine"/"Shell Oil Junior", a saxophone player
Jack Lemmon as Jerry (Gerald)/"Daphne", a double bass player
George Raft as "Spats" Colombo, a mobster from Chicago
Pat O'Brien as Detective Mulligan
Joe E. Brown as Osgood Fielding III
Nehemiah Persoff as "Little Bonaparte," a mobster
Joan Shawlee as Sweet Sue, the bandleader of "Sweet Sue and Her Society Syncopators"
Dave Barry as Mister Bienstock, the band manager for "Sweet Sue and Her Society Syncopators"
Billy Gray as Sig Poliakoff, Joe and Jerry's agent in Chicago
Barbara Drew as Nellie Weinmeyer, Poliakoff's secretary
George E. Stone as "Toothpick" Charlie, a gangster who is killed by "Spats" Colombo
Mike Mazurki as Spats's henchman
Harry Wilson as Spats's henchman
Edward G. Robinson Jr. as Johnny Paradise, a gangster who kills "Spats" Colombo
Beverly Wills as Dolores, a trombone player, and Sugar's apartment friend
Al Breneman as the fresh bellboy (uncredited)[4]
Tito Vuolo as Mr. Mozzarella, funeral director (uncredited)[citation needed]
Tom Kennedy as Mozzarella's bouncer (uncredited)[citation needed]
Grace Lee Whitney as Rosella (uncredited)

text: Soundtrack[edit]

text:
Some Like It Hot: Original MGM Motion Picture Soundtrack
Soundtrack albumReleased
24 February 1998Genre
SoundtrackJazzLength
32:22

text: The soundtrack features four songs performed by Marilyn Monroe for the movie, nine songs composed by Adolph Deutsch, as well as 2 songs performed by jazz artist Matty Malneck.[5]

text: No.TitleLength1."Runnin' Wild" (Marilyn Monroe)1:072."Medley: Sugar Blues/Running Wild" (Adolph Deutsch & His Orchestra)1:323."Down Among the Sheltering Palms" (Adolph Deutsch & His Orchestra)1:594."Randolph Street Rag" (Adolph Deutsch)1:285."I Wanna Be Loved By You" (Marilyn Monroe)2:586."Park Avenue Fantasy" (Adolph Deutsch & His Orchestra)3:347."Medley: Down Among the Sheltering Palms / La Cumparsita / I Wanna Be Loved By You" (Adolph Deutsch & His Orchestra)2:208."I'm Thru With Love" (Marilyn Monroe)2:349."Medley: Sugar Blues / Tell the Whole Damn World" (Adolph Deutsch & His Orchestra)3:2510."Play It Again Charlie" (Adolph Deutsch)1:4911."Sweet Georgia Brown" (Matty Malneck & His Orchestra)2:5712."By the Beautiful Sea" (Adolph Deutsch & His Orchestra)1:2213."Park Avenue Fantasy (Reprise)" (Adolph Deutsch & His Orchestra)2:1014."Some Like It Hot" (Matty Malneck & His Orchestra)1:4615."Some Like It Hot (Single Version)" (Marilyn Monroe)1:21Total length:32:22

text: Production[edit]

text: Pre-production[edit]

text: Billy Wilder wrote the script for the film Some Like it Hot with writer I.A.L. Diamond.[6] The plot is based on a screenplay by Robert Thoeren and Michael Logan from the 1935 French film Fanfare of Love.[7] However, the original script for Fanfare of Love was untraceable, so Walter Mirisch found a copy of the 1951 German remake Fanfares of Love. He bought the rights to the script and Wilder worked with this to produce a new story.[7] Although Some Like It Hot has been seen as a remake of Fanfare of Love, as both films follow the story of two musicians in search of work,[6] Wilder was the creator of the gangster subplot that kept the musicians on the run.[8]

text: The studio hired Barbette, a famous female impersonator, to coach Lemmon and Curtis on gender illusion for the film.[7]

text: Marilyn Monroe worked for 10% of the gross in excess of $4 million, Tony Curtis for 5% of the gross over $2 million and Billy Wilder 17.5% of the first million after break-even and 20% thereafter.[9]

text: Casting[edit]

text: Tony Curtis was spotted by Billy Wilder while he was making the film Houdini (1953),[10] as he thought Tony would be perfect for the role of Joe. "I was sure Tony was right for it," explained Wilder, "because he was quite handsome, and when he tells Marilyn that he is one of the Shell Oil family, she has to be able to believe it".[11] Wilder's first idea for the role of Jerry was Frank Sinatra, but he never came to the audition.[12] Jerry Lewis and Danny Kaye were also considered for the role of Jerry. Finally, Wilder saw Jack Lemmon in the comedy Operation Mad Ball[13] and selected him for the role of Jerry.  Billy Wilder and Jack Lemmon made numerous films together until 1981, among them The Apartment and several films with Walter Matthau.

text: According to York Film Notes, Billy Wilder and I.A.L. Diamond didn't expect such a big star as Marilyn Monroe to take the part of Sugar[6] in fact, Wilder said, "Mitzi Gaynor was who we had in mind. The word came that Marilyn wanted the part and then we had to have Marilyn."[14] Wilder and Monroe had already made the film The Seven Year Itch together in 1955.

text: Filming[edit]

text: The film was made in California during the summer and autumn of 1958.[15] Many scenes were shot at the Hotel del Coronado in San Diego which appeared as the "Seminole Ritz Hotel" in Miami in the film. The Hotel in San Diego fitted into the era of the 1920s and was near Hollywood, so Wilder chose it although it was not in Florida.

text: There were many problems with Marilyn Monroe, who lacked concentration and suffered from an addiction to pills. She could not memorize many of her lines and required 47 takes to get "It's me, Sugar" correct, instead saying either "Sugar, it's me" or "It's Sugar, me". Tony Curtis and Jack Lemmon made bets during the filming on how many takes Marilyn would need to get it right.[16] Paradoxically, three days for shooting were scheduled for the scene with Shell Jr. and Sugar at the beach and although Marilyn had plenty of complicated lines, the whole scene between Shell Jr. and Sugar was completely finished in only 20 minutes.[17] Monroe's acting coach Paula Strasberg and Monroe's husband Arthur Miller both tried to influence the production, which Wilder and other crew members found annoying.[18][19]

text: Billy Wilder said in 1959 about filming another movie with Marilyn Monroe: "I have discussed this with my doctor and my psychiatrist and they tell me I'm too old and too rich to go through this again."[20] But Wilder also admitted: "My Aunt Minnie would always be punctual and never hold up production, but who would pay to see my Aunt Minnie?"[21] He also stated that Monroe played her part wonderfully.[22]

text: The film's iconic closing line, "Nobody's perfect"—now ranked 78th on The Hollywood Reporter list of Hollywood's 100 Favorite Movie Lines—was never supposed to be in the final cut.  Diamond and Wilder put it in the script as a "placeholder" until they could come up with something better, but never did.[23]

text: Style[edit]

text: With regards to sound design, there is a 'strong musical element'[6] in the film, with the soundtrack created by Adolph Deutsch. It has an authentic 1920s jazz feel using sharp, brassy strings to create tension in certain moments, for example whenever Spats' gangsters appear. In terms of cinematography and aesthetics, Billy Wilder chose to shoot the film in black and white as Jack Lemmon and Tony Curtis in full drag costume and make-up looked 'unacceptably grotesque' in early color tests.[6]

text: Reception[edit]

text: Some Like It Hot received widespread acclaim from critics, and is considered among the best films of all time. It received six Academy Award nominations, including Best Actor for Lemmon and Best Director and Best Screenplay for Wilder, the latter along with I.A.L. Diamond.[24] It was voted as the top comedy film by the American Film Institute on their list on AFI's 100 Years... 100 Laughs poll in 2000.[25]

text: By 1962, the film had grossed $14 million in the US.[26]

text: Roger Ebert wrote about the movie, "Wilder's 1959 comedy is one of the enduring treasures of the movies, a film of inspiration and meticulous craft."[27] John McCarten of The New Yorker referred to the film as "a jolly, carefree enterprise".[28] The Guardian's Richard Roud claims that Wilder comes "close to perfection" with the film.[29]

text: On Rotten Tomatoes, the film has an approval rating of 96% based on 53 reviews, and the average rating is 9 out of 10. The website's critical consensus reads, "Some Like It Hot: A spry, quick-witted farce that never drags."[30]

text: In 1989, this film became one of the first 25 inducted into the United States National Film Registry.[31]

text: Though sometimes said to have been "condemned" by the Roman Catholic Church's Legion of Decency, that body gave the film its less critical rating as "morally objectionable".[32]

text: In 2017, the BBC conducted an international survey for the best comedy in film history among 253 film critics from 50 countries, which ranked Some Like It Hot as number one.[33] In July 2018, it was selected to be screened in the Venice Classics section at the 75th Venice International Film Festival.[34]

text: Awards and honors[edit]

text:
Date of ceremony

Award

Category

Recipients and nominees

Result

August 23 – September 6, 1959[35]

Venice Film Festival

Golden Lion

Some Like It Hot
Nominated

December 1959[36][37]

National Board of Review Awards

Top Ten Films

Some Like It Hot
Won

February 6, 1960[38][39]

Directors Guild of America Award

Outstanding Achievement in Feature Film

Billy Wilder
Nominated

1960[40]

British Academy Film Awards

Best Film from any Source

Some Like It Hot
Nominated

Best Foreign Actor

Jack Lemmon
Won

March 10, 1960[41][42]

Golden Globe Awards

Best Actor in a Motion Picture – Comedy or Musical

Jack Lemmon
Won

Best Actress in a Motion Picture – Comedy or Musical

Marilyn Monroe
Won

Best Motion Picture – Musical or Comedy

Some Like It Hot
Won

April 4, 1960[43]

Academy Awards

Best Director

Billy Wilder
Nominated

Best Actor

Jack Lemmon
Nominated

Best Adapted Screenplay

Billy Wilder, I. A. L. Diamond
Nominated

Best Cinematography – Black-and-white

Charles Lang
Nominated

Best Art Direction – Black-and-white

Ted Haworth (Art Direction), Edward G. Boyle (Set Decoration)
Nominated

Best Costume Design—Black and white

Orry-Kelly
Won

May 6, 1960[44][45]

Writers Guild of America Awards

Best Written Comedy

Billy Wilder, I.A.L. Diamond
Won

September 28, 1960[46]

Laurel Awards

Top Female Comedy Performance

Marilyn Monroe (2nd place)
Won

Top Male Comedy Performance

Jack Lemmon (2nd place)
Won

Top Comedy

Some Like It Hot (3rd place)
Won

1960[46][47]

Bambi Awards

Best Actor—International

Tony Curtis (2nd place)
Nominated

text: The film is recognized by American Film Institute in these lists:

text:
1998: AFI's 100 Years...100 Movies – #14[48]
2000: AFI's 100 Years...100 Laughs – #1[49]
2005: AFI's 100 Years...100 Movie Quotes:
Osgood Fielding III: "Well, nobody's perfect." – #48[50]
2007: AFI's 100 Years...100 Movies (10th Anniversary Edition) – #22[51]

text: Adaptations[edit]

text: An unsold television pilot was filmed by Mirisch Productions in 1961 featuring Vic Damone and Tina Louise. As a favor to the production company, Jack Lemmon and Tony Curtis agreed to film cameo appearances, returning as their original characters, Daphne and Josephine, at the beginning of the pilot. Their appearance sees them in a hospital where Jerry (Lemmon) is being treated for his impacted back tooth and Joe (Curtis) is the same O blood type.[52]

text: In 1972, a musical play based on the screenplay of the film, entitled Sugar, opened on Broadway, and starred Elaine Joyce, Robert Morse, Tony Roberts and Cyril Ritchard, with book by Peter Stone, lyrics by Bob Merrill, and (all-new) music by Jule Styne. A 1991 stage production of this show in London featured Tommy Steele and retained the film's title. In 2002, the aging Tony Curtis performed in a stage production of the film, cast as the character originally played by Joe E. Brown (Osgood Fielding III).