document_title: Mary Poppins (film)

question_text: where does the banks family live in mary poppins

text: Mary Poppins (film)

text: Plot[edit]

text: In Edwardian London, 1910, Bert entertains a crowd as a one-man band when he senses a change in the wind. Afterwards, he directly addresses the audience, and gives them a tour of Cherry Tree Lane, stopping outside the Banks family’s home. George Banks returns home to learn from Winifred that Katie Nanna has left their service after Jane and Michael ran away again. They are returned shortly after by Constable Jones, who reveals the children were chasing a lost kite. The children ask him to help build a better kite, but he dismisses them. Taking it upon himself to hire a new nanny, Mr. Banks advertises for a stern, no-nonsense nanny. Instead, Jane and Michael present their own advertisement for a kinder, sweeter nanny. But once Mr. Banks rips up the letter, and throws the scraps in the fireplace, the remains of the advertisement magically float up, and out into the air.

text: The next day finds a number of elderly, sour-faced nannies waiting outside. Then, a strong gust of wind blows them away, and Jane and Michael witness a young nanny descending from the sky using her umbrella. Presenting herself to Mr. Banks, Mary Poppins calmly produces the children's restored advertisement, and agrees with its requests, but promises the astonished banker she will be firm with his children. As Mr Banks puzzles over the advertisement's return, Mary Poppins hires herself, and convinces him it was originally his idea. She meets the children, then helps them tidy their nursery through song, before heading out for a walk in the park.

text: Outside, they meet Bert, working as a screever; Mary Poppins uses her magic to transport the group into one of the drawings. While the children ride on a carousel, Mary Poppins and Bert go on a leisurely stroll, and are served tea by a quartet of penguin waiters. Mary Poppins enchants the carousel horses, and participates in a horse race, which she wins. While being asked to describe her victory, Mary Poppins announces the nonsense word "Supercalifragilisticexpialidocious". However, the outing is ruined when a thunderstorm demolishes Bert's drawings, returning the group to London.

text: On another outing, the four meet Uncle Albert, who has floated up in the air due to his uncontrollable laughter; they join him for a tea party on the ceiling, telling jokes.

text: Mr. Banks becomes annoyed by his family’s cheery atmosphere, and threatens to fire Mary Poppins. Instead, Mary Poppins inverts his attempt by convincing him to take the children to the bank for a day. Mr. Banks takes Jane and Michael to the bank, where they meet Mr. Dawes Sr. and his son. Mr. Dawes aggressively attempts to have Michael invest his tuppence in the bank, snatching it from him. Michael demands it back, causing other customers to misinterpret, and all demand their own money back, causing a bank run.

text: Jane and Michael flee the bank, getting lost in the East End until they run into Bert, now working as a chimney sweep, who escorts them home. The three and Mary Poppins venture onto the rooftops, where they have a song-and-dance number with other chimney sweeps. Then, Mr. Banks returns home, receives a phone call from his employers, and speaks with Bert, who tells him he should spend more time with his children before growing up. Jane and Michael give their father Michael's tuppence in the hope to make amends.

text: Mr. Banks walks through London to the bank, where he is given a humiliating cashiering, and is dismissed. Looking to the tuppence for words, he blurts out "Supercalifragilisticexpialidocious!", tells one of Uncle Albert's jokes, and happily heads home. Dawes mulls over the joke, but finally "gets" it, and floats up into the air, laughing.

text: The next day, the wind changes, meaning Mary Poppins must leave. A happier Mr. Banks is found at home, having fixed his children's kite, and takes the family out to fly it. In the park, the Banks meet Mr. Dawes Jr, who reveals his father died laughing from the joke, and re-employs Mr. Banks as a junior partner. With her work done, Mary Poppins flies away, with Bert bidding her farewell, telling her not to stay away too long.

text: Cast[edit]

text:
Julie Andrews as Mary Poppins, a magical and loving woman who descends down from the clouds in response to the Banks children's advertisement for a nanny. She is not only firm in her use of authority but gentle and kind as well, a major departure from the original books, in which the character was strict and pompous.[6]
Dick Van Dyke as Bert, a cockney jack-of-all-trades and Mary Poppins's closest friend, who is completely accustomed to her magic. Their playful interactions imply that they have known each other for a long time and that this kind of story has repeated itself many times. Bert has at least four jobs throughout the film: a one-man band, a pavement chalk artist, a chimney sweep, and a kite seller.

Dick Van Dyke also portrays Mr. Dawes Sr., the old director of the bank where Mr. Banks works. During the film's end titles, "Navckid Keyd", an anagram of Dick Van Dyke, is first credited as playing the role before the letters unscramble to reveal Van Dyke's name.

David Tomlinson as George Banks, Mary Poppins' employer and father of Jane and Michael. He works at the Dawes Tomes Mousley Grubbs Fidelity Fiduciary Bank in London. He is a driven and disciplined man.
Glynis Johns as Winifred Banks, the easily distracted wife of George Banks and the mother of Jane and Michael. She is depicted as a member of Emmeline Pankhurst's "Votes for Women" suffragette movement. Mrs. Banks was originally named Cynthia, but this was changed to the more English-sounding Winifred per Travers.[7]
Hermione Baddeley as Ellen, the maid of the Banks residence.
Karen Dotrice as Jane Banks.
Matthew Garber as Michael Banks.
Elsa Lanchester as Katie Nanna, the disgruntled nanny who quits the Banks family.
Arthur Treacher as Constable Jones, a police officer.
Reginald Owen as Admiral Boom, the Banks' eccentric neighbor and a naval officer. He has his first mate, Mr. Binnacle, fire a cannon from his roof every 8 a.m. and 6 p.m.
Ed Wynn as Uncle Albert, a jolly gentleman who suffers from an unknown condition where he floats in the air during fits of uncontrollable laughter. Although he likes having company over, he becomes very sad and cries when his guests have to leave (he falls back to the ground, since it is the inversion of laughing).
Reta Shaw as Mrs. Brill, the cook of the Banks residence.
Don Barclay as Mr. Binnacle, Admiral Boom's first mate.
Marjorie Bennett as Miss Lark, owner of the dog named Andrew, who frequently runs away.
Arthur Malet as Mr. Dawes Jr., the director's son and member of the board.
Jane Darwell as the "Bird Woman," an old woman who sells breadcrumbs for the pigeons on the steps of St Paul's Cathedral.
Marjorie Eaton as Miss Maya Persimmon.
Jimmy Logan as a doorman who chases after the children in the bank.
Alma Lawton as Mrs. Corry, an old shopkeeper of a gingerbread shop and mother of two daughters.
Betty Lou Gerson as Old Crone (uncredited)
Kay E. Kuter as Man in Bank (uncredited)
Doris Lloyd as Depositor (uncredited)
Queenie Leonard as Depositor (uncredited)

tag: ul

text: Voices[edit]

text:
Julie Andrews as Robin, Female Pearly
Marc Breaux as Cow
Daws Butler as Penguin Waiter, Turtles
Peter Ellenshaw as Penguin Waiter
Paul Frees as Barnyard Horse
Bill Lee as Ram
Sean McClory as Bloodhound, Reporter #4
Dallas McKennon as Fox, Bloodhound, Penguin Waiter, Horse, Carousel Guard
Alan Napier as Huntsman, Reporter #3, Bloodhound
Marni Nixon as Geese
J. Pat O'Malley as Bloodhound, Hunting Horse, Master of Hounds, Pearly Drummer, Penguin Waiter, Photographer, Reporter #2
George Pelling as Bloodhound, Reporter #1
Thurl Ravenscroft as Hog, Andrew's Whimper
Richard M. Sherman as Penguin Waiter, Male Pearly
Robert B. Sherman as the "Bird Woman," Pearly Banjo Player
David Tomlinson as Penguin Waiter, Jockey, Race Track Stewards, Mr. Binnacle, Mary Poppins' Parrot Umbrella[8]
Ginny Tyler as Lambs

text: Production[edit]

text: Development[edit]

text: The first book in the Mary Poppins book series was the film's main basis. According to the 40th Anniversary DVD release of the film in 2004, Disney's daughters fell in love with the Mary Poppins books and made him promise to make a film based on them. Disney first attempted to purchase the film rights to Mary Poppins from P. L. Travers as early as 1938 but was rebuffed because Travers did not believe a film version of her books would do justice to her creation. In addition, Disney was known at the time primarily as a producer of cartoons and had yet to produce any major live-action work. For more than 20 years, Disney periodically made efforts to convince Travers to allow him to make a Poppins film. He finally succeeded in 1961, although Travers demanded and got script approval rights. The Sherman Brothers composed the music score and were also involved in the film's development, suggesting the setting be changed from the 1930s to the Edwardian era. Pre-production and song composition took about two years.

text: Pre-production[edit]

text: Travers was an adviser to the production. However, she disapproved of the dilution of the harsher aspects of Mary Poppins' character, felt ambivalent about the music, and so hated the use of animation that she ruled out any further adaptations of the later Mary Poppins novels.[9] She objected to a number of elements that actually made it into the film. Rather than original songs, she wanted the soundtrack to feature known standards of the Edwardian period in which the story is set. She also objected to the animated sequence. Disney overruled her, citing contract stipulations that he had final say on the finished print. Much of the Travers-Disney correspondence is part of the Travers collection of papers in the Mitchell Library of New South Wales, Australia. The relationship between Travers and Disney is detailed in Mary Poppins She Wrote, a biography of Travers, by Valerie Lawson. The biography is the basis for two documentaries on Travers, The Real Mary Poppins, and Lisa Matthews' The Shadow of Mary Poppins.[10][11][12] Their relationship during the development of the film was also dramatized in the 2013 film, Saving Mr. Banks.

text: Casting[edit]

text: Julie Andrews, who was making her feature film acting debut after a successful stage career, got the prime role of Mary Poppins soon after she was passed over by Jack L. Warner and replaced with Audrey Hepburn for the role of Eliza Doolittle in his screen adaptation of My Fair Lady, even though Andrews had originated the role on Broadway.[13] When Disney first approached Andrews about taking on the role, Andrews was three months pregnant and therefore was not sure she should take it. Disney assured her that the crew would be fine with waiting to begin filming until after she had given birth so that she could play the part.[14] Julie Andrews also provided the voice in two other sections of the film: during "A Spoonful of Sugar," she provided the whistling harmony for the robin, and she was also one of the Pearly singers during "Supercalifragilisticexpialidocious." David Tomlinson, besides playing Mr. Banks, provided the voice of Mary's talking umbrella and numerous other voice-over parts (including that of Admiral Boom's first mate). During the "Jolly Holiday" sequence, the three singing Cockney geese were all voiced by Marni Nixon, a regular aural substitute for actresses with substandard singing voices. Nixon would later provide the singing voice for Hepburn in My Fair Lady and play one of Andrews' fellow nuns in The Sound of Music. Andrews later beat Hepburn for the Best Actress Award at the Golden Globes for their respective roles. Andrews would also win the Academy Award for Best Actress for her role. Hepburn did not receive a nomination. Richard Sherman, one of the songwriters, also voiced a penguin as well as one of the Pearlies.[15] Robert Sherman dubbed the speaking voice for Jane Darwell because Darwell's voice was too weak to be heard in the soundtrack. Sherman's voice is heard saying the only line: "Feed the Birds, Tuppence a bag."[16]

text: Disney cast Dick Van Dyke in the key supporting role of Bert after seeing his work on The Dick Van Dyke Show. After winning the role of Bert, Van Dyke lobbied to also play the senior Mr. Dawes, but Disney originally felt he was too young for the part. Van Dyke eventually won Disney over after a screen test.[17] Although he is fondly remembered for this film, Van Dyke's attempt at a Cockney accent is regarded as one of the worst film accents in history, cited as an example by actors since as something that they wish to avoid.[18] In a 2003 poll by Empire magazine of the worst film accents of all time, he came second.[19] Van Dyke claims that his accent coach was the Irish J. Pat O'Malley, who "didn't do an accent any better than I did".[20]

text: Filming[edit]

text: Filming took place between May and September 1963, with post-production and animation taking another 11 months.[21]

text: The film changed the book's storyline in a number of places. For example, Mary, when approaching the house, controlled the wind rather than the other way around. As another example, the father, rather than the mother, interviewed Mary for the nanny position. A number of other changes were necessary to condense the story into feature length. In the film, there are only two Banks children, Jane and Michael. The satirical and mysterious aspects of the original book gave way to a cheerful and "Disney-fied" tone. Mary Poppins' character as portrayed by Andrews in the film is somewhat less vain and more sympathetic towards the children compared to the rather cold and intimidating nanny of the original book. Bert, as played by Van Dyke, was a composite of several characters from Travers' stories. Travers demanded that any suggestions of romance between Mary and Bert be eliminated, so lyrics were written for "Jolly Holiday" that clearly indicated that their friendship was purely platonic; some subtle hints of romance, however, did remain in the finished film.

text: Music[edit]

text: Buena Vista Records released the original motion picture soundtrack on LP and reel-to-reel tape.[22] Due to time constraints, some songs were edited (such as "Step in Time" and "Jolly Holiday", "A Spoonful of Sugar"), while songs also featured introductory passages ("Supercalifragilisticexpialidocious") or completed endings ("Sister Suffragette", "Fidelity Fiduciary Bank", "A Man Has Dreams"). Written by Richard and Robert Sherman, the songs were inspired by Edwardian British music hall music.[23] The score won two Grammy Awards and two Academy Awards.[24][25]

text: Walt Disney Records re-issued the soundtrack in 1997, including a 16-minute track of unreleased songs and demo versions.[26] In 2004, as part of the 40th Anniversary (also called Special Edition), a 28-track disc (as part of a two-disc set) was released.[27] In 2014 (the 50th anniversary of the film's release), the soundtrack was released in a 3-CD edition as part of the Walt Disney Records The Legacy Collection series; this edition includes demos of many "lost" tracks.[28]

text: Soundtrack[edit]

text: All tracks are written by Richard M. Sherman and Robert B. Sherman.

text: Deleted songs[edit]

text: A number of other songs were written for the film by the Sherman Brothers and either rejected or cut for time. Richard Sherman, on the 2004 DVD release, indicated that more than 30 songs were written at various stages of the film's development. No cast recordings of any of these songs have been released to the public, only demos or later performances done by the songwriters — with the exception of the rooftop reprise of "Chim Chim Cher-ee" and the "smoke staircase yodel" mentioned below.

text:
"The Chimpanzoo", was originally to follow "I Love to Laugh" during the Uncle Albert "ceiling tea party" sequence, but it was dropped from the soundtrack just before Julie Andrews and company were to record it. The fast-paced number was not unveiled to the public until Richard Sherman, aided by recently uncovered storyboards, performed it on the 2004 DVD edition. The re-creation suggests it was to have been another sequence combining animation and live action.
"Practically Perfect" was intended to introduce Mary but instead the melody of the piece was used for "Sister Suffragette" (used to introduce Mrs. Banks). A different song with the same name was written for the stage musical.
"The Eyes of Love", a romantic ballad intended for Bert and Mary, but according to Richard Sherman, Andrews suggested privately to Disney that this song was unsuitable. In response, "A Spoonful of Sugar" was written.
"Mary Poppins Melody" was to be performed when Mary introduces herself to the children. Elements of the song later became part of "Stay Awake". The melody was the basis for a couple of other songs that were ultimately cut from the film.
"A Name's a Name". Heard on a recording taken of a meeting between the Sherman Brothers and Travers, this song was originally intended for the nursery scene that later became "A Spoonful of Sugar". The melody was reused for "Mary Poppins Melody".
"You Think, You Blink" was a short piece that Bert was to sing just before entering the chalk painting (and starting the "Jolly Holiday" sequence). In the film, Dick Van Dyke simply recites the lyric instead of singing it.
"West Wind" was a short ballad to be sung by Mary. The song was later retitled "Mon Amour Perdu" and used in the later Disney film, Big Red.
"The Right Side" was to be sung by Mary to Michael after he gets out of bed cranky. It was recycled for the Disney Channel television series Welcome to Pooh Corner as Winnie the Pooh's personal theme song.
"Measure Up" was to accompany the scene in which Mary takes the tape measure to Jane and Michael.
"Admiral Boom" was to be the theme song for the cannon-firing neighbor of the Banks Residence, but it was cut by Walt Disney as being unnecessary. The melody of the song remains in the film, and the bombastic theme is heard whenever Boom appears onscreen. One line from this song ("The whole world takes its time from Greenwich, but Greenwich, they say, takes its time from Admiral Boom!") is spoken by Bert early in the film.
"Sticks, Paper and Strings" was an early version of "Let's Go Fly a Kite."
"Lead the Righteous Life", an intentionally poorly written hymn, was to have been sung by Katie Nanna (Elsa Lanchester) along with Jane and Michael prior to Mary Poppins' arrival. The melody was later reused for a similar song in The Happiest Millionaire
"The Pearly Song" was not deleted per se but was instead incorporated into "Supercalifragilisticexpialidocious".

tag: ol

text: The Compass Sequence, a precursor to "Jolly Holiday", was to be a multiple-song sequence. A number of possible musical components have been identified:

text:
"South Sea Island Symphony"
"Chinese Festival Song"
"Tim-Buc-Too" – elements of this were reused for "The Chimpanzoo" which was also cut
"Tiki Town" – the melody was reused for "The Chimpanzoo"
"North Pole Polka"
"Land of Sand" – later rewritten as "Trust in Me" for the animated version of The Jungle Book
"The Beautiful Briny" – later used in Bedknobs and Broomsticks
"East is East" – another variation on the unused "Mary Poppins Melody".

text: Deleted scores and music[edit]

text:
The "Step in Time" sequence ends with the chimney sweeps being scattered by an onslaught of fireworks fired from Admiral Boom's house. In the final film, the scene plays out with sound effects and no music. The DVD release included the original version of the scene which was accompanied by a complex instrumental musical arrangement that combined "Step in Time", the "Admiral Boom" melody (see above), and "A Spoonful of Sugar". This musical arrangement can be heard on the film's original soundtrack.
Andrews recorded a brief reprise of "Chim Chim Cher-ee" which was to have accompanied Mary, Bert, and the children as they marched across the rooftops of London (an instrumental reprise of "A Spoonful of Sugar" was used as a march instead; however, Andrews and Dick Van Dyke can still be seen and heard singing a reprise of "Chim Chim Cher-ee" in that sequence, just before the other chimney sweeps appear for the "Step in Time" number).
The robin Mary Poppins whistles with in "A Spoonful of Sugar" originally sang a lyric as well.
Andrews also recorded a brief yodel which breaks into the first line of "A Spoonful of Sugar" which was to have been used to "activate" the smoke staircase prior to the "Step in Time" number. Although cut from the film, footage of Andrews performing this exists and was included on the 2004 DVD. The DVD also indicates that an alternate version of the yodel performed by Dick Van Dyke may also exist.

text: Release[edit]

text: Mary Poppins premiered on August 27, 1964, at Grauman's Chinese Theatre in Los Angeles.[21][29] Travers was not extended an invitation to the event, but managed to obtain one from a Disney executive. It was at the after-party that Richard Sherman recalled her walking up to Disney and loudly announcing that the animated sequence had to go. Disney responded, "Pamela, the ship has sailed," and walked away.[12]

text: Home media[edit]

text: Mary Poppins was first released in late 1980 on VHS, Betamax, CED and LaserDisc. On October 28, 1994, August 26, 1997, and March 31, 1998, it was re-released three times as part of the Walt Disney Masterpiece Collection. In 1998, this film became Disney's first DVD. On July 4, 2000, it was released on VHS and DVD as part of the Gold Classic Collection. On December 14, 2004, it had a 2-Disc DVD release in a Digitally Restored 40th Anniversary Edition as well as its final issue in the VHS Format. The film's audio track featured an "Enhanced Home Theater Mix" consisting of replaced sound effects (to make the soundtrack more "modern") and improved fidelity and mixing and some enhanced music (this version was also shown on 2006–2012 ABC Family airings of the movie.) On January 27, 2009, the film was released on DVD again as a 45th anniversary edition, with more language tracks and special features (though the film's "Enhanced Home Theater Mix" was not included.) Walt Disney Studios Home Entertainment released the film on Blu-ray as the 50th Anniversary Edition on December 10, 2013.[30]

text: Reception[edit]

text: Critical reception[edit]

text: The film received universal acclaim from film critics.[31] Film review aggregator Rotten Tomatoes reports that 100% of critics gave the film a "fresh" rating, based on 44 reviews with an average score of 8.3/10. The site's consensus refers to it as "A lavish modern fairy tale celebrated for its amazing special effects, catchy songs, and Julie Andrews's legendary performance in the title role."[32]

text: Variety praised the film's musical sequences and the performances of Julie Andrews and Dick Van Dyke, in particular.[33] Time lauded the film, stating, "The sets are luxuriant, the songs lilting, the scenario witty but impeccably sentimental, and the supporting cast only a pinfeather short of perfection."[34]

text: Critic Drew Casper summarized the impact of Mary Poppins in 2011:

text: Disney was the leader, his musical fantasies mixing animation and truly marvelous f/x with real-life action for children and the child in the adult. Mary Poppins (1964) was his plum. ... the story was elemental, even trite. But utmost sophistication (the chimney pot sequence crisply cut by Oscared "Cotton" Warburton) and high-level invention (a tea party on the ceiling, a staircase of black smoke to the city's top) characterized its handling.[35]

text: Box office[edit]

text: The film earned $31 million in North American rentals during its initial run.[36] The film was re-released theatrically in 1973, in honor of Walt Disney Productions' 50th anniversary, and earned an estimated additional $9 million in North American rentals.[37] It was released once more in 1980 and grossed $14 million.[38] It returned a total lifetime rental of $45 million [39] to Disney from a gross of over $102 million from its North American theatrical releases.[3]

text: The film was the twentienth most popular sound film of the twentieth century in the UK with admissions of 14 million.[40]

text: The film was very profitable for Disney. Made on an estimated budget of $4.4–6 million,[2][41][42] it was reported by Cobbett Steinberg to be the most profitable film of 1965, earning a net profit of $28.5 million.[31][43] Walt Disney used his huge profits from the film to purchase land in central Florida and finance the construction of Walt Disney World.[44]

text: Accolades[edit]

text:
Awards

Award
Date of ceremony
Category
Recipients and nominees
Result

Academy Awards[25]
April 5, 1965
Best Picture
Walt Disney and Bill Walsh
Nominated

Best Director
Robert Stevenson

Best Actress in a Leading Role
Julie Andrews
Won

Best Adapted Screenplay
Don DaGradi and Bill Walsh
Nominated

Best Cinematography, Color
Edward Colman

Best Art Direction, Color
Carroll Clark, William H. Tuntke, Emile Kuri and Hal Gausman

Best Costume Design, Color
Tony Walton

Best Sound
Robert O. Cook

Best Film Editing
Cotton Warburton
Won

Best Visual Effects
Peter Ellenshaw, Eustace Lycett and Hamilton Luske

Best Original Song
"Chim Chim Cher-ee" – Richard M. Sherman and Robert B. Sherman

Best Score
Richard M. Sherman, Robert B. Sherman

Best Adaptation or Treatment Score
Irwin Kostal
Nominated

Golden Globe Awards[45]
February 8, 1965
Best Motion Picture – Musical or Comedy
Robert Stevenson, Walt Disney and Bill Walsh

Best Performance by an Actor in a Leading Role – Musical or Comedy
Dick Van Dyke

Best Performance by an Actress in a Leading Role – Musical or Comedy
Julie Andrews
Won

Best Original Score
Richard M. Sherman, Robert B. Sherman
Nominated

Grammy Awards[24]
April 13, 1965
Best Recording for Children
Richard M. Sherman, Robert B. Sherman, Julie Andrews, Dick Van Dyke, Glynis Johns, David Tomlinson, Ed Wynn
Won

Best Original Score Written for a Motion Picture or Television Show
Richard M. Sherman, Robert B. Sherman

New York Film Critics Circle[46]
January 23, 1965
Best Actress
Julie Andrews
Nominated

Directors Guild of America Award[47]

Outstanding Directorial Achievement in Motion Pictures
Robert Stevenson

Writers Guild of America Award[48]

Best Written American Musical
Don DaGradi and Bill Walsh
Won

text: Legacy[edit]

text: Mary Poppins is widely considered to be one of the greatest films of all time and Walt Disney's "crowning achievement".[49] It was the only film of Disney's to garner a "Best Picture" nomination at the Oscars in his lifetime.[50]

text: The film also inspired the eighth-season episode of The Simpsons entitled "Simpsoncalifragilisticexpiala(Annoyed Grunt)cious", featuring a parody of Mary called "Shary Bobbins" who helps out the Simpson family after Marge loses her hair due to stress, and spoofs of the songs "The Perfect Nanny", "A Spoonful of Sugar", "Feed The Birds" and "The Life I Lead".

text: Never at ease with the handling of her property by Disney or the way she felt she had been treated, Travers would never again agree to another Poppins/Disney adaptation. So fervent was Travers' dislike of the Disney adaptation and of the way she felt she had been treated during the production, that when producer Cameron Mackintosh approached her about the stage musical in the 1990s, she acquiesced on the condition that he used only English-born writers and no one from the film production were to be directly involved with creating the stage musical.[51]

text:
AFI's 100 Years...100 Songs:

"Supercalifragilisticexpialidocious" – #36

AFI's 100 Years of Musicals – #6[52]

text: Sequel[edit]

text: On September 14, 2015, it was reported that a new film was in development by Walt Disney Pictures. The film will take place 20 years after the first, featuring a standalone narrative based on the remaining seven books in the series. Rob Marshall has been hired to direct, while John DeLuca and Marc Platt will serve as producers.[53]


document_title: List of The Vampire Diaries episodes

question_text: how many episodes in a season of vampire diaries

root

text: List of The Vampire Diaries episodes

text: Series overview[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
22
September 10, 2009 (2009-09-10)
May 13, 2010 (2010-05-13)

2
22
September 9, 2010 (2010-09-09)
May 12, 2011 (2011-05-12)

3
22
September 15, 2011 (2011-09-15)
May 10, 2012 (2012-05-10)

4
23
October 11, 2012 (2012-10-11)
May 16, 2013 (2013-05-16)

5
22
October 3, 2013 (2013-10-03)
May 15, 2014 (2014-05-15)

6
22
October 2, 2014 (2014-10-02)
May 14, 2015 (2015-05-14)

7
22
October 8, 2015 (2015-10-08)
May 13, 2016 (2016-05-13)

8
16
October 21, 2016 (2016-10-21)
March 10, 2017 (2017-03-10)

tag: table

text: Episodes[edit]

text: Season 1 (2009–10)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code
U.S. viewers
(millions)

1
1
"Pilot"
Marcos Siega
Teleplay by: Kevin Williamson & Julie Plec
September 10, 2009 (2009-09-10)
296766
4.91[5]

2
2
"The Night of the Comet"
Marcos Siega
Kevin Williamson & Julie Plec
September 17, 2009 (2009-09-17)
2J5001
3.78[6]

3
3
"Friday Night Bites"
John Dahl
Barbie Kligman & Bryan M. Holdman
September 24, 2009 (2009-09-24)
2J5002
3.81[7]

4
4
"Family Ties"
Guy Ferland
Andrew Kreisberg & Brian Young
October 1, 2009 (2009-10-01)
2J5003
3.53[8]

5
5
"You're Undead to Me"
Kevin Bray
Sean Reycraft & Gabrielle Stanton
October 8, 2009 (2009-10-08)
2J5004
3.52[9]

6
6
"Lost Girls"
Marcos Siega
Kevin Williamson & Julie Plec
October 15, 2009 (2009-10-15)
2J5005
3.88[10]

7
7
"Haunted"
Ernest Dickerson
Story by: Andrew Kreisberg
Teleplay by: Kevin Williamson & Julie Plec
October 29, 2009 (2009-10-29)
2J5006
4.18[11]

8
8
"162 Candles"
Rick Bota
Barbie Kligman & Gabrielle Stanton
November 5, 2009 (2009-11-05)
2J5007
4.09[12]

9
9
"History Repeating"
Marcos Siega
Bryan M. Holdman & Brian Young
November 12, 2009 (2009-11-12)
2J5008
4.10[13]

10
10
"The Turning Point"
J. Miller Tobin
Story by: Barbie Kligman
Teleplay by: Kevin Williamson & Julie Plec
November 19, 2009 (2009-11-19)
2J5009
3.57[14]

11
11
"Bloodlines"
David Barrett
Story by: Sean Reycraft
Teleplay by: Kevin Williamson & Julie Plec
January 21, 2010 (2010-01-21)
2J5010
3.68[15]

12
12
"Unpleasantville"
Liz Friedlander
Barbie Kligman & Brian Young
January 28, 2010 (2010-01-28)
2J5011
3.71[16]

13
13
"Children of the Damned"
Marcos Siega
Kevin Williamson & Julie Plec
February 4, 2010 (2010-02-04)
2J5012
3.99[17]

14
14
"Fool Me Once"
Marcos Siega
Brett Conrad
February 11, 2010 (2010-02-11)
2J5013
3.51[18]

15
15
"A Few Good Men"
Joshua Butler
Brian Young
March 25, 2010 (2010-03-25)
2J5014
3.33[19]

16
16
"There Goes the Neighborhood"
Kevin Bray
Bryan Oh & Andrew Chambliss
April 1, 2010 (2010-04-01)
2J5015
2.80[20]

17
17
"Let the Right One In"
Dennis Smith
Story by: Brian Young
Teleplay by: Julie Plec
April 8, 2010 (2010-04-08)
2J5016
3.48[21]

18
18
"Under Control"
David Von Ancken
Barbie Kligman & Andrew Chambliss
April 15, 2010 (2010-04-15)
2J5017
3.15[22]

19
19
"Miss Mystic Falls"
Marcos Siega
Bryan Oh & Caroline Dries
April 22, 2010 (2010-04-22)
2J5018
3.33[23]

20
20
"Blood Brothers"
Liz Friedlander
Kevin Williamson & Julie Plec
April 29, 2010 (2010-04-29)
2J5019
3.39[24]

21
21
"Isobel"
J. Miller Tobin
Caroline Dries & Brian Young
May 6, 2010 (2010-05-06)
2J5020
3.31[25]

22
22
"Founder's Day"
Marcos Siega
Bryan Oh & Andrew Chambliss
May 13, 2010 (2010-05-13)
2J5021
3.47[26]

text: Season 2 (2010–11)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code
U.S. viewers
(millions)

23
1
"The Return"
J. Miller Tobin
Kevin Williamson & Julie Plec
September 9, 2010 (2010-09-09)
2J5251
3.28[27]

24
2
"Brave New World"
John Dahl
Brian Young
September 16, 2010 (2010-09-16)
2J5252
3.05[28]

25
3
"Bad Moon Rising"
Patrick Norris
Andrew Chambliss
September 23, 2010 (2010-09-23)
2J5253
3.57[29]

26
4
"Memory Lane"
Rob Hardy
Caroline Dries
September 30, 2010 (2010-09-30)
2J5254
3.18[30]

27
5
"Kill or Be Killed"
Jeff Woolnough
Mike Daniels
October 7, 2010 (2010-10-07)
2J5255
3.47[31]

28
6
"Plan B"
John Behring
Elizabeth Craft & Sarah Fain
October 21, 2010 (2010-10-21)
2J5256
3.62[32]

29
7
"Masquerade"
Charles Beeson
Kevin Williamson & Julie Plec
October 28, 2010 (2010-10-28)
2J5257
3.55[33]

30
8
"Rose"
Liz Friedlander
Brian Young
November 4, 2010 (2010-11-04)
2J5258
3.63[34]

31
9
"Katerina"
J. Miller Tobin
Andrew Chambliss
November 11, 2010 (2010-11-11)
2J5259
3.50[35]

32
10
"The Sacrifice"
Ralph Hemecker
Caroline Dries
December 2, 2010 (2010-12-02)
2J5260
3.46[36]

33
11
"By the Light of the Moon"
Elizabeth Allen
Mike Daniels
December 9, 2010 (2010-12-09)
2J5261
3.16[37]

34
12
"The Descent"
Marcos Siega
Elizabeth Craft & Sarah Fain
January 27, 2011 (2011-01-27)
2J5262
3.55[38]

35
13
"Daddy Issues"
Joshua Butler
Kevin Williamson & Julie Plec
February 3, 2011 (2011-02-03)
2J5263
3.22[39]

36
14
"Crying Wolf"
David Von Ancken
Brian Young
February 10, 2011 (2011-02-10)
2J5264
2.78[40]

37
15
"The Dinner Party"
Marcos Siega
Andrew Chambliss
February 17, 2011 (2011-02-17)
2J5265
3.07[41]

38
16
"The House Guest"
Michael Katleman
Caroline Dries
February 24, 2011 (2011-02-24)
2J5266
2.98[42]

39
17
"Know Thy Enemy"
Wendey Stanzler
Mike Daniels
April 7, 2011 (2011-04-07)
2J5267
2.73[43]

40
18
"The Last Dance"
John Behring
Michael Narducci
April 14, 2011 (2011-04-14)
2J5268
2.81[44]

41
19
"Klaus"
Joshua Butler
Kevin Williamson & Julie Plec
April 21, 2011 (2011-04-21)
2J5269
2.70[45]

42
20
"The Last Day"
J. Miller Tobin
Andrew Chambliss & Brian Young
April 28, 2011 (2011-04-28)
2J5270
2.68[46]

43
21
"The Sun Also Rises"
Paul M. Sommers
Caroline Dries & Mike Daniels
May 5, 2011 (2011-05-05)
2J5271
2.84[47]

44
22
"As I Lay Dying"
John Behring
Turi Meyer & Al Septien & Michael Narducci
May 12, 2011 (2011-05-12)
2J5272
2.86[48]

text: Season 3 (2011–12)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code
U.S. viewers
(millions)

45
1
"The Birthday"
John Behring
Kevin Williamson & Julie Plec
September 15, 2011 (2011-09-15)
2J6001
3.10[49]

46
2
"The Hybrid"
Joshua Butler
Al Septien & Turi Meyer
September 22, 2011 (2011-09-22)
2J6002
2.52[50]

47
3
"The End of the Affair"
Chris Grismer
Caroline Dries
September 29, 2011 (2011-09-29)
2J6003
2.74[51]

48
4
"Disturbing Behavior"
Wendey Stanzler
Brian Young
October 6, 2011 (2011-10-06)
2J6004
2.63[52]

49
5
"The Reckoning"
John Behring
Michael Narducci
October 13, 2011 (2011-10-13)
2J6005
2.89[53]

50
6
"Smells Like Teen Spirit"
Rob Hardy
Julie Plec & Caroline Dries
October 20, 2011 (2011-10-20)
2J6006
3.03[54]

51
7
"Ghost World"
David Jackson
Rebecca Sonnenshine
October 27, 2011 (2011-10-27)
2J6007
3.28[55]

52
8
"Ordinary People"
J. Miller Tobin
Story by: Nick Wauters
Teleplay by: Julie Plec & Caroline Dries
November 3, 2011 (2011-11-03)
2J6008
3.51[56]

53
9
"Homecoming"
Joshua Butler
Evan Bleiweiss
November 10, 2011 (2011-11-10)
2J6009
3.17[57]

54
10
"The New Deal"
John Behring
Michael Narducci
January 5, 2012 (2012-01-05)
2J6010
3.32[58]

55
11
"Our Town"
Wendey Stanzler
Rebecca Sonnenshine
January 12, 2012 (2012-01-12)
2J6011
2.86[59]

56
12
"The Ties That Bind"
John Dahl
Brian Young
January 19, 2012 (2012-01-19)
2J6012
2.71[60]

57
13
"Bringing Out the Dead"
Jeffrey Hunt
Turi Meyer & Al Septien
February 2, 2012 (2012-02-02)
2J6013
2.74[61]

58
14
"Dangerous Liaisons"
Chris Grismer
Caroline Dries
February 9, 2012 (2012-02-09)
2J6014
3.08[62]

59
15
"All My Children"
Pascal Verschooris
Evan Bleiweiss & Michael Narducci
February 16, 2012 (2012-02-16)
2J6015
2.90[63]

60
16
"1912"
John Behring
Julie Plec & Elisabeth R. Finch
March 15, 2012 (2012-03-15)
2J6016
2.64[64]

61
17
"Break On Through"
Lance Anderson
Rebecca Sonnenshine
March 22, 2012 (2012-03-22)
2J6017
2.69[65]

62
18
"The Murder of One"
J. Miller Tobin
Caroline Dries
March 29, 2012 (2012-03-29)
2J6018
2.44[66]

63
19
"Heart of Darkness"
Chris Grismer
Brian Young & Evan Bleiweiss
April 19, 2012 (2012-04-19)
2J6019
2.21[67]

64
20
"Do Not Go Gentle"
Joshua Butler
Michael Narducci
April 26, 2012 (2012-04-26)
2J6020
2.22[68]

65
21
"Before Sunset"
Chris Grismer
Story by: Charlie Charbonneau & Daphne Miles
Teleplay by: Caroline Dries
May 3, 2012 (2012-05-03)
2J6021
2.54[69]

66
22
"The Departed"
John Behring
Story by: Brett Matthews & Elisabeth R. Finch
Teleplay by: Julie Plec
May 10, 2012 (2012-05-10)
2J6022
2.53[70]

text: Season 4 (2012–13)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code
U.S. viewers
(millions)

67
1
"Growing Pains"
Chris Grismer
Caroline Dries
October 11, 2012 (2012-10-11)
2J6651
3.18[71]

68
2
"Memorial"
Rob Hardy
Jose Molina & Julie Plec
October 18, 2012 (2012-10-18)
2J6652
2.91[72]

69
3
"The Rager"
Lance Anderson
Brian Young
October 25, 2012 (2012-10-25)
2J6653
2.87[73]

70
4
"The Five"
Joshua Butler
Brett Matthews & Rebecca Sonnenshine
November 1, 2012 (2012-11-01)
2J6654
3.27[74]

71
5
"The Killer"
Chris Grismer
Michael Narducci
November 8, 2012 (2012-11-08)
2J6655
3.02[75]

72
6
"We All Go a Little Mad Sometimes"
Wendey Stanzler
Evan Bleiweiss & Julie Plec
November 15, 2012 (2012-11-15)
2J6656
2.84[76]

73
7
"My Brother's Keeper"
Jeffrey Hunt
Caroline Dries & Elisabeth R. Finch
November 29, 2012 (2012-11-29)
2J6657
2.86[77]

74
8
"We'll Always Have Bourbon Street"
Jesse Warn
Charlie Charbonneau & Jose Molina
December 6, 2012 (2012-12-06)
2J6658
2.42[78]

75
9
"O Come, All Ye Faithful"
Pascal Verschooris
Michael J. Cinquemani & Julie Plec
December 13, 2012 (2012-12-13)
2J6659
2.81[79]

76
10
"After School Special"
David Von Ancken
Brett Matthews
January 17, 2013 (2013-01-17)
2J6660
2.95[80]

77
11
"Catch Me If You Can"
John Dahl
Brian Young & Michael Narducci
January 24, 2013 (2013-01-24)
2J6661
2.71[81]

78
12
"A View to a Kill"
Brad Turner
Rebecca Sonnenshine
January 31, 2013 (2013-01-31)
2J6662
2.56[82]

79
13
"Into the Wild"
Michael Allowitz
Caroline Dries
February 7, 2013 (2013-02-07)
2J6663
2.50[83]

80
14
"Down the Rabbit Hole"
Chris Grismer
Jose Molina
February 14, 2013 (2013-02-14)
2J6664
2.31[84]

81
15
"Stand by Me"
Lance Anderson
Julie Plec
February 21, 2013 (2013-02-21)
2J6665
2.91[85]

82
16
"Bring It On"
Jesse Warn
Elisabeth R. Finch & Michael Narducci
March 14, 2013 (2013-03-14)
2J6666
2.41[86]

83
17
"Because the Night"
Garreth Stover
Brian Young & Charlie Charbonneau
March 21, 2013 (2013-03-21)
2J6667
2.65[87]

84
18
"American Gothic"
Kellie Cyrus
Evan Bleiweiss & Jose Molina
March 28, 2013 (2013-03-28)
2J6668
2.46[88]

85
19
"Pictures of You"
J. Miller Tobin
Neil Reynolds & Caroline Dries
April 18, 2013 (2013-04-18)
2J6669
2.14[89]

86
20
"The Originals"
Chris Grismer
Julie Plec
April 25, 2013 (2013-04-25)
2J6670
2.24[90]

87
21
"She's Come Undone"
Darnell Martin
Michael Narducci & Rebecca Sonnenshine
May 2, 2013 (2013-05-02)
2J6671
2.17[91]

88
22
"The Walking Dead"
Rob Hardy
Brian Young & Caroline Dries
May 9, 2013 (2013-05-09)
2J6672
2.28[92]

89
23
"Graduation"
Chris Grismer
Caroline Dries & Julie Plec
May 16, 2013 (2013-05-16)
2J6673
2.24[93]

text: Season 5 (2013–14)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code
U.S. viewers
(millions)

90
1
"I Know What You Did Last Summer"
Lance Anderson
Caroline Dries
October 3, 2013 (2013-10-03)
2J7501
2.59[94]

91
2
"True Lies"
Joshua Butler
Brian Young
October 10, 2013 (2013-10-10)
2J7502
2.14[95]

92
3
"Original Sin"
Jesse Warn
Melinda Hsu Taylor & Rebecca Sonnenshine
October 17, 2013 (2013-10-17)
2J7503
2.93[96]

93
4
"For Whom the Bell Tolls"
Michael Allowitz
Brett Matthews & Elisabeth R. Finch
October 24, 2013 (2013-10-24)
2J7504
2.63[97]

94
5
"Monster's Ball"
Kellie Cyrus
Sonny Postiglione
October 31, 2013 (2013-10-31)
2J7505
2.07[98]

95
6
"Handle with Care"
Jeffrey Hunt
Caroline Dries & Holly Brix
November 7, 2013 (2013-11-07)
2J7506
2.59[99]

96
7
"Death and the Maiden"
Leslie Libman
Rebecca Sonnenshine
November 14, 2013 (2013-11-14)
2J7507
2.72[100]

97
8
"Dead Man on Campus"
Rob Hardy
Brian Young & Neil Reynolds
November 21, 2013 (2013-11-21)
2J7508
2.67[101]

98
9
"The Cell"
Chris Grismer
Melinda Hsu Taylor
December 5, 2013 (2013-12-05)
2J7509
2.36[102]

99
10
"Fifty Shades of Grayson"
Kellie Cyrus
Caroline Dries
December 12, 2013 (2013-12-12)
2J7510
2.44[103]

100
11
"500 Years of Solitude"
Chris Grismer
Julie Plec & Caroline Dries
January 23, 2014 (2014-01-23)
2J7511
2.72[104]

101
12
"The Devil Inside"
Kellie Cyrus
Brett Matthews & Sonny Postiglione
January 30, 2014 (2014-01-30)
2J7512
2.42[105]

102
13
"Total Eclipse of the Heart"
Darren Genet
Rebecca Sonnenshine & Holly Brix
February 6, 2014 (2014-02-06)
2J7513
2.16[106]

103
14
"No Exit"
Michael Allowitz
Brian Young
February 27, 2014 (2014-02-27)
2J7514
2.03[107]

104
15
"Gone Girl"
Lance Anderson
Melinda Hsu Taylor
March 6, 2014 (2014-03-06)
2J7515
2.19[108]

105
16
"While You Were Sleeping"
Pascal Verschooris
Caroline Dries
March 20, 2014 (2014-03-20)
2J7516
2.28[109]

106
17
"Rescue Me"
Leslie Libman
Brett Matthews & Neil Reynolds
March 27, 2014 (2014-03-27)
2J7517
1.73[110]

107
18
"Resident Evil"
Paul Wesley
Brian Young & Caroline Dries
April 17, 2014 (2014-04-17)
2J7518
1.66[111]

108
19
"Man on Fire"
Michael Allowitz
Melinda Hsu Taylor & Matthew D'Ambrosio
April 24, 2014 (2014-04-24)
2J7519
1.81[112]

109
20
"What Lies Beneath"
Joshua Butler
Elisabeth R. Finch & Holly Brix
May 1, 2014 (2014-05-01)
2J7520
1.84[113]

110
21
"Promised Land"
Michael Allowitz
Rebecca Sonnenshine
May 8, 2014 (2014-05-08)
2J7521
1.50[114]

111
22
"Home"
Chris Grismer
Caroline Dries & Brian Young
May 15, 2014 (2014-05-15)
2J7522
1.61[115]

text: Season 6 (2014–15)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code
U.S. viewers
(millions)

112
1
"I'll Remember"
Jeffrey Hunt
Caroline Dries
October 2, 2014 (2014-10-02)
2J7851
1.81[116]

113
2
"Yellow Ledbetter"
Pascal Verschooris
Julie Plec
October 9, 2014 (2014-10-09)
2J7852
1.67[117]

114
3
"Welcome to Paradise"
Michael Allowitz
Brian Young
October 16, 2014 (2014-10-16)
2J7853
1.83[118]

115
4
"Black Hole Sun"
Kellie Cyrus
Melinda Hsu Taylor & Neil Reynolds
October 23, 2014 (2014-10-23)
2J7854
1.66[119]

116
5
"The World Has Turned and Left Me Here"
Leslie Libman
Brett Matthews
October 30, 2014 (2014-10-30)
2J7855
1.58[120]

117
6
"The More You Ignore Me, the Closer I Get"
Garreth Stover
Chad Fiveash & James Stoteraux
November 6, 2014 (2014-11-06)
2J7856
1.59[121]

118
7
"Do You Remember the First Time?"
Darren Genet
Rebecca Sonnenshine
November 13, 2014 (2014-11-13)
2J7857
1.54[122]

119
8
"Fade Into You"
Joshua Butler
Nina Fiore & John Herrera
November 20, 2014 (2014-11-20)
2J7858
1.68[123]

120
9
"I Alone"
Kellie Cyrus
Brian Young & Holly Brix
December 4, 2014 (2014-12-04)
2J7859
1.49[124]

121
10
"Christmas Through Your Eyes"
Michael Allowitz
Caroline Dries
December 11, 2014 (2014-12-11)
2J7860
1.82[125]

122
11
"Woke Up with a Monster"
Paul Wesley
Melinda Hsu Taylor
January 22, 2015 (2015-01-22)
2J7861
1.63[126]

123
12
"Prayer for the Dying"
Jeffrey Hunt
Brett Matthews & Rebecca Sonnenshine
January 29, 2015 (2015-01-29)
2J7862
1.47[127]

124
13
"The Day I Tried to Live"
Pascal Verschooris
Chad Fiveash & James Stoteraux
February 5, 2015 (2015-02-05)
2J7863
1.61[128]

125
14
"Stay"
Chris Grismer
Brian Young & Caroline Dries
February 12, 2015 (2015-02-12)
2J7864
1.52[129]

126
15
"Let Her Go"
Julie Plec
Julie Plec
February 19, 2015 (2015-02-19)
2J7865
1.41[130]

127
16
"The Downward Spiral"
Ian Somerhalder
Brian Young & Caroline Dries
March 12, 2015 (2015-03-12)
2J7866
1.30[131]

128
17
"A Bird in a Gilded Cage"
Joshua Butler
Neil Reynolds
March 19, 2015 (2015-03-19)
2J7867
1.59[132]

129
18
"I Never Could Love Like That"
Leslie Libman
Story by: Matthew D'Ambrosio
Teleplay by: Chad Fiveash & James Storeaux
April 16, 2015 (2015-04-16)
2J7868
1.35[133]

130
19
"Because"
Geoffrey Wing Shotz
Melinda Hsu Taylor
April 23, 2015 (2015-04-23)
2J7869
1.37[134]

131
20
"I'd Leave My Happy Home for You"
Jesse Warn
Brett Matthews & Rebecca Sonnenshine
April 30, 2015 (2015-04-30)
2J7870
1.21[135]

132
21
"I'll Wed You in the Golden Summertime"
Michael Allowitz
Brian Young
May 7, 2015 (2015-05-07)
2J7871
1.32[136]

133
22
"I'm Thinking of You All the While"
Chris Grismer
Julie Plec & Caroline Dries
May 14, 2015 (2015-05-14)
2J7872
1.44[137]

text: Season 7 (2015–16)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code
U.S. viewers
(millions)

134
1
"Day One of Twenty-Two Thousand, Give or Take"
Pascal Verschooris
Caroline Dries
October 8, 2015 (2015-10-08)
3J5701
1.38[138]

135
2
"Never Let Me Go"
Chris Grismer
Brian Young
October 15, 2015 (2015-10-15)
3J5702
1.40[139]

136
3
"Age of Innocence"
Michael Allowitz
Melinda Hsu Taylor & Holly Brix
October 22, 2015 (2015-10-22)
3J5703
1.20[140]

137
4
"I Carry Your Heart with Me"
Jeffrey Hunt
Neil Reynolds
October 29, 2015 (2015-10-29)
3J5704
1.24[141]

138
5
"Live Through This"
Kellie Cyrus
Rebecca Sonnenshine
November 5, 2015 (2015-11-05)
3J5705
1.34[142]

139
6
"Best Served Cold"
Darren Genet
Caroline Dries
November 12, 2015 (2015-11-12)
3J5706
1.32[143]

140
7
"Mommie Dearest"
Tony Solomons
Chad Fiveash & James Stoteraux
November 19, 2015 (2015-11-19)
3J5707
1.10[144]

141
8
"Hold Me, Thrill Me, Kiss Me, Kill Me"
Leslie Libman
Brett Matthews
December 3, 2015 (2015-12-03)
3J5708
1.31[145]

142
9
"Cold as Ice"
Geoffrey Wing Shotz
Brian Young
December 10, 2015 (2015-12-10)
3J5709
1.18[146]

143
10
"Hell Is Other People"
Deborah Chow
Holly Brix & Neil Reynolds
January 29, 2016 (2016-01-29)
3J5710
1.23[147]

144
11
"Things We Lost in the Fire"
Paul Wesley
Melinda Hsu Taylor
February 5, 2016 (2016-02-05)
3J5711
1.09[148]

145
12
"Postcards from the Edge"
Pascal Verschooris
Rebecca Sonnenshine
February 12, 2016 (2016-02-12)
3J5712
1.05[149]

146
13
"This Woman's Work"
Garreth Stover
Chad Fiveash & James Stoteraux
February 19, 2016 (2016-02-19)
3J5713
1.01[150]

147
14
"Moonlight on the Bayou"
Jeffrey Hunt
Caroline Dries & Brett Matthews
February 26, 2016 (2016-02-26)
3J5714
1.12[151]

148
15
"I Would for You"
Mike Karasick
Brian Young
March 4, 2016 (2016-03-04)
3J5715
1.06[152]

149
16
"Days of Future Past"
Ian Somerhalder
Melinda Hsu Taylor
April 1, 2016 (2016-04-01)
3J5716
1.07[153]

150
17
"I Went to the Woods"
Julie Plec
Story by: Julie Plec & Neil Reynolds
Teleplay by: Neil Reynolds
April 8, 2016 (2016-04-08)
3J5717
1.03[154]

151
18
"One Way or Another"
Rashaad Ernesto Green
Story by: Penny Cox
Teleplay by: Rebecca Sonnenshine
April 15, 2016 (2016-04-15)
3J5718
1.02[155]

152
19
"Somebody That I Used to Know"
Chris Grismer
Story by: Matthew D'Ambrosio
Teleplay by: Holly Brix
April 22, 2016 (2016-04-22)
3J5719
1.02[156]

153
20
"Kill 'Em All"
Kellie Cyrus
Chad Fiveash & James Stoteraux
April 29, 2016 (2016-04-29)
3J5720
1.05[157]

154
21
"Requiem for a Dream"
Paul Wesley
Brett Matthews & Neil Reynolds
May 6, 2016 (2016-05-06)
3J5721
0.90[158]

155
22
"Gods and Monsters"
Michael A. Allowitz
Brian Young
May 13, 2016 (2016-05-13)
3J5722
1.04[159]

text: Season 8 (2016–17)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code
U.S. viewers
(millions)

156
1
"Hello Brother"
Michael A. Allowitz
Julie Plec & Kevin Williamson
October 21, 2016 (2016-10-21)
T27.13301
0.98[160]

157
2
"Today Will Be Different"
Pascal Verschooris
Melinda Hsu Taylor
October 28, 2016 (2016-10-28)
T27.13302
0.90[161]

158
3
"You Decided That I Was Worth Saving"
Michael Karasick
Chad Fiveash & James Stoteraux
November 4, 2016 (2016-11-04)
T27.13303
0.94[162]

159
4
"An Eternity of Misery"
Rob Hardy
Brett Matthews & Neil Reynolds
November 11, 2016 (2016-11-11)
T27.13304
1.00[163]

160
5
"Coming Home Was a Mistake"
James Thompson
Celine Geiger
November 18, 2016 (2016-11-18)
T27.13305
0.92[164]

161
6
"Detoured On Some Random Backwoods Path to Hell"
Paul Wesley
Alan McElroy
December 2, 2016 (2016-12-02)
T27.13306
1.05[165]

162
7
"The Next Time I Hurt Somebody, It Could Be You"
Tanya Hamilton
Shukree Hassan Tilghman
December 9, 2016 (2016-12-09)
T27.13307
0.98[166]

163
8
"We Have History Together"
Ian Somerhalder
Matthew D'Ambrosio
January 13, 2017 (2017-01-13)
T27.13308
0.95[167]

164
9
"The Simple Intimacy of the Near Touch"
Geoff Shotz
Neil Reynolds & Penny Cox
January 20, 2017 (2017-01-20)
T27.13309
0.86[168]

165
10
"Nostalgia's a Bitch"
Kellie Cyrus
Brett Matthews
January 27, 2017 (2017-01-27)
T27.13310
0.94[169]

166
11
"You Made a Choice to Be Good"
Carol Banker
Melinda Hsu Taylor & Celine Geiger
February 3, 2017 (2017-02-03)
T27.13311
0.92[170]

167
12
"What Are You?"
Darren Genet
Chad Fiveash & James Stoteraux
February 10, 2017 (2017-02-10)
T27.13312
1.11[171]

168
13
"The Lies Will Catch Up with You"
Tony Solomons
Neil Reynolds
February 17, 2017 (2017-02-17)
T27.13313
0.99[172]

169
14
"It's Been a Hell of a Ride"
Pascal Verschooris
Brett Matthews & Shukree Hassan Tilghman
February 24, 2017 (2017-02-24)
T27.13314
1.04[173]

170
15
"We're Planning a June Wedding"
Chris Grismer
Story by : Jen Vestuto & Melissa Marlette
Teleplay by : Melinda Hsu Taylor
March 3, 2017 (2017-03-03)
T27.13315
1.14[174]

171
16
"I Was Feeling Epic"
Julie Plec
Julie Plec & Kevin Williamson
March 10, 2017 (2017-03-10)
T27.13316
1.15[175]

text: Specials[edit]

text:
No.
Title
Aired between
Original air date
U.S. viewers
(millions)

1
"Forever Yours"
"We're Planning a June Wedding"
"I Was Feeling Epic"
March 10, 2017 (2017-03-10)
1.07[175]

Retrospective of the series featuring interviews with past and present cast members and guest stars, a conversation with the executive producers, Julie Plec and Kevin Williamson, behind-the-scenes footage from the final season and special moments from the past eight years.


document_title: Prior restraint

question_text: why are courts so hesitant to allow prior restraint in restricting speech

text: Prior restraint

text: Exceptions to restrictions on prior restraint[edit]

text: Not all restrictions on free speech are a breach of the prior restraint doctrine. It is widely accepted that publication of information affecting national security, particularly in wartime, may be restricted, even when there are laws that protect freedom of expression. In many cases invocation of national security is controversial, with opponents of suppression arguing that government errors and embarrassment are being covered up; examples are given below.

tag: p

text: Publication of information on legal cases in progress may be restricted by an injunction. (Otherwise publishing of material which may affect a case is subject to penalties, but not prevented from the outset.) Text and video information containing illegal context, such as pornography involving underage or unwilling individuals are generally censored in order to protect the victim/s of the material, and preserve the legal and ethical standards of the country/state initiating the censorship of the offensive material.

text: Anglo-American legal tradition[edit]

text: Blackstone and early views[edit]

text: In William Blackstone's Commentaries “Freedom of the Press” is defined as the right to be free from prior restraints. In addition, he held that a person should not be punished for speaking or writing the truth, with good motives and for justifiable ends. Truth alone, however, was not considered a sufficient justification, if published with bad motives.

text: The liberty of the press is indeed essential to the nature of a free state; but this consists in laying no previous restraints upon publications, and not in freedom from censure for criminal matter when published. Every freeman has an undoubted right to lay what sentiments he pleases before the public; to forbid this, is to destroy the freedom of the press; but if he publishes what is improper, mischievous or illegal, he must take the consequence of his own temerity. (4 Bl. Com. 151, 152.)

text: This view was the common legal understanding at the time the US constitution was adopted. Only later have the concepts of freedom of speech and the press been extended (in the United States, the United Kingdom, and other countries sharing their legal tradition) to protect honest error, or truth even if published for questionable reasons.

text: Judicial view[edit]

text: Prior restraint is often considered a particularly oppressive form of censorship in Anglo-American jurisprudence because it prevents the restricted material from being heard or distributed at all.[4]:318 Other forms of restrictions on expression (such as actions for libel or criminal libel, slander, defamation, and contempt of court) implement criminal or civil sanctions only after the offending material has been published. While such sanctions might lead to a chilling effect, legal commentators argue that at least such actions do not directly impoverish the marketplace of ideas.[4]:319 Prior restraint, on the other hand, takes an idea or material completely out of the marketplace. Thus it is often considered to be the most extreme form of censorship.[4]:319 The United States Supreme Court expressed this view in Nebraska Press Assn. v. Stuart by noting:

text: The thread running through all these cases is that prior restraints on speech and publication are the most serious and the least tolerable infringement on First Amendment rights. A criminal penalty or a judgment in a defamation case is subject to the whole panoply of protections afforded by deferring the impact of the judgment until all avenues of appellate review have been exhausted. Only after judgment has become final, correct or otherwise, does the law's sanction become fully operative.

text: A prior restraint, by contrast and by definition, has an immediate and irreversible sanction. If it can be said that a threat of criminal or civil sanctions after publication 'chills' speech, prior restraint 'freezes' it at least for the time.

text: Also, most of the early struggles for freedom of the press were against forms of prior restraint. Thus prior restraint came to be looked upon with a particular horror, and Anglo-American courts became particularly unwilling to approve it, when they might approve other forms of press restriction.

text: Prior restraint in the United States[edit]

text: Near vs. Minnesota[edit]

text: The first notable case in which the United States Supreme Court ruled on a prior restraint issue was Near v. Minnesota, 283 U.S. 697 (1931). In that case the Court held prior restraints to be unconstitutional, except in extremely limited circumstances such as national security issues. The ruling came about after Jay Near's newspaper, The Saturday Press, a small local paper that ran countless exposés of Minneapolis's elected officials' alleged illicit activities, including gambling, racketeering, and graft, was silenced by the Minnesota Gag Law of 1925, also known as The Public Nuisance Law. Near’s critics called his paper a scandal sheet, and alleged that he tried to extort money by threatening to publish attacks on officials and others. In the Near case the Court held that the state had no power to enjoin the publication of the paper in this way – that any such action would be unconstitutional under the First Amendment. It wrote:

text: And

text: This was an extension of the Court’s earlier views, which had followed Blackstone. In Patterson v. Colorado, the Court had written: “In the first place, the main purpose of such constitutional provisions is 'to prevent all such previous restraints upon publications as had been practiced by other governments,' and they do not prevent the subsequent punishment of such as may be deemed contrary to the public welfare.” (quoted in the Near decision). The Near decision was the first time that it was held that even alleged untruth or malicious intent would not be sufficient reason to impose prior restraints.

text: Near was decided 5–4. The four dissenting justices strongly approved of the "gag law", and felt that the nature of the articles in The Saturday Press, including their recurrent anti-Semitism, their frequent (allegedly false) accusations of official misconduct, and their disrespectful and confrontational tone, made them unworthy of protection. But this view did not prevail.

text: After the Near decision, newspapers had a clearly established freedom to criticize public officials without fear of retribution, even when charges made by the papers could not be proven in court. Newspapers could still be punished through libel laws, if they published material found to be untrue. The "Gag Law" was unique in the United States at that time, and even in Minnesota had only been used on two occasions. Indeed, the Court commented on the unusual nature of the proceeding in its decision.

text: The Court in Near left open the possibility of prior restraints for various exceptional purposes, such as national security, control of obscenity, and the like. It wrote:

text: …the protection even as to previous restraint is not absolutely unlimited. But the limitation has been recognized only in exceptional cases. 'When a nation is at war many things that might be said in time of peace are such a hindrance to its effort that their utterance will not be endured so long as men fight and that no Court could regard them as protected by any constitutional right.' (Schenck v. United States, 249 U.S. 47, 52 , 39 S. Ct. 247, 249). No one would question but that a government might prevent actual obstruction to its recruiting service or the publication of the sailing dates of transports or the number and location of troops. On similar grounds, the primary requirements of decency may be enforced against obscene publications. The security of the community life may be protected against incitements to acts of violence and the overthrow by force of orderly government.

tag: div

text: Near’s dicta suggest that, while a constitutional prior restraint can exist, the high burden of proof necessary to demonstrate constitutionality results in a presumption of invalidity, and the government bears the burden of showing the restraint's constitutionality.[4]:321

text: In a later case (Nebraska Press Assn. vs. Stuart), the Court wrote:

text: This shows the strong later acceptance of what had been a disputed decision when it was first handed down.

text: Kinney vs. Barnes[edit]

text: In the 2012 case of Kinney vs. Barnes,[5] Kinney, a legal recruiter,was the subject of inflammatory comments on the website of the company who previously employed him. The company claimed he received extra incentives on the job causing his termination. Although the court ruled that the statements posted concerning Kinney must be removed, they did not prohibit similar speech from being posted online. Their reasoning was that prior restraint shall not be enacted on the basis that it is better to punish unprotected speech rather than hinder any possible protected speech.

text: Wartime censorship[edit]

text: During World War I, and to a greater extent during World War II, war correspondents accompanied military forces, and their reports were subject to advance censorship to preserve military secrets. The extent of such censorship was not generally challenged, and no major court case arose from this issue. In later conflicts the degree to which war reporting was subject to censorship varied, and in some cases it has been alleged that the censorship was as much political as military in purpose. This was particularly true during the Vietnam War and the 1983 invasion of Grenada.

text: Such issues arose again during the 2003 Invasion of Iraq, when many embedded reporters accompanied soldiers as they made their way into the country. These reports were subject to censorship in that they were not allowed to reveal military-sensitive material.[6][better source needed]

text: Pentagon Papers case[edit]

text: In the Pentagon Papers case (New York Times Co. v. United States, 403 U.S. 713 (1971)), the Nixon administration sought to enjoin The New York Times and The Washington Post newspapers from publishing excerpts from a top-secret United States Department of Defense history of the United States involvement in the Vietnam War from 1945 to 1971. The government tried to use the "national security" exception that had been suggested in the Near decision. The Supreme Court struck down the injunctions. However, the decision was fragmented, with nine separate opinions being filed in the case. It was not clear at the time what the effect would be on future prior restraint cases.

text: H-bomb article cases[edit]

text: Scientific American[edit]

text: On March 15, 1950 Scientific American magazine published an article by Hans Bethe about thermonuclear fusion, the mechanism by which stars generate energy and emit electromagnetic radiation (light, etc.). Fusion is also the process which makes the hydrogen bomb (H-bomb) possible. The AEC (Atomic Energy Commission) ordered publication stopped. Several thousand copies of the printed magazine were destroyed, and the article was published with some text removed at the direction of the AEC. At this time there existed in the United States no workable design for a hydrogen bomb (the Teller-Ulam design would not be developed for another year), but the U.S. was engaged in a crash program to develop one. Gerard Piel, the publisher of Scientific American, complained that the AEC was "suppressing information which the American People need in order to form intelligent judgments." Bethe, however, declined to support this complaint, and the suppression of the unedited version of the article was never litigated.

text: The Progressive[edit]

text: In February 1979, an anti-nuclear activist named Howard Morland drafted an article for The Progressive magazine, entitled "The H-Bomb Secret: To Know How is to Ask Why". The article was an attempt by Morland to publish what he thought the "H-Bomb Secret" was (the Teller-Ulam design), derived from various unclassified sources and informal interviews with scientists and plant workers. Through a number of complicated circumstances, the Department of Energy attempted to enjoin its publication, alleging that the article contained sensitive technical information which was (1) probably derived from classified sources, or (2) became a classified source when compiled in a correct way, even if it were derived from unclassified sources, based on the "born secret" provisions of the 1954 Atomic Energy Act. A preliminary injunction was granted against the article's publication, and Morland and the magazine appealed (United States v. The Progressive, et al.). After a lengthy set of hearings (one in camera, another open to the public), and attracting considerable attention as a "freedom of the press" case, the government dropped its charges after it claimed the case became moot when another bomb speculator (Chuck Hansen) published his own views on the "secret" (many commentators speculated that they were afraid the Atomic Energy Act would be overturned under such scrutiny). The article was duly published in The Progressive (in the November 1979 issue) six months after it was originally scheduled, and remains available in libraries. (As an aside, Morland himself decided that he did not have the secret, and published a "corrected" version a month later.)

text: Judicial gag orders[edit]

text: Frequently a court will impose advance restrictions on lawyers, parties, and on the press in reporting of trials, particularly criminal trials. These restrictions are intended to protect the right to a fair trial, and to avoid interference with the judicial process. Nonetheless, they are a form of prior restraint, and the press in particular has often objected to such orders.

text: In Nebraska Press Assn. v. Stuart, 427 U.S. 539 (1976), the United States Supreme Court overturned such a "gag order". It ruled that alternative methods to help ensure a fair trial, short of prior restraints, might have been used, and that it was not all clear, under the circumstances, that the gag order would have the desired effect even if upheld. It also made a particular point of asserting that orders restricting reporting on events that occur in open court are not permissible. It wrote:

text: The Court's conclusion in this case reaffirmed its general opposition to prior restraints, and indicated that judicial gag orders would be sustained only in exceptional cases. It wrote:

text: In the United Kingdom judicial gag orders are much more frequently employed, and the strong prejudice against them reflected in the above quote does not seem to be felt by British courts. Other countries also employ such orders more freely than the United States does.

text: DeCSS case[edit]

text: In October 1999 the Motion Picture Association of America (MPAA) learned of the availability on the Internet of DeCSS, a program that allowed people to view the content of DVDs using computers that lacked commercial DVD players, bypassing the encryption system known as the Content Scrambling System (CSS) generally used on commercial DVDs. The MPAA responded by sending out a number of cease and desist letters to web site operators who posted the software. In January 2000, a lawsuit was filed against the publisher of the magazine 2600: The Hacker Quarterly, and others. This case is known as Universal v. Reimerdes, 111 F. Supp.2d 294 (S.D.N.Y. 2000).

text: The suit asked for an injunction under the U.S. Digital Millennium Copyright Act (DMCA) prohibiting the 2600 site from posting the DeCSS code. It also asked for a prohibition on linking to other sites that posted the code.

text: The injunction was issued and sustained in an appeal to the U.S. Court of Appeals for the Second Circuit and the constitutionality of the DMCA was upheld. The district court wrote that the computer code "… does more, in other words, than convey a message" and that "… it has a distinctly functional, non-speech aspect in addition to reflecting the thoughts of the programmers." The appeals court later wrote that "Under the circumstances amply shown by the record, the injunction's linking prohibition validly regulates the Appellants' opportunity instantly to enable anyone anywhere to gain unauthorized access to copyrighted movies on DVDs" thus upholding the injunction against publishing links to the DeCSS code in these circumstances.

text: The appeals court did consider the prior restraint and free expression issues, but treated the DeCSS program primarily as a means of evading copyright protection, and under that theory, held that the 2600 site could be permanently enjoined from posting the DeCSS code, and from linking to sites that posted it in an attempt to make the code available. The case was not taken to the Supreme Court.

text: Theater and motion pictures[edit]

text: There is a long history of prior restraints on the theater; in the United Kingdom stage plays still required a license until 1968. This attitude was early transferred to motion pictures, and prior restraints were retained for films long after they had been dropped for other forms of publication: in some jurisdictions a film had to be submitted to a film censor board in order to be approved for showing.

text: The United States Supreme Court upheld the use of a board of censors in Mutual Film Corporation v. Industrial Commission of Ohio, 236 U.S. 230 (1915) by deciding that the First Amendment did not apply to motion pictures. The power of such boards was weakened when the Supreme Court later overruled itself and decided that the First Amendment does apply to motion pictures. In the case of Joseph Burstyn, Inc. v. Wilson, 343 U.S. 495 (1952), the court decided that giving the power to forbid or restrict a film to a censorship board on the grounds a film was "sacrilegious" was far too damaging to the protections of the First Amendment.

text: The "death knell" for censorship boards occurred in 1965 when the U.S. Supreme Court found the Maryland law making it a crime to exhibit a film without submitting it to the censorship board was unconstitutional. In Freedman v. Maryland, 380 U.S. 51 (1965), the state's requirement that a film be presented to the board was unconstitutional as it lacked adequate procedural safeguards. While it is not necessarily unconstitutional to require films to be submitted to a censorship board, the board has extremely limited options: a censorship board has no power to prohibit a film and, if the law grants it that power, the law is unconstitutional. The board's only options when a film is presented to it are either to grant a license for the film, or immediately go to court to enjoin its exhibition.

text: Also, state or local censorship boards had been found to have no jurisdiction over broadcasts by television stations, even when located in the state or community where they are grounded, thus eliminating yet another reason for their existence.

text: Both the state of Maryland and the province of Ontario retained film censor boards to a particularly late date. Maryland abandoned its board in the 1980s, and a 2004 decision of the Ontario Court of Appeal, reversing a previous trend in favor of the Ontario Film Classification Board's right to insist on cuts, ruled that the province had no right to insist on cuts as a condition of release in view of the fact that Canadian federal obscenity laws were sufficient to deal with obscene material. In May 2005, the Ontario government ended the power of the Classification Board to insist on cuts, requiring all films with adult content that were not judged obscene to be rated "R" for adults only.[citation needed]

text: In many countries, legally effective rating systems are in effect. See History of British Film Certificates for information on film restrictions in the UK.

text: Industry codes[edit]

text: Many industries have formulated "voluntary" codes limiting the content of expression, generally affecting perceived effects on public morality rather than revelation of secrets. Examples of these include the Hays Code, which affected Hollywood films from the 1930s to the 1950s, and the Comics Code, which was designed to deal with the rise of horror comics in the 1950s and lasted into the 1970s. The movie rating system currently in effect in the United States, run by the Motion Picture Association of America (MPAA) is another such industry code. Such codes have generally been adopted with the twofold purposes of forestalling possible government intervention, and avoiding unfavorable publicity or boycotts. While such codes are not generally enforced by governmental action, they are generally enforced on content producers by gatekeepers in the marketing chain: studios in the case of the Hays Code, distributors in the case of the Comics Code, and theater chains in the case of the MPAA rating system. Content producers have often objected to these codes, and argue that they are, in effect, a form of prior restraint. However, the first amendment prohibition of prior restraint applies to government or court action, and does not bind private entities such as theater chains.


document_title: Khichdi (TV series)

question_text: what's the real name of hansa of khichdi serial

question_tokens: what 's the real name of hansa of khichdi serial

text: Khichdi (TV series)

text: Premise[edit]

text: Khichdi follows the story of a Gujarati family called Parekhs, who live in an old mansion. The joint family encounters many typically Indian situations, but they try to solve it in the most atypical fashion imaginable. This is a funny bunch of people that is firmly united in their movement to get separated. They want to sell their ancestral property and move out and form their own nuclear families. But the head of their family does not agree. He gives them the choice to walk out and survive on their own; but nobody is ready to let go of the money that is due to them. So they stay together and wait for the 'head' to change his mind or stop breathing, whichever happens first. And this is where the upwardly mobile middle class joint family faces its trials and tribulations. Khichdi is a look at the lighter side of an Indian joint family.

text: Characters[edit]

text: Main characters[edit]

text:
Character
Portrayed by
Notes

Tulsidas Parekh
Anang Desai
He is the family patriarch. He is always in a bad mood but is known to have a good heart. His wife, Damyanti, Tulsidas lives with his family in his very old ancestral house called 'Mohan Niwas'. He does not agree to sell it at any cost, in spite of repeated persuasion from his children. He appears to be fed up of his family members but, deep down, loves them. All family members call him 'Babuji'.

Praful Parekh
Rajeev Mehta
He is the eldest son of Tulsidas. He is notoriously stupid. He is often seen interpreting things at face value, leading to hilarious situations. He never does anything right, which makes people (especially Tulsidas) mad at him. He also translates English words for his wife, although always incorrectly.

Hansa Parekh
Supriya Pathak
She is Praful's wife. She is as stupid as Praful, or perhaps more than him. She never works in the house, while repeating, "Mein to thak gayi bhaaishaab" ("I'm so tired"). She is always richly dressed and cannot live without wearing 'Gajre' (strings of flowers) in her hair. She doesn't speak English and hence needs to have it translated by Praful, which has great comic results.

Jayshree Parekh
Vandana Pathak
She is the widowed daughter-in-law of Tulsidas. She is the wife of Praful's brother, Bharat. She loves to cook & gossip and is often seen on the phone talking to her Ba (mother). She controls the management of the household. She aims to sell 'Mohan Niwas' and live in an independent apartment. She always irritates Tulsidas while serving tea to him. Hansa and Jayshree are childhood friends.

Chakki Parekh
Richa Bhadra
She is the daughter of Praful and Hansa. Unlike her parents, she is intelligent. She has a catchphrase, "Bade Log Bade Log" (Oh! the elders, the elders!), which she repeats along with her cousin Jacky.

Jackky Parekh
Yash Mittal
He is the only son of Jayshree. Like Chakki, he is also intelligent and has the catchphrase "Bade Log Bade Log", which he says along with Chakki.

text: Supporting characters[edit]

text:
Character
Portrayed by
Notes

Badi Maa
Dina Pathak /
Lily Patel
She is the mother of Tulsidas. Her name is Diwaliben Parekh. She is very funloving and very fond of pani-puri (a popular spicy snack).

Raju Parekh
Amit Varma
He is the third son of Tulsidas. He starts flirting with any young beautiful girl he meets. He is married to Melissa.

Melissa Parekh
Tina Parekh
She is Raju's wife. She is beautiful and well-educated. Jayshree is jealous of her and calls her 'Kadki'. Tulsidas regularly says of her, "Maine to pehle hi kaha tha ki ye ladki Raju ke liye theek nahi hai" ("I had said at the outset that this girl is not right for Raju").

Heera Parekh
Arya Rawal
She is the daughter of Tulsidas. She is very lazy and always has the urge to go to toilet. She is older than her fraternal-twin, Meera.

Madhuri
Sweety Nayak
She is Heera's personal maid. Though she is a servant, Tulsidas is scared of her because she always gets angry with him.

Meera Parekh
Ami Trivedi
She is the youngest daughter of Tulsidas. She always holds a stick & behaves like a teacher. She is married to Bhavesh Kumar.

Bhavesh Kumar
Kamlesh Oza
He is Meera's husband. He lives with the Parekhs instead of in his own house. He is always hungry and keeps eating all the time, without doing any work.

Mr. Mehta
Dinyar Contractor
He is the boss of Praful in office. He always gets mad at Praful's mistakes.

Himanshu Seth
Jamnadas Majethia
He is Hansa's younger brother. He also lives with the Parekhs & is as stupid as Hansa & Praful. He has a Catering business. His favorite line is "Kissi ko pata nahi chalega" ("No one will know about it").

Parminder Singh (I)
Gireesh Sahedev
He becomes the neighbor of Parekhs when they start living in 'Jagdamba Niwas'. In his entire family, everybody else is also named Parminder. He always argues with Tulsidas. He & his family imitate all the happenings in Chandigarh in their lifestyle.

Bhabhi Parminder
Seema Pandey
She is Parminder's wife. Whenever she speaks, she makes a weird face which confuses everyone whether she meant good or bad.

Bhai Parminder
Damandeep Singh Baggan
He is Parminder's younger brother. He is equally stupid like Praful.

Behen Parminder
Anokhi Srivastava
She is Parminder's younger sister. She gets married to Himanshu.

Jignesh
Aatish Kapadia
He is Jayshree's younger brother, also living with the Parekhs. He has a habit of repeating a sentence 3 times before finally speaking. His frequently used phrase is "mujhe lagta hai ki..."

text: Guest appearances[edit]

text:
Amit Singh Thakur
Anurag Prapanna
Apara Mehta
Arvind Vaidya
Disha Vakani
Ghanashyam Nayak
Kabir Sadanand
Kalpana Diwan
Kishwer Merchantt
Mayank Tandon
Nimisha Vakharia
Pratima T.
Rajesh Kumar
Rita Bhaduri
Sharad Sharma
Shweta Tiwari
Simple Kaul
Suchita Trivedi

text: Awards and nominations[edit]

text: Khichdi has been almost continuously awarded television awards ever since its debut, including the in-house Star Parivaar Awards.

text: STAR Parivaar Awards[edit]

text: Winner

text:
2003: Favourite Daada/Naana - Anang Desai as Tulsidas Parekh (Babuji)[2]
2004: Favourite Daada/Naana - Anang Desai as Tulsidas Parekh (Babuji)[3]
2004: Favourite Jethani - Supriya Pathak as Hansa

text: Nominated

text:
2004: Favorite Chota Bachcha - Yash Mittal as Jacky[4]
2004: Favorite Beta - Rajeev Mehta as Praful
2004: Favorite Bhai - Jamnadas Majethia as Himanshu
2004: Favorite Bhabhi - Supriya Pathak as Hansa
2004: Favorite Devar - Amit Varma as Raju
2004: Favorite Devraani - Vandana Pathak as Jayshree
2004: Favorite Sasur - Anang Desai as Tulsidas Parekh (Babuji)
2004: Favorite Jodi - Rajeev Mehta as Praful & Supriya Pathak as Hansa
2007: Favorite Bhabhi - Supriya Pathak as Hansa

text: Indian Television Academy Awards[edit]

text: Winner

text: 2004: Best Actress-Comedy - Supriya Pathak as Hansa[5]

text: Indian Telly Awards[edit]

text: Winner

text:
2003: TV Actor in a Comic Role (Female) - Supriya Pathak as Hansa[6]
2004: BEST Actor in a Comic Role (Male) - Rajeev Mehta as Praful[7]
2004: Sitcom Writer of the Year - Aatish Kapadia[8]

text: Nominated

text:
2003: TV Child Artiste of the Year - Yash Mittal as Jacky[9]
2004: The TV Sitcom / Comedy programme of the Year[10]
2004: Lyricist of the Year - Aatish Kapadia
2004: Music Director of the Year - Uttank Vora
2004: Director of the Year (Sitcom) - Aatish Kapadia
2004: Child Artiste of the Year (Female) - Richa Bhadra as Chakki
2004: Child Artiste of the Year (Male) - Yash Mittal as Jacky
2004: Actor in a Comic Role (Male) - Rajeev Mehta as Praful
2004: Actor in a Comic Role (Male) - Anang Desai as Tulsidas Parekh
2004: Actor in a Comic Role (Female) - Supriya Pathak as Hansa
2004: Actor in a Comic Role (Female) - Vandana Pathak as Jayshree
2004: Ensemble (complete star cast of a programme)
2004: The Weekly Serial of the year
2004: Scriptwriter of the year - Aatish Kapadia

text: Film adaptation[edit]

text: A film based on the series, titled Khichdi: The Movie, was released on 1 October 2010 and starred the same principal cast. It became the first Indian television series to be adapted into a film.[11] The film faced stiff competition from big-budget movies like Priyanka Chopra - Ranbir Kapoor starrer Anjaana Anjaani and dubbed Hindi version of Aishwarya Rai - Rajinikanth starrer Enthiran (Robot) and in the end its performance at the box office was termed below average.[12]

text: DVD release[edit]

text: In May 2012, "The Best of Khichdi & Instant Khichdi" was released on a 10 disc DVD set.


document_title: Law of multiple proportions

question_text: who said different elements combine together to form compounds

text: Law of multiple proportions

text: In chemistry, the law of multiple proportions is one of the basic laws of stoichiometry used to establish the atomic theory, alongside the law of conservation of mass (matter) and the law of definite proportions. It is sometimes called Dalton's Law after its discoverer, the British chemist John Dalton,[1][2] who published it in the first part of the first volume of his "New System of Chemical Philosophy" (1803).[3] Here is the statement of the law:

text: If two elements form more than one compound between them, then the ratios of the masses of the second element which combine with a fixed mass of the first element will be ratios of small whole numbers.[2]

text: For example, Dalton knew that the element carbon forms two oxides by combining with oxygen in different proportions. A fixed mass of carbon, say 100 grams, may react with 133 grams of oxygen to produce one oxide, or with 266 grams of oxygen to produce the other. The ratio of the masses of oxygen that can react with 100 grams of carbon is 266:133 = 2:1, a ratio of small whole numbers.[4] Dalton interpreted this result in his atomic theory by proposing (correctly in this case) that the two oxides have one and two oxygen atoms respectively for each carbon atom. In modern notation the first is CO (carbon monoxide) and the second is CO2 (carbon dioxide).

text: John Dalton first expressed this observation in 1804.[5] A few years previously, the French chemist Joseph Proust had proposed the law of definite proportions, which expressed that the elements combined to form compounds in certain well-defined proportions, rather than mixing in just any proportion; and Antoine Lavoisier proved the law of conservation of mass, which helped out Dalton. Careful study of the actual numerical values of these proportions led Dalton to propose his law of multiple proportions. This was an important step toward the atomic theory that he would propose later that year, and it laid the basis for chemical formulas for compounds.

text: Another example of the law can be seen by comparing ethane (C2H6) with propane (C3H8). The weight of hydrogen which combines with 1 g carbon is 0.252 g in ethane and 0.224 g in propane. The ratio of those weights is 1.125, which can be expressed as the ratio of two small numbers 9:8.

text: Limitations[edit]

text: The law of multiple proportions is best demonstrated using simple compounds. For example, if one tried to demonstrate it using the hydrocarbons decane (chemical formula C10H22) and undecane (C11H24), one would find that 100 grams of carbon could react with 18.46 grams of hydrogen to produce decane or with 18.31 grams of hydrogen to produce undecane, for a ratio of hydrogen masses of 121:120, which is hardly a ratio of "small" whole numbers.

text: The law fails with non-stoichiometric compounds and also doesn't work well with polymers and oligomers.


document_title: The Man Who Shot Liberty Valance

question_text: who played the marshal in who shot liberty valance

text: The Man Who Shot Liberty Valance

text: Plot summary[edit]

text: Senator Ranse Stoddard and his wife Hallie arrive in Shinbone, a frontier town in an unnamed western state, to attend the funeral of Tom Doniphon. As they pay their respects, reporters ask Stoddard why a United States Senator would make the long journey from Washington to attend the funeral of a local rancher.

text: The story flashes back 25 years; Stoddard is a young, idealistic attorney. His stagecoach is robbed by Liberty Valance and his gang. When Stoddard takes Valance to task, he is brutally whipped and left for dead. Doniphon finds him and takes him into the town of Shinbone; Hallie and other townspeople tend to his injuries, and explain that Valance victimizes Shinbone residents with impunity. Marshal Link Appleyard lacks the courage and gunfighting skills to challenge him. Doniphon (who is courting Hallie) is the only man willing to stand up to him.

text: Stoddard opens a law practice in Shinbone, inviting retribution from Valance, who cannot abide challenges to his "authority". Force, Doniphon explains, is the only thing Valance understands; but Stoddard advocates justice under the law, not brute force. He earns the town's respect by refusing to knuckle under to Valance, and by founding a school to teach reading and writing to illiterate townspeople — including Hallie.

text: When Doniphon notices that Stoddard is trying to teach himself to use a revolver, he offers a lesson. During target practice he shoots a hole in a paint can, splattering paint on Stoddard's suit, explaining that this is the sort of trickery that he can expect from Valance. Infuriated, Stoddard punches him in the jaw and leaves.

text: Shinbone's residents meet to elect two delegates for a statehood convention at the territorial capital. Doniphon nominates Stoddard, because he "knows the law, and throws a mean punch". Stoddard explains that statehood will improve infrastructure, safety, and education. The cattle barons oppose statehood, and hire Valance to sabotage the effort, but Stoddard defies him again. The townspeople elect Stoddard and Dutton Peabody, publisher of the local newspaper; Valance challenges Stoddard to a gunfight. Doniphon advises Stoddard to leave town, but Stoddard believes in the rule of law, and is willing to risk his life for his principles.

text: That evening, Valance and his gang beat Peabody nearly to death and ransack his office. Stoddard goes into the street to face Valance. Valance toys with Stoddard, shooting his arm and laughing at him. The next bullet, he says, will be "right between the eyes"; but Stoddard fires first, and to everyone's shock, Valance falls dead. Doniphon watches Hallie care for Stoddard's wounds, then heads for the saloon. At his homestead, in a drunken rage, he sets fire to the addition that he has just finished in anticipation of asking Hallie to marry him. His African American ranch hand, Pompey, rescues him, but the house is destroyed.

text: At the statehood convention, Peabody nominates Stoddard as the territory's delegate to Washington, D.C., but his "unstatesmanlike" conduct is challenged by a rival candidate. Stoddard decides that he cannot be entrusted with public service after killing a man in a gunfight. Doniphon takes him aside and, in an inception flashback, confides that he, Doniphon, actually killed Valance from an alley across the street, firing at the same time as Stoddard. Reinspired, Stoddard returns to the convention, accepts the nomination, and is elected to the Washington delegation.

text: The original flashback ends; Stoddard fills in the intervening years. He married Hallie, and then, on the strength of his reputation as "the man who shot Liberty Valance", became the new state's first governor. He then served as U.S. Senator and United States Ambassador to the United Kingdom before returning to the Senate, and now there is talk of a vice presidential nomination. The reporter realizes that Stoddard's entire reputation is based on a myth; but after reflection, he throws his interview notes into the fire. "This is the West, sir," he explains. "When the legend becomes fact, print the legend."

text: On the train back to Washington, Stoddard informs Hallie, to her delight, that he has decided to retire from politics and practice law in Shinbone. When he tells the train conductor that he will write to railroad officials, thanking them for their many courtesies, the conductor replies, "Nothing's too good for the man who shot Liberty Valance!"

text: Cast[edit]

text:
John Wayne as Tom Doniphon
James Stewart as Ransom "Ranse" Stoddard
Vera Miles as Hallie Stoddard
Lee Marvin as Liberty Valance
Edmond O'Brien as Dutton Peabody
Andy Devine as Marshal Link Appleyard
Ken Murray as Doc Willoughby

John Carradine as Maj. Cassius Starbuckle
Jeanette Nolan as Nora Ericson
John Qualen as Peter Ericson
Willis Bouchey as Jason Tully (conductor)
Carleton Young as Maxwell Scott
Woody Strode as Pompey
Denver Pyle as Amos Carruthers

Strother Martin as Floyd
Lee Van Cleef as Reese
Robert F. Simon as Handy Strong
O. Z. Whitehead as Herbert Carruthers
Paul Birch as Mayor Winder
Joseph Hoover as Charlie Hasbrouck (reporter for The Star)
Shug Fisher as Kaintuck

text: Production[edit]

text: In contrast to prior John Ford westerns, such as The Searchers and She Wore a Yellow Ribbon, Liberty Valance was shot in black and white on Paramount's sound stages. Multiple stories and speculations exist to explain this decision. Ford claimed to prefer the black and white medium over color: "In black and white, you've got to be very careful. You've got to know your job, lay your shadows in properly, get your perspective right, but in color, there it is," he said. "You might say I'm old fashioned, but black and white is real photography."[2] Ford also reportedly argued that the climactic shoot-out between Valance and Stoddard would not have worked in color.[3] Others have interpreted the absence of the magnificent outdoor vistas so prevalent in earlier Ford westerns as "a fundamental reimagining [by Ford] of his mythic West" – a grittier, less romantic, more realistic portrayal of frontier life.[4] A more pragmatic interpretation cites the fact that Wayne and Stewart – two of Hollywood's biggest stars, working together for the first time – were considerably older (54 and 53, respectively) than the characters they were playing. Filming in black and white helped ease the suspension of disbelief necessary to accept that disparity.[5] According to cinematographer William H. Clothier, however, "There was one reason and one reason only ... Paramount was cutting costs. Otherwise we would have been in Monument Valley or Brackettville and we would have had color stock. Ford had to accept those terms or not make the film."[6]

text: Another condition imposed by the studio, according to Van Cleef, was that Wayne be cast as Doniphon. Ford resented the studio's intrusion, and retaliated by taunting Wayne relentlessly throughout the filming. "He didn't want Duke [Wayne] to think he was doing him any favors," Van Cleef said.[7] Strode recounted that Ford "kept needling Duke about his failure to make it as a football player", comparing him to Strode (a former NFL running back), whom he pronounced "a real football player". (Wayne's football career at USC had been curtailed by injuries.) He also ridiculed Wayne for failing to enlist during World War II, during which Ford filmed a series of widely praised combat documentaries for the Office of Strategic Services, and was wounded at the Battle of Midway,[8] and Stewart served with distinction as a bomber pilot. "How rich did you get while Jimmy was risking his life?" he demanded. Wayne's avoidance of wartime service was a major source of guilt for him in his later years.[9]

text: Stewart related that midway through filming, Wayne asked him why he, Stewart, never seemed to be the target of Ford's venomous remarks. Other cast- and crew-members also noticed Stewart's apparent immunity from Ford's abuse. Then, toward the end of filming, Ford asked Stewart what he thought of Strode's costume for the film's beginning and end, when the actors were playing their parts 25 years older. Stewart replied, "It looks a bit Uncle Remussy to me." Ford responded, "What's wrong with Uncle Remus?" He called for the crew's attention and announced, "One of our players doesn't like Woody's costume. Now, I don't know if Mr. Stewart has a prejudice against Negroes, but I just wanted you all to know about it." Stewart said he "wanted to crawl into a mouse hole"; but Wayne told him, "Well, welcome to the club. I'm glad you made it."[7][10]

text: Ford's behavior "...really pissed Wayne off," Strode said, "but he would never take it out on Ford," the man largely responsible for his rise to stardom. "He ended up taking it out on me." While filming an exterior shot on a horse-drawn cart, Wayne almost lost control of the horses, and knocked Strode away when he attempted to help. When the horses did stop, Wayne tried to pick a fight with the younger and fitter Strode; Ford called out, "Don't hit him, Woody, we need him." Wayne later told Strode, "We gotta work together. We both gotta be professionals." Strode blamed Ford for nearly all the friction on the set. "What a miserable film to make," he added.[11]

text: Stewart received top billing over Wayne on promotional posters, but in the film itself Wayne's screen card appears first. The studio also specified that Wayne's name appear before Stewart's on theatre marquees, reportedly at Ford's request.[12] "Wayne actually played the lead," Ford said, to Peter Bogdanovich. "Jimmy Stewart had most of the sides [sequences with dialogue], but Wayne was the central character, the motivation for the whole thing."[13]

text: Music[edit]

text: The film's music score was composed by Cyril J. Mockridge; but in scenes involving Hallie's relationships with Doniphon and Stoddard, Ford reprised Alfred Newman's "Ann Rutledge Theme", from Young Mr. Lincoln. He told Bogdanovich that he used the theme in both films to evoke repressed desire and lost love.[14] The film scholar Kathryn Kalinak notes that Ann Rutledge's theme "encodes longing" and "fleshes out the failed love affair between Hallie and Tom Doniphon, the growing love between Hallie and Ranse Stoddard, and the traumatic loss experienced by Hallie over her choice of one over the other, none of which is clearly articulated by dialogue."[15]

text: The Burt Bacharach-Hal David song "(The Man Who Shot) Liberty Valance" became a Top 10 hit for Gene Pitney. Though based upon the movie's plotline, it was not used in the film. Pitney said in an interview that he was in the studio about to record the song when "... Bacharach informed us that the film just came out." Regardless, the song went to No. 4.[16] Jimmie Rodgers also recorded the song, in the Gene Pitney style. James Taylor covered it on his 1985 album That's Why I'm Here, as did The Royal Guardsmen on their 1967 album Snoopy vs. the Red Baron. It was also covered by the Australian rock band Regurgitator on its 1998 David/Bacharach tribute album To Hal and Bacharach. Members of the Western Writers of America chose it as one of the top 100 Western songs of all time.[17]

text: Reception[edit]

text: Liberty Valance was released in April 1962, and achieved both financial and critical success. Produced for $3.2 million, it grossed $8 million,[1] making it the 16th highest-grossing film of 1962. Edith Head's costumes were nominated for an Academy Award for Best Costume Design (black-and-white), one of the few westerns ever nominated in that category.[18] The film is considered one of Ford's best[19] and, in one poll, ranked with The Searchers and The Shootist as one of Wayne's best westerns.[20]

text: Roger Ebert wrote that each of the ten Ford/Wayne westerns is "... complete and self-contained in a way that approaches perfection", and singled out Liberty Valance as "the most pensive and thoughtful" of the group.[21] Director Sergio Leone (Once Upon a Time in the West, The Good, the Bad and the Ugly) listed Ford as a major influence on his work, and Liberty Valance as his favorite Ford film. "It was the only film," he said, "where [Ford] learned about something called pessimism."[22]

text: In a retrospective analysis, The New York Times called Liberty Valance "...one of the great Western classics," because "it questions the role of myth in forging the legends of the West, while setting this theme in the elegiac atmosphere of the West itself, set off by the aging Stewart and Wayne."[23] The New Yorker's Richard Brody described it as "the greatest American political movie", because of its depictions of a free press, town meetings, statehood debates, and the "civilizing influence" of education in frontier America.[21]

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

text:
2003: AFI's 100 Years...100 Heroes & Villains:

Tom Doniphon – Nominated Hero[24]

2005: AFI's 100 Years...100 Movie Quotes:

Maxwell Scott: "This is the West, sir. When the legend becomes fact, print the legend." – Nominated[25]

2008: AFI's 10 Top 10:

Nominated Western Film[26]