document_title: Spider-Man (2002 film)

question_text: who played peter parker in the first spider man

text: Spider-Man (2002 film)

text: Plot[edit]

text: High-school senior Peter Parker lives with his Aunt May and Uncle Ben, and is a school outcast. On a school field trip, he visits a genetics laboratory with his friend Harry Osborn and love interest Mary Jane Watson. There, Parker is bitten by a genetically engineered "super spider." Shortly after arriving home, he becomes unconscious. Meanwhile, Harry's father, scientist Norman Osborn, owner of Oscorp, is trying to secure an important military contract. He experiments on himself with an unstable performance-enhancing chemical. After absorbing the chemical, he goes insane, and kills his assistant.

text: The next morning, Parker finds that he is no longer near-sighted, and his body has metamorphosized into a more muscular physique. At school, he finds that his body can produce webs, and his quickened reflexes let him avoid injury during a confrontation with Flash Thompson. Parker discovers he has developed superhuman speed, strength, the ability to stick to surfaces, and a heightened ability to sense danger.

text: Brushing off Ben's advice that "with great power comes great responsibility," Parker thinks of impressing Mary Jane with a car. He enters an underground fighting tournament and wins his first match, but the promoter cheats him out of his money. When a thief suddenly raids the promoter's office, Parker allows him to escape. Moments later, he discovers that Ben was carjacked, and killed. Parker pursues and confronts the carjacker, only to realize it was the thief he let escape. After Parker disarms him, the carjacker flees, but dies in the process. Meanwhile, a crazed Norman interrupts a military experiment, and kills several scientists and the military's General Slocum.

text: Upon graduating, Parker begins using his abilities to fight injustice, donning a costume, and the persona of Spider-Man. J. Jonah Jameson, a newspaper company headmaster, hires Parker as a freelance photographer, since he is the only person providing clear images of Spider-Man.

text: Norman, upon learning Oscorp's board members plan to sell the company, assassinates them at the World Unity Fair. Jameson quickly dubs the mysterious killer the Green Goblin. The Goblin offers Parker a place at his side, but Parker refuses. They fight, and Parker is wounded. At Thanksgiving dinner, May invites Mary Jane, Harry, and Norman. During the dinner, Norman sees the wound, and realizes Parker's identity. Shortly after he leaves, the Green Goblin attacks, and hospitalizes May.

text: Mary Jane admits she has a crush on Spider-Man, who has rescued her on numerous occasions, and asks Parker whether Spider-Man ever asked about her. Harry, who loves Mary Jane, arrives and learns she has feelings for Parker. Devastated, Harry tells his father that Parker loves Mary Jane, unintentionally revealing Spider-Man's biggest weakness.

text: The Goblin holds Mary Jane and a Roosevelt Island Tram car full of children hostage alongside the Queensboro Bridge. He forces Parker to choose whom he wants to save, and drops Mary Jane and the children. Parker manages to save both Mary Jane and the tram car, while the Goblin is pelted by civilians who side with Parker. The Goblin then grabs Parker, and throws him into an abandoned building where they battle. When the Goblin boasts about how he will later kill Mary Jane, an enraged Parker overpowers the Goblin.

text: Norman reveals himself to Parker, who stops attacking. He begs for forgiveness, but at the same time controls his glider to impale his foe. Sensing the attack, Parker dodges, and the glider impales Norman. As he dies, Norman begs Parker not to tell Harry of the Green Goblin's identity. Parker takes Norman's body back to his house. Harry arrives to find Parker standing over his father's body. He seizes a gun, intent on shooting Parker, but Parker escapes, and hides the Green Goblin's equipment.

text: At Norman’s funeral, Harry swears vengeance toward Spider-Man, whom he deems responsible for his father's death, and asserts that Parker is all the family he has left. Mary Jane confesses to Parker that she is in love with him. Parker, however, feels that he must protect her from the unwanted attentions of Parker's enemies. He hides his true feelings, and tells Mary Jane that they can only be friends. As Parker leaves the funeral, he recalls Ben's words, and accepts his new responsibility as Spider-Man.

text: Cast[edit]

text:
"I felt like I was an outsider. I think what happened to me made me develop this street sense of watching people and working out what made them tick, wondering whether I could trust them or not. I went to a lot of schools along the coast in California, made few friends and stayed with aunts, uncles and grandparents while my folks tried to make ends meet. It was tough. We had no money."

— Tobey Maguire on identifying with Peter Parker[7]

tag: table

text: Tobey Maguire as Peter Parker / Spider-Man

tag: ul

text: Willem Dafoe as Norman Osborn / Green Goblin

text: Kirsten Dunst as Mary Jane Watson

text: James Franco as Harry Osborn

text: Cliff Robertson as Ben Parker

text: Rosemary Harris as May Parker

text: J. K. Simmons as J. Jonah Jameson

text: Joe Manganiello as Flash Thompson:

text: Bill Nunn as Robbie Robertson

text: Michael Papajohn as The Carjacker

text: Elizabeth Banks as Miss Brant

text: Ron Perkins as Dr. Mendel Stromm

text: Randy Savage as Bone Saw McGraw

text: Octavia Spencer as Check-in Girl

text: Lucy Lawless as Punk Rock girl

text: Bruce Campbell, a long-time colleague of director Sam Raimi, has a cameo as the announcer at the wrestling ring Peter takes part in. Years later, Jeffrey Henderson who worked on the storyboards for the cancelled Spider-Man 4 movie, released information regarding which villains would appear within the movie. One of those included Bruce Campbell's character's progression into Quentin Beck / Mysterio.[22][23] Ted Raimi, Sam Raimi's actor brother, plays a small role as editor's assistant "Hoffman". Sam Raimi himself appeared off-screen, throwing popcorn at Peter as he enters the arena to wrestle Bonesaw McGraw.[24] Spider-Man co-creator Stan Lee also has a cameo, in which he asks Peter, "Hey kid, would you like a pair of these glasses? They're the kind they wore in X-Men." The scene was cut, and Lee only briefly appears in the film to grab a young girl from falling debris during the battle between Spider-Man and the Green Goblin in Times Square. R&B/soul singer Macy Gray appears as herself. One of the stunt performers in the film is actor Johnny Tri Nguyen.[9] Robert Kerman, best known for his performances in pornographic and exploitation films, has a bit part as a tugboat captain. It was also intended for Hugh Jackman to make an appearance in the film as Logan / Wolverine, reprising the role from 2000's X-Men, but a dispute between Sony and 20th Century Fox over the characters' film rights prevented it from happening.[25]

text: Production[edit]

text: Development[edit]

text: In April 1999, although Sony Pictures optioned from Metro-Goldwyn-Mayer all preceding script versions of a Spider-Man film, it only exercised the options on "the Cameron material," which contractually included a multi-author screenplay and a forty-five page "scriptment" credited only to James Cameron. The studio announced they were not hiring Cameron himself to direct the film nor would they be using his script.[26] The studio lined up Roland Emmerich, Tony Scott, Chris Columbus, Ang Lee, David Fincher, Jan de Bont and M. Night Shyamalan as potential directors. Fincher did not want to depict the origin story, pitching the film as being based on The Night Gwen Stacy Died storyline, but the studio disagreed.[13] Sam Raimi was attached to direct in January 2000,[27] for a summer 2001 release.[28] He had been a fan of the comic book during his youth, and his passion for Spider-Man earned him the job.[29]

text: Cameron's work became the basis of David Koepp's first draft screenplay, often word for word.[30] Cameron's versions of the Marvel villains Electro and Sandman remained the antagonists. Koepp's rewrite substituted the Green Goblin as the main antagonist and added Doctor Octopus as the secondary antagonist.[31] Raimi felt the Green Goblin and the surrogate father-son theme between Norman Osborn and Peter Parker would be more interesting, thus, he dropped out Doctor Octopus from the film.[32] In June, Columbia hired Scott Rosenberg to rewrite Koepp's material. Remaining a constant in all the rewrites was the "organic webshooter" idea from the Cameron "scriptment".[33] Raimi felt he would stretch the audience's suspension of disbelief too far to have Peter invent mechanical webshooters.[10]

text: Rosenberg removed Doctor Octopus and created several new action sequences.[34] Raimi felt adding a third origin story would make the film too complex. Sequences removed from the final film had Spider-Man protecting Fargas, the wheelchair-using Oscorp executive, from the Goblin, and Spider-Man defusing a hostage situation on a train.[13] As production neared, producer Laura Ziskin hired her husband, award-winning writer Alvin Sargent, to polish the dialogue, primarily between Peter and Mary Jane.[35] Columbia gave the Writers Guild of America a list of four writers as contributors to the final "Spider-Man" script: Rosenberg, Sargent and James Cameron, all three of whom voluntarily relinquished credit to the fourth, David Koepp.[30]

text: Filming[edit]

text: With Spider-Man cast, filming was set to begin the following November in New York City and on Sony soundstages. The film was set for release a year later,[8] but when the film was postponed to be released on May 3, 2002,[36] filming officially began on January 8, 2001[35] in Culver City, California. After the terrorist attacks on September 11, 2001, certain sequences were re-filmed, and images of the Twin Towers were digitally erased from the film.[37][38] Sony's Stage 29 was used for Peter's Forest Hills home, and Stage 27 was used for the wrestling sequence where Peter takes on Bonesaw McGraw (Randy Savage). Stage 27 was also used for the complex Times Square sequence where Spider-Man and the Goblin battle for the first time, where a three-story set with a breakaway balcony piece was built. The scene also required shooting in Downey, California.[39] On March 6,[40] forty-five-year-old construction worker Tim Holcombe was killed when a forklift modified as a construction crane crashed into a construction basket that he was in. The following court case led to the California Division of Occupational Safety and Health to fine Sony $58,805.[41]

text: In Los Angeles, locations included the Natural History Museum (for the Columbia University lab where Peter is bitten and receives his powers), the Pacific Electricity Building (the Daily Bugle offices) and Greystone Mansion (for the interiors of Norman Osborn's home). In April, 4 of the Spider-Man costumes were stolen, and Sony put up a $25,000 reward for their return.[42] They were recovered after 18 months and a former movie studio security guard and an accomplice were arrested.[43] Production moved to New York City for two weeks, taking in locations such as the Queensboro Bridge, the exteriors of Columbia University's Low Memorial Library and the New York Public Library, and a rooftop garden in the Rockefeller Center.[39] The crew returned to Los Angeles where production and filming ended in June. The Flatiron Building was used for the Daily Bugle.[35]

text: Design[edit]

text: Although it wound up being faithful to the comics, many designs were made for Spider-Man's costumes: one concept costume designer James Acheson became fond of the idea of having a red emblem over a black costume. Another, which would eventually lead to the final product, featured an enlarged logo on the chest and red stripes going down the sides of the legs.[13] To create Spider-Man's costume, Maguire was fitted for the skintight suit, being covered with layers of substance to create the suit's shape.[44] It was designed as a single piece, except for the mask. The webbing, which accented the costume, was cut by computer. The mask eye lenses were designed to have a mirror look.[45]

text: Effects[edit]

text: Visual effects supervisor John Dykstra was hired to produce the film's visual effects in May 2000.[46] He convinced Raimi to make many of the stunts computer generated, as they would have been physically impossible. Raimi had used more traditional special effects in his previous films and learned a lot about using computers during production.[29] Raimi worked hard to plan all the sequences of Spider-Man swinging from buildings, which he described as, "ballet in the sky." The complexity of such sequences meant the budget rose from an initially planned $70 million to around $100 million.[9] Shots were made more complicated because of the main characters' individual color schemes, so Spider-Man and the Green Goblin had to be shot separately for effects shots: Spider-Man was shot in front of a greenscreen, while the Green Goblin was shot against bluescreen. Shooting them together would have resulted in one character being erased from a shot.[13]

text: Dykstra said the biggest difficulty of creating Spider-Man was that as the character was masked, it immediately lost a lot of characterization. Without the context of eyes or mouth, a lot of body language had to be put in so that there would be emotional content. Raimi wanted to convey the essence of Spider-Man as being, "the transition that occurs between him being a young man going through puberty and being a superhero." Dykstra said his crew of animators had never reached such a level of sophistication to give subtle hints of still making Spider-Man feel like a human being.[47] When two studio executives were shown shots of the computer generated character, they believed it was actually Maguire performing stunts.[13] In addition, Dykstra's crew had to composite areas of New York City and replaced every car in shots with digital models. Raimi did not want it to feel entirely like animation, so none of the shots were 100% computer generated.[48]

text: Release[edit]

text: After the terrorist attacks on the United States on September 11, 2001, Sony recalled teaser posters which showed a close-up of Spider-Man's face with the New York skyline (including, prominently, the World Trade Center towers) reflected in his eyes. The film's original teaser trailer, released in 2001 and shown before Atlantis: The Lost Empire, American Pie 2, Final Fantasy: The Spirits Within and Jurassic Park III, featured a mini-film plot involving a group of bank robbers escaping in a Eurocopter AS355 Twin Squirrel helicopter, which gets caught from behind and propelled backward into what at first appears to be a net, then is shown to be a gigantic spider web spun between the World Trade Center towers. According to Sony, the trailer did not contain any actual footage from the film itself and is consequently one of the most popular "Special Shoot" trailers since Terminator 2: Judgment Day.[49] The trailer and poster were pulled after the events of the attacks, but can be found on the internet on websites such as YouTube.[50]

text: Before the film's British theatrical release in June 2002, the British Board of Film Classification (BBFC) gave the film a "12" certificate. Due to Spider-Man's popularity with younger children, this prompted much controversy. The BBFC defended its decision, arguing that the film could have been given a "15". Despite this, North Norfolk and Breckland District Councils, in East Anglia, changed it to a "PG", and Tameside council, Manchester, denoted it a "PG-12". The U.S. rated it "PG-13"[51] for "stylized violence and action". In late August, the BBFC relaxed its policy to "12A", leading Sony to re-release the film.[52][53]

text: Reception[edit]

text: Box office performance[edit]

text: Spider-Man became the first film to pass the $100 million mark in a single weekend, even when adjusting for inflation, with its $114,844,116[54] mark establishing a new opening weekend record.[55][56] The gross surpassed the previous record holder's Harry Potter and the Sorcerer's Stone $90 million opening; on this, Rick Lyman of The New York Times wrote, "while industry executives had expected a strong opening for the film because there was little competition in the marketplace and prerelease polling indicated intense interest from all age groups, no one predicted that Spider-Man would surpass the Harry Potter record."[56]

text: The film also set a record for crossing the $100 million milestone in 3 days, at the time being the fastest any film had reached the mark.[57] This opening weekend haul had an average of $31,769 per theater, which at time, Box Office Mojo reported as being "the highest per theater average ever for an ultra-wide release."[55] The film's three-day record was surpassed by Pirates of the Caribbean: Dead Man's Chest four years later.[58] The $114.8 million opening weekend was the highest at the North America box office film for a non-sequel, until it was surpassed eight years later by Alice in Wonderland.[59]

text: With the release in the United States and Canada on May 3, 2002 on 7,500 screens at 3,615 theaters,[56] the film earned $39,406,872 on its opening day, averaging $10,901 per theater.[60] This was the highest opening day at the time until it was surpassed by its sequel Spider-Man 2's $40.4 million haul in 2004.[61] Spider-Man also set an all-time record for the highest earnings in a single day with $43,622,264 on its second day of release,[55][60] a record later surpassed by Shrek 2 in 2004.[62] On the Sunday during its opening weekend, the film earned an additional $31,814,980,[60] the highest gross a film took in on a Sunday, at the time.[55]

text: The film stayed at the top position in its second weekend, dropping only 38% and grossing another $71,417,527,[63] while averaging $19,755.89 per theater. At the time, this was the highest grossing second weekend of any film.[63] During its second weekend, the film crossed the $200 million mark on its ninth day of release, also a record at the time.[63] At the end of its second weekend, the film brought in a 10-day total of $223,040,031.[63]

text: The film dropped to the second position in its third weekend, behind Star Wars: Episode II – Attack of the Clones, but still made $45,036,912, dropping only 37%, averaging $12,458 per theater, and bringing the 17-day tally to $285,573,668.[64] Its third weekend haul set the record for highest grossing third weekend, which was first surpassed by Avatar (2009).[65] It stayed at the second position in its fourth weekend, grossing $35,814,844 over the four-day Memorial Day frame, dropping only 21% while expanding to 3,876 theaters, averaging $9,240 over four days, and bringing the 25-day gross to $333,641,492.[66] In the box office, Spider-Man became 2002's highest-grossing film with $403,706,375 in the U.S. and Canada, defeating The Lord of the Rings: The Two Towers and Star Wars Episode II: Attack of the Clones.[67]

text: Spider-Man currently ranks as the 24th highest-grossing film of all time in the U.S. and Canada, not adjusted for inflation. The film also grossed $418,002,176 from its international markets, bringing its worldwide total to $821,708,551,[68] making it 2002's third-highest-grossing film behind The Lord of the Rings: The Two Towers and Harry Potter and the Chamber of Secrets and the 58th highest-grossing film of all time, worldwide.[69] The film sold an estimated 69,484,700 tickets in the US.[68] Spider-Man was the highest-grossing superhero origin film, a record it held for 15 years until it was surpassed by Wonder Woman[70]. It is the eighth highest-grossing superhero film, as well as eighth highest-grossing comic book adaptation in general.[71][72]

text: International markets which generated grosses in excess of $10 million include Australia ($16.9 million), Brazil ($17.4 million), France, Algeria, Monaco, Morocco and Tunisia ($32.9 million), Germany ($30.7 million), Italy ($20.8 million), Japan ($56.2 million), Mexico ($31.2 million), South Korea ($16.98 million), Spain ($23.7 million), and the United Kingdom, Ireland and Malta ($45.8 million).[73]

text: Spider-Man became the highest-grossing superhero film of all time at the time of its release, both domestically and worldwide. Its domestic gross was eventually topped by The Dark Knight (2008). Its worldwide gross was first surpassed by Spider-Man 3 (2007). Since then, the 2012 Avengers film has topped all superhero films both domestically and worldwide.

text: The film's U.S. television rights (Fox, TBS/TNT) were sold for $60 million.[74] Related gross toy sales were $109 million.[74] Its U.S. DVD revenue as of July 2004 stands at $338.8 million.[74] Its U.S. VHS revenue as of July 2004 is $89.2 million.[74]

text: Critical response[edit]

text: On the review aggregator website Rotten Tomatoes the film has an approval rating of 89% based on 236 reviews, with an average rating of 7.7/10. The site's critical consensus reads, "Not only does Spider-Man provide a good dose of web-swinging fun, it also has a heart, thanks to the combined charms of director Sam Raimi and star Tobey Maguire."[75] On Metacritic, the film has an average score of 73 out of 100, based on 37 critics, indicating "generally favorable reviews".[76] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[77]

text: The casting, mainly Tobey Maguire and Willem Dafoe, is often cited as one of the film's high points. Eric Harrison, of the Houston Chronicle, was initially skeptical of the casting of Maguire, but, after seeing the film, he stated, "within seconds, however, it becomes hard to imagine anyone else in the role."[78] USA Today critic Mike Clark believed the casting rivaled that of Christopher Reeve as 1978's Superman.[79] Owen Gleiberman, of Entertainment Weekly, had mixed feelings about the casting, particularly Tobey Maguire. "Maguire, winning as he is, never quite gets the chance to bring the two sides of Spidey – the boy and the man, the romantic and the avenger – together."[80] The Hollywood Reporter's Kirk Honeycutt thought, "the filmmakers' imaginations work in overdrive from the clever design of the cobwebby opening credits and Spider-Man and M.J.'s upside down kiss – after one of his many rescues of her – to a finale that leaves character relationships open ended for future adventures."[81]

text: Conversely, LA Weekly's Manohla Dargis wrote, "It isn't that Spider-Man is inherently unsuited for live-action translation; it's just that he's not particularly interesting or, well, animated."[82] Giving it 2.5/4 stars, Roger Ebert felt the film lacked a decent action element; "Consider the scene where Spider-Man is given a cruel choice between saving Mary Jane or a cable car full of school kids. He tries to save both, so that everyone dangles from webbing that seems about to pull loose. The visuals here could have given an impression of the enormous weights and tensions involved, but instead the scene seems more like a bloodless storyboard of the idea."[83] Stylistically, there was heavy criticism of the Green Goblin's costume, which led IGN's Richard George to comment years later, "We're not saying the comic book costume is exactly thrilling, but the Goblin armor (the helmet in particular) from Spider-Man is almost comically bad... Not only is it not frightening, it prohibits expression."[84]

text: Entertainment Weekly put "the kiss in Spider-Man" on its end-of-the-decade "best-of" list, saying, "There's a fine line between romantic and corny. And the rain-soaked smooch between Spider-Man and Mary Jane from 2002 tap-dances right on that line. The reason it works? Even if she suspects he's Peter Parker, she doesn't try to find out. And that's sexy."[85] Empire magazine ranked Spider-Man 437 in its 500 Greatest Movies of All Time list the following year.

text: Awards[edit]

text: The film won several awards ranging from Teen Choice Awards to the Saturn Awards, and was also nominated for two Academy Awards (Best Visual Effects and Best Sound (Kevin O'Connell, Greg P. Russell and Ed Novick), but lost to The Lord of the Rings: The Two Towers and Chicago, respectively.[86][87] While only Danny Elfman brought home a Saturn Award, Raimi, Maguire, and Dunst were all nominated for their respective positions. It also took home the People's Choice Award for "Favorite Motion Picture."[87] The film was nominated for Favorite Movie at the Nickelodeon Kids' Choice Awards, but lost to Austin Powers in Goldmember.

text:
Award
Date of ceremony
Category
Recipients and nominees
Outcome

Academy Awards[88]
March 23, 2003
Best Sound
Kevin O'Connell, Greg P. Russell and Ed Novick
Nominated

Best Visual Effects
John Dykstra, Scott Stokdyk, Anthony LaMolinara and John Frazier
Nominated

BMI Film and TV Awards[89]
May 14, 2003
BMI Film Music Award
Danny Elfman
Won

British Academy Film Awards[90]
February 23, 2003
Best Achievement in Special Visual Effects
John Dykstra, Scott Stokdyk, Anthony LaMolinara and John Frazier
Nominated

Broadcast Film Critics Association[91]
January 17, 2003
Best Song
Chad Kroeger ("Hero")
Nominated

Empire Awards[9]
February 5, 2003
Best Actress
Kirsten Dunst
Won

Golden Trailer Awards[92]
March 14, 2002
Best Action
Spider-Man
Nominated

Best Music
Spider-Man
Nominated

Best of Show
Spider-Man
Nominated

Best Voice Over
Spider-Man
Won

Grammy Award[93]
February 23, 2003
Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media
Danny Elfman
Nominated

Best Song Written for a Motion Picture, Television or Other Visual Media
Chad Kroeger ("Hero")
Nominated

Hugo Awards[94]
August 30, 2003
Best Dramatic Presentation – Long Form
Spider-Man
Nominated

MTV Movie Awards[95]
May 31, 2003
Best Female Performance
Kirsten Dunst
Won

Best Kiss
Kirsten Dunst and Tobey Maguire
Won

Best Male Performance
Tobey Maguire
Nominated

Best Movie
Spider-Man
Nominated

Best Villain
Willem Dafoe
Nominated

People's Choice Awards[96]
January 12, 2003
Favorite Motion Picture
Spider-Man
Nominated

Satellite Awards[97]
January 12, 2003
Best Film Editing
Eric Zumbrunnen
Nominated

Best Visual Effects
John Dykstra
Nominated

Saturn Awards[98]
May 18, 2003
Best Fantasy Film
Spider-Man
Nominated

Best Actor
Tobey Maguire
Nominated

Best Actress
Kirsten Dunst
Nominated

Best Director
Sam Raimi
Nominated

Best Music
Danny Elfman
Won

Best Special Effects
John Dykstra, Scott Stokdyk, Anthony LaMolinara
and John Frazier
Nominated

World Soundtrack Awards[99]
October 19, 2002
Best Original Soundtrack of the Year – Orchestral
Danny Elfman
Nominated

World Stunt Awards[100]
June 1, 2003
Best Fight
Chris Daniels, Zach Hudson, Kim Kahana Jr., Johnny Nguyen and Mark Aaron Wagner
Nominated

Young Artist Awards[101]
March 29, 2003
Best Family Feature Film - Fantasy
Spider-Man
Nominated

text: Sequels[edit]

text: In January 2003, Sony revealed that a sequel to Spider-Man was in development, and would be produced and directed by Sam Raimi. On March 15, 2003, a trailer revealed that the film, Spider-Man 2, would be released in June 30, 2004. Spider-Man 3, the second sequel to Spider-Man and the final film in the series to be directed by Raimi, was released on May 4, 2007. Spider-Man: The New Animated Series was an alternate sequel to the film and did not include the events of Spider-Man 2 and 3.[102]

text:
Film in the United States portal
Superhero fiction portal
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document_title: Greek words for love

question_text: what are the four words for love in greek

root

text: Greek words for love

text: This article possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (April 2014) (Learn how and when to remove this template message)

text:
Part of a series on

Love

Types of love[show]

Affection
Bonding
Broken heart
Compassionate love
Conjugal love
Courtly love

troubadours

Falling in love
Free love
Friendship

romantic

Interpersonal relationship
Intimacy
Limerence
Love addiction
Love at first sight
Love triangle
Loving-kindness
Lovesickness
Lovestruck
Obsessive love
Passion
Puppy love
Relationship
Self-love

Amour de soi

Unconditional love
Unrequited love

Cultural views[show]

Chinese

Ren

Greek

words for love
Agape
Eros
Philia
Platonic
Storge
Xenia

Indian

Kama
Bhakti

Islamic

Ishq

Jewish

Chesed

Latin

Amore
Charity
Romance

Related[show]

Biological basis
Love letter
Valentine's Day
Philosophy
Religious views

v
t
e

text: The Greek language distinguishes at least four different ways as to how the word love is used. Ancient Greek has four distinct words for love: agápe, éros, philía, and storgē. However, as with other languages, it has been difficult to separate the meanings of these words when used outside their respective contexts. Nonetheless, the senses in which these words were generally used are as follows:

tag: p

text:
Agápe (ἀγάπη agápē[1]) means "love: esp. charity; the love of God for man and of man for God."[2] Agape is used in ancient texts to denote feelings for one's children and the feelings for a spouse, and it was also used to refer to a love feast.[3] Agape is used by Christians to express the unconditional love of God for his children.[4] This type of love was further explained by Thomas Aquinas as "to will the good of another."[5]
Éros (ἔρως érōs) means "love, mostly of the sexual passion."[6] The Modern Greek word "erotas" means "intimate love." Plato refined his own definition: Although eros is initially felt for a person, with contemplation it becomes an appreciation of the beauty within that person, or even becomes appreciation of beauty itself. Plato does not talk of physical attraction as a necessary part of love, hence the use of the word platonic to mean, "without physical attraction." In the Symposium, the most famous ancient work on the subject, Plato has Socrates argue that eros helps the soul recall knowledge of beauty, and contributes to an understanding of spiritual truth, the ideal "Form" of youthful beauty that leads us humans to feel erotic desire – thus suggesting that even that sensually based love aspires to the non-corporeal, spiritual plane of existence; that is, finding its truth, just like finding any truth, leads to transcendence.[7] Lovers and philosophers are all inspired to seek truth through the means of eros.
Philia (φιλία philía) means "affectionate regard, friendship," usually "between equals."[8] It is a dispassionate virtuous love, a concept developed by Aristotle.[9] In his best-known work on ethics, Nicomachean Ethics, philia is expressed variously as loyalty to friends (specifically, "brotherly love"), family, and community, and requires virtue, equality, and familiarity. Furthermore, in the same text philos denotes a general type of love, used for love between family, between friends, a desire or enjoyment of an activity, as well as between lovers.
Storge (στοργή storgē) means "love, affection" and "especially of parents and children"[10] It is the common or natural empathy, like that felt by parents for offspring.[11] Rarely used in ancient works, and then almost exclusively as a descriptor of relationships within the family. It is also known to express mere acceptance or putting up with situations, as in "loving" the tyrant. This is also used when referencing the love for one's country or a favorite sports team.


document_title: Yellow journalism

question_text: how did the yellow press manufacture a war apush

text: Yellow journalism

text: Definitions

text: Joseph Campbell describes yellow press newspapers as having daily multi-column front-page headlines covering a variety of topics, such as sports and scandal, using bold layouts (with large illustrations and perhaps color), heavy reliance on unnamed sources, and unabashed self-promotion. The term was extensively used to describe certain major New York City newspapers around 1900 as they battled for circulation.[3]

text: Frank Luther Mott identifies yellow journalism based on five characteristics:[4]

text:
scare headlines in huge print, often of minor news
lavish use of pictures, or imaginary drawings
use of faked interviews, misleading headlines, pseudoscience, and a parade of false learning from so-called experts
emphasis on full-color Sunday supplements, usually with comic strips
dramatic sympathy with the "underdog" against the system.

tag: ol

text: Origins: Pulitzer vs. Hearst

text: Etymology and early usage

text: The term was coined in the mid-1890s to characterize the sensational journalism that used some yellow ink in the circulation war between Joseph Pulitzer's New York World and William Randolph Hearst's New York Journal. The battle peaked from 1895 to about 1898, and historical usage often refers specifically to this period. Both papers were accused by critics of sensationalizing the news in order to drive up circulation, although the newspapers did serious reporting as well. An English magazine in 1898 noted, "All American journalism is not 'yellow', though all strictly 'up-to-date' yellow journalism is American!"[5]

text: The term was coined by Erwin Wardman, the editor of the New York Press. Wardman was the first to publish the term but there is evidence that expressions such as "yellow journalism" and "school of yellow kid journalism" were already used by newsmen of that time. Wardman never defined the term exactly. Possibly it was a mutation from earlier slander where Wardman twisted "new journalism" into "nude journalism".[6] Wardman had also used the expression "yellow kid journalism"[6] referring to the then-popular comic strip which was published by both Pulitzer and Hearst during a circulation war.[7] In 1898 the paper simply elaborated: "We called them Yellow because they are Yellow."[6]

text: Hearst in San Francisco, Pulitzer in New York

text: Joseph Pulitzer purchased the New York World in 1883 after making the St. Louis Post-Dispatch the dominant daily in that city. Pulitzer strove to make the New York World an entertaining read, and filled his paper with pictures, games and contests that drew in new readers. Crime stories filled many of the pages, with headlines like "Was He a Suicide?" and "Screaming for Mercy."[8] In addition, Pulitzer only charged readers two cents per issue but gave readers eight and sometimes 12 pages of information (the only other two cent paper in the city never exceeded four pages).[9]

text: While there were many sensational stories in the New York World, they were by no means the only pieces, or even the dominant ones. Pulitzer believed that newspapers were public institutions with a duty to improve society, and he put the World in the service of social reform.

text: Just two years after Pulitzer took it over, the World became the highest circulation newspaper in New York, aided in part by its strong ties to the Democratic Party.[10] Older publishers, envious of Pulitzer's success, began criticizing the World, harping on its crime stories and stunts while ignoring its more serious reporting — trends which influenced the popular perception of yellow journalism. Charles Dana, editor of the New York Sun, attacked The World and said Pulitzer was "deficient in judgment and in staying power."[11]

text: Pulitzer's approach made an impression on William Randolph Hearst, a mining heir who acquired the San Francisco Examiner from his father in 1887. Hearst read the World while studying at Harvard University and resolved to make the Examiner as bright as Pulitzer's paper.[12]

text: Under his leadership, the Examiner devoted 24 percent of its space to crime, presenting the stories as morality plays, and sprinkled adultery and "nudity" (by 19th century standards) on the front page.[13] A month after Hearst took over the paper, the Examiner ran this headline about a hotel fire: HUNGRY, FRANTIC FLAMES. They Leap Madly Upon the Splendid Pleasure Palace by the Bay of Monterey, Encircling Del Monte in Their Ravenous Embrace From Pinnacle to Foundation. Leaping Higher, Higher, Higher, With Desperate Desire. Running Madly Riotous Through Cornice, Archway and Facade. Rushing in Upon the Trembling Guests with Savage Fury. Appalled and Panic-Striken the Breathless Fugitives Gaze Upon the Scene of Terror. The Magnificent Hotel and Its Rich Adornments Now a Smoldering heap of Ashes. The Examiner Sends a Special Train to Monterey to Gather Full Details of the Terrible Disaster. Arrival of the Unfortunate Victims on the Morning's Train — A History of Hotel del Monte — The Plans for Rebuilding the Celebrated Hostelry — Particulars and Supposed Origin of the Fire."[14]

text: Hearst could be hyperbolic in his crime coverage; one of his early pieces, regarding a "band of murderers," attacked the police for forcing Examiner reporters to do their work for them. But while indulging in these stunts, the Examiner also increased its space for international news, and sent reporters out to uncover municipal corruption and inefficiency.

text: In one well remembered story, Examiner reporter Winifred Black was admitted into a San Francisco hospital and discovered that indigent women were treated with "gross cruelty." The entire hospital staff was fired the morning the piece appeared.[15]

text: Competition in New York

text: With the success of the Examiner established by the early 1890s, Hearst began looking for a New York newspaper to purchase, and acquired the New York Journal in 1895, a penny paper which Pulitzer's brother Albert had sold to a Cincinnati publisher the year before.

text: Metropolitan newspapers started going after department store advertising in the 1890s, and discovered the larger the circulation base, the better. This drove Hearst; following Pulitzer's earlier strategy, he kept the Journal's price at one cent (compared to The World's two cent price) while providing as much information as rival newspapers.[9] The approach worked, and as the Journal's circulation jumped to 150,000, Pulitzer cut his price to a penny, hoping to drive his young competitor (who was subsidized by his family's fortune) into bankruptcy.

text: In a counterattack, Hearst raided the staff of the World in 1896. While most sources say that Hearst simply offered more money, Pulitzer — who had grown increasingly abusive to his employees — had become an extremely difficult man to work for, and many World employees were willing to jump for the sake of getting away from him.[16]

text: Although the competition between the World and the Journal was fierce, the papers were temperamentally alike. Both were Democratic, both were sympathetic to labor and immigrants (a sharp contrast to publishers like the New York Tribune's Whitelaw Reid, who blamed their poverty on moral defects[11]), and both invested enormous resources in their Sunday publications, which functioned like weekly magazines, going beyond the normal scope of daily journalism.[17]

text: Their Sunday entertainment features included the first color comic strip pages, and some theorize that the term yellow journalism originated there, while as noted above, the New York Press left the term it invented undefined. Hogan's Alley, a comic strip revolving around a bald child in a yellow nightshirt (nicknamed The Yellow Kid), became exceptionally popular when cartoonist Richard F. Outcault began drawing it in the World in early 1896. When Hearst predictably hired Outcault away, Pulitzer asked artist George Luks to continue the strip with his characters, giving the city two Yellow Kids.[18] The use of "yellow journalism" as a synonym for over-the-top sensationalism in the U.S. apparently started with more serious newspapers commenting on the excesses of "the Yellow Kid papers."

text: In 1890, Samuel Warren and Louis Brandeis published "The Right to Privacy",[19] considered the most influential of all law review articles, as a critical response to sensational forms of journalism, which they saw as an unprecedented threat to individual privacy. The article is widely considered to have led to the recognition of new common law privacy rights of action.

text: Spanish–American War

text: Pulitzer and Hearst are often adduced as the cause of the United States' entry into the Spanish–American War due to sensationalist stories or exaggerations of the terrible conditions in Cuba.[20] However, the vast majority of Americans did not live in New York City, and the decision-makers who did live there probably relied more on staid newspapers like the Times, The Sun, or the Post. James Creelman wrote an anecdote in his memoir that artist Frederic Remington telegrammed Hearst to tell him all was quiet in Cuba and "There will be no war." Creelman claimed Hearst responded "Please remain. You furnish the pictures and I'll furnish the war." Hearst denied the veracity of the story, and no one has found any evidence of the telegrams existing.[21][22] Historian Emily Erickson states:

text: Serious historians have dismissed the telegram story as unlikely....The hubris contained in this supposed telegram, however, does reflect the spirit of unabashed self-promotion that was a hallmark of the yellow press and of Hearst in particular.[23]

text: Hearst became a war hawk after a rebellion broke out in Cuba in 1895. Stories of Cuban virtue and Spanish brutality soon dominated his front page. While the accounts were of dubious accuracy, the newspaper readers of the 19th century did not expect, or necessarily want, his stories to be pure nonfiction. Historian Michael Robertson has said that "Newspaper reporters and readers of the 1890s were much less concerned with distinguishing among fact-based reporting, opinion and literature."[24]

text: Pulitzer, though lacking Hearst's resources, kept the story on his front page. The yellow press covered the revolution extensively and often inaccurately, but conditions on Cuba were horrific enough. The island was in a terrible economic depression, and Spanish general Valeriano Weyler, sent to crush the rebellion, herded Cuban peasants into concentration camps, leading hundreds of Cubans to their deaths. Having clamored for a fight for two years, Hearst took credit for the conflict when it came: A week after the United States declared war on Spain, he ran "How do you like the Journal's war?" on his front page.[25] In fact, President William McKinley never read the Journal, nor newspapers like the Tribune and the New York Evening Post. Moreover, journalism historians have noted that yellow journalism was largely confined to New York City, and that newspapers in the rest of the country did not follow their lead. The Journal and the World were not among the top ten sources of news in regional papers, and the stories simply did not make a splash outside New York City.[26] Rather, war came because public opinion was sickened by the bloodshed, and because leaders like McKinley realized that Spain had lost control of Cuba.[27] These factors weighed more on the president's mind than the melodramas in the New York Journal.[28]

text: When the invasion began, Hearst sailed directly to Cuba as a war correspondent, providing sober and accurate accounts of the fighting.[29] Creelman later praised the work of the reporters for exposing the horrors of Spanish misrule, arguing, "no true history of the war ... can be written without an acknowledgment that whatever of justice and freedom and progress was accomplished by the Spanish-American war was due to the enterprise and tenacity of yellow journalists, many of whom lie in unremembered graves."[26]

text: After the war

text: Hearst was a leading Democrat who promoted William Jennings Bryan for president in 1896 and 1900. He later ran for mayor and governor and even sought the presidential nomination, but lost much of his personal prestige when outrage exploded in 1901 after columnist Ambrose Bierce and editor Arthur Brisbane published separate columns months apart that suggested the assassination of William McKinley. When McKinley was shot on September 6, 1901, critics accused Hearst's Yellow Journalism of driving Leon Czolgosz to the deed. Hearst did not know of Bierce's column, and claimed to have pulled Brisbane's after it ran in a first edition, but the incident would haunt him for the rest of his life, and all but destroyed his presidential ambitions.[30]

text: Pulitzer, haunted by his "yellow sins,"[31] returned the World to its crusading roots as the new century dawned. By the time of his death in 1911, the World was a widely respected publication, and would remain a leading progressive paper until its demise in 1931. Its name lived on in the Scripps-Howard New York World-Telegram, and then later the New York World-Telegram and Sun in 1950, and finally was last used by the New York World-Journal-Tribune from September 1966 to May 1967. At that point, only one broadsheet newspaper was left in New York City.


document_title: Boeing VC-25

question_text: what is the range of air force one

question_tokens: what is the range of air force one

text: Boeing VC-25

text: Development[edit]

text: By 1985, the pair of Boeing 707-based VC-137s used as the Presidential aircraft had been in service for 23 and 13 years respectively, and the USAF began searching for an eventual replacement. The Request for Proposal issued stated that the aircraft to be selected should have at least three engines and an unrefueled range of at least 6,000 miles (9,700 km). Both Boeing with its 747 and McDonnell Douglas with the DC-10 were in competition to be selected, with the Boeing entry the eventual winner.[1] The fabrication of the current 747s began during the presidency of Ronald Reagan (1981–1989). Reagan ordered two identical Boeing 747-200Bs to replace the Boeing 707s that he used for transport.[2]

text: The VC-25s were completed in 1986 and first flew in 1987.[3] The interior designs were created by First Lady Nancy Reagan, who used designs reminiscent of the American Southwest.[2] Problems with interior wiring for communication systems delayed delivery of the two aircraft until 1990,[3] during the administration of George H.W. Bush.

text: The VC-25 is not compliant with Automatic Dependent Surveillance Broadcast (ADS-B) standards; the Air Force is upgrading both airplanes. The Air Force reported that the operating cost for each VC-25A is $210,877 per hour.[4]

text: Design and configuration[edit]

text: While the VC-25 has two main decks and a cargo area, like a regular Boeing 747, its 4,000 square feet (370 m²) of floor space has been reconfigured for presidential duties. Its lowest level is mostly cargo space, carrying luggage and the onboard food supply.

text: The main passenger area is on the second floor or main deck.[5] There are three entrances on board, two on the main and one on the lower deck. Typically the president boards and deplanes from the front, main deck entrance via an airstair, while journalists and other passengers enter at the rear door of the main deck. Facilities for the press and other passengers are configured like an ordinary airliner's first-class cabin.[6]

text: The "White House"[edit]

text: The front of the aircraft is informally called the "White House", a reference to the president's official residence in Washington DC.[5] The president's executive suite includes sleeping quarters with two couches that can be converted into beds, lavatory and shower, vanity, double sink, and a private office, or the president's "Oval Office aboard Air Force One". If necessary, the president can address the nation from the office. This capability was added after the September 11 attacks, during which the aircraft had to land at Barksdale Air Force Base in order for President George W. Bush to address the nation.[7] These offices, including the president's suite, are mostly located on the starboard (right) side, and a long corridor runs along the port (left) side. There is an area along the corridor for two Secret Service agents.[citation needed] The aircraft also contains a conference room, originally designed as a situation room but now used for meeting with staff while traveling. This room includes a 50-inch plasma screen television which can be used for teleconferencing. The aircraft has fully equipped office areas with telecommunication systems (including 87 telephones and 19 televisions).[5]

text: On board the VC-25 is a medical annex, which includes a fold-out operating table, emergency medical supplies, and a well-stocked pharmacy; George W. Bush had a treadmill added to Air Force One during his term in office. Every flight is staffed by a doctor and nurse. The aircraft is self-sufficient, such as carrying all the food it will need. Meals are prepared in two galleys, which together are equipped to feed up to 100 people at a time.[5] The President gets his own menu. An area where guests sit is near the center of the aircraft, outside the "White House".[5]

text: There are separate quarters for guests, senior staff, Secret Service and security personnel, and the news media located in the aft area of the main deck. Protocol states that one may wander aft of wherever one's assigned seat is, but not forward.[5] Communications equipment and the cockpit are on the upper deck. There are also secure and non-secure voice, fax and data communications facilities.[5] While the aircraft's luggage capacity is adequate to carry the belongings of the passengers, the logistics train of the President means that the aircraft must fly preceded by an aerial convoy of several cargo transports, which carry the helicopters, motorcade vehicles, and other equipment required by the presidential entourage.[5]

text: The VC-25 is capable of flying 7,800 miles (12,600 km)—roughly one-third the distance around the world—without refueling. It can be refuelled during flight from a tanker aircraft. The VC-25A can accommodate more than 70 passengers. Each VC-25A cost approximately US$325 million. When a VC-25 taxis to an airport's ramp for events, it stops with the port side of the aircraft facing gathered onlookers.[citation needed]

text: Operational history[edit]

text: The VC-25 replaced the VC-137C (a military version of the Boeing 707) as the mainstay of the Air Force One fleet. On some occasions, the VC-25s are used to transport the Vice President of the United States, for which service they adopt the call sign Air Force Two. These aircraft are maintained and operated as military operations by the Presidential Airlift Group, part of Air Mobility Command's 89th Airlift Wing, based at Andrews Field in Camp Springs, Maryland.

text: The aircraft can also be operated as a military command center in the event of an incident such as a nuclear attack. Operational modifications include aerial refueling capability and anti-aircraft missile countermeasures. The electronics on board are connected with approximately 238 miles (383 km) of wiring, twice that of a regular 747. All wiring is covered with heavy shielding for protection from a nuclear electromagnetic pulse in the event of a nuclear attack. The aircraft also has electronic countermeasures (ECMs) to jam enemy radar, flares to avoid heat-seeking missiles, and chaff to avoid radar-guided missiles. All small arms and ammunition stores not under the physical possession of the Secret Service on board the VC-25s are stowed and secured by the Secret Service in separate locked compartments, each with a different locking mechanism for added security. Many of the VC-25's other capabilities are classified for security reasons.

text: After a presidential inauguration resulting in a change in office, the outgoing president is provided transport on a VC-25 aircraft to their home destination. The aircraft for this flight does not use the Air Force One call sign because it is not carrying the president in office. For both Presidents Bill Clinton and George W. Bush, the flight was known as Special Air Mission 28000, where the number represents the aircraft's tail number.[8][9]

text: The VC-25A has also been used to transport deceased former presidents. The guest area aft of "the White House" has chairs and tables that can be removed and the casket laid in their place.[5] The bodies of Ronald Reagan and Gerald Ford were transported by SAM 28000 and 29000 respectively to Washington for their state funerals, and then on to their final resting places. Colonel Mark Tillman, pilot for President George W. Bush, said, "We'll take care of the president from basically when he's in office to when he lays [sic] in state."[5] For the funeral of President Ronald Reagan in 2004, Tillman said that the crew converted the front of the aircraft to look the way it would have appeared when Reagan was president; President and Nancy Reagan's Air Force One jackets were placed on the chairs to "make them feel at home".[5] A specially designed hydraulic lifter (similar to the type used by airline catering) with the presidential seal affixed to the sides lifts the casket up to the portside aft door to enter the VC-25A. The tradition of placing the caskets in the passenger cabin dates back to the assassination of John F. Kennedy, when the crew did not want the president's body placed in the cargo hold,[10] and again during the state funeral of Lyndon B. Johnson.[11]

text: Future[edit]

text: The current 747-200B aircraft are aging and have become less cost-effective to operate. The USAF Air Mobility Command investigated possible replacements, with early press coverage suggesting that the USAF would consider the Boeing 747-8 and the Airbus A380.[12] On January 7, 2009, Air Force Materiel Command issued a new Sources Sought notice for a replacement aircraft to enter service by 2017 with an additional two aircraft to follow in 2019 and 2021.[13] On 28 January 2009, EADS North America representing EADS and its Airbus division confirmed it would not respond to the US Air Force notice, as assembling only three airplanes in the US would not make financial sense.[14] This made Boeing the only aircraft manufacturer interested in supplying the replacement aircraft,[15] and was reported to be exploring a 787 option also.[16] On 28 January 2015, the Air Force announced the selection of the Boeing 747-8 to replace the aging VC-25A for presidential transport.[17][18]

text: On 10 May 2016, the Air Force posted online an amendment to its Air Force One contract authorizing Boeing to begin preliminary design activities. However, the latest version of the contract synopsis confirmed that the government will buy just two modified 747-8 aircraft; Boeing was awarded a contract in January 2016 to identify cost reduction opportunities in areas including maintenance, aerial refueling and communications.[19][20] On 15 July 2016 Boeing received a second tranche of pre-engineering and manufacturing development (EMD) risk-reduction funding to address “system specification, the environmental control system, the aircraft interior, the electrical and power system and sustainment and maintenance approaches.” The contract notice confirms that this will lead to "a lower-risk EMD program and lower life-cycle costs.”[21]

text: On 1 August 2017, Defense One reported that in an effort to pay less for the replacement program, the U.S. Air Force has entered into a contract to purchase two of a bankrupt Russian firm's (Transaero) undelivered 747-8 Intercontinentals from Boeing, which is storing them in the Mojave Desert to prevent corrosion. These aircraft are to be retrofitted with telecommunications and security equipment to bring them to the required security level for the presidential aircraft.[22]

text: Operators[edit]

text:
United States Air Force

89th Airlift Wing, Presidential Airlift Group (PAG) - Andrews AFB, Maryland

text: Specifications (VC-25A)[edit]

text: Data from Boeing BDS[23]

text: General characteristics

text:
Crew: 26: 2 pilots, flight engineer, navigator,[3] and cabin crew
Capacity: 76 passengers
Length: 231 ft 10 in (70.6 m)
Wingspan: 195 ft 8 in (59.6 m)
Height: 63 ft 5 in (19.3 m)
Max. takeoff weight: 833,000 lb (375,000 kg)
Zero fuel weight: 526,500 lb (238,800 kg)
Powerplant: 4 × General Electric CF6-80C2B1 turbofans, 56,700 lbf (250 kN) each

text: Performance

text:
Maximum speed: Mach 0.92 (630 mph, 1,015 km/h) at 35,000 ft altitude
Cruise speed: Mach 0.84 (575 mph, 925 km/h) at 35,000 ft altitude
Range: 6,800 nmi (7,800 mi, 13,000 km)
Service ceiling: 45,100 ft (13,700 m)

text: Notable appearances in media[edit]

text: The VC-25 "Air Force One" is a prominent symbol of the American presidency and its power; with the White House and presidential seal, it is one of the most familiar presidential symbols. Air Force One has often appeared in popular culture and fiction, most notably as the setting of the 1997 action movie Air Force One where the aircraft had an escape pod and a parachute ramp, unlike the actual Presidential aircraft.[24]