document_title: Early history of video games

question_text: when was the first video game released to the public

text: Early history of video games

text: Defining the video game[edit]

text: The term "video game" has evolved over the decades from a purely technical definition to a general concept defining a new class of interactive entertainment. Technically, for a product to be a video game, there must be a video signal transmitted to a cathode ray tube (CRT) that creates a rasterized image on a screen.[1] This definition would preclude early computer games that outputted results to a printer or teletype rather than a display, any game rendered on a vector-scan monitor, any game played on a modern high definition display, and most handheld game systems.[1] From a technical standpoint, these would more properly be called "electronic games" or "computer games".[2]

text: Today, however, the term "video game" has completely shed its purely technical definition and encompasses a wider range of technology. While still rather ill-defined, the term "video game" now generally encompasses any game played on hardware built with electronic logic circuits that incorporates an element of interactivity and outputs the results of the player's actions to a display.[3] Going by this broader definition, the first video games appeared in the early 1950s; they were tied largely to research projects at universities and large corporations, though, and had little influence on each other due to their primary purpose as academic and promotional devices rather than entertainment games.[4]

text: The ancestors to these games include the cathode-ray tube amusement device, the earliest known interactive electronic game as well as the first to incorporate a cathode ray tube screen.[5] The player simulates an artillery shell trajectory on a CRT screen connected to an oscilloscope, with a set of knobs and switches. The device uses purely analog electronics and does not use any digital computer or memory device or execute a program.[6] It was patented by Thomas T. Goldsmith, Jr. and Estle Ray Mann in 1947.[7] While the idea behind the game was potentially to use a television set as the display and thus sell the invention to consumers, as Goldsmith and Mann worked at television designer DuMont Laboratories, the patent, the first for an electronic game, was never used and the device never manufactured beyond the original handmade prototypes.[6][8][9] This, along with the lack of electronic logic circuits, keeps the device from being considered the first video game. Around the same time as the device was invented, the earliest known written computer game was developed by Alan Turing and David Champernowne in 1948, a chess simulation called Turochamp, though it was never actually implemented on a computer as the code was too complicated to run on the machines of the time. Turing tested the code in a game in 1952 where he mimicked the operation of the code in a real chess game against an opponent, but was never able to run the program on a computer.[9]

text: Initial games[edit]

text: The earliest known[citation needed] publicly demonstrated electronic game was created in 1950. Bertie the Brain was an arcade game of tic-tac-toe, built by Josef Kates for the 1950 Canadian National Exhibition.[10] To showcase his new miniature vacuum tube, the additron tube, he designed a specialized computer to use it, which he built with the assistance of engineers from Rogers Majestic. The large metal computer, which was four meters tall, could only play tic-tac-toe on a lightbulb-backed display, and was installed in the Engineering Building at the Canadian National Exhibition from August 25 to September 9, 1950.[11][12] The game was a success at the two-week exhibition, with attendees lining up to play it as Kates adjusted the difficulty up and down for players. After the exhibition, Bertie was dismantled, and "largely forgotten" as a novelty. Kates has said that he was working on so many projects at the same time that he had no energy to spare for preserving it, despite its significance.[11]

text: Nearly a year later on May 5, 1951, the Nimrod computer—created by engineering firm and nascent computer developer Ferranti—was presented at the Festival of Britain, and then showcased for three weeks in October at the Berlin Industrial Show before being dismantled.[9] Using a panel of lights for its display, it was designed exclusively to play the game of Nim; moves were made by players pressing buttons which corresponded with the lights. Nimrod could play either the traditional or "reverse" form of the game.[4] The machine was twelve feet wide, nine feet deep, and five feet tall.[9] It was based on an earlier Nim-playing machine, "Nimatron", designed by Edward Condon and built by Westinghouse Electric in 1940 for display at the New York World's Fair.[4] "Nimatron" had been constructed from electromechanical relays and weighed over a ton.[13] The Nimrod was primarily intended to showcase Ferranti's computer design and programming skills rather than entertain, and was not followed up by any future games.[4] Despite this, most of the onlookers at the Festival of Britain were more interested in playing the game than in the programming and engineering logic behind it.[9]

text: Around this time, non-visual games were being developed at various research computer laboratories; for example, Christopher Strachey developed a simulation of the game draughts, or checkers, for the Pilot ACE that he unsuccessfully attempted to run for the first time in July 1951 at the British National Physical Laboratory and completed in 1952; this is the first known computer game to be created for a general-purpose computer, rather than a machine specifically made for the game like Bertie.[4][14] Strachey's program inspired Arthur Samuel to develop his own checkers game in 1952 for the IBM 701; successive iterations developed rudimentary artificial intelligence by 1955 and a version was shown on television in 1956.[4][9][15] Also in 1951, Dietrich Prinz wrote the first limited program of chess for the University of Manchester's general-purpose Ferranti Mark 1 computer, one of the first commercially available computers. The program was only capable of computing "mate-in-two" problems as it was not powerful enough to play a full game, and it had no video output.[16] Around the same time in the early 1950s, the RAND Corporation developed a series of combat simulation games of increasing complexity, where the player would enter orders to intercept enemy aircraft, or set up their forces to counter an enemy army invasion.[14] These simulations were not yet true video games, as they required human intervention to interpret the player's orders and the final results; the computer only controlled the paths that the enemies would take.[4]

text: Interactive visual games[edit]

text: In 1952, Alexander S. Douglas created OXO, a software program for the Electronic Delay Storage Automatic Calculator (EDSAC) computer, which simulates a game of tic-tac-toe. The EDSAC was one of the first stored-program computers, with memory that could be read from or written to, and filled an entire room; it included three 35×16 dot matrix cathode ray tubes to graphically display the state of the computer's memory.[9][17] As a part of a thesis on human–computer interaction, Douglas used one of these screens to portray other information to the user; he chose to do so via displaying the current state of a game.[18] The player entered input using a rotary telephone controller, selecting which of the nine squares on the board they wished to move next. Their move would appear on the screen, and then the computer's move would follow.[19] The game was not available to the general public, and was only available to be played in the University of Cambridge's Mathematical Laboratory, by special permission, as the EDSAC could not be moved.[20] Like other early video games, after serving Douglas's purpose, the game was discarded.[9] Around the same time, Strachey expanded his draughts program for another mainframe computer, the Manchester Mark 1, culminating in a version for the Ferranti Mark 1 in 1952, which had a CRT display.[21] Like OXO, the display was mostly static, updating only when a move was made.[22] OXO and Strachey's draughts program are the earliest known games to display visuals on an electronic screen.[4]

text: The first known game incorporating graphics that updated in real time, rather than only when the player made a move, was a pool game programmed by William Brown and Ted Lewis specifically for a demonstration of the University of Michigan-developed MIDSAC computer at the University of Michigan in 1954. The game, developed over six months by the pair, featured a pool stick controlled by a joystick and a knob, and a full rack of 15 balls on a table seen in an overhead view.[4] The computer calculated the movements of the balls as they collided and moved around the table, disappearing when they reached a pocket, and updated the graphics continuously, forty times a second, so as to show real-time motion.[23] Like previous video games, the pool game was intended primarily to showcase the computing power of the MIDSAC computer.[4]

text: While further games like checkers and chess were developed on research computers, the next milestone in video games came in 1958 with Tennis for Two. Perhaps the first game created solely for entertainment rather than as a technology demonstration or a research tool, the program simulated a game of tennis. Created by American physicist William Higinbotham for visitors at the Brookhaven National Laboratory to be more entertaining for visitors on their public day than the usual static exhibits about nuclear power, the game ran on a Donner Model 30 analog computer and displayed a side view of a tennis court on an oscilloscope.[9][24][25] The players controlled the angle of their shots with attached controllers, and the game calculated and simulated the trajectory of the ball, including the possibility of hitting the net.[26] The game was first shown on October 18, 1958. Hundreds of visitors lined up to play the new game during its debut.[26] Due to the game's popularity, an upgraded version was shown the following year, with enhancements including a larger screen and different levels of simulated gravity.[27] Afterwards, having served its purpose, the game was dismantled for its component parts.[9] While the game had no innovations in game design or technological development, its status as an entertainment-focused game, rather than an academic project or technological showpiece, has led it to be considered one of the first "real" video games as they are generally thought of today.[4]

text: Over the next few years, during 1957–61, various computer games continued to be created in the context of academic computer and programming research, particularly as computer technology improved to include smaller, transistor-based computers on which programs could be created and run in real time, rather than operations run in batches. A few programs, however, while used to showcase the power of the computer they ran on were also intended as entertainment products; these were generally created by undergraduate students, such as at the Massachusetts Institute of Technology where they were allowed on occasion to develop programs for the TX-0 experimental computer.[28] These interactive graphical games were created by a community of programmers, many of them students affiliated with the Tech Model Railroad Club (TMRC) led by Alan Kotok, Peter Samson, and Bob Saunders. The games included Tic-Tac-Toe, which used a light pen to play a simple game of noughts and crosses against the computer, and Mouse in the Maze.[29][30] Mouse in the Maze allowed users to use a light pen to set up a maze of walls on the monitor, and spots that represented bits of cheese or glasses of martini. A virtual mouse was then released and would traverse the maze to find the objects.[28] Additionally, the wargame simulations from the early 1950s by the RAND Corporation had expanded into more complicated simulations which required little human intervention, and had also sparked the creation of business management simulation games such as The Management Game, which was used in business schools such as at Carnegie Mellon University by 1958.[4] By 1961, there were over 89 different business simulation games in use, with various graphical capabilities.[31] As the decade ended, despite several video games having been developed, there was no such thing as a commercial video game industry; almost all games had been developed on or as a single machine for specific purposes, and the few simulation games were neither commercial nor for entertainment.[9]

text: The spread of games[edit]

text: By 1961, MIT had acquired the DEC PDP-1 minicomputer, the successor to the TX-0, which also used a vector display system. The system's comparatively small size and processing speed meant that, like with the TX-0, the university allowed its undergraduate students and employees to write programs for the computer which were not directly academically related whenever it was not in use. In 1961-62, Harvard and MIT employees Martin Graetz, Steve Russell, and Wayne Wiitanen created the game Spacewar! on the PDP-1, inspired by science fiction books such as the Lensman series.[32][33] The game was copied to several of the early minicomputer installations in American academic institutions, making it potentially the first video game to be available outside a single research institute.[34]

text: The two-player game has the players engaged in a dogfight between two spaceships set against the backdrop of a randomly generated background starfield.[29][33] The game was developed to meet three precepts: to use as much of the computer's resources as possible, to be consistently interesting and therefore have every run be different, and to be entertaining and therefore a game.[35] The game was a multiplayer game because the computer had no resources left over to handle controlling the other ship. After the game's initial development, members of the TMRC worked to improve the game, adding an accurate starfield and a gravitational body, and spread it to the couple dozen other institutions with a PDP-1, a process which continued over the next few years. As the computer was uncomfortable to use for extended periods of time, Kotok and Saunders created a detached control device, essentially an early gamepad.[36] Spacewar was reportedly used as a smoke test by DEC technicians on new PDP-1 systems before shipping, since it was the only available program that exercised every aspect of the hardware.[37] Although the game was widespread for the era, it was still very limited in its direct reach: the PDP-1 was priced at US$120,000 and only 55 were ever sold, many without a monitor, which prohibited Spacewar or any game of the time from reaching beyond a narrow, academic audience.[33][36] Russell has been quoted as saying that the aspect of the game that he was most pleased with was the number of other programmers it inspired to write their own games.[38]

text: Although the market for commercial games—and software in general—was small, due to the cost of computers limiting their spread to research institutions and large corporations, several were still created by programmers and distributed by the computer manufacturers. A number of games could be found in an April 1962 IBM program catalog. These included board games, "BBC Vik The Baseball Demonstrator", and "Three Dimensional Tic-Tack-Toe".[39] Following the spread of Spacewar, further computer games developed by programmers at universities were also developed and distributed over the next few years. These included the Socratic System, a question and answer game designed to teach medical students how to diagnose patients by Wallace Feurzeig in 1962,[40] and a dice game by Edward Steinberger in 1965.[41]

text: The creation of general programming languages like BASIC, which could be run on different hardware types, allowed for programs to be written for more than one specific computer, in turn letting games written in them to spread to more end players in the programming community than before. These games included a baseball simulation game written in BASIC by John Kemeny in 1965;[42] a BASIC bingo game by Larry Bethurum in 1966;[43] a basketball simulation game written in BASIC by Charles R. Bacheller in May 1967;[44] another baseball game that simulates the 1967 World Series written in BASIC by Jacob Bergmann in August 1967;[45] Space Travel, written by Ken Thompson for a Multics system in 1969 and which led in part to the development of the Unix operating system;[46] and Hamurabi, a text-based FOCAL game written by Doug Dyment in 1968 and converted to BASIC by David H. Ahl in 1969, and one of the first strategy video games ever made. Hamurabi and Space Travel were among several early mainframe games that were written during the time, and spread beyond their initial mainframe computers to general-purpose languages like BASIC.[47]

text: A new industry[edit]

text: At the beginning of the 1970s, video games existed almost entirely as novelties passed around by programmers and technicians with access to computers, primarily at research institutions and large companies. The history of video games transitioned into a new era early in the decade, however, with the rise of the commercial video game industry. In 1971, Bill Pitts and Hugh Tuck developed a coin-operated computer game, Galaxy Game, at Stanford University using a DEC PDP-11 computer with vector displays.[48] The pair was inspired to make the game by Spacewar; Tuck had remarked in 1966 while playing the game that a coin-operated version of the game would be very successful. Such a device was unfeasible in 1966 due to the cost of computers, but in 1969 DEC released the PDP-11 for US$20,000; while this was still too high for a commercially viable product, as most games in arcades cost around US$1,000 at the time, the pair felt it was low enough to build a prototype to determine interest and optimal per-game pricing.[49] Only prototype units were ever built, though the second prototype was adapted to run up to eight games at once; a few months before the initial installation at Stanford in November 1971, the pair met with Nolan Bushnell, who informed them of his own game he was making for a much lower price.[48][49]

text: That game was Computer Space, developed by Bushnell and Ted Dabney. They had found the Data General Nova, a US$4,000 computer that they thought would be powerful enough to run four games of Spacewar at once; the computer turned out to not actually be powerful enough for the project. While investigating the concept of replacing some of the computer with purpose-built hardware, however, the pair discovered that making a system explicitly for running such a game, rather than general programs, would be much less expensive: as low as $100.[49][50] By 1971 when Bushnell met with Pitts and Tuck, a prototype version had been successfully displayed for a short time in August 1971 in a local bar, the design was nearly finished, and the pair had founded a company around it called Syzygy.[51] Bushnell had also found a manufacturer for the game, Nutting Associates, who would make the final game cabinets and sell them to distributors. Bushnell felt that Galaxy Game was not a real competitor to Computer Space, due to its high price. Pitts and Tuck believed, however, that despite the economic argument their game was superior, as they felt that Galaxy Game was a true expansion of Spacewar, while Computer Space just a pale imitation.[49] Some players at the time, however, believed Galaxy Game to actually be just a version of Spacewar!.[52] Galaxy Game's prototype installation was very popular, though at a low price-per-game, and the pair developed a second version to display at the same location; they were never able to enter production, though, as they eventually had to abandon the idea after spending US$65,000 developing it due to the high cost and lack of business plan.[49]

text: Around the same time as Galaxy Game's protoype installation, Computer Space was released. It was the first coin-operated video game to be commercially sold (and the first widely available video game of any kind).[53] While it did well in its initial locations near college campuses, it performed very poorly in bars and arcades where pinball and other arcade games were typically placed; while it was commercially successful and made over US$1,000,000, it did not meet the high expectations of Nutting, who had expected to sell more than 1,500 units.[49][51] Bushnell and Dabney immediately started work on another game, using the same television set design as Computer Space, as well as founding their own company Atari, Inc. to back their projects.[53] While initially this game was to be a driving game that Bushnell planned to design, their first employee, Allan Alcorn, took a prototype ping-pong game suggestion of Bushnell's and expanded on it to create a game the company immediately seized on. They were unable to find a manufacturer, but on the evidence of the success of their prototype installation, decided to produce the game cabinets themselves.[49] Pong was released in 1972, a year after Computer Space. It was immensely commercially successful, selling over 8,000 units. It inspired copycat games to be sold in America, Europe, and Japan, and led to the popularization of the medium.[49][53]

text: That same year saw the release of the Magnavox Odyssey, the first home video game console which could be connected to a television set.[54] The inventor, Ralph H. Baer, had initially had the idea in 1951 to make an interactive game on a television set. Unable to do so with the technological constraints at the time, he began work on a device that would attach to a television set and display games in 1966, and the "Brown Box", the last prototype of seven, was licensed to Magnavox to adapt and produce. They announced the console in May 1972, and it went on sale that September. The console and its games featured numerous innovations beyond being the first video game device for home consumers: it was the first game to use a raster-scan video display, or television set, directly displayed via modification of a video signal; it was also the first video gaming device to be displayed in a television commercial.[55] It sold for US$100 and shipped with several games, including "Table tennis", which Bushnell had seen a demo of and which Pong had been based on.[49] The Odyssey sold over 100,000 units in 1972, and more than 350,000 by the end of 1975, buoyed by the popularity of the table tennis game, in turn driven by the success of Pong.[49][56] Pong and the Odyssey kicked off a new era of video gaming, with numerous other competitors starting up in the video game industry as it grew in popularity.[49]


document_title: Dog fighting

question_text: when was dog fighting made illegal in the uk

root

text: Dog fighting

text: European history[edit]

text: Blood sports in general can be traced back to the Roman Empire.[6] In 13 BC, for instance, the ancient Roman circus slew 600 African beasts.[7] Likewise, under Emperor Claudius's reign, as spectators cheered, 300 bears and 300 Libyan beasts were slain in the Colosseum.[7] Dog fighting, more specifically, can also be traced to ancient Roman times. In 43 AD, for example, dogs fought alongside the Romans and the British in the Roman Conquest of Britain.[6] In this war, the Romans used a breed that originated from Greece called Molossus; the Britons used broad-mouth Mastiffs, which were thought to descend from the Molossus bloodline and which also originated from Greece.[8] Though the British were outnumbered and ultimately lost this war, the Romans were so impressed with the English Mastiffs that they began to import these dogs for use in the Colosseum, as well as for use in times of war.[6] While spectators watched, the imported English Mastiffs were pitted against animals such as wild elephants, lions, bears, bulls, and gladiators.[6]

tag: p

text: Later, the Romans bred and exported fighting dogs to Spain, France and other parts of Europe until eventually these dogs made their way back to England.[6] Though bull baiting and bear baiting were popular throughout the Middle Ages up to the 19th century in Germany, France, Spain, Portugal, and the Netherlands, the British pitted dogs against bulls and bears on a scale like no other.[8] In 12th century England during the feudal era, the landed aristocracy, who held direct military control in decentralized feudal systems and thus owned the animals necessary for waging war, introduced bull baiting and bear baiting to the rest of the British population.[8] In later years, bull baiting and bear baiting became a popular source of entertainment for the British royalty.[8] For instance, Queen Elizabeth I, who reigned from 1558–1603, was an avid follower of bull and bear baiting; she bred Mastiffs for baiting and would entertain foreign guests with a fight whenever they visited England.[8] In addition to breeding Mastiffs and entertaining foreign guests with a fight, Queen Elizabeth, and later her successor, King James I, built a number of bear gardens in London.[9] The garden buildings were round and roofless, and housed not only bears, but also bulls and other wild animals that could be used in a fight.[9] Today, a person can visit the Bear Garden museum near the Shakespeare Global Complex in Bankside, Southwark.

text: With the popularity of bull and bear baiting, bears needed for such fights soon became scarce.[8] With the scarcity of bear population, the price of bears rose and, because of this, bull baiting became more common in England over time.[8] Bulls who survived the fights were slaughtered afterwards for their meat, as it was believed that the fight caused bull meat to become more tender.[8] In fact, if a bull was offered for sale in the market without having been baited the previous day, butchers were liable to face substantial fines.[8] Animal fights were temporarily suspended in England when Oliver Cromwell seized power, but were reinstated again after the Restoration.[9] Dog fighting, bear baiting, and bull baiting were officially outlawed in England by the Humane Act of 1835.[2] The official ban on all fights, however, actually served to promote dog fighting in England.[9] Since a small amount of space was required for the pit where a dog fight took place, as compared to the ring needed for bull or bear baiting, authorities had a difficult time enforcing the ban on dog fighting.[9]

text: U.S. history[edit]

text: In 1817, the Staffordshire Bull Terrier was brought to America and dog fighting became part of American culture.[1] Yet, though historical accounts of dog fighting in America can be dated back to the 1750s, it was not until the end of the Civil War (1861–1865) that widespread interest and participation in the blood sport began in the United States.[3] For instance, in 1881, the Mississippi and Ohio railroads advertised special fares to a dog fight in Louisville; public forums such as Kit Burns' Tavern, "The Sportman's Hall," in Manhattan regularly hosted matches.[1] Many of these dogs thrown into the "professional pits" that flourished during the 1860s came from England and Ireland—where citizens had turned to dogs when bear-baiting and bull-baiting became illegal in their countries.[3]

text: In twentieth century America, despite the expansion of laws to outlaw dog fighting, dog fighting continued to flourish underground.[3] Aiding in the expansion of dog fighting were the police and firemen, who saw dog fighting as a form of entertainment amongst their ranks.[3] In fact, the Police Gazette served as a "go to" source for information about where one could attend a fight.[3] When Henry Bergh, who started the American Society for the Prevention of Cruelty to Animals (ASPCA), witnessed police involvement in these fights, he was motivated to seek and receive authority for the ASPCA Humane Law Enforcement Agents to have arresting power in New York.[3] Additionally, Bergh's 1867 revision to New York's animal cruelty law made all forms of animal fighting illegal.[3] However, According to the ASPCA website, the Humane Law Enforcement department of ASPCA has been disbanded and NYPD has taken over its duty.[3] As laws were passed to outlaw the activity, high-profile organizations, such as the United Kennel Club, who once endorsed the sport by formulating rules and sanctioning referees, withdrew their endorsement.[1]

text: On July 8, 2009, the ASPCA also participated in one of the largest federal dog fighting raids in U.S. history. Most of the dogs rescued were pit bulls (over 400 of them). This raid took place in eight states and had 26 arrests, of which two defendants are required to spend at least 10 years in prison.[10]

text: Breed origins[edit]

text: According to one scholar, Richard Strebel, the foundation for modern fighting dogs came from: 1. The Tibetan Mastiff; 2. The English Mastiff, out of which came the French Mastiff, the English Bulldog, and the Pug; 3. The Great Dane, out of which came the Danish Mastiff and the Boxer; 4. The Newfoundland; and 5. The Saint Bernard, out of which came the Leonberger.[9] However, Dieter Fleig disagreed with Strebel and offered the following list as composing of the foundation for modern fighting dogs: 1. The Tibetan Mastiff; 2. The Molossus; 3. The Bull Biter; 4. The Great Dane; 5. The English Mastiff; 6. The Bulldog; 5. The Bull and Terrier; and 6. The Chincha Bulldog.[9]

text: The foundation breed of the fighting dog was, in its outward appearance, a large, low, heavy breed with a powerful build and strongly developed head, and tremendously threatening voice.[9] Additionally, these foundation breeds were also bred for a powerful jaw that would enable them to defend and protect humans, to overpower and pull down large animals on a hunt, and to control large, unmanageable domestic animals.[9] These dogs were also sometimes equipped with metal plates, chains, and collars with sharp spikes or hooked knives in order to be used in wars throughout history.[9]

text: When bullbaiting became popular in England due to the shortage of bears, bull baiters soon realized that large fighting dogs were built too heavy and too slow for this type of combat.[8] When fighting a bull, dogs were trained to grab onto the bull's nose and pin the bull's head to the ground.[8] If the dog failed to do this, the bull would fling the dog out of the ring with its horns.[8] The British therefore decided to selectively breed fighting dogs for shorter legs and a more powerful jaw.[8] These efforts resulted in the Old English Bulldog.[8]

text: However, when countries started outlawing bull and bear baiting, dog fighters started pitting dogs against other dogs.[8] With the prevalence of such combat, dogfighters soon realized bulldogs were inadequate and began to breed bulldogs with terriers for more desired characteristics.[8] Terriers were most likely crossbred with bulldogs due to their "generally rugged body structure," speed, aggression, and "highly developed gameness."[8] Yet, there is a debate over which type of terrier was bred with bulldogs in order to create the Bull and Terrier. For instance, Joseph L. Colby claimed that it was the old English White Terrier that the Bull and Terrier is descended from, while Rhonda D. Evans and Craig J. Forsyth contend that its ancestor is the Rat Terrier.[8] Carl Semencic, on the other hand, held that a variety of terriers produced the Bull and Terrier.[8]

text: Eventually, out of cross breeding bulldogs and terriers, the English created the Staffordshire Bull Terrier.[3] When the Staffordshire Bull Terrier came to America in 1817, Americans began to selectively breed for gameness and created the American Pit Bull Terrier (originally known as the Pit Bull Terrier), which is a unique breed due to its absence of threat displays when fighting and its docility towards humans.[8] Staffordshire Bull Terriers, American Pit Bull Terriers, American Staffordshire Terriers, and Bull Terriers are all breeds that are commonly labeled as pit bulls.[11] The fact that "pit bulls" were historically bred to fight bulls and bears has been used as justifications in some U.S. cities to implement Breed Specific Legislation.[12]

text: Societal aspects[edit]

text: After interviewing 31 dogmen and attending 14 dog fights in the Southern United States, Evans, Gauthier, and Forsyth theorized on what attracts men to dog fights.[13] In their study, Evans, et al., discussed dog fighting's attractiveness in terms of masculinity and class immobility.[13] In the United States, masculinity embodies the qualities of strength, aggression, competition, and striving for success. By embodying these characteristics, a man can gain honor and status in his society.[13] Yet, working class occupations, unlike middle or upper class occupations, provide limited opportunities to validate this culturally accepted definition of masculinity.[13] So, working class men look for alternative ways to validate their masculinity and obtain honor and status. One way to do this is through dogfighting.[13] This is supported by the Evans, et al. findings: the majority of committed dogmen were mostly drawn from the working class, while the middle and upper classes were barely represented.[13] Men from middle and upper classes have opportunities to express their masculinity through their occupations; dog fighting, therefore, is just a hobby for them while it plays a central role in the lives of working class men.[13] Those from the higher classes are drawn in by the thrill and excitement of the fight.

text: Aside from enjoyment of the sport and status, people are also drawn to dog fighting for money.[3] In fact, the average dog fight could easily net more money than an armed robbery, or a series of isolated drug transactions.[14]

text: Bait animals[edit]

text: "Bait" animals are animals used to test a dog's fighting instinct; they are often mauled or killed in the process. Many of the training methods involve torturing and killing of other animals.[14] Often "bait" animals are stolen pets, puppies, kittens, rabbits, small dogs and even stock (pit bulls acquired by the dogfighting ring which appear to be passive or less dominant).[15] Other sources for bait animals include wild or feral animals, animals obtained from a shelter, or animals obtained from "free to good home" ads.[16] The snouts of bait animals are often wrapped with duct tape to prevent them from fighting back and they are used in training sessions to improve a dog's endurance, strength or fighting ability.[17] A bait animal's teeth may also be broken to prevent them from fighting back.[15] If the bait animals are still alive after the training sessions, they are usually given to the dogs as a reward, and the dogs finish killing them.[14]

text: Types of dog fighters[edit]

text: Street fighters[edit]

text: Often associated with gang activity, street fighters fight dogs over insults, turf invasions, or simple taunts like "my dog can kill your dog."[3] These type of fights are often spontaneous; unorganized; conducted for money, drugs, or bragging rights; and occur on street corners, back alleys, and neighborhood playgrounds.[3] Urban street fighters generally have several dogs chained in backyards, often behind privacy fences, or in basements or garages.[2] After a street fight, the dogs are often discovered by police and animal control officers either dead or dying.[3] Due to the spontaneity of a street fight, they are very difficult to respond to unless reported immediately.[3]

text: Hobbyists and professionals often decry the techniques street fighters use to train their dogs.[3] Such techniques include starving, drugging, and physically abusing the dog.[3]

text: Hobbyists[edit]

text: Hobbyists fight dogs for supplemental income and entertainment purposes.[3] They typically have one or more dogs participating in several organized fights and operate primarily within a specific geographic network.[3] Hobbyists are also acquainted with one another and tend to return to predetermined fight venues repeatedly.[2]

text: Professionals[edit]

text: Professional fighters breed generations of skilled "game dogs" and take a great pride in their dogs' lineage.[2] These fighters make a tremendous amount of money charging stud fees to breed their champions, in addition to the fees and winnings they collect for fighting them.[2] They also tend to own a large number of dogs—sometimes 50 or more.[3] Professionals also use trade journals, such as Your Friend and Mine, Game Dog Times, The American Warrior, and The Pit Bull Chronicle, to discuss recent fights and to advertise the sale of training equipment and puppies. Some fighters operate on a national or even international level within highly secret networks.[2] When a dog is not successful in a fight, a professional may dispose of it using a variety of techniques such as drowning, strangulation, hanging, gunshot, electrocution or some other method.[3] Sometimes professionals and hobbyists dispose of dogs deemed aggressive to humans to street fighters.[3]

text: Gang and criminal activities[edit]

text: Dog fighting is a felony in all 50 states, the District of Columbia, Puerto Rico, and the Virgin Islands.[2] While dog fighting statutes exist independently of general anti-cruelty statutes and carry stiffer penalties than general state anti-cruelty statutes, a person can be charged under both or can be charged under one, but not the other—depending on the evidence.[2] In addition to felony charges for dog fighting, forty-eight states and the District of Columbia, have provisions within their dogfighting statutes that explicitly prohibit attendance as a spectator at a dogfighting exhibition.[2] Since Montana and Hawaii do not have such provisions, a person can pay an entrance fee to watch a dog-fight in either state and not be convicted under these statutes. Additionally, forty-six states, and the District of Columbia, make possessing, owning or keeping a fighting dog a felony.[2]

text: While dog fighting was previously seen as isolated animal welfare issues—and therefore rarely enforced, the last decade has produced a growing body of legal and empirical evidence that has revealed a connection between dog-fighting and other crimes within a community, such as organized crime, racketeering, drug distribution, and/or gangs.[2] Within the gang community, fighting dogs compete with firearms as the weapon of choice; indeed, their versatile utility arguably surpasses that of a loaded firearm in the criminal underground. Drug dealers distribute their illicit merchandise, wagers are made, weapons are concealed, and the dogs mutilate each other in a bloody frenzy as crowds cheer on.[2] Violence often erupts among the usually armed gamblers when debts are to be collected and paid.[2] There is also a concern for children who are routinely exposed to dogfighting and are forced to accept the inherent violence as normal.[2] The routine exposure of the children to unfettered animal abuse and neglect is a major contributing factor in their later manifestation of social deviance.[2]

text: Animal welfare and rights[edit]

text: Animal advocates consider dog fighting to be one of the most serious forms of animal abuse, not only for the violence that the dogs endure during and after the fights, but because of the suffering they often endure in training.

text: According to a filing in U.S. District Court in Richmond by federal investigators in Virginia, which was obtained under the Freedom of Information Act and published by the Baltimore Sun on July 6, 2007, a losing dog or one whose potential is considered unacceptable faces "being put to death by drowning, strangulation, hanging, gun shot, electrocution or some other method".[18] Some of the training of fighting dogs may entail the use of small animals (including kittens) as prey for the dogs.

text: Status by region[edit]

text: Dog fighting has been popular in many countries throughout history and continues to be practiced both legally and illegally around the world.

text: In the 20th and 21st centuries, dog fighting has increasingly become an unlawful activity in most of the world.

text: South Africa[edit]

text: Dog fighting has been declared illegal in the Republic of South Africa. However, it is still very popular in the underground world, with dog fighting being a highly syndicated and organized crime. The NSPCA (National Council of SPCAs) is the largest animal welfare organization in Africa, and has been the organization that has conducted the most raids and busts, of which the most recent was in 2013, where 18 people were arrested, and 14 dogs were involved. Dog fighting is mostly practiced in the Western Cape, in the townships area where gangs and drugs are mostly associated with dog fighting.

text: Dog fighting has been documented in South Africa, particularly in the Western Cape region of Stellenbosch. The Stellenbosch Animal Welfare Society (AWS) frequently responds to complaints of night-time dog fighting in the town of Cloetesville in which hundreds of dogs fight. Young children may be used to transport fighting dogs to avoid arrest of the owners.[19][20]

text: Asia[edit]

text: Afghanistan[edit]

text: Previously banned by the Taliban, dog fighting has made a resurgence throughout Afghanistan as a winter weekend pastime.

text: In Kabul, the fights are public and policed for safety to the spectators. Dogs are not fought to the death, but to submission. Top dogs are worth as much as a new car.[21]

text: India[edit]

text: Dog fighting is not common, but can be found in some Indian states such as Punjab, Haryana, Uttar Pradesh and in some parts of Delhi. The practice is illegal as defined by Indian law.

text: Japan[edit]

text: According to historical documents, Hōjō Takatoki, the 14th shikken (shogun's regent) of the Kamakura shogunate was known to be obsessed with dog fighting, to the point where he allowed his samurai to pay taxes with dogs. During this period dog fighting was known as inuawase (犬合わせ).

text: Dog fighting was considered a way for the Samurai to retain their aggressive edge during peaceful times. Several daimyō, such as Chosokabe Motochika and Yamauchi Yodo, both from Tosa Province (present-day Kōchi Prefecture), were known to encourage dog fighting. Dog fighting was also popular in Akita Prefecture, which is the origin of the Akita breed.

text: Dog fighting evolved in Kōchi to a form that is called tōken (闘犬). Under modern rules, dogs fight in a fenced ring until one of the dogs barks, yelps, or loses the will to fight. Owners are allowed to throw in the towel, and matches are stopped if a doctor judges if is too dangerous. Draws usually occur when both dogs will not fight or both dogs fight until the time limit. There are various other rules, including one that specifies that a dog will lose if it attempts to copulate. Champion dogs are called yokozuna, as in sumo. Dog fighting is not banned at a nationwide level, but the prefectures of Tokyo, Kanagawa, Fukui, Ishikawa, Toyama and Hokkaidō all ban the practice.[22] Currently, most fighting dogs in Japan are of the Tosa breed which is native to Kōchi.[23]

text: Pakistan[edit]

text: Dog fighting and other forms of animal fighting are extremely popular in all parts of rural Pakistan, and is deeply rooted in the rural culture, where some 70 percent of the population resides. It has been a way for tribes, clans and the rural people to socialize while being entertained.[24] Even though it has recently been banned by law, it is still being practiced in rural Pakistan, especially in provinces such as Punjab, Azad Kashmir, Sindh and Khyber Pakhtoonkhwa. There can apparently be as much as millions of rupees at stake for the owners of winning dogs,[25] so different breeds have carefully been bred and selected specifically for the purpose, such as the Bully Kutta.

text: Australia[edit]

text: Dog fighting and the possession of any fighting equipment designed for dog fighting is illegal in all Australian states and territories.[26] The illegal nature of dogfighting in Australia means that injured dogs rarely get veterinary treatment placing the dog's health and welfare at even greater risk.[26] "Restricted Breed Dogs" cannot be imported into Australia. These include the Dogo Argentino, the Japanese Tosa, the Fila Brasileiro, the Perro de Presa Canario and the American Pit Bull Terrier. Of these, the Pit Bull Terrier and the Perro de Presa Canario are the only breeds currently known to exist in Australia and there are strict regulations on keeping these breeds, including a prohibition on transferring ownership.[27]

text: Europe[edit]

text: Russia[edit]

text: Although animal cruelty laws exist in Russia, dog fighting is widely practiced. Laws prohibiting dogfights have been passed in certain places like Moscow by order of that city's mayor. In much of Russia dogfights are legally held generally using Caucasian Shepherd Dog, Georgian shepherd, Central Asian Shepherd Dog. Temperament tests, which are a common and relatively mild form of dog fighting used for breeding purposes, are fairly commonplace. Most dog fights are traditional contests used to test the stamina and ability of working dogs used to protect livestock. Unlike fights with pit bulls and other fighting breeds, a veterinarian is always on hand and the contests are never to the death, and serious injuries are very rare. Most fights are over in minutes when its clear which dog is superior. At the end of three rounds the contest is declared a draw.[28]

text: United Kingdom[edit]

text: Despite periodic dog-fight prosecutions, illegal canine pit battles continued after the Cruelty to Animals Act 1835 of England and Wales. Sporting journals of the 18th and 19th centuries depict the Black Country and London as the primary English dog fight centers of the period.

text: North America[edit]

text: Dog fighting has been illegal in Canada since 1892; however, the current law requires police to catch individuals during the unlawful act, which is often difficult.[29]

text: As of 2008, dog fighting is a felony in all states. In most of the United States a spectator at a dog fight can be charged with a felony while some areas only consider it a misdemeanor offense.

text: In the second largest dog fighting raid in U.S. history in August 2013, the United States District Court for the Middle District of Alabama handed down the longest prison term ever handed down in a federal dog fighting case: eight years.[30]

text: According to a study by the College of Law of Michigan State University published in 2005, in the United States, dog fighting was once completely legal and was sanctioned and promoted during the colonial period through the Victorian and well into the 20th century. In the second half 19th century dog fighting started to be criminalized in the United States.

text: There is a US$5,000 reward for reporting dog fighting to The Humane Society of the United States[31] From the HSUS: How to spot signs of dogfighting in your community: An inordinate number of pit bull-type dogs being kept in one location, especially multiple dogs who are chained and seem unsocialized; Dogs with scars on their faces, front legs, and stifle area (hind end and thighs); Dogfighting training equipment such as "breaking sticks" or "break sticks" used to pry apart the jaws of dogs locked in battle which are foot long, flat on one side, appearing to be sharpened; tires or "spring poles" (usually a large spring with rope attached to either end) hanging from tree limbs; or unusual foot traffic coming and going from a location at odd hours.

text: CNN estimated that in the United States more than 100,000 people are engaged in dog fighting on a non-professional basis and roughly 40,000 individuals are involved as professionals in the sport of dog fighting as a commercial activity. Top fights are said to have purses of $100,000 or more.[32]

text: In Costa Rica, dogfights were illegal for decades as a misdemeanor, since 2014 and after a legal reform became a felony and is punished with up to three years of imprisonment.[33][34]

text: South America[edit]

text: Dog fighting is illegal in much of South America. The American Pit Bull Terrier is by far the most common breed involved in the bloodsport. The Dogo Argentino was also used as fighting dog. The Dogo Cubano and Cordoba Fighting Dog were used for fighting a century ago, but have become extinct.


document_title: Wonder Woman (2017 film)

question_text: who's the woman that played wonder woman

question_tokens: who 's the woman that played wonder woman

text: Wonder Woman (2017 film)

text: Plot[edit]

text: In present-day Paris, Diana Prince receives a photographic plate of her during World War I, which prompts her to recall her past. The daughter of Queen Hippolyta, Diana was raised on the hidden island of Themyscira, home to the Amazonian race of warrior women created by Zeus to protect mankind. Hippolyta shares the Amazonian history with Diana, including how Ares became jealous of humanity and worked to orchestrate its destruction. When the rest of the gods of Mount Olympus attempted to stop him, Ares killed all but Zeus, who managed to hurt Ares enough to force a retreat. Zeus left the Amazons a weapon, the "Godkiller", to prepare them for Ares' return.

text: Initially forbidding Diana to train, Hippolyta agrees to allow her sister Antiope to train Diana, so long as she trains her harder than any other warrior in the army. As a young woman in 1918, Diana rescues American pilot Captain Steve Trevor after his plane crashes off Themyscira's coast. The island is soon invaded by a German cruiser pursuing Steve. The Amazons engage and kill all of the German sailors, but Antiope sacrifices herself to save Diana. Interrogated with the Lasso of Hestia, Steve reveals that a war is consuming the outside world, and that he is an Allied spy. He has stolen a notebook with valuable information from the Spanish chief chemist Isabel Maru, who is attempting to engineer a deadlier form of mustard gas under the orders of General Erich Ludendorff. Believing Ares is responsible for the war, Diana arms herself with the "Godkiller" sword, the lasso and her armor before leaving Themyscira with Steve to find and destroy Ares.

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

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

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

text: Cast[edit]

text: Gal Gadot as Diana Prince / Wonder Woman:

tag: ul

text: Chris Pine as Steve Trevor:

text: Robin Wright as Antiope:

text: Danny Huston as General Erich Ludendorff:

text: David Thewlis as Ares:

text: Connie Nielsen as Hippolyta:

text: Elena Anaya as Isabel Maru / Doctor Poison:

text: Lucy Davis as Etta Candy:

text: Saïd Taghmaoui as Sameer:

text: Ewen Bremner as Charlie:

text: Eugene Brave Rock as Chief Napi:

text: Lisa Loven Kongsli as Menalippe:

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

text: Production[edit]

text: Background[edit]

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

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

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

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

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

text: Development[edit]

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

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

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

text: Casting[edit]

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

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

tag: div

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

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

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

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

text: Filming[edit]

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

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

text: Post-production[edit]

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

text: Music[edit]

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

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

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

text: Release[edit]

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

text: Marketing[edit]

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

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

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

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

text: Home Media[edit]

text: The film was released digitally on August 29, 2017 and made available on Blu-ray and DVD on September 19, 2017.[173]

text: Controversies[edit]

text: Bans[edit]

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

text: Women-only screenings[edit]

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

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

text: Reception[edit]

text: Box office[edit]

text: As of September 18, 2017[update], Wonder Woman has grossed $411.4 million in the United States and Canada and $407.5 million in other territories for a worldwide total of $818.9 million, against a production budget of $149 million.[4] Estimates for the number the film needed to surpass internationally in order to cover its production and promotional costs and break even ranged from $300 million[185] to $460 million.[186]

text: North America[edit]

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

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

text: International[edit]

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

text: Critical response[edit]

text: Wonder Woman received largely positive reviews, with some critics calling it the best film in the DC Extended Universe, and praising Jenkins' direction and the performances and chemistry of Gadot and Pine.[7][211] On the review aggregator Rotten Tomatoes, the film holds an approval rating of 92% based on 343 reviews, with an average rating of 7.6/10. The site's critical consensus reads, "Thrilling, earnest, and buoyed by Gal Gadot's charismatic performance, Wonder Woman succeeds in spectacular fashion."[212] It is the highest-rated superhero film on the site.[213][note 1] On Metacritic, which assigns a normalized rating, the film has a score of 76 out of 100, based on 50 critics, indicating "generally favorable reviews".[214] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[215]

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

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

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

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

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

text: Accolades[edit]

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

Golden Trailer Awards
June 6, 2017
Best of Show
Wonder Woman
Won
[234]
[235]

Best Fantasy / Adventure

Best Summer 2017 Blockbuster Poster

Teen Choice Awards
August 13, 2017
Choice Action Movie
[236]
[237]
[238]

Choice Action Movie Actor
Chris Pine

Choice Action Movie Actress
Gal Gadot

Choice Movie Ship
Gal Gadot & Chris Pine
Nominated

Choice Liplock
Chris Pine & Gal Gadot

Choice Summer Movie
Wonder Woman

Choice Summer Movie Actor
Chris Pine

Choice Summer Movie Actress
Gal Gadot

Dragon Awards
September 3, 2017
Best Science Fiction or Fantasy Movie
Wonder Woman
Won
[239]

tag: table

text: Sequel[edit]

text: Gadot's third appearance as Wonder Woman is to occur in the film Justice League which is scheduled to be released on November 17, 2017.[240] The film will get an IMAX release.[241]

text: While originally signed for three feature films, with Wonder Woman being her second, Gadot has extended her contract beyond that.[242] Jenkins, who was initially signed for only one film,[243] has expressed interest in returning to direct the sequel,[244] and in August 2017 Deadline.com reported she was nearing a "historic" deal to return.[245] In an interview with Variety, Geoff Johns revealed that he and Jenkins are writing the treatment for a Wonder Woman sequel and that he has a "cool idea for the second one". On July 22, 2017, at San Diego Comic Con, Warner Bros. officially announced a sequel would be released on December 13, 2019, and would be titled Wonder Woman 2.[9][246][247] On August 19, 2017, actress Geena Davis stated that she would like very much to play a role in Wonder Woman 2 and that she is in talks with Jenkins about that matter.[248] On September 11, 2017 it was reported that Jenkins officially signed the deal to return as director, with confirmation that Gadot will be returning as the titular role.[249] Days later, the studio hired Dave Callaham to co-write the film's script with Jenkins and Johns.[250]

text: Notes[edit]

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

tag: ol


document_title: The Good Karma Hospital

question_text: how many episodes in series 2 of good karma hospital

text: The Good Karma Hospital

text: Plot[edit]

text: A medical drama about a junior doctor, Ruby Walker, who becomes disillusioned with her life and broken relationship, and decides to leave the UK. Seeing an advertisement for a hospital job in south India, she travels there hoping to make a fresh start and finds herself working at The Good Karma Hospital, an under-resourced and overworked cottage hospital run by an eccentric English expat, Dr. Lydia Fonseca.

text: Cast and characters[edit]

text:
Amanda Redman as Dr Lydia Fonseca
Amrita Acharia as Dr Ruby Walker
James Floyd as Dr Gabriel Varma
Neil Morrissey as Greg McConnell
Darshan Jariwala as Dr Ram Nair
Sagar Radia as AJ Nair
Nimmi Harasgama as Mari Rodriguez
Phyllis Logan as Maggie Smart (Season 1; Cameo Season 2)
Phillip Jackson as Paul Smart
Sue Johnston as Virginia (Guest Season 2)

text: Series overview[edit]

text: SeriesEpisodesOriginally airedAve. UK viewers(millions)First airedLast aired165 February 2017 (2017-02-05)12 March 2017 (2017-03-12)7.392618 March 2018 (2018-03-18)22 April 2018 (2018-04-22)6.28

text: Episodes[edit]

text: Series 1 (2017)[edit]

text:
No.overallNo. inseriesTitleDirected byWritten byOriginal air dateUK viewers(millions)11"Episode 1"Bill EaglesDan Sefton5 February 2017 (2017-02-05)8.13
22"Episode 2"Bill EaglesDan Sefton12 February 2017 (2017-02-12)8.02
33"Episode 3"[6]Bill EaglesNancy Harris19 February 2017 (2017-02-19)7.08
44"Episode 4"[7]Bill EaglesVinay Patel26 February 2017 (2017-02-26)7.30
55"Episode 5"[8]Jon WrightDan Sefton5 March 2017 (2017-03-05)7.07
66"Episode 6"[9]Jon WrightDan Sefton12 March 2017 (2017-03-12)6.71

text: Series 2 (2018)[edit]

text:
No.overallNo. inseriesTitleDirected byWritten byOriginal air dateUK viewers(millions)71"Episode 1"Alex WincklerDan Sefton18 March 2018 (2018-03-18)6.90
82"Episode 2"Alex WincklerBen Edwards25 March 2018 (2018-03-25)6.58
93"Episode 3"Alex WincklerNicola Wilson1 April 2018 (2018-04-01)6.05
104"Episode 4"Lisa ClarkeGabbie Asher & Dan Sefton8 April 2018 (2018-04-08)6.05
115"Episode 5"[10]Lisa ClarkeBen Edwards15 April 2018 (2018-04-15)6.05
126"Episode 6"[11]Lisa ClarkeDan Sefton22 April 2018 (2018-04-22)6.06

text: DVD release[edit]

text:
The UK's itv channel currently distributes DVDs amazon.co.uk.
Series 1 is available, with series 2 being released on 23 April 2018.

text:
Title

Number of discs

Year

Number of episodes

Release date(UK only)

Series 1

2

2017

6

20 March 2017

Series 2

2

2018

6

23 April 2018