document_title: Color television

question_text: when did the first color tv show air

question_tokens: when did the first color tv show air

text: Color television

text: Development[edit]

text: The human eye's detection system in the retina consists primarily of two types of light detectors: rod cells that capture light, dark, and shapes/figures, and the cone cells that detect color. A typical retina contains 120 million rods and 4.5 million to 6 million cones, which are divided among three groups that are sensitive to red, green, and blue light. This means that the eye has far more resolution in brightness, or "luminance", than in color. However, post-processing in the optic nerve and other portions of the human visual system combine the information from the rods and cones to re-create what appears to be a high-resolution color image.

text: The eye has limited bandwidth to the rest of the visual system, estimated at just under 8 Mbit/s.[1] This manifests itself in a number of ways, but the most important in terms of producing moving images is the way that a series of still images displayed in quick succession will appear to be continuous smooth motion. This illusion starts to work at about 16 frame/s, and common motion pictures use 24 frame/s. Television, using power from the electrical grid, tunes its rate in order to avoid interference with the alternating current being supplied – in North America, some Central and South American countries, Taiwan, Korea, part of Japan, the Philippines, and a few other countries, this is 60 video fields per second to match the 60 Hz power, while in most other countries it is 50 fields per second to match the 50 Hz power.

text: In its most basic form, a color broadcast can be created by broadcasting three monochrome images, one each in the three colors of red, green, and blue (RGB). When displayed together or in rapid succession, these images will blend together to produce a full-color image as seen by the viewer. One of the great technical challenges of introducing color broadcast television was the desire to conserve bandwidth, potentially three times that of the existing black-and-white standards, and not use an excessive amount of radio spectrum. In the United States, after considerable research, the National Television Systems Committee[2] approved an all-electronic system developed by RCA which encoded the color information separately from the brightness information and greatly reduced the resolution of the color information in order to conserve bandwidth. The brightness image remained compatible with existing black-and-white television sets at slightly reduced resolution, while color televisions could decode the extra information in the signal and produce a limited-resolution color display. The higher resolution black-and-white and lower resolution color images combine in the eye to produce a seemingly high-resolution color image. The NTSC standard represented a major technical achievement.

text: Early television[edit]

text: Experiments in television systems using radio broadcasts date to the 19th century, but it was not until the 20th century that advances in electronics and light detectors made development practical. A key problem was the need to convert a 2D image into a "1D" radio signal; some form of image scanning was needed to make this work. Early systems generally used a device known as a "Nipkow disk", which was a spinning disk with a series of holes punched in it that caused a spot to scan across and down the image. A single photodetector behind the disk captured the image brightness at any given spot, which was converted into a radio signal and broadcast. A similar disk was used at the receiver side, with a light source behind the disk instead of a detector.

text: A number of such systems were being used experimentally in the 1920s. The best-known was John Logie Baird's, which was actually used for regular public broadcasting in Britain for several years. Indeed, Baird's system was demonstrated to members of the Royal Society in London in 1926 in what is generally recognized as the first demonstration of a true, working television system. In spite of these early successes, all mechanical television systems shared a number of serious problems. Being mechanically driven, perfect synchronization of the sending and receiving discs was not easy to ensure, and irregularities could result in major image distortion. Another problem was that the image was scanned within a small, roughly rectangular area of the disk's surface, so that larger, higher-resolution displays required increasingly unwieldy disks and smaller holes that produced increasingly dim images. Rotating drums bearing small mirrors set at progressively greater angles proved more practical than Nipkow discs for high-resolution mechanical scanning, allowing images of 240 lines and more to be produced, but such delicate, high-precision optical components were not commercially practical for home receivers.[citation needed]

text: It was clear to a number of developers that a completely electronic scanning system would be superior, and that the scanning could be achieved in a vacuum tube via electrostatic or magnetic means. Converting this concept into a usable system took years of development and several independent advances. The two key advances were Philo Farnsworth's electronic scanning system, and Vladimir Zworykin's Iconoscope camera. The Iconoscope, based on Kálmán Tihanyi's early patents, superseded the Farnsworth-system. With these systems, the BBC began regularly scheduled black-and-white television broadcasts in 1936, but these were shut down again with the start of World War II in 1939. In this time thousands of television sets had been sold. The receivers developed for this program, notably those from Pye Ltd., played a key role in the development of radar.

text: By 22 March 1935, 180-line black-and-white television programs were being broadcast from the Paul Nipkow TV station in Berlin. In 1936, under the guidance of "Minister of Public Enlightenment and Propaganda" Joseph Goebbels, direct transmissions from fifteen mobile units at the Olympic Games in Berlin were transmitted to selected small television houses (Fernsehstuben) in Berlin and Hamburg.

text: In 1941 the first NTSC meetings produced a single standard for US broadcasts. US television broadcasts began in earnest in the immediate post-war era, and by 1950 there were 6 million televisions in the United States.[3]

text: All-mechanical color[edit]

text: The basic idea of using three monochrome images to produce a color image had been experimented with almost as soon as black-and-white televisions had first been built.

text: Among the earliest published proposals for television was one by Maurice Le Blanc in 1880 for a color system, including the first mentions in television literature of line and frame scanning, although he gave no practical details.[4] Polish inventor Jan Szczepanik patented a color television system in 1897, using a selenium photoelectric cell at the transmitter and an electromagnet controlling an oscillating mirror and a moving prism at the receiver. But his system contained no means of analyzing the spectrum of colors at the transmitting end, and could not have worked as he described it.[5] An Armenian inventor, Hovannes Adamian, also experimented with color television as early as 1907. The first color television project is claimed by him,[6] and was patented in Germany on March 31, 1908, patent № 197183, then in Britain, on April 1, 1908, patent № 7219,[7] in France (patent № 390326) and in Russia in 1910 (patent № 17912).[8]

text: Scottish inventor John Logie Baird demonstrated the world's first color transmission on July 3, 1928, using scanning discs at the transmitting and receiving ends with three spirals of apertures, each spiral with filters of a different primary color; and three light sources, controlled by the signal, at the receiving end, with a commutator to alternate their illumination.[9] The demonstration was of a young girl wearing different colored hats. Noele Gordon went on to become a successful TV actress, famous for the soap opera Crossroads. Baird also made the world's first color broadcast on February 4, 1938, sending a mechanically scanned 120-line image from Baird's Crystal Palace studios to a projection screen at London's Dominion Theatre.[10]

text: Mechanically scanned color television was also demonstrated by Bell Laboratories in June 1929 using three complete systems of photoelectric cells, amplifiers, glow-tubes, and color filters, with a series of mirrors to superimpose the red, green, and blue images into one full color image.

text: Hybrid systems[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2012) (Learn how and when to remove this template message)

text: As was the case with black-and-white television, an electronic means of scanning would be superior to the mechanical systems like Baird's. The obvious solution on the broadcast end would be to use three conventional Iconoscopes with colored filters in front of them to produce an RGB signal. Using three separate tubes each looking at the same scene would produce slight differences in parallax between the frames, so in practice a single lens was used with a mirror or prism system to separate the colors for the separate tubes. Each tube captured a complete frame and the signal was converted into radio in a fashion essentially identical to the existing black-and-white systems.

text: The problem with this approach was there was no simple way to recombine them on the receiver end. If each image was sent at the same time on different frequencies, the images would have to be "stacked" somehow on the display, in real time. The simplest way to do this would be to reverse the system used in the camera; arrange three separate black-and-white displays behind colored filters and then optically combine their images using mirrors or prisms onto a suitable screen, like frosted glass. RCA built just such a system in order to present the first electronically scanned color television demonstration on February 5, 1940, privately shown to members of the US Federal Communications Commission at the RCA plant in Camden, New Jersey.[11] This system, however, suffered from the twin problems of costing at least three times as much as a conventional black-and-white set, as well as having very dim pictures, the result of the fairly low illumination given off by tubes of the era. Projection systems of this sort would become common decades later, however, with improvements in technology.

text: Another solution would be to use a single screen, but break it up into a pattern of closely spaced colored phosphors instead of an even coating of white. Three receivers would be used, each sending its output to a separate electron gun, aimed at its colored phosphor. Although obvious, this solution was not practical. The electron guns used in monochrome televisions had limited resolution, and if one wanted to retain the resolution of existing monochrome displays, the guns would have to focus on individual dots three times smaller. This was beyond the state of the art at the time.

text: Instead, a number of hybrid solutions were developed that combined a conventional monochrome display with a colored disk or mirror. In these systems the three colored images were sent one after each other, in either complete frames in the "field-sequential color system", or for each line in the "line-sequential" system. In both cases a colored filter was rotated in front of the display in sync with the broadcast. Since three separate images were being sent in sequence, if they used existing monochrome radio signaling standards they would have an effective refresh rate of only 20 fields, or 10 frames, a second, well into the region where flicker would become visible. In order to avoid this, these systems increased the frame rate considerably, making the signal incompatible with existing monochrome standards.

text: The first practical example of this sort of system was again pioneered by John Logie Baird. In 1940 he publicly demonstrated a color television combining a traditional black-and-white display with a rotating colored disk. This device was very "deep", but was later improved with a mirror folding the light path into an entirely practical device resembling a large conventional console.[12] However, Baird was not happy with the design, and as early as 1944 had commented to a British government committee that a fully electronic device would be better.

text: In 1939, Hungarian engineer Peter Carl Goldmark introduced an electro-mechanical system while at CBS, which contained an Iconoscope sensor. The CBS field-sequential color system was partly mechanical, with a disc made of red, blue, and green filters spinning inside the television camera at 1,200 rpm, and a similar disc spinning in synchronization in front of the cathode ray tube inside the receiver set.[13] The system was first demonstrated to the Federal Communications Commission (FCC) on August 29, 1940, and shown to the press on September 4.[14][15][16][17]

text: CBS began experimental color field tests using film as early as August 28, 1940, and live cameras by November 12.[18] NBC (owned by RCA) made its first field test of color television on February 20, 1941. CBS began daily color field tests on June 1, 1941.[19] These color systems were not compatible with existing black-and-white television sets, and as no color television sets were available to the public at this time, viewing of the color field tests was restricted to RCA and CBS engineers and the invited press. The War Production Board halted the manufacture of television and radio equipment for civilian use from April 22, 1942 to August 20, 1945, limiting any opportunity to introduce color television to the general public.[20][21]

text: Fully electronic[edit]

text: As early as 1940, Baird had started work on a fully electronic system he called the "Telechrome". Early Telechrome devices used two electron guns aimed at either side of a phosphor plate. The phosphor was patterned so the electrons from the guns only fell on one side of the patterning or the other. Using cyan and magenta phosphors, a reasonable limited-color image could be obtained. He also demonstrated the same system using monochrome signals to produce a 3D image (called "stereoscopic" at the time). Baird's demonstration on August 16, 1944 was the first example of a practical color television system.[22] Work on the Telechrome continued and plans were made to introduce a three-gun version for full color. However, Baird's untimely death in 1946 ended development of the Telechrome system.[23][24]

text: Similar concepts were common through the 1940s and 50s, differing primarily in the way they re-combined the colors generated by the three guns. The Geer tube was similar to Baird's concept, but used small pyramids with the phosphors deposited on their outside faces, instead of Baird's 3D patterning on a flat surface. The Penetron used three layers of phosphor on top of each other and increased the power of the beam to reach the upper layers when drawing those colors. The Chromatron used a set of focusing wires to select the colored phosphors arranged in vertical stripes on the tube.

text: FCC color[edit]

text: In the immediate post-war era the Federal Communications Commission (FCC) was inundated with requests to set up new television stations. Worrying about congestion of the limited number of channels available, the FCC put a moratorium on all new licenses in 1948 while considering the problem. A solution was immediately forthcoming; rapid development of radio receiver electronics during the war had opened a wide band of higher frequencies to practical use, and the FCC set aside a large section of these new UHF bands for television broadcast. At the time, black and white television broadcasting was still in its infancy in the U.S., and the FCC started to look at ways of using this newly available bandwidth for color broadcasts. Since no existing television would be able to tune in these stations, they were free to pick an incompatible system and allow the older VHF channels to die off over time.

text: The FCC called for technical demonstrations of color systems in 1948, and the Joint Technical Advisory Committee (JTAC) was formed to study them. CBS displayed improved versions of its original design, now using a single 6 MHz channel (like the existing black-and-white signals) at 144 fields per second and 405 lines of resolution. Color Television Inc. demonstrated its line-sequential system, while Philco demonstrated a dot-sequential system based on its beam-index tube-based "Apple" tube technology. Of the entrants, the CBS system was by far the best-developed, and won head-to-head testing every time.

text: While the meetings were taking place it was widely known within the industry that RCA was working on a dot-sequential system that was compatible with existing black-and-white broadcasts, but RCA declined to demonstrate it during the first series of meetings. Just before the JTAC presented its findings, on August 25, 1949, RCA broke its silence and introduced its system as well. The JTAC still recommended the CBS system, and after the resolution of an ensuing RCA lawsuit, color broadcasts using the CBS system started on June 25, 1951. By this point the market had changed dramatically; when color was first being considered in 1948 there were fewer than a million television sets in the U.S., but by 1951 there were well over 10 million. The idea that the VHF band could be allowed to "die" was no longer practical.

text: During its campaign for FCC approval, CBS gave the first demonstrations of color television to the general public, showing an hour of color programs daily Mondays through Saturdays, beginning January 12, 1950, and running for the remainder of the month, over WOIC in Washington, D.C., where the programs could be viewed on eight 16-inch color receivers in a public building.[25] Due to high public demand, the broadcasts were resumed February 13–21, with several evening programs added.[26] CBS initiated a limited schedule of color broadcasts from its New York station WCBS-TV Mondays to Saturdays beginning November 14, 1950, making ten color receivers available for the viewing public.[27][28] All were broadcast using the single color camera that CBS owned.[29] The New York broadcasts were extended by coaxial cable to Philadelphia's WCAU-TV beginning December 13,[30] and to Chicago on January 10,[31][32] making them the first network color broadcasts.

text: After a series of hearings beginning in September 1949, the FCC found the RCA and CTI systems fraught with technical problems, inaccurate color reproduction, and expensive equipment, and so formally approved the CBS system as the U.S. color broadcasting standard on October 11, 1950. An unsuccessful lawsuit by RCA delayed the first commercial network broadcast in color until June 25, 1951, when a musical variety special titled simply Premiere was shown over a network of five East Coast CBS affiliates.[33] Viewing was again restricted: the program could not be seen on black-and-white sets, and Variety estimated that only thirty prototype color receivers were available in the New York area.[34] Regular color broadcasts began that same week with the daytime series The World Is Yours and Modern Homemakers.

text: While the CBS color broadcasting schedule gradually expanded to twelve hours per week (but never into prime time),[35] and the color network expanded to eleven affiliates as far west as Chicago,[36] its commercial success was doomed by the lack of color receivers necessary to watch the programs, the refusal of television manufacturers to create adapter mechanisms for their existing black-and-white sets,[37] and the unwillingness of advertisers to sponsor broadcasts seen by almost no one. CBS had bought a television manufacturer in April,[38] and in September 1951, production began on the only CBS-Columbia color television model, with the first color sets reaching retail stores on September 28.[39][40] But it was too little, too late. Only 200 sets had been shipped, and only 100 sold, when CBS discontinued its color television system on October 20, 1951, ostensibly by request of the National Production Authority for the duration of the Korean War, and bought back all the CBS color sets it could to prevent lawsuits by disappointed customers.[41][42] RCA chairman David Sarnoff later charged that the NPA's order had come "out of a situation artificially created by one company to solve its own perplexing problems" because CBS had been unsuccessful in its color venture.[43]

text: Compatible color[edit]

text: While the FCC was holding its JTAC meetings, development was taking place on a number of systems allowing true simultaneous color broadcasts, "dot-sequential color systems". Unlike the hybrid systems, dot-sequential televisions used a signal very similar to existing black-and-white broadcasts, with the intensity of every dot on the screen being sent in succession.

text: In 1938 Georges Valensi demonstrated an encoding scheme that would allow color broadcasts to be encoded so they could be picked up on existing black-and-white sets as well. In his system the output of the three camera tubes were re-combined to produce a single "luminance" value that was very similar to a monochrome signal and could be broadcast on the existing VHF frequencies. The color information was encoded in a separate "chrominance" signal, consisting of two separate signals, the original blue signal minus the luminance (B'–Y'), and red-luma (R'–Y'). These signals could then be broadcast separately on a different frequency; a monochrome set would tune in only the luminance signal on the VHF band, while color televisions would tune in both the luminance and chrominance on two different frequencies, and apply the reverse transforms to retrieve the original RGB signal. The downside to this approach is that it required a major boost in bandwidth use, something the FCC was interested in avoiding.

text: RCA used Valensi's concept as the basis of all of its developments, believing it to be the only proper solution to the broadcast problem. However, RCA's early sets using mirrors and other projection systems all suffered from image and color quality problems, and were easily bested by CBS's hybrid system. But solutions to these problems were in the pipeline, and RCA in particular was investing massive sums (later estimated at $100 million) to develop a usable dot-sequential tube. RCA was beaten to the punch by the Geer tube, which used three B&W tubes aimed at different faces of colored pyramids to produce a color image. All-electronic systems included the Chromatron, Penetron and beam-index tube that were being developed by various companies. While investigating all of these, RCA's teams quickly started focusing on the shadow mask system.

text: In July 1938 the shadow mask color television was patented by Werner Flechsig (1900–1981) in Germany, and was demonstrated at the International radio exhibition Berlin in 1939. Most CRT color televisions used today are based on this technology. His solution to the problem of focusing the electron guns on the tiny colored dots was one of brute-force; a metal sheet with holes punched in it allowed the beams to reach the screen only when they were properly aligned over the dots. Three separate guns were aimed at the holes from slightly different angles, and when their beams passed through the holes the angles caused them to separate again and hit the individual spots a short distance away on the back of the screen. The downside to this approach was that the mask cut off the vast majority of the beam energy, allowing it to hit the screen only 15% of the time, requiring a massive increase in beam power to produce acceptable image brightness.

text: In spite of these problems in both the broadcast and display systems, RCA pressed ahead with development and was ready for a second assault on the standards by 1950.

text: Second NTSC[edit]

text: The possibility of a compatible color broadcast system was so compelling that the NTSC decided to re-form, and held a second series of meetings starting in January 1950. Having only recently selected the CBS system, the FCC heavily opposed the NTSC's efforts. One of the FCC Commissioners, R. F. Jones, went so far as to assert that the engineers testifying in favor of a compatible system were "in a conspiracy against the public interest".

text: Unlike the FCC approach where a standard was simply selected from the existing candidates, the NTSC would produce a board that was considerably more pro-active in development.

text: Starting before CBS color even got on the air, the U.S. television industry, represented by the National Television System Committee, worked in 1950–1953 to develop a color system that was compatible with existing black-and-white sets and would pass FCC quality standards, with RCA developing the hardware elements. ("Compatible color," a phrase from advertisements for early sets, appears in the song "America" of West Side Story, 1957.) RCA first made publicly announced field tests of the dot sequential color system over its New York station WNBT in July 1951.[44] When CBS testified before Congress in March 1953 that it had no further plans for its own color system,[45] the National Production Authority dropped its ban on the manufacture of color television receivers,[46] and the path was open for the NTSC to submit its petition for FCC approval in July 1953, which was granted on December 17.[47] The first publicly announced network demonstration of a program using the NTSC "compatible color" system was an episode of NBC's Kukla, Fran and Ollie on August 30, 1953, although it was viewable in color only at the network's headquarters.[48] The first network broadcast to go out over the air in NTSC color was a performance of the opera Carmen on October 31, 1953.[49][50]

text: Adoption[edit]

text: North America[edit]

text: Canada[edit]

text: Color broadcasts from the United States were available to Canadian population centers near the border since the mid-1950s.[51] At the time that NTSC color broadcasting was officially introduced into Canada in 1966, less than one percent of Canadian households had a color television set.[51] Color television in Canada was launched on the Canadian Broadcasting Corporation's (CBC) English language TV service on September 1, 1966.[51] Private television broadcaster CTV also started colorcasts in early September 1966.[52] The CBC's French-language TV service, Radio-Canada, was broadcasting color programming for 15 hours a week in 1968.[53] Full-time color transmissions started in 1974 on the CBC, with other private sector broadcasters in the country doing so by the end of the 1970s.[51]

text: Cuba[edit]

text: Cuba in 1958 became the second country in the world to introduce color television broadcasting, with Havana's Channel 12 using standards established by the NTSC Committee of United States Federal Communications Commission in 1940, and American technology patented by the American electronics company RCA, or Radio Corporation of America. But the color transmissions ended when broadcasting stations were seized in the Cuban Revolution in 1959, and did not return until 1975, using equipment acquired from Japan's NEC Corporation, and SECAM equipment from the Soviet Union, adapted for the American NTSC standard.[54]

text: Mexico[edit]

text: Guillermo González Camarena independently invented and developed a field-sequential tricolor disk system in México in the late 1930s, for which he requested a patent in México on August 19 of 1940 and in the USA in 1941.[55] González Camarena produced his color television system in his laboratory Gon-Cam for the Mexican market and exported it to the Columbia College of Chicago, who regarded it as the best system in the world.[56][57] Goldmark actually applied patent for the same field-sequential tricolor system in USA on September 7 of 1940;[13] while González Camarena made his application in México nineteen days before, on August 19 of 1940.

text: On August 31, 1946 González Camarena sent his first color transmission from his lab in the offices of The Mexican League of Radio Experiments at Lucerna St. No. 1, in Mexico City. The video signal was transmitted at a frequency of 115 MHz. and the audio in the 40 metre band. He obtained authorization to make the first publicly announced color broadcast in Mexico, on February 8, 1963, of the program Paraíso Infantil on Mexico City's XHGC-TV, using the NTSC system which had by now been adopted as the standard for color programming.

text: González Camarena also invented the Simplified Mexican Color TV system as a much more simpler and cheaper alternative to the NTSC system.[58] Due to its simplicity, NASA used a modified version of the Simplified Mexican Color TV system in his Voyager mission of 1979, to take pictures and video of Jupiter.[59]

text: United States[edit]

text: Although all-electronic color was introduced in the U.S. in 1953,[60] high prices and the scarcity of color programming greatly slowed its acceptance in the marketplace. The first national color broadcast (the 1954 Tournament of Roses Parade) occurred on January 1, 1954, but over the next dozen years most network broadcasts, and nearly all local programming, continued to be in black-and-white. In 1956 NBC's The Perry Como Show became the first live network television series to present a majority of episodes in color. CBS's The Big Record, starring pop vocalist Patti Page, was the first television show broadcast in color for the entire 1957-1958 season; its production costs were greater than most movies were at the time not only because of all the stars featured on the hour-long extravaganza but the extremely high-intensity lighting and electronics required for the new RCA TK-41 cameras. It was not until the mid-1960s that color sets started selling in large numbers, due in part to the color transition of 1965 in which it was announced that over half of all network prime-time programming would be broadcast in color that autumn. The first all-color prime-time season came just one year later.

text: NBC made the first coast-to-coast color broadcast when it telecast the Tournament of Roses Parade on January 1, 1954, with public demonstrations given across the United States on prototype color receivers by manufacturers RCA, General Electric, Philco, Raytheon, Hallicrafters, Hoffman, Pacific Mercury, and others.[61] A color model from Westinghouse H840CK15 ($1,295, or equivalent to $11,801 in 2017) became available in the New York area on February 28, 1954 and is generally agreed to be the first production receiver using NTSC color offered to the public;[62] a less expensive color model from RCA (CT-100) reached dealers in April 1954.[63] Television's first prime time network color series was The Marriage, a situation comedy broadcast live by NBC in the summer of 1954.[64] NBC's anthology series Ford Theatre became the first network color filmed series that October.[65]

text: Early color telecasts could be preserved only on the black-and-white kinescope process introduced in 1947. It was not until September 1956 that NBC began using color film to time-delay and preserve some of its live color telecasts.[66] Ampex introduced a color videotape recorder in 1958, which NBC used to tape An Evening With Fred Astaire, the oldest surviving network color videotape. This system was also used to unveil a demonstration of color television for the press. On May 22, 1958, President Dwight D. Eisenhower visited the WRC-TV NBC studios in Washington, D.C. and gave a speech touting the new technology's merits. His speech was recorded in color, and a copy of this videotape was given to the Library of Congress for posterity.

text: Several syndicated shows had episodes filmed in color during the 1950s, including The Cisco Kid, The Lone Ranger, My Friend Flicka, and Adventures of Superman. The first two were carried by some stations equipped for color telecasts well before NBC began its regular weekly color dramas in 1959, beginning with the Western series Bonanza.

text: NBC was at the forefront of color programming because its parent company RCA manufactured the most successful line of color sets in the 1950s, and by 1959 RCA was the only remaining major manufacturer of color sets.[67] CBS and ABC, which were not affiliated with set manufacturers and were not eager to promote their competitor's product, dragged their feet into color.[68][69] CBS broadcast color specials and sometimes aired its big weekly variety shows in color, but it offered no regularly scheduled color programming until the fall of 1965. At least one CBS show, The Lucy Show, was filmed in color beginning in 1963 but continued to be telecast in black and white through the end of the 1964–65 season. ABC delayed its first color programs until 1962, but these were initially only broadcasts of the cartoon shows The Flintstones, The Jetsons and Beany and Cecil.[70] The DuMont network, although it did have a television-manufacturing parent company, was in financial decline by 1954 and was dissolved two years later.[71]

text: The relatively small amount of network color programming, combined with the high cost of color television sets, meant that as late as 1964 only 3.1 percent of television households in the U.S. had a color set. But by the mid-1960s, the subject of color programming turned into a ratings war. A 1965 ARB study that proposed an emerging trend in color television set sales convinced NBC that a full shift to color would gain a ratings advantage over its two competitors.[72] As a result, NBC provided the catalyst for rapid color expansion by announcing that its prime time schedule for fall 1965 would be almost entirely in color.[73] ABC and CBS followed suit and over half of their combined prime-time programming also was in color that season, but they were still reluctant to telecast all their programming in color due to production costs.[72] All three broadcast networks were airing full color prime time schedules by the 1966–67 broadcast season, and ABC aired its last new black-and-white daytime programming in December 1967.[74] Public broadcasting networks like NET, however, did not use color for a majority of their programming until 1968. The number of color television sets sold in the U.S. did not exceed black-and-white sales until 1972, which was also the first year that more than fifty percent of television households in the U.S. had a color set.[75] This was also the year that "in color" notices before color television programs ended[citation needed], due to the rise in color television set sales, and color programming having become the norm.

text: In a display of foresight, Disney had filmed many of its earlier shows in color so they were able to be repeated on NBC, and since most of Disney's feature-length films were also made in color, they could now also be telecast in that format. To emphasize the new feature, the series was re-dubbed Walt Disney's Wonderful World of Color, which premiered in September 1961, and retained that moniker until 1969.[76]

text: By the mid-1970s the only stations broadcasting in black-and-white were a few high-numbered UHF stations in small markets, and a handful of low-power repeater stations in even smaller markets such as vacation spots. By 1979, even the last of these had converted to color and by the early 1980s, B&W sets had been pushed into niche markets, notably low-power uses, small portable sets, or use as video monitor screens in lower-cost consumer equipment. By the late 1980s, even those areas switched to color sets.

text: Color broadcasting in Hawaii started in September 1965, and in Alaska a year later.[citation needed] One of the last television stations in North America to convert to color, WQEX (now WINP-TV) in Pittsburgh, started broadcasting in color on October 16, 1986 after its black-and-white transmitter, which dated from the 1950s, broke down in February 1985 and the parts required to fix it were no longer available. The then-owner of WQEX, PBS member station WQED, diverted some of its pledge money into getting a color transmitter for WQEX.

text: Early color sets were either floor-standing console models or tabletop versions nearly as bulky and heavy, so in practice, they remained firmly anchored in one place. The introduction of GE's relatively compact and lightweight Porta-Color set in the spring of 1966 made watching color television a more flexible and convenient proposition. In 1972, sales of color sets finally surpassed sales of black-and-white sets. Also in 1972, the last holdout among daytime network programs converted to color, resulting in the first completely all-color network season.

text: Europe[edit]

text: The first regular color broadcasts in Europe were by the United Kingdom's BBC2 beginning on July 1, 1967 (PAL). West Germany's first broadcast occurred in August (PAL), followed by the Netherlands in September (PAL), and by France in October (SECAM). Norway, Sweden, Finland, Austria, East Germany, Czechoslovakia, and Hungary all started regular color broadcasts before the end of 1969. Ireland's national TV station RTÉ began using color in 1968 for recorded programmes; the first outside broadcast made in color for RTÉ Television was when Ireland hosted the Eurovision Song Contest in Dublin in 1971.[77] The PAL system spread through most of Western Europe.

text: More European countries introduced color television using the PAL system in the 1970s and early 1980s; examples include Denmark (1970), Belgium (1971), Yugoslavia/Serbia (1971), Spain (1972, but not fully implemented until 1978), Iceland (1973), Portugal (1976, but not fully implemented until 1980), Albania (1981), and Turkey (1981) and Romania (1983, but not fully implemented until 1990). In Italy there were debates to adopt a national color television system, the ISA, developed by Indesit, but that idea was scrapped. As a result, Italy was one of the last European countries to officially adopt the PAL system in 1977.[78]

text: France, Luxembourg, and most of the Eastern Bloc along with their overseas territories opted for SECAM. SECAM was a popular choice in countries with a lot of hilly terrain, and technologically backward countries with a very large installed base of monochrome equipment, since the greater ruggedness of the SECAM signal could cope much better with poorly maintained equipment. However, for many countries the decision was more down to politics than technical merit.

text: A drawback of SECAM for production is that, unlike PAL or NTSC, certain post-production operations of encoded SECAM signals are not really possible without a significant drop in quality. As an example, a simple fade to black is trivial in NTSC and PAL: you just reduce the signal level until it is zero. However, in SECAM the color difference signals, which are frequency modulated, need first to be decoded to e.g. RGB, then the fade-to-black is applied, and finally the resulting signal is re-encoded into SECAM. Because of this, much SECAM video editing was actually done using PAL equipment, then the resultant signal was converted to SECAM. Another drawback of SECAM is that comb filtering, allowing better color separation, is not possible in TV receivers. This was not, however, much of a drawback in the early days of SECAM as such filters did not become readily available in high-end TV sets before the 1990s.

text: The first regular color broadcasts in SECAM were started on October 1, 1967, on France's Second Channel (ORTF 2e chaîne). In France and the UK color broadcasts were made on UHF frequencies, the VHF band being used for legacy black and white, 405 lines in UK or 819 lines in France, until the beginning of the 1980s. Countries elsewhere that were already broadcasting 625-line monochrome on VHF and UHF, simply transmitted color programs on the same channels.

text: Some British television programs, particularly those made by or for ITC Entertainment, were shot on color film before the introduction of color television to the UK, for the purpose of sales to U.S. networks. The first British show to be made in color was the drama series The Adventures of Sir Lancelot (1956–57), which was initially made in black and white but later shot in color for sale to the NBC network in the United States. Other British color television programs include Stingray (1964–1965), which was the first British TV show to be filmed entirely in color, Thunderbirds (1965–1966) and Captain Scarlet and the Mysterons (1967–1968). However, most UK series predominantly made using videotape, such as Doctor Who (1963–89; 2005–present) did not begin color production until later, with the first color Doctor Who episodes not airing until 1970.

text: Asia and the Pacific[edit]

text: In Japan, NHK and NTV introduced color television, using a variation of the NTSC system (called NTSC-J) on September 10, 1960, making it the first country in Asia to introduce color television. The Philippines (1960) and Taiwan (1969) also adopted the NTSC system.

text: Other countries in the region instead used the PAL system, starting with Australia (1967, but not fully implemented until 1975), and then Thailand (1969; this country converted from a 525-line system to 625 lines), Hong Kong (1970), the People's Republic of China (1971), New Zealand (1973), North Korea (1974), Singapore (1974), Pakistan (1976, but not fully implemented until 1982), Kazakhstan (1978), Vietnam (1978), Malaysia (1978, but not fully implemented until 1980), Indonesia (1979), India (1979, but not fully implemented until 1982), and Bangladesh (1980). South Korea did not introduce color television (using NTSC) until 1980 (full-time color transmissions began in 1981), although it was already manufacturing color television sets for export. Cambodia was the last country in Asia to introduce color television, officially introduced in 1981 using the PAL system, with full-time color transmissions since 1985.

text: Middle East[edit]

text: Nearly all of the countries in the Middle East use PAL. The first country in the Middle East to introduce color television was Iraq in 1967. Saudi Arabia, the United Arab Emirates, Kuwait, Bahrain, and Qatar followed in the mid-1970s, but Israel, Lebanon, and Cyprus continued to broadcast in black and white until the early 1980s. Israeli television even erased the color signals using a device called the mekhikon.

text: Africa[edit]

text: The first color television service in Africa was introduced on the Tanzanian island of Zanzibar, in 1973, using PAL.[79] In 1973 also, MBC of Mauritius broadcast the OCAMM Conference, in color, using SECAM. At the time, South Africa did not have a television service at all, owing to opposition from the apartheid regime, but in 1976, one was finally launched.[80] Nigeria adopted PAL for color transmissions in 1974 in the then Benue Plateau state in the north central region of the country, but countries such as Ghana and Zimbabwe continued with black and white until 1984.[81] The Sierra Leone Broadcasting Service (SLBS) started television broadcasting in 1963 as a cooperation between the SLBS and commercial interests; coverage was extended to all districts in 1978 when the service was also upgraded to color.[82]

text: South America[edit]

text: In contrast to most other countries in the Americas, which had adopted NTSC, Brazil began broadcasting in color using PAL-M. Its first color transmission was on February 19, 1972. However Ecuador was the first South American country to use NTSC color. Its first color transmission was on November 5, 1974. In 1978, Argentina started broadcasting in color using PAL-N in connection with the country's hosting of the FIFA World Cup. Some countries in South America, including Bolivia, Chile, Paraguay, Peru, and Uruguay, continued to broadcast in black and white until the early 1980s.

text: Cor Dillen, director and later CEO of the South American branch of Philips, was responsible for bringing color television to South America.[citation needed]

text: Color standards[edit]

text: There are three main analog broadcast television systems in use around the world, PAL (Phase Alternating Line), NTSC (National Television System Committee), and SECAM (Séquentiel Couleur à Mémoire—Sequential Color with Memory).

text: The system used in The Americas and part of the Far East is NTSC. Most of Asia, Western Europe, Australia, Africa, and Eastern South America use PAL (though Brazil uses a hybrid PAL-M system). Eastern Europe and France uses SECAM.[83] Generally, a device (such as a television) can only read or display video encoded to a standard which the device is designed to support; otherwise, the source must be converted (such as when European programs are broadcast in North America or vice versa).

text: This table illustrates the differences:

text:
NTSC M
PAL B,G,H
PAL I
PAL N
PAL M
SECAM B,G,H
SECAM D,K,K',L

Lines/Fields
525/60
625/50
625/50
625/50
525/60
625/50
625/50

Horizontal Frequency
15.734 kHz
15.625 kHz
15.625 kHz
15.625 kHz
15.750 kHz
15.625 kHz
15.625 kHz

Vertical Frequency
60 Hz
50 Hz
50 Hz
50 Hz
60 Hz
50 Hz
50 Hz

Color Subcarrier Frequency
3.579545 MHz
4.43361875 MHz
4.43361875 MHz
3.582056 MHz
3.575611 MHz

Video Bandwidth
4.2 MHz
5.0 MHz
5.5 MHz
4.2 MHz
4.2 MHz
5.0 MHz
6.0 MHz

Sound Carrier
4.5 MHz
5.5 MHz
5.9996 MHz
4.5 MHz
4.5 MHz
5.5 MHz
6.5 MHz

text: Digital television broadcasting standards, such as ATSC, DVB-T, DVB-T2, and ISDB, have superseded these analog transmission standards in many countries.


document_title: Critical period

question_text: when does the critical period of language end

root

text: Critical period

text: Linguistics[edit]

text: First language acquisition[edit]

text: The critical period hypothesis (CPH) states that the first few years of life constitute the time during which language develops readily and after which (sometime between age 5 and puberty) language acquisition is much more difficult and ultimately less successful.[5] The hypothesis that language is acquired during a critical period was first proposed by neurologists Wilder Penfield and Lamar Roberts in 1959 and popularized by linguist Eric H. Lenneberg in 1967. Lenneberg argued for the hypothesis based on evidence that children who experience brain injury early in life develop far better language skills than adults with similar injuries.

tag: p

text: Dr. Maria Montessori was one of the earlier educators who brought attention to this phenomenon and called it "Sensitive Periods", which is one of the pillars of her philosophy of education.

text: The two most famous cases of children who failed to acquire language after the critical period are Genie and the feral child Victor of Aveyron.[6] However, the tragic circumstances of these cases and the moral and ethical impermissibility of replicating them make it difficult to draw conclusions about them. The children may have been cognitively disabled from infancy, or their inability to develop language may have resulted from the profound neglect and abuse they suffered.[5]

text: Many subsequent researchers have further developed the CPH, most notably Elissa Newport and Rachel Mayberry. Studies conducted by these researchers demonstrated that profoundly deaf individuals who are not exposed to a sign language as children never achieve full proficiency, even after 30 years of daily use.[7] While the effect is most profound for individuals who receive no sign language input until after the age of 12, even those deaf people who began learning a sign language at age 5 were significantly less fluent than native deaf signers (whose exposure to a sign language began at birth). Early language exposure also affects the ability to learn a second language later in life: profoundly deaf individuals with early language exposure achieve comparable levels of proficiency in a second language to hearing individuals with early language exposure. In contrast, deaf individuals without early language exposure perform far worse.[8]

text: Steven Pinker discusses the CPH in his book, The Language Instinct. According to Pinker, language must be viewed as a concept rather than a specific language for the sounds, grammar, meaning, vocabulary, and social norms play an important role in the acquisition of language.[9] Physiological changes in the brain are also conceivable causes for the terminus of the critical period for language acquisition.[10] As language acquisition is crucial during this phase, similarly infant-parent attachment is crucial for social development of the infant. An infant learns to trust and feel safe with the parent, but there are cases in which the infant might be staying at an orphanage where it does not receive the same attachment with their caregiver. Research shows that infants who were unable to develop this attachment had major difficulty in keeping close relationships, and had maladaptive behaviors with adopted parents.[1]

text: Other evidence comes from neuropsychology where it is known that adults well beyond the critical period, are more likely to suffer permanent language impairment from brain damage than are children, believed to be due to youthful resiliency of neural reorganization.[5]

text: Second language acquisition[edit]

text: The theory[11] has often been extended to a critical period for second language acquisition (SLA), which has influenced researchers in the field on both sides of the spectrum, supportive and unsupportive of CPH, to explore.[12] However, the nature of this phenomenon has been one of the most fiercely debated issues in psycholinguistics and cognitive science in general for decades.

text: Certainly, older learners of a second language rarely achieve the native-like fluency that younger learners display, despite often progressing faster than children in the initial stages. This is generally accepted as evidence supporting the CPH. Incorporating the idea, "younger equals better" by Penfield, David Singleton (1995) states that in learning a second language there are many exceptions, noting that five percent of adult bilinguals master a second language even though they begin learning it when they are well into adulthood—long after any critical period has presumably come to a close. The critical period hypothesis holds that first language acquisition must occur before cerebral lateralization completes, at about the age of puberty. One prediction of this hypothesis is that second language acquisition is relatively fast, successful, and qualitatively similar to first language only if it occurs before the age of puberty.[13] To grasp a better understanding of SLA, it is essential to consider linguistic, cognitive, and social factors rather than age alone, as they are all essential to the learner's language acquisition.[12]

text: Over the years, many experimenters have tried to find evidence in support or against the critical periods for second language acquisition. Many have found evidence that young children acquire language more easily than adults, but there are also special cases of adults acquiring a second language with native-like proficiency. Thus it has been difficult for researchers to separate correlation from causation.[14]

text: In 1989, Jacqueline S. Johnson and Elissa L. Newport found support for the claim that second languages are more easily acquired before puberty, or more specifically before the age of seven.[15] They tested second language learners of English who arrived in the United States at various ages ranging from three to thirty-nine, and they found that there was a decline in grammatical correctness after the age of seven. Johnson and Newport attributed this claim to a decline in language learning ability with age. Opponents of the critical period argue that the difference in language ability found by Johnson and Newport could be due to the different types of input that children and adults receive; children received reduced input while adults receive more complicated structures.

text: Additional evidence against a strict critical period is also found in the work of Pallier et al. (2003) who found that children adopted to France from Korea were able to become native-like in their performance of French even after the critical period for phonology.[16] Their experiment may represent a special case where subjects must lose their first language in order to more perfectly acquire their second.

text: There is also some debate as to how one can judge the native-like quality of the speech participants produce and what exactly it means to be a near-native speaker of a second language.[17] White et al. found that it is possible for non-native speakers of a language to become native-like in some aspects, but those aspects are influenced by their first language.

text: Vision[edit]

text: In mammals, neurons in the brain that process vision actually develop after birth based on signals from the eyes. A landmark experiment by David H. Hubel and Torsten Wiesel (1963) showed that cats that had one eye sewn shut from birth to three months of age (monocular deprivation) only fully developed vision in the open eye. They showed that columns in the primary visual cortex receiving inputs from the other eye took over the areas that would normally receive input from the deprived eye. In general electrophysiological analyses of axons and neurons in the lateral geniculate nucleus showed that the visual receptive field properties was comparable to adult cats. However, the layers of cortex that were deprived had less activity and fewer responses were isolated. The kittens had abnormally small ocular dominance columns (part of the brain that processes sight) connected to the closed eye, and abnormally large, wide columns connected to the open eye. Because the critical period time had elapsed, it would be impossible for the kittens to alter and develop vision in the closed eye. This did not happen to adult cats even when one eye was sewn shut for a year because they had fully developed their vision during their critical period. Later experiments in monkeys found similar results.[18]

text: In a follow-up experiment, Hubel and Wiesel (1963) explored the cortical responses present in kittens after binocular deprivation; they found it difficult to find any active cells in the cortex, and the responses they did get were either slow-moving or fast-fatiguing. Furthermore, the cells that did respond selected for edges and bars with distinct orientation preferences. Nevertheless, these kittens developed normal binocularity. Hubel and Wiesel first explained the mechanism, known as orientation selectivity, in the mammalian visual cortex. Orientation tuning, a model that originated with their model, is a concept in which receptive fields of neurons in the LGN excite a cortical simple cell and are arranged in rows. This model was important because it was able to describe a critical period for the proper development of normal ocular dominance columns in the lateral geniculate nucleus, and thus able to explain the effects of monocular deprivation during this critical period. The critical period for cats is about three months and for monkeys, about six months.[19]

text: In a similar experiment, Antonini and Stryker (1993) examined the anatomical changes that can be observed after monocular deprivation. They compared geniculocortical axonal arbors in monocularly deprived animals in the long term (4- weeks) to short term (6–7 days) during the critical period established by Hubel and Wiesel (1993). They found that in the long term, monocular deprivation causes reduced branching at the end of neurons, while the amount of afferents allocated to the nondeprived eye increased. Even in the short term, Antonini and Stryker (1993) found that geniculocortical neurons were similarly affected. This supports the aforementioned concept of a critical period for proper neural development for vision in the cortex.[20]

text: In humans, some babies are born blind in one or both eyes, for example, due to cataracts. Even when their vision is restored later by treatment, their sight would not function in the normal way as for someone who had binocular vision from birth or had surgery to restore vision shortly after birth. Therefore, it is important to treat babies born blind soon if their condition is treatable.

text: Expression of the protein Lynx1 has been associated with the normal end of the critical period for synaptic plasticity in the visual system.[21]

text: Imprinting[edit]

text: In psychology, imprinting is any type of rapid learning that occurs in a particular life stage. While this rapid learning is independent of the behavioral outcome, it also establishes it and can effect behavioral responses to different stimuli. Konrad Lorenz is well known for his classic studies of filial imprinting in graylag geese. From 1935 to 1938, he presented himself to a group of newly hatched gosling and took note of how he was instantly accepted, followed, and called to as if he were the one who laid them himself. As the first moving object they encountered, Lorenz studied the phenomenon in how quickly the geese were able to form such an irreversible bond. Through his work he demonstrated that this only developed during a brief “critical period,” which was about a few hours after hatching.[22] Lorenz also discovered a long-lasting effect of his studies, and that was a shift in the species' sexual imprinting as a result from imprinting upon a foster mother of a second species. For certain species, when raised by a second one, they develop and retain imprinted preferences and approach the second species they were raised by rather than choose their own, if given a choice.[23]

text: Imprinting serves as the distinguishing factor between one's own mother and other mother figures. The mother and the infant both identify with each other, this is a strong bonding moment for humans. It provides a sort of model or guide to adult behaviors in addition to other factors such as nurture, protection in infancy, guidance, and nourishment. The imprinting process, Lorenz also found, brought about a sense of familiarity for the young animals. When such a strong bond is formed at such an early stage, it creates a sense of security and comfort for the subject and actually encourages the imprinting behavior.

text: Pheromones play a key role in the imprinting process, they trigger a biochemical response in the recipient, leading to a confirmed identification in the other individual. If direct contact between mother and infant is not maintained during the critical imprinting period, then the mother goose may reject the infant because she is unfamiliar with her newborn's scent. If that does happen, then the infant's life would be in jeopardy unless it were claimed by a substitute mother and if it failed to imprint would, that trigger psychological trauma, possibly leading to awkward social behavior in later life.[24] In relation to humans, a newborn during the critical period identifies with its mother's and other peoples' scents since its scent is one of the most developed senses at that stage in life. The newborn uses this pheromone identification to seek the people it identifies with, when in times of distress, hunger, and discomfort as a survival skill.[25] Inferences could be made for newborns based upon Lorenz's studies. When imprinting on their mothers, newborns look to them for nourishment, a sense of security, and comfort. Human newborns are among the most helpless newborns known, and with very little that they can do for themselves the most they could do is form bonds the people that they could depend on to provide them the essentials needed. Imprinting is a crucial factor of the critical period because it facilitates the newborn's abilities to form bonds with other people, from infancy to adulthood.

text: Auditory processing[edit]

text: Many studies have supported a correlation between the type of auditory stimuli present in the early postnatal environment and the development on the topographical and structural development of the auditory system.[4]

text: First reports on critical periods came from deaf children and animals that received a cochlear implant to restore hearing. Approximately at the same time, both an electroencephalographic study by Sharma, Dorman and Spahr [26] and an in-vivo investigation of the cortical plasticity in deaf cats by Kral and colleagues [27] demonstrated that the adaptation to the cochlear implant is subject to an early, developmental sensitive period. The closure of sensitive periods likely involves a multitude of processes that in their combination make it difficult to reopen these behaviorally.[4] The understanding of the mechanisms behind critical periods has consequences for medical therapy of hearing loss.[28] M. Merzenich and colleagues showed that during an early critical period, noise exposure can affect the frequency organization of the auditory cortex.[29]

text: Recent studies have examined the possibility of a critical period for thalamocortical connectivity in the auditory system. For example, Zhou and Merzenich (2008) studied the effects of noise on development in the primary auditory cortex in rats. In their study, rats were exposed to pulsed noise during the critical period and the effect on cortical processing was measured. Rats that were exposed to pulsed noise during the critical period had cortical neurons that were less able to respond to repeated stimuli; the early auditory environment interrupted normal structural organization during development.

text: In a related study, Barkat, Polley and Hensch (2011) looked at how exposure to different sound frequencies influences the development of the tonotopic map in the primary auditory cortex and the ventral medical geniculate body. In this experiment, mice were reared either in normal environments or in the presence of 7 kHz tones during early postnatal days. They found that mice that were exposed to an abnormal auditory environment during a critical period P11- P15 had an atypical tonotopic map in the primary auditory cortex.[30] These studies support the notion that exposure to certain sounds within the critical period can influence the development of tonotopic maps and the response properties of neurons. Critical periods are important for the development of the brain for the function from a pattern of connectivity. In general, the early auditory environment influences the structural development and response specificity of the primary auditory cortex.[31]

text: Musical ability[edit]

text: Absolute pitch manifests itself almost always before adolescence and rarely if ever among individuals who are first exposed to music after mid-childhood, suggesting that exposure to music or similar phenomena (e.g., tonal languages) in early to mid-childhood is a necessary condition for its development or refinement. Studies that ask musicians and non-musicians to sing or hum well-known popular songs that have definitive recordings (and hence are sung in standardized keys) show that—on average—participants sing within a semitone of the standardized key but that outside the small subset of participants with absolute pitch there is broad variation (the "bell curve" that reflects the degree of approximation to the standard key is broad and flat).{{{1}}} These results suggest that almost all humans have some innate aptitude for absolute pitch recognition—though other factors may enhance or limit the level of that aptitude. Also, the results' conjunction with the aforementioned chronological observations suggests that early to mid-childhood exposure to environments whose interpretation depends on pitch is a developmental "trigger" for whatever aptitude an individual possesses.

text: Sports[edit]

text: In physical sports, humans need several years of practice before reaching the highest competitive level. To date, no single professional football or basketball player has been able to play in the best leagues after starting practice at age 20. The same applies to mental sports like chess, where no player has arrived to the top 100 after starting practice at age 20. In general, to reach the highest level in sport, the sooner a person start to train, the best.

text: Vestibular system[edit]

text: In our vestibular system, neurons are undeveloped at neuronal birth and mature during the critical period of the first 2-3 postnatal weeks. Hence, disruption of maturation during this period can cause changes in normal balance and movement through space. Animals with abnormal vestibular development tend to have irregular motor skills.[32] Studies have consistently shown that animals with genetic vestibular deficiencies during this critical period have altered vestibular phenotypes, most likely as a result of lack insufficient input from the semicircular canals and dopaminergic abnormalities. Moreover, exposure to abnormal vestibular stimuli during the critical period is associated with irregular motor development. Children with hypofunctioning vestibular receptors frequently have delayed motor development. The results of the studies done on ferrets and rats reinforced the idea that the vestibular system is very important to motor development during the initial neonatal period. If the vestibular receptors are present during the initial six months to a year when the infant is learning to sit and stand, then the child may develop motor control and balance normally.[33]

text: The vestibulo-ocular reflex (VOR) is a reflex eye movement that stabilizes images on the retina during head movement. It produces an eye movement in the direction opposite to head movement, thus preserving the image on the center of the visual field. Studies in fish and amphibians revealed a sensitivity in their VOR. They launched into space flight for 9-10, some with developing VOR's and others with already developed reflexes. The fish with developing reflexes developed an upward bend in their tails. The altered gravity resulted in a shift of orientation. Those who were already matured with the reflex were insensitive to the microgravity exposure.[34]

text: Memory[edit]

text: Recent studies also support the possibility of a critical period for the development of neurons that mediate memory processing. Experimental evidence supports the notion that young neurons in the adult dentate gyrus have a critical period (about 1–3 weeks after neuronal birth) during which they are integral to memory formation.[35] Although the exact reasoning behind this observation is uncertain, studies suggest that the functional properties of neurons at this age make them most appropriate for this purpose; these neurons: (1) Remain hyperactive during the formation of memories; (2) are more excitable; and (3) More easily depolarizable due to GABAergic effects. It is also possible that hyperplasticity makes the neurons more useful in memory formation. If these young neurons had more plasticity than adult neurons in the same context, they could be more influential in smaller numbers.[35] The role of these neurons in the adult dentate gyrus in memory processing is further supported by the fact that behavioral experiments have shown that an intact dentate gyrus is integral to hippocampal memory formation.[35] It is speculated that the dentate gyrus acts a relay station for information relating to memory storage. The likelihood of a critical period could change the way we view memory processing because it would ultimately mean that the collection of neurons present is constantly being replenished as new neurons replace old ones. If a critical period does indeed exist, this could possibly mean that: (1) Diverse populations of neurons that represent events occurring soon after one another may connect those events temporally in the memory formation and processing; OR (2) These different populations of neurons may distinguish between similar events, independent of temporal position; OR (3) Separate populations may mediate the formation of new memories when the same events occur frequently.[35]


document_title: The Marvelous Mrs. Maisel

question_text: who plays susie on the amazing mrs. maisel

text: The Marvelous Mrs. Maisel

text: Plot[edit]

text: Miriam "Midge" Maisel (Rachel Brosnahan) is a Jewish housewife living in New York City in 1958. Her husband, Joel, is a businessman who moonlights as a struggling comedian at The Gaslight Cafe. Midge supports Joel, providing feedback about his sets, but becomes disillusioned when she discovers that Joel has stolen one of his best routines from Bob Newhart.

text: One night, after a particularly rough performance, Joel confesses to Midge that he has been having an affair and leaves her. Midge goes to her family for support but primarily receives criticism for choosing to marry Joel.

text: After getting drunk, Midge returns to the Gaslight Cafe and impulsively goes on stage, delivering an impromptu set about her predicament which the audience finds hilarious. After baring her breasts in an attempt to demonstrate how attractive she is, Midge is arrested and taken to jail for indecent exposure and performing without a cabaret license.

text: The squad car contains another comedian who was also arrested: Lenny Bruce (Luke Kirby). Midge, who had seen Lenny perform, returns to jail the next morning to bail him out and ask him if he loves comedy. Bruce warns Midge that the comedy business is terrible, but Midge takes his warning as encouragement and teams with Susie (Alex Borstein), a comedy club employee, to hone her act.

text: Cast and characters[edit]

text: Main[edit]

text:
Rachel Brosnahan as Miriam "Midge" Maisel[9], a Jewish housewife who discovers a flair for stand-up comedy.
Michael Zegen as Joel Maisel[10], Midge's estranged husband, who leaves Midge for his secretary. He is also an aspiring stand-up comic, but only relies on the routines of Bob Newhart.
Alex Borstein as Susie Myerson, employee of The Gaslight Cafe[11], and later Midge's manager
Tony Shalhoub as Abe Weissman,[12] Midge’s father
Marin Hinkle as Rose Weissman,[13] Midge’s mother

tag: ul

text: Recurring[edit]

text:
Kevin Pollak as Moishe Maisel,[14] Joel's father
Caroline Aaron as Shirley Maisel,[15] Joel's mother
Luke Kirby as Lenny Bruce, a well-known New York City comedian
Bailey De Young as Imogene Cleary,[14] Midge's friend
Joel Johnstone as Archie Cleary, Imogene's husband and Joel's coworker
Brian Tarantina as Jackie, emcee at The Gaslight
Holly Curran as Penny Pann, Joel's former secretary and girlfriend
Matilda Szydagis as Zelda, the Weissman's live-in maid
Cynthia Darlow as Mrs. Moskowitz, Joel's secretary and Penny's replacement
Nunzio and Matteo Pascale as Ethan Maisel, Midge and Joel's eldest son.

text: Guest[edit]

text:
Wallace Shawn as Herb Smith, a hack comedy writer who Midge briefly hires after she bombs a set
Jane Lynch as Sophie Lennon, a successful stand-up comic who relies on shticky gimmicks about her life in Queens and her frumpy appearance. In actuality, she is a rich aristocrat with refined taste and wears a fat suit on stage.
Gilbert Gottfried as the emcee at a strip club where Midge and Joel first see Lenny Bruce perform.
Nate Corddry as Randall, an amateur comedian who does improvisational skits with Midge at parties.
Max Casella as Michael Kessler, Midge's lawyer.

text: Episodes[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original release date

1
1
"Pilot"
Amy Sherman-Palladino
Amy Sherman-Palladino
March 17, 2017 (2017-03-17)

In 1958 Manhattan, Miriam "Midge" Maisel is a contented Upper West Side housewife who occupies herself with raising her two children and facilitating her untalented husband's dream of becoming a stand-up comedian at The Gaslight Cafe. When her reality is threatened by his decision to leave her for his secretary, she drunkenly discovers that she herself possesses a previously unrealized talent for stand-up comedy. Arrested for profanity onstage, Midge finds herself in a police car with Lenny Bruce. Susie bails Midge out, and Midge bails out Lenny Bruce.

2
2
"Ya Shivu v Bolshom Dome Na Kholme"
Amy Sherman-Palladino
Amy Sherman-Palladino
November 29, 2017 (2017-11-29)

Joel breaks the news of the separation to his father. Both Midge and Joel's parents are unhappy about the breakup. To make people happier, Midge invites all four parents plus Joel to dinner at her apartment. Conflict erupts. After Joel's father reveals that he plans to evict Midge and the children from their apartment, Midge leaves her own dinner party to go back to the Gaslight, where she performs again and is arrested again.

3
3
"Because You Left"
Daniel Palladino
Daniel Palladino
November 29, 2017 (2017-11-29)

4
4
"The Disappointment of the Dionne Quintuplets"
Amy Sherman-Palladino
Amy Sherman-Palladino
November 29, 2017 (2017-11-29)

5
5
"Doink"
Amy Sherman-Palladino
Daniel Palladino
November 29, 2017 (2017-11-29)

6
6
"Mrs. X at the Gaslight"
Scott Ellis
Sheila R. Lawrence
November 29, 2017 (2017-11-29)

7
7
"Put That On Your Plate!"
Daniel Palladino
Daniel Palladino
November 29, 2017 (2017-11-29)

8
8
"Thank You and Good Night"
Amy Sherman-Palladino
Amy Sherman-Palladino
November 29, 2017 (2017-11-29)

tag: table

text: Reception[edit]

text: Critical response[edit]

text: On review aggregator Rotten Tomatoes, the first season has an approval rating of 96% based on 67 reviews, with an average rating of 8.2/10. The website's critical consensus reads, "The Marvelous Mrs. Maisel is an upbeat addition to Amazon's original offerings, propelled by a playful yet poignant performance by Rachel Brosnahan."[16] On Metacritic the series has an average weighted score of 80 out of 100, based on 26 critics, indicating "generally favorable reviews".[4]

text: The pilot episode of The Marvelous Mrs. Maisel was one of Amazon Video's most successful ever, achieving an average viewer rating of 4.9 (out of 5).[2] The review of the pilot in The Guardian praised the "combination of [Sherman-Palladino's] banging dialogue and the utterly winning charm of Brosnahan",[17] while The AV Club praised the "outstanding" production design and said "this is a series that's as confident as its heroine—and what a heroine she is. Midge is already layered, conflicted, hilarious, and charming."[18] A critic for Slate called the episode "a knockout", stating that the stand-up element "introduces a welcome streak of discipline, both verbal and thematic, into Sherman-Palladino’s charming but manic work."[19]

text: The Jerusalem Post highlighted the exceptionally well done "Jewishness" of the work, calling it a "comedic delight of a show, combining Sherman-Palladino’s knack for witty dialogue with the colorful, rich world of 1950s New York and the intensity of family drama and changing times."[20] NPR similarly highlighted the effectiveness of the comedy in the show, writing "The Marvelous Mrs. Maisel isn't aiming for realism. It's a heroic fantasy. And Midge's humor, one might say, is the ultimate version of staircase wit. Recklessly honest, she says what female comedians would've said half a century ago — if they had only been free to say it."[21]

text: Awards and nominations[edit]

text:
Year
Award
Category
Recipient(s)
Result
Ref.

2018
Golden Globe Awards
Best Television Series – Musical or Comedy
The Marvelous Mrs. Maisel
Won
[22][23][24][25]

Best Actress – Television Series Musical or Comedy
Rachel Brosnahan
Won
[26][27][28][29]

Critics' Choice Television Awards
Best Comedy Series
The Marvelous Mrs. Maisel
Won
[30]

Best Actress in a Comedy Series
Rachel Brosnahan
Won

Best Supporting Actress in a Comedy Series
Alex Borstein
Nominated

Producers Guild of America Awards
Outstanding Producer of Episodic Television, Comedy
The Marvelous Mrs. Maisel
Won
[31]

Directors Guild of America Awards
Outstanding Directorial Achievement in Comedy Series
Amy Sherman-Palladino (for "Pilot")
Nominated
[32]

Costume Designers Guild Awards
Excellence in Period Television
Donna Zakowska
Pending
[33]


document_title: Despicable Me 3

question_text: voice of bad guy in despicable me 3

question_tokens: voice of bad guy in despicable me 3

text: Despicable Me 3

text: Plot[edit]

text: Former villain Gru is now an agent for the Anti-Villain League (AVL). He and his partner/wife Lucy are sent to foil the plans of Balthazar Bratt, a 1980s child star turned evil. Gru manages to stop Bratt from stealing the world's largest diamond, but is unable to capture him. As a result of failing to capture Bratt, Gru and Lucy are fired from the AVL by its unreasonable new director Valerie Da Vinci, following the retirement of Silas Ramsbottom.

text: Gru and Lucy reluctantly tell their children, Margo, Edith, and Agnes, of their dismissal, but assure them they will find new jobs. Most of Gru's Minions leave Gru when he refuses to return to villainy, despite losing his job. Meanwhile, Lucy struggles to adapt to her new role as the children's new mom. The next morning, the family is approached by Fritz, the butler of Gru's cheerful twin brother Dru, who lives in a distant country named Freedonia, who longs to meet him. Shocked to learn he has a twin, Gru confronts his mother, who reveals that when she and her husband divorced, they agreed to keep one child each. The family decides to travel to meet Dru, and they are surprised at his immense wealth, which Fritz attributes to their pig farm business. Meanwhile, the Minions are arrested for trespassing at a talent show set. Bratt manages to steal the diamond again, intending to use it to power a giant robot and destroy Hollywood as revenge for the cancellation of his show.

text: Dru reveals to Gru that their recently deceased father was a legendary supervillain, whose villainous activities are the real source of the family's wealth. As Dru was dismissed by their father as a disgrace, he asks his brother to teach him how to be a villain. When Gru refuses to revert to his old ways, Dru takes him on a joyride around Freedonia in their father's technologically advanced car and the siblings bond. Meanwhile, Lucy tries to balance her tasks as a mom, which she exhibits after turning away a young boy named Niko who had fallen for Margo in the midst of a traditional cheese festival, while Edith and Agnes stumble into a local tavern and learn from the bartender about a mythical unicorn which lurks in a nearby forest. Gru tries to convince Agnes that unicorns are imaginary, but decides against it to avoid hurting her feelings. The next day, Agnes and Edith set out into the woods to track the mythical unicorn, only to find a one-horned goat whom Agnes adopts and dubs "Lucky". Meanwhile, the Minions' longing for Gru motivates them to escape from prison and return to their former master.

text: Dru convinces Gru to steal the diamond, with Gru secretly intending to bring it to the AVL, which he hopes will convince Da Vinci to rehire him and Lucy. Despite several setbacks, they manage to retrieve the diamond and are rescued by Lucy after narrowly escaping. After finding out Gru's true motives, Dru confronts his brother about his lie. In return, Gru insults him and decides to leave Freedonia, ending their relationship. Bratt, disguised as Lucy, kidnaps the children, and once again acquires the diamond. Gru and Dru resolve their differences and pursue him after finding the real Lucy.

text: With his robot powered by the diamond, Bratt terrorizes Hollywood, intending to send it into space with the use of superpowered gum. Lucy saves the children while Gru and Dru weaken Bratt's robot with the weapons of their father's car. Gru is knocked unconscious when the car is destroyed, and Dru manages to destroy the robot's core from the inside when Bratt threatens to kill Gru. When Gru recovers, he battles Bratt in a dance fight, using it as a distraction to grab his weaponized keytar, and defeats him. Having rendezvoused with Gru, the Minions manage to destroy the gum already covering the city, and Gru and Dru reunite.

text: Soon afterward, Gru and Lucy are reinstated in the AVL and the newly united family celebrate in Gru's home. Lucy is acknowledged by the children as their mother. Lured back to villainy, Dru, along with most of the Minions, steals Gru's airship, with Gru's emblem replaced with a "D" graffiti. Gru and Lucy decide to give them a five-minute head-start before engaging pursuit.

text: Cast[edit]

text:
Steve Carell as Felonious Gru, the former villain turned Anti-Villain League agent, Margo, Edith, and Agnes' adoptive father, and Lucy's husband.[8]

Carell also voices Dru Gru, Gru's long-lost twin brother and the girls' adoptive uncle.[8][9]

Kristen Wiig as Lucy Wilde, an Anti-Villain League agent, Gru's wife and the girls' adoptive mother.[10]
Trey Parker as Balthazar Bratt, a supervillain and former child star who grows up to become obsessed with the character he played in the '80s and is bent on world domination.[8]
Miranda Cosgrove as Margo, Gru and Lucy's oldest adoptive daughter.[10]
Dana Gaier as Edith, Gru and Lucy's middle adoptive daughter.[11]
Nev Scharrel as Agnes, Gru and Lucy's youngest adoptive daughter.[12] She was previously voiced by Elsie Fisher in the first two films.
Pierre Coffin as The Minions.[13]

Coffin also voices a Museum Director.

Steve Coogan as Silas Ramsbottom, the director of the Anti-Villain League, who retires at the start of the film.[14][15]

Coogan also voices Fritz, the butler of Dru.

Julie Andrews as Marlena Gru, Gru and Dru's mother.[14][16]
Jenny Slate as Valerie Da Vinci, a member of the Anti-Villain League who becomes the new AVL director.[14][17]
Andy Nyman as Clive, a robot who is Bratt's sidekick.
Adrian Ciscato as Niko, a boy from Freedonia who falls in love with Margo.

text: Production[edit]

text: Steve Burke, the NBCUniversal CEO, confirmed in September 2013 that a third film in the Despicable Me series was in development.[18] Cinco Paul and Ken Daurio, the writers of the first two films, announced that they would return to write the screenplay for the film.[19] On April 13, 2016, Trey Parker, co-creator of South Park, was cast as the main antagonist for the film, Balthazar Bratt.[8]

text: Soundtrack[edit]

text:
Despicable Me 3: Original Motion Picture Soundtrack

Soundtrack album by Various Artists

Released
June 23, 2017 (2017-06-23)

Genre
Pop
R&B

Length
51:14

Label

I Am Other
Columbia

Producer

Alan Tarney
Andrew Coleman
Hart Gunther
Heitor Pereira
Madonna
Manne Praeker
Marvin dM. Nitazal
Michael Jackson
Mike Larson
Pharrell Williams
Quincy Jones
Reinhold Heil
Rick Bryant
Stephen Bray
Toto Gamyar

text: The soundtrack for Despicable Me 3 was released on June 23, 2017. Pharrell Williams released the new song "Yellow Light" for the soundtrack, which was made available through digital download and streaming.[20] Some songs are unavailable on iTunes and Google Play.

text: Track listing[edit]

text:
No.
Title
Writer(s)
Producer(s)
Length

1.
"Yellow Light" (performed by Pharrell Williams)
Pharrell Williams

Pharrell Williams
Mike Larson[b]

3:37

2.
"Hug Me" (performed by Pharrell Williams and Trey Parker)

Pharrell Williams
Trey Parker

Pharrell Williams
Hart Gunther
Rick Bryant
Mike Larson[b]

2:20

3.
"Bad" (performed by Michael Jackson)
Michael Jackson

Quincy Jones
Michael Jackson[a]

4:07

4.
"Take on Me" (performed by A-ha)

Pål Waaktaar
Morten Harket
Magne Furuholmen

Marvin dM. Nitazal
Alan Tarney
Toto Gamyar

3:46

5.
"Papa Mama Loca Pipa" (performed by The Minions)

W. S. Gilbert
Arthur Sullivan

Pierre Coffin
1:29

6.
"There's Something Special" (performed by Pharrell Williams)
Pharrell Williams

Pharrell Williams
Mike Larson[b]

3:44

7.
"Tiki Tiki Babeloo" (performed by The Minions)

Pierre Coffin
1:13

8.
"Freedom" (performed by Pharrell Williams)
Pharrell Williams
Pharrell Williams
2:43

9.
"Doowit" (performed by Pharrell Williams)
Pharrell Williams

Pharrell Williams
Mike Larson[b]

4:02

10.
"99 Luftballons" (performed by Nena)

Carlo Karges
Jörn-Uwe Fahrenkrog-Petersen

Reinhold Heil
Manne Praeker

3:52

11.
"Into the Groove" (performed by Madonna)

Madonna Ciccone
Stephen Bray

Madonna
Bray

4:44

12.
"Chuck Berry" (performed by Pharrell Williams)
Pharrell Williams

Pharrell Williams
Andrew Coleman[b]
Mike Larson[b]

3:15

13.
"Fun, Fun, Fun" (performed by Pharrell Williams)
Pharrell Williams
Pharrell Williams
3:25

14.
"Despicable Me" (performed by Pharrell Williams)
Pharrell Williams
Pharrell Williams
4:15

15.
"Despicable Me 3 Score Suite" (performed by Heitor Pereira)
Heitor Pereira
Heitor Pereira
4:05

16.
"Malatikalano Polatina" (performed by The Minions)

Pierre Coffin
0:37

Total length:
51:14

text: Notes

text:
^[a] signifies a co-producer
^[b] signifies an additional producer

text: Charts[edit]

text:
Chart (2017)
Peak
position

Australian Albums (ARIA)[21]
76

US Soundtrack Albums (Billboard)[22]
17

text: Release[edit]

text: The film premiered on June 14, 2017, at the Annecy International Animated Film Festival.[3] It was released in the United States on June 30, 2017.[23] This is the first Illumination movie to be released in Dolby Vision and to be in the 2:35.1 anamorphic widescreen format.

text: The first official trailer for the film was released on December 14, 2016;[11] with the second released on March 14, 2017.[24] A secondary trailer, designed for TV usage was released on April 21, 2017.[25] A third trailer was released on May 24, 2017.[26]

text: Home media[edit]

text: Despicable Me 3 was released on DVD, Blu-ray, Blu-ray 3D and Ultra HD Blu-ray in the United Kingdom on November 6, 2017.[27] In the US, Despicable Me 3 was released on digital download on November 21, 2017, and was released on DVD, Blu-ray, Blu-ray 3D and Ultra HD Blu-ray on December 5, 2017.[28] The releases also include a short film, titled The Secret Life of Kyle.[27]

text: Reception[edit]

text: Box office[edit]

text: Despicable Me 3 grossed $264.6 million in the United States and Canada and $770.2 million in other territories for a worldwide total of $1.035 billion, against a production budget of $80 million.[5] On September 8, it passed the $1 billion threshold, becoming the second Despicable Me film (after Minions), second non-Disney-animated film (after Minions), third film of 2017 (after Beauty and the Beast and The Fate of the Furious), and the sixth animated film (after Toy Story 3, Frozen, Minions, Zootopia, and Finding Dory) to pass the mark. It became the first film since The Fate of the Furious (also a Universal property) in April 2017 to make over a billion dollars.[29] Deadline Hollywood calculated the net profit of the film to be $366.2 million, when factoring together all expenses and revenues, making it the third most profitable release of 2017.[30]

text: In North America, the film opened alongside The House and Baby Driver, as well as the wide expansion of The Beguiled, and was projected to gross $85–95 million in its opening weekend. It played in 4,529 theaters, setting the record for widest release of all time, beating the amount set by The Twilight Saga: Eclipse in 2010.[31] It made $4.1 million from Thursday night previews, down slightly from the $4.7 million of the second film and $6.2 million made by Minions, and $29.2 million on its first day. It went on to debut to $72.4 million, slightly below expectations and the lowest of the series since the first film, but still topped the box office and was the 4th-best opening for Illumination.[32] It also opened to more than the next five films did combined (Baby Driver's $20.6 million, Transformers: The Last Knight's $16.9 million, Wonder Woman's $15.7 million, Cars 3's $9.7 million and The House's $8.7 million).[7] In its second weekend the film grossed $33.6 million (a drop of 53.6%, more than the previous Despicable Me films but similar to Minions), finishing second at the box office (with a fresh record of 4,536 theaters showing the movie) behind newcomer Spider-Man: Homecoming ($117 million).[33]

text: Internationally the film was released in five markets on June 16, 2017, and grossed $9.9 million in its opening weekend.[34] In its third week of release the film opened in 46 more markets, grossing $95.6 million.[7] The film's largest markets were China ($158.2 million), Japan ($66.2 million), the UK ($62.7 million), Germany ($43.8 million) and France ($41.4 million).[35]

text: Critical response[edit]

text: On review aggregator Rotten Tomatoes, the film has an approval rating of 59% based on 174 reviews, and an average rating of 5.7/10. The website's critical consensus reads, "Despicable Me 3 should keep fans of the franchise consistently entertained with another round of colorful animation and zany—albeit somewhat scattershot—humor."[36] On Metacritic, which assigns a normalized rating, the film has a score of 49 out of 100 based on 37 critics, indicating "mixed or average reviews".[37] Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale, down from the first two films and the spin-off's "A". [32]

text: IGN gave the film a score of 6/10, saying, "It’s not much, but Despicable Me 3 is at least enough for the younger fans of the franchise."[38] Peter Debruge of Variety wrote, "Despicable Me 3 is unwieldy, but it mostly works, as co-directors Pierre Coffin (who also voices the Minions) and Kyle Balda never lose sight of the film's emotional center, packing the rest with as much humor as they can manage. The jokes come so fast and furious, the movie can hardly find room for Heitor Pereira's funky score, and though Pharrell Williams has contributed five new songs to sell soundtracks (including the sweet There's Something Special), the movie hardly needs them."[39] Alonso Duralde of TheWrap gave the film a mixed review, saying: "Ultimately, none of these flaws will matter to the throngs of little kids who have made the previous Despicable Me movies (and the superior Minions spin-off) into giant global hits."[40]

text: Sandy Schaefer for Screen Rant gives the film a 3 out of 5 stars saying "Despicable Me 3 offers enough in the way of zany, irreverent entertainment (with a dose of heart) to please steadfast fans of the franchise."[41] Jordan Mintzer for The Hollywood Reporter gave the film a positive review saying "This rather clever, breakneck-paced cartoon gives fans exactly what they want: Like the new nemesis voiced by Trey Parker, it shoots multiple machine-gun bursts of bubblegum at the audience, asking them to chew and enjoy"[42] Peter Travers of Rolling Stone gave the film three out of four stars, saying "Pierre Coffin (who voices the Minions) and co-director Kyle Balda keep the plot spinning merrily. Pharrell Williams contributes five new songs to the mix, including the hummable "There's Something Special." It's no mystery why Illumination's franchise is still something special after three go-rounds – the box-office gross is a whopping $1.5 billion and counting."[43]

text: Leah Greenblatt of Entertainment Weekly gave the film a 'B' grade, saying "What shines through is the visual wit and innate sweetness of the storytelling, and Carell’s cackling, cueball-skulled misanthrope — a (mostly) reformed scoundrel who can still have his cake, and arsenic too."[44] Stephen Whitty of the New York Daily News gave the film 3.5 out of 5 stars, saying "The film has to rush at the end, to wrap up all these different stories, and it still leaves one of them open-ended."[45]

text: Accolades[edit]

text:
Award
Category
Recipient(s)
Result

45th Annie Awards[46]
Best Animated Feature
Chris Meledandri and Janet Healy
Nominated

Animated Effects in an Animated Production
Bruno Chauffard, Frank Baradat, Nicolas Brack and Milo Riccarand

Character Design in an Animated Feature Production
Eric Guillon

ACE Eddie Awards[47]
Best Edited Animated Feature Film
Claire Dodgson

Art Directors Guild[48]
Production Design in an Animated Feature
Olivier Adam

Cinema Audio Society Awards[49]
Outstanding Achievement in Sound Mixing for a Motion Picture – Animated Film
Carlos Sotolongo, Randy Thom, Tim Nielson, Brandon Proctor, Greg Hayes and Scott Curtis

Central Ohio Film Critics Association[50]
Best Animated Film
Despicable Me 3

23rd Critics' Choice Awards[51]
Best Animated Film
Pierre Coffin and Kyle Balda

Denver Film Critics Society Awards[52]
Best Animated Film
Despicable Me 3

Golden Trailer Awards 2017[53]
Best Animation/Family

Best Animation/Family Poster

Golden Reel Awards[54]
Outstanding Achievement in Sound Editing – Feature Animation
Dennis Leonard, Tim Nielsen, Matthew Hartman, Mac Smith, Andre J.H. Zweers, Christopher Flick, Richard Gould, John Roesch, Shelley Roden and Slamm Andrews

Hollywood Music in Media Awards 2017[55]
Best Original Song - Animated Film
"There's Something Special" for Pharrell Williams

Houston Film Critics Society Awards 2017[56]
Best Animated Film
Despicable Me 3

Producers Guild of America Award[57]
Outstanding Producer of Animated Theatrical Motion Picture
Chris Meledandri and Janet Healy

Movieguide Awards[58]
Best Movie for Families
Despicable Me 3

Nickelodeon Brazil Kids' Choice Awards[59]
Favorite Animated Film
Won

Nickelodeon Mexico Kids' Choice Awards 2017[60]
Favorite Movie

2018 Kids' Choice Awards[61]
Favorite Animated Film
Nominated

Nickelodeon Argentina Kids' Choice Awards 2017[62]
Favorite Movie

Nickelodeon Colombia Kids' Choice Awards 2017[63]
Favorite Movie

North Texas Film Critics Association[64]
Best Animated Film
Pierre Coffin, Kyle Balda and Eric Guillion

Phoenix Film Critics Society Awards[65]
Best Animated Film
Despicable Me 3

Saturn Awards[66]
Best Animated Film
Pending

St. Louis Film Critics Association[67]
Best Animated Feature
Pierre Coffin and Kyle Balda
Nominated

16th Visual Effects Society Awards[68]
Outstanding Visual Effects in an Animated Feature
Pierre Coffin, Chris Meledandri, Kyle Balda and Eric Guillon

Outstanding Animated Character in an Animated Feature
Eric Guillon, Bruno Dequier, Julien Soret, Benjamin Fournet for "Bratt"

Outstanding Created Environment in an Animated Feature
Axelle De Cooman, Pierre Lopes, Milo Riccarand, Nicolas Brack for "Hollywood Destruction"

Outstanding Model in a Photoreal or Animated Project
Eric Guillon, Francois-Xavier Lepeintre, Guillaume Boudeville, Pierre Lopes for "Dru's Car"

Outstanding Effects Simulations in an Animated Feature
Bruno Chauffard, Frank Baradat, Milo Riccarand, Nicolas Brack

Washington, D.C. Area Film Critics Association Awards[69]
Best Animated Feature
Pierre Coffin and Kyle Balda

text: Sequel[edit]

text: Illumination's CEO Chris Meledandri has said in September 2017 that a fourth Despicable Me film is in development.[70]