document_title: History of the petroleum industry in the United States

question_text: where was the first excavation of oil done

text: 19th century[edit]

text: Before the Drake well[edit]

text: Native Americans had known of the oil in western Pennsylvania, and had made some use of it for many years before the mid-19th century. Early European explorers noted seeps of oil and natural gas in western Pennsylvania and New York. Interest grew substantially in the mid-1850s as scientists reported on the potential to manufacture kerosene from crude oil, if a sufficiently large oil supply could be found.

text: The Jesuit Relations of 1657 states:

text: As one approaches nearer to the country of the Cats, one finds heavy and thick water, which ignites like brandy, and boils up in bubbles of flame when fire is applied to it. It is, moreover, so oily, that all our Savages use it to anoint and grease their heads and their bodies.[2]

text: Salt was a valuable commodity, and an industry developed near salt springs in the Ohio River Valley, producing salt by evaporating brine from the springs. Salt wells were sunk at the salt springs to increase the supply of brine for evaporation. Some of the wells were hand-dug, but salt producers also learned to drill wells by percussion (cable tool) methods. In a number of locations in western Virginia, Ohio, and Kentucky, oil and natural gas came up the wells along with the brine. The oil was mostly a nuisance, but some salt producers saved it and sold it as illuminating oil or medicine. In some locations, enough natural gas was produced to be used as fuel for the salt evaporating pans.[3] Early salt brine wells that produced byproduct oil included the Thorla-McKee Well of Ohio in 1814, a well near Burkesville, Kentucky, in 1828,[4] and wells at Burning Springs, West Virginia, by 1836.

text: The US natural gas industry started in 1821 at Fredonia, Chautauqua County, New York, when William Hart dug a well to a depth of 27 feet (8.2 m) into gas-bearing shale, then drilled a borehole 43 feet (13 m) further, and piped the natural gas to a nearby inn where it was burned for illumination. Soon many gas wells were drilled in the area, and the gas-lit streets of Fredonia became a tourist attraction.

text: Drake well, Titusville, Pennsylvania[edit]

text: On August 28, 1859, George Bissell and Edwin L. Drake made the first successful use of a drilling rig on a well drilled especially to produce oil, at a site on Oil Creek near Titusville, Pennsylvania. The Drake partners were encouraged by Benjamin Silliman (1779-1864), a chemistry professor at Yale, who tested a sample of the oil, and assured them that it could be distilled into useful products such as illuminating oil.

text: The Drake well is often referred to as the "first" commercial oil well, although that title is also claimed for wells in Azerbaijan, Ontario, West Virginia, and Poland, among others. However, before the Drake well, oil-producing wells in the United States were wells that were drilled for salt brine, and produced oil and gas only as accidental byproducts. An intended drinking water well at Oil Springs, Ontario found oil in 1858, a year before the Drake well, but it had not been drilled for oil. Historians have noted that the importance of the Drake well was not in being the first well to produce oil, but in attracting the first great wave of investment in oil drilling, refining, and marketing:

text: Appalachian Basin[edit]

text: The success of the Drake well quickly led to oil drilling in other locations in the western Appalachian mountains, where oil was seeping to the surface, or where salt drillers had previously found oil fouling their salt wells. During the American Civil War, the oil-producing region spread over much of western Pennsylvania, up into western New York state, and down the Ohio River valley into the states of Ohio, Kentucky, and the western part of Virginia (now West Virginia). The Appalachian Basin continued to be the leading oil-producing region in the United States through 1904.[6]

text: The first commercial oil well in New York was drilled in 1865. New York's (and Northwestern Pennsylvania) crude oil is very high in paraffin.[7]

text: The principal product of the oil in the 19th century was kerosene, which quickly replaced whale oil for illuminating purposes in the United States. Originally dealing in whale oil which was widely used for illumination, Charles Pratt (1830–1891) of Massachusetts was an early pioneer of the natural oil industry in the United States. He was founder of Astral Oil Works in the Greenpoint section of Brooklyn, New York. Pratt's product later gave rise to the slogan, "The holy lamps of Tibet are primed with Astral Oil." He joined with his protégé Henry H. Rogers to form Charles Pratt and Company in 1867. Both companies became part of John D. Rockefeller's Standard Oil in 1874.

text: Lima-Indiana District[edit]

text: Mid-Continent[edit]

text: The Mid-continent area is an area generally including Kansas, Oklahoma, Arkansas, North Louisiana and the part of Texas away from the Gulf Coast. The first commercially successful oil well drilled in Kansas was the Norman No. 1 near Neodesha, Kansas, on November 28, 1892.

text:
Corsicana, Texas, 1894, Texas, plus 44,000,000 barrels (7,000,000 m3)
McCamey, 1928, Baker No. 1., Texas.

text: Oklahoma[edit]

text: Oil was discovered at Bartlesville and Burbank in 1897. But the initial discoveries created no great excitement until the discovery gusher of the Glenn Pool in 1905. The Glenn discovery came when Gulf Coast production was declining rapidly, and the operators were eager for new areas to drill. The increased drilling resulted in major discoveries at Cushing in 1912 and Healdton in 1913.[8]

text:
Greater Seminole, 1926, Oklahoma, plus 200,000,000 barrels (32,000,000 m3)
Oklahoma City, No. 1 Discovery Well, 1928, Oklahoma. The Mary Sudik No. 1, "Wild Mary Sudik", gusher did not blow until March 25, 1930—she sprayed an estimated 3,000 barrels (480 m3) an hour (133 L/s) for the next 11 days.

text: East Texas[edit]

text: The largest oil field in the lower 48 states, the East Texas oil field, was not discovered until 1930, when wildcatter Columbus Marion Joiner (more commonly known as "Dad" Joiner) drilled the Daisy Bradford No. 3 well, in Rusk County, Texas.[9]

text: North Louisiana[edit]

text: In 1906, the Caddo-Pine Island Field in northern Caddo Parish, Louisiana was discovered, and a rush of leasing and drilling activity ensued. In 1908, the first natural gas pipeline was constructed to transport gas from Caddo-Pine Island to Shreveport, Louisiana. This was one of the earliest commercial uses of natural gas, which was commonly viewed as an undesirable by-product of oil production and often "flared" or burnt off at the well site.

text: Other innovations in the Caddo-Pine Island Field included the first over-water oil platform, which was constructed in the field on Caddo Lake in 1910. In that same year, a major oil pipeline was constructed from Caddo-Pine Island Field to a refinery built and operated by Standard Oil Company of Louisiana in Baton Rouge, Louisiana. The refinery continues to operate today.

text: Other early petroleum discoveries in North Louisiana included the Bull Bayou Field, Red River Parish, Louisiana (1913), Monroe Gas Field, Ouachita Parish, Louisiana (1916), Homer Field, Claiborne Parish, Louisiana (1919) and Haynesville Field, Claiborne Parish, Louisiana (1921).[10]

text: California[edit]

text: Native Americans had known of the tar seeps in southern California for thousands of years, and used the tar to waterproof their canoes. Spanish settlers also knew of the seeps, such as at Rancho La Brea (Spanish for Tar Ranch) in present-day Los Angeles, from which the priests obtained tar to waterproof the roofs of the Los Angeles and San Gabriel missions.[11]

text: Despite the abundance of well-known seeps in southern California, the first commercial oil well in California was drilled in Humboldt County, northern California in 1865.[12]

text: Some attempts were made in the 1860s to exploit oil deposits under tar seeps in the Ventura Basin of Ventura County and northeastern Los Angeles county. The early efforts failed because of complex geology, and, more importantly, because the refining techniques then available could not manufacture high-quality kerosene from California crude oil, which differed chemically from Pennsylvania crude oil.[13] Most California crude oil in the early years was turned into the less lucrative products of fuel oil and asphalt.

text: Oil production in the Los Angeles Basin started with the discovery of the Brea-Olinda Oil Field in 1880, and continued with the development of the Los Angeles City Oil Field in 1893, the Beverly Hills Oil Field in 1900, the Salt Lake Oil Field in 1902, and many others. The discovery of the Long Beach Oil Field in 1921, which proved to be the world's richest in production per-acre of the time, increased the importance of the Los Angeles Basin as a worldwide oil producer. This increased again with the discovery of the Wilmington Oil Field in 1932, and the development of the Port of Los Angeles as a means of shipping crude oil overseas.[14]

text: Production in Santa Barbara County began in the 1890s with the development of the Summerland Oil Field, which included the world's first offshore oil wells. With the discovery of the Orcutt and Lompoc fields, northern Santa Barbara County became a regional center of production; towns such as Orcutt owe their existence to the quickly growing industry.[14]

text: Oil in the San Joaquin Basin was first discovered at the Coalinga field in 1890. By 1901, the San Joaquin Basin was the main oil-producing region of California, and it remains so in the 21st century, with huge oil fields including the Midway-Sunset, Kern River, and Belridge fields producing much of California's onshore oil.

text: Rocky Mountains[edit]

text: The first commercial oil well in the Rocky Mountains was drilled near Canon City, Colorado in 1862. The wells in the Canyon City-Florence field, drilled near surface oil seeps, produced from fractures in the Pierre Shale.

text:
Bighorn Basin
Denver Basin
Green River Basin
North Park (Colorado basin)
Paradox Basin
Piceance Basin
Powder River Basin
Raton Basin
San Juan Basin
Uinta Basin

text: Alaska[edit]

text: A Russian sea captain noted oil seeps along the shore of the Cook Inlet as early as 1853, and oil drilling began in 1898 in a number of locations along the southern coast of Alaska.[15] Production was relatively small, however, until huge discoveries were made on Alaska's remote North Slope.

text: Petroleum seeps on the North Slope have been known for many years, and in 1923, the federal government created US Naval Petroleum Reserve No. 4 to cover the presumed oil fields beneath the seeps. Some exploration drilling was done in the reserve during World War II and the 1950s, but the remote location deterred intensive exploration until the 1960s. The Prudhoe Bay Oil Field, the largest oil field in the United States in terms of total oil produced, was discovered in 1968. Production began in 1977, following completion of the Trans-Alaska Pipeline. Through 2005, the field has produced 13 billion barrels (2.1×10^9 m3) of oil (an average of 1.5 million barrels/day), and is estimated to contain another 2 billion barrels (320×10^6 m3) of economically recoverable oil.

text: 20th century[edit]

text: Gulf Coast[edit]

text: Capt. Anthony Francis Lucas, an experienced mining engineer and salt driller, drilled a well to find oil at Spindletop Hill. On the morning of January 10, 1901, the little hill south of Beaumont, Texas began to tremble and mud bubbled up over the rotary table. A low rumbling sound came from underground, and then, with a force that shot 6 tons of 4-inch (100 mm) diameter pipe out over the top of the derrick, knocking off the crown block, the Lucas Gusher roared in and the Spindletop oil field was born. Spindletop became the focus of frenzied drilling; oil production from the field peaked in 1902 at 17,400,000 barrels (2,770,000 m3), but by 1905 production had declined 90% from the peak.[16]

text: Spindletop Hill turned out to be the surface expression of an underground salt dome, around which the oil accumulated. The Spindletop gusher started serious oil exploration of the Gulf Coast in Texas and Louisiana, an area that had previously been dismissed by oil men. Other salt dome mounds were quickly drilled, resulting in discoveries at Sour Lake (1902), Batson (1904) and Humble (1905).[17]

text: The Standard Oil Company was slow to appreciate the economic potential of the Spindletop oil field, and the Gulf Coast generally, which gave greater opportunity to others; Spindletop became the birthplace of oil giants Texaco and Gulf Oil. Although in 1899 Standard Oil controlled more than 85% of the oil production in the older oil regions in the Appalachian Basin and the Lima-Indiana trend, it never controlled more than 10% of the oil production in the new Gulf Coast province.[18]

text: Federal price regulation[edit]

text: By the Natural Gas Act of 1938, the federal government imposed price controls on natural gas in interstate commerce. The Federal Power Commission was mandated to set interstate gas prices at "just and reasonable" rates.[19] The FPC at first only regulated the price at which pipelines sold gas to utilities and industry, but later put limits on the wellhead price of gas sold to an interstate pipeline. Gas producers challenged the controls, but lost in the Supreme Court in Phillips Petroleum Co. v. Wisconsin (1954).

text: The federal government had controlled the price of natural gas that crossed state lines, but not of gas produced and sold within a state. In the 1970s, the low interstate price set by the federal government caused supply shortages of gas in consuming states, because gas producers sold as much as they could of their product for higher prices in the local markets within gas-producing states. In the Natural Gas Policy Act of 1978, the federal government extended price controls to all natural gas in the country. At the same time, the government created a complex price system in which the price paid to the producer depended on the date the well was drilled, the depth of the well, the geological formation, the distance to other gas wells, and several other factors. The price system was an attempt to keep the average price low while encouraging new production.[20]

text: The last federal price controls on natural gas were removed by the Natural Gas Decontrol Act of 1989, which phased out the last remaining price control as of 1 January 1993.[21]

text: 21st century[edit]

text: North Dakota[edit]

text: As of December, 2012, North Dakota was producing oil at the rate of 750,000 barrels/day.[22]


document_title: The Yellow Wallpaper

question_text: the story idea for the yellow wallpaper was based on a civil war treatment called

root

text: The Yellow Wallpaper

text: Plot summary[edit]

text: The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.

tag: p

text: The narrator devotes many journal entries to describing the wallpaper in the room – its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.

text: On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane?", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

text: Interpretation[edit]

text: Gilman's interpretation[edit]

text: Gilman used her writing to explore the role of women in America at the time. She explored issues such as the lack of a life outside the home and the oppressive forces of the patriarchal society. Through her work Gilman paved the way for writers such as Alice Walker and Sylvia Plath.[5]

text: In The Yellow Wallpaper Gilman portrays the narrator's insanity as a way to protest the medical and professional oppression against women at the time. While under the impression that husbands and male doctors were acting with their best interests in mind, women were depicted as mentally weak and fragile. At the time women’s rights advocates believed that the outbreak of women being diagnosed as mentally ill was the manifestation of their setbacks regarding the roles they were allowed to play in a male-dominated society. Women were even discouraged from writing, because their writing would ultimately create an identity and become a form of defiance for them. Gilman realized that writing became one of the only forms of existence for women at a time where they had very few rights.[5]

text: Gilman explained that the idea for the story originated in her own experience as a patient: "the real purpose of the story was to reach Dr. S. Weir Mitchell, and convince him of the error of his ways".[6] She had suffered years of depression and consulted a well-known specialist physician who prescribed a "rest cure" which required her to "live as domestic a life as possible". She was forbidden to touch pen, pencil, or brush, and was allowed only two hours of mental stimulation a day.

text: After three months and almost desperate, Gilman decided to contravene her diagnosis and started to work again. After realizing how close she had come to complete mental breakdown, she wrote The Yellow Wallpaper with additions and exaggerations to illustrate her own misdiagnosis complaint. She sent a copy to Mitchell but never received a response.

text: She added that The Yellow Wallpaper was "not intended to drive people crazy, but to save people from being driven crazy, and it worked". Gilman claimed that many years later she learned that Mitchell had changed his treatment methods, but literary historian Julie Bates Dock has discredited this. Mitchell continued his methods, and as late as 1908 – 16 years after "The Yellow Wallpaper" was published – was interested in creating entire hospitals devoted to the "rest cure" so that his treatments would be more widely accessible.[7]

text: Feminist interpretation[edit]

text: This story has been interpreted by feminist critics as a condemnation of the male control of the 19th-century medical profession.[8] The narrator's suggestions about her recuperation (that she should work instead of rest, engage with society instead of remaining isolated, attempt to be a mother instead of being separated entirely from her child, etc.) are dismissed out of hand using language that stereotypes her as irrational and, therefore, unqualified to offer ideas about her own condition. This interpretation draws on the concept of the "domestic sphere" that women were held in during this period.[9]

text: Feminist critics focus on the degree of triumph at the end of the story. While some claim the narrator slipped into insanity, others see the ending as a woman's assertion of agency in a marriage in which she felt trapped.[10] The emphasis on reading and writing as gendered practices also illustrated the importance of the wallpaper. If the narrator were allowed neither to write in her journal nor to read, she would begin to "read" the wallpaper until she found the escape she was looking for. Through seeing the women in the wallpaper, the narrator realizes that she could not live her life locked up behind bars. At the end of the story, as her husband lies on the floor unconscious, she crawls over him, symbolically rising over him. This is interpreted as a victory over her husband, at the expense of her sanity.

text: Susan S. Lanser in her article "Feminist Criticism ‘The Yellow Wallpaper’, and the Politics of Color in America" praises contemporary feminism and its role in changing the study and the interpretation of literature. "The Yellow Wallpaper" was one of many stories that were lost because of an ideology that determined the works' content to be disturbing or offensive. Critics such as the editor of the Atlantic Monthly rejected the short story because "[he] could not forgive [himself] if [he] made others as miserable as [he] made [himself]." Lanser argues that the same argument of devastation and misery can be said about the work of Edgar Allan Poe, but his work is still printed and studied by academics.[11]

text: "The Yellow Wallpaper" provided feminists the tools with which to interpret literature in different ways. Lanser says the short story was a "particularly congenial medium for such a re-vision . . . because the narrator herself engages in a form of feminist interpretation when she tries to read the paper on her wall".[11] The narrator in the story is trying to find a single meaning in the wallpaper. At first she focuses on contradictory style of the wallpaper: it is "flamboyant" while also "dull", "pronounced" yet also "lame" and "uncertain" (p. 13). She takes into account the patterns and tries to geometrically organize them, but she is further confused. The wallpaper changes colors when it reflects light and emits a distinct odor which Jane cannot recognize (p. 25). At night the narrator is able to see a woman behind bars within the complicated design of the wallpaper. Lanser argues that Jane was able to find "a space of text on which she can locate whatever self-projection".[11] Lanser creates a relationship between the narrator and the reader. Just like the narrator as a reader, when one comes into contact with a confusing and complicated text, one tries to find one single meaning. "How we were taught to read" as Lanser puts it, is why a reader cannot fully comprehend the text.[11] The patriarchal ideology has kept many scholars from being able to interpret and appreciate stories such as "The Yellow Wallpaper." Thanks to feminist criticism, "The Yellow Wallpaper" has become a fundamental reading in the standard curriculum. Feminists have made a great contribution to the study of literature but, according to Lanser, are falling short because "we acknowledge the participation of women writers and readers in dominant patterns of thought and social practice then perhaps our own patterns must also be deconstructed if we are to recover meanings still hidden or overlooked.[11]

text: Martha J. Cutter discusses how in many of Charlotte Perkins Gilman's works she addresses this "struggle in which a male-dominated medical establishment attempts to silence women."[12] Gilman's works challenge the social construction of women in patriarchal medical discourse by displaying women as "silent, powerless, and passive"[12] who refuse treatment. At the time in which her works take place, between 1840 and 1890, women were exceedingly defined as lesser than—sickly and weak. In this time period it was thought that "hysteria" (a disease stereotypically more common in women) was a result of too much education. It was understood that women who spent time in college or studying were over-stimulating their brains and consequently leading themselves into states of hysteria. In fact, many of the diseases recognized in women were seen as the result of a lack of self-control or self-rule. Different physicians argued that a physician must "assume a tone of authority" and that the idea of a "cured" woman is one who is "subdued, docile, silent, and above all subject to the will and voice of the physician".[12] A hysterical woman is one who craves power and in order for her to be treated for her hysteria, she must submit to her physician whose role is to undermine her desires. Often women were prescribed bed rest as a form of treatment, which was meant to "tame" them and basically keep them imprisoned. Treatments such as this were a way of ridding women of rebelliousness and forcing them to conform to social roles. In her works Gilman highlights that the harm caused by these types of treatments for woman i.e. "the rest cure" has to do with the way in which her voice is silenced. Paula Treichler explains "In this story diagnosis 'is powerful and public. . . . It is a male voice that . . . imposes controls on the female narrator and dictates how she is to perceive and talk about the world.' Diagnosis covertly functions to empower the male physician's voice and disempower the female patient's".[13] The narrator in "The Yellow Wallpaper" is not allowed to participate in her own treatment or diagnosis and is completely forced to succumb to everything in which her doctor and in this particular story, her husband, says. The male voice is the one in which forces controls on the female and decides how she is allowed to perceive and speak about the world around her.

text: Other interpretations[edit]

text: "The Yellow Wallpaper" is sometimes referred to as an example of Gothic literature for its treatment of madness and powerlessness.[14] Alan Ryan, for example, introduced the story by writing: "quite apart from its origins [it] is one of the finest, and strongest, tales of horror ever written. It may be a ghost story. Worse yet, it may not."[15] Pioneering horror author H. P. Lovecraft writes in his essay Supernatural Horror in Literature (1927) that "'The Yellow Wall Paper' rises to a classic level in subtly delineating the madness which crawls over a woman dwelling in the hideously papered room where a madwoman was once confined."[16]

text: Helen Lefkowitz Horowitz, in her book Wild Unrest: Charlotte Perkins Gilman and the Making of "The Yellow Wall-Paper", concludes that "the story was a cri de coeur against [Gilman's first husband, artist Charles Walter] Stetson and the traditional marriage he had demanded." Gilman was attempting to deflect blame to protect Gilman's daughter Katharine and her step-mother, Gilman's friend Grace Channing.[17]

text: Anglican Archbishop Peter Carnley used the story as a reference and a metaphor for the situation of women in the church in his sermon at the ordination of the first women priests in Australia on 7 March 1992 in St George's Cathedral, Perth.[18]

text: Sari Edelstein has argued that "The Yellow Wallpaper" is an allegory for Gilman's hatred of the emerging yellow journalism. Having created The Forerunner in November 1909, Gilman made it clear she wished the press to be more insightful and not rely upon exaggerated stories and flashy headlines. Gilman was often scandalised in the media and resented the sensationalism of the media. The relationship between the narrator and the wallpaper within the story parallels Gilman's relationship to the press. The narrator describes the wallpaper as having "sprawling flamboyant patterns committing every artistic sin". Edelstein argues that given Gilman’s distaste for the Yellow Press, this can also be seen as a description of tabloid newspapers of the day.[19]

text: In Paula A. Treichler's article "Escaping the Sentence: Diagnosis and Discourse in 'The Yellow Wallpaper'", she places her focus on the relationship portrayed in the short story between women and writing. Rather than write about the feminist themes which view the wallpaper as something along the lines of ". . . the 'pattern' which underlies sexual inequality, the external manifestation of neurasthenia, the narrator's unconscious, the narrator's situation within patriarchy," Treichler instead explains that the wallpaper can be a symbol to represent discourse and the fact that the narrator is alienated from the world in which she previously could somewhat express herself. Treichler illustrates that through this discussion of language and writing, in the story Charlotte Perkins Gilman is defying the ". . . sentence that the structure of patriarchal language imposes." While Treichler accepts the legitimacy of strictly feminist claims, she writes that a closer look at the text suggests that the wallpaper could be interpreted as women's language and discourse, and the woman found in the wallpaper could be the ". . . representation of women that becomes possible only after women obtain the right to speak." In making this claim, it suggests that the new struggle found within the text is between two forms of writing; one rather old and traditional, and the other new and exciting. This is supported in the fact that John, the narrator's husband, does not like his wife to write anything, which is the reason her journal containing the story is kept a secret and thus is known only by the narrator and reader. A look at the text shows that as the relationship between the narrator and the wallpaper grows stronger, so too does her language in her journal as she begins to increasingly write of her frustration and desperation.[13]

text: Dramatic adaptations[edit]

text: Audio plays[edit]

text:
Agnes Moorehead performed a version twice, in 1948 and 1957, on the radio program Suspense.
An audio book of "The Yellow Wallpaper" (1997) was produced by Durkin Hayes and read by Winifred Phillips. This Radio Tales version can also be heard on Sonic Theater on XM Radio.[20]
BBC Radio modified and dramatized the story for the series Fear on Four, starring Anna Massey.[21]
Stuff You Should Know read The Yellow Wallpaper as part of their October 31, 2017 episode "2017 Super Spooktacular."

tag: ul

text: Stage plays[edit]

text:
Then This Theatre of Dublin, Ireland adapted Gilman's text for a widely-acclaimed production at the 2011 Absolut Dublin Fringe Festival, featuring actress Maeve Fitzgerald and directed by Aoife Spillane-Hinks. The production was reprised in 2012 at Dublin's Project Arts Centre Cube. [22] [23][24]
Heather Newman scripted and directed an adaptation of the original short story, as part of the 2003 season at Theater Schmeater, in Seattle, Washington.[25][26] This adaptation won the 2003 Seattle Times "Best of the Fringe" award,[27] and was also produced in 2005 at Tarrant County College by Dr. Judith Gallagher, and directed by Melinda Benton-Muller. In May 2010, Benton-Muller and Dr. Gallagher spoke on a panel about this adaptation at the American Literature Association, with members of the ALA and the Charlotte Perkins Gilman Society.[28][29]
Rummage Theatre researched, wrote and directed an hour long play called Behind the Wallpaper (first performed at The Bay Theatre in 2014). The play was inspired by "The Yellow Wallpaper," but focuses on exploring postnatal depression and postpartum psychosis in the present day and uses shadow work cast behind wallpaper to represent the "Shadow Woman" which new mother Julie sees as part of her psychosis. The play toured Dorset in 2014/2015.[30]
A Company of Players presented a stage adaptation of the original short story, written and directed by Kristi Boulton, at the 2014 Hamilton Fringe Festival in Ontario, Canada. This production was well received by critics and won a "Best of Fringe" award.[31][32]
Central Works of Berkeley presented a one-woman show consisting of the text of the play recited and performed by Elena Wright and with a TBA-nominated score written and performed by violinist Cybele D'Ambrosio in 2015.[33][34][35]
Portland, Oregon-based Coho Productions staged an adaptation written by Sue Mach in early 2016, which integrated "expressionistic audio, visual and movement interludes with the haunting literary text." The stage adaptation was co-produced and conceived by Grace Carter, who also portrays the primary character, Charlotte. The play was directed by Philip Cuomo.[36]

text: Film[edit]

text:
In 1977, the story was adapted as a short film (14 min) as The Yellow Wallpaper by director Marie Ashton and screenwriter Julie Ashton; it starred Sigrid Wurschmidt.
In 1989, the story was adapted as The Yellow Wallpaper by the British Broadcasting Corporation (BBC), later shown in the U.S. on Masterpiece Theatre. It was adapted by Maggie Wadey, directed by John Clive, and starred Julia Watson and Stephen Dillane.[citation needed]
In 2009, the story was adapted by director John McCarty as a short (30 min) film called Confinement starring Colleen Lovett. (McCarty had originally written a treatment of the story in the late 1960s on spec for a television anthology. The idea was shelved, but the treatment was eventually revised for Confinement.)
In 2012, the story was loosely adapted into a feature-length film called The Yellow Wallpaper by Logan Thomas starring Aric Cushing.[37] (DVD release, 2015)
In 2014, Amandla Stenberg directed a short film based on the story.[38]
In 2016, Kourosh Ahari directed a feature film based on the original story. The adapted screenplay was written by Amy Liz Roberts.[39]
American director and screen writer Ariel L. Koska and Executive Producer Robin Koska of Ill-Tempered Entertainment filmed a companion-adaptation of Gilman's original short, "the Yellow Book". The project began as a one-act stage play titled, Yellow Book (2013). The film is currently is post.[40]
British artist Julia Dogra-Brazell's short experimental film The Rules of the Game (2015) also found inspiration in this text.[41]

text: Television[edit]

text:
An episode of The Twilight Zone — "Something in the Walls" (1989) — is a variation on Gilman's story, in which a woman commits herself to a mental institution and insists on plain white walls and no patterns within her hospital room, after having seen faces in the patterns of her bedroom's yellow wallpaper and hearing ominous voices from those faces.
Paper Walls (1992), a TV short, directed by Glenn Holsten and Lynn Tomlinson, is a version of "The Yellow Wallpaper." (It is mixed live action and multi-media animation; 6 mins.)

text: Popular culture references[edit]

text:
The TV series Pretty Little Liars (2010) uses the original book cover as a wallpaper design in Aria Montgomery's bedroom.
The TV series American Horror Story season 1 (2011) references The Yellow Wallpaper in the eighth episode.
In the sixth episode of the 2017 TV series Riverdale, Jughead Jones (played by Cole Sprouse) asks Betty Cooper (played by Lili Reinhart) if she's gone all “Yellow Wallpaper” on him yet.
The track "High to Death" off of the album Twin Fantasy by Car Seat Headrest features the lyric "This wallpaper keeps going 'round the room," a reference to The Yellow Wallpaper.


document_title: Messi–Ronaldo rivalry

question_text: who has more goals cristiano ronaldo or messi

text: Messi–Ronaldo rivalry

text: History[edit]

text:
It's only the media, the press, who wants us to be at loggerheads but I've never fought with Cristiano.
—Messi addresses his perceived rivalry with Ronaldo[27]

tag: div

text:
I like to see all good players, and Messi is one of them. He is a player, I really enjoy seeing him on the pitch, and all the great players.
—Ronaldo talks about Messi in an interview with Fox Sports Argentina[28]

text: In 2007, Ronaldo and Messi finished as runners-up to A.C. Milan's Kaká in both the Ballon d'Or, an award rewarded to the player voted as the best in the world by an international panel of sports journalists; and the FIFA World Player of the Year, an award voted for by coaches and captains of international teams. In an interview that year, Messi was quoted as saying "Cristiano Ronaldo is an extraordinary player and it would be brilliant to be in the same team as him".[29][30]

text: They first played in a game together when Manchester United were drawn to play Barcelona in the 2007–08 UEFA Champions League semi-finals and were immediately pitted as major rivals.[31][32][33] Ronaldo missed a penalty in the first leg,[34] but United eventually advanced to the final via a Paul Scholes goal.[35] At the end of the year, Ronaldo was awarded the Ballon d'Or and vowed that he would win the award again.[36][37]

text: The 2009 UEFA Champions League Final was contested between Manchester United and Barcelona on 27 May 2009 at Stadio Olimpico in Rome, Italy. The match, described as a "dream clash",[38] was again hyped as the latest battle between the two, this time to settle who was the best player in the world;[39][40] Ronaldo claimed he was the better of the two[41] while Messi's club-mate Xavi sided with him.[42] United manager Alex Ferguson was more diplomatic, praising both players as being amongst the world's elite talents.[43][44] Messi, playing in a central role he was unaccustomed to so he would avoid a direct battle with United left-back Patrice Evra,[45] scored Barcelona's second in a 2–0 victory with a header in the 70th minute.[46] Meanwhile, Ronaldo was subdued for much of the game despite some early chances to score and his frustration eventually showed when he was booked for a rash tackle on Carles Puyol.[47][48]

text: Relationship between Messi and Ronaldo[edit]

text: In a 2015 interview, Ronaldo commented on the rivalry by saying that "I think we push each other sometimes in the competition, this is why the competition is so high"[49] while Ronaldo's manager during his time at Manchester United Alex Ferguson opined that "I don't think the rivalry against each other bothers them. I think they have their own personal pride in terms of wanting to be the best".[50] Messi has denied any rivalry, saying that it was "only the media, the press, who wants us to be at loggerheads but I've never fought with Cristiano".[51]

text: However, it is widely argued and documented that there's an atmosphere of tension between the duo, with Guillem Balagué claiming in Messi that Ronaldo refers to the Argentine counterpart as "motherfucker" behind his back,[52][53] and Luca Caioli saying in his book, Ronaldo: The Obsession for Perfection, that according to his sources, Ronaldo heats up when watching Messi play.[54] In response to claims that he and Messi do not get on well on a personal level, Ronaldo commented: "We don't have a relationship outside the world of football, just as we don't with a lot of other players", before adding that in years to come he hopes they can laugh about it together, stating: "We have to look on this rivalry with a positive spirit, because it's a good thing".[55] On 13 November 2014, Ronaldo also threatened to take legal action over the remarks made by Balagué.[56]

text: Awards and records[edit]

text: Throughout the existence of the rivalry, the pair have dominated awards ceremonies and broken a multitude of goalscoring records for both club and country, feats which have been described as "incredible", "ridiculous" and "remarkable".[57][58][59] The rivalry itself has been described as one about records and reputation of the players, rather than one based in loathing.[60][61]

text: Ronaldo is the UEFA Champions League all-time top goalscorer while Messi is second. The two had broken each other's record over the course of 2015 after Messi surpassed the previous record holder Raúl in November 2014.[62] Ronaldo opened a gap in the 2015–16 season when he became the first player to score double figures in the group stage of the Champions League, setting the record at 11 goals.[63] They are the first two players to score 100 goals in UEFA Champions League history.[64]

text: Player statistics[edit]

text:
Lionel Messi

Season
League
Cup
Europe
Other
Total

Apps
Goals
Apps
Goals
Apps
Goals
Apps
Goals
Apps
Goals

2004–05
7
1
1
0
1
0
0
0
9
1

2005–06
17
6
2
1
6
1
0
0
25
8

2006–07
26
14
2
2
5
1
3
0
36
17

2007–08
28
10
3
0
9
6
0
0
40
16

2008–09
31
23
8
6
12
9
0
0
51
38

2009–10
35
34
3
1
11
8
4
4
53
47

2010–11
33
31
7
7
13
12
2
3
55
53

2011–12
37
50
7
3
11
14
5
6
60
73

2012–13
32
46
5
4
11
8
2
2
50
60

2013–14
31
28
6
5
7
8
2
0
46
41

2014–15
38
43
6
5
13
10
0
0
57
58

2015–16
33
26
5
5
7
6
4
4
49
41

2016–17
34
37
7
5
9
11
2
1
52
54

2017–18
36
34
6
4
10
6
2
1
54
45

Total

418
383
68
48
125
100
26
21
637
552

Cristiano Ronaldo

Season
League
Cup
Europe
Other
Total

Apps
Goals
Apps
Goals
Apps
Goals
Apps
Goals
Apps
Goals

2002–03
25
3
3
2
3
0
0
0
31
5

2003–04
29
4
6
2
5
0
0
0
40
6

2004–05
33
5
9
4
8
0
0
0
50
9

2005–06
33
9
6
2
8
1
0
0
47
12

2006–07
34
17
8
3
11
3
0
0
53
23

2007–08
34
31
3
3
11
8
1
0
49
42

2008–09
33
18
6
3
12
4
2
1
53
26

2009–10
29
26
0
0
6
7
0
0
35
33

2010–11
34
40
8
7
12
6
0
0
54
53

2011–12
38
46
5
3
10
10
2
1
55
60

2012–13
34
34
7
7
12
12
2
2
55
55

2013–14
30
31
6
3
11
17
0
0
47
51

2014–15
35
48
2
1
12
10
5
2
54
61

2015–16
36
35
0
0
12
16
0
0
48
51

2016–17
29
25
2
1
13
12
2
4
46
42

2017–18
27
26
0
0
13
15
4
3
44
44

Total

513
398
71
41
159
121
18
13
761
573

tag: table

text:
Lionel Messi[65]

Season
Tournament
Qualifiers
Friendlies
Total

Apps
Goals
Apps
Goals
Apps
Goals
Apps
Goals

2005–06
3
1
3
0
4
1
10
2

2006–07
6
2
0
0
4
2
10
4

2007–08
0
0
6
2
4
1
10
3

2008–09
0
0
8
2
1
1
9
3

2009–10
5
0
4
0
2
1
11
1

2010–11
4
0
0
0
7
4
11
4

2011–12
0
0
4
3
5
7
9
9

2012–13
0
0
8
5
4
4
12
9

2013–14
7
4
1
2
3
1
11
7

2014–15
6
1
0
0
4
3
10
4

2015–16
5
5
2
1
3
3
10
9

2016–17
0
0
4
3
1
0
5
3

2017–18
4
1
5
3
0
0
9
4

Total

36
13
44
21
42
27
128
65

Cristiano Ronaldo[66]

Season
Tournament
Qualifiers
Friendlies
Total

Apps
Goals
Apps
Goals
Apps
Goals
Apps
Goals

2003–04
6
2
0
0
7
0
13
2

2004–05
0
0
8
7
2
0
10
7

2005–06
6
1
4
0
5
2
15
3

2006–07
0
0
6
5
2
0
8
5

2007–08
3
1
7
3
2
0
12
4

2008–09
0
0
4
0
3
1
7
1

2009–10
4
1
3
0
4
0
11
1

2010–11
0
0
3
2
2
1
5
3

2011–12
5
3
5
5
4
1
14
9

2012–13
0
0
6
1
3
3
9
4

2013–14
3
1
4
7
3
3
10
11

2014–15
0
0
4
5
2
0
6
5

2015–16
7
3
2
0
4
3
13
6

2016–17
4
2
5
11
1
1
10
14

2017–18
4
4
4
4
2
2
10
10

Total

38
14
65
50
46
17
154
85

text: Head-to-head[edit]

text: In recent years, it has been said that the rivalry between Real Madrid and Barcelona has been "encapsulated" by the individual rivalry between Ronaldo and Messi,[67][68] with neither player ever participating in a goalless El Clásico.[69]

text:
Legend

Final

Semi-final

text:
No.
Date
Competition
Home team
Away team
Score
Goals scored by the duo

1

23 April 2008

Champions League

Barcelona

Manchester United

0–0

2

29 April 2008

Champions League

Manchester United

Barcelona

1–0

3

27 May 2009

Champions League

Barcelona

Manchester United

2-0

Messi ( 70')

4

29 November 2009

La Liga

Barcelona

Real Madrid

1–0

5

10 April 2010

La Liga

Real Madrid

Barcelona

0–2

Messi ( 33')

6

29 November 2010

La Liga

Barcelona

Real Madrid

5–0

7

9 February 2011

Friendly

Argentina

Portugal

2–1

Ronaldo ( 53'), Messi ( 83' (pen.))

8

16 April 2011

La Liga

Real Madrid

Barcelona

1–1

Messi ( 51' (pen.)), Ronaldo ( 81' (pen.))

9

20 April 2011

Copa del Rey

Real Madrid

Barcelona

1–0 (a.e.t.)

Ronaldo ( 103')

10

27 April 2011

Champions League

Real Madrid

Barcelona

0–2

Messi ( 76', 87')

11

3 May 2011

Champions League

Barcelona

Real Madrid

1–1

12

14 August 2011

Supercopa de España

Real Madrid

Barcelona

2–2

Messi ( 45')

13

17 August 2011

Supercopa de España

Barcelona

Real Madrid

3–2

Ronaldo ( 20'), Messi ( 53', 88')

14

10 December 2011

La Liga

Real Madrid

Barcelona

1–3

15

18 January 2012

Copa del Rey

Real Madrid

Barcelona

1–2

Ronaldo ( 11')

16

25 January 2012

Copa del Rey

Barcelona

Real Madrid

2–2

Ronaldo ( 68')

17

21 April 2012

La Liga

Barcelona

Real Madrid

1–2

Ronaldo ( 73')

18

23 August 2012

Supercopa de España

Barcelona

Real Madrid

3–2

Ronaldo ( 55'), Messi ( 70' (pen.))

19

29 August 2012

Supercopa de España

Real Madrid

Barcelona

2–1

Ronaldo ( 19'), Messi ( 45')

20

7 October 2012

La Liga

Barcelona

Real Madrid

2–2

Ronaldo ( 23', 66'), Messi ( 31', 61')

21

30 January 2013

Copa del Rey

Real Madrid

Barcelona

1–1

22

26 February 2013

Copa del Rey

Barcelona

Real Madrid

1–3

Ronaldo ( 12', 57')

23

2 March 2013

La Liga

Real Madrid

Barcelona

2–1

Messi ( 18')

24

26 October 2013

La Liga

Barcelona

Real Madrid

2–1

25

23 March 2014

La Liga

Real Madrid

Barcelona

3–4

Messi ( 42', 65' (pen.), 84' (pen.)), Ronaldo ( 55' (pen.))

26

25 October 2014

La Liga

Real Madrid

Barcelona

3–1

Ronaldo ( 35' (pen.))

27

18 November 2014

Friendly

Argentina

Portugal

0–1

28

22 March 2015

La Liga

Barcelona

Real Madrid

2–1

Ronaldo ( 31')

29

21 November 2015

La Liga

Real Madrid

Barcelona

0–4

30

2 April 2016

La Liga

Barcelona

Real Madrid

1–2

Ronaldo ( 85')

31

3 December 2016

La Liga

Barcelona

Real Madrid

1–1

32

23 April 2017

La Liga

Real Madrid

Barcelona

2–3

Messi ( 33', 90+2')

33

13 August 2017

Supercopa de España

Barcelona

Real Madrid

1–3

Messi ( 77' (pen.)), Ronaldo ( 80')

34

23 December 2017

La Liga

Real Madrid

Barcelona

0–3

Messi ( 64' (pen.))

35

6 May 2018

La Liga

Barcelona

Real Madrid

2–2

Ronaldo ( 14'), Messi ( 52')

text: Results[edit]

text:
Competition

Games played

Messi wins

Draws

Ronaldo wins

Messi goals

Ronaldo goals

La Liga

18
10
4
4
12
9

Champions League

5
2
2
1
3
0

Copa del Rey

5
1
2
2
0
5

Supercopa de España

5
2
1
2
6
4

Friendly

2
1
0
1
1
1

Total official matches
35
16
9
10
22
19

text: Last updated 6 May 2018


document_title: Craig of the Creek

question_text: who plays craigs dad on craig of the creek

text: Craig of the Creek

text: Synopsis[edit]

text: The show follows a young boy in the fictional suburban town of Herkleston, Maryland named Craig Williams, his two friends Kelsey and John Paul "J.P.", and their many adventures in the titular creek, described as a kid utopia of untamed wilderness in which tribes of children reign over tree forts and dirt bike ramps.[3]

text: Characters[edit]

text: Main[edit]

text:
Craig Williams (Philip Solomon) – A 10-year-old boy who enjoys playing at the creek with his friends Kelsey and J.P. He is a natural leader and always tries to help kids when they need it the most. In "Escape from Family Dinner", it is implied that Craig is smart to some degree as he takes advanced math and admits that he likes the class. He also seemingly takes on the role of a cartographer at the creek as he usually draws maps and is asked by others to map or plot things for them.
Kelsey Bern (Georgie Kidder (in the pilot and the first 3 episodes), Noël Wells (episode 4 onward)) – A ginger-haired 8-year-old girl who is one of Craig's friends. She is always seen wearing a cape. She has a pet parakeet, which she identifies as a falcon, named Mortimer who is usually perched on top of her head. She is adventurous and tends to be overly dramatic. She has internal narrations that the others are seemingly aware of. She is raised by her a single widower father.
John Paul "J.P." (H. Michael Croner) – A tall, Southern accented 13-year-old boy who is one of Craig's friends. He wears a hockey jersey that is clearly too big for him. He is not the brightest kid, but is very helpful and kind to those around him. His name is short for John Paul, as revealed in "You're It." In "Under the Overpass", Craig stated that he and Kelsey "found" J.P. through their constant exploration.

text: Recurring[edit]

text:
Jessica Williams (Dharma Brown in the pilot, Lucia Cunningham in the series) – Craig's younger sister who typically likes to keep everything in check by describing her actions out loud. She is very smart for her age and already shows an interest in the stock market.
Bernard Williams (Phil LaMarr) – Craig's smarter, yet cynical, older brother who looks down on Craig and his adventures at the creek. He is obsessed with getting good grades and getting into an Ivy League college. He used to play Bring Out Your Beast and showed interest in teaching it Craig.
Duane Williams (Terry Crews) — Craig's understanding father who works as a personal trainer.
Nicole Williams (Kimberly Hebert Gregory) - Craig's loving mother who works as a school guidance counselor.
Alexis (Karen Fukuhara) – Bernard's kindhearted girlfriend who, unlike him, finds Craig amusing.
Earl Williams (Phil LaMarr in the pilot, Phil Morris in the series) – Craig's grandfather and Duane's father whom he looks up to and inherited his adventurous spirit from.
Jojo Williams (Saundra McClain) – Craig's grandmother who is part of the city council.
Kit (Dana Davis) – A kid who runs the Trading Tree at the creek, trading food for other items.
Mark (Ben Levin) – One of the Elders of the Creek, a teenage boy who is tall slim with brown hair and wears glasses. The character originated from Burnett and Levin's online shorts.
Barry (Matt Burnett) – One of the Elders of the Creek, a teenage boy who is rather portly and has light brown hair. The character originated from Burnett and Levin's online shorts.
David (Zachary Steel) – One of the Elders of the Creek, a teenage boy who is shrimpy and has a vellus mustache. The character originated from Burnett and Levin's online shorts.
Jason (Gunnar Sizemore) – A self-entitled Junior Forest Scout who speaks with a lisp and gets on everyone's nerves.
Handlebarb (Jessica McKenna) – The tomboy leader of the 10 Speeds. She praises her bike's capabilities and talks like a typical 90's sports commercial.
Mackenzie (Lauren Lapkus) – The leader of the Horse Girls. She is bossy and claims to be the most fashionable when it comes to horse accessories.
Melissa (Erin Whitehead) – A member of the Horse Girls. She is the most excited about horses right down to having eaten grass.
Mangerine "Maney" (Mary Holland) – A member of the Horse Girls. She looks like a horse compared to the rest and is close friends with Kelsey, acting as her steed. She has a crush on J.P.
Marie (Stephanie Allynne) – A member of the Horse Girls. She is the least excited about horses to the point she finds her friend's fascination with them confusing.
Sewer Queen (Karen Fukuhara) – As her name implies, she is the leader of the kids who play in the sewers and is close friends with Craig and his friends. She has webbed toes.

text: Episodes[edit]

text: Pilot (2017)[edit]

text:
TitleDirected byWritten and storyboarded byOriginal release dateProd.code"Craig of the Creek"Nick Cross (art), and Robert Alvarez (animation)Matt Burnett and Ben LevinDecember 1, 2017 (2017-12-01) (CN App & Online)TBA
Craig drops his staff into the sewers after getting distracted by his older brother, Bernard, and his girlfriend, Alexis. He teams up with his best friends Kelsey and J.P. and venture to the Creek to look for it, encountering other strange and wild kids along the way.

text: Season 1 (2018)[edit]

text:
No.overallNo. inseasonTitleWritten and storyboarded byStory byOriginal air dateProd.codeUS viewers(millions)11"Itch to Explore"Madeline QueripelMatt Burnett and Ben LevinMarch 30, 2018 (2018-03-30)[nb 1]1059-0020.83[4]
Discovering that there's an unmapped part of the Creek in the center of the Poison Ivy Grove, Craig sets out to discover what waits for him there and become a legend among his  peers, only to realize something is stalking him through the ivy.
22"You're It"Matt Burnett and Ben LevinMatt Burnett and Ben LevinMarch 30, 2018 (2018-03-30)[nb 2]1059-0010.83[4]
While out playing at the soda bottle races, the Creek Kids are terrorized by a years long running game of tag. Kelsey is its latest victim and Craig and J.P. resolve to have Kelsey tag someone worthy of carrying the burden. However, Kelsey is too honorable to have someone suffer her fate and threatens to leave the Creek for good.
33"Jessica Goes to theCreek"Tiffany Ford and Michelle XinMatt Burnett, Ben Levin, and Stu LivingstonMarch 31, 2018 (2018-03-31)1059-0030.67[5]
When Craig and Jessica are locked out of the house, Craig has no choice but to bring his little sister to the Creek where he, Kelsey and J.P. have been trying to draw up plans to defend their stump, but Jessica insists that she stick to her schedule. Meanwhile, Jason wants revenge on Craig and his friends.
44"The Final Book"Carmen Liang and Charmaine VerhagenMatt Burnett and Ben LevinMarch 31, 2018 (2018-03-31)1059-0050.79[5]
The last book of Kelsey's favorite fantasy series, The Trials of Trebulon, goes missing from the library, so Craig decides to help her solve the mystery of who took it. The kids seemingly hit a dead end, until a book Craig himself has been reading gives him the answers he needs.
55"Too Many Treasures"Katie Aldworth and Jason DwyerMatt Burnett, Ben Levin, and Jeff TrammellMarch 31, 2018 (2018-03-31)1059-0040.85[5]
Craig cannot stop collecting junk which he deems as treasure. His mother insists that he picks things he "wants" and things he "needs". Soon, Craig is put to the challenge when he must get a replacement part for the stump and heads out to the legendary Junk Pile where he encounters the Junk Lord.
66"Wildernessa"Dashawn Mahone and Najja PorterDemi Adejuyigbe, Matt Burnett, Ben Levin,Shauna McGarry, and Jeff TrammellApril 2, 2018 (2018-04-02)[nb 3]1059-0060.90[6]
Due to what was perceived as improperly taking care of a turtle, Craig and his friends are visited by Wildernessa and her Tibetan Mastiff, Cheesesticks, who teach them to properly care for animals. Inspired, Kelsey takes up the cause, but realizes that she may be in over her head.
77"Sunday Clothes"Deena Beck and Angel LorenzanaMatt Burnett, Ben Levin, Stu Livingston,Shauna McGarry, and Jeff TrammellApril 6, 2018 (2018-04-06)1059-0070.68[7]
J.P. has a terrible habit of dirtying his clothes and his sister, Laura, tells him he should be more cautious about where he goes and what he does. With all of his clothes in the wash, J.P. decides to wear his Sunday clothes, forcing Craig and Kelsey to keep him clean.
88"Escape from FamilyDinner"Tiffany Ford and Michael YatesMatt Burnett, Ben Levin, Stu Livingston,Shauna McGarry, and Jeff TrammellApril 9, 2018 (2018-04-09)[nb 4]1059-0080.67[8]
While doing advanced math homework, Craig learns that there is an epic water balloon fight at the creek. Unfortunately, his parents have decided to have a barbecue dinner and Craig is forced to stay. He resolves to find a way to get out, but none of his plans seem to work and he feels overwhelmed.
99"Monster in theGarden"Lamar Abrams and Jeff LiuMatt Burnett, Ben Levin, Stu Livingston,Shauna McGarry, and Jeff TrammellApril 13, 2018 (2018-04-13)[nb 4]1059-0090.74[9]
Craig, Bernard and Jessica are dropped off at their grandparents for the weekend. Grandpa Earl tells Craig about a mysterious creature that breaks into his garden and is eating his vegetables. Craig then resolves to capture this "Vegan Werewolf" by any means necessary.
1010"The Curse"Charmaine Verhagen and Amber CraggMatt Burnett, Ben Levin, and Kate LethApril 16, 2018 (2018-04-16)[nb 4]1059-0100.57[10]
Craig, Kelsey and J.P. discover that someone is using their stump for witchcraft. They discover the witches (actually two teenage goths named Tabitha and Courtney) who amused by their misconception decide to "curse" them. After receiving a string of bad luck, the trio decide to get the "witches" to undo the curse.
1111"Dog Decider"Deena Beck and Angel LorenzanaMatt Burnett, Ben Levin, Shauna McGarry,and Jeff TrammellApril 20, 2018 (2018-04-20)1059-0120.65[11]
With his fear of making decisions, Craig decides to join the Fredites, a cult that worship a dog named Fred for his supposed decision making abilities. Craig comes to rely on Fred, which annoys Kelsey, but when he decides to stray from the dog's decision, Fred disappears and the Fredites blame Craig.
1212"Bring Out Your Beast"Jason Dwyer and Tiffany FordMatt Burnett and Ben LevinApril 23, 2018 (2018-04-23)[nb 5]1059-0130.50[12]
Craig wants to play a card game called Bring Out Your Beast. He decides to take Bernard's vintage card collection, due to him not playing it anymore, to play and discovers the Beast Snare card. Due to its infamy, Craig tries to get rid of it, but someone ends up taking it and using it to steal other players' cards.
1313"Lost in the Sewers"Jon Feria and Mark GalezMatt Burnett, Ben Levin, Stu Livingston,Dashawn Mahone, Shauna McGarry,Najja Porter, and Jeff TrammellApril 27, 2018 (2018-04-27)[nb 5]1059-0140.67[13]
Craig, Kelsey and J.P. head to the sewers at the request of the Sewer Queen to chart a map for it. When the Sewer Queen is washed away by a flood, Craig decides to take the lead in finding her and getting out. However, Craig is really bad at directions as the team gets lost in their maze-like predicament.
1414"The Future IsCardboard"Dashawn Mahone and Najja PorterMatt Burnett, Ben Levin, Stu Livingston,Dashawn Mahone, Shauna McGarry,Najja Porter, and Jeff TrammellApril 30, 2018 (2018-04-30)[nb 5]1059-0110.49[14]
Craig and his friends meet Carter Brown, an eccentric cardboard connoisseur who admires Craig's cardboard making skills and asks him to join his project in making New Cardboard City mobile. When Kelsey and J.P. leave due to frustration, they come across another cardboard city who know of Carter and his dangerous ideas.
1515"The Brood"Kris Mukai and Charmaine VerhagenMatt Burnett, Ben Levin, Stu Livingston,Shauna McGarry, and Jeff TrammellMay 7, 2018 (2018-05-07)1059-0150.57[15]
Craig's Granddad tells him about cicada swarms in Maryland, and how he collects the shells every swarm. After accidentally destroying his cicada shell, Craig, Kelsey and J.P. get another shell, but end up trapped in their stump when a cicada swarm forces them to stay for shelter.
1616"Under the Overpass"Dashawn Mahone and Najja PorterMatt Burnett, Ben Levin, Stu Livingston,Dashawn Mahone, Shauna McGarry,Najja Porter, and Jeff TrammellJuly 9, 2018 (2018-07-09)[nb 6]1059-0160.43[16]
Craig discovers a honeysuckle that Kit states is very valuable at the trading tree. Craig and his friends venture to where the plant came from: a honeysuckle bush that is directly behind an overpass full of strange markings. However, Craig and his friends come in conflict with a mysterious hooded archer who wants them gone.
1717"The Invitation"Deena Beck and Angel LorenzanaMatt Burnett, Ben Levin, Kate Leth,Stu Livingston, Shauna McGarry,and Jeff TrammellJuly 9, 2018 (2018-07-09)[nb 6]1059-0170.49[16]
Craig and his friends are invited by the Tea Timers to an exclusive party along with Mackenzie, Handlebarb and the Junior Forest Scouts to try Tiramisu. However, the contrast between the guests erupts as they are slowly kicked out of the party which Craig suspects is part of the Timers' intent.
1818"Vulture's Nest"Tiffany Ford and Jason DwyerMatt Burnett, Ben Levin, Tiffany Ford, Stu Livingston, Shauna McGarry, and Jeff TrammellJuly 9, 2018 (2018-07-09)[nb 6]1059-0180.61[16]
Craig and his friends meet the band Bad Moves (portrayed by themselves) who teach them to be a rock band. Craig continues to have a nightmare about an incident with a vulture in an abandoned barn, but tries to overcome it when he suggests that Bad Moves play there for their concert.
1919"Kelsey Quest"Katie Aldworth and Niki YangMatt Burnett, Ben Levin, Shauna McGarry,and Jeff TrammellJuly 9, 2018 (2018-07-09)[nb 6]TBA0.70[16]
The Elders of the Creek have had their precious sword stolen by a boy named Jerry, so Kelsey takes it upon herself to get it back. She continues to train harder than she has ever trained before, until J.P. suggests that her opponent is also powerful causing Kelsey to feel insecure about her abilities.
2020"JPony"Angel Lorenzana and Charmaine VerhagenMatt Burnett, Ben Levin, Jason Dwyer,Tiffany Ford, Shauna McGarry, Jeff Trammell, and Charmaine VerhagenJuly 9, 2018 (2018-07-09)[nb 6]TBA0.65[16]
Maney of the Horse Girls invites J.P. to be a horse with them due to having a crush on him. He accepts even though he is clearly out of sync with the rest who nevertheless find his antics charming. This causes the Horse Girls' leader, Mackenzie, to plot a way for J.P. to get kicked out.
2121"Ace of Squares"TBATBAAugust 20, 2018 (2018-08-20)[17]TBATBD
Craig vows to make the game of Four Square fun again by challenging its most dominant player!
2222"Doorway to Helen"TBATBAAugust 21, 2018 (2018-08-21)[18]TBATBD
Craig makes a long distance connection with a kid that loves the creek as much as he does.
2323"The Last Kid in the Creek"TBATBAAugust 22, 2018 (2018-08-22)[19]TBATBD
A terrible curse leaves Craig as the only kid in the creek.
2424"The Climb"TBATBAAugust 23, 2018 (2018-08-23)[20]TBATBD
Craig's phone gets stuck in Mt. Sycamore, the tallest tree in the creek!
2525"Big Pinchy"TBATBAAugust 24, 2018 (2018-08-24)[21]TBATBD
JP leads his friends on a voyage to find the biggest crayfish in the creek.

text: Broadcast[edit]

text: The series made its international debut on Teletoon in Canada on May 3, 2018.[22] Craig of the Creek premiered on Cartoon Network Australia on August 3, 2018 while Cartoon Network Asia on August 4, 2018.[23] It will premiere on Cartoon Network UK in Autumn 2018.[24]

text: Reception[edit]

text: Awards and nominations[edit]

text:
Year

Award

Category

Nominee(s)

Result

2018

Common Sense Media

Common Sense Seal

Entire series

Won[25]

text: Notes[edit]

text:
Jump up ^ This episode was first released online on February 19, 2018.

Jump up ^ This episode was first released online on March 9, 2018.

Jump up ^ This episode was first released online on March 30, 2018.

^ Jump up to: a b c This episode was first released online on April 6, 2018.

^ Jump up to: a b c This episode was first released online on April 20, 2018.

^ Jump up to: a b c d e This episode was first released online on July 6, 2018.

tag: ol


document_title: The Boy (2016 film)

question_text: who plays the grown up brahms in the boy

text: The Boy (2016 film)

text: Plot[edit]

text: Greta Evans, a young American from Montana, is hired as a nanny by the Heelshires. Upon arriving in their small town in the United Kingdom, the elderly couple show Greta her charge: a porcelain doll named Brahms that they treat like their son. Over the next day, the couple coach Greta on taking care of Brahms and their house, leave her a list of rules to follow, then leave for a holiday.

text: Initially, Greta ignores the rules and the doll and follows her own routine. She regularly calls her sister Sandy, who tells her that her abusive ex-boyfriend Cole has been trying to find out where she is.

text: Malcolm, the local grocery dealer, stops by to deliver groceries, and Greta learns that the real Brahms was killed in a fire 20 years ago on his eighth birthday. Greta accepts Malcolm's offer to show her the town, and prepares for the date. However, her dress and jewelry vanish while she is in the shower, and she is lured to the attic by strange noises and locked in.

text: She is mysteriously let out the next morning. She explains to Malcolm what happened, and they briefly discuss the real Brahms, whom Malcolm said Mr. Heelshire described as "odd."

text: Strange things begin to happen—a child's sobs are heard in the hallways, phone calls are cut off, and the doll seems to move on its own, vanishing and reappearing elsewhere in the house. After receiving a phone call in which a child's voice urges her to follow the rules, Greta locks herself in her room. She later finds a peanut butter and jelly sandwich outside her door.

text: Elsewhere, the Heelshires write a goodbye letter to Brahms, then drown themselves.

text: Believing that Brahms' spirit lives within the doll, Greta begins to take the rules more seriously. After Greta demonstrates the doll's ability to move by itself, Malcolm becomes worried. He informs Greta that the real Brahms was friends with a young girl about his age. One day, she was found in the forest with her skull crushed. Before the police could question Brahms, the Heelshires' house was burned down with him in it. Malcolm warns Greta not to stay in the house, but Greta, having previously suffered a miscarriage after she was beaten by Cole, feels obligated to care for Brahms.

text: One evening, Cole abruptly appears in the house and announces his intention to bring Greta back home, by force if necessary. Malcolm makes an early delivery and decides to stay nearby. As she puts Brahms to sleep, Greta asks Brahms for help. Cole wakes up and sees a message written in blood urging him to leave. Believing it was done by either Greta or Malcolm, Cole angrily snatches the doll from Greta and smashes it.

text: The house begins to shake and the lights start flickering. Cole hears noises behind a mirror and investigates. The mirror explodes and knocks Cole to the ground. A strange voice calls Greta's name from the hole behind the mirror and a grown man wearing a porcelain mask of Brahms emerges. It is revealed to be the real Brahms who apparently survived the fire and now has been living in the passages behind the walls of the house. Brahms attacks and kills Cole, then turns on Malcolm and Greta.

text: A chase ensues throughout the house. Greta and Malcolm discover Brahms' room while trying to find an exit. A doll made from Greta's missing dress, hair and jewelry is in Brahms' bed. Greta finds the final letter from the Heelshires revealing their plan of leaving Greta as a mate for Brahms. Brahms catches them and severely beats Malcolm, threatening to kill him if Greta leaves.

text: Greta flees anyway, but has a change of heart. Arming herself with a screwdriver, Greta invokes the rules to force Brahms to go to bed. He asks for a good night kiss, and when he tries to kiss her she stabs him with the screwdriver, but he throws her across the room and tries to choke her. While he's choking her she pushes the screwdriver deeper into his organs and he collapses. Greta drags Malcolm to his car and sighs with relief as they leave the estate.

text: Later, Brahms, who has survived, is seen repairing the shattered doll.

text: Cast[edit]

text:
Lauren Cohan[6] as Greta Evans
Rupert Evans[7] as Malcolm
Jim Norton[7] as Mr. Heelshire
Diana Hardcastle[7] as Mrs. Heelshire
Ben Robson[7] as Cole
Jett Klyne as young Brahms Heelshire

text: James Russell [7] as adult Brahms Heelshire

text: Lily Pater as Emily Cribbs

text: Production[edit]

text: On July 14, 2014, it was announced that The Devil Inside's director William Brent Bell was set to direct a supernatural thriller, The Inhabitant, which Tom Rosenberg and Gary Lucchesi would produce through Lakeshore Entertainment, along with Roy Lee, Matt Berenson, Jim Wedaa, through Vertigo Entertainment.[8] The script was written by Stacey Menear.[8] On January 23, 2015, Lauren Cohan signed on to star for the lead role in the film, which by then had been retitled The Boy.[6] On March 11, 2015, more cast was announced, which included Jim Norton, Diana Hardcastle, Ben Robson, Rupert Evans, and James Russell.[7]

text: On March 10, 2015, principal photography on The Boy officially begun in Victoria, British Columbia, at Craigdarroch Castle, announced by the studios.[9] Filming wrapped a month later on April 12, 2015.[10]

text: Release[edit]

text: On February 25, 2015, STX Entertainment acquired the US rights to the film and set the film for a February 5, 2016 release, but in March 2015 the film was moved up to January 22, 2016.[11][12]

text: Reception[edit]

text: Box office[edit]

text: The Boy grossed $35.8 million in the United States and Canada, and $32.4 million in other territories, for a worldwide total of $68.2 million, against a production budget of $10 million.[4]

text: The film was released in the United States on January 22, 2016, alongside Dirty Grandpa and The 5th Wave, and was projected to gross $10–13 million from 2,671 theaters in its opening weekend.[13] The film made $3.9 million on its first day and $10.8 million in its opening weekend, finishing 5th at the box office.[14]

text: Critical response[edit]

text: On Rotten Tomatoes, the film holds an approval rating of 28% based on 58 reviews, and an average rating of 4.3/10.[15] Metacritic gives the film a weighted average score of 42 out of 100 based on 10 critics, indicating "mixed or average reviews".[16] Audiences polled by CinemaScore gave the film an average grade of "B–" on an A+ to F scale.[14]

text: Joe Leydon criticized the average story line in Variety and commented, "Despite game efforts by the cast, this tepid horror opus is never scary enough to overcome its silly premise."[17] Chris Alexander of ShockTilYouDrop called it "one of the best contemporary wide-release horror movies I've seen in years."[18] A reviewer for The Wrap wrote the "Scary-Doll Horror Flick Is Creepy and Clever".[19]

text: In 2017, GQ Magazine called it, "The most underrated horror movie of 2016." [20]