document_title: Gumbo (mascot)

question_text: what is the mascot for the new orleans saints

text: Gumbo (mascot)

text: Gumbo the Dog is one of two official mascots of the NFL's New Orleans Saints, the other being Sir Saint.  Gumbo is in the form of a Saint Bernard dog and wears the number 00.  It was the Louisiana Restaurant Association's gift to the Saints.[1][self-published source] From the New Orleans Saints' website:

text: Even though Gumbo went into a brief retirement, he was brought back by popular demand.

text: For years, Gumbo was, in fact, a real Saint Bernard dog that roamed the sidelines in Saints' apparel for dogs.[2] The reason for choosing this breed of dog is the fact that Orleans Parish (where the City of New Orleans lies) shares a border with St. Bernard Parish to the east. The present mascot consists of a person wearing a Saint Bernard dog head and a football uniform. He is usually seen on the sidelines during games near the goalpost and sometimes celebrates touchdowns with Saints players.[3]


document_title: Days of Heaven

question_text: where was the movie days of heaven filmed

root

text: Days of Heaven

text: Plot[edit]

text: In 1916,[7] Bill (Gere), a Chicago manual laborer, knocks down and kills a boss (Margolin) in the steel mill where he works. He flees to the Texas Panhandle with his girlfriend Abby (Adams) and his young sister Linda (Manz). Bill and Abby pretend to be siblings to prevent gossip. The three hire on as part of a large group of seasonal workers with a rich, shy farmer (Shepard). Bill overhears a doctor apparently telling the farmer he has only a year to live, although the nature of the illness isn't specified.

tag: p

text: After the farmer falls in love with Abby, Bill encourages her to marry him so they can inherit his money after he dies. The marriage takes place and Bill stays on the farm as Abby's "brother". The farmer's foreman suspects their scheme. The farmer's health unexpectedly remains stable, foiling Bill's plans. Eventually, the farmer discovers Bill's true relationship with Abby. At the same time, Abby has begun to fall in love with her husband. After a locust swarm and a fire destroy his wheat fields, the incensed farmer goes after Bill with a gun but Bill kills him with a screwdriver, fleeing with Abby and Linda. The foreman and the police pursue and eventually find them. Bill is killed by the police. Abby inherits the farmer's money and leaves Linda at a boarding school. Abby leaves town on a train with soldiers departing for World War I. Linda runs away from school with a friend.

text: Cast[edit]

text:
Richard Gere as Bill
Brooke Adams as Abby
Sam Shepard as The Farmer
Linda Manz as Linda
Robert J. Wilke as farm foreman
Stuart Margolin as mill foreman
Timothy Scott as harvest hand
Doug Kershaw as fiddler
Richard Libertini as vaudeville leader

tag: ul

text: Production[edit]

text: Jacob Brackman introduced fellow producer Bert Schneider to Terrence Malick in 1975.[8] On a trip to Cuba, Schneider and Malick began conversations that would lead to the development of Days of Heaven. Malick had tried and failed to get Dustin Hoffman or Al Pacino to star in the film.[9] Schneider agreed to produce the film. He and Malick cast young actors Richard Gere and Brooke Adams and actor/playwright Sam Shepard for the lead roles. Paramount Pictures CEO at the time Barry Diller wanted Schneider to produce films for him and agreed to finance Days of Heaven. At the time, the studio was heading in a new direction. They were hiring new production heads who had worked in network television and, according to former production chief Richard Sylbert, "[manufacturing] product aimed at your knees".[8] Despite the change in direction, Schneider was able to secure a deal with Paramount by guaranteeing the budget and taking personal responsibility for all overages. "Those were the kind of deals I liked to make ... because then I could have final cut and not talk to nobody about why we're gonna use this person instead of that person", Schneider said.[8]

text: Malick admired cinematographer Néstor Almendros' work on The Wild Child (1970) and wanted him to shoot Days of Heaven.[10] Almendros was impressed by Malick's knowledge of photography and willingness to use little studio lighting. The two men modeled the film's cinematography after silent films, which often used natural light. They drew inspiration from painters such as Johannes Vermeer, Edward Hopper (particularly his House by the Railroad), and Andrew Wyeth, as well as photo-reporters from the start of the 20th century.[10]

text: Principal photography[edit]

text: Production began in the fall of 1976.[11] Although the film was set in Texas, the exteriors were shot in Whiskey Gap, Alberta, a ghost town, and a final scene was shot on the grounds of Heritage Park Historical Village, Calgary.[12]

text: Jack Fisk designed and built the mansion from plywood in the wheat fields and the smaller houses where the workers lived. The mansion was not a facade, as was normally the custom, but authentically recreated inside and out with period colors: brown, mahogany and dark wood for the interiors.[10] Patricia Norris designed and made the period costumes from used fabrics and old clothes to avoid the artificial look of studio-made costumes.[10]

text: According to Almendros, the production was not "rigidly prepared", allowing for improvisation. Daily call sheets were not very detailed and the schedule changed to suit the weather. This upset some Hollywood crew members not used to working this way. Most of the crew were used to a "glossy style of photography" and felt frustrated because Almendros did not give them much work.[10] On a daily basis, he asked them to turn off the lights they had prepared for him. Some crew members said that Almendros and Malick did not know what they were doing. The tension led to some of the crew quitting the production. Malick supported what Almendros was doing and pushed the look of the film further, taking away more lighting aids, and leaving the image bare.[10]

text: Due to union regulations in North America, Almendros was not allowed to operate the camera. With Malick, he would plan out and rehearse movements of the camera and the actors. Almendros would stand near the main camera and give instructions to the camera operators.[10] Almendros was gradually losing his sight by the time shooting began. To evaluate his set-ups, "he had one of his assistants take Polaroids of the scene, then examined them through very strong glasses".[8] According to Almendros, Malick wanted "a very visual movie. The story would be told through visuals. Very few people really want to give that priority to image. Usually the director gives priority to the actors and the story, but here the story was told through images".[13]

text: Much of the film would be shot during magic hour, which Almendros called: "a euphemism, because it's not an hour but around 25 minutes at the most. It is the moment when the sun sets, and after the sun sets and before it is night. The sky has light, but there is no actual sun. The light is very soft, and there is something magic about it. It limited us to around twenty minutes a day, but it did pay on the screen. It gave some kind of magic look, a beauty and romanticism."[13] Lighting was integral to filming and helped evoke the painterly quality of the landscapes in the film. A vast majority of the scenes were filmed late in the afternoon or after sunset, with the sky silhouetting the actors faces, which would otherwise be difficult to see.[14] Interior scenes that feature light coming in from the outside, were shot using artificial light to maintain the consistency of that intruding light. The "magic look", however, would also extend to interior scenes, which did occasionally utilize natural light.

text: For the shot in the "locusts" sequence, where the insects rise into the sky, the film-makers dropped peanut shells from helicopters. They had the actors walk backwards while running the film in reverse through the camera. When it was projected, everything moved forward except the locusts.[15] For the close-ups and insert shots, thousands of live locusts were used which had been captured and supplied by Canada's Department of Agriculture.[10]

text: While the photography yielded the director satisfactory results critically, the rest of the production was difficult from the start.[11] The actors and crew reportedly viewed Malick as cold and distant. After two weeks of shooting, Malick was so disappointed with the dailies, he "decided to toss the script, go Leo Tolstoy instead of Fyodor Dostoyevsky, wide instead of deep [and] shoot miles of film with the hope of solving the problems in the editing room."[11]

text: The harvesting machines constantly broke down, which resulted in shooting beginning late in the afternoon, allowing for only a few hours of light before it was too dark to go on. One day, two helicopters were scheduled to drop peanut shells that were to simulate locusts on film; however, Malick decided to shoot period cars instead. He kept the helicopters on hold at great cost. Production was lagging behind, with costs exceeding the budget $3,000,000 by about $800,000, and Schneider had already mortgaged his home in order to cover the overages.[11][16]

text: The production ran so late that both Almendros and camera operator John Bailey had to leave due to a prior commitment on François Truffaut's The Man Who Loved Women (1977). Almendros approached cinematographer Haskell Wexler to complete the film. They worked together for a week so that Wexler could get familiar with the film's visual style.[10]

text: Wexler was careful to match Almendros' work, but he did make some exceptions. "I did some hand held shots on a Panaflex", he said, "[for] the opening of the film in the steel mill. I used some diffusion. Nestor didn't use any diffusion. I felt very guilty using the diffusion and having the feeling of violating a fellow cameraman."[13] Although half the finished picture was footage shot by Wexler, he received only credit for "additional photography", much to his chagrin. The credit denied him any chance of an Academy Award for his work on Days of Heaven. Wexler sent film critic Roger Ebert a letter "in which he described sitting in a theater with a stop-watch to prove that more than half of the footage" was his.[17]

text: Post-production[edit]

text: Following the completion of principal photography, the editing process took more than two years to complete.[14][18] Malick had a difficult time shaping the film and getting the pieces to go together.[19] Schneider reportedly showed some footage to director Richard Brooks, who was considering Gere for a role in Looking for Mr. Goodbar.

text: According to Schneider, the editing for Days of Heaven took so long that "Brooks cast Gere, shot, edited and released [Looking for Mr. Goodbar] while Malick was still editing".[11] A breakthrough came when Malick experimented with voice-overs from Linda Manz's character, similar to what he had done with Sissy Spacek in Badlands. According to editor Billy Weber, Malick jettisoned much of the film's dialogue, replacing it with Manz's voice-over, which served as an oblique commentary on the story.[11] After a year, Malick had to call the actors to Los Angeles, California to shoot inserts of shots that were necessary but had not been filmed in Alberta. The finished film thus includes close-ups of Shepard that were shot under a freeway overpass. The underwater shot of Gere's falling face down into the river was shot in a large aquarium in Spacek's living room.[12]

text: Meanwhile, Schneider was disappointed with Malick. He had confronted Malick numerous times about missed deadlines and broken promises. Due to further cost overruns, he had to ask Paramount for more money, which he preferred not to do. When they screened a demo for Paramount and made their pitch, the studio was impressed and reportedly "gave Malick a very sweet deal at the studio, carte blanche, essentially".[11] Malick was not able to capitalize on the deal. He was so exhausted from working on the film that he moved to Paris with his girlfriend. He tried developing another project for Paramount, but after a substantial amount of work, he abandoned it. He did not make another film until 1998's The Thin Red Line twenty years later.[19]

text: Soundtrack[edit]

text: The soundtrack for Days of Heaven is a strong reflection of the film's context. Ennio Morricone provided the film's score and received his first Academy Award nomination in his soundtrack composing career for his work on the film.[20] Morricone recalled the process as being "demanding" and said of Malick: "He didn't know me very well, so he made suggestions, and in some cases, gave musical solutions. This kind of annoyed me because he'd say: 'This thing . . . try it with three flutes.' Something impossible! So, to humor him, I would do it with three flutes and then he'd decide to use my version after all. His was impossible or I would have written it myself. And more nitpicking like that which means he was very attentive and careful about music."[21]

text: The score centers around three main themes: the main theme, which references “Aquarium", the seventh movement from Camille Saint-Saëns’s Carnival of the Animals, a "pastoral melody" for flute, and finally a love theme. The soundtrack was remastered and re-released in July 2011 on the Film Score Monthly label, in a two-disc edition and featuring excerpts of Manz's narration.[22]

text: Additional songs were contributed by guitarist Leo Kottke. Kottke was originally approached by Malick for the entire score, but declined.[23]

text: Reception[edit]

text: Initial reaction[edit]

text: Days of Heaven opened theatrically on September 13, 1978. It later premiered at the Cannes Film Festival, in 1979, where Malick won the award for Best Director—making him the first American director to win the award since Jules Dassin in 1955 for Rififi (in a joint win shared with two other directors). The film was a commercial failure: its box office gross of $3,446,749 was only slightly more than it cost to make the film ($3 million),[citation needed] but Charles Bluhdorn who ran Paramount's parent company Gulf + Western, loved it so much he offered Malick $1 million for his next project, whatever it was.[24]

text: Critical reaction initially varied. Many critics found the film visually beautiful, but others found a flaw in the perceived weakness of its story. Dave Kehr of The Chicago Reader offered a positive review and wrote: "Terrence Malick's remarkably rich second feature is a story of human lives touched and passed over by the divine, told in a rush of stunning and precise imagery. Nestor Almendros's cinematography is as sharp and vivid as Malick's narration is elliptical and enigmatic. The result is a film that hovers just beyond our grasp—mysterious, beautiful, and, very possibly, a masterpiece".[25] Variety called the film "one of the great cinematic achievements of the 1970s."[26] Gene Siskel of The Chicago Tribune also wrote that the film "truly tests a film critic's power of description ... Some critics have complained that the Days of Heaven story is too slight. I suppose it is, but, frankly, you don't think about it while the movie is playing".[27] Time magazine's Frank Rich wrote, "Days of Heaven is lush with brilliant images".[28] The periodical went on to name it one of the best films of 1978.[29] Nick Schager of Slant Magazine has called it "the greatest film ever made."[30]

text: Meanwhile, detractors targeted the film's direction of storyline and structure. In his review for The New York Times, Harold C. Schonberg wrote, "Days of Heaven never really makes up its mind what it wants to be. It ends up something between a Texas pastoral and Cavalleria Rusticana. Back of what basically is a conventional plot is all kinds of fancy, self-conscious cineaste techniques."[31] Additionally, Monica Eng of the Chicago Tribune criticized the lack of significant plot and stated "the story becomes secondary to the visuals".[32]

text: The Chicago Sun-Times’ Roger Ebert responded to these criticisms by saying:

text: Terrence Malick's "Days of Heaven" has been praised for its painterly images and evocative score, but criticized for its muted emotions: Although passions erupt in a deadly love triangle, all the feelings are somehow held at arm's length. This observation is true enough, if you think only about the actions of the adults in the story. But watching this 1978 film again recently, I was struck more than ever with the conviction that this is the story of a teenage girl, told by her, and its subject is the way that hope and cheer have been beaten down in her heart. We do not feel the full passion of the adults because it is not her passion: It is seen at a distance, as a phenomenon, like the weather, or the plague of grasshoppers that signals the beginning of the end.[33]

text: Contemporary reception[edit]

text: Days of Heaven was re-evaluated years after its original theatrical release and is now considered a pioneering achievement in cinema. The film holds a 94% approval rating on Rotten Tomatoes with an average rating of 8.3/10 based on 48 reviews, as well as a 93/100 weighted average score on Metacritic.[34] It is frequently cited by critics and scholars, including Roger Ebert, as one of the most visually arresting films ever made;[4][35][36] in 1997, Ebert added Days of Heaven to his Great Movies list.[37] In 2007, the Library of Congress selected the film for preservation in the United States National Film Registry.

text: In 2012, TIME included the film among the 20 new entries added to the magazine's "All-TIME 100 Movies" list.[38] The same year, Days of Heaven ranked #112 in the British Film Institute's decennial Sight & Sound critics' poll of the greatest films ever made,[39] and #132 in the directors' poll of the same magazine.

text: Awards[edit]

text: The film won an Academy Award for Best Cinematography. Per Academy custom, the award was given in the name of principal photographer Néstor Almendros.[19] This was somewhat controversial, as Haskell Wexler also received credit on the film. The film was also nominated for three Academy Awards: the Costume Design, Original Score, and Sound (John Wilkinson, Robert W. Glass, Jr., John T. Reitz, and Barry Thomas).[40] Malick won the Prix de la mise en scène (Best Director award) at the 1979 Cannes Film Festival.[41] Furthermore, he was named the best director by the National Society of Film Critics.

text: American Film Institute recognition

text:
AFI's 100 Years...100 Movies—Nominated[42]
AFI's 100 Years...100 Passions—Nominated[43]
AFI's 100 Years...100 Movies (10th Anniversary Edition)—Nominated[44]

text: Home media[edit]

text: Days of Heaven has been released on home video on various different formats over the years. Its first notable release was on home video in the early 1980s, followed by various reissues in the 1980s and 1990s. In particular, the film was released on a special widescreen edition format on home video to preserve the film's original theatrical aspect ratio, which was uncommon for videotapes at the time, with majority of them being pan and scan, a technique that crops a portion of the image to focus on the more important composition. This often results in the side being cut out and the middle centre being the only remaining part. Days of Heaven premiered on DVD on March 30, 1999 with no special features. The feature itself was presented in widescreen and released by Paramount Pictures, the copyright owner of the film itself. It was rereleased on DVD in 2004, again without special supplements.

text: In 2007, the Criterion Collection released an exclusive special edition of the film, with digitally remastered sound and picture, supervised by Malick, editor Billy Weber and camera operator John Bailey. Bonus features include an audio commentary by art director Jack Fisk, editor Billy Weber, costume designer Patricia Norris, and casting director Dianne Crittenden; an audio interview with Richard Gere; video interviews with Sam Shepard, Haskell Wexler, and John Bailey; and a booklet featuring an essay on the film by Adrian Martin and an extract from Néstor Almendros' autobiography.[45] The Criterion Collection also released a Blu-ray disc format of the film on March 7, 2010, with the same special features. The design art created by Criterion for the film's packaging marks a departure from the early video releases, featuring a still of Gere's character in the wheat fields, with the mansion in the horizon.

text: Notes[edit]

text:
Jump up ^ "Days of Heaven - Original Soundtrack". Allmusic.com. Retrieved August 11, 2013.
Jump up ^ "Days of Heaven, Box Office Information". The Numbers. Retrieved March 12, 2012.
Jump up ^ Profile of Linda Manz, villagevoice.com, June 1, 2011; accessed August 10, 2014.
^ Jump up to: a b Thomson, David (September 1, 2011). "Is Days of Heaven the most beautiful film ever made?". The Guardian. Retrieved December 6, 2016.
Jump up ^ "A New Digital Restoration of Days of Heaven" (PDF). British Film Institute. Retrieved February 20, 2017.  "[Days of Heaven is] widely acclaimed as a landmark of 1970s cinema as well as one of the most gorgeously photographed films ever made, [...]"
Jump up ^ "The 100 greatest American films". BBC. July 20, 2015. Retrieved July 5, 2016.
Jump up ^ The film shows a 1916 newspaper, and a scene late in the film shows American soldiers headed off for World War I.
^ Jump up to: a b c d Biskind 1998, p. 296.
Jump up ^ Lloyd Michaels (2009). "A cinema in front of our eyes". Terrence Malick: contemporary film directors. University of Illinois Press. p. 39. ISBN 0252075757.
^ Jump up to: a b c d e f g h i Almendros 1986
^ Jump up to: a b c d e f g Biskind 1998, p. 297.
^ Jump up to: a b Almereyda, Michael (April 13, 2004). "After The Rehearsal: Flirting with Disaster: Discussing Days of Heaven and Dylan classics with Sam Shepard". Village Voice. Archived from the original on December 23, 2010. Retrieved April 17, 2006.
^ Jump up to: a b c Glassman, Arnold; Todd McCarthy; Stuart Samuels (1992). "Visions of Light: The Art of Cinematography". Kino International.
^ Jump up to: a b Interview with cinematographer Haskell Wexler ("Days of Heaven: Criterion Collection" DVD)|format= requires |url= (help), Criterion Collection, 2007
Jump up ^ Thompson, Rustin (June 30, 1998). "Myth-making With Natural Light". Moviemaker. Archived from the original on December 23, 2010. Retrieved February 13, 2009.
Jump up ^ Looms, Jonathan (February 15, 2012). "1970's cinema: Hollywood's days of heaven". The Oxford Student. Retrieved March 12, 2012.
Jump up ^ Ebert, Roger (December 7, 1997). "Days of Heaven: Great Movies". Chicago Sun-Times. Archived from the original on September 25, 2007. Retrieved September 19, 2007.
Jump up ^ Thompson, Clifford (1999). Current Biography Yearbook (original ed.). Hw Wilson. pp. 349–350. ISBN 0824209885.
^ Jump up to: a b c Biskind, Peter (August 1999). "The Runaway Genius". Vanity Fair. Archived from the original on December 23, 2010. Retrieved April 22, 2010.
Jump up ^ Leinberger, Charles (2004). Ennio Morricone's The good, the bad and the ugly: A film score guide (original ed.). Scarecrow Press. pp. 7–9. ISBN 0810851326.
Jump up ^ Barcaroli, Luciano (Director) (2002). Rosy-Fingered Dawn: a film on Terrance Malick (Documentary). United States: d.
Jump up ^ "Days of Heaven: Film Score". Soundtrack Collector. July 22, 2011. Retrieved March 27, 2012.
Jump up ^ Bost, Otto (March 1, 1999). "AcousticEclectic.org - Leo Kottke Interview". acousticeclectic.org. acousticeclectic.org. Retrieved August 11, 2013.
Jump up ^ Ebiri, Blige, "Thirty-Three Years of Principal Filming," New York magazine, May 23, 2011, p.84-85.
Jump up ^ Kehr, Dave (1978). "Days of Heaven". The Chicago Reader. Archived from the original on December 23, 2009. Retrieved December 11, 2008.
Jump up ^ "Days of Heaven". Variety. October 23, 2007. Retrieved March 29, 2012.
Jump up ^ Siskel, Gene (October 9, 1978). "Days of Heaven". Chicago Tribune.
Jump up ^ Rich, Frank (September 18, 1978). "Days of Heaven". Time. Archived from the original on December 23, 2010. Retrieved September 9, 2009.
Jump up ^ "Cinema: Year's Best". Time. January 1, 1979. Archived from the original on December 23, 2010. Retrieved September 9, 2009.
Jump up ^ Schager, Nick (October 22, 2007). "Days of Heaven review". Slant Magazine. Archived from the original on December 23, 2010. Retrieved December 23, 2010.
Jump up ^ Schonberg, Harold C (September 14, 1978). "Days of Heaven". The New York Times. Retrieved December 11, 2008.
Jump up ^ Eng, Monica (October 9, 1978). "Days of Heaven". The Chicago Tribune. Retrieved June 14, 2012.
Jump up ^ "Days of Heaven." Chicago Sun-Times.
Jump up ^ "Days of Heaven (1978)". Rotten Tomatoes. Retrieved October 15, 2011.
Jump up ^ Ebert, Roger (2008). Roger Ebert's Four Star Reviews 1967-2007 (original ed.). Andrews McMeel Publishing. p. 190. ISBN 0740771795.
Jump up ^ Jenkins, David (September 7, 2011). "Days of Heaven". Time Out. Retrieved March 29, 2012.
Jump up ^ "Days of Heaven (1978)". Chicago Sun-Times. Retrieved March 29, 2012.
Jump up ^ Corliss, Richard (17 May 2012). "Days of Heaven". Time.com. Time Inc. Retrieved Feb 20, 2013.
Jump up ^ "'Days of Heaven' (1978)". British Film Institute.
Jump up ^ "The 51st Academy Awards (1979) Nominees and Winners". oscars.org. Retrieved 2011-10-06.
Jump up ^ "Sweeping Cannes". Time. June 4, 1979. Archived from the original on December 23, 2010. Retrieved September 9, 2009.
Jump up ^ AFI's 100 Years...100 Movies Nominees
Jump up ^ AFI'S 100 Years...100 Passions Nominees
Jump up ^ AFI's 100 Years...100 Movies (10th Anniversary Edition) Ballot
Jump up ^ "DVD Review: Days of Heaven - The Criterion Collection". Seattle Post Intelligencer. March 28, 2010. Retrieved June 14, 2012.

tag: ol


document_title: Great Pyramid of Giza

question_text: how wide is the base of the great pyramid of giza

text: Great Pyramid of Giza

text: History and description

text: Egyptologists believe the pyramid was built as a tomb for the Fourth Dynasty Egyptian pharaoh Khufu (often Hellenicised as "Cheops") and was constructed over a 20-year period. Khufu's vizier, Hemiunu (also called Hemon), is believed by some to be the architect of the Great Pyramid.[2] It is thought that, at construction, the Great Pyramid was originally 280 Egyptian Royal cubits tall (146.5 metres (480.6 ft)), but with erosion and absence of its pyramidion, its present height is 138.8 metres (455.4 ft). Each base side was 440 cubits, 230.4 metres (755.9 ft) long. The mass of the pyramid is estimated at 5.9 million tonnes. The volume, including an internal hillock, is roughly 2,500,000 cubic metres (88,000,000 cu ft).[3]

text: Based on these estimates, building the pyramid in 20 years would involve installing approximately 800 tonnes of stone every day. Additionally, since it consists of an estimated 2.3 million blocks, completing the building in 20 years would involve moving an average of more than 12 of the blocks into place each hour, day and night. The first precision measurements of the pyramid were made by Egyptologist Sir Flinders Petrie in 1880–82 and published as The Pyramids and Temples of Gizeh.[4] Almost all reports are based on his measurements. Many of the casing stones and inner chamber blocks of the Great Pyramid fit together with extremely high precision. Based on measurements taken on the northeastern casing stones, the mean opening of the joints is only 0.5 millimetre wide (1/50 of an inch).[5]

text: The pyramid remained the tallest man-made structure in the world for over 3,800 years,[6] unsurpassed until the 160-metre-tall (520 ft) spire of Lincoln Cathedral was completed c. 1300. The accuracy of the pyramid's workmanship is such that the four sides of the base have an average error of only 58 millimetres in length.[7] The base is horizontal and flat to within ±15 mm (0.6 in).[8] The sides of the square base are closely aligned to the four cardinal compass points (within four minutes of arc)[9] based on true north, not magnetic north,[10] and the finished base was squared to a mean corner error of only 12 seconds of arc.[11]

text: The completed design dimensions, as suggested by Petrie's survey and subsequent studies, are estimated to have originally been 280 Egyptian Royal cubits high by 440 cubits long at each of the four sides of its base. The ratio of the perimeter to height of 1760/280 Egyptian Royal cubits equates to 2π to an accuracy of better than 0.05% (corresponding to the well-known approximation of π as 22/7). Some Egyptologists consider this to have been the result of deliberate design proportion. Verner wrote, "We can conclude that although the ancient Egyptians could not precisely define the value of π, in practice they used it".[12] Petrie, author of Pyramids and Temples of Gizeh concluded: "but these relations of areas and of circular ratio are so systematic that we should grant that they were in the builder's design".[13] Others have argued that the Ancient Egyptians had no concept of pi and would not have thought to encode it in their monuments. They believe that the observed pyramid slope may be based on a simple seked slope choice alone, with no regard to the overall size and proportions of the finished building.[14] In 2013, rolls of papyrus called the Diary of Merer were discovered written by some of those who delivered limestone and other construction materials from Tora to Giza.[15]

text: Materials

text: The Great Pyramid consists of an estimated 2.3 million blocks which most believe to have been transported from nearby quarries. The Tura limestone used for the casing was quarried across the river. The largest granite stones in the pyramid, found in the "King's" chamber, weigh 25 to 80 tonnes and were transported from Aswan, more than 800 km (500 mi) away. Traditionally,[clarification needed] ancient Egyptians cut stone blocks by hammering into them wooden wedges, which were then soaked with water. As the water was absorbed, the wedges expanded, causing the rock to crack. Once they were cut, they were carried by boat either up or down the Nile River to the pyramid.[16] It is estimated that 5.5 million tonnes of limestone, 8,000 tonnes of granite (imported from Aswan), and 500,000 tonnes of mortar were used in the construction of the Great Pyramid.[17]

text: Casing stones

text: At completion, the Great Pyramid was surfaced by white "casing stones" – slant-faced, but flat-topped, blocks of highly polished white limestone. These were carefully cut to what is approximately a face slope with a seked of 5½ palms to give the required dimensions. Visibly, all that remains is the underlying stepped core structure seen today. In AD 1303, a massive earthquake loosened many of the outer casing stones, which were then carted away by Bahri Sultan An-Nasir Nasir-ad-Din al-Hasan in 1356 to build mosques and fortresses in nearby Cairo. Many more casing stones were removed from the great pyramids by Muhammad Ali Pasha in the early 19th century to build the upper portion of his Alabaster Mosque in Cairo not far from Giza. These limestone casings can still be seen as parts of these structures. Later explorers reported massive piles of rubble at the base of the pyramids left over from the continuing collapse of the casing stones, which were subsequently cleared away during continuing excavations of the site.

text: Nevertheless, a few of the casing stones from the lowest course can be seen to this day in situ around the base of the Great Pyramid, and display the same workmanship and precision that has been reported for centuries. Petrie also found a different orientation in the core and in the casing measuring 193 centimetres ± 25 centimetres. He suggested a redetermination of north was made after the construction of the core, but a mistake was made, and the casing was built with a different orientation.[4] Petrie related the precision of the casing stones as to being "equal to opticians' work of the present day, but on a scale of acres" and "to place such stones in exact contact would be careful work; but to do so with cement in the joints seems almost impossible".[19] It has been suggested it was the mortar (Petrie's "cement") that made this seemingly impossible task possible, providing a level bed, which enabled the masons to set the stones exactly.[20][21]

text: Construction theories

text: Many alternative, often contradictory, theories have been proposed regarding the pyramid's construction techniques.[22] Many disagree on whether the blocks were dragged, lifted, or even rolled into place. The Greeks believed that slave labour was used, but modern discoveries made at nearby workers' camps associated with construction at Giza suggest that it was built instead by tens of thousands of skilled workers. Verner posited that the labour was organized into a hierarchy, consisting of two gangs of 100,000 men, divided into five zaa or phyle of 20,000 men each, which may have been further divided according to the skills of the workers.[23]

text: One mystery of the pyramid's construction is its planning. John Romer suggests that they used the same method that had been used for earlier and later constructions, laying out parts of the plan on the ground at a 1-to-1 scale. He writes that "such a working diagram would also serve to generate the architecture of the pyramid with precision unmatched by any other means".[24] He also argues for a 14-year time span for its construction.[25] A modern construction management study, in association with Mark Lehner and other Egyptologists, estimated that the total project required an average workforce of about 14,500 people and a peak workforce of roughly 40,000. Without the use of pulleys, wheels, or iron tools, they used critical path analysis methods, which suggest that the Great Pyramid was completed from start to finish in approximately 10 years.[26]

text: Interior

text: The original entrance to the Great Pyramid is on the north, 17 metres (56 ft) vertically above ground level and 7.29 metres (23.9 ft) east of the centre line of the pyramid. From this original entrance, there is a Descending Passage 0.96 metres (3.1 ft) high and 1.04 metres (3.4 ft) wide, which goes down at an angle of 26° 31'23" through the masonry of the pyramid and then into the bedrock beneath it. After 105.23 metres (345.2 ft), the passage becomes level and continues for an additional 8.84 metres (29.0 ft) to the lower Chamber, which appears not to have been finished. There is a continuation of the horizontal passage in the south wall of the lower chamber; there is also a pit dug in the floor of the chamber. Some Egyptologists suggest that this Lower Chamber was intended to be the original burial chamber, but Pharaoh Khufu later changed his mind and wanted it to be higher up in the pyramid.[27]

text: 28.2 metres (93 ft) from the entrance is a square hole in the roof of the Descending Passage. Originally concealed with a slab of stone, this is the beginning of the Ascending Passage. The Ascending Passage is 39.3 metres (129 ft) long, as wide and high as the Descending Passage and slopes up at almost precisely the same angle to reach the Grand Gallery. The lower end of the Ascending Passage is closed by three huge blocks of granite, each about 1.5 metres (4.9 ft) long. One must use the Robbers' Tunnel (see below) to access the Ascending Passage. At the start of the Grand Gallery on the right-hand side there is a hole cut in the wall. This is the start of a vertical shaft which follows an irregular path through the masonry of the pyramid to join the Descending Passage. Also at the start of the Grand Gallery there is the Horizontal Passage leading to the "Queen's Chamber". The passage is 1.1m (3'8") high for most of its length, but near the chamber there is a step in the floor, after which the passage is 1.73 metres (5.7 ft) high.

text: Queen's Chamber

text: The "Queen's Chamber"[1] is exactly halfway between the north and south faces of the pyramid and measures 5.75 metres (18.9 ft) north to south, 5.23 metres (17.2 ft) east to west, and has a pointed roof with an apex 6.23 metres (20.4 ft) above the floor. At the eastern end of the chamber there is a niche 4.67 metres (15.3 ft) high. The original depth of the niche was 1.04 metres (3.4 ft), but has since been deepened by treasure hunters.[28]

text: In the north and south walls of the Queen's Chamber there are shafts, which unlike those in the King's Chamber that immediately slope upwards (see below), are horizontal for around 2 m (6.6 ft) before sloping upwards. The horizontal distance was cut in 1872 by a British engineer, Waynman Dixon, who believed a shaft similar to those in the King's Chamber must also exist. He was proved right, but because the shafts are not connected to the outer faces of the pyramid or the Queen's Chamber, their purpose is unknown. At the end of one of his shafts, Dixon discovered a ball of black diorite (a type of rock) and a bronze implement of unknown purpose. Both objects are currently in the British Museum.[29]

text: The shafts in the Queen's Chamber were explored in 1993 by the German engineer Rudolf Gantenbrink using a crawler robot he designed, Upuaut 2. After a climb of 65 m (213 ft),[30] he discovered that one of the shafts was blocked by limestone "doors" with two eroded copper "handles". Some years later the National Geographic Society created a similar robot which, in September 2002, drilled a small hole in the southern door, only to find another door behind it.[31] The northern passage, which was difficult to navigate because of twists and turns, was also found to be blocked by a door.[32]

text: Research continued in 2011 with the Djedi Project. Realizing the problem was that the National Geographic Society's camera was only able to see straight ahead of it, they instead used a fiber-optic "micro snake camera" that could see around corners. With this they were able to penetrate the first door of the southern shaft through the hole drilled in 2002, and view all the sides of the small chamber behind it. They discovered hieroglyphs written in red paint. They were also able to scrutinize the inside of the two copper "handles" embedded in the door, and they now believe them to be for decorative purposes. They also found the reverse side of the "door" to be finished and polished, which suggests that it was not put there just to block the shaft from debris, but rather for a more specific reason.[33]

text: Grand Gallery

text: The Grand Gallery continues the slope of the Ascending Passage, but is 8.6 metres (28 ft) high and 46.68 metres (153.1 ft) long. At the base it is 2.06 metres (6.8 ft) wide, but after 2.29 metres (7.5 ft) the blocks of stone in the walls are corbelled inwards by 7.6 centimetres (3.0 in) on each side. There are seven of these steps, so, at the top, the Grand Gallery is only 1.04 metres (3.4 ft) wide. It is roofed by slabs of stone laid at a slightly steeper angle than the floor of the gallery, so that each stone fits into a slot cut in the top of the gallery like the teeth of a ratchet. The purpose was to have each block supported by the wall of the Gallery, rather than resting on the block beneath it, in order to prevent cumulative pressure.[34]

text: At the upper end of the Gallery on the right-hand side there is a hole near the roof that opens into a short tunnel by which access can be gained to the lowest of the Relieving Chambers. The other Relieving Chambers were discovered in 1837–1838 by Colonel Howard Vyse and J. S. Perring, who dug tunnels upwards using blasting powder.

text: The floor of the Grand Gallery consists of a shelf or step on either side, 51 centimetres (20 in) wide, leaving a lower ramp 1.04 metres (3.4 ft) wide between them. In the shelves there are 54 slots, 27 on each side matched by vertical and horizontal slots in the walls of the Gallery. These form a cross shape that rises out of the slot in the shelf. The purpose of these slots is not known, but the central gutter in the floor of the Gallery, which is the same width as the Ascending Passage, has led to speculation that the blocking stones were stored in the Grand Gallery and the slots held wooden beams to restrain them from sliding down the passage.[35] This, in turn, has led to the proposal that originally many more than 3 blocking stones were intended, to completely fill the Ascending Passage.[citation needed]

text: At the top of the Grand Gallery, there is a step giving onto a horizontal passage some metres long and approximately 1.02 metres (3.3 ft) in height and width, in which can be detected four slots, three of which were probably intended to hold granite portcullises. Fragments of granite found by Petrie in the Descending Passage may have come from these now-vanished doors.

text: In 2017, scientists from the Scan Pyramids Project discovered a large cavity above the Grand Gallery, using muon radiography that can detect cosmic rays. Its length is at least 30 metres (98 ft) and its cross-section is similar to that of the Grand Gallery. It was detected using three different technologies: nuclear emulsion films, scintillator hodoscopes, and gas detectors.[36][37] The purpose of the cavity is not known and it is not accessible but according to Zahi Hawass it may have been a gap used in the construction of the Grand Gallery.[38] The Japanese research team disputes this, however, saying that the huge void is completely different from the construction spaces previously identified.[39]

text: King's Chamber

text: The "King's Chamber"[1] is 20 Egyptian Royal cubits or 10.47 metres (34.4 ft) from east to west and 10 cubits or 5.234 metres (17.17 ft) north to south. It has a flat roof 11 cubits and 5 digits or 5.852 metres (19 feet 2 inch) above the floor. 0.91 m (3.0 ft) above the floor there are two narrow shafts in the north and south walls (one is now filled by an extractor fan in an attempt to circulate air inside the pyramid). The purpose of these shafts is not clear: they appear to be aligned towards stars or areas of the northern and southern skies, yet one of them follows a dog-leg course through the masonry, indicating no intention to directly sight stars through them. They were long believed by Egyptologists to be "air shafts" for ventilation, but this idea has now been widely abandoned in favour of the shafts serving a ritualistic purpose associated with the ascension of the king’s spirit to the heavens.[40]

text: The King's Chamber is entirely faced with granite. Above the roof, which is formed of nine slabs of stone weighing in total about 400 tons, are five compartments known as Relieving Chambers. The first four, like the King's Chamber, have flat roofs formed by the floor of the chamber above, but the final chamber has a pointed roof. Vyse suspected the presence of upper chambers when he found that he could push a long reed through a crack in the ceiling of the first chamber. From lower to upper, the chambers are known as "Davison's Chamber", "Wellington's Chamber", "Nelson's Chamber", "Lady Arbuthnot's Chamber", and "Campbell's Chamber". It is believed that the compartments were intended to safeguard the King's Chamber from the possibility of a roof collapsing under the weight of stone above the Chamber. As the chambers were not intended to be seen, they were not finished in any way and a few of the stones still retain masons' marks painted on them. One of the stones in Campbell's Chamber bears a mark, apparently the name of a work gang.[41][42]

text: The only object in the King's Chamber is a rectangular granite sarcophagus, one corner of which is broken. The sarcophagus is slightly larger than the Ascending Passage, which indicates that it must have been placed in the Chamber before the roof was put in place. Unlike the fine masonry of the walls of the Chamber, the sarcophagus is roughly finished, with saw marks visible in several places. This is in contrast with the finely finished and decorated sarcophagi found in other pyramids of the same period. Petrie suggested that such a sarcophagus was intended but was lost in the river on the way north from Aswan and a hurriedly made replacement was used instead.

text: Modern entrance

text: Today tourists enter the Great Pyramid via the Robbers' Tunnel, a tunnel purportedly created around AD 820 by Caliph al-Ma'mun's workmen using a battering ram.[43] The tunnel is cut straight through the masonry of the pyramid for approximately 27 metres (89 ft), then turns sharply left to encounter the blocking stones in the Ascending Passage. It is believed that their efforts dislodged the stone fitted in the ceiling of the Descending Passage to hide the entrance to the Ascending Passage and it was the noise of that stone falling and then sliding down the Descending Passage, which alerted them to the need to turn left. Unable to remove these stones, however, the workmen tunnelled up beside them through the softer limestone of the Pyramid until they reached the Ascending Passage. It is possible to enter the Descending Passage from this point, but access is usually forbidden.[44]

text: Pyramid complex

text: The Great Pyramid is surrounded by a complex of several buildings including small pyramids. The Pyramid Temple, which stood on the east side of the pyramid and measured 52.2 metres (171 ft) north to south and 40 metres (130 ft) east to west, has almost entirely disappeared apart from the black basalt paving. There are only a few remnants of the causeway which linked the pyramid with the valley and the Valley Temple. The Valley Temple is buried beneath the village of Nazlet el-Samman; basalt paving and limestone walls have been found but the site has not been excavated.[45][46] The basalt blocks show "clear evidence" of having been cut with some kind of saw with an estimated cutting blade of 15 feet (4.6 m) in length, capable of cutting at a rate of 1.5 inches (38 mm) per minute. John Romer suggests that this "super saw" may have had copper teeth and weighed up to 300 pounds (140 kg). He theorizes that such a saw could have been attached to a wooden trestle and possibly used in conjunction with vegetable oil, cutting sand, emery or pounded quartz to cut the blocks, which would have required the labour of at least a dozen men to operate it.[47]

text: On the south side are the subsidiary pyramids, popularly known as Queens' Pyramids. Three remain standing to nearly full height but the fourth was so ruined that its existence was not suspected until the recent discovery of the first course of stones and the remains of the capstone. Hidden beneath the paving around the pyramid was the tomb of Queen Hetepheres I, sister-wife of Sneferu and mother of Khufu. Discovered by accident by the Reisner expedition, the burial was intact, though the carefully sealed coffin proved to be empty.

text: The Giza pyramid complex, which includes among other structures the pyramids of Khufu, Khafre and Menkaure, is surrounded by a cyclopean stone wall, the Wall of the Crow. Mark Lehner has discovered a worker's town outside of the wall, otherwise known as "The Lost City", dated by pottery styles, seal impressions, and stratigraphy to have been constructed and occupied sometime during the reigns of Khafre (2520–2494 BC) and Menkaure (2490–2472 BC).[48][49] Recent discoveries by Mark Lehner and his team at the town and nearby, including what appears to have been a thriving port, suggest the town and associated living quarters consisting of barracks called "galleries" may not have been for the pyramid workers after all, but rather for the soldiers and sailors who utilized the port. In light of this new discovery, as to where then the pyramid workers may have lived Lehner now suggests the alternative possibility they may have camped on the ramps he believes were used to construct the pyramids or possibly at nearby quarries.[50]

text: In the early 1970s, the Australian archaeologist Karl Kromer excavated a mound in the South Field of the plateau. This mound contained artefacts including mudbrick seals of Khufu, which he identified with an artisans' settlement.[51] Mudbrick buildings just south of Khufu's Valley Temple contained mud sealings of Khufu and have been suggested to be a settlement serving the cult of Khufu after his death.[52] A worker's cemetery used at least between Khufu's reign and the end of the Fifth Dynasty was discovered south of the Wall of the Crow by Zahi Hawass in 1990.[53]

text: Boats

text: There are three boat-shaped pits around the pyramid, of a size and shape to have held complete boats, though so shallow that any superstructure, if there ever was one, must have been removed or disassembled. In May 1954, the Egyptian archaeologist Kamal el-Mallakh discovered a fourth pit, a long, narrow rectangle, still covered with slabs of stone weighing up to 15 tons. Inside were 1,224 pieces of wood, the longest 23 metres (75 ft) long, the shortest 10 centimetres (0.33 ft). These were entrusted to a boat builder, Haj Ahmed Yusuf, who worked out how the pieces fit together. The entire process, including conservation and straightening of the warped wood, took fourteen years.

text: The result is a cedar-wood boat 43.6 metres (143 ft) long, its timbers held together by ropes, which is currently housed in a special boat-shaped, air-conditioned museum beside the pyramid. During construction of this museum, which stands above the boat pit, a second sealed boat pit was discovered. It was deliberately left unopened until 2011 when excavation began on the boat.[54]

text: Looting

text: Although succeeding pyramids were smaller, pyramid building continued until the end of the Middle Kingdom. However, as authors Briar and Hobbs claim, "all the pyramids were robbed" by the New Kingdom, when the construction of royal tombs in a desert valley, now known as the Valley of the Kings, began.[55][56] Joyce Tyldesley states that the Great Pyramid itself "is known to have been opened and emptied by the Middle Kingdom", before the Arab caliph Abdullah al-Mamun entered the pyramid around AD 820.[43]

text: I. E. S. Edwards discusses Strabo's mention that the pyramid "a little way up one side has a stone that may be taken out, which being raised up there is a sloping passage to the foundations". Edwards suggested that the pyramid was entered by robbers after the end of the Old Kingdom and sealed and then reopened more than once until Strabo's door was added. He adds: "If this highly speculative surmise be correct, it is also necessary to assume either that the existence of the door was forgotten or that the entrance was again blocked with facing stones", in order to explain why al-Ma'mun could not find the entrance.[57]

text: He also discusses a story told by Herodotus. Herodotus visited Egypt in the 5th century BC and recounts a story that he was told concerning vaults under the pyramid built on an island where the body of Cheops lies. Edwards notes that the pyramid had "almost certainly been opened and its contents plundered long before the time of Herodotus" and that it might have been closed again during the Twenty-sixth Dynasty of Egypt when other monuments were restored. He suggests that the story told to Herodotus could have been the result of almost two centuries of telling and retelling by Pyramid guides.[58]


document_title: The 100 (TV series)

question_text: when did season 4 of the 100 come out on netflix

text: The 100 (TV series)

text: Synopsis

text: The series is set 97 years after a devastating nuclear apocalypse wiped out almost all life on Earth. Over 2,400 survivors live on a single massive station in Earth's orbit called the Ark, built by connecting surviving pre-apocalypse smaller stations and spacecraft. After the Ark's life-support systems are found to be failing, 100 juvenile prisoners are sent to the surface in a last attempt to determine whether Earth is habitable. They discover not all humanity was destroyed and some survived the apocalypse: the Grounders, who live in clans locked in a power struggle; the Reapers, another group of Grounders who have become cannibals; and the Mountain Men, who live in Mount Weather, descended from those who locked themselves away before the apocalypse. Under the leadership of Bellamy and Clarke, the 100 attempt to survive the harsh surface conditions, battle hostile Grounders, and establish communication with the Ark.

text: In the second season, most of the remaining 48 of the 100 are captured and taken to Mount Weather by the Mountain Men. It is eventually revealed that the Mountain Men are transfusing blood from imprisoned Grounders as an anti-radiation treatment. Medical tests of the 100 show an even more potent anti-radiation efficacy: their bone marrow will allow the Mountain Men to survive outside containment. Meanwhile, the inhabitants of the Ark have successfully crash-landed various stations on Earth and begun an alliance with the Grounders to save groups of people, naming the main settlement at Alpha Station "Camp Jaha".

text: In the third season, Alpha Station, now renamed Arkadia, comes under new management when Pike, a former teacher and mentor, is elected as chancellor and begins a war with the Grounders. An artificial intelligence named A.L.I.E. who was commanded to make life better for mankind, is revealed to have responded by solving the problem of human overpopulation by launching the nuclear apocalypse that devastated Earth. The AI takes over the minds of nearly everyone in Arkadia and Polis, the capital city of the Grounders. In the season three finale, Clarke manages to destroy A.L.I.E.

text: In the fourth season, hundreds of nuclear reactors around the world are melting down due to decades of neglect that will result in 96% of the planet becoming uninhabitable. Clarke and the others search for ways to survive the coming wave of radiation. When it is discovered that Nightbloods, descendants of first, original Nightbloods, including Becca – the creator of A.L.I.E. and the first Grounder commander –  can metabolize radiation, Clarke and the others attempt to recreate the formula, but their attempts failed. An old bunker is discovered that can protect 1,200 people for over 5 years; each of the twelve clans select a hundred people to stay in the bunker. A small group decides to return to space and attempt to survive in the remnants of the original Ark.

text: In the fifth season, which takes place six years after the meltdown of the nuclear reactors, a prisoner transport ship arrives in the only green spot left on Earth, where Clarke and Madi, a Nightblood Grounder who also survived the wave of radiation that swept the planet after the meltdown, have been living. Meanwhile, those who survived in space and in the bunker, have returned safely on the ground. Now, a struggle for the Shallow Valley, between the prisoners and a new, united clan, known as Wonkru, begins. Later, the heroes must find the way to prevent another disaster from ever happening. In the fifth season finale, however, the valley is destroyed and the surviving human race were sent to a new planet to begin their new lives.

text: Cast and characters

text:
Eliza Taylor as Clarke Griffin
Paige Turco as Dr. Abigail "Abby" Griffin
Thomas McDonell as Finn Collins (seasons 1–2)[a]
Eli Goree as Wells Jaha (season 1; guest season 2)[b]
Marie Avgeropoulos as Octavia Blake
Bob Morley as Bellamy Blake
Kelly Hu as Callie "Cece" Cartwig (season 1)[c]
Christopher Larkin as Monty Green (seasons 1–5)
Devon Bostick as Jasper Jordan (seasons 1–4)
Isaiah Washington as Thelonious Jaha (seasons 1–5)[d]
Henry Ian Cusick as Marcus Kane
Lindsey Morgan as Raven Reyes (season 2–present; recurring season 1)[4]
Ricky Whittle as Lincoln (seasons 2–3; recurring season 1)[4]
Richard Harmon as John Murphy (season 3–present; recurring seasons 1–2)[5]
Zach McGowan as Roan (season 4; recurring season 3)[6]
Tasya Teles as Echo (season 5–present; recurring season 4; guest seasons 2–3)[7]

text: Notes

text:
Jump up ^ McDonnell was credited as main cast for the first half of season two.

Jump up ^ Goree was credited as main cast for the first three episodes of season one.

Jump up ^ Hu was credited as main cast only in the pilot.

Jump up ^ Washington was credited as main cast for the first two episodes of season five.

text: Episodes

text: The 100 premiered on March 19, 2014.[8] On May 8, 2014, The CW renewed The 100 for a second season, which premiered on October 22, 2014.[9][10] On January 11, 2015, The CW renewed the series for a third season, which premiered on January 21, 2016.[11][12] On March 12, 2016, The 100 was renewed for a fourth season of 13 episodes, which premiered on February 1, 2017.[13][14][15] On March 10, 2017, The CW renewed the series for a fifth season, which premiered on April 24, 2018.[16][17] On May 8, 2018, the series was renewed for a sixth season.[1]

tag: table

text: Production

text: Post production, including ADR recording for the series, was done at the recording studio Cherry Beach Sound.[23]

text: David J. Peterson, who created Dothraki for Game of Thrones, developed the Trigedasleng language for The Grounders. Jason Rothenberg said it was similar to Creole English.[24] The language is called "Trig" on the show.[25]

text: After his constructed language work on Star-Crossed, Peterson was contacted by the producers of The 100 to create a language for the Grounders, an evolution of English. In the setting, around 250 years have passed since the apocalypse, which is a very short time for significant language change. Because of this, Peterson posited an accelerated evolution in which the early Grounders used a cant specifically to obfuscate their speech and to differentiate between friend or foe. Trigedasleng derives from that cant and evolved over several short generations of survivors of the apocalypse.[26]

text: Filming

text: Filming for the series takes place in and around Vancouver, British Columbia.[27] Production on the pilot occurred during the second quarter of 2013. After the show was picked up to series, filming occurred for the first season between August 2013 and January 2014. Filming for the second season commenced on July 7, 2014, and concluded on January 23, 2015. The third season was filmed between July 15, 2015, and February 2, 2016.[28] Filming for the fourth season commenced on August 2, 2016, and concluded on January 18, 2017.[29][30] Filming for the fifth season commenced on August 14, 2017, and wrapped up on January 27, 2018.[31][32][33]

text: Casting

text: In late February 2013, Bob Morley and Eli Goree were cast as Bellamy Blake and Wells Jaha, respectively,[34] followed a day later by the casting of Henry Ian Cusick as Marcus Kane.[35] Less than a week later, Eliza Taylor and Marie Avgeropoulos were cast in co-starring roles as Clarke Griffin and Octavia Blake, respectively.[36][37] Throughout March, the rest of the cast was filled out, with Paige Turco cast as Abigail Walters (now Abigail Griffin),[38] Isaiah Washington as Chancellor Jaha,[39] Thomas McDonnell as Finn Collins,[40] Kelly Hu as Callie Cartwig, and Christopher Larkin as Monty Green.[41]

text: For the second season, Adina Porter and Raymond J. Barry were cast in recurring roles as Indra and Dante Wallace, respectively, along with Alycia Debnam-Carey as Lexa.[42][43]

text: Broadcast

text: In Canada, Season 1 of The 100 was licensed exclusively to Netflix. The series premiered on March 20, 2014, the day after the mid-season premiere of Season 1 on the CW.[44]

text: In New Zealand, the series premiered on TVNZ's on-demand video streaming service on March 21, 2014.[45]

text: In the UK and Ireland, The 100 premiered on E4 on July 7, 2014.[46] The first episode was viewed by an average audience of 1.39 million, making it the channel's biggest ever program launch. Season 2 premiered on January 6, 2015, and averaged 1,118,000 viewers.[47] Season 3 premiered on February 17, 2016.[48][49]

text: In Australia, The 100 was originally scheduled to premiere on Go![50] but instead premiered on Fox8 on September 4, 2014.[51] Season 2 premiered on January 8, 2015.[52]

text: Home media

text:
Name

DVD

Blu-ray

No. ofepisodes

Features

Region 1

Region 2

Region 4

Region A

Region B

The Complete First Season

September 23, 2014[53]

September 29, 2014[54]

December 3, 2014[55]

September 23, 2014[56]

December 3, 2014[57]

13

Creating the World of The 100
Commentary on "We Are Grounders, Part 2"

The Complete Second Season

October 13, 2015[58]

October 12, 2015[59]

October 14, 2015[60]

October 13, 2015[61]

October 14, 2015[60]

16

The 100: Unlocking the Mountain
The 100 Pre-Viz Stunts featurette

The Complete Third Season

July 19, 2016[62]

September 26, 2016[63]

September 28, 2016[64]

July 19, 2016[62]

September 28, 2016[64]

16

A Short Lived Victory: Unlocking the Season 3 Finale
Arkadia: From Wreckage to Salvation
Ice Nation: Brutal and Fierce
Wanheda: Clarke's Journey
Polis: Capital of the Grounders
The 100 Pre-Viz Stunts Season 3

The Complete Fourth Season

July 19, 2017[65]

July 24, 2017[66]

October 4, 2017[67]

July 18, 2017[68]

October 4, 2017[69]

13

Deleted Scenes, From Outcasts to Leaders, Creating a Post-Apocolyptic World
The 100: Jasper's Journey
Battle Tested: The 100 Season 4 Stunts, Gag Reel
The 100: 2016 Comic-Con Panel

text: Reception

text: Critical response

text: On Rotten Tomatoes, the show's first season was certified "fresh", with 72% of professional reviewers reviewing it positively and the consensus: "Although flooded with stereotypes, the suspenseful atmosphere helps make The 100 a rare high-concept guilty pleasure." On Metacritic, the first season scores 63 out of 100 points, based on 26 critics, indicating "generally favorable reviews."[70]

text: The second season was met with more favorable reviews, holding a rating of 100% on Rotten Tomatoes and an average rating of 8.1/10.[71] On Metacritic, the season is assigned a score of 81 out of 100, based on 2 critics.[72] In a review of the season 2 finale, Kyle Fowle of The A.V. Club said, "Very few shows manage to really push the boundaries of moral compromise in a way that feels legitimately difficult. Breaking Bad did it. The Sopranos did it. Game of Thrones has done it. Those shows never back down from the philosophical murkiness of their worlds, refusing to provide a tidy, happy ending if it doesn't feel right. With 'Blood Must Have Blood, Part Two,' The 100 has done the same, presenting a finale that doesn't shy away from the morally complex stakes it's spent a whole season building up".[73] Maureen Ryan of The Huffington Post, in another positive review, wrote: "I can say with some assurance that I've rarely seen a program demonstrate the kind of consistency and thematic dedication that The 100 has shown in its first two seasons. This is a show about moral choices and the consequences of those choices, and it's been laudably committed to those ideas from Day 1."[74]

text: On Rotten Tomatoes, the third season received an overall rating of 89% with an average rating of 7.9/10.[75] On Metacritic, the season is assigned a score of 77 out of 100, based on 3 critics, indicating generally positive reviews.[76] Maureen Ryan of Variety wrote in an early review of the third season: "When looking at the epic feel and varied array of stories on display in season three, which overtly and covertly recalls "The Lord of the Rings" saga in a number of ways, it's almost hard to recall how limited the scope and the ambitions of "The 100" were two years ago, when a rag-tag band of survivors first crash-landed on Earth. In season three (which the cast and showrunner previewed here), the show is more politically complicated than ever, and the world-building that accompanies the depiction of various factions, alliances and conflicts is generally admirable."[77] In a review of the season 3 finale "Perverse Instantiation: Part Two", Mariya Karimjee of Vulture.com wrote: "Every moment of this finale is pitch-perfect: the choreography of the fight scenes, the plotting and pacing, and the stunning way in which the episode finally reaches it apex. "Perverse Instantiation: Part Two" elevates the season's themes and pulls together its disparate story lines, setting us up nicely for season four."[78] In another review of the season 3 finale and the season overall, Kyle Fowle of The A.V. Club wrote: "Before we even get to tonight's action-packed finale of The 100, it needs to be said that this has been a rocky season. The first half of it was defined by shoddy character motivations and oversized villains. The second half of this season has done some work to bring the show back from the brink, focusing on the City of Light and issues of freewill and difficult moral choices, bringing some much needed depth to the third season. That work pays off with "Perverse Instantiation: Part Two," a thrilling, forward-thinking finale that provides some necessary closure to this season." He gave the finale itself an "A-" rating.[79]

text: The fourth season is generally considered to be an improvement over the third season, receiving a 92% score on Rotten Tomatoes with an average rating of 7.3/10 based on 12 reviews.[80] On Metacritic, the season is assigned a score of 80 out of 100, based on 1 critic, indicating generally positive reviews.[81] The second portion of the fourth season has received better reception than the first portion, with the episodes Die All, Die Merrily and Praimfaya often cited as the two best episodes of the season. Die All, Die Merrily has a 9.5/10 rating from IGN, a perfect 5/5 rating from Vulture and a perfect A rating from The AV Club.[82][83][84] Praimfaya has a 9.0/10 from IGN and an A rating from The AV Club.[85][86]

text: The fifth season currently has a 100% score on Rotten Tomatoes with an average of 9.2/10.[87] This is the highest rating any season of the show has received to date. On Metacritic, the season is assigned a score of 80 out of 100, based on 1 critic, indicating generally positive reviews.[88] All episodes of the season received highly positive reviews, but the third episode Sleeping Giants has received particular high acclaim. In a 4.5/5 review from Den of Geek, the episode is described as being a "good ol' fashioned episode of The 100", praising its balance of action, humour, and rich relationships.[89] The episode also gained a 4.5/5 rating from TVOverMind, praising the "pulse-pounding action" and approach to problem solving.[90]

text:
Brian Lowry of The Boston Globe said: "Our attraction to Apocalypse TV runs deep, as our culture plays out different futuristic possibilities. That's still no reason to clone material, nor is it a reason to deliver characters who are little more than stereotypes."[91] Allison Keene of The Hollywood Reporter wrote a negative review, stating: "The sci-fi drama presents The CW's ultimate vision for humanity: an Earth populated only by attractive teenagers, whose parents are left out in space."[92]
Kelly West of Cinema Blend gave it a more positive review while noting: "CW's Thrilling New Sci-fi Drama Is A Keeper. CW's The 100 seeks to explore that concept and more with a series that's about equal parts young adult drama, sci-fi adventure and thriller. It takes a little while for the series to warm up, but when The 100 begins to hit its stride, a unique and compelling drama begins to emerge."[93]
IGN's editor Eric Goldman also gave the show a more positive review, writing: "Overcoming most of its early growing pains pretty quickly, The 100 was a very strong show by the end of its first season. But Season 2 elevated the series into the upper echelon, as the show become one of the coolest and most daring series on TV these days."[94] Maureen Ryan of Variety named the show one of the best of 2015.[95]

text: In 2016, the year Rolling Stone ranked the show #36 on its list of the "40 Best Science Fiction TV Shows of All Time",[96] the episode "Thirteen" attracted criticism when Lexa, one of the series' LGBT characters, was killed off. Critics and fans considered the death a continuation of a persistent trope in television in which LGBT characters are killed off far more often than others – implicitly portraying them as disposable, as existing only to serve the stories of straight characters, or to attract viewers. A widespread debate among writers and fans about the trope ensued, with Lexa's death cited as a prime example of the trope, and why it should end.[97][98][99] Showrunner Jason Rothenberg eventually wrote in response that "I (...) write and produce television for the real world where negative and hurtful tropes exist. And I am very sorry for not recognizing this as fully as I should have".[100]

text: Ratings

text:
Season
Timeslot (ET)

Episodes

First aired

Last aired
TV season
Rank
Avg. viewers(millions)
18–49 rating(average)

Date

Viewers(millions)

Date

Viewers(millions)

1
Wednesday 9:00 pm

13

March 19, 2014 (2014-03-19)

2.73[101]

June 11, 2014 (2014-06-11)

1.68[102]
2013–14
150
2.59
1.1[103]

2

16

October 22, 2014 (2014-10-22)

1.54[104]

March 11, 2015 (2015-03-11)

1.34[105]
2014–15
157
2.46
0.9[103]

3
Thursday 9:00 pm

16

January 21, 2016 (2016-01-21)

1.88[106]

May 19, 2016 (2016-05-19)

1.31[107]
2015–16
165
1.94
0.7[108]

4
Wednesday 9:00 pm

13

February 1, 2017 (2017-02-01)

1.21[109]

May 24, 2017 (2017-05-24)

0.91[110]
2016–17
158
1.47[111]
TBD

5
Tuesday 9:00 pm (1–8)Tuesday 8:00 pm (9–13)

13

April 24, 2018 (2018-04-24)

1.43[112]

August 7, 2018 (2018-08-07)

0.99[113]
2017–18
182
1.61
0.5[114]

text: An estimated 2.7 million American viewers watched the series premiere, which received an 18–49 rating of 0.9, making it the most-watched show in its time slot on The CW since 2010, with the series Life Unexpected.[115]

text: SeasonEp. 1Ep. 2Ep. 3Ep. 4Ep. 5Ep. 6Ep. 7Ep. 8Ep. 9Ep. 10Ep. 11Ep. 12Ep. 13Ep. 14Ep. 15Ep. 1612.732.271.901.691.801.971.881.641.731.461.711.581.68N/A21.541.481.681.751.641.861.621.401.481.531.511.361.421.551.491.3431.881.631.571.321.361.411.391.201.231.131.081.151.271.131.171.2941.211.011.051.001.020.980.900.970.810.850.860.830.91N/A51.431.021.081.070.940.920.830.730.890.860.850.880.99N/A

text: Accolades

text:
Year

Award

Category

Nominee(s)

Result

Ref.

2014

Primetime Emmy Awards

Outstanding Special Visual Effects

Andrew Orloff, Michael Cliett, Tyler Weiss, Kornel Farkas, Chris Pounds, Andrew Bain, Mike Rhone(episode: "We Are Grounders, Part 2")

Nominated

[121]

2015

Golden Reel Awards

Best Sound Editing – Sound Effects and Foley in Short Form Television

Norval D. Crutcher III, Peter Austin, Peter D. Lago, Mitch Gettleman, Catherine Harper, Ellen Heuer, Marc Meyer

Nominated

[122]

Leo Awards

Best Production Design in a Dramatic Series

Matthew Budgeon(episode: "Murphy's Law")

Nominated

[123]

Best Production Design in a Dramatic Series

James Philpott(episode: "The 48")

Nominated

Best Costume Design in a Dramatic Series

Katia Stano(episodes: "Many Happy Returns" & "Spacewalker")

Nominated

Best Guest Performance by a Male in a Dramatic Series

Richard Harmon(episode: "We Are Grounders Part 1")

Nominated

MTV Fandom Awards

Ship of the Year

Alycia Debnam-Carey and Eliza Taylor

Nominated

[124]

Saturn Awards

Best Youth-Oriented Series

The 100

Won

[125]

Teen Choice Awards

Choice TV Actor: Sci-Fi/Fantasy

Bob Morley

Nominated

[126]

Choice TV Actress: Sci-Fi/Fantasy

Eliza Taylor

Nominated

Choice TV Show: Sci-Fi/Fantasy

The 100

Nominated

2016

Golden Reel Awards

Best Sound Editing in Television - Short Form: Dialogue & ADR

Norval "Charlie" Crutcher III

Nominated

[127]

Leo Awards

Best Production Design in a Dramatic Series

James Philpott, Alyssa King, Alex Royek(episode:"Wanheda: Part 1")

Nominated

[128]

MTV Fandom Awards

Fan Freakout of the Year

Alycia Debnam-Carey

Won

[124]

Ship of the Year

Eliza Taylor and Alycia Debnam-Carey

Nominated

Saturn Awards

Best Science Fiction Television Series

The 100

Nominated

[129]

Teen Choice Awards

Choice TV: Chemistry

Eliza Taylor and Bob Morley

Nominated

[130]

Choice TV Actress: Sci-Fi/Fantasy

Eliza Taylor

Nominated

2017

Saturn Awards

Best Science Fiction Television Series

The 100

Nominated

[131]

Teen Choice Awards

Choice Sci-Fi/Fantasy TV Actor

Bob Morley

Nominated

[132]

Choice Sci-Fi/Fantasy TV Actress

Eliza Taylor

Nominated

Choice TV Ship

Eliza Taylor and Bob Morley

Nominated

2018

Leo Awards

Best Stunt Coordination in a Dramatic Series

Marshall Virtue, Kim Chiang(episode: "Die All, Die Merrily")

Nominated

[133]

Best Supporting Performance by a Male in a Dramatic Series

Richard Harmon(episode: "God Complex")

Nominated

Saturn Awards

Best Science Fiction Television Series

The 100

Nominated

[134]

Teen Choice Awards

Choice Sci-Fi/Fantasy TV Show

The 100

Pending

[135]

Choice Sci-Fi/Fantasy TV Actor

Bob Morley

Pending

Choice Sci-Fi/Fantasy TV Actress

Eliza Taylor

Pending


document_title: List of FIFA World Cup finals

question_text: list of countries who won football world cup

text: List of FIFA World Cup finals

text: List of finals[edit]

text:
Key to the list of finals

Match was won during extra time

Match was won on a penalty shoot-out

text: The "Year" column refers to the year the World Cup was held, and wikilinks to the article about that tournament. The wikilinks in the "Final score" column point to the article about that tournament's final game. Links in the "Winners" and "Runners-up" columns point to the articles for the national football teams of the countries, not the articles for the countries.

text:
List of finals matches, their venues and locations, the finalists, and final scores

Year

Winners

Final score[2]

Runners-up

Venue

Location

Attendance

References

1930

Uruguay

4–2

 Argentina

Estadio Centenario

Montevideo, Uruguay

80,000

[7][8]

1934

Italy

  2–1[n 3]

 Czechoslovakia

Stadio Nazionale PNF

Rome, Italy

50,000

[9][10]

1938

Italy

4–2

 Hungary

Stade Olympique de Colombes

Paris, France

45,000

[11][12]

1950[n 4]

Uruguay

2–1[n 5]

 Brazil

Estádio do Maracanã

Rio de Janeiro, Brazil

199,854[13]

[14][15]

1954

West Germany

3–2

 Hungary

Wankdorf Stadium

Bern, Switzerland

60,000

[16][17]

1958

Brazil

5–2

 Sweden

Råsunda Stadium

Solna, Sweden

51,800

[18][19]

1962

Brazil

3–1

 Czechoslovakia

Estadio Nacional

Santiago, Chile

69,000

[20][21]

1966

England

  4–2[n 6]

 West Germany

Wembley Stadium

London, England

93,000

[22][23]

1970

Brazil

4–1

 Italy

Estadio Azteca

Mexico City, Mexico

107,412

[24][25]

1974

West Germany

2–1

 Netherlands

Olympiastadion

Munich, West Germany

75,200

[26][27]

1978

Argentina

  3–1[n 7]

 Netherlands

Estadio Monumental

Buenos Aires, Argentina

71,483

[28][29]

1982

Italy

3–1

 West Germany

Santiago Bernabéu

Madrid, Spain

90,000

[30][31]

1986

Argentina

3–2

 West Germany

Estadio Azteca

Mexico City, Mexico

114,600

[32][33]

1990

West Germany

1–0

 Argentina

Stadio Olimpico

Rome, Italy

73,603

[34][35]

1994

Brazil

  0–0[n 8]

 Italy

Rose Bowl

Pasadena, United States

94,194

[36][37]

1998

France

3–0

 Brazil

Stade de France

Saint-Denis, France

80,000

[38][39]

2002

Brazil

2–0

 Germany

International Stadium

Yokohama, Japan

69,029

[40][41]

2006

Italy

  1–1[n 9]

 France

Olympiastadion

Berlin, Germany

69,000

[42][43]

2010

Spain

  1–0[n 10]

 Netherlands

Soccer City

Johannesburg, South Africa

84,490

[44][45]

2014

Germany

  1–0[n 11]

 Argentina

Estádio do Maracanã

Rio de Janeiro, Brazil

74,738

[46][47]

2018

France

4–2

 Croatia

Luzhniki Stadium

Moscow, Russia

78,011

Upcoming finals

Year

Team 1

v

Team 2

Venue

Location

Attendance

References

2022

Lusail Iconic Stadium

Lusail, Qatar

2026

TBD

United States

text: Results[edit]

text:
Results by nation

National team

Wins

Runners-up

Total finals

Years won

Years runners-up

 Brazil

5

2

7

1958, 1962, 1970, 1994, 2002

1950, 1998

 Germany

4

4

8

1954, 1974, 1990, 2014

1966, 1982, 1986, 2002

 Italy

4

2

6

1934, 1938, 1982, 2006

1970, 1994

 Argentina

2

3

5

1978, 1986

1930, 1990, 2014

 France

2

1

3

1998, 2018

2006

 Uruguay

2

0

2

1930, 1950

–

 England

1

0

1

1966

–

 Spain

1

0

1

2010

–

 Netherlands

0

3

3

–

1974, 1978, 2010

 Czechoslovakia

0

2

2

–

1934, 1962

 Hungary

0

2

2

–

1938, 1954

 Sweden

0

1

1

–

1958

 Croatia

0

1

1

–

2018

text:
Results by confederation

Confederation

Appearances

Winners

Runners-up

UEFA

28

12

16

CONMEBOL

14

9

5

text: Footnotes[edit]

text:
Jump up ^ This follows FIFA's consideration that the national teams of West Germany/Germany, Czechoslovakia/Czech Republic, Yugoslavia/Serbia and Montenegro/Serbia, and USSR/Russia are combined respectively for record-keeping.[3]

Jump up ^ Technically the 1958 final was also between two first timers, but Brazil's 1950 group game defeat is generally counted as a previous "final" appearance for the team.

Jump up ^ Score was 1–1 after 90 minutes.[9][10]

Jump up ^ The 1950 FIFA World Cup did not have a final, rather, the tournament was decided by a 4-team round robin phase.

Jump up ^ Not the final but the decisive match of the final group stage.

Jump up ^ Score was 2–2 after 90 minutes.[22][23]

Jump up ^ Score was 1–1 after 90 minutes.[28][29]

Jump up ^ Score was 0–0 after 120 minutes. Brazil won 3–2 on penalties.[36][37]

Jump up ^ Score was 1–1 after 120 minutes. Italy won 5–3 on penalties.[42][43]

Jump up ^ Score was 0–0 after 90 minutes.[44][45]

Jump up ^ Score was 0–0 after 90 minutes.[46][47]