document_title: Casablanca (film)

question_text: who played the pianist sam of play it again sam theme in the movie casablanca

question_tokens: who played the pianist sam of play it again sam theme in the movie casablanca

text: Casablanca (film)

text: Plot[edit]

text: In December 1941, American expatriate Rick Blaine owns an upscale nightclub and gambling den in Casablanca. "Rick's Café Américain" attracts a varied clientele, including Vichy French and German officials, refugees desperate to reach the still-neutral United States, and those who prey on them. Although Rick professes to be neutral in all matters, he ran guns to Ethiopia during its war with Italy and fought on the Loyalist side in the Spanish Civil War.

text: Petty crook Ugarte boasts to Rick of "letters of transit" obtained by murdering two German couriers. The papers allow the bearers to travel freely around German-controlled Europe and to neutral Portugal, and are priceless to the refugees stranded in Casablanca. Ugarte plans to sell them at the club, and asks Rick to hold them. Before he can meet his contact, Ugarte is arrested by the local police under the command of Captain Louis Renault, an unabashedly corrupt Vichy official. Ugarte dies in custody without revealing that he entrusted the letters to Rick.

text: Then the reason for Rick's bitterness—former lover Ilsa Lund—enters his establishment. Spotting Rick's friend and house pianist, Sam, Ilsa asks him to play "As Time Goes By." Rick storms over, furious that Sam disobeyed his order never to perform that song, and is stunned to see Ilsa. She is accompanied by her husband, Victor Laszlo, a renowned fugitive Czech Resistance leader. They need the letters to escape to America to continue his work. German Major Strasser has come to Casablanca to see that Laszlo fails.

text: When Laszlo makes inquiries, Ferrari, a major underworld figure and Rick's friendly business rival, divulges his suspicion that Rick has the letters. Privately, Rick refuses to sell at any price, telling Laszlo to ask his wife the reason. They are interrupted when Strasser leads a group of officers in singing "Die Wacht am Rhein" ("The Watch on the Rhine"). Laszlo orders the house band to play "La Marseillaise". When the band looks to Rick, he nods his head. Laszlo starts singing, alone at first, then patriotic fervor grips the crowd and everyone joins in, drowning out the Germans. Strasser has Renault close the club.

text: Ilsa confronts Rick in the deserted café. When he refuses to give her the letters, she threatens him with a gun, but then confesses that she still loves him. She explains that when they met and fell in love in Paris in 1940, she believed her husband had been killed attempting to escape from a concentration camp. While preparing to flee with Rick from the imminent fall of the city to the German army, she learned Laszlo was alive and in hiding. She left Rick without explanation to nurse her sick husband. Rick's bitterness dissolves. He agrees to help, letting her believe she will stay with him when Laszlo leaves. When Laszlo unexpectedly shows up, having narrowly escaped a police raid on a Resistance meeting, Rick has waiter Carl spirit Ilsa away. Laszlo, aware of Rick's love for Ilsa, tries to persuade him to use the letters to take her to safety.

text: When the police arrest Laszlo on a minor, trumped-up charge, Rick persuades Renault to release him by promising to set him up for a much more serious crime: possession of the letters. To allay Renault's suspicions, Rick explains that he and Ilsa will be leaving for America.

text: When Renault tries to arrest Laszlo as arranged, Rick forces him at gunpoint to assist in their escape. At the last moment, Rick makes Ilsa board the plane to Lisbon with Laszlo, telling her that she would regret it if she stayed—"Maybe not today, maybe not tomorrow, but soon and for the rest of your life." Strasser, tipped off by Renault, drives up alone. Rick shoots him when he tries to intervene. When policemen arrive, Renault pauses, then orders them to "round up the usual suspects." He suggests to Rick that they join the Free French in Brazzaville. As they walk away into the fog, Rick says, "Louis, I think this is the beginning of a beautiful friendship".

text: Cast[edit]

text: The play's cast consisted of 16 speaking parts and several extras; the film script enlarged it to 22 speaking parts and hundreds of extras.[13] The cast is notably international: only three of the credited actors were born in the United States (Bogart, Dooley Wilson, and Joy Page). The top-billed actors are:[14]

text:
Humphrey Bogart as Rick Blaine. Rick was his first truly romantic role.
Ingrid Bergman as Ilsa Lund. Bergman's official website calls Ilsa her "most famous and enduring role".[15] The Swedish actress's Hollywood debut in Intermezzo had been well received, but her subsequent films were not major successes until Casablanca. Film critic Roger Ebert called her "luminous", and commented on the chemistry between her and Bogart: "she paints his face with her eyes".[16] Other actresses considered for the role of Ilsa included Ann Sheridan, Hedy Lamarr, Luise Rainer and Michèle Morgan. Producer Hal Wallis obtained the services of Bergman, who was contracted to David O. Selznick, by lending Olivia de Havilland in exchange.[17]
Paul Henreid as Victor Laszlo. Henreid, an Austrian actor who had emigrated in 1935, was reluctant to take the role (it "set [him] as a stiff forever", according to Pauline Kael[18]), until he was promised top billing along with Bogart and Bergman. Henreid did not get on well with his fellow actors; he considered Bogart "a mediocre actor." Bergman called Henreid a "prima donna".[19]

text: The second-billed actors are:

text:
Claude Rains as Captain Louis Renault. Rains was an English actor born in London. He had previously worked with Michael Curtiz on The Adventures of Robin Hood. He later played the villain in Alfred Hitchcock's Notorious, reteaming with Ingrid Bergman.
Conrad Veidt as Major Heinrich Strasser. He was a refugee German actor who had appeared in The Cabinet of Dr. Caligari. He fled the Nazis, but was frequently cast as a Nazi in American films. A major star in German cinema before the Nazi era, he was the highest paid member of the cast despite his second billing.[20]
Sydney Greenstreet as Signor Ferrari. Another Englishman, Greenstreet had previously starred with Lorre and Bogart in his film debut in The Maltese Falcon.
Peter Lorre as Signor Ugarte. Born in Austria-Hungary, Lorre fled Nazi Germany in 1933 after starring in Fritz Lang's first sound movie, M (1931). Greenstreet and Lorre appeared in several films together over the next few years, although they did not share a scene in Casablanca.

text: Also credited are:

text:
Curt Bois as the pickpocket. Bois was a German-Jewish actor and refugee. He had one of the longest careers in film, making his first appearance in 1907 and his last in 1987.
Leonid Kinskey as Sascha, the Russian bartender infatuated with Yvonne. He was born into a Jewish family in Russia and had immigrated to the United States. He told Aljean Harmetz, author of Round Up the Usual Suspects: The Making of Casablanca, that he was cast because he was Bogart's drinking buddy.[21] He was not the first choice for the role; he replaced Leo Mostovoy, who was deemed not funny enough.[21]
Madeleine LeBeau as Yvonne, Rick's soon-discarded girlfriend. The French actress was married to fellow Casablanca performer Marcel Dalio until their divorce in 1942. She was the last surviving cast member at her death on May 1, 2016.[22]
Joy Page as Annina Brandel, the young Bulgarian refugee. The third credited American, she was the stepdaughter of Jack L. Warner, the studio head.
John Qualen as Berger, Laszlo's Resistance contact. He was born in Canada, but grew up in the United States. He appeared in many of John Ford's films.
S. Z. Sakall (credited as S. K. Sakall) as Carl, the waiter. The Jewish-Hungarian actor fled Germany in 1939. His three sisters later died in a concentration camp.
Dooley Wilson as Sam. He was one of the few American-born members of the cast. A drummer, he had to fake playing the piano. Even after shooting had been completed, producer Wallis considered dubbing over Wilson's voice for the songs.[23][24] He had originally considered changing the character to a woman and casting singers Hazel Scott, Lena Horne, or Ella Fitzgerald.

text: Notable uncredited actors are:

text:
Marcel Dalio as Emil the croupier. He had been a star in French cinema, appearing in Jean Renoir's La Grande Illusion and La Règle du Jeu. After he fled the fall of France and went to America, he was reduced to bit parts in Hollywood. He had a key role in another of Bogart's films, To Have and Have Not.
Helmut Dantine as Jan Brandel, the Bulgarian roulette player married to Annina Brandel. Another Austrian, he had spent time in a concentration camp after the Anschluss, but left Europe after being freed.
Gregory Gaye as the German banker who is refused entry to the casino by Rick. Gaye was a Russian-born actor who went to the United States in 1917 after the Russian Revolution.
Torben Meyer as the Dutch banker who runs "the second largest banking house in Amsterdam". Meyer was a Danish actor.
Corinna Mura as the guitar player who sings "Tango Delle Rose" (or "Tango de la Rosa") while Laszlo is consulting with Berger, and later accompanies the crowd on "La Marseillaise".
Frank Puglia as Moroccan rug merchant.
Dan Seymour as Abdul the doorman. He was an American actor who often played villains, including the principal one in To Have and Have Not, and one of the secondary ones in Key Largo, both opposite Bogart.
Gerald Oliver Smith as the Englishman whose wallet is stolen. Smith was an English actor.
Norma Varden as the Englishwoman whose husband has his wallet stolen. She was a famous English character actress.

text: Much of the emotional impact of the film has been attributed to the large proportion of European exiles and refugees who were extras or played minor roles (in addition to leading actors Paul Henreid, Conrad Veidt and Peter Lorre): such as Louis V. Arco, Trude Berliner, Ilka Grünig, Lotte Palfi, Richard Ryen, Ludwig Stössel, Hans Twardowski, and Wolfgang Zilzer. A witness to the filming of the "duel of the anthems" sequence said he saw many of the actors crying and "realized that they were all real refugees".[25] Harmetz argues that they "brought to a dozen small roles in Casablanca an understanding and a desperation that could never have come from Central Casting".[26] They were frequently cast as Nazis in war films, even though many were Jewish.

text: The comedian Jack Benny may have had an unbilled cameo role, as was claimed by a contemporary newspaper advertisement[27] and in the Casablanca press book.[28][29] When asked in his column "Movie Answer Man", critic Roger Ebert first replied, "It looks something like him. That's all I can say."[28] In a later column, he responded to a follow-up commenter, "I think you're right. The Jack Benny Fan Club can feel vindicated."[30]

text: Production[edit]

text: The film was based on Murray Burnett and Joan Alison's then-unproduced play Everybody Comes to Rick's.[31] The Warner Bros. story analyst who read the play, Stephen Karnot, called it (approvingly) "sophisticated hokum",[32] and story editor Irene Diamond, who had discovered the unproduced play on a trip to New York in 1941, convinced producer Hal Wallis to buy the rights in January 1942 for $20,000,[33] the most anyone in Hollywood had ever paid for an unproduced play.[34] The project was renamed Casablanca, apparently in imitation of the 1938 hit Algiers.[35] Although an initial filming date was selected for April 10, 1942, delays led to a start of production on May 25.[36] Filming was completed on August 3, and the production cost $1,039,000 ($75,000 over budget),[37] above average for the time.[38] Unusually, the film was shot in sequence, mainly because only the first half of the script was ready when filming began.[39]

text: The entire picture was shot in the studio, except for the sequence showing Major Strasser's arrival, which was filmed at Van Nuys Airport, and a few short clips of stock footage views of Paris.[40] The street used for the exterior shots had recently been built for another film, The Desert Song,[41] and redressed for the Paris flashbacks.

text: The background of the final scene, which shows a Lockheed Model 12 Electra Junior airplane with personnel walking around it, was staged using little person extras and a proportionate cardboard plane.[42] Fog was used to mask the model's unconvincing appearance.[43] Nevertheless, the Disney's Hollywood Studios theme park in Orlando, Florida purchased a Lockheed 12A for its Great Movie Ride attraction, and initially claimed that it was the actual plane used in the film.[44]

text: Film critic Roger Ebert called Hal Wallis the "key creative force" for his attention to the details of production (down to insisting on a real parrot in the Blue Parrot bar).[16]

text: The difference between Bergman's and Bogart's height caused some problems. She was two inches (5 cm) taller than Bogart, and claimed Curtiz had Bogart stand on blocks or sit on cushions in their scenes together.[45]

text: Later, there were plans for a further scene, showing Rick, Renault and a detachment of Free French soldiers on a ship, to incorporate the Allies' 1942 invasion of North Africa. It proved too difficult to get Claude Rains for the shoot, and the scene was finally abandoned after David O. Selznick judged "it would be a terrible mistake to change the ending."[46][47]

text: Writing[edit]

text: The original play was inspired by a trip to Europe made by Murray Burnett and his wife in 1938, during which they visited Vienna shortly after the Anschluss and were affected by the anti-Semitism they saw. In the south of France, they went to a nightclub that had a multinational clientele, among them many exiles and refugees, and the prototype of Sam.[48][49] In The Guardian, Paul Fairclough writes that Cinema Vox in Tangier "was Africa's biggest when it opened in 1935, with 2,000 seats and a retractable roof. As Tangier was in Spanish territory, the theatre's wartime bar heaved with spies, refugees and underworld hoods, securing its place in cinematic history as the inspiration for Rick's Cafe in Casablanca."[50][51]

text: The first writers assigned to the script were twins Julius and Philip Epstein who, against the wishes of Warner Brothers, left at Frank Capra's request early in 1942 to work on the Why We Fight series in Washington, D.C.[52][53] While they were gone, the other credited writer, Howard Koch, was assigned; he produced thirty to forty pages.[53] When the Epstein brothers returned after about a month, they were reassigned to Casablanca and—contrary to what Koch claimed in two published books—his work was not used.[53] The Epstein brothers and Koch never worked in the same room at the same time during the writing of the script. Koch later commented, "When we began, we didn't have a finished script ... Ingrid Bergman came to me and said, 'Which man should I love more...?' I said to her, 'I don't know ... play them both evenly.' You see we didn't have an ending, so we didn't know what was going to happen!"[54] In the final budget for the film, the Epsteins were paid $30,416, and Koch earned $4,200.[55]

text: In the play, the Ilsa character is an American named Lois Meredith; she does not meet Laszlo until after her relationship with Rick in Paris has ended. Rick is a lawyer. To make Rick's motivation more believable, Wallis, Curtiz, and the screenwriters decided to set the film before the attack on Pearl Harbor.[56]

text: The uncredited Casey Robinson assisted with three weeks of rewrites, including contributing the series of meetings between Rick and Ilsa in the cafe.[57][58] Koch highlighted the political and melodramatic elements,[59][60] and Curtiz seems to have favored the romantic parts, insisting on retaining the Paris flashbacks.[61] Wallis wrote the final line, "Louis, I think this is the beginning of a beautiful friendship," after shooting had been completed. Bogart had to be called in a month after the end of filming to dub it.[61]

text: Despite the many writers, the film has what Ebert describes as a "wonderfully unified and consistent" script. Koch later claimed it was the tension between his own approach and Curtiz's which accounted for this: "Surprisingly, these disparate approaches somehow meshed, and perhaps it was partly this tug of war between Curtiz and me that gave the film a certain balance."[62] Julius Epstein would later note the screenplay contained "more corn than in the states of Kansas and Iowa combined. But when corn works, there's nothing better."[63]

text: The film ran into some trouble with Joseph Breen of the Production Code Administration (the Hollywood self-censorship body), who opposed the suggestions that Captain Renault extorted sexual favors from his supplicants, and that Rick and Ilsa had slept together.[64][65] Extensive changes were made, with several lines of dialogue removed or altered. All direct references to sex were deleted; Renault's selling of visas for sex, and Rick and Ilsa's previous sexual relationship were implied elliptically rather than referenced explicitly.[66] Also, in the original script, when Sam plays "As Time Goes By", Rick remarks, "What the —— are you playing?" This line was altered to: "Sam, I told you never to play..." to conform to Breen's objection to an implied swear word.[67]

text: The script has been subject to a significant amount of misquotation. One of the lines most closely associated with the film—"Play it again, Sam"—is inaccurate.[68][69] When Ilsa first enters the Café Americain, she spots Sam and asks him to "Play it once, Sam, for old times' sake." After he feigns ignorance, she responds, "Play it, Sam. Play 'As Time Goes By'." Later that night, alone with Sam, Rick says, "You played it for her, you can play it for me," and "If she can stand it, I can! Play it!" Rick's toast to Ilsa, "Here's looking at you, kid", used four times, was not written into the draft screenplays, but has been attributed to a comment Bogart said to Bergman as he taught her poker between takes.[70] It was voted the fifth most memorable line in cinema in AFI's 100 Years...100 Movie Quotes by the American Film Institute.[71]

text: Six lines from Casablanca appeared in the AFI list, the most of any film (Gone with the Wind and The Wizard of Oz tied for second with three apiece). The other five are:

text:
"Louis, I think this is the beginning of a beautiful friendship."—20th
"Play it, Sam. Play 'As Time Goes By'."—28th
"Round up the usual suspects."—32nd
"We'll always have Paris."—43rd
"Of all the gin joints in all the towns in all the world, she walks into mine."—67th

text: Additionally, the line "Ilsa, I'm no good at being noble, but it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world" was nominated for the list.[72]

text: In the November/December 1982 issue of American Film, Chuck Ross claimed that he retyped the screenplay to Casablanca, changing the title back to Everybody Comes to Rick's and the name of the piano player to Dooley Wilson, and submitted it to 217 agencies. Eighty-five of them read it; of those, thirty-eight rejected it outright, thirty-three generally recognized it (but only eight specifically as Casablanca), three declared it commercially viable, and one suggested turning it into a novel.[73]

text: The Writers Guild of America, West, ranked the screenplay #1 on its list of the 101 greatest screenplays.[74]

text: Direction[edit]

text: Wallis's first choice for director was William Wyler, but he was unavailable, so Wallis turned to his close friend Michael Curtiz.[75][47] Curtiz was a Hungarian Jewish émigré; he had come to the U.S. in 1926, but some of his family were refugees from Nazi Europe.

text: Roger Ebert has commented that in Casablanca "very few shots ... are memorable as shots," as Curtiz wanted images to express the story rather than to stand alone.[16] He contributed relatively little to development of the plot. Casey Robinson said Curtiz "knew nothing whatever about story ... he saw it in pictures, and you supplied the stories."[76]

text: Critic Andrew Sarris called the film "the most decisive exception to the auteur theory",[77] of which Sarris was the most prominent proponent in the United States. Aljean Harmetz has responded, "nearly every Warner Bros. picture was an exception to the auteur theory".[75] Other critics give more credit to Curtiz. Sidney Rosenzweig, in his study of the director's work, sees the film as a typical example of Curtiz's highlighting of moral dilemmas.[78]

text: The second unit montages, such as the opening sequence of the refugee trail and the invasion of France, were directed by Don Siegel.[79]

text: Cinematography[edit]

text: The cinematographer was Arthur Edeson, a veteran who had previously shot The Maltese Falcon and Frankenstein. Particular attention was paid to photographing Bergman. She was shot mainly from her preferred left side, often with a softening gauze filter and with catch lights to make her eyes sparkle; the whole effect was designed to make her face seem "ineffably sad and tender and nostalgic".[16] Bars of shadow across the characters and in the background variously imply imprisonment, the crucifix, the symbol of the Free French Forces and emotional turmoil.[16] Dark film noir and expressionist lighting was used in several scenes, particularly towards the end of the picture. Rosenzweig argues these shadow and lighting effects are classic elements of the Curtiz style, along with the fluid camera work and the use of the environment as a framing device.[80]

text: Music[edit]

text: The music was written by Max Steiner, who was best known for the score for Gone with the Wind. The song "As Time Goes By" by Herman Hupfeld had been part of the story from the original play; Steiner wanted to write his own composition to replace it, but Bergman had already cut her hair short for her next role (María in For Whom the Bell Tolls) and could not re-shoot the scenes which incorporated the song,[81] so Steiner based the entire score on it and "La Marseillaise", the French national anthem, transforming them as leitmotifs to reflect changing moods.[82]

text: Particularly memorable is the "duel of the songs" between Strasser and Laszlo at Rick's cafe.[20] In the soundtrack, "La Marseillaise" is played by a full orchestra. Originally, the opposing piece for this iconic sequence was to be the "Horst Wessel Lied", a Nazi anthem, but this was still under international copyright in non-Allied countries. Instead "Die Wacht am Rhein" was used.[83] The "Deutschlandlied", the national anthem of Germany, features in the final scene, in which it gives way to "La Marseillaise" after Strasser is shot.[84][20]

text: Other songs include:

text:
"It Had to Be You", music by Isham Jones, lyrics by Gus Kahn
"Shine", music by Ford Dabney, lyrics by Cecil Mack and Lew Brown
"Avalon", music and lyrics by Al Jolson, Buddy DeSylva and Vincent Rose
"Perfidia", by Alberto Dominguez
"The Very Thought of You", by Ray Noble, and
"Knock on Wood", music by M. K. Jerome, lyrics by Jack Scholl, the only original song.

text: The piano featured in the Paris flashback sequences was sold in New York City on December 14, 2012, at Sotheby's for more than $600,000 to an anonymous bidder.[85] The piano Sam "plays" in Rick's Café Américain, put up for auction with other film memorabilia by Turner Classic Movies at Bonhams in New York in November 2014, sold for $3.4 million.[86][87]

text: Timing of release[edit]

text: Although an initial release date was anticipated for early 1943,[88] the film premiered at the Hollywood Theater in New York City on November 26, 1942, to coincide with the Allied invasion of North Africa and the capture of Casablanca.[6][89] It went into general release on January 23, 1943, to take advantage of the Casablanca Conference, a high-level meeting in the city between British Prime Minister Winston Churchill and American President Franklin D. Roosevelt. The Office of War Information prevented screening of the film to troops in North Africa, believing it would cause resentment among Vichy supporters in the region.[90]

text: Reception[edit]

text: Initial response[edit]

text: Casablanca received "consistently good reviews".[91] Bosley Crowther of The New York Times wrote, "The Warners ... have a picture which makes the spine tingle and the heart take a leap." He applauded the combination of "sentiment, humor and pathos with taut melodrama and bristling intrigue". Crowther noted its "devious convolutions of the plot", and praised the screenplay quality as "of the best" and the cast's performances as "all of the first order".[92]

text: The trade paper Variety commended the film's "combination of fine performances, engrossing story and neat direction" and the "variety of moods, action, suspense, comedy and drama that makes Casablanca an A-1 entry at the b.o."[93] "Film is splendid anti-Axis propaganda, particularly inasmuch as the propaganda is strictly a by-product of the principal action and contributes to it instead of getting in the way."[93] The review also applauded the performances of Bergman and Henreid and note that "Bogart, as might be expected, is more at ease as the bitter and cynical operator of a joint than as a lover, but handles both assignments with superb finesse."[93]

text: Some other reviews were less enthusiastic. The New Yorker rated it only "pretty tolerable" and said it was "not quite up to Across the Pacific, Bogart's last spyfest".[94]

text: In the 1,500-seat Hollywood Theater, the film grossed $255,000 over ten weeks.[95] In its initial U.S. release, it was a substantial but not spectacular box-office success, taking in $3.7 million, making it the seventh highest-grossing film of 1943.[95][96]

text: Lasting influence[edit]

text: The film has grown in popularity. Murray Burnett called it "true yesterday, true today, true tomorrow".[97] By 1955, the film had brought in $6.8 million, making it the third most successful of Warners' wartime movies (behind Shine On, Harvest Moon and This Is the Army).[98] On April 21, 1957, the Brattle Theater of Cambridge, Massachusetts, showed the film as part of a season of old movies. It was so popular that it began a tradition of screening Casablanca during the week of final exams at Harvard University, which continues to the present day. Other colleges have adopted the tradition. Todd Gitlin, a professor of sociology who had attended one of these screenings, has said that the experience was "the acting out of my own personal rite of passage".[99] The tradition helped the movie remain popular while other films famous in the 1940s have faded from popular memory. By 1977, Casablanca was the most frequently broadcast film on American television.[100]

text: On the film's 50th anniversary, the Los Angeles Times called Casablanca's great strength "the purity of its Golden Age Hollywoodness [and] the enduring craftsmanship of its resonantly hokey dialogue". Bob Strauss wrote in the newspaper that the film achieved a "near-perfect entertainment balance" of comedy, romance, and suspense.[101]

text: According to Roger Ebert, Casablanca is "probably on more lists of the greatest films of all time than any other single title, including Citizen Kane" because of its wider appeal. Ebert opined that Citizen Kane is generally considered to be a "greater" film, but Casablanca is more loved.[16] In his opinion, the film is popular because "the people in it are all so good", and it is "a wonderful gem".[16] Ebert said that he has never heard of a negative review of the film, even though individual elements can be criticized, citing unrealistic special effects and the stiff character/portrayal of Laszlo.[76] Critic Leonard Maltin considers Casablanca to be "the best Hollywood movie of all time."[102]

text: Rick, according to Rudy Behlmer, is "not a hero ... not a bad guy": he does what is necessary to get along with the authorities and "sticks his neck out for nobody". The other characters, in Behlmer's words, are "not cut and dried" and come into their goodness over the course of the film. Renault begins as a collaborator with the Nazis who extorts sexual favors from refugees and has Ugarte killed. Even Ilsa, the least active of the main characters, is "caught in the emotional struggle" over which man she really loves. By the end, however, "everybody is sacrificing."[76] Behlmer also emphasized the variety in the picture: "it's a blend of drama, melodrama, comedy [and] intrigue".[76]

text: A few reviewers have had reservations. To Pauline Kael, "It's far from a great film, but it has a special appealingly schlocky romanticism ..."[103] Poet and critic Dan Schneider wrote that the work "does entertain, and is an interesting piece of Americana", but criticized it as a melodrama "driven by plot, not by character development. All the characters react to what the plot dictates to them; the plot does not organically flow from their personae."[104] Umberto Eco wrote that "by any strict critical standards ... Casablanca is a very mediocre film." He viewed the changes the characters undergo as inconsistent rather than complex: "It is a comic strip, a hotch-potch, low on psychological credibility, and with little continuity in its dramatic effects." However, he added that due to the presence of multiple archetypes which allow "the power of Narrative in its natural state without Art intervening to discipline it", it is a movie reaching "Homeric depths" as a "phenomenon worthy of awe."[105]

text: Influence on later works[edit]

text: Many subsequent films have drawn on elements of Casablanca. Passage to Marseille reunited actors Bogart, Rains, Greenstreet, Lorre and director Curtiz in 1944,[106] and there are similarities between Casablanca and another later Bogart film, To Have and Have Not (1944).[107]

text: Parodies have included the Marx Brothers' A Night in Casablanca (1946), Neil Simon's The Cheap Detective (1978), and Out Cold (2001). Indirectly, it provided the title for the 1995 neo-noir film The Usual Suspects.[108] Woody Allen's Play It Again, Sam (1972) appropriated Bogart's Casablanca persona as the fantasy mentor for Allen's character.[109]

text: The film Casablanca was a plot device in the science-fiction television movie Overdrawn at the Memory Bank (1983), based on John Varley's story. It was referred to in Terry Gilliam's dystopian Brazil (1985). Warner Bros. produced its own parody in the homage Carrotblanca, a 1995 Bugs Bunny cartoon.[110] In Casablanca, a novella by Argentine writer Edgar Brau, the protagonist somehow wanders into Rick's Café Américain and listens to a strange tale related by Sam.[111] The 2016 musical film La La Land contains multiple allusions to Casablanca in the imagery, dialogue, and plot.[112]

text: Director Robert Zemeckis of Allied (2016), which is also set in 1942 Casablanca, studied the film to capture the city's elegance.[113]

text: Interpretation[edit]

text: Casablanca has been subjected to many readings; Semioticians account for the film's popularity by claiming that its inclusion of stereotypes paradoxically strengthens the film.[114][115][116][117] Umberto Eco wrote

text: Thus Casablanca is not just one film. It is many films, an anthology. Made haphazardly, it probably made itself, if not actually against the will of its authors and actors, then at least beyond their control. And this is the reason it works, in spite of aesthetic theories and theories of film making. For in it there unfolds with almost telluric force the power of Narrative in its natural state, without Art intervening to discipline it ... When all the archetypes burst in shamelessly, we reach Homeric depths. Two clichés make us laugh. A hundred clichés move us. For we sense dimly that the clichés are talking among themselves, and celebrating a reunion.[118][119]

text: Eco also singled out sacrifice as a theme, "the myth of sacrifice runs through the whole film".[120] It was this theme which resonated with a wartime audience that was reassured by the idea that painful sacrifice and going off to war could be romantic gestures done for the greater good.[121]

text: Koch also considered the film a political allegory. Rick is compared to President Franklin D. Roosevelt, who gambled "on the odds of going to war until circumstance and his own submerged nobility force him to close his casino (partisan politics) and commit himself—first by financing the Side of Right and then by fighting for it".[122] The connection is reinforced by the film's title, which means "white house".[122]

text: Harvey Greenberg presents a Freudian reading in his The Movies on Your Mind, in which the transgressions which prevent Rick from returning to the United States constitute an Oedipus complex, which is resolved only when Rick begins to identify with the father figure of Laszlo and the cause which he represents.[123] Sidney Rosenzweig argues that such readings are reductive and that the most important aspect of the film is its ambiguity, above all in the central character of Rick; he cites the different names which each character gives Rick (Richard, Ricky, Mr. Rick, Herr Rick and boss) as evidence of the different meanings which he has for each person.[124]

text: Awards and honors[edit]

text: Because of its November 1942 release, the New York Film Critics decided to include the film in its 1942 award season for best picture. Casablanca lost to In Which We Serve.[95] However, the Academy stated that since the film went into national release in the beginning of 1943, it would be included in that year's nominations.[125] Casablanca was nominated for eight Academy Awards, and won three. As Bogart stepped out of his car at the Academy Awards ceremony, "the crowd surged forward, almost engulfing him and his wife, Mayo Methot. It took 12 police officers to rescue the two, and a red-faced, startled, yet smiling Bogart heard a chorus of cries of 'good luck' and 'here's looking at you, kid' as he was rushed into the theater."[126]

text: When the award for Best Picture was announced, producer Hal B. Wallis got up to accept, but studio head Jack L. Warner rushed up to the stage "with a broad, flashing smile and a look of great self-satisfaction," Wallis later recalled. "I couldn't believe it was happening. Casablanca had been my creation; Jack had absolutely nothing to do with it. As the audience gasped, I tried to get out of the row of seats and into the aisle, but the entire Warner family sat blocking me. I had no alternative but to sit down again, humiliated and furious ... Almost forty years later, I still haven't recovered from the shock."[126] This incident would lead Wallis to leave Warner Bros. in April.[127]

text:
Award
Category
Nominee
Result

16th Academy Awards
Outstanding Motion Picture
Warner Bros. (Hal B. Wallis, Producer)
Won

Best Director
Michael Curtiz
Won

Best Actor
Humphrey Bogart
Nominated

Best Supporting Actor
Claude Rains
Nominated

Best Writing, Screenplay
Julius J. Epstein, Philip G. Epstein, and Howard Koch
Won

Best Cinematography
Arthur Edeson
Nominated

Best Film Editing
Owen Marks
Nominated

Best Music (Score of a Dramatic or Comedy Picture)
Max Steiner
Nominated

text: In 1989, the film was one of the first 25 films selected for preservation in the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant".[128] In 2005, it was named one of the 100 greatest films of the last 80 years by Time magazine (the selected films were not ranked). Screenwriting teacher Robert McKee maintains that the script is "the greatest screenplay of all time".[17] In 2006, the Writers Guild of America, West agreed, voting it the best ever in its list of the 101 greatest screenplays.[129] The film has been selected by the American Film Institute for many of their lists.

text:
Year
Category
Rank

1998
AFI's 100 Years...100 Movies
2

2001
AFI's 100 Years...100 Thrills
37

2002
AFI's 100 Years...100 Passions
1

2003
AFI's 100 Years...100 Heroes and Villains
4: Rick Blaine (hero)

2004
AFI's 100 Years...100 Songs
2: "As Time Goes By"

2005
AFI's 100 Years...100 Movie Quotes
5, 20, 28, 32, 43, and 67: See "Writing" above.

2006
AFI's 100 Years...100 Cheers
32

2007
AFI's 100 Years...100 Movies (10th Anniversary Edition)
3

text: Home media releases[edit]

text: Casablanca was initially released on Betamax and VHS by Magnetic Video and later by CBS/Fox Video (as United Artists owned the rights at the time). It was next released on laserdisc in 1991, and on VHS in 1992—both from MGM/UA Home Entertainment (distributing for Turner Entertainment Co.), which at the time was distributed by Warner Home Video. It was first released on DVD in 1997 by MGM, containing the trailer and a making-of featurette (Warner Home Video reissued the DVD in 2000). A subsequent two-disc special edition, containing audio commentaries, documentaries, and a newly remastered visual and audio presentation, was released in 2003.[130]

text: An HD DVD was released on November 14, 2006, containing the same special features as the 2003 DVD.[131] Reviewers were impressed with the new high-definition transfer of the film.[132]

text: A Blu-ray release with new special features came out on December 2, 2008; it is also available on DVD.[133] The Blu-ray was initially only released as an expensive gift set with a booklet, a luggage tag and other assorted gift-type items. It was eventually released as a stand-alone Blu-ray in September 2009. On March 27, 2012, Warner released a new 70th Anniversary Ultimate Collector's Edition Blu-ray/DVD combo set. It includes a brand-new 4K restoration and new bonus material.[134][135]

text: Sequels and other versions[edit]

text: Almost from the moment Casablanca became a hit, talk began of producing a sequel. One titled Brazzaville (in the final scene, Renault recommends fleeing to that Free French-held city) was planned, but never produced.[136] Since then, no studio has seriously considered filming a sequel or outright remake. François Truffaut refused an invitation to remake the film in 1974, citing its cult status among American students as his reason.[137] Attempts to recapture the magic of Casablanca in other settings, such as Caboblanco (1980), "a South American-set retooling of Casablanca",[138] and Havana (1990)[139] have been poorly received.

text: Stories of a Casablanca remake or sequel nonetheless persist. In 2008, the Daily Mail reported that Madonna was pursuing a remake set in modern-day Iraq.[140] In 2012, both The Daily Telegraph and Entertainment Weekly reported on efforts by Cass Warner, granddaughter of Harry Warner and friend of the late Howard Koch, to produce a sequel featuring the search by Rick Blaine and Ilsa Lund's illegitimate son for the whereabouts of his biological father.[141][142]

text: The novel As Time Goes By, written by Michael Walsh and published in 1998, was authorized by Warner.[143][144] The novel picks up where the film leaves off, and also tells of Rick's mysterious past in America. The book met with little success.[145] David Thomson provided an unofficial sequel in his 1985 novel Suspects.[146]

text: There have been two short-lived television series based upon Casablanca, both sharing the title. The first, a Cold War espionage program set during the production's present day, aired on ABC as part of the wheel series Warner Bros. Presents in hour-long episodes from 1955 to 1956, with Charles McGraw as Rick and Marcel Dalio, who played Emil the croupier in the movie, as the police chief.[147] The second series, briefly broadcast on NBC in April 1983, starred David Soul as Rick and was cancelled after 3 weeks.[137]

text: There were several radio adaptations of the film. The two best-known were a thirty-minute adaptation on The Screen Guild Theater on April 26, 1943, starring Bogart, Bergman, and Henreid, and an hour-long version on the Lux Radio Theater on January 24, 1944, featuring Alan Ladd as Rick, Hedy Lamarr as Ilsa, and John Loder as Victor Laszlo. Two other thirty-minute adaptations were aired: on Philip Morris Playhouse on September 3, 1943, and on Theater of Romance on December 19, 1944, in which Dooley Wilson reprised his role as Sam.[148]

text: Julius Epstein made two attempts to turn the film into a Broadway musical, in 1951 and 1967, but neither made it to the stage.[149] The original play, Everybody Comes to Rick's, was produced in Newport, Rhode Island, in August 1946, and again in London in April 1991, but met with no success.[150] The film was adapted into a musical by the Takarazuka Revue, an all-female Japanese musical theater company, and ran from November 2009 through February 2010.[151]

text: Colorization[edit]

text: Casablanca was part of the film colorization controversy of the 1980s,[152] when a colorized version aired on the television network WTBS. In 1984, MGM/UA hired Color Systems Technology to colorize the film for $180,000.[153] When Ted Turner of Turner Broadcasting System purchased MGM/UA's film library two years later, he canceled the request, before contracting American Film Technologies (AFT) in 1988. AFT completed the colorization in two months at a cost of $450,000.[153] Turner later reacted to the criticism of the colorization, saying, "[Casablanca] is one of a handful of films that really doesn't have to be colorized. I did it because I wanted to. All I'm trying to do is protect my investment."[153]

text: The Library of Congress deemed that the color change differed so much from the original film that it gave a new copyright to Turner Entertainment. When the colorized film debuted on WTBS, it was watched by three million viewers, not making the top-ten viewed cable shows for the week. Although Jack Matthews of the Los Angeles Times called the finished product "state of the art", it was mostly met with negative critical reception.[153] It was briefly available on home video. Gary Edgerton, writing for the Journal of Popular Film & Television criticized the colorization, "... Casablanca in color ended up being much blander in appearance and, overall, much less visually interesting than its 1942 predecessor."[153] Bogart's son Stephen said, "if you're going to colorize Casablanca, why not put arms on the Venus de Milo?"[137]

text: Anecdotes and inaccuracies[edit]

text: Several rumors and misconceptions have grown up around the film, one being that Ronald Reagan was originally chosen to play Rick. This originated in a press release issued by the studio early on in the film's development, but by that time the studio already knew that he was going into the Army, and he was never seriously considered.[154] George Raft claimed that he had turned down the lead role. Studio records make clear that Wallis was committed to Bogart from the start.[155]

text: Another well-known story is that the actors did not know until the last day of shooting how the film was to end. The original play (set entirely in the cafe) ended with Rick sending Ilsa and Laszlo to the airport. During scriptwriting, the possibility was discussed of Laszlo being killed in Casablanca, allowing Rick and Ilsa to leave together, but as Casey Robinson wrote to Hal Wallis before filming began, the ending of the film "set up for a swell twist when Rick sends her away on the plane with Laszlo. For now, in doing so, he is not just solving a love triangle. He is forcing the girl to live up to the idealism of her nature, forcing her to carry on with the work that in these days is far more important than the love of two little people."[156] It was certainly impossible for Ilsa to leave Laszlo for Rick, as the production code forbade showing a woman leaving her husband for another man. The concern was not whether Ilsa would leave with Laszlo, but how this result could be engineered.[157] The problem was solved when the Epstein brothers, Julius and Philip, were driving down Sunset Boulevard and stopped for the light at Beverly Glen. At that instant the identical twins turned to each other and simultaneously cried out, "Round up the usual suspects!"[158] By the time they had driven past Fairfax and the Cahuenga Pass and through the Warner Brothers studio's portals at Burbank, in the words of Julius Epstein, "the idea for the farewell scene between a tearful Bergman and a suddenly noble Bogart" had been formed and all the problems of the ending had been solved.[159] The confusion was probably caused by Bergman's later statement that she did not know which man she was meant to be in love with. Rewrites did occur during the filming, but Aljean Harmetz's examination of the scripts has shown that many of the key scenes were shot after Bergman knew how the film would end; any confusion was, in critic Roger Ebert's words, "emotional", not "factual".[16]

text: The film has several logical flaws, the foremost being the two "letters of transit" which enable their bearers to leave Vichy French territory. According to the  audio (help·info), Ugarte says the letters had been signed by (depending on the listener) either Free French General Charles de Gaulle or Vichy General Maxime Weygand. The English subtitles on the official DVD read de Gaulle; the French ones specify Weygand. Weygand had been the Vichy Delegate-General for the North African colonies until November 1941, a month before the film is set. De Gaulle was the head of the Free French government in exile, so a letter signed by him would have provided no benefit.[37] A classic MacGuffin, the letters were invented by Joan Alison for the original play and never questioned.[160]

text: In the same vein, though Laszlo asserts that the Nazis cannot arrest him, saying, "This is still unoccupied France; any violation of neutrality would reflect on Captain Renault," Ebert points out, "It makes no sense that he could walk around freely. ... He would be arrested on sight."[16]

text: In addition, no uniformed German troops were stationed in Casablanca during World War II, and neither American nor French troops occupied Berlin in 1918.[37]

text: According to Harmetz, the usual route out of Germany, at least for people in the film industry, was not via Morocco and Lisbon but via Vienna, Prague, Paris, and England. Only the film's technical adviser, Robert Aisner, traced the path to Morocco shown in the film's opening scene.[161]


document_title: Field goal

question_text: who kicked the longest field goal in 2017

root

text: Field goal

text: Strategy[edit]

text: As a field goal is worth only three points, while a touchdown scores at least six (which usually becomes seven with a successful conversion, and potentially 8 with a two-point conversion), teams will generally attempt a field goal only in the following situations:

tag: p

text:
It is fourth down (third down in Canadian rules), especially if the offense is more than a yard or two from a new first down, and within about 45 yards of the goal posts.
In the first half, there is enough time remaining to execute only one more play.
In the second half, there is enough time remaining to execute only one more play, and the team on offense needs three points to win or tie (four points in a few leagues given special circumstances).
The game is in overtime, and a FG is the quickest, easiest, and least risky way to end the match.

tag: ul

text: Except in desperate situations, a team will generally attempt field goals only when keeping a drive alive is unlikely, and its kicker has a significant chance of success, as a missed field goal results in a turnover at the spot of the kick (in the NFL) or at the line of scrimmage (in the NCAA). In American high school rules and Canadian football, where a missed field goal is treated the same as a punt, most teams still opt not to attempt field goals from very long range since field goal formations are not conducive to covering kick returns. Even under ideal conditions, the best professional kickers historically had difficulty making kicks longer than 50 yards consistently (the NFL record is 64 yards and the CFL record, 62 yards).[2] If a team chooses not to attempt a field goal on their last down, they can punt to the other team. A punt cannot score any points in American football unless the receiving team touches the ball first and the kicking team recovers it (though it can result in a single in Canadian football), but it may push the other team back toward its own end.

text: The longest field goal kick in NFL history is 64 yards, a record set by Matt Prater on December 8, 2013. The previous record was 63, originally set by Tom Dempsey and then matched by Jason Elam, Sebastian Janikowski, and David Akers. High school, college and most professional football leagues offer only a three-point field goal; however, some professional leagues have encouraged more rare kicks through four-point field goals. NFL Europe encouraged long field goals of 50 yards or more by making those worth four points instead of three (much like Australian rules' Super Goal or basketball's three-point line), a rule since adopted by the Stars Football League. Similarly, the sport of arena football sought (unsuccessfully) to repopularize the drop kick by making that worth four points; it failed, since only one kicker (Brian Mitchell) was able to do it with any semblance of proficiency. (In six-man football, where there is no offensive line, all field goals are worth four points instead of the usual three.)

text: The overall field goal percentage during the 2010 NFL season was 82.3. In comparison, Jan Stenerud, one of only two pure kickers in the Pro Football Hall of Fame (along with Ray Guy), had a career field goal percentage of 66.8 from 1967 to 1985.[2]

text: How field goals are kicked[edit]

text: When a team decides to attempt a field goal, it will generally line up in a very tight formation, with all but two players lined up along or near the line of scrimmage: the placekicker and the holder. The holder is usually the team's punter or backup quarterback.[citation needed] Instead of the regular center, a team may have a dedicated long snapper trained especially to snap the ball on placekick attempts and punts.

text: The holder usually lines up seven to eight yards behind the line of scrimmage, with the kicker a few yards behind him. Upon receiving the snap, the holder holds the ball against the ground vertically, with the stitches away from the kicker. The kicker begins his approach during the snap, so the snapper and holder have little margin for error. A split-second mistake can disrupt the entire attempt.

text: The measurement of a field goal's distance is from the goalpost to the point where the ball was positioned for the kick by the holder. In American football, where the goalpost is located at the back of the end zone (above the end line), the ten yards of the end zone are added to the yard line distance at the spot of the hold.

text: In the early days of the sport, placekickers approached the ball straight on, with the toe making first contact with the ball. The technique of kicking the ball "soccer-style", by approaching the ball at an angle and kicking it with the instep, was introduced by kicker Pete Gogolak in the 1960s.[3] The Hungarian-born Gogolak, reflecting his roots in European soccer, observed that kicking the ball at an angle could cover more distance than kicking straight on; today, the soccer-style kick is now universal; the last straight on kicker in the NFL was Mark Moseley, who last played in 1986.

text: Successful field goals[edit]

text: If there is any time left in the half, the method of resuming play after a successful field goal varies between leagues.

text: Missed field goals[edit]

text: A missed field goal is said to be "no good" if the kicked ball does not cross between the uprights and/or over the crossbar of the goal posts. If it misses to the posts' left it may be called "wide left" and "wide right" if it misses to the posts' right. A field goal attempt may be described as "short" if it does not have sufficient distance to go over the cross bar. Some commentators will only describe a field goal attempt as being short if it appears to have been aimed correctly while others will describe an attempt appearing to lack both accuracy and distance as being both wide and short.

text: If a field goal attempt is missed and does not go out of bounds, a defensive player may catch the ball and return it, like a punt or kickoff. This type of play usually occurs during an extremely long field goal attempt due to the distance the defense must travel to reach the returner. If there is a significant likelihood of a miss and the strategic game situation warrants it, the defense places a player downfield, in or near their end zone, to catch the ball. The risk in this is that the return man may be tackled deep in his own territory, at a considerably worse position than he could have gotten by letting the ball go dead (see below); furthermore, should the returner fumble the ball, the kicking team can recover it and gain a new set of downs (the advantage is that the kicking team is lined up very close together to stop kick blockers, and not spread across the field like a kickoff or punt team, and is therefore in poor position to defend the return). Thus, teams will usually return a kick only towards the end of a half (when the kick will be the final play) or in a particularly desperate situation.

text: If a ball caroms off one of the goal posts or the crossbar, but lands in the field of play, the ball is considered dead and cannot be returned. (This is not the case in arena football, where large "rebound nets" surround the goal posts for the explicit purpose of keeping the ball in play.) However, if the ball caroms off one of the goal posts or the crossbar and continues into the goal, the score counts.

text: Situations where the defense does not return a missed field goal vary between leagues and levels of play:

text: Blocked field goals[edit]

text: Occasionally, the defense will succeed in blocking a field goal. If a blocked field goal is in or behind the neutral zone, it is treated like a fumble and can be advanced by either team. Beyond the neutral zone, a blocked kick is treated like a punt and can be advanced only by the defense, unless a defensive player fumbles the ball, after which an offensive player can advance it.

text: History[edit]

text: In the early days of football, kicking was highly emphasized. In 1883, the scoring system was devised, with field goals counting for 5 points, and touchdowns and conversions worth 4 apiece. In 1897, the touchdown was raised to 5 points while the conversion was lowered to 1 point. Field goals were devalued to 4 points in 1904, and then to the modern 3 points in 1909. The touchdown was changed to 6 points in 1912 in American football; the Canadian game followed suit in 1956.

text: The spot of the conversion has also changed through the years. In 1924, NCAA rules spotted the conversion at the 3-yard line, before moving it back to the 5-yard line in 1925. In 1929, the spot was moved up to the 2-yard line, which the NFL had done until 2014. In 1968, the NCAA diverged from the NFL rules in moving the spot back to the original 3-yard line. Canadian rules originally spotted the conversion at the 5-yard line, which remains closer than in the American code as the goalposts are at the front of the end zone. In 2015, to make conversion kicks harder, the NFL and CFL moved the spot of the kick to the 15 and 25-yard lines, respectively. In addition, the CFL moved the spot for a two-point conversion up to the 3-yard line to entice more teams to go for 2 points as opposed to one.

text: The goalposts were originally located on the goal line; this led to many injuries and sometimes interfered with play. The NCAA moved the goal posts to the rear of the end zone in 1927. The NFL (still following NCAA rules at the time) followed suit, but moved the posts back to the goal line starting in the 1932 NFL Playoff Game, a change made necessary by the size of the indoor Chicago Stadium and kept when the NFL rules stopped mirroring the NCAA rules in 1933. The NFL kept the post at the goal line until 1974, when they were moved back to the rear of the end zone. This was partly a result of the narrowed hashmark distance made in 1972, which had made for easier field-goal angles. The Canadian game still has posts on the goal line.

text: The width of the goalposts and the hashmarks have also varied throughout the years. In 1959, the NCAA goalposts were widened to 23 feet 4 inches (7.11 m), the standard width for high school posts today. In 1991, the college goalposts were reduced in width to 18 ft 6 in (5.64 m), matching the NFL. For the 1991 and 1992 seasons, this meant potentially severe angles for short field goal attempts, since the hashmark width remained at 53 ft 4 in (16.26 m). In 1993, the NCAA narrowed the distance between the hashmarks to 40 ft (12.19 m), matching what was the width of hashmarks in the NFL from 1945 through 1971; the NFL narrowed the hashmarks in 1972 to goalpost width at 18.5 feet (5.64 m). In the CFL, the hashmarks are 51 feet (16 m), but the field is 195 feet (59 m) in width, 35 feet (11 m) wider than the American field.

text: The NFL increased the height of the uprights above the crossbar to 20 feet (6.10 m) in 1966 and 30 feet (9.14 m) in 1974. In 2014, they were raised five feet to 35 feet (10.67 m) after the adoption of a proposal by New England Patriots head coach Bill Belichick.[7]

text: The "slingshot" goalpost, with a single post curving to support the crossbar, was invented by Jim Trimble and Joel Rottman in Montreal, Quebec, Canada.[8] The first were built by Alcan and displayed at Expo 67,[8][9] the World's fair in Montreal. The NFL had standardized the goalposts in 1966 and adopted the slingshot for the 1967 season;[8] the NCAA later adopted the same rule, but later allowed the use of "offset" goalposts, with two posts rather than one (which were the norm prior to the invention of the "slingshot" goalposts). The CFL was the first league to use the new goalposts; they made their debut in the 2nd game of the CFL's Eastern Conference final in 1966 (which was played at Montreal's Autostade as Landsdowne Park [now TD Place Stadium], the home of Ottawa Rough Riders, was undergoing renovations), and were used in the Grey Cup the next week at Vancouver's Empire Stadium. Three schools in Division I FBS currently use dual-support posts: Florida State, LSU, and Washington State. A special exemption was allowed by the NFL for the New Orleans Saints to use the offset goalposts during the 2005 season, when they used LSU's stadium for home games after Hurricane Katrina.

text: Goalposts at the professional level today are sometimes equipped with a camera mounted to the stanchion immediately behind the center of the crossbar. Since these cameras are both above and slightly behind the crossbar, a field goal attempt will be judged good if it strikes this equipment.

text: In 1989, the NCAA banned the kicking tee for field goals and extra points, requiring kicks from the ground.[10][11]

text: During the 2011 NFL season, a record 90 field goals of 50 yards or longer were made.[12] In 2012, this record was increased to 92 field goals of 50 yards or longer.[12]

text: Longest field goal records[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2010) (Learn how and when to remove this template message)

tag: table

text: As recorded in Guinness World Records:

text: The record for a field goal at any level is 69 yards. It was kicked by Ove Johansson of the Abilene Christian University Wildcats in the 1976 game against East Texas State University Lions (now Texas A&M University–Commerce) in Shotwell Stadium, Abilene, Texas.[13]

text: NFL[edit]

text: The longest field goal made was 64 yards by Matt Prater of the Denver Broncos on December 8, 2013.[14] The longest field goal attempt in an NFL game was 76 yards by Sebastian Janikowski on September 28, 2008.[15]

text: In the history of the NFL regular season, only 18 field goals have been made from at least 60 yards:[16]

text:
Distance
Kicker
Team
Result
Opposition
Date
Notes
Location
Elevation
Weather

64 yards
Matt Prater
Denver Broncos
51–28
Tennessee Titans
December 8, 2013
End of 1st half
Sports Authority Field at Mile High
5,280 ft (1,610 m)
13 °F; Sunny; Wind: S at 3 mph; Humidity: 72%

63 yards
Tom Dempsey
New Orleans Saints
19–17
Detroit Lions
November 8, 1970
Born with a stub for a right foot. Game-winning kick as time expired. Detroit kicker Errol Mann had kicked a field goal with :08 remaining to give Lions the lead.
Tulane Stadium
16 ft (4.9 m)

63 yards
Jason Elam
Denver Broncos
37–24
Jacksonville Jaguars
October 25, 1998
First field goal to tie record; soccer-style kicker
Mile High Stadium
5,280 ft (1,610 m)

63 yards
Sebastian Janikowski
Oakland Raiders
23–20
Denver Broncos
September 12, 2011
Left-footed
Sports Authority Field at Mile High
5,280 ft (1,610 m)
Light rain early

63 yards
David Akers
San Francisco 49ers
30–22
Green Bay Packers
September 9, 2012
Left-footed; end of first half; ball bounced off crossbar before crossing the plane
Lambeau Field
640 ft (200 m)
70 °F; Mostly Cloudy; Wind: N at 7 mph; Humidity: 43%

62 yards
Matt Bryant
Tampa Bay Buccaneers
23–21
Philadelphia Eagles
October 22, 2006
Game-winning kick as time expired
Raymond James Stadium
35 ft (11 m)

62 yards
Stephen Gostkowski
New England Patriots
33–8
Oakland Raiders
November 19, 2017
Right-footed; kicked as time expired at the end of the first half
Azteca Stadium
7,280 ft (2,220 m)
63 °F; Mostly Cloudy

61 yards
Sebastian Janikowski
Oakland Raiders
9–23
Cleveland Browns
December 27, 2009
Left-footed
FirstEnergy Stadium
580 ft (180 m)

61 yards
Jay Feely
Arizona Cardinals
16–19 (OT)
Buffalo Bills
October 14, 2012
Right-footed; longest game-tying field goal with 1:09 remaining in the 4th quarter, missed a 38-yard field goal that would have won the game at the end of regulation
University of Phoenix Stadium
1,150 ft (350 m)
Retractable roof closed

61 yards
Justin Tucker
Baltimore Ravens
18–16
Detroit Lions
December 16, 2013
Right-footed; game-winning field goal with 43 seconds remaining; sixth field goal of the game
Ford Field
601 ft (183 m)[17]
Dome

61 yards
Greg Zuerlein
St. Louis Rams
18–21 (OT)
Minnesota Vikings
November 8, 2015
Right-footed
TCF Bank Stadium
869 ft (265 m)
58 °F (14 °C); sunny

61 yards
Jake Elliott
Philadelphia Eagles
27–24
New York Giants
September 24, 2017
Right-footed; game winning kick as time expired. Second game of NFL career. NFL rookie record for longest made field goal.
Lincoln Financial Field
39 ft (12 m)
91 °F (33 °C); sunny

60 yards
Steve Cox
Cleveland Browns
9–12
Cincinnati Bengals
October 21, 1984
Straight-ahead kick; on AstroTurf
Riverfront Stadium
490 ft (150 m)

60 yards
Morten Andersen
New Orleans Saints
17–20
Chicago Bears
October 27, 1991
Left-footed; on AstroTurf; first 60-yard kick done indoors
Louisiana Superdome
Sea level
Dome

60 yards
Rob Bironas
Tennessee Titans
20–17
Indianapolis Colts
December 3, 2006
Right-footed; game winner with six seconds remaining
LP Field
400 ft (120 m)

60 yards
Dan Carpenter
Miami Dolphins
10–13
Cleveland Browns
December 5, 2010
End of 1st half
Sun Life Stadium
5 ft (1.5 m)
77 °F (25 °C), wind SW at 14 mph (23 km/h)

60 yards
Greg Zuerlein
St. Louis Rams
19–13
Seattle Seahawks
September 30, 2012
In his rookie season; longest field goal in third quarter; also kicked a 58-yard field goal in the first quarter
Edward Jones Dome
466 ft (142 m)
Dome

60 yards
Chandler Catanzaro
Arizona Cardinals
18–33
Buffalo Bills
September 25, 2016
Longest field goal in career
New Era Field
600 ft (180 m)

text: Prior to Dempsey's 1970 kick, the longest field goal in NFL history was a 56-yard field goal by Bert Rechichar in 1953. A 55-yard field goal, achieved by a drop kick, was recorded by Paddy Driscoll in 1924, and stood as the unofficial record until that point; some sources indicate a 54-yarder by Glenn Presnell in 1934 as the record, due to the inability to precisely verify Driscoll's 55-yarder.

text: In a pre-season NFL game between the Denver Broncos and the Seattle Seahawks on August 29, 2002, Ola Kimrin kicked a 65-yard field goal.[18] However, because pre-season games are not counted toward official records, this accomplishment is not the official record.

text: CFL[edit]

text:
62 yards, Paul McCallum, Saskatchewan Roughriders vs. Edmonton Eskimos, October 27, 2001[19]
60 yards, Dave Ridgway, Saskatchewan Roughriders vs. Winnipeg Blue Bombers, September 6, 1987[19]

text: College football[edit]

text:
69 yards, Ove Johansson, Abilene Christian vs. East Texas State on October 16, 1976. (NAIA)
67 yards, Tom Odle, Fort Hays State vs. Washburn, 1988. (NCAA)
67 yards, Joe Williams, Wichita State vs. Southern Illinois, 1978. (NCAA Division I)
67 yards, Russell Erxleben, Texas vs. Rice, 1977. (NCAA Division I)
67 yards, Steve Little, Arkansas vs. Texas, 1977.[20] (NCAA Division I)
65 yards, J. T. Haxall, Princeton vs. Yale, 1882.

text: All of the above kicks were successful with the use of a kicking tee, which was banned by the NCAA after the 1988 season.

text: 65 yards, Martin Gramatica, Kansas State vs. Northern Illinois, 1998 - without a tee [21]

text: The longest known drop-kicked field goal in college football was a 62-yard kick from Pat O'Dea, an Australian kicker who played on the Wisconsin Badgers football team. O'Dea's kick took place in a blizzard against Northwestern on November 15, 1898.[22]

text: U Sports[edit]

text: The longest field goal in U Sports football history is 59 yards, by Niko Difonte of Calgary Dinos, playing against the UBC Thunderbirds on November 11, 2017. The field goal was the final and winning play of the 81st Hardy Cup.[23][24]

text: High school[edit]

text:
68 yards, Dirk Borgognone, Reno High School vs. Sparks High School (Nevada), September 27, 1985[25][26]
67 yards, Austin Rehkow, Central Valley High School (Spokane Valley, Washington) vs. Shadle Park High School (Spokane, Washington), October 18, 2012, game-tying FG with :02 left in 4th quarter (CV would go on to win 62-55). [27][28] (tied with two others)
62 yards, David Rosenbaum, Woodrow Wilson High School (Washington, D.C.) vs. Spingarn High School, October 3, 2003. While no records are kept, considered to be the longest extra point scored. Penalties due to excessive celebration, unsportsmanlike conduct, and taunting.[29]

text: Independent amateur[edit]

text: 68 yards, Fabrizio Scaccia, Treasure Coast Bobcats (FL), March 29, 2009[30] (world record for a kick without the aid of a tee, which was banned for field goal and extra point attempts in the NCAA in 1989)

text: Independent Women's Football League[edit]

text: 44 yards, Sarah Oliver, California Quake vs. New Mexico Menace, April 26, 2008.[31]

text: Longest missed field goal return records[edit]

text: NFL[edit]

text: Field goal returns are rare in the NFL, since an attempt with sufficient distance that misses the uprights will automatically be dead. Returns are possible when a field goal is short, but in that case returners will usually down the ball so as to scrimmage from the spot of the kick. Normally, a return will only be attempted when there is not enough time left in the half to run a play from scrimmage. Nevertheless, four field goals have been returned for at least 107 yards in the 21st century:

text:
Distance returned
Returner
Team
Opposing kicker
Opposing team
Distance attempted
Date
Location

109 yards[32]
Antonio Cromartie
San Diego Chargers
Ryan Longwell
Minnesota Vikings
58 yards
November 4, 2007
Metrodome

108 yards[33]
Devin Hester
Chicago Bears
Jay Feely
New York Giants
52 yards
November 12, 2006
Giants Stadium

108 yards[34]
Nathan Vasher
Chicago Bears
Joe Nedney
San Francisco 49ers
52 yards
November 13, 2005
Soldier Field

107 yards[35]
Chris McAlister
Baltimore Ravens
Jason Elam
Denver Broncos
57 yards
September 30, 2002
Ravens Stadium

text: CFL[edit]

text: Because the goalposts in Canadian football are on the goal line, and because downing the ball in the end zone results in the kicking team scoring a single point, field goal returns are much more common. The longest missed field goal return in the CFL is 131 total yards. Against the Montreal Alouettes on August 22, 1958, the Toronto Argonauts' Boyd Carter ran 15 yards, then threw a lateral to Dave Mann, who then returned it for the final 116 yards.[36] This return, which started 21 yards behind the goal line, was during the era of 25-yard end zones (which made the maximum theoretical missed field return distance 134 yards in those days) and therefore cannot be met or exceeded on the modern field with 20-yard end zones. Since the shortening of the end zones in the CFL in 1986, a field goal has been returned for the maximum 129 yards on two occasions: by Tristan Jackson of the Saskatchewan Roughriders on July 14, 2012 [37] and by Trent Guy of the Montreal Alouettes on September 23, 2012.[38]

text: NCAA[edit]

text: In NCAA college football, only five missed field goals returns for touchdowns have ever been returned 100 yards or more:[39]

text:
September 17, 1966: Don Guest (California Golden Bears), 108-yard return for a touchdown after a failed 47-yard field goal attempt by Washington State.[39]
September 28, 1968: Richie Luzzi (Clemson Tigers), 108-yard return for a touchdown after a failed 47-yard field goal attempt by Georgia.[40]
September 7, 2013: Odell Beckham Jr. (LSU Tigers), 109-yard return for a touchdown after a failed 59-yard field goal attempt by UAB.[39]
November 30, 2013: Chris Davis, Jr. (Auburn Tigers), 109-yard return for a touchdown after what would have been a tie-breaking 57-yard field goal attempt by Alabama fell short as time expired, what some writers and fans call the greatest play in college football history.[41][42][43][44]
September 3, 2016: Brandon Wilson (Houston Cougars), 109-yard return for a touchdown after a failed 53-yard field goal attempt by Oklahoma.[45]

text: U Sports[edit]

text: In U Sports football, like in the CFL, the longest possible missed field goal return is 129 yards, and this has occurred three times.[24]

text:
Jeremy Botelho of the Manitoba Bisons playing against the Simon Fraser Clansmen on September 11, 2009
Jedd Gardner of the Guelph Gryphons playing against the McMaster Marauders on October 8, 2010
Tunde Adeleke of the Carleton Ravens playing against the Ottawa Gee-Gees on October 5, 2013


document_title: Lost in Space (2018 TV series)

question_text: who is the mom on the new lost in space

question_tokens: who is the mom on the new lost in space

text: Lost in Space (2018 TV series)

text: Premise[edit]

text: In the year 2048 the Robinson family is selected for the 24th mission of the Resolute, an interstellar spacecraft which will carry selected families to colonize a new world. The Resolute was built after a celestial object, dubbed "The Christmas Star" by the media, crashed into Earth a few years earlier, threatening humanity's survival on Earth. Before they reach their destination, an alien robot breaches the Resolute's hull. Some of the families are forced to evacuate the mothership in their short range Jupiter spacecraft. The Robinsons and other colonists crash land on a nearby habitable planet where they battle the strange new environment and their own personal demons as they attempt to find a way back to the Resolute.[1]

text: Cast[edit]

text: Main[edit]

text:
Molly Parker as Maureen Robinson, a fearless and brilliant aerospace engineer taking her family on the mission to colonize Alpha Centauri for a new life on a better world. She is a mission commander. She is married to John Robinson and is the mother of three children.[3]
Toby Stephens as John Robinson, a former U.S. Navy SEAL, and husband to Maureen. He is the biological father of Maureen's two youngest children. [4]
Maxwell Jenkins as Will Robinson, the 11-year-old son and youngest child of Maureen and John Robinson.[5]
Taylor Russell as Judy Robinson, the 18-year-old eldest child. She is a mission doctor, having received accelerated medical training.[6] John is not her biological father.[4]
Mina Sundwall as Penny Robinson, the middle Robinson child.[7]
Ignacio Serricchio as Don West, a roughneck mechanical engineer who also smuggles luxury goods.[8]
Parker Posey as Dr. Smith, whose real name is June Harris.[9] Harris is a criminal and a sociopath who uses other people's identities to claim their belongings. Harris steals her sister Jessica's identity and assumes her place on the colony ship. She later impersonates Dr. Zachary Smith, to take his seat on an evacuating Jupiter ship. After landing on the planet, she attempts to sabotage the Jupiters' chances of being rescued by the Resolute while manipulating and gaslighting the survivors to avoid prosecution for her crimes. The theft of Dr. Zachary Smith's identity is a reference to the corresponding Dr. Smith character of the original TV series.[10]
Brian Steele as the Robot,[11] an alien mechanoid being that Will encounters on the planet that his family crash lands on. The robot has a different form from the ones on the previous series and movie.[12]

text: Episodes[edit]

text: This article's plot summaries may be too long or excessively detailed. Please help improve them by removing unnecessary details and making them more concise. (April 2018) (Learn how and when to remove this template message)

text:
No.
Title
Directed by
Written by
Original release date

1
"Impact"
Neil Marshall
Matt Sazama & Burk Sharpless
April 13, 2018 (2018-04-13)

The spacecraft Resolute, a large ferris wheel style ship, is carrying colonists, including the Robinson family, to Alpha Centauri. The Resolute is attacked and colonists escape in their “family home” Jupiter landing crafts but are hurled into a wormhole, crash-landing on an Earth-like planet. The Robinsons' craft, Jupiter 2, crashes into a glacial bed. The family evacuates with some supplies before their craft sinks in rapidly freezing water. Eldest Robinson child, Judy, a doctor, dives to the ship to retrieve power equipment. She becomes encased in ice, and with five hours of oxygen left in Judy's suit, John and son, Will, set out to collect magnesium that will melt the ice. Judy guides her sister, Penny, through a medical procedure to treat their injured mother, Maureen. Inside a cave, Will falls down a chasm, landing at the edge of a forest. John radios Will, saying he will return after saving Judy. Alone, Will finds a crashed alien ship and a dismembered robot that he helps to self-repair. In return, it saves Will as a forest fire nearly engulfs them. The family attempt to free Judy, but a sudden rainstorm hinders their progress. Will and the Robot arrive, and the Robot rescues Judy. In a flashback scene, a woman steals the identity of Dr. Zachary Smith and boards a Jupiter landing, along with Don West and Tam Roughneck.

2
"Diamonds In The Sky"
Neil Marshall
Matt Sazama & Burk Sharpless
April 13, 2018 (2018-04-13)

Don West, Smith, and Debbie the chicken survive the Jupiter 18 landing. While looking for other survivors, they find Angela Goddard, who is barely alive. When a storm approaches, Don and Angela take cover while Smith heads out. Meanwhile, the robot melts more ice to allow the Robinsons to start the process of recovering the Jupiter 2. Maureen, John, Will and the robot hike to another Jupiter crash site and then later to the robot's ship. They leave Penny and Judy behind, instructing them how to carefully raise the ship out of the ice. Inside the alien ship, a holographic map of the planet is activated, showing John and Maureen they are in an unidentified galaxy. Outside, the robot touches the ship's hull, creating a mental connection to Will who learns what really happened on the Resolute. He decides to say nothing to his parents about the vision. When Penny sees the storm approaching and is unable to reach her parents to warn them, she raises the Jupiter 2 enough that the garage can be opened. She drives the ship's Chariot all-terrain vehicle to reach her family just in front of the storm. As they head back to Jupiter 2, they pass Don who sees them only to discover his flare gun is missing. The Robinsons see a flare and find Smith, who claims to be alone, returning with her to the Jupiter 2.

3
"Infestation"
Tim Southam
Zack Estrin
April 13, 2018 (2018-04-13)

In a flashback, Dr. Smith is revealed to be June Harris, the older, ex-con sister of Jess Harris, a successful businesswoman. Jess offers June her entire estate as she is leaving Earth, but June drugs Jess and assumes her sister's identity. Aboard the Resolute, she bumps into her sister's lover and there is a struggle ending in him getting blown out an airlock. June is arrested but escapes during the robot's attack. In the present, Maureen explains they are trillions of miles from Earth. At night, the ice layer over Jupiter 2 cracks, endangering the ship. They rush to complete repairs, but the engines are losing fuel. When Will and the robot discover large eel-like creatures in the conduits, the robot locks Will, along with Smith, in the storeroom for safety. The glacier shifts, which forces the crew to make an emergency take-off after flushing the eels from the engines. They escape with just enough fuel to land near a forest region. Comms pick up radio communication from other Jupiter survivors and also from Resolute, who are searching for survivors. Somebody hacks the onboard 3D printer to make a gun. Will finds it, and hides the gun under his mattress, unaware Smith is watching.

4
"The Robinsons Were Here"
Alice Troughton
Katherine Collins
April 13, 2018 (2018-04-13)

Stuck without fuel, the family initiates Jupiter 2’s colonization expansion protocol. Smith and Will discuss the robot, who does Will's bidding. Don West and Angela are rescued by the Watanabe family; Hiroki Watanabe reunites with John and Maureen at Jupiter 11 where Judy treats Angela. She tells Judy about the attack on Resolute. The Robinsons learn none of the other surviving families can fly due to the giant eels consuming fuel. John notices that one crash site is not a Jupiter ship. Maureen, John, and Don go there and discover the Resolute's comm dish. They realize the Resolute can't hear them. Maureen also discovers contraband whiskey that Don smuggled aboard. Judy confronts Will about the robot, and he reveals he knew it attacked the Resolute. They decide to hide the robot in a nearby cave, unaware Smith is following them. On the way, they're spotted by Vijay Dhar, the son of another survivor group. Penny blackmails him to say nothing about the robot, having found and keeping an item he dropped. While away, Maureen and John discuss their marital problems. The next morning, the kids return to Jupiter 2 before their parents arrive. Smith talks to the robot inside the cave, attempting to instill distrust in it about Will. When John and Maureen return home, the kids tell them that the robot wandered away.

5
"Transmission"
Deborah Chow
Kari Drake
April 13, 2018 (2018-04-13)

The surviving colonists build a light tower to try to signal the Resolute. Maureen, noticing strange weather phenomena, conducts an experiment using a weather balloon. She discovers the sun is paired with a deadly black hole, and that the disturbances will only get worse until the planet gets entirely unhabitable. Will ignores Penny and Judy's advice to tell their father about the Robot. Penny develops a crush on Vijay, flirting with him as they move supplies. Don confronts Dr. Smith about the stolen flare gun, though she claims she took it by mistake. In a flashback, Maureen and the kids discuss pros versus cons of going to Alpha Centauri. Judy and Don discuss his smuggling activities. He also reveals his suspicions about Dr. Smith's identity. Judy confronts Dr. Smith about this, but she lies and instead casts doubt on Don. When the colonists activate the light signal, Dr. Smith sneaks away and shuts off the perimeter fence, allowing a large reptilian creature to enter the camp and destroy the light tower. Smith tells John about the kids hiding the robot. When another creature shows up, Dr. Smith tells Will to call the robot. It does save the survivors, but only after Will tells it to defend itself against the creatures. It resumes its original multi-limb form to do this. The colonists witness all of this and recognize the robot from the attack on the Resolute.

6
"Eulogy"
Vincenzo Natali
Ed McCardie
April 13, 2018 (2018-04-13)

Maureen tells her family about the black hole but is afraid the other colonists might panic. John has a heated argument with the other survivors about the robot. In the end, despite an enraged Angela claiming it killed her husband, John convinces the community to allow the robot to stay and takes Will on a hike to discuss Will's responsibility for the robot's actions. He has Will fetch 27 large stones to build a memorial to the casualties. Don takes the community leader and Vijay's father, Victor Dhar, to his Jupiter which crashed in the desert where there are none of the eel-like creatures, and wants money for its fuel. Don also retrieves identification of the real Dr. Smith, later showing Judy. Maureen learns that Hiroki also knows the planet is dying. Penny tells Vijay about the black hole but swears him to secrecy, and they share a kiss. Back at camp, Dr. Smith makes the distraught Angela recount the horrifying details of the robot attack. The emotional Angela enters the hub with the gun Dr. Smith has taken from Will's bunk and arranged for her to find. When she shoots at the robot it goes into attack mode and accidentally injures John before Will get it to stop. Distraught, Will takes the robot to a cliff and orders it to walk off. He then places a stone on the memorial for the robot.

7
"Pressurized"
Tim Southam
Vivian Lee
April 13, 2018 (2018-04-13)

Driving back to Jupiter 2, Don and Judy discuss Smith. When Judy radios home, Smith answers. Judy implies that she knows the truth about Smith, but Don stops her before she reveals more. Smith tries to displace blame for Angela's rage by supposedly missing the warning signs. Maureen finds a watermark on the gun belonging to their 3D printer, and Will confirms the robot made it and he had hidden the gun under his bed. His parents note that everyone had been through their Jupiter at some time and anyone could've taken the gun; Smith directs their suspicions to Victor. While driving, John and Maureen flee a geo-phenomenon and end up stuck in a tar pit into which the vehicle slowly submerges. While trapped inside, John opens up about his choices leading to their departure, and Maureen admits to altering Will's failed test results to bring him on the mission. To escape the vehicle, Maureen uses the helium weather balloon to create a shielded path to the surface. Meanwhile, Smith locates the destroyed robot, collecting parts and assuming it will then reassemble and be subservient to her, but the robot does not reassemble. Don's group detours through a dangerous geyser patch after another quake, but a line between the fuel tanker and the chariot disconnects. Evan manually fixes the problem, but a geyser blast flips the tanker on top of him. When Judy's calls for the tanker to be lifted, Victor realizes that a rock has punctured the tanker and if they move it they'll lose most of the fuel. He orders that they leave Evan in place until another tanker can be retrieved to move the fuel to, but Don reluctantly sides with Judy and the tanker is lifted, dumping most of the fuel. Despite their efforts, Evan dies while en route back to base camp. Back on Jupiter 2, while Penny helps Will recover from having the robot walk off the cliff and 'die', Smith reviews Will's logs to find a frequency that reactivates the robot. When Victor returns home, Vijay tells him about the planet's coming demise. Victor decides to use what fuel they did retrieve to launch their own Jupiter 4.

8
"Trajectory"
Stephen Surjik
Katherine Collins & Kari Drake
April 13, 2018 (2018-04-13)

As the Dhar's Jupiter 4 is mid-launch, Maureen radios Victor, urgently warning him that the ship has too little fuel to escape the planet's atmosphere and will crash. John infiltrates the Jupiter 4, and activates the emergency shut down. He gathers all survivors to explain the planet's situation. One ship can be launched using Maureen's plan to incorporate NASA's early mission protocols. The Jupiter 4 will be stripped of excess weight and systems, and the launch controlled from the ground, though once aloft needs a pilot. Penny confronts Vijay for betraying her confidence and he says they should no longer spend time together. Don and Judy arrive during the Jupiter 4 preparations and to avoid them Smith offers to take Will back to the Jupiter 2 so he can complete his tasks for the launch. Maureen confronts Victor about giving Angela the gun, which he denies. Then Judy tells Maureen the truth about 'Dr. Smith'. Don explains to John that Maureen's calculations are incorrectly assuming that the Jupiter ships match their specs and can run with the excess systems removed, and thus her plan to launch the Jupiter 4 will not work. Returning to Jupiter 2, Maureen tricks Smith and confines her to a storeroom. Smith recounts partial truths and claims she is really Jessica Harris, a physicist, and implies she may have sabotaged Jupiter 4. Maureen tells John about Smith, and he tells her that Don believes the Jupiter 4 is still too heavy to take off. The plan is adapted to remove the life support and pressure systems from the Jupiter 4 and have John pilot it in a suit, because he has the fastest record for reawakening after losing consciousness from extreme g-forces. But John fails to regain necessary cognitive function fast enough in multiple test runs. When the Resolute sends a message that due to Hawking radiation they must leave the planet's orbit within 24 hours, Don reluctantly agrees to help pilot the ship. With his assistance the test run is a success. In holding, Smith convinces Will that the robot, whose head is in her bag, is the only one who can survive piloting the Jupiter 4. As John and Don launch in the Jupiter 4, Smith escapes, leaving Will bound, and knocking Maureen out before she can give John the course change information. With everyone else watching, the ship explodes mid-air and John and Don are presumed dead.

9
"Resurrection"
Tim Southam
Story by : Daniel McLellan
Teleplay by : Kari Drake
April 13, 2018 (2018-04-13)

In a flashback, Maureen wonders how Earth's detection network failed to detect the Christmas Star meteor months in advance. Meanwhile, Will is transmitting a radio signal to John, who is on a tour of duty. In the present, Will uses the same radio frequency to try and signal his father, convinced he survived the explosion. Judy and Penny want to focus on figuring out where Dr. Smith took Maureen, who wakes up in the back of the chariot. Smith tells her that she didn't know Maureen needed to help John and Don pilot the ship, so when she knocked her out to kidnap her, the ship exploded and they were killed. She insists that if Maureen helps her with the alien ship, she will get the kids off the planet. Will discovers that the rocks he collected in the cave are petrified biomass that can fuel the Jupiter ships to reach the Resolute. Hiroki confirms this could work, but warns that an analysis of the waste shows that the creature which has been defecating in that cave is an apex predator. While they decide to gather the others to harvest the material from the cave, Judy leaves to find Maureen. Smith is frustrated when bringing the robots parts to its ship did not cause it to reassemble, feeling sure that the noises the ship was previously making powered the robot. The rest of the group ventures further into the cave than the kids and robot originally did, and find there is enough biomass to power the ships, but they must sneak it out quietly because the winged predators roost in the cave during the day.
Back at the robot's ship, Maureen insists that if anyone can figure out how to restore power to the ship, it's her. A flashback to a conversation with her supervisor on the Resolute design reveals that the technology to power the ship should've been decades away just months before they launched. In present time, Smith is standing against a wall inside the ship when Maureen notices strands of Smith's hair standing up and recalls a similar incident on the Resolute. In the cave, Will's radio beeps when it receives a signal from John, which awakens the creatures. Angela, Hiroki, Penny, and Vijay are trapped inside with the creatures, who are blind and hunt by sound. Maureen and Smith manage to open the panel in front of the wall, revealing the engine of the ship. When Maureen says she's never seen anything like it, Smith recalls being on the Resolute after escaping custody during the attack, and overhearing two administrators arguing over its engine, which they reveal was stolen from the aliens whom they always worried would come back for it. Maureen concludes that the Christmas Star was not a meteor but another alien craft that was likely shot down by the U.S. government, who took the engine and used it in the Resolute. The robot was sent to the Resolute to retrieve it. The group trapped in the cave manage to narrowly escape, though Penny ends up face-to-face with one creature before Angela throws a rock to distract it. Outside the cave, Will tells Penny that he has had more communication with John, Angela apologizes for attacking the robot and Penny accepts an apology from Vijay but not an offer to restart their relationship. Judy uses GPS to track Smith and Maureen. Using the chicken as a distraction, Judy tranquilizes Smith and frees Maureen. On fleeing, the robot is reactivated and blocks their escape; it is now linked to Smith.

10
"Danger, Will Robinson"
David Nutter
Matt Sazama & Burk Sharpless
April 13, 2018 (2018-04-13)

John and Don survived the explosion and are clinging to ship wreckage in orbit, with only 2 hours of air left in their tanks. Having snuck off of Hiroki's ship to wait for Maureen and Judy to return, Will and Penny are preparing the Jupiter 2 for launch as they watch the other Jupiters leave the planet. They use Will's transmitter to communicate with John, using Morse code, that they have found fuel. Maureen, Judy, Smith and the robot arrive on the chariot, and Will is very upset to find out that the robot now serves Smith. John responds to Will, revealing for the first time to Maureen and Judy that he and Don are still alive. He sends them a message that he will be signalling them to find he and Don on the ship debris. Maureen persuades Smith to help her rescue him before rendezvousing with Resolute. While prepping the ship for launch, Will tries to reach out to the robot again and is rejected. When the Jupiter 2 reaches orbit they are confused to find there's still gravity on the ship, which seems to be the result of the robot having attached its ship's engine to the bottom of the chariot. They receive a call from Victor, informing them that the other Jupiters are safe and they have 63 minutes to dock with Resolute before it leaves. When the computer says they do not have enough fuel for the course correction to find John and Don, Smith, flanked by the robot, orders Maureen to abandon the search and fly to the Resolute. Maureen dives the ship back towards the planet. The Robot's protection response is triggered, and it forces Smith into the hub, the ship's strongest section. Maureen locks Smith and the robot inside.
While searching for John, Will confronts Maureen about him failing the test and how she manage to get him into the 24th colony group by illegal means. John and Don manage to signal Maureen, but Smith and the robot escape the hub just as they're about to get close enough to retrieve them with a harpoon gun, which comes up a few feet short of reaching them. Maureen leads the robot into the garage, where she tells the kids to hide in the pressurized chariot while she puts on her helmet. Will also puts on his helmet and stays outside the chariot, where he again tries and fails to reestablish his connection to the robot. Maureen manages to blow it out the garage door. An alien ship arrives to retrieve the engine. Will's robot and the alien one force the garage door open and climb back into Jupiter 2. When Will's robot shows the other where the engine is hidden, it shoots the chariot aside and takes its engine. Just as the alien robot is about to kill Will, his robot remembers him and attacks the alien robot, saving Will. In the fight, the alien engine is discarded in a corner of the garage. and both robots are flung out into space. Maureen's helmet and the window of the chariot are cracked and leaking air, they are unable to close the damaged ramp and reseal the garage. Despite Maureens' protests, Will goes outside the hull to manually close the hatch. He shuts it, but because of his injured shoulder, loses his grip and floats away. He is caught by John, who has grabbed on to the tethered harpoon that Smith re-shot after Maureen's first attempt failed. With everyone back on the ship, Maureen is grateful to Smith for saving John, but says she will never let Smith out again. The Resolute finds them, but before they can dock, the alien engine aboard the Jupiter 2 takes control of the ship and triggers some form of faster-than-light travel mechanism, instantly sending the Jupiter 2 to a different galaxy. Will recognizes its shape from the robot's sand drawing: Danger.

text: Production[edit]

text: Development[edit]

text: In October 2014, it was announced that Legendary Television was developing a new reboot of Lost in Space and had hired Dracula Untold screenwriting duo Matt Sazama and Burk Sharpless to pen the new series.[13] In November 2015, Netflix landed the project.[14][15] On June 29, 2016, Netflix officially ordered a full 10 episode season of Lost in Space, with Zack Estrin as executive producer and showrunner. Sazama, Sharpless, Kevin Burns, Jon Jashni, Neil Marshall, and Marc Helwig also serve as executive producers.[16]

text: Toby Stephens, speaking about the distinction between the original series and the new show:

text: "It’s a very clever, modern reworking of a great story. Lost In Space is Swiss Family Robinson in space, so it was a story that existed before Lost In Space. The fundamental story is that it’s a family that is lost in a difficult, life-threatening situation and how it challenges them and brings them closer together. That is essentially what the story of this is, it’s just the context is a lot more modern. It's a more modern take on the '60s version. If you look at it now, it's charming, but it seems so innocent. Whereas this is a version that is for our time. I’m hoping it will still have humour and humanity in it, but it has obviously gotta be for a modern audience."[17]

text: Filming[edit]

text: Production on the first season began in January 2017, in Vancouver, British Columbia, and concluded in June 2017.[18][19]

text: Release[edit]

text: The series was released on April 13, 2018, on Netflix.[1] On March 31, 2018, the pilot of the series was screened at Awesome Con in Washington, D.C., followed by a Q&A session with series executive directors and writers Matt Sazama and Burk Sharpless.[20]

text: Reception[edit]

text: The review aggregator website Rotten Tomatoes reported a 68% approval rating with an average rating of 5.26/10, based on 49 reviews. The website's critical consensus reads, "Lost in Space's production values are ambitious enough to attract sci-fi adventure fans, while the story's large heart adds an emotional anchor to all the deep space derring-do."[21] Metacritic, which uses a weighted average, assigned a normalized score of 58 out of 100 based on 27 critics, indicating "mixed or average reviews".[22]

text: David Griffin of IGN gave the first season a rating of 8.5/10 calling it "an excellent sci-fi adventure with a slight villain problem," giving particular praise to the Robinson family, while criticizing Parker Posey's Dr. Smith as an unsophisticated and one-dimensional character that lacks redeeming qualities. [23]