document_title: Time-out (sport)

question_text: how long is an nba 20 second timeout

question_tokens: how long is an nba 20 second timeout

text: Time-out (sport)

text: List of time-out rules by sport[edit]

text: Baseball[edit]

text: Baseball players and managers of both the offense and defense, as well as umpires, can request time out for a number of purposes, such as for a batter to step out of the batter's box to better prepare for a pitch, to replace a worn ball, for a manager to speak with a player or umpire or to replace one player with another (for which a time-out is required by the rules), etc. The requested time out is not effective unless an umpire grants it verbally or by hand signal (both hands raised). Since there is no clock in baseball, the main effect of a time out is to temporarily prevent the defensive team from tagging base runners out or delivering a pitch as well as to prevent base runners from advancing. However, the catcher may also request timeout once the pitcher has stepped on the rubber; usually with the intention of either "resetting" the play, or to deliver some information to the pitcher via either signals or a visit to the mound. Under certain (uncommon) circumstances specified by the rules, umpires are required to call time out, even while a play is in progress, such as certain cases of interference. Unlike many other sports, the rules of baseball do not limit time outs, either by number or duration. The end of the time out is indicated by an umpire verbally declaring "Play!" and/or by pointing at the pitcher while he is holding the ball (these umpire signals are identical to those used to start a game or resume play after the ball has become "dead," for example due to a half-inning ending). Since baseball provides natural breaks in the action when teams exchange offensive and defensive roles between half-innings (two minutes, five seconds normally; two minutes and twenty-five seconds for nationally televised games[1]), TV timeouts are not necessary.

text: Other than coaching visits, which the umpires ensure stay brief, timeouts theoretically have no time limits. However, when no runners occupy a base, a pitcher must deliver the pitch within twelve seconds of receiving the ball from the catcher or else a "delay of game" is called, resulting in a ball.[2] Also, any relief pitcher is limited to eight warm-up throws before play resumes, except in special circumstances (such as a pitcher substitution due to injury).

text: Though not officially recognized as a "timeout," a stoppage in play can also be requested by the defense. This can be accomplished in several ways. First, once in his "set" position, the pitcher may stop play by stepping off the rubber prior to his windup. Secondly, the catcher may visit the pitcher at any point before he steps on the rubber. Finally, the manager or pitching coach may also visit the pitcher before he steps on the rubber (called a "coaching visit"). Under MLB rules, a team is limited to one visit per inning and a maximum of three per game. Under NFHS (high school) rules, a team receives three mound visits for the game and can use more than one an inning. If a team exceeds the limit in either MLB or high school ball, the pitcher must be removed immediately.

text: Basketball[edit]

text: In American college basketball, there are two systems of timeouts used. In games that are not broadcast, each team is allowed four 75-second and two 30-second timeouts per regulation game. In games which are being broadcast, as of the 2015-16 season, each team is granted one 60-second timeout and three 30-second timeouts per game in addition to the media timeouts (at the first dead ball under 16, 12, 8 and 4 minutes remaining in each half). A maximum of three 30-second timeouts may carry over into the second half. Any called timeout that occurs within the 30 seconds prior to a scheduled media timeout break automatically takes the place of the upcoming media timeout, with the only exception to this rule being the first called timeout of the second half. A timeout cannot be called by a coach when the ball is live. Previously, under NCAA rules in prior seasons, teams had a total of five timeouts, and timeouts superseding media timeouts were only used in the women's rules.[3]

text: High school basketball allots five timeouts per game, with three 60-second and two 30-second timeouts. In overtime games, each team is given one additional 60-second timeout, and is allowed to carry over any unused timeouts from regulation or – if the case may be – previous overtimes. Media timeouts are typically reserved for televised state tournament games only.

text: In the North American National Basketball Association, the rule on timeouts is more complex. Teams are allowed one 20-second timeout per half, and six regular timeouts, of one minute in length over the course of the entire game. During a 20-second timeout, only one player may be substituted. During a regular timeout, there is no limit on substitutions. In the first and third quarter, there must be two 100-second timeouts. If neither team has taken a timeout prior to 6:00 of the first or third period, the Official Scorer must take it at the first dead ball and charge it to the home team. If no subsequent timeouts are taken prior to 3:00, the Official Scorer must take it and charge it to the team not previously charged. In the second and fourth quarter, there must be three 100-second timeouts. If neither team has taken a timeout prior to 9:00 of the second or fourth period, a mandatory timeout is called by the Official Scorer and charged to neither team. If there are no subsequent timeouts taken prior to 6:00, the Official Scorer must take it at the first dead ball and charge it to the home team. If no subsequent timeouts are taken prior to 3:00, the Official Scorer must take it and charge it to the team not previously charged. In the fourth quarter, each team is limited to a maximum of three timeouts and if a team has two or three full timeouts remaining when the fourth period reaches the 2:00 mark, one of the timeouts will be changed to a 20-second timeout and it will retain one full timeout. In overtime periods, each team shall be allowed two 60-second timeouts and one 20-second timeout. If a team has two full timeouts remaining when the overtime period reaches the 2:00 mark, one of the timeouts will be changed to a 20-second timeout.

text: The Official Scorer notifies a team when it has been charged with a mandatory timeout. Additional timeouts in a period, beyond those that are mandatory, are for 60 seconds.

text: Beach volleyball[edit]

text: In beach volleyball, the Fédération Internationale de Volleyball (FIVB) stipulates one 30-second time-out allowed per team, per set. In FIVB World Competitions, there is an additional 30-second technical time-out in sets 1-2 when the sum of both scores is equal to 21.[4]

text: Cricket[edit]

text: During the 2009 season of the Indian Premier League of T20 cricket, the halfway point of each innings contained a seven-and-a-half minute television timeout, two-thirds of which were devoted to additional advertising time. After complaints by viewers and players (criticizing its commercial purpose and for breaking the flow of the game), the following season replaced them with two sponsored and compulsory two-and-a-half minute "strategic timeouts" that must be taken by each side at certain points during the innings; one must be taken by the bowling team between the 6th to 10th overs, and the batting team between the 11th to 16th overs.[5][6][7]

text: Floorball[edit]

text: In floorball, each team is allowed one thirty-second time-out per game, which may only be taken during a normal stoppage of play. The time-out is measured from when all the players are gathered around the team benches.

text: Gridiron football[edit]

text: In gridiron football, the use and rationing of time-outs is a major part of strategy; calling time-out stops the clock (which normally is running between plays except in the case of a penalty, an incomplete pass, officials requiring time to re-spot the ball and/or down markers, or when the ball is run out of bounds), extending the time a team has to score. Timeouts can be called by both players (typically the quarterback or a linebacker) and the head coach. The number of timeouts is limited to three per team per half in the National Football League, and college and high school levels; to two per half in amateur Canadian football, and to one per half in the Canadian Football League. Unused timeouts carry over between the first and second quarters and between the third and fourth quarters, but they do not carry over between halves. If overtime is required in the NFL, each team is given two timeouts during a fifteen-minute sudden-death period, while in college football each team gets one timeout per possession. If a timeout above these limits is called, it is usually ignored and no penalty is assessed (however, in many leagues, a coach attempting to call a timeout when he has no timeouts left can be assessed a 5-yard Delay Of Game penalty).

text: Teams use several methods to stop the clock without exhausting a timeout. These include:

text:
Running out of bounds with the ball. In the NFL, this only stops the clock in the final two minutes of the first half and final five minutes of the second half; the rest of the time, the clock stops only temporarily, restarting when the ball is set for the next play. In arena football, the clock stops only for out-of-bounds plays in the final minute of the half.
Throwing the ball out of bounds. This is an incomplete pass, but sometimes, the team may choose to sacrifice a down to stop the clock.
Spiking the ball. This, likewise, is an incomplete pass and sacrifices a down.
Waiting for the two-minute warning in the NFL, three-minute warning in Canadian football, one-minute warning in Arena football if it is approaching. College and high school football do not have any of these stoppages.
Committing an offense for which a minor penalty may be called. In some leagues, late in the game, a 10-second runoff may be assessed to discourage this.
Feigning the injury of a player. If this occurs more than once in a game, a timeout may be charged, and/or a penalty may be assessed. In some leagues, if time is called because of an injury, the injured player may be ordered to sit out at least the next play as a way of discouraging the feigning of injury.

text: In the NFL, college football, and CFL, a timeout is assessed against a team if a head coach unsuccessfully challenges a play.

text: A common practice in gridiron football is to call a timeout right before a potential game-winning or game-tying field goal, a strategy known as "icing the kicker." In theory, this strategy works because the kicker has prepared himself mentally to make the kick only to have the timeout break his concentration. While this strategy has seemingly worked on occasion, statistics suggest that not only is this an ineffective strategy, but is actually counterproductive because kickers are more likely to make a field goal after a timeout is called—possibly because they have come to expect a timeout to be called, if the opposing team still has one.[8] There have also been times when the tactic has directly backfired; for example, in an NFL game played on November 19, 2007, between the Denver Broncos and Tennessee Titans, Broncos head coach Mike Shanahan called a timeout to ice the kicker. It was difficult to hear the whistle and the play continued, with Titans kicker Rob Bironas badly shanking a 56-yard field goal. The play was restarted, this time without a timeout, and the kick was good. Since a team is not allowed to call multiple timeouts between plays, they are prohibited from trying to ice a kicker more than once on the same kick; attempting to do so results in an unsportsmanlike conduct penalty, giving the kicking team 15 yards and an automatic first down. It has only happened once in the NFL, in a 2007 game between the Buffalo Bills and the Washington Redskins, when Redskins head coach Joe Gibbs called a timeout just before Bills kicker Rian Lindell attempted a 51-yard field goal. The kick was good, but Gibbs was awarded the timeout. Gibbs then called a second timeout when Lindell was preparing to kick the ball again, because Gibbs was unaware of the rule. Gibbs was issued an unsportsmanlike conduct penalty, which narrowed the attempt from 51 yards to 36 yards out. Lindell made the 36-yard field goal to win the game for the Bills, 18–17.

text: Another common practice, particularly in high school, college and the NFL, is for a team that, with its defense on the field, is trailing the opposing team near the end of the regulation by a touchdown or less to use their time outs when the winning team is using the victory formation to run out the clock. Since winning teams using the quarterback kneel can run off the last 90 seconds to 2 minutes of a game (depending on the level) with three successive kneels, the losing team will call a time out to stop the clock, force the winning team to run a standard play (as only a few seconds are taken off the clock with the kneel itself, the clock restarting only upon the snap) or make a first down and thus increase the chances that the trailing team will get the ball back on offense.

text: Ice hockey[edit]

text: In ice hockey, each team is allowed one thirty-second time-out per game, which may only be taken during a normal stoppage of play. In the National Hockey League, only one team is permitted a time out during stoppage. However, in the International Ice Hockey Federation rules, both teams are permitted a time out during the same stoppage, but the second team must notify the referee before the opponent's time-out expires.

text: In the NHL, teams lose their time-out if they unsuccessfully challenge a goal, and cannot challenge if they are already without their time-out.

text: Team handball[edit]

text: In team handball, one sixty-second time-out per half per team is allowed. Time-outs are called by the head coach by handing a green time-out card to the match official, and can only be called when the team is in possession of the ball.

text: Volleyball[edit]

text: In volleyball, the Fédération Internationale de Volleyball (FIVB) stipulates two 30-second time-outs allowed per team, per set. In FIVB World and Official Competitions, there are two additional 60-second technical time-outs in each set when the leading team reaches the 8th and 16th points, however there is no technical time-out in a tie-breaking set (5th set) (though there is a change of ends at 8 points).[9]

text: Water polo[edit]

text: In water polo, each team is entitled two sixty-second time-outs in regular time, and one extra time-out in extra time. The time-out can only be called if the team is in possession of the ball.


document_title: French orthography

question_text: how many letters does the french alphabet have

root

text: French orthography

text: Alphabet[edit]

text: The French alphabet is based on the 26 letters of the Latin alphabet, uppercase and lowercase, with five diacritics and two orthographic ligatures.

tag: p

text:
Letter
Name
Name (IPA)
Diacritics and ligatures

A
a
/ɑ/
Àà, Ââ, Ææ

B
bé
/be/

C
cé
/se/
Çç

D
dé
/de/

E
e
/ə/
Éé, Èè, Êê, Ëë

F
effe
/ɛf/

G
gé
/ʒe/

H
ache
/aʃ/

I
i
/i/
Îî, Ïï

J
ji
/ʒi/

K
ka
/kɑ/

L
elle
/ɛl/

M
emme
/ɛm/

N
enne
/ɛn/

O
o
/o/
Ôô, Œœ

P
pé
/pe/

Q
qu
/ky/

R
erre
/ɛʁ/

S
esse
/ɛs/

T
té
/te/

U
u
/y/
Ùù, Ûû, Üü

V
vé
/ve/

W
double vé
/dubləve/

X
ixe
/iks/

Y
i grec
/iɡʁɛk/
Ÿÿ

Z
zède
/zɛd/

tag: table

text: The letters ⟨w⟩ and ⟨k⟩ are rarely used except in loanwords and regional words. The phoneme /w/ sound is usually written ⟨ou⟩; the /k/ sound is usually written ⟨c⟩ anywhere but before ⟨e, i, y⟩, ⟨qu⟩ before ⟨e, i, y⟩, and sometimes ⟨que⟩ at the ends of words. However, ⟨k⟩ is common in the metric prefix kilo- (originally from Greek χίλια khilia "a thousand"): kilogramme, kilomètre, kilowatt, kilohertz, etc.

text: Diacritics[edit]

text: The usual diacritics are the acute (⟨´⟩, accent aigu), the grave (⟨`⟩, accent grave), the circumflex (⟨ˆ⟩, accent circonflexe), the diaeresis (⟨¨⟩, tréma), and the cedilla (⟨¸ ⟩, cédille). Diacritics have no effect on the primary alphabetical order.

text:
Acute accent or accent aigu (é): over e, indicates uniquely the sound /e/. An é in modern French is often used where a combination of e and a consonant, usually s, would have been used formerly: écouter < escouter.
Grave accent or accent grave (à, è, ù): over a or u, used primarily to distinguish homophones: à ("to") vs. a ("has"), ou ("or") vs. où ("where"; the letter ù is used only in this word). Over an e, indicates the sound /ɛ/.
Circumflex or accent circonflexe (â, ê, î, ô, û): over a, e and o, indicates the sound /ɑ/, /ɛ/ and /o/, respectively, but the distinction a /a/ vs. â /ɑ/ tends to disappear in Parisian French, so they are both pronounced [a]. In Belgian French, ê is pronounced [ɛː]. Most often, it indicates the historical deletion of an adjacent letter (usually an s or a vowel): château < castel, fête < feste, sûr < seur, dîner < disner (in medieval manuscripts many letters were often written as diacritical marks: the circumflex for "s" and the tilde for "n" are examples). It has also come to be used to distinguish homophones: du ("of the") vs. dû (past participle of devoir "to have to do something (pertaining to an act)"); however dû is in fact written thus because of a dropped e: deu (see Circumflex in French). Since the 1990 orthographic changes, the circumflex on most i's and u's may be dropped when it does not serve to distinguish homophones: chaîne becomes chaine but sûr (sure) does not change because of sur (on).
Diaeresis or tréma (ë, ï, ü, ÿ): over e, i, u or y, indicates that a vowel is to be pronounced separately from the preceding one: naïve, Noël. A diaeresis on y only occurs in some proper names and in modern editions of old French texts. Some proper names in which ÿ appears include Aÿ (commune in canton de la Marne, formerly Aÿ-Champagne), Rue des Cloÿs (alley in the 18th arrondissement of Paris), Croÿ (family name and hotel on the Boulevard Raspail, Paris), Château du Feÿ (near Joigny), Ghÿs (name of Flemish origin spelt Ghĳs where ĳ in handwriting looked like ÿ to French clerks), L'Haÿ-les-Roses (commune between Paris and Orly airport), Pierre Louÿs (author), Moÿ (place in commune de l'Aisne and family name), and Le Blanc de Nicolaÿ (an insurance company in eastern France). The diaeresis on u appears in the Biblical proper names Archélaüs, Capharnaüm, Emmaüs, Ésaü, and Saül, as well as French names such as Haüy. Nevertheless, since the 1990 orthographic changes, the diaeresis in words containing guë (such as aiguë or ciguë) may be moved onto the u: aigüe, cigüe, and by analogy may be used in verbs such as j'argüe. In addition, words coming from German retain their umlaut (ä, ö and ü) if applicable but use French pronunciation, such as Kärcher (trademark of a pressure washer).
Cedilla or cédille (ç): under c, indicates that it is pronounced /s/ rather than /k/. Thus je lance "I throw" (with c = [s] before e), je lançais "I was throwing" (c would be pronounced [k] before a without the cedilla). The cedilla is only used before the vowels a, o or u, for example, ça /sa/; it is never used before the vowels e, i, or y, since these three vowels always produce a soft /s/ sound (ce, ci, cycle).

tag: ul

text: The tilde diacritical mark ( ˜ ) above n is occasionally used in French for words and names of Spanish origin that have been incorporated into the language (e.g., cañon, El Niño). Like the other diacritics, the tilde has no impact on the primary alphabetical order.

text: Diacritics are often omitted on capital letters, mainly for technical reasons. It is widely believed that they are not required; however both the Académie française and the Office québécois de la langue française reject this usage and confirm that "in French, the accent has full orthographic value",[1] except for acronyms but not for abbreviations (e.g., CEE, ALENA, but É.-U.).[2] Nevertheless, diacritics are often ignored in word games, including crosswords, Scrabble, and Des chiffres et des lettres.

text: Ligatures[edit]

text: The two ligatures œ and æ have orthographic value. For determining alphabetical order, these ligatures are treated like the sequences oe and ae.

text: Œ[edit]

text: (French: o, e dans l'o or o, e collés/liés) This ligature is a mandatory contraction of ⟨oe⟩ in certain words. Some of these are native French words, with the pronunciation /œ/ or /ø/, e.g., sœur "sister" /sœʁ/, œuvre "work (of art)" /œvʁ/. Note that it usually appears in the combination œu; œil "eye" is an exception. Many of these words were originally written with the digraph eu; the o in the ligature represents a sometimes artificial attempt to imitate the Latin spelling: Latin bovem > Old French buef/beuf > Modern French bœuf.

text: Œ is also used in words of Greek origin, as the Latin rendering of the Greek diphthong οι, e.g., cœlacanthe "coelacanth". These words used to be pronounced with the vowel /e/, but in recent years a spelling pronunciation with /ø/ has taken hold, e.g., œsophage /ezɔfaʒ/ or /øzɔfaʒ/, Œdipe /edip/ or /ødip/ etc. The pronunciation with /e/ is often seen to be more correct.

text: When œ is found after the letter c, the c can be pronounced /k/ in some cases (cœur), or /s/ in others (cœlacanthe).

text: The ligature œ is not used when both letters contribute different sounds. For example, when ⟨o⟩ is part of a prefix (coexister), or when ⟨e⟩ is part of a suffix (minoen), or in the word moelle and its derivatives.[3]

text: Æ[edit]

text: (French: a, e dans l'a or a, e collés/liés) This ligature is rare, appearing only in some words of Latin and Greek origin like tænia, ex æquo, cæcum, æthuse (as named dog’s parsley).[4] It generally represents the vowel /e/, like ⟨é⟩.

text: The sequence ⟨ae⟩ appears in loanwords where both sounds are heard, as in maestro and paella.[5]

text: Digraphs and trigraphs[edit]

text: This section needs expansion. You can help by adding to it. (August 2008)

text: French digraphs and trigraphs have both historical and phonological origins. In the first case, it is a vestige of the spelling in the word's original language (usually Latin or Greek) maintained in modern French, for example, the use of ⟨ph⟩ in words like téléphone, ⟨th⟩ in words like théorème, or ⟨ch⟩ in chaotique. In the second case, a digraph is due to an archaic pronunciation, such as ⟨eu⟩, ⟨au⟩, ⟨oi⟩, ⟨ai⟩, and ⟨œu⟩, or is merely a convenient way to expand the twenty-six-letter alphabet to cover all relevant phonemes, as in ⟨ch⟩, ⟨on⟩, ⟨an⟩, ⟨ou⟩, ⟨un⟩, and ⟨in⟩. Some cases are a mixture of these or are used for purely pragmatic reasons, such as ⟨ge⟩ for /ʒ/ in il mangeait ('he ate'), where the ⟨e⟩ serves to indicate a "soft" ⟨g⟩ inherent in the verb's root.

text: Sound to spelling correspondences[edit]

text: This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (April 2012) (Learn how and when to remove this template message)

text: Consonants and combinations of consonant letters[edit]

text:
Spelling
Major value
(IPA)
Examples of major value
Minor values
(IPA)
Examples of minor value
Exceptions

-bs, -cs (in the plural of words ending in
silent b or c), -ds, -fs (in œufs and bœufs,
and words ending with silent -f in the singular), ‑gs, -ps, -ts
Ø
plombs, blancs, prends, œufs, cerfs, longs, draps, achats

b, bb
elsewhere
/b/
ballon, abbé

finally
Ø
plomb, Colomb

/b/ Jacob

ç
/s/
ça, garçon, reçu

c
before e, i, y
/s/
cyclone, loquace, douce, ciel, ceux

initially/medially elsewhere
/k/
cabas, crasse, cœur, sacré
/s/
cœlacanthe
/ɡ/ second, zinc

finally
/k/
lac, donc
Ø
tabac, blanc, caoutchouc

cc
before e, i, y
/ks/
accès

elsewhere
/k/
accord

ch
/ʃ/
chat, douche
/k/ (in words of Greek origin[6])
chaotique, chlore, varech
Ø yacht, almanach
/t͡ʃ/ cheap

-ct
elsewhere
/kt/
direct, correct

Ø respect, suspect

after a nasal vowel
Ø
instinct, succinct

d, dd
elsewhere
/d/
doux, adresse, addition

finally
Ø
pied, accord
/d/
David

f, ff
/f/
fait, affoler, soif

Ø clef, cerf, nerf

g
before e, i, y
/ʒ/
gens, manger

initially/medially elsewhere
/ɡ/
gain, glacier

finally
Ø
joug, long, sang
/ɡ/
zigzag

gg
before e, i, y
/ɡʒ/
suggérer

elsewhere
/ɡ/
aggraver

gn
/ɲ/
montagne, agneau

/ɡn/ cognitif, gnose, gnou

h
Ø
habite, hiver

/x/ Hainan

j
/ʒ/
joue, jeter

/dʒ/ jean, jazz
/x/ jota

k
/k/
alkyler, kilomètre, bifteck

Ø skunks

l, ll
/l/
lait, allier, il, royal, matériel
Ø (occasionally finally)
cul, fusil, saoul
Ø fils, aulx

m, mm
/m/
mou, pomme

Ø automne, condamner

n, nn
/n/
nouvel, panne

ng (in loanwords)
/ŋ/
parking, camping

p, pp
elsewhere
/p/
pain, appel

finally
Ø
coup, trop
/p/
cap, cep

ph
/f/
téléphone, photo

-pt
/pt/
concept

/t/ sept, compter, baptême

q (see also qu)
/k/
coq, cinq, piqûre, Qatar

r, rr
/ʁ/
rat, barre

Ø monsieur (see also -er)

s
initially
medially next to a consonant
or after a nasal vowel
/s/
sacre, estime, penser, instituer

/z/ transat, transiter

elsewhere between two vowels
/z/
rose, paysage

finally
Ø
dans, repas
/s/
fils, sens (noun), os (singular), ours

sc
before e, i, y
/s/
science

elsewhere
/sk/
script

sch
/ʃ/
schlague, haschisch, esche
/sk/
schizoïde, ischion, æschne

ss
/s/
baisser, passer

t, tt
elsewhere
/t/
tout, attente

finally
Ø
tant, raffut
/t/
est (direction), brut, yaourt

tch
/t͡ʃ/
tchat, match

th
/t/
thème, thermique, aneth

Ø asthme, bizuth

v
/v/
ville, vanne

w
/w/
kiwi, week-end, whisky
/v/
wagon, schwa
/s/ Law

x
initially
next to a voiceless consonant
phonologically finally
/ks/
xylophone, expansion, connexe
/ɡz/
xénophobie
/k/ or /ks/ xérès, xhosa

medially elsewhere
/ɡz/
exigence, exulter
/s/
/z/
/ks/
soixante
deuxième
galaxie, maximum

finally
Ø
paix, deux
/ks/
index, pharynx
/s/ six, dix, coccyx

xc
before e, i, y
/ks/
exciter

elsewhere
/ksk/
excavation

z
elsewhere
/z/
zain, gazette

finally
Ø
chez

/z/ gaz

text: Vowels and combinations of vowel letters[edit]

text:
Spelling
Major value
(IPA)
Examples of major value
Minor values
(IPA)
Examples of minor value
Exceptions

a, à
/a/
patte, arable, là, déjà
/ɑ/
araser, base
/ɔ/ yacht
/o/ football
/e/ lady

â
/ɑ/
château

ae, æ
/e/
ex-æquo, cæcum, tænia

/aɛ/ maestro
/ae/ paella

ai
/ɛ/
/e/
vrai, faite
baisser, aiguille

/ə/ faisons,[7] and all other conjugated forms of faire which are spelt fais- and followed by a vowel.

aî
/ɛ/
maître, chaîne

aï
/a.i/
naïf, haïr

/aj/ aïe, haïe

aie
/ɛ/
baie, monnaie
/ɛj/
paie

aou, aoû
/a.u/
caoutchouc, aoûtien, yaourt
/u/
saoul, août

au
/o/
haut, augure
/ɔ/
restaurant, sauropode, dinosaure

ay
elsewhere
/ɛj/
ayons, essayer

/ei/ pays (also /ɛi/)
/aj/ mayonnaise, papaye, ayoye

finally
/ɛ/
Gamay, margay, railway

/e/ okay

-aye
/ɛ.i/
abbaye
/ɛj/
paye
/ɛ/ La Haye
/aj/ baye

e
elsewhere
/ə/
repeser, genoux

/a/ femme, fréquemment,[8] solennel

before two or more consonants
(including double consonants),
x (in all cases), or
a final consonant (silent or pronounced)
/ɛ/
est, estival, voyelle, examiner, exécuter, quel, chalet
/e/
essence, effet, henné
/e/ mangez, and any form of a verb in the second person plural that ends in -ez.

in monosyllabic words before a silent consonant
/e/
et, les, nez, clef

/ɛ/ es

finally
in a position where
it can be easily elided
Ø
caisse, unique, acheter, franchement
/ə/ (finally in monosyllabic words)
que, de, je

é, ée
/e/
clé, échapper, idée
/ɛ/
événement, céderai, vénerie

è
/ɛ/
relève, zèle

ê
/ɛ/
tête, crêpe, forêt, prêt

eau
/o/
eau, oiseaux

ei
/ɛ/
neige, reine

eî
/ɛ/
reître

eoi
/wa/
asseoir

eu
initially
phonologically finally
before /z/
/ø/
Europe, heureux, peu, chanteuse

/y/ eu, and any conjugated form of avoir spelt with eu-.

elsewhere
/œ/
beurre, jeune
/ø/
feutre, neutre, maïeutique

eû
/ø/
jeûne

/y/, eûmes, eûtes, and eût (conjugated forms of avoir spelt with eû-).

i
elsewhere
/i/
ici, proscrire

before vowel
/j/
fief, ionique, rien

î
/i/
gîte, épître

ï (initially or between vowels)
/j/
ïambe, aïeul, païen

/i/ ouïe

-ie
/i/
régie

o
phonologically finally
before /z/
/o/
pro, mot, chose, déposes

/ɔ/ sosie

elsewhere
/ɔ/
carotte, offre
/o/
cyclone, fosse, tome

ô
/o/
tôt, cône

œ
/œ/
œil
/e/
œsophage, fœtus

oe
/ɔ.e/
coefficient

/wa/ moelle, moellon
/wɛ/ moelleux

oê
/wa/
poêle

oë
/ɔ.ɛ/
Noël

/ɔ.e/ canoë, goëmon
/wɛ/ foëne

œu
phonologically finally
/ø/
nœud, œufs, bœufs, vœu

elsewhere
/œ/
sœur, cœur, œuf, bœuf

oi, oie
/wa/
roi, oiseau, foie, trois, noix

/ɔ/ oignon

oï
/o.i/
coït, astéroïde

oo
/ɔ.ɔ/
coopération, oocyte, zoologie
/u/
bazooka, cool, football
/ɔ/ alcool, Boskoop, rooibos
/o/ spéculoos, mooré, zoo
/w/ shampooing

ou, où
elsewhere
/u/
ouvrir, sous, où

before vowel
/w/
ouest, couiner, oui

oû
/u/
coût, goût

-oue
/u/
roue

oy
/waj/
moyen, royaume

/ɔj/ goyave, cow-boy, ayoye

u
elsewhere
/y/
tu, juge

/u/ tofu

before vowel
/ɥ/
huit, tuer

/w/ cacahuète

û
/y/
sûr, flûte

ue
elsewhere
/ɥɛ/
actuel
/œ/ (see below)
orgueil, cueillir

finally
/y/
rue

y
elsewhere
/i/
cyclone, style

initially before vowel
/j/
yeux, yole

ÿ
(used only in proper nouns)
/i/
L'Haÿ-les-Roses, Freÿr

text: Combinations of vowel and consonant letters[edit]

text:
Spelling
Major value
(IPA)
Examples of major value
Minor values
(IPA)
Examples of minor value
Exceptions

am, an (before consonant or finally)
/ɑ̃/
ambiance, France

/am/ Viêt-Nam

aen (before consonant or finally)
/ɑ̃/
Caen

aim, ain (before consonant or finally)
/ɛ̃/
faim, saint, bains

aon (before consonant or finally)
/ɑ̃/
paon
/a.ɔ̃/
pharaon

cqu
/k/
acquit, acquéreur

-cte (as the feminine adjective ending for words ending in a silent "ct" (see above))
/t/
succincte

em, en (before consonant or finally elsewhere)
/ɑ̃/
embaucher, vent
/ɛ̃/
examen, ben, pensum
/ɛn/ week-end
/ɛm/ totem

em, en (before consonant or finally after é, i, or y)
/ɛ̃/
européen, bien, doyen
/ɑ̃/ (before t or soft c)
patient, quotient, science, audience

ein (before consonant or finally)
/ɛ̃/
plein, sein

-ent (3rd person plural ending)
Ø
parlent, finissaient

-er
/e/
aller, transporter
/ɛʁ/
hiver, super, éther, fier

-es
Ø
Nantes, faites
/e/, /ɛ/
les, des, es

eun (before consonant or finally)
/œ̃/
jeun

ge (before a, o, u)
/ʒ/
geai, mangea

gu (before e, i, y)
/ɡ/
guerre, dingue
/ɡy/, /ɡɥ/
argue, aiguille, linguistique, ambiguïté

-il (after some vowels)1
/j/
ail, conseil

-il (not after vowel)
/il/
il, fil
/i/
outil, fils, fusil

-ill- (after some vowels)1
/j/
paille, nouille

-ill- (not after vowel)
/ij/
grillage, bille
/il/
mille, million, billion, ville, villa, village, tranquille[9]

im, in (before consonant or finally)
/ɛ̃/
importer, vin

/in/ sprint

oin (before consonant or finally)
/wɛ̃/
point

om, on (before consonant or finally)
/ɔ̃/
ombre, bon

/ɔn/ canyon
/ə/ monsieur

ow
/o/
cow-boy, show

/u/ clown

qu
/k/
quand, pourquoi
/kɥ/
/kw/
équilatéral
aquarium, loquace, quatuor
/ky/ piqure, qu

ti + vowel (initially or after s or x)
/tj/
bastion, gestionnaire, tiens, aquae-sextien

ti + vowel (elsewhere)
/sj/, /si/
fonctionnaire, initiation, Croatie, haïtien
/tj/, /ti/
the suffix -tié, all conjugated forms of
verbs with a radical ending in -t
(augmentions, partiez, etc.) or derived from
tenir, and all nouns and past participles derived
from such verbs and ending in -ie (sortie, divertie, etc.)

um, un (before consonant or finally)
/œ̃/
parfum, brun
/ɔm/
album, maximum
/ɔ̃/ punch

ym, yn (before consonant or finally)
/ɛ̃/
sympa, syndrome
/im/
gymnase, hymne

text: Words from Greek[edit]

text: The spelling of French words of Greek origin is complicated by a number of digraphs which originated in the Latin transcriptions. The digraphs ⟨ph⟩, ⟨th⟩, and ⟨ch⟩ normally represent /f/, /t/, and /k/ in Greek loanwords, respectively; and the ligatures ⟨æ⟩ and ⟨œ⟩ in Greek loanwords represent the same vowel as ⟨é⟩ (/e/). Further, many words in the international scientific vocabulary were constructed in French from Greek roots and have kept their digraphs (e.g., stratosphère, photographie).

text: History of French orthography[edit]

text: This section needs expansion. You can help by adding to it. (June 2008)

text: The Oaths of Strasbourg from 842 is the earliest text written in the early form of French called Romance or Gallo-Romance.

text: Roman[edit]

text: The Gaulish language of the inhabitants of Gaul disappeared progressively over the course of the Roman conquest as the Latin languages began to replace them: written (Classical) Latin and spoken (vulgar) Latin. Classical Latin, taught in schools, remained the language of religious services, of scientific works, of legislative acts and of certain literary works. Vulgar Latin, spoken by the Roman soldiers and merchants, and adopted by the natives, evolved slowly, taking the forms of different spoken Roman vernaculars according to the region of the country. These vernaculars divided into two branches in the Gallo-Romance language family, the langues d'oïl north of the Loire and the langues d'oc in the south.[10]

text: Old French[edit]

text: In the 9th century, the Romance vernaculars were already quite far from Latin. For example, to understand the Bible, written in Latin, footnotes were necessary. With consolidation of royal power, beginning in the 13th century, the Francien vernacular, in usage then on the Île-de-France, brought it little by little to the other languages and evolved toward Classic French.

text: The languages found in the manuscripts dating from the 9th century to the 13th century form what is known as Old French or ancien français. These languages continued to evolve until, in the 14th century to the 16th century, Middle French (moyen français) emerged.[10]

text: Middle French[edit]

text: During the Middle French period (c. 1300–1600), modern spelling practices were largely established. This happened especially during the 16th century, under the influence of printers. The overall trend was towards continuity with Old French spelling, although some changes were made under the influence of changed pronunciation habits; for example, the Old French distinction between the diphthongs eu and ue was eliminated in favor of consistent eu,[a] as both diphthongs had come to be pronounced /ø/ or /œ/ (depending on the surrounding sounds). However, many other distinctions that had become equally superfluous were maintained, e.g. between s and soft c or between ai and ei. It is likely that etymology was the guiding factor here: the distinction between s/c and ai/ei reflects corresponding distinctions in the spelling of the underlying Latin words, whereas no such distinction exists in the case of eu/ue.

text: This period also saw the development of some explicitly etymological spellings, e.g. temps ("time"), vingt ("twenty") and poids ("weight") (note that in many cases, the etymologizing was sloppy or occasionally completely incorrect; vingt reflects Latin viginti, with the g in the wrong place, and poids actually reflects Latin pensum, with no d at all; the spelling poids is due to an incorrect derivation from Latin pondus). The trend towards etymologizing sometimes produced absurd (and generally rejected) spellings such as sçapvoir for normal savoir ("to know"), which attempted to combine Latin sapere ("to be wise", the correct origin of savoir) with scire ("to know").

text: Classical French[edit]

text: Modern French spelling was codified in the late 17th century by the Académie française, based largely on previously established spelling conventions. Some reforms have occurred since then, but most have been fairly minor. The most significant changes have been:

text:
Adoption of j and v to represent consonants, in place of former i and u.
Addition of a circumflex accent to reflect historical vowel length. During the Middle French period, a distinction developed between long and short vowels, with long vowels largely stemming from a lost /s/ before a consonant, as in même (cf. Spanish mismo), but sometimes from the coalescence of similar vowels, as in âge from earlier aage, eage (early Old French *edage < Vulgar Latin *aetaticum, cf. Spanish edad < *aetate). Prior to this, such words continued to be spelled historically (e.g. mesme and age). Ironically, by the time this convention was adopted in the 19th century, the former distinction between short and long vowels had largely disappeared in all but the most conservative pronunciations, with vowels automatically pronounced long or short depending on the phonological context (see French phonology).
Use of ai in place of oi where pronounced /ɛ/ rather than /wa/. The most significant effect of this was to change the spelling of all imperfect verbs (formerly spelled -ois, -oit, -oient rather than -ais, -ait, -aient).

text: Modern French[edit]

text: In October 1989, Michel Rocard, then-Prime Minister of France, established the Superior Council of the French Language (Conseil supérieur de la langue française) in Paris. He designated experts — among them linguists, representatives of the Académie française and lexicographers — to propose standardizing several points, a few of those points being:

text: The uniting hyphen in all compound numerals

text: The plural of compound words, the second element always takes the plural s

text: The circumflex accent ⟨ˆ⟩ disappears on all u's and i's except for words for which it is needed for differentiation

text: The past participle of laisser followed by an infinitive verb is invariable (works now the same way as the verb faire)

text: Quickly, the experts set to work. Their conclusions were submitted to Belgian and Québécois linguistic political organizations. They were likewise submitted to the Académie française, which endorsed them unanimously, saying: "Current orthography remains that of usage, and the 'recommendations' of the High Council of the French language only enter into play with words that may be written in a different manner without being considered as incorrect or as faults."[citation needed]

text: The changes were published in the Journal officiel de la République française in December 1990. At the time the proposed changes were considered to be suggestions. In 2016, schoolbooks in France began to use the newer recommended spellings, with instruction to teachers that both old and new spellings be deemed correct.[11]


document_title: Fresh Off the Boat

question_text: who played eddie on fresh off the boat

question_tokens: who played eddie on fresh off the boat

text: Fresh Off the Boat

text: Premise[edit]

text: The story follows the course of Eddie Huang's Taiwanese family as they make their way from Chinatown of Washington, D.C. to Orlando, Florida to open up a cowboy-themed steak restaurant in 1995[14] (with the first season being set between 1995 and 1997).[15][16] His mother struggles with the culture clash between her upbringing and a Florida community that doesn't have a large Asian population,[17] his father embraces the "American Dream", and Eddie struggles with assimilating into school.

text: Cast and characters[edit]

text: Main cast[edit]

text:
Hudson Yang as Edwyn "Eddie" Huang,[18] the show's protagonist and a die-hard hip-hop and rap fan, as well as a great fan of basketball. The oldest of three brothers, he eschews Taiwanese culture and is more rebellious than his younger siblings, which makes him a frequent target of Jessica's complaints. Because Eddie represents the writer of the book that the show is based upon, all of the Season 1 episodes were told from his perspective and the real-life Eddie Huang voices the narrator. A creative change for Season 2 expands the focus to the entire Huang family.
Randall Park as Louis Huang,[4][5] father of Eddie, Emery and Evan and also husband of Jessica. He is nice, naive, and embraces all things American. He owns a Western steakhouse restaurant in Orlando named Cattleman's Ranch.
Constance Wu as Jessica (née Chu) Huang,[19] wife of Louis and mother[20] of Eddie, Emery and Evan. She is a no-nonsense, pragmatic woman who believes in tough love. She wants her children to be successful and also keep in touch with their Taiwanese heritage.
Forrest Wheeler as Emery Huang,[21] middle child of the Huang family. He is a romantic and lovable kid who is fairly intelligent. He is also depicted as charismatic and mature for his age. He graduated elementary school at the end of the second season.
Ian Chen as Evan Huang,[21] the youngest child who is a star student and obeys the rules. He is Jessica's favorite child.
Lucille Soong as Grandma Jenny Huang (season 2–present, recurring season 1), Louis' mother, grandmother of Eddie, Evan, and Emery. Although she clearly understands English, she speaks only in Mandarin (subtitled in English). However, she spoke English in Marvin's dream in the Season 3 episode "Where Are the Giggles?".
Chelsey Crisp as Honey Ellis (season 2–present, recurring season 1),[22] the Huangs' next door neighbor, Marvin's third wife, and Jessica's new best friend.
Ray Wise as Marvin Ellis (season 3–present, recurring season 1–2), Honey's much-older husband and Nicole's father. He is a successful dentist who married Honey after his previous wife caught him cheating with Honey on the kitchen floor.

text: Recurring cast[edit]

text:
Cattleman's Steakhouse staff:

Paul Scheer as Mitch
Jillian Armenante as Nancy
Amanda Lund as Vanessa

text:
Eddie's school friends:

Luna Blaise as Nicole, also Marvin's daughter and Honey's stepdaughter
Isabella Alexander as Alison, also Eddie's girlfriend
Prophet Bolden as Walter, one of Eddie's friends
Trevor Larcom as Trent Masterson, one of Eddie's friends
Evan Hannemann as Dave Selby, one of Eddie's friends
Dash Williams as Brian Stone, one of Eddie's friends
Connor Rosen as Doug Pew, one of Eddie's friends
Brady Tutton as Brock Blanca
Albert Tsai as Phillip Goldstein[23][24]
Arden Belle as Shelly, one of Nicole's friends
Liliana Mumy as Layla, one of Nicole's friends
Monique Green as Sandy, one of Nicole's friends
Marlowe Peyton as Reba, Eddie's classmate who has an unrequited crush on him

text:
Others:

Rachel Cannon as Deidre Sanderson
Stacey Scowley as Carol-Joan
Colleen Ryan as Amanda
Kimberly Crandall as Lisa
Arden Myrin as Ashley Alexander
David Goldman as Principal Charlie Hunter
Maria Bamford as Principal Thomas
Susan Park as Connie Chen, Jessica's sister
C.S. Lee as Steve Chen, Jessica's brother-in-law
Ken Jeong as Gene Huang, Louis' twin brother
Eddie Huang as Adult Eddie Huang (voice only). He is the narrator of the show for season one only.

text: Development and production[edit]

text: Eddie Huang's 2013 Fresh Off the Boat caught the attention of TV networks upon release, with ABC and 20th Century Fox Television signing in late that year. Huang, the show's creator and one of the producers of the series,[5] led a Twitter campaign[25][26] to change the original show name, Far East Orlando, when it was in development.[6]

text: On May 13, 2014, ABC ordered the first season of the show during the May 2014 upfront[7][27] to air in 2015 as a mid-season replacement.[7][28]

text: The real-life Eddie Huang narrates the first season only. Eleven episodes into the first season, Huang expressed frustration over ABC's approach, saying it presents an "ambiguous, cornstarch story about Asian-Americans" that perpetuates "an artificial representation of Asian American lives". The sitcom was adapted to suit a broader American audience.[29] He also Tweeted in April 2015, "I understand this is a comedy but the great comics speak from pain: Pryor, Rock, Louis...This show had that opportunity but it fails."[30] Despite his concern for authenticity, he finds the show a "milestone" for Asian-Americans as they are at the forefront of this television series.[31] Huang further explained in an interview on National Public Radio, "The studio and network are not on a mission to not represent us. They just don't know how to."[32]

text: Huang described the exchange between his team and ABC as brief. In an article in Vulture Magazine Huang expressed concern over the studio's decision that Nahnatchka Khan, an Iranian-American writer, would represent his memoir for the TV scripts, believing that she would present the story as less than realistic and authentic. "I would be excited, but you attached a Persian writer, and I'm kinda worried it's going to be The Shahs of Cul-de-Sac Holando."[33]

text: In 2015, Constance Wu was interviewed by Jenny Zhang for The Lenny Interview. In this interview she spoke about her initial fear of criticizing some of the shows details. Now in its second season, Wu speaks openly about her request for the staff to make the show more specific, stating "If you change the food to a 1,000-year-old black egg with tofu and scallions, it will be a little more specific, and specificity is just better for character, and it's more interesting than, say, tofu and rice."[34]

text: Season two changes[edit]

text: Fresh Off the Boat made many changes for the second season including the following:

text:
Eddie Huang reduced his involvement with the series, including no longer being the narrator, due to creative differences with ABC as well as time constraints with other projects. He's still credited as a producer, and the show's credits continue to note that the series is based off his memoir.
With Huang's departure, ABC decided not to recast the narrator role, dropping it from the series altogether.
The writing from season two onward is focused on the entire Huang family instead of just Eddie. In particular, there are more Louis- and Jessica-centered episodes.
Lucille Soong and Chelsey Crisp were both promoted from recurring cast to main cast.

text: Episodes[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
13
February 4, 2015 (2015-02-04)
April 21, 2015 (2015-04-21)

2
24
September 22, 2015 (2015-09-22)
May 24, 2016 (2016-05-24)

3
23
October 11, 2016 (2016-10-11)
May 16, 2017 (2017-05-16)

4
TBA
October 3, 2017 (2017-10-03)
TBA

text: Home media[edit]

text: On September 29, 2015 the first season of Fresh Off the Boat was released on DVD. The DVD had two disks with all 13 season 1 episodes and special features such as a gag reel as well a "Fresh Facts Trivia Track".

text: Broadcast[edit]

text: Fresh Off the Boat premiered on FOX8 in Australia starting May 10, 2015;[35] It was also picked up by Network Ten, and started airing on 7 March 2016 on its sister channel, Eleven. It debuted on March 12, 2015 in South Africa on Fox Crime.[36]

text: In South Asia, Fresh Off The Boat, airs 12 hours after the U.S. broadcast on Star World Premiere HD.[37]

text: Reception[edit]

text: Seasonal ratings[edit]

text:
Season
Timeslot (ET)
No. of
episodes
Premiered
Ended
TV season
Rank
Viewers
(in millions)

Date
Premiere viewers
(in millions)
Date
Finale viewers
(in millions)

1
Wednesday 8:30 pm
(Episode 1)
Wednesday 9:30 pm
(Episode 2)
Tuesday 8:00 pm
(Episodes 3-13)
13
February 4, 2015
7.94[38]
April 21, 2015
5.08[39]
2014–15
78
6.99[40]

2
Tuesday 8:30 pm
(2015)
Tuesday 8:00 pm
(2016)
24
September 22, 2015
6.05[41]
May 24, 2016
4.88[42]
2015–16
86
5.48[43]

3
Tuesday 9:00 pm
23
October 11, 2016
5.03[44]
May 16, 2017
3.55[45]
2016–17
95
4.66[46]

4
Tuesday 8:30 pm

October 3, 2017

2017–18

text: Critical reception[edit]

text: Fresh Off the Boat has received critical acclaim. On Rotten Tomatoes, the show has a 91% certified fresh approval rating, with the critical consensus "Once the cliched gags of Fresh off the Boat are superseded by a grounded truthfulness, the series evolves into a humorously charming family sitcom."[47] It also has earned a 75 out of 100 score on Metacritic, indicating 'generally favorable reviews'.[48] Particularly, Constance Wu's performance has been acclaimed, earning nominations for both the TCA Awards and the EWwy Award for Best Supporting Actress in Comedy, as well as an "Individual Achievement in Comedy" nomination at the Critics' Choice Television Awards.

text: Reviews cited the show's potential to increase the visibility and accuracy of Asian Americans in arts and entertainment.[7][49][50] For writer and poet Jenny Zhang (who interviewed Constance Wu for Lenny Letter), Fresh Off the Boat was a welcome change from the representation of Asian Americans on the TV series she had seen as a child at age 11, where the few people who looked like her were either the subjects of crude jokes or had only minor cameos.[34]

text: While admirable that ABC has decided to feature a sitcom about a Chinese-American family on primetime television, there have been concerns about the subliminal messaging that the writing of the show produces. "It means that there are real conversations being had about Asian American identity in addition to acknowledging the lack of inclusivity Asian Americans have had in the nation's cultural and entertainment dialogue."[51] Ester Suh, writing for the Huffington Post, felt that many characterizations in the show misrepresented the Asian-American experience, but acknowledged that "our experience as Americans, like everyone else’s, is varied, and to say that a single show can exemplify all our experiences, would be a disfavor. I see Fresh as a sound board for future shows with Asian American casts, helping make television a more diverse and inclusive cultural platform."[51]

text: The Harvard Political Review additionally commented that "Fresh Off the Boat captures the essence of why diversity in media matters—we, like young Eddie, all want to see ourselves as worthy of being protagonists, whether in stories or in real life. However, lost in translation are the stories of parents and grandparents, who also have claim to labels like the Asian-American experience."[52]

text: Television critic Emily Nussbaum, in her review for The New Yorker, compares the memoir and television version of Huang's relationship with his father and with black culture, "Without a cruel bully for a father, Eddie's taste for hip-hop feels more superficial—in the book, it's an abused kid's catharsis and an identification with black history."[53] Additionally, Huang's identification with black history has led to controversial remarks.[54]

text: Awards and nominations[edit]

text:
Year
Award
Category
Nominee
Result

2015
Critics' Choice Television Awards
Best Actress in a Comedy Series
Constance Wu
Nominated

TCA Awards
Individual Achievement in Comedy
Nominated

EWwy Awards
Best Supporting Actress in a Comedy Series
Nominated

Gold Derby TV Awards
Best Comedy Actress
Nominated

Unforgettable Gala – Asian American Awards
Actor of the Year
Randall Park
Won

Female Breakout Star of the Year
Constance Wu
Won

2016
Critics' Choice Television Awards
Best Actor in a Comedy Series
Randall Park
Nominated

Best Actress in a Comedy Series
Constance Wu
Nominated

NAACP Image Awards
Outstanding Performance by a Youth (Series, Special, Television Movie or Mini-series)
Hudson Yang
Nominated

Women's Image Network Awards
Best Comedy Series
Fresh Off the Boat
Nominated

Young Artist Awards
Outstanding Young Ensemble Cast In A TV Series
Hudson Yang, Forrest Wheeler, Ian Chen
Won

Best Performance in a TV Series – Supporting Young Actor
Ian Chen
Nominated

Best Performance In A TV Series - Recurring Young Actress (14-21)
Luna Blaise
Won

Best Performance In A TV Series - Guest Starring Young Actress (11-13)
Laura Krystine
Nominated

Young Entertainer Awards
Best Young Ensemble Cast - TV Series
Hudson Yang, Forrest Wheeler, Ian Chen
Won

Best Recurring Young Actor 13 and Under - Television Series
Trevor Larcom
Nominated

Best Recurring Young Actress 13 to 15 - Television Series
Luna Blaise
Nominated

Best Recurring Young Actress 12 and Under- Television Series
Isabella Alexander
Won

Best Guest Starring Young Actor 11 and Under - TV Series
Cole Sand
Nominated

Teen Choice Awards
Choice TV: Scene Stealer
Hudson Yang
Nominated

TCA Awards
Individual Achievement in Comedy
Constance Wu
Nominated

Gold Derby TV Awards
Best Actress in a Comedy Series
Nominated

Poppy Awards
Best Actress in a Comedy Series
Nominated

Best Actor in a Comedy Series
Randall Park
Nominated

Critics' Choice Television Awards
Best Actress in a Comedy Series
Constance Wu
Nominated

2017
NAACP Image Awards
Outstanding Performance by a Youth (Series, Special, Television Movie or Mini-series)
Hudson Yang
Nominated

Young Artist Awards
Best Performance in a TV Series - Leading Young Actor
Ian Chen
Nominated

Forrest Wheeler
Nominated

Best Performance in a TV Series - Leading Teen Actor
Hudson Yang
Won

Best Performance in a TV Series - Recurring Teen Actor
Trevor Larcom
Won

Young Entertainer Awards
Best Leading Young Actor 14 and Under - Television Series
Ian Chen
Pending

MTV Movie & TV Awards
Best American Story
Fresh Off the Boat
Nominated


document_title: Rail Budget

question_text: who presented the last seprate rail budget of india

text: Rail Budget

text: History[edit]

text: Following the recommendation of the Acworth Committee in 1920-21, headed by British railway economist William Acworth[2] The "Acworth Report" led to reorganisation of railways, the railway finances were separated from the general government finances in 1921. After that in 1924 the budget was announced, a practice that continued till 2016.[3][4][5]

text: The first live telecast took place on 24 March 1994.

text: Lalu Prasad Yadav, who remained Railways Minister from 2004 to May 2009, presented the railway budget 6 times in a row. In 2009, under his tenure a ₹108 billion (US$1.7 billion) budget was passed.[6]

text: In the year 2000, Mamata Banerjee (later Chief Minister of West Bengal) became the first female Railway Minister. In 2002, she became the first female to present the Railway budget and is the only woman to do so for two different governing coalitions (NDA and UPA).

text: In 2014 budget, Railway Minister D. V. Sadananda Gowda announced the first bullet train and 9 High-Speed Rail routes.[7]

text: The last Railway Budget [8] was presented on 25 February 2016 by Mr. Suresh Prabhu.


document_title: Voyage to the Bottom of the Sea (TV series)

question_text: name of submarine in voyage to the bottom of the sea

text: Show history[edit]

text: Pilot episode[edit]

text: The pilot episode "Eleven Days to Zero" was filmed in color but shown in black-and-white. It introduces the audience to the futuristic nuclear submarine S.S.R.N. Seaview and the lead members of her crew, including the designer and builder of the submarine Admiral Harriman Nelson (Richard Basehart), and Commander Lee Crane (David Hedison), who becomes the Seaview's captain after the murder of her original commanding officer. The submarine is based at the Nelson Institute of Marine Research (NIMR) in Santa Barbara, California, and is often moored some 500 feet below NIMR in a secret underground submarine pen carved out of solid rock. The Seaview is officially for undersea marine research and visits many exotic locations in the Seven Seas, but its secret mission is to defend the planet from all world and extraterrestrial threats[1] in the then-future of the 1970s.

text: Season One[edit]

text: The first season of 32 episodes began with Admiral Nelson and the crew of the Seaview fighting against a foreign government to prevent a world-threatening earthquake, and continuing with a foreign government destroying American submarines with new technologies in The Fear Makers and The Enemies. The season also had several ocean peril stories in which the Seaview crew spent the episode dealing with the normal perils of the sea. Two examples are "Submarine Sunk Here" and "The Ghost of Moby Dick".[2] The season introduced the diving bell and a mini-submarine, as well as the first alien story (Don Brinkley's; 'The Sky is Falling') and the first sea monsters. The season ended with the Seaview crew fighting a foreign government to save a defense weapon.

text: In the first season, the gritty, atmospheric, and intense series featured story lines devoted to Cold War themes, as well as excursions into near-future speculative fiction. Many episodes involved espionage and sci-fi elements. While aliens and sea monsters, not to mention dinosaurs, did become the subject of episodes, the primary villains were hostile foreign governments. While fantastic, the scripts had a semblance of reality.

text: During the course of the first season Admiral Nelson was promoted from Three Star to a Four Star Admiral, and it was established that while essentially a marine research vessel SSRN Seaview was also part of the U.S. nuclear armed fleet (most notably defined in William Read Woodfield's episode; Doomsday).

text: The first season opening credits depicted Seaview rising towards the surface, and the closing credits played out over a still of the Seaview's spectacular arctic surface, as featured at the start of the 1961 film.

text: Season Two[edit]

text: The second season began with a trip inside a whale, a trip inside a volcano, and a few Cold War intrigue and nuclear war-themed episodes, and saw several brushes with world disaster. The season ended with a ghost story, one of the show's few sequels.

text: Due to ABC's demands for a somewhat "lighter" tone to the series,[citation needed] the second season saw an increase in monster-of-the-week type plots, yet there were still some episodes that harkened back to the tone of the first season. The second season also saw a change from black-and-white to color. The beginning of the second season saw the permanent replacement of Chief "Curly" Jones with Chief Francis Ethelbert Sharkey, due to the death of Henry Kulky, who portrayed Chief Jones.

text: The most important change in the series occurred during this season when a notably redesigned Seaview interior was introduced, along with the Flying Sub, a yellow, two-man mini-submarine with passenger capacity, armed with a laser gun. It could leave the ocean and function as an airplane. The Flying Sub was referred to by the initials FS-1. The futuristic craft greatly increased the Seaview crew's travel options. The Flying Sub was launched from a bay with automatic doors added in the lower part of the bow section of Seaview that was apparently built between Seasons One and Two (though stock color footage from the 1961 film that was used in Season Two occasionally showed a Seaview minus this addition, despite it being present in later color footage included in the same episodes). The Seaview's private observation deck from the first season was never seen again. The ship's eight smaller observation windows became four large windows giving the sub a sleeker, more futuristic look. The control room was made larger and more open-plan showing the bow windows beyond the control room area (previously this was both closed off by a bulkhead and doorway and on another level in the black-and-white first season), while a memorable large rectangular panel screen of flickering lights was moved across the control room, and access to the Flying Sub via a sealed hatch stairway at the bow section was added. The Seaview also now had a powerful laser beam in its bow light. The small mini-sub ridden by two men from the first season was retained and occasionally still used in the color episodes. The ship's enlisted men were also given more colorful uniforms (red or light blue jumpsuits) and white Keds Champion sneakers, evidently to take advantage of the changeover from black-and-white to color. The officers and petty officers, however, retained their khaki works from the first season. The traditional sailor uniforms worn in the first season were only seen in stock footage from the first season and on characters who were newly filmed to match up with that footage. All these changes occurred between seasons. The Flying Sub was showcased in the show's closing credits for the entire season, while the initial opening was a color version of the first season sequence, though this was soon replaced by a new color sequence of Seaview descending beneath the surface.

text: The Flying Sub also made an appearance in the 1971 Irwin Allen film, City Beneath the Sea (1971 film), as did the Seaview itself during the evacuation scene.

text: A second-season episode, "The Sky's On Fire", was a remake of the basic storyline of Irwin Allen's 1961 film Voyage to the Bottom of the Sea utilizing considerable film color footage, though several film sequences were removed and had been featured in other first-season episodes such as 'The Village of Guilt' (the giant octopus) and 'Submarine Sunk Here' (the derelict minefield)

text: A few later season two episodes were filmed without Richard Basehart, who was hospitalized for a bleeding ulcer. He filmed the scenes in the Flying Sub for "The Monster's Web" before hospitalization, requiring a stand in and other characters taking over his lines. He was missing entirely from the next two episodes. These episodes didn't feature his character at all, while in one story "The Menfish" Gary Merrill guested as Admiral Park, a colleague of Nelson's who substituted for him. Basehart returned for "Return of the Phantom," the final episode of the season.

text: Season Three[edit]

text: The third season of Voyage to the Bottom of the Sea ran simultaneously with two other Allen-produced television series: the second season of Lost in Space and the premiere (and only) season of The Time Tunnel.

text: The third season began with Dick Tufeld of Lost in Space playing an evil disembodied brain from outer space. The season continued with a werewolf story that is one of the few episodes to inspire a sequel. In one episode, the Seaview's officers and crew encountered Nazis who believed World War II was still ongoing. The third season only had two espionage stories and one ocean peril story that were reminiscent of the first season. One of those three stories was about a hostile foreign government trying to steal a strange new mineral with the aid of a brainwashed Admiral Nelson. This espionage story was the end of the third season.

text: The final two seasons continued the shift towards paranormal storylines that were popular in the late 1960s.[1] Mummies, werewolves, talking puppets, and an evil leprechaun all walked the corridors of the Seaview. There were also fossil men, flame men, frost men, lobster men, and shadow men. The opening credits were largely identical to the revised season two, but the initial season two yellow lettering credits that were first altered to white, (and then back to yellow on the later revised sequence) were now depicted in a golden/yellowish lettering, and closing credits were set over a green-backed painting of Seaview underwater.

text: Though many female characters appeared in Seasons One and Two, in Season Three only two appeared at all, an unseen woman's voice (Sue England) over the intercom in "The Death Watch" and the title character in "The Mermaid" (Diane Webber), who did not speak.[3]

text: Fourth and final season[edit]

text: The fourth and final season of Voyage began with Victor Jory playing a five century old alchemist while the Seaview is threatened by buffeting underwater currents created by a volcano on the verge of a major eruption. After a few episodes there were revamped opening credits depicting action sequences and the stars' pictures in color set on a sonar board design. The closing credits picture remained unchanged from season three. Near the end of the fourth season, there were three unrelated stories of extraterrestrial invasion in three weeks. One episode had an unknown master of disguise infiltrating and wreaking havoc aboard the Seaview. Another episode has Nelson, Morton and Sharkey actually "gaslight" Crane! There were two time travel stories in two weeks, which both featured the enigmatic but dangerous Mister Pem. The second of the two had the Seaview going back in time to the American Revolution. The episode (and series) ended with the Seaview returning to the present. The final scene of the show has Nelson and Crane sitting in the seldom used easy chairs on the port side of the observation nose discussing how fast time goes by. With this the Seaview is seen sailing into television history.

text: Not a single actress appeared in any episode during the entire fourth season, even as a voice or non-speaking role.[4]

text: In March 1968 it was announced that Voyage would not be back for a fifth season.[5]

text: Music[edit]

text: The series' main theme, "The Seaview Theme", was written by Paul Sawtell. A new darker, more serious theme composed by Jerry Goldsmith was introduced at the beginning of the second-season episode "Jonah and the Whale", but this was quickly replaced by the original version. A version of the Goldsmith suite re-orchestrated by Nelson Riddle was heard as incidental music in the episode "Escape From Venice", and the original Goldsmith suite was used as incidental music throughout the rest of the series. The series' main composer, supervisor and conductor was Lionel Newman, who for the second season composed a serious sounding score for when the episode credits (episode title/guests/writer/director) were shown just after the theme song, which would be used by many episodes (starting with "The Left Handed Man") thru the second and into the early third season. Other guest composers included Lennie Hayton, Hugo Friedhofer, Star Trek: The Original Series composer Alexander Courage, Morton Stevens, Leith Stevens (no relation) who wrote the music to nine episodes, and Sawtell, who worked on the show for a while in the first season.

text: GNP Crescendo issued a soundtrack album in 1997 as part of its series tying into the documentary The Fantasy Worlds Of Irwin Allen, featuring Sawtell's theme from the series and his score for the pilot episode "Eleven Days To Zero" (tracks 2–6) and Goldsmith's work for "Jonah and the Whale."

text:
Voyage to the Bottom of the Sea Main Title (:29)
Murderous Pursuit (2:54)
Ocean Floor Search/Squid Fight (5:34)
Solid Ice (1:48)
Lost/Job Well Done (3:35)
End Title (The Seaview Theme) (:40)
Jonah and the Whale (Main Title) (:30)
A Whale of a Whale/Thar She Blows/A Whale of a Time/The Second Dive (4:23)
A Meal Fit for a Whale/Crash Dive/Sub Narcotics (4:18)
Collision Course I/Collision Course II/Diving Party/Going Down (4:44)
Home Free Part I/Home Free Part II (3:58)
Jonah and the Whale (End Credit) (:50)

tag: ol

text: Cast[edit]

text:
Richard Basehart as Admiral Harriman Nelson
David Hedison as Commander Lee Crane
Bob Dowdell as Lieutenant Commander Chip Morton
Derrik Lewis as Lieutenant Commander O'Brien (pilot episode, 1st-2nd seasons)
Henry Kulky as Chief "Curly" Jones (1st season)
Terry Becker as Chief Petty Officer Francis Ethelbert Sharkey (2nd–4th seasons)
Del Monroe as Kowalski
Arch Whiting as Sparks
Paul Trinka as Patterson
Brent Davis as Peters (crew member – 1 episode)
Lew Gallo as Kruger (crew member – 1 episode)
Ralph Garrett as Somers (crew member – 1 episode)
Allan Hunt as Stuart "Stu" Riley (2nd Season)
Richard Bull as the Doctor
Wayne Heffley as Seaview Doctor (2nd Season 1965–1966, 3 episodes)
Paul Carr as Casey Clark (1st season, recurring afterwards only in stock footage scenes)

text: Scott McFadden, Ray Didsbury, Marco Lopez, and Ron Stein provided additional crewman in non-speaking roles often requiring stunt work.

text: Episode list[edit]

text: Note: Two different episodes (28 and 73) are both titled "The Creature".

text: Season One (1964–1965)[edit]

text:
Ep #
Title
Airdate

01
"Eleven Days to Zero" (Guest Starring Eddie Albert)
September 14, 1964

02
"The City Beneath the Sea"(Guest Starring Hurd Hatfield, Linda Cristal)
September 21, 1964

03
"The Fear Makers" (Guest Starring Lloyd Bochner, And Special Guest Star Edgar Bergen)
September 28, 1964

04
"The Mist of Silence" (Guest Starring Rita Gam, Alejandro Rey)
October 5, 1964

05
"The Price of Doom" (Guest Starring David Opatoshu, John Milford and Jill Ireland). Screenplay by Harlan Ellison (under his Cordwainer Bird alias, credited as "Cord Wainer Bird")
October 12, 1964

06
"The Sky Is Falling" (Guest Starring Charles McGraw)
October 19, 1964

07
"Turn Back the Clock" (Guest Starring Nick Adams, Yvonne Craig)
October 26, 1964

08
"The Village of Guilt" (Guest Starring Richard Carlson, Anna-Lisa)
November 2, 1964

09
"Hot Line" (Guest Starring Everett Sloane, And Special Guest Star: Michael Ansara)
November 9, 1964

10
"Submarine Sunk Here"
November 16, 1964

11
"The Magnus Beam"
November 23, 1964

12
"No Way Out"
November 30, 1964

13
"The Blizzard Makers"
December 7, 1964

14
"The Ghost of Moby Dick" Guest stars June Lockhart, Edward Binns
December 14, 1964

15
"Long Live the King" guest star Carroll O'Connor
December 21, 1964

16
"Hail to the Chief"
December 28, 1964

17
"The Last Battle" (Co-starring John Van Dreelen, Joe De Santis, Rudy Solari). Establishes that the series takes place in an alternate timeline when Admiral Nelson states that the Third Reich lasted for 19 years (as opposed to 12 years in the real world)
January 4, 1965

18
"Mutiny" (Guest starring Harold J. Stone)
January 11, 1965

19
"Doomsday" (Co-starring Donald Harron, Paul Carr)
January 18, 1965

20
"The Invaders" (Guest starring Robert Duvall, credited as "Robert Duval")
January 25, 1965

21
"The Indestructible Man" (Co-starring Michael Constantine)
February 1, 1965

22
"The Buccaneer" (Co-starring Barry Atwater)
February 8, 1965

23
"The Human Computer"
February 15, 1965

24
"The Saboteur" (Guest stars Bert Freed, Warren Stevens, featuring James Brolin)
February 22, 1965

25
"Cradle of the Deep"
March 1, 1965

26
"The Amphibians"
March 8, 1965

27
"The Exile" Guest star Edward Asner, co-starring David Sheiner
March 15, 1965

28
"The Creature" Guest star Leslie Nielsen
March 22, 1965

29
"The Enemies" (Guest star Henry Silva, co-starring Malachi Throne)
March 29, 1965

30
"Secret of the Loch" (Guest star Torin Thatcher, co-starring Hedley Mattingly, George Mitchell and John McLiam)
April 5, 1965

31
"The Condemned" (Guest star J. D. Cannon, co-starring Arthur Franz, Alvy Moore)
April 12, 1965

32
"The Traitor"
April 19, 1965

text: Season Two (1965–1966)[edit]

text:
Ep #
Title
Airdate

33/ 01
"Jonah and the Whale" (Guest starring Gia Scala)
September 19, 1965

34/02
"Time Bomb"
September 26, 1965

35/03
"And Five of Us Are Left " (Guest Star Phillip Pine, co-starring Robert Doyle, Teru Shimada)
October 3, 1965

36/04
"The Cyborg" With special guest star Victor Buono co-starring Brooke Bundy
October 17, 1965

37/05
"Escape From Venice"
October 24, 1965

38/06
"The Left-Handed Man"
October 31, 1965

39/07
"The Deadliest Game" (Guest starring Lloyd Bochner. Co-starring, Audrey Dalton, Robert Cornthwaite and Robert F. Simon)
November 7, 1965

40/08
"Leviathan"
November 14, 1965

41/09
"The Peacemaker" (Guest starring John Cassavetes, co-starring Whit Bissell, Irene Tsu, Dale Ishimoto)
November 21, 1965

42/10
"The Silent Saboteurs" (Guest starring Pilar Seurat, co-starring George Takei, Bert Freed)
November 28, 1965

43/11
"The X Factor"
December 5, 1965

44/12
"The Machines Strike Back"
December 12, 1965

45/13
"The Monster From Outer Space"
December 19, 1965

46/14
"Terror On Dinosaur Island"
December 26, 1965

47/15
"Killers of the Deep"
January 2, 1966

48/16
"Deadly Creature Below!" (Guest star Nehemiah Persoff, co-starring Paul Comi)
January 9, 1966

49/17
"The Phantom Strikes"
January 16, 1966

50/18
"The Sky's On Fire" (Guest Star David J. Stewart, Co-starring Robert H. Harris, Frank Marth)
January 23, 1966

51/19
"Graveyard of Fear" (Guest starring Robert Loggia)
January 30, 1966

52/20
"The Shape of Doom" (Guest star Kevin Hagen)
February 6, 1966

53/21
"Dead Man's Doubloons" (Guest star Albert Salmi)
February 13, 1966

54/22
"The Death Ship"
February 20, 1966

55/23
"The Monster's Web" (Guest star Mark Richman)
February 27, 1966

56/24
"The Menfish" (Guest star Gary Merrill, special guest star John Dehner)
March 6, 1966

57/25
"The Mechanical Man" (Guest star James Darren, special guest star Arthur O'Connell)
March 13, 1966

58/26
"The Return of the Phantom"
March 20, 1966

text: Season Three (1966–1967)[edit]

text:
Ep #
Title
Airdate

59/01
"Monster From the Inferno"
September 18, 1966

60/02
"Werewolf"
September 25, 1966

61/03
"The Day The World Ended"
October 2, 1966

62/04
"Night of Terror"
October 9, 1966

63/05
"The Terrible Toys"
October 16, 1966

64/06
"Day of Evil"
October 23, 1966

65/07
"Deadly Waters"
October 30, 1966

66/08
"Thing From Inner Space"
November 6, 1966

67/09
"The Death Watch"
November 13, 1966

68/10
"Deadly Invasion"
November 20, 1966

69/11
"The Haunted Submarine"
November 27, 1966

70/12
"The Plant Man"
December 4, 1966

71/13
"The Lost Bomb"
December 11, 1966

72/14
"The Brand of the Beast"
December 18, 1966

73/15
"The Creature" (a.k.a. The Creature Returns)
January 1, 1967

74/16
"Death From The Past"
January 8, 1967

75/17
"The Heat Monster"
January 15, 1967

76/18
"The Fossil Men"
January 22, 1967

77/19
"The Mermaid" Guest star Diane Webber
January 29, 1967

78/20
"The Mummy"
February 5, 1967

79/21
"The Shadowman"
February 12, 1967

80/22
"No Escape From Death"
February 19, 1967

81/23
"Doomsday Island"
February 26, 1967

82/24
"The Wax Men" Guest star Michael Dunn
March 5, 1967

83/25
"Deadly Cloud"
March 12, 1967

84/26
"Destroy Seaview!"
March 19, 1967

text: Season Four (1967–1968)[edit]

text:
Ep #
Title
Airdate

085/01
"Fires of Death" (Guest Starring Victor Jory)
September 17, 1967

086/02
"The Deadly Dolls" (Guest Starring Vincent Price)
October 1, 1967

087/03
"Cave of the Dead" (Guest Starring Warren Stevens)
October 8, 1967

088/04
"Journey With Fear"
October 15, 1967

089/05
"Sealed Orders"
October 22, 1967

090/06
"Man of Many Faces"
October 29, 1967

091/07
"Fatal Cargo"(Guest Starring Woodrow Parfrey)
November 5, 1967

092/08
"Time Lock" (Guest Starring John Crawford)
November 12, 1967

093/09
"Rescue" (Guest Starring Don Dubbins)
November 19, 1967

094/10
"Terror"
November 26, 1967

095/11
"A Time To Die" (Guest Starring Henry Jones)
December 3, 1967

096/12
"Blow Up"
December 10, 1967

097/13
"The Deadly Amphibians" (Guest Starring Don Matheson)
December 17, 1967

098/14
"The Return of Blackbeard" (Guest Starring Malachi Throne)
December 31, 1967

099/15
"The Terrible Leprechaun" (Guest Starring Walter Burke)
January 7, 1968

100/16
"The Lobster Man" (Guest Starring Victor Lundin)
January 21, 1968

101/17
"Nightmare" (Guest Starring Paul Mantee)
January 28, 1968

102/18
"The Abominable Snowman"
February 4, 1968

103/19
"Secret of the Deep" (Guest Starring Peter Mark Richman)
February 11, 1968

104/20
"Man-Beast" (Guest Starring Lawrence Montaigne)
February 18, 1968

105/21
"Savage Jungle" (Guest Starring Perry López)
February 25, 1968

106/22
"Flaming Ice"
March 3, 1968

107/23
"Attack!"
March 10, 1968

108/24
"The Edge of Doom"
March 17, 1968

109/25
"The Death Clock"
March 24, 1968

110/26
"No Way Back"
March 31, 1968

text: Other media[edit]

text:
A paperback novel, City Under the Sea, authored by Paul W. Fairman, was published in 1965, to tie into the series. It had a different storyline than the episode of the same name. The book should also not be confused with the later Irwin Allen film of nearly the same name, which was about the attempts of the world's first under-sea city to prevent the earth from being hit by a rogue asteroid. It is not about "A wealthy family attempting to move the Earth's oceans to another planet for resettlement" as has occasionally been stated.[7]
Western Publishing published a comic book based on the series. Western's comic company, Gold Key Comics put out a series that ran 16 issues from 1964 to 1970. Most covers were painted, and most had a photo of either Richard Basehart or David Hedison on them. The first issue of the Gold Key comic was a story called "The Last Survivor". The story brought back Dr. Gamma, the villain from the pilot episode, "Eleven Days to Zero". Gold Key's story was the only sequel to the pilot episode. Hermes Press reprinted the entire run in 2 hardback volumes; the first was released in 2009.
In 1966, World Distributors, a British publishing company in Manchester, published a hardback book called the Annual. The British-made book used the series characters in all new stories. The book contained a reprint of a story from Gold Key Comics. Both books were mostly prose stories with some illustrations.
Aurora Plastics Corporation released a plastic model kit of Seaview as well as the Flying Sub during the original run of the series. From 1975 - 1977, Aurora reissued both kits; the Seaview (kit #253) was modified with a sea floor base (originally created for the Dick Tracy Space Coupe kit #819) and sub surface details, while The Flying Sub (kit #254) was remodeled in a different base color. The 1975 - 1977 kits—part of Aurora's reissue of 5 of their 11 TV & movie-related science-fiction kits, also included instruction sheets with a detailed history of the TV series or movie plot.
Both kits were recently re-released by Polar Lights. The Flying Sub model sold more than the Seaview model.[citation needed]
Other collectables from the show include a board game with illustrations based on the pilot episode, as well as a boxed card game with a painting of the divers' battle with the giant octopus, both from Milton Bradley, and a school lunch box with thermos from Aladdin with depictions of Admiral Nelson and Captain Crane trying to save the Flying Sub from an evil looking octopus. There was also a Sawyers View-Master slide reel based on the episode "Deadly Creature Below."
In 1964, a 66-card set of black-and-white trading cards was released by Donruss. Selling for 5 cents a pack, the set consisted of stills from the first season. Today, a set in mint condition can sell for several hundred dollars.

text: Popular culture[edit]

text:
The popularity of the TV show inspired Mad Magazine (March, 1966) to spoof the show, their version being called Voyage to See What's on the Bottom, featuring a submarine called the Seapew and a flying sub called Son of Seapew.
Australian TV show Fast Forward sent-up the series as Voyage to the Bottom of the Harbour.
Stock footage of Seaview was used in the Wonder Woman episode "The Bermuda Triangle Crisis."
An often referenced running joke is that in many episodes of the series, characters lurch to camera movements on the visibly static set, to give the illusion that Seaview had sustained impact. This was an old movie trick, and was commonly used by other television shows of the period, including Star Trek, but none did it so frequently, nor with such relish as Voyage.[8] Hence, the technique is still commonly known as "Seaview Rock and Roll."
British television sitcom Red Dwarf frequently utilized parodies of this gimmick, including an extended outtake of the cast lurching from side to side of the Starbug set at the insistence of Craig Charles.
On the SciFi Channel's 1995 documentary tribute to Irwin Allen, The Fantasy Worlds of Irwin Allen, series co-star June Lockhart recalled this technique being used also on Lost In Space, where the cast also knew it as "the rock-and-roll".
The Disney Channel animated series Phineas and Ferb has an episode with a pun on the title called Voyage to the Bottom of Buford.

text: DVD releases[edit]

text: 20th Century Fox has released all 4 seasons on DVD in Region 1 in two volume sets.

text: In Region 2, Revelation Films has released the entire series on DVD in the UK in four complete season sets.[9][10][11][12] On March 26, 2012, they released Voyage To The Bottom Of The Sea: The Complete Collection, a 31-disc set featuring all 110 episodes of the series as well as bonus features.[13]

text: In Region 4, Madman Entertainment released the first two seasons on DVD in Australia on August 20, 2014.[14][15]

text:
DVD Name
Ep #
Release Date
Additional Information

Season 1 Vol. 1
16
February 21, 2006

Unaired Color Pilot
Behind the scenes home movie from Irwin Allen
Promotional Reel featuring Irwin Allen from 1964
Still Gallery

Season 1 Vol. 2
16
July 11, 2006

Still Gallery (22 images)
Blooper Reel
David Hedison Interviews

Season 2 Vol. 1
13
October 24, 2006

Special Effects Footage (22:04)
Concept Art Gallery (5 stills)
Episodic Photo Gallery (35 stills)
Publicity Photo Gallery (8 stills)

Season 2 Vol. 2
13
February 20, 2007

David Hedison Interview
Still Gallery

Season 3 Vol. 1
13
June 19, 2007

Still Galleries
David Hedison Interviews
Visitors on Set
Letters from Fans
"The Rock and Roll"
David Hedison 1966 Interview (audio only)

Season 3 Vol. 2
13
October 23, 2007

Episodic Photo Gallery
Publicity Photos
TV Merchandise
David Hedison Interviews
Richard Basehart 1966 Interview (audio only)

Season 4 Vol. 1
13
March 31, 2009

Eleven Days to Zero (re-cut unaired pilot)
David Hedison Interviews:

Years 1–4
Irwin's Goal
Irwin's Office
Work Hours
Voice-overs

Still Gallery

Season 4 Vol. 2
13
January 11, 2011

Original Unaired Pilot
Broadcast Pilot with Vintage Commercials
Still Gallery

text: Notes[edit]

text:
^ Jump up to: a b King, Susan (2011-01-30). "'Voyage to the Bottom of the Sea': David Hedison looks back on periscope days". Los Angeles Times. Retrieved 2011-01-30.
Jump up ^ Richard Basehart also starred in Moby Dick (1956 film), directed by John Huston.
Jump up ^ http://www.imdb.com/title/tt0057798/epcast#season-3
Jump up ^ http://www.imdb.com/title/tt0057798/epcast#season-4
Jump up ^ "TV Winter Season Getting Shorter". The Robesonian. Lumberton, N.C. March 11, 1968. p. 9.
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Jump up ^ Season 3 Vol 1 DVD extra feature "The Rock and Roll"
Jump up ^ "Voyage To The Bottom Of The Sea — The Complete Series One DVD 1964: Amazon.co.uk: Richard Basehart, David Hedison, Robert Dowdell, Dell Monroe: Film & TV". Amazon.co.uk. Retrieved 2012-11-07.
Jump up ^ "Voyage to the Bottom of the Sea — The Complete Second Series DVD 1961: Amazon.co.uk: Richard Basehart, David Hedison, Irwin Allen: Film & TV". Amazon.co.uk. Retrieved 2012-11-07.
Jump up ^ "Voyage To The Bottom Of The Sea — The Complete Series Three DVD 1964: Amazon.co.uk: Richard Basehart, David Hedison, Irwin Allen: Film & TV". Amazon.co.uk. Retrieved 2012-11-07.
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document_title: t-statistic

question_text: how many degrees of freedom does the t-statistic have

text: t-statistic

text: Definition and features[edit]

text:
Let

β
^

{\displaystyle \scriptstyle {\hat {\beta }}}

 be an estimator of parameter β in some statistical model. Then a t-statistic for this parameter is any quantity of the form

text:
where β0 is a non-random, known constant which may or may not match the actual unknown parameter value β, and

s
.
e
.
(

β
^

)

{\displaystyle s.e.({\hat {\beta }})}

 is the standard error of the estimator

β
^

{\displaystyle \scriptstyle {\hat {\beta }}}

 for β. By default, statistical packages report t-statistic with β0 = 0 (these t-statistics are used to test the significance of corresponding regressor). However, when t-statistic is needed to test the hypothesis of the form H0: β = β0, then a non-zero β0 may be used.

text:
If

β
^

{\displaystyle \scriptstyle {\hat {\beta }}}

 is an ordinary least squares estimator in the classical linear regression model (that is, with normally distributed and homoscedastic error terms), and if the true value of parameter β is equal to β0, then the sampling distribution of the t-statistic is the Student's t-distribution with (n − k) degrees of freedom, where n is the number of observations, and k is the number of regressors (including the intercept).

text:
In the majority of models the estimator

β
^

{\displaystyle \scriptstyle {\hat {\beta }}}

 is consistent for β and distributed asymptotically normally. If the true value of parameter β is equal to β0 and the quantity

s
.
e
.
(

β
^

)

{\displaystyle \scriptstyle s.e.({\hat {\beta }})}

 correctly estimates the asymptotic variance of this estimator, then the t-statistic will have asymptotically the standard normal distribution.

text: In some models the distribution of t-statistic is different from normal, even asymptotically. For example, when a time series with unit root is regressed in the augmented Dickey–Fuller test, the test t-statistic will asymptotically have one of the Dickey–Fuller distributions (depending on the test setting).

text: Use[edit]

text: Most frequently, t statistics are used in Student's t-tests, a form of statistical hypothesis testing, and in the computation of certain confidence intervals.

text: The key property of the t statistic is that it is a pivotal quantity – while defined in terms of the sample mean, its sampling distribution does not depend on the population parameters, and thus it can be used regardless of what these may be.

text: One can also divide a residual by the sample standard deviation:

text: to compute an estimate for the number of standard deviations a given sample is from the mean, as a sample version of a z-score, the z-score requiring the population parameters.

text: Prediction[edit]

text:
Given a normal distribution

N
(
μ
,

σ

2

)

{\displaystyle N(\mu ,\sigma ^{2})}

 with unknown mean and variance, the t-statistic of a future observation

X

n
+
1

,

{\displaystyle X_{n+1},}

 after one has made n observations, is an ancillary statistic – a pivotal quantity (does not depend on the values of μ and σ2) that is a statistic (computed from observations). This allows one to compute a frequentist prediction interval (a predictive confidence interval), via the following t-distribution:

text:
Solving for

X

n
+
1

{\displaystyle X_{n+1}}

 yields the prediction distribution

text:
from which one may compute predictive confidence intervals – given a probability p, one may compute intervals such that 100p% of the time, the next observation

X

n
+
1

{\displaystyle X_{n+1}}

 will fall in that interval.

text: History[edit]

text: The term "t-statistic" is abbreviated from "hypothesis test statistic",[citation needed] while "Student" was the pen name of William Sealy Gosset, who introduced the t-statistic and t-test in 1908, while working for the Guinness brewery in Dublin, Ireland.

text: Related concepts[edit]

text:
z-score (standardization): If the population parameters are known, then rather than computing the t-statistic, one can compute the z-score; analogously, rather than using a t-test, one uses a z-test. This is rare outside of standardized testing.
Studentized residual: In regression analysis, the standard errors of the estimators at different data points vary (compare the middle versus endpoints of a simple linear regression), and thus one must divide the different residuals by different estimates for the error, yielding what are called studentized residuals.


document_title: Yamaha Grizzly 600

question_text: when did yamaha grizzly go to fuel injection

text: Yamaha Grizzly 600

text: This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please help to improve this article by introducing more precise citations. (September 2015) (Learn how and when to remove this template message)

text: The Yamaha Grizzly is a large utility all-terrain vehicle manufactured by the Yamaha Motor Company. It has a 595cc four-stroke engine from the XT600. Yamaha replaced the Grizzly 600 with the new Grizzly 660 using a larger engine that is 660cc derived from the Raptor 660 with a five-valve cylinder head.

text:
Beyond the engine, the biggest differences between the Grizzly 600 (offered in the US from 1998 to 2001) and the Grizzly 660 (introduced in 2002), is the rear suspension.  The older Grizzly has a rigid rear axle with a single shock.  The newer Grizzly has independent rear suspension with dual shocks.  This is reported to have significantly improved the handling characteristics of the newer model.
The Grizzly includes push button 4 wheel drive and diff lock.

text: In 2007 Yamaha came out with the Grizzly 700 that provides fuel injection and optional EPS (electric power steering), that has been getting great reviews. Also, the 700 uses "gull wing" bent axle on the rear, allowing for a shorter frame, and reduced weight.