document_title: Bomb disposal

question_text: the initial structure for british bomb disposal parties in 1939 was composed of

text: Bomb disposal

text: History[edit]

text: The first professional civilian bomb squad was established by Sir Vivian Dering Majendie.[2] As a Major in the Royal Artillery, Majendie investigated an explosion on 2 October 1874 in the Regent's Canal, when the barge 'Tilbury', carrying six barrels of petroleum and five tons of gunpowder, blew up, killing the crew and destroying Macclesfield Bridge and cages at nearby London Zoo.

text: In 1875, he framed The Explosives Act, the first modern legislation for explosives control.[3] He also pioneered many bomb disposal techniques, including remote methods for the handling and dismantling of explosives.[2] His advice during the Fenian dynamite campaign of 1881-85[4] was officially recognised as having contributed to the saving of lives. After Victoria Station was bombed on 26 February 1884 he defused a bomb with a clockwork mechanism which might have gone off at any moment.[5]

text: The New York City Police Department established its first bomb squad in 1903. Known as the "Italian Squad", its primary mission was to deal with dynamite bombs used by the Mafia to intimidate immigrant Italian merchants and residents. It would later be known as the "Anarchist Squad" and the "Radical Squad".[6]

text: WWI: Military bomb disposal units[edit]

text: Bomb Disposal became a formalized practice in the First World War. The swift mass production of munitions led to many manufacturing defects, and a large proportion of shells fired by both sides were found to be "duds".[7] These were hazardous to attacker and defender alike. In response, the British dedicated a section of Ordnance Examiners from the Royal Army Ordnance Corps to handle the growing problem.

text: In 1918, the Germans developed delayed-action fuzes that would later develop into more sophisticated versions during the 1930s, as Nazi Germany began its secret course of arms development. These tests led to the development of UXBs (unexploded bombs), pioneered by Herbert Ruehlemann of Rheinmetall, and first employed during the Spanish Civil War of 1936–37. Such delayed-action bombs provoked terror in the civilian population because of the uncertainty of time, and also complicated the task of disarming them. The Germans saw that unexploded bombs caused far more chaos and disruption than bombs that exploded immediately. This caused them to increase their usage of delayed-action bombs in World War II.

text: Initially there were no specialized tools, training, or core knowledge available, and as Ammunition Technicians learned how to safely neutralize one variant of munition, the enemy would add or change parts to make neutralization efforts more hazardous. This trend of cat-and-mouse extends even to the present day, and the various techniques used to disarm munitions are not publicized.

text: WWII: Modern techniques[edit]

text: Modern EOD Technicians across the world can trace their heritage to the Blitz, when the United Kingdom's cities were subjected to extensive bombing raids by Nazi Germany. In addition to conventional air raids, unexploded bombs (UXBs) took their toll on population and morale, paralyzing vital services and communications. Bombs fitted with delayed-action fuzes provoked fear and uncertainty in the civilian population.

text: The first UXBs were encountered in the autumn of 1939 before the Blitz and were for the most part easily dealt with, mostly by Royal Air Force or Air Raid Precautions personnel. In the spring of 1940, when the Phony War ended, the British realized that they were going to need professionals in numbers to deal with the coming problem. 25 sections were authorized for the Royal Engineers in May 1940, another 109 in June, and 220 by August. Organization was needed, and as the Blitz began, 25 "Bomb Disposal Companies" were created between August 1940 and January 1941. Each company had ten sections, each section having a bomb disposal officer and 14 other ranks to assist. Six companies were deployed in London by January 1941.

text: The problem of UXBs was further complicated when Royal Engineer bomb disposal personnel began to encounter munitions fitted with anti-handling devices e.g. the Luftwaffe's ZUS40 anti-removal bomb fuze of 1940. Bomb fuzes incorporating anti-handling devices were specifically designed to kill bomb disposal personnel. Scientists and technical staff responded by devising methods and equipment to render them safe, including the work of Eric Moxey.[8]

text: The United States War Department felt the British Bomb Disposal experience could be a valuable asset, based on reports from U.S. Army, Navy, and Marine Corps observers at RAF Melksham in Wiltshire, England in 1940. The next year, the Office of Civilian Defense (OCD) and War Department both sponsored a bomb disposal program. After the attack on Pearl Harbor, the British sent instructors to Aberdeen Proving Ground, where the U.S. Army would inaugurate a formal bomb disposal school under the Ordnance Corps. Col. Thomas J. Kane became the U.S. Army Ordnance Bomb Disposal School commandant, and later served as ETO Director of Bomb Disposal under Dwight D. Eisenhower.[9] In May 1941, British colleagues helped establish the Naval Mine Disposal School at the Naval Gun Factory, Washington, D.C. Not to be outdone, the U.S. Navy, under the command of Lt. Draper L. Kauffman (who would go on to found the Underwater Demolition Teams –  better known as UDTs or the U.S. Navy Frogmen), created the Naval Bomb Disposal School at University Campus, Washington, D.C..

text: The first US Army Bomb Disposal companies were deployed in North Africa and Sicily, but proved cumbersome and were replaced with mobile seven-man squads in 1943. Wartime errors were rectified in 1947 when Army personnel started attending a new school at Indian Head, Maryland, under U.S. Navy direction. That same year, the forerunner of the EOD Technology Center, the USN Bureau of Naval Weapons, charged with research, development, test, and evaluation of EOD tools, tactics and procedures was born.

text: Northern Ireland[edit]

text: The Ammunition Technicians of the Royal Logistic Corps (formerly RAOC) became highly experienced in bomb disposal, after many years of dealing with bombs planted by the Provisional Irish Republican Army (PIRA) and other groups. The bombs employed by the PIRA ranged from simple pipe bombs to sophisticated victim-triggered devices and infrared switches. The roadside bomb was in use by PIRA from the early 1970s onwards, evolving over time with different types of explosives and triggers. Improvised mortars were also developed by the IRA, usually placed in static vehicles, with self-destruct mechanisms.[10] During the 38-year campaign in Northern Ireland, 23 British ATO bomb disposal specialists were killed in action.[11]

text: A specialist Army unit, 321 EOD Unit (later 321 EOD Company, and now part of 11 Explosive Ordnance Disposal Regiment RLC), was deployed to tackle increased IRA violence and willingness to use bombs against both economic and military targets. The unit's radio call-sign was Felix. Many[who?] believe this to be an allusion to the cat with nine lives and led to the phrase "Fetch Felix" whenever a suspect device was encountered, which later became the title of the 1981 book Fetch Felix. However, the real reason could be either of two possibilities.[citation needed] All units in Northern Ireland had a callsign to be used over the radios. 321 Company, a newly formed unit, didn't have such a callsign, so a young signaller was sent to the OC of 321 Coy. The OC, having lost two technicians that morning, decided on "Phoenix". This was misheard as "Felix" by the signaller and was never changed. The other possible reason is that the callsign for RAOC was "Rickshaw"; however, the 321 EOD felt it needed its own callsign, hence the deliberate choice of "Felix the Cat with nine lives". 321 Coy RAOC (now 321 EOD Sqn RLC) is unique in that it is the most decorated unit (in peace time) in the British Army with over 200 gallantry awards, notably for acts of great bravery during Operation Banner (1969–2007) in Northern Ireland.[12]

text: British Ammunition Technicians of 11 EOD Regiment RLC were requested by the US Forces commanders to operate in support of the US Marine Corps in clearing the Iraqi oilfields of booby traps and were among the first British service personnel sent into Iraq in 2003 prior to the actual ground invasion.

text: Low intensity conflicts[edit]

text: The eruption of low intensity conflicts and terrorism waves at the beginning of the 21st century caused further development in the techniques and methods of Bomb Disposal. EOD Operators and Technicians had to adapt to rapidly evolving methods of constructing improvised explosive devices ranging from shrapnel-filled explosive belts to 100 kg bombs. Since improvised explosives are generally unreliable and very unstable they pose great risk to the public and especially to the EOD Operator trying to render them safe. Therefore, new methods like greater reliance on remote techniques such as advanced remotely operated vehicles similar to the British Wheelbarrow or armored bulldozers evolved. Many nations have developed their own versions such as the D7 MCAP and the armored D9R.

text: The British Armed Forces have become experts in bomb disposal after many years of dealing with bombs planted by the IRA. These came in many different forms, particularly car bombs rigged to detonate via a variety of manners including command wire and remote trigger. Some of the first personnel sent into Iraq in 2003 were British bomb disposal experts of 11 EOD Regiment RLC. Besides large mine-clearing vehicles such as the Trojan, the British Army also uses small remote controlled vehicles such as Dragon Runner and Chevette.[13][clarification needed]

text: During the al-Aqsa Intifada, Israeli EOD forces have disarmed and detonated thousands of explosive charges, lab bombs and explosive ammunition (such as rockets). Two Israeli EOD teams gained high reputation for leading the efforts in that area: the Army's Israeli Engineering Corps' Sayeret Yahalom and the Israeli Border Guard Gaza-area EOD team.

text: In the Iraq War, the International coalition multinational force in Iraq forces have faced many bombs on travel routes. Such charges can easily destroy light vehicles such as the Humvee, and large ones can even destroy main battle tanks. Such charges caused many casualties and along with car bombs and suicide bombers were a major cause of casualties in Iraq.

text: In Spain's autonomous Basque Country, where bombings by Basque separatist groups were common during the 1980s and 1990s, there are three corps in charge of bomb disposal: Policia Nacional, Guardia Civil, and Ertzaintza. The Ertzaintza handle general civilian threats, while the Policia Nacional and Guardia Civil maintain capabilities mainly to defend their own assets and personnel. In other parts of the country, the Guardia Civil and Policia Nacional develop their tasks within their own competences, with the exception of Mossos d'Esquadra in Catalonia (where the situation is the same as in the Basque Country).

text: Fields of operations[edit]

text: EOD[edit]

text: In the United Kingdom, EOD Operators are held within all three Services. Each Service has differing responsibilities for UXO, however they will often work closely on operations.

text: Ammunition Technical Officers and Ammunition Technicians of the Royal Logistic Corps deal with many aspects of EOD, including conventional munitions and homemade bombs.[14] They are also trained in chemical, biological, incendiary, radiological ("dirty bombs"), and nuclear weapons. They provide support to VIPs, help civilian authorities with bomb problems, teach personnel from all three services about bomb safety, and a variety of other tasks.

text: The Royal Engineers of 33 Engineer Regiment (EOD) provide EOD expertise for air dropped munitions in peace time and conventional munitions on operations, as well as battle area clearance and High Risk Search in support of improvised explosive device disposal.[15]

text: Royal Engineers providing search advice and assets and Ammunition Technicians and Ammunition Technical Officers of 11 EOD Regiment RLC Royal Logistic Corps providing Improvised Explosive Device Disposal (IEDD), Conventional Munitions Disposal (CMD) and Biological, Chemical Munitions Disposal (BCMD). They also provide expertise in Advanced IEDD and in the investigation of accidents and incidents involving ammunition and explosives, where they are seen as Subject Matter Experts (SMEs).

text: Weapons Intelligence is supplied by Royal Military Police, Intelligence Corps and Ammunition Technical Personnel who tap into the CEXC units of the USA.

text: All prospective Ammunition Technicians attend a gruelling course of instruction at The Army School of Ammunition and the Felix Centre, UK. The time frame for an RLC Ammunition Technician to complete all necessary courses prior to finally being placed on an EOD team is around 36 months. Whereas the Engineer EOD training period although shorter in total is spread over a number of years and interspersed with operational experience, RE personnel may be posted to core trades such as carpentry or bridge building within their time as engineers.

text: Royal Air Force armourers from 5131 (BD) Squadron and Royal Navy clearance divers also deploy teams both in the UK and on operations working on both IEDD (Improvised Explosive Device Disposal) teams as well as the disposal of conventional munitions. Both the RAF and Royal Navy personnel spend their entire service working with and around explosives, and associated sciences. As such are given responsibilities relevant to their roles when it comes to conventional weapons;

text:
RAF: Any air-dropped munitions (with the exception of World War II German weapons) and aircraft crash sites.
Royal Navy: Anything of an explosive nature found below the high water mark or deemed to be of a naval origin.

text: PSBT[edit]

text: US EOD covers both on and off base calls in the US unless there is a local PSBT or "Public Safety Bomb Technician" that can handle the bomb - ordnance should only be handled by the EOD experts. Also called a "Hazardous Devices Technician", PSBTs are usually members of a Police department, although there are teams formed by fire departments or emergency management agencies.

text: To be certified, PSBTs must attend the joint U.S. Army-FBI Hazardous Devices School at Redstone Arsenal, Alabama which is modeled on the International IEDD Training school at The Army School of Ammunition, known as the Felix Centre. This school helps them to become knowledgeable in the detection, diagnosis and disposal of hazardous devices. They are further trained to collect evidence in hazardous devices, and present expert witness testimony in court on bombing cases.

text: UXO[edit]

text: Before bombing ranges can be re utilized for other purposes, these ranges must be cleared of all unexploded ordnance. This is usually performed by civilian specialists trained in the field, often with prior military service in explosive ordnance disposal. These technicians use specialized tools for subsurface examination of the sites. When munitions are found, they safely neutralize them and remove them from the site.

text: Other (training, mining, fireworks)[edit]

text: In addition to neutralizing munitions or bombs, conducting training and presenting evidence, EOD Technicians and Engineers also respond to other problems.

text: EOD Technicians help dispose old or unstable explosives, such as ones used in quarrying, mining, or old/unstable fireworks and ammunition. They also assist specialist police units, raid and entry teams with boobytrap detection and avoidance, and they help in conducting post-blast investigations.

text: The EOD technician's training and experience with bombs make them an integral part of any bombing investigation. Another part of an EOD technician's job involves supporting the government intelligence units. This involves searching all places that the high ranking government officers or other protected dignitaries travel, stay or visit.

text: Techniques[edit]

text: Generally, EOD render safe procedures (RSP) are a type of tradecraft protected from public dissemination in order to limit access and knowledge, depriving the enemy of specific technical procedures used to render safe ordnance or an improvised device. Another reason for keeping tradecraft secret is to hinder the development of new anti-handling devices by their opponents: if the enemy has thorough knowledge of specific EOD techniques, they can develop fuze designs which are more resistant to existing render-safe procedures.

text: Many techniques exist for the making safe of a bomb or munition. Selection of a technique depends on several variables. The greatest variable is the proximity of the munition or device to people or critical facilities. Explosives in remote localities are handled very differently from those in densely populated areas. Contrary to the image portrayed in modern-day movies, the role of the modern Bomb Disposal Operator is to accomplish their task as remotely as possible. Actually laying hands on a bomb is only done in an extremely life-threatening situation, where the hazards to people and critical structures cannot be reduced.

text: Ammunition Technicians have many tools for remote operations, one of which is the RCV, or remotely controlled vehicle, also known as the "Wheelbarrow". Outfitted with cameras, microphones, and sensors for chemical, biological, or nuclear agents, the Wheelbarrow can help the Technician get an excellent idea of what the munition or device is. Many of these robots even have hand-like manipulators in case a door needs to be opened, or a munition or bomb requires handling or moving. The first ever Wheelbarrow was conceived by Major Robert John Wilson 'Pat' Patterson RAOC and his team at the Bomb Disposal School, CAD Kineton in 1972 and used by Ammunition Technicians in the battle against Provisional Irish Republican Army bombs.

text: Also of great use are items that allow Ammunition technicians to remotely diagnose the innards of a munition or bomb. These include devices similar to the X-ray used by medical personnel, and high-performance sensors that can detect and help interpret sounds, odors, or even images from within the munition or bomb. Once the technicians determine what the munition or device is, and what state it is in, they will formulate a procedure to disarm it. This may include things as simple as replacing safety features, or as difficult as using high-powered explosive-actuated devices to shear, jam, bind, or remove parts of the item's firing train. Preferably, this will be accomplished remotely, but there are still circumstances when a robot won't do, and a technician must put themself at risk by personally going near the bomb. The Technician will don a specialized protective suit, using flame and fragmentation-resistant material similar to bulletproof vests. Some suits have advanced features such as internal cooling, amplified hearing, and communications back to the control area. This suit is designed to increase the odds of survival for the Technician should the munition or bomb function while they are near it.

text: Rarely, the specifics of a munition or bomb will allow the Technician to first remove it from the area. In these cases, a containment vessel is used. Some are shaped like small water tanks, others like large spheres. Using remote methods, the Technician places the item in the container and retires to an uninhabited area to complete the neutralization. Because of the instability and complexity of modern bombs, this is rarely done. After the munition or bomb has been rendered safe, the Technicians will assist in the removal of the remaining parts so the area can be returned to normal. All of this, called a Render Safe Procedure, can take a great deal of time. Because of the construction of devices, a waiting period must be taken to ensure that whatever render-safe method was used worked as intended.

text: Another technique is Trepanation, in which a bore is cut into the sidewall of a bomb and the explosive contents are extracted through a combination of steam and acid bath liquification of bomb contents.[16]

text: Although professional EOD personnel have expert knowledge, skills and equipment, they are not immune to misfortune because of the inherent dangers: in June 2010, construction workers in Göttingen discovered an Allied 500 kilogram bomb dating from World War II buried approximately 7 metres below the ground. German EOD experts were notified and attended the scene. Whilst residents living nearby were being evacuated and the EOD personnel were preparing to disarm the bomb, it detonated, killing three of them and injuring 6 others. The dead and injured each had over 20 years of hands-on experience, and had previously rendered safe between 600 and 700 unexploded bombs. The bomb which killed and injured the EOD personnel was of a particularly dangerous type because it was fitted with a delayed-action chemical fuze, which had become highly unstable after over 65 years under ground.[17][18][19][20]

text: EOD equipment[edit]

text: Portable X-ray systems[edit]

text: Portable X-ray systems are used to radiograph the bomb before intervention. The purpose is for example to determine if a chemical charge is present or to check the status of the detonator. High steel thickness require high energy and high power sources.

text: Projected water disruptors[edit]

text: Projected water disruptors use a water-projectile shaped charge to destroy bombs, blasting the device apart and severing any detonating connections faster than any fuse or anti-tampering device on the bomb can react. One example is the BootBanger, deployed under the rear compartment of cars suspected to be carrying bombs.[21] Projected water disruptors can be directional, such as the BootBanger; or omni-directional, an example being the Bottler.[22]

text: Pigstick[edit]

text: Pigstick is the British Army term for the waterjet disruptor commonly deployed on the Wheelbarrow remotely operated vehicle against IRA bombs in the 1970s. It fires a jet of water driven by a propellent charge to disrupt the circuitry of a bomb and disabling it with a low risk of detonation. The modern pigstick is reliable and can be fired many times with minimal maintenance. It is now used worldwide. It is 485 mm long and weighs 2.95 kg.[23] It is made of hardened steel, and can be mounted on a remotely operated vehicle (ROV). These factors make it an effective way to render IEDs safe. It is not a panacea however, it can not deal with IEDs packed in hard containers like industrial gas bottles or beer kegs, for instance, and other disruptors have been designed to deal with those and a range of other situations including car bombs.

text: The name pigstick is an odd analogy coming from the verb meaning “to hunt the wild boar on horseback with a spear.”

text: The device was developed by the scientists Mike Barker MBE and Peter Hubbard OBE at RARDE Fort Halstead in late 1971 [24] working under great pressure over a period of several weeks after an ATO lost his life in Northern Ireland attempting to render safe the first IED in the theatre to contain anti-handling devices.[25][26]

text: They started with a prototype equipment designed to disrupt limpet mines attached to a ship’s hull and through a process of many trials and error developed a disruptor that could deal with the crop of IEDs with anti-handling devices prevalent at the time. Barker used the device operationally for the first time in Northern Ireland during a visit there to demonstrate their prototype to George Styles and his team.[27] The Pigstick prototype was re-engineered by a member of Hubbard’s team, Bob White MBE, down from its original 20 kg to its current 2.95 kg form but its internal ballistic design remained true to the original.

text: ...in the period 1972-1978, and taking into account machines which had been exported, over 400 Wheelbarrows were destroyed while dealing with terrorist devices. In many of these cases, it can be assumed that the loss of a machine represented the saving of an EOD man's life.

text: ZEUS[edit]

text: The ZEUS-HLONS (HMMWV Laser Ordnance Neutralization System), commonly known as ZEUS, was developed for surface land mines and unexploded ordnance (UXO) neutralization by the U.S. Naval Explosive Ordnance Disposal Technology Division (NAVEODTECHDIV). It uses a moderate-power commercial solid state laser (SSL) and beam control system, integrated onto a Humvee (HMMWV), to clear surface mines, improvised bombs, or unexploded ordnance (UXO) from supply routes and minefields.

text: Bomb containment chamber[edit]

text: There are a wide range of containment chambers available. The simplest are sometimes dangerous suppression vessels that merely contain some of the fragments generated by the explosion. The other end of the spectrum features top-of-the-line gas-tight chambers that can withstand multiple shots while remaining able to contain chemical, biological, or radioactive agents. Containment chambers of all types may be fitted onto towed trailers, or specialised EOD vehicles.

text: EOD Suits[edit]

text: There is a long history of IEDD within the UK and protection for this role has evolved over the years. Starting with the Mk1 in 1969, in response to the Maoist Terrorist threat in Hong Kong, through to the Mk 2 in 1974, in response to the IRA threat in Northern Ireland (NI), with further developments of the Mk3 in 1980 to include a new helmet. The Mk4 EOD Suit, introduced into service in 1993, combines fragmentation and blast protection that is prioritised over the most vulnerable parts of the body (head, face and torso). The current system, MKV/VI, was introduced in 2004, and was a combined MOD/NP Aerospace project. The only part of the body that has no protection at all is the hands. [29]


question_text: female roles in joseph and the technicolor dreamcoat

root

text: Synopsis[edit]

text: Act I[edit]

text: The story is based on the Biblical story of Joseph, found in the Book of Genesis. It is set in a frame in which a narrator is telling a story (sometimes to children, encouraging them to dream). She then tells the story of Joseph, another dreamer ("Prologue," "Any Dream Will Do"). In the beginning of the main story Jacob and his 12 sons are introduced ("Jacob and Sons"). Joseph's brothers are jealous of him for his coat of many colours, a symbol of their father's preference for him ("Joseph's Coat"). It is clear from Joseph's dreams that he is destined to rule over them ("Joseph's Dreams"). To get rid of him and prevent the dreams from coming true, they attempt fratricide, but then they sell Joseph as a slave to some passing Ishmaelites ("Poor, Poor Joseph"), who take him to Egypt.

tag: p

text: Back home, his brothers, led by Reuben and accompanied by their wives, break the news to Jacob that Joseph has been killed. They show his tattered coat smeared with his blood – really goat blood – as proof that what they say is true ("One More Angel in Heaven"). After the bereft Jacob leaves, the brothers and their wives happily celebrate the loss of Joseph.

text: In Egypt, Joseph is the slave of Egyptian millionaire Potiphar. He rises through the ranks of slaves and servants until he is running Potiphar's house. When Mrs. Potiphar makes advances, Joseph spurns her. She removes his shirt, feels his chest and back, squeezes his rear and blows him kisses. Potiphar overhears, barges in, sees the two together – and jumps to conclusions ("Potiphar"). Outraged, he throws Joseph in jail. Depressed, Joseph laments the situation ("Close Every Door") – but his spirits rise when he helps two prisoners put in his cell. Both are former servants of the Pharaoh and both have had bizarre dreams. Joseph interprets them. One cellmate, the Baker, will be executed, but the other, the Butler, will be returned to service. Upon hearing this, the rest of the prisoners surround Joseph and encourage him to go after his dreams ("Go, Go, Go Joseph").

text: Act II[edit]

text: The Narrator tells of impending changes in Joseph's fortunes ("A Pharaoh Story") because the Pharaoh is having dreams that no one can interpret. Now freed, the Butler tells Pharaoh (acted in the style of Elvis Presley) of Joseph and his dream-interpretation skills ("Poor, Poor Pharaoh"). Pharaoh orders Joseph to be brought in and the king tells him his dream involving seven fat cows, seven skinny cows, seven healthy ears of corn, and seven dead ears of corn ("Song of the King").

text: Joseph interprets the dream as seven plentiful years of crops followed by seven years of famine ("Pharaoh's Dreams Explained"). An astonished Pharaoh puts Joseph in charge of carrying out the preparations needed to endure the impending famine, and Joseph becomes the most powerful man in Egypt, second only to Pharaoh himself ("Stone the Crows"). (In the 2007 London revival, Pharaoh has a new song, "King of my Heart").

text: Back home, the famine has caught up with Joseph's brothers, who, led by Simeon, express regret at selling him and deceiving their father ("Those Canaan Days"). They hear that Egypt still has food and decide to go there to beg for mercy and to be fed ("The Brothers Come to Egypt"), not realising that they will be dealing with Joseph ("Grovel, Grovel"). Joseph gives them sacks of food, but plants a golden cup in the sack of his youngest brother, Benjamin. When the brothers try to leave, Joseph stops them, asking about the "stolen cup". Each brother empties his sack, and it is revealed that Benjamin has the cup. Joseph then accuses Benjamin of robbery ("Who's the Thief?"). The other brothers, led by Judah, beg for mercy for Benjamin, imploring that Joseph take them prisoner and set Benjamin free ("Benjamin Calypso").

text: Seeing their selflessness and penitence, Joseph reveals himself ("Joseph All the Time") and sends for his father. The two are reunited ("Jacob in Egypt") for a happy conclusion and Joseph dons his coloured coat once more ("Finale: Any Dream Will Do (Reprise)/Give Me My Coloured Coat").

text: In some productions, the finale is followed by a rock/disco medley of most of the musical's major numbers ("Joseph Megamix").

text: Production[edit]

text: Development and early performances, publication, and recordings[edit]

text: The 17-year-old budding musical-theatre composer Andrew Lloyd Webber was introduced to the 20-year-old aspiring pop-song writer Tim Rice in 1965, and they created their first musical, The Likes of Us.[2] They produced a demo tape of that work in 1966,[3] but the project failed to gain a backer.[2]

text: In the summer of 1967 Alan Doggett, a family friend of the Lloyd Webbers who had assisted on The Likes of Us and who was the music teacher at the Colet Court school in London, commissioned Lloyd Webber and Rice to write a piece for the school's choir.[3][4][2] Doggett requested a "pop cantata" along the lines of Herbert Chappell's The Daniel Jazz (1963) and Michael Hurd's Jonah-Man Jazz (1966), both of which had been published by Novello and were based on the Old Testament.[3] The request for the new piece came with a 100-guinea advance from Novello.[3] This resulted in Joseph and the Amazing Technicolor Dreamcoat, a retelling of the biblical story of Joseph, in which Lloyd Webber and Rice humorously pastiched a number of pop-music styles.

text: The piece was first presented as a 20-minute pop cantata at Colet Court School in London on 1 March 1968.[2] Lloyd Webber's composer father William arranged for a second performance at his church, Westminster Central Hall, with a revised and expanded format; the boys of Colet Court and members of the band Mixed Bag sang at this performance in May 1968.[5] One of the children's parents in that audience was the Sunday Times music critic; he reviewed the piece in the newspaper, calling it a new pop oratorio and praising its innovation and exuberance.[2][6] By its third performance, at St Paul's Cathedral in November 1968, the musical had been expanded to 35 minutes.[5]

text: Novello published the lyrics and sheet music at the beginning of 1969, as the third of their Old Testament pop cantatas.[3] Decca Records, which had already recorded the musical in the summer of 1968, released the recording in 1969, credited to the Joseph Consortium, after the Novello publication.[3][7][8][9] David Daltrey, front man of British psychedelic band Tales of Justine, played the role of Joseph and lead guitar, and Tim Rice was Pharaoh. Other vocalists included members of the Mixed Bag group, such as Terry Saunders and Malcolm Parry, and the choir of Colet Court School.[7][8][9] Daltrey, although not part of the Mixed Bag, was managed by Tim Rice and Andrew Lloyd Webber at the time, and EMI colleague Martin Wilcox suggested to Rice that they use the Mixed Bag as a backing group on the album.[citation needed]

text: A recording of the musical with 19 tracks was issued in the US on Scepter Records in 1971. It was a reissue of the 1969 Decca UK album, capitalising on the success of 1970's Jesus Christ Superstar in the US. It featured Daltrey as Joseph, Rice as Pharaoh, William S. Lloyd Webber on the Hammond organ, Alan Doggett conducting, and the Colet Court choir as the chorus.[10][11]

text: Early stage performances[edit]

text: First American productions[edit]

text: Lloyd Webber and Rice used the popularity of their subsequent musical, the rock opera Jesus Christ Superstar, to promote Joseph, which was advertised in America as a "follow-up" to Superstar.[12] The rock opera's title song "Superstar" had been an international hit single released in late 1969, and "I Don't Know How To Love Him", another hit from Jesus Christ Superstar, was released 1 May 1970. The first American production of Joseph was in May 1970, at Cathedral College of the Immaculate Conception in Douglaston, New York. Following this, other colleges and schools sought to produce the piece.[13]

text: Young Vic production and move to West End[edit]

text: In late August and September 1972, Joseph was presented at the Edinburgh International Festival by the Young Vic Theatre Company, directed by Frank Dunlop. It starred Gary Bond in the title role, Peter Reeves as the narrator, and Gordon Waller as Pharaoh; Alan Doggett was the music director. In October the production played at London's Young Vic Theatre, and in November at the Roundhouse. The production was part of a double bill called Bible One: Two Looks at the Book of Genesis. Part I was Dunlop's reworking of the first six of the medieval Wakefield Mystery Plays, with music by Alan Doggett. Part II was Joseph and the Amazing Technicolor Dreamcoat.[12] The Young Vic production was recorded for an LP released on the RSO label in 1972. This production was also broadcast in the UK by Granada Television in 1972.[14]

text: In February 1973, theatre producer Michael White and impresario Robert Stigwood mounted the Young Vic production at the Albery Theatre in the West End, where it ran for 243 performances.[15] The mystery plays that had preceded the original Young Vic productions were dropped, and instead the musical was preceded by a piece called Jacob's Journey, with music and lyrics by Lloyd Webber and Rice and a book by television comedy writers Ray Galton and Alan Simpson. Jacob's Journey, which contained a great deal of spoken dialogue, was eventually phased out in favour of a sung-through score that became part of Joseph. The first production of the show in its modern, final form was at the Haymarket Theatre in Leicester, which presented the musical several times from 1974 through 1978.[12][16]

text: A recording of the full musical was released on the MCA label in 1974, again featuring Bond, Reeves and Waller. This is the earliest recording of Joseph to eventually be issued on CD.[citation needed] Waller also appeared on another recording in 1979, featuring Rice as the Narrator and Paul Jones as Joseph, on the Music For Pleasure label.[citation needed]

text: In 1975 Miranda Enterprises in association with Leicester Theatre Company presented Joseph at the Queen's Theatre, Hornchurch. It was directed by Paul Tomlinson and choreographed by David Thornton. This production starred Patrick Ryecart as Joseph and David Sadgrove as Pharaoh.[citation needed]

text: Ken Hill directed a large-scale production of Joseph at the Westminster Theatre, London, which ran from November 1978 to February 1979, and again from November 1979 to February 1980. This production starred Paul Jones as Joseph, John Golder as the Narrator, and Leonard Whiting as Pharaoh. A recording of this production with additional narration spoken by children was broadcast on BBC radio, produced by Richard Wilcox.[citation needed]

text: Professional US productions, 1976–1984[edit]

text: The musical ran at the Brooklyn Academy of Music in New York in 1976 and in 1977 as "holiday fare". In the 1976 production, which opened on 30 December, direction was by John Dunlop, with a cast that featured Cleavon Little as the Narrator and David-James Carroll as Joseph.[17] In the 1977 production, running in December through 1 January 1978, staging was by Graciela Daniele, with Carroll as Joseph, Alan Weeks as the Narrator and William Parry as Pharaoh/Elvis.[18]

text: Joseph received an Off-Broadway production at the Entermedia Theatre, running from 18 November 1981 through 24 January 1982. Directed by Tony Tanner, the cast starred Bill Hutton as Joseph, Laurie Beechman as the Narrator, and Tom Carder as Pharaoh.[19][20]

text: The production transferred to Broadway at the Royale Theatre on 27 January 1982 and ran through 4 September 1983, with 747 performances.[21] This production was recorded on the Chrysalis label, and is the first to feature the Prologue (dubbed on the Chrysalis release "You are what you feel"). The producers were Gail Berman and Susan Rose, who were the youngest producers on Broadway.[22] The show received several Tony Award nominations including Best Musical and Best Original Score. Allen Fawcett replaced Hutton as Joseph in June 1982.[23] David Cassidy took over the role of Joseph in March 1983 and also performed in the touring cast in 1983–1984.[24]

text: With Jason Donovan in the lead, the expanded show was restaged in 1991 at the London Palladium with Steven Pimlott as director and Anthony Van Laast as choreographer, winning the 1992 Laurence Olivier Award for set design. The cast album of this production was the #1 UK album for two weeks in September 1991, and the single "Any Dream Will Do" from it was also the #1 UK single for two weeks in June–July 1991. When Donovan left, former children's TV presenter Phillip Schofield portrayed Joseph.[25]

text: The musical opened in Toronto at the Elgin Theatre in July 1992, with Donny Osmond as Joseph and Janet Metz as the Narrator.[26] Afterwards, Osmond toured North America in the role.[citation needed] A major Australian production, based on the 1991 UK version, opened on 31 December 1992 at the State Theatre in Melbourne. It featured Indecent Obsession lead singer David Dixon as Joseph and Tina Arena as the Narrator. The musical then played seasons in Brisbane and Sydney through 1993.[27][28]

text: The show was revived in the United States in 1993, playing in Los Angeles at the Pantages Theatre for 18 weeks,[29] and in San Francisco at the Golden Gate Theatre for an 8-week run,[29] before moving to Broadway, where it played for 231 performances at the Minskoff Theatre from 10 November 1993 to 29 May 1994.[30] The cast featured Michael Damian (Joseph), Kelli Rabke (Narrator), Clifford David (Jacob), and Robert Torti (Pharaoh).[31][32]

text: A production starring Stephen Gately, "with cartoon cut-out sets and props and naff panto choreography", previewed in Oxford in December 2002, before moving to Liverpool over Christmas 2002. This production reached the West End at the New London Theatre in March 2003.[33]

text: A US national tour began in September 2005 in Milwaukee, Wisconsin, starring starred Patrick Cassidy.[34]

text: A 2007 revival of the London Palladium production at the Adelphi Theatre starred a Joseph cast with the winner of BBC One's Any Dream Will Do, presided over by Lloyd Webber. This was second reality talent show to search for a West End star, capitalising on the success of the 2006 BBC–Lloyd Webber series, How Do You Solve a Problem Like Maria?. Viewers voted to for Lee Mead as Joseph. Mead had given up his ensemble role in The Phantom of the Opera, where he also understudied Raoul. The new Joseph production, which began on 6 July 2007, used Steven Pimlott's (who had died since staging the Palladium production) original direction, with Preeya Kalidas as the Narrator.[35]

text: Tickets for the show's originally-planned six-month run sold out in three weeks, and the producers had extended the show's run – and Mead's contract – until 7 June 2008. Before opening night, the producers had received £10 million in advance ticket sales. In his review for Variety, David Benedict wrote, "Mead delivers. ... For as long as Mead chooses to continue in it, Joseph is, commercially speaking, the safest of bets."[citation needed] Lloyd Webber's Really Useful Group donated all receipts from two special performances to the BBC's Children in Need charity appeal. Additionally, the money normally given to the cast for first-night gifts in July 2007 went instead to Children in Need. In January 2009 Mead left the show and was replaced by Gareth Gates. The production closed in May 2009.[citation needed]

text: The long-running UK touring production was re-cast in 2010 with Keith Jack taking on Joseph in July 2010 opposite Jennifer Potts as narrator.[36] In May 2013 Ian "H" Watkins replaced Jack, reprising the role he had played in London and on tour. The 2014–15 leg of the tour saw X Factor contestant Lloyd Daniels take on the title role opposite Eastender's Matt Lapinskas as Pharaoh. Danielle Hope played Narrator in 2014. Amelia Lily, another X factor alumna, later played the Narrator.[citation needed]

text: A new North American touring production began on 4 March 2014 in Cleveland, Ohio starring Diana DeGarmo as the Narrator and Ace Young as Joseph.[37]

text: The 2016 UK touring production starred Joe McElderry as Joseph and Lucy Kay as the Narrator.[38] The tour began in January 2016 and is scheduled to run through June 2017.[39]

text: Characters[edit]

text:
Narrator: A character not of the time or place of the action. The Narrator tells the story through word and song, guiding the audience gently through the story of Joseph and his brothers, usually gives meaning to the story with his/her words. In early productions this character was usually played by a man; later productions have featured a woman in the role.
Jacob: The father of twelve sons, his favourite being Joseph. At times he may appear unfair and shallow, but he is, more importantly, the prophet who recognises the future and the calling of Joseph, thus saving the House of Israel. Usually doubles as Potiphar.
Joseph: Eleventh son of Jacob. Obviously his father’s favourite, Joseph early on shows a talent for interpreting dreams and telling the future. This gets him into trouble with his brothers when he predicts his future will include ruling over the other eleven. However, it saves his life when in Egypt he correctly interprets Pharaoh’s dreams. In the end he has risen to a great position of power, but he still forgives his brothers and brings his family to Egypt to partake of the bounty he has accumulated there.
Ishmaelites: Men of the desert, they buy Joseph as a slave, take him to Egypt, and sell him to Potiphar.
Potiphar: A powerful and rich Egyptian, Potiphar purchases Joseph and puts him to work in his household, where he soon realises that Joseph is honest, hard-working, and a great addition to his pool of help. When he grows suspicious of Mrs. Potiphar and Joseph, however, he grows angry and has Joseph thrown into prison. Usually played by the actor playing Jacob.
Mrs. Potiphar: Beautiful and scheming, Mrs. Potiphar tries to seduce Joseph, but is unsuccessful. However, she does manage to rip off much of his clothing just as her husband comes into the room, thus condemning him to prison. Also plays one of the wives.
Baker: One of Pharaoh servants, the Baker is in prison with Joseph who correctly interprets his dreams and predicts that he will be put to death. Played by one of the brothers.
Butler: Another of Pharaoh servants, the Butler is also in prison with Joseph who also correctly interprets his dreams, this time that he will be released and taken back into Pharaoh's household. It is the Butler who tells Pharaoh about Joseph and his uncanny ability with dreams. Played by one of the brothers.
Pharaoh: The most powerful man in Egypt, Pharaoh is considered a god on earth. When Joseph interprets his dreams, he promotes him to one of the highest positions in his government. In most productions, Pharaoh is portrayed as an Elvis Presley-style figure. Sometimes played by one of the brothers.
Joseph's Eleven Brothers: Although acting usually as a group, they each have their own different personalities, talents, and flaws. As a group they sell Joseph into slavery, but as individuals they deal with the following years and how they can make amends. They sing and dance their way through many situations and places. The brothers also double as Egyptians and servants of Potiphar.

Reuben: Eldest son of Jacob. Takes the lead on "One More Angel in Heaven"
Simeon: Second son of Jacob. Takes the lead on "Those Canaan Days"
Levi: Third son of Jacob.
Judah: Fourth son of Jacob. Takes the lead on "Benjamin Calypso".
Dan: Fifth son of Jacob.
Naphtali: Sixth son of Jacob.
Gad: Seventh son of Jacob.
Asher: Eighth son of Jacob.
Issachar: Ninth son of Jacob.
Zebulun: Tenth son of Jacob.
Benjamin: Twelfth son of Jacob. Joseph accuses him of stealing the golden cup.

The Wives: The wives of Jacob. The actresses playing the wives also double as Egyptians and servants of Potiphar.
Adult chorus
Children's chorus

tag: ul

text: Musical numbers[edit]

text:
Act I[40]

Prologue – Narrator
Any Dream Will Do – Joseph, Children
Jacob and Sons – Narrator, Brothers, Ensemble
Joseph's Coat – Jacob, Narrator, Joseph, Brothers, Wives, Ensemble
Joseph's Dreams – Narrator, Brothers, Joseph
Poor, Poor Joseph – Narrator, Joseph, Brothers
One More Angel in Heaven – Reuben, Reuben's Wife, Brothers, Wives, Jacob
Potiphar – Narrator, Potiphar, Mrs. Potiphar, Joseph, Ensemble
Close Every Door – Joseph and Company
Go, Go, Go Joseph – Narrator, Joseph, Butler, Baker, Ensemble

Act II

Pharaoh's Story – Narrator, Ensemble
Poor, Poor Pharaoh (reprise of Poor, Poor Joseph) – Narrator, Butler, Pharaoh, Women
Song of the King – Pharaoh, Ensemble
Pharaoh's Dream Explained – Joseph, Ensemble
Stone the Crows – Narrator, Pharaoh, Joseph, Female Ensemble
King of My Heart – Pharaoh
Those Canaan Days – Simeon, Jacob, Brothers
The Brothers Come To Egypt/Grovel, Grovel – Narrator, Brothers, Joseph, Female Ensemble
Who's the Thief? – Narrator, Joseph, Ensemble
Benjamin Calypso – Judah, Brothers, Ensemble
Joseph All the Time – Narrator, Joseph, Brothers, Ensemble
Jacob in Egypt – Ensemble
Any Dream Will Do (Reprise) – Joseph, Narrator, Ensemble
Joseph Megamix – Full Company

tag: table

text: Lloyd-Webber used a variety of musical styles, including parodies of French ballads ("Those Canaan Days"), Elvis-inspired rock and roll ("Song of the King"), western music ("One More Angel In Heaven"), 1920s Charleston ("Potiphar"), Calypso ("Benjamin Calypso"), jazz ("Joseph's Dreams"), and 1950s rock ("Go, Go, Go Joseph").[citation needed]

text: "Prologue" was first included in the 1982 Broadway production; the use of "Any Dream Will Do" at the start of the show (and the renaming of the closing version as per the above list) dates from the 1991 revival. The UK touring production circa 1983-1987 (produced by Bill Kenwright), included an additional song "I Don't Think I'm Wanted Back At Home", which was originally part of Jacob's Journey.[41] Sung by the title character, the brothers jokingly push Joseph out of the family home, throwing a suitcase, then a cane and top hat at him, leaving Joseph to tap-dance through the number.[citation needed] The tune has been recycled into numbers in By Jeeves and The Likes of Us.[citation needed]

text: Awards and nominations[edit]

text: Original Broadway production[edit]

text:
Year
Award
Category
Nominee
Result

1982
Tony Award
Best Musical
Nominated

Best Book of a Musical
Tim Rice
Nominated

Best Original Score
Andrew Lloyd Webber and Tim Rice
Nominated

Best Performance by a Featured Actor in a Musical
Bill Hutton
Nominated

Best Performance by a Featured Actress in a Musical
Laurie Beechman
Nominated

Best Choreography
Tony Tanner
Nominated

Drama Desk Award
Outstanding Musical
Nominated

Outstanding Featured Actress in a Musical
Laurie Beechman
Nominated

Outstanding Director of a Musical
Tony Tanner
Nominated

text: 1991 London revival[edit]

text:
Year
Award
Category
Nominee
Result

1992
Laurence Olivier Award
Best Musical Revival
Nominated

Best Actor in a Musical
Jason Donovan
Nominated

Best Actress in a Musical
Linzi Hateley
Nominated

Best Director of a Musical
Steven Pimlott
Nominated

Best Theatre Choreographer
Anthony Van Laast
Nominated

Best Set Designer
Mark Thompson
Won

text: 2003 London revival[edit]

text:
Year
Award
Category
Nominee
Result

2004
Laurence Olivier Award
Best Musical Revival
Nominated

text: Film adaptation[edit]

text: In 1999, a straight-to-video film of the same title starring Donny Osmond was released, directed by David Mallet. Osmond had toured North America in the role after opening the Toronto revival in 1992. In the film, Maria Friedman appears as the Narrator, Richard Attenborough as Jacob, Ian McNeice as Potiphar, Joan Collins as Mrs. Potiphar and Robert Torti as Pharaoh.[42]


document_title: Monsters vs. Aliens

question_text: who plays the alien in monsters vs aliens

text: Monsters vs. Aliens

text: Plot[edit]

text: Out beyond the far reaches of space, an unknown planet explodes sending a strange meteorite across the galaxy, heading towards Earth. Meanwhile, Susan Murphy of Modesto, California is going to be married to news weatherman Derek Dietl. Just before the ceremony, she is hit by the meteorite and its energy causes her to glow green and grow to enormous size. She is tranquilized by the military and awakens in a top secret government facility that houses monsters of which the public are ignorant. She meets General W.R. Monger, the Army officer in charge of the facility, and her fellow monster inmates: Dr. Cockroach PhD, a mad scientist who became half-human, half-cockroach after an experiment; B.O.B. (Benzoate Ostylezene Bicarbonate), a brainless, living mass of blue goo as a result of a food flavoring mutation; Insectosaurus, a massive mutated bug standing 350 feet in height, and the Missing Link, a prehistoric 20,000 year old fish-ape hybrid who was thawed from deep ice by scientists. Susan herself has been renamed to Ginormica.

text: In a mysterious spaceship in deep space, an alien overlord named Gallaxhar is alerted to the presence of quantonium, a powerful energy source on Earth, and he sends a robotic probe to retrieve it. The probe later lands on Earth where the President of the United States attempts to make first contact with it. However, the attempt fails and the probe goes on a destructive rampage, headed straight for San Francisco. Monger convinces the President to grant the monsters their freedom if they can stop the probe. In San Francisco, the robot detects the quantonium radiating through Susan's body and tries to take it from her, putting many lives at risk. At the Golden Gate Bridge, the monsters work together to defeat the probe.

text: Gallaxhar sets course for Earth to obtain the quantonium in person while the now-free Susan returns home with her new friends and reunites with her family. However, the monsters alienate themselves from the humans due to their inexperience with social situations. Derek breaks off his engagement with Susan, claiming that he cannot marry someone who would overshadow him and his career. Heartbroken, the monsters reunite, but Susan realizes that her life is better as a monster and promises not to sell herself short to anyone again. Suddenly, Susan is pulled into Gallaxhar's spaceship. Insectosaurus tries to save her, but he is shot down by the ship's plasma cannons, seemingly killing him.

text: On board the ship, Gallaxhar extracts the quantonium from Susan, shrinking her back to her normal size. Gallaxhar then uses the extracted quantonium to create clones of himself in order to launch a full-scale invasion of Earth. Monger manages to get the monsters on board the ship. They rescue Susan and make their way to the main power core where Dr. Cockroach sets the ship to self-destruct to prevent the invasion. All but Susan are trapped as the blast doors close and she personally confronts Gallaxhar on the bridge. With her time running out, she sends the ball of stored quantonium down on herself, restoring her monstrous size and strength. After rescuing her friends, they flee the ship and meet with Monger and Insectosaurus, who has morphed into a butterfly. The ship self-destructs, killing Gallaxhar and his army.

text: Returning to Modesto, Susan and the monsters receive a hero's welcome. Hoping to take advantage of Susan's fame for his own career, Derek tries to get back together with her, but she rejects him. Monger then arrives to tell the monsters about a new monstrous snail called Escargantua making its way (slowly) to Paris. The monsters take off to confront the new menace.

text: Cast and characters[edit]

text: Monsters[edit]

text:
Reese Witherspoon as Susan Murphy/Ginormica
Seth Rogen as B.O.B.
Hugh Laurie as Dr. Cockroach PhD
Will Arnett as The Missing Link
Conrad Vernon as Insectosaurus

text: Aliens[edit]

text:
Rainn Wilson as Gallaxhar
Amy Poehler as Gallaxhar's Computer

text: Humans[edit]

text:
Kiefer Sutherland as General Warren R. Monger
Stephen Colbert as President Hathaway
Paul Rudd as Derek Dietl
Jeffrey Tambor as Carl Murphy
Julie White as Wendy Murphy
Renée Zellweger as Katie
John Krasinski as Cuthbert
Ed Helms as News Reporter. David Koch replaced Helms for the Australian edit.

text: Production[edit]

text: The film started as an adaptation of a horror comic book, Rex Havoc,[6] in which a monster hunter Rex and his team of experts called "Ass-Kickers of the Fantastic" fight against ghouls, ghosts and other creatures.[7] The earliest development goes back to 2002, when DreamWorks first filed for a Rex Havoc trademark.[8] In a plot synopsis revealed in 2005, Rex was to assemble a team of monsters, including  Ick!, Dr. Cockroach, the 50,000 Pound Woman and Insectosaurus, to fight aliens for disrupting cable TV service.[6] In the following years, the film's story diverged away from the original Rex Havoc, with directors Conrad Vernon and Rob Letterman finally creating the storyline from scratch.[9]

text: Production designer David James stated that the film is "a return to what made us nerds in the first place," getting classic movie monsters and relaunching them in a contemporary setting. Director Conrad Vernon added that he found it would be a great idea to take hideous monsters and giving them personalities and satirizing the archetypes.[10] Each of the five monsters has traits traceable to sci-fi/horror B movies from the 1950s, '60s and '70s, although none is a mere copy of an older character.[11] Susan, who grows to be 49 feet 11 inches tall, was inspired by Attack of the 50 Foot Woman. Dr. Cockroach represents The Fly and The Curse of Frankenstein, while B.O.B. is an amalgam of slithering and slimy characters that were featured in the films, including The Blob and The Crawling Eye. Insectosaurus, a 350-foot-tall monster, is a nod to the 1961 Kaiju film Mothra. According to Vernon, the Missing Link has no direct inspiration. He "just represents anything prehistoric that comes back to life and terrorizes people."[11] For the San Francisco sequence, the producers researched lots of films and photographs for an accurate depiction of the city, and filmed animator Line Andersen, who had a similar body type to Ginormica—tall, thin, and athletic-looking—walking alongside a scale model of San Francisco, to capture better how a person not comfortable with being too big with an environment would walk around it.[10]

text: Ed Leonard, CTO of DreamWorks Animation, says it took approximately 45.6 million computing hours to make Monsters vs. Aliens, more than eight times as many as the original Shrek. Several hundred Hewlett-Packard xw8600 workstations were used, along with a 'render farm' of HP ProLiant blade servers with over 9,000 server processor cores, to process the animation sequence. Animators used 120 terabytes of data to complete the film. They used 6 TB for an explosion scene.[12]

text: Ever since Monsters vs. Aliens was made, all feature films released by DreamWorks Animation were produced in a stereoscopic 3-D format, using Intel's InTru3D technology.[13] IMAX 3D, RealD and 2D versions were released.

text: Release[edit]

text: Marketing[edit]

text: To promote the 3-D technology that is used in Monsters vs. Aliens, DreamWorks ran a 3-D trailer before halftime in the U.S. broadcast of Super Bowl XLIII on February 1, 2009. Due to the limitations of current television technology, ColorCode 3D glasses were distributed at SoBe stands at major national grocers. The Monsters, except Susan and Insectosaurus, also appeared in a 3-D SoBe commercial airing after the trailer. Bank of America gave away vouchers which covered the cost of an upgrade to a 3-D theatrical viewing of the film for its customers.[14]

text: Home media[edit]

text: Monsters vs. Aliens was released to DVD and Blu-ray in the United States and Canada on September 29, 2009 and on October 26, 2009, in the United Kingdom. The home release for both the DVD and Blu-ray format only contain the 2D version of the movie. However, the release is packaged with a new short, B.O.B.'s Big Break, which is the more traditional 3D that required green and magenta glasses.[15] Also included are four pairs of 3D glasses.[15] On January 6, 2010, it was announced that a 3D version would be released on Blu-ray.[16] On February 24, a tentative March release date was set for the United Kingdom, where anyone who buys a Samsung 3D TV or 3D Blu-ray player will get a copy.[17] On March 8, it was reported that the 3D Blu-ray would be released in the United States, also with Samsung 3D products, on March 21.[18]  In July 2014, the film's distribution rights were purchased by DreamWorks Animation from Paramount Pictures and transferred to 20th Century Fox; the rights are now owned by Universal Pictures.[19]

text: Reception[edit]

text: Critical reception[edit]

text: Based on 213 reviews collected by Rotten Tomatoes, Monsters vs. Aliens has an overall approval rating from critics of 72% and an average score of 6.5/10. The website's critical consensus reads: "Though it doesn't approach the depth of the best animated films, Monsters Vs. Aliens has enough humor and special effects to entertain moviegoers of all ages".[20] Metacritic, which assigns a normalized rating from mainstream critics, the film has received an average score of 56/100 based on 35 reviews.[21] Roger Ebert of the Chicago Sun-Times gave the film 2.5/4 stars, saying, "I suppose kids will like this movie", though he "didn't find [it] rich with humor".[22]

text: Box office[edit]

text: On its opening weekend, the film opened at no. 1, grossing $59.3 million in 4,104 theaters.[23] Of that total, the film grossed an estimated $5.2 million in IMAX theaters, becoming the fifth-highest-grossing IMAX debut, behind Star Trek, Transformers: Revenge of the Fallen, The Dark Knight, and Watchmen.[24] The film grossed $198.4 million in the United States and Canada, making it the second-highest-grossing animated movie behind Up. Worldwide, it is the third-highest-grossing animated film of 2009 with a total of $381.5 million behind Up and Ice Age: Dawn of the Dinosaurs.

text: Awards[edit]

text: In 2009, the film was nominated for four Annie Awards, including Voice Acting in a Feature Production for Hugh Laurie.[25] Reese Witherspoon and Seth Rogen were both nominated for best voice actor and actress at the 2010 Kids' Choice Awards for voicing Susan and B.O.B,[26] but lost to Jim Carrey for Disney's A Christmas Carol.[27] Monsters vs. Aliens was also nominated for Best Animated film but lost to Up.[27] On June 24, 2009, the film won the Saturn Award for Best Animated Film.[28]

text:
Awards

Award

Category

Name

Outcome

Annie Awards[29]

Annie Award for Best Animated Effects in an Animated Production

Scott Cegielski

Nominated

Annie Award for Best Storyboarding in an Animated Feature Production

Tom Owens

Won

Annie Award for Best Voice Acting in an Animated Feature Production

Hugh Laurie

Nominated

Kids' Choice Awards[26]

Favorite Voice from an Animated Movie

Seth Rogen

Nominated

Reese Witherspoon

Nominated

Favorite Animated Movie

Rob LettermanConrad Vernon

Nominated

Saturn Awards[28]

Saturn Award for Best Animated Film

Rob LettermanConrad Vernon

Won

Visual Effects Society[30]

Animated Character in an Animated Feature Motion Picture

Terran BoylanDavid BurgessScott CegielskiDavid Weatherly

Nominated

Outstanding Effects Animation in an Animated Feature Motion Picture

David P. AllenAmaury AubelScott CegielskiAlain De Hoe

Nominated

text: Soundtrack[edit]

text:
Monsters vs. Aliens: Music from the Motion PictureFilm score by Henry JackmanReleased
March 24, 2009Genre
ScoreLength
65:52Label
Lakeshore

text: Track listing:[31][32]

text: All music composed by Henry Jackman, except as noted.

text: No.TitleArtistLength1."A Giant Transformation" 3:052."When You See (Those Flying Saucers)"The Buchanan Brothers2:173."Tell Him"The Exciters2:354."A Wedding Interrupted" 2:095."Meet the Monsters" 2:296."Planet Claire"The B-52's4:377."Do Something Violent!" 2:078."The Grand Tour" 2:109."Oversized Tin Can" 3:3810."The Battle at Golden Gate Bridge" 6:0811."Didn't Mean to Crush You" 1:5112."Reminiscing"Little River Band4:1413."Imprisoned by a Strange Being" 5:2814."Galaxar as a Squidling" 2:0615."March of the Buffoons" 5:1516."Wooly Bully"Sam the Sham and the Pharaohs2:2117."Susan's Call to Arms" 3:0218."The Ginormica Suite" 5:5119."Monster Mojo" 2:0820."The Purple People Eater"Sheb Wooley2:15Total length:65:52

text: Other media[edit]

text: Beside the main film, the Monsters vs. Aliens franchise also includes a video game, a short film B.O.B.'s Big Break, and two television specials, Monsters vs. Aliens: Mutant Pumpkins from Outer Space and Night of the Living Carrots. A television series based on the film started airing on Nickelodeon on March 23, 2013, which was cancelled after one season due to low ratings and the network's plans to refocus on more "Nickish" shows.[33]


document_title: Ryo Fukui

question_text: ryo fukui album 'my favorite tune'

question_tokens: ryo fukui album ' my favorite tune '

text: Ryo Fukui

text: Discography[edit]

text: Studio Albums[edit]

text:
1976: Scenery
1977: Mellow Dream
1995: My Favorite Tune
1999: Ryo Fukui In New York
2015: A Letter from Slowboat

text: Bootleg Albums[edit]

text: 1976: Live At Nika


document_title: Anne (TV series)

question_text: who played anne in anne with a e

question_tokens: who played anne in anne with a e

text: Anne (TV series)

text: Cast[edit]

text:
Amybeth McNulty as Anne Shirley[6]
Geraldine James as Marilla Cuthbert[6]
R. H. Thomson as Matthew Cuthbert[6]
Lucas Jade Zumann as Gilbert Blythe[7]
Dalila Bela as Diana Barry[8]
Corinne Koslo as Rachel Lynde[8]
Aymeric Jett Montaz as Jerry Baynard[8]

text: Production[edit]

text: According to executive producer Miranda de Pencier, this adaptation of the novel has a different look and feel to past productions, aiming for a "documentary level of realism", as reflected in the extraordinary detail which has gone into the design of sets and costumes.[9]

text: Personnel[edit]

text: Besides the show itself having a larger number of female characters than male, women serving as executive producer and showrunner, the series has several female directors.[10] For the second season, showrunner and scriptwriter Moira Walley-Beckett is joined by a team of women writers.[11]

text: Casting[edit]

text: Approximately 1800 girls on three continents auditioned for the role of Anne Shirley. Amybeth McNulty was chosen for her ability to deliver dialogue which is "incredibly thick and dynamic and beautiful", according to Miranda de Pencier. Walley-Beckett describes her as at once "luminous," transparent, smart, soulful and emotional.[10]

text: Filming locations[edit]

text: The series is filmed partially in Prince Edward Island as well as locations in Southern Ontario (including Millbrook[12] and Caledon).[13]

text: Music[edit]

text: The opening theme is the song "Ahead by a Century" performed and originally composed by Canadian band The Tragically Hip.[10]

text: Themes[edit]

text: Moira Walley-Beckett had this to say about her treatment, which is darker than the previous productions: "In this day and age, themes of identity, prejudice, bullying, being an outsider, searching for a way to be accepted and how to belong are entirely topical and super relevant, and those are themes that are built into the story of 'Anne.'" She went on to call Anne Shirley an "accidental feminist", and how she "really wanted to tell this story now."[10]

text: Broadcast and release[edit]

text: The series initially premiered on March 19, 2017, on CBC and aired on a weekly basis, the season finale airing on April 30, 2017.

text: The series debuted on Netflix on May 12, 2017, under the title Anne with an E.[14][15]

text: Episodes[edit]

text:
No.
Title
Directed by
Written by
Original air date
Can. viewers
(millions)

1
"Your Will Shall Decide Your Destiny"
Niki Caro
Moira Walley-Beckett
March 19, 2017 (2017-03-19)
0.999[16]

When a miscommunication brings a girl, Anne Shirley, to Green Gables instead of a boy, Marilla and Matthew Cuthbert are faced with a life-changing decision.

2
"I Am No Bird, and No Net Ensnares Me"
Helen Shaver
Moira Walley-Beckett
March 26, 2017 (2017-03-26)
0.780[17]

Hoping all is not lost, Matthew races to catch up with Anne while Marilla anxiously hopes and waits for their return to Green Gables.

3
"But What Is So Headstrong as Youth?"
Sandra Goldbacher
Moira Walley-Beckett
April 2, 2017 (2017-04-02)
0.994[18]

Anne is excited to begin school and make friends, but is unprepared for the bullying that occurs when she doesn't fit in. Marilla too, is testing new waters as she accepts an invitation to join a "Progressive Mothers" group.

4
"An Inward Treasure is Born"
David Evans
Moira Walley-Beckett
April 9, 2017 (2017-04-09)
0.654[19]

Anne is faced with the decision of whether or not to return to school. But a fire at the Gillis house and Anne's generous actions help her in her choice.

5
"Tightly Knotted to a Similar String"
Patricia Rozema
Moira Walley-Beckett
April 16, 2017 (2017-04-16)
N/A

Anne must deal with the inevitability of womanhood when she gets her first period. At the same time, Marilla and Matthew acclimatize to parenthood and revisit moments of their youth through Anne.

6
"Remorse Is the Poison of Life"
Paul Fox
Moira Walley-Beckett
April 23, 2017 (2017-04-23)
0.656[20]

When her little sister Minnie May becomes ill, Diana runs to Anne for help. Meanwhile, the Blythe farm sees change, as Marilla is reminded of what she gave up and Matthew receives some unsettling news.

7
"Wherever You Are Is My Home"
Amanda Tapping
Moira Walley-Beckett
April 30, 2017 (2017-04-30)
N/A

The Cuthberts vow to do whatever it takes to save the farm which reminds Anne of the strength of friendship and love.

text: Reception[edit]

text: Critical response[edit]

text: The series has achieved a rating of 87% on Rotten Tomatoes, the site's critical consensus stating: "Anne with an E uses its complex central character to offer a boldly stylish, emotionally resonant spin on classic source material that satisfies in its own right."[21] The series has received a rating of 79 on Metacritic based on fifteen reviews, indicating "generally favorable reviews".[22]

text: Emily Ashby, writing for Common Sense Media, calls the series an "exceptional" and "spectacular" interpretation, giving it four out of five stars.[23] Tasha Cerny, contributor for the Tracking Board, praises the cinematography as lush and colourful, the characters vibrant, and the plot "surprisingly thrilling for a story about a young girl living in a small secluded community in the late nineteenth century. I laughed, I cried, and I didn’t expect either from a show about a little girl."[24] Gwen Inhat of the A.V. Club, calls the series "at once darker and sweeter than the original" novel, praising the core cast, reserving the highest for the series lead: "Amybeth McNulty defies her youth with a performance that’s less a portrayal of Anne than an absolute possession. It can’t be easy to make Anne’s fanciful language sing the way she does, and McNulty captures the endearing awkwardness that enables Anne to win over everyone she comes in contact with."[25] Writing of the 90-minute premiere episode for the Toronto Star, Johanna Schneller was appreciative of Walley-Beckett's departures from the novel, bringing its subtext to the fore: "Reading between the novel's lines and adding verisimilitude, she gives us quick but potent glimpses of the miseries many orphans faced in 1890s imperialist culture."[26] Hanh Nguyen, reviewing the series for IndieWire, concurs with this assessment, saying: "Rather than ruining the series, they give the context for why Anne would be filled with gratitude for the beauties of nature, basic human decency and having a family to call her own. Montgomery had based much of Anne’s need for escape into imagination on her own lonely childhood, and her stories have always had an underlying poignancy that made them all the sweeter."[27] Jen Chaney, writing for Vulture.com, agrees, saying: "What distinguishes it from other previous Anne iterations is its willingness to harden some of the story’s softness, just enough, to create an element of realism that period pieces, Gables-related or not, can be inclined to avoid."[28] One of the few men to have reviewed the series, Neil Genzlinger, writing for The New York Times, commenting on reports of darkness and grittiness, goes so far as to call the adaptation "richer" than the source material: "Ms. McNulty’s Anne is still wonderfully ebullient and eminently likable; she’s just not the one-dimensional figure of other adaptations".[29] Annie Hirschlag, writing for Mic, suggests that a genuinely contemporary Anne is bound to reflect the current television landscape and wider culture of its times (the 2010s): "Since today's entertainment is peppered with antiheroes — characters who are far from perfect, even occasionally villainous — it makes sense that Anne's familiar idealism is fringed with darkness and agony."[30]

text: Some reviewers were more ambivalent, mainly about Walley-Beckett's changes to the story. Canadian novelist Saleema Nawaz, who reviewed the 90-minute first episode for Toronto Life, said she enjoyed it more than she expected, particularly the set designs and costumes, as well as the performances by McNulty and Thomson, and she approved of the choice of theme song as reflective of the continued relevance of the source material. She was less sure about how far the series intended to stray from that source material, and disapproved of the "manufactured drama, such as Matthew’s wild horse ride".[31] Writing for Entertainment Weekly, Isabella Beidenharn expressed similar feelings, but, "putting the source material aside, it’s a fine show on its own", and she conceded that "inventing a dark side might help Anne With an E fit into today’s TV landscape".[32] Allison Keene, writing for Collider, agrees that Anne is a good drama on its own terms, but allows it is "only a fair adaptation" of the novel, at its best in the home scenes: "Anne with an E is undeniably the most stylish adaptation we’ve ever seen of Anne of Green Gables. But its desire to reveal more of Anne’s miserable past in order to be more true to what the desperation of an orphan is like feels at odds with Montgomery’s story."[33] Writing for Variety, critic Sonia Saraiya is even more ambivalent, describing the series as on the one hand "a brilliant adaptation" which "succeeds admirably", but on the other hand, "the show can’t quite sustain the brilliance, veering first into maudlin territory and then into the oddly saccharine as it tests out its tone", contending that "the show gets a bit bogged down in telling the story of Anne’s dysfunction", presenting "a slightly soapy view of Anne’s trials and tribulations that at times really humanize her and in others, are rather infantilizing".[34]

text: Sarah Larson, writing for The New Yorker, was not at all impressed with changes made to the story, arguing that they alter Anne's character to the point of non-recognition. While she acknowledges that bringing subtext to the fore is a fine idea, she is not pleased with the execution, saying that the result is part "the Anne we know and love" and part "untrustworthy stranger", calling the alteration and addition of scenes a "betrayal" of Montgomery's novel, comparing the treatment unfavourably to Patricia Rozema's 1999 adaptation of Jane Austen's Mansfield Park.[35] For Joanna Robinson, writing for Vanity Fair, a central problem with the show is that it "seems to think that in order for Anne to be a feminist figure, she has to butt up against a straw-man-filled patriarchy," and so it turned many of the male characters into misogynists, most notably the Reverend Allan, who is considered by Anne to be a "kindred spirit" in the book: "Anne with an E seems to think Anne’s triumphs are only noteworthy if she's continually told she can't succeed, when in fact her unfettered brilliance needs no such clumsy opposition. It also seems to think that Anne needs a radical feminist makeover when, in fact, the story of her success was feminist in its own right." This is part of a more general problem Robinson notes, that conflicts are exaggerated and overdone: "this series thrives on non-stop tragedy."[36]


document_title: What We Do in the Shadows

question_text: what we do in the shadows it guy

question_tokens: what we do in the shadows it guy

text: What We Do in the Shadows

text: Plot[edit]

text: A documentary crew (who are wearing crucifixes) follows four vampire roommates—Viago, Vladislav, Deacon, and Petyr—who share a flat in the Wellington suburb of Te Aro. Although Viago, Vladislav and Deacon are all several centuries old, they have retained normal human appearances, but the 8,000-year-old Petyr resembles Count Orlok and acts more savagely than the younger vampires. Each night, Viago, Vladislav, and Deacon prowl the streets of Wellington searching for people to kill, but they must stay in the flat during the day to avoid sunlight—which is lethal to vampires—and thus have not adapted to 21st-century life. Deacon has a human servant (familiar), Jackie, who runs errands for the vampires, but she is frustrated that Deacon will not turn her into a vampire as he has promised. Jackie leads her ex-boyfriend Nick to the vampires’ flat so they can drink his blood; he escapes before they can kill him, but as he leaves the flat, Petyr attacks him and later turns Nick into a vampire.

text: Two months later the vampires accept Nick into their group and also bond with his human friend Stu, a computer analyst who shows them how to use modern technology such as YouTube (to watch sunrises) and cameras (so they can see themselves). Viago in particular is able to find Katherine, his love from many years past, now an old woman in a rest home in Wellington. Despite being able to get his new friends into more popular bars and clubs, Nick struggles to adapt to life as a vampire and carelessly reveals his secret to strangers he meets. One of these strangers, a vampire hunter, breaks into the flat during the day and kills Petyr by exposing him to sunlight. The vampires are furious when they discover Nick has indirectly caused Petyr's death, and banish him, using the infamous Procession of Shame, from the flat.

text: Some time later, the vampires receive an invitation to a masquerade ball, where they meet other undead and supernatural beings such as zombies and witches, as well as Vladislav's ex-girlfriend Pauline, whom he nicknamed "The Beast" due to their hard break-up. Nick, Stu and Jackie also attend. To Deacon's annoyance, Nick has turned Jackie into a vampire. When Pauline realizes that Stu and the camera-crew are human, the other guests try to kill them and Vladislav fights Pauline's new boyfriend. Stu saves Vladislav by impaling Pauline's boyfriend on a stick. The vampires manage to escape the ball with Stu and the film-crew, but encounter a group of werewolves who are about to transform in a forest. Stu and one of the cameramen are caught and attacked by the werewolves. Assuming Stu is dead, the vampires grieve for him.

text: A while later, Stu (having been turned into a werewolf himself) reappears, and eventually reconciles the werewolves with the vampires, who allow them to stay in their flat with them. Nick also resurfaces and is accepted back into the home. Viago reconnects with Katherine, turning her into a vampire and ensuring they can be together forever.

text: Scenes during the credits reveal that Vladislav has gotten back together with Pauline and Jackie has made her husband her new familiar. A post-credits scene shows Deacon attempting to hypnotize the audience to forget the events of the film.

text: Cast[edit]

text:
Taika Waititi as Viago, aged 379 – the uptight leader of the household.
Jemaine Clement as Vladislav, aged 862 – a former tyrant with extreme powers.
Jonathan Brugh as Deacon, aged 183 – the "young rebel" of the group who is fond of knitting, erotic dancing, and "being cool".
Ben Fransham as Petyr, aged 8,000 – a Nosferatu-like vampire who lives on the bottom floor of the flat in a stone coffin and generally keeps to himself.[7][8]
Jackie van Beek as Jackie – a human and Deacon's familiar who cleans up after the vampires and connects them with potential victims.
Cori Gonzalez-Macuer as Nick – an intended victim who is turned into a vampire by Petyr.
Stu Rutherford as Stu – Nick's best friend who introduces the vampires to modern technology.
Rhys Darby as Anton – the leader of a local pack of werewolves.
Ethel Robinson as Katherine – the love of Viago's life.
Elena Stejko as Pauline – Vladislav's ex-girlfriend whom he calls "The Beast".
Karen O'Leary as Officer O'Leary – an officer who gets called to the vampires' house.
Mike Minogue as Officer Minogue – an officer who gets called to the vampires' house.

text: Production[edit]

text: This section needs expansion. You can help by adding to it. (June 2016)

text: The film is based on a 2006 short film of the same name by Waititi and Clement. The new film was shot in Wellington in September 2012, and is Waititi's first feature since Boy.[5][6]

text: Stu Rutherford, an IT technician in real life, was initially told he would only have a bit part in the film so he would act more natural when filming his parts. He did not realize his role was so important until the film's premiere. Stu had a cameo appearance in the original short film.[9]

text: Waititi revealed that there was so much footage filmed that three cuts were made: one focused primarily on jokes, one focused on story, and the final cut, a mix of the two.[citation needed]

text: According to Waititi their favourite vampire films were The Lost Boys, Bram Stoker's Dracula and Interview with the Vampire.[10] All those movies are heavily quoted or referenced in the film, along with many other horror movie classics.

text: Music[edit]

text: The score for the film was composed by Plan 9.[11] The film's opening credits feature the song "You're Dead" by Norma Tanega, after Clement and Waititi were introduced to the song by film editor Tom Eagles.[12][13] The film's trailer and ending feature the song "Lastochka" by the Russian rock band Leningrad.

text: Release[edit]

text: The film was released in a limited release on 13 February 2015 in New York City and Los Angeles, followed by a screening in San Francisco, Irvine, Philadelphia, Boston, Seattle, and Washington, D.C.[14] The film received a regional release in the U.S. in March 2015, by Unison Films, The Orchard, and Paramount Pictures in association with Funny or Die and Paladin Pictures.[15]

text: The film was heavily pirated, and after a piracy website was shut down which was based out of Mount Wellington, Auckland it was revealed on that website alone it was one of the most heavily pirated, at 277 000 downloads.[16]

text: Critical response[edit]

text: What We Do in the Shadows received critical acclaim and has an approval rating of 96% on Rotten Tomatoes based on 163 reviews with an average rating of 7.8 out of 10. It is rated #68 on the website's list of Top 100 comedies of all time. The critical consensus states: "Smarter, fresher, and funnier than a modern vampire movie has any right to be, What We Do in the Shadows is bloody good fun."[17] The film also has a score of 76 out of 100 on Metacritic, based on 33 critics, indicating "generally favorable reviews".[18]

text: Fearnet called the film "a great vampire comedy".[19] Film School Rejects wrote a predominantly positive review, commenting that some of the film's broader moments fell flat but compared it favorably to similar mockumentaries such as Best in Show.[20] The film was warmly received by UK newspapers, with The Guardian's film critic Peter Bradshaw describing it as "the best comedy of the year",[21] while The Telegraph's Tim Robey found it "desperately funny".[8] Film International, in a positive review, commended the film for noting, with a double of Count Orlok locked in the vampires' basement, that the true vampire film tradition is repressed by the current craze.[22] Variety was more critical, writing that "Some genre fans who prefer the silly to the satiric may bite, but the anemic pic isn't remotely weird or witty enough for cult immortality."[11]

text: Box office[edit]

text: What We Do in the Shadows grossed US $2 million[23] in New Zealand and $3.4 million in the US.[citation needed]

text: Home media[edit]

text: What We Do in the Shadows was released on DVD and Blu-ray on 26 November 2014 by Weltkino Filmverleih.[citation needed]

text: Future[edit]

text: Sequel[edit]

text: A sequel to the film, which focused on the werewolves depicted in What We Do in the Shadows,was in development but stopped due to some unresolved production issues. Originally rumoured to be titled What We Do in the Moonlight, the working title was later announced as We're Wolves.[24][25]

text: Television series[edit]

text: Wellington Paranormal[edit]

text: In September 2016, it was revealed that Waititi and Clement are planning a procedural comedy series based on the police, Karen and Mike, who had minor roles in the film, titled Wellington Paranormal.[26] The series producers granted Waititi and Clement $1 million to produce six 30-minute episodes for the series, which will air on TVNZ 2 from 11 July 2018.[26][27][28]

text: American television adaptation[edit]

text: An American version of the film is being planned, to be developed as a television series. A pilot has been ordered by FX. The pilot will feature Kayvan Novak, Matt Berry, Natasia Demetriou, and Harvey Guillen; and executive produced by Scott Rudin, Paul Simms, Garrett Basch, and Eli Bush.[29] On 3 May 2018, FX picked up the pilot to series with an order of 10 episodes set to premiere in 2019.[30]