document_title: Planetary nebula

question_text: star left at the core of a planetary nebula

text: Planetary nebula

text: Observations[edit]

text: Discovery[edit]

text: The first planetary nebula discovered was the Dumbbell Nebula in the constellation of Vulpecula. It was observed by Charles Messier in 1764 and listed as M27 in his catalogue of nebulous objects.[6] To early observers with low-resolution telescopes, M27 and subsequently discovered planetary nebulae resembled the giant planets like Uranus. William Herschel, discoverer of Uranus, eventually coined the term "planetary nebula".[6][7] At first, Herschel thought the objects were stars surrounded by material that was condensing into planets rather than what is now known to be evidence of dead stars that have incinerated any orbiting planets.[8]

text: First spectra[edit]

text: The nature of planetary nebulae was unknown until the first spectroscopic observations were made in the mid-19th century. Using a prism to disperse their light, William Huggins was one of the earliest astronomers to study the optical spectra of astronomical objects.[7] On August 29, 1864, Huggins was the first to analyze the spectrum of a planetary nebula when he observed Cat's Eye Nebula.[6] His observations of stars showed that their spectra consisted of a continuum of radiation with many dark lines superimposed. He later found that many nebulous objects such as the Andromeda Nebula (as it was then known) had spectra that were quite similar. Those nebulae were later shown to be collections of stars now called galaxies.

text: Nebulium and rarefied gas[edit]

text: However, when Huggins looked at the Cat's Eye Nebula, he found a very different spectrum. Rather than a strong continuum with absorption lines superimposed, the Cat's Eye Nebula and other similar objects showed a number of emission lines.[7] The brightest of these was at a wavelength of 500.7 nanometres, which did not correspond with a line of any known element.[9]

text: At first, it was hypothesized that the line might be due to an unknown element, which was named nebulium. A similar idea had led to the discovery of helium through analysis of the Sun's spectrum in 1868.[6] While helium was isolated on Earth soon after its discovery in the spectrum of the Sun, "nebulium" was not. In the early 20th century, Henry Norris Russell proposed that, rather than being a new element, the line at 500.7 nm was due to a familiar element in unfamiliar conditions.[6]

text: Physicists showed in the 1920s that in gas at extremely low densities, electrons can occupy excited metastable energy levels in atoms and ions that would otherwise be de-excited by collisions that would occur at higher densities.[10] Electron transitions from these levels in nitrogen and oxygen ions (O+, O2+ (a.k.a. O iii), and N+) give rise to the 500.7 nm emission line and others.[6] These spectral lines, which can only be seen in very low density gases, are called forbidden lines. Spectroscopic observations thus showed that nebulae were made of extremely rarefied gas.[11]

text: Central stars[edit]

text: The central stars of planetary nebulae are very hot.[2] Only when a star has exhausted most of its nuclear fuel can it collapse to such a small size. Planetary nebulae came to be understood as a final stage of stellar evolution. Spectroscopic observations show that all planetary nebulae are expanding. This led to the idea that planetary nebulae were caused by a star's outer layers being thrown into space at the end of its life.[6]

text: Modern observations[edit]

text: Towards the end of the 20th century, technological improvements helped to further the study of planetary nebulae.[13] Space telescopes allowed astronomers to study light wavelengths outside those that the Earth's atmosphere transmits. Infrared and ultraviolet studies of planetary nebulae allowed much more accurate determinations of nebular temperatures, densities and elemental abundances.[14][15] Charge-coupled device technology allowed much fainter spectral lines to be measured accurately than had previously been possible. The Hubble Space Telescope also showed that while many nebulae appear to have simple and regular structures when observed from the ground, the very high optical resolution achievable by telescopes above the Earth's atmosphere reveals extremely complex structures.[16][17]

text: Under the Morgan-Keenan spectral classification scheme, planetary nebulae are classified as Type-P, although this notation is seldom used in practice.[18]

text: Origins[edit]

text: Stars greater than 8 solar masses (M⊙) will likely end their lives in dramatic supernovae explosions, while planetary nebulae seemingly only occur at the end of the lives of intermediate and low mass stars between 0.8 M⊙ to 8.0 M⊙.[19] Progenitor stars that form planetary nebulae will spend most of their lifetimes converting their hydrogen into helium in the star's core by nuclear fusion at about 15 million K. This generated energy creates outward pressure from fusion reactions in the core, equally balancing the crushing inward pressures of the star's gravity.[20] Hence, all single intermediate to low-mass stars on the main sequence can last for tens of millions to billions of years.

text: When the hydrogen source in the core starts to diminish, gravity starts compressing the core, causing a rise in temperature to about 100 million K.[21] Such higher core temperatures then make the star's cooler outer layers expand to create much larger red giant stars. This end phase causes a dramatic rise in stellar luminosity, where the released energy is distributed over a much larger surface area, even though the average surface temperature is lower. In stellar evolution terms, stars undergoing such increases in luminosity are known as asymptotic giant branch stars (AGB).[21]

text: For the more massive asymptotic giant branch stars that form planetary nebulae, whose progenitors exceed about 3M⊙, their cores will continue to contract. When temperatures reach about 100 million K, the available helium nuclei fuse into carbon and oxygen, so that the star again resumes radiating energy, temporarily stopping the core's contraction. This new helium burning phase (fusion of helium nuclei) forms a growing inner core of inert carbon and oxygen. Above it is a thin helium-burning shell, surrounded in turn by a hydrogen-burning shell. However, this new phase lasts only 20,000 years or so, a short period compared to the entire lifetime of the star.

text: In either scenario, the venting of atmosphere continues unabated into interstellar space, but when the outer surface of the exposed core reaches temperatures exceeding about 30,000 K, there are enough emitted ultraviolet photons to ionize the ejected atmosphere, causing the gas to shine as a planetary nebula.[21]

text: Lifetime[edit]

text: After a star passes through the asymptotic giant branch (AGB) phase, the short planetary nebula phase of stellar evolution begins[13] as gases blow away from the central star at speeds of a few kilometers per second. The central star is the remnant of its AGB progenitor, an electron-degenerate carbon-oxygen core that has lost most of its hydrogen envelope due to mass loss on the AGB.[13] As the gases expand, the central star undergoes a two-stage evolution, first growing hotter as it continues to contract and hydrogen fusion reactions occur in the shell around the core and then slowly cooling when the hydrogen shell is exhausted through fusion and mass loss.[13] In the second phase, it radiates away its energy and fusion reactions cease, as the central star is not heavy enough to generate the core temperatures required for carbon and oxygen to fuse.[6][13] During the first phase, the central star maintains constant luminosity,[13] while at the same time it grows ever hotter, eventually reaching temperatures around 100,000 K. In the second phase, it cools so much that it does not give off enough ultraviolet radiation to ionize the increasingly distant gas cloud. The star becomes a white dwarf, and the expanding gas cloud becomes invisible to us, ending the planetary nebula phase of evolution.[13] For a typical planetary nebula, about 10,000 years[13] passes between its formation and recombination of the star.[6]

text: Role in galactic enrichment[edit]

text: Planetary nebulae may play a very important role in galactic evolution. Newly born stars consist almost entirely of hydrogen and helium,[23] but as stars evolve through the Asymptotic Giant Branch phase,[24] they create heavier elements via nuclear fusion which are eventually expelled by strong stellar winds.[25] Planetary nebulae usually contain larger proportions of elements such as carbon, nitrogen and oxygen, and these are recycled into the interstellar medium via these powerful winds. In turn, planetary nebulae greatly enrich the Milky Way and their nebulae with these heavier elements – collectively known by astronomers as metals and specifically referred to by the metallicity parameter Z.[26]

text: Subsequent generations of stars formed from such nebulae also tend to have higher metallicities. Although these metals are present in stars in relatively tiny amounts, they have marked effects on stellar evolution and fusion reactions. When stars formed earlier in the universe they theoretically contained smaller quantities of heavier elements.[27] Known examples are the metal poor Population II stars. (See Stellar population).[28][29] Identification of stellar metallicity content is found by spectroscopy.

text: Characteristics[edit]

text: Physical characteristics[edit]

text: A typical planetary nebula is roughly one light year across, and consists of extremely rarefied gas, with a density generally from 100 to 10,000 particles per cm3.[30] (The Earth's atmosphere, by comparison, contains 2.5×1019 particles per cm3.) Young planetary nebulae have the highest densities, sometimes as high as 106 particles per cm3. As nebulae age, their expansion causes their density to decrease. The masses of planetary nebulae range from 0.1 to 1 solar masses.[30]

text: Radiation from the central star heats the gases to temperatures of about 10,000 K.[31] The gas temperature in central regions is usually much higher than at the periphery reaching 16,000–25,000 K.[32] The volume in the vicinity of the central star is often filled with a very hot (coronal) gas having the temperature of about 1,000,000 K. This gas originates from the surface of the central star in the form of the fast stellar wind.[33]

text: Nebulae may be described as matter bounded or radiation bounded. In the former case, there is not enough matter in the nebula to absorb all the UV photons emitted by the star, and the visible nebula is fully ionized. In the latter case, there are not enough UV photons being emitted by the central star to ionize all the surrounding gas, and an ionization front propagates outward into the circumstellar envelope of neutral atoms.[34]

text: Numbers and distribution[edit]

text: About 3000 planetary nebulae are now known to exist in our galaxy,[35] out of 200 billion stars. Their very short lifetime compared to total stellar lifetime accounts for their rarity. They are found mostly near the plane of the Milky Way, with the greatest concentration near the galactic center.[36]

text: Morphology[edit]

text: Only about 20% of planetary nebulae are spherically symmetric (for example, see Abell 39).[37] A wide variety of shapes exist with some very complex forms seen. Planetary nebulae are classified by different authors into: stellar, disk, ring, irregular, helical, bipolar, quadrupolar,[38] and other types,[39] although the majority of them belong to just three types: spherical, elliptical and bipolar. Bipolar nebulae are concentrated in the galactic plane, likely produced by relatively young massive progenitor stars; and bipolars in the galactic bulge appear to prefer orienting their orbital axes parallel to the galactic plane.[40] On the other hand, spherical nebulae are likely produced by the old stars similar to the Sun.[33]

text: The huge variety of the shapes is partially the projection effect—the same nebula when viewed under different angles will appear different.[41] Nevertheless, the reason for the huge variety of physical shapes is not fully understood.[39] Gravitational interactions with companion stars if the central stars are binary stars may be one cause. Another possibility is that planets disrupt the flow of material away from the star as the nebula forms. It has been determined that the more massive stars produce more irregularly shaped nebulae.[42] In January 2005, astronomers announced the first detection of magnetic fields around the central stars of two planetary nebulae, and hypothesized that the fields might be partly or wholly responsible for their remarkable shapes.[43][44]

text: Membership in clusters[edit]

text: Planetary nebulae have been detected as members in four Galactic globular clusters: Messier 15, Messier 22, NGC 6441 and Palomar 6. Evidence also points to the potential discovery of planetary nebulae in globular clusters in the galaxy M31.[45] However, there is currently only one case of a planetary nebula discovered in an open cluster that is agreed upon by independent researchers.[46][47][48] That case pertains to the planetary nebula PHR 1315-6555 and the open cluster Andrews-Lindsay 1. Indeed, through cluster membership PHR 1315-6555 possesses among the most precise distances established for a planetary nebula (i.e., a 4% distance solution). The cases of NGC 2818 and NGC 2348 in Messier 46, exhibit mismatched velocities between the planetary nebulae and the clusters, which indicates they are line-of-sight coincidences.[36][49][50] A subsample of tentative cases that may potentially be cluster/PN pairs includes Abell 8 and Bica 6,[51][52] and He 2-86 and NGC 4463.[53]

text: Theoretical models predict that planetary nebulae can form from main-sequence stars of between one and eight solar masses, which puts the progenitor star's age at greater than 40 million years. Although there are a few hundred known open clusters within that age range, a variety of reasons limit the chances of finding a planetary nebula within.[36] For one reason, the planetary nebula phase for more massive stars is on the order of thousands of years, which is a blink of the eye in cosmic terms. Also, partly because of their small total mass, open clusters have relatively poor gravitational cohesion and tend to disperse after a relatively short time, typically from 100 to 600 million years.[54]

text: Current issues in planetary nebula studies[edit]

text: The distances to planetary nebulae are generally poorly determined.[56] It is possible to determine distances to the nearest planetary nebula by measuring their expansion rates. High resolution observations taken several years apart will show the expansion of the nebula perpendicular to the line of sight, while spectroscopic observations of the Doppler shift will reveal the velocity of expansion in the line of sight. Comparing the angular expansion with the derived velocity of expansion will reveal the distance to the nebula.[16]

text: The issue of how such a diverse range of nebular shapes can be produced is a debatable topic. It is theorised that interactions between material moving away from the star at different speeds gives rise to most observed shapes.[39] However, some astronomers postulate that close binary central stars might be responsible for the more complex and extreme planetary nebulae.[57] Several have been shown to exhibit strong magnetic fields,[58] and their interactions with ionized gas could explain some planetary nebulae shapes.[44]

text: There are two main methods of determining metal abundances in nebulae. These rely on recombination lines and collisionally excited lines. Large discrepancies are sometimes seen between the results derived from the two methods. This may be explained by the presence of small temperature fluctuations within planetary nebulae. The discrepancies may be too large to be caused by temperature effects, and some hypothesize the existence of cold knots containing very little hydrogen to explain the observations. However, such knots have yet to be observed.[59]


document_title: Harry Potter (film series)

question_text: harry potter movies in the order they were released

question_tokens: harry potter movies in the order they were released

root

text: Harry Potter (film series)

text: Origins

text: Late in 1997, film producer David Heyman's London offices received a copy of the first book in what would become Rowling's series of seven Harry Potter novels. The book, Harry Potter and the Philosopher's Stone, was relegated to a low-priority bookshelf, where it was discovered by a secretary who read it and gave it to Heyman with a positive review. Consequently, Heyman, who had originally disliked "the rubbish title", read the book himself. Highly impressed by Rowling's work, he began the process that led to one of the most successful cinematic franchises of all time.[11]

tag: p

text: Heyman's enthusiasm led to Rowling's 1999 sale of the film rights for the first four Harry Potter books to Warner Bros. for a reported £1 million (US$2,000,000).[12] A demand Rowling made was that the principal cast be kept strictly British, allowing nevertheless for the inclusion of many Irish actors, such as Richard Harris as Dumbledore, and for casting of French and Eastern European actors in Harry Potter and the Goblet of Fire where characters from the book are specified as such.[13] Rowling was hesitant to sell the rights because she "didn't want to give them control over the rest of the story" by selling the rights to the characters, which would have enabled Warner Bros. to make non-author-written sequels.[14]

text: Although Steven Spielberg initially negotiated to direct the first film, he declined the offer.[15] Spielberg wanted the adaptation to be an animated film, with American actor Haley Joel Osment providing Harry Potter's voice.[16][not in citation given] Spielberg contended that, in his opinion, there was every expectation of profit in making the film. He claims that making money would have been like "shooting ducks in a barrel. It's just a slam dunk. It's just like withdrawing a billion dollars and putting it into your personal bank accounts. There's no challenge".[17] In the "Rubbish" Bin section of her website, Rowling maintains that she had no role in choosing directors for the films, writing "Anyone who thinks I could (or would) have 'veto-ed' him [Spielberg] needs their Quick-Quotes Quill serviced."[18]

text: After Spielberg left, conversations began with other directors, including Chris Columbus, Jonathan Demme, Terry Gilliam, Mike Newell, Alan Parker, Wolfgang Petersen, Rob Reiner, Tim Robbins, Brad Silberling, and Peter Weir.[19] Petersen and Reiner both pulled out of the running in March 2000.[20] It was then narrowed down to Columbus, Gilliam, Parker, and Silberling.[21] Rowling's first choice was Terry Gilliam.[22] However, on 28 March 2000 Columbus was appointed as director of the film, with Warner Bros. citing his work on other family films such as Home Alone and Mrs. Doubtfire as influences for their decision.[23]

text: Harry Potter is the kind of timeless literary achievement that comes around once in a lifetime. Since the books have generated such a passionate following across the world, it was important to us to find a director that has an affinity for both children and magic. I can't think of anyone more ideally suited for this job than Chris [Columbus].

text: Steve Kloves was selected to write the screenplay for the first film. He described adapting the book as "tough" since it did not "lend itself to adaptation as well as the next two books". Kloves was sent a "raft" of synopses of books proposed as film adaptations, with Harry Potter being the only one that jumped out at him. He went out and bought the book, becoming an instant fan. When speaking to Warner Bros. he stated that the film had to be British and true to the characters.[24] David Heyman was confirmed to produce the film.[23] Rowling received a large amount of creative control for the film, an arrangement that Columbus did not mind.[25]

text: Warner Bros. had initially planned to release the first film over the 4 July 2001 weekend, making for such a short production window that several of the originally proposed directors had withdrawn themselves from contention. Eventually, due to time constraints, the date was put back to 16 November 2001.[26]

text: Casting the roles of Harry, Ron, and Hermione

text: In 2000, after a seven-month search, lead actor Daniel Radcliffe was discovered by producer David Heyman and writer Steve Kloves seated just behind them in a theatre. In Heyman's own words, "There sitting behind me was this boy with these big blue eyes. It was Dan Radcliffe. I remember my first impressions: He was curious and funny and so energetic. There was real generosity too, and sweetness. But at the same time he was really voracious and with hunger for knowledge of whatever kind."[11]

text: Radcliffe had already established himself as an actor in the 1999 BBC television production of David Copperfield in which he played the title role's childhood years. Heyman persuaded Radcliffe's parents to allow him to audition for the part of Harry Potter, which involved Radcliffe being filmed.[11] (This screen test footage was released via the first set of Ultimate Editions in 2009.)[27] Rowling was enthusiastic after viewing Radcliffe's filmed test, saying she didn't think there was a better choice for the part of Harry Potter.[11][28]

text: Also in 2000, the then unknown British actors Emma Watson and Rupert Grint were selected from thousands of auditioning children to play the roles of Hermione Granger and Ron Weasley, respectively. Their only previous acting experience was in school plays. Grint was eleven years old and Watson ten at the time they were cast.[29]

text: Los Angeles Times writer Geoff Boucher, who conducted the above-mentioned interview with Heyman, added that the casting of the three major roles "is especially impressive in hindsight. The trio's selection was arguably one of the best show-business decisions over the past decade... they have shown admirable grace and steadiness in the face of teen superstardom."[11][28]

text: Production

text: Filming of the series began at Leavesden Studios, Hertfordshire, England, in September 2000 and ended in December 2010, with post-production on the final film lasting until summer 2011.[6] Leavesden Studios was the main base for filming Harry Potter, and it opened to the public as a studio tour in 2012 (renamed as Warner Bros. Studios, Leavesden).[30]

text:
Motion Picture
Director
Writer
Producer(s) [n 1]
Composer
Novel by J. K. Rowling

Harry Potter and the Philosopher's Stone
Chris Columbus
Steve Kloves
David Heyman
John Williams
Harry Potter and the Philosopher's Stone

Harry Potter and the Chamber of Secrets
Harry Potter and the Chamber of Secrets

Harry Potter and the Prisoner of Azkaban
Alfonso Cuarón
Chris Columbus, David Heyman & Mark Radcliffe
Harry Potter and the Prisoner of Azkaban

Harry Potter and the Goblet of Fire
Mike Newell
David Heyman
Patrick Doyle
Harry Potter and the Goblet of Fire

Harry Potter and the Order of the Phoenix
David Yates
Michael Goldenberg
David Heyman & David Barron
Nicholas Hooper
Harry Potter and the Order of the Phoenix

Harry Potter and the Half-Blood Prince
Steve Kloves
Harry Potter and the Half-Blood Prince

Harry Potter and the Deathly Hallows – Part 1
David Heyman, David Barron & J. K. Rowling
Alexandre Desplat
Harry Potter and the Deathly Hallows

Harry Potter and the Deathly Hallows – Part 2

tag: table

text: David Heyman produced all the films in the series with his production company Heyday Films, while David Barron joined the series as an executive producer on Chamber of Secrets and Goblet of Fire. Barron was later appointed producer on the last four films. Chris Columbus was an executive producer on the first two films alongside Mark Radcliffe and Michael Barnathan, but he became a producer on the third film alongside Heyman and Radcliffe. Other executive producers include Tanya Seghatchian and Lionel Wigram. J. K. Rowling, author of the series, was asked to become a producer on Goblet of Fire but declined. She subsequently accepted the role on the two-part Deathly Hallows.[31]

text: Heyday Films and Columbus' company 1492 Pictures collaborated with Duncan Henderson Productions in 2001, Miracle Productions in 2002, and P of A Productions in 2004. Even though Prisoner of Azkaban was the final film produced by 1492 Pictures, Heyday Films continued with the franchise and collaborated with Patalex IV Productions in 2005. The sixth film in the series, Half-Blood Prince, was the most expensive film to produce as of 2009[update].

text: Warner Bros. split the seventh and final novel in the series, Deathly Hallows, into two cinematic parts. The two parts were filmed back-to-back from early 2009 to summer 2010, with the completion of reshoots taking place on 21 December 2010; this marked the end of filming Harry Potter. Heyman stated that Deathly Hallows was "shot as one film" but released in two feature-length parts.[32]

text: Tim Burke, the visual effects supervisor of the series, said of the production on Harry Potter, "It was this huge family; I think there were over 700 people working at Leavesden, an industry in itself." David Heyman said, "When the first film opened, no way did I think we'd make eight films. That didn't seem feasible until after we'd done the fourth." Nisha Parti, the production consultant on the first film, said that Heyman "made the first film very much the way he felt the studio Warner Bros. wanted to make it." After the film's success, Heyman was given "more freedom".[33]

text: One of the aims of the filmmakers from the beginning of production was to develop the maturity of the films. Chris Columbus stated, "We realised that these movies would get progressively darker. Again, we didn't know how dark but we realised that as the kids get older, the movies get a little edgier and darker."[34] This transpired with the succeeding three directors who would work on the series in the following years, with the films beginning to deal with issues such as death, betrayal, prejudice, and political corruption as the series developed narratively and thematically.[5][35]

text: Directors

text: After Chris Columbus had finished working on Harry Potter and the Philosopher's Stone, he was hired to direct the second film, Harry Potter and the Chamber of Secrets. The production started within a week after the release of the first film. Columbus was set to direct all entries in the series,[36] but he did not want to return for the third film, Harry Potter and the Prisoner of Azkaban, claiming he was "burned out".[37] He moved to the position of producer, while Alfonso Cuarón was approached for the role of director. He was initially nervous about directing the instalment since he had not read any of the books or seen the films. After reading the series, he changed his mind and signed on to direct since he had immediately connected to the story.[38]

text: Because Cuarón decided not to direct the fourth instalment, Harry Potter and the Goblet of Fire, a new director had to be selected.[39] Mike Newell was chosen to direct the film, but he declined to direct the next film, Harry Potter and the Order of the Phoenix, which was given to David Yates, who also directed Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows, becoming the only director to helm more than one film since Chris Columbus.

text: Chris Columbus said his vision of the first two films was of a "golden storybook, an old-fashioned look", while Alfonso Cuarón changed the visual tone of the series, desaturated the colour palette, and expanded the landscape around Hogwarts.[34][39] Mike Newell decided to direct the fourth film as a "paranoid thriller", while David Yates wanted to "bring a sense of jeopardy and character to the world".[40][41] Cuarón, Newell, and Yates have said that their challenge was striking a balance between making the films according to their individual vision, while working within a cinematic world already established by Columbus.[39][40][41]

text: David Heyman commented on the "generosity of the directors" by revealing that "Chris spent time with Alfonso, Alfonso spent time with Mike and Mike spent time with David, showing him an early cut of the film, talking through what it means to be a director and how they went about [making the films]."[42]

text: David Heyman also said, "I suppose Chris Columbus was the most conservative choice from the studio's point of view. But he expressed real passion."[33] Producer Tanya Seghatchian said they were "more adventurous" in choosing a director for the third film and went straight to Alfonso Cuarón.[33] Mike Newell became the first British director of the series when he was chosen for the fourth film; Newell was considered to direct the first film before he dropped out.[33] David Yates directed the final films after David Heyman thought him capable of handling the edgy, emotional, and political material of the later novels.[43]

text: All the directors have been supportive of each other. Chris Columbus praised the character development in the films, while Alfonso Cuarón admired the "quiet poetry" of David Yates' films.[34][39] Mike Newell noted that each director had a different heroism, and David Yates views the first four films "respectfully and enjoy[s] them."[40][41] Daniel Radcliffe said Yates "took the charm of the films that Chris made and the visual flair of everything that Alfonso did and the thoroughly British, bombastic nature of the film directed by Mike Newell" and added "his own sense" of realism.[44]

text: Scripts

text: Steve Kloves wrote the screenplays for all but the fifth film, which was penned by Michael Goldenberg. Kloves had direct assistance from J.K. Rowling, though she allowed him what he described as "tremendous elbow room". Rowling asked Kloves to remain faithful to the spirit of the books; thus, the plot and tone of each film and its corresponding book are virtually the same, albeit with some changes and omissions for purposes of cinematic style, time, and budget constraints. Michael Goldenberg also received input from Rowling during his adaptation of the fifth novel; Goldenberg was originally considered to adapt the first novel before the studio chose Kloves.[45]

text: In a 2010 interview, David Heyman briefly explained the book-to-film transition. He commented on Rowling's involvement in the series, stating that she understood that "books and films are different" and was "the best support" a producer could have. Rowling had overall approval on the scripts, which were viewed and discussed by the director and the producers. Heyman also said that Kloves was the "key voice" in the process of adapting the novels and that certain aspects from the books needed to have been excluded from the scripts due to the filmmakers' decision to keep the main focus on Harry's journey as a character, which would ultimately give the films a defined structure. Heyman mentioned that some fans "don't necessarily understand the adaptation process" and that the filmmakers would have loved to "have everything" from the books in the films but noted that it was not possible since they had "neither time nor cinematic structure" to do so. He finished by saying that adapting a novel to the screen is "a really considered process."[46]

text: Because the films were being made as the novels were being published, the filmmakers had no idea of the story's outcome until the release of the final novel in 2007. Kloves spoke of his relationship with Rowling when adapting the novels by saying, "The thing is about Jo, which is remarkable for someone who had no experience with the filmmaking process, was her intuition. We had a conversation the very first day I met her where she said, 'I know the movies can't be the books... because I know what's coming and it's impossible to fully dramatise on screen what I'm going to write. But I just ask you to be true to the characters; that's all I care about.'"[47] Kloves also said, "I don't know what compelled me to say this [to Rowling], but I said, 'I've just got to warn you my favourite character is not Harry. My favourite character is Hermione.' And I think for some weird reason, from that moment on, she sort of trusted me."[47]

text: Cast and crew

text: Aside from the three lead actors, other notable cast members include Robbie Coltrane as Rubeus Hagrid, Tom Felton as Draco Malfoy, Alan Rickman as Severus Snape, and Dame Maggie Smith as Minerva McGonagall. Richard Harris, who played the role of Professor Albus Dumbledore, died on 25 October 2002 causing the role to be re-cast for the third instalment, Harry Potter and the Prisoner of Azkaban. David Heyman and director Alfonso Cuarón chose Michael Gambon to portray the character of Dumbledore, which he did for all succeeding films. Notable recurring cast members include Helena Bonham Carter as Bellatrix Lestrange, Warwick Davis as Filius Flitwick, Ralph Fiennes as Lord Voldemort, Brendan Gleeson as Alastor Moody, Richard Griffiths as Vernon Dursley, Jason Isaacs as Lucius Malfoy, Gary Oldman as Sirius Black, Fiona Shaw as Petunia Dursley, Timothy Spall as Peter Pettigrew, David Thewlis as Remus Lupin, Emma Thompson as Sybill Trelawney, Mark Williams as Arthur Weasley, and Julie Walters as Molly Weasley.

text: The series has seen many returning crew members from various departments, including Tim Burke, visual effects supervisor; Peter Doyle, digital film colourist; Nick Dudman, make-up and creature effects designer; David Holmes, stunt double; Amanda Knight, make-up artist; Stephenie McMillan, set designer; Greg Powell, stunt coordinator; Jany Temime, costume designer; and Fiona Weir, casting director.

text: Set design

text: The production designer for all eight films is Stuart Craig. Assisted by Stephenie McMillan, Craig has created iconic sets pieces including the Ministry of Magic, the Chamber of Secrets, Malfoy Manor, and the layout for the CGI Horcrux Cave. Because the novels were being published as the films were being made, Craig was required to rebuild some sets for future films and alter the design of Hogwarts.[50]

text: He said, "In the early days, every time you saw the exterior of Hogwarts, it was a physical miniature," which was made by craftsmen and occupied a large sound stage.[52][53] "We ended up with a profile of how Hogwarts looked, a skyline that actually I didn't design, and it wasn't always satisfactory, and as all the novels got written and movies got made there were new requirements [for buildings]. The [Astronomy Tower] definitely wasn't there originally, and so we were able to add that substantial piece. And in the last film, we needed an arena for the battle for Hogwarts – the big courtyard outside doubled in size, and if you look at the first movie it wasn't there at all. There were quite some liberties taken with the continuity of Hogwarts."[54] In the last film, Craig used a digital model instead of a miniature to "embrace the latest technology".[53]

text: On the method of creating the sets, Craig said he often started by sketching ideas onto a blank sheet of paper.[55] Stephanie McMillan also said that "each film always had plenty of new challenges," citing the changes in visual style between directors and cinematographers as an example, along with the developing story in the novels. Due to J.K. Rowling's descriptions of various settings in the novels, Craig noted his "responsibility was to place it together".[56]

text: Craig commented on his experience working in the studio environment: "I'm the production designer, but on a big movie like Harry Potter I may be responsible for 30 to 35 people; from the supervising art director, and a team of art directors and assistants, to draughtsmen and junior draughtsmen, and then on to model makers, sculptors and scenic artists." He said, "Ten years ago, all the Harry Potter drawings were done in pencil. I would take my roughs and plans and sections and give them to a professional architectural illustrator, who would create concept art using pencil and colour wash on watercolour paper." He said the process changed slightly throughout the years due to, what he called, the "digital revolution" of making films.[53]

text: When filming of the series was completed, some of Craig's sets had to be rebuilt or transported for them to be displayed at the Warner Bros. studio tour.[52]

text: Cinematography

text: Six directors of photography worked on the series: John Seale on the first film, Roger Pratt on the second and fourth, Michael Seresin on the third, Sławomir Idziak on the fifth, Bruno Delbonnel on the sixth, and Eduardo Serra on the seventh and eighth. Delbonnel was considered to return for both parts of Deathly Hallows, but he declined, stating that he was "scared of repeating" himself.[57] Delbonnel's cinematography in Half-Blood Prince gained the series its only Academy Award nomination for Best Cinematography. As the series progressed, each cinematographer faced the challenge of shooting and lighting older sets (which had been around since the first few films) in unique and different ways.[58] Chris Columbus said the series' vivid colouring decreased as each film was made.[34][59]

text: Michael Seresin commented on the change of visual style from the first two films to Prisoner of Azkaban: "The lighting is moodier, with more shadowing and cross-lighting." Seresin and Alfonso Cuarón moved away from the strongly coloured and brightly lit cinematography of the first two films, with dimmer lighting and a more muted colour palette being utilised for the succeeding five films.[60] After comparing a range of digital cameras with 35 mm film, Bruno Delbonnel decided to shoot the sixth movie, Half-Blood Prince, on film rather than the increasingly popular digital format. This decision was kept for the two-part Deathly Hallows with Eduardo Serra, who said that he preferred to work with film because it was "more technically accurate and dependable".[61]

text: Because the majority of Deathly Hallows takes place in various settings away from Hogwarts, David Yates wanted to "shake things up" by using different photographic techniques such as using hand-held cameras and very wide camera lenses.[62] Eduardo Serra said, "Sometimes we are combining elements shot by the main unit, a second unit, and the visual effects unit. You have to know what is being captured – colours, contrast, et cetera – with mathematical precision." He noted that with Stuart Craig's "amazing sets and the story", the filmmakers could not "stray too far from the look of the previous Harry Potter films."[61][63]

text: Editing

text: Along with continuous changes in cinematographers, there have been five film editors to work in post-production on the series: Richard Francis-Bruce edited the first instalment, Peter Honess the second, Steven Weisberg the third, Mick Audsley the fourth, and Mark Day films five through eight.

text: Music

text: The Harry Potter series has had four composers. John Williams scored the first three films: Philosopher's Stone, Chamber of Secrets, and Prisoner of Azkaban. However, the second entry was adapted and conducted by William Ross due to Williams's conflicting commitments. Williams also created Hedwig's Theme, which is used in every film in the series.

text: After Williams left the series to pursue other projects, Patrick Doyle scored the fourth entry, Goblet of Fire, which was directed by Mike Newell, with whom Doyle had worked previously. In 2006, Nicholas Hooper started work on the score to Order of the Phoenix by reuniting with director David Yates. Hooper also composed the soundtrack to Half-Blood Prince but decided not to return for the final films.

text: In January 2010, Alexandre Desplat was confirmed to compose the score for Harry Potter and the Deathly Hallows – Part 1.[64] The film's orchestration started in the summer with Conrad Pope, the orchestrator on the first three Harry Potter films, collaborating with Desplat. Pope commented that the music "reminds one of the old days."[65] Desplat returned to score Harry Potter and the Deathly Hallows – Part 2 in 2011.[66]

text: Director David Yates stated that he wanted John Williams to return to the series for the final installment, but their schedules did not align due to the urgent demand for a rough cut of the film.[67] The final recording sessions of Harry Potter took place on 27 May 2011 at Abbey Road Studios with the London Symphony Orchestra, orchestrator Conrad Pope, and composer Alexandre Desplat.[68]

text: Doyle, Hooper, and Desplat introduced their own personal themes to their respective soundtracks, while keeping a few of John Williams's themes.

text: Visual effects

text: There have been many visual effects companies to work on the Harry Potter series. Some of these include Rising Sun Pictures, Double Negative, Cinesite, Framestore, and Industrial Light & Magic. The latter three have worked on all the films in the series, while Double Negative and Rising Sun Pictures began their commitments with Prisoner of Azkaban and Goblet of Fire, respectively. Framestore contributed by developing many memorable creatures and sequences to the series.[69] Cinesite was involved in producing both miniature and digital effects for the films.[70] Producer David Barron said that "Harry Potter created the UK effects industry as we know it. On the first film, all the complicated visual effects were done on the [US] west coast. But on the second, we took a leap of faith and gave much of what would normally be given to Californian vendors to UK ones. They came up trumps." Tim Burke, the visual effects supervisor, said many studios "are bringing their work to UK effects companies. Every facility is fully booked, and that wasn't the case before Harry Potter. That's really significant."[33]

text: Final filming

text: On 12 June 2010, filming of the Deathly Hallows – Part 1 and Deathly Hallows – Part 2 was completed with actor Warwick Davis stating on his Twitter account, "The end of an Era – today is officially the last day of principal photography on 'Harry Potter' – ever. I feel honoured to be here as the director shouts cut for the very last time. Farewell Harry & Hogwarts, it's been magic!".[71] However, reshoots of the epilogue scene were confirmed to begin in the winter of 2010. The filming was completed on 21 December 2010, marking the official closure of filming the Harry Potter franchise.[72] Exactly four years earlier on that day, author J. K. Rowling's official website revealed the title of the final novel in the series – Harry Potter and the Deathly Hallows.[73]

text: Films

text: Harry Potter and the Philosopher's Stone (2001)

text: Harry Potter is an orphaned boy brought up by his unkind Muggle (non-magical) aunt and uncle. At the age of eleven, half-giant Rubeus Hagrid informs him that he is actually a wizard and that his parents were murdered by an evil wizard named Lord Voldemort. Voldemort also attempted to kill one-year-old Harry on the same night, but his killing curse mysteriously rebounded and reduced him to a weak and helpless form. Harry became extremely famous in the Wizarding World as a result. Harry begins his first year at Hogwarts School of Witchcraft and Wizardry and learns about magic. During the year, Harry and his friends Ron Weasley and Hermione Granger become entangled in the mystery of the Philosopher's Stone which is being kept within the school.

text: Harry Potter and the Chamber of Secrets (2002)

text: Harry, Ron, and Hermione return to Hogwarts for their second year, which proves to be more challenging than the last. The Chamber of Secrets has been opened, leaving students and ghosts petrified by an unleashed monster. Harry must face up to claims that he is the heir of Salazar Slytherin (founder of the Chamber), learn that he can speak Parseltongue, and also discover the properties of a mysterious diary, only to find himself trapped within the Chamber of Secrets itself.

text: Harry Potter and the Prisoner of Azkaban (2004)

text: Harry Potter's third year sees the boy wizard, along with his friends, attending Hogwarts School once again. Professor R. J. Lupin joins the staff as Defence Against the Dark Arts teacher, while convicted murderer Sirius Black escapes from Azkaban Prison. The Ministry of Magic entrusts the Dementors of Azkaban to guard Hogwarts from Black. Harry learns more about his past and his connection with the escaped prisoner.

text: Harry Potter and the Goblet of Fire (2005)

text: During Harry's fourth year, Hogwarts plays host to a legendary event: the Triwizard Tournament. Three European schools participate in the tournament, with three 'champions' representing each school in the deadly tasks. The Goblet of Fire chooses Fleur Delacour, Viktor Krum, and Cedric Diggory to compete against each other. However, curiously, Harry's name is also produced from the Goblet thus making him a fourth champion, which results in a terrifying encounter with a reborn Lord Voldemort.

text: Harry Potter and the Order of the Phoenix (2007)

text: Harry's fifth year begins with him being attacked by Dementors in Little Whinging. Later, he finds out that the Ministry of Magic is in denial of Lord Voldemort's return. Harry is also beset by disturbing and realistic nightmares, while Professor Umbridge, a representative of Minister for Magic Cornelius Fudge, is the new Defence Against the Dark Arts teacher. Harry becomes aware that Voldemort is after a prophecy which reveals: "neither can live while the other survives". The rebellion involving the students of Hogwarts, secret organisation Order of the Phoenix, the Ministry of Magic, and the Death Eaters begins.

text: Harry Potter and the Half-Blood Prince (2009)

text: In Harry's sixth year at Hogwarts, Lord Voldemort and his Death Eaters are increasing their terror upon the Wizarding and Muggle worlds. Headmaster Albus Dumbledore persuades his old friend Horace Slughorn to return to Hogwarts as a professor as there is a vacancy to fill. There is a more important reason, however, for Slughorn's return. While in a Potions lesson, Harry takes possession of a strangely annotated school textbook, inscribed 'This is the property of the Half-Blood Prince'. Draco Malfoy struggles to carry out a deed presented to him by Voldemort. Meanwhile, Dumbledore and Harry secretly work together to discover the method on how to destroy the Dark Lord once and for all.

text: Harry Potter and the Deathly Hallows – Part 1 (2010)

text: After unexpected events at the end of the previous year, Harry, Ron, and Hermione are entrusted with a quest to find and destroy Lord Voldemort's secret to immortality – the Horcruxes. It is supposed to be their final year at Hogwarts, but the collapse of the Ministry of Magic and Voldemort's rise to power prevents them from attending. The trio undergo a long journey with many obstacles in their path including Death Eaters, Snatchers, the mysterious Deathly Hallows, and Harry's connection with the Dark Lord's mind becoming ever stronger.

text: Harry Potter and the Deathly Hallows – Part 2 (2011)

text: After destroying one Horcrux and discovering the significance of the three Deathly Hallows, Harry, Ron and Hermione continue to seek the other Horcruxes in an attempt to destroy Voldemort, who has now obtained the powerful Elder Wand. The Dark Lord discovers Harry's hunt for Horcruxes and launches an attack on Hogwarts School, where the trio return for one last stand against the dark forces that threaten the Wizarding and Muggle worlds.

text: Release

text: The rights for the first four novels in the series were sold to Warner Bros. for £1,000,000 by J.K. Rowling. After the release of the fourth book in July 2000, the first film, Harry Potter and the Philosopher's Stone, was released on 16 November 2001. In its opening weekend, the film grossed $90 million in the United States alone, which set a record opening worldwide. The succeeding three motion picture adaptations followed suit in financial success, while garnering positive reviews from fans and critics. The fifth film, Harry Potter and the Order of the Phoenix, was released by Warner Bros. on 11 July 2007 in English-speaking countries, except for the UK and Ireland, which released the movie on 12 July.[74] The sixth, Harry Potter and the Half-Blood Prince, was released on 15 July 2009 to critical acclaim and finished its theatrical run ranked as the number two grossing film of 2009 on the worldwide charts.

text: The final novel, Harry Potter and the Deathly Hallows, was split into two cinematic parts: Part 1 was released on 19 November 2010, and Part 2, the conclusion to both the final film and the series, was released on 15 July 2011.[75] Part 1 was originally scheduled to be released in 3D and 2D,[76] but due to a delay in the 3D conversion process, Warner Bros. released the film only in 2D and IMAX cinemas. However, Part 2 was released in 2D and 3D cinemas as originally planned.[77]

text: The television broadcast rights for the series in the United States are currently held by Disney–ABC Domestic Television, which typically airs the films on the Freeform network. Disney's contract is expected to end in June 2018, after which, NBCUniversal will take control of the rights, after their deal with Warner Bros. was made in August 2016.[78] The film series has accrued nearly 1.3 billion viewings since their television debut—the highest-watched franchise in television broadcast history.[79]

text: Reception

text: Critical response

text: All the films have been a success financially and critically, making the franchise one of the major Hollywood "tent-poles" akin to James Bond, Star Wars, Indiana Jones and Pirates of the Caribbean. The series is noted by audiences for growing visually darker and more mature as each film was released.[34][80][81][82][83] However, opinions of the films generally divide book fans, with some preferring the more faithful approach of the first two films and others preferring the more stylised character-driven approach of the later films.

text: Some also feel the series has a "disjointed" feel due to the changes in directors, as well as Michael Gambon's interpretation of Albus Dumbledore differing from that of Richard Harris. Author J. K. Rowling has been constantly supportive of the films,[84][85][86] and evaluated Deathly Hallows as her favourite one in the series. She wrote on her website of the changes in the book-to-film transition, "It is simply impossible to incorporate every one of my storylines into a film that has to be kept under four hours long. Obviously films have restrictions – novels do not have constraints of time and budget; I can create dazzling effects relying on nothing but the interaction of my own and my readers' imaginations".[87]

text: Critical and public response

text:
Motion Picture
Rotten Tomatoes
Metacritic
CinemaScore

Harry Potter and the Philosopher's Stone
80% (193 reviews)[88]
64 (35 reviews)[89]
A[90]

Harry Potter and the Chamber of Secrets
82% (232 reviews)[91]
63 (35 reviews)[92]
A+[90]

Harry Potter and the Prisoner of Azkaban
91% (253 reviews)[93]
82 (40 reviews)[94]
A[90]

Harry Potter and the Goblet of Fire
88% (248 reviews)[95]
81 (38 reviews)[96]
A[90]

Harry Potter and the Order of the Phoenix
78% (245 reviews)[97]
71 (37 reviews)[98]
A−[90]

Harry Potter and the Half-Blood Prince
84% (269 reviews)[99]
78 (36 reviews)[100]
A−[90]

Harry Potter and the Deathly Hallows – Part 1
78% (265 reviews)[101]
65 (42 reviews)[102]
A[90]

Harry Potter and the Deathly Hallows – Part 2
96% (315 reviews)[103]
87 (41 reviews)[104]
A[90]

text: Accolades

text: At the 64th British Academy Film Awards in February 2011, J. K. Rowling, David Heyman, David Barron, David Yates, Alfonso Cuarón, Mike Newell, Rupert Grint and Emma Watson collected the Michael Balcon Award for Outstanding British Contribution to Cinema for the series.[105][106]

text: In addition, the American Film Institute recognised the entire series with a Special Award at the American Film Institute Awards in 2011. Special awards "are given to outstanding achievements in the moving image that do not fit into AFI's criteria for the other honorees." [107] In its press release, the Institute referred to the films as "a landmark series; eight films that earned the trust of a generation who wished for the beloved books of J.K. Rowling to come to life on the silver screen. The collective wizardry of an epic ensemble gave us the gift of growing older with Harry, Ron and Hermione as the magic of Hogwarts sprung from the films and into the hearts and minds of Muggles around the world." [107]

text: Harry Potter was also recognised by the BAFTA Los Angeles Britannia Awards, with David Yates winning the Britannia Award for Artistic Excellence in Directing for his four Harry Potter films.[108][109]

text:
Motion Picture
Academy Award nomination
Academy Award nominee
Academy Award ceremony

Harry Potter and the Philosopher's Stone
Best Art Direction
Best Costume Design
Best Original Score
Stuart Craig and Stephenie McMillan
Judianna Makovsky
John Williams
74th Academy Awards

Harry Potter and the Prisoner of Azkaban
Best Original Score
Best Visual Effects
John Williams
Roger Guyett, Tim Burke, John Richardson and Bill George
77th Academy Awards

Harry Potter and the Goblet of Fire
Best Art Direction
Stuart Craig and Stephenie McMillan
78th Academy Awards

Harry Potter and the Half-Blood Prince
Best Cinematography
Bruno Delbonnel
82nd Academy Awards

Harry Potter and the Deathly Hallows – Part 1
Best Art Direction
Best Visual Effects
Stuart Craig and Stephenie McMillan
Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi
83rd Academy Awards

Harry Potter and the Deathly Hallows – Part 2
Best Art Direction
Best Makeup
Best Visual Effects
Stuart Craig and Stephenie McMillan
Nick Dudman, Amanda Knight and Lisa Tomblin
Tim Burke, David Vickery, Greg Butler and John Richardson
84th Academy Awards

text: Six of the eight films were nominated for a total of 12 Academy Awards.

text: Some critics, fans, and general audiences have expressed disappointment that the Harry Potter series did not win any Oscars for its achievements. However, others have pointed out that certain films in the series had uneven reviews, in contrast to the three films of The Lord of the Rings, for example, which were all critically acclaimed. This has been partially attributed to the Harry Potter franchise going through several directors with their own styles in contrast to the Lord of the Rings trilogy, which was filmed in one massive undertaking by the same director, writer, and producer.[110][111]

text: Although not successful at the Oscars, the Harry Potter series has gained success in many other award ceremonies, including the annual Saturn Awards and Art Directors Guild Awards. The series has also gained a total of 24 nominations at the British Academy Film Awards presented at the annual BAFTAs, winning several, and 5 nominations at the Grammy Awards.

text: Philosopher's Stone achieved seven BAFTA Award nominations, including Best British Film and Best Supporting Actor for Robbie Coltrane.[112] The film was also nominated for eight Saturn Awards and won for its costumes design.[113] It was also nominated at the Art Directors Guild Awards for its production design[114] and received the Broadcast Film Critics Award for Best Live Action Family Film along with gaining two other nominations.[115]

text: Chamber of Secrets won the award for Best Live Action Family Film in the Phoenix Film Critics Society. It was nominated for seven Saturn Awards, including Best Director and Best Fantasy Film. The film was nominated for four BAFTA Awards and a Grammy Award for John Williams's score. Prisoner of Azkaban won an Audience Award, as well as Best Feature Film, at the BAFTA Awards. The film also won a BMI Film Music award along with being nominated at the Grammy Awards, Visual Effect Society Awards, and the Amanda Awards. Goblet of Fire won a BAFTA award for Best Production Design as well as being nominated at the Saturn Awards, Critic's Choice Awards, and the Visual Effects Society Awards.

text: Order of the Phoenix picked up three awards at the inaugural ITV National Movie Awards.[116] At the Empire Awards, David Yates won Best Director.[117] Composer Nicholas Hooper received a nomination for a World Soundtrack Discovery Award.[118] The film was nominated at the BAFTA Awards, but did not win for Best Production Design or Best Special Visual Effects.[119] Half-Blood Prince was nominated for BAFTA Awards in Production Design and Visual Effects,[120] and it was in the longlists for several other categories, including Best Supporting Actor for Alan Rickman.[121] Amongst other nominations and wins, the film also achieved Best Family Movie at the National Movie Awards as well as Best Live Action Family Film at the Phoenix Film Critics Society Awards, along with being nominated for Best Motion Picture at the Satellite Awards.

text: Deathly Hallows – Part 1 gained two nominations at the BAFTA Awards for Best Make-Up and Hair and Best Visual Effects, along with receiving nominations for the same categories at the Broadcast Film Critics Association Awards. Eduardo Serra's cinematography and Stuart Craig's production design were also nominated in various award ceremonies, and David Yates attained his second win at the Empire Awards, this time for Best Fantasy Film. He also obtained another Best Director nomination at the annual Saturn Awards, which also saw the film gain a Best Fantasy Film nomination.[122][123] Deathly Hallows – Part 2 was released to critical acclaim, gaining a mix of audience awards. Part 2 of Deathly Hallows was also recognised at the Saturn Awards as well as the BAFTA Awards, where the film achieved a win for Best Special Visual Effects.[124]

text: Box office performance

text: As of 2017[update], the Harry Potter film series is the 2nd highest-grossing film franchise of all time, with the eight films released grossing over $7.7 billion worldwide. Without adjusting for inflation, this is higher than the first 22 James Bond films and the six films in the Star Wars franchise.[125] Chris Columbus's Philosopher's Stone became the highest-grossing Harry Potter film worldwide upon completing its theatrical run in 2002, but it was eventually topped by David Yates's Deathly Hallows – Part 2, while Alfonso Cuarón's Prisoner of Azkaban grossed the least.[126][127][128][129]

text: Six films in the Harry Potter franchise — Harry Potter and the Prisoner of Azkaban, Harry Potter and the Goblet of Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows, Parts 1 & 2 — have to date grossed around $216 million in IMAX theaters worldwide.[130]

text:
Motion picture
Release date
Box office gross
Budget
Ref(s)

United Kingdom
USA & Canada
(approx. ticket sales)
Other countries
Worldwide

Harry Potter and the Philosopher's Stone
16 November 2001 (2001-11-16)
£66,096,060
$317,575,550
(55,976,200)
$657,179,821
$974,755,371
$125 million
[131][132][132][133][134]

Harry Potter and the Chamber of Secrets
14 November 2002 (2002-11-14)
£54,780,731
$261,988,482
(44,978,900)
$616,991,152
$878,979,634
$100 million
[133][134][135][136]

Harry Potter and the Prisoner of Azkaban
31 May 2004 (2004-05-31)
£45,615,949
$249,541,069
(40,183,700)
$547,147,480
$796,688,549
$130 million
[133][134][137]

Harry Potter and the Goblet of Fire
18 November 2005 (2005-11-18)
£48,328,854
$290,013,036
(45,188,100)
$606,898,042
$896,911,078
$150 million
[133][134][138][139]

Harry Potter and the Order of the Phoenix
11 July 2007 (2007-07-11)
£49,136,969
$292,004,738
(42,442,500)
$647,881,191
$939,885,929
$150 million
[133][134][140][141]

Harry Potter and the Half-Blood Prince
15 July 2009 (2009-07-15)
£50,713,404
$301,959,197
(40,261,200)
$632,457,290
$934,416,487
$250 million
[133][134][142][143]

Harry Potter and the Deathly Hallows – Part 1
19 November 2010 (2010-11-19)
£52,364,075
$295,983,305
(37,503,700)
$664,300,000
$960,283,305
Less than $250 million (official)
[133][134][144][145][146]

Harry Potter and the Deathly Hallows – Part 2
15 July 2011 (2011-07-15)
£73,094,187
$381,011,219
(48,046,800)
$960,500,000
$1,341,511,219
[134][146][147]

Total
£440,269,736
$7009239007659600000♠2,390,076,596
$7009533335497600000♠5,333,354,976
$7009772343157200000♠7,723,431,572
$1.155 billion
[148]

text: All-time rankings

text:
Motion picture
Rank
Ref(s)

All-time
(worldwide)
All-time
(United States)
All-time
(United Kingdom)
Yearly
(United States)
Yearly
(worldwide)
Opening day
(all-time)
Opening weekend
(all-time)

Philosopher's Stone
#29
#54
#9
#1
#1
#66
#55
[131]

Chamber of Secrets
#46
#90
#17
#4
#2
#81
#60
[133][135][136]

Prisoner of Azkaban
#62
#106
#33
#6
#2
#47
#49
[133]

Goblet of Fire
#42
#77
#28
#3
#1
#41
#40
[133][138][139]

Order of the Phoenix
#38
#73
#25
#5
#2
#34
#77
[133][140][141]

Half-Blood Prince
#39
#65
#24
#3
#2
#24
#75
[133][142][143]

Deathly Hallows – Part 1
#34
#68
#18
#5
#3
#22
#25
[133][144][145]

Deathly Hallows – Part 2
#8
#27
#7
#1
#1
#3
#8
[147][149]

text: Legacy and influence

text:
"Harry Potter was in the vanguard of a new approach to big-budget film-making. Most modern blockbuster franchises have two things in common: they are based on known properties such as books and comics, and they are steered by respected but little-known directors."

—The Economist[150]

tag: div

text: The Harry Potter films and their success have been retrospectively considered to have had a significant impact on the film industry. They are cited as having helped redefine the Hollywood blockbuster in the 21st century by initiating a shift toward established media franchises forming the basis of successful films. In the wake of the final film's release, Claudia Puig of USA Today wrote that the films "inspired every major studio to try to capture [its] alchemic formula, spawning a range of copycats and wannabes" and "also have shown Hollywood how to make a glossy blockbuster with an eye toward keeping costs down."[151] A 2009 article from The Economist argued that the films were "in the vanguard" of adaptations of established properties being the modern film franchise model, citing The Lord of the Rings, Spider-Man and The Dark Knight Trilogy as examples of successful film series that followed Harry Potter's suit.[150] Furthermore, the practice of splitting the finale of a film series into two back-to-back films began with the success of Deathly Hallows, and it would soon be replicated by The Hobbit: The Desolation of Smaug and The Battle of the Five Armies, The Twilight Saga: Breaking Dawn – Parts 1 and 2, The Hunger Games: Mockingjay – Parts 1 and 2, and Avengers: Infinity War and its untitled sequel.[152]

text: The films are also widely credited with singlehandedly signalling the popularity of films based on children's and young adult literature in the 2000s and 2010s, correlating with the book series' own literary influence. Costance Grady and Aja Romano, commenting on the whole Harry Potter franchise's legacy for Vox in light of its 20th anniversary, wrote that youth-targeted literature has since become "a go-to well of ideas for Hollywood," pointing to the successes of The Twilight Saga, The Hunger Games and The Divergent Series.[153]

text: The series has spawned a vast volume of fan fiction, with nearly 600 thousand inspired stories catalogued.[154] Youtube hosts many fan films, ranging from amateur productions to full length films.

text: Notes

text: Jump up ^ Not including executive producers.

tag: ol


document_title: List of Major League Baseball All-Star Games

question_text: who won the mlb all-star game last year

question_tokens: who won the mlb all-star game last year

text: Game results[edit]

text:
Date

Winning League (All-Time Record)

Score

Venue

Host Team

Attendance

MVP

Winning Pitcher

Losing Pitcher

July 6, 1933

American(1–0–0 AL)

4–2

Comiskey Park

Chicago White Sox

47,595

Lefty Gomez, New York (AL)

Bill Hallahan, St. Louis (NL)

July 10, 1934

American(2–0–0 AL)

9–7

Polo Grounds

New York Giants

48,368

Mel Harder, Cleveland (AL)

Van Mungo, Brooklyn (NL)

July 8, 1935

American(3–0–0 AL)

4–1

Cleveland Stadium

Cleveland Indians

69,812

Lefty Gomez, New York (AL)

Bill Walker, St. Louis (NL)

July 7, 1936

National(3–1–0 AL)

4–3

National League Park

Boston Bees

25,556

Dizzy Dean, St. Louis (NL)

Lefty Grove, Boston, (AL)

July 7, 1937

American(4–1–0 AL)

8–3

Griffith Stadium

Washington Senators

31,391

Lefty Gomez, New York (AL)

Dizzy Dean, St. Louis (NL)

July 6, 1938

National(4–2–0 AL)

4–1

Crosley Field

Cincinnati Reds

27,067

Johnny Vander Meer, Cincinnati (NL)

Lefty Gomez, New York (AL)

July 11, 1939

American(5–2–0 AL)

3–1

Yankee Stadium

New York Yankees

62,892

Tommy Bridges, Detroit (AL)

Bill Lee, Chicago (NL)

July 9, 1940

National(5–3–0 AL)

4–0

Sportsman's Park

St. Louis Cardinals

32,373

Paul Derringer, Cincinnati (NL)

Red Ruffing, New York (AL)

July 8, 1941

American(6–3–0 AL)

7–5

Briggs Stadium

Detroit Tigers

54,674

Eddie Smith, Chicago (AL)

Claude Passeau, Chicago (NL)

July 6, 1942

American(7–3–0 AL)

3–1

Polo Grounds

New York Giants

34,178

Spud Chandler, New York (AL)

Mort Cooper, St. Louis (NL)

July 13, 1943

American(8–3–0 AL)

5–3

Shibe Park

Philadelphia Athletics

31,938

Dutch Leonard, Washington (AL)

Mort Cooper, St. Louis (NL)

July 11, 1944

National(8–4–0 AL)

7–1

Forbes Field

Pittsburgh Pirates

29,589

Ken Raffensberger, Philadelphia (NL)

Tex Hughson, Boston (AL)

1945

Not held because of World War II

July 9, 1946

American(9–4–0 AL)

12–0

Fenway Park

Boston Red Sox

34,906

Bob Feller, Cleveland (AL)

Claude Passeau, Chicago (NL)

July 8, 1947

American(10–4–0 AL)

2–1

Wrigley Field

Chicago Cubs

41,123

Spec Shea, New York (AL)

Johnny Sain, Boston (NL)

July 13, 1948

American(11–4–0 AL)

5–2

Sportsman's Park

St. Louis Browns

34,009

Vic Raschi, New York (AL)

Johnny Schmitz, Chicago (NL)

July 12, 1949

American(12–4–0 AL)

11–7

Ebbets Field

Brooklyn Dodgers

32,577

Virgil Trucks, Detroit (AL)

Don Newcombe, Brooklyn (NL)

July 11, 1950

National(12–5–0 AL)

4–3(14)

Comiskey Park

Chicago White Sox

46,127

Ewell Blackwell, Cincinnati (NL)

Ted Gray, Detroit (AL)

July 10, 1951

National(12–6–0 AL)

8–3

Briggs Stadium

Detroit Tigers

52,075

Sal Maglie, New York (NL)

Ed Lopat, New York (AL)

July 8, 1952

National(12–7–0 AL)

3–2(rain,5)

Shibe Park

Philadelphia Phillies

32,785

Bob Rush, Chicago (NL)

Bob Lemon, Cleveland (AL)

July 14, 1953

National(12–8–0 AL)

5–1

Crosley Field

Cincinnati Reds

30,846

Warren Spahn, Milwaukee (NL)

Allie Reynolds, New York (AL)

July 13, 1954

American(13–8–0 AL)

11–9

Cleveland Stadium

Cleveland Indians

69,751

Dean Stone, Washington (AL)

Gene Conley, Milwaukee (NL)

July 12, 1955

National(13–9–0 AL)

6–5(12)

County Stadium

Milwaukee Braves

45,643

Gene Conley, Milwaukee (NL)

Frank Sullivan, Boston (AL)

July 10, 1956

National(13–10–0 AL)

7–3

Griffith Stadium

Washington Senators

28,843

Bob Friend, Pittsburgh (NL)

Billy Pierce, Chicago (AL)

July 9, 1957

American(14–10–0 AL)

6–5

Busch Stadium

St. Louis Cardinals

30,693

Jim Bunning, Detroit (AL)

Curt Simmons, Philadelphia (NL)

July 8, 1958

American(15–10–0 AL)

4–3

Memorial Stadium

Baltimore Orioles

48,829

Early Wynn, Chicago (AL)

Bob Friend, Pittsburgh (NL)

July 7, 1959

National(15–11–0 AL)

5–4

Forbes Field

Pittsburgh Pirates

35,277

Johnny Antonelli, San Francisco (NL)

Whitey Ford, New York (AL)

August 3, 1959

American(16–11–0 AL)

5–3

Memorial Coliseum

Los Angeles Dodgers

55,105

Jerry Walker, Baltimore (AL)

Don Drysdale, Los Angeles (NL)

July 11, 1960

National(16–12–0 AL)

5–3

Municipal Stadium

Kansas City Athletics

30,619

Bob Friend, Pittsburgh (NL)

Bill Monbouquette, Boston (AL)

July 13, 1960

National(16–13–0 AL)

6–0

Yankee Stadium

New York Yankees

38,362

Vern Law, Pittsburgh (NL)

Whitey Ford, New York (AL)

July 11, 1961

National(16–14–0 AL)

5–4(10)

Candlestick Park

San Francisco Giants

44,115

Stu Miller, San Francisco (NL)

Hoyt Wilhelm, Baltimore (AL)

July 31, 1961

TIE(16–14–1 AL)

1–1

Fenway Park

Boston Red Sox

31,851

N/A

N/A

N/A

July 10, 1962

National(16–15–1 AL)

3–1

D.C. Stadium

Washington Senators

45,480

Maury Wills, Los Angeles (NL)

Juan Marichal, San Francisco (NL)

Camilo Pascual, Minnesota (AL)

July 30, 1962

American(17–15–1 AL)

9–4

Wrigley Field

Chicago Cubs

38,359

Leon Wagner, Los Angeles (AL)

Ray Herbert, Chicago (AL)

Art Mahaffey, Philadelphia (NL)

July 9, 1963

National(17–16–1 AL)

5–3

Cleveland Stadium

Cleveland Indians

44,160

Willie Mays, San Francisco (NL)

Larry Jackson, Chicago (NL)

Jim Bunning, Detroit (AL)

July 7, 1964

National (17–17–1)

7–4

Shea Stadium

New York Mets

50,850

Johnny Callison, Philadelphia (NL)

Juan Marichal, San Francisco (NL)

Dick Radatz, Boston (AL)

July 13, 1965

National(18–17–1 NL)

6–5

Metropolitan Stadium

Minnesota Twins

46,706

Juan Marichal, San Francisco (NL)

Sandy Koufax, Los Angeles (NL)

Sam McDowell, Cleveland (AL)

July 12, 1966

National(19–17–1 NL)

2–1(10)

Busch Memorial Stadium

St. Louis Cardinals

49,936

Brooks Robinson, Baltimore (AL)

Gaylord Perry, San Francisco (NL)

Pete Richert, Washington (AL)

July 11, 1967

National(20–17–1 NL)

2–1(15)

Anaheim Stadium

California Angels

46,309

Tony Pérez, Cincinnati Reds (NL)

Don Drysdale, Los Angeles (NL)

Catfish Hunter, Kansas City (AL)

July 9, 1968

National(21–17–1 NL)

1–0

Astrodome

Houston Astros

48,321

Willie Mays, San Francisco (NL)

Don Drysdale, Los Angeles (NL)

Luis Tiant, Cleveland (AL)

July 23, 1969

National(22–17–1 NL)

9–3

RFK Stadium

Washington Senators

45,259

Willie McCovey, San Francisco (NL)

Steve Carlton, St. Louis (NL)

Mel Stottlemyre, New York (AL)

July 14, 1970

National(23–17–1 NL)

5–4(12)

Riverfront Stadium

Cincinnati Reds

51,838

Carl Yastrzemski, Boston (AL)

Claude Osteen, Los Angeles (NL)

Clyde Wright, California Angels (AL)

July 13, 1971

American(23–18–1 NL)

6–4

Tiger Stadium

Detroit Tigers

53,559

Frank Robinson, Baltimore (AL)

Vida Blue, Oakland (AL)

Dock Ellis, Pittsburgh (NL)

July 25, 1972

National(24–18–1 NL)

4–3(10)

Atlanta Stadium

Atlanta Braves

53,107

Joe Morgan, Cincinnati (NL)

Tug McGraw, New York (NL)

Dave McNally, Baltimore (AL)

July 24, 1973

National(25–18–1 NL)

7–1

Royals Stadium

Kansas City Royals

40,849

Bobby Bonds, San Francisco (NL)

Rick Wise, St. Louis (NL)

Bert Blyleven, Minnesota (AL)

July 23, 1974

National(26–18–1 NL)

7–2

Three Rivers Stadium

Pittsburgh Pirates

50,706

Steve Garvey, Los Angeles (NL)

Ken Brett, Pittsburgh (NL)

Luis Tiant, Boston (AL)

July 15, 1975

National(27–18–1 NL)

6–3

County Stadium

Milwaukee Brewers

51,480

Bill Madlock, Chicago (NL)Jon Matlack, New York (NL)

Jon Matlack, New York (NL)

Catfish Hunter, New York (AL)

July 13, 1976

National(28–18–1 NL)

7–1

Veterans Stadium

Philadelphia Phillies

63,974

George Foster, Cincinnati (NL)

Randy Jones, San Diego (NL)

Mark Fidrych, Detroit (AL)

July 19, 1977

National(29–18–1 NL)

7–5

Yankee Stadium

New York Yankees

56,683

Don Sutton, Los Angeles (NL)

Don Sutton, Los Angeles (NL)

Jim Palmer, Baltimore (AL)

July 11, 1978

National(30–18–1 NL)

7–3

San Diego Stadium

San Diego Padres

51,549

Steve Garvey, Los Angeles (NL)

Bruce Sutter, Chicago (NL)

Rich Gossage, New York (AL)

July 17, 1979

National(31–18–1 NL)

7–6

Kingdome

Seattle Mariners

58,905

Dave Parker, Pittsburgh (NL)

Bruce Sutter, Chicago (NL)

Jim Kern, Texas (AL)

July 8, 1980

National(32–18–1 NL)

4–2

Dodger Stadium

Los Angeles Dodgers

56,088

Ken Griffey, Sr., Cincinnati (NL)

Jerry Reuss, Los Angeles (NL)

Tommy John, New York (AL)

August 9, 1981

National(33–18–1 NL)

5–4

Cleveland Stadium

Cleveland Indians

72,086

Gary Carter, Montreal (NL)

Vida Blue, San Francisco (NL)

Rollie Fingers, Milwaukee (AL)

July 13, 1982

National(34–18–1 NL)

4–1

Olympic Stadium

Montreal Expos

59,057

Dave Concepción, Cincinnati (NL)

Steve Rogers, Montreal (NL)

Dennis Eckersley, Boston (AL)

July 6, 1983

American(34–19–1 NL)

13–3

Comiskey Park

Chicago White Sox

43,801

Fred Lynn, California (AL)

Dave Stieb, Toronto (AL)

Mario Soto, Cincinnati (NL)

July 10, 1984

National(35–19–1 NL)

3–1

Candlestick Park

San Francisco Giants

57,756

Gary Carter, Montreal (NL)

Charlie Lea, Montreal (NL)

Dave Stieb, Toronto (AL)

July 16, 1985

National(36–19–1 NL)

6–1

Hubert H. Humphrey Metrodome

Minnesota Twins

54,960

LaMarr Hoyt, San Diego (NL)

LaMarr Hoyt, San Diego (NL)

Jack Morris, Detroit (AL)

July 15, 1986

American(36-20-1 NL)

3–2

Astrodome

Houston Astros

45,774

Roger Clemens, Boston (AL)

Roger Clemens, Boston (AL)

Dwight Gooden, New York (NL)

July 14, 1987

National(37–20–1 NL)

2–0(13)

Oakland–Alameda County Coliseum

Oakland Athletics

49,671

Tim Raines, Montreal (NL)

Lee Smith, Chicago (NL)

Jay Howell, Oakland (AL)

July 12, 1988

American(37–21–1 NL)

2–1

Riverfront Stadium

Cincinnati Reds

55,837

Terry Steinbach, Oakland (AL)

Frank Viola, Minnesota (AL)

Dwight Gooden, New York (NL)

July 11, 1989

American(37–22–1 NL)

5–3

Anaheim Stadium

California Angels

64,036

Bo Jackson, Kansas City (AL)

Nolan Ryan, Texas (AL)

John Smoltz, Atlanta (NL)

July 10, 1990

American(37–23–1 NL)

2–0

Wrigley Field

Chicago Cubs

39,071

Julio Franco, Texas (AL)

Bret Saberhagen, Kansas City (AL)

Jeff Brantley, San Francisco (NL)

July 9, 1991

American(37–24–1 NL)

4–2

SkyDome

Toronto Blue Jays

52,383

Cal Ripken, Jr., Baltimore (AL)

Jimmy Key, Toronto (AL)

Dennis Martínez, Montreal (NL)

July 14, 1992

American(37–25–1 NL)

13–6

Jack Murphy Stadium

San Diego Padres

59,372

Ken Griffey, Jr., Seattle (AL)

Kevin Brown, Texas (AL)

Tom Glavine, Atlanta (NL)

July 13, 1993

American(37–26–1 NL)

9–3

Oriole Park at Camden Yards

Baltimore Orioles

48,147

Kirby Puckett, Minnesota (AL)

Jack McDowell, Chicago (AL)

John Burkett, San Francisco (NL)

July 12, 1994

National(38–26–1 NL)

8–7(10)

Three Rivers Stadium

Pittsburgh Pirates

59,568

Fred McGriff, Atlanta (NL)

Doug Jones, Philadelphia (NL)

Jason Bere, Chicago (AL)

July 11, 1995

National(39–26–1 NL)

3–2

The Ballpark in Arlington

Texas Rangers

50,920

Jeff Conine, Florida (NL)

Heathcliff Slocumb, Philadelphia (NL)

Steve Ontiveros, Oakland (AL)

July 9, 1996

National(40–26–1 NL)

6–0

Veterans Stadium

Philadelphia Phillies

62,670

Mike Piazza, Los Angeles (NL)

John Smoltz, Atlanta (NL)

Charles Nagy, Cleveland (AL)

July 8, 1997

American(40–27–1 NL)

3–1

Jacobs Field

Cleveland Indians

44,916

Sandy Alomar, Cleveland (AL)

José Rosado, Kansas City (AL)

Shawn Estes, San Francisco (NL)

July 7, 1998

American(40–28–1 NL)

13–8

Coors Field

Colorado Rockies

51,267

Roberto Alomar, Baltimore (AL)

Bartolo Colón, Cleveland (AL)

Ugueth Urbina, Montreal (NL)

July 13, 1999

American(40–29–1 NL)

4–1

Fenway Park

Boston Red Sox

34,187

Pedro Martínez, Boston (AL)

Pedro Martínez, Boston (AL)

Curt Schilling, Philadelphia (NL)

July 11, 2000

American(40–30–1 NL)

6–3

Turner Field

Atlanta Braves

51,323

Derek Jeter, New York (AL)

James Baldwin, Chicago (AL)

Al Leiter, New York (NL)

July 10, 2001

American(40–31–1 NL)

4–1

Safeco Field

Seattle Mariners

47,364

Cal Ripken, Jr., Baltimore (AL)

Freddy García, Seattle (AL)

Chan Ho Park, Los Angeles (NL)

July 9, 2002

TIE(40–31–2 NL)

7–7(11)

Miller Park

Milwaukee Brewers

41,871

N/A

N/A

N/A

July 15, 2003

American(40–32–2 NL)

7–6

U.S. Cellular Field

Chicago White Sox

47,609

Garret Anderson, Anaheim (AL)

Brendan Donnelly, Anaheim (AL)

Éric Gagné, Los Angeles (NL)

July 13, 2004

American(40–33–2 NL)

9–4

Minute Maid Park

Houston Astros

41,886

Alfonso Soriano, Texas (AL)

Mark Mulder, Oakland (AL)

Roger Clemens, Houston (NL)

July 12, 2005

American(40–34–2 NL)

7–5

Comerica Park

Detroit Tigers

41,617

Miguel Tejada, Baltimore (AL)

Mark Buehrle, Chicago (AL)

John Smoltz, Atlanta (NL)

July 11, 2006

American(40–35–2 NL)

3–2

PNC Park

Pittsburgh Pirates

38,904

Michael Young, Texas (AL)

B. J. Ryan, Toronto (AL)

Trevor Hoffman, San Diego (NL)

July 10, 2007

American(40–36–2 NL)

5–4

AT&T Park

San Francisco Giants

43,965

Ichiro Suzuki, Seattle (AL)

Josh Beckett, Boston (AL)

Chris Young, San Diego (NL)

July 15, 2008

American(40–37–2 NL)

4–3(15)

Yankee Stadium

New York Yankees

55,632

J. D. Drew, Boston (AL)

Scott Kazmir, Tampa Bay (AL)

Brad Lidge, Philadelphia (NL)

July 14, 2009

American (40–38–2 NL)

4–3

Busch Stadium

St. Louis Cardinals

46,760

Carl Crawford, Tampa Bay (AL)

Jonathan Papelbon, Boston (AL)

Heath Bell, San Diego (NL)

July 13, 2010

National (41–38–2 NL)

3–1

Angel Stadium of Anaheim

Los Angeles Angels of Anaheim

45,408

Brian McCann, Atlanta (NL)

Matt Capps, Washington (NL)

Phil Hughes, New York (AL)

July 12, 2011

National (42–38–2 NL)

5–1

Chase Field

Arizona Diamondbacks

49,033

Prince Fielder, Milwaukee (NL)

Tyler Clippard, Washington (NL)

C. J. Wilson, Texas (AL)

July 10, 2012

National (43–38–2 NL)

8–0

Kauffman Stadium

Kansas City Royals

40,933

Melky Cabrera, San Francisco (NL)

Matt Cain, San Francisco (NL)

Justin Verlander, Detroit (AL)

July 16, 2013

American (43–39–2 NL)

3–0

Citi Field

New York Mets

45,186

Mariano Rivera, New York (AL)

Chris Sale, Chicago (AL)

Patrick Corbin, Arizona (NL)

July 15, 2014

American (43–40–2 NL)

5–3

Target Field

Minnesota Twins

41,048

Mike Trout, Los Angeles (AL)

Max Scherzer, Detroit (AL)

Pat Neshek, St. Louis (NL)

July 14, 2015

American (43–41–2 NL)

6–3

Great American Ball Park

Cincinnati Reds

43,656

Mike Trout, Los Angeles (AL)

David Price, Detroit (AL)

Clayton Kershaw, Los Angeles (NL)

July 12, 2016

American (43–42–2 NL)

4–2

Petco Park

San Diego Padres

42,386

Eric Hosmer, Kansas City (AL)

Corey Kluber, Cleveland (AL)

Johnny Cueto, San Francisco (NL)

July 11, 2017

American (43–43–2)

2–1(10)

Marlins Park

Miami Marlins

37,188

Robinson Canó, Seattle (AL)

Craig Kimbrel, Boston (AL)

Wade Davis, Chicago (NL)

July 17, 2018

American (44–43–2 AL)

8–6(10)

Nationals Park

Washington Nationals

43,843

Alex Bregman, Houston (AL)

Edwin Diaz, Seattle (AL)

Ross Stripling, Los Angeles (NL)

text:
American League (44 Wins)

National League (43 Wins)

text: Future MLB All-Star Games[edit]

text:
Date

Host team

Stadium

City

Television

Radio

July 9, 2019

Cleveland Indians

Progressive Field

Cleveland, Ohio

Fox Sports

ESPN

July 14, 2020

Los Angeles Dodgers

Dodger Stadium

Los Angeles, California

Fox Sports

ESPN

text: Notes[edit]

text: St. Petersburg (Tampa Bay Rays) is the only current MLB city that has not yet hosted (or been scheduled to host) an MLB All-Star Game.

tag: ul


document_title: Diary of a Wimpy Kid: The Getaway

question_text: when does the new diary of a wimpy kid book come out

text: Diary of a Wimpy Kid: The Getaway

text: This article consists almost entirely of a plot summary. It should be expanded to provide more balanced coverage that includes real-world context. Please edit the article to focus on discussing the work rather than merely reiterating the plot. (August 2016) (Learn how and when to remove this template message)

text:
Diary of a Wimpy Kid: The Getaway

Author
Jeff Kinney

Country
United States

Language
English

Series
Diary of a Wimpy Kid

Genre
Children's novel
Graphic Novel

Publisher

Amulet Books (US)
Puffin Books (UK)

Publication date

November 7, 2017 (Worldwide)

Media type
Print (hardcover)

Pages
217 story pages (224 altogether)

ISBN
978-1-4197-2545-6

Preceded by
Double Down

text: Diary of a Wimpy Kid: The Getaway is the twelfth book in the Diary of a Wimpy Kid series by Jeff Kinney. The book was unveiled during the 2017 Diary of a Wimpy Kid Virtually Live Event which was live streamed via YouTube as part of the 10th anniversary of the first book.[1] The book was published and released on November 7, 2017.[2]

text: Synopsis[edit]

text: Greg Heffley and his family are getting out of town.

text: With the cold weather and the stress of the approaching holiday season, the Heffleys decide to escape to a tropical island resort for some much-needed rest and relaxation. A few days in paradise should do wonders for Greg and his frazzled family.

text: But the Heffleys soon discover that paradise isn't everything it's cracked up to be. Sun poisoning, stomach troubles, and venomous critters all threaten to ruin the family's vacation. Can their trip be saved, or will this island getaway end in disaster?

text: Release date[edit]

text: The Getaway is the 12th book in the series, and is released everywhere except Canada on November 7, 2017.


document_title: Connective tissue

question_text: what type of connective tissue makes up ligaments

text: Connective tissue

text: Structure[edit]

text: Connective tissue can be broadly subdivided into connective tissue proper, and special connective tissue.[3][4] Connective tissue proper consists of loose connective tissue and dense connective tissue (which is further subdivided into dense regular and dense irregular connective tissues.)[5] Special connective tissue consists of reticular connective tissue, adipose tissue, cartilage, bone, and blood.[6] Other kinds of connective tissues include fibrous, elastic, and lymphoid connective tissues.[7] New vascularised connective tissue that forms in the process of wound healing is termed granulation tissue.[8] Fibroblasts are the cells responsible for the production of some CT.

text: Type I collagen is present in many forms of connective tissue, and makes up about 25% of the total protein content of the mammalian body.[9]

text: Characteristics[edit]

text: Characteristics of CT:

text:
Cells are spread through an extracellular fluid.
Ground substance - A clear, colorless, and viscous fluid containing glycosaminoglycans and proteoglycans to fix the body water and the collagen fibers in the intercellular spaces. Ground substance slows the spread of pathogens.
Fibers. Not all types of CT are fibrous. Examples of non-fibrous CT include adipose tissue and blood. Adipose tissue gives "mechanical cushioning" to the body, among other functions.[10][11] Although there is no dense collagen network in adipose tissue, groups of adipose cells are kept together by collagen fibers and collagen sheets in order to keep fat tissue under compression in place (for example, the sole of the foot). The matrix of blood is plasma.
Both the ground substance and proteins (fibers) create the matrix for CT. Connective tissues are derived from the mesenchyme.

text: Types of fibers:

text:
Tissue
Purpose
Components
Location

Collagenous fibers
Bind bones and other tissues to each other
Alpha polypeptide chains
tendon, ligament, skin, cornea, cartilage, bone, blood vessels, gut, and intervertebral disc.

Elastic fibers
Allow organs like arteries and lungs to recoil
Elastic microfibril and elastin
extracellular matrix

Reticular fibers
Form a scaffolding for other cells
Type III collagen
liver, bone marrow, and lymphatic organs

text: Function[edit]

text: Connective tissue has a wide variety of functions that depend on the types of cells and the different classes of fibers involved. Loose and dense irregular connective tissue, formed mainly by fibroblasts and collagen fibers, have an important role in providing a medium for oxygen and nutrients to diffuse from capillaries to cells, and carbon dioxide and waste substances to diffuse from cells back into circulation. They also allow organs to resist stretching and tearing forces. Dense regular connective tissue, which forms organized structures, is a major functional component of tendons, ligaments and aponeuroses, and is also found in highly specialized organs such as the cornea.[12]:161 Elastic fibers, made from elastin and fibrillin, also provide resistance to stretch forces.[12]:171 They are found in the walls of large blood vessels and in certain ligaments, particularly in the ligamenta flava.[12]:173

text: In hematopoietic and lymphatic tissues, reticular fibers made by reticular cells provide the stroma—or structural support—for the parenchyma—or functional part—of the organ.[12]:171

text: Mesenchyme is a type of connective tissue found in developing organs of embryos that is capable of differentiation into all types of mature connective tissue.[13] Another type of relatively undifferentiated connective tissue is mucous connective tissue, found inside the umbilical cord.[12]:160

text: Various types of specialized tissues and cells are classified under the spectrum of connective tissue, and are as diverse as brown and white adipose tissue, blood, cartilage and bone.[12]:158 Cells of the immune system, such as macrophages, mast cells, plasma cells and eosinophils are found scattered in loose connective tissue, providing the ground for starting inflammatory and immune responses upon the detection of antigens.[12]:161

text: Clinical significance[edit]

text: It is estimated that 1 in 10 people have a connective tissue disorder.[14][better source needed] Diseases of connective tissue include:

text:
Connective tissue neoplasms including sarcomas such as hemangiopericytoma and malignant peripheral nerve sheath tumor in nervous tissue.
Congenital diseases include Marfan syndrome and Ehlers-Danlos Syndrome.
Myxomatous degeneration – a pathological weakening of connective tissue.
Mixed connective tissue disease – a disease of the autoimmune system, also undifferentiated connective tissue disease.
Systemic lupus erythematosus (SLE) – a major autoimmune disease of connective tissue
Scurvy, caused by a deficiency of vitamin C which is necessary for the synthesis of collagen.

text: Staining of connective tissue[edit]

text: For microscopic viewing, most of the connective tissue staining-techniques, color tissue fibers in contrasting shades. Collagen may be differentially stained by any of the following:

text:
Van Gieson's stain
Masson's trichrome stain
Mallory's trichrome stain
Aniline blue stain
Eosin
Reticulin stain