document_title: The Affair (TV series)

question_text: who plays sierra in the affair season 4

question_tokens: who plays sierra in the affair season 4

text: The Affair (TV series)

text: Series overview[edit]

text: The Affair explores the emotional effects of an extramarital relationship between Noah Solloway and Alison Lockhart (Dominic West and Ruth Wilson) after they casually meet at the diner where Alison works. The show begins with the Solloway family packing up the family van to stay in the resort town of Montauk, New York. Noah is happily married with four children, but he resents their dependence on his wealthy father-in-law. Alison is a local waitress trying to piece her life and marriage back together in the wake of her young son's tragic accidental death at the age of four. The story of the affair is depicted from Noah's and Alison's perspectives respectively, complete with memory bias which often results in vastly different scenarios.[10] Each episode has two parts, one as remembered by Noah, the other by Alison. Noah's perspective is of a vibrant, playful, and sexy Alison who comes on to him, while her perspective is more cautious, reserved, with a dulled conservative sense of self, and Noah coming on to her.

text: In the second season, the narrative is expanded to include the perspectives of Noah and Alison's original spouses, Helen Solloway and Cole Lockhart (Maura Tierney and Joshua Jackson), as they all move forward with the dissolution of their marriages and deal with the ramifications.[11] The subsequent death of Alison's brother-in-law, Scott (Colin Donnell), and the ensuing police investigation and criminal trial, are explored in flashforward scenes at the end of most episodes.

text: The third season is set three years later, following the culmination of the flashforward trial scenes, after Noah is released from prison. Season 3 introduces an occasional perspective, Juliette Le Gall (Irène Jacob), Noah's new love interest.[12]

text: In the fourth season, Noah has moved to Los Angeles to be closer to his younger children Trevor (Jadon Sand) and Stacey (Abigail Dylan Harrison), as Helen and Vik (Omar Metwally) have moved there. Cole and Luisa (Catalina Sandino Moreno) are living together in Montauk, while Alison is working as a grief counselor. Season 4 features opening flashforward sequences, featuring Noah and Cole, in its first four episodes, which ultimately lead to the discovery of Alison's death.

text: Episodes[edit]

text: SeasonEpisodesOriginally airedFirst airedLast aired110October 12, 2014 (2014-10-12)December 21, 2014 (2014-12-21)212October 4, 2015 (2015-10-04)December 20, 2015 (2015-12-20)310November 20, 2016 (2016-11-20)January 29, 2017 (2017-01-29)410June 17, 2018 (2018-06-17)August 19, 2018 (2018-08-19)

text: Cast[edit]

text: Main cast[edit]

text: Characters marked "Perspective" have parts of episodes told from their point of view.

text:
Actor

Character

Season

1

2

3

4

Dominic West
Noah Solloway
Perspective

Ruth Wilson
Alison Bailey
Perspective

Maura Tierney
Helen Butler

Perspective

Joshua Jackson
Cole Lockhart

Perspective

Julia Goldani Telles
Whitney Solloway

Jake Siciliano
Martin Solloway

Jadon Sand
Trevor Solloway

Leya Catlett
Stacey Solloway

Does not appear

Josh Stamberg
Max Cadman

Does not appear

Catalina Sandino Moreno
Luisa León
Does not appear

Omar Metwally
Vik Ullah
Does not appear

Perspective

Irène Jacob
Juliette Le Gall
Does not appear
Perspective
Does not appear

Sanaa Lathan
Jenelle Wilson
Does not appear

text: Recurring cast[edit]

text:
Victor Williams as Detective Jeffries
John Doman as Bruce Butler, Helen's father
Kathleen Chalfant as Margaret Butler, Helen's mother
Mare Winningham as Cherry Lockhart, Cole's mother
Colin Donnell as Scott Lockhart, Cole's brother
Danny Fischer as Hal Lockhart, Cole's brother
Michael Godere as Caleb Lockhart, Cole's brother
Kaija Matiss as Mary-Kate Lockhart, Hal's wife
Deirdre O'Connell as Athena Bailey, Alison's mother
Nicolette Robinson as Jane, waitress at The Lobster Roll
Darren Goldstein as Oscar Hodges, owner of The Lobster Roll
Stephen Kunken as Harry, a publisher
Lynn Cohen as Joan Bailey, Alison's grandmother (season 1)
Jennifer Esposito as Nina Solloway, Noah's sister (season 2–present)
Richard Schiff as Jon Gottlief, Noah's attorney (season 2)
Joanna Gleason as Yvonne, a publisher who, along with her husband Robert, owns the guest house in which Alison and Noah stay (season 2)
Peter Friedman as Robert, Yvonne's husband (season 2)
Abigail Dylan Harrison as Stacey Solloway (season 3–present)
Brendan Fraser as John Gunther, a prison guard (season 3)
Reagan and Savannah Grella as Joanie, Alison and Cole's daughter (season 3–present)
Christopher Meyer as Anton Gatewood, an intelligent student at the school where Noah teaches (season 4)
Emily Browning as Sierra, Helen and Vik's neighbor (season 4)
Ramon Rodriguez as Ben Cruz, a Marine veteran and Alison's love interest (season 4)
Zenobia Shroff as Priya Ullah, Vik's mother (season 4)

text: Production[edit]

text: On February 8, 2013, it was announced that Showtime had ordered a pilot for The Affair.[13] The network officially picked up the series on January 16, 2014, with a 10-episode order.[2] On November 10, 2014, Showtime renewed the series for a 10-episode second season;[14] however, it was later changed to 12.[15] On December 9, 2015, the series was renewed for a third season.[16] On January 9, 2017, Showtime renewed the series for a fourth season.[17] On July 26, 2018, Showtime announced it had renewed the series for a fifth and final season.[9]

text: After the conclusion of the fourth season and prior to the start of production on the fifth and final season, certain series regulars departed the series. Ruth Wilson requested to leave ahead of season four, and her character was killed off at the end of the season.[18] In September 2018, it was reported that Joshua Jackson would not return as a series regular for the final season, but could return as a guest star.[18] In October 2018, it was also confirmed that Catalina Sandino Moreno would not be a series regular for the final season.[19]

text: Reception[edit]

text: Critical response[edit]

text:
Season

Critical response

Rotten Tomatoes

Metacritic

1

90% (50 reviews)

85 (28 reviews)

2

90% (21 reviews)

78 (15 reviews)

3

79% (19 reviews)

72 (8 reviews)

4

90% (21 reviews)

N/A

text: The first season received praise from critics. On the review aggregator Rotten Tomatoes, the season has a rating of 90%, based on 50 reviews, with an average rating of 8.18/10. The consensus reads: "Thanks to some smart, creative storytelling and spectacular performances, The Affair is a somber, bewitching exploration of truth and desire."[20] On Metacritic, the first season has a score of 85 out of 100, based on 28 reviews, indicating "universal acclaim".[21]

text: The second season received continued positive reviews from critics. On Rotten Tomatoes, the season has a rating of 90%, based on 21 reviews, with an average rating of 8.04/10. The consensus reads: "The Affair shifts its emphasis in season two, moving psychological drama to the foreground and expanding the show's central crime story to include two new points of view."[22] On Metacritic, it has a score of 78 out of 100 based on 15 reviews, indicating "generally favorable reviews".[23] Gwen Ihnat of The A.V. Club gave it an "A-" grade and wrote that "With its bold new move to double our number of perspectives, it appears that The Affair will sail over that sophomore slump that has felled so many other Showtime dramas.[24]

text: The third season received continued positive reviews from critics. On Rotten Tomatoes, the season has a rating of 79%, based on 19 reviews, with an average rating of 7.67/10. The consensus reads: "The Affair adds to its cast of strong characters and deepens the mood, tension, and intrigue, even if the plot sometimes struggles to move forward."[25] On Metacritic, it has a score of 72 out of 100 based on 8 reviews, indicating "generally favorable reviews".[26]

text: The fourth season received continued positive reviews from critics.[27] On Rotten Tomatoes, the season has a rating of 90%, based on 21 reviews, with an average rating of 7.8/10. The consensus reads: "The Affair's captivating character study returns with fewer kinks than its previous outing, resulting in a more emotionally grounded season that regains much of the show's initial allure."[28]

text: Awards and nominations[edit]

text:
Association

Category

Nominee(s)

Result

72nd Golden Globe Awards[29]

Best Actor – Television Series Drama

Dominic West

Nominated

Best Actress – Television Series Drama

Ruth Wilson

Won

Best Television Series – Drama

The Affair

Won

19th Satellite Awards[30]

Best Actress – Television Series Drama

Ruth Wilson

Nominated

Best Television Series – Drama

The Affair

Nominated

67th Writers Guild of America Awards[31]

Best New Series

The Affair

Nominated

6th Critics' Choice Television Awards[32]

Best Supporting Actress in a Drama Series

Maura Tierney

Nominated

73rd Golden Globe Awards[33]

Best Supporting Actress – Series, Miniseries or Television Film

Maura Tierney

Won

42nd People's Choice Awards[34]

Favorite Premium Cable TV Actor

Joshua Jackson

Nominated

20th Satellite Awards[35]

Best Actor – Television Series Drama

Dominic West

Won

68th Primetime Emmy Awards[36]

Outstanding Supporting Actress in a Drama Series

Maura Tierney

Nominated

7th Critics' Choice Television Awards[37]

Best Supporting Actress in a Drama Series

Nominated

21st Satellite Awards[38][39]

Best Television Series – Drama

The Affair

Nominated

Best Actor – Television Series Drama

Dominic West

Won

Best Actress – Television Series Drama

Ruth Wilson

Nominated

Best Supporting Actress – Series, Miniseries or Television Film

Maura Tierney

Nominated

Location Managers Guild Awards[40]

Outstanding Locations in a Contemporary TV Series

Sean Ilnseher

Nominated

22nd Satellite Awards[41]

Best Television Series – Drama

The Affair

Nominated

Best Actress – Television Series Drama

Ruth Wilson

Nominated

text: Home media[edit]

text: The first season was released on DVD in region 1 on August 4, 2015. The set contains all 10 episodes, plus special features, including character profiles and costume featurettes.[42] The second season was released on DVD in region 1 on August 16, 2016.[43] The third season was released on DVD in region 1 on April 25, 2017.[44]

text: International broadcast[edit]

text: In Canada, the series premiered simultaneously with the American broadcast on October 12, 2014, and airs on Movie Central and The Movie Network.[45] The series premiered on Showcase in Australia on February 10, 2015.[46] Sky Atlantic bought the rights to air The Affair in the UK with season one beginning in May 2015.[47]


document_title: List of highest individual scores in ODIs

question_text: highest runs in odi cricket by a player

question_tokens: highest runs in odi cricket by a player

root

text: One Day International (ODI) cricket is played between international cricket teams who are Full Members of the International Cricket Council (ICC) as well as the top six Associate and Affiliate members.[1] Unlike Test matches, ODIs consist of one innings per team, having a limit in the number of overs.

tag: p

text: The limit of overs is currently 50 overs per innings, although in the past this has been 55 or 60 overs.[2] ODI cricket is List-A cricket, so statistics and records set in ODI matches also count toward List-A records. The earliest match now recognized as an ODI was played between England and Australia in January 1971;[3] since then there have been over 3,000 ODIs played by 26 teams. The frequency of matches has steadily increased, partly because of the increase in the number of ODI-playing countries, and partly as the cricket boards of those nations seek to maximise their revenue.[4]

text: Before breaking the 200 mark, the highest ODI score was 194 jointly held by Pakistani Saeed Anwar and Zimbabwean Charles Coventry. In One Day Internationals, the first man to score a double century was Indian batsman Sachin Tendulkar, who scored 200 not out against South Africa at Captain Roop Singh Stadium in Gwalior, India. Rohit Sharma is the only player in history to score 3 double centuries.[5] The following table lists scores of 180 or higher.

text: Highest ODI individual scores[edit]

text:
Rank

Name

Score

4s

6s

Strike rate

Innings

Team

Opponent

Venue

Date

Result

1
Rohit Sharma
264

33

9
152.60
1
 India
 Sri Lanka
Eden Gardens, Kolkata
13 November 2014
Won[6]

2
Martin Guptill
237*

24

11
145.39
1
 New Zealand
 West Indies
Westpac Stadium, Wellington
21 March 2015
Won[7]

3
Virender Sehwag
219

25

7
146.97
1
 India
 West Indies
Holkar Cricket Stadium, Indore
8 December 2011
Won[8]

4
Chris Gayle
215

10

16
146.25
1
 West Indies
 Zimbabwe
Manuka Oval, Canberra
24 February 2015
Won[9]

5
Fakhar Zaman
210*

24

5
134.61
1
 Pakistan
 Zimbabwe
Queens Sports Club, Bulawayo
20 July 2018
Won[10]

6
Rohit Sharma
209

12

16
132.28
1
 India
 Australia
M. Chinnaswamy Stadium, Bangalore
2 November 2013
Won[11]

7
Rohit Sharma
208*

13

12
135.94
1
 India
 Sri Lanka
PCA IS Bindra Stadium, Mohali
13 December 2017
Won[12]

8
Sachin  Tendulkar
200*

25

3
136.05
1
 India
 South Africa
Captain Roop Singh Stadium, Gwalior
24 February 2010
Won[13]

9
Coventry  Charles
194*

16

7
124.36
1
 Zimbabwe
 Bangladesh
Queens Sports Club, Bulawayo
16 August 2009
Lost[14]

9
Saeed  Anwar
194

22

5
132.88
1
 Pakistan
 India
M. A. Chidambaram Stadium, Chennai
21 May 1997
Won[15]

10
Vivian  Richards
189*

21

5
111.18
1
 West Indies
 England
Old Trafford Cricket Ground, Manchester
31 May 1984
Won[16]

10
Martin  Guptill
189*

19

2
121.94
1
 New Zealand
 England
Rose Bowl, Southampton
2 June 2013
Won[17]

10
Sanath  Jayasuriya
189

21

4
117.39
1
 Sri Lanka
 India
Sharjah Cricket Association Stadium, Sharjah
29 October 2000
Won[18]

11
Gary Kirsten
188*

13

4
118.24
1
 South Africa
 United Arab Emirates
Rawalpindi Cricket Stadium, Rawalpindi
16 February 1996
Won[19]

12
Sachin  Tendulkar
186*

20

3
124.00
1
 India
 New Zealand
Rajiv Gandhi International Stadium, Hyderabad
8 November 1999
Won[20]

13
Shane Watson
185*

15

15
192.71
2
 Australia
 Bangladesh
Sher-e-Bangla National Cricket Stadium, Dhaka
11 April 2011
Won[21]

13
Faf du Plessis
185

16

3
131.20
1
 South Africa
 Sri Lanka
Newlands Cricket Ground, Cape Town
7 February 2017
Won[22]

14
MS Dhoni
183*

15

10
126.21
2
 India
 Sri Lanka
Sawai Mansingh Stadium, Jaipur
31 October 2005
Won[23]

14
Sourav Ganguly
183

17

7
115.82
1
 India
 Sri Lanka
County Ground, Taunton
26 May 1999
Won[24]

14
Virat Kohli
183

22

1
123.65
2
 India
 Pakistan
Sher-e-Bangla National Cricket Stadium, Dhaka
18 March 2012
Won[25]

15
Ross Taylor
181*

17

6
123.12
2
 New Zealand
 England
University of Otago Oval, Dunedin
7 March 2018
Won[26]

15
Matthew Hayden
181*

11

10
109.03
1
 Australia
 New Zealand
Seddon Park, Hamilton
20 February 2007
Lost[27]

15
Viv Richards
181

16

7
144.80
1
 West Indies
 Sri Lanka
National Stadium, Karachi, Karachi
13 October 1987
Won[28]

16
Jason Roy
180

16

5
119.20
2
 England
 Australia
MCG, Melbourne, Melbourne
14 January 2018
Won[29]

tag: table

text: * indicates not out


document_title: SAPgui

question_text: what is the current version of sap gui

question_tokens: what is the current version of sap gui

text: SAPgui

text: Family[edit]

text:
SAP GUI for the Windows environment
SAP GUI for the Java(TM) environment
SAP GUI for HTML / Internet Transaction Server (ITS)

Requires Internet Explorer or Firefox as a browser; other browsers are not officially supported by SAP.

tag: ul

text: Microsoft Windows releases[edit]

text:
Release
Release date
Latest patch
End of life
Features

1.0

First "GUI" for SAP software; no graphical elements like checkboxes, radiobuttons and icons

1.1

Field length indicated by background colors; fast paths in menus

2.0

New GUI for Windows 3.1; System and Application Toolbar added; icons in System Toolbar

2.1

New graphical elements: checkboxes, radiobuttons, group boxes and push buttons on screen

3.0

Table control introduced; icons added to buttons

3.1
1996

Windows95-look with flat buttons; tabstrip control and ABAP List Viewer (ALV) introduced

4.0

Screens contain more information to reduce navigation

4.5

Active X elements introduced; ALV is now based on grid control

4.6D
July 2000

GUI is re-designed; multiple-areas are introduced to reduce need for screen changes

6.10
July 2001

6.20
March 2002

31/12/2010

6.40
June 2004

31/12/2010
Unicode support extended; accessibility and usability improved

7.10
February 2007

12/04/2011
Support for Microsoft Vista and Office 2007; new "Tweak SAP GUI" tool; new ABAP front-end editor

7.20
April 2010
17 (final)
09/04/2013[1]
Support for Windows XP; Windows 2003 Server; Windows Vista; Windows 2008 Server; Windows 7 and Office 2010; Built with Visual Studio 2008[2]

7.30
June 2012
15
15/07/2015
Usability enhancements; new customization features; built with Visual Studio 2010

7.40
October 2014
15
09/01/2018
Replaces Corbu with Blue Crystal; integrates SAP GUI for Windows 7.40 and Netweaver Business Client 5.0

7.50
May 2017
2
09/04/2019

text: Java releases – for other operating systems[edit]

text:
Release
Release date
Latest patch
End of life
Features

7.20
December 2009
10
31/01/2013
Supported OS – openSUSE, Fedora Core, Mac OS X, Microsoft Windows, AIX, OS X Lion, Fedora, Ubuntu

7.30
December 2012
10
31/03/2015

7.40
December 2014
13

text: Single sign-on[edit]

text: SAPGUI on Microsoft Windows or Internet Explorer can also be used for single sign-on. There are several portal-based authentication applications for single sign-on. SAPGUI can have single sign-on with SAP Logon Ticket as well. Single sign-on also works in the Java GUI.[3]

text: Criticism of using SAPGUI for authentication to SAP server access[edit]

text: SAP is a distributed application, where client software (SAPGUI) installed on a user's workstation is used to access the central SAP server remotely over the company's network. Users need to authenticate themselves when accessing SAP. By default, however, SAP uses unencrypted communication, which allows potential company-internal attackers to get access to usernames and passwords by listening on the network. This can expose the complete SAP system, if a person is able to get access to this information for a user with extended authorization in the SAP system. Information about this feature is publicly accessible on the Internet.

text: SAP Secure Network Communications[edit]

text: SAP offers an option to strongly protect communication between clients and servers, called Secure Network Communications (SNC).[4][5]

text: Security[edit]

text: In total, the vendor has released 25 security patches (aka SAP Security Notes). One of the most notorious vulnerabilities was closed among the set of fixes released in March 2017. The vulnerability in the SAP GUI client for Windows allows remote code execution[6]. Also, researchers who identified the security issues pointed out that the vulnerability allows an attacker to download ransomware on the SAP server that would be automatically installed on every workstation within a company[7].

text: Screen editing with Personas[edit]

text: Since 1998 SAP GUI screens (so-called "DynPros") can be adjusted and customized with GuiXT. Now this can also be achieved with "SAP Screen Personas". Personas is installed on one of the SAP NetWeaver ABAP 7.0x or 7.3x servers in the system landscape. Then it can be used on all SAP NetWeaver ABAP servers with a kernel of 7.21 or higher, including on NetWeaver ABAP 7.11 systems (on which Personas cannot be installed directly).

text: iOS and Android implementations[edit]

text: Native iOS and Android implementations of SAP GUI are available from GuiXT.


document_title: The King's Speech

question_text: who played king george in the king's speech

question_tokens: who played king george in the king 's speech

text: The King's Speech

text: Plot[edit]

text: At the closing of the British Empire Exhibition at Wembley Stadium, the Prince Albert, Duke of York, the second son of King George V, addresses them with a strong stammer. His search for treatment has been discouraging, but his wife Elizabeth persuades him to see the Australian-born Lionel Logue, a non-medically trained Harley Street speech defects therapist. "Bertie," as he is called by his family, believes the first session is not going well although Lionel (he insists that all his patients address him as such) manages to have the potential client recite, on an acetate recording, Hamlet's "To be, or not to be" soliloquy sublimely all the while hearing piped-in classical music on a pair of head phones. Bertie is disappointed and Lionel gives him the recording as a souvenir.

text: Bertie's father, King George V makes his 1934 Christmas wireless address, and he explains to Bertie that the machine will play a significant part in the role of the Royal Family invading the homes of the people and that Bertie's brother's neglect of his responsibilities make training on it necessary. The attempt is a failure. Bertie in frustration plays the recording Lionel gave him. Bertie returns for daily treatments of exercises and practices to overcome the physical and psychological roots of his speaking difficulty.

text: George V dies in 1936, and his eldest son David ascends the throne as King Edward VIII. A constitutional crisis arises with the new king over a prospective marriage with the twice-divorced American socialite Wallis Simpson. Edward, as head of the Church of England, cannot marry her, even if she receives her second divorce, since both her previous husbands are alive.

text: At an unscheduled session, Albert (Bertie) expresses his frustration that while his speech has improved when talking to most people, he still stammers when talking to David and reveals the extent of Edward VIII's folly with Simpson. When Lionel insists that Bertie could be a good king, Bertie accuses Lionel of speaking treason and quits Lionel. Bertie must face the Accession Council without any assistance from Lionel.

text: Bertie and Lionel come together after King Edward decides to abdicate in order to marry Simpson, and Bertie becomes King George VI. The new Royal pair visit the home of Lionel before the Coronation, much to the surprise of Mrs. Logue when she comes upon Queen Elizabeth having tea at her dining room table, and learning that the King is her husband's patient.

text: Bertie and Lionel's relationship comes to be known to the King's advisors when there are preparations for his coronation in Westminster Abbey. It comes to light that George never asked for advice from his advisors about his speech defect treatment and that Lionel never had formal training to be a medical doctor. Lionel explains that at the time he started with speech defects there was no formal training and that the only known help that was available for returning Great War shell-shocked Australian soldiers was from personal experience.

text: Bertie remains unconvinced about his suitability as king until provoked into expressing his voice, angered by Lionel's disrespect for King Edward's Chair and the Stone of Scone. Only after this pivotal moment is Bertie able to rehearse with Lionel, and then complete the coronation ceremony.

text: Now King George VI, Bertie is in a crisis when he must declare over the wireless in 1939 Britain's declaration of war with Nazi Germany. Lionel is summoned to Buckingham Palace to prepare the new king for his wireless address to Britain and the Empire. Knowing the challenge that lies before him, the Archbishop of Canterbury, Winston Churchill, and Prime Minister Neville Chamberlain are present to offer support. The King and Logue are then left in the broadcasting room. He delivers his speech with Logue conducting him, but by the end he is speaking freely. Preparing to leave the room for the congratulations of those present in the palace, Logue mentions to the King that he still had difficulty enunciating 'w' and the King jokes back, "I had to throw in a few so they'd know it was me".

text: The Royal Family step onto the balcony of the palace and are applauded by the crowd, a title card explains that Logue was always present at King George VI's speeches during the war and that they remained friends for the rest of their lives.

text: Cast[edit]

text:
Colin Firth as King George VI
Geoffrey Rush as Lionel Logue
Helena Bonham Carter as Queen Elizabeth
Guy Pearce as King Edward VIII
Timothy Spall as Winston Churchill
Derek Jacobi as Cosmo Gordon Lang
Jennifer Ehle as Myrtle Logue
Michael Gambon as King George V
Freya Wilson as Princess Elizabeth
Ramona Marquez as Princess Margaret
Patrick Ryecart as Clive Wigram, 1st Baron Wigram
Simon Chandler as Bertrand Dawson, 1st Viscount Dawson of Penn
Claire Bloom as Queen Mary
Orlando Wells as Prince George, Duke of Kent
Eve Best as Wallis Simpson
Anthony Andrews as Stanley Baldwin

text: Production[edit]

text: Development[edit]

text:
Not a great deal was written about His Majesty's speech therapist, Lionel Logue, certainly not in the official biographies. Nor was much published about the Royal stutter; it appeared to be a source of profound embarrassment.[7]
— David Seidler

tag: div

text: As a child, David Seidler developed a stammer, which he believes was caused by the emotional trauma of World War II and the murder of his grandparents during the Holocaust. King George VI's success in overcoming his stammer inspired the young Seidler, "Here was a stutterer who was a king and had to give radio speeches where everyone was listening to every syllable he uttered, and yet did so with passion and intensity." When Seidler became an adult, he resolved to write about King George VI. During the late 1970s and 1980s he voraciously researched the King, but found a dearth of information on Logue. Eventually Seidler contacted Valentine Logue, who agreed to discuss his father and make his notebooks available if the Queen Mother gave her permission. She asked him not to do so in her lifetime, and Seidler halted the project.[7]

text: The Queen Mother died in 2002. Three years later, Seidler returned to the story during a bout of creative work inspired by a recovery from cancer. His research, including a chance encounter with an uncle whom Logue had treated, indicated he used mechanical breathing exercises combined with psychological counselling to probe the underlying causes of the condition. Thus prepared, Seidler imagined the sessions. He showed the finished screenplay to his wife, who liked it, but pronounced it too "seduced by cinematic technique". She suggested he rewrite it as a stage play to focus on the essential relationship between the King and Logue. After he had completed it, he sent it to a few friends who worked in theatre in London and New York for feedback.[7]

text: In 2005, Joan Lane of Wilde Thyme, a production company in London, received the script. Lane started talking with Simon Egan and Gareth Unwin of Bedlam Productions, and they invited Seidler to London to rewrite the play again, this time for the screen. Together, Lane and Bedlam Productions organised a reading of the play in Pleasance Theatre, a small house in north London, to a group of Australian expatriates, among whom was Tom Hooper's mother. She called her son and said, "I've found your next project".[9][10]

text: Instead of trying to contact his agent, Lane asked an Australian staff member to hand-deliver the script to Geoffrey Rush's house, not far away from hers in Melbourne. Unwin reports that he received a four-page e-mail from Rush's manager admonishing them for the breach of etiquette, but ending with an invitation to discuss the project further. Iain Canning from See-Saw Films became involved and, in Gareth Unwin's words: "We worked with ex-chair of BAFTA Richard Price, and started turning this story about two grumpy men sitting in a room into something bigger."[10] Hooper liked the story, but thought that the original ending needed to be changed to reflect events more closely: "Originally, it had a Hollywood ending ... If you hear the real speech, he's clearly coping with his stammer. But it's not a perfect performance. He's managing it."[9]

text: The production team learned—some nine weeks prior to the start of filming—of a diary containing Logue's original notes on his treatment of the Duke.[11] They then went back and re-worked the script to reflect what was in the notes. Hooper said some of the film's most memorable lines, such as at the climax, when Logue smiles, "You still stammered on the W" to the King, who replies, "I had to throw in a few so they would know it was me" were direct quotations from Logue's notes.[12] Changes from the script to reflect the historical record included Michael Gambon improvising the ramblings of George V as he signed away authority, and the decision in the opening scene to dress the Duke in an overcoat rather than regal finery.[13]

text: Seidler thought Paul Bettany would be a good choice to play King George VI, Tom Hooper preferred Hugh Grant, though both actors refused the offer. Once they met with Firth and heard him read for the part, Seidler and Hooper were convinced of his suitability for the role.[6]

text: The UK Film Council awarded the production £1 million in June 2009.[14] Filming began in December 2009, and lasted 39 days. Most was shot in the three weeks before Christmas because Rush would be performing in a play in January. The schedule was further complicated by Bonham Carter's availability: she worked on Harry Potter during the week, so her scenes had to be filmed during the weekend.[10]

text: Location and design[edit]

text: Period dramas rely to an extent on the quality of production, so combining regal opulence with scruffy, depression-era London on the relatively limited £8 million budget presented a challenge.[15] On 25 November 2009 the crew took over the Pullens buildings in Southwark. To emphasise Logue's humble background, the entire street was transformed into one from 1930s London. Large advertisements for (among other things) Bovril and fascism were added to walls, grit and grime to streets and buildings. To reproduce London smog of the time – thick enough that cars might need guidance from someone walking ahead – so much artificial smoke was used that fire alarms were triggered.[13]

text: On 26 November, a week's filming with Firth, Rush, and Jacobi began at Ely Cathedral, the location used for Westminster Abbey. The production had asked for permission to film in the Abbey but were denied due to the demands of tourism.[13] Though Lincoln Cathedral is architecturally a closer match to the Abbey, they preferred Ely, a favoured filming location. Its size allowed them to build sets showing not just the coronation, but the preparations before it.[16][17][18]

text: Lancaster House, an opulent government-owned period house in London, was rented (at £20,000 per day) for interior scenes of Buckingham Palace.[15] The 1936 Accession Council at St. James's Palace, where George VI swore an oath, was filmed in the Livery Hall of Drapers' Hall. The room, ornate and vast, met the occasion: the daunting nature of the new King's responsibilities was shown by surrounding him with rich detail, flags and royal portraiture.[19][20][21]

text: The crew investigated Logue's former consultation rooms, but they were too small to film in. Instead, they found a high, vaulted room not far away in 33 Portland Place. Eve Stewart, the production designer, liked the mottled, peeling wallpaper there so much that she recreated the effect throughout the entire room.[15] In his DVD commentary, Hooper said he liked Portland Place as a set because it felt "lived-in", unlike other period houses in London. The scenes of the Duke of York at home with his family were also filmed here; showing the Prince living in a townhouse "subverted" expectations of a royal drama.[13]

text: The opening scene, set at the closing ceremony of the 1925 British Empire Exhibition at Wembley Stadium, was filmed on location at Elland Road, home of Leeds United, and Odsal Stadium, home of Bradford RLFC. Elland Road was used for the speech elements of the prince stammering his way through his first public address, and Odsal Stadium was selected because of the resemblance of its curved ends to Wembley Stadium in 1925.[22] The crew had access to the stadium only at 10 pm, after a football game. They filled the terraces with inflatable dummies and over 250 extras dressed in period costumes. Live actors were interspersed to give the impression of a crowd. Additional people, as well as more ranks of soldiers on the pitch, were added in post-production with visual effects.[15][23]

text: Other locations include Cumberland Lodge,  Harley Street, Knebworth, Hatfield House, the Old Royal Naval College in Greenwich, Queen Street Mill Textile Museum in Burnley, and Battersea Power Station, which doubled as a BBC wireless control room.[24] The final cut of the film was completed on 31 August 2010.[25]

text: Dialogue[edit]

text:
In developing his portrayal of George VI's stammer, Firth worked with Neil Swain, the voice coach for the film. His sister, Kate Firth, also a professional voice coach to actors, proposed exercises the King might have done with Logue, and made suggestions on how to imagine Logue's mix of physical and psychological coaching for the film.[26]
In addition, Firth watched archive footage of the King speaking. In an interview with Allan Tyrer published by the British Stammering Association, Swain said: "[It] was very interesting while we were working on the film just to think tonally how far we could go and should go with the strength of George's stammer. I think a less courageous director than Tom [Hooper] – and indeed a less courageous actor than Colin [Firth] – might have felt the need to slightly sanitise the degree and authenticity of that stammer, and I'm really really pleased that neither of them did."[27] In May 2011 Firth said he was finding traces of the stammer difficult to eliminate: "You can probably hear even from this interview, there are moments when it’s quite infectious," he said. "You find yourself doing it and if I start thinking about it the worse it gets. If nothing else it’s an insight into what it feels like."[28]

text: Soundtrack[edit]

text:
The King's Speech (Original Motion Picture Soundtrack)Film score by Alexandre DesplatReleased
22 November 2010 (2010-11-22)Genre
Film scoreClassicalLength
41:00Label
Decca

text:
The film's original score was composed by Alexandre Desplat. In a film about a man struggling to articulate himself, Desplat was wary of overshadowing the dramaturgy: "This is a film about the sound of the voice. Music has to deal with that. Music has to deal with silence. Music has to deal with time."[29]
The score is a sparse arrangement of strings and piano (with the addition of oboe and harp in one cut), intended to convey the sadness of the King's muteness, and then the growing warmth of friendship between him and Logue. The minimalist approach emphasises the protagonist's struggle for control.[30] Desplat used the repetition of a single note to represent the stickiness of the King's speech.[29] As the film progresses, growing banks of warm strings swaddle the deepening friendship between the two leads. The music rises to a climax in the coronation scene. Hooper originally wanted to film the scene without music, but Desplat argued that it was the real climax of the story—the point when the friendship was ratified by their decision to trust each other. "That is really rare", said Desplat, "mostly you have love stories".[29]

text:
To create a dated sound, the score was recorded on old microphones extracted from the EMI archives which had been specially made for the royal family.[29]
The music played during the broadcast of the 1939 radio speech at the climax of the film is from the 2nd movement (Larghetto) of Beethoven's 7th Symphony; it was added by Tariq Anwar, the editor. When Desplat later joined the team to write the music, he praised and defended Anwar's suggestion. Hooper further remarked that the stature of the piece helps elevate the status of the speech to a public event.[31]

text: The score was nominated for several awards, including Best Original Score at the Oscars, Golden Globes, and BAFTAs, winning the latter award. The score also won a Grammy at the 54th Grammy Awards.

text: Track listing[edit]

text: All tracks written by Alexandre Desplat, except where noted.

text: No.TitleLength1."Lionel and Bertie"2:102."The King's Speech"3:543."My Kingdom, My Rules"2:514."The King Is Dead"2:065."Memories of Childhood"3:366."King George VI"3:057."The Royal Household"1:438."Queen Elizabeth"3:359."Fear and Suspicion"3:2410."The Rehearsal"1:4211."The Threat of War"3:5612."Speaking Unto Nations (Beethoven Symphony No. 7 - II)" (Terry Davies conducting the London Symphony Orchestra[32])5:0213."Epilogue (Beethoven Piano Concerto No. 5 "Emperor" - II)" (Terry Davies conducting the London Symphony Orchestra)3:56

text: Visual style[edit]

text: Hooper employed a number of cinematic techniques to evoke the King's feelings of constriction. He and cinematographer Danny Cohen used wider than normal lenses to photograph the film, typically 14mm, 18mm, 21mm, 25mm and 27mm, where the subtle distortion of the picture helps to convey the King's discomfort.[33][34] For instance, the subjective point of view shot during the Empire exhibition speech used a close up of the microphone with a wider lens, similar to the filming technique used for one of the Duke's early consultations with a physician.[13] In The New York Times, Manohla Dargis wrote that the feeling of entrapment inside the King's head was rendered overly literal with what she believed to be a fisheye lens, though in these scenes the wider lenses were used.[33][35] Hooper also discussed using the 18mm lens, one he likes "because it puts human beings in their context".[13]

text: Roger Ebert noted that the majority of the film was shot indoors, where oblong sets, corridors, and small spaces manifest constriction and tightness, in contrast to the usual emphasis on sweep and majesty in historical dramas.[36] Hooper used wide shots to capture the actors' body language, particularly that of Geoffrey Rush, who trained at L'École Internationale de Théâtre Jacques Lecoq in Paris and "is consequently brilliant in the way he carries his body". Hooper widened his scope first to capture Rush's gestures, then full body movements and silhouettes. The approach carried over to Firth as well. In the first consultation scene, the Duke is squeezed against the end of a long couch framed against a large wall, "as if to use the arm of the sofa as a kind of friend, as a security blanket?"[33] Martin Filler praised the "low-wattage" cinematography of Danny Cohen's, as making everything look like it has been "steeped in strong tea".[37]

text: At other times, the camera was positioned very close to the actors to catch the emotion in their faces: "If you put a lens 6 inches from somebody's face, you get more emotion than if you're on a long lens 20 feet away," Cohen said in an interview.[38] Hooper sought a second subtlety while filming the first consultation room scene between the two men, having placed the camera 18 inches from Colin Firth's face: "I wanted the nervousness of the first day to percolate into his performances," he said.[33]

text: Historical dramas traditionally tend to use "soft light", but Hooper wanted to use a harsher glare, which gives a more contemporary feel, and thus a greater emotional resonance. To achieve the effect, the lighting team erected huge blackout tents over the Georgian buildings and used large lights filtered through Egyptian cotton.[34]

text: Historical accuracy[edit]

text: Relationship with Lionel Logue[edit]

text: The filmmakers not only tightened the chronology of the events to just a few years but even shifted the timeline of treatment. The Duke of York actually began working with Logue in October 1926, ten years before the abdication crisis, and the improvement in his speech was apparent in months rather than years as suggested by the film.[39] When he was dispatched to Australia to open their new parliament in 1927, the Duke gave numerous speeches during the journey and performed well despite Logue not accompanying him on the trip.[40]  He wrote to Logue from the Caribbean, "You remember my fear of ‘The King’. I give it every evening at dinner on board. This does not worry me any more."[40] And of his speech opening Parliament it was observed that he spoke "resonantly and without stuttering".[41]

text: Robert Logue, a grandson of Lionel, doubted the film's depiction of the speech therapist, stating "I don't think he ever swore in front of the King and he certainly never called him 'Bertie'".[42] Andrew Roberts, an English historian, states that the severity of the King's stammer was exaggerated and the characters of Edward VIII, Wallis Simpson, and George V made more antagonistic than they really were, to increase the dramatic effect.[43]

text: Politics[edit]

text: Christopher Hitchens and Isaac Chotiner have criticised the film for failing to indict the appeasement of the era or to portray Edward VIII’s sympathetic attitude to Nazi Germany.[44] The Guardian also corrected the portrayal of Stanley Baldwin as having resigned due to his refusal to order Britain's re-armament, when he in fact stepped down as "a national hero, exhausted by more than a decade at the top".[45]

text: Hugo Vickers, an adviser on the film, agreed that the alteration of historical details to preserve the essence of the dramatic story was sometimes necessary. The high-ranking officials, for instance, would not have been present when the King made his speech, nor would Churchill have been involved at any level, "but the average viewer knows who Churchill is; he doesn't know who Lord Halifax and Sir Samuel Hoare (later Lord Templewood) are."[46]

text: Hitchens and Chotiner also challenged the film's portrayal of Winston Churchill's role in the abdication crisis.[47][48] It is well established that Churchill encouraged Edward VIII to resist pressure to abdicate, whereas he is portrayed in the film as supportive of the Duke of York and not opposed to the abdication.[49] Hitchens attributes this treatment to the "cult" surrounding Churchill's legacy. In a smart, well-made film "would the true story not have been fractionally more interesting for the audience?", he wondered.[44]

text: Realism[edit]

text: Martin Filler acknowledged that the film legitimately used artistic licence to make valid dramatic points, such as in the probably imagined scene when George V lectures his son on the importance of broadcasting. Filler cautions that George VI would never have tolerated Logue addressing him casually, nor swearing, and the King almost certainly would have understood a newsreel of Hitler speaking in German. Filler makes the larger point that both the King and his wife were, in reality, lukewarm towards Churchill because of the latter's support for his brother during the abdication crisis.[37]

text: Commenting on the film's final scene on the balcony of Buckingham Palace, Andrew Roberts has written, "The scene is fairly absurd from a historical point of view – Neville Chamberlain and Winston Churchill were not present and there were no cheering crowds outside Buckingham Palace."[43] But Roberts praises the film overall as a sympathetic portrayal of the King's "quiet, unassuming heroism [...] The portrayals by Firth and Bonham Carter are sympathetic and acute, and the movie’s occasional factual bêtises should not detract from that."[43]

text: Release[edit]

text: Cinema release[edit]

text: The film had its world première on 6 September 2010 at the Telluride Film Festival in the United States.[25] It was screened at the 2010 Toronto International Film Festival, on Firth's 50th birthday, where it received a standing ovation and won the People's Choice Award.[50] The cinema release poster was re-designed to show an extreme close-up of Firth's jaw and a microphone after Hooper criticised the first design as a "train smash".[51] Tim Appelo called the original, air-brushed effort, which showed the three leads, "shockingly awful" though the new one "really is worthwhile".[52]

text: The film was distributed by Transmission Films in Australia and by Momentum Pictures in the United Kingdom. The Weinstein Company distributed it in North America, Germany, Benelux, Scandinavia, China, Hong Kong, and Latin America.[53] The film was released in France on 2 February 2011, under the title Le discours d'un roi. It was distributed by Wild Bunch Distribution.[54]

text: Ratings controversy[edit]

text: The film was initially given a 15 certificate by the British Board of Film Classification, due to a minute-long scene where Logue encourages the King to shout profanities, which he could do without stuttering. At the London Film Festival, Hooper criticised the decision, questioning how the board could certify the film "15" for bad language but allow films such as Salt (2010) and Casino Royale (2006) to have "12A" ratings, despite their graphic torture scenes. Following Hooper's criticism, the board lowered the rating to "12A", allowing children under 12 years of age to see the film if they are accompanied by an adult.[55][56] Hooper levelled the same criticism at the Motion Picture Association of America, which gave the film an "R" rating, preventing anyone under the age of 17 from seeing the film without an adult.[57] In his review, Roger Ebert criticised the "R" rating, calling it "utterly inexplicable", and wrote, "This is an excellent film for teenagers."[36]

text: In January 2011 Harvey Weinstein, the executive producer and distributor, said he was considering having the film re-edited to remove some profanity, so that it would receive a lower classification and reach a larger audience.[58] Hooper, however, refused to cut the film, though he considered covering the swear words with bleeps. Helena Bonham Carter also defended the film, saying, "[The film] is not violent. It's full of humanity and wit. [It's] for people not with just a speech impediment, but who have got confidence [doubts]."[59] After receiving his Academy Award, Colin Firth noted that he does not support re-editing the film; while he does not condone the use of profanity, he maintains that its use was not offensive in this context. "The scene serves a purpose", Firth states.[60] An alternate version, with some of the profanities muted out, was classified as "PG-13" in the United States; this version was released to cinemas on 1 April 2011, replacing the R-rated one.[61][62] The PG-13 version of this film is not available on DVD and Blu-ray.

text: Reception[edit]

text: Box office[edit]

text: In Great Britain and Ireland, the film was the highest earning film on its opening weekend. It took in £3,510,000 from 395 cinemas. The Guardian said that it was one of the biggest takes in recent memory, and compared it to Slumdog Millionaire (2008), which, two years earlier, earned £1.5 million less.[63] The King's Speech continued a "stunning three weeks" atop the UK Box office, and earned over £3 million for four consecutive weekends, the first film to do so since Toy Story 3 (2010).[64] After five weeks on UK release, it was hailed as the most successful independent British film ever.[3]

text: In the United States The King's Speech opened with $355,450 (£220,000) in four cinemas. It holds the record for the highest per-cinema gross of 2010.[65] It was widened to 700 screens on Christmas Day and 1,543 screens on 14 January 2011. It eventually made $138 million in North America overall.[4]

text: In Australia The King's Speech made more than A$6,281,686 (£4 million) in the first two weeks, according to figures collected by the Motion Picture Distributors Association of Australia. The executive director of Palace Cinemas, Benjamin Zeccola, said customer feedback on the film was spectacular. "It's our No.1 for all the period, all throughout the country. ... I think this is more successful than Slumdog Millionaire and a more uplifting film. It's a good example of a film that started out in the independent cinemas and then spread to the mainstream cinemas."[66]

text: Of the film's net profit, estimated to amount to $30–40 million (£20–25 million) from the cinema release alone, roughly 20% was to be split between Geoffrey Rush (as executive producer), Tom Hooper and Colin Firth, who were to receive their bonuses before the other stakeholders. The remaining profit was to be split equally between the producers and the equity investors.[67] The UK Film Council invested £1 million of public funds from the United Kingdom lottery into the film. In March 2011 Variety estimated that the return could be between fifteen and twenty times that. The Council's merger into the British Film Institute means that the profits were to be returned to that body.[68]

text: Critical response[edit]

text:
As the actor of the year in the film of the year, I can't think of enough adjectives to praise Firth properly. The King's Speech has left me speechless.[69]
—Rex Reed, New York Observer

text:
The King's Speech has received widespread critical acclaim, with Firth's performance receiving universal praise. Bonham Carter and Rush were also widely praised with both going on to win BAFTA's and receiving Academy Award nominations[70][71] Review aggregator Rotten Tomatoes gives the film a score of 95% based on reviews from 285 critics; the film's average rating was calculated as 8.6/10. The website's critical consensus reads: "Colin Firth gives a masterful performance in The King's Speech, a predictable but stylishly produced and rousing period drama."[72] Metacritic gave the film a weighted score of 88/100, based on 41 critical reviews, which indicates "universal acclaim".[73] CinemaScore reported that audiences gave the film a rare "A+" grade.[74]
Empire gave the film five stars out of five, commenting, "You'll be lost for words."[75] Lisa Kennedy of the Denver Post gave the film full marks for its humane qualities and craftsmanship: "It is an intelligent, winning drama fit for a king – and the rest of us", she said.[76] Roger Ebert of the Chicago Sun-Times awarded the film a full four stars, commenting that "what we have here is a superior historical drama and a powerful personal one."[36] Peter Bradshaw of The Guardian gave four stars out of five, stating, "Tom Hooper's richly enjoyable and handsomely produced movie ... is a massively confident crowd-pleaser."[77]

text: Manohla Dargis, whilst generally ambivalent towards the film, called the lead performances one of its principal attractions. "With their volume turned up, the appealing, impeccably professional Mr. Firth and Mr. Rush rise to the acting occasion by twinkling and growling as their characters warily circle each other before settling into the therapeutic swing of things and unknowingly preparing for the big speech that partly gives the film its title," she wrote.[35] The Daily Telegraph called Guy Pearce's performance as Edward VIII "formidable ... with glamour, charisma and utter self-absorption".[78] Empire said he played the role well as "a flash harry flinty enough to shed a nation for a wife."[75] The New York Times thought he was able to create "a thorny tangle of complications in only a few abbreviated scenes".[35] Hooper praised the actor in the DVD commentary, saying he "nailed" the 1930s royal accent.[13] Richard Corliss of Time magazine named Colin Firth's performance one of the Top 10 Movie Performances of 2010.[79]

text: The British Stammering Association welcomed the release of The King's Speech, congratulating the film makers on their "realistic depiction of the frustration and the fear of speaking faced by people who stammer on a daily basis." It said that "Colin Firth's portrayal of the King's stammer in particular strikes us as very authentic and accurate."[80] The Royal College of Speech and Language Therapists welcomed the film, and launched their "Giving Voice" campaign around the time of its commercial release.[81]

text: Allociné, a French cinema website, gave the film an average of four out of five stars, based on a survey of 21 reviews.[82] Le Monde, which characterised the film as the "latest manifestation of British narcissism" and summarised it as "We are ugly and boring, but, By Jove!, we are right!", nevertheless admired the performances of Firth, Rush, and Bonham Carter. It said that, though the film swept British appeasement under the carpet, it was still enjoyable.[83]

text: Slovenian Marxist philosopher and cultural critic Slavoj Žižek has incorporated the film into his critique of ideology by describing it as "reactionary," interpreting the king's stutter as evidence that he "displays a minimum of common sense, experiencing the stupidity of seriously accepting that one is king by divine will" and claiming that "the task of the Australian voice-coach is to render him stupid enough to accept his being a king as his natural property." Žižek thus interprets the king's stutter as a case of what is referred to in Lacanian psychoanalysis as "symbolic castration."[84]

text: Queen Elizabeth II, the daughter and successor of King George VI, was sent two copies of the film before Christmas 2010. The Sun newspaper reported she had watched the film in a private screening at Sandringham House. A palace source described her reaction as being "touched by a moving portrayal of her father".[85][86] Seidler called the reports "the highest honour" the film could receive.[87]

text: Awards and nominations[edit]

text: At the 83rd Academy Awards, The King's Speech won the Academy Award for Best Picture, Best Director (Hooper), Best Actor (Firth), and Best Original Screenplay (Seidler). The film had received 12 Oscar nominations, more than any other film in that year. Besides the four categories it won, the film received nominations for Best Cinematography (Danny Cohen) and two for the supporting actors (Bonham Carter and Rush), as well as two for its mise-en-scène: Art Direction and Costumes.[88]

text: At the 64th British Academy Film Awards, it won seven awards, including Best Film, Outstanding British Film, Best Actor for Firth, Best Supporting Actor for Rush, Best Supporting Actress for Bonham Carter, Best Original Screenplay for Seidler, and Best Music for Alexandre Desplat. The film had been nominated for 14 BAFTAs, more than any other film.[89] At the 68th Golden Globe Awards, Firth won for Best Actor.  The film won no other Golden Globes, despite earning seven nominations, more than any other film.[90]

text: At the 17th Screen Actors Guild Awards, Firth won the Best Actor award and the entire cast won Best Ensemble, meaning Firth went home with two acting awards in one evening.[91]  Hooper won the Directors Guild of America Awards 2010 for Best Director.[92]  The film won the Darryl F. Zanuck Award for Best Theatrical Motion Picture at the Producers Guild of America Awards 2010.[93]

text: The King's Speech won the People's Choice Award at the 2010 Toronto International Film Festival,[94] Best British Independent Film at the 2010 British Independent Film Awards,[95] and the 2011 Goya Award for Best European Film from the Academia de las Artes y las Ciencias Cinematográficas de España (Spanish Academy of Cinematic Art and Science).[96]


document_title: List of District of Columbia symbols

question_text: what is the state animal of washington dc

text: List of District of Columbia symbols

text: Insignia[edit]

text:
Type

Symbol

Date

Image

Flag

Flag of the District of Columbia

1938[1]

Seal

Seal of the District of Columbia

1871[1]

Motto

Justitia omnibus(Latin for "Justice for all")[2]

Nickname

Federal City

text: Music[edit]

text:
Type

Symbol

Date

Image

Song

"Washington" by Jimmie Dodd[3]

1951

March

"Our Nation's Capitol" by Anthony A. Mitchell[4]

1961

text: Species[edit]

text:
Type

Symbol

Date

Image

Bird

Wood thrush(Hylocichla mustelina)

[1]

Flower

'American Beauty' rose(Rosa 'American Beauty')

[1]

Tree

Scarlet oak(Quercus coccinea)

[1]

text: Culture[edit]

text:
Type

Symbol

Date

Image

Cocktail

Rickey

2011[5]


document_title: List of highest paid Major League Baseball players

question_text: who is the highest paid player on the new york yankees

text: Key[edit]

text:
Key

Member of the National Baseball Hall of Fame and Museum

1B
First baseman

2B
Second baseman

3B
Third baseman

SS
Shortstop

LF
Left fielder

CF
Center fielder

RF
Right fielder

C
Catcher

SP
Starting pitcher

RP
Relief pitcher

DH
Designated hitter

text: Highest annual salaries in 2015[edit]

text: This table refers to the salary for 2015 alone, not the overall average value of the contract.

text:
Name
Position
Team(s)
Salary
Ref

Clayton Kershaw
SP
Los Angeles Dodgers
$32,571,428
[15]

Justin Verlander
SP
Detroit Tigers
$28,000,000
[16]

Ryan Howard
1B
Philadelphia Phillies
$25,000,000
[17]

Cliff Lee
SP
Philadelphia Phillies
$25,000,000
[18]

Zack Greinke
SP
Los Angeles Dodgers
$25,000,000
[19]

Felix Hernandez
SP
Seattle Mariners
$24,907,142
[20]

Albert Pujols
1B
Los Angeles Angels
$24,050,000
[21]

Prince Fielder
DH
Texas Rangers
$24,050,000
[22]

Robinson Cano
2B
Seattle Mariners
$24,000,000
[23]

Mark Teixeira
1B
New York Yankees
$23,125,000
[24]

text: Career earnings[edit]

text:
Name
Team(s)
Position
Years
Earnings
Ref

Rodriguez, AlexAlex Rodriguez
Seattle Mariners
Texas Rangers
New York Yankees
SS, 3B
1994–2016
$353,416,252
[25]

Jeter, DerekDerek Jeter
New York Yankees
SS
1995–2014
$253,159,364
[26]

Ramirez, MannyManny Ramirez
Cleveland Indians
Boston Red Sox
Los Angeles Dodgers
Chicago White Sox
Tampa Bay Rays
LF
1993–
$206,827,769
[27]

Bonds, BarryBarry Bonds
Pittsburgh Pirates
San Francisco Giants
LF
1986–2007
$188,245,322
[28]

Johnson, RandyRandy Johnson
Montreal Expos
Seattle Mariners
Houston Astros
Arizona Diamondbacks
New York Yankees
San Francisco Giants
SP
1988–2009
$175,550,019
[29]

Rivera, MarianoMariano Rivera
New York Yankees
RP
1995–2013
$169,441,825
[30]

Jones, ChipperChipper Jones
Atlanta Braves
3B
1993–2012
$168,552,133
[31]

Sheffield, GaryGary Sheffield
Milwaukee Brewers
San Diego Padres
Florida Marlins
Los Angeles Dodgers
Atlanta Braves
New York Yankees
Detroit Tigers
New York Mets
RF
1988–2009
$168,008,550
[32]

Helton, ToddTodd Helton
Colorado Rockies
1B
1998–2013
$161,490,000
[33]

Beltrán, CarlosCarlos Beltrán
Kansas City Royals
Houston Astros
New York Mets
San Francisco Giants
St. Louis Cardinals
New York Yankees
Houston Astros

CF, RF
1998–
$160,952,782
[34]

Santana, JohanJohan Santana
Minnesota Twins
New York Mets
SP
2000–
$155,997,269
[35]

Maddux, GregGreg Maddux
Chicago Cubs
Atlanta Braves
Los Angeles Dodgers
San Diego Padres
SP
1986–2008
$153,845,000
[36]

Suzuki, IchiroIchiro Suzuki
Seattle Mariners
New York Yankees
RF
2001–
$152,631,483
[37]

Griffey, Jr., KenKen Griffey, Jr.
Seattle Mariners
Cincinnati Reds
Chicago White Sox
CF
1988–2010
$151,703,682
[38]

Clemens, RogerRoger Clemens
Boston Red Sox
Toronto Blue Jays
New York Yankees
Houston Astros
SP
1984–2007
$150,601,000
[39]

Halladay, RoyRoy Halladay
Toronto Blue Jays
Philadelphia Phillies
SP
1998–2013
$148,991,666
[40]

Hunter, ToriiTorii Hunter
Minnesota Twins
Los Angeles Angels
Detroit Tigers
CF
1997–
$146,555,000
[41]

Sabathia, CCCC Sabathia
Cleveland Indians
Milwaukee Brewers
New York Yankees
SP
2001–
$146,357,142
[42]

Delgado, CarlosCarlos Delgado
Toronto Blue Jays
Florida Marlins
New York Mets
1B
1993–2011
$146,299,000
[43]

Martínez, PedroPedro Martínez
Los Angeles Dodgers
Montreal Expos
Boston Red Sox
New York Mets
Philadelphia Phillies
SP
1992–2010
$146,259,585
[44]

text: Salary progression[edit]

text:
Average annual salary
Date signed
Name
Team
Position
Contract duration
(Years)
Ref(s)

$01170000 !1,170,000
01 !November 19, 1979
Ryan, NolanNolan Ryan
Houston Astros
SP
03 !3
[10][46]

$02500000 !2,500,000[a]
02 !December 15, 1980
Winfield, DaveDave Winfield
New York Yankees
RF
10
[47][48]

$02600000 !2,600,000
03 !September 4, 1985
Murray, EddieEddie Murray
Baltimore Orioles
1B
05 !5
[49][50]

$02633333 !2,633,333[b]
03.1 !February 16, 1989
Hershiser, OrelOrel Hershiser
Los Angeles Dodgers
SP
03 !3
[51][52]

$02970000 !2,970,000
04 !November 17, 1989
Saberhagen, BretBret Saberhagen
Kansas City Royals
SP
03 !3
[53][54]

$03000000 !3,000,000[c]
05 !November 22, 1989
Puckett, KirbyKirby Puckett
Minnesota Twins
CF
03 !3
[55][56]

$03200000 !3,200,000
06 !December 1, 1989
Langston, MarkMark Langston
California Angels
SP
05 !5
[57][58]

$03250000 !3,250,000
07 !December 11, 1989
Davis, MarkMark Davis
Kansas City Royals
SP
04 !4
[59][60]

$03500000 !3,500,000
08 !January 17, 1990
Stewart, DaveDave Stewart
Oakland Athletics
SP
02 !2
[61][62]

$03750000 !3,750,000
09 !January 22, 1990
Clark, WillWill Clark
San Francisco Giants
1B
04 !4
[63][64]

$03860000 !3,860,000
10 !April 9, 1990
Mattingly, DonDon Mattingly
New York Yankees
1B
05 !5
[65][66]

$04700000 !4,700,000
11 !June 28, 1990
Canseco, JoseJose Canseco
Oakland Athletics
RF/DH
05 !5
[67][68]

$05380000 !5,380,000
12 !February 2, 1991
Clemens, RogerRoger Clemens
Boston Red Sox
SP
04 !4
[39][69]

$05800000 !5,800,000
13 !December 2, 1991
Bonilla, BobbyBobby Bonilla
New York Mets
3B/RF
05 !5
[70][71]

$07100000 !7,100,000
14 !March 2, 1992
Sandberg, RyneRyne Sandberg
Chicago Cubs
2B
04 !4
[72][73]

$07290000 !7,290,000
15 !December 6, 1992
Bonds, BarryBarry Bonds
San Francisco Giants
LF
06 !6
[28][74]

$08500000 !8,500,000
16 !January 31, 1996
Griffey, Jr., KenKen Griffey, Jr.
Seattle Mariners
CF
04 !4
[38][75]

$11000000 !11,000,000
17 !November 19, 1996
Belle, AlbertAlbert Belle
Chicago White Sox
LF
05 !5
[76][77]

$11450000 !11,450,000
18 !March 20, 1997
Bonds, BarryBarry Bonds
San Francisco Giants
LF
02 !2
[28][78]

$11500000 !11,500,000
19 !August 10, 1997
Maddux, GregGreg Maddux
Atlanta Braves
SP
05 !5
[36][79]

$12500000 !12,500,000
20 !December 10, 1997
Martínez, PedroPedro Martínez
Boston Red Sox
SP
06 !6
[44][80]

$13000000 !13,000,000
21 !October 26, 1998
Piazza, MikeMike Piazza
New York Mets
C
07 !7
[81][82]

$13333333 !13,333,333
22 !November 25, 1998
Vaughn, MoMo Vaughn
Anaheim Angels
1B
06 !6
[83][84]

$15000000 !15,000,000
23 !December 12, 1998
Brown, KevinKevin Brown
Los Angeles Dodgers
SP
07 !7
[85][86]

$15450000 !15,450,000[d]
24 !August 11, 2000
Clemens, RogerRoger Clemens
New York Yankees
SP
02 !2[d]
[39][87]

$17000000 !17,000,000
25 !October 20, 2000
Delgado, CarlosCarlos Delgado
Toronto Blue Jays
1B
04 !4
[43][88]

$25200000 !25,200,000
26 !December 10, 2000
Rodriguez, AlexAlex Rodriguez
Texas Rangers
SS
10
[6][25]

$27500000 !27,500,000
27 !December 13, 2007
Rodriguez, AlexAlex Rodriguez
New York Yankees
3B
10
[8][25]


document_title: Homologous chromosome

question_text: when do homologous chromosomes separate from one another

text: Homologous chromosome

text: Overview[edit]

text: Chromosomes are linear arrangements of condensed deoxyribonucleic acid (DNA) and histone proteins, which form a complex called chromatin.[2] Homologous chromosomes are made up of chromosome pairs of approximately the same length, centromere position, and staining pattern, for genes with the same corresponding loci. One homologous chromosome is inherited from the organism's mother; the other is inherited from the organism's father. After mitosis occurs within the daughter cells, they have the correct number of genes which are a mix of the two parents' genes. In diploid (2n) organisms, the genome is composed of one set of each homologous chromosome pair, as compared to tetraploid organisms which may have two sets of each homologous chromosome pair. The alleles on the homologous chromosomes may be different, resulting in different phenotypes of the same genes. This mixing of maternal and paternal traits is enhanced by crossing over during meiosis, wherein lengths of chromosomal arms and the DNA they contain within a homologous chromosome pair are exchanged with one another.[3]

text: History[edit]

text: Early in the 1900s William Bateson and Reginald Punnett were studying genetic inheritance and they noted that some combinations of alleles appeared more frequently than others. That data and information was further explored by Thomas Morgan. Using test cross experiments, he revealed that, for a single parent, the alleles of genes near to one another along the length of the chromosome move together. Using this logic he concluded that the two genes he was studying were located on homologous chromosomes. Later on during the 1930s Harriet Creighton and Barbara McClintock were studying meiosis in corn cells and examining gene loci on corn chromosomes.[2] Creighton and McClintock discovered that the new allele combinations present in the offspring and the event of crossing over were directly related.[2] This proved interchromosomal genetic recombination.[2]

text: Structure[edit]

text: Homologous chromosomes are chromosomes which contain the same genes in the same order along their chromosomal arms. There are two main properties of homologous chromosomes: the length of chromosomal arms and the placement of the centromere [4]

text: The actual length of the arm, in accordance with the gene locations, is critically important for proper alignment. Centromere placement can be characterized by four main arrangements, consisting of being either metacentric, submetacentric, telocentric, or acrocentric. Both of these properties are the main factors for creating structural homology between chromosomes. Therefore, when two chromosomes of the exact structure exist, they are able to pair together to form homologous chromosomes.[5]

text: Since homologous chromosomes are not identical and do not originate from the same organism, they are different from sister chromatids. Sister chromatids result after DNA replication has occurred, and thus are identical, side-by-side duplicates of each other.[6]

text: In humans[edit]

text: Humans have a total of 46 chromosomes, but there are only 22 pairs of homologous autosomal chromosomes. The additional 23rd pair is the sex chromosomes, X and Y. If this pair is made up of an X and Y chromosome, then the pair of chromosomes is not homologous because their size and gene content differ greatly. The 22 pairs of homologous chromosomes contain the same genes but code for different traits in their allelic forms since one was inherited from the mother and one from the father.[7] So humans have two homologous chromosome sets in each cell, meaning humans are diploid organisms.[2]

text: Functions[edit]

text: Homologous chromosomes are important in the processes of meiosis and mitosis. They allow for the recombination and random segregation of genetic material from the mother and father into new cells.[8]

text: In meiosis[edit]

text: Meiosis is a round of two cell divisions that results in four haploid daughter cells that each contain half the number of chromosomes as the parent cell.[9] It reduces the chromosome number in a germ cell by half by first separating the homologous chromosomes in meiosis I and then the sister chromatids in meiosis II. The process of meiosis I is generally longer than meiosis II because it takes more time for the chromatin to replicate and for the homologous chromosomes to be properly oriented and segregated by the processes of pairing and synapsis in meiosis I.[6] During meiosis, genetic recombination (by random segregation) and crossing over produces daughter cells that each contain different combinations of maternally and paternally coded genes.[9] This recombination of genes allows for the introduction of new allele pairings and genetic variation.[2] Genetic variation among organisms helps make a population more stable by providing a wider range of genetic traits for natural selection to act on.[2]

text: Prophase I[edit]

text: In prophase I of meiosis I, each chromosome is aligned with its homologous partner and pairs completely. In prophase I, the DNA has already undergone replication so each chromosome consists of two identical chromatids connected by a common centromere.[9] During the zygotene stage of prophase I, the homologous chromosomes pair up with each other.[9] This pairing occurs by a synapsis process where the synaptonemal complex - a protein scaffold - is assembled and joins the homologous chromosomes along their lengths.[6] Cohesin crosslinking occurs between the homologous chromosomes and helps them resist being pulled apart until anaphase.[7] Genetic crossing-over, a type of recombination, occurs during the pachytene stage of prophase I.[9] In addition, another type of recombination referred to as synthesis-dependent strand annealing (SDSA) frequently occurs. SDSA recombination involves information exchange between paired homologous chromatids, but not physical exchange. SDSA recombination does not cause crossing-over.

text: In the process of crossing-over, genes are exchanged by the breaking and union of homologous portions of the chromosomes’ lengths.[6] Structures called chiasmata are the site of the exchange. Chiasmata physically link the homologous chromosomes once crossing over occurs and throughout the process of chromosomal segregation during meiosis.[6] Both the non-crossover and crossover types of recombination function as processes for repairing DNA damage, particularly double-strand breaks. At the diplotene stage of prophase I the synaptonemal complex disassembles before which will allow the homologous chromosomes to separate, while the sister chromatids stay associated by their centromeres.[6]

text: Metaphase I[edit]

text: In metaphase I of meiosis I, the pairs of homologous chromosomes, also known as bivalents or tetrads, line up in a random order along the metaphase plate.[9] The random orientation is another way for cells to introduce genetic variation. Meiotic spindles emanating from opposite spindle poles attach to each of the homologs (each pair of sister chromatids) at the kinetochore.[7]

text: Anaphase I[edit]

text: In anaphase I of meiosis I the homologous chromosomes are pulled apart from each other. The homologs are cleaved by the enzyme separase to release the cohesin that held the homologous chromosome arms together.[7] This allows the chiasmata to release and the homologs to move to opposite poles of the cell.[7] The homologous chromosomes are now randomly segregated into two daughter cells that will undergo meiosis II to produce four haploid daughter germ cells.[2]

text: Meiosis II[edit]

text: After the tetrads of homologous chromosomes are separated in meiosis I, the sister chromatids from each pair are separated. The two haploid(because the chromosome no. has reduced to half. Earlier two sets of chromosomes were present, but now each set exists in two different daughter cells that have arisen from the single diploid parent cell by meiosis I) daughter cells resulting from meiosis I undergo another cell division in meiosis II but without another round of chromosomal replication. The sister chromatids in the two daughter cells are pulled apart during anaphase II by nuclear spindle fibers, resulting in four haploid daughter cells.[2]

text: In mitosis[edit]

text: Homologous chromosomes do not function the same in mitosis as they do in meiosis. Prior to every single mitotic division a cell undergoes, the chromosomes in the parent cell replicate themselves. The homologous chromosomes within the cell will ordinarily not pair up and undergo genetic recombination with each other.[9] Instead, the replicants, or sister chromatids, will line up along the metaphase plate and then separate in the same way as meiosis II - by being pulled apart at their centromeres by nuclear mitotic spindles.[10] If any crossing over does occur between sister chromatids during mitosis, it does not produce any new recombinant genotypes.[2]

text: In somatic cells[edit]

text: Homologous pairing in most contexts will refer to germline cells, however also takes place in somatic cells. For example, in humans, somatic cells have very tightly regulated homologous pairing (separated into chromosomal territories, and pairing at specific loci under control of developmental signalling). Other species however (notably Drosophila) exhibit homologous pairing much more frequently. Various functions of homologous pairing in somatic cells have been elucidated through high-throughput screens in the early 21st century.

text: Problems[edit]

text: There are severe repercussions when chromosomes do not segregate properly. Faulty segregation can lead to fertility problems, embryo death, birth defects, and cancer.[11] Though the mechanisms for pairing and adhering homologous chromosomes vary among organisms, proper functioning of those mechanisms is imperative in order for the final genetic material to be sorted correctly.[11]

text: Nondisjunction[edit]

text: Proper homologous chromosome separation in meiosis I is crucial for sister chromatid separation in meiosis II.[11] A failure to separate properly is known as nondisjunction. There are two main types of nondisjunction that occur: trisomy and monosomy. Trisomy is caused by the presence of one additional chromosomes in the zygote as compared to the normal number, and monosomy is characterized by the presence of one fewer chromosome in the zygote as compared to the normal number. If this uneven division occurs in meiosis I, then none of the daughter cells will have proper chromosomal distribution and severe effects can ensue, including Down’s syndrome.[12] Unequal division can also occur during the second meiotic division. Nondisjunction which occurs at this stage can result in normal daughter cells and deformed cells.[4]

text: Other uses[edit]

text: While the main function of homologous chromosomes is their use in nuclear division, they are also used in repairing double-strand breaks of DNA.[13] These double-stranded breaks may occur in replicating DNA and are most often the result of interaction of DNA with naturally occurring damaging molecules such as reactive oxygen species. Homologous chromosomes can repair this damage by aligning themselves with chromosomes of the same genetic sequence.[13] Once the base pairs have been matched and oriented correctly between the two strands, the homologous chromosomes perform a process that is very similar to recombination, or crossing over as seen in meiosis. Part of the intact DNA sequence overlaps with that of the damaged chromosome's sequence. Replication proteins and complexes are then recruited to the site of damage, allowing for repair and proper replication to occur. Through this functioning, double-strand breaks can be repaired and DNA can function normally.[13]

text: Relevant research[edit]

text: Current and future research on the subject of homologous chromosome is heavily focused on the roles of various proteins during recombination or during DNA repair. In a recently published article by Pezza et al. the protein known as HOP2 is responsible for both homologous chromosome synapsis as well as double-strand break repair via homologous recombination. The deletion of HOP2 in mice has large repercussions in meiosis.[14] Other current studies focus on specific proteins involved in homologous recombination as well.

text: There is ongoing research concerning the ability of homologous chromosomes to repair double-strand DNA breaks. Researchers are investigating the possibility of exploiting this capability for regenerative medicine.[15] This medicine could be very prevalent in relation to cancer, as DNA damage is thought to be contributor to carcinogenesis. Manipulating the repair function of homologous chromosomes might allow for bettering a cell’s damage response system. While research has not yet confirmed the effectiveness of such treatment, it may become a useful therapy for cancer.[16]