document_title: Young Guns (film)

question_text: who was billy the kid in young guns

question_tokens: who was billy the kid in young guns

text: Young Guns (film)

text: Plot[edit]

text: John Tunstall (Terence Stamp), an educated Englishman and cattle rancher in Lincoln County, New Mexico, hires wayward young gunmen to live and work on his ranch. Tunstall is in heavy competition with a well-connected Irishman named Lawrence Murphy (Jack Palance), who owns a large ranch; their men clash on a regular basis. Tunstall recruits Billy (Emilio Estevez) and advises him to renounce violence saying that "He who sows the wind will reap the whirlwind." Tensions escalate between the two camps, resulting in the murder of Tunstall. Billy, Doc Scurlock (Kiefer Sutherland), Jose Chavez y Chavez (Lou Diamond Phillips), Richard M. "Dick" Brewer (Charlie Sheen), "Dirty" Steve Stephens (Dermot Mulroney), and Charlie Bowdre (Casey Siemaszko), consult their lawyer friend Alexander McSween (Terry O'Quinn), who manages to get them deputized and given warrants for the arrest of Murphy's murderous henchmen.

text: Billy quickly challenges Dick's authority as leader, vowing revenge against Murphy and the men responsible for killing Tunstall. The men dub themselves The Regulators and arrest some of the murderers, but hot-headed Billy is unable to wait for justice. He guns down unarmed men and goes on to kill one of his fellow Regulators (later arrival J. McCloskey) in the paranoid (but correct) belief that he was still in league with Murphy. The men are stripped of their badges, which they find out about by reading a newspaper. That same paper also confuses Dick for Billy, showing a picture of Dick labeled Billy the Kid, a nickname to which Billy takes an immediate liking.

text: While the local authorities begin their hunt for Billy and the boys, the Regulators argue about continuing with their warrants or to go on the run. One of the men on their list of warrants, Buckshot Roberts (Brian Keith), tracks them down, barricades himself in an outhouse, and Dick dies in an intense shootout. Billy appoints himself as the new leader, the gang becomes famous and the U.S. Army is charged with bringing them to justice under Murphy's corrupt political influence.

text: The gang eludes attention for some time, and Charlie gets married in Mexico. While attending the wedding, Billy meets Pat Garrett (Patrick Wayne) who is not yet a sheriff, but warns Billy of an attempt on Alex's life by Murphy's men that will happen the next day. Thus the gang packs up and heads off to save Alex.

text: Back in Lincoln, Murphy's men, led by George W. Peppin, surround Alex's house, trapping the Regulators, and a shootout begins. A ceasefire is called for the night. In the morning, accompanied by Murphy, the army comes in and torches the house, but Chavez escapes out the back. While the house is burning, the men come up with an escape plan. They begin throwing Alex's possessions out the windows of the second floor. Billy places himself inside of a large trunk, and when it lands in front of the house, he leaps out and begins to open fire.

text: Meanwhile, Doc bursts out of the side stairway, followed by Charlie and Steve. Everyone makes it to the lawn, but Billy is shot twice in his arms. Charlie challenges the bounty hunter John Kinney (Allen Keller); Kinney shoots Charlie and Charlie fires back, killing each other.

text: Chavez comes from behind the army on horseback, and jumps the barricade to get extra horses to the Regulators. Billy jumps on one horse, but Doc is shot trying to get on another. Doc still manages to pick up his girlfriend Yen Sun (Alice Carter), Murphy's Chinese sex-slave, and they ride off. Chavez tries to get Steve on a horse, but is wounded and falls to the ground. Steve helps Chavez on to a horse, but is left alone and unarmed. The Army and Murphy's men shoot and kill Steve.

text: Alex cheers on the boys as they ride away. The army opens fire on him with a Gatling gun and he is killed. As the remaining men ride away, Murphy hurls threats and curses after them, but is stunned when Billy turns back and shoots Murphy right between the eyes, killing him.

text: The final scene is a voice-over of Doc explaining what happened afterwards: Alex's widow caused a congressional investigation into the Lincoln County War. Chavez took work at a farm in California. Doc moved east to New York and married Yen Sun, whom he had saved from Murphy. Billy continued to ride until he was found and shot dead by Pat Garrett. Billy was buried next to Charlie Bowdre at Fort Sumner. A stranger went to the grave of Billy the Kid late one night and made a carving in the headstone. The epitaph read only one word: "PALS".

text: Cast[edit]

text:
Emilio Estevez as William H. "Billy the Kid" Bonney
Kiefer Sutherland as Josiah Gordon "Doc" Scurlock
Lou Diamond Phillips as Jose Chavez y Chavez
Charlie Sheen as Richard "Dick" Brewer
Dermot Mulroney as "Dirty Steve" Stephens
Casey Siemaszko as Charlie Bowdre
Terence Stamp as John Tunstall
Jack Palance as Lawrence Murphy
Terry O'Quinn as Alexander McSween
Sharon Thomas as Susan McSween
Alice Carter as Yen Sun
Geoffrey Blake as J. McCloskey
Brian Keith as Buckshot Roberts
Patrick Wayne as Pat Garrett

text: Reception[edit]

text: The movie received mixed reviews from critics.[3][4][5] It currently holds a 42% rating on Rotten Tomatoes based on 26 reviews.

text: The movie was a box office hit.[6][7] It grossed $45.6 million domestically.[8]


document_title: Playback singer

question_text: who has sang most songs in the world

question_tokens: who has sang most songs in the world

root

text: Playback singer

text: South Asia[edit]

text: South Asian movies produced in the Indian subcontinent are particularly known for using this technique. A majority of Indian movies as well as Pakistani movies typically include six or seven songs. After Alam Ara (1931), the first Indian talkie film, for many years singers made dual recordings for a film, one during the shoot, and later in the recording studio, until 1952 or 1953. Popular playback singers in India enjoy the same status as popular actors, and music directors, such as Rahul Dev Burman (1939–1994),[1][2] Ilaiyaraaja and A. R. Rahman,[3] also receive wide public admiration. Most of the playback singers are initially trained in classical music, but they later often expand their range.[4]

tag: p

text: Mohammed Rafi and Ahmed Rushdi are regarded as two of the most influential playback singers in South Asia.[5][6][7][8] The sisters Lata Mangeshkar and Asha Bhosle, who have mainly worked in Hindi films, are often referred to as two of the best-known and most prolific playback singers in India.[9][10][11][12][13] In 1991, Mangeshkar was cited by the Guinness Book of World Records for having sung more than 30,000 solo, duet and chorus-backed song recordings, more than any other singer in the world.[14][15] However, her name was removed in 1991 and replaced by another Indian playback singer, Dr K J Yesudas in 1991.[citation needed] All India Record. In 2011, Guinness officially acknowledged Lata Mangeshkar's sister Asha Bhosle as the most recorded artist in music history..[16]

text: Popular Indian singers include Lata Mangeshkar, Mohammed Rafi, Ghantasala Venkateswara Rao, Asha Bhosle, Bhupen Hazarika, K. J. Yesudas, Dr. Rajkumar, Mukesh, Kishore Kumar, Manna Dey, Hemant Kumar, Mahendra Kapoor, Talat Mahmood, Shamshad Begum, Suraiya, Mubarak Begum, Sandhya Mukherjee, Geeta Dutt, Anuradha Paudwal, Amit Kumar, S. P. Balasubrahmanyam,[9] K. S. Chithra, S. Janaki, Vani Jayaram, P. Leela, Swarnalatha,[17] Shreya Ghoshal, Alka Yagnik, Kavita Krishnamurthy, Sadhana Sargam, Mano, Sujatha Mohan, Sunidhi Chauhan, Aditi Singh Sharma, Anuradha Sriram, Harini, Udit Narayan, Kumar Sanu, Abhijeet Bhattacharya, Arijit Singh, Palak Muchhal, Armaan Malik, Jonita Gandhi, Nakash Aziz, Neeti Mohan, Sonu Nigam, Neha Kakkar, Mohit Chauhan, Shaan, KK, Himesh Reshammiya, Nitin Mukesh, Mika Singh, Rajesh Krishnan, Rekha Bhardwaj, Shweta Subram, Shweta Mohan, Papon, Zubeen Garg, Vijay Prakash, Rajesh Krishnan, Shankar Mahadevan.[18][19]

text: Famous Pakistani playback singers include Ahmed Rushdi, Mehdi Hassan, Mehnaz, Shafqat Amanat Ali, Nazia Hassan, Alamgir,[20] Masood Rana, Adnan Sami Khan, Noor Jehan, Mala, Atif Aslam, Rahat Fateh Ali Khan, Ali Zafar, Ghulam Ali, Runa Laila, Hadiqa Kiani, Alycia Dias, Saleem Raza, Akhlaq Ahmed, Mujeeb Aalam, Asad Amanat Ali Khan, Bashir Ahmad, Ustad Amanat Ali Khan, Abrar-ul-Haq, Abida Parveen, Ali Azmat, Brian O'Connell, Farrukh Fateh Ali Khan, Fariha Pervez, Ghulam Haider, Humera Arshad, Jawad Ahmad, Sajjad Ali, Salma Agha, Muhammad Juman, Nusrat Fateh Ali Khan, Waqar Ali, Zohaib Hassan, Naheed Akhtar and A. Nayyar.[21]

text: Hollywood[edit]

text: Playback singing is not as common in contemporary Hollywood as musicals are less frequent.[citation needed] It was, however, more widely used in the past. Notable Hollywood performances include Marni Nixon in West Side Story for Natalie Wood's portrayal of Maria, in The King and I for Deborah Kerr's Anna Leonowens and for Audrey Hepburn's Eliza in My Fair Lady; Bill Lee singing for John Kerr's Lieutenant Cable in South Pacific and for Christopher Plummer's Captain von Trapp in The Sound of Music,[22] Lindsay Ridgeway for Ashley Peldon's character as Darla Dimple in the animated film Cats Don't Dance, Claudia Brücken providing the singing voice for Erika Heynatz's character as Elsa Lichtmann in L.A. Noire, and Betty Noyes singing for Debbie Reynolds in Singin' in the Rain,[23] a movie in which playback singing is a major plot point.


document_title: Natural and legal rights

question_text: where did the idea of unalienable rights come from

text: Natural and legal rights

text: History[edit]

text: The idea that certain rights are natural or inalienable also has a history dating back at least to the Stoics of late Antiquity and Catholic law of the early Middle Ages, and descending through the Protestant Reformation and the Age of Enlightenment to today.[citation needed]

text: The existence of natural rights has been asserted by different individuals on different premises, such as a priori philosophical reasoning or religious principles. For example, Immanuel Kant claimed to derive natural rights through reason alone. The United States Declaration of Independence, meanwhile, is based upon the "self-evident" truth that "all men are … endowed by their Creator with certain unalienable Rights".[7]

text: Likewise, different philosophers and statesmen have designed different lists of what they believe to be natural rights; almost all include the right to life and liberty as the two highest priorities. H. L. A. Hart argued that if there are any rights at all, there must be the right to liberty, for all the others would depend upon this. T. H. Green argued that “if there are such things as rights at all, then, there must be a right to life and liberty, or, to put it more properly to free life.”[8] John Locke emphasized "life, liberty and property" as primary. However, despite Locke's influential defense of the right of revolution, Thomas Jefferson substituted "pursuit of happiness" in place of "property" in the United States Declaration of Independence.

text: Ancient[edit]

text: Stephen Kinzer, a veteran journalist for The New York Times and the author of the book All The Shah's Men, writes in the latter that:

text: The Zoroastrian religion taught Iranians that citizens have an inalienable right to enlightened leadership and that the duty of subjects is not simply to obey wise kings but also to rise up against those who are wicked. Leaders are seen as representative of God on earth, but they deserve allegiance only as long as they have farr, a kind of divine blessing that they must earn by moral behavior.

text: The Stoics held that no one was a slave by nature; slavery was an external condition juxtaposed to the internal freedom of the soul (sui juris). Seneca the Younger wrote:

text: It is a mistake to imagine that slavery pervades a man's whole being; the better part of him is exempt from it: the body indeed is subjected and in the power of a master, but the mind is independent, and indeed is so free and wild, that it cannot be restrained even by this prison of the body, wherein it is confined.[9]

text: Of fundamental importance to the development of the idea of natural rights was the emergence of the idea of natural human equality. As the historian A.J. Carlyle notes: "There is no change in political theory so startling in its completeness as the change from the theory of Aristotle to the later philosophical view represented by Cicero and Seneca.... We think that this cannot be better exemplified than with regard to the theory of the equality of human nature."[10] Charles H. McIlwain likewise observes that "the idea of the equality of men is the profoundest contribution of the Stoics to political thought" and that "its greatest influence is in the changed conception of law that in part resulted from it."[11] Cicero argues in De Legibus that "we are born for Justice, and that right is based, not upon opinions, but upon Nature."[12]

text: Modern[edit]

text: One of the first Western thinkers to develop the contemporary idea of natural rights was French theologian Jean Gerson, whose 1402 treatise De Vita Spirituali Animae is considered one of the first attempts to develop what would come to be called modern natural rights theory.[13]

text: Centuries later, the Stoic doctrine that the "inner part cannot be delivered into bondage"[14] re-emerged in the Reformation doctrine of liberty of conscience. Martin Luther wrote:

text: Furthermore, every man is responsible for his own faith, and he must see it for himself that he believes rightly. As little as another can go to hell or heaven for me, so little can he believe or disbelieve for me; and as little as he can open or shut heaven or hell for me, so little can he drive me to faith or unbelief. Since, then, belief or unbelief is a matter of every one's conscience, and since this is no lessening of the secular power, the latter should be content and attend to its own affairs and permit men to believe one thing or another, as they are able and willing, and constrain no one by force.[15]

text: 17th-century English philosopher John Locke discussed natural rights in his work, identifying them as being "life, liberty, and estate (property)", and argued that such fundamental rights could not be surrendered in the social contract. Preservation of the natural rights to life, liberty, and property was claimed as justification for the rebellion of the American colonies. As George Mason stated in his draft for the Virginia Declaration of Rights, "all men are born equally free," and hold "certain inherent natural rights, of which they cannot, by any compact, deprive or divest their posterity."[16] Another 17th-century Englishman, John Lilburne (known as Freeborn John), who came into conflict with both the monarchy of King Charles I and the military dictatorship of Oliver Cromwell governed republic, argued for level human basic rights he called "freeborn rights" which he defined as being rights that every human being is born with, as opposed to rights bestowed by government or by human law.

text: The distinction between alienable and unalienable rights was introduced by Francis Hutcheson. In his Inquiry into the Original of Our Ideas of Beauty and Virtue (1725), Hutcheson foreshadowed the Declaration of Independence, stating: “For wherever any Invasion is made upon unalienable Rights, there must arise either a perfect, or external Right to Resistance. . . . Unalienable Rights are essential Limitations in all Governments.” Hutcheson, however, placed clear limits on his notion of unalienable rights, declaring that “there can be no Right, or Limitation of Right, inconsistent with, or opposite to the greatest publick Good."[17] Hutcheson elaborated on this idea of unalienable rights in his A System of Moral Philosophy (1755), based on the Reformation principle of the liberty of conscience. One could not in fact give up the capacity for private judgment (e.g., about religious questions) regardless of any external contracts or oaths to religious or secular authorities so that right is "unalienable." Hutcheson wrote: "Thus no man can really change his sentiments, judgments, and inward affections, at the pleasure of another; nor can it tend to any good to make him profess what is contrary to his heart. The right of private judgment is therefore unalienable."[18]

text: In the German Enlightenment, Hegel gave a highly developed treatment of this inalienability argument. Like Hutcheson, Hegel based the theory of inalienable rights on the de facto inalienability of those aspects of personhood that distinguish persons from things. A thing, like a piece of property, can in fact be transferred from one person to another. According to Hegel, the same would not apply to those aspects that make one a person:

text: The right to what is in essence inalienable is imprescriptible, since the act whereby I take possession of my personality, of my substantive essence, and make myself a responsible being, capable of possessing rights and with a moral and religious life, takes away from these characteristics of mine just that externality which alone made them capable of passing into the possession of someone else. When I have thus annulled their externality, I cannot lose them through lapse of time or from any other reason drawn from my prior consent or willingness to alienate them.[19]

text: In discussion of social contract theory, "inalienable rights" were said to be those rights that could not be surrendered by citizens to the sovereign. Such rights were thought to be natural rights, independent of positive law. Some social contract theorists reasoned, however, that in the natural state only the strongest could benefit from their rights. Thus, people form an implicit social contract, ceding their natural rights to the authority to protect the people from abuse, and living henceforth under the legal rights of that authority.

text: Many historical apologies for slavery and illiberal government were based on explicit or implicit voluntary contracts to alienate any "natural rights" to freedom and self-determination.[20] The de facto inalienability arguments of Hutcheson and his predecessors provided the basis for the anti-slavery movement to argue not simply against involuntary slavery but against any explicit or implied contractual forms of slavery. Any contract that tried to legally alienate such a right would be inherently invalid. Similarly, the argument was used by the democratic movement to argue against any explicit or implied social contracts of subjection (pactum subjectionis) by which a people would supposedly alienate their right of self-government to a sovereign as, for example, in Leviathan by Thomas Hobbes. According to Ernst Cassirer,

text: There is, at least, one right that cannot be ceded or abandoned: the right to personality...They charged the great logician [Hobbes] with a contradiction in terms. If a man could give up his personality he would cease being a moral being. … There is no pactum subjectionis, no act of submission by which man can give up the state of free agent and enslave himself. For by such an act of renunciation he would give up that very character which constitutes his nature and essence: he would lose his humanity.[21]

text: These themes converged in the debate about American Independence. While Jefferson was writing the Declaration of Independence, Richard Price in England sided with the Americans' claim "that Great Britain is attempting to rob them of that liberty to which every member of society and all civil communities have a natural and unalienable title."[22]:67 Price again based the argument on the de facto inalienability of "that principle of spontaneity or self-determination which constitutes us agents or which gives us a command over our actions, rendering them properly ours, and not effects of the operation of any foreign cause."[22]:67–68 Any social contract or compact allegedly alienating these rights would be non-binding and void, wrote Price:

text: Neither can any state acquire such an authority over other states in virtue of any compacts or cessions. This is a case in which compacts are not binding. Civil liberty is, in this respect, on the same footing with religious liberty. As no people can lawfully surrender their religious liberty by giving up their right of judging for themselves in religion, or by allowing any human beings to prescribe to them what faith they shall embrace, or what mode of worship they shall practise, so neither can any civil societies lawfully surrender their civil liberty by giving up to any extraneous jurisdiction their power of legislating for themselves and disposing their property.[22]:78–79

text:
Price raised a furor of opposition so in 1777 he wrote another tract that clarified his position and again restated the de facto basis for the argument that the "liberty of men as agents is that power of self-determination which all agents, as such, possess."[23]
In Intellectual Origins of American Radicalism, Staughton Lynd pulled together these themes and related them to the slavery debate:

text: Then it turned out to make considerable difference whether one said slavery was wrong because every man has a natural right to the possession of his own body, or because every man has a natural right freely to determine his own destiny. The first kind of right was alienable: thus Locke neatly derived slavery from capture in war, whereby a man forfeited his labor to the conqueror who might lawfully have killed him; and thus Dred Scott was judged permanently to have given up his freedom. But the second kind of right, what Price called "that power of self-determination which all agents, as such, possess," was inalienable as long man remained man. Like the mind's quest for religious truth from which it was derived, self-determination was not a claim to ownership which might be both acquired and surrendered, but an inextricable aspect of the activity of being human.[24]

text: Meanwhile, in America, Thomas Jefferson "took his division of rights into alienable and unalienable from Hutcheson, who made the distinction popular and important",[25] and in the 1776 United States Declaration of Independence, famously condensed this to:

text: We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights...

text: In the 19th century, the movement to abolish slavery seized this passage as a statement of constitutional principle, although the U.S. constitution recognized and protected slavery. As a lawyer, future Chief Justice Salmon P. Chase argued before the Supreme Court in the case of John Van Zandt, who had been charged with violating the Fugitive Slave Act, that:

text: The law of the Creator, which invests every human being with an inalienable title to freedom, cannot be repealed by any interior law which asserts that man is property.

text: The concept of inalienable rights was criticized by Jeremy Bentham and Edmund Burke as groundless. Bentham and Burke, writing in 18th century Britain, claimed that rights arise from the actions of government, or evolve from tradition, and that neither of these can provide anything inalienable. (See Bentham's "Critique of the Doctrine of Inalienable, Natural Rights", and Burke's Reflections on the Revolution in France). Presaging the shift in thinking in the 19th century, Bentham famously dismissed the idea of natural rights as "nonsense on stilts". By way of contrast to the views of British nationals Burke and Bentham, the leading American revolutionary scholar James Wilson condemned Burke's view as "tyranny."[26]

text:
The signers of the Declaration of Independence deemed it a "self-evident truth" that all men "are endowed by their Creator with certain unalienable Rights".
In The Social Contract, Jean-Jacques Rousseau claims that the existence of inalienable rights is unnecessary for the existence of a constitution or a set of laws and rights. This idea of a social contract – that rights and responsibilities are derived from a consensual contract between the government and the people – is the most widely recognized alternative.

text: One criticism of natural rights theory is that one cannot draw norms from facts.[27] This objection is variously expressed as the is-ought problem, the naturalistic fallacy, or the appeal to nature. G.E. Moore, for example, said that ethical naturalism falls prey to the naturalistic fallacy.[citation needed] Some defenders of natural rights theory, however, counter that the term "natural" in "natural rights" is contrasted with "artificial" rather than referring to nature. John Finnis, for example, contends that natural law and natural rights are derived from self-evident principles, not from speculative principles or from facts.[27]

text: There is also debate as to whether all rights are either natural or legal. Fourth president of the United States James Madison, while representing Virginia in the House of Representatives, believed that there are rights, such as trial by jury, that are social rights, arising neither from natural law nor from positive law (which are the basis of natural and legal rights respectively) but from the social contract from which a government derives its authority.[28]

text: Thomas Hobbes[edit]

text: Thomas Hobbes (1588–1679) included a discussion of natural rights in his moral and political philosophy. Hobbes' conception of natural rights extended from his conception of man in a "state of nature". Thus he argued that the essential natural (human) right was "to use his own power, as he will himself, for the preservation of his own Nature; that is to say, of his own Life; and consequently, of doing any thing, which in his own judgement, and Reason, he shall conceive to be the aptest means thereunto." (Leviathan. 1, XIV)

text: Hobbes sharply distinguished this natural "liberty", from natural "laws", described generally as "a precept, or general rule, found out by reason, by which a man is forbidden to do, that, which is destructive of his life, or taketh away the means of preserving his life; and to omit, that, by which he thinketh it may best be preserved." (Leviathan. 1, XIV)

text: In his natural state, according to Hobbes, man's life consisted entirely of liberties and not at all of laws – "It followeth, that in such a condition, every man has the right to every thing; even to one another's body. And therefore, as long as this natural Right of every man to every thing endureth, there can be no security to any man... of living out the time, which Nature ordinarily allow men to live." (Leviathan. 1, XIV)

text: This would lead inevitably to a situation known as the "war of all against all", in which human beings kill, steal and enslave others in order to stay alive, and due to their natural lust for "Gain", "Safety" and "Reputation". Hobbes reasoned that this world of chaos created by unlimited rights was highly undesirable, since it would cause human life to be "solitary, poor, nasty, brutish, and short". As such, if humans wish to live peacefully they must give up most of their natural rights and create moral obligations in order to establish political and civil society. This is one of the earliest formulations of the theory of government known as the social contract.

text: Hobbes objected to the attempt to derive rights from "natural law," arguing that law ("lex") and right ("jus") though often confused, signify opposites, with law referring to obligations, while rights refer to the absence of obligations. Since by our (human) nature, we seek to maximize our well being, rights are prior to law, natural or institutional, and people will not follow the laws of nature without first being subjected to a sovereign power, without which all ideas of right and wrong are meaningless – "Therefore before the names of Just and Unjust can have place, there must be some coercive Power, to compel men equally to the performance of their Covenants..., to make good that Propriety, which by mutual contract men acquire, in recompense of the universal Right they abandon: and such power there is none before the erection of the Commonwealth." (Leviathan. 1, XV)

text: This marked an important departure from medieval natural law theories which gave precedence to obligations over rights.

text: John Locke[edit]

text: John Locke (1632 – 1704) was another prominent Western philosopher who conceptualized rights as natural and inalienable. Like Hobbes, Locke believed in a natural right to life, liberty, and property. It was once conventional wisdom that Locke greatly influenced the American Revolutionary War with his writings of natural rights, but this claim has been the subject of protracted dispute in recent decades. For example, the historian Ray Forrest Harvey declared that Jefferson and Locke were at "two opposite poles" in their political philosophy, as evidenced by Jefferson’s use in the Declaration of Independence of the phrase "pursuit of happiness" instead of "property."[29] More recently, the eminent[30] legal historian John Phillip Reid has deplored contemporary scholars’ "misplaced emphasis on John Locke," arguing that American revolutionary leaders saw Locke as a commentator on established constitutional principles.[31][32] Thomas Pangle has defended Locke's influence on the Founding, claiming that historians who argue to the contrary either misrepresent the classical republican alternative to which they say the revolutionary leaders adhered, do not understand Locke, or point to someone else who was decisively influenced by Locke.[33] This position has also been sustained by Michael Zuckert.[34][35][36]

text: According to Locke there are three natural rights:

text:
Life: everyone is entitled to live.[37]
Liberty: everyone is entitled to do anything they want to so long as it doesn't conflict with the first right.
Estate: everyone is entitled to own all they create or gain through gift or trade so long as it doesn't conflict with the first two rights.

tag: ul

text: In developing his concept of natural rights, Locke was influenced by reports of society among Native Americans, whom he regarded as "natural peoples" who lived in a state of liberty and "near prefect freedom", but not license.[38]  It also informed his conception of social contract.

text: The social contract is an agreement between members of a country to live within a shared system of laws. Specific forms of government are the result of the decisions made by these persons acting in their collective capacity. Government is instituted to make laws that protect these three natural rights. If a government does not properly protect these rights, it can be overthrown.

text: Thomas Paine[edit]

text: Thomas Paine (1731–1809) further elaborated on natural rights in his influential work Rights of Man (1791), emphasizing that rights cannot be granted by any charter because this would legally imply they can also be revoked and under such circumstances they would be reduced to privileges:

text: It is a perversion of terms to say that a charter gives rights. It operates by a contrary effect – that of taking rights away. Rights are inherently in all the inhabitants; but charters, by annulling those rights, in the majority, leave the right, by exclusion, in the hands of a few. … They...consequently are instruments of injustice.

text: The fact therefore must be that the individuals themselves, each in his own personal and sovereign right, entered into a compact with each other to produce a government: and this is the only mode in which governments have a right to arise, and the only principle on which they have a right to exist.

text: American individualist anarchists[edit]

text: While at first American individualist anarchists adhered to natural rights positions, later in this era led by Benjamin Tucker, some abandoned natural rights positions and converted to Max Stirner's Egoist anarchism. Rejecting the idea of moral rights, Tucker said there were only two rights: "the right of might" and "the right of contract".[citation needed] He also said, after converting to Egoist individualism, "In times past... it was my habit to talk glibly of the right of man to land. It was a bad habit, and I long ago sloughed it off.... Man's only right to land is his might over it."[39]

text: According to Wendy McElroy:

text: In adopting Stirnerite egoism (1886), Tucker rejected natural rights which had long been considered the foundation of libertarianism. This rejection galvanized the movement into fierce debates, with the natural rights proponents accusing the egoists of destroying libertarianism itself. So bitter was the conflict that a number of natural rights proponents withdrew from the pages of Liberty in protest even though they had hitherto been among its frequent contributors. Thereafter, Liberty championed egoism although its general content did not change significantly.[40]

text: Several periodicals were "undoubtedly influenced by Liberty's presentation of egoism, including I published by C.L. Swartz, edited by W.E. Gordak and J.W. Lloyd (all associates of Liberty); The Ego and The Egoist, both of which were edited by Edward H. Fulton. Among the egoist papers that Tucker followed were the German Der Eigene, edited by Adolf Brand, and The Eagle and The Serpent, issued from London. The latter, the most prominent English-language egoist journal, was published from 1898 to 1900 with the subtitle 'A Journal of Egoistic Philosophy and Sociology'".[40] Among those American anarchists who adhered to egoism include Benjamin Tucker, John Beverley Robinson, Steven T. Byington, Hutchins Hapgood, James L. Walker, Victor Yarros and E.H. Fulton.[40]

text: Contemporary[edit]

text: Many documents now echo the phrase used in the United States Declaration of Independence. The preamble to the 1948 United Nations Universal Declaration of Human Rights asserts that rights are inalienable: "recognition of the inherent dignity and of the equal and inalienable rights of all members of the human family is the foundation of freedom, justice and peace in the world." Article 1, § 1 of the California Constitution recognizes inalienable rights, and articulated some (not all) of those rights as "defending life and liberty, acquiring, possessing, and protecting property, and pursuing and obtaining safety, happiness, and privacy." However, there is still much dispute over which "rights" are truly natural rights and which are not, and the concept of natural or inalienable rights is still controversial to some.

text: Erich Fromm argued that some powers over human beings could be wielded only by God, and that if there were no God, no human beings could wield these powers.[41]

text: Contemporary political philosophies continuing the classical liberal tradition of natural rights include libertarianism, anarcho-capitalism and Objectivism, and include amongst their canon the works of authors such as Robert Nozick, Ludwig von Mises, Ayn Rand,[42] and Murray Rothbard.[43] A libertarian view of inalienable rights is laid out in Morris and Linda Tannehill's The Market for Liberty, which claims that a man has a right to ownership over his life and therefore also his property, because he has invested time (i.e. part of his life) in it and thereby made it an extension of his life. However, if he initiates force against and to the detriment of another man, he alienates himself from the right to that part of his life which is required to pay his debt: "Rights are not inalienable, but only the possessor of a right can alienate himself from that right – no one else can take a man's rights from him."[44]

text: Various definitions of inalienability include non-relinquishability, non-salability, and non-transferability.[45] This concept has been recognized by libertarians as being central to the question of voluntary slavery, which Murray Rothbard dismissed as illegitimate and even self-contradictory.[46] Stephan Kinsella argues that "viewing rights as alienable is perfectly consistent with – indeed, implied by – the libertarian non-aggression principle. Under this principle, only the initiation of force is prohibited; defensive, restitutive, or retaliatory force is not."[47]

text: Various philosophers have created different lists of rights they consider to be natural. Proponents of natural rights, in particular Hesselberg and Rothbard, have responded that reason can be applied to separate truly axiomatic rights from supposed rights, stating that any principle that requires itself to be disproved is an axiom. Critics have pointed to the lack of agreement between the proponents as evidence for the claim that the idea of natural rights is merely a political tool.

text: Hugh Gibbons has proposed a descriptive argument based on human biology. His contention is that Human Beings were other-regarding as a matter of necessity, in order to avoid the costs of conflict. Over time they developed expectations that individuals would act in certain ways which were then prescribed by society (duties of care etc.) and that eventually crystallized into actionable rights.[48]


document_title: John Tucker Must Die

question_text: who plays kate mom in john tucker must die

text: John Tucker Must Die

text: Plot[edit]

text: The movie begins with Kate (Brittany Snow) discussing her mother Lori's (Jenny McCarthy) series of bad relationships which always causes them to move to a new town. She and her mother move to a suburb of Portland, Oregon and Kate gets a job as a waitress. While at work, she sees popular local boy John Tucker (Jesse Metcalfe) on dates with three different girls: Carrie (Arielle Kebbel), a chronic overachiever; Heather (Ashanti), who is head cheerleader; and Beth (Sophia Bush) a promiscuous and liberal vegan activist. Kate learns from a co-worker that he dates girls from different cliques at his school so that they never interact and convinces the girls he dates to keep their relationships secret.

text: One day in gym class, Kate, Carrie, Heather and Beth end up on the same team for a volleyball game. During the game, Carrie brags about being with John Tucker, and the girls learn about his scheme. Carrie, Heather and Beth begin fighting. Kate tries to intervene, only to get all four of them sent to detention for the fight. Later that evening, the girls enlist Kate's help in seeking revenge against John Tucker. Meanwhile, Kate becomes friends with John's brother Scott (Penn Badgley), better known as "The Other Tucker". The girls' initial attempts to undo John (making people believe he has genital herpes and with Heather undermining his confidence by pranking him with estrogen, causing him to become weak and say strange things about himself) initially work in humiliating John, but eventually backfire as John manages to use them to his advantage. After he breaks up with all three girls, they agree that breaking his heart is the ideal revenge. They then enlist Kate to be the heartbreaker.

text: Kate joins the cheerleading team in order to get John's attention, and the girls give her advice on how to act around John and spy on the dates using surveillance equipment. Kate also gets a make over and John immediately notices Kate and tries to win her attention, but Kate dismisses him. With his ego insulted that there is a girl he cannot charm, John becomes determined to get her.

text: Kate and John eventually go on a series of dates, the first of which is a bonfire at the beach. Kate is unprepared after John asks to take her home and Beth intervenes to teach her how to kiss. However, John arrives, forcing Beth to hide in the back of his Land Rover.

text: At her house, Kate manages to buy Beth time to escape by kissing John, with Beth's skirt being ruined in the process after getting it caught in the car's door. The plan seems to be working as John relentlessly chases after Kate, even going to her house in the middle of the night while talking to her on the phone at the same time. (Kate tells him that she needs to call the police because there is a stalker outside the house, and John drives away in panic, hitting a trash can.)

text: The next date is a romantic boat ride, and Kate and John have a good time together. Beth later notices that Kate is starting to fall for John. To counteract this, Carrie tapes John bragging to his friends in the locker room, saying he'll be scoring "more than baskets" at the away game, and shows the tape to Kate in order to get her to snap out of it.

text: The girls try another plan to embarrass John Tucker at a hotel on the night of the away game. Kate seduces John on a video-chat and tells him to put on a woman's thong and climb out of his room and into hers. He is misled and climbs into a teacher's room and ultimately becomes the laughingstock of the school. John again uses this to his advantage, starting a fashion trend that helps the boys in the basketball team play better. Meanwhile, Kate's mother and Scott both discover the plan and lament the change in Kate's behavior.

text: Afterward, Kate tells John that she heard about what he said in the locker room about her. John makes amends by giving her his watch and asking her to be his girlfriend. Kate tells Heather, Carrie and Beth that she wants to be out of the plan, as whether they are dating or plotting to destroy John Tucker, it is still all about him. At John's birthday party, the tape the girls made of John's destruction is played, and Kate reveals the entire plot as John stares in disbelief, seemingly hurt.

text: Heather, Beth, and Carrie defend her after a guest throws his drink at Kate. Still, John Tucker becomes unfazed, and the party devolves into a cake fight. A few days later, John and Kate agree to be friends, and John resolves to be honest. Scott, happy that Kate confessed, becomes her lab partner again, and it is hinted the two will begin dating. Kate is now good friends with Beth, Carrie, and Heather. Kate finishes saying, "as for the girl who made John Tucker fall in love, well, she's a legend". After the credits, Kate warns viewers at home wanting to try this that destroying a man has consequences, and the camera pans to several male teachers bending over to grab some papers, all wearing thongs.

text: Cast[edit]

text:
Jesse Metcalfe as John Tucker
Brittany Snow as Kate Spencer
Ashanti as Heather Straham
Sophia Bush as Beth McIntyre
Arielle Kebbel as Carrie Schaeffer
Penn Badgley as Scott Tucker
Jenny McCarthy as Lori Spencer
Fatso-Fasano as Tommy
Patricia Drake as Coach Williams
Taylor Kitsch as Justin
Kevin McNulty as Basketball Coach
Amber Borycki as Jennifer
Meghan Ory as Jill
Samantha McLeod as Holly
Nicole LaPlaca as Molly
Chelan Simmons as Crying Waitress
Amanda Crew as Hallway girl
Devon Weigel as Volleyball girl
Alf Humphreys as Detention Teacher
Fulvio Cecere as Chemistry Teacher
Connor Widdows as Freshman at Beach
People in Planes as themselves

text: Reception[edit]

text: Box office[edit]

text: In its opening weekend, the film grossed a total of US$14,276,534, ranking third in the U.S. box office results for that weekend. As of November 2, the film grossed $41.9 million in the United States and Canada. The film made a total of $68,824,526 worldwide.[2]

text: Critical response[edit]

text: on Rotten Tomatoes the film has an approval rating of 26% based on 93 reviews, with an average rating of 4.3/10. The site's critical consensus reads, "This derivative teen comedy tries to go for cute when it could use more bite."[3] On Metacritic, which assigns a weighted mean rating to reviews, the film has an average score of 41 out of 100, based on 27 critics, indicating "mixed or average reviews".[4] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[5]

text: Angel Cohn from TV Guide gave the film a three stars rating out of four, making the usual criticism of teen movies that the 19 to 27 year old age range of the six young leads meant that "not one member of this teen picture's cast appears remotely young enough to be in high school", though adding that "veteran director Betty Thomas' light revenge comedy is surprisingly entertaining, if less than original." Cohn concluded, "Teen comedies are notoriously predictable, and screenwriter Jeff Lowell isn't out to rock the genre boat, but his smartly written dialogue and the infectious charm of the cast, particularly Snow and Metcalfe, add up to a winning combination."[6]

text: Jeannette Catsoulis of the New York Times wrote that the film is "unforgivably clueless about teen culture" and "can't even sustain the courage of its girl-power convictions." Catsoulis was also critical of Metcalfe's "unconvincing" performance, writing that he musters "fewer expressions than a Botox infomercial."[7] Michael Medved gave John Tucker Must Die two stars out of four, calling it "slick, stupid and slightly sleazy," and that at the half-way mark, the plot collapses. He added that Jenny McCarthy, in a supporting role, "...is notably better than the rest of the cast."[citation needed] James Berardinelli of ReelViews also disliked the film. He gave it 1.5 stars out of 4, saying "The gulf is vast between what the studio wants us to think John Tucker Must Die is and what it really is. The marketers and publicists would have us believe this is a dark, edgy teen comedy about a band of two-timed girls taking revenge on the school's biggest hunk. Unfortunately, Betty Thomas' film is neither dark nor edgy (although it occasionally tries masquerading in those categories), nor is it particularly funny." He goes on to mention "The movie may be able to bamboozle a few teen female fans into multiplexes, but it's hard to imagine any of them – even those who swoon at the sight of Jesse Metcalfe – labeling this as better than forgettable. And for anyone outside that demographic unfortunate enough to endure John Tucker Must Die, the memory will be too painful to fade quickly."[8]

text: Jenny McCarthy's performance in the film earned her a Razzie Award nomination for Worst Supporting Actress.

text: Home media[edit]

text: The DVD was released on November 14, 2006.[9]


document_title: Wonder Woman (TV series)

question_text: who played wonder woman's mother in the tv series

question_tokens: who played wonder woman 's mother in the tv series

text: Wonder Woman (TV series)

text: Production history[edit]

text: Wonder Woman refers to both a 1974 television film and a 1975-1979 television series based on the DC Comics character of the same name. The 1974 television film called Wonder Woman directed by Vincent McEveety and starring Cathy Lee Crosby, was a pilot for an intended television series being considered by ABC. Ratings were described as "respectable but not exactly wondrous," and ABC did not pick up the pilot.[3] Instead, Warner Brothers and ABC developed the 1975 television series, Wonder Woman that fit the more traditional presentation of the character as created by William Moulton Marston, turning away from the 1968–72 era that had influenced the pilot. Wonder Woman, which premiered in 1975, starred Lynda Carter and eventually led to the full series. Crosby would later claim that she was offered the chance to reprise the role in that series.[4]

text: Cast and characters[edit]

text: Lynda Carter as Diana Prince / Wonder Woman

text: Beatrice Colen as Etta Candy (season 1)

text: Richard Eastham as General Philip Blankenship (season 1)

text: Lyle Waggoner as Steve Trevor

text: Debra Winger as Drusilla / Wonder Girl

text: Notable guest stars[edit]

text:
Christine Belford as Baroness Von Gunther
Bradford Dillman as Arthur Deal III/Thor
Lynda Day George as Fausta Grables
Cloris Leachman as Queen Hippolyta

text: Plot[edit]

text: Pilot[edit]

text: Though not successful at the first attempt, ABC still felt a Wonder Woman series had potential, and within a year another pilot was in production. Keen to make a distinction from the last pilot, producers gave the pilot the rather paradoxical title The New Original Wonder Woman. Scripting duties were given to Stanley Ralph Ross, who was instructed to be more faithful to the comic book and to create a subtle "high comedy." Ross set the pilot in World War II, the era in which the original comic book began.

text: After an intensive talent search, Lynda Carter, who had had a handful of minor acting roles and had been the 1972 Miss World USA and a Bob Hope USO cast member, was chosen for the lead role. For the role of Steve Trevor, the producers chose Lyle Waggoner, despite his dark brown, almost-black, hair not matching the comic's blond Trevor, who at the time was better known as a comedic actor after several years co-starring in The Carol Burnett Show. He was also known to Ross as having been one of the leading candidates to play Batman a decade earlier, but instead Adam West was signed. Waggoner was also considered a pin-up hunk, having done a semi-nude pictorial in the first issue of Playgirl.[5]

text: Although the pilot followed the original comic book closely, in particular the aspect of Wonder Woman joining the military under the name Diana Prince, a number of elements were dropped. It mainly omitted Diana's origin, including her birth on Paradise Island. The comic book Diana obtains the credentials of a look-alike nurse. Although the pilot shows Diana briefly as a nurse at one point, Diana takes on the identity of a Navy Yeoman Petty Officer First Class.

text: One change, which was later to become synonymous with the show, was the transformation of Diana Prince into Wonder Woman by spinning. During the filming of the pilot, producers were trying to figure out a way to show how Diana Prince became Wonder Woman, when Carter suggested that she do a spin.[6]

text: Unlike the earlier pilot, the comic-book origins of the character were emphasized by the retention of the character's traditional uniform (the design of which was interpreted and executed by Donald Lee Feld, credited as "Donfeld") with the original setting and through the use of comic book elements. The series's title sequence was animated in the form of a series of comic book panels featuring Wonder Woman performing a variety of heroic feats. Within the show, location and exposition were handled through comic book-style text panels. Transitions between scenes and commercial breaks were marked by animated starburst sequences.

text: Synopsis[edit]

text: In early 1942, during the Second World War, American pilot Major Steve Trevor (Waggoner) bails out during an air battle over the Bermuda Triangle, location of Paradise Island.[7] The island is home to the Amazons: beautiful, ageless women with great strength, agility, and intelligence. Amazon princess Diana (Carter) rescues the handsome Trevor and helps nurse him back to health. Her mother, the Amazon queen (Cloris Leachman; succeeded by Carolyn Jones and Beatrice Straight in later episodes), decrees that Olympic-style games shall be held to select one Amazon to return Trevor back to America. But she forbids her own daughter Diana, the princess, to participate. Diana states that since she is not allowed to participate, she does not want to be present for the games and will take a retreat to the other side of the island. The games are held with participants wearing masks and numbers, shown as Roman numerals in triangles on white sleeveless short tunic-dresses. Among the contestants is a blonde Amazon. During the events, the blonde Amazon shows exceptional skills and she ties for first with another Amazon. To break the deadlock, the "bullets and bracelets" event is decided as the tiebreaker, wherein each of the women takes turns shooting at the other; the one being shot at must deflect the bullets with her bulletproof bracelets. The blond woman wins the event, superficially injuring her opponent's arm. When she is pronounced the winner, she removes her mask and wig and reveals that she is Diana. Her mother, though initially shocked, relents and allows her to go to America.

text: Diana's uniform as Wonder Woman, designed by Queen Hippolyta, features emblems of America, the land to which she will be returning Steve Trevor. A golden belt will be the source of her strength and power while away from Paradise Island. She has her bullet-deflecting bracelets and also receives a golden lasso which is unbreakable and forces people to obey and tell the truth when bound with it. As shown later in flashback, Hippolyta also teaches Diana how to transform her clothes magically into the uniform.

text: Diana, as Wonder Woman, flies to Washington, D.C. in an invisible plane. After dropping Trevor off at a hospital, the heroine stumbles upon a bank robbery, which she stops. A theatrical agent who sees her in action offers to help make her bullets and bracelets act a stage attraction. Diana is hesitant, but needing money in this new society, she agrees.

text: Meanwhile, Trevor's civilian secretary Marcia (Stella Stevens) is a double agent for the Nazi Fifth Columnists. She seeks to aid top spies in killing Trevor and opposing this new threat, Wonder Woman. Her first attempt is arranging for an accomplice to fire a machine gun at Wonder Woman during her stage act. Later, as spy activities increase, Trevor leaves the hospital but gets in a fight and is captured, prompting his "nurse" Diana to come to his rescue. Wonder Woman defeats Marcia in an extended fight sequence in the War Department. Having defeated Marcia, Wonder Woman thwarts a Nazi pilot who had plans to bomb the Brooklyn Navy Yard by using her invisible plane, and she rescues Trevor. With Marcia and the spy ring defeated, the film closes as Trevor and Brigadier General Blankenship talk about Trevor's new secretary whom Blankenship selected not only for her outstanding clerical test scores, but her decidedly plain appearance in contrast to Marcia: the bespectacled Yeoman First Class Diana Prince USNR(WR), Wonder Woman in disguise.

text: Season 1[edit]

text: The pilot film aired on November 7, 1975, was a ratings success, and ABC quickly authorized the production of two one-hour specials which aired in April 1976. These three productions would later be considered part of the show's first season. The episodes scored strong ratings, and ABC ordered an additional 11 episodes for the new 1976–77 TV season. The network began airing the episodes every few weeks apart at the beginning of the TV season in September 1976. After mid-December 1976, episodes aired on a weekly basis until mid-February 1977.

text: A few cast changes were made between the specials and the series. Former Happy Days recurring actress Beatrice Colen joined the cast as Corporal Etta Candy WAAC, General Blankenship's secretary, thereby providing YN1 Prince with a subordinate. Three episodes featured Debra Winger as Diana's younger sister, Drusilla, a.k.a. Wonder Girl, in one of her earliest acting roles.

text: One of the most memorable aspects of the show that was developed during the first season was the transformation sequence that changed Diana Prince into her superheroine alter ego. The sequence in the original specials employed a slow fade between two synchronized shots, both filmed with an overcranked camera to create a slow motion effect. A twirling Diana Prince's hair would fall loose as the shot transitioned to a twirling Wonder Woman holding her Diana clothes, which she would stow nearby in a closet or locker. (How she changes back to Diana is never shown, although presumably she must return to the location to retrieve her clothes.) To ensure both segments transitioned smoothly the camera was locked off (secured in place) while Carter's clothing, make-up, and hair was altered between identities, a process Carter said on a DVD commentary typically took about 45 minutes. The spinning transformation was later incorporated into the comics and into animated appearances such as Justice League Unlimited. (Prior to the series in which Carter starred, the transformation was depicted in the comics by way of Diana spinning her magic lasso around her body, with the lasso changing her clothes, or by simply changing at super-human speed.)

text: The iconic explosion overlay most associated with the TV show was introduced after the third episode to mask the cut point between the Diana and Wonder Woman clips, meaning they no longer needed to be perfectly aligned. This allowed them to be shot without a locked off camera at more convenient points in the production schedule, when Carter was already in the appropriate costume. The slow motion aspect of the sequence was dropped, and Wonder Woman was no longer left holding her Diana Prince clothes. A thunderclap sound effect accompanied the explosion effect; both the explosion flash and its sound are apparently non-diegetic (only heard by the audience, not within the narrative world), as demonstrated by Diana changing unnoticed in a dormitory of sleeping women, in adjoining office spaces, etc. Generally the audience never sees Wonder Woman change back to Diana Prince, although there is one occasion when it is almost shown: Wonder Woman reveals her secret identity to her little sister Drusilla by slowly turning on the spot, but the actual moment of transformation is masked by a cut-away reaction shot of Drusilla (no thunderclap was heard.)

text: During season one, Wonder Woman has the ability to impersonate anyone's voice, which came in handy over the telephone. She did not use this ability during seasons two and three.

text: The series began at a time when violence on television was under intense scrutiny. As a result, Wonder Woman was less frequently seen punching or kicking people the way she did in the early episodes. She would usually be shown pushing and throwing enemies or using creativity to get them to somehow knock themselves out (such as jumping high into the air to cause pursuers to collide). Despite the wartime setting, she almost never resorted to deadly force. The only exception occurs in the pilot episode when she sinks a German U-boat by crashing an airplane into it, presumably killing everyone aboard. Wonder Woman herself was occasionally overpowered by chloroform and poison gas, but she always came back in the second half of the show to save the day. In some episodes, her enemies learn the secret of her superhuman strength – her magic belt – and temporarily steal it, leaving her with average human strength. Her indestructible lasso and bracelets were stolen or taken away in one episode (leaving her defenseless against gunfire), but Wonder Woman recovered them by the end of the episode. (In the comics, Wonder Woman's bracelets were welded onto her forearms, and she would lose most of her strength if men were to join them forcibly with metal.)

text: With the backdrop of World War II, Diana frequently pontificated on the need to preserve the morally supreme ideals of democracy from the threat of Nazis, even in private to her sister. When doing so, she made no attempt to reconcile her democratic sentiments with their Amazonian system of hereditary monarchy, to which Diana herself was heiress apparent. Likewise, in each of the first two one-hour episodes, Diana asserted that the Nazis had no regard for their women, ignoring the vastly lower value which her own people placed upon men. So common were the Nazi and war events that Carter frequently complained about it, explaining: "I yelled when the scripts were bad. Week after week, nothing...would change except the names of the villains. So I made noise. Men don't like dealing with women who make demands."

text: In story, Wonder Woman remained active from 1942 to 1945 and was honored by Franklin D. Roosevelt for her work against Axis attacks.[8]

text: Season 2[edit]

text: Despite good ratings for the series, ABC stalled on picking up the show for a second season. This was because Wonder Woman was a period piece, being set in the 1940s, which made the set, clothing, automobiles, etc. more expensive to produce. While ABC had not yet committed, the show's production company Warner Bros. listened to an offer from rival network CBS. While ABC continued to make up its mind, CBS agreed to pick up the series on condition that the setting be changed from World War II (the 1940s) to the modern day (the 1970s). Changing the title to The New Adventures of Wonder Woman, the series was moved away from international intrigue to a more conventional police/detective action-type show that was more common in the 1970s.

text: Princess Diana, aging slowly because of her Amazon nature, returns from Paradise Island after a 35-year absence (looking virtually the same) to become an agent with the Inter-Agency Defense Command (IADC), a CIA / FBI-type organization fighting crime, criminal organizations and the occasional alien invasion.

text: Strictly speaking, Lynda Carter was the only cast member whose character continued into the second and third seasons (aside from a brief cameo appearance of Major Trevor (Lyle Waggoner) in Diana's flashback when she first encountered his son and a framed photograph of him seen on the younger Trevor's office credenza in season 3). The original Steve Trevor was revealed to have risen to the rank of major general and died in the 35-year interim between the first and second seasons, although Lyle Waggoner remained with the series, portraying Trevor's son, Steve Jr.

text: As a child, Steve Jr. had heard his late father's stories of adventures with Wonder Woman during World War II.[8] It is essentially confirmed in the second season première that his father never introduced him to Wonder Woman and that he had never even seen her photographed. It is similarly implied that he and YN1 Diana Prince were unaware of each other. Diana is taken aback by the younger Steve's existence, implying that his father had never spoken of the boy to either Wonder Woman or YN1 Prince. This was particularly striking when she spoke to Steve Jr. about knowing his father well, from the j-shaped burn scar on his right shoulder, to the 20mm shell casing that he used as a paperweight.

text: Despite (or perhaps because of) the fact that Wonder Woman had fallen in love with the first Steve Trevor, the producers chose to drop any suggestion that Steve Jr. and Wonder Woman were anything more than good friends. Indeed, when an impostor posing as Steve Jr. attempted to seduce Diana, she made it quite clear that she had no sexual interest in him. Executive producer Douglas S. Cramer noted the difficulties in maintaining long-term romantic tension between leads, because the resolution of that romantic tension often results in the cancellation of the series.[9]

text: Since Waggoner returned in a technically new role, Diana's mother Hippolyta was the only other first season character to be seen or mentioned, though she was played by a new actress, Beatrice Straight, succeeding Carolyn Jones and Cloris Leachman in the role. The post-war fates of General Phil Blankenship, Etta Candy, and Drusilla / Wonder Girl were never revealed.

text: Diana, Steve and Joe Atkinson (Norman Burton), a weathered IADC agent, received their orders from a "Charlie's Angels-like" character who is heard but never seen. Diana and Steve would go out and work the field while Joe assisted from the office. The Atkinson character was dropped after the ninth episode of this season, and Steve was given a promotion, becoming IADC Director, and Diana's boss, in the process. This promotion for Steve Trevor meant that Lyle Waggoner was seen less in subsequent episodes for the remainder of the series' run. In this season, the computer IRAC (Information Retrieval Associative Computer), more informally known as "Ira," was introduced: its first appearance is in season 2, episode 1, where Diana introduces her Diana Prince identity into its records, over IRAC's protests. Ira was the IADC's super-intelligent computer, who deduces that Diana Prince is really Wonder Woman, although he never shares this information with anyone, except Diana herself. Saundra Sharp joined the cast as Eve, Steve's assistant (the job held by Diana at the start of the season). Towards the end of the season, in the episode "IRAC is Missing," a small mobile robot called Rover was added for comic relief. An offshoot of IRAC who performs duties such as delivering coffee and sorting mail, Rover speaks with a high-pitched voice, occasionally makes "Beep Beep" sounds and, like IRAC, is aware that Wonder Woman's secret identity is Diana Prince.

text: The theme song was re-written to remove references to the Axis, reflecting the series' new present-day setting, and the action depicted in the opening's animated comic book panels was similarly updated. Beginning with the episode "The Man Who Made Volcanoes," the opening title sequence was changed again to an instrumental and more traditional "action scenes" opening. The animated stars used before and after commercial breaks were dropped.

text: The producers of Wonder Woman generally maintained her no-kill policy, although there were exceptions: In the episode "Anschluss '77" she is forced to destroy a clone of Adolf Hitler. Another episode made reference to a villain who was believed drowned following a previous unseen encounter with Diana/Wonder Woman.

text: Unlike in the first season, Wonder Woman's sources of power (magic belt, bracelets, golden lasso) were never removed from her and stolen by villains during the two years the series was set in the 1970s.

text: Other changes in season two included a slight redesign (again by Donald Lee Feld, still credited as "Donfeld") of Wonder Woman's uniform. The bustier was more flexible, featured less gold metal in the eagle wings in favor of red cloth background, and was cut lower to highlight Carter's décolletage and cleavage. The star-spangled bottoms were cut higher in the thighs, with the number of stars reduced, stopping below her hips, and rearranged in a more symmetrical starburst pattern. The bracelets changed from dull silver-grey to bright gold, and were noticeably smaller and thinner. Her tiara, appearing unchanged when on Wonder Woman's head, would flatten to become a boomerang, and its ruby star functioned as a communications link to Paradise Island and her mother the queen.

text: Feld also introduced multiple new variants on Wonder Woman's uniform beginning in season two. She still wore the red-white-and-blue cape for special events or appearances from the first season, but without the skirt. (This variant could be described as Wonder Woman's "full-dress uniform.") A diving uniform was introduced—this consisted of a navy-blue lycra body suit with matching gloves, gold bracelets, flat boots, and a flexible tiara; this was featured whenever aquatic activity was required. The same uniform, with low-heeled boots and a gold helmet, was used to ride motorcycles. At first, Wonder Woman would switch to these newer uniforms by performing an extended spin in which she first changed from her Diana Prince clothes to Wonder Woman's standard uniform, then continued to spin until a second light explosion occurred and she would appear in one of the newer variants. However, this extended spin device was dropped for expediency and Diana was then able to change into any of Wonder Woman's uniforms in a single change.

text: Wonder Woman's invisible plane appeared a couple of times in season two, and not at all in season three. The plane's shape was updated with the change in temporal setting, losing the rounded fuselage and modestly curved wings evocative of a World War II-era pursuit-fighter, in favor of a dart-like, delta winged jet.

text: Season 3[edit]

text: With the beginning of the third season, further changes were made to target the show at a teenage audience. The title theme was re-recorded again to give it a disco beat, the use of the robot 'Rover' was increased for comic effect, and episodes began to revolve around topical subjects like skateboarding, roller coasters and the environment. (Feld also gave Wonder Woman a "skate-boarder's" uniform, which was also capable of use for training in any "extreme sport" in which she participated.) Teenagers or young adults were commonly used as main characters in the plot lines. Eve disappeared from the cast although she is mentioned once or twice. Episodes during this season showed Diana on assignments by herself far more often (particularly outside of Washington DC), and Steve Trevor had become Diana's boss and was seen less.

text: Wonder Woman was also allowed to become a bit more physical in the third season and could now be seen throwing the occasional punch or kicking. The writers also came up with several unusual ways for Diana to execute her spinning transformation, the most notable instances occurring in the episode "Stolen Faces" in which Diana makes the change while falling off a tall building, and the season two episode "The Pied Piper" in which she changes while strapped into a spinning chair.

text: Diana also exhibited other powers, particularly in the episode "The Deadly Dolphin," in which she is shown communicating telepathically with animals (reminiscent of the "mental radio" from the comics, which was never shown on the series) and generating bursts of an unknown form of energy to scare away a killer shark.

text: In the final episode produced, the writers attempted a "relaunch" of sorts by having Diana reassigned to the Los Angeles bureau of IADC with a new supporting cast. Though done in anticipation of a fourth season, the revamp was seen for only a single episode ("The Man Who Could Not Die"), which set up an assortment of new supporting characters. These included Dale Hawthorn, Diana's new IADC boss, Bret Cassiday (Bob Seagren), a genetically enhanced man who was indestructible (the titular character of the episode), as well as a streetwise youngster named T. Burton Phipps III who inexplicably is allowed to hang out at the IADC. Also added to the cast was a chimpanzee who, like Bret, is also indestructible. This episode was actually the last to be produced and should have ended the third season, but was shown out of sequence with the two-parter "The Phantom of the Roller Coaster." These final three episodes aired by themselves in August–September 1979, months after the broadcast of the rest of season three, creating a mini-season, though they remain grouped as part of season three as opposed to being considered an abbreviated fourth season.

text: CBS ultimately decided to move The Incredible Hulk up to the Friday 8:00 hour from 9:00 to introduce the new series The Dukes of Hazzard, but no further episodes of Wonder Woman were produced due to the lack of new cast members for a fourth season and low ratings. After her first musical television special, Lynda gave up the role to focus more on her musical career.[citation needed]

text: Wonder Woman '77 Comic[edit]

text: In October 2014, DC announced an ongoing comic book series set in the Lynda Carter TV series continuity. The comic was written by Marc Andreyko.[10] It was first published as digital chapters on DC Comics' website. Wonder Woman '77 Special #1 was published in May 2015. A second Wonder Woman '77 Special collecting further digital first chapters was published in September 2015.[needs update]. A third special was published in April 2016. Wonder Woman team up with Jamie Sommers in the crossover title Wonder Woman ’77 Meets the Bionic Woman.[11][12] Wonder Woman teams up with Batman in the crossover team up Batman' 66 Meets Wonder Woman '77 writing by both Andreyko and Jeff Parker.[13]

text: Legacy[edit]

text: This portrayal of the character strongly influenced the Wonder Woman comics, most notably the ballerina-style clockwise spinning transformation was incorporated into the comics. The spin has also been used in the animated television programs Super Friends and Justice League Unlimited.[14]

text: Reruns[edit]

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tag: table

text: Reruns of Wonder Woman aired in syndication during the 1980s. It also aired on FX and Sci-Fi Channel in the 1990s and early 2000s.

text: Beginning on December 28, 2013, the show airs Saturday evenings on the classic TV network Me-TV.

text: In the UK, the series has been syndicated on several channels. In 2006, Living broadcast the show every weekend as part of "Hangover TV". As of 2015, the series is shown on The Horror Channel and can also be seen on the MeTV network.

text: Home video releases[edit]

text: Columbia House with Warner Home Video released the series on VHS videotapes through their Wonder Woman: The Collector's Edition series from the late 1990s-early 2000s, which was only available through mail order subscriptions. Each volume contained two episodes. The Season Two episodes "The Pied Piper" and "Flight To Oblivion," however, were not included on the VHS releases.[14]

text: Warner Home Video has released all three seasons of Wonder Woman on DVD in various regions, both separately and in a collected edition.

text:
DVD name
Eps.
Release date
Details

The Complete 1st Season
14
June 29, 2004
All 14 episodes (including the pilot) with commentary by Lynda Carter and executive producer Douglas S. Cramer; new documentary retrospective

The Complete 2nd Season
22
March 1, 2005
21 episodes plus a feature-length season premiere; Bonus documentary: "Revolutionizing a Classic: From Comic Book to Television"

The Complete 3rd Season
24
June 7, 2005
Audio commentary by Carter on "My Teenage Idol is Missing"; featurette: "Wonder Woman: The Ultimate Feminist Icon"; The initial Region 1 release included a bonus DVD containing the first episode of the Captain Marvel television series Shazam!, "The Joy Riders"

The Complete Collection
60
November 6, 2007
Pilot with commentary by Lynda Carter and executive producer Douglas S. Cramer; new documentary retrospective; Bonus documentary: "Revolutionizing a Classic: From Comic Book to Television"; Audio commentary by Carter on "My Teenage Idol is Missing"; featurette: "Wonder Woman: The Ultimate Feminist Icon"

text: The pilot episode is included as a bonus feature on the February 23, 2010 Blu-ray release of Justice League: Crisis on Two Earths.[15]

text: The complete series has been remastered in high definition and transformed to a more modern 16:9 widescreen format. This version is available for purchase on iTunes.

text: Merchandising[edit]

text: Mego Corporation released a line of dolls in 1976 to correspond with the TV series. The boxes originally featured Lynda Carter as Wonder Woman on the front flap. However, in 1977, her image on the box was dropped and the line was revamped with only the Wonder Woman doll being featured and revised.

text: The Mego dolls included Wonder Woman, Diana Prince, Queen Hippolyta, Nubia, and Steve Trevor.[16] The line also included separate fashion outfits for Diana Prince that were released in Canada.[17] Various playsets were also created but were not released for sale.[18]

text: DC Direct (which creates merchandise for DC Comics) released a Wonder Woman statue in 2007 which is based upon the image created by Lynda Carter.

text: In 2015, Hallmark released a Wonder Woman Christmas ornament bearing the likeness of Lynda Carter that also plays the intro to the television theme song.

text: In July 2016, prior to Comic-Con International, the New York Times ran a story about Dynamite Entertainment. In it, best-selling author Andy Mangels was revealed to be writing a prestigious new intercompany crossover mini-series for the company, in conjunction with DC Comics: Wonder Woman '77 Meets The Bionic Woman, bringing together the Lynda Carter television character with Lindsay Wagner's fellow 1970s television super-heroine. The series was released in December 2016.[11]

text: Possible animated film[edit]

text: After the success of Batman: Return of the Caped Crusaders, animated film based on the Batman TV series of the 1960s, Warner Bros. had stated that their executives are considering to make a animated film based on the classic Wonder Woman TV series, with Lynda Carter reprising her role by voicing the character;[19] along with an animated adaptation of the comic series Batman/Teenage Mutant Ninja Turtles.