document_title: War for the Planet of the Apes

question_text: who wins in the war for the planet of the apes

text: War for the Planet of the Apes

text: Plot[edit]

text: Two years after the U.S. military was called to fight off an increasingly intelligent and dangerous tribe of apes, starting a devastating war between the two species, the apes' clan, led by the chimpanzee Caesar, are attacked in the woods by a rogue paramilitary faction known as Alpha-Omega, led by a mysterious Colonel. Alpha-Omega also has in its service apes they call "donkeys" that had previously followed Koba, a maniacal, human-hating bonobo who led a failed coup against Caesar and started the war after leading a vengeful attack against human survivors in San Francisco. During the attack, the Alpha-Omega soldiers are met by heavy ape resistance, and four soldiers, including a "donkey" gorilla named Red, are captured by the apes. Caesar arrives and orders the human soldiers to be released, with a message to the Colonel that he did not start the war and he killed Koba for doing so, and that he desires peace between the humans and apes. Caesar, out of spite, orders that Red is to be imprisoned but he escapes, injuring albino gorilla Winter.

text: Soon after, Caesar's son, Blue Eyes, and his lieutenant Rocket return from a journey to find a safe haven for the apes. They report that they have found a place across the desert that is perfect for the clan. Winter, still frightened from the soldiers' attack, wants to leave immediately, but Caesar does not think they are prepared to leave so soon. That night, a group of Alpha-Omega soldiers, led by the Colonel, infiltrates the apes' home behind a waterfall. The apes discover their presence and kill them all except the Colonel, whom Caeser encounters preparing to escape. Discovering that the Colonel has killed his wife Cornelia along with Blue Eyes, an enraged Caesar lunges at the Colonel but fails to prevent him from escaping out of the waterfall. Upon discovering that Winter has disappeared, Luca, a gorilla and Caesar's secondary lieutenant, believes that he has betrayed them out of cowardice.

text: Leaving his younger son Cornelius in the care of Blue Eyes' mate Lake, Caesar departs to exact revenge on the Colonel for the deaths of his wife and oldest son. He is accompanied by Maurice, a orangutan and Caesar's adviser, Luca, and Rocket, while the other apes head for the desert. During their journey, the apes enter an abandoned village, encounter a soldier, and kill him. Caesar, Maurice, Luca, and Rocket search the dead soldier's home. Maurice discovers the soldier's daughter who is apparently unable to speak. Maurice befriends and adopts the girl, giving her a small rag doll.

text: Along the way, Caesar's party encounters Winter in an Alpha-Omega camp on the beach where he has volunteered to become a "donkey" for the soldiers in return for sparing his life. He tells Caesar's group that the Colonel has departed for a location referred to as the "border." Winter tries to call out to the Alpha-Omega soldiers to save him, but Caesar and the others struggle to keep him quiet. While restraining Winter, Caesar accidentally smothers and kills him. Caesar begins to worry that he is becoming like Koba by killing his fellow apes and seeking revenge. While following the soldiers to the border, they discover some soldiers who have been shot and left for dead. Their examination of a soldier who survived reveals that he, like the girl, cannot speak. At the soldier's urging, Caesar mercifully kills him. Later the group encounters Bad Ape, a reclusive chimpanzee hermit who lived in the Sierra Zoo before the Simian Flu pandemic. Bad Ape reveals that the human soldiers are encamped at the border and hesitantly agrees to lead them there.

text: When the group arrives at the border, they see hundreds of apes held captive inside a former quarantine facility. While getting a closer look, Luca is killed protecting Caesar from an Alpha-Omega patrol, angering Caesar and causing him to proceed alone. Caesar discovers the rest of his ape clan has been captured, and are being forced to build a wall with no food or water; he is captured by Red. The Colonel reveals to Caesar that the Simian Flu virus has mutated and now causes humans who survived the original strain to become mute, which he believes is a sign of devolution to a primitive state. Caesar deduces that the Colonel is barricading himself in the facility to fend off remnants of the U.S. Army from the north who are coming to execute him because he favors massacring any infected humans, including his own son, to stop the spread of the virus. Caesar is commended by the Colonel for his intelligence, and the Colonel explains that he is fighting a "holy war" for humanity's survival.

text: While Caesar is tortured with starvation, the mute girl, whom Maurice names Nova, sneaks into the facility to give Caesar food, water, and her rag doll (originally given to her by Maurice). To prevent Nova from being discovered, Rocket allows himself to be captured as a diversion. The next day, the Colonel comes to see if Caesar is still alive, and confiscates Nova's doll upon discovering it. Together Caesar and Rocket are able to work out a means of escape via an underground tunnel that leads out of the facility. Maurice and Bad Ape use the tunnel to rescue the apes, and Caesar orders the others to escape while he goes to confront the Colonel as the facility comes under attack by the northern army. Caesar reaches the Colonel and prepares to kill him, but discovers that Nova's doll has infected him with the mutated virus, rendering him unable to speak. Caesar spares the Colonel and watches as he uses his pistol to commit suicide, rather than regressing to a primitive state.

text: During the battle between Alpha-Omega and the northern army, the escaping apes come under fire from Alpha-Omega. Caesar attempts to attack Alpha-Omega forces from behind, but is shot with a crossbow by Preacher, one of the Alpha-Omega soldiers he had previously set free. In an act of redemption, Red saves Caesar's life by killing Preacher with a grenade launcher, and gets shot by an Alpha-Omega superior as a result. Caesar blows up a large fuel tank, causing a cascade of explosions which destroys the Alpha-Omega facility, allowing the northern army to win the battle. However, the army is subsequently devastated by an avalanche, which Caesar and the other apes, carrying Nova, survive by climbing nearby trees.

text: The remaining apes depart the facility and cross the desert to find an oasis. While the other apes joyously celebrate their new home, Maurice discovers Caesar's wound. Maurice then speaks, telling the dying Caesar that Cornelius will know who his father was, what he stood for and what he did to protect the apes. Caesar then slowly and silently succumbs to his wounds, dying peacefully while Maurice mourns his passing as the other apes look on.

text: Cast[edit]

text: Apes[edit]

text:
Andy Serkis as Caesar, an intelligent common chimpanzee who is leader to a tribe of genetically enhanced apes.[7]
Steve Zahn as "Bad Ape", a common chimpanzee who lived in a zoo before the Simian Flu outbreak, and was a hermit before joining Caesar's group.[8][9]
Karin Konoval as Maurice, a Bornean orangutan who is Caesar's adviser.[7]
Terry Notary as Rocket, a common chimpanzee who is Caesar's brother-figure.[10]
Ty Olsson as Red, a Western lowland gorilla who was once a follower of Koba, now serving the Colonel to defeat Caesar. Olsson previously played Chief Hamill in Rise.[citation needed]
Michael Adamthwaite as Luca, a Western lowland gorilla in Caesar's tribe.[citation needed]
Toby Kebbell reprises his role as Koba from Dawn, appearing in Caesar's hallucinations.
Judy Greer as Cornelia, Caesar's wife.[7]
Sara Canning as Lake, a common chimpanzee in Caesar's tribe, who is also Blue Eyes' mate and later Cornelius's caretaker.[11]
Max Lloyd-Jones as Blue Eyes, Caesar and Cornelia's oldest son.[12]
Devyn Dalton as Cornelius, Caesar and Cornelia's youngest son, and Blue Eyes' younger brother. Dalton previously played Cornelia in Rise.
Aleks Paunovic as Winter, an albino Western lowland gorilla in Caesar's tribe who sided with the Colonel out of fear.[13]

text: Humans[edit]

text:
Woody Harrelson as The Colonel, the leader of the paramilitary organization Alpha-Omega, who is obsessed with wiping out Caesar and his tribe to preserve humans as the dominant species.[14][15]
Amiah Miller as Nova, a mute orphan whom Maurice adopts as his daughter.[16][17]
Gabriel Chavarria as Preacher, a human soldier working under the Colonel in Alpha-Omega.[18]

text: Production[edit]

text: Development[edit]

text: After seeing his cut of Dawn, 20th Century Fox and Chernin Entertainment signed Matt Reeves to return as director for a third installment of the reboot series. In January 2014, the studio announced the third film, with Reeves returning to direct and co-write along with Bomback, and Peter Chernin, Rick Jaffa and Amanda Silver serving as producers.[19][20] During an interview in mid-November 2014 with MTV, Andy Serkis said they did not know the next film's setting. "...It could be five years after the event. It could be the night after the events of where we left 'Dawn.'"[21] In May 2015, the title was first given as War of the Planet of the Apes.[22]

text: When director Reeves and screenwriter Bomback came on board to helm Dawn, the film already had a release date, which led to an accelerated production schedule. However, with the third installment, Fox wanted to give the duo plenty of time to write and make the film. Taking advantage of this, the two bonded with each other more than before.[23]

text: In interviews for Dawn, Reeves talked about the inevitable war Caesar would have with the humans: "As this story continues, we know that war is not avoided by the end of Dawn. That is going to take us into the world of what he is grappling with. Where he is going to be thrust into circumstances that he never, ever wanted to deal with, and was hoping he could avoid. And now he is right in the middle of it. The things that happen in that story test him in huge ways, in the ways in which his relationship with Koba haunts him deeply. It’s going to be an epic story. I think you’ve probably read that I sort of described it where in the first film was very much about his rise from humble beginnings to being a revolutionary. The second movie was about having to rise to the challenge of being a great leader in the most difficult of times. This is going to be the story that is going to cement his status as a seminal figure in ape history, and sort of leads to an almost biblical status. He is going to become like a mythic ape figure, like Moses."[24]

text: Toby Kebbell, who portrayed Koba in Dawn, had expressed interest in reprising his role or performing as other characters.[25] Plans to include Koba in a larger role in the film were abandoned early, with Bomback saying, "If you stayed until the very end of Dawn of the Planet of the Apes, you hear Koba’s breathing. We did that to give us a tiny crack of a possibility that we could revive Koba if we wanted to. Very early on in spitballing, we realized there was nothing more to do with Koba – certainly nothing that would exceed what he had done in the last story. But we knew we wanted to keep him alive as an idea. In playing out the reality of what happened at the end of the last film, Caesar would be traumatized by having to kill his brother. That would have resonance, and we wanted to make sure that didn’t get lost. So the answer was that we could go inside Caesar’s mind at this point and revisit Koba that way."[26]

text: Casting[edit]

text: In August 2015, Deadline reported that Gabriel Chavarria had been cast as one of the humans in the film.[27] In September 2015, The Hollywood Reporter announced that Woody Harrelson had been cast as the film's antagonist, and that Chavarria's role was supporting.[14] In October 2015, TheWrap reported that Steve Zahn was cast as a new ape in the film, which had been retitled as War for the Planet of the Apes.[8] It was also announced that actress Amiah Miller was cast as one of the film's humans, with Judy Greer and Karin Konoval reprising their roles as Cornelia and Maurice,[7][16] while Aleks Paunovic and Sara Canning were cast as new apes.[13][11]

text: Filming[edit]

text: Principal photography on the film began on October 14, 2015 in the Lower Mainland in Vancouver, under the working title Hidden Fortress.[28][29] Filming was expected to take place there until early March 2016.[30] Parts of the film were expected to shoot for up to five days in the Kananaskis in late January and early February.[31] In March, Serkis confirmed that he had finished shooting his portions.[32]

text: Visual effects[edit]

text: As with Rise and Dawn, the visual effects for War were created by Weta Digital; the apes were created with a mixture of motion-capture and CGI key-frame animation, as they were performed in motion-capture technology and animated in CGI.

text: Influences[edit]

text: At New York Comic-Con 2016, Reeves explained that he and Bomback were influenced by many films before writing. He said, "One of the first things that Mark and I did because we had just finished Dawn was that we decided to watch a million movies. We decided to do what people fantasize what Hollywood screenwriters get to do but no one actually does. We got Fox to give us a theater and we watched movie after movie. We watched every Planet of the Apes movie, war movies, westerns, Empire Strikes Back... We just thought, 'We have to pretend we have all the time in the world,' even though we had limited time. We got really inspired."[33]

text: Additionally, during production, Reeves and Bomback sought broader inspirations from films like Bridge on the River Kwai and The Great Escape. Feeling that there was a need to imbue Biblical themes and elements, they also watched Biblical epics like Ben-Hur and The Ten Commandments. The influences and inspirations were made evident in the relationship between Caesar and Woody Harrelson's Colonel, a military leader with pretensions toward godhood. Reeves has compared their relationship to the dynamic between Alec Guinness's British Commander and Sessue Hayakawa's prison camp Colonel in Bridge on the River Kwai. Another comparison is in Caesar's journey to find the Colonel, flanked by a posse of close friends – a situation Reeves explicitly tied to Clint Eastwood's war-weary soldier in The Outlaw Josey Wales.[23] Influences from the film Apocalypse Now, notably Harrelson's character and his Alpha-Omega faction being similar to Colonel Kurtz's renegade army, were also noted by several journalists.[34][35][36] Harrelson has also acknowledged the similarities and inspiration.[37]

text: Soundtrack[edit]

text:
War for the Planet of the Apes

Soundtrack album by Michael Giacchino

Released
July 7, 2017 (Digital)
July 21, 2017 (Physical)

Recorded
2017

Genre
Film score

Label
Sony Masterworks

Michael Giacchino film scores chronology

Spider-Man: Homecoming
(2017)Spider-Man: Homecoming2017
War for the Planet of the Apes
(2017)
Coco
(2017)Coco2017

text: On October 17, 2015, it was confirmed that Michael Giacchino, the composer and writer of the soundtrack for Dawn, would return to compose War's score.[38] The soundtrack was digitally released to iTunes and Amazon on July 7, 2017,[39] and in its physical form by Sony Masterworks on July 21, 2017.[40]

text: Track listing[edit]

text: All music composed by Michael Giacchino.

text:
No.
Title
Length

1.
"Apes’ Past is Prologue"
10:53

2.
"Assault of the Earth"
5:29

3.
"Exodus Wounds"
4:23

4.
"The Posse Polonaise"
1:39

5.
"The Bad Ape Bagatelle"
1:13

6.
"Don’t Luca Now"
3:53

7.
"Koba Dependent"
2:54

8.
"The Ecstasy of the Bold"
1:57

9.
"Apes Together Strong"
7:12

10.
"A Tide in the Affairs of Apes"
5:31

11.
"Planet of the Escapes"
2:42

12.
"The Hating Game"
2:04

13.
"A Man Named Suicide"
5:32

14.
"More Red Than Alive"
2:41

15.
"Migration"
2:03

16.
"Paradise Found"
5:35

17.
"End Credits"
9:30

Total length:
75:11

text: Release[edit]

text: The film was initially set for a July 29, 2016, release. However, in January 2015, Fox postponed the film's release date to July 14, 2017.[41][6]

text: Marketing[edit]

text: Special behind-the-scenes footage for the film was aired on TV on November 22, 2015, as part of a contest announcement presented by director Matt Reeves and Andy Serkis.[42] The footage aired during The Walking Dead on AMC.[43][44] The announcement allowed winners to wear a performance-capture suit and appear in a scene as an ape.[45] The announcement was released on 20th Century Fox's official YouTube page later the same day.[46]

text: At a New York Comic Con special event on October 6, Reeves, Serkis and producer Dylan Clark debuted an exclusive look at the film.[47]

text: Serkis has also mentioned that the film would be accompanied by a video game, for which he performed motion capture.[48] Titled Planet of the Apes: Last Frontier, the game is set for release for the PlayStation 4, Xbox One and PC in fall 2017.[49]

text: Home media[edit]

text: War for the Planet of the Apes will be released on Digital HD on October 10, 2017 and on Blu-ray and DVD on October 24, 2017 by 20th Century Fox Home Entertainment.[50]

text: Reception[edit]

text: Box office[edit]

text: As of September 24, 2017[update], War for the Planet of the Apes has grossed $146.3 million in the United States and Canada and $325.4 million in other territories for a worldwide total of $471.6 million, against a production budget of $150 million.[5]

text: In North America, the film was projected to gross $50–60 million in its opening weekend,[51] however, given its acclaimed status and strong word-of-mouth, rival studios believed the film had the potential to debut as high as $70–80 million.[4][52][53] War was closely monitored by analysts while the summer was witnessing a decline in ticket sales, a situation that they blamed on franchise fatigue for an overabundance of sequels and reboots (such as Pirates of the Caribbean: Dead Men Tell No Tales, Transformers: The Last Knight and The Mummy). However, box office analysts noted that well-reviewed films have tended to perform in-line with estimates (Guardians of the Galaxy Vol. 2, Wonder Woman and Spider-Man: Homecoming).[54][55][56] The film grossed $5 million from Thursday night previews at 3,021 theaters, up 22% from the $4.1 million earned by its predecessor, and $22.1 million on its first day. It went on to debut to $56.3 million, topping the box office, albeit with a 22% drop from Dawn's $72.6 million debut.[57][58] In its second weekend, the film grossed $20.9 million (a drop of 62.9%, more than the 50.4% fall Dawn saw), finishing 4th at the box office.[59] In its third weekend, the film made $10.5 million (dropping another 49.9%), finishing 6th at the box office. It was lower than the third weeks of both Rise ($16.1 million) and Dawn ($16.8 million).[60]

text: Outside North America, War for the Planet of the Apes is receiving a scattered release in a span of three months (July–September). The film began its release in about a third of the marketplace on July 14, albeit only in two major markets, and was projected to have an opening of $50–60 million, with the potential to go higher if smaller Asian markets over-perform, as they have for recent tent poles.[4] The film ended up having an international debut of $44.2 million, including $9.27 million in the United Kingdom.[61]

text: Critical response[edit]

text: This section needs expansion. You can help by adding to it. (August 2017)

text: War for the Planet of the Apes received praise for the performances of its cast (particularly Serkis), direction, musical score, visual effects, cinematography and morally complex storyline.[62] On review aggregator site Rotten Tomatoes, the film has an approval rating of 93%, based on 268 reviews, with a rating average of 8.1/10. The site's critical consensus reads, "War for the Planet of the Apes combines breathtaking special effects and a powerful, poignant narrative to conclude this rebooted trilogy on a powerful – and truly blockbuster – note."[63] On review aggregator Metacritic, which assigns a weighted average rating to reviews, the film has a score of 82 out of 100, based on 50 critics, indicating "universal acclaim".[64] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale, the same score earned by its two immediate predecessors.[57]

text: Future[edit]

text: This section needs to be updated. Please update this article to reflect recent events or newly available information. (August 2017)

text: During an interview with MTV News in mid-November 2014, Andy Serkis talked about possible sequels: "It might be three films, it could be four. It could be five. Who knows? The journey will continue."[21] In October 2016, it was announced that a fourth Planet of the Apes film is being planned.[65][66]


document_title: Rare disease assumption

question_text: when does the odds ratio approximate the relative risk

root

text: Rare disease assumption

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

tag: table

text: The rare disease assumption is a mathematical assumption in epidemiologic case-control studies where the hypothesis tests the association between an exposure and a disease. It is assumed that, if the prevalence of the disease is low, then the odds ratio approaches the relative risk.

tag: p

text: Case control studies are relatively inexpensive and less time consuming than cohort studies.[citation needed] Since case control studies don't track patients over time, they can't establish relative risk. The case control study can, however, calculate the exposure-odds ratio, which, mathematically, is supposed to approach the relative risk as prevalence falls.

text: Some authors[who?] state that if the prevalence is 10% or less, the disease can be considered rare enough to allow the rare disease assumption. Unfortunately, the magnitude of discrepancy between the odds ratio and the relative risk is dependent not only on the prevalence, but also, to a great degree, on two other factors.

text: The following example will illustrate this difficulty clearly. Consider a standard table showing the association between two binary variables with frequencies a = true positives = 49,005,929, b = false positives = 50,994,071, c = false negatives = 50,994,071 and d = true negatives = 849,005,929. In this case the odds ratio (OR) is equal to 16 and the relative risk (RR) is equal to 8.65. Although the prevalence in our example equals 10% it is very difficult to apply the rare disease assumption because OR and RR can hardly be considered to be approximately the same. However, in this example the disease is not particularly "rare"; a 10% prevalence value means 1 in 10 people would have it. As the prevalence drops lower and lower, OR approaches the RR much more closely. This is one of the most problematic aspects of the rare disease assumption, since there is no threshold prevalence below which a disease is considered "rare", and thus no strict guideline to determine when the assumption applies.

text:
Positive
Negative

True
49,005,929
849,005,929

False
50,994,071
50,994,071


document_title: American Crime Story

question_text: who plays johnny cochran in american crime story

text: American Crime Story

text: Cast and characters[edit]

text: The People v. O. J. Simpson[edit]

text: Regular[edit]

text:
Cuba Gooding Jr. as O. J. Simpson
Sterling K. Brown as Christopher Darden
Kenneth Choi as Judge Lance Ito
Christian Clemenson as William Hodgman
Bruce Greenwood as Gil Garcetti
Nathan Lane as F. Lee Bailey
Sarah Paulson as Marcia Clark
David Schwimmer as Robert Kardashian
John Travolta as Robert Shapiro
Courtney B. Vance as Johnnie Cochran

tag: ul

text: Recurring[edit]

text:
Chris Bauer as Det. Tom Lange
Selma Blair as Kris Jenner
Jordana Brewster as Denise Brown
Connie Britton as Faye Resnick
Garrett M. Brown as Lou Brown
Chris Conner as Jeffrey Toobin
Dale Godboldo as Carl E. Douglas
Jessica Blair Herman as Kim Goldman
Evan Handler as Alan Dershowitz
Larry King as himself
Cheryl Ladd as Linell Shapiro
Billy Magnussen as Kato Kaelin
Rob Morrow as Barry Scheck
Robert Morse as Dominick Dunne
Michael McGrady as Det. Phillip Vannatter
Angel Parker as Shawn Chapman
Steven Pasquale as Det. Mark Fuhrman
Leonard Roberts as Dennis Schatzman
Keesha Sharp as Dale Cochran
Joseph Siravo as Fred Goldman
Malcolm-Jamal Warner as Al Cowlings

text: The Assassination of Gianni Versace[edit]

text: Regular[edit]

text:
Annaleigh Ashford as Lizzie Cote
Darren Criss as Andrew Cunanan
Penélope Cruz as Donatella Versace
Nico Evers-Swindell as Phil Cote
Max Greenfield as Santo Versace[citation needed]
Ricky Martin as Antonio D'Amico
Édgar Ramírez as Gianni Versace
Finn Wittrock as Jeffrey Trail

text: Katrina[edit]

text: Regular[edit]

text: Sarah Paulson as Dr. Anna Pou[15][16]

text: Production[edit]

text: Development[edit]

text: The People v. O. J. Simpson

text: On October 7, 2014, it was announced that FX had ordered a 10-episode season of American Crime Story, developed by Scott Alexander and Larry Karaszewski, and executive produced by Alexander and Karaszewski, as well as Ryan Murphy and Brad Falchuk, who co-created such series as Nip/Tuck, Glee, American Horror Story, and Scream Queens. Murphy also directed the pilot episode. Other executive producers are Nina Jacobson and Brad Simpson.[17] Co-executive producers are Anthony Hemingway and D. V. DeVincentis. All 10 episodes were expected to be written by Alexander and Karaszewski.[4][18] The series was previously in development at Fox but since moved to the company's sibling cable network FX.[19]

text: Katrina

text: When first announced as the second season, Katrina was said to be using Douglas Brinkley's book The Great Deluge: Hurricane Katrina, New Orleans, and the Mississippi Gulf Coast as the primary source material,[20][11] with Annette Bening cast as Kathleen Blanco, Matthew Broderick as Michael D. Brown, and Dennis Quaid as George W. Bush.[21] Cuba Gooding Jr.[15] and Courtney B. Vance[15] were set to return after their participation in the first season, but after the source material was changed, only Sarah Paulson was set to star as Anna Pou, with the other actors such as Bening, Broderick, and Quaid leaving the project. However, it was said the producers would try to find new characters for at least some of those actors already cast.[16]

text: Casting[edit]

text: For season 1, Cuba Gooding Jr. and Sarah Paulson were the first to be cast as Simpson and Marcia Clark, respectively.[22] Subsequently, David Schwimmer was cast as Robert Kardashian.[23] In January 2015, it was reported that John Travolta had joined the cast as Robert Shapiro; he would also serve as producer.[24] In February 2015, Courtney B. Vance joined the series as Johnnie Cochran.[25] In March 2015, it was announced that Connie Britton would co-star as Faye Resnick.[26] April 2015 saw the casting of Sterling K. Brown as Christopher Darden,[27] Jordana Brewster as Denise Brown,[28] and Kenneth Choi as Judge Lance Ito.[29] In May 2015, it was confirmed Selma Blair would be portraying Kris Kardashian Jenner.[30] In July 2015, it was announced Nathan Lane had joined the cast as F. Lee Bailey.[31]

text: In February 2017, Annette Bening has joined the cast of Katrina as Kathleen Blanco,[32] while Matthew Broderick was cast as Michael D. Brown.[33] That same month, Édgar Ramírez and Darren Criss joined the cast of The Assassination of Gianni Versace as Gianni Versace and Andrew Cunanan, respectively.[34]

text: Murphy confirmed the reports announcing Lady Gaga would portray Donatella Versace in The Assassination of Gianni Versace were false;[35][36] Penélope Cruz was later cast in the role.[37] In April 2017, it was announced that Ricky Martin was joining the cast of The Assassination of Gianni Versace as Antonio D'Amico, Versace’s longtime partner.[38] On April 28, 2017, Annaleigh Ashford was seen filming on the set of The Assassination of Gianna Versace with Criss.[39] On June 21, 2017, it was announced through EW that Ashford's role in the series would be as Elizabeth Cote, a friend of Cunanan's since high school.[40] On May 5, 2017, Murphy posted a photo on Instagram of Criss and Max Greenfield on the set of the season.

text: On June 21, 2017, it was announced that Finn Wittrock will star in The Assassination of Gianni Versace, playing Jeffrey Trail, Cunanan's first victim.

text: Filming[edit]

text: Principal photography for Season 1 began on May 14, 2015, in Los Angeles, California.[28][41] According to a lot of set photos, principal photography of then season 3, now being considered season 2, began at the beginning of May, 2017, in Miami, Florida.

text: Promotion[edit]

text: In October 2015, FX released its first promotional trailer for The People v. O. J. Simpson, showing an Akita dog whining, walking from its residence onto a sidewalk to bark, then walking back to its residence, leaving behind bloody paw prints.[42] Later that month another teaser was released, wherein the first actual footage of Travolta as Shapiro was shown. In the teaser, Shapiro is about to ask Simpson (whose face is unseen) if he is responsible for the murder of Simpson's ex-wife. In the next short teaser that was released, Simpson (again unseen) is taking a lie detector test.

text: In November, two new teasers were released. The first shows Simpson writing his attempted suicide letter, while a voice-over by Gooding, Jr. narrates. The second shows the police chasing Simpson's white Ford Bronco, while dozens of fans cheer for him.[43]

text: The first full trailer was released in December, along with a poster for the season. The trailer included Simpson sitting in the childhood bedroom of Kim Kardashian and contemplating suicide while Robert Kardashian tries to stop him.[44]

text: In September 2017, FX released the first promotional teaser for The Assassination of Gianni Versace, showing doves sitting outside Versace's former mansion and flying away when two gunshots ring out.[45] A second teaser was released that same month, depicting Versace's sister Donatella placing flowers on a casket. [46]

text: Episodes[edit]

text: Season 1: The People v. O. J. Simpson (2016)[edit]

text:
No.
Title
Directed by
Written by
Original air date
Prod.
code
U.S. viewers
(millions)

1
"From the Ashes of Tragedy"
Ryan Murphy
Scott Alexander & Larry Karaszewski
February 2, 2016 (2016-02-02)
1WAX01
5.12[47]

2
"The Run of His Life"
Ryan Murphy
Scott Alexander & Larry Karaszewski
February 9, 2016 (2016-02-09)
1WAX02
3.90[48]

3
"The Dream Team"
Anthony Hemingway
D. V. DeVincentis
February 16, 2016 (2016-02-16)
1WAX03
3.34[49]

4
"100% Not Guilty"
Anthony Hemingway
Maya Forbes & Wallace Wolodarsky and
Scott Alexander & Larry Karaszewski
February 23, 2016 (2016-02-23)
1WAX04
3.00[50]

5
"The Race Card"
John Singleton
Joe Robert Cole
March 1, 2016 (2016-03-01)
1WAX05
2.73[51]

6
"Marcia, Marcia, Marcia"
Ryan Murphy
D. V. DeVincentis
March 8, 2016 (2016-03-08)
1WAX06
3.00[52]

7
"Conspiracy Theories"
Anthony Hemingway
D. V. DeVincentis
March 15, 2016 (2016-03-15)
1WAX07
2.89[53]

8
"A Jury in Jail"
Anthony Hemingway
Joe Robert Cole
March 22, 2016 (2016-03-22)
1WAX08
2.91[54]

9
"Manna from Heaven"
Anthony Hemingway
Scott Alexander & Larry Karaszewski
March 29, 2016 (2016-03-29)
1WAX09
2.76[55]

10
"The Verdict"
Ryan Murphy
Scott Alexander & Larry Karaszewski
April 5, 2016 (2016-04-05)
1WAX10
3.27[56]

text: Broadcast[edit]

text: The series first premiered worldwide in Canada on FX on February 2, 2016.[57] In the Philippines, the series premiered on February 3, 2016 on CT.[58] In India, the series premiered on STAR World Premiere HD on February 8, 2016. The series premiered on BBC Two in the United Kingdom on February 15, 2016.[59] In Israel the series premiered on February 22, 2016. In Australia, the series' first season was promoted as a "miniseries" under the title The People vs OJ Simpson and premiered on Network Ten on March 6, 2016 before concluding on May 8, 2016.[60] The series currently airs at 10:15pm on Thursdays on RTÉ One in Ireland.[61]

text: The first season was made available on Netflix in all countries except Canada and Germany in February 2017. All future seasons will be made available on Netflix following their respective broadcast windows.[62]

text: Reception[edit]

text: The first season of American Crime Story has received critical acclaim. The review aggregator Rotten Tomatoes gave the season an approval rating of 97%, based on 74 reviews, with an average rating of 8.7/10. The site's critical consensus reads, "The People v. O. J. Simpson: American Crime Story brings top-shelf writing, directing, and acting to bear on a still-topical story while shedding further light on the facts – and provoking passionate responses along the way."[63] On Metacritic, the season has a score of 90 out of 100, based on 45 critics, indicating "universal acclaim".[64]

text: Many critics have singled out many cast members for the performances, particularly Paulson, Brown, Schwimmer, and Vance.[65][66][67] Dan Feinberg of The Hollywood Reporter praised Paulson and Vance's performances, writing: "As Clark's discomfort grows, Paulson's collection of tics seem more and more human[...] Vance's Cochran is sometimes hilarious, but he has a dynamic range such that he's occasionally introspective and always intelligent as well."[66] Brian Lowry of Variety praised the casting of the smaller roles, particularly Connie Britton as Faye Resnick and Nathan Lane as F. Lee Bailey.[68]

text: Despite the praise for the rest of the cast, Travolta's portrayal of Shapiro and Gooding's portrayal of Simpson have received mixed critical reviews. Brian Lowry of Variety called Travolta "awful" in the role, adding: "Yes, Shapiro spoke in stiff, measured tones, but the actor's overly mannered line readings turn the attorney into a buffoon, in sharp contrast to the more nuanced portrayals around him."[68] Nicole Jones of Vanity Fair called his performance "campy and calculated."[69] Dan Feinberg of The Hollywood Reporter also criticized his performance, calling it "a mesmerizingly bad performance from the eyebrows down." Feinberg also observed: "His unnecessary accent varies by episode, and Travolta's laser intensity feels arch and almost kabuki at times, turning Shapiro into a terrifying character from the next American Horror Story installment, rather than a part of this ensemble."[66]

text: Maureen Ryan of Vanity Fair, conversely, became more impressed with Travolta as the season progressed: "I started in the realm of puzzled disbelief, arrived at amusement, and ultimately traveled to a place of sincere appreciation. You simply can’t take your eyes off Travolta, and that is a form of enchantment."[70] Elisabeth Garber-Paul of Rolling Stone also called it "arguably [Travolta's] best performance since Tarantino brought him back from the dead."[71] Robert Bianco of USA Today wrote that Travolta's was the show's "broadest performance."[72]

text: Dave Schilling of The Guardian panned Gooding's performance, writing: "his whiny, gravely voice sounds absolutely nothing like the real O. J. Simpson’s deep, commanding tones."[73] Michael Starr of New York Post was also highly critical of Gooding's performance, saying that he "portrays Simpson as a hollow, sad-sack cipher who speaks in a high-pitched whine and sleepwalks in a fog he never shakes after being arrested for the brutal double murder of ex-wife Nicole Brown and Ronald Goldman. He’s a forgettable, annoying presence in what should be a showcase role for Gooding — who, to be fair, is reciting lines written for him, so he can only do so much with the material."[74] Gooding's Emmy nomination for his work on the series was criticized by some reviewers.[75]

text: On the other hand, Joe McGovern was more positive on Gooding's performance, writing that his casting "takes a risk and pulls it off."[76] Elisabeth Garber-Paul of Rolling Stone described his performance as "an unnervingly believable take on a potential psychopath with teetering sanity."[71] Nick Venable of Cinema Blend also opined that Gooding's turn as Simpson "could indeed get him on a shortlist of Emmy nominees."[77]

text: Ratings[edit]

text:
Season
Ep. 1
Ep. 2
Ep. 3
Ep. 4
Ep. 5
Ep. 6
Ep. 7
Ep. 8
Ep. 9
Ep. 10
Average

The People v. O.J Simpson
5.12
3.90
3.34
3.00
2.73
3.00
2.89
2.91
2.76
3.27
3.28

text: Accolades[edit]

text:
Association
Category
Nominated artist/work
Result

5th Critics' Choice Television Awards[79]

Most Exciting New Series
American Crime Story
Won

7th Critics' Choice Television Awards

Best Movie/Miniseries
The People v. O. J. Simpson: American Crime Story
Won

Best Actor in a Movie or Miniseries
Cuba Gooding Jr.
Nominated

Courtney B. Vance
Won

Best Actress in a Movie/Miniseries
Sarah Paulson
Won

Best Supporting Actor in a Movie/Miniseries
Sterling K. Brown
Won

John Travolta
Nominated

BET Awards 2016[80]

Best Actor
Courtney B. Vance
Nominated

74th Golden Globe Awards
Best Miniseries or Television Film
The People v. O. J. Simpson: American Crime Story
Won

Best Actor – Miniseries or Television Film
Courtney B. Vance
Nominated

Best Actress – Miniseries or Television Film
Sarah Paulson
Won

Best Supporting Actor – Series, Miniseries or Television Film
Sterling K. Brown
Nominated

John Travolta
Nominated

68th Primetime Emmy Awards[81]
(68th Primetime Creative Arts Emmy Awards)

Outstanding Limited Series
The People v. O. J. Simpson: American Crime Story
Won

Outstanding Lead Actor in a Limited Series or Movie
Courtney B. Vance
Won

Cuba Gooding Jr.
Nominated

Outstanding Lead Actress in a Limited Series or Movie
Sarah Paulson
Won

Outstanding Supporting Actor in a Limited Series or Movie
Sterling K. Brown
Won

David Schwimmer
Nominated

John Travolta
Nominated

Outstanding Directing for a Limited Series, Movie, or Dramatic Special
Ryan Murphy (for "From the Ashes of Tragedy")
Nominated

John Singleton (for "The Race Card")
Nominated

Anthony Hemingway (for "Manna from Heaven")
Nominated

Outstanding Writing for a Limited Series, Movie, or Dramatic Special
Scott Alexander & Larry Karaszewski (for "From the Ashes of Tragedy")
Nominated

Joe Robert Cole (for "The Race Card")
Nominated

D. V. DeVincentis (for "Marcia, Marcia, Marcia")
Won

Outstanding Casting for a Limited Series, Movie, or Special
Jeanne McCarthy, Nicole Abellera Hallman, Courtney Bright, and Nicole Daniels
Won

Outstanding Cinematography for a Limited Series or Movie
Nelson Cragg (for "From the Ashes of Tragedy")
Nominated

Outstanding Costumes for a Period/Fantasy Series, Limited Series, or Movie
Hala Bahmet, Marina Ray, and Elinor Bardach (for "Marcia, Marcia, Marcia")
Nominated

Outstanding Hairstyling for a Limited Series or Movie
Chris Clark, Natalie Driscoll, Shay Sanford-Fong, and Katrina Chevalier
Won

Outstanding Makeup for a Limited Series or Movie (Non-Prosthetic)
Eryn Krueger Mekash, Zoe Hay, Heather Plott, Deborah Huss Humphries, Luis Garcia, and Becky Cotton
Nominated

Outstanding Single-Camera Picture Editing for a Limited Series or Movie
Adam Penn (for "From the Ashes of Tragedy")
Nominated

C. Chi-Yoon Chung (for "The Race Card")
Won

Stewart Schill (for "The Verdict")
Nominated

Outstanding Sound Mixing for a Limited Series or Movie
Doug Andham, Joe Earle, and John Bauman (for "From the Ashes of Tragedy")
Won

32nd TCA Awards[82]
Program of the Year
The People v. O. J. Simpson: American Crime Story
Won

Outstanding Achievement in Movies, Miniseries and Specials
Won

Individual Achievement in Drama
Sarah Paulson
Won

Courtney B. Vance
Nominated


document_title: Right-to-work law

question_text: when did mississippi become a right to work state

text: Right-to-work law

text: History

text: Origins

text: According to Slate, "right-to-work" laws are derived from legislation forbidding unions from forcing strikes on workers, as well as from legal principles such as "liberty of contract," which as applied here sought to prevent passage of laws regulating workplace conditions.[8]

text: According to PandoDaily and NSFWCORP, the term itself was coined by Vance Muse, a Republican operative who headed an early "right-to-work" group, the "Christian American Association", to replace the term "American Plan" after it became associated with the anti-union violence of the First Red Scare.[9][10] Muse used racist rhetoric in his defense of "right-to-work" laws.[9][10]

text: According to the Conservative think tank, the American Enterprise Institute, the term "right to work" was coined by Dallas Morning News editorial writer William Ruggles.[11]

text: (An unrelated use of term "right to work" had been coined by French socialist leader Louis Blanc before 1848.[12])

text: Wagner Act (1935)

text: The National Labor Relations Act, generally known as the Wagner Act, was passed in 1935 as part of President Franklin D. Roosevelt's "Second New Deal." Among other things, the Act provided that a company could lawfully agree to be any of the following:

text:
A closed shop, in which employees must be members of the union as a condition of employment. Under a closed shop, an employee who ceased being a member of the union for whatever reason, from failure to pay dues to expulsion from the union as an internal disciplinary punishment, was required to be fired even if the employee did not violate any of the employer's rules.
A union shop, which allows for hiring non-union employees, provided that the employees then join the union within a certain period.
An agency shop, in which employees must pay the equivalent of the cost of union representation, but need not formally join the union.
An open shop, in which an employee cannot be compelled to join or pay the equivalent of dues to a union or be fired for joining the union.[13]

text: The Act tasked the National Labor Relations Board, which had existed since 1933, with overseeing the rules.

text: Taft–Hartley Act (1947)

text: In 1947 Congress passed the Labor Management Relations Act of 1947, generally known as the Taft–Hartley Act, over President Harry S. Truman's veto. The Act repealed some parts of the Wagner Act, including outlawing the closed shop. Section 14(b) of the Taft–Hartley Act also authorizes individual states (but not local governments, such as cities or counties) to outlaw the union shop and agency shop for employees working in their jurisdictions. Any state law that outlaws such arrangements is known as a "right-to-work state."

text: In the early development of the right-to-work policy, segregationist sentiment was used as an argument, as many people in the South felt that it was wrong for blacks and whites to belong to the same unions. Vance Muse, one of the early developers of the policy in Texas, used that argument in the development of anti-union laws in Texas in the 1940s.[14]

text: Current status

text: The federal government operates under open shop rules nationwide, but many of its employees are represented by unions. Unions that represent professional athletes have written contracts that include particular representation provisions (such as in the National Football League),[15] but their application is limited to "wherever and whenever legal," as the Supreme Court has clearly held that the application of a right-to-work law is determined by the employee's "predominant job situs."[16] Players on professional sports teams in states with right-to-work laws are thus subject to those laws and cannot be required to pay any portion of union dues as a condition of continued employment.[17]

text: Twenty-two states, as well as the District of Columbia, do not have right-to-work laws. Missouri's is on hold after a petition called for a statewide vote on the issue.

text: On November 18, 2016, the Sixth Circuit Court of Appeals upheld the right of local governments to enact local right-to-work laws in Kentucky, Ohio, and the other states of its jurisdiction.[18]

text: Arguments

text: Minority rights and due process

text: The first arguments concerning the right to work centered around the rights of a dissenting minority with respect to an opposing majoritarian collective bargain. President Franklin Roosevelt's "New Deal" had prompted many U.S. Supreme Court challenges, among which were challenges regarding the constitutionality of the National Industry Recovery Act of 1933 (NIRA). In 1936, as a part of its ruling in Carter v. Carter Coal Co. the Court ruled against mandatory collective bargaining, stating:

text: The effect, in respect to wages and hours, is to subject the dissentient minority ... to the will of the stated majority .... To ‘accept’ in these circumstances, is not to exercise a choice, but to surrender to force. The power conferred upon the majority is, in effect, the power to regulate the affairs of an unwilling minority. This is legislative delegation in its most obnoxious form; for it is not even delegation to an official or an official body ... but to private persons .... [A] statute which attempts to confer such power undertakes an intolerable and unconstitutional interference with personal liberty and private property. The delegation is so clearly arbitrary, and so clearly a denial of rights safeguarded by the due process clause of the Fifth Amendment, that it is unnecessary to do more than refer to decisions of this Court which foreclose the question.[19]

text: Freedom of association

text: Besides the U.S. Supreme Court, other proponents of right-to-work laws also point to the Constitution and the right to freedom of association. They argue that workers should both be free to join unions or to refrain, and thus, sometimes refer to non-right-to-work states as "forced unionism" states. These proponents argue that by being forced into a collective bargain, what the majoritarian unions call a fair share of collective bargaining costs is actually "financial coercion and a violation of freedom of choice." An opponent to the union bargain is forced to "financially support an organization they did not vote for, in order to receive monopoly representation they have no choice over."[20]

text: Some religions, such as the Seventh-Day Adventist Church, prohibit or discourage the joining of unions,[21] citing Ellen White and the Loss of Free Will if you join a union.[clarification needed]

text: Unfairness

text: Proponents such as the Mackinac Center for Public Policy contend that it is unfair that unions can require new and existing employees to either join the union or pay fees for collective bargaining expenses as a condition of employment under union security agreement contracts.[22] Other proponents contend that unions may still be needed in new and growing sectors of the economy, for example, the voluntary and third party sectors, to assure adequate benefits for new immigrant, "part-time" aides in America (e.g., US Direct Support Workforce).

text: Political contributions

text: Right-to-work proponents, including the Center for Union Facts, contend that political contributions made by unions are not representative of the union workers.[23] The agency shop portion of this had previously been contested with support of National Right to Work Legal Defense Foundation in Communications Workers of America v. Beck, resulting in "Beck rights" preventing agency fees from being used for expenses outside of collective bargaining if the non-union worker notifies the union of their objection.[24]

text: Cost of Living

text: States enforcing union security provisions in union collective bargaining agreements generally have a higher cost of living,[25] [26] however, no systematic analysis identifies union security agreements as a significant cause of this variance.

text: Free riders

text: This article may require cleanup to meet Wikipedia's quality standards. The specific problem is: article needs a coherent summary of arguments by someone at least slightly familiar with the subject Please help improve this article if you can. (December 2017) (Learn how and when to remove this template message)

text: Opponents such as Richard Kahlenberg have argued that while it is an effective political slogan, the phrase "right-to-work" is a misnomer because the lack of such a law does not deprive anyone of the right to work. The Taft–Hartley Act (1947) outlawed the union-only "closed shops" which did deprive people of the right to work, and the "right to work" doesn't eliminate a worker's option of joining a work or labor union. A right-to-work law simply "gives employees the right to be free riders—to benefit from collective bargaining without paying for it".[27][28][6][29] Under labor laws in the United States, the union as the exclusive collective bargaining agent has a duty of fair representation for all persons in the bargaining unit, including those who choose not to be members and pay dues. Thus, in Abood v. Detroit Board of Education, the Supreme Court of the United States permitted agency fees so that employees in the public sector could be required to pay for the costs of representation, even as they opted not to be a member. The right to challenge the fees must include the right to have it heard by an impartial fact finder.[30]

text: Freedom of contract and association

text: Opponents argue that right-to-work laws restrict freedom of association, and limit the sorts of agreements individuals acting collectively can make with their employer, by prohibiting workers and employers from agreeing to contracts that include "fair share fees". Moreover, American law imposes a duty of fair representation on unions; consequently non-members in right to work states can and do force unions to provide without compensation grievance services that are paid for by union members.[31] Hence right-to-work laws are not neutral, but rather impose an active and artificial burden on labor unions.

text: In December 2012, libertarian writer J.D. Tuccille, in Reason magazine, wrote:

text: I consider the restrictions right-to-work laws impose on bargaining between unions and businesses to violate freedom of contract and association. ... I'm disappointed that the state has, once again, inserted itself into the marketplace to place its thumb on the scale in the never-ending game of playing business and labor off against one another. ... This is not to say that unions are always good. It means that, when the state isn't involved, they're private organizations that can offer value to their members.[32]

text: Corporate interests

text: Critics from organized labor have pointed out since the late 1970s[33] that while the National Right to Work Committee purports to engage in grass-roots lobbying on behalf of the "little guy", the National Right to Work Committee was formed by a group of southern businessmen with the express purpose of fighting unions, and that they "added a few workers for the purpose of public relations".[34]

text: The unions also contend that the National Right to Work Legal Defense Foundation and National Right to Work Committee have received millions of dollars in grants from foundations controlled by major U.S. industrialists like the New York-based Olin Foundation, Inc., which grew out of a family manufacturing business, but now funds primarily conservative think tanks, media outlets, and university law programs.[34][35]

text: Kahlenberg and Marvit also argue that, at least in efforts to pass a right-to-work law in Michigan, excluding police and firefighter unions—traditionally less hostile to Republicans—from the law caused some to question claims that the law was simply an effort to improve Michigan's businesses climate, not to seek partisan advantage.[27]

text: Corporate interests have now involved the growing non-profit and voluntary sectors of the economy which "achieved parity in wages and benefits" to the state, unionized workforces, while not assuring provisions such as adverse hearings which benefit employees.

text: Studies of economic effect

text: According to Tim Bartik of the W. E. Upjohn Institute for Employment Research, studies of the effect of right-to-work laws "abound," but are not "consistent." Studies have found both "some positive effect on job growth," and no effect.[36] Thomas Holmes argues that it is difficult to analyze right-to-work laws by comparing states due to other similarities between states that have passed these laws. For instance, right-to-work states often have some strong pro-business policies, making it difficult to isolate the effect of right-to-work laws.[37] Looking at the growth of states in the Southeast following World War II, Bartik notes that while they have right-to-work laws they have also benefited from "factors like the widespread use of air conditioning and different modes of transportation that helped decentralize manufacturing".[38]

text: Economist Thomas Holmes compared counties close to the border between states with and without right-to-work laws (thereby holding constant an array of factors related to geography and climate). He found that the cumulative growth of employment in manufacturing in the right-to-work states was 26 percentage points greater than that in the non-right-to-work states.[39] However, given the study design, Holmes points out "my results do not say that it is right-to-work laws that matter, but rather that the 'probusiness package' offered by right-to-work states seems to matter."[40] Moreover, as noted by Kevin Drum and others, this result may reflect business relocation rather than an overall enhancement of economic growth, since "businesses prefer locating in states where costs are low and rules are lax."[41]

text: A February 2011 study by the Economic Policy Institute found:[28]

text:
Wages in right-to-work states are 3.2% lower than those in non-RTW states, after controlling for a full complement of individual demographic and socioeconomic variables as well as state macroeconomic indicators. Using the average wage in non-RTW states as the base ($22.11), the average full-time, full-year worker in an RTW state makes about $1,500 less annually than a similar worker in a non-RTW state. The study goes on to say "How much of this difference can be attributed to RTW status itself? There is an inherent “endogeneity” problem in any attempt to answer that question, namely that RTW and non-RTW states differ on a wide variety of measures that are also related to compensation, making it difficult to isolate the impact of RTW status."[28]
The rate of employer-sponsored health insurance (ESI) is 2.6 percentage points lower in RTW states compared with non-RTW states, after controlling for individual, job, and state-level characteristics. If workers in non-RTW states were to receive ESI at this lower rate, 2 million fewer workers nationally would be covered.
The rate of employer-sponsored pensions is 4.8 percentage points lower in RTW states, using the full complement of control variables in [the study's] regression model. If workers in non-RTW states were to receive pensions at this lower rate, 3.8 million fewer workers nationally would have pensions.

text: A 2008 editorial in The Wall Street Journal comparing job growth in Ohio and Texas stated that from 1998 to 2008, Ohio lost 10,400 jobs, while Texas gained 1,615,000. The opinion piece suggested right-to-work laws might be among the reasons for the economic expansion in Texas, along with the North American Free Trade Agreement (NAFTA), and the absence of a state income tax in Texas.[42] Another Wall Street Journal editorial in 2012, by the president and the labor policy director of the Mackinac Center for Public Policy, reported 71% employment growth in right-to-work states from 1980 to 2011, while employment in non-right-to-work states grew just 32% during the same period.[43] The 2012 editorial also stated that since 2001, compensation in right-to-work states had increased 4 times faster than in other states.[43]

text: Polling

text: In January 2012, in the immediate aftermath of passage of Indiana's right-to-work law, Rasmussen Reports found that 74% of likely U.S. voters supported right-to-work laws, but "most also don’t think a non-union worker should enjoy benefits negotiated by the union."[44]

text: In Michigan in January through March 2013, a poll found that 43 percent of those polled thought the law would help Michigan's economy, while 41 percent thought it would hurt.[45]

text: U.S. states with right-to-work laws

text: The following states (28) are right-to-work states:

text:
Alabama (adopted 1953, Constitution 2016)
Arizona (Constitution, State Constitution Article 25 approved 1946)[46] (adopted 1944)
Arkansas (Constitution, 1947, Amendment 34)
Florida (Constitution, 1944, revised 1968, Article 1, Section 6)[47]
Georgia (adopted 1947)
Idaho (adopted 1985)
Indiana[4] (State law, 2012)
Iowa (adopted 1947)
Kansas (Constitution, 1958, Article 15, Section 12)
Kentucky (adopted 2017)
Louisiana (adopted 1976)
Michigan (State law, 2012)[3]
Mississippi (Constitution, adopted 1954)
Missouri (adopted 2017) (Postponed by petition to 2018 for citizen voting)
Nebraska (Constitution and statute, adopted 1946)
Nevada (adopted 1951)
North Carolina (adopted 1947)
North Dakota (adopted 1947)
Oklahoma (Constitution, adopted 2001)
South Carolina[48] (adopted 1954)
South Dakota (adopted 1946)
Tennessee (adopted 1947)
Texas[49] (adopted 1947, revised 1993)
Utah (adopted 1955)
Virginia (adopted 1947)
West Virginia (adopted 2016) (Went into effect September 2017 due to lower court injunctions)
Wisconsin (adopted 2015)
Wyoming (adopted 1963)

text: In addition, the territory of Guam also has right-to-work laws, and employees of the US Federal Government have the right to choose whether or not to join their respective unions.[50]

text: New Hampshire adopted a right-to-work bill in 1947, but it was repealed in 1949 by the state legislature and governor.[51]


document_title: Taylor Swift's Reputation Stadium Tour

question_text: who is opening for taylor swift on reputation tour

text: Taylor Swift's Reputation Stadium Tour

text: Development[edit]

text: In August 2017, Billboard reported that Swift would be using Ticketmaster's Verified Fan program to prevent bots and ticket scalpers from purchasing tickets. The program, named "Taylor Swift Tix", allowed fans to purchase tickets in advance of the public on-sale by participating in boost activities to increase chances of getting a presale access code.[1][2]

text: On November 13, 2017, Swift's management announced the first round of dates for the tour jointly with Ticketmaster.[3][4] Tickets went on sale to the general public on December 13, 2017, the day of Swift's 28th birthday.

text: In late November, Swift announced shows in Manchester, Dublin, and London. Due to overwhelming demand, additional dates were announced for all three cities. Furthermore, the singer also announced extra shows in North America for Pasadena, Chicago, East Rutherford, Foxborough, Toronto, and Atlanta due to popular demand before the pre-sale began.[5][6] On December 3, Swift announced five dates for Oceania.[7][8] In January 2018, due to huge demand, Swift went on to add second dates in Santa Clara, Landover, Philadelphia, Minneapolis and Arlington and third dates in East Rutherford and Foxborough, totalling 40 shows for the tour's North American leg.[9]

text: On March 1, 2018, Swift officially announced Camila Cabello and Charli XCX as the opening acts for the Reputation Stadium Tour.[10] Cabello was previously speculated as the opening act due to the fact that her Never Be the Same Tour dates didn't coincide with Swift's tour;[11] Portland's Live 95.5 even announced her in a sweepstake for the June 22, 2018 concert at the Wembley Stadium in London through a since-deleted post on Twitter, a day before Swift confirmed her as the opening act.[12]

text: Commercial performance[edit]

text: Ticket sales[edit]

text: After four days of sales through the Verified Fan platform and three days of sales to the general public that began December 13, the tour had already grossed $180 million from 33 dates in North America alone.[13] Pollstar reported data supplied by the Gridiron Stadium Network, a consortium of NFL facilities that work together to book concerts at their buildings, which showed at least 35,000 tickets had been sold at ten of the stadiums on the route as of December 18. The tickets sold ranged from 35,419 at Heinz Field in Pittsburgh to a high of 48,039 at Lincoln Financial Field in Philadelphia. With more than 47,000 tickets sold, it was reported the May 12, 2018 date at Levi's Stadium in Santa Clara was generating close to $9 million in ticket revenue, which prompted the addition of an extra date.[14]

text: The tour is the best-selling female tour in the United Kingdom in 2018, according to StubHub.[15]

text: Shows[edit]

text:
List of concerts, showing date, city, country, venue, opening acts, tickets sold, amount of available tickets and gross revenue

Date
City
Country
Venue
Opening acts
Attendance
Revenue

Leg 1 — North America[1][16][17][18]

May 8, 2018
Glendale
United States
University of Phoenix Stadium
Camila Cabello
—
—

May 11, 2018
Santa Clara
Levi's Stadium
Camila Cabello
Charli XCX
—
—

May 12, 2018
Camila Cabello

May 18, 2018
Pasadena
Rose Bowl
Camila Cabello
Charli XCX
—
—

May 19, 2018
Camila Cabello

May 22, 2018
Seattle
CenturyLink Field
—
—

May 25, 2018
Denver
Sports Authority Field at Mile High
—
—

June 1, 2018
Chicago
Soldier Field
Camila Cabello
Charli XCX
—
—

June 2, 2018
Camila Cabello

Leg 2 — Europe[1][17][18]

June 8, 2018
Manchester
England
Etihad Stadium
Camila Cabello
Charli XCX
—
—

June 9, 2018

June 15, 2018
Dublin
Ireland
Croke Park
—
—

June 16, 2018

June 22, 2018
London
England
Wembley Stadium
—
—

June 23, 2018

Leg 3 — North America[1][17][18]

June 30, 2018
Louisville
United States
Papa John's Cardinal Stadium
Camila Cabello
—
—

July 7, 2018
Columbus
Ohio Stadium
—
—

July 10, 2018
Landover
FedExField
—
—

July 11, 2018
Camila Cabello
Charli XCX

July 13, 2018
Philadelphia
Lincoln Financial Field
—
—

July 14, 2018
Camila Cabello

July 17, 2018
Cleveland
FirstEnergy Stadium
—
—

July 20, 2018
East Rutherford
MetLife Stadium
Camila Cabello
Charli XCX
—
—

July 21, 2018
Camila Cabello

July 22, 2018
Camila Cabello
Charli XCX

July 26, 2018
Foxborough
Gillette Stadium
—
—

July 27, 2018

July 28, 2018
Camila Cabello

August 3, 2018
Toronto
Canada
Rogers Centre
Camila Cabello
Charli XCX
—
—

August 4, 2018
Camila Cabello

August 7, 2018
Pittsburgh
United States
Heinz Field
—
—

August 10, 2018
Atlanta
Mercedes-Benz Stadium
Camila Cabello
Charli XCX
—
—

August 11, 2018
Camila Cabello

August 14, 2018
Tampa
Raymond James Stadium
—
—

August 18, 2018
Miami Gardens
Hard Rock Stadium
—
—

August 25, 2018
Nashville
Nissan Stadium
—
—

August 28, 2018
Detroit
Ford Field
—
—

August 31, 2018
Minneapolis
U.S. Bank Stadium
Camila Cabello
Charli XCX
—
—

September 1, 2018
Camila Cabello

September 8, 2018
Kansas City
Arrowhead Stadium
—
—

September 15, 2018
Indianapolis
Lucas Oil Stadium
—
—

September 18, 2018
St. Louis
The Dome at America's Center
—
—

September 22, 2018
New Orleans
Mercedes-Benz Superdome
—
—

September 29, 2018
Houston
NRG Stadium
—
—

October 5, 2018
Arlington
AT&T Stadium
Camila Cabello
Charli XCX
—
—

October 6, 2018
Camila Cabello

Leg 4 — Oceania[1][19]

October 19, 2018
Perth
Australia
Optus Stadium
N/A
—
—

October 26, 2018
Melbourne
Etihad Stadium
—
—

November 2, 2018
Sydney
ANZ Stadium
—
—

November 6, 2018
Brisbane
The Gabba
—
—

November 9, 2018
Auckland
New Zealand
Mount Smart Stadium
—
—

Total
—
—