document_title: Bethany

question_text: how far is it from bethany to jerusalem

question_tokens: how far is it from bethany to jerusalem

text: Bethany

text: Location[edit]

text: Bethany has traditionally been identified with the present-day West Bank city of al-Eizariya (Arabic العيزرية "place of Lazarus"), site of the reputed Tomb of Lazarus, about 1.5 miles (2.4 km) to the east of Jerusalem on the south-eastern slope of the Mount of Olives. The oldest house in present-day al-Eizariya, a 2,000-year-old dwelling reputed to have been (or which at least serves as a reminder of) the House of Martha and Mary, is also a popular pilgrimage site.[1]

text: The tomb in al-Eizariya has been identified as the tomb of the gospel account since at least the 4th century AD. Both the historian Eusebius of Caesarea[2] (c. 330) and the  Itinerarium Burdigalense[3] (c. 333) mention the Tomb of Lazarus in this location.

text: Zanecchia (1899), however, argued that ancient Bethany may actually have been higher up the Mount of Olives from al-Eizariya, closer to Bethphage.[4] Breen (1907) in Catholic Encyclopedia reported Zanecchia's hypothesis, and while conceding that the traditional site of the tomb "has no strong intrinsic or extrinsic authority", but that in view of the antiquity of the traditional identification of the tomb of Lazarus, "there is every reason to believe that it was in this general location".[5]

text: Etymology[edit]

text: The root meaning and origin of the name Bethany has been the subject of much scholarship and debate. William Hepworth Dixon devotes a multi-page footnote to it in his The Holy Land (1866), largely devoted to debunking the meaning "house of dates", which is attributed to Joseph Barber Lightfoot by way of a series of careless interpretative mistakes. Dixon quotes at length a refutation of Lightfoot's thesis in the form of a letter by Emanuel Deutsch of the British Museum, who notes that neither the name Bethany, nor any of the roots suggested by Lightfoot, appear anywhere in the Talmud. Deutsch suggests a non-Hebrew root, a word transcribed in Syriac script whose meaning he gives as "House of Misery" or "Poor-house".[6]

text: This theory as to Bethany's etymology, which was eventually also adopted by Gustaf Dalman in 1905, is not without challengers. For example, E. Nestle's Philologica Sacra (1896) suggests that Bethany is derived from the personal name Anaiah, while others have suggested it is a shortened version of Ananiah, a village of Bethel mentioned in the Book of Nehemiah (11:32). Since Greek can neither reproduce an /h/ sound nor the harsh /ħ/ sound (Hebrew Ḥet) in the middle of a word, a derivation from the personal name Chananya ("Yah has been gracious") is also possible.

text: Another suggestion, arising from the presence of nearby Bethphage ("house of unripe figs"), is that its name comes from beit hini (Aramaic בית היני / ביתייני[7]) , meaning "house of figs". The Talmud mentions a village called Beit Hino near the Mount of Olives. Some translations suggest it as Bethany.[8]

text: Deutsch's thesis, however, seems to also be attested to by Jerome. In his version of Eusebius' Onomasticon, the meaning of Bethany is defined as domus adflictionis or "house of affliction". Brian J. Capper writes that this is a Latin derivation from the Hebrew beth 'ani or more likely the Aramaic beth 'anya, both of which mean "house of the poor" or "house of affliction/poverty", also semantically speaking "poor-house". Capper concludes, from historical sources as well as this linguistic evidence, that Bethany may have been the site of an almshouse.[9]

text: According to Capper and Deutsch before him, there are also linguistic difficulties that arise when the Anaiah/Ananiah, "house of figs" or "house of dates" theses are compared against the bethania form used in Greek versions of the New Testament. Additionally, the Aramaic beit 'anya (בית עניא) is the form used for Bethany in Christian Palestinian and Syriac versions of the New Testament. Given this, and Jerome's familiarity with Semitic philology and the immediate region, Capper concludes that the "house of affliction" / "poor-house" meaning as documented by Jerome and in the Syriac New Testament usage is correct, and that this meaning relates to the use of the village as a centre for caring for the sick and aiding the destitute and pilgrims to Jerusalem.[9]

text: It may be possible to combine the Ananiah (as a personal name) and "house of the poor" derivations, since the shortening of Ananiah ("Yah has intervened") to Anya is conceivable though unattested (cf. the common shortening of Yochanan [and perhaps also Chananyah?] to Choni), whence a typical semitic wordplay might arise between Anya as a shortening of the personal name within the name of the village and as Aramaic for "poor". Such a wordplay may have served the choice of the village as the location for an almshouse.[10]

text: Bethany and care of the poor and sick[edit]

text: Capper and others have concluded that ancient Bethany was the site of an almshouse for the poor and a place of care for the sick. There is a hint of association between Bethany and care for the unwell in the Gospels: Mark tells of Simon the Leper's house there (Mark 14:3–10); Jesus receives urgent word of Lazarus' illness from Bethany (John 11:1–12:11).

text: According to the Temple Scroll from Qumran, three places for the care of the sick, including one for lepers, are to be east of Jerusalem. The passage also defines a (minimum) radius of three thousand cubits (circa 1,800 yards) around the city within which nothing unclean shall be seen (XLVI:13–18). Since Bethany was, according to John, fifteen stadia (about 1.72 miles) from the holy city,[11] care for the sick there corresponded with the requirements of the Temple Scroll (the stadion being ideally 600 feet (180 m) or 400 cubits).[12] Whereas Bethphage is probably to be identified with At-Tur, on the peak of the Mount of Olives with a magnificent view of Jerusalem, Bethany lay below to the southeast, out of view of the Temple Mount, which may have made its location suitable as a place for care of the sick, "out of view" of the Temple.

text: From this it is possible to deduce that the mention of Simon the Leper at Bethany in Mark's Gospel suggests that the Essenes, or pious patrons from Jerusalem who held to a closely similar view of ideal arrangements, settled lepers at Bethany. Such influence on the planning of Jerusalem and its environs (and even its Temple) may have been possible especially during the reign of Herod the Great (36–4 BC), whose favour towards the Essenes was noted by Josephus (Antiquities 15.10.5 [373–78]).[13]

text: Reta Halteman Finger approves Capper's judgment that only in the context of an almshouse at Bethany, where the poor were received and assisted, could Jesus remark that "The poor you will always have with you" (Mark 14:7; Matthew 26:11) without sounding callous.[14] Ling follows Capper's thesis concerning the connection between then place-name Bethany and the location there of an almshouse. Capper and Ling note that it is only in Bethany we find mention of the poor on the lips of the disciples, who object that the expensive perfumed oil poured over Jesus there might have been sold and the proceeds given to the poor (Mark 14:5; Matthew 26:8–9; John 12:4–6 [where the objection is made by Judas]); this objection may have been made in embarrassment and may also suggest a special connection between Bethany and care for the poor.[15]

text: It has also been suggested, based on the names found carved on thousands of ossuaries at the site, that Bethany in the time of Jesus was settled by people from Galilee who had come to live by Jerusalem. This would explain why Jesus and the disciples, as Galileans, would find it convenient to stay here when visiting Jerusalem.[16] As Capper writes,

text: Galilean pilgrims avoided potential conflict with Samaritans by travelling south on the eastern side of the Jordan. Bethany was the last station on their route to Jerusalem after crossing the river and taking the road through Jericho up into the highlands. A respectful distance from the city and Temple, and on the pilgrim route, Bethany was a most suitable location for a charitable institution. It is not surprising that an Essene hospice had been established at Bethany to intercept and care for pilgrims at the end of the long and potentially arduous journey from Galilee. The house combined this work with care for the sick and destitute of the Jerusalem area. Thus Bethany received its name because it was the Essene poorhouse par excellence, the poorhouse which alleviated poverty closest to the holy city.[17]

text: New Testament references to Bethany[edit]

text: The village of Bethany is referenced in relation to five incidents in the New Testament, in which the word Bethany appears 11 times:[18]

text:
The raising of Lazarus from the dead – John 11:1–46
The entry of Jesus into Jerusalem on Palm Sunday, which Jesus begins near Bethany – Mark 11:1 and Luke 19:29
The lodging of Jesus in Bethany during the following week – Matthew 21:17 and Mark 11:11–12
The dinner in the house of Simon the Leper, at which Mary anoints Jesus – Matthew 26:6–13, Mark 14:3–9, and John 12:1–8
Before the Ascension of Jesus into heaven – Luke 24:50

text: In Luke 10:38–42, a visit of Jesus to the home of Mary and Martha is described, but the village of Bethany is not named (nor whether Jesus is even in the vicinity of Jerusalem).

text: Bethany beyond the Jordan[edit]

text: A second place named Bethany is mentioned in the Gospel of John 1:28 as being on the east bank of the Jordan River. Its exact location is unclear; in fact, the only mention of this “Bethany” is to be found in that one verse. In the King James Version (following the Textus Receptus of the New Testament) the place where John the Baptist was baptizing in John 1:28 was not called Bethany, but Bethabara.[19] The second place may also refer to the more northerly territory of Batanaea.[20]

text: The King James Version is the only English version of the New Testament that refers to "Bethany on the east bank of the Jordan River", as "Bethabara". Most other English versions (including the Douay-Rheims, NIV, NASB, NLT, RSV, IBS, and Darby) call it "Bethany".


document_title: The Room (film)

question_text: how much money did the film the room make

root

text: The Room (film)

text: Plot[edit]

text: Johnny is a successful banker who lives in a San Francisco townhouse with his fiancée Lisa, who has become dissatisfied with their relationship. She seduces his best friend, Mark, and the two begin an affair. As their wedding approaches and Johnny's influence at his bank slips, Lisa alternates between glorifying and vilifying Johnny to her family and friends, making false accusations of domestic abuse and defending Johnny against criticisms. Meanwhile, Johnny, having overheard Lisa confess her infidelity to her mother Claudette, attaches a tape recorder to their phone in an attempt to identify her lover.

tag: p

text: Denny, a neighboring student whom Johnny financially and emotionally supports, has a run-in with an armed drug dealer, Chris-R, whom Johnny and Mark overpower and take into custody. Denny also lusts after Lisa, and confesses this to Johnny, who understands and encourages him to instead pursue one of his classmates. Johnny spirals into a mental haze and calls upon Peter, his and Mark's psychologist friend, for help. Mark also confides in Peter on the roof, where Mark feels guilty about the affair. Peter questions Mark if the affair is with Lisa, causing Mark – who is using marijuana to cope with his melancholy – to briefly try to murder him, but they reconcile a few seconds later.

text: At a surprise birthday party for Johnny, one of his friends catches Lisa kissing Mark while the other guests are outside and confronts them about the affair. Johnny announces that he and Lisa are expecting a child, although Lisa later reveals she lied about it. At the end of the evening, Lisa flaunts her affair in front of Johnny, who attacks Mark.

text: After the party, Johnny locks himself in the bathroom in despair. When he leaves, he retrieves the cassette recorder that he attached to the phone and listens to an intimate call between Lisa and Mark. Outraged, Johnny berates Lisa for betraying him, prompting her to end their relationship and live with Mark. Johnny has an emotional breakdown, destroying his apartment and committing suicide via gunshot. Hearing the commotion, Denny, Mark, and Lisa rush up the stairs to find his body. Mark blames Lisa for Johnny's death, admonishes her for her deceitful behavior, and tells her to get out of his life. Denny tells Lisa and Mark to leave him with Johnny, and they step back to give him a moment, but ultimately stay and comfort each other as the police arrive.

text: Cast[edit]

text:
Tommy Wiseau as Johnny, a successful banker who is engaged to Lisa
Greg Sestero as Mark, Johnny's best friend, who is having an affair with Lisa
Juliette Danielle as Lisa, Johnny's fiancée, who engages in an affair with Mark
Philip Haldiman as Denny, a young neighbor whom Johnny treats as a son
Carolyn Minnott as Claudette, Lisa's mother
Robyn Paris as Michelle, Lisa's best friend
Scott Holmes as Mike, Michelle's boyfriend
Dan Janjigian as Chris-R, a drug dealer who threatens Denny
Kyle Vogt as Peter, a psychologist and friend of Mark and Johnny
Greg Ellery as Steven, a friend of Johnny and Lisa

tag: ul

text: Production[edit]

text: Development[edit]

text: Tommy Wiseau originally wrote The Room as a play in 2001.[3][6] He then adapted the play into a 500-page book, which he was unable to get published.[7] Frustrated, Wiseau decided to adapt the work into a film, producing it himself to maintain creative control.[7][8]

text: Wiseau has been secretive about how he obtained funding for the project, but told Entertainment Weekly that he made some of the money by importing leather jackets from Korea.[3] According to The Disaster Artist (Greg Sestero's book based on the making of The Room), Wiseau was already independently wealthy at the time production began. Over several years, he had amassed a fortune through entrepreneurship and real estate development in Los Angeles and San Francisco.[9] Wiseau spent the entire US$6,000,000 (equivalent to about $8,000,000 in 2017) budget for The Room on production and marketing.[3] Wiseau stated that the film was relatively expensive because many members of the cast and crew had to be replaced.[10] According to Sestero, Wiseau made numerous poor decisions during filming that unnecessarily inflated the film's budget—Wiseau built sets for sequences that could have been filmed on location, purchased unnecessary equipment, and filmed scenes multiple times using different sets.[11] Wiseau also forgot his lines and place on camera, resulting in minutes-long dialogue sequences taking hours or days to shoot. Wiseau's actions further caused the film's budget to skyrocket, according to Sestero.[12]

text: According to Sestero and Greg Ellery, Wiseau rented a studio at the Birns and Sawyer film lot and bought a "complete Beginning Director package", which included two film and HD cameras.[13] Wiseau was confused about the differences between 35 mm film and high-definition video. He wanted to be the first director to film an entire movie simultaneously in two formats. He achieved this by using a custom-built apparatus that housed both cameras side-by-side and required two crews to operate.[14][7] Only the 35 mm footage was used in the final edit.[15]

text: Casting[edit]

text: Wiseau hired actors from thousands of head shots,[6] and most of the cast had never been in a full-length film. Sestero had limited film experience and only agreed to work as part of the production crew because he had known Wiseau for some time before production began. Sestero then agreed to play the Mark character after Wiseau fired the original actor on the first day of filming. He was uncomfortable filming his sex scenes and was allowed to keep his jeans on while shooting them.[16]

text: According to Greg Ellery, Juliette Danielle had "just gotten off the bus from Texas" when shooting began, and "the cast watched in horror" as Wiseau jumped on Danielle, immediately beginning to film their "love scene".[13] Sestero disputed this, stating that the sex scenes were among the last filmed.[17] Wiseau said that Danielle was originally one of three or four understudies for the Lisa character, and was selected after the original actress left the production.[10] According to Sestero, the original actress was "Latina" and came from an unidentified South American country; per Danielle, the actress was closer to Wiseau's age with a "random" accent.[18] Danielle stated that she had been cast as Michelle, but was given the Lisa role when the original actress was dismissed because her "personality...didn't seem to fit" the character.[19] Danielle corroborates that multiple actors were dismissed from the production prior to filming, including another actress hired to play Michelle.[19]

text: Even though Kyle Vogt (who played Peter) told the production team that he only had a limited amount of time for the project, not all of his scenes were filmed by the time his schedule ran out. Despite the fact that Peter was to play a pivotal role in the climax, Vogt left the production; his lines in the last half of the film were given to Ellery, whose character is never introduced, explained, or addressed by name.[16][13][20]

text: Script[edit]

text: The original script was significantly longer than the one used and featured a series of lengthy monologues; it was edited on-set by the cast and script supervisor, who found much of the dialogue incomprehensible. An anonymous cast member told Entertainment Weekly that the script contained "stuff that was just unsayable. I know it's hard to imagine there was stuff that was worse. But there was."[3][21] Sestero mentions that Wiseau was adamant characters say their lines as written, but that several cast members slipped in ad libs that made the final cut.[16]

text: Much of the dialogue is repetitive, especially Johnny's. His speech contains several catchphrases: he begins almost every conversation with "Oh, hi!" or "Oh, hi (name of character)!". To dismissively end conversations, many characters use the phrase "Don't worry about it", and almost every male character discusses Lisa's physical attractiveness (including an unnamed character whose only line is "Lisa looks hot tonight"). Lisa often stops discussions about Johnny by saying "I don't want to talk about it". Despite the significant amount of dialogue regarding Johnny and Lisa's forthcoming wedding, characters only use the words "future husband" or "future wife" rather than "fiancé" or "fiancée".[22]

text: In The Disaster Artist, Sestero recalls that Wiseau planned a subplot in which Johnny was revealed to be a vampire because of Wiseau's fascination with the creatures.[23] Sestero recounts how Wiseau tasked the crew with devising a way for Johnny's Mercedes-Benz to fly across the San Francisco skyline, revealing Johnny's vampiric nature.[24]

text: Filming[edit]

text: Principal photography lasted six months. It was mainly shot on a Los Angeles soundstage, with some second unit shooting in San Francisco, California. The many rooftop sequences were shot on the soundstage, and exteriors of San Francisco greenscreened in.[3] A behind-the-scenes feature shows that some of the roof scenes were shot in August 2002. The film employed over 400 people, and Wiseau is credited as an actor, writer, producer, director, and executive producer. Other executive producer credits include Chloe Lietzke and Drew Caffrey. Lietzke had no involvement in the film and Caffrey had died years prior to filming, according to Sestero.[25] Wiseau had several problems with his behind-the-camera team, and claims to have replaced the entire crew four times.[3][26] Some people had multiple jobs on the film: Sestero played the role of Mark, worked as a line producer, helped with casting, and assisted Wiseau.[20] Wiseau frequently forgot his lines or missed cues, and required numerous retakes and direction from the script supervisor; much of his dialogue had to be dubbed in post production.[27]

text: Soundtrack[edit]

text:
The Room

Soundtrack album by Mladen Milicevic

Released
2003 (2003)

Genre
Film score, R&B

Length
56:28

Label
TPW

tag: table

text: The score was written by Mladen Milicevic, a music professor at Loyola Marymount University. Milicevic later provided the score for Wiseau's 2004 documentary Homeless in America and Room Full of Spoons, a 2016 documentary on The Room.[28][29]

text: The soundtrack features four R&B slow jams which play during four of the film's five love scenes; Michelle and Mike's oral sex scene uses only instrumental music. The songs are "I Will" by Jarah Gibson, "Crazy" by Clint Gamboa, "Baby You and Me" by Gamboa with Bell Johnson, and "You're My Rose" by Kitra Williams & Reflection. "You're My Rose" is also reprised during the end credits. The soundtrack was released by Wiseau's TPW Records in 2003.[30]

text:
All music composed by Mladen Milicevic, except where noted.

[show]Track listing

No.
Title
Lead vocals
Length

1.
"The Room"

2:14

2.
"Red Dress"

1:09

3.
"I Will" (Kitra Williams, Jarah Gibson)
Wayman Davis
3:28

4.
"Lisa and Mark"

1:30

5.
"You're My Rose" (Kitra Williams, Wayman Davis)
Kitra Williams
2:22

6.
"Red Roses"

3:15

7.
"Street"

0:53

8.
"Life"

2:43

9.
"Street Two"

1:05

10.
"Crazy" (Clint Gamboa, Wayman Davis)
Clint Gamboa
2:52

11.
"Chocolate is the symbol of love."

1:52

12.
"Chris-R"

1:43

13.
"Reason"

0:52

14.
"Johnny Mark and Denny on the Roof"

1:09

15.
"Lisa, Michelle, and Johnny"

1:55

16.
"Yes or No"

1:20

17.
"I'll record everything."

1:13

18.
"XYZ"

1:05

19.
"Mark and Peter"

1:08

20.
"Jogging"

1:36

21.
"Baby You and Me" (Kitra Williams, Clint Gamboa, Jarah Gibson)
Clint Gamboa, Bell Johnson
3:17

22.
"Happy birthday, Johnny."

1:36

23.
"Lisa and Mark"

0:52

24.
"Fight During the Party"

1:16

25.
"Johnny in the Bathroom"

1:42

26.
"Tape Recorder"

3:56

27.
"Johnny Becomes Crazy"

2:48

28.
"Why? Why Johnny?"

2:39

29.
"Reflection (You're My Rose)" (Kitra Williams, Wayman Davis)
Kitra Williams
2:42

text: Directorial credit dispute[edit]

text: In a February 11, 2011 Entertainment Weekly article, veteran script supervisor Sandy Schklair announced that he desired credit for directing The Room. Schklair told EW that Wiseau became too engrossed with his acting duties to direct the film properly and asked him to "tell the actors what to do, and yell 'Action' and 'Cut' and tell the cameraman what shots to get." The script supervisor also said that Wiseau asked Schklair to "direct [his] movie", but refused to give up the "director" title. The story is corroborated by one of the film's actors (who requested anonymity) and also Sestero in The Disaster Artist. Sestero describes Schklair taking charge of numerous sequences in which Wiseau found himself unable to remember lines or adequately interact with the rest of the cast, but jokes that claiming directorial credit was like "claiming to have been the Hindenburg's principal aeronautics engineer".[31] Wiseau has dismissed Schklair's comments, saying, "Well, this is so laughable that… you know what? I don't know, probably only in America it can happen, this kind of stuff."[8]

text: Analysis[edit]

text: Influences[edit]

text: The basic premise of The Room draws on specific incidents from Wiseau's own life, including the details of how Johnny came to San Francisco and met Lisa, and the nature of Johnny and Mark's friendship.[32][33] According to Greg Sestero, the character of Lisa is based on a woman to whom Wiseau once proposed with a US$1,500 diamond engagement ring, but who "betrays him multiple times", resulting in the breakup of their relationship.[34]

text: Sestero further postulates that Wiseau based Lisa's explicit conniving on the character Tom Ripley, after Wiseau had a profound emotional reaction to the film The Talented Mr. Ripley, and matches elements of its three main characters to those in The Room; Sestero has likewise indicated that the character Mark was named for the Ripley actor Matt Damon, whose first name Wiseau had misheard.[35] Wiseau also drew on the chamber plays of Tennessee Williams, whose highly emotional scenes he enjoyed acting out in drama school – many advertising materials for The Room make explicit parallels to Williams's work.[3][36]

text: In his direction and performance, Wiseau attempted to emulate Orson Welles, Clint Eastwood and James Dean, especially Dean's performance in the film Giant,[37] and went so far as to directly use quotes from their films – the famous line "You are tearing me apart, Lisa!" is derived from a similar line performed by Dean in Rebel Without a Cause.[38]

text: Inconsistencies and narrative flaws[edit]

text: The script is characterized by numerous inexplicable mood and personality shifts in characters. In analyzing the film's abrupt tone shifts, Greg Sestero highlighted two scenes in particular. In the first scene, Johnny enters the rooftop in the middle of a tirade about being accused of domestic abuse, only to become abruptly cheerful upon seeing Mark; a few moments later, he laughs inappropriately upon learning that a friend of Mark's had been severely beaten. On set, Sestero and script supervisor Sandy Schklair repeatedly tried to convince Wiseau that the line should not be delivered as comical, but Wiseau refused to refrain from laughing.[39] In the second instance, occurring later in the film, Mark attempts to kill Peter by throwing him off a roof after Peter expresses his belief that Mark is having an affair with Lisa; seconds later however, Mark pulls Peter back from the edge of the roof, apologizes, and the two continue their previous conversation with no acknowledgement of what just occurred.[40]

text: In addition to being rife with continuity errors, the film has several plots, subplots and character details whose inconsistencies have been commented on by critics and audiences.[41] The Portland Mercury has stated that a number of "plot threads are introduced, then instantly abandoned."[7] In an early scene, halfway through a conversation about planning a birthday party for Johnny, Claudette off-handedly tells Lisa: "I got the results of the test back. I definitely have breast cancer."[10] The issue is casually dismissed and never revisited during the rest of the film.[7][10] Similarly, the audience never learns the details surrounding Denny's drug-related debt to Chris-R, or what led to their violent confrontation on the roof.[7][42]

text: Beyond being Johnny's friend, Mark's background receives no exposition; when he is first introduced he claims to be "very busy" while sitting in a parked car in the middle of the day, with no explanation ever given as to his occupation or what he was doing. In The Disaster Artist, Sestero states that he created a backstory for the character in which Mark was an undercover vice detective, which Sestero felt united several otherwise disparate aspects of Mark's character, including the secretive nature of various aspects of his behavior – including marijuana use – his mood swings, and his handling of the Chris-R incident. Wiseau dismissed adding any reference to Mark's past to the script.[43] The makers of The Room video game would later introduce a similar idea as part of a subplot involving Mark's unexplained backstory, much to Sestero's amusement.[44]

text: At one point, the principal male characters congregate in an alley behind Johnny's apartment to play catch with a football while wearing tuxedos. When Mark arrives, he is revealed to have shaved his beard, and the camera slowly zooms in on his face while dramatic music plays on the soundtrack. Nothing that is said or occurs during the scene has any effect on the plot; the scene ends abruptly when the men decide to return to Johnny's apartment after Peter trips. Wiseau received enough questions about the scene that he decided to address it on a Q&A segment featured on the DVD release; rather than explaining the scene, though, Wiseau only states that playing football without the proper protective equipment is fun and challenging.[4] Greg Sestero has been questioned about the significance of Mark's shaving, though his only response for several years was "if people only knew."[16] Sestero describes in The Disaster Artist that Wiseau insisted he shave his beard on-set just so that Wiseau would have an excuse for Johnny to call Mark "Babyface," Wiseau's own nickname for Sestero, and that the revealing of beardless Mark would be "a moment". Sestero further detailed how the football-in-tuxedos scene was concocted on set by Wiseau, who never explained the significance of the scene to the cast or crew and insisted that the sequence be filmed at the expense of other, relevant scenes.[45]

text: Release[edit]

text: Promotion[edit]

text: The film was promoted almost exclusively through a single billboard in Hollywood, located on Highland Avenue just north of Fountain, featuring an image Wiseau refers to as "Evil Man": an extreme close-up of his own face with one eye in mid-blink.[10][6] Although more conventional artwork was created for the film, featuring the main characters' faces emblazoned over the Golden Gate Bridge, Wiseau chose the "Evil Man" for what he regarded as its provocative quality; around the time of the film's release, the image led many passers-by to believe that The Room was a horror film.[10] Wiseau also paid for a small television and print campaign in and around Los Angeles, with taglines calling The Room "a film with the passion of Tennessee Williams".[3] Wiseau hired publicist Edward Lozzi in his efforts to promote the film after Paramount Studios rejected distributing it.[36]

text: Despite the film's failure to enjoy immediate success, Wiseau paid to keep the billboard up for over five years, at the cost of US$5,000 a month.[46][47] Its bizarre imagery and longevity led to it becoming a minor tourist attraction.[3][48] When asked how he managed to afford to keep the billboard up for so long in such a prominent location, Wiseau responded: "Well, we like the location, and we like the billboard. So we feel that people should see The Room. […] we are selling DVDs, which are selling okay."[6]

text: Critical reception[edit]

text: The Room premiered on June 27, 2003 at the Laemmle Fairfax and Fallbrook theaters in Los Angeles. Wiseau additionally arranged a screening for the cast and the press at one of the venues, renting a spotlight to sit in front of the theater and arriving in a limousine.[3] Ticket buyers were given a free copy of the film's soundtrack on CD. Actress Robyn Paris described the audience laughing at the film, and Variety reporter Scott Foundas, who was also in attendance, would later write that the film prompted "most of its viewers to ask for their money back — before even 30 minutes [had] passed."[3] IFC.com described Wiseau's speaking voice in the film as "Borat trying to do an impression of Christopher Walken playing a mental patient."[49] The Guardian described the film as a mix of "Tennessee Williams, Ed Wood, R. Kelly's Trapped in the Closet".[50]

text: The Room has received negative reviews for its acting, screenplay, dialogue, production values, score, direction, and cinematography. The film is described as one of the worst films ever made by several publications.[51][52] On review aggregator Rotten Tomatoes, the film has an approval rating of 26% based on 27 reviews, with an average rating of 2.9/10. The site's critical consensus reads, "A bona-fide classic of midnight cinema, Tommy Wiseau's misguided masterpiece subverts the rules of filmmaking with a boundless enthusiasm that renders such mundanities as acting, screenwriting, and cinematography utterly irrelevant. You will never see a football the same way again."[53] On Metacritic, which assigns a normalized rating to reviews, the film has a weighted average score of 9 out of 100, based on 5 critics, indicating "overwhelming dislike".[54] Despite the criticism, the film has received an ironic positive reception from audiences for its perceived shortcomings, with some viewers calling it the "best worst movie ever".[55]

text: In 2013, The Atlantic's Adam Rosen wrote an article entitled "Should Gloriously Terrible Movies Like The Room Be Considered 'Outsider Art'?" where he made the argument "The label [of outsider art] has traditionally applied to painters and sculptors... but it's hard to see why it couldn't also refer to Wiseau or any other thwarted, un-self-aware filmmaker."[56]

text: In a 2017 interview for a Vox video, The Disaster Artist co-writer Tom Bissell explained his views on The Room's popularity, as well as his personal enjoyment of the film, by noting that:[57]

text: It is like a movie made by an alien who has never seen a movie, but has had movies thoroughly explained to him. There's not often that a work of film has every creative decision that's made in it on a moment-by-moment basis seemingly be the wrong one. [...] The Room, to me, shatters the distinction between good and bad. Do I think it's a good movie? No. Do I think it's a strong movie that moves me on the level that art usually moves me? Absolutely not. But I can't say it's bad because it's so watchable. It's so fun. It's brought me so much joy. How can something that's bad do those things for me?

text: Midnight circuit[edit]

text: The Room played in the Laemmle Fairfax and Fallbrook for the next two weeks, grossing a total of US$1,800 (equivalent to $2,395 in 2017) before it was pulled from circulation.[3][58] Toward the end of its run, the Laemmle Fallbrook theatre displayed two signs on the inside of the ticket window in relation to the film: one that read "NO REFUNDS" and another citing a blurb from an early review: "This film is like being stabbed in the head."[59] During one showing in the second week of its run, one of the few audience members in attendance was 5-Second Films' Michael Rousselet, who found unintentional humor in the film's poor dialogue and production values. After treating the screening as his "own private Mystery Science Theater", Rousselet began encouraging friends to join him for future showings to mock the film, starting a word-of-mouth campaign that resulted in about 100 attending the film's final screening. Rousselet and his friends saw the film "four times in three days," and it was in these initial screenings that many of The Room traditions were born, such as the throwing of spoons and footballs during the film.[3]

text: After the film was pulled from theaters, those who had attended the final showing began e-mailing Wiseau telling him how much they had enjoyed the film. Encouraged by the volume of messages he received, Wiseau booked a single midnight screening of The Room in June 2004, which proved successful enough that Wiseau booked a second showing in July, and a third in August. These screenings proved to be even more successful, and were followed by monthly screenings on the last Saturday of the month, which began selling out and continued up until the theatre was sold in 2012.[60] Tommy frequently made appearances at these screenings, and often engaged with fans afterwards. On the 5 year anniversary of the film's premiere, it sold out every screen at the Sunset 5 and both Tommy Wiseau and Greg Sestero did Q&A's afterwards.[61] The film was featured on the 2008 Range Life tour, and expanded to midnight screenings in several other cities soon after.[62] Celebrity fans of the film included Paul Rudd, David Cross, Will Arnett, Patton Oswalt, Tim Heidecker, Eric Wareheim, Seth Rogen, and James and Dave Franco. Kristen Bell acquired a film reel and hosted private viewing parties;[63] Veronica Mars creator Rob Thomas would also slip references into episodes of Mars "as much as possible".[3] The film eventually developed a national and international cult status, with Wiseau arranging screenings around the United States and in Canada, Scandinavia, the United Kingdom, Australia and New Zealand.[2]

text: The film had regular showings in many theaters worldwide, with many as a monthly event.[64] Fans interact with the film in a similar fashion to The Rocky Horror Picture Show; audience members dress up as their favorite characters, throw plastic spoons in reference to an unexplained framed photo of a spoon on a table in Johnny's living room, toss footballs to each other from short distances, and yell insulting comments about the quality of the film as well as lines from the film itself.[51][3][65][66] Wiseau has claimed that it was his intent for audiences to find humor in the film, although viewers and some of the cast members generally have viewed it as a poorly-made drama.[67][68]

text: Home media[edit]

text: The Room was released on DVD in December 2005, and Blu-ray in December 2012.[2][69][70]

text: The DVD's special features include an interview with Wiseau, who is asked questions by an off-screen Greg Sestero. Wiseau sits directly in front of a fireplace, with a mantle cluttered by various props from the film;[49] next to him sits a large framed theatrical poster for the film. A few of Wiseau's answers are dubbed in, although it is evident that the dubbed responses match what he was originally saying. Wiseau fails to answer several of the questions, instead offering non sequiturs.[71]

text: Among the outtakes included on the Blu-ray is an alternate version of the Chris-R scene, set in a back alley; instead of tossing a football, Denny is playing basketball and attempts to get the drug dealer to "shoot some H-O-R-S-E" with him to distract him from the debt. Another bonus feature on the Blu-ray is a more than half-hour long fly-on-the-wall style documentary about the making of The Room. The documentary includes no narration, very little dialogue, and only one interview (with cast member Carolyn Minnott), and consists largely of clips of the crew preparing to shoot.[71]

text: Wiseau announced plans in April 2011 for a 3D version of The Room, scanned from the 35mm negative.[8]

text: Other media[edit]

text: Book[edit]

text: In June 2011, it was announced that Greg Sestero had signed a deal with Simon & Schuster to write a book based on his experiences making the film. The book, titled The Disaster Artist, was published in October 2013.[72]

text: A film adaptation of The Disaster Artist was announced in February 2014, produced by Seth Rogen and directed by James Franco.[73] Franco has stated The Disaster Artist was "a combination of Boogie Nights and The Master".[73] The film stars Franco as Wiseau and his brother Dave Franco as Sestero, with the script written by The Fault in Our Stars screenwriters Scott Neustadter and Michael H. Weber. On October 15, 2015, it was announced Seth Rogen would co-star (playing Sandy Schklair), and cinematographer Brandon Trost served as the DP.[74] On October 29, 2015, it was announced that Warner Bros. and New Line Cinema would distribute The Disaster Artist. Filming began December 7, 2015.[75] A work-in-progress version was screened at South by Southwest in March 2017, with the wide release beginning on December 8, 2017.[76]

text: Video game[edit]

text: In September 2010, Newgrounds owner Tom Fulp released a Flash game tribute, in the form of a 16-bit styled adventure game played entirely from Johnny's point of view. The game's artwork was provided by staff member Jeff "JohnnyUtah" Bandelin, with music transcribed by animator Chris O'Neill from the Mladen Milicevic score and soundtrack.[77]

text: Live performances[edit]

text: On June 10, 2010, the AFI Silver Theatre and Cultural Center presented a live play/reading based on the original script for the movie. Wiseau reprised his role of Johnny and was joined by Greg Sestero playing the role of Mark.[78]

text: In 2011, Wiseau mentioned plans for a Broadway adaptation of the film,[79] in which he would appear only on opening night: "It will be similar to what you see in the movie, except it will be musical. As well as, you will see… like, for example, Johnny, we could have maybe 10 Johnnys at the same time singing, or playing football. So, the decision have to be made at the time when we actually doing choreography, 'cause I'll be doing choreography, as well I'll be in it only one time, that's it, as Johnny."[8] He mentioned the plans again during a 2016 interview, describing his idea for it to be a "musical slash comedy."[80]

text: Web series[edit]

text: On October 21, 2014, cast member Robyn Paris launched a Kickstarter campaign to raise the budget for her comedy mockumentary web series, The Room Actors: Where Are They Now? A Mockumentary. On completion, the campaign had raised US$31,556 (equivalent to $32,621 in 2017) from 385 backers.[81] Although a number of the original cast appeared in the series, Wiseau, Sestero and Holmes are not involved.[82] The series premiered at the 24th Raindance Film Festival on September 30, 2016,[83][84] and debuted on the website Funny or Die on November 30, 2017.[85]

text: Musical[edit]

text: A satirical fan-made musical called OH HAI!: The Rise of Chris-R, written by Tony Orozco and Peter Von Sholly, was released on Soundcloud on July 27, 2017. The work builds on the backstory of the film, particularly the character of Denny and his relationship with Chris-R.[86]

text: In popular culture[edit]

text: The comedy show Tim and Eric Awesome Show, Great Job! on Adult Swim featured Wiseau prominently in the fourth season March 9, 2009 episode titled Tommy.[87] Recruited as a "guest director", Wiseau is interviewed in mockumentary style, along with the show's leading actors, during the production of a fake film titled The Pig Man. Two scenes from The Room are featured during the episode. Adult Swim broadcast the movie three times from 2009 to 2011 as part of their April Fools' Day programming. In 2012, they showed the first 20 seconds of it before switching to Toonami for the remainder of the night.[88]

text: On June 18, 2009, a RiffTrax for The Room was released, featuring commentary by Michael J. Nelson, Bill Corbett and Kevin Murphy, formerly of Mystery Science Theater 3000.[89] This was followed up with a live theater show by RiffTrax on May 6, 2015,[90] which was shown in 700 theaters across the U.S. and Canada. The show screened once more on January 28, 2016 as part of the Best of RiffTrax Live series.[91]

text: On his 2009 DVD My Weakness Is Strong, comedian Patton Oswalt parodied The Room with a fake infomercial. The spoof also features a cameo from Jon Hamm.[92]

text: In 2010, the film was mocked on the Internet comedy series Nostalgia Critic, which highlighted the film's bad acting and writing, but encouraged viewers to see the movie: "It truly is one of those films you have to see to believe."[93] The episode was taken down following claims of copyright infringement from Wiseau-Films. It was replaced by a short video titled "The Tommy Wi-Show", in which host Doug Walker, dressed as Wiseau, mocked the threatened legal actions. The main review was later reinstated.[94] Both Greg Sestero and Juliette Danielle have praised the review, and Sestero later made a cameo appearance on The Nostalgia Critic episode "Dawn of the Commercials", reprising his role of Mark.[95] Both Wiseau and Sestero appeared in separate episodes on Walker's talk show, Shut Up and Talk.[96][26]

text: In Wiseau's 2014 sitcom pilot The Neighbors, the character Troy watches The Room in a scene.[97]

text: In 2015, Sestero starred in the 5-Second Films feature Dude Bro Party Massacre III, directed by Michael Rousselet, the patient zero of The Room cult movement.[55][98]

text: The Sunday, July 5, 2015, installment of Amy Dickinson's advice column Ask Amy unwittingly featured a hoax letter that derived its situational premise from The Room and, even after being edited for publication, retained phrases from the film's dialogue;[99] Dickinson addressed the hoax in the following Saturday's July 11 edition of the National Public Radio comedy and quiz show Wait Wait... Don't Tell Me!, where she appears as a regular panelist,[100] and in her July 20, 2015 column.[101][102]


document_title: Casey Sander

question_text: who plays howard's father in law on big bang

question_tokens: who plays howard 's father in law on big bang

text: Casey Sander

text:
Casey Sander

Born
Clinton O. Sander
(1956-07-06) July 6, 1956 (age 61)
Washington, D.C., U.S.

Occupation
Actor

Years active
1982–present

Children
2

text: Clinton O. "Casey" Sander (born July 6, 1956) is an American actor known as the character "Captain" Jimmy Wennick on the short-lived TV series Tucker. His television credits also include Criminal Minds, The Golden Girls,[1]Grace Under Fire, Home Improvement,[1] Malcolm in the Middle, Rules of Engagement, Sons of Anarchy, Mad Men, Silicon Valley, The Newsroom, Buffy the Vampire Slayer (on which he portrayed the father of Xander Harris),[2] Hunter, and Marvin Marvin, among other shows. He has a recurring role on the TV sitcom The Big Bang Theory as Bernadette's father, Mike.[3]

text: Early and personal life[edit]

text: Sander was born in Washington, D.C. His father was an Air Force lieutenant colonel.[4] While attending Nathan Hale High School in Seattle, Washington, as sophomore, he played shortstop on the school's baseball team.[2]

text: In his senior year, he was a 10th round draft pick for the California Angels and was accepted after graduating high school in 1973. Though he had turned down football scholarships from Washington and Washington State University, he had an unsuccessful season with the Angels and was eventually released. Sander and Richard Karn attended junior high school and later attended Roosevelt High School in Seattle together and played against each other on the football team.[2]

text: After being released from the Angels and playing one season for the Seattle Rainiers, he accepted a football scholarship from University of Puget Sound. He considered becoming a sports broadcaster and took up an acting class in hopes it would help his performance. He participated in college plays including Waiting for Godot. After earning a teaching degree, he briefly taught at Curtis Senior High School in University Place, Washington. After quitting, he drove to Los Angeles and worked as a shipyard hand, log-cabin builder, bartender and car dealer to get by before getting an acting agent.[2]

text: His first significant work was in print advertising including being the "Winston man" for Winston Cigarettes.[5] Sander has a son, Max, and a daughter, Mimi.[2]


document_title: Don't Rain on My Parade

question_text: where is don't rain on my parade from

question_tokens: where is do n 't rain on my parade from

text: Don't Rain on My Parade

text: This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2009) (Learn how and when to remove this template message)

text:
"Don't Rain on My Parade"

Popular song, Show tune by Barbra Streisand

from the album Funny Girl: Original Broadway Cast Recording, Funny Girl: The Original Soundtrack Recording

Released
January 1964

Recorded
December 20, 1963

Genre
Musical theatre

Length
2:46

Composer(s)
Jule Styne

Lyricist(s)
Bob Merrill

text: "Don't Rain on My Parade" is a popular song from the 1964 musical Funny Girl. It was also featured in the 1968 movie version of the musical. The song was written by Bob Merrill and Jule Styne. Both the movie and stage versions feature Barbra Streisand performing the song. In 2004 it finished No. 46 in AFI's 100 Years...100 Songs survey of top tunes in American cinema.

text: Streisand has sung the song live on many occasions, including during her comeback tour Barbra Streisand: The Concert Tour (1993–1994), Timeless Live In Concert Tour (1999–2000) , Streisand: The Tour (2006–2007) and the Barbra: The Music, The Mem'ries, The Magic (2016). The instrumental of this song can be heard during the Overture of the stage show, the film and on Streisand's 2006–2007 Tour.

text: There is a reprise version of this song with alternate lyrics which served as the finale for the stage show. This number was cut from the film. Streisand sang this version live for the first time since her run in the original Broadway production as an encore during her 2006–07 Tour.


document_title: Human head

question_text: what is the average size of a head

question_tokens: what is the average size of a head

text: Human head

text: Structure[edit]

text: The human head consists of a fleshy outer portion surrounding the bony skull, within which sits the brain. The head rests on the neck, and is provided bony support for movement by the seven cervical vertebrae.

text: The face is the anterior part of the head, containing the sensory organs the eyes, nose and mouth. The cheeks, on either side of the mouth, provide a fleshy border to the oral cavity. To either side of the head sit the ears.

text: Blood supply[edit]

text: The head receives blood supply through the internal and external carotid arteries. These supply the area outside the skull (external carotid artery) and inside of the skull (internal carotid artery). The area inside the skull also receives blood supply from the vertebral arteries, which travel up through the cervical vertebrae.

text: Nerve supply[edit]

text: The twelve pairs of cranial nerves provide the majority of nervous control to the head. The sensation to the face is provided by the branches of the trigeminal nerve, a cranial nerve. The sensation to other portions of the head is provided by the cervical nerves.

text: Modern texts are in agreement about which areas of the skin are served by which nerves, but there are minor variations in some of the details. The borders designated by the diagrams in the 1918 edition of Gray's Anatomy, provided below, are similar but not identical to those generally accepted today.

text: The cutaneous innervation of the head is as follows:

text:
Ophthalmic nerve (green)
Maxillary nerve (pink)
Mandibular nerve (yellow)
Cervical plexus (purple)
Dorsal rami of cervical nerves (blue)

text: Function[edit]

text: This section needs expansion. You can help by adding to it. (March 2014)

text: The head contains sensory organs: two eyes, two ears, a nose and inside the mouth a tongue. It also houses the brain.

text: Society and culture[edit]

text: For humans, the head and particularly the face are the main distinguishing feature between different people, due to their easily discernible features such as hair and eye color, nose, eye and mouth shapes and wrinkles. The human head typically weighs between 5 and 11 pounds (2.3 and 5.0 kg). Human faces are easily differentiable to us due to our brains' predispositions toward discriminating human facial forms. When observing a relatively unfamiliar species, all faces seem nearly identical, and human infants are biologically programmed to recognize subtle differences in anthropic facial features.[citation needed]

text: People who are more intelligent than normal are sometimes depicted in cartoons as having bigger heads, as a way of notionally indicating that they have a "larger brain"; in science fiction, an extraterrestrial having a big head is often symbolic of high intelligence. Outside this symbolic depiction, however, advances in neurobiology have shown that the functional diversity of the brain means that a difference in overall brain size is only slighty to moderately correlated to differences in overall intelligence between two humans.[1]

text: The head is a source for many metaphors and metonymies in human language, including referring to things typically near the human head ( "the head of the bed"), things physically similar to the way a head is arranged spatially to a body ("the head of the table"), metaphorically ("the head of the class/FBI") and things that represent some characteristic we associate with the head, such as intelligence ("there are a lot of good heads in this company").[2]

text: Ancient Greeks had a method for evaluating sexual attractiveness based on the Golden ratio, part of which included measurements of the head.[citation needed]

text: Clothing[edit]

text: In many cultures, covering the head is seen as a sign of respect. Often, some or all of the head must be covered and veiled when entering holy places, or places of prayer. For many centuries, women in Europe, the Middle East, and South Asia have covered their hair as a sign of modesty. This trend has changed drastically in Europe in the 20th century, although is still observed in other parts of the world. In addition, a number of religious paths require men to wear specific head clothing—such as the Islamic Taqiyah_(cap), Jewish yarmulke, or the Sikh turban; or Muslim women, who cover their hair, ears, and neck with a scarf.

text: People may cover the head for other reasons.  A hat is a piece of clothing covering just the top of the head. This may be part of a uniform, such as a police uniform, a protective device such as a hard hat, a covering for warmth, or a fashion accessory.

text: Different headpieces can also signify status, origin, religious/spiritual beliefs, social grouping, team affiliation, occupation, or fashion choices.

text: Anthropometry[edit]

text: While numerous charts detailing head sizes in infants and children exist, most do not measure average head circumference past the age of 21. Reference charts for adult head circumference also generally feature homogeneous samples and fail to take height and weight into account.[3]

text: One study in the United States estimated the average human head circumference to be 55 centimetres (21 3⁄4 in) in females and 57 centimetres (22 1⁄2 in) in males.[4][dubious  – discuss] A British study by Newcastle University showed an average size of 55.2 cm for females and 57.2 cm for males with average size varying proportionally with height [5]

text: Macrocephaly can be an indicator of increased risk for some types of cancer in individuals who carry the genetic mutation that causes Cowden syndrome. For adults, this means refers to head sizes greater than 58 centimeters in men or greater than 57 centimeters in women.[6][7]

text: Average head sizes[edit]

text:
Measurement

Image

Description

Gender

Percentile (centimetres)

1st

5th

50th

95th

99th

Head breadth

1

The maximum breadth of the head, usually above and behind the ears.

Men

13.9

14.3

15.2

16.1

16.5

Women

13.3

13.7

14.4

15.0

15.8

Interpupilliary breadth

2

The distance between the centres of the pupils of the eyes, while looking straight ahead.

Men

5.7

5.9

6.5

7.1

7.4

Women

5.5

5.7

6.0

6.9

7.0

Face breadth (bzygomatic)

3

The breadth of the face, measured across the most lateral projections of the cheek bones (zygomatic arches).

Men

12.8

13.2

12.2

13.3

13.7

Women

12.1

12.3

12.8

14.0

15.4

Face length (menton-sellion)

4

The vertical distance from the tip of the chin (menton) to the deepest point of the nasal root depression between the eyes (sellion).

Men

10.8

11.2

12.2

13.3

13.7

Women

10.1

10.4

11.3

12.4

12.9

Biocular breadth

5

The distance from the outer corners of the eyes (right and left ectocanthi).

Men

11.0

11.3

12.2

13.1

13.6

Women

10.8

11.1

11.6

12.9

13.3

Bitragion breadth

6

The breadth of the head from the right tragion to the left. Tragion is the cartilaginous notch at the front of the ear.

Men

13.1

13.5

14.5

15.5

15.9

Women

12.5

12.8

13.3

14.3

15.0

Glabella toback of head

7

The horizontal distance from the most anterior point of the forehead between the brow-ridges (glabella) to the back of the head.

Men

18.3

18.8

20.0

21.1

21.7

Women

17.5

18.0

19.1

20.2

20.7

Menton toback of head

8

The horizontal distance from the tip of the chin (menton) to the back of the head.

Men

15.7

16.5

18.2

20.0

20.7

Women

15.2

15.8

17.3

18.9

19.6

Sellion totop of head

9

The vertical distance from the nasal root depression between the eyes (sellion) to the level of the top of the head.

Men

9.7

10.1

11.2

12.4

12.9

Women

9.0

9.5

10.5

11.7

12.2

Stomion to top of head

10

The vertical distance from the midpoint of the lips (stomion) to the level of the top of the head, measured with a headboard.

Men

16.9

17.4

18.6

19.9

20.6

Women

15.7

16.3

17.5

18.8

19.4

Sellion to back of head

11

The horizontal distance from the nasal root depression between the eyes (sellion), to the back of the head, measured with a headboard.

Men

18.0

18.5

19.7

20.9

21.4

Women

17.4

17.8

18.9

20.0

20.5

Pronasale toback of head

12

The horizontal distance from the tip of the nose (pronasale) to the back of the head.

Men

20.0

20.5

22.0

23.2

23.9

Women

19.2

19.7

21.0

22.2

22.8

Head length

13

The maximum length of the head; measured from the most anterior point of the forehead between the brow ridges (glabella) to the back of the head (occiput).

Men

18.0

18.5

19.7

20.9

21.3

Women

17.2

17.6

18.7

19.8

20.2

Menton totop of head

14

The vertical distance from the bottom of the chin (menton) to the top of the head.

Men

21.2

21.8

23.2

24.7

25.5

Women

19.8

20.4

21.8

23.2

23.8

Mention-crinion length

15

The vertical distance from the bottom of the chin (menton) to the midpoint of the hairline (crinion).

Men

16.6

17.4

19.1

20.9

21.6

Women

15.5

16.1

17.7

19.2

19.9

Menton-subnasale length

16

The distance from the bottom of the chin (menton) to the base of the nasal septum (subnasale).

Men

6.1

6.5

7.3

8.3

8.7

Women

5.7

6.0

6.5

7.8

8.3


document_title: UFC 182

question_text: who won jon jones vs daniel cormier 1

question_tokens: who won jon jones vs daniel cormier 1

text: UFC 182

text: Background[edit]

text: The event was headlined by a Light Heavyweight Championship bout between the champion at that time, Jon Jones, and top contender Daniel Cormier.[4]

text: Jones was initially scheduled to face Alexander Gustafsson in a rematch on September 27, 2014 at UFC 178.[5] However, Gustafsson pulled out of the bout due to a knee injury and was replaced by Daniel Cormier.[6] Subsequently on August 12, Jones pulled out of the bout against Cormier citing a leg injury, which in turn led to the rescheduling of the pairing to this event.[4]

text: A matchup for the Women's Bantamweight Championship between the champion at the time Ronda Rousey and top contender Cat Zingano was briefly attached to this event. However, it was announced in late October that the pairing was delayed and would take place eight weeks later at UFC 184.[7]

text: Danny Castillo was expected to face Rustam Khabilov, but visa issues forced Khabilov out of the fight.[8] He was replaced by Paul Felder, who was originally scheduled to fight at UFC Fight Night: McGregor vs. Siver.[9]

text: Alexis Dufresne missed weight on her first attempt at the weigh ins, weighing in at 138 pounds. She was given additional time to make the bantamweight limit, but made no attempt to cut further. Instead, she was fined 20 percent of her purse, which went to Marion Reneau.[10]

text: UFC 182 became the second longest UFC event behind UFC 136 with a total in-cage fight time of 154 minutes and 56 seconds.[11]

text: On January 6, it was announced that Jones failed a drug test prior to the event. He tested positive for benzoylecgonine, the primary metabolite of cocaine.[12] As benzoylecgonine is not banned out of competition by the World Anti-Doping Agency, the NSAC could not halt Jones from fighting at UFC 182. He was randomly tested on December 4 and the results came back on December 23, the NSAC Executive Director Bob Bennett said. Jones immediately entered rehab,[12] though it was later revealed by his mother that he only spent one night in rehab.[13]

text: On February 10, it was announced that Hector Lombard failed a fight night drug test, testing positive for the anabolic steroid desoxymethyltestosterone. The failed drug test was responsible for the cancellation of his bout against Rory MacDonald at UFC 186.[14] On March 23, Lombard was suspended for one year, fined and had his win over Josh Burkman overturned to a no contest by the NSAC. He was fined his original $53,000 win bonus, plus one-third of the rest of his purse, which included $53,000 in show money. In addition, Lombard also must pass a drug test prior to getting relicensed by the NSAC.[15]

text: Results[edit]

text:
Main Card

Weight class

Method
Round
Time
Notes

Light Heavyweight
Jon Jones (c)
def.
Daniel Cormier
Decision (unanimous) (49–46, 49–46, 49–46)
5
5:00
[a]

Lightweight
Donald Cerrone
def.
Myles Jury
Decision (unanimous) (30–27, 30–27, 30–27)
3
5:00

Middleweight
Brad Tavares
def.
Nate Marquardt
Decision (unanimous) (30–27, 30–27, 30–27)
3
5:00

Flyweight
Kyoji Horiguchi
def.
Louis Gaudinot
Decision (unanimous) (29–28, 30–27, 30–27)
3
5:00

Welterweight
Hector Lombard
vs.
Josh Burkman
No Contest (overturned)
3
5:00
[b]

Preliminary Card (Fox Sports 1)

Lightweight
Paul Felder
def.
Danny Castillo
KO (spinning back fist)
2
2:09

Bantamweight
Cody Garbrandt
def.
Marcus Brimage
TKO (punches)
3
4:50

Heavyweight
Shawn Jordan
def.
Jared Cannonier
KO (punches)
1
2:57

Lightweight
Evan Dunham
def.
Rodrigo Damm
Decision (unanimous) (30–27, 30–27, 30–27)
3
5:00

Preliminary Card (UFC Fight Pass)

Welterweight
Omari Akhmedov
def.
Mats Nilsson
Decision (unanimous) (29–28, 29–28, 29–28)
3
5:00

Catchweight (138 lbs)
Marion Reneau
def.
Alexis Dufresne
Decision (unanimous) (30–26, 30–26, 30–25)
3
5:00

text:
Jump up ^ For the UFC Light Heavyweight Championship.
Jump up ^ Originally a unanimous decision (30–27, 30–27, 29–28) victory for Lombard, the result was changed to "No Contest" after Lombard tested positive for desoxymethyltestosterone during a post-fight screening.[15]

tag: ol

text: Bonus awards[edit]

text: The following fighters were awarded $50,000 bonuses:[17]

text:
Fight of the Night: Jon Jones vs. Daniel Cormier
Performance of the Night: Paul Felder and Shawn Jordan

text: Reported payout[edit]

text: The following is the reported payout to the fighters as reported to the Nevada State Athletic Commission. It does not include sponsor money and also does not include the UFC's traditional "fight night" bonuses.[18]

text:
Jon Jones: $500,000 (no win bonus) def. Daniel Cormier: $90,000
Donald Cerrone: $140,000 (includes $70,000 win bonus) def. Myles Jury: $16,000
Brad Tavares: $50,000 (includes $25,000 win bonus) def. Nate Marquardt: $49,000
Kyoji Horiguchi: $40,000 (includes $20,000 win bonus) def. Louis Gaudinot: $10,000
Hector Lombard: $106,000 (includes $53,000 win bonus) def. Josh Burkman: $45,000
Paul Felder: $20,000 (includes $10,000 win bonus) def. Danny Castillo: $36,000
Cody Garbrandt: $16,000 (includes $8,000 win bonus) def. Marcus Brimage: $12,000
Shawn Jordan: $44,000 (includes $22,000 win bonus) def. Jared Cannonier: $8,000
Evan Dunham: $54,000 (includes $27,000 win bonus) def. Rodrigo Damm: $12,000
Omari Akhmedov: $20,000 (includes $10,000 win bonus) def. Mats Nilsson: $8,000
Marion Reneau: $17,600 (includes $8,000 win bonus) def. Alexis Dufresne: $6,400 ^

text: ^ Alexis Dufresne was fined 20 percent of her purse for failing to make the required weight for her fight with Marion Reneau. That money was issued to Reneau, an NSAC official confirmed.[18]


document_title: Can't Buy Me Love (film)

question_text: where was the movie can't buy me love filmed

question_tokens: where was the movie ca n 't buy me love filmed

text: Can't Buy Me Love (film)

text: Plot[edit]

text: Ronald Miller (Dempsey) is a typical high school nerd living in suburban Tucson, Arizona. He has spent all summer mowing lawns to save up for a telescope. At an opportune moment, he makes a deal with next-door neighbor and popular cheerleader Cynthia "Cindy" Mancini (Peterson). Cindy had borrowed an expensive suede outfit belonging to her mother, without her permission, to wear to an end-of-the-summer/back-to-school party, and needs to replace it quickly after Quint (Cort McCown) accidentally spilled red wine on it at the party. Having few options, save for telling her mother the truth, Cindy reluctantly agrees to Ronald's proposal: he will give her $1000 to purchase a new suede outfit, and she will help him look "cool" by pretending to be his girlfriend for a month, even though she already has a boyfriend named Bobby who is away at his freshman year at the University of Iowa. Ronald feels that he can be a part of the popular crowd if they think Cindy is dating him. Both agree never to reveal their financial arrangement.

text: Ronald then trades his nerdy, yet loyal, friends for the popular, but shallow, students, and undergoes a complete clothing and hair makeover under Cindy's direction. Over the course of the month, they discover each other's individuality and a bond develops organically between the two. Cindy soon starts to genuinely like Ronald and appreciates his company. As he washes her car at her house, she opens up to him, fetching a poem that she had written that means the world to her and letting Ronald read it. She gets to know him better as he reveals his interests in astronomy and space travel. They gaze at the moon and he tells her how, when they are their parents age, "people will be working there and living there... maybe even us." On the last date which Ronald has "paid" for, Cindy hints that she would like to kiss Ronald, signifying that she has real feelings for him, but he misunderstands and assumes she wants to talk about ending their arrangement. They dramatically "break up" in front of a crowd at school, but Ronald takes things too far and says some hurtful things about Cindy in front of their friends. She becomes cool and distant, but warns him that popularity is hard work and he needs to make sure that he "stays [him]self". The next day, Cindy appears disgusted with Ronald when she sees him behaving arrogantly at school, and becomes jealous when she sees him flirting with her best friends Barbara and Patty, whom he later takes out on dates.

text: Ronald continues playing "cool" by hanging out with the jocks and hot chicks. He takes Patty to a dance at school, where he performs a dance he learned from an African cultural show on public television (he mistakenly thought he was watching American Bandstand). At first, the other kids are mystified, but they soon join in, and Ronald's new "trendy" dancing further increases his popularity at school. On Halloween night, he and some other boys drive to the house of Kenneth (Courtney Gains), Ronald's best friend, where the jocks test his loyalty by coercing him to hurl dog feces at Kenneth's house. Kenneth is lying in wait and catches Ronald, but lets him go before his dad can call the police. Kenneth ignores Ronald the next day at school.

text: At a New Year's Eve party at Big John's (Eric Bruskotter) house, Ronald gets drunk and has sex with his date, Iris (DeVasquez), in the bathroom. Iris has a reputation nailing a lot of popular guys. Cindy walks by and hears Ronald reciting to Iris the very poem that she had written and allowed him to read. Devastated, she starts drinking heavily. Later, as a surprise, Cindy's boyfriend, Bobby, shows up at the party, as he still has strong ties to the athletes at the school. After he learns about her relationship with Ronald, through Quint and Ricky (Gerardo Mejia), Cindy is brutally dumped in front of her friends. Even though she tried to explain to Bobby, he paid her to go out with him. Bobby didn't believe her and he still broke up with her. In anger and frustration, she tells the party-goers the truth about her relationship with Ronald and his "cool" pretenses. She scolds her friends for falling for his act and for being "a bunch of followers". "Our little plan worked, didn't it Ronald?" Cindy says as she crushes his popularity, sending Ronald back to the bottom rung of the high school social ladder. Rejected and dejected, Ronald leaves the party alone to spend the night in his garage, crying himself to sleep. When school resumes after the holiday break, he immediately finds himself ostracized as a social pariah. The "jocks" once again tease and throw food at him, and he soon finds that the nerdy crowd has abandoned him also. His distress only deepens when his attempts to reconcile with both Cindy and Kenneth are rebuffed.

text: A moment for Ronald to redeem himself comes when he defends Kenneth against a potentially violent encounter with Quint. Kenneth, while helping Patty (Darcy DeMoss) with her math homework, is approached by Quint, who orders him back to his side of the cafeteria, or take a serious beating. Ronald intervenes, threatening to break Quint's pitching arm if he does not leave Kenneth, who had only been tutoring Patty out of sincere kindness, with no ulterior motive, alone. Ronald points out that the three were all friends at one time: when they were nine, Quint had fallen out of their tree house and broken his arm. Kenneth carried him twelve blocks to the hospital, with Quint crying all the way. He tells Quint that he - Ronald - was desperate to run with the popular crowd, but he had messed up by trying to buy his way in. Kenneth, however, was just trying to make friends by being himself. Ronald goes on to say that the cool/nerd dynamic is "all bullshit, it's tough enough just being yourself", and walks away. Quint apologizes to Kenneth and the two shake hands as the whole school applauds. Ronald finally redeems himself with everyone.

text: Following the incident, Cindy recognizes Ronald's worth, and the two reconcile when she decides to hop on the back of his riding lawn mower instead of hanging out with her popular friends. He asks her to prom and the two kiss as the title song plays. Closing credits roll while the two of them ride off into the sunset on the lawn mower.

text: Cast[edit]

text:
Patrick Dempsey as Ronald Miller
Amanda Peterson as Cindy Mancini
Tina Caspary as Barbara
Darcy DeMoss as Patty
Cort McCown as Quint
Eric Bruskotter as Big John
Gerardo Mejía as Ricky
Courtney Gains as Kenneth Wurman
Seth Green as Chuck Miller
Sharon Farrell as Mrs. Mancini
Dennis Dugan as David Miller
Cloyce Morrow as Judy Miller
Devin DeVasquez as Iris
Ami Dolenz as Fran
William Hannah V as Telescope Salesman
Paula Abdul as Dancer
Troy Monroe Lunch room back round
Lisa Christiansen as Bambi La Brock

text: Production notes[edit]

text: The film was shot on location in Tucson, Arizona, at Tucson High Magnet School (then known as Tucson High School).[2] The choreography is by Paula Abdul, who makes an uncredited appearance as a dancer.[3]

text: On a date where the main characters begin to bond, they jump the perimeter wall and explore the 309th Aerospace Maintenance and Regeneration Group Aircraft Bone Yard on Davis–Monthan Air Force Base that contains 4,400 aircraft. Although the characters say they jump the fence at 309 AMARG (The Boneyard) the actual scene looks more like it was shot at Bob's Air Park, an aircraft recycler just outside the Boneyard, which has since been sold.

text: Critical reception[edit]

text: Can't Buy Me Love received mixed reviews from critics. Caryn James, in The New York Times, wrote that the film missed its mark and traded its potential originality for a bid at popularity by writing, "Michael Swerdlick, the writer, and Steve Rash, the director...waste a chance to make the much deeper, funnier movie that strains to break through. [The film]...has an identity crisis that's a mirror-image of Ronald's own. He thinks he wants popularity at any price, though he's really a sincere guy. The film thinks it wants to be sincere, when all it truly wants is to be popular, just like the other kids' movies, so it sells off its originality."[4] Roger Ebert gave the film half a star out of a possible 4, writing: "If 'Can't Buy Me Love' had been intended as a satirical attack on American values—if cynicism had been its target—we might be on to something here. But no. On the basis of the evidence, the people who made this movie are so materialistic they actually think this is a 'teenage comedy'. Can't they see the screenplay's rotten core?"[1]

text: Rotten Tomatoes gives the film a rating of 50% based on reviews from 22 critics.[5] In 2006, it ranked number 41 on Entertainment Weekly's list of the 50 Best High School Movies.[6][7]

text: Awards[edit]

text: Young Artist Award

text:
Won: Best Young Actor in a Motion Picture—Comedy, Patrick Dempsey
Nominated: Best Young Actress in a Motion Picture—Comedy, Amanda Peterson
Nominated: Best Young Actress in a Motion Picture—Comedy, Tina Caspary
Nominated: Best Family Motion Picture—Comedy

text: Soundtrack[edit]

text: In 2013 Intrada Records released Robert Folk's complete score for the film on a limited edition CD paired with David Newman's work for Paradise.[8]

text: Remake[edit]

text: In 2003, Can't Buy Me Love was remade as Love Don't Cost a Thing starring Nick Cannon and Christina Milian.[9] Though the triggering event differs between the two movies, many of the aspects/scenes from the original film are reinterpreted in this remake, such as the eating of raw egg in the Home Economics classroom, as well as the cheerleader telling the bully that he is sitting in the wrong section in the cafeteria that he (the bully) need to sit in the "asshole section" of the cafeteria.


document_title: Lost in Space (2018 TV series)

question_text: where is the new series of lost in space filmed

text: Lost in Space (2018 TV series)

text: Premise[edit]

text: In the year 2048 the Robinson family is selected for the 24th mission of the Resolute, an interstellar spacecraft which will carry selected families to colonize a new world. The Resolute was built after a celestial object, dubbed "The Christmas Star" by the media, crashed into Earth a few years earlier, threatening humanity's survival on Earth. Before they reach their destination, an alien robot breaches the Resolute's hull. Some of the families are forced to evacuate the mothership in their short-range Jupiter spacecraft. The Robinsons and other colonists crash-land on a nearby habitable planet, where they battle the strange new environment and their own personal demons as they attempt to find a way back to the Resolute.[1]

text: Cast[edit]

text: Main[edit]

text:
Molly Parker as Maureen Robinson, a fearless and brilliant aerospace engineer taking her family on the mission to colonize Alpha Centauri for a new life on a better world. She is a mission commander. She is married to John Robinson and is the biological mother of all three children.[3]
Toby Stephens as John Robinson, a former U.S. Navy SEAL, and husband to Maureen. He is the biological father of Maureen's two youngest children.[4]
Maxwell Jenkins as Will Robinson, the 11-year-old son and youngest child of Maureen and John Robinson. He forms a tight bond with the Robot, whom he saves from destruction during a forest fire.[5]
Taylor Russell as Judy Robinson, Maureen's 18-year-old biracial daughter and eldest child. She is a mission doctor, having received accelerated medical training.[6][7]
Mina Sundwall as Penny Robinson, the 15-year-old daughter and middle Robinson child.[7][8]
Ignacio Serricchio as Don West, a mechanic who also smuggles luxury goods. He has a chicken named Debbie, which he claims to be lucky.[9]
Parker Posey as Dr. Smith. She is a criminal and a psychopath who uses other people's identities to claim their belongings. Dr. Smith, whose real name is June Harris, stole her sister Jessica's identity and place on the colony ship. There she impersonates Dr. Zachary Smith, to take his seat on an evacuating Jupiter ship. After landing on the planet, Dr. Smith attempts to sabotage the Jupiters' chances of being rescued by the Resolute while manipulating and gaslighting the survivors to avoid prosecution for her crimes.[10] The theft of the doctor's identity is a reference to the corresponding Dr. Smith character of the original TV series.[11]
Brian Steele as the Robot,[12] an alien mechanoid being that Will encounters on the planet that his family crash lands on. The robot has a different form from the ones on the previous series and movie.[13]
Sibongile Mlambo as Angela Goddard (season 2; recurring season 1),[14] a survivor struggling from post tramatic stress syndrome following her husband’s death during the Resolute attack.

text: Recurring[edit]

text:
Raza Jaffrey as Victor Dhar, an educated and officious man with a sense of entitlement. Victor has been a career-builder and politician from a young age. His arrogance and impatience masks an underlying fear that it will be discovered that he is not quite good enough.[15]
Ajay Friese as Vijay Dhar, Victor’s son and Penny’s love interest.
Cary-Hiroyuki Tagawa as Hiroki Watanabe, a scientist and friend of Maureen.
Kiki Sukezane as Aiko Watanabe, Hiroki’s daughter.
Yukari Komatsu as Naoko Watanabe, Hiroki’s wife.
Veenu Sandhu as Prisha Dhar, Victor's wife.
Adam Greydon Reid as Peter Beckert, a survivor.
Amelia Burstyn as Diane, a survivor.
Iain Belcher as Evan, a survivor.
Shaun Parkes as Captain Radic, commander of the Resolute.

text: Guest[edit]

text:
Selma Blair as Jessica Harris, June's wealthy younger sister.
Bill Mumy as Dr. Zachary Smith, the real Dr. Smith, whose identity June steals.

text: Episodes[edit]

text: This section's plot summaries may be too long or excessively detailed. Please help improve them by removing unnecessary details and making them more concise. (May 2018) (Learn how and when to remove this template message)

text:
No.TitleDirected byWritten byOriginal release date1"Impact"Neil MarshallMatt Sazama & Burk SharplessApril 13, 2018 (2018-04-13)
The spacecraft Resolute, a large ferris wheel style ship, is carrying colonists, including the Robinson family, to Alpha Centauri. The Resolute is attacked and colonists escape in their “family home” Jupiter landing crafts but are hurled into a wormhole, crash-landing on an Earth-like planet. The Robinsons' craft, Jupiter 2, crashes into a glacial bed. The family evacuates with some supplies before their craft sinks in rapidly freezing water. Eldest Robinson child, Judy, a doctor, dives to the ship to retrieve power equipment. She becomes encased in ice, and with five hours of oxygen left in Judy's suit, John and son, Will, set out to collect magnesium that will melt the ice. Judy guides her sister, Penny, through a medical procedure to treat their injured mother, Maureen. Inside a cave, Will falls down a chasm, landing at the edge of a forest. John radios Will, saying he will return after saving Judy. Alone, Will finds a crashed alien ship and a dismembered robot that he helps to self-repair. In return, it saves Will as a forest fire nearly engulfs them. The family attempt to free Judy, but a sudden rainstorm hinders their progress. Will and the Robot arrive, and the Robot rescues Judy. In a flashback scene, a woman steals the identity of Dr. Zachary Smith and boards a Jupiter landing craft, along with Don West and Tam Roughneck.
2"Diamonds in the Sky"Neil MarshallMatt Sazama & Burk SharplessApril 13, 2018 (2018-04-13)
Don West, Smith, and Debbie the chicken survive the Jupiter 18 landing. While looking for other survivors, they find Angela Goddard, who is barely alive. When a storm approaches, Don and Angela take cover while Smith heads out. Meanwhile, the robot melts more ice to allow the Robinsons to start the process of recovering the Jupiter 2. Maureen, John, Will and the robot hike to another Jupiter crash site and then later to the robot's ship. They leave Penny and Judy behind, instructing them how to carefully raise the ship out of the ice. Inside the alien ship, a holographic map of the planet is activated, showing John and Maureen they are in an unidentified galaxy. Outside, the robot touches the ship's hull, creating a mental connection to Will who learns what really happened on the Resolute. He decides to say nothing to his parents about the vision. When Penny sees the storm approaching and is unable to reach her parents to warn them, she raises the Jupiter 2 enough that the garage can be opened. She drives the ship's Chariot  all-terrain vehicle to reach her family just in front of the storm. As they head back to Jupiter 2, they pass Don who sees them only to discover his flare gun is missing. The Robinsons see a flare and find Smith, who claims to be alone, returning with her to the Jupiter 2.
3"Infestation"Tim SouthamZack EstrinApril 13, 2018 (2018-04-13)
In a flashback, Dr. Smith is revealed to be June Harris, the older, ex-con sister of Jess Harris, a successful businesswoman. Jess offers June her entire estate as she is leaving Earth, but June drugs Jess and assumes her sister's identity. Aboard the Resolute, she bumps into her sister's lover and there is a struggle ending in him getting blown out an airlock. June is arrested but escapes during the robot's attack. In the present, Maureen explains they are trillions of light years from Earth. At night, the ice layer over Jupiter 2 cracks, endangering the ship. They rush to complete repairs, but the engines are losing fuel. When Will and the robot discover large eel-like creatures in the conduits, the robot locks Will, along with Smith, in the storeroom for safety. The glacier shifts, which forces the crew to make an emergency take-off after flushing the eels from the engines. They escape with just enough fuel to land near a forest region. Comms pick up radio communication from other Jupiter survivors and also from Resolute, who are searching for survivors. Somebody hacks the onboard 3D printer to make a gun. Will finds it, and hides the gun under his mattress, unaware Smith is watching.
4"The Robinsons Were Here"Alice TroughtonKatherine CollinsApril 13, 2018 (2018-04-13)
Stuck without fuel, the family initiates Jupiter 2’s colonization expansion protocol. Smith and Will discuss the robot, who does Will's bidding. Don West and Angela are rescued by the Watanabe family; Hiroki Watanabe reunites with John and Maureen at Jupiter 11 where Judy treats Angela. She tells Judy about the attack on Resolute. The Robinsons learn none of the other surviving families can fly due to the giant eels consuming fuel. John notices that one crash site is not a Jupiter ship. Maureen, John, and Don go there and discover the Resolute's comm dish. They realize the Resolute cannot hear them. Maureen also discovers contraband whiskey that Don smuggled aboard. Judy confronts Will about the robot, and he reveals he knew it attacked the Resolute. They decide to hide the robot in a nearby cave, unaware Smith is following them. On the way, they are spotted by Vijay Dhar, the son of another survivor group. Penny blackmails him to say nothing about the robot, having found and keeping an item he dropped. While away, Maureen and John discuss their marital problems. The next morning, the kids return to Jupiter 2 before their parents arrive. Smith talks to the robot inside the cave, attempting to instill distrust in it about Will. When John and Maureen return home, the kids tell them that the robot wandered away.
5"Transmission"Deborah ChowKari DrakeApril 13, 2018 (2018-04-13)
The surviving colonists build a light tower to try to signal the Resolute. Maureen, noticing strange weather phenomena, conducts an experiment using a weather balloon. She discovers the sun is paired with a deadly black hole, and that the disturbances will only get worse until the planet is entirely unhabitable. Will ignores Penny and Judy's advice to tell their father about the Robot. Penny develops a crush on Vijay, flirting with him as they move supplies. Don confronts Dr. Smith about the stolen flare gun, though she claims she took it by mistake. In a flashback, Maureen and the kids discuss pros versus cons of going to Alpha Centauri. Judy and Don discuss his smuggling activities. He also reveals his suspicions about Dr. Smith's identity. Judy confronts Dr. Smith about this, but she lies and instead casts doubt on Don. When the colonists activate the light signal, Dr. Smith sneaks away and shuts off the perimeter fence, allowing a large reptilian creature to enter the camp and destroy the light tower. Smith tells John about the kids hiding the robot.  When another creature shows up, Dr. Smith tells Will to call the robot. It does save the survivors, but only after Will tells it to defend itself against the creatures. It assumes its original multi-limb form to do this. The colonists witness all of this and recognize the robot from the attack on the Resolute.
6"Eulogy"Vincenzo NataliEd McCardieApril 13, 2018 (2018-04-13)
Maureen tells her family about the black hole but is afraid the other colonists might panic. John has a heated argument with the other survivors about the robot. In the end, despite an enraged Angela claiming it killed her husband, John convinces the community to allow the robot to stay and takes Will on a hike to discuss Will's responsibility for the robot's actions. He has Will fetch 27 large stones to build a memorial to the casualties. Don takes the community leader and Vijay's father, Victor Dhar, to his Jupiter which crashed in the desert where there are none of the eel-like creatures, and wants money for its fuel. Don also retrieves identification of the real Dr. Smith, later showing Judy. Maureen learns that Hiroki also knows the planet is dying. Penny tells Vijay about the black hole but swears him to secrecy, and they share a kiss. Back at camp, Dr. Smith makes the distraught Angela recount the horrifying details of the robot attack. The emotional Angela enters the hub with the gun Dr. Smith has taken from Will's bunk and arranged for her to find. When she shoots at the robot it goes into attack mode and accidentally injures John before Will gets it to stop. Distraught, Will takes the robot to a cliff and orders it to walk off. He then places a stone on the memorial for the robot.
7"Pressurized"Tim SouthamVivian LeeApril 13, 2018 (2018-04-13)
While driving back to Jupiter 2, Judy is about to tell Dr. Smith she knows the truth about her when Don stops her. When Will is confronted by his mother, he confirms the robot 3D-printed the gun and that he hid it. Anyone could have taken the gun, though. Dr. Smith refuses blame for Angela's attack, and suggests Victor Dhar might have taken the gun. John and Maureen's rover gets stuck in a tar pit. As they sink to the bottom, Maureen admits to doctoring Will's test results. To escape the vehicle, Maureen uses the helium weather balloon to create a shielded path to the surface. Meanwhile, Smith locates the destroyed robot, but cannot get it to reassemble. Don's group speeds through a dangerous geyser field but a tube shakes loose and when Evan fixes the problem, a geyser blast flips the tanker on top of him. Victor realizes that a rock has punctured the tanker and if they move it they'll lose most of the fuel. Despite this Don reluctantly sides with Judy and lifts the tanker, spilling the fuel, but Evan dies anyway. Back on Jupiter 2, Dr. Smith finally manages to reactivate the robot. When Victor returns home, Vijay tells him about the planet's coming demise. Victor decides to use what fuel they did retrieve to launch their own Jupiter 4.
8"Trajectory"Stephen SurjikKatherine Collins & Kari DrakeApril 13, 2018 (2018-04-13)
Maureen cannot talk Victor out of launching, but John sneaks aboard the Dhar's Jupiter 4 and triggers the emergency shut down. Later, he explains to the gathered colonists how the planet is about to become uninhabitable. Penny breaks off with Vijay for him telling his father. Maureen has a plan on how to launch despite the limited fuel, stripping out non-essential modules, and relying on old-school manual piloting. Judy tells Maureen the truth about the real Dr. Smith aboard Don's Jupiter. Returning to Jupiter 2, Maureen confines Dr. Smith to a holding cell. Dr. Smith now claims she is really Jessica Harris, a physicist. Maureen tells John about Smith, and he tells her that Don believes the Jupiter 4 is still too heavy to take off. With life support also removed, the pilot now needs a spacesuit and will need to withstand extreme G-forces. They select John, but not even he can regain consciousness fast enough to make all the maneuvers alone. When the Resolute sends a message that due to Hawking radiation they must leave the planet's orbit within 24 hours, Don reluctantly agrees to help pilot the ship. With his assistance the test run is a success. As John and Don launch in the Jupiter 4, Dr. Smith tricks Will and escapes to knock out Maureen right when John needs her instructions. With everyone watching, the ship explodes mid-air and John and Don are presumed dead.
9"Resurrection"Tim SouthamStory by : Daniel McLellan Teleplay by : Kari DrakeApril 13, 2018 (2018-04-13)
Will tries to signal his father using his radio, convinced he survived the explosion. Dr. Smith drives Maureen to the alien wreck, where she tells Maureen she did not know Maureen was needed for the ship launch, and when she knocked her out, the ship exploded. She does promise to help Maureen get her children off the planet, if she in return helps Dr. Smith with the alien ship. Will discovers that the rocks he collected in the cave are petrified biomass that can fuel the Jupiter ships to reach the Resolute. While the colonists gather to harvest the biomass, Judy leaves to find Maureen. The colonists find enough biomass to power all the Jupiters, but they must sneak it out quietly so as to not wake winged predators roosting in the cave. When John manages to send a signal, Penny and others are trapped inside the cave after the creatures wake up. Throughout the episode, flashbacks reveal the Christmas Star not to be a meteor but an alien craft, and that its engine was used to build The Resolute. The robot's attack was an attempt to retrieve the stolen engine. The group trapped in the cave manage to narrowly escape. Judy tracks Smith and Maureen. She manages to disable Dr. Smith, but the robot reactivates and is revealed to obey the Doctor's commands.
10"Danger, Will Robinson"David NutterMatt Sazama & Burk SharplessApril 13, 2018 (2018-04-13)
John and Don survived the explosion and are clinging to ship wreckage in orbit, with only a few hours of oxygen left. Will is upset to learn the robot now serves Dr. Smith. John responds to Will, confirming that he and Don are still alive. Will tries to bond with the robot again but is rejected. Victor Dhar hails them from the Resolute, telling them it will leave in just over an hour. Maureen traps Dr Smith and the robot in order to search for John and Don. Just as they are about to retrieve them, Dr Smith and the robot escape. Maureen leads the robot into the garage, as an alien ship arrives to retrieve the engine. When the alien robot is about to kill Will, his robot remembers him and attacks the alien robot, saving Will. In the fight, both robots are flung out into space and the garage ramp is damaged. Will goes outside the hull to manually close the hatch. Afterwards, he loses his grip but is saved by his father, who was rescued by Dr. Smith. With everyone safely back on the Jupiter, Maureen is grateful to Dr. Smith, but still locks her up. Before they can dock with the Resolute, the alien engine aboard the Jupiter 2 sends it and the Robinsons to a different galaxy. Will recognizes its shape from the robot's sand drawing: Danger.

text: Production[edit]

text: Development[edit]

text: In October 2014, it was announced that Legendary Television and Synthesis Entertainment were developing a new reboot of Lost in Space and had hired screenwriting duo Matt Sazama and Burk Sharpless to pen the pilot episodes.[16] In November 2015, Netflix landed the project.[17][18] On June 29, 2016, Netflix ordered a full 10 episode season of Lost in Space, with Zack Estrin as executive producer and showrunner. Sazama, Sharpless, Kevin Burns, Jon Jashni, Neil Marshall, and Marc Helwig also serve as executive producers.[19]

text: Toby Stephens, speaking about the distinction between the original series and the new show:

text: "It's a very clever, modern reworking of a great story. Lost in Space is Swiss Family Robinson in space, so it was a story that existed before Lost in Space. The fundamental story is that it's a family that is lost in a difficult, life-threatening situation and how it challenges them and brings them closer together. That is essentially what the story of this is, it's just the context is a lot more modern. It's a more modern take on the '60s version. If you look at it now, it's charming, but it seems so innocent. Whereas this is a version that is for our time. I'm hoping it will still have humour and humanity in it, but it has obviously gotta be for a modern audience."[20]

text: Filming[edit]

text: Production on the first season began in February 2017, in Vancouver, British Columbia, and concluded in July 2017.[21][22]

text: Release[edit]

text: The series was released on April 13, 2018, on Netflix.[1] On March 31, 2018, the pilot of the series was screened at Awesome Con in Washington, D.C., followed by a Q&A session with series executive producers and writers Matt Sazama and Burk Sharpless.[23]

text: Reception[edit]

text: The review aggregator website Rotten Tomatoes reported a 68% approval rating with an average rating of 6.21/10, based on 65 reviews. The website's critical consensus reads, "Lost in Space's production values are ambitious enough to attract sci-fi adventure fans, while the story's large heart adds an emotional anchor to all the deep space derring-do."[24] Metacritic, which uses a weighted average, assigned a normalized score of 58 out of 100 based on 27 critics, indicating "mixed or average reviews".[25]

text: David Griffin of IGN gave the first season a rating of 8.5/10 calling it "an excellent sci-fi adventure with a slight villain problem," giving particular praise to the Robinson family, while criticizing Parker Posey's Dr. Smith as an unsophisticated and one-dimensional character that lacks redeeming qualities.[26] In contrast, Jen Chaney of Vulture characterized Posey's performance as providing "understated, sly comedic touches".[27]