document_title: List of The Facts of Life characters

question_text: who played jo's boyfriend on facts of life

question_tokens: who played jo 's boyfriend on facts of life

text: List of The Facts of Life characters

text: Characters table[edit]

text:
Actor
Character
Seasons

1
2
3
4
5
6
7
8
9

Charlotte Rae
Edna Garrett
Main
Absent

Lisa Whelchel
Blair Warner
Main

Kim Fields
Tootie Ramsey
Main

Mindy Cohn
Natalie Green
Main

Nancy McKeon
Jo Polniaczek
Absent
Main

John Lawlor
Steven Bradley
Main
Absent

Jenny O'Hara
Emily Mahoney[note 1]
Main
Absent

Felice Schachter
Nancy Olsen
Main
Recurring
Absent
Guest
Absent

Julie Piekarski
Sue Ann Weaver
Main
Recurring
Absent
Guest
Absent

Julie Anne Haddock
Cindy Webster
Main
Recurring
Absent
Guest
Absent

Molly Ringwald
Molly Parker
Main
Guest
Absent

Pamela Segall
Kelly Affinado
Absent
Main
Absent

Mackenzie Astin
Andy Moffett
Absent
Recurring
Main

George Clooney
George Burnett
Absent
Main
Recurring
Absent

Cloris Leachman
Beverly Ann Stickle
Absent
Main

Sherrie Krenn
Pippa McKenna[note 2]
Absent
Main

tag: p

text: Edna Garrett[edit]

text:
Edna Garrett

Diff'rent Strokes, The Facts of Life character

First appearance
"Movin' In" (Diff'rent Strokes)
"Rough Housing" (The Facts of Life)

Last appearance
The Facts of Life Reunion

Portrayed by
Charlotte Rae

Information

Aliases
Mrs. Garrett, Mrs. G

Occupation
Housekeeper, housemother, dietitian, businesswoman

Spouse(s)
Robert Garrett (divorced)
Dr. Bruce Gaines (1986–, widowed before 2001 reunion)

Children
Alex Garrett (son)
Raymond Garrett (son)

Relatives
Beverly Ann Stickle (sister)
Andy Moffett (adoptive nephew)

text: Edna Ann Garrett Gaines, known as Mrs. Garrett or Mrs. G, was played by actress Charlotte Rae from 1978 to 1986.

text: Garrett was the youngest child in a large family, born and raised on a farm near Appleton, Wisconsin. Her exact age was never disclosed during the series, but on several occasions, it was hinted or implied that she was somewhere in her fifties. On Diff'rent Strokes, she was the housekeeper to the Drummond family in New York City after Willis and Arnold's mom Lucy (the Drummonds' original housekeeper) died. In 1979, she took a job as house mother at the Eastland School for Girls in Peekskill, New York (Kimberly Drummond attended Eastland). Over the years, Mrs. Garrett's role on The Facts of Life changed. At first she was merely a live-in supervisor for the girls of Eastland; in the second season she became their in-house dietitian who managed the school's cafeteria.

text: Garrett was married twice, divorced (first marriage), and widowed (second marriage); one early episode showed Mr. Garrett coming to town to woo her and reconcile, but he was unsuccessful because Edna felt that his gambling problem would always be an obstacle. She had two sons, a singer/songwriter/carpenter named Alex (Tom Fitzsimmons) (born 1953) and an accountant named Raymond (Joel Brooks). Raymond helped her raise funds and secure commercial space so she could open her own gourmet food shop, Edna's Edibles, in the fall of 1983. The girls, who had previously lived with Mrs. Garrett at Eastland, and worked with her in the kitchen to pay off various restitution-related expenses (see below), moved into an apartment above "Edna's Edibles" and continued to work for Mrs. Garrett in the shop (this time on the payroll). In the fall of 1985, Edna's Edibles was extensively damaged by fire; it was rebuilt as a gift shop called "Over Our Heads." Since the insurance on Edna's Edibles had lapsed by the time of the fire, the girls contributed their insurance claim checks to help rebuild, effectively making Mrs. Garrett and the girls equal partners in the business.

text: Edna Garrett was a mentor to the girls at Eastland, functioning in loco parentis. At times the girls would take her for granted, and forget that Edna herself had problems. Many times Edna would lash out at the girls when they got careless with her. In one episode, she actually fires them from "Edna's Edibles" when their irresponsible behavior ends up costing her $500 in fines after a dismal health inspection. She hires them back the next day when the girls promise her that they will be more responsible at their jobs. She also fires George, when he falls behind on his work constructing "Over Our Heads," but they later make up. Mrs. Garrett is a Democrat. She is also against censorship, such as book banning.

text: Mrs. Garrett remarried in 1986. She and her new husband, Dr. Bruce Gaines (Robert Mandan), rejoined the Peace Corps to work in eastern Africa. (Charlotte Rae did not want to continue with the series). Edna was replaced by her sister, Beverly Ann Stickle (Cloris Leachman). However, in the reunion movie that aired in 2001, Mrs. Garrett reunited with the three girls (Blair, Natalie, and Tootie) at a hotel owned by Blair and which was run by her son Raymond. It was also revealed that Mrs. Garrett and Tootie were widows. Its revealed that she was in a romantic relationship with a ship captain.

text: Mrs. Garrett also appears on the Hello, Larry episode "The Trip", the first of three crossovers between Diff'rent Strokes and Hello, Larry.

text: In an episode of Halt and Catch Fire, a man fencing computers refers to married mother Donna Clark ( played by Kerry Bishe ) as Mrs. Garrett, in reference to her conservative appearance and critical opinion of him.

text: Natalie Green[edit]

text:
Natalie Green

First appearance
"Rough Housing" (The Facts of Life)

Last appearance
The Facts of Life Reunion

Portrayed by
Mindy Cohn

Information

Occupation
Student

Relatives
Dr. Sy Green (father; deceased)
Evelyn "Evie" Green (mother)
Ellen Manheim (biological mother)

text: Natasha Letisha Sage "Natalie" Green was played by Mindy Cohn. Natalie's best friend on the show was Tootie, as they were close in age. Natalie's age was around 13 at the series' beginning.

text: Natalie's most defining physical attribute was that she was large-figured, but she had a healthy self-image, once quoted as saying, "Who wants to be a skinny pencil? I'd rather be a happy Magic Marker!"

text: Natalie is Jewish, as Mindy Cohn is in real life; and her faith was featured in several episodes. In one, she celebrated Hanukkah while the others celebrated Christmas. Her heritage was highlighted when her father, Dr. Green, died unexpectedly; Natalie's bottled-up grief was a continuing storyline.

text: Although she wasn't a mold-fitting "traditional beauty," Natalie was involved in many storylines regarding sex. In an early episode, she dated a boy who spread a rumor that Natalie was easy. In another episode, she was almost sexually assaulted on the way back from a costume party. In the controversial episode "The First Time," toward the series' end, she became the first of the girls to have sex when she slept with her boyfriend Snake on their first anniversary as a couple. A budding writer, she wrote for the Eastland School newspaper.

text: Natalie graduated from Eastland in 1985, in the Season 6, Episode 25, "Bus Stop," and took a year off before college to travel across the country in a bus, leaving family and friends dismayed because she was postponing Princeton. At the year's end, she decided to attend Langley College, and she became a reporter for the local newspaper in Peekskill. She went to New York City towards the end of the series and decided to stay and pursue her writing career. The episode in which she checks out the SoHo loft she will eventually call home features Richard Grieco and David Spade as her future roommates. (The episode, which aired in 1988, was originally set up for Mindy Cohn to transition into a spinoff series, but the plans never materialized.) In the TV-movie, The Facts of Life Reunion, she is revealed to be a television news producer at CNN and is also involved with two different men; none of whom knew of the other. Her boyfriends Robert and Harper were willing, for a short time, to compete for her heart. Though her friends deemed Robert the winner, Natalie eventually choose Harper. While her now ex, Robert accepted this and parted with Natalie on good terms.

text: Natalie was the only one of the girls who was adopted. In one episode, Blair successfully tracked down Natalie's birthmother, but Natalie—who realized that her adoptive parents were her true parents, even though they weren't biologically related to her—refused to answer the phone and hear the results of the search, instead inviting her friends to taste the cake "my mother made." However, thanks in part to an argument with her adoptive mother during a 1982 episode, the subject arose again, and it was her adoptive mother who finally told Natalie who her biological mother was. Natalie tracked her down and met her, but as before, she still considered the mother who had reared her to be her mother.

text: Natalie also appears in two episodes of Diff'rent Strokes: "The Slumber Party" and "The Older Men".

text: Jo Polniaczek[edit]

text:
Jo Polniaczek

First appearance
The New Girl, pt. 1

Last appearance
The Beginning of the Beginning

Portrayed by
Nancy McKeon

Information

Occupation
Student

Relatives
Charlie Polniaczek (father)
Rose Polniaczek (mother)
Josef Polniaczek (paternal grandfather)

text: Joanna Marie "Jo" Polniaczek was played by Nancy McKeon. Jo was first introduced in the second season in 1980, at around 15 years old, arriving at the Eastland Academy on her motorcycle. She almost immediately formed a dislike for Blair Warner; Jo found Blair stuck-up, and Blair found Jo short-tempered, bossy, classless, and manly. In a memorable introduction, Blair introduced herself to Jo, to which Jo replied, "Charmed; I'm Gloria Vanderbilt." Jo was Polish American.

text: Jo convinced the gang to steal the school van and use fake IDs to buy drinks at a bar. The van was wrecked and the girls were forced to work in the Eastland cafeteria to make up the repair costs; this was from the second season two-part premiering in November 1980 "The New Girl Part 1". In the second episode "The New Girl Part 2", the girls were also placed on house probation and were forced to live in a room adjoining Mrs. Garrett's for a year; when the punishment expired, all four girls found other living arrangements, but were responsible for cleaning and painting their former room. While painting, their friendship began to rekindle culminating into an all-out paint fight, which severely damaged the hardwood floor requiring expensive repairs. The girls decided to move back in together and continued to work in the kitchen to pay off the bill for the damaged floor.

text: Blair's attitude toward Jo worsened when Blair's boyfriend asked Jo to a country club dance. However, Blair stood up for Jo when her would-be love interest tried to assault and humiliate her on the ninth green. When asked why Blair stood up for Jo, Blair stated, "At least when I insult you, I know what I'm talking about!" Another problem for Jo came when she shoplifted a blouse for Mrs. Garrett's birthday; Mrs. Garrett was subsequently arrested when she went to exchange the blouse for the smaller size, not knowing the garment was stolen.

text: Early on, Jo's sailor boyfriend, Eddie Brennan (actor Clark Brandon), came to Eastland and convinced her to marry him. They planned to elope to West Virginia, where the marriage age was lower, but Mrs. Garrett and Blair tracked her down at a nearby motel to stop her. Jo had by that point already begun to change her mind when she realized just how difficult teenage marriage would be. Jo returned to Peekskill without Eddie. Eddie visited again the following season but things had changed between them. They were moving in different directions and keeping the long distance relationship going was proving to be very difficult, so they decided to see other people for the time being. Eddie returned late in the fifth season, now an officer in the Navy but Tootie discovered he was married to a girl in Italy. Clark Brandon's last appearance was in the 5th season's 23rd episode "Seems Like Old Times".

text: In the 15th episode of the 4th season called "Teacher's Pet", Jo developed a friendship with her 26-year-old English teacher, Miss Gail Gallagher (played by Deborah Harmon), who was raised in a similar environment to that of Jo. Gail inspired Jo to think about becoming a teacher herself and Jo went as far as to calling her by her first name. When Jo learned from Blair that Gail was quitting Eastland, she became very disappointed believing that the reason was for a higher-paying job. She was crushed when she found out from Mrs. Garrett that it was because of something unthinkable – terminal illness. Jo was so shocked that she stopped going to Gail's class and shunned her completely. She tried to keep herself busy with things that would distract her from thoughts of Gail and went as far as breaking her evening curfew. When Mrs. Garrett and Tootie confronted her about her strange behavior, she managed to overcome the shock and fear and come to terms with Gail. Jo associated the fact that Gail's dying with her friend Gloria's death.

text: Many of Jo's stories revolved around her tomboyish ways. Jo got into verbal spars with girls who didn't think she was "feminine enough," and boys (including some of her boyfriends) were threatened by her mechanical aptitude, which she displayed by getting a job at a local garage.

text: In the later seasons, Jo's tomboyish image softened considerably, as she and the girls were growing up and was rarely raised as an issue again. Her relationship with Blair became more friendly as time went on (Jo would even refer to Blair as her best friend by the last season), although the two still argued, traded wisecracks and made fun of each other from time to time. Jo graduated from Eastland as valedictorian of her class, and attended Langley College with Blair, graduating with a degree in education. In one flashback-heavy episode; the ninth sixth season episode "Dear Apple", Jo relayed her latest ongoing spat with Blair to a computer, which analyzed the data and concluded that Jo should stop being friends with Blair. At the end of the episode, Jo quietly threw the computer's printout away. In the last season, Jo married Rick Bonner, a concert musician, and she asked Blair to be her maid of honor.

text: Jo did not appear at the reunion TV special because it was stated that she was now a police officer and was working; however, Rick and their daughter Jamie did attend. This also coincided with Nancy McKeon's role as a policewoman in the drama series The Division since the reason she couldn't participate in the reunion was a conflict in her working schedule.

text: Tootie Ramsey[edit]

text:
Tootie Ramsey

First appearance
The Girls School (Diff'rent Strokes)
"Rough Housing" (The Facts of Life)

Last appearance
The Facts of Life Reunion

Portrayed by
Kim Fields

Information

Occupation
Student

Relatives
Harrison "Rifle" Ramsey (father)
Paula/Diane Ramsey (mother)
Marshall Ramsey (brother)
Ethel (maternal grandmother)

text: Dorothy "Tootie" Ramsey was played by Kim Fields. She was the youngest of the main characters at the age of around 11, and the only African-American girl. She and her family hailed from Washington, D.C.. She attended Eastland Academy for most of the show's run. Tootie's most-remembered attributes were her penchant for rollerskates (at first used by Facts of Life producers to mask Fields' short stature), her gossipy nature, and her braces. In real life, Kim Fields had to wear braces for three years, finally having them removed in 1984, after the show begins the sixth season. A lot of Tootie's gossip got her and her friends in trouble, and she was noted for her catch phrase, "We are in trou-ble!"

text: Tootie was involved in many issue-based storylines. For example, Tootie befriended a boy named Fred who insisted that she only associate with black people, in an attempt to realize "her true roots." In another episode, Tootie was chosen by a photographer to model for newspaper advertisements but was instead lured into a borderline kiddie porn operation and was saved by Mrs. Garrett at the last minute. During a trip to New York City, Tootie was almost strong-armed into prostitution before Mrs. Garrett found her and took her home. In another episode, she struggled with the race issue again when her best friend Natalie dated a relative of hers and Tootie intervened, causing conflict between Natalie and herself. Tootie's favorite singer is Michael Jackson's older brother Jermaine Jackson.

text: Tootie helped Mrs. Garrett with her bakery, Edna's Edibles, after school and then worked full-time at the gift shop Over Our Heads after she graduated from high school in 1986.

text: In the 2001 The Facts of Life Reunion TV movie, Tootie had attended the Royal Academy of Dramatic Arts in London to pursue an acting career, was a Hollywood-based talk show host, and was the single mother of Tisha, a 10-year-old (fathered by her longtime boyfriend and later deceased husband, Jeff Williams). After her visit, Tootie (who now preferred to be called "Dorothy") decided to quit her talk show, Waking Up with Dorothy, and move to New York to take up the theater, but not before becoming the co-owner of the Peekskill Playhouse. Tisha Williams remained behind to attend Eastland Academy and continue the family tradition.

text: In addition to the Diff'rent Strokes episode "The Girls School" that serves as the pilot for The Facts of Life, Tootie also appears in "The Slumber Party", "The Bank Job", "First Day Blues" and "The Team".

text: Blair Warner[edit]

text:
Blair Warner

First appearance
The Girls School (Diff'rent Strokes)
"Rough Housing" (The Facts of Life)

Last appearance
The Facts of Life Reunion

Portrayed by
Lisa Whelchel

Information

Occupation
Student

Relatives
David Warner, Jr. (father)
Monica Warner Eloise Hoffdale, neé Blair (mother)
Meg Warner (half-sister)
Bailey Hoffdale-Warner (sister)
Geri Warner (cousin)
Hon. Carlton Blair (maternal grandfather; deceased)
David Warner, Sr. (paternal grandfather)

text: Blair Warner was played by Lisa Whelchel. She was about 14 at the series' beginning; an episode in the 1985–1986 season centered on her 21st birthday.

text: At the series' beginning in 1979, Blair was portrayed as a very rich and very rebellious girl from a blue blood background. She was seen smoking cigarettes, drinking beer, and enjoying great popularity with boys; unlike many of her classmates, she was looking to lose her virginity. When the show was retooled in 1980, all instances of her rebellion were either dropped or given to the new character of Jo Polniaczek, and Blair was rewritten as an unashamedly spoiled "daddy's girl".

text: Blair was vain, arrogant, egotistical, and shallow, but she is also funny, kind-hearted, and loving to Mrs. Garrett and her friends, especially Jo Polniaczek. She also got good grades, won school awards, was crowned Harvest Queen for 3 straight years, and even convinced a guy to move from Switzerland to attend school near her (when asked about it, Blair dryly remarked, "I've done it before.") Blair's delusions of grandeur were usually played for laughs when Natalie, Tootie or Jo would make sarcastic remarks about her "beauty", "perfect" personality, or "naturally blonde hair". Blair felt she was more important than "regular" people because she was the heiress to her father's multimillion-dollar business, Warner Textile Mills. Any crisis at Eastland would usually prompt a suggested solution from Blair, preceded by her catch phrase: "I just had another one of my brilliant ideas!" More often than not, though, her "brilliant ideas" were actually quite the opposite, although on at least two occasions they turned out to actually be brilliant. In the episode Growing Pains, it was her idea to have Mrs Garrett punish them after Tootie gets drunk on wine that Blair, Jo, and Natalie were responsible for, and in The Four Muskateers it was her idea to move back into the room and work in the kitchen to pay off the debt incurred when she and the other girls get into a paint fight while painting the room. She eventually developed a more down-to-earth attitude, especially after she suffered a car accident (after falling asleep at the wheel) that left her slightly scarred, spoiling her "perfect" beauty.

text: Blair's parents (played by Nicolas Coster and Marj Dusay) were divorced on June 14, 1973, and although she didn't usually show it, Blair wished that she had a nuclear family like all of her friends. Later in the series, her mother remarried (for the fourth time) and gave birth to a baby girl (Bailey). Blair had misgivings about her mother's pregnancy but fell in love with baby Bailey as soon as she saw her.

text: Another secret Blair kept from her friends was that her cousin Geri (played by comedian Geri Jewell) had cerebral palsy. She was not embarrassed by her cousin, but rather jealous of her, since Blair was used to being the center of attention. Mrs. Garrett told Blair not to lash out against Geri because of her jealousy, and Blair joined Geri, a successful comedian, onstage at an impromptu comedy show Geri threw at the Eastland Academy. Blair's big sister Meg visited Eastland to tell her little sister that she's going to become a nun in "Best Sister Part 1" and in "Best Sister Part 2" it's revealed that Blair is an atheist because she asked God to not allow her parents' divorce to become final in 1973, but her parents split up nevertheless.

text: Blair attended Eastland, and upon graduating in 1983, attended nearby Langley College. She worked with Mrs. Garrett at Edna's Edibles and, later, Over Our Heads. After graduating from Langley, she enrolled in law school. In the series finale, she purchases the financially troubled Eastland Academy and turns it into a co-educational school.

text: Blair's chief foil was Jo. The two made no secret of their mutual dislike: Jo found Blair spoiled and snobbish; Blair thought Jo was classless and crude. However, more than once Blair stuck up for and stood by Jo in her time of need (and vice versa), and eventually the two developed a much friendlier relationship. In one episode, Jo even declared Blair as her official best friend.

text: In the episode "Legacy," Blair, initially enthusiastic about a library being built with her family's funds and named after her late maternal grandfather, Judge Carlton Blair, thus immortalizing the name "Blair", was horrified to learn her grandfather had been a member of the Ku Klux Klan. The revelation devastated Blair and made her question all her assumptions about her supposed "superiority," even though Jo assured her "You're not prejudiced; you're a snob." She almost withdrew the library funding to avoid commemorating her grandfather but finally agreed to let it be built so long as it was not given the "Blair" name.

text: In addition to the Diff'rent Strokes episode "The Girls School" that serves as the pilot for The Facts of Life, Blair appears in "The Older Man".

text: In the 2001 TV movie The Facts of Life Reunion, Blair, who became a lawyer, is wealthier than ever and owns a hotel empire (Warner Enterprises) with her husband Tad Warner, managed by Mrs. Garrett's son Raymond; she and Tad have no children. At end of the movie, she and Tad decided to adopt a child.

text: Note: Actress Geri Reischl ("fake Jan" of The Brady Bunch Hour) was given the role of Blair Warner in the television pilot Garrett's Girls (later renamed The Facts of Life), but was forced to give it up due to her contract with General Mills.[1]

text: Cindy Webster[edit]

text:
Cindy Webster

First appearance
"Rough Housing"

Last appearance
The Little Chill

Portrayed by
Julie Anne Haddock

Information

Occupation
Student

text: Cindy Webster was played by Julie Anne Haddock. She was around 12 years old at the beginning of The Facts of Life. Cindy was an athletic tomboy, who, at the start of the series, was worried she wasn't "normal". The first episode of The Facts of Life, which aired in summer 1979, focused on Cindy, who was concerned that she might like girls, after hearing disparaging remarks from snobby Blair. The episode tackled a sensitive issue during an era when lesbianism was rarely talked about on television, although reaction from modern-day critics has been mixed. Stephen Tropiano, writing in 2002, wrote: "While the episode is not really about homosexuality per se, it seems to deliver a contradictory message. On the one hand, wise Mrs. Garrett dispenses Cindy some good advice when she explains the value of being yourself [...] yet there is a sense of relief that Cindy is heading down the road to heterosexuality because she's fallen for a guy she met at the dance."[2]

text: On the series, Cindy's best friend and roommate was Sue Ann Weaver, and the pair appeared together frequently in many early episodes, including in an episode where the two girls fight over a racing competition ("Running", 1980). Cindy also does gymnastics and tries out for Harvest Queen at Eastland. She attends journalism class with Blair, Jo and Sue Ann. The character of Cindy Webster was gradually written out of the show between summer 1980 and winter 1982, with the character making only a few appearances during seasons two and three. However, she reappeared in the 1986 reunion episode "The Little Chill"; it was revealed in that episode that Cindy had become a model, and was now known professionally as Cindy Baker.

text: Beverly Ann Stickle[edit]

text:
Beverly Ann Stickle

First appearance
"Out of Peekskill"

Last appearance
"The Beginning of the End: Part 1"

Portrayed by
Cloris Leachman

Information

Gender
Female

Occupation
Businesswoman

Spouse(s)
Frank Stickle (divorced)

Children
Andy Moffet (adopted son)

Relatives
Edna Garrett (sister)

text: Beverly Ann Stickle was played by Cloris Leachman.

text: Beverly Ann was first seen in the fall of 1986, after Mrs. Garrett married and moved to Africa to serve in the Peace Corps. In reality, actress Charlotte Rae's contract had expired, and she did not want to continue with the series. At the time, The Facts of Life was still lucrative for NBC, and NBC president Brandon Tartikoff chose to renew, but only with a new mother figure at the helm.

text: Beverly Ann, Mrs. Garrett's divorced sister, moved in with the girls as Mrs. Garrett wanted someone to keep an eye on them as she had. She became the property owner for Mrs. Garrett's house and the boutique store, Over Our Heads. Beverly Ann's role expanded from confidante to mother when she legally adopted Over Our Heads worker Andy (Mackenzie Astin), who was being shuffled from foster home to foster home.

text: She mentioned that she was named after her grandfather, Boris Ann.

text: Notes[edit]

text:
Jump up ^ O'Hara's character was dropped after the fourth episode, "I.Q."
Jump up ^ Krenn was introduced in "Up from Down Under", the sixth episode of season 9, as a recurring character. She was promoted to the main cast beginning with the episode "Something in Common".

tag: ol


document_title: Texas House Bill 588

question_text: when did the state of texas initiate the top 10 percent plan

root

text: Texas House Bill 588

text: Texas House Bill 588, commonly referred to as the "Top 10% Rule", is a Texas law passed in 1997.

text: The law guarantees Texas students who graduated in the top ten percent of their high school class automatic admission to all state-funded universities. The bill was created as a means to avoid the stipulations from the Hopwood v. Texas appeals court case banning the use of affirmative action. The Supreme Court ruled in Grutter v. Bollinger (2003) that affirmative action in college admissions was permissible, effectively overruling Hopwood. UT Austin then reinstated affirmative action for the seats not filled by the Top Ten Percent law.

text: The law only guarantees admission into university. Students must still find the means to pay, and may not achieve their desired choice of major. (Another existing law, which preceded 588, provides a full tuition scholarship for the class valedictorian of a Texas high school for their freshman year at a state public school.)

text: The Texas "Top 10% Plan" is a transition from a race based policy known as affirmative action. Under a policy such as Texas' Top 10% plan, it is believed that student enrollment for minority students specifically would follow a mismatch hypothesis. This hypothesis predicts that the rates of minority students graduation and retention would improve under the newly established plan in opposition to affirmative action. This mismatch theory would be a result of students finding a university that is a better match for them academically, rather than overreaching and becoming overshadowed.[1]

text: The law has drawn praise and criticism alike. Supporters of the rule argue that it ensures geographic and ethnic diversity in public universities. They also point out that students admitted under the legislation performed better in college than their counterparts.[2] The law has been blamed for keeping students not in the top ten percent but with other credentials, such as high SAT scores or leadership and extracurricular experience, out of the larger "flagship" state universities, such as the University of Texas at Austin and Texas A&M University, College Station. UT-Austin has argued for several years that the law has come to account for too many of its entering students, with 81 percent of the 2008 freshmen having enrolled under it.[3]

text: Some administrators, such as former University of Texas at Austin President Larry Faulkner, have advocated capping the number of top ten percent students for any year at one half of the incoming class. Others have suggested a move to a top seven percent law. However, until May 2009 the Texas Legislature had not revised the law in any way since its inception. A 2007 measure (HB78) was introduced during the 80th Regular Session (2007) but never made it out of committee.

text: Under legislation approved in May 2009 by the Texas House as part of the 81st Regular Session (Senate Bill 175), UT-Austin (but no other state universities) was allowed to trim the number of students it accepts under the 10% rule; UT-Austin could limit those students to 75 percent of entering in-state freshmen from Texas. The University would admit the top 1 percent, the top 2 percent and so forth until the cap is reached, beginning with the 2011 entering class. UT System Chancellor Francisco Cigarroa and UT-Austin President William Powers Jr. had sought a cap of about 50 percent, but lawmakers (led by Representatives Dan Branch (R-Dallas) and Rep. Mike Villarreal (D-San Antonio)) brokered the compromise.

text: A study in 2011 found that the law created a perverse incentive for students to transfer to a high school with lower-achieving peers, in order to graduate in that school's top percent.[4]


document_title: F the Prom

question_text: who plays maddy datner in f the prom

question_tokens: who plays maddy datner in f the prom

text: F the Prom

text: Plot[edit]

text: Maddy Datner and her best friend Cole Reed attend their first day of high school at Charles Adams High. Cole is subjected to a prank by a fellow student, revealing his white briefs, earning him the nickname "Tighty". Rather than stand up for him, Maddy decides not to intervene, and refuses to talk to Cole from that point on. Three years later, Maddy is at the top of the social hierarchy, and is dating the hottest guy at school, Kane. Cole, still shunned by his peers, has decided to apply to a prestigious art college.

text: Maddy catches her best friend Marissa making out with Kane. Revealing her disgust with Maddy's recent self-centered behavior, Marissa explains that she intends to be crowned Queen at the upcoming senior prom, which Maddy was expected to win. That night, Maddy goes to Cole's house, and they reconnect, reminiscing about their former friendship. Maddy suggests that they ruin the prom, enlisting Cole's friend Felicity to help. Felicity refuses to help at first, but when Maddy stands up for Cole against Kane, she agrees, and enlists the help of other social outcasts to execute the plan.

text: Maddy announces that she intends to take Cole to the prom, which greatly increases his status. Marissa tries to steal Cole's affections, but he rebuffs her. Kane, meanwhile, seeks forgiveness from Maddy. Felicity reveals that at one time, she and Kane were together, until Marissa manipulated Kane into dumping her for Maddy. As the date for prom approaches, Maddy forgives Kane and reneges on her commitment to take Cole as her date. Feeling hurt, Cole nearly calls the plan off, but his father intervenes. A former prom king himself, he has come to regret his behavior in high school, and believes his lack of humility was the reason why he and Cole's mother ultimately separated. He urges Cole to humble the popular kids so they don't turn out like him.

text: The night of the prom, Felicity and the other conspirators rig the voting system, drug Marissa's punch, and turn the popular kids against each other using social media, including posting fake pornographic images of one boy. At the end of the night, Maddy is crowned prom queen, and is thus doused with tar—the punishment intended for Marissa—before one of the kids pulls the fire alarm. Marissa takes revenge on Cole for rejecting her by once again pantsing him in front of the crowd. Enraged, Cole delivers a lengthy speech in which he criticizes how the students have hurt each other in pursuit of popularity that is ultimately without meaning or worth.

text: Cole ignores Maddy for the rest of the school year due to her betrayal at prom. After graduation, however, Cole stops by Maddy's house to give her a graphic novel of his drawings as a going away present. He also confesses his feelings for her. Maddy reciprocates, and they kiss, but Cole ultimately rejects her offer of a relationship, wishing to remain friends instead.

text: Cast[edit]

text:
Danielle Campbell as Madeline "Maddy" Datner[3]
Joel Courtney as Cole Reed
Madelaine Petsch as Marissa[4]
Cameron Palatas as Kane
Meg DeLacy as Felicity Stufts/ City / Stuffs
Jill Cimorelli as TIG / Abbey
Luke Bilyk as T.J.
Michael Chey as Sweats / Larry
Brendan Calton as Strings / Efraim
Adan Allende as Mutey / Emile
Ian Ziering as Ken Reed
Cheri Oteri as Christine Datner
Richard Karn as Murphy Datner
Nicholle Tom as Principal Statszill
Diamond White as Rayna
Brenna Bloom as Sarah
Tom Phelan as Jerry
Ethan James Teague as Barry
Eric Beckerman as Akiva
Jeannie Elise Mai as Anna
Edward Zo as Yang
Aidan Alexander as Nick
Lilly Singh as Miss Fallsburg
Marcin Gortat as Cab Driver
Marnie Alexenburg as Mrs. Carter
Corey Allen Kotler as Uncle Moish
Kaleb King as Dave
Josh Pinkowski as Dov
Alexa Speyer as Alexa
Logan Shroyer as Young Ken
Mika Cigic as Young Christine
Michael McLean as Young Murphy
Gabriel Johnson as Mollie
Monique Birtwell as Allie
Marcin Gortat as a Taxi driver

tag: ul


document_title: List of Cincinnati Bengals first-round draft picks

question_text: who did the bengals pick in the first round

text: The Cincinnati Bengals are a National Football League (NFL) franchise founded as an expansion team of the American Football League in 1968. They joined the National Football League as a result of the 1970 AFL–NFL merger.[1] The Bengals' first draft selection was Bob Johnson, a center from the University of Tennessee. The team's most recent first round selection was William Jackson III, a cornerback from the University of Houston. The Bengals have selected the number one overall pick in the draft three times. They have also selected the second overall pick two times and the third overall pick four times. The team's four selections from the University of Alabama are the most chosen by the Bengals from one university.

text: Every year during April, each NFL franchise seeks to add new players to its roster through a collegiate draft known as "the NFL Annual Player Selection Meeting", which is more commonly known as the NFL Draft. Teams are ranked in inverse order based on the previous season's record, with the worst record picking first, and the second worst picking second and so on. The two exceptions to this order are made for teams that appeared in the previous Super Bowl; the Super Bowl champion always picks 32nd, and the Super Bowl loser always picks 31st. Teams have the option of trading away their picks to other teams for different picks, players, cash, or a combination thereof. Thus, it is not uncommon for a team's actual draft pick to differ from their assigned draft pick, or for a team to have extra or no draft picks in any round due to these trades.

text: The Bengals traded their 1989 first round draft pick to the Atlanta Falcons for Atlanta's 1989 second round, fourth round, and tenth round draft picks.[2][3]

text: Key[edit]

text:
Table key

^
Indicates the player was inducted into the Pro Football Hall of Fame.

 *
Selected number one overall

†
Indicates the player was selected for the Pro Bowl at any time in their career.

—
The Bengals did not draft a player in the first round that year.

Year
Each year links to an article about that particular NFL Draft.

Pick
Indicates the number of the pick within the first round

Position
Indicates the position of the player in the NFL

College
The player's college football team

tag: table

text: Player selections[edit]

text:
Cincinnati Bengals first-round draft picks

Year
Pick
Player name
Position
College
Notes

1968
7000200000000000000♠2
Johnson, BobBob Johnson
Center
Tennessee
AFL All-Star, #54 retired by Bengals.[4]

1969
7000500000000000000♠5
Cook, GregGreg Cook
Quarterback
Cincinnati
AFL Rookie of the Year[5]

1970
7000700000000000000♠7
Reid, MikeMike Reid
Defensive tackle
Penn State
2-time Pro Bowler, 2-time All-Pro.[6]

1971
7001150000000000000♠15
Holland, VernonVernon Holland
Offensive tackle
Tennessee State

1972
7000200000000000000♠2
White, ShermanSherman White
Defensive end
California

1973
7001150000000000000♠15
Curtis, IsaacIsaac Curtis
Wide receiver
San Diego State
4-time Pro Bowler, 3-time All-Pro[7]

1974
7001230000000000000♠23
Kollar, BillBill Kollar
Defensive end
Montana State

1975
7001140000000000000♠14
Cameron, GlennGlenn Cameron
Defensive end
Florida

1976
7001110000000000000♠11
Brooks, BillyBilly Brooks
Wide receiver
Oklahoma

7001240000000000000♠24
Griffin, ArchieArchie Griffin
Running back
Ohio State
2-time Heisman Trophy winner[8]

1977
7000300000000000000♠3
Edwards, EddieEddie Edwards
Defensive end
Miami

7000800000000000000♠8
Whitley, WilsonWilson Whitley
Defensive tackle
Houston

7001220000000000000♠22
Cobb, MikeMike Cobb
Tight end
Michigan State

1978
7000800000000000000♠8
Browner, RossRoss Browner
Defensive end
Notre Dame

7001160000000000000♠16
Bush, BlairBlair Bush
Center
Washington

1979
7000300000000000000♠3
Thompson, JackJack Thompson
Quarterback
Washington State

7001120000000000000♠12
Alexander, CharlesCharles Alexander
Running back
Louisiana State

1980
7000300000000000000♠3
Muñoz, AnthonyAnthony Muñoz^
Offensive tackle
USC
11-time Pro Bowler, Pro Football Hall of Fame inductee[9]

1981
7001100000000000000♠10
Verser, DavidDavid Verser
Wide receiver
Kansas

1982
7001260000000000000♠26
Collins, GlenGlen Collins
Defensive end
Mississippi State

1983
7001250000000000000♠25
Rimington, DaveDave Rimington
Center
Nebraska
2-time Outland Trophy winner, Lombardi Award winner[10]

1984
7000700000000000000♠7
Hunley, RickyRicky Hunley
Linebacker
Arizona
College Football Hall of Fame inductee

7001160000000000000♠16
Koch, PetePete Koch
Nose tackle
Maryland

7001280000000000000♠28
Blados, BrianBrian Blados
Offensive tackle
North Carolina

1985
7001130000000000000♠13
Brown, EddieEddie Brown
Wide receiver
Miami
1-time Pro Bowler[11]

7001250000000000000♠25
King, EmanuelEmanuel King
Linebacker
Alabama

1986
7001110000000000000♠11
Kelly, JoeJoe Kelly
Linebacker
Washington

7001210000000000000♠21
McGee, TimTim McGee
Wide receiver
Tennessee

1987
7001170000000000000♠17
Buck, JasonJason Buck
Defensive lineman
BYU

1988
7000500000000000000♠5
Dixon, RickeyRickey Dixon
Defensive back
Oklahoma

1989
—
— No pick
—
—
The Bengals traded their first round draft pick to the Atlanta Falcons[3]

1990
7001120000000000000♠12
Francis, JamesJames Francis
Linebacker
Baylor

1991
7001180000000000000♠18
Williams, AlfredAlfred Williams
Defensive end
Colorado
1-time Pro Bowler[12]

1992
7000600000000000000♠6
Klingler, DavidDavid Klingler
Quarterback
Houston

7001280000000000000♠28
Williams, DarrylDarryl Williams
Defensive back
Miami

1993
7000500000000000000♠5
Copeland, JohnJohn Copeland
Defensive end
Alabama

1994
7000100000000000000♠1
Wilkinson, DanDan Wilkinson*
Defensive tackle
Ohio State

1995
7000100000000000000♠1
Carter, Ki-JanaKi-Jana Carter*
Running back
Penn State

1996
7001100000000000000♠10
Anderson, WillieWillie Anderson
Offensive tackle
Auburn
4-time Pro Bowler[13]

1997
7001140000000000000♠14
Wilson, ReinardReinard Wilson
Linebacker
Florida State

1998
7001130000000000000♠13
Spikes, TakeoTakeo Spikes
Linebacker
Auburn
2-time Pro Bowler[14]

7001170000000000000♠17
Simmons, BrianBrian Simmons
Linebacker
North Carolina

1999
7000300000000000000♠3
Smith, AkiliAkili Smith
Quarterback
Oregon

2000
7000400000000000000♠4
Warrick, PeterPeter Warrick
Wide receiver
Florida State

2001
7000400000000000000♠4
Smith, JustinJustin Smith
Defensive end
Missouri
5-time Pro Bowler[15]

2002
7001100000000000000♠10
Jones, LeviLevi Jones
Offensive tackle
Arizona

2003
7000100000000000000♠1
Palmer, CarsonCarson Palmer*
Quarterback
USC
2-time Pro Bowler, Heisman Trophy winner[16]

2004
7001260000000000000♠26
Perry, ChrisChris Perry
Running back
Michigan
Doak Walker Award winner[17]

2005
7001170000000000000♠17
Pollack, DavidDavid Pollack
Linebacker
Georgia
Chuck Bednarik Award winner, Lott Trophy winner, Lombardi Award winner, 2-time Ted Hendricks Award winner[18]

2006
7001240000000000000♠24
Joseph, JohnathanJohnathan Joseph
Defensive back
South Carolina
2-time Pro Bowler

2007
7001180000000000000♠18
Hall, LeonLeon Hall
Defensive back
Michigan

2008
7000900000000000000♠9
Rivers, KeithKeith Rivers
Linebacker
USC

2009
7000600000000000000♠6
Smith, AndreAndre Smith
Offensive tackle
Alabama

2010
7001210000000000000♠21
Gresham, JermaineJermaine Gresham
Tight end
Oklahoma
2-time Pro Bowler[19]

2011
7000400000000000000♠4
Green, A. J.A. J. Green
Wide receiver
Georgia
6-time Pro Bowler[20]

2012
7001170000000000000♠17
Kirkpatrick, DreDre Kirkpatrick
Defensive back
Alabama

7001270000000000000♠27
Zeitler, KevinKevin Zeitler
Offensive guard
Wisconsin

2013
7001210000000000000♠21
Eifert, TylerTyler Eifert
Tight end
Notre Dame

2014
7001240000000000000♠24
Dennard, DarquezeDarqueze Dennard
Defensive back
Michigan State
Jim Thorpe Award winner[21]

2015
7001210000000000000♠21
Ogbuehi, CedricCedric Ogbuehi
Offensive tackle
Texas A&M

2016
7001240000000000000♠24
Jackson III, WilliamWilliam Jackson III
Defensive back
Houston

2017
7000900000000000000♠9
Ross, JohnJohn Ross
Wide receiver
Washington

2018
7001210000000000000♠21
Price, BillyBilly Price
Center
Ohio State


document_title: Sydney Opera House

question_text: when did they start building the sydney opera house

question_tokens: when did they start building the sydney opera house

text: Sydney Opera House

text: Description[edit]

text: The facility features a modern expressionist design, with a series of large precast concrete "shells",[11] each composed of sections of a sphere of 75.2 metres (246 ft 8.6 in) radius,[12] forming the roofs of the structure, set on a monumental podium. The building covers 1.8 hectares (4.4 acres) of land and is 183 m (600 ft) long and 120 m (394 ft) wide at its widest point. It is supported on 588 concrete piers sunk as much as 25 m (82 ft) below sea level.

text: Although the roof structures are commonly referred to as "shells" (as in this article), they are precast concrete panels supported by precast concrete ribs, not shells in a strictly structural sense.[13] Though the shells appear uniformly white from a distance, they actually feature a subtle chevron pattern composed of 1,056,006 tiles in two colours: glossy white and matte cream. The tiles were manufactured by the Swedish company Höganäs AB which generally produced stoneware tiles for the paper-mill industry.[14]

text: Apart from the tile of the shells and the glass curtain walls of the foyer spaces, the building's exterior is largely clad with aggregate panels composed of pink granite quarried at Tarana. Significant interior surface treatments also include off-form concrete, Australian white birch plywood supplied from Wauchope in northern New South Wales, and brush box glulam.[15]

text: Of the two larger spaces, the Concert Hall is in the western group of shells, the Joan Sutherland Theatre in the eastern group. The scale of the shells was chosen to reflect the internal height requirements, with low entrance spaces, rising over the seating areas up to the high stage towers. The smaller venues (the Drama Theatre, the Playhouse and the Studio) are within the podium, beneath the Concert Hall. A smaller group of shells set to the western side of the Monumental Steps houses the Bennelong Restaurant. The podium is surrounded by substantial open public spaces, and the large stone-paved forecourt area with the adjacent monumental steps is regularly used as a performance space.

text: Performance venues and facilities[edit]

text: The Sydney Opera House includes a number of performance venues:[16]

text:
Concert Hall: With 2,679 seats, the home of the Sydney Symphony Orchestra and used by a large number of other concert presenters. It contains the Sydney Opera House Grand Organ, the largest mechanical tracker action organ in the world, with over 10,000 pipes.[17]
Joan Sutherland Theatre: A proscenium theatre with 1,507 seats,[18] the Sydney home of Opera Australia and The Australian Ballet. Until 16 October 2012 it was known as the Opera Theatre.[19][20]
Drama Theatre: A proscenium theatre with 544 seats, used by the Sydney Theatre Company and other dance and theatrical presenters.
Playhouse: An end-stage theatre with 398 seats.
Studio: A flexible space with 280 permanent seats (some of which can be folded up) and a maximum capacity of 400, depending on configuration.
Utzon Room: A small multi-purpose venue for parties, corporate functions and small productions (such as chamber music performances).
Recording Studio
Outdoor Forecourt: A flexible open-air venue with a wide range of configuration options, including the possibility of utilising the Monumental Steps as audience seating, used for a range of community events and major outdoor performances.

text: Other areas (for example the northern and western foyers) are also used for performances on an occasional basis. Venues are also used for conferences, ceremonies and social functions.

text: Other facilities[edit]

text: The building also houses a recording studio, cafes, restaurants, bars and retail outlets. Guided tours are available, including a frequent tour of the front-of-house spaces, and a daily backstage tour that takes visitors backstage to see areas normally reserved for performers and crew members.

text: Construction history[edit]

text: Origins[edit]

text: Planning began in the late 1940s, when Eugene Goossens, the Director of the NSW State Conservatorium of Music, lobbied for a suitable venue for large theatrical productions. The normal venue for such productions, the Sydney Town Hall, was not considered large enough. By 1954, Goossens succeeded in gaining the support of NSW Premier Joseph Cahill, who called for designs for a dedicated opera house. It was also Goossens who insisted that Bennelong Point be the site: Cahill had wanted it to be on or near Wynyard Railway Station in the northwest of the CBD.[21]

text: An international design competition was launched by Cahill on 13 September 1955 and received 233 entries, representing architects from 32 countries. The criteria specified a large hall seating 3,000 and a small hall for 1,200 people, each to be designed for different uses, including full-scale operas, orchestral and choral concerts, mass meetings, lectures, ballet performances and other presentations.[22]

text: The winner, announced in 1957, was Jørn Utzon, a Danish architect. According to legend the Utzon design was rescued from a final cut of 30 "rejects" by the noted Finnish-American architect Eero Saarinen. The runner-up was an entry by firm GBQC of Philadelphia, Pennsylvania. The grand prize was 5,000 Australian pounds.[23] Utzon visited Sydney in 1957 to help supervise the project.[24] His office moved to Palm Beach, Sydney in February 1963.[25]

text: Utzon received the Pritzker Architecture Prize, architecture's highest honour, in 2003.[26] The Pritzker Prize citation read:

text: There is no doubt that the Sydney Opera House is his masterpiece. It is one of the great iconic buildings of the 20th century, an image of great beauty that has become known throughout the world – a symbol for not only a city, but a whole country and continent.

text: Design and construction[edit]

text: The Fort Macquarie Tram Depot, occupying the site at the time of these plans, was demolished in 1958 and construction began in March 1959. It was built in three stages: stage I (1959–1963) consisted of building the upper podium; stage II (1963–1967) the construction of the outer shells; stage III (1967–1973) interior design and construction.

text: Stage I: Podium[edit]

text: Stage I commenced on 2 March 1959 with the construction firm Civil & Civic, monitored by the engineers Ove Arup and Partners.[27] The government had pushed for work to begin early, fearing that funding, or public opinion, might turn against them. However, Utzon had still not completed the final designs. Major structural issues still remained unresolved. By 23 January 1961, work was running 47 weeks behind,[27] mainly because of unexpected difficulties (inclement weather, unexpected difficulty diverting stormwater, construction beginning before proper construction drawings had been prepared, changes of original contract documents). Work on the podium was finally completed in February 1963. The forced early start led to significant later problems, not least of which was the fact that the podium columns were not strong enough to support the roof structure, and had to be re-built.[28]

text: Stage II: Roof[edit]

text: The shells of the competition entry were originally of undefined geometry,[29] but, early in the design process, the "shells" were perceived as a series of parabolas supported by precast concrete ribs. However, engineers Ove Arup and Partners were unable to find an acceptable solution to constructing them. The formwork for using in-situ concrete would have been prohibitively expensive, and, because there was no repetition in any of the roof forms, the construction of precast concrete for each individual section would possibly have been even more expensive.

text: From 1957 to 1963, the design team went through at least 12 iterations of the form of the shells trying to find an economically acceptable form (including schemes with parabolas, circular ribs and ellipsoids) before a workable solution was completed. The design work on the shells involved one of the earliest uses of computers in structural analysis, to understand the complex forces to which the shells would be subjected.[30] The computer system was also used in the assembly of the arches. The pins in the arches were surveyed at the end of each day, and the information was entered into the computer so the next arch could be properly placed the following day. In mid-1961, the design team found a solution to the problem: the shells all being created as sections from a sphere. This solution allows arches of varying length to be cast in a common mould, and a number of arch segments of common length to be placed adjacent to one another, to form a spherical section. With whom exactly this solution originated has been the subject of some controversy. It was originally credited to Utzon. Ove Arup's letter to Ashworth, a member of the Sydney Opera House Executive Committee, states: "Utzon came up with an idea of making all the shells of uniform curvature throughout in both directions."[31] Peter Jones, the author of Ove Arup's biography, states that "the architect and his supporters alike claimed to recall the precise eureka moment ... ; the engineers and some of their associates, with equal conviction, recall discussion in both central London and at Ove's house."

text: He goes on to claim that "the existing evidence shows that Arup's canvassed several possibilities for the geometry of the shells, from parabolas to ellipsoids and spheres."[30] Yuzo Mikami, a member of the design team, presents an opposite view in his book on the project, Utzon's Sphere.[32][33] It is unlikely that the truth will ever be categorically known, but there is a clear consensus that the design team worked very well indeed for the first part of the project and that Utzon, Arup, and Ronald Jenkins (partner of Ove Arup and Partners responsible for the Opera House project) all played a very significant part in the design development.[34]

text: As Peter Murray states in The Saga of the Sydney Opera House:[28]

text: ... the two men—and their teams—enjoyed a collaboration that was remarkable in its fruitfulness and, despite many traumas, was seen by most of those involved in the project as a high point of architect/engineer collaboration.

text: The design of the roof was tested on scale models in wind tunnels at University of Southampton and later NPL in order to establish the wind-pressure distribution around the roof shape in very high winds, which helped in the design of the roof tiles and their fixtures.[35][36]

text: The shells were constructed by Hornibrook Group Pty Ltd,[37] who were also responsible for construction in Stage III. Hornibrook manufactured the 2400 precast ribs and 4000 roof panels in an on-site factory and also developed the construction processes.[28] The achievement of this solution avoided the need for expensive formwork construction by allowing the use of precast units (it also allowed the roof tiles to be prefabricated in sheets on the ground, instead of being stuck on individually at height). Ove Arup and Partners' site engineer supervised the construction of the shells, which used an innovative adjustable steel-trussed "erection arch" to support the different roofs before completion. On 6 April 1962, it was estimated that the Opera House would be completed between August 1964 and March 1965.

text: Stage III: Interiors[edit]

text: Stage III, the interiors, started with Utzon moving his entire office to Sydney in February 1963. However, there was a change of government in 1965, and the new Robert Askin government declared the project under the jurisdiction of the Ministry of Public Works. Due to the Ministry's criticism of the project's costs and time,[38] along with their impression of Utzon's designs being impractical, this ultimately led to his resignation in 1966 (see below).

text: The cost of the project so far, even in October 1966, was still only $22.9 million,[39] less than a quarter of the final $102 million cost. However, the projected costs for the design were at this stage much more significant.

text: The second stage of construction was progressing toward completion when Utzon resigned. His position was principally taken over by Peter Hall, who became largely responsible for the interior design. Other persons appointed that same year to replace Utzon were E. H. Farmer as government architect, D. S. Littlemore and Lionel Todd.

text: Following Utzon's resignation, the acoustic advisor, Lothar Cremer, confirmed to the Sydney Opera House Executive Committee (SOHEC) that Utzon's original acoustic design allowed for only 2000 seats in the main hall and further stated that increasing the number of seats to 3000 as specified in the brief would be disastrous for the acoustics. According to Peter Jones, the stage designer, Martin Carr, criticised the "shape, height and width of the stage, the physical facilities for artists, the location of the dressing rooms, the widths of doors and lifts, and the location of lighting switchboards."[40]

text: Significant changes to Utzon's design[edit]

text:
The major hall, which was originally to be a multipurpose opera/concert hall, became solely a concert hall, called the Concert Hall. The minor hall, originally for stage productions only, incorporated opera and ballet functions and was called the Opera Theatre, later renamed the Joan Sutherland Theatre. As a result, the Joan Sutherland Theatre is inadequate to stage large-scale opera and ballet. A theatre, a cinema and a library were also added. These were later changed to two live drama theatres and a smaller theatre "in the round". These now comprise the Drama Theatre, the Playhouse and the Studio respectively. These changes were primarily because of inadequacies in the original competition brief, which did not make it adequately clear how the Opera House was to be used. The layout of the interiors was changed, and the stage machinery, already designed and fitted inside the major hall, was pulled out and largely thrown away, as detailed in the 1968 BBC TV documentary Autopsy on a Dream, which "chronicles the full spectrum of controversy surrounding the construction of the Sydney Opera House".[41]
Externally, the cladding to the podium and the paving (the podium was originally not to be clad down to the water, but to be left open).
The construction of the glass walls (Utzon was planning to use a system of prefabricated plywood mullions, but a different system was designed to deal with the glass).
Utzon's plywood corridor designs, and his acoustic and seating designs for the interior of both major halls, were scrapped completely. His design for the Concert Hall was rejected as it only seated 2000, which was considered insufficient.[30] Utzon employed the acoustic consultant Lothar Cremer, and his designs for the major halls were later modelled and found to be very good. The subsequent Todd, Hall and Littlemore versions of both major halls have some problems with acoustics, particularly for the performing musicians. The orchestra pit in the Joan Sutherland Theatre is cramped and dangerous to musicians' hearing.[42] The Concert Hall has a very high roof, leading to a lack of early reflections onstage—perspex rings (the "acoustic clouds") hanging over the stage were added shortly before opening in an (unsuccessful) attempt to address this problem.

text: Completion and cost[edit]

text: The Opera House was formally completed in 1973, having cost $102 million.[43] H.R. "Sam" Hoare, the Hornibrook director in charge of the project, provided the following approximations in 1973: Stage I: podium Civil & Civic Pty Ltd approximately $5.5m. Stage II: roof shells M.R. Hornibrook (NSW) Pty Ltd approximately $12.5m. Stage III: completion The Hornibrook Group $56.5m. Separate contracts: stage equipment, stage lighting and organ $9.0m. Fees and other costs: $16.5m.

text: The original cost and scheduling estimates in 1957 projected a cost of £3,500,000 ($7 million) and completion date of 26 January 1963 (Australia Day).[30] In reality, the project was completed ten years late and 1,357% over budget in real terms.

text: Utzon and his resignation[edit]

text: Before the Sydney Opera House competition, Jørn Utzon had won seven of the 18 competitions he had entered but had never seen any of his designs built.[44] Utzon's submitted concept for the Sydney Opera House was almost universally admired and considered groundbreaking. The Assessors Report of January 1957, stated:

text: The drawings submitted for this scheme are simple to the point of being diagrammatic. Nevertheless, as we have returned again and again to the study of these drawings, we are convinced that they present a concept of an Opera House which is capable of becoming one of the great buildings of the world.

text: For the first stage, Utzon worked successfully with the rest of the design team and the client, but, as the project progressed, the Cahill government insisted on progressive revisions. They also did not fully appreciate the costs or work involved in design and construction. Tensions between the client and the design team grew further when an early start to construction was demanded despite an incomplete design. This resulted in a continuing series of delays and setbacks while various technical engineering issues were being refined. The building was unique, and the problems with the design issues and cost increases were exacerbated by commencement of work before the completion of the final plans.

text: After the 1965 election of the Liberal Party, with Robert Askin becoming Premier of New South Wales, the relationship of client, architect, engineers and contractors became increasingly tense. Askin had been a "vocal critic of the project prior to gaining office."[45] His new Minister for Public Works, Davis Hughes, was even less sympathetic. Elizabeth Farrelly, an Australian architecture critic, wrote that:

text: at an election night dinner party in Mosman, Hughes' daughter Sue Burgoyne boasted that her father would soon sack Utzon. Hughes had no interest in art, architecture or aesthetics. A fraud, as well as a philistine, he had been exposed before Parliament and dumped as Country Party leader for 19 years of falsely claiming a university degree. The Opera House gave Hughes a second chance. For him, as for Utzon, it was all about control; about the triumph of homegrown mediocrity over foreign genius.[45]

text: Differences ensued. One of the first was that Utzon believed the clients should receive information on all aspects of the design and construction through his practice, while the clients wanted a system (notably drawn in sketch form by Davis Hughes) where architect, contractors, and engineers each reported to the client directly and separately. This had great implications for procurement methods and cost control, with Utzon wishing to negotiate contracts with chosen suppliers (such as Ralph Symonds for the plywood interiors) and the New South Wales government insisting contracts be put out to tender.[28]

text: Utzon was highly reluctant to respond to questions or criticism from the client's Sydney Opera House Executive Committee (SOHEC).[46] However, he was greatly supported throughout by a member of the committee and one of the original competition judges, Harry Ingham Ashworth. Utzon was unwilling to compromise on some aspects of his designs that the clients wanted to change.

text: Utzon's ability was never in doubt, despite questions raised by Davis Hughes, who attempted to portray Utzon as an impractical dreamer. Ove Arup actually stated that Utzon was "probably the best of any I have come across in my long experience of working with architects"[47] and: "The Opera House could become the world's foremost contemporary masterpiece if Utzon is given his head."

text: In October 1965, Utzon gave Hughes a schedule setting out the completion dates of parts of his work for stage III.[citation needed] Utzon was at this time working closely with Ralph Symonds, a manufacturer of plywood based in Sydney and highly regarded by many, despite an Arup engineer warning that Ralph Symonds's "knowledge of the design stresses of plywood, was extremely sketchy" and that the technical advice was "elementary to say the least and completely useless for our purposes." Australian architecture critic Elizabeth Farrelly has referred to Ove Arup's project engineer Michael Lewis as having "other agendas".[45] In any case, Hughes shortly after withheld permission for the construction of plywood prototypes for the interiors,[citation needed] and the relationship between Utzon and the client never recovered. By February 1966, Utzon was owed more than $100,000 in fees.[48] Hughes then withheld funding so that Utzon could not even pay his own staff. The government minutes record that following several threats of resignation, Utzon finally stated to Davis Hughes: "If you don't do it, I resign." Hughes replied: "I accept your resignation. Thank you very much. Goodbye."[49]

text: Utzon left the project on 28 February 1966. He said that Hughes's refusal to pay him any fees and the lack of collaboration caused his resignation and later famously described the situation as "Malice in Blunderland". In March 1966, Hughes offered him a subordinate role as "design architect" under a panel of executive architects, without any supervisory powers over the House's construction, but Utzon rejected this. Utzon left the country never to return.

text: Following the resignation, there was great controversy about who was in the right and who was in the wrong. The Sydney Morning Herald initially opined: "No architect in the world has enjoyed greater freedom than Mr Utzon. Few clients have been more patient or more generous than the people and the Government of NSW. One would not like history to record that this partnership was brought to an end by a fit of temper on the one side or by a fit of meanness on the other." On 17 March 1966, the Herald offered the view that:[50] "It was not his [Utzon's] fault that a succession of Governments and the Opera House Trust should so signally have failed to impose any control or order on the project .... his concept was so daring that he himself could solve its problems only step by step .... his insistence on perfection led him to alter his design as he went along."

text: The Sydney Opera House opened the way for the immensely complex geometries of some modern architecture. The design was one of the first examples of the use of computer-aided design to design complex shapes. The design techniques developed by Utzon and Arup for the Sydney Opera House have been further developed and are now used for architecture, such as works of Gehry and blobitecture, as well as most reinforced concrete structures. The design is also one of the first in the world to use araldite to glue the precast structural elements together and proved the concept for future use.

text: It was also a first in mechanical engineering. Another Danish firm, Steensen Varming, was responsible for designing the new air-conditioning plant, the largest in Australia at the time, supplying over 600,000 cubic feet (17,000 m3) of air per minute,[51] using the innovative idea of harnessing the harbour water to create a water-cooled heat pump system that is still in operation today.[52]

text: Architectural design role of Peter Hall[edit]

text: After the resignation of Utzon, the Minister for Public Works, Davis Hughes, and the Government Architect, Ted Farmer, organised a team to bring the Sydney Opera House to completion. The architectural work was divided between three appointees who became the Hall, Todd, Littlemore partnership. David Littlemore would manage construction supervision, Lionel Todd contract documentation, while the crucial role of design became the responsibility of Peter Hall.[53]:45

text: Peter Hall (1931–1995) completed a combined arts and architecture degree at Sydney University. Upon graduation a travel scholarship enabled him to spend twelve months in Europe during which time he visited Utzon in Hellebæk.[54] Returning to Sydney, Hall worked for the Government Architect, a branch of the NSW Public Works Department. While there he established himself as a talented design architect with a number of court and university buildings, including the Goldstein Hall at the University of New South Wales, which won the Sir John Sulman Medal in 1964.

text: Hall resigned from the Government Architects office in early 1966 to pursue his own practice. When approached to take on the design role, (after at least two prominent Sydney architects had declined), Hall spoke with Utzon by phone before accepting the position. Utzon reportedly told Hall: he (Hall) would not be able to finish the job and the Government would have to invite him back.[53](p46) Hall also sought the advice of others, including architect Don Gazzard who warned him acceptance would be a bad career move as the project would "never be his own".[53]:47

text: Hall agreed to accept the role on the condition there was no possibility of Utzon returning. Even so, his appointment did not go down well with many of his fellow architects who considered that no one but Utzon should complete the Sydney Opera House.[54] Upon Utzon's dismissal, a rally of protest had marched to Bennelong Point. A petition was also circulated, including in the Government Architects office. Peter Hall was one of the many who had signed the petition that called for Utzon's reinstatement.[54]

text: When Hall agreed to the design role and was appointed in April 1966, he imagined he would find the design and documentation for the Stage III well advanced. What he found was an enormous amount of work ahead of him with many aspects completely unresolved by Utzon in relation to seating capacity, acoustics and structure.[53]:42 In addition Hall found the project had proceeded for nine years without the development of a concise client brief. To bring himself up to speed, Hall investigated concert and opera venues overseas and engaged stage consultant Ben Schlange and acoustic consultant Wilhelm Jordan, while establishing his team. In consultation with all the potential building users the first Review of Program was completed in January 1967. The most significant conclusion reached by Hall was that concert and opera were incompatible in the same hall.[53]:53 Although Utzon had sketched ideas using plywood for the great enclosing glass walls their structural viability was unresolved when Hall took on the design role.[53]:49 With the ability to delegate tasks and effectively coordinate the work of consultants, Hall guided the project for over five years until the opening day in 1973.

text: A former Government Architect, Peter Webber, in his book Peter Hall: the Phantom of the Opera House, concludes: when Utzon resigned no one was better qualified (than Hall) to rise to the challenge of completing the design of the Opera House.[53]:126

text: Opening[edit]

text: The Sydney Opera House was formally opened by Elizabeth II, Queen of Australia, on 20 October 1973. A large crowd attended. Utzon was not invited to the ceremony, nor was his name mentioned. The opening was televised and included fireworks and a performance of Beethoven's Symphony No. 9.[55]

text: Performance firsts[edit]

text: During the construction phase, lunchtime performances were often arranged for the workers, with American vocalist Paul Robeson the first artist to perform, in 1960.

text: Various performances were presented prior to the official opening:

text:
The first solo piano recital was in the Concert Hall on 10 April 1973, played by Romola Costantino to an invited audience.[56]
The first opera performed was Sergei Prokofiev's War and Peace, in what was then known as the Opera Theatre on 28 September 1973, conducted by the Australian Opera's Music Director, Edward Downes. (It had been intended that Peter Sculthorpe's work Rites of Passage would have this honour, but it was not ready on time. Rites of Passage was premiered almost exactly a year later, on 27 September 1974.)
The first evening performance of an opera was Larry Sitsky's The Fall of the House of Usher, conducted by Rex Hobcroft[57] and paired with Dalgerie by James Penberthy, to a libretto by Mary Durack; it took place on 25 July 1973.[58]
The first public concert in the Concert Hall took place on 29 September 1973. It was an all-Wagner orchestral concert performed by the Sydney Symphony Orchestra, conducted by Charles Mackerras and with Birgit Nilsson as the soprano soloist. The first music played was the Prelude to Die Meistersinger von Nürnberg. The concert closed with the Immolation Scene from Götterdämmerung.[citation needed]

text: After the opening:

text: The first violin and piano recital was given by Wanda Wiłkomirska, with pianist Geoffrey Parsons.[59]

text: Reconciliation with Utzon; building refurbishment[edit]

text: In the late 1990s, the Sydney Opera House Trust resumed communication with Utzon in an attempt to effect a reconciliation and to secure his involvement in future changes to the building. In 1999, he was appointed by the Trust as a design consultant for future work.[60]

text: In 2004, the first interior space rebuilt to an Utzon design was opened, and renamed "The Utzon Room" in his honour. It contains an original Utzon tapestry (14.00 x 3.70 metres) called Homage to Carl Philipp Emmanuel Bach.[61] In April 2007, he proposed a major reconstruction of the Opera Theatre, as it was then known.[62] Utzon died on 29 November 2008.[63]

text: A state memorial service, attended by Utzon's son Jan and daughter Lin, celebrating his creative genius, was held in the Concert Hall on 25 March 2009 featuring performances, readings and recollections from prominent figures in the Australian performing arts scene.

text: Refurbished Western Foyer and Accessibility improvements were commissioned on 17 November 2009, the largest building project completed since Utzon was re-engaged in 1999. Designed by Utzon and his son Jan, the project provided improved ticketing, toilet and cloaking facilities. New escalators and a public lift enabled enhanced access for the disabled and families with prams. The prominent paralympian athlete Louise Sauvage was announced as the building's "accessibility ambassador" to advise on further improvements to aid people with disabilities.[64]

text: On 29 March 2016, an original 1959 tapestry by Le Corbusier (2.18 x 3.55 metres), commissioned by Utzon to be hung in the Sydney Opera House and called Les Dés Sont Jetés (The Dice Are Cast), was finally unveiled in situ after being owned by the Utzon family and held at their home in Denmark for over 50 years. The tapestry was bought at auction by the Sydney Opera House in June 2015. It now hangs in the building's Western Foyer and is accessible to the public.

text: In the second half of 2017, the Joan Sutherland Theatre was closed to replace the stage machinery and for other works. The Concert Hall is scheduled for work in 2020-2021.

text: Public and commemorative events[edit]

text: In 1993, Constantine Koukias was commissioned by the Sydney Opera House Trust in association with REM Theatre to compose Icon, a large-scale music theatre piece for the 20th anniversary of the Sydney Opera House [65]

text: During the 2000 Summer Olympics, the venue served as the focal point for the triathlon events. The event had a 1.5 km (0.9 mi) swimming loop at Farm Cove, along with competitions in the neighbouring Royal Botanical Gardens for the cycling and running portions of the event.[66]

text: Since 2013, a group of residents from the nearby Bennelong Apartments (better known as 'The Toaster'), calling themselves the Sydney Opera House Concerned Citizens Group, have been campaigning against Forecourt Concerts on the grounds that they exceed noise levels outlined in the development approval (DA). In February 2017 the NSW Department of Planning and the Environment handed down a $15,000 fine to the Sydney Opera House for breach of allowed noise levels at a concert held in November 2015. However the DA was amended in 2016 to allow an increase in noise levels in the forecourt by 5 decibels. The residents opposing the concerts contend that a new DA should have been filed rather than an amendment.[67][68]

text: The Sydney Opera House sails formed a graphic projection-screen in a lightshow mounted in connection with the International Fleet Review in Sydney Harbour on 5 October 2013.[69]

text: On 31 December 2013, the venue's 40th anniversary year, a New Year firework display was mounted for the first time in a decade.[70]

text: The Sydney Opera House hosted an event, 'the biggest blind date' on Friday 21 February 2014 that won an historic Guinness World Record.[71]

text: Notable performances[edit]

text:
1960 – The first person to perform at the Sydney Opera House was Paul Robeson – he sang Ol' Man River to the construction workers as they ate lunch.
1973 – Sergei Prokofiev's War and Peace, on September 28 1973.[72]
1974 – Opera singer Joan Sutherland performed for the first time in the theatre that would be named for her.
1978 – Irish rockers Thin Lizzy (played a free concert on the steps).[73]
1985 – Ray Lawler's classic Doll Trilogy.
1987 – Pope John Paul II gave a speech in the Concert Hall during his visit to Australia.
1990 – Nelson Mandela addressed a crowd of 40,000 and attended a choral performance of Nkosi Sikelel’ iAfrica ("God Bless Africa").
1995 – Bernard Shaw's Saint Joan: starring Jacqueline McKenzie in the title role of Joan of Arc.[74]
2000 -The Olympics opening ceremony- swimmer Samantha Riley stands on top of one of the Concert Hall's shells with the Olympic Torch to send the flame on its final journey to light the cauldron at Stadium Australia. [75]
2003 – Pulitzer Prize winning play Proof by David Auburn, starring Jacqueline McKenzie and Barry Otto.
2004 – Canadian singer Michael Buble performed in the Concert Hall.
2008 – Oprah Winfrey filmed her Ultimate Australian Adventure in the forecourt.[76]
2008 – First VIVID Live Music program curated by Brian Eno.

text: Awards[edit]

text:
RAIA Merit Award, 1974.
Meritorious Lighting Award of the Illuminating Engineering Society of Australia, 1974.
RAIA Civic Design Award, 1980.
RAIA Commemorative Award, Jørn Utzon – Sydney Opera House, 1992.


document_title: Eternal Sunshine of the Spotless Mind

question_text: where is eternal sunshine of the spotless mind set

text: Eternal Sunshine of the Spotless Mind

text: Plot[edit]

text: Shy, soft-spoken Joel Barish and unrestrained free-spirit Clementine Kruczynski begin a relationship on a Long Island Rail Road train from Montauk, New York to Rockville Centre. They are immediately drawn to each other, despite their contrasting personalities, as they both felt the need to travel to Montauk that day. Although they do not remember it, Joel and Clementine are, in fact, former lovers, now separated after spending two years together. After a fight, Clementine had hired the New York City firm Lacuna, Inc. to erase all of her memories of their relationship. Upon discovering this from his friends Rob and Carrie, Joel was devastated and decided to undergo the procedure himself, a process that takes place while he sleeps.

text: Much of the film subsequently takes place in Joel's mind, during this memory erasure procedure. Joel finds himself revisiting his memories of Clementine in reverse, starting from the disintegration of their relationship. As he comes across happier, positive memories of Clementine early in his relationship, he decides to preserve at least some memory of her and his love for her, trying to evade the procedure by taking his idealized memory of Clementine into memories not related to her, or waking up to stop the process. Despite his efforts, the memories are steadily erased. He comes to the last remaining memory of Clementine, the day he had first met her at a beach house in Montauk. As this memory disintegrates around them, she tells him, "Meet me in Montauk."

text: Separate, but related, story arcs revolving around the employees of Lacuna are revealed during Joel's memory erasure. Patrick, one of the Lacuna technicians performing the erasure, uses Joel's memories and mannerisms to seduce and romance Clementine. Mary, the Lacuna receptionist, is dating the other memory-erasing technician, Stan, but has feelings for Dr. Howard Mierzwiak, the married doctor and head of Lacuna. During Joel's memory wipe, Mary discovers she had previously had an affair with Dr. Mierzwiak and agreed to have this erased from her memory when Dr. Mierzwiak's wife found out. On learning this, she asks Stan whether he knew about this, to which he claims that he didn't. Mary then quits her job and steals the company's records, mailing them to all of Lacuna's customers out of revenge.

text: The film returns to the present, after Joel and Clementine have met aboard the train. They both come upon their Lacuna records later that day, and react with shock and bewilderment - they have no clear memory of having known each other, let alone having had a relationship and having had their memories erased. Joel pleads with Clementine to restart their relationship; Clementine initially resists, pointing out it could go the same way. Joel accepts this, and they decide to try anyway.

text: Cast[edit]

text:
Jim Carrey as Joel Barish

Ryan Whitney as young Joel

Kate Winslet as Clementine Kruczynski
Kirsten Dunst as Mary Svevo
Mark Ruffalo as Stan Fink
Elijah Wood as Patrick
Tom Wilkinson as Howard Mierzwiak
Jane Adams as Carrie Eakin
David Cross as Rob Eakin
Deirdre O'Connell as Hollis Mierzwiak
Thomas Jay Ryan as Frank

text: Reception[edit]

text: Critical response[edit]

text: On Rotten Tomatoes, the film has a 93% "Certified Fresh" rating, based on 236 reviews, with an average rating of 8.4/10. The site's critical consensus reads: "Propelled by Charlie Kaufman's smart, imaginative script and Michel Gondry's equally daring directorial touch, Eternal Sunshine is a twisty yet heartfelt look at relationships and heartache."[4] On Metacritic, the film has a score of 89 out of 100, based on 41 reviews, indicating "universal acclaim."[5]

text: Roger Ebert of Chicago Sun-Times gave the film a perfect four stars, referring to Kaufman as "the most gifted screenwriter of the 2000s" and including it on his "Great Movies" list.[6] A. O. Scott of The New York Times praised the film for being "cerebral, formally and conceptually complicated, dense with literary allusions and as unabashedly romantic as any movie you'll ever see."[7] Time Out summed up their review by saying, "the formidable Gondry/Kaufman/Carrey axis works marvel after marvel in expressing the bewildering beauty and existential horror of being trapped inside one's own addled mind, and in allegorising the self-preserving amnesia of a broken but hopeful heart."[8]

text: In 2006, in issue 201 of Empire, Eternal Sunshine of the Spotless Mind was voted #83 in their 201 Greatest Movies of All Time poll as voted for by readers. That same year, Winslet's performance as Clementine was included in Premiere magazine's 100 Greatest Performances of All Time at #81. Claudia Puig, reviewer in USA Today said about her performance that "Winslet is wonderful as a free spirit whose hair color changes along with her moods. She hasn't had such a meaty role in a while, and she plays it just right."[9]

text: In 2008, Carol Vernallis pointed out that Gondry's experience in directing music videos contributed to the film's mise-en-scène and sound design. Vernallis describes some threads of the visual, aural and musical motifs throughout the film, and how some motifs can work in counterpoint.[10]

text: In November 2009, Time Out New York ranked the film as the third-best of the decade, beaten by There Will Be Blood (#2) and Mulholland Drive (#1):

text: In the past, both director Michel Gondry's kindergarten arts-and-crafts aesthetic and Charlie Kaufman's Möbius-striptease scripts have come off as insufferably twee and gimmicky. So why does this existential meta-rom-com always leave us teary-eyed and genuinely moved?...[T]he duo finally finds the right combination of high-concept and humanity here, taking the what-if idea of a company that lobotomizes the lovelorn into territory that's funny, painful, poetic and unsettlingly weird.[11]

text: Entertainment Weekly put it on its end-of-the-decade, "best-of" list, saying, "Only the bizarre and byzantine brain of Charlie Kaufman could turn this 2004 story about erasing all memories of love into one of the most romantic movies of the decade."[12] Slant Magazine placed the film at number 87 on their list of the best films of the 2000s.[13] Paste Magazine named it one of the 50 Best Movies of the Decade (2000-2009), ranking it at number 5.[14]

text: At the end of 2009, The Onion's A.V. Club rated Eternal Sunshine of the Spotless Mind as the number one film of the 2000s, beating out Christopher Nolan's Memento and the Coen brothers' No Country for Old Men. The article states, "It's the rare film that shows us who we are now and who we're likely, for better or worse, forever to be."[15] In 2013, the Writers Guild of America ranked the screenplay of the flim at #24 on its list of "101 Greatest Screenplays".[16] In a 2016 BBC poll of 177 critics around the world, Eternal Sunshine of the Spotless Mind was voted the sixth greatest film since 2000.[17] Aggregation site They Shoot Pictures, Don't They has also found it to be the 5th most acclaimed film of the same time period.[18]

text: Accolades[edit]

text: Kaufman, Gondry, and Bismuth won the 2004 Academy Award for Best Original Screenplay for Eternal Sunshine of the Spotless Mind.

text: AFI recognition[edit]

text: The film was nominated for placement on two American Film Institute lists.

text:
AFI's 100 Years...100 Movies (10th Anniversary Edition) - Nominated[19]
AFI's 10 Top 10 - Nominated Science Fiction Film[20]

text: Music[edit]

text: The soundtrack album for Eternal Sunshine of the Spotless Mind was released by Hollywood Records on March 16, 2004.

text: The score was composed by Los Angeles musician Jon Brion. Other songs are from artists such as The Polyphonic Spree, The Willowz, and Don Nelson. Beck, in a collaboration with Brion, provides a cover version of The Korgis' "Everybody's Got to Learn Sometime".

text: Home video[edit]

text: Eternal Sunshine of the Spotless Mind was released on DVD in the U.S. in separate anamorphic widescreen and full screen editions on September 28, 2004. Both editions carry English Dolby Digital 5.1 Surround, English DTS 5.1 Surround and French Dolby Digital 5.1 Surround tracks. Bonus features included on this disc are:[21]

text:
Feature commentary with director Michel Gondry and writer Charlie Kaufman
Deleted scenes
A Look Inside Eternal Sunshine of the Spotless Mind
A Conversation with Jim Carrey and Michel Gondry
The Polyphonic Spree "Light & Day" music video
Lacuna, Inc. commercial

text: A special two-disc widescreen Collector's Edition DVD was released in the U.S. on January 4, 2005. Features on Disc 1 are identical to the single-disc edition. Bonus features on the two-disc edition include:[22]

text:
Collectible packaging and booklet with photos
A Conversation with Kate Winslet and Michel Gondry
Inside the Mind of Michel Gondry
Additional deleted / extended scenes
Anatomy of a Scene: Saratoga Avenue
"The Misadventures of Superdog" by Joel Bar(r)ish (22-second Easter egg accessible just below other features)

text: A HD DVD edition was released in the U.S. on April 24, 2007, with a 1080p/VC-1 video transfer, and both English and French Dolby Digital Plus 5.1 Surround tracks. This edition includes all the bonus features from the two-disc Collector's Edition, sans the collectible packaging and booklet.[23]

text: A Blu-ray edition was released in the U.S. on January 25, 2011, with a 1080p H.264/MPEG-4 AVC video transfer, and English DTS-HD Master Audio 5.1 Surround and French DTS 5.1 Surround tracks. This edition also includes all the bonus features from the two-disc Collector's Edition, except for the collectible packaging and booklet.[24]

text: Television series[edit]

text: In October 2016, Anonymous Content announced they will be working with Universal Cable Productions to produce a television series based on the film. The project is still in planning stages.[25]