document_title: Grand Ole Opry

question_text: when did the grand ole opry move from ryman

text: Grand Ole Opry

text: History[edit]

text: Beginnings[edit]

text: The Grand Ole Opry started as the WSM Barn Dance in the new fifth-floor radio studio of the National Life & Accident Insurance Company in downtown Nashville on November 28, 1925. On October 18, 1925, management began a program featuring "Dr. Humphrey Bate and his string quartet of old-time musicians." On November 2, WSM hired long-time announcer and program director George D. "Judge" Hay, an enterprising pioneer from the National Barn Dance program at WLS in Chicago, who was also named the most popular radio announcer in America as a result of his radio work with both WLS and WMC in Memphis, Tennessee. Hay launched the WSM Barn Dance with 77-year-old fiddler Uncle Jimmy Thompson on November 28, 1925, which is celebrated as the birth date of the Grand Ole Opry.[8]

text: Some of the bands regularly on the show during its early days included Bill Monroe, the Possum Hunters (with Dr. Humphrey Bate), the Fruit Jar Drinkers with Uncle Dave Macon, the Crook Brothers, the Binkley Brothers' Dixie Clodhoppers, Sid Harkreader, Deford Bailey, Fiddlin' Arthur Smith, and the Gully Jumpers.[9]

text: Judge Hay, however, liked the Fruit Jar Drinkers and asked them to appear last on each show because he wanted to always close each segment with "red hot fiddle playing". They were the second band accepted on Barn Dance, with the Crook Brothers being the first. When the Opry began having square dancers on the show, the Fruit Jar Drinkers always played for them. In 1926, Uncle Dave Macon, a Tennessee banjo player who had recorded several songs and toured the vaudeville circuit, became its first real star.[9]

text: Name[edit]

text: The phrase "Grand Ole Opry" was first uttered on the air on December 10, 1927.[10] At the time, Barn Dance followed the NBC Red Network's Music Appreciation Hour, a program of classical music and selections from grand opera presented by classical conductor Walter Damrosch. On that particular night, Damrosch had remarked that "there is no place in the classics for realism." In response, Opry presenter George Hay said:

text: Friends, the program which just came to a close was devoted to the classics. Doctor Damrosch told us that there is no place in the classics for realism. However, from here on out for the next three hours, we will present nothing but realism. It will be down to earth for the "earthy".

text: Hay then introduced DeFord Bailey, the man he had dubbed the "Harmonica Wizard", saying:

text: For the past hour, we have been listening to music taken largely from Grand Opera. From now on, we will present the "Grand Ole Opry".

text: Bailey then stepped up to the mic to play "The Pan-American Blues," his song inspired by the Pan-American, a premier L&N Railroad passenger train.[10][11]

text: Larger venues[edit]

text: As audiences for the live show increased, National Life & Accident Insurance's radio venue became too small to accommodate the hordes of fans. They built a larger studio, but it was still not large enough. After several months with no audiences, National Life decided to allow the show to move outside its home offices. In October 1934, the Opry moved into then-suburban Hillsboro Theatre (now the Belcourt); and then on June 13, 1936, to the Dixie Tabernacle in East Nashville. The Opry then moved to the War Memorial Auditorium, a downtown venue adjacent to the State Capitol. A 25-cent admission was charged to try to curb the large crowds, but to no avail. On June 5, 1943, the Opry moved to the Ryman Auditorium.

text: Top-charting country music acts performed during the Ryman years, including Roy Acuff called the King of Country Music , Hank Williams, Webb Pierce, Faron Young, Martha Carson, Lefty Frizzell, and many others.

text: One hour of the Opry was nationally broadcast by the NBC Red Network from 1939 to 1956; for much of its run, it aired one hour after the program that had inspired it, National Barn Dance. The NBC segment, originally known by the name of its sponsor, The Prince Albert Show, was first hosted by Acuff, who was succeeded by Red Foley from 1946 to 1954. From October 15, 1955 to September 1956, ABC-TV aired a live, hour-long television version once a month on Saturday nights (sponsored by Ralston-Purina), pre-empting one hour of the then-90-minute Ozark Jubilee. From 1955 to 1957, Al Gannaway owned and produced both The Country Show and Stars of the Grand Ole Opry, filmed programs syndicated by Flamingo Films. Gannaway's Stars of the Grand Ole Opry was the first television show shot in color.[12]

text: On October 2, 1954, a teenage Elvis Presley made his only Opry performance. Although the audience reacted politely to his revolutionary brand of rockabilly music, after the show Opry manager Jim Denny told Presley's producer Sam Phillips that the singer's style did not suit the program.[13]

text: In the 1960s, as the hippie counterculture movement spread, the Opry maintained a strait-laced, conservative image with "longhairs" not being featured on the show. The Byrds were a notable exception. Country rock pioneer Gram Parsons, who at that time was a member of The Byrds, was in Nashville to work on the band's country rock album, Sweetheart of the Rodeo.[14] The band's record label, Columbia Records, had arranged for The Byrds to be allowed to perform at the Ryman on March 15, 1968, a prospect that thrilled Parsons.[14] However, when the band took the stage the audience's response was immediately hostile, resulting in derisive heckling, booing and mocking calls of "tweet, tweet" and "cut your hair"[15][16] The Byrds further outraged the Opry establishment by breaking with accepted protocol when they performed Parsons' song "Hickory Wind" instead of the Merle Haggard song "Life in Prison", as had been announced by Tompall Glaser.[14] Two decades later, long after Parsons's death, members of The Byrds would reconcile with the Opry and collaborate on the 1989 album Will the Circle Be Unbroken: Volume Two.

text: Another artist that ran afoul of the Opry's stringent standards was Jerry Lee Lewis, who, after several years of success on the country charts, made his first and only appearance on the show on January 20, 1973. Given two conditions for his appearance (no rock and roll and no profanity), Lewis proceeded to disregard both (referring to himself as a certain unairable maternal insult at one point) and, in a continuous 40-minute set, played a mixture of his rock and roll hits and covers of other singers' country songs. Lewis was said to be bitter about how he was treated when he first arrived in Nashville in 1955 and supposedly used his Opry appearance to exact revenge on the Nashville music industry.[17]

text: Grand Ole Opry House[edit]

text:
Grand Ole Opry House

U.S. National Register of Historic Places

Grand Ole Opry House

Show map of TennesseeShow map of the USShow all

Location
2804 Opryland Drive, Nashville, Tennessee 37214[19]

Coordinates
36°12′24″N 86°41′32″W / 36.20667°N 86.69222°W / 36.20667; -86.69222Coordinates: 36°12′24″N 86°41′32″W / 36.20667°N 86.69222°W / 36.20667; -86.69222

Area
4 acres (approx.)[19]

Built
1972-74[19]

Architect
Welton Becket & Associates; Pierre Cabrol[19]

Architectural style
Modern/Brutalist[19]

Restored
2010 (flood damage remediation)

NRHP reference #
14001222[18]

Added to NRHP
January 27, 2015

text: The Ryman Auditorium was home to the Opry until 1974. By the late 1960s, National Life & Accident desired a new, larger and more modern home for the long-running radio show. Ryman Auditorium, already 51 years old at the time the Opry moved there, was beginning to suffer from disrepair as the downtown neighborhood around it fell victim to increasing urban decay. Despite these shortcomings, the show's popularity was increasing and its weekly crowds were outgrowing the 3,000-seat venue. The Opry's operators were seeking to build a new air-conditioned theatre with a greater capacity, ample parking, and the ability to easily serve as a television production facility. The ideal location would be in a less urbanized area of town, providing visitors a more controlled, safer, and more enjoyable experience.[20]

text: National Life & Accident purchased farmland owned by a local sausage manufacturer (Rudy's Farm) in the Pennington Bend area of Nashville, nine miles east of downtown, and adjacent to the newly constructed Briley Parkway. The new Opry venue was to be the centerpiece of a grand entertainment complex at that location, which would later come to include Opryland USA Theme Park and Opryland Hotel.

text: The theme park opened to the public on June 30, 1972,[21] well ahead of the 4,000-seat Opry House, which debuted nearly two years later, on Saturday, March 16, 1974.

text: Opening night was attended by sitting U.S. President Richard Nixon, who played a few songs on the piano.[22] To carry on the tradition of the show's run at the Ryman, a six-foot circle of oak was cut from the corner of the Ryman's stage and inlaid into center stage at the new venue.[23] The artists on stage usually stand on the circle as they perform.

text: While the theme park was closed and demolished following the 1997 season, the Grand Ole Opry House remains in use. The immediate area around it was left intact through the construction of Opry Mills, which opened in May 2000.

text: The Opry continues to be performed every Tuesday, Friday and Saturday at the Grand Ole Opry House from March through November each year.

text: The Grand Ole Opry House was added to the National Register of Historic Places on January 27, 2015.[24][25]

text: Return to Ryman Auditorium[edit]

text: Following the departure of the Opry, Ryman Auditorium sat mostly vacant and decaying for twenty years. An initial effort by National Life & Accident to tear down the Ryman and use its bricks to build a chapel at Opryland USA was met with resounding resistance from the public, including the influential musicians of the time. The plans were abandoned, and the building remained standing with an uncertain future. Despite the absence of performances, the building still held such significance as an attraction that it would remain open for tours.[26]

text: In 1991 and 1992, Emmylou Harris performed a series of concerts there and released some of the recordings as an album entitled At the Ryman. The concert and album's high acclaim renewed interest in reviving Ryman Auditorium as an active venue. Beginning in September 1993, Gaylord Entertainment undertook a full renovation of the Ryman, restoring it into a world-class concert hall that reopened with a broadcast of A Prairie Home Companion on June 4, 1994.[26]

text: On Sunday, October 18, 1998, the Opry held a benefit show at Ryman Auditorium, marking its return to the venue for the first time since its final show on March 15, 1974.[27] The show was well received by fans, performers, and management alike, and so the decision was made to host the Opry's regular shows there on January 15 & 16, 1999 as part of the celebration to commemorate 25 years at the new venue.

text: Beginning in November 1999, the Opry was held at Ryman Auditorium for three months, partly due to the ongoing construction of Opry Mills. The Opry has returned to the Ryman for the three winter months every year since, allowing the show to acknowledge its roots while also taking advantage of a smaller venue during an off-peak season for tourism.[27] While still officially the Grand Ole Opry, the shows there are billed as Opry At The Ryman. From 2002 to 2014, a traveling version of the Radio City Christmas Spectacular took up residence at the Grand Ole Opry House each holiday season while the Opry was away. It was replaced by Dr. Seuss' How the Grinch Stole Christmas! The Musical beginning in 2015.[28]

text: 2010 flooding[edit]

text: In May 2010, the Opry House was flooded, along with much of Nashville, due to the Cumberland River overflowing its banks. While repairs were made, the Opry itself remained uninterrupted. Over the course of the summer of 2010, the broadcast temporarily originated from alternate venues in Nashville, with Ryman Auditorium hosting the majority of the shows. Other venues included the TPAC War Memorial Auditorium, another former Opry home; TPAC's Andrew Jackson Hall; Nashville Municipal Auditorium; Allen Arena at Lipscomb University; and the Two Rivers Baptist Church.[29]

text: Much of the auditorium's main floor seating, the backstage areas and the entire stage (including the inlaid circle of wood from the Ryman's stage) was underwater during the flood. While the Grand Ole Opry House's stage was replaced thereafter, the Ryman circle was restored and again placed at center stage in the Grand Ole Opry House before shows resumed.[30][31] The remediation following the flood also resulted in a renovated backstage area, including the construction of more dressing rooms and a performer's lounge.

text: The Opry returned to the Grand Ole Opry House on September 28, 2010 in a special edition of the Opry entitled Country Comes Home that was televised live on Great American Country. The evening was filled with one-of-a-kind Opry moments. Martina McBride and Connie Smith dueted on Smith's signature hit "Once a Day", and other collaborations included Dierks Bentley and Del McCoury ("Roll On Buddy, Roll On"), Josh Turner and Lorrie Morgan ("Golden Ring"), and Montgomery Gentry and Charlie Daniels Band ("Devil Went Down To Georgia"), among others. The show closed with an all-star guitar jam featuring Brad Paisley, Keith Urban, Steve Wariner, Ricky Skaggs, and Marty Stuart.[32]

text: Broadcasts[edit]

text: The Grand Ole Opry is broadcast live on WSM-AM at 7 p.m. CT on Saturday nights, shortened from a previous time start of 6:30. A similar program, the Friday Night Opry, airs live on Friday nights.From February through December, the Tuesday Night Opry is also aired live.[33] Wednesday shows are typically presented in the summer months. The length of the show varies; as of October 2016, the show runs three nights a week for 2¼ hours each night (the Saturday night shows have often extended as late as midnight).

text: The Opry can also be heard live on Willie's Roadhouse on channel 59 on Sirius XM Satellite Radio. The program is also streamed on WSM's website.[33]

text: ABC broadcast the Grand Ole Opry as a monthly series from 1955 to 1956. PBS televised annual live performances from 1978 to 1981.[34] In 1985, The Nashville Network began airing an edited half-hour version of the program as Grand Ole Opry Live; the show moved to Country Music Television (expanding to an hour in the process), and then to the Great American Country (GAC) cable network[35] with its Opry Live show no longer televised.[36] RFD-TV carries reruns of Opry telecasts under the title Opry Encore.[37]

text: Membership[edit]

text: Regular performers at the Grand Ole Opry can be inducted into the organization as a member, by way of an existing member nominating them. Opry membership must be maintained throughout an artist's career and expires when the performer dies. Although a number of legendary country artists either lost their Opry membership (such as Hank Williams, Sr. and Willie Nelson) or never received it in their lifetimes (longtime leading hitmakers Merle Haggard, George Strait, and Conway Twitty being prominent examples), receiving Opry membership is considered an honor equivalent to a hall of fame induction.

text: Controversies[edit]

text: In April 1963 Opry management made a rule that members had to perform on at least 26 shows a year to keep their membership active.[38] WSM dropped the number of required performances to 20 in January 1964;[38] in 2000 the minimum number of Opry performances was at 12.[39] The minimum number of performances has reduced over the years, but artists offered membership are expected to show a dedication to the Opry with frequent attendance.[39]

text: Another controversy that raged for years was over allowable instrumentation, especially the use of drums and electrically amplified instruments. Some purists were appalled at the prospect; traditionally a string bass provided the rhythm component in country music and percussion instruments were seldom used. Electric amplification, then new, was regarded as the province of popular music and jazz in 1940s. Though the Opry allowed electric guitars and steel guitars by World War II, the restrictions against drums and horns continued. They caused a conflict when Bob Wills[40] and Pee Wee King[41] defied the show's ban on drums.

text: Commercialization[edit]

text: The company has enforced its trademark on the name "Grand Ole Opry", for which it owns trademark registrations in the United States and in numerous countries around the world. It has taken court action to limit use of the word "opry" (which the organization has not directly trademarked) to members of the Opry and products associated with or licensed by it, and to discourage use of the word in ways that would imply a connection to the Grand Ole Opry.[42] In late 1968, for instance, WSM sued Opry Records, a record label that was independent of WSM,[43] and the court stated that "the record is replete with newspaper and magazine articles and clippings which demonstrate conclusively that the term 'Opry', standing alone as defendant has used it, is constantly used in country and western music circles in referring to plaintiff's 'Grand Ole Opry'."[44] The court also stated "the defendant has appropriated, at its peril, the dominant or salient term in the plaintiff's mark, a term which identified the 'Grand Ole Opry' in the mind of the public many years before the inception of 'Opry Records' – the name adopted by defendant."[45] In another case, the Trademark Trial and Appeal Board granted summary judgment that the term "Opry" is a generic term (and thus no more protected than the words "Grand" or "Ole") but the Federal Circuit court reversed this decision.[46] As recently as 2009, the Trademark Trial and Appeal Board granted judgment against Texas Opry House, LLC, which had filed a trademark application for TEXAS OPRY HOUSE.[47]

text: In 2004, it was announced that the Grand Ole Opry had contracted for the first time with a "presenting sponsor", Cracker Barrel, and the sponsoring company's name would be associated with Grand Ole Opry in all its advertising.[48] Humana, Inc., Cracker Barrel, and Dollar General are the present sponsors of the Opry.[49]

text: Honors[edit]

text:
Peabody Award, 1983
National Radio Hall of Fame induction, 1992


document_title: Development of the nervous system in humans

question_text: when do the initial stages of brain formation begin

root

text: Embryonic stage[edit]

text: Neurulation[edit]

text: Neurulation is the formation of the neural tube from the ectoderm of the embryo. It follows gastrulation in all vertebrates.

tag: p

text: During gastrulation cells migrate to the interior of embryo, forming three germ layers— the endoderm (the deepest layer), mesoderm and ectoderm (the surface layer)—from which all tissues and organs will arise. In a simplified way, it can be said that the ectoderm gives rise to skin and nervous system, the endoderm to the guts and the mesoderm to the rest of the organs.

text: After gastrulation the notochord—a flexible, rod-shaped body that runs along the back of the embryo—has been formed from the mesoderm. During the third week of gestation the notochord sends signals to the overlying ectoderm, inducing it to become neuroectoderm. This results in a strip of neuronal stem cells that runs along the back of the embryo. This strip is called the neural plate, and is the origin of the entire nervous system. The neural plate folds outwards to form the neural groove. Beginning in the future neck region, the neural folds of this groove close to create the neural tube (this form of neurulation is called primary neurulation). The ventral (front) part of the neural tube is called the basal plate; the dorsal (rear) part is called the alar plate. The hollow interior is called the neural canal. By the end of the fourth week of gestation, the open ends of the neural tube (the neuropores) close off.[1]

text: Formation of the spinal cord[edit]

text: The spinal cord forms from the lower part of the neural tube. The wall of the neural tube consists of neuroepithelial cells, which differentiate into neuroblasts, forming the mantle layer (the gray matter). Nerve fibers emerge from these neuroblasts to form the marginal layer (the white matter).

text: The ventral part of the mantle layer (the basal plates) forms the motor areas of the spinal cord, whilst the dorsal part (the alar plates) forms the sensory areas. Between the basal and alar plates is an intermediate layer that contains neurons of the autonomic nervous system.[2]

text: Formation of the brain[edit]

text: Late in the fourth week, the superior part of the neural tube flexes at the level of the future midbrain—the mesencephalon. Above the mesencephalon is the prosencephalon (future forebrain) and beneath it is the rhombencephalon (future hindbrain). The optical vesicle (which will eventually become the optic nerve, retina and iris) forms at the basal plate of the prosencephalon.

text: In the fifth week, the alar plate of the prosencephalon expands to form the cerebral hemispheres (the telencephalon). The basal plate becomes the diencephalon.

text: The diencephalon, mesencephalon and rhombencephalon constitute the brain stem of the embryo. It continues to flex at the mesencephalon. The rhombencephalon folds posteriorly, which causes its alar plate to flare and form the fourth ventricle of the brain. The pons and the cerebellum form in the upper part of the rhombencephalon, whilst the medulla oblongata forms in the lower part.

text: Evolution of Nervous System[edit]

text: About 400 million years ago, iodine, T4 (and PUFAs) stimulated the evolution of the nervous system in amphibians transforming the aquatic, vegetarian tadpole into the terrestrial, carnivorous frog with better neurological abilities for hunting. Contrary, hypothyroidism in mammals causes cretinism and in adults a neurological regression, as a general slowdown of nervous reflexes with lethargic cerebration, metabolism, digestion, heart rate, hypothermia.[3] [4]

text: Human brain development[edit]

text: Neuronal migration[edit]

text: Neuronal migration is the method by which neurons travel from their origin or birthplace to their final position in the brain. There are several ways they can do this, e.g. by radial migration or tangential migration.

text: Radial migration[edit]

text: Neuronal precursor cells proliferate in the ventricular zone of the developing neocortex. The first postmitotic cells to migrate from the preplate which are destined to become Cajal-Retzius cells and subplate neurons. These cells do so by somal translocation. Neurons migrating with this mode of locomotion are bipolar and attach the leading edge of the process to the pia. The soma is then transported to the pial surface by nucleokenisis, a process by which a microtubule "cage" around the nucleus elongates and contracts in association with the centrosome to guide the nucleus to its final destination.[5] Radial fibres (also known as radial glia) can translocate to the cortical plate and differentiate either into astrocytes or neurons.[6][citation needed] Somal translocation can occur at any time during development.[7]

text: Subsequent waves of neurons split the preplate by migrating along radial glial fibres to form the cortical plate. Each wave of migrating cells travel past their predecessors forming layers in an inside-out manner, meaning that the youngest neurons are the closest to the surface.[8][9] It is estimated that glial guided migration represents 80-90% of migrating neurons.[citation needed]

text: Axophilic migration[edit]

text: Many neurons migrating along the anterior-posterior axis of the body use existing axon tracts to migrate along; this is called axophilic migration. An example of this mode of migration is in GnRH-expressing neurons, which make a long journey from their birthplace in the nose, through the forebrain, and into the hypothalamus.[10] Many of the mechanisms of this migration have been worked out, starting with the extracellular guidance cues[11] that trigger intracellular signaling. These intracellular signals, such as calcium signaling, lead to actin [12] and microtubule [13] cytoskeletal dynamics, which produce cellular forces that interact with the extracellular environment through cell adhesion proteins [14] to cause the movement of these cells.

text: Tangential migration[edit]

text: Most interneurons migrate tangentially through multiple modes of migration to reach their appropriate location in the cortex. An example of tangential migration is the movement of Cajal-Retzius cells from the cortical hem to the superfitial part of cortical neuroepithelium.

text: Others[edit]

text: There is also a method of neuronal migration called multipolar migration.[15][16] This is seen in multipolar cells, which are abundantly present in the cortical intermediate zone. They do not resemble the cells migrating by locomotion or somal translocation. Instead these multipolar cells express neuronal markers and extend multiple thin processes in various directions independently of the radial glial fibers.[17]

text: Neurotrophic factors[edit]

text: Neurotrophic factors are molecules which promote and regulate neuronal survival in the developing nervous system. They are distinguished from ubiquitous metabolites necessary for cellular maintenance and growth by their specificity; each neurotrophic factor promotes the survival of only certain kinds of neurons during a particular stage of their development. In addition, it had been argued that neurotropihic factors are involved in many other aspects of neuronal development ranging from axonal guidance to regulation of neurotransmitter synthesis. [18]

text: Adult neurogenesis[edit]

text: Contrary to popular belief, neurogenesis also occurs in specific parts of the adult brain.

text: Adult neural development[edit]

text: Neurodevelopment in the adult nervous system includes mechanisms such as remyelination, generation of new neurons, glia, axons, myelin or synapses. Neuroregeneration differs between the peripheral nervous system (PNS) and the central nervous system (CNS) by the functional mechanisms and especially, the extent and speed.


document_title: Star Wars: The Last Jedi

question_text: when does the last jedi come out digitally

text: Star Wars: The Last Jedi

text: Plot

text: Resistance forces, led by General Leia Organa, flee D'Qar when a First Order fleet arrives. Poe Dameron leads a costly counterattack that destroys a First Order dreadnought, but after the Resistance escapes to hyperspace, the First Order tracks them and attacks the Resistance convoy. Poe is demoted for losing Resistance ships and for disobeying Leia. Kylo Ren, Leia's son, hesitates to fire on the lead Resistance ship after sensing his mother's presence, but his TIE fighter wingmen destroy the bridge, incapacitating Leia. Disapproving of new leader Vice Admiral Holdo's passive strategy, Poe helps Finn, BB-8, and mechanic Rose Tico embark on a secret mission to disable the tracking device.

text: Meanwhile, Rey arrives on Ahch-To, with Chewbacca and R2-D2 aboard the Millennium Falcon, to recruit Luke Skywalker to the Resistance. Disillusioned by his failure to help Kylo become a Jedi and under self-imposed exile from the Force, Luke refuses to help—even after he learns of Han Solo's death at the hands of Kylo Ren—and believes that the Jedi should become extinct. Unbeknownst to Luke, Rey and Kylo communicate through the Force, puzzling the two enemies. As the rival Force users learn about each other, each has future visions of themselves as partners.

text: R2-D2 persuades Luke to train Rey. After Kylo tells Rey about what happened between him and Luke that caused him to choose the dark side of the Force, Luke confesses that he momentarily contemplated killing Kylo upon sensing that Supreme Leader Snoke was corrupting him, causing Kylo to destroy Luke's new Jedi Order in retaliation. Convinced that Kylo can be redeemed, Rey leaves Ahch-To to confront Kylo without Luke. Luke prepares to burn down the Ahch-To Jedi temple and library, but hesitates. Yoda's ghost appears and destroys the temple, claiming Rey has all she needs to learn, and encourages Luke to learn from his failure.

text: Holdo reveals her plan to discreetly evacuate the remaining Resistance members using small transports. Believing her actions cowardly and risky, Poe leads a mutiny. Finn, Rose, and BB-8 travel to the Canto Bight casino and acquire the help of the hacker DJ, who says he can help them disable the tracking device. They infiltrate Snoke's ship but are captured by Captain Phasma, though BB-8 escapes. Meanwhile, Rey lands on the ship, and Kylo brings her to Snoke, who reveals that he facilitated the mental connection between her and Kylo as part of a plan to destroy Luke. Ordered to kill Rey, Kylo instead kills Snoke and, with Rey, defeats Snoke's guards. Rey believes that Kylo has returned to the light side of the Force, but he invites her to rule the galaxy with him; Rey refuses. They use the Force to fight for possession of Anakin Skywalker's lightsaber, which splits in two.

text: Leia recovers and stuns Poe, allowing the evacuation to begin. Holdo remains on the ship to mislead Snoke's fleet as the others flee to an abandoned Rebel Alliance base on Crait. DJ reveals the Resistance's plan to the First Order, and the evacuation transports are slowly destroyed. Holdo sacrifices herself by ramming Snoke's fleet at lightspeed; Rey escapes in the chaos, while Kylo declares himself Supreme Leader. BB-8 frees Finn and Rose, who escape after defeating Captain Phasma, and they join survivors on Crait. When the First Order arrives, Poe, Finn, and Rose attack with old speeders. Rey and Chewbacca draw the TIE fighters away with the Falcon, while Rose stops Finn from completing a suicide run against the enemy siege cannon, which penetrates the Resistance fortress.

text: Luke appears and confronts the First Order to enable surviving Resistance members to escape. Kylo orders the First Order's forces to fire on Luke to no effect. He then engages Luke in a lightsaber duel. Luke tells Kylo he will not be the last Jedi; Kylo strikes Luke but realizes he has been fighting Luke's Force projection. Rey uses the Force to help the Resistance escape on the Falcon. Luke, exhausted, dies peacefully on Ahch-To. His death is sensed by Rey and Leia, but Leia tells surviving rebels that the Resistance has all it needs to rise again. At Canto Bight, one of the children who helped Finn and Rose escape grabs a broom with the Force and gazes into space.

text: Cast

text:
Mark Hamill as Luke Skywalker, a powerful Jedi Master who has been in self-imposed exile on the planet Ahch-To.[12][13]

Hamill also plays Dobbu Scay, named after the film's editor, Bob Ducsay. During the Canto Bight scene, the character mistakes BB-8 as a slot machine.[14][15][16]

Carrie Fisher as General Leia, twin sister to Luke, former princess of Alderaan, and a leading general in the Resistance.[13] This was Fisher's final film role before her death on December 27, 2016.
Adam Driver as Kylo Ren, Supreme Leader Snoke's disciple, who is strong with the dark side of the Force and leader to the Knights of Ren. He was born Ben Solo, the son of Han Solo and Leia Organa, nephew of Luke Skywalker, and the grandson of Anakin Skywalker.[13]
Daisy Ridley as Rey, a highly Force-sensitive scavenger from the desert planet Jakku, who joined the Resistance and goes to find Luke Skywalker.[13]
John Boyega as Finn, a former stormtrooper of the First Order who defected to the Resistance.[13][17]
Oscar Isaac as Poe Dameron, a high-ranking X-wing fighter pilot in the Resistance.[13][18]
Andy Serkis as Supreme Leader Snoke, the leader of the First Order and Kylo Ren's master.[13]
Lupita Nyong'o as Maz Kanata, a pirate and ally of the Resistance.[13]
Domhnall Gleeson as General Hux, the former head of the First Order's Starkiller Base.[13]
Anthony Daniels as C-3PO, a humanoid protocol droid in the service of Leia Organa.[13]
Gwendoline Christie as Captain Phasma, the commander of the First Order's stormtroopers.[13][19]
Kelly Marie Tran as Rose Tico, a member of the Resistance who works in maintenance.[20][21]
Laura Dern as Vice Admiral Amilyn Holdo, an officer in the Resistance.[22][2]
Frank Oz as Yoda, the deceased former Grand Master of the Jedi, and Luke's wise former mentor, who appears as a Force-ghost.[23]
Benicio del Toro as DJ, an underworld codebreaker.[22]

tag: ul

text: Joonas Suotamo appears as Chewbacca, taking over the role from Peter Mayhew after previously serving as his body double for The Force Awakens. Mayhew, who was 73 years old and suffering from chronic knee and back pain,[24] is credited as "Chewbacca consultant." Billie Lourd, Mike Quinn, and Timothy D. Rose reprise their roles as Lieutenant Connix, Nien Nunb, and Admiral Ackbar respectively from previous films.[25][26][27] Due to the death of Eric Bauersfield, Admiral Ackbar is now voiced by Tom Kane. Amanda Lawrence appears as Commander D'Acy, and Mark Lewis Jones and Adrian Edmondson play Captains Canady and Peavey respectively. BB-8 is controlled by puppeteers Dave Chapman and Brian Herring,[28] with initial voice work by Ben Schwartz and final sound effects voiced by Bill Hader modulated through a synthesizer.[29] Jimmy Vee portrays R2-D2, taking over the role from Kenny Baker who died on August 13, 2016.[30][31] Veronica Ngo portrays Rose's sister Paige Tico,[22] a Resistance gunner who sacrifices her life to destroy a First Order dreadnought.

text: Justin Theroux plays the master codebreaker, while Lily Cole plays his companion.[32] Joseph Gordon-Levitt has a voice cameo as Slowen Lo.[33] Warwick Davis plays Wodibin.[34] Gareth Edwards, director of the Star Wars Anthology film Rogue One,[35] has a cameo appearance as a Resistance Soldier, as does Gary Barlow.[36] Directors Edgar Wright and Joe Cornish also cameo in the film. Hermione Corfield appears as Tallie Lintra, a Resistance A-Wing pilot and squadron leader. Noah Segan and Jamie Christopher appear as Resistance pilots Starck and Tubbs.[37] Hamill's children, Griffin, Nathan, and Chelsea, cameo as Resistance soldiers. Prince William, Duke of Cambridge and Prince Harry filmed cameo appearances as stormtroopers.[38] Tom Hardy also filmed an appearance as a stormtrooper, but his cameo was ultimately dropped from the final cut.[39] Hugh Skinner cameos as a Resistance Officer.

text: Production

text: Development

text: In October 2012, Star Wars creator George Lucas sold his production company Lucasfilm, and with it the Star Wars franchise, to The Walt Disney Company. Disney announced a new trilogy of Star Wars films.[40] J. J. Abrams was named director of the first episode in the trilogy, The Force Awakens, in January 2013.[41][42] In June 2014, director Rian Johnson was reported to be in talks to write and direct its sequel, dubbed Episode VIII, and to write a treatment for the third film, Episode IX, with Ram Bergman producing both films.[43][44] Johnson confirmed in August 2014 that he would direct Episode VIII.[45] In September, filmmaker Terry Gilliam asked Johnson about what it felt like to take over something that was made famous by another filmmaker, to which Johnson responded:

text: I'm just starting into it, but so far, honestly, it's the most fun I've ever had writing. It's just joyous. But also for me personally, I grew up not just watching those movies but playing with those toys, so as a little kid, the first movies I was making in my head were set in this world. A big part of it is that direct connection, almost like an automatic jacking back into childhood in a weird way. But I don't know, ask me again in a few years and we'll be able to talk about that.[46]

text: The story begins immediately after the last scene of The Force Awakens.[35] He had his story group watch films such as Twelve O'Clock High, The Bridge on the River Kwai, Gunga Din, Three Outlaw Samurai, Sahara, and Letter Never Sent for inspiration while developing ideas.[35][47] He felt it was difficult to work on the film while The Force Awakens was being finished.[35]

text: In December 2015, Lucasfilm president Kathleen Kennedy stated that "we haven't mapped out every single detail [of the sequel trilogy] yet". She said that Abrams was collaborating with Johnson and that Johnson would in turn work with (then) Episode IX director Colin Trevorrow to ensure a smooth transition.[48] Abrams is an executive producer along with Jason McGatlin and Tom Karnowski.[49] Lucasfilm announced the film's title, Star Wars: The Last Jedi, on January 23, 2017.[50]

text: Casting

text: In September 2015, Disney shortlisted the female cast members to Gina Rodriguez, Tatiana Maslany, and Olivia Cooke.[51] Later that month, Benicio del Toro confirmed that he would play a villain in the film,[52] and Mark Hamill was also confirmed.[12] In October 2015, Gugu Mbatha-Raw was rumored to have been cast in the film.[53] In November, Jimmy Vee was cast as R2-D2.[30] In November, Kennedy announced at the London premiere for The Force Awakens that the entire cast would return for Episode VIII, along with "a handful" of new cast members.[13] In February 2016, at the start of filming, it was confirmed that Laura Dern and Kelly Marie Tran had been cast in unspecified roles.[2] In April 2017, at Star Wars Celebration Orlando, Lucasfilm announced that Tran plays Resistance maintenance worker Rose Tico, which Johnson described as the film's largest new role.[20][21] To keep Frank Oz's return as Yoda a secret, producers excluded Oz's name in the billing for the film's marketing and ensured that Oz stayed on set during filming.[23]

text: Filming

text: Second unit photography began during pre-production at Skellig Michael in Ireland on September 14, 2015, due to the difficulties of filming at that location during other seasons. It would have lasted four days,[54][55][56] but filming was canceled for the first day due to poor weather and rough conditions.[57] In November 2014, Ivan Dunleavy, chief executive of Pinewood Studios, confirmed that the film would be shot at Pinewood,[58] with additional filming in Mexico.[17] In September 2015, del Toro revealed that principal photography would begin in March 2016;[52] Kennedy later stated that filming would begin in January 2016.[13] The production began work on the 007 Stage at Pinewood Studios on November 15, 2015.[59] Rick Heinrichs served as production designer.[60]

text: In January 2016, production of Episode VIII was delayed until February 2016, due to script rewrites.[61] Additionally, filming was potentially in danger of being delayed further due to an upcoming strike between the Producers Alliance for Cinema and Television and the Broadcasting, Entertainment, Cinematograph and Theatre Union.[62] On February 10, 2016, Disney CEO Bob Iger confirmed that principal photography had begun,[63] under the working title Space Bear.[35] Additional filming took place in Dubrovnik, Croatia from March 9 to 16, 2016,[64][65] as well as in Ireland in May.[66] Malin Head in County Donegal and a mountain headland, Ceann Sibeal in County Kerry, served as additional filming locations.[67] To increase the scenes' intimacy Driver and Ridley were both present when filming Kylo and Rey's Force visions.[68] Location filming for the battle scenes on the planet Crait took place in July 2016 at the Salar de Uyuni salt flats in Bolivia.[69]

text: Principal photography wrapped on July 22, 2016,[70] though as of early September 2016, Nyong'o had not filmed her scenes.[71] In February 2017, it was announced that sequences from the film were shot in IMAX.[72] Production designer Rick Heinrichs said the original screenplay called for 160 sets, double what might be expected, but that Johnson did some "trimming and cutting". Ultimately 125 sets were created on 14 sound stages at Pinewood Studios.[73]

text: According to creature designer Neal Scanlan, The Last Jedi uses more practical effects than any Star Wars film, with 180 to 200 creatures created with practical effects, some cut from the final edit.[74] For Yoda's appearance in the film as a Force ghost, the character was created using puppetry, as was done in the original Star Wars trilogy (as opposed to computer-generated imagery, which was used to create Yoda in most of the prequel trilogy).[75]

text: The film's Canto Bight sequence contains a reference to the 1985 Terry Gilliam film Brazil, in which Finn and Rose are arrested for committing parking violation 27B/6.[76]

text: Music

text: In July 2013, Kennedy announced at Star Wars Celebration Europe that John Williams would return to score the Star Wars sequel trilogy.[1][77] Williams confirmed his assignment for The Last Jedi at a Tanglewood concert in August 2016,[78] stating he would begin recording the score "off and on" in December 2016 until March or April 2017.[79] On February 21, 2017, it was confirmed that recording was underway, with both Williams and William Ross conducting the sessions.[80][81]

text: In lieu of a traditional spotting session with Johnson, Williams was provided a temp track of music from his previous film scores as a reference for scoring The Last Jedi.[82] The score briefly quotes "Aquarela do Brasil" by Ary Barroso in its "Canto Bight" track as another reference to the film Brazil. It also contains a brief quote of Williams's own theme for The Long Goodbye (co-composed by Johnny Mercer) during Finn and Rose's escape, although this quote is not heard in the official soundtrack release.[83]

text: The official soundtrack album was released by Walt Disney Records on December 15, 2017 in digipak CD, digital formats, and streaming services.[84]

text: Release

text: In January 2015, Disney CEO Bob Iger stated that Episode VIII would be released in 2017,[85] and in March, Lucasfilm announced a release date of May 26, 2017.[86][87] In January 2016, The Last Jedi was rescheduled for December 15, 2017 in 3D and IMAX 3D.[49][88] On January 23, 2017, the film's title was announced as Star Wars: The Last Jedi.[50] Similarly to The Empire Strikes Back, Return of the Jedi and The Force Awakens, "Episode VIII" was included in the film's opening crawl, although not in its official title.[89]

text: The Last Jedi had its world premiere in Los Angeles on December 9, 2017.[90] The European premiere was held at London's Royal Albert Hall on December 12, 2017, with a red carpet event.[91]

text: It was reported that Disney had placed notable conditions on U.S. cinemas screening The Last Jedi, which some operators described as being "onerous". Disney required that the film be screened in a cinema's largest auditorium for a four-week period (other Disney releases have had similar clauses, but only for two weeks), and was given a 65% cut of ticket sales (a percentage higher than the 55–60% average of other major films, and cited as the highest split ever demanded by a Hollywood film behind the 64% split of The Force Awakens). The agreement, which was required to be kept confidential, also contained regulations on promotions and restrictions on removing any scheduled screening. Violations were to be penalized with an additional 5% cut of ticket sales. Some cinemas declined to screen the film due to these conditions, particularly smaller or one-screen cinemas that would otherwise be barred from screening any other film during the commitment period. Industry representatives considered this policy to be reasonable, citing the performance of Disney releases and the Star Wars franchise, and that the guaranteed business attracted by the film, and concession sales, would make up for the larger cut of ticket sales.[92][93][94][95]

text: Marketing

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

tag: table

text: A set of eight promotional postage stamps were released on October 12, 2017 in the UK by the Royal Mail with artwork by Malcolm Tween.[96] On September 19, 2017, Australia Post released a set of stamp packs.[97] Tie-in promotional campaigns were done with Nissan Motors and Bell Media, among others. Two main trailers were released, followed by numerous television spots. Figurines of many of the characters were released in October, and advance tickets for Last Jedi went on sale in October.

text: Several tie-in books were released on the same day of the North American release of the movie, including The Last Jedi: Visual Dictionary, and various children's reading and activity books. Related novelizations included the prequel book Cobalt Squadron, and the Canto Bight, a collection of novellas about the Canto Bight Casino.

text: Video games

text: As with The Force Awakens, there is no official tie-in game for The Last Jedi, in favor of integrating content from the film into other Star Wars video games,[98] including Star Wars Battlefront II, which introduced various content from the film, during the second week of the game's first "season".[99] An update to the MOBA mobile game Star Wars: Force Arena added new content from the sequel era, including some characters as they appeared in The Last Jedi. Characters from the film also appeared in the mobile RPG Star Wars: Galaxy of Heroes.

text: Home Media

text: Walt Disney Studios Home Entertainment will release Star Wars: The Last Jedi digitally in HD and 4K via download and Disney Movies Anywhere on March 13, 2018, with an Ultra HD Blu-Ray, Blu-ray, and DVD release on March 27.[100]

text: Reception

text: Box office

text: As of February 26, 2018[update], Star Wars: The Last Jedi has grossed $618.8 million in the United States and Canada, and $711.4 million in other territories, for a worldwide total of $1.330 billion.[6] It had a worldwide opening of $450.8 million, the fifth-biggest of all time, including $40.6 million that was attributed to IMAX screenings, the second biggest for IMAX.[101][102] It was estimated that the film would need to gross $800 million worldwide to break even.[103]

text: Pre-sale tickets went on sale in the United States on October 9, 2017, and as with The Force Awakens and Rogue One, ticket service sites such as Fandango had their servers crash due to heavy traffic and demand.[104] In the United States and Canada, industry tracking had The Last Jedi grossing around $200 million from 4,232 theaters in its opening weekend.[105] The film made $45 million from Thursday night previews, the second-highest amount ever (behind The Force Awakens' $57 million).[106] It went on to make $104.8 million on its first day (including previews) and $220 million over the weekend, both the second-highest amounts of all time.[107] The opening weekend figure included an IMAX opening-weekend of $25 million, the biggest IMAX opening of the year and the second biggest ever behind The Force Awakens.[108] After dropping by 76% on its second Friday, the worst Friday-to-Friday drop in the series, the film fell by a total of 67.5% in its second weekend, grossing $71.6 million. It was the largest second-weekend drop of the franchise, although it remained atop the box office.[109] It grossed an additional $27.5 million on Christmas Day, the second biggest Christmas Day gross of all time behind The Force Awakens ($49.3 million), for a four-day weekend total of $99 million.[110] It made $52.4 million in its third weekend, again topping the box office. It also brought its domestic total to $517.1 million, overtaking fellow Disney vehicle Beauty and the Beast as the highest of 2017.[111] It grossed $23.7 million and was surpassed the following weekend by Jumanji: Welcome to the Jungle (which was in its third week) and Insidious: The Last Key.[112]

text: In its first two days of release the film made $60.8 million from 48 markets. The top countries were the United Kingdom ($10.2 million), Germany ($6.1 million), France ($6 million), Australia ($5.6 million) and Brazil ($2.5 million).[113] By the end of the weekend, the film made $230.8 million outside North America, the ninth-highest of all time. This included $36.7 million in the UK (third-highest), $23.6 million in Germany (second-highest), $18.1 million in France, $15.9 million in Australia (second-highest), $14.4 million in Japan, $8.5 million in Russia, $8.3 million in Spain, $7.2 million in Brazil, $7 million in Italy and Mexico, $6.0 million in Sweden and $5.1 million in South Korea.[114] On its second weekend, it grossed $76.1 million overseas and became the fourth-highest-grossing film of the year in Europe.[115] As of January 7, the largest markets outside of the United States and Canada are the United Kingdom ($102.9 million), Germany ($73.5 million), France ($57.6 million), Japan ($52.2 million) and Australia ($39.8 million).[116]

text: The film had a $28.7 million opening weekend in China, the lowest for a Star Wars film in that country since 2005. Star Wars: The Force Awakens opened to $52 million two years prior and Rogue One, which featured Chinese stars Donnie Yen and Jiang Wen, opened to $30 million in 2016. The Last Jedi added only $7 million during the week, to reach a total of $34.2 million in its first seven days. A week after its debut, China's movie exhibitors dropped the film's showtimes by 92 percent, from its 34.5% percent share of the territory's total screenings.[117][118][119][120] The film grossed $910,000 in its third weekend, dropping to ninth place at the Chinese box office, overshadowed by new releases including Bollywood film Secret Superstar, Hollywood films Ferdinand and Wonder, and Chinese film A Better Tomorrow 2018. The Last Jedi grossed $41 million in China, as of January 21, 2018.[121]

text: Critical response

text: On review aggregator website Rotten Tomatoes, Star Wars: The Last Jedi has an approval rating of 90% based on 364 reviews, with an average rating of 8.1/10. The website's critical consensus reads, "Star Wars: The Last Jedi honors the saga's rich legacy while adding some surprising twists—and delivering all the emotion-rich action fans could hope for."[122] On Metacritic, the film has a weighted average score of 85 out of 100, based on 56 critics, indicating "universal acclaim".[123] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale,[107] while ComScore reported audiences gave an 89% overall positive score and a 79% definite recommend.[106] An audience poll of U.S. adults conducted by SurveyMonkey on the first four days of release found that, out of all the respondents who said they had seen the film, 89% said they either "loved" or "liked" it.[124]

text: Matt Zoller Seitz of RogerEbert.com gave the film four out of four stars, praising the surprises and risks that it took, writing that "The movie works equally well as an earnest adventure full of passionate heroes and villains and a meditation on sequels and franchise properties.... [The film] is preoccupied with questions of legacy, legitimacy and succession, and includes multiple debates over whether one should replicate or reject the stories and symbols of the past."[125] Writing for Rolling Stone, Peter Travers gave the film 3.5 out of 4 stars, praising the cast and the direction: "You're in hyper-skilled hands with Johnson who makes sure you leave the multiplex feeling euphoric. The middle part of the current trilogy, The Last Jedi ranks with the very best Star Wars epics (even the pinnacle that is The Empire Strikes Back) by pointing the way ahead to a next generation of skywalkers – and, thrillingly, to a new hope."[126]

text: Richard Roeper of the Chicago Sun-Times gave the film 3.5/4 stars, saying, "Star Wars: The Last Jedi...doesn't pack quite the same emotional punch [as The Force Awakens] and it lags a bit in the second half, [but] this is still a worthy chapter in the Star Wars franchise, popping with exciting action sequences, sprinkled with good humor and containing more than a few nifty 'callbacks' to previous characters and iconic moments."[127] For The Hollywood Reporter, Todd McCarthy said, "Loaded with action and satisfying in the ways its loyal audience wants it to be, writer-director Rian Johnson's plunge into George Lucas' universe is generally pleasing even as it sometimes strains to find useful and/or interesting things for some of its characters to do."[128]

text: Will Gompertz, arts editor of BBC News, gave the film 4/5 stars, writing "Rian Johnson ... has not ruined your Christmas with a turkey. His gift to you is a cracker, a blockbuster movie packed with invention, wit, and action galore."[129] Mark Kermode, British film critic, gave the film 4/5 stars saying Johnson "proves himself the master of the balancing act, keeping the warring forces of this intergalactic franchise in near-perfect harmony."[130] The unpredictability of the plot was appreciated by reviewers such as Alex Leadbeater of Screen Rant, who commented specifically that the death of Snoke was "the best movie twist in years".[131]

text: Conversely, Richard Brody of The New Yorker wrote, "Despite a few stunning decorative touches (most of which involve the color red) and that brief central sequence of multiple Reys, the movie comes off as a work that's ironed out, flattened down, appallingly purified. Above all, it delivers a terrifyingly calculated consensus storytelling, an artificial universality that is achieved, in part, through express religious references."[132] Kate Taylor of The Globe and Mail gave the film 2/4 stars, saying the film suffered from too many new additions and writing, "Nifty new animals, a maturing villain, a flagging heroine, muffled humour – as it seeks to uphold a giant cultural legacy, this unfolding trilogy struggles to maintain a balance that often seems just out of reach."[133]

text: Audience response

text: Audience reception measured by scientific polling methods was highly positive. Audiences randomly polled by CinemaScore on opening day gave the film an average grade of "A" on an A+ to F scale.[107] Surveys from SurveyMonkey and comScore's PostTrak found that 89% of audience members graded the film positively.[134][135]

text: The user-generated review sections of Rotten Tomatoes and Metacritic contained scores that were significantly more negative, achieving the ratings of 49%[136] and 4.6/10, respectively.[137] Several reviewers speculated that the low user scores are the result of manipulation, either by coordinated vote brigading from internet groups or from bots.[138][139][140] Quartz noted that some new accounts gave negative ratings to both The Last Jedi and Thor: Ragnarok, while Bleeding Cool stated that reviews for Thor had tapered off up to that point but skyrocketed afterwards.[141][142] In response to tampering claims, Rotten Tomatoes released a statement that they did not detect any unusual activity aside from a noticeable "uptick in the number of written user reviews" on The Last Jedi.[143]

text: Reviewers characterized The Last Jedi as divisive among audiences.[144] Todd VanDerWerff of Vox found that disgruntled fans saw the film as too progressive, disliked its humor, plot, or character arcs, or felt betrayed that it ignored fan theories.[138] Other reviewers made similar observations.[145][146][147] Particularly divisive was the reveal that Rey's parents are insignificant;[138][145][147] many fans had expected her to be Luke's daughter or to share a lineage with another character from the original trilogy.[148][149] There was also sentiment that Snoke's character was underdeveloped and that Luke's actions contrasted his previous heroic portrayal.[147][150][151] Reviewers stated that fan theories were held so strongly among some viewers that it was difficult for them to accept different stories.[145][147][151] However, other viewers appreciated the film's action, tone and deviation from Star Wars tradition.[145][147]

text: Accolades

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

Academy Awards
March 4, 2018
Best Original Score
John Williams
Pending
[152]

Best Sound Editing
Matthew Wood and Ren Klyce
Pending

Best Sound Mixing
David Parker, Michael Semanick, Ren Klyce and Stuart Wilson
Pending

Best Visual Effects
Ben Morris, Mike Mulholland, Neal Scanlan and Chris Corbould
Pending

Art Directors Guild Awards
January 27, 2018
Excellence in Production Design for a Fantasy Film
Rick Heinrichs
Nominated
[153]

British Academy Film Awards
February 18, 2018
Best Sound
Ren Klyce, David Parker, Michael Semanick, Stuart Wilson, Matthew Wood
Nominated
[154]

Best Special Visual Effects
Stephen Alpin, Chris Courbould, Ben Morris, Neal Scanlan
Nominated

Costume Designers Guild
February 20th, 2018
Excellence in Fantasy Film
Michael Kaplan
Nominated
[155]

Visual Effects Society Awards
February 13, 2018
Outstanding Visual Effects in a Photoreal Feature
Ben Morris, Tim Keene, Eddie Pasquarello, Daniel Seddon, Chris Corbould
Nominated
[156]

Outstanding Virtual Cinematography in a Photoreal Project
Cameron Nielsen, Albert Cheng, John Levin, Johanes Kurnia for "Crait Surface Battle"
Nominated

Outstanding Effects Simulations in a Photoreal Feature
Peter Kyme, Miguel Perez Senet, Ahmed Gharraph, Billy Copley for "Bombing Run"
Nominated

Mihai Cioroba, Ryoji Fujita, Jiyong Shin, Dan Finnegan for "Mega Destroyer Destruction"
Nominated

text: Sequel

text: Episode IX, the final installment of the sequel trilogy, is scheduled for release on December 20, 2019.[11] Principal photography is set to begin in June 2018.[157] Although Colin Trevorrow had been attached to direct the film, on September 5, 2017, Lucasfilm announced that Trevorrow had stepped down.[158] A week later, Lucasfilm announced that J. J. Abrams would return to direct Episode IX and co-write it with Chris Terrio. Abrams and Terrio stated that Episode IX will bring together all three trilogies, with elements from the previous two trilogies.[159][160]


document_title: Comedians in Cars Getting Coffee

question_text: jerry seinfeld jason alexander comedians in cars getting coffee

text: Comedians in Cars Getting Coffee

text: Production[edit]

text: Development[edit]

text: Seinfeld has stated that the roots of the concept traced to a DVD extra he made for his 2002 documentary Comedian along with a later trip he made after purchasing an old VW Beetle in New Mexico, subsequently filming the return trip to the east coast with a friend.[4] Later describing the birth of the series Seinfeld said the series birth was "an experiment"[5]—as "kind of a guess."[6]

text: Prior to development of the series, Seinfeld was told by leading social network advisers, including those at Facebook and Yahoo, that a show length exceeding five minutes had little chance of success on the web.[7] Howard Schultz, coffee magnate and Chairman of Starbucks, turned down the opportunity to sponsor the show.[7] Acura eventually sponsored the show, giving Seinfeld creative license with creating the commercials and product placements.[7]

text: Format[edit]

text: Episodes are estimated to cost roughly $100,000,[5] with guests being paid in cash and the initial raw shoot lasting on average three-and-a-half hours,[5] which is then edited over a two-week period down to a 12–20 minute episode.[5] The process uses a lean production staff,[5] involves a minimum of network interaction,[5] and is designed as an edited and unscripted talk show without an audience that can be comfortably watched on a smart phone.[5]

text: The show's format around the car drive and "movement," specifically because "when attempting to show the meandering, silly and sometimes deep conversations that comedians share, you have to remove the audience to keep the participants from dropping into their acts,"[5] adding that "part of what makes the show watchable is that it's always moving. There's no narrative [to] drive the story. We know what happens. We know they're going to get coffee. You need a kinetic energy to move it along, moving people around keeps them awake."[5]

text: Bob Einstein became the first repeat guest on the show, appearing in the first season and again in the ninth season. Jimmy Fallon's appearance in the fifth season was split into two episodes. Several episodes have featured multiple guests appearing together including: Carl Reiner and Mel Brooks, Colin Quinn and Mario Joyner, and Kathleen Madigan and Chuck Martin. Colleen Ballinger appeared in-character as Miranda Sings as a guest on an episode, and Jason Alexander reprised the role of George Costanza from Seinfeld for an episode.

text: Episodes[edit]

text:
Season
Episodes
Originally released

First released
Last released
Network

1
10
July 19, 2012 (2012-07-19)
September 27, 2012 (2012-09-27)
Crackle

2
6
June 13, 2013 (2013-06-13)
July 18, 2013 (2013-07-18)

3
7
January 2, 2014 (2014-01-02)
February 6, 2014 (2014-02-06)

4
5
June 19, 2014 (2014-06-19)
July 17, 2014 (2014-07-17)

5
8
November 6, 2014 (2014-11-06)
December 18, 2014 (2014-12-18)

6
6
June 3, 2015 (2015-06-03)
July 8, 2015 (2015-07-08)

7
6
December 30, 2015 (2015-12-30)
February 3, 2016 (2016-02-03)

8
6
June 16, 2016 (2016-06-16)
July 21, 2016 (2016-07-21)

9
6
January 5, 2017 (2017-01-05)
February 9, 2017 (2017-02-09)

text: Season 1 (2012)[edit]

text:
No.
overall
No. in
season
Title
Guests
Car models
Restaurants
Release date
No. Netflix

1
1
"Larry Eats a Pancake"
Larry David
1952 Volkswagen Beetle
John O'Groats, Los Angeles, CA
July 19, 2012 (2012-07-19)
C4.6

2
2
"Mad Man in a Death Machine"
Ricky Gervais
1967 Austin-Healey 3000
City Island Diner, City Island, NY
August 2, 2012 (2012-08-02)
C1.14

3
3
"A Monkey and a Lava Lamp"
Brian Regan
1970 Dodge Challenger T/A
Rae's Diner, Santa Monica, CA
August 9, 2012 (2012-08-09)
C3.13

4
4
"Just a Lazy Shiftless Bastard"
Alec Baldwin
1970 Mercedes-Benz 280 SL
Fairway Market Café, New York City, NY
August 16, 2012 (2012-08-16)
C1.4

5
5
"A Taste of Hell From on High"
Joel Hodgson
1963 Volkswagen Karmann Ghia
Skylark Diner, Edison, NJ
August 23, 2012 (2012-08-23)
C1.19

6
6
"Unusable on the Internet"
Bob Einstein
1970 Mercedes-Benz 300SEL 6.3
Jerry's Deli, Studio City, CA
Nate 'n Al's, Beverly Hills, CA
August 30, 2012 (2012-08-30)
C4.10

7
7
"You Don't Want to Offend a Cannibal"
Barry Marder
1966 Porsche 356 SC Cabriolet
Bendix Diner, Hasbrouck Heights, NJ
September 6, 2012 (2012-09-06)
C3.16

8
8
"I Hear Downtown Abbey Is Pretty Good..."
Colin Quinn & Mario Joyner
1976 Triumph TR6
Fort Defiance Café, Brooklyn, NY
September 13, 2012 (2012-09-13)
C4.9

9
9
"I Want Sandwiches, I Want Chicken"
Carl Reiner & Mel Brooks
1960 Rolls-Royce Silver Cloud II
1970 Porsche 911 S
Norm's Diner, Los Angeles, CA
Nate 'n Al's, Beverly Hills, CA
September 20, 2012 (2012-09-20)
C2.5

10
10
"It's Bubbly Time, Jerry"
Michael Richards
1962 Volkswagen Double Cab Pickup
The Malibu Kitchen, Malibu, CA
September 27, 2012 (2012-09-27)
C1.17

text: Season 2 (2013)[edit]

text:
No.
overall
No. in
season
Title
Guests
Car models
Restaurants
Release date
No. Netflix

11
1
"I'm Going to Change Your Life Forever"
Sarah Silverman
1969 Jaguar E-Type Series 2
Millie's, Silver Lake, Los Angeles, CA
June 13, 2013 (2013-06-13)
C4.2

12
2
"I Like Kettlecorn"
David Letterman
1995 Volvo 960 station wagon
Green Granary, New Milford, CT
June 20, 2013 (2013-06-20)
C2.9

13
3
"No Lipsticks for Nuns"
Gad Elmaleh
1950 Citroën 2CV
Pommes Frites, French Roast, New York City, NY
June 27, 2013 (2013-06-27)
C4.4

14
4
"You'll Never Play the Copa"
Don Rickles
1958 Cadillac Eldorado
Factor's Famous Deli, Los Angeles, CA
July 4, 2013 (2013-07-04)
C2.7

15
5
"Really?!"
Seth Meyers
1973 Porsche 911 Carrera RS
Roebling Tea Room, Brooklyn, NY
July 11, 2013 (2013-07-11)
C1.15

16
6
"Kids Need Bullying"
Chris Rock
1969 Lamborghini Miura P400S
Allendale Eats!, Allendale, NJ
July 18, 2013 (2013-07-18)
C1.10

text: Season 3 (2014)[edit]

text:
No.
overall
No. in
season
Title
Guests
Car models
Restaurants
Release date
No. Netflix

17
1
"Comedy, Sex and the Blue Numbers"
Louis C.K.
1959 Fiat 600 Jolly
Louis C.K.'s personal boat, New York City, NY
January 2, 2014 (2014-01-02)
C4.11

The episode was not initially included when the series debuted on Netflix on January 5, 2018. It was re-added as part of the collection on January 10, 2018.

18
2
"How Would You Kill Superman?"
Patton Oswalt
1981 DeLorean DMC-12
Handsome Coffee Roasters, Los Angeles, CA
January 9, 2014 (2014-01-09)
C3.5

19
3
"Comedy Is a Concealed Weapon"
Jay Leno
1949 Porsche 356/2
Jones Coffee, Pasadena, CA
January 16, 2014 (2014-01-16)
C3.6

20
4
"So You're Mellow and Tense?"
Todd Barry
1966 MGB
Nathan's Famous, New York City, NY
January 23, 2014 (2014-01-23)
C3.15

21
5
"Feces Are My Purview"
Tina Fey
1967 Volvo 1800S
Floridita, Harlem, New York City, NY
Dominique Ansel Bakery, SoHo, New York City, NY
January 30, 2014 (2014-01-30)
C1.12

22
6
"The Over-Cheer"
George Costanza
Newman
1976 AMC Pacer
Tom's Restaurant, New York City, NY
February 2, 2014 (2014-02-02)
TBA

Jerry and George Costanza (Jason Alexander, reprising his role from Seinfeld) have coffee and chat about proper etiquette for attending a Super Bowl party before running into Newman (Wayne Knight). The episode was written by Seinfeld and Larry David and directed by David.[8] A 90-second version of the episode aired on Fox before its Super Bowl XLVIII halftime coverage.[8] This episode was excluded from the Netflix collections in 2018.

23
7
"The Last Days of Howard Stern"
Howard Stern
1969 Pontiac GTO
Bel Aire Diner, Astoria, NY
February 6, 2014 (2014-02-06)
C2.4

text: Season 4 (2014)[edit]

text:
No.
overall
No. in
season
Title
Guests
Car models
Restaurants
Release date
No. Netflix

24
1
"A Little Hyper-Aware"
Sarah Jessica Parker
1976 Ford LTD Country Squire
Colony Diner, East Meadow, NY
Francesco's Bakery, Hicksville, NY
June 19, 2014 (2014-06-19)
C1.6

25
2
"Two Polish Airline Pilots"
George Wallace
1965 Buick Riviera
Flamingo & Peppermill Fireside Lounge, Las Vegas, NV
June 26, 2014 (2014-06-26)
C4.13

26
3
"Opera Pimp"
Robert Klein
1967 Jaguar Mark 2
Klein's home and Landmark Diner, Ossining, New York
July 3, 2014 (2014-07-03)
C3.14

27
4
"It's Like Pushing a Building Off a Cliff"
Aziz Ansari
2012 Prevost Car X3-45 VIP
Brody's Diner, Shrewsbury, MA
July 10, 2014 (2014-07-10)
C1.13

28
5
"The Sound of Virginity"
Jon Stewart
1978 AMC Gremlin
1968 AMC AMX
Tick Tock Diner, Clifton, NJ
July 17, 2014 (2014-07-17)
C3.4

text: Season 5 (2014)[edit]

text: A serialized yet separated storyline started in this season, featuring Michael Richards as Crackle President Dick Corcoran. Joan Rivers had been asked by Seinfeld to be the fifth season's first guest, however she postponed the appearance due to a scheduled medical procedure.[9] Rivers died as a result of that procedure.

text:
No.
overall
No. in
season
Title
Guests
Car models
Restaurants
Release date
No. Netflix

29
1
"You Look Amazing in the Wind"
Kevin Hart
1959 Porsche RSK Spyder
212 Pier, Santa Monica, CA
November 6, 2014 (2014-11-06)
C2.2

30
2
"I'm Wondering What It's Like to Date Me"
Amy Schumer
1971 Ferrari Daytona 365 GTB/4
Short Stop Diner, Bronx, NY
November 13, 2014 (2014-11-13)
C3.1

31
3
"Smoking Past the Band"
Bill Burr
1970 Ford Mustang Boss 302
Novel Cafe, Santa Monica, CA
November 20, 2014 (2014-11-20)
C4.3

32
4
"Happy Thanksgiving Miranda"
Miranda Sings
1960 Austin-Healey Sprite
Art's Delicatessen Restaurant[10] Studio City, California
November 27, 2014 (2014-11-27)
C4.5

33
5
"I Wasn't Told About This... with Special Feature: I’m Dying, Jerry"
Fred Armisen
1965 Saab 96 Monte Carlo 850
Coava Coffee Roasters, Portland, Oregon
December 4, 2014 (2014-12-04)
C3.8

34
6
"I'm Going to Take a Percocet and Let That One Go"
Ali Wentworth
1970 Mercedes-Benz 280 SE Convertible
Fiddler's Elbow Country Club, Bedminster, New Jersey
December 11, 2014 (2014-12-11)
C1.20

35/36
7/8
"The Unsinkable Legend — Part 1 & Part 2"
Jimmy Fallon
1956 Chevrolet Corvette
1994 Land Rover Defender 90
John's Pancake House, Montauk, NY
December 18, 2014 (2014-12-18)
C1.2/C1.3

Released in two parts on both Crackle[11] and Netflix.

text: Season 6 (2015)[edit]

text:
No.
overall
No. in
season
Title
Guests
Car models
Restaurants
Release date
No. Netflix

37
1
"I'll Go If I Don't Have to Talk"
Julia Louis-Dreyfus
1964 Aston Martin DB5
Caffe Luxxe & Art's Table, Santa Monica, CA
June 3, 2015 (2015-06-03)
C2.6

38
2
"Always Do the Banana Joke First"
Steve Harvey
1957 Chevrolet Bel Air
Manny's Cafeteria & Biggs Mansion, Chicago, IL
June 10, 2015 (2015-06-10)
C3.2

39
3
"We Love Breathing What You're Burning, Baby"
Jim Carrey
1976 Lamborghini Countach
Killer Cafe, Marina Del Rey, CA
June 17, 2015 (2015-06-17)
C1.1

40
4
"The Comedy Team of Smug and Arrogant"
Bill Maher
1979 Volkswagen Beetle
Brite Spot, Echo Park, Los Angeles, CA
June 24, 2015 (2015-06-24)
C4.1

41
5
"That's the Whole Point of Apartheid, Jerry"
Trevor Noah
1985 Ferrari 308 GTBi
One Girl Cookies, Brooklyn, NY
July 1, 2015 (2015-07-01)
C1.7

42
6
"Cut Up and Bloody but Looking Good"
Stephen Colbert
1964 Morgan +4
Bluestone Coffee Co., Montclair, NJ
July 8, 2015 (2015-07-08)
C1.5

text: Season 7 (2015–16)[edit]

text:
No.
overall
No. in
season
Title
Guests
Car models
Restaurants
Release date
No. Netflix

43
1
"Just Tell Him You're the President"
Barack Obama
1963 Corvette Sting Ray
Staff dining room of the White House, Washington, D.C.
December 30, 2015 (2015-12-30)
C2.1

44
2
"If You See This on a Toilet Seat, Don't Sit Down"
Steve Martin
1954 Siata 8V
1966 Ford Mustang
Pleasantville Diner, Pleasantville, NY
January 6, 2016 (2016-01-06)
C3.3

45
3
"Stroked Out on a Hot Machine"
Kathleen Madigan & Chuck Martin
1972 BMW 2002
Alfred Coffee, Los Angeles, CA
January 13, 2016 (2016-01-13)
C4.12

46
4
"It's Great That Garry Shandling Is Still Alive"
Garry Shandling
1979 Porsche 930 Turbo
Du-Par's Restaurant & Bakery, Studio City, CA
January 20, 2016 (2016-01-20)
C3.9

47
5
"I Don't Think That's Bestiality"
Sebastian Maniscalco
1969 Chevrolet Camaro Z28
Intelligentsia Coffee & The Tasting Kitchen, Venice, CA
January 27, 2016 (2016-01-27)
C4.7

48
6
"Mr. Ferrell, For the Last Time, We're Going to Ask You to Put the Cigar Out"
Will Ferrell
1970 Plymouth Superbird
Med Cafe, Marina del Rey, CA
February 3, 2016 (2016-02-03)
C2.3

text: Season 8 (2016)[edit]

text:
No.
overall
No. in
season
Title
Guests
Car models
Restaurants
Release date
No. Netflix

49
1
"Stick Around for the Pope"
Jim Gaffigan
1977 Volkswagen Westfalia Camper
Second Avenue Deli, Manhattan, NY
June 16, 2016 (2016-06-16)
C3.7

50
2
"You Can Go Cho Again"
Margaret Cho
1967 Mazda Cosmo
Highland Cafe, Los Angeles, CA
June 23, 2016 (2016-06-23)
C3.11

51
3
"Escape from Syosset"
Judd Apatow
1968 Pontiac Firebird 400
101 Coffee Shop, Los Angeles, CA
June 30, 2016 (2016-06-30)
C2.8

52
4
"Everybody Respects a Bloody Nose"
J. B. Smoove
1964 Studebaker Avanti
10 Speed Coffee, Los Angeles, CA
July 7, 2016 (2016-07-07)
C1.18

53
5
"Everybody Likes to See the Monkeys"
Lorne Michaels
1955 Mercedes-Benz 300 SL Gullwing
The Monkey Bar, New York City, NY
July 14, 2016 (2016-07-14)
C3.12

54
6
"What Kind of Human Animal Would Do This?"
John Oliver
1959 Triumph TR3
Allswell, Brooklyn, NY
July 21, 2016 (2016-07-21)
C1.9

text: Season 9 (2017)[edit]

text:
No.
overall
No. in
season
Title
Guests
Car models
Restaurants
Release date
No. Netflix

55
1
"The Volvo-ness"
Kristen Wiig
1964 Volvo 122S Amazon
House of Pies, Los Angeles, CA
January 5, 2017 (2017-01-05)
C1.8

56
2
"A Rusty Car in the Rain"
Norm Macdonald
1958 Porsche 356A
Jackson Hole Diner, East Elmhurst, NY
January 12, 2017 (2017-01-12)
C1.16

57
3
"Dictators, Comics, and Preachers"
Cedric the Entertainer
1958 Bentley S1
The Butcher's Daughter, New York City, NY
January 19, 2017 (2017-01-19)
C3.10

58
4
"At What Point Am I Out from Under?"
Lewis Black
1967 Cadillac Eldorado
Junior's, Downtown Brooklyn, NY
January 26, 2017 (2017-01-26)
C4.8

59
5
"Champagne, Cigars, and Pancake Batter"
Christoph Waltz
1957 BMW 507 Series II
IHOP, Torrance, CA
February 2, 2017 (2017-02-02)
C1.11

60
6
"It's Not So Funny When It's Your Mother"
Bob Einstein
2017 Acura NSX
Urth Caffé, Los Angeles, CA
February 9, 2017 (2017-02-09)
C4.14

text: Season 10 (2018)[edit]

text: Guests appearing in season 10 include Dave Chappelle,[12] Kate McKinnon,[13] Tracy Morgan,[14] Hasan Minhaj,[15] Dana Carvey,[16] and Ellen DeGeneres.[17]

text: Unaired episodes[edit]

text: Seinfeld revealed on August 21, 2017 on Facebook and Instagram that he recorded an episode with Jerry Lewis in Las Vegas, "As I've said many times, if you don't get Jerry Lewis, you don’t understand comedy. Spending an afternoon with him a couple of months ago in Vegas for Comedians in Cars was a comedy life moment for me."[18][19][20][21][22][23]

text: Reception[edit]

text: Brian Lowry of Variety said the series is the kind of short-form concept that feels stretched even at 18 minutes.[24] David Hinckley of The New York Daily News gave the series 3 out of 5 stars.[25] Mike Hale of The New York Times said: "The [series' segments]... are presented in a clean, elegant template with a studiously casual pencil-drawn logo. And the filming and editing are, if you break them down, impressively complex and artful for a Web series."[26]

text: The New York Times's Anand Giridharadas critiqued the show as being out of touch with the everyman, and more of a showcase of Seinfeld's wealth. Giridharadas wrote: "The democracy of observational humor has become, in Mr. Seinfeld's reincarnation, an oligarchy of mutual admiration".[27] Other publications have been more positive in their opinion. The New York Daily News wrote of the show's format and first three seasons that, "It all sounds random, which it is, and trivial, which it is and isn’t. In the end, the fun is contagious."[28] Newsday then graded season four of the series with an "A".[29]

text: Awards and nominations[edit]

text:
Year
Award
Category
Recipients
Result

2013
Primetime Emmy Award[30]
Outstanding Special Class – Short-Format Nonfiction Program
Jerry Seinfeld
Nominated

2014
Primetime Emmy Award[30]
Outstanding Short-Format Nonfiction Program
Jerry Seinfeld
Nominated

2015
Producers Guild of America Award[31]
Outstanding Digital Series

Won

2016
Producers Guild of America Award[32]
Outstanding Digital Series

Won

2016
Primetime Emmy Award[30]
Outstanding Variety Talk Series
Jerry Seinfeld, Melissa Miller, Tammy Johnston, Denis Jensen, George Shapiro, Howard West
Nominated


document_title: Dr. Loveless

question_text: who played dr loveless in wild wild west movie

text: Dr. Loveless

text: This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2010) (Learn how and when to remove this template message)

text: Dr. Miguelito Quixote Loveless is a fictional character, a villain who appeared in 10 episodes of the 1960s television series The Wild Wild West. He is a brilliant (though insane) character born with dwarfism, portrayed by character actor Michael Dunn ,[1] chronologically listed as follows:

text: "The Night the Wizard Shook the Earth" - Episode #3

text: "The Night That Terror Stalked the Town" - Episode #10

text: "The Night of the Whirring Death" - Episode #20

text: "The Night of the Murderous Spring" - Episode #27

text: "The Night of the Raven" - Episode #31

text: "The Night of the Green Terror" - Episode #38

text: "The Night of the Surreal McCoy" - Episode #51

text: "The Night of the Bogus Bandits" - Episode #56

text: "The Night Dr. Loveless Died" - Episode #60

text: "The Night of Miguelito's Revenge" - Episode #92

text: As a mad scientist, Dr. Loveless conceived numerous plots which were always foiled by Secret Service agents James West and Artemus Gordon, though he always escaped capture.

text: Loveless' family had received a valuable land grant in California from the Spanish Viceroy of Mexico. Their land was taken back by the Spanish Crown; and then irretrively lost however, when California became part of the United States. His original goal was to recover his family's property and create a haven where the disadvantaged (presumably financially and, like himself, physically) could live without torment from society. As the series progressed, however, he became more and more megalomaniacal. In "The Night of the Bogus Bandits" Loveless greatest fear is not death, but the fact that once deceased, Loveless cannot continue his plans of revenge against society which he hates so much.

text: Loveless was created by writer John Kneubuhl after he read a magazine article about Dunn. The character was introduced in the 1965 episode "The Night the Wizard Shook The Earth," which was the show's third televised episode (although it was produced sixth). Loveless became an immediate hit and Dunn appeared in ten episodes over four seasons. Kneubuhl wrote five of them.

text: Loveless was known as a technological genius, producing gadgets far ahead of his time-which his enemy James West acknowledges {"The Night Dr Loveless died"}.Dr Loveless is addicted to the very rare Napoleon Brandy Le Grande {"The Night of Miguelito's Revenge"}. In the series' first season, his inventions were more practical, anticipating the cathode-ray tube, airplane and a synthesized LSD-like hallucinogen. In the second season, the inventions became more fantastic and included a powder that shrank Jim West to one-twelfth his original size and a device that allowed people to enter paintings. Perhaps the most phantasmagorical of his methods for avoiding capture was when he and his lovely assistant Antoinette (Phoebe Dorin) escaped West and Gordon by shrinking themselves and flying away on the back of a swan. {"The Night of the Raven"}

text: According to the 1979 TV movie The Wild Wild West Revisited, in 1880, Loveless eventually died of ulcers resulting from anger and frustration at having his plans consistently ruined by West and Gordon. (Michael Dunn died in 1973.) As a result, Loveless' son Michelito (played by Paul Williams) subsequently seeks revenge on the agents.[2]

text: Accomplices[edit]

text: Dr. Loveless initially had two companions: the hulking Voltaire (played by real-life giant Richard Kiel) and the beautiful songstress Antoinette (portrayed by Dunn's nightclub-act singing partner Phoebe Dorin). Voltaire disappeared after the doctor's third encounter with the agents; Antoinette, after the sixth. However, they each left such an indelible impression on fans that the 1990 comic book miniseries from Millennium Publications, a sequel to rather than an adaptation of the TV program scripted by Mark Ellis with art by Darryl Banks, included both characters.

text: Other versions[edit]

text: Loveless was adapted for the 1999 feature film Wild Wild West as Dr. Arliss Loveless, played by Kenneth Branagh.[3] Branagh's version was a former Confederate military engineer who had lost most of his lower body in an accidental explosion. As a double amputee he used a steam-powered wheelchair and similar innovative contraptions. Loveless was incensed at the South's surrender and sought to dismember the United States and distribute its territory amongst the Native American tribes and its original European colonizers (while keeping the Northern Plains for himself). He also has a personal history with Jim West; an early tank he designed massacred the population of a freed slave colony, including West's parents (in the film, West, portrayed by Will Smith, is African-American).

text: Notes[edit]

text:
Jump up ^ Cast of The Wild Wild West at the Internet Movie Database
Jump up ^ The Wild Wild West Revisited at the Internet Movie Database
Jump up ^ Wild Wild West (1999) at the Internet Movie Database

tag: ol

text: Fictional physiciansFictional characters with dwarfismFictional mass murderersFictional amputeesFictional cyborgsFictional characters introduced in 1965Comedy film charactersFictional mad scientists

text: Articles needing additional references from October 2010All articles needing additional references