document_title: Methuen, Massachusetts

question_text: how far is methuen ma from boston ma

question_tokens: how far is methuen ma from boston ma

root

text: Methuen, Massachusetts

text: History[edit]

text: This section needs expansion. You can help by adding to it. (June 2008)

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text: Methuen was first settled in 1642 and was officially incorporated in 1726. Methuen was originally part of Haverhill, Massachusetts. In 1724 Stephen Barker and others in the western part of that town petitioned the General Court to grant them permission to form a new town above Hawke's Meadow Brook. Although opposed by their fellow townsmen, the petition was approved the following year (December 8, 1725), and the General Court gave them an act of incorporation under the name of Methuen. The town was named for Sir Paul Methuen, a member of the King's Privy Council and friend of acting Provincial Governor William Dummer. The first town meeting was held March 9, 1726, in the home of a resident. Land was set aside for a meetinghouse, which was erected later in 1726 on what is now Meetinghouse Hill Cemetery.[6]

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text: The residents in the northern part of the new town of Methuen soon petitioned to have their own meetinghouse (a combination of town hall and puritan church), and in 1736 the north parish was set off. Land for a meetinghouse was donated by descendants of the original proprietors of Haverhill, and in 1738 the second Methuen meetinghouse was raised. The structure survives to this day, as the Salem N.H. Historical Society building. In 1741, with the fixing of the Northern boundary of Massachusetts, most of this new north parish was removed from Methuen and placed in New Hampshire. It was incorporated as Salem, New Hampshire in 1750.[7]

text: Industrial growth in the 1800s influenced Methuen's development. Construction of the Methuen Cotton Mills at the Spicket River falls in the 1820s and the increased manufacture of hats and shoes in small factories along the Spicket spurred the centralization of Methuen's economic, residential and cultural activities within the area around Osgood, Broadway, Hampshire and Pleasant streets. Three wealthy and prominent families—the Nevins, the Tenneys and the Searles—played a significant role in Methuen's history and development. These families were instrumental in the founding of many of Methuen's landmarks, including the Nevins Memorial Library, the Searles building, Tenney Gatehouse, Nevins Home, Spicket Falls, and the Civil War monument between Pleasant and Charles streets.[8]

text: Geography and transportation[edit]

text: Methuen is located at 42°43′48″N 71°10′46″W / 42.73000°N 71.17944°W / 42.73000; -71.17944 (42.730040, −71.179352).[9] According to the United States Census Bureau, the city has a total area of 23.1 square miles (59.7 km2), of which 22.2 square miles (57.6 km2) is land and 0.77 square miles (2.0 km2), or 3.42%, is water.[10]

text: Methuen lies alongside the northern banks of the Merrimack River, and is also bisected by the Spicket (originally "Spigot") River,[11] as well as many brooks and streams. There are several ponds dotting the area as well, and the town is home to a town forest, a bird sanctuary, and a small state park (Tenney State Park). Pine Island, near the southern end of town in the Merrimack River, is also part of the town's land.

text: Methuen lies along the northwestern edge of Essex County, just east of Middlesex County and just south of Rockingham County, New Hampshire. The irregularly-shaped town is bordered by Haverhill to the northeast, North Andover to the east, Lawrence and Andover to the south, Dracut (Middlesex County) to the west, Pelham, New Hampshire (Hillsborough County) to the northwest, and Salem, New Hampshire (Rockingham County) to the north. Methuen is located 30 miles (48 km) north-northwest of Boston and 25 miles (40 km) south-southeast of Manchester, New Hampshire.

text: Methuen lies at the northern end of Interstate 93 in Massachusetts, with three exits providing access. A portion of Interstate 495 crosses through the eastern side of town from Lawrence to Haverhill. Massachusetts Route 213, the "Loop Connector", provides highway access between the two, lying entirely within town and having five exits of its own. The town is also crossed by Route 28, Route 110, and Route 113, the latter two meeting at a rotary at I-93 Exit 46, one of the more congested intersections along the I-93 corridor. Construction to replace this interchange began in July 2014;[12] it is expected to be complete at some point in 2017 with a partial cloverleaf interchange.[13] I-93 provides the town's only bridge across the Merrimack; there are several crossings in Lawrence, and several in neighboring Haverhill, but none for 7 miles (11 km) upstream from I-93 all the way to the eastern end of Lowell.

text: Methuen is served by the Merrimack Valley Regional Transit Authority's bus service; there is no other mass transportation source within town. The nearest rail station is in South Lawrence, which is part of the Haverhill/Reading Line of the MBTA Commuter Rail, providing service into Boston's North Station. Small plane service can be found at Lawrence Municipal Airport and the Merrimack Valley Seaplane Base, with the nearest national service being at Manchester-Boston Regional Airport, and the nearest international service being at Logan International Airport.

text: Demographics[edit]

text:
Historical population

Year
Pop.
±%

1840
2,251
—

1850
2,538
+12.7%

1860
2,566
+1.1%

1870
2,959
+15.3%

1880
4,392
+48.4%

1890
4,814
+9.6%

1900
7,512
+56.0%

1910
11,448
+52.4%

1920
15,189
+32.7%

1930
21,069
+38.7%

1940
21,880
+3.8%

1950
24,477
+11.9%

1960
28,114
+14.9%

1970
35,456
+26.1%

1980
36,701
+3.5%

1990
39,990
+9.0%

2000
43,789
+9.5%

2010
47,255
+7.9%

2016
49,917
+5.6%

* = population estimate.
Source: United States Census records and Population Estimates Program data.[14][15][16][17][18][19][20][21][22][23]
Source:
U.S. Decennial Census[24]

text: As of the census[25] of 2000, there were 43,789 people, 16,532 households, and 11,539 families residing in the city. The population density was 1,954.7 persons per square mile (754.8/km²). There were 16,885 housing units, at an average density of 753.7 per square mile (291.0/km²). The racial makeup of the city was 89.35% White, 1.35% African American, 0.22% Native American, 2.38% Asian, 0.01% Pacific Islander, 4.87% from other races, and 1.82% from two or more races. Hispanics and Latinos, of any race, were 9.64% of the population (8.4% Dominican, 5.7% Puerto Rican, 0.6% Guatemalan, 0.3% Ecuadorian, 0.3% Mexican, 0.3% Cuban).

text: There were 16,532 households, of which 33.1% had children under the age of 18 living with them, 53.3% were married couples living together, 12.2% had a female householder with no husband present, and 30.2% were non-families. 25.3% of all households were made up of individuals and 11.6% had someone living alone who was 65 years of age or older. The average household size was 2.62 and the average family size was 3.17.

text: In the city, the population was spread out with 24.7% under the age of 18, 7.3% from 18 to 24, 31.0% from 25 to 44, 21.6% from 45 to 64, and 15.3% who were 65 years of age or older. The median age was 38 years. For every 100 females there were 91.9 males. For every 100 females age 18 and over, there were 87.0 males.

text: The median income for a household in the city was $49,627, and the median income for a family was $59,831. Males had a median income of $41,693 versus $31,864 for females. The per capita income for the city was $22,305. About 5.8% of families and 7.4% of the population were below the poverty line, including 9.7% of those under age 18 and 7.7% of those age 65 or over.

text: Government[edit]

text: Historically, Methuen had a town meeting-selectmen form of government and was known as the Town of Methuen until it adopted a charter replacing its traditional town meeting and selectmen with a council and manager. Even with a form of government that had historically and legally been exclusive to cities, the community, in a gesture of traditionalism, retained the name Town of Methuen in its charter.[4] However, because Massachusetts cities have self-governing powers not available to towns, it became known for legal purposes as "The City Known as the Town of Methuen". A subsequent charter, which adopted a strong mayor form of government, officially changed the community name to the "City of Methuen".

text: Methuen's city government consists of a mayor, three Councilors-at-Large, two East District councilors, two Central District councilors, two West District councilors, and six School Committee members.

text:
The mayor of Methuen is Stephen Zanni.
The Chief of Police is Joseph E. Solomon
The at-large city councilors are Daniel Grayton, Joyce C. Campagnone, and James P. Jajuga.
The Central District city councilors are James Atkinson and Lisa Yarid Ferry (Council Vice-Chairperson).
The East District city councilors are Thomas Ciulla and Ronald Marsan (Council Chairman).
The West District city councilors are George J. Kazanjian and Sean J. Fountain.

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text:
Voter Registration and Party Enrollment as of October 15, 2008[26]

Party
Number of Voters
Percentage

Republican
4,022
13.29%

Democratic
12,023
39.73%

Unaffiliated
13,987
46.22%

Minor Parties
227
0.75%

Total
30,259
100%

text: Education[edit]

text: Public schools[edit]

text: This article is in a list format that may be better presented using prose. You can help by converting this article to prose, if appropriate. Editing help is available. (January 2015)

text:
Methuen High School
Comprehensive Grammar School
Tenney Grammar School
Timony Grammar School
Marsh Grammar School

text: Private schools[edit]

text:
Saint Monica's is a Catholic K through 8 school run by the Sisters of Notre Dame.
St. Ann's Home and School provides residential, outpatient, and private day school options for a wide range of learning disabilities and/or behavioral and emotional disorders. All programs are designed to provide a continuum of special needs services to assist children and adolescents who need intensive and comprehensive help for themselves and their families. The Day School program offers education for children and adolescents with special emotional needs, complemented by a strong therapeutic component. Children are transported to St. Ann's from communities in a one-hour radius. Referrals come from school districts seeking an academically focused, clinically supported school setting for students with significant emotional, developmental, behavioral, and learning needs.[27]
Presentation of Mary Academy is a private Catholic high school founded in 1958. The academy is on a 22-acre (8.9 ha) campus formerly known as the Edward F. Searles Estate. The school was originally for young women grades 9–12 but went co-educational with the 2011–2012 school year.[28]

text: Sports[edit]

text: Methuen High School's athletic teams play in the Merrimack Valley Conference. Their big rivals are the Andover Golden Warriors, the Central Catholic Raiders of Lawrence, and the Haverhill Hillies. On Thanksgiving Day, the football team plays fellow Merrimack Valley foe the Dracut Middies. The teams first met in a non-Thanksgiving Day game in 1935 and did not play again until the Thanksgiving series started in 1963. The school colors are blue and white, and their mascot is the Ranger, named after Rogers' Rangers, the precursor of the U.S. Army Rangers, which was founded by town resident Robert Rogers.

text: Historic district[edit]

text: The Searles Tenney Nevins Historic District, established by the city in 1992 to preserve the "distinctive architecture and rich character of one of Massachusetts' most unique neighborhoods", is named after the three Methuen city fathers: David C. Nevins, Edward F. Searles and Charles H. Tenney.

text: From the City of Methuen:

text: Today, the trio's collective vision can be seen in mills, housing, schools, mansions, churches, monuments, playgrounds, the library, and the architectural fantasies that resulted from their artistic rivalry. The historic district boundaries were established to include properties and buildings constructed or used by the Searles, Tenney and Nevins families and the people who worked for them.[29]

text: The historic district is administered by the Methuen Historic District Commission, which protects the district from alterations that might compromise its historic integrity. Bounded within the Searles Tenney Nevins Historic District are the Spicket Falls Historic District and the Pleasant-High Historic District. Both are registered with the National Register of Historic Places, as are many of the other buildings within the area.[30]

text: Points of interest[edit]

text:
Forest Lake is a recreational great pond of over 55 acres (22 ha) bordered by the Methuen town forest. Access is managed by the Forest Lake Association. Residents and visitors can engage in a series of activities, including fishing, canoeing, and swimming.
Methuen Water Works is an NHRP listed building on Cross Street
Methuen Memorial Music Hall was built specifically to house the Great Organ, built originally by Walcker Orgelbau for the Boston Music Hall, and procured by philanthropist and city benefactor Edward Francis Searles more than a century ago. The organ case, which in approximate terms is as large as a typical house, is ornate, and features a bust of J.S. Bach as a central ornament.
The Methuen Rail Trail occupies the railbanked Boston and Maine Manchester and Lawrence Railroad corridor. It connects the Spicket River Greenway in Lawrence with the in-development Salem Bike-Ped Corridor. Future plans to revitalize this rail line for commuter and freight rail could make this trail a rail-with-trail bike path.
National Register of Historic Places listings in Methuen, Massachusetts
The Nevins Memorial Library, founded in 1868 by David Nevins, Sr., was completed in 1883, two years after his death. The grand brick and stained glass library was listed on the National Register of Historic Places in 1984.
Saint Basil's Seminary is the main US location for the Basilian Salvatorian Order, a community of religious priests of the Greek Catholic rite.
St Xenia Orthodox Church, a multi-ethnic and multi-cultural parish of Russian Orthodox Church Outside Russia (ROCOR). The church hosts St. John of Damascus Church School.[31]

text: Notable people[edit]

text:
Steve Bedrosian, Major League Baseball pitcher
Joseph Bodwell, 40th governor of Maine
Susie Castillo, Miss Massachusetts USA 2003, Miss USA 2003 and MTV VJ
Cave In, alternative rock and metal band
Elias James Corey, 1990 Nobel Prize in Chemistry laureate
Ben Cosgrove, composer and multi-instrumentalist
Pat DeCola, sports reporter
Robert Frost, poet, in 1900[32][33]
Andrew Haldane (1917-1944), Marine captain, portrayed in the HBO miniseries The Pacific
Christopher Lennertz, composer for films, television shows, and video games
Gary McLain former Villanova men's basketball player
Harriet Nevins, philanthropist, animal rights activist
Georges Niang, forward for the Iowa State Cyclones men's basketball team
Jimmy Pedro, Olympics bronze medalist
Robert Rogers (1731–1795), founder of Rogers' Rangers which led to the creation of the United States Army Rangers
John Ruiz, professional boxer and former WBA World Heavyweight champion
Edward Francis Searles (1841–1920), philanthropist, interior and architectural designer
Charles H. Tenney (1842–1919), industrialist and philanthropist
Christopher Gagnon (1985-Present), Known for trying to throw a meatball sandwich at Norm Abram of This Old House
Joshua Fiore, Iceland Spartan Race Spartan Ultra Beast World Champion 2017


document_title: Area codes 702 and 725

question_text: where is 702 area code located in california

text: Area codes 702 and 725

text: Area codes 702 and 725 are the North American Numbering Plan telephone area codes serving Clark County, Nevada, including Las Vegas.

text: Area code 702 was originally assigned to the entire state of Nevada, as one of the original numbering plan areas established in October 1947. On December 12, 1998, most of Nevada, including Reno and Carson City, was split off as area code 775. Nevada's explosive growth in the second half of the 20th century, and the corresponding expansion of telephone service, would have made a second area code a must in any case. However, the split was hastened by the proliferation of cell phones and pagers, particularly in Las Vegas, Reno, and Carson City.

text: Since May 3, 2014, area code 702 has been overlaid with area code 725. Ten-digit dialing is required for all calls, with exceptions for landline-based callers calling long distance within the county, for which "1" must be dialed first.[1]

text: Under current projections, the Las Vegas area will not need another area code until late 2044 at the earliest.[2] Despite Las Vegas' continued growth, 702/725 is nowhere near exhaustion.


document_title: Illegal dumping

question_text: where does the term fly tipping come from

text: Illegal dumping

text: Terminology[edit]

text: Illegal dumping is typically distinguished from littering by the type and amount of material and/or the manner in which it is discarded. An example of littering could be throwing a cigarette on the ground. However, emptying a rubbish bin with no permission in a public or private area can be classified as illegal dumping.

text: The term fly tipping is derived from the verb tip, meaning "to throw out of a vehicle", and on the fly, meaning "on the wing" – to throw away carelessly or casually.[6]

text: United Kingdom[edit]

text: Garbage disposal in the UK is heavily regulated, with most households being allowed to only dispose of one 0.2 cubic metres bin of recyclable waste and one similar bin of non recyclable waste every week. Any additional garbage (for example: old furniture and mattresses) must be taken to the landfill by the house owner at their own expense. This has led to many people simply leaving their garbage in open public spaces or untended public gardens. This is also called fly tipping.[7]

text: Taxes on landfill in the UK have led to illegal waste dumping. Materials illegally disposed of can range from green waste and domestic items to abandoned cars and construction waste, much of which may be hazardous or toxic.

text: As the cost of disposing of household rubbish and waste increases, so does the number of individuals and businesses that fly-tip, and the UK government has made it easier for members of the public to report fly-tipping.[8] The fine or punishment is normally defined by the local council that operates in the local area in which the rubbish was dumped. According to the BBC, fly-tipping costs councils in England and Wales more than £50m annually (2016).[9]

text: Open dumping[edit]

text: Open dumps are locations where illegally dumped, abandoned piles of waste and debris are left in noticeable quantities. Fines are a common punishment for a person caught dumping at an open dump. Open dumps are commonly found in forests, backyards and abandoned buildings. Open dumps are sometimes removed shortly after they are created, but most will persist for an indefinite period of time when the site is situated in the wilderness or in public space without adequate public services.

text: ... a multi-family dumpsite of any size or content. Open dumping is illegal under the Resource Conservation and Recovery Act (RCRA). The hazards of open dumping can include the release of toxics and heavy metals to the air and water; the increased presence of disease vectors such as rodents and insects; and physical hazards such as hypodermic needles, poisonous gases, and/or piercing objects.


document_title: English Renaissance theatre

question_text: where were the first professional theatres built in london during the elizabethan period

text: English Renaissance theatre

text: Background[edit]

text: English Renaissance theatre encompasses the period between 1562 (performance at the Inner Temple during the Christmas season of 1561 of Gorboduc, the first English play using blank verse) and 1642 (ban on theatrical plays enacted by the English Parliament).

text: The phrase Elizabethan theatre is used at times improperly to mean English Renaissance theatre although in a strict sense "Elizabethan" only refers to the period of Queen Elizabeth's reign, which ended with her death in 1603. Strictly speaking, English Renaissance theatre may be said to encompass Elizabethan theatre from 1562 to 1603, Jacobean theatre from 1603 to 1625 and Caroline theatre from 1625 to 1642.

text: Along with the economics of the profession, the character of the drama changed towards the end of the period. Under Elizabeth, the drama was a unified expression as far as social class was concerned: the Court watched the same plays the commoners saw in the public playhouses. With the development of the private theatres, drama became more oriented towards the tastes and values of an upper-class audience. By the later part of the reign of Charles I, few new plays were being written for the public theatres, which sustained themselves on the accumulated works of the previous decades.[1]

text: Theatrical life and the establishment of permanent theatres[edit]

text: Theatrical life was largely centred just outside London, as the theatre was banned inside the city itself, but plays were performed by touring companies all over England.[2]

text: English companies even toured and performed English plays abroad, e.g. in Germany and in Denmark.[3]

text: The period starts before the establishment of the first permanent theatres. Initially two types of location were used for performing plays, the courtyards of inns and the Inns of Court such as the Inner Temple. These venues continued to be used even after permanent theatres were established.

text: The first permanent English theatre, the Red Lion opened in 1567[4] but it was a short-lived failure. The first successful theatres, such as The Theatre, opened in 1576.

text: The establishment of large and profitable public theatres was an essential enabling factor in the success of English Renaissance drama. Once they were in operation, drama could become a fixed and permanent rather than a transitory phenomenon. Their construction was prompted when the Mayor and Corporation of London first banned plays in 1572 as a measure against the plague, and then formally expelled all players from the city in 1575.[5] This prompted the construction of permanent playhouses outside the jurisdiction of London, in the liberties of Halliwell/Holywell in Shoreditch and later the Clink, and at Newington Butts near the established entertainment district of St. George's Fields in rural Surrey.[5] The Theatre was constructed in Shoreditch in 1576 by James Burbage with his brother-in-law John Brayne (the owner of the unsuccessful Red Lion playhouse of 1567)[6] and the Newington Butts playhouse was set up, probably by Jerome Savage, some time between 1575[7] and 1577.[8] The Theatre was rapidly followed by the nearby Curtain Theatre (1577), the Rose (1587), the Swan (1595), the Globe (1599), the Fortune (1600), and the Red Bull (1604).[9]

text: Archaeological excavations on the foundations of the Rose and the Globe in the late 20th century showed that all the London theatres had individual differences; yet their common function necessitated a similar general plan.[10] The public theatres were three stories high, and built around an open space at the centre. Usually polygonal in plan to give an overall rounded effect (though the Red Bull and the first Fortune were square), the three levels of inward-facing galleries overlooked the open centre, into which jutted the stage—essentially a platform surrounded on three sides by the audience, only the rear being restricted for the entrances and exits of the actors and seating for the musicians. The upper level behind the stage could be used as a balcony, as in Romeo and Juliet or Antony and Cleopatra, or as a position from which an actor could harangue a crowd, as in Julius Caesar.[citation needed]

text: The playhouses were generally built with timber and plaster, and were three stories high. Individual theatre descriptions give additional information to their construction, such as flint stones being used to build the Swan. Theatres were also constructed to be able to hold large numbers of people.[11]

text: A different model was developed with the Blackfriars Theatre, which came into regular use on a long-term basis in 1599.[12] The Blackfriars was small in comparison to the earlier theatres and roofed rather than open to the sky; it resembled a modern theatre in ways that its predecessors did not. Other small enclosed theatres followed, notably the Whitefriars (1608) and the Cockpit (1617). With the building of the Salisbury Court Theatre in 1629 near the site of the defunct Whitefriars, the London audience had six theatres to choose from: three surviving large open-air "public" theatres, the Globe, the Fortune, and the Red Bull, and three smaller enclosed "private" theatres, the Blackfriars, the Cockpit, and the Salisbury Court.[13] Audiences of the 1630s benefited from a half-century of vigorous dramaturgical development; the plays of Marlowe and Shakespeare and their contemporaries were still being performed on a regular basis (mostly at the public theatres), while the newest works of the newest playwrights were abundant as well (mainly at the private theatres).[citation needed]

text: Around 1580, when both the Theatre and the Curtain were full on summer days, the total theatre capacity of London was about 5000 spectators. With the building of new theatre facilities and the formation of new companies, the capital's total theatre capacity exceeded 10,000 after 1610.[14]

text: Ticket prices in general varied during this time period. The cost of admission was based on where in the theatre a person wished to be situated, or based on what a person could afford. If people wanted a better view of the stage or to be more separate from the crowd, they would pay more for their entrance. Due to inflation that occurred during this time period, admission increased in some theatres from a penny to a sixpence or even higher.[15]

text: Performances[edit]

text: The acting companies functioned on a repertory system; unlike modern productions that can run for months or years on end, the troupes of this era rarely acted the same play two days in a row. Thomas Middleton's A Game at Chess ran for nine straight performances in August 1624 before it was closed by the authorities—but this was due to the political content of the play and was a unique, unprecedented, and unrepeatable phenomenon. Consider the 1592 season of Lord Strange's Men at the Rose Theatre as far more representative: between 19 Feb. and 23 June the company played six days a week, minus Good Friday and two other days. They performed 23 different plays, some only once, and their most popular play of the season, The First Part of Hieronimo, (based on Kyd's The Spanish Tragedy), 15 times. They never played the same play two days in a row, and rarely the same play twice in a week.[16] The workload on the actors, especially the leading performers, like Richard Burbage or Edward Alleyn, must have been tremendous.

text: One distinctive feature of the companies was that they included only males. Female parts were played by adolescent boy players in women's costume. Some companies were composed entirely of boy players playing all the roles: see Boy player#Children's companies, King's Revels Children, Children of Paul's, Children of the Chapel#The troupes of child actors.[17] Performances in the public theatres (such as the Globe) took place in the afternoon, with no artificial lighting, but when, in the course of a play, the light began to fade, candles were lit.[18] In the enclosed private theatres (such as the Blackfriars) artificial lighting was used throughout. Plays contained little to no scenery as the scenery was described by the actors through the course of the play.[19].

text: Costumes[edit]

text: Costumes were used to recognise characters. Colours symbolized class, and costumes were made to reflect that. For example, if a character was royalty, their costume included purple. The colours, as well as the different fabrics of the costumes allowed viewers to know the roles of each actor when they came on stage.[20] Even though the English Sumptuary Law of 1574, a law which clearly defined the color, style, and fabric of the clothing different social classes could wear, was in effect, a clause was built in that allowed actors to dress in clothes that were above their rank so long as they belonged to a licensed acting troupe.[21][22][23]

text: Playwrights[edit]

text: The growing population of London, the growing wealth of its people, and their fondness for spectacle produced a dramatic literature of remarkable variety, quality, and extent. Although most of the plays written for the Elizabethan stage have been lost, over 600 remain.

text: The people who wrote these plays were primarily self-made men from modest backgrounds.[24] Some of them were educated at either Oxford or Cambridge, but many were not. Although William Shakespeare and Ben Jonson were actors, the majority do not seem to have been performers, and no major author who came on to the scene after 1600 is known to have supplemented his income by acting. Their lives were subject to the same levels of danger and earlier mortality as all who lived during the early modern period--for example, Christopher Marlowe was killed in an apparent tavern brawl, while Ben Jonson killed an actor in a duel. Several probably were soldiers.

text: Playwrights were normally paid in increments during the writing process, and if their play was accepted, they would also receive the proceeds from one day's performance. However, they had no ownership of the plays they wrote. Once a play was sold to a company, the company owned it, and the playwright had no control over casting, performance, revision or publication.

text: The profession of dramatist was challenging and far from lucrative.[25] Entries in Philip Henslowe's Diary show that in the years around 1600 Henslowe paid as little as £6 or £7 per play. This was probably at the low end of the range, though even the best writers could not demand too much more. A playwright, working alone, could generally produce two plays a year at most; in the 1630s Richard Brome signed a contract with the Salisbury Court Theatre to supply three plays a year, but found himself unable to meet the workload. Shakespeare produced fewer than 40 solo plays in a career that spanned more than two decades; he was financially successful because he was an actor and, most importantly, a shareholder in the company for which he acted and in the theatres they used. Ben Jonson achieved success as a purveyor of Court masques, and was talented at playing the patronage game that was an important part of the social and economic life of the era. Those who were playwrights pure and simple fared far less well; the biographies of early figures like George Peele and Robert Greene, and later ones like Brome and Philip Massinger, are marked by financial uncertainty, struggle, and poverty.

text: Playwrights dealt with the natural limitation on their productivity by combining into teams of two, three, four, and even five to generate play texts; the majority of plays written in this era were collaborations, and the solo artists who generally eschewed collaborative efforts, like Jonson and Shakespeare, were the exceptions to the rule. Dividing the work, of course, meant dividing the income; but the arrangement seems to have functioned well enough to have made it worthwhile. (The truism that says, diversify your investments, may have worked for the Elizabethan play market as for the modern stock market.) Of the 70-plus known works in the canon of Thomas Dekker, roughly 50 are collaborations; in a single year, 1598, Dekker worked on 16 collaborations for impresario Philip Henslowe, and earned £30, or a little under 12 shillings per week—roughly twice as much as the average artisan's income of 1s. per day.[26] At the end of his career, Thomas Heywood would famously claim to have had "an entire hand, or at least a main finger" in the authorship of some 220 plays. A solo artist usually needed months to write a play (though Jonson is said to have done Volpone in five weeks); Henslowe's Diary indicates that a team of four or five writers could produce a play in as little as two weeks. Admittedly, though, the Diary also shows that teams of Henslowe's house dramatists—Anthony Munday, Robert Wilson, Richard Hathwaye, Henry Chettle, and the others, even including a young John Webster—could start a project, and accept advances on it, yet fail to produce anything stageworthy. (Modern understanding of collaboration in this era is biased by the fact that the failures have generally disappeared with barely a trace; for one exception to this rule, see: Sir Thomas More.).[27] Most playwrights, like Shakespeare for example, wrote in verse.

text: Timeline[edit]

text: English Renaissance Playwrights Timeline

text: Short yellow lines indicate 27 years — the average age these authors began their playwrighting careers.

text: Genres[edit]

text: Genres of the period included the history play, which depicted English or European history. Shakespeare's plays about the lives of kings, such as Richard III and Henry V, belong to this category, as do Christopher Marlowe's Edward II and George Peele's Famous Chronicle of King Edward the First. History plays dealt with more recent events, like A Larum for London which dramatizes the sack of Antwerp in 1576.

text: Tragedy was a very popular genre. Marlowe's tragedies were exceptionally successful, such as Dr. Faustus and The Jew of Malta. The audiences particularly liked revenge dramas, such as Thomas Kyd's The Spanish Tragedy. The four tragedies considered to be Shakespeare's greatest (Hamlet, Othello, King Lear, and Macbeth) were composed during this period, as well as many others (see Shakespearean tragedy).

text: Comedies were common, too. A subgenre developed in this period was the city comedy, which deals satirically with life in London after the fashion of Roman New Comedy. Examples are Thomas Dekker's The Shoemaker's Holiday and Thomas Middleton's A Chaste Maid in Cheapside.

text: Though marginalised, the older genres like pastoral (The Faithful Shepherdess, 1608), and even the morality play (Four Plays in One, ca. 1608-13) could exert influences. After about 1610, the new hybrid subgenre of the tragicomedy enjoyed an efflorescence, as did the masque throughout the reigns of the first two Stuart kings, James I and Charles I.

text: Printed texts[edit]

text: Only a minority of the plays of English Renaissance theatre were ever printed; of Heywood's 220 plays noted above, only about 20 were published in book form.[28] A little over 600 plays were published in the period as a whole, most commonly in individual quarto editions. (Larger collected editions, like those of Shakespeare's, Ben Jonson's, and Beaumont and Fletcher's plays, were a late and limited development.) Through much of the modern era, it was thought that play texts were popular items among Renaissance readers that provided healthy profits for the stationers who printed and sold them. By the turn of the 21st century, the climate of scholarly opinion shifted somewhat on this belief: some contemporary researchers argue that publishing plays was a risky and marginal business[29]—though this conclusion has been disputed by others.[30] Some of the most successful publishers of the English Renaissance, like William Ponsonby or Edward Blount, rarely published plays.

text: A small number of plays from the era survived not in printed texts but in manuscript form.[31]

text: End of English Renaissance theatre: ban on plays by the English Parliament[edit]

text: The rising Puritan movement was hostile toward theatre, as they felt that "entertainment" was sinful. Politically, playwrights and actors were clients of the monarchy and aristocracy, and most supported the Royalist cause. The Puritan faction, long powerful in London, gained control of the city early in the First English Civil War, and on 2 September 1642, the Parliament, pushed by the Parliamentarian party, under Puritan influence, banned the staging of plays in the London theatres[32] though it did not, contrary to what is commonly stated, order the closure, let alone the destruction, of the theatres themselves:

text: The text of the act is as follows: Whereas the distressed Estate of Ireland, steeped in her own Blood, and the distracted Estate of England, threatened with a Cloud of Blood by a Civil War, call for all possible Means to appease and avert the Wrath of God, appearing in these Judgements; among which, Fasting and Prayer, having been often tried to be very effectual, having been lately and are still enjoined; and whereas Public Sports do not well agree with Public Calamities, nor Public Stage-plays with the Seasons of Humiliation, this being an Exercise of sad and pious Solemnity, and the other being Spectacles of Pleasure, too commonly expressing lascivious Mirth and Levity: It is therefore thought fit, and Ordained, by the Lords and Commons in this Parliament assembled, That, while these sad causes and set Times of Humiliation do continue, Public Stage Plays shall cease, and be forborn, instead of which are recommended to the People of this Land the profitable and seasonable considerations of Repentance, Reconciliation, and Peace with God, which probably may produce outward Peace and Prosperity, and bring again Times of Joy and Gladness to these Nations.[33]

text: Note that the Act purports the ban to be temporary ("...while these sad causes and set Times of Humiliation do continue, Public Stage Plays shall cease and be forborn") but does not assign a time limit to it.

text: After 1642, during the English Civil War and the ensuing Interregnum (English Commonwealth), even after the Puritan mandated banning of the performance of plays, theatrical activity which continued English Renaissance theatre could be seen to some extent, e.g. in the form of short comical plays called Drolls that were allowed by the authorities, while proper full-length plays were banned. The theatres were not closed. The buildings were used for purposes other than staging plays.[34]

text: The performance of plays remained banned for most of the next eighteen years, becoming allowed again after the Restoration of the monarchy in 1660. The theatres started again performing many of the plays of the previous era, though often in adapted forms; new genres of Restoration comedy and spectacle soon evolved, giving English theatre of the later seventeenth century its distinctive character.

text: List of playwrights and actors[edit]

text:
William Alabaster
William Alley
Robert Armin
Thomas Ashton
William Barksted
Barnabe Barnes
Lording Barry
Francis Beaumont
Sir William Berkeley
Samuel Brandon
Richard Brome
Lodowick Carlell
William Cartwright
William Cavendish
Robert Chamberlain
George Chapman
Henry Chettle
John Clavell
Robert Daborne
Samuel Daniel
William Davenant
Robert Davenport
John Day
Edward de Vere
Thomas Dekker
Michael Drayton
Richard Edwardes
Nathan Field
John Fletcher
John Ford
Abraham Fraunce
Ulpian Fulwell
William Gager
George Gascoigne
Henry Glapthorne
Thomas Goffe
Arthur Golding
Alexander Gough
Robert Greene
Thomas Greene
Richard Gunnell
Stephen Hammerton
Charles Hart
Richard Hathwaye
William Haughton
John Heminges
Thomas Heywood
John Honyman
Thomas Hughes
Ben Jonson
Will Kempe
Henry Killigrew
Thomas Killigrew
Thomas Kyd
Thomas Legge
Thomas Lodge
John Lowin
Thomas Lupton
John Lyly
Gervase Markham
Christopher Marlowe
Shackerley Marmion
John Marston
Philip Massinger
Thomas May
Thomas Middleton
Anthony Munday
Thomas Nabbes
Thomas Nashe
Thomas Norton
William Ostler
George Peele
Andrew Pennycuicke
William Percy
Augustine Phillips
John Pickering
Thomas Pollard
Henry Porter
Thomas Preston
William Rankins
Timothy Read
Samuel Rowley
William Rowley
Joseph Rutter
Thomas Sackville
William Sampson
William Shakespeare
Edward Sharpham
James Shirley
Mary Sidney
Philip Sidney
Wentworth Smith
Sir John Suckling
Robert Tailor
Thomas Tomkis
Cyril Tourneur
John Webster
George Whetstone
George Wilkins
Arthur Wilson
Robert Wilson

text: Playhouses[edit]

text:
Blackfriars Theatre
Cockpit Theatre
Cockpit-in-Court
Inn-yard theatres
Newington Butts
Red Bull Theatre
Red Lion (theatre)
Salisbury Court Theatre
The Curtain
The Fortune
The Globe
The Hope
The Phoenix
The Rose
The Swan
The Theatre
Whitefriars Theatre

text: Playing companies[edit]

text:
King's Revels Children
King's Revels Men
Lady Elizabeth's Men
Leicester's Men
Lord Strange's Men (later Derby's Men)
Oxford's Boys
Oxford's Men
Pembroke's Men
Prince Charles's Men
Queen Anne's Men
Queen Elizabeth's Men
Queen Henrietta's Men
The Admiral's Men
The Children of Paul's
The Children of the Chapel (Queen's Revels)
The King's Men
The Lord Chamberlain's Men
Sussex's Men
Warwick's Men
Worcester's Men

text: English Renaissance playing company timeline

text: This timeline charts the existence of major English playing companies from 1572 ("Acte for the punishment of Vacabondes", which legally restricted acting to players with a patron of sufficient degree) to 1642 (the closing of the theatres by Parliament). A variety of strolling players, and even early London-based troupes existed before 1572. The situations were often fluid, and much of this history is obscure; this timeline necessarily implies more precision than exists in some cases. The labels down the left indicate the most common names for the companies. The bar segments indicate the specific patron. In the case of children's companies (a distinct legal situation) some founders are noted.

text: Significant others[edit]

text:
Susan Baskervile, investor and litigant
William Beeston, manager
George Buc, Master of the Revels 1609–1622
Cuthbert Burbage, entrepreneur
James Burbage, entrepreneur
Ralph Crane, scribe
Philip Henslowe, entrepreneur
Henry Herbert, Master of the Revels 1623–1673
Edward Knight, prompter
Francis Langley, entrepreneur
John Rhodes, manager
Edmund Tilney, Master of the Revels 1579–1609


document_title: Grace and Frankie

question_text: who played coyotes mom on grace and frankie

text: Grace and Frankie

text: Premise[edit]

text: The series follows Grace, a retired cosmetics mogul, and Frankie, a hippie art teacher, whose husbands, Robert and Sol, are successful divorce lawyers in San Diego. Grace and Frankie's lives are turned upside down when Robert and Sol announce that they are in love with each other and are leaving their wives. Now, the women, who have never particularly liked each other, are forced to live together and learn to unite and cope with difficulties.

text: Cast[edit]

text: Main[edit]

text:
Jane Fonda as Grace Hanson, a retired cosmetics mogul
Lily Tomlin as Frances "Frankie" Bergstein (née Mengela), a hippie art teacher
Martin Sheen as Robert Hanson, a successful divorce lawyer and Grace's former husband who later becomes Sol's husband
Sam Waterston as Sol Bergstein, a successful divorce lawyer and Frankie's former husband who later becomes Robert's husband
June Diane Raphael as Brianna Hanson, older daughter of Grace and Robert, head of the company founded and once run by Grace
Baron Vaughn as Nwabudike "Bud" Bergstein, son of Frankie and Sol, and also a lawyer at Robert & Sol's firm
Brooklyn Decker as Mallory Hanson, younger daughter of Grace and Robert, a wife and mother of four children
Ethan Embry as Coyote Bergstein, son of Frankie and Sol, a substitute teacher and recovering addict

text: Recurring[edit]

text:
Actor
Character
Season

1
2
3
4

Ernie Hudson
Jacob
Recurring

Brittany Ishibashi
Erica
Guest
Recurring

Guest

Geoff Stults
Mitch
Recurring

Guest

Tim Bagley
Peter
Recurring
Guest
Recurring

Peter Cambor
Barry
Recurring
Guest
Recurring

Craig T. Nelson
Guy
Recurring

Michael Charles Roman
Adam
Guest
Recurring
Guest
Recurring

Marsha Mason
Arlene

Guest
Recurring

Swoosie Kurtz
Janet

Guest

Guest

Lindsey Kraft
Allison Giampietro-Smikowitz

Recurring

Megan Ferguson
Nadia

Guest
Recurring

Peter Gallagher
Nick Skolka

Recurring

Jack Plotnick
Paul

Recurring

Lisa Kudrow
Sheree

Recurring

Talia Shire
Teddie

Recurring

Sam Elliott
Phil Milstein

Recurring

Mark Deklin
Roy

Recurring

Carrie Preston
Krystle

Guest

text: Episodes[edit]

text:
Season
Episodes
Originally released

1
13
May 8, 2015 (2015-05-08)

2
13
May 6, 2016 (2016-05-06)

3
13
March 24, 2017 (2017-03-24)

4
13
January 19, 2018 (2018-01-19)

text: Production and development[edit]

text: In March 2014, Netflix finalized a deal for a 13-episode straight-to-series order for Grace and Frankie, with Jane Fonda and Lily Tomlin attached to star in the lead roles. The series was written and created by Marta Kauffman and Howard J. Morris, who also serve as executive producers alongside Fonda, Tomlin, Paula Weinstein and Tate Taylor, and Skydance Productions' Dana Goldberg, David Ellison and Marcy Ross.[2]

text: On May 26, 2015, Netflix renewed the series for a second season[3] which premiered on May 6, 2016.[4]

text: On December 10, 2016, the series was renewed for a third season[5] which premiered on March 24, 2017.[6]

text: On April 12, 2017, the series was renewed for a fourth season, which premiered on January 19, 2018.[7][8]

text: On February 15, 2018, the series was renewed for a fifth season, with RuPaul announced to guest star as a rival of Grace & Frankie.[1]

text: Casting[edit]

text: Casting announcements began in June 2014, with Martin Sheen cast in the role of Robert, Grace's husband.[9] The following month, Sam Waterston was cast in the role of Sol, Frankie's husband.[10] June Diane Raphael and Baron Vaughn were then added to the cast, with Raphael cast in the role of Brianna, Grace and Robert's elder daughter, who rebels against Grace's decorum. Vaughn signed onto the role of Nwabudike, Frankie and Sol's son.[11] Shortly afterwards, Ethan Embry and Brooklyn Decker were cast in the remaining roles on the series. Embry joined in the role of Coyote, Frankie and Sol's recovering drug addicted son, while Decker signed onto the role of Mallory, Grace and Robert's younger daughter.[12] In October 2015, it was announced Sam Elliott would appear in the second season as Grace's love interest.[13] In April 2017, it was reported that Lisa Kudrow will appear in the fourth season as Sheree, Grace's manicurist.[7] In February 2018, the same day as the fifth season was commissioned, RuPaul was confirmed to appear in the fifth season as a rival of Grace and Frankie.[1]

text: Filming[edit]

text: Production on season one of Grace and Frankie began in Los Angeles, California, in early August 2014, and ended in late November.[14] Production on season two of the series began in July 2015, and ended in November the same year.[15][16]

text: Reception[edit]

text: The first season of Grace and Frankie received mixed reviews from critics. On Rotten Tomatoes it has a rating of 50%, based on 32 reviews, with an average rating of 6.2/10. The site's critical consensus reads, "Grace and Frankie's stellar cast adds an undeniable appeal, although its sloppy dialogue and clichéd sitcom setup will still leave most viewers wanting."[17] On Metacritic the season has a score of 58 out of 100, based on 27 critics, indicating "mixed or average reviews".[18]

text: The second season received a more positive reception from critics. On Rotten Tomatoes, it has a rating of 89%, based on 9 reviews, with an average rating of 7.2/10.[19] On Metacritic, the season has a score of 62 out of 100, based on 6 critics, indicating "generally favourable reviews".[20] Jasef Wisener of TVOvermind gave the second season a 4.5/5, calling it "heartfelt and hilarious" and "a huge improvement over the sometimes sluggish first season." [21]

text: The third season received critical acclaim. On Rotten Tomatoes, it has a rating of 100%, based on 5 reviews, with an average rating of 7.5/10.[22]

text: Accolades[edit]

text:
Year
Award
Category
Nominee(s)
Result
Ref.

2015

67th Primetime Emmy Awards
Outstanding Lead Actress in a Comedy Series
Lily Tomlin
Nominated

[23]

20th Satellite Awards
Best Actress in a Musical or Comedy Series
Lily Tomlin
Nominated

[24]

73rd Golden Globe Awards
Best Actress – Television Series Musical or Comedy
Lily Tomlin
Nominated

[25]

Dorian Awards
TV Comedy of the Year

Nominated

[26]

TV Performance of the Year – Actress
Jane Fonda
Nominated

TV Performance of the Year – Actress
Lily Tomlin
Nominated

LBGTQ TV Show of the Year

Nominated

27th GLAAD Media Awards
Outstanding Comedy Series

Nominated

[27]

19th OFTA Awards
Best Comedy Series

Nominated

[28]

Best Actress in a Comedy Series
Jane Fonda
Won

Best Actress in a Comedy Series
Lily Tomlin
Nominated

Best Supporting Actor in a Comedy Series
Sam Waterston
Nominated

Best Ensemble in a Comedy Series

Nominated

Best Direction in a Comedy Series

Nominated

Best Writing in a Comedy Series

Nominated

2016

68th Primetime Emmy Awards
Outstanding Lead Actress in a Comedy Series
Lily Tomlin
Nominated

[29]
[30]

Outstanding Costumes for a Contemporary Series, Limited Series, or Movie
Allyson Fanger, Lori DeLapp
Nominated

23rd Screen Actors Guild Awards
Outstanding Performance by a Female Actor in a Comedy Series
Jane Fonda
Nominated

[31]

Outstanding Performance by a Female Actor in a Comedy Series
Lily Tomlin
Nominated

Costume Designers Guild Awards
Outstanding Contemporary Television Series
Allyson B. Fanger
Nominated

[32]

28th GLAAD Media Awards
Outstanding Comedy Series

Nominated

[33]

Artios Awards
Outstanding Achievement in Casting - Television Pilot - Comedy
Tracy Lilienfield, Emily Towler
Nominated

[34]

20th OFTA Awards
Best Actress in a Comedy Series
Jane Fonda
Nominated

[35]

Best Actress in a Comedy Series
Lily Tomlin
Nominated

Best Ensemble in a Comedy Series

Nominated

2017

69th Primetime Emmy Awards
Outstanding Lead Actress in a Comedy Series
Jane Fonda
Nominated

[36]

Outstanding Lead Actress in a Comedy Series
Lily Tomlin
Nominated

Outstanding Costumes for a Contemporary Series, Limited Series, or Movie

Designers[show]

Allyson B. Fanger, Heather Pain, Lori DeLapp

Nominated

Outstanding Production Design for a Narrative Program (Half-Hour or Less)

Designers[show]

Devorah Herbert, Ben Edelberg, Christopher Carlson

Nominated

2018

24th Screen Actors Guild Awards
Outstanding Performance by a Female Actor in a Comedy Series
Jane Fonda
Nominated

[31]

Outstanding Performance by a Female Actor in a Comedy Series
Lily Tomlin
Nominated

text: Controversy[edit]

text: After the show's release, Tomlin and Fonda expressed displeasure once it became public that their salaries were just equal to those of Sheen and Waterston, even though "the show is not 'Sol and Robert', it's 'Grace and Frankie,'" in the words of Lily Tomlin,[37] and contended this constituted a significant pay inequity. Shortly thereafter, Sheen and Waterston went on the record to support their co-stars' demands for a salary increase, with Waterston being quoted as saying: "I think they're being cheated".[38] After fans of the show gathered nearly 200,000 signatures on a petition protesting the disparity, the two actresses issued a public statement backing away from criticism, saying: "This just reminds us to be mindful of how things come across in interviews. We appreciate everyone's support and the attention to this issue, but the structure of Grace and Frankie is fair, and we couldn't be happier to work with Skydance, Netflix and the great cast of this show."[39] Fonda and Tomlin made a statement to The Wrap that they were never unhappy with the salaries to start with and that they had "made a joke in an interview about our salaries, which was taken out of context."[39]


document_title: Season structure of the NHL

question_text: how many games are in a series in hockey

text: Season structure of the NHL

text: Regular season[edit]

text: Since the 1995–96 season, each team in the NHL plays 82 regular season games, 41 each of home and road. In all, 1,271 games are scheduled (480 of them inter-conference).

text: Since the 2017–2018 season, the NHL regular season formula was adjusted to account for the new conference alignments. Each team plays either four or five games against the other teams in its division (a total of 26 or 29 games in the Western Conference, 28 games in the Eastern Conference) as well as playing all non-divisional teams in their own conference thrice (21 or 24 games in the west, 24 games in the east). The remaining games of the season are inter-conference play (32 in the west, 30 in the east), allowing every team in the league to play every other team twice. One Western Conference exception is that one team from each division plays one less game inside Division and one more game inside Conference but outside their Division. Teams rotate every season. The schedule is structured so that every NHL team plays in every arena at least once per season. The San Jose Sharks and Colorado Avalanche played each other 4 times in 2013–14 and 2015–16, but only twice in 2014–15 and 2016–17 in favour of 5 games against all their divisional opponents.

text: The NHL All-Star Game and its accompanying festivities occur near the midpoint of the season, during which no regular season games take place. Every four years, from 1998 onwards (except for 2018), in lieu of an All-Star break, there is usually a break for the Olympic Winter Games.

text: The league also schedules a three-day Christmas break when no regular season games are played on either Christmas Eve and Christmas Day. Games are not played on December 26 unless it falls on a Saturday, of which no games would be played on December 23. The NHL also has a holiday roster freeze between December 18 and 27, in which in most cases, players cannot be traded, waived, or sent to the minor leagues.[1]

text: Two points are awarded for a win (including in overtime or shootout), one point for a loss in overtime or shootout, and no points for a loss in regulation time. If, however, a team pulls their goaltender for an extra attacker during overtime and gives up an empty net goal, the point normally awarded for losing in overtime is forfeited.[2] Pulling a goaltender in overtime was occasionally attempted in certain situations prior to the 2004–05 NHL lockout near the end of a season if earning a single point in overtime would have been worthless for playoff qualification purposes, but with the introduction of the shootout it has not been attempted since.

text:
Western Conference
Eastern Conference

Pacific Division
Central Division
Atlantic Division
Metropolitan Division

Anaheim Ducks
Chicago Blackhawks
Boston Bruins
Carolina Hurricanes

Arizona Coyotes
Colorado Avalanche
Buffalo Sabres
Columbus Blue Jackets

Calgary Flames
Dallas Stars
Detroit Red Wings
New Jersey Devils

Edmonton Oilers
Minnesota Wild
Florida Panthers
New York Islanders

Los Angeles Kings
Nashville Predators
Montreal Canadiens
New York Rangers

San Jose Sharks
St. Louis Blues
Ottawa Senators
Philadelphia Flyers

Vancouver Canucks
Winnipeg Jets
Tampa Bay Lightning
Pittsburgh Penguins

Vegas Golden Knights

Toronto Maple Leafs
Washington Capitals

text:
Eastern Conference

Division
Schedule
Total Games

Within Division
4 games × 7 opponents
28

Within Conference, Non-divisional
3 games × 8 opponents
24

Inter-conference
2 games × 15 opponents
30

text:
Central Division

Division
Schedule
Total Games

Within Division
4 games × 4 opponents + 5 games × 2 opponents
26

Within Conference, Non-divisional
3 games × 8 opponents
24

Inter-conference
2 games × 16 opponents
32

text:
Pacific Division

Division
Schedule
Total Games

Within Division
4 games × 6 opponents + 5 games × 1 opponent
29

Within Conference, Non-divisional
3 games × 7 opponents
21

Inter-conference
2 games × 16 opponents
32

text: Stanley Cup playoffs[edit]

text: At the end of the regular season, 16 teams qualify for the Stanley Cup playoffs, an elimination tournament consisting of three rounds of best-of-seven series to determine which team from each conference will advance to the final round, dubbed the Stanley Cup Final. The top three teams in each division earn automatic berths (6 teams per conference) and the next two teams in the conference earn wild-card spots. The First Round pits the top ranked team in the conference against the lower ranked wild-card and the other division winner against the higher ranked wild-card. The second and third place teams in each division play each other. The top ranked team in a division, along with its wild card opponent and the second and third ranked teams of the same division comprise a group or bracket during the First Round, and the two winners will meet in the Second Round. The Western Conference (Pacific vs. Central divisional bracket champions) and Eastern Conference (Atlantic vs. Metropolitan divisional bracket champions) Finals will determine who faces off in the Stanley Cup Finals.[3]

text: Any ties in the standings are broken using the following protocols:

text:
The fewer number of games played (only used during the season, as all teams will have played 82 games once the season is over).
The greater number of games won. Since the 2010–11 NHL season, shootout wins are excluded from the tie-breaking procedure, and is reflected by the ROW statistic (regulation/overtime wins).
The greater number of points earned in games between the tied clubs.

If two clubs are tied, and have not played an equal number of home games against each other, the points earned and available in the first game played in the city of the club that had the greater number of home games in games between the two are not included.
If more than two clubs are tied, the higher percentage of available points earned in games among those clubs, and not including any "odd" games, are used to determine the standing. The "odd" games are identical to those mentioned in the previous paragraph, that is, the first game in the city of the club that has had more home games in games between each club in the tie. Note that, because of this procedure, if two teams in the multi team tie (also applicable in a two team tie) have only played once against each other, the points earned in that game are not included.

The greater differential between goals for and goals against during the entire regular season.
If two clubs are still tied on non-shootout wins, points earned between the tied clubs and regular season goal differential, a one-game playoff is played under Stanley Cup playoff rules.[4]

tag: ol

text: For example, on Saturday December 2, during the 2017-2018 season, the Chicago Blackhawks earned a point and the Minnesota Wild gained two in their respective games that evening, and thus became tied at 29 points with the Calgary Flames. None of these at the time were in the top three ranks of their divisions, so although the Flames were from the Pacific division and the others from the Central, they were ranked together among the other wild card teams in the Western Conference, occupying the third through fifth seeds for the wild card spots. These three, apart from having equal points, had at the time played the same number of games, 26, and had the same number of ROWs,12. The Blackhawks had played twice thus far in the season against the Wild, the first being a home game loss in regulation time, and the other being a road game win also in regulation time, but no games against the Flames. The Wild, however, had played once in Calgary against the Flames, not long after their first win against the Blackhawks on the road. Since that was the Flames' one and only game with the Wild, which therefore was a surplus of home games for the Flames in games against the Wild at the time, it was not included in the available points percentage used to determine their ranking at the time, and because they had not yet played the Blackhawks, they were therefore considered to have 0% of points available against the clubs in the tie. The points earned and available in that game by the Wild against the Flames were also not considered for their available points percentage either, but because they had played an even number of home and road games against the Blackhawks, points from both of those games were considered, and having obtained 2 out of the 4 available, they were therefore reckoned to have 50% of available points against teams in the draw. The Blackhawks likewise, having no games against the Flames were considered to have the same 50% point percentage of available points in games between the clubs in that tie. As a result, the Flames were ranked the lowest among those three clubs, and given the fifth rank among the wild card teams, while the other two, still being tied at points percentage, were compared by their goal differentials, the Blackhawks having +11 and the Wild +1, thus the Chicago club was ranked third and the Wild fourth.

text: For the first two rounds, the higher-seeded team has home-ice advantage (regardless of point record). Thereafter, it goes to whoever has the better regular season record (no matter the seeding). The team with home-ice advantage hosts Games 1, 2, 5 and 7, while the opponent hosts Games 3, 4 and 6 (Games 5–7 are played "if necessary").


document_title: Harry Potter and the Philosopher's Stone (film)

question_text: where is harry potter and the philosopher's stone filmed

question_tokens: where is harry potter and the philosopher 's stone filmed

text: Plot[edit]

text: Albus Dumbledore, Minerva McGonagall, and Rubeus Hagrid, professors of Hogwarts School of Witchcraft and Wizardry, deliver an orphaned infant named Harry Potter to his only remaining relatives, the Dursleys. Ten years later, while living with the Dursleys, Harry inadvertently causes an accident on a family outing and begins receiving unsolicited letters by owl. Finally, Hagrid re-appears and informs Harry that he is actually a wizard and has been accepted into Hogwarts School of Witchcraft and Wizardry. He also tells Harry of the latter's past; Harry is the orphaned son of two wizards who met their demise at the hands of Lord Voldemort, an evil, all-powerful wizard, by a Killing Curse, with Harry being the only survivor of the curse thus, leading to his fame in the wizarding world as "The Boy Who Lived". Hagrid takes Harry to Diagon Alley to buy school supplies, then takes him to King's Cross station to board a train to the school.

text: While on the train, Harry meets Ron Weasley and Hermione Granger. He also encounters Draco Malfoy, a spoiled child from a wealthy wizarding family who eventually becomes Harry's biggest rival. At the school, the students assemble in the great hall, where Harry and all the other first-year students are sorted between four houses: Gryffindor, Hufflepuff, Ravenclaw, and Slytherin. The Sorting Hat debates at length which house to sort Harry into. Harry begs not to be placed into Slytherin, due to its reputation for dark wizards, and is eventually placed into Gryffindor along with Ron and Hermione.

text: At Hogwarts, Harry begins learning wizardry and discovers more about his past and his parents. Harry is also recruited for Gryffindor's Quidditch team as a Seeker, which is rare for first-year students. While exploring the school one night, Harry and his friends discover a giant three-headed dog named Fluffy in a restricted area of the school. They later find out Fluffy is guarding the Philosopher's Stone, an item that can be used to grant its owner immortality. Harry suspects that his potions teacher Severus Snape is trying to obtain the stone in order to return Voldemort to a human form. The children learn from Hagrid that Fluffy will fall asleep if played music. Harry, Ron, and Hermione decide to try and find the stone before Snape does, but discover someone has already put Fluffy to sleep. They get past Fluffy and face a series of safeguards which include surviving a deadly plant known as Devil's Snare, a room filled with aggressive flying keys, and a dangerous life-sized game of chess.

text: After getting past the tasks, Harry realises that it was Defence Against the Dark Arts teacher Professor Quirrell who was trying to claim the stone and that Snape was protecting him (Harry) all along. Quirrell removes his turban and reveals a weak Voldemort to be living on the back of his head. Through an enchantment placed by Professor Dumbledore, Harry finds himself in possession of the stone. Voldemort attempts to convince Harry to give him the stone by promising to bring his parents back from the dead. When Harry refuses, Quirrell tries to kill Harry to take the stone, but Harry's touch turns Quirrell into dust, killing him. When Harry gets back up, Voldemort's enraged spirit rises from Quirrell's ashes and passes through Harry, rendering him unconscious.

text: Harry wakes up in the school's hospital wing with Dumbledore at his side. Dumbledore explains that the stone has been destroyed and that Ron and Hermione are both fine. The headmaster reveals that Harry was able to defeat Quirrell because when Harry's mother died to save him, her death gave Harry a love-based protection against Voldemort. Harry, Ron, and Hermione are rewarded with house points for their heroic performances, giving Gryffindor enough points to win the House Cup.

text: Cast[edit]

text: Rowling insisted that the cast be kept British.[5] Susie Figgis was appointed as casting director, working with both Columbus and Rowling in auditioning the lead roles of Harry, Ron and Hermione.[6] Open casting calls were held for the main three roles,[7] with only British children being considered.[8] The principal auditions took place in three parts, with those auditioning having to read a page from the novel, then to improvise a scene of the students' arrival at Hogwarts, and finally to read several pages from the script in front of Columbus.[8] Scenes from Columbus' script for the 1985 film Young Sherlock Holmes were also used in auditions.[9] On 11 July 2000, Figgis left the production, complaining that Columbus did not consider any of the thousands of children they had auditioned "worthy".[9] On 8 August 2000, the virtually unknown Daniel Radcliffe and newcomers Rupert Grint and Emma Watson were selected to play Harry Potter, Ron Weasley and Hermione Granger, respectively.[10]

text:
Daniel Radcliffe as Harry Potter, an 11-year-old British orphan raised by his unwelcoming aunt and uncle, who learns of his own fame as a wizard known to have survived his parents' murder at the hands of the psychopathic dark wizard Lord Voldemort as an infant when he is accepted to Hogwarts School of Witchcraft and Wizardry. Columbus had wanted Radcliffe for the role since he saw him in the BBC's production of David Copperfield, before the open casting sessions had taken place, but had been told by Figgis that Radcliffe's protective parents would not allow their son to take the part.[11] Columbus explained that his persistence in giving Radcliffe the role was responsible for Figgis' resignation.[11] Radcliffe was asked to audition in 2000, when Heyman and Kloves met him and his parents at a production of Stones in His Pockets in London.[12] Heyman and Columbus successfully managed to convince Radcliffe's parents that their son would be protected from media intrusion, and they agreed to let him play Harry.[11] Rowling approved of Radcliffe's casting, stating that "having seen [his] screen test I don't think Chris Columbus could have found a better Harry."[13] Radcliffe was reportedly paid £1 million for the film, although he felt the fee was "not that important".[14] William Moseley, who was later cast as Peter Pevensie in The Chronicles of Narnia series, also auditioned for the role.[15]
Rupert Grint as Ron Weasley, Harry's best friend at Hogwarts. He decided he would be perfect for the part "because [he has got] ginger hair," and was a fan of the series.[14] Having seen a Newsround report about the open casting he sent in a video of himself rapping about how he wished to receive the part. His attempt was successful as the casting team asked for a meeting with him.[14]
Emma Watson as Hermione Granger, Harry's other best friend and the trio's brains. Watson's Oxford theatre teacher passed her name on to the casting agents and she had to do over five interviews before she got the part.[16] Watson took her audition seriously, but "never really thought [she] had any chance of getting the role."[14] The producers were impressed by Watson's self-confidence and she outperformed the thousands of other girls who had applied.[17]
John Cleese as Nearly Headless Nick, the ghost of Hogwarts' Gryffindor House.
Robbie Coltrane as Rubeus Hagrid, a half-giant and Hogwarts' Groundskeeper. Coltrane was Rowling's first choice for the part.[18][19] Coltrane, who was already a fan of the books, prepared for the role by discussing Hagrid's past and future with Rowling.[11][20] According to Figgis, Robin Williams was interested in participating in the film, but was turned down for the Hagrid role because of the "strictly British and Irish only" rule which Columbus was determined to maintain.[18][21]
Warwick Davis as Filius Flitwick, the Charms Master and head of Hogwarts' Ravenclaw House.
Richard Griffiths as Vernon Dursley, Harry's Muggle (non-magical) uncle.
Richard Harris as Albus Dumbledore, Hogwarts' Headmaster and one of the most famous and powerful wizards of all time. Harris initially rejected the role, only to reverse his decision after his granddaughter stated she would never speak to him again if he did not take it.[22]
Ian Hart as Quirinus Quirrell, the slightly nervous Defence Against the Dark Arts teacher at Hogwarts, and also Lord Voldemort's voice. David Thewlis auditioned for the part; he would later be cast as Remus Lupin in Harry Potter and the Prisoner of Azkaban.[23]
John Hurt as Mr. Ollivander, the owner of Ollivanders, a highly regarded wandmaker.
Alan Rickman as Severus Snape, the Potions Master and head of Hogwarts' Slytherin House. Tim Roth was the original choice for the role, but he turned it down for Planet of the Apes.[24]
Fiona Shaw as Petunia Dursley, Harry's Muggle aunt.
Maggie Smith as Minerva McGonagall, the Deputy Headmistress, head of Gryffindor and transfiguration teacher at Hogwarts. Smith was Rowling's personal choice for the part.[19]
Julie Walters as Molly Weasley, Ron's caring mother. She shows Harry how to get to Platform  9 3⁄4. Before Walters was cast, American actress Rosie O'Donnell held talks with Columbus about playing Mrs. Weasley.[25]

text: Rik Mayall was cast in the role of Peeves, a poltergeist who likes to prank students in the novel. Mayall had to shout his lines off camera during takes,[26] but the scene ended up being cut from the film.[27] David Bradley portrays Argus Filch, the loathed caretaker of Hogwarts. Tom Felton portrays Draco Malfoy, the trio's enemy. Zoë Wanamaker portrays Madam Hooch, the flying teacher of Hogwarts. Sean Biggerstaff portrays Oliver Wood, captain of the Gryffindor Quidditch team. James and Oliver Phelps appear as Fred and George Weasley, Ron's older twin brothers. Chris Rankin portrays Percy Weasley, Ron's older Prefect brother. Bonnie Wright portrays Ron's younger sister, Ginny Weasley. Harry Melling plays Dudley Dursley, Harry's Muggle cousin. Matthew Lewis, Devon Murray and Alfred Enoch portray Neville Longbottom, Seamus Finnigan and Dean Thomas, respectively.

text: Production[edit]

text: Development[edit]

text: In 1997, producer David Heyman searched for a children's book that could be adapted into a well-received film.[11] He had planned to produce Diana Wynne Jones' novel The Ogre Downstairs, but his plans fell through. His staff at Heyday Films then suggested Harry Potter and the Philosopher's Stone, which his assistant believed was "a cool idea."[11] Heyman pitched the idea to Warner Bros.[11] and in 1999, Rowling sold the company the rights to the first four Harry Potter books for a reported £1 million (US$1,982,900).[28] A demand Rowling made was that the principal cast be kept strictly British, nonetheless allowing for the inclusion of Irish actors such as Richard Harris as Dumbledore, and for casting of French and Eastern European actors in Harry Potter and the Goblet of Fire where characters from the book are specified as such.[5] Rowling was hesitant to sell the rights because she "didn't want to give them control over the rest of the story" by selling the rights to the characters, which would have enabled Warner Bros. to make non-author-written sequels.[29]

text: Although Steven Spielberg initially negotiated to direct the film, he declined the offer.[30] Spielberg reportedly wanted the adaptation to be an animated film, with American actor Haley Joel Osment to provide Harry Potter's voice,[31] or a film that incorporated elements from subsequent books as well.[11] Spielberg contended that, in his opinion, it was like "shooting ducks in a barrel. It's just a slam dunk. It's just like withdrawing a billion dollars and putting it into your personal bank accounts. There's no challenge."[32] Rowling maintains that she had no role in choosing directors for the films and that "[a]nyone who thinks I could (or would) have 'veto-ed' [ sic ] him [Spielberg] needs their Quick-Quotes Quill serviced."[33] Heyman recalled that Spielberg decided to direct A.I. Artificial Intelligence instead.[11]

text: After Spielberg left, talks began with other directors, including: Chris Columbus, Terry Gilliam, Jonathan Demme, Mike Newell, Alan Parker, Wolfgang Petersen, Rob Reiner, Ivan Reitman, Tim Robbins, Brad Silberling, M. Night Shyamalan and Peter Weir.[11][27][34] Petersen and Reiner both pulled out of the running in March 2000,[35] and the choice was narrowed down to Silberling, Columbus, Parker and Gilliam.[36] Rowling's first choice director was Terry Gilliam,[37] but Warner Bros. chose Columbus, citing his work on other family films such as Home Alone and Mrs. Doubtfire as influences for their decision.[38] Columbus pitched his vision of the film for two hours, stating that he wanted the Muggle scenes "to be bleak and dreary" but those set in the wizarding world "to be steeped in color, mood, and detail." He took inspiration from David Lean's adaptations of Great Expectations (1946) and Oliver Twist (1948), wishing to use "that sort of darkness, that sort of edge, that quality to the cinematography," taking the colour designs from Oliver! and The Godfather.[11]

text:
"Harry Potter is the kind of timeless literary achievement that comes around once in a lifetime. Since the books have generated such a passionate following across the world, it was important to us to find a director that [sic] has an affinity for both children and magic. I can't think of anyone more ideally suited for this job than Chris."

— Lorenzo di Bonaventura[38]

text: Steve Kloves was selected to write the screenplay. He described adapting the book as "tough", as it did not "lend itself to adaptation as well as the next two books."[39] Kloves often received synopses of books proposed as film adaptations from Warner Bros., which he "almost never read",[11] but Harry Potter jumped out at him.[11] He went out and bought the book, and became an instant fan of the series.[39] When speaking to Warner Bros., he stated that the film had to be British, and had to be true to the characters.[39] Kloves was nervous when he first met Rowling as he did not want her to think he was going to "[destroy] her baby."[11] Rowling admitted that she "was really ready to hate this Steve Kloves," but recalled her initial meeting with him: "The first time I met him, he said to me, 'You know who my favourite character is?' And I thought, You're gonna say Ron. I know you're gonna say Ron. But he said 'Hermione.' And I just kind of melted."[11] Rowling received a large amount of creative control, an arrangement that Columbus did not mind.

text: Warner Bros. had initially planned to release the film over 4 July 2001 weekend, making for such a short production window that several proposed directors pulled themselves out of the running. Due to time constraints, the date was put back to 16 November 2001.[40]

text: Filming[edit]

text: Two British film industry officials requested that the film be shot in the United Kingdom, offering their assistance in securing filming locations, the use of Leavesden Film Studios, as well as changing the UK's child labour laws (adding a small number of working hours per week and making the timing of on-set classes more flexible).[11] Warner Bros. accepted their proposal. Filming began on 17 September 2000 at Leavesden Film Studios and concluded on 23 March 2001,[41] with final work being done in July.[27][42] Principal photography took place on 2 October 2000 at North Yorkshire's Goathland railway station.[43] Canterbury Cathedral and Scotland's Inverailort Castle were both touted as possible locations for Hogwarts; Canterbury rejected Warner Bros. proposal due to concerns about the film's "pagan" theme.[44][45] Alnwick Castle and Gloucester Cathedral were eventually selected as the principal locations for Hogwarts,[11] with some scenes also being filmed at Harrow School.[46] Other Hogwarts scenes were filmed in Durham Cathedral over a two-week period;[47] these included shots of the corridors and some classroom scenes.[48] Oxford University's Divinity School served as the Hogwarts Hospital Wing, and Duke Humfrey's Library, part of the Bodleian, was used as the Hogwarts Library.[49] Filming for Privet Drive took place on Picket Post Close in Bracknell, Berkshire.[47] Filming in the street took two days instead of the planned single day, so payments to the street's residents were correspondingly increased.[47] For all the subsequent film's scenes set in Privet Drive, filming took place on a constructed set in Leavesden Film Studios, which proved to have been cheaper than filming on location.[50] London's Australia House was selected as the location for Gringotts Wizarding Bank,[11] while Christ Church, Oxford was the location for the Hogwarts trophy room.[51] London Zoo was used as the location for the scene in which Harry accidentally sets a snake on Dudley,[51] with King's Cross Station also being used as the book specifies.[52]

text: Because the American title was different, all scenes that mention the philosopher's stone by name had to be re-shot, once with the actors saying "philosopher's" and once with "sorcerer's".[27] The children filmed for four hours and then did three hours of schoolwork. They developed a liking for fake facial injuries from the makeup staff. Radcliffe was initially meant to wear green contact lenses as his eyes are blue, and not green like Harry's, but the lenses gave Radcliffe extreme irritation. Upon consultation with Rowling, it was agreed that Harry could have blue eyes.[53]

text: Design and special effects[edit]

text: Judianna Makovsky designed the costumes. She re-designed the Quidditch robes, having initially planned to use those shown on the cover of the American book, but deemed them "a mess." Instead, she dressed the Quidditch players in "preppie sweaters, 19th century fencing breeches and arm guards."[54] Production designer Stuart Craig built the sets at Leavesden Studios, including Hogwarts Great Hall, basing it on many English cathedrals. Although originally asked to use an existing old street to film the Diagon Alley scenes, Craig decided to build his own set, comprising Tudor, Georgian and Queen Anne architecture.[54]

text: Columbus originally planned to use both animatronics and CGI animation to create the magical creatures, including Fluffy.[6] Nick Dudman, who worked on Star Wars: Episode I – The Phantom Menace, was given the task of creating the needed prosthetics, with Jim Henson's Creature Shop providing creature effects.[55] John Coppinger stated that the magical creatures that needed to be created had to be designed multiple times.[56] The film features nearly 600 special effects shots, involving numerous companies. Industrial Light & Magic created Lord Voldemort's face on the back of Quirrell, Rhythm & Hues animated Norbert (Hagrid's baby dragon); and Sony Pictures Imageworks produced the Quidditch scenes. [11]

text: Music[edit]

text: John Williams was selected to compose the score.[57] Williams composed the score at his homes in Los Angeles and Tanglewood before recording it in London in August 2001. One of the main themes is entitled "Hedwig's Theme"; Williams retained it for his finished score as "everyone seemed to like it" and therefore it was a recurring theme throughout the Harry Potter movies.[58]

text: Differences from the book[edit]

text: Columbus repeatedly checked with Rowling to make sure he was getting minor details correct.[55] Kloves described the film as being "really faithful" to the book. He added dialogue, of which Rowling approved. One of the lines originally included had to be removed after Rowling told him that it would directly contradict an event in the then-unreleased fifth Harry Potter novel Harry Potter and the Order of the Phoenix.[59]

text: Several minor characters have been removed from the film version, most prominent among them the spectral History of Magic teacher, Professor Binns, and Peeves the poltergeist. The book's first chapter is from the viewpoint of Vernon and Petunia Dursley the day before they are given Harry to look after, highlighting how non-magical people react to magic. The film removes this, beginning with Professor Dumbledore, Professor McGonagall and Hagrid leaving Harry with the Dursleys (although McGonagall tells Dumbledore how she had been watching the Dursleys all day). Harry's less than pleasant times at Mrs. Figg's are cut from the film while the boa constrictor from Brazil in the zoo becomes a Burmese Python in the film. Some conflicts, such as Harry and Draco's encounter with each other in Madam Malkin's robe shop and midnight duel, are not in the film. Some of Nicolas Flamel's role is changed or cut altogether. Norbert is mentioned to have been taken away by Dumbledore in the film; whilst the book sees Harry and Hermione have to take him by hand to Charlie Weasley's friends. Rowling described the scene as "the one part of the book that she felt [could easily] be changed".[54] As such, the reason for the detention in the Forbidden Forest was changed: In the novel, Harry and Hermione are put in detention for being caught by Filch when leaving the Astronomy Tower after hours, Neville and Malfoy are given detention when caught in the corridor by Professor McGonagall. In the film, Harry, Hermione and Ron receive detention after Malfoy catches them in Hagrid's hut after hours (Malfoy however, is given detention for being out of bed after hours). Firenze the centaur, who is described in the book as being palomino with light blonde hair, is shown to be dark in the film.[60] The Quidditch pitch is altered from a traditional stadium to an open field circled by spectator towers.[54]

text: Distribution[edit]

text: Marketing[edit]

text: The first teaser poster was released on 1 December 2000.[61] The first teaser trailer was released via satellite on 2 March 2001 and debuted in cinemas with the release of See Spot Run.[62] The soundtrack was released on 30 October 2001 in a CD format. A video game based on the film was released on 15 November 2001 by Electronic Arts for several consoles.[58] Another video game, for the GameCube, PlayStation 2, and Xbox was released in 2003.[63] Mattel won the rights to produce toys based on the film, to be sold exclusively through Warner Brothers' stores.[64] Hasbro also produced products, including confectionery items based on those from the series.[65] Warner Bros. signed a deal worth US$150 million with Coca-Cola to promote the film,[52] and Lego produced a series of sets based on buildings and scenes from the film, as well as a Lego Creator video game.[66]

text: Home media[edit]

text: Warner Bros. first released the film on VHS and DVD on 11 February 2002 in the E3 UK[67] 11 May 2002 in the UK[67] and 28 May 2002 in the US. The VHS and DVD (The Special Edition) was re-released in 7 May 2004[68] An Ultimate Edition was later released exclusively in the US that included a Blu-ray and DVD. The release contains an extended version of the film, with many of the deleted scenes edited back in; additionally, the set includes the existing special features disc, Radcliffe's, Grint's, and Watson's first screen tests, a feature-length special Creating the World of Harry Potter Part 1: The Magic Begins, and a 48-page hardcover booklet.[69] The extended version has a running time of about 159 minutes, which has previously been shown during certain television airings.[70]

text: Reception[edit]

text: Box office[edit]

text: The film had its world premiere on 4 November 2001, in London's Leicester Square, with the cinema arranged to resemble Hogwarts School.[71] The film was greatly received at the box office. In the United States, it made $32.3 million on its opening day, breaking the single day record previously held by Star Wars: Episode I – The Phantom Menace. On the second day of release, the film's gross increased to $33.5 million, breaking the record for biggest single day again. In total, it made $90.3 million during its first weekend, breaking the record for highest-opening weekend of all time that was previously held by The Lost World: Jurassic Park.[72] It held the record until the following May when Spider-Man made $114.8 million in its opening weekend.[73] The film held onto the No. 1 spot at the box-office for three consecutive weekends.[74][75] The film also had the highest grossing 5-day (Wednesday-Sunday) Thanksgiving weekend record of $82.4 million, holding the title for twelve years until both The Hunger Games: Catching Fire and Frozen surpassed it with $110.1 million and $94 million respectively.[76] Similar results were achieved across the world. In the United Kingdom, Harry Potter and the Philosopher's Stone broke the record for the highest-opening weekend ever, both including and excluding previews, making £16.3 million with and £9.8 million without previews.[77] The film went on to make £66.1 million in the UK alone, making it the country's second highest-grossing film of all-time (after Titanic), until it was surpassed by Mamma Mia!.[78]

text: In total, the film earned $974.8 million at the worldwide box office, $317.6 million of that in the US and $657.2 million elsewhere,[3] which made it the second highest-grossing film in history at the time,[79] as well as the year's highest-grossing film.[80] As of 2015[update], it is the unadjusted twenty-sixth highest-grossing film of all-time and the second highest-grossing Harry Potter film to date[81] after Deathly Hallows - Part 2, which grossed more than $1 billion worldwide.[82] Box Office Mojo estimates that the film sold over 55.9 million tickets in the US.[83]

text: Critical response[edit]

text: On Rotten Tomatoes the film has an approval rating of 80% based on 194 reviews, with an average rating of 7.1/10. The site's critical consensus reads, "Harry Potter and the Sorcerer's Stone adapts its source material faithfully while condensing the novel's overstuffed narrative into an involving -- and often downright exciting -- big-screen magical caper."[84] On Metacritic the film has a score of 64 out of 100, based on 36 critics, indicating "generally favorable reviews".[85] On CinemaScore, audiences gave the film an average grade of "A" on an A+ to F scale.[86]

text: Roger Ebert called Philosopher's Stone "a classic," giving the film four out of four stars, and particularly praising the Quidditch scenes' visual effects.[87] Praise was echoed by both The Telegraph and Empire reviewers, with Alan Morrison of the latter naming it the film's "stand-out sequence".[88][89] Brian Linder of IGN.com also gave the film a positive review, but concluded that it "isn't perfect, but for me it's a nice supplement to a book series that I love".[90] Although criticising the final half-hour, Jeanne Aufmuth of Palo Alto Online stated that the film would "enchant even the most cynical of moviegoers."[91] USA Today reviewer Claudia Puig gave the film three out of four stars, especially praising the set design and Robbie Coltrane's portrayal of Hagrid, but criticised John Williams' score and concluded "ultimately many of the book's readers may wish for a more magical incarnation."[92] The sets, design, cinematography, effects and principal cast were all given praise from Kirk Honeycutt of The Hollywood Reporter, although he deemed John Williams' score "a great clanging, banging music box that simply will not shut up."[93] Todd McCarthy of Variety compared the film positively with Gone with the Wind and put "The script is faithful, the actors are just right, the sets, costumes, makeup and effects match and sometimes exceed anything one could imagine."[94] Jonathan Foreman of the New York Post recalled that the film was "remarkably faithful," to its literary counterpart as well as a "consistently entertaining if overlong adaptation."[95]

text: Richard Corliss of Time magazine, considered the film a "by the numbers adaptation," criticising the pace and the "charisma-free" lead actors.[96] CNN's Paul Tatara found that Columbus and Kloves "are so careful to avoid offending anyone by excising a passage from the book, the so-called narrative is more like a jamboree inside Rowling's head."[97] Nathaniel Rogers of The Film Experience gave the film a negative review and wrote: "Harry Potter and the Sorceror's Stone is as bland as movies can get."[98] Ed Gonzalez of Slant Magazine wished that the film had been directed by Tim Burton, finding the cinematography "bland and muggy," and the majority of the film a "solidly dull celebration of dribbling goo."[99] Elvis Mitchell of The New York Times was highly negative about the film, saying "[the film] is like a theme park that's a few years past its prime; the rides clatter and groan with metal fatigue every time they take a curve." He also said it suffered from "a lack of imagination" and wooden characters, adding, "The Sorting Hat has more personality than anything else in the movie."[100]

text: Accolades[edit]

text: The film received three Academy Award nominations: Best Art Direction, Best Costume Design, and Best Original Score for John Williams.[101] The film was also nominated for seven BAFTA Awards. These were Best British Film, Best Supporting Actor for Robbie Coltrane, as well as the awards for Best Costume Design, Production Design, Makeup and Hair, Sound and Visual Effects.[102] The film won a Saturn Award for its costumes,[103] and was nominated for eight more awards.[104] It won other awards from the Casting Society of America and the Costume Designers Guild.[105][106] It was nominated for the AFI Film Award for its special effects,[107] and the Art Directors Guild Award for its production design.[108] It received the Broadcast Film Critics Award for Best Live Action Family Film and was nominated for Best Child Performance (for Daniel Radcliffe) and Best Composer (John Williams).[109] In 2005 the American Film Institute nominated the film for AFI's 100 Years of Film Scores.[110]

text:
[show]List of awards and nominations

Award
Category
Recipient(s)
Outcome
Ref.

74th Academy Awards
Best Costume Design
Judianna Mokovsky
Nominated
[101]

Achievement in Art Direction
Stuart Craig

Best Original Score
John Williams

Amanda Awards
Best Foreign Feature Film

[111]

American Film Institute Awards 2001
Best Digital Effects Artist
Robert Legato, Nick Davis, Roger Guyett
[107]

Art Directors Guild Award
Excellence in Production Design for a Period or Fantasy Film
Stuart Craig, John King, Neil Lamont, Andrew Ackland-Snow, Peter Francis, Michael Lamont, Simon Lamont, Steve Lawrence, Lucinda Thomson, Stephen Morahan, Dominic Masters, Gary Tomkins
[108]

Awards of the Japanese Academy
Outstanding Foreign Language Film

[112]

Artios Award
Feature Film – Comedy
Jane Jenkins, Janet Hirshenson
Won
[105]

Bogey Awards
Bogey Award in Titanium

[113]

55th British Academy Film Awards
Best British Film
Nominated
[102]

Best Supporting Actor
Robbie Coltrane

Best Costume Design
Judianna Makovsky

Best Production Design
Stuart Craig

Best Makeup & Hair
Nick Dudman, Eithne Fennel, Amanda Knight

Best Sound

Best Visual Effects

Broadcast Film Critics Association
Best Family Film (Live Action)
Won
[109]

Best Child Performance
Daniel Radcliffe
Nominated

Best Composer
John Williams

Broadcast Music Incorporated Film & TV Awards
BMI Film Music Award
Won
[114]

Costume Designers Guild Award
Excellence in Fantasy Costume Design
Judianna Makovsky
[106]

Eddie Awards
Best Edited Feature Film – Dramatic
Richard Francis-Bruce
Nominated
[115]

Empire Awards
Best Film

[116]

Best Debut
Daniel Radcliffe, Rupert Grint, Emma Watson

Evening Standard British Film Awards
Technical Achievement Award
Stuart Craig
Won
[117]

Golden Reel Awards
Best Sound Editing – Foreign Film
Eddy Joseph, Martin Cantwell, Nick Lowe, Colin Ritchie, Peter Holt
Nominated
[118]

45th Grammy Awards
Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media
John Williams
[119]

Hugo Awards
Best Dramatic Presentation

[120]

2002 Kids' Choice Awards
Favorite Movie
[121]

2002 MTV Movie Awards
Breakthrough Male Performance
Daniel Radcliffe
[122]

Phoenix Film Critics Society Awards
Best Family Film

Won
[123]

Best Newcomer
Daniel Radcliffe
Nominated

Best Youth Performance
Emma Watson

Best Costume Design
Judianna Makovsky

Best Original Score
John Williams

Best Production Design
Stuart Craig

Best Visual Effects
Robert Legato, Nick Davis, John Richardson, Roger Guyett

13th Producers Guild of America Awards
Producer of the Year Award in Theatrical Motion Pictures
David Heyman
[124]

Satellite Awards
Best Motion Picture, Animated or Mixed Media

[125]

Best Film Editing
Richard Francis-Bruce

Best Art Direction
Stuard Craig

Best Visual Effects
Robert Legato, Nick Davis, Roger Guyett, John Richardson

Outstanding New Talent Special Achievement Award
Rupert Grint
Won

28th Saturn Awards
Best Fantasy Film

Nominated
[104]

Best Director
Chris Columbus

Best Supporting Actor
Robbie Coltrane

Best Supporting Actress
Maggie Smith

Best Performance by a Younger Actor
Daniel Radcliffe

Best Performance by a Younger Actress
Emma Watson

Best Costumes
Judianna Makovsky
Won

Best Make-Up
Nick Dudman, Mark Coulier, John Lambert
Nominated

Best Special Effects
Robert Legato, Nick Davis, Roger Guyett, John Richardson

Sierra Awards
Best Family Film

Won
[126]

Teen Choice Awards
Choice Movie: Action
Nominated
[127]

Choice Movie: Breakout Actress
Emma Watson

Choice Movie: Breakout Actor
Daniel Radcliffe
Won

Young Artist Awards
Best Family Feature Film – Drama

Nominated
[128]

Best Performance in a Feature Film – Leading Young Actress
Emma Watson (tied with Scarlett Johansson)
Won

Best Performance in a Feature Film – Supporting Young Actor
Tom Felton
Nominated

Best Ensemble in a Feature Film

Most Promising Young Newcomer
Rupert Grint
Won