document_title: Blade Runner 2049

question_text: who did the soundtrack for blade runner 2049

text: Blade Runner 2049

text: Plot

text: In 2049, bioengineered humans called replicants have been integrated into society. K, a newer replicant model created to obey, works as a "blade runner" for the LAPD, hunting down and "retiring" rogue older model replicants. His home-life is spent with his holographic girlfriend Joi, an artificial intelligence product of Wallace Corporation.

text: K's investigation into a growing replicant freedom movement leads him to a farm, where he retires rogue replicant Sapper Morton and finds a buried box with what appears to be human remains inside. Forensic analysis reveals they are of a female replicant who died as the result of complications from an emergency caesarian section. K finds this unsettling as pregnancy in replicants was originally thought to be impossible.

text: K is ordered to destroy all evidence related to the case and to retire the child by his superior, Lieutenant Joshi, who believes the knowledge that replicants are able to reproduce to be dangerous and could lead to war. K, disturbed by his orders to kill what he sees as someone with a soul, visits the headquarters of replicant manufacturer Niander Wallace who identifies the body as Rachael, an experimental replicant. In the process, he learns of her romantic ties with former veteran blade runner Rick Deckard. Believing that reproduction in replicants can bolster his production, but unable to give them this ability himself, Wallace sends his replicant enforcer Luv to steal Rachael's remains from LAPD headquarters and follow K to find Rachael's child. Wallace hopes to use the child to engineer replicant reproduction and expand his off-world operations.

text: Returning to Morton's farm, K finds a hidden date that matches a childhood memory about hiding a toy horse. K later finds the toy horse at an orphanage, suggesting that his memories—which he thought were implants—are real. Joi insists this is evidence that K is in fact a real person, giving him the nickname "Joe." While searching birth records for that year, he discovers an anomaly: "twins" were born on that day with identical DNA except for the sex chromosome; only the boy is listed as alive. K seeks out Dr. Ana Stelline, a memory designer who informs him that it is illegal to program replicants with humans' real memories, leading K to believe he might be Rachael's son. After failing a test of his replicant behavior, K is suspended by Joshi, but he explains that he failed the test because he completed his mission in killing the child. Joshi, knowing K will be chased for deviating from his base line, gives him 48 hours to disappear. K transfers Joi to a mobile emitter despite knowing if it is damaged she will be erased.

text: Undeterred, K has the toy horse analyzed and finds traces of radiation that lead him to the ruins of Las Vegas, where he finds Deckard. Deckard reveals that he scrambled the birth records to cover his tracks and was forced to leave a pregnant Rachael with the replicant freedom movement to protect her. Luv and her men arrive to kidnap Deckard, having murdered Joshi and tracked K's location. They leave a badly injured K for dead, in the process destroying Joi's emitter. He is later rescued by the replicant freedom movement who were tracking him. He is told by their leader, Freysa, that he is wrong to think that he has a unique role to fulfill in the movement, and that Rachael's child is actually a girl. K deduces that Stelline is Deckard's daughter, as she is the only one capable of creating the memory and implanting it into him. Freysa urges K to prevent Wallace from uncovering the secrets of replicant reproduction by any means necessary, including killing Deckard.

text: In Los Angeles, Deckard is brought before Wallace, who suggests Rachael's feelings for him were engineered by Tyrell to test the possibility of a replicant becoming pregnant. Deckard refuses to cooperate with Wallace, even when promised a replicant recreation of Rachael. Luv starts escorting Deckard to one of Wallace's off-world outposts to be tortured for information. K intercepts them before fighting and killing Luv. He stages Deckard's death to protect him from both Wallace and the replicants, and leads Deckard to Stelline's office. K encourages Deckard to meet his daughter and laments that all the best memories are hers. Deckard cautiously enters the office and approaches Stelline, while K lies down on the steps amidst the falling snow, and dies from his wounds.[12]

text: Cast

text:
Ryan Gosling as K / Joe
Harrison Ford as Rick Deckard
Ana de Armas as Joi
Sylvia Hoeks as Luv
Robin Wright as Lt. Joshi
Mackenzie Davis as Mariette
Carla Juri as Dr. Ana Stelline
Lennie James as Mister Cotton
Edward James Olmos as Gaff
Dave Bautista as Sapper Morton
Jared Leto as Niander Wallace
David Dastmalchian as Coco
Barkhad Abdi as Doc Badger
Hiam Abbass as Freysa
Wood Harris as Nandez

tag: ul

text: To reprise her role as Rachael, Sean Young's likeness was digitally superimposed on a stand-in actress, who was coached by Young on how to replicate her performance. Rachael's voice was also created with a sound-alike actress.[13]

text: Production

text: Development

text: Development of a sequel to Blade Runner began in 1999 when British filmmaker Stuart Hazeldine had written a rejected sequel based on K. W. Jeter's novel The Edge of Human, titled Blade Runner Down; however this early rewrite was shelved due to concerns around the rights to the novel.[14]

text: In 2007, Ridley Scott, who had directed the original film, considered developing a sequel, tentatively titled Metropolis, and stated his interest while attending San Diego Comic Con in that year.[14][15] Co-writer Travis Adam Wright worked with producer Bud Yorkin for several years on the project. His colleague John Glenn, who had left the project by 2008, stated the script would explore the nature of the off-world colonies as well as what happens to the Tyrell Corporation in the wake of its founder's death.[16]

text: In June 2009, The New York Times reported that Scott and his brother, director Tony Scott, were working on a Blade Runner prequel, Purefold, set in 2019. The prequel was planned as a series of 5–10 minute shorts, aimed first at the web and then perhaps television. Due to rights problems, the series was not to be linked too closely to the characters or events of the 1982 film.[17] On February 7, 2010, it was announced that production on Purefold had ceased, due to funding problems.[18] On March 4, 2011, the website io9 reported that Yorkin was developing a new Blade Runner film.[19] It was also reported that month that Christopher Nolan was desired as director.[20]

text: On August 18, 2011, it was announced that Ridley Scott would lead the production of a new Blade Runner film, although work would not begin until at least 2013. Producer Andrew A. Kosove suggested that Harrison Ford, who had starred in the original film, was unlikely to be involved.[21][22] Scott said that the film was "liable to be a sequel" but without the previous cast, and that he was close to finding a writer that "might be able to help [him] deliver".[23] On February 6, 2012, Kosove stated: "It is absolutely, patently false that there has been any discussion about Harrison Ford being in Blade Runner. To be clear, what we are trying to do with Ridley now is go through the painstaking process of trying to break the back of the story ... The casting of the movie could not be further from our minds at this moment."[24] When Scott was asked about the possibility of a sequel in October 2012, he said, "It's not a rumor—it's happening. With Harrison Ford? I don't know yet. Is he too old? Well, he was a Nexus-6 so we don't know how long he can live. And that's all I'm going to say at this stage."[25]

text: Scott said in November 2014 that he would not direct the film and would instead produce; that filming would begin in late 2014 or 2015, and that Ford's character would only appear in "the third act" of the sequel.[26] On February 26, 2015, the sequel was confirmed, with Denis Villeneuve as its director. Ford was confirmed to be returning as Deckard; so too original writer Hampton Fancher. The film was expected to enter production in mid-2016.[27]

text: Pre-production

text: On April 16, 2015, Ryan Gosling entered negotiations for a role.[28] Gosling confirmed in November 2015 that he had been cast, citing the involvement of Villeneuve and the cinematographer Roger Deakins as factors for his decision;[29] Deakins was hired as director of photography on May 20, 2016.[30] Principal photography was set to begin in July, with Warner Bros. distributing the film domestically, and Sony Pictures Releasing distributing internationally.[31] On February 18, 2016, an official release date of January 12, 2018 was announced.[32]

text: On March 31, 2016, Robin Wright entered final negotiations for a role in the film,[33] and on April 2, Dave Bautista posted a picture of himself with an origami unicorn, hinting at a role in the film.[34] Bautista and Wright were confirmed to be joining the cast on April 4, and a filming start date of July was established.[35] In late April 2016, the film's release date was moved up to October 6, 2017,[36] as well as Ana de Armas and Sylvia Hoeks being added to the cast.[37][38] Carla Juri was cast in May 2016.[39] In June, Mackenzie Davis and Barkhad Abdi were cast,[40][41] with David Dastmalchian, Hiam Abbass and Lennie James joining in July.[42][43] Jared Leto was cast in the film in August; Villeneuve had hoped to cast David Bowie, but Bowie died before production began.[44][45] In March 2017, Edward James Olmos confirmed he was in the film in a sequence playing his original character, Gaff.[46]

text: When interviewed at the 2015 Toronto International Film Festival, Villeneuve had noted that the plot would be ambiguous as to the question of Deckard being a human or a replicant.[47] In an interview[when?], Villeneuve mentioned that the film is set a few decades after the original. It will again take place in Los Angeles, and the Earth's atmosphere will be different, he said: "The climate has gone berserk – the ocean, the rain, the snow is all toxic."[citation needed] It was announced that Scott would be executive producer.[48]

text: Filming

text: Principal photography took place between July and November 2016 in Budapest, Hungary.[49][50][51] On August 25, 2016, a construction worker was killed while dismantling one of the film's sets at Origo Studios.[52]

text: Post-production

text: Warner Bros. announced in early October 2016 that the film would be titled Blade Runner 2049.[53] Editing commenced in December in Los Angeles, with the intention of having the film being rated R.[51] At the 2017 San Diego Comic-Con, Villeneuve said that the film would run for approximately two-and-a-half hours.[54]

text: Soundtrack

text: Rapper-producer El-P was asked to compose music for the first Blade Runner 2049 trailer, but his score was "rejected or ignored".[55] Jóhann Jóhannsson, who had worked with Villeneuve on Prisoners, Sicario and Arrival, was announced as composer for the film. Hans Zimmer and Benjamin Wallfisch joined in July 2017. In September, Jóhannsson's agent confirmed that he was no longer involved, and that he was contractually forbidden from commenting on the situation.[56]

text: The soundtrack album was released on October 5, 2017.[57] A physical two disc CD version of the soundtrack by Epic Records will be released in the United States on October 27, 2017. There are two editions of the CD release and each edition is limited to 2049 copies. Both editions are hand numbered to 2049 but each contains different cover artwork to differentiate the two.[58]

text: All tracks written by Hans Zimmer and Benjamin Wallfisch.

text:
[show]Track listing

No.
Title
Length

1.
"2049"
3:37

2.
"Sapper's Tree"
1:36

3.
"Flight to LAPD"
1:47

4.
"Summer Wind -(Frank Sinatra)"
2:54

5.
"Rain"
2:26

6.
"Wallace"
5:23

7.
"Memory"
2:32

8.
"Mesa"
3:10

9.
"Orphanage"
1:13

10.
"Furnace"
3:41

11.
"Someone Lived This"
3:13

12.
"Joi"
3:51

13.
"Pilot"
2:17

14.
"Suspicious Minds -(Elvis Presley)"
4:22

15.
"Can't Help Falling in Love -(Elvis Presley & The Jordanaires)"
3:02

16.
"One For My Baby (And One More For the Road) -(Frank Sinatra)"
4:24

17.
"Hijack"
5:32

18.
"That's Why We Believe"
3:36

19.
"Her Eyes Were Green"
6:17

20.
"Sea Wall"
9:52

21.
"All the Best Memories Are Hers"
3:22

22.
"Tears In the Rain"
2:10

23.
"Blade Runner"
10:05

24.
"Almost Human (From the Original Motion Picture Soundtrack "Blade Runner 2049") -(Lauren Daigle)"
3:22

text: Release

text: Blade Runner 2049 premiered on October 3, 2017 at the Dolby Theatre in Los Angeles, although following the 2017 Las Vegas Strip shooting, the red carpet events were cancelled prior to the screening.[59] It was the opening feature at the Festival du nouveau cinéma in Montreal the following day.[60] It also was premiered in Switzerland at the Zurich Film Festival on October 4, 2017.[61]

text: Sony Pictures Releasing, who had obtained rights to release the film in overseas territories,[62] was the first to release Blade Runner 2049 in theaters, first in France and Belgium on October 4, 2017,[61] then in other countries on the two following days.[61] The film was released by Warner Bros. domestically in the United States on October 6, 2017.[61] In addition to standard 2D and 3D formats, Blade Runner 2049 was released in IMAX theaters.[63] Also, Alcon Entertainment partnered with Oculus VR to create and distribute content for the film exclusively for its virtual reality format and launched it alongside the theatrical release of October 6, 2017.[64]

text: Due to the popularity and preference of IMAX in 2D (as opposed to 3D) among moviegoers in North America, the film was shown in IMAX theaters in only 2D domestically, but was screened in 3D formats internationally.[65]

text: The film is rated R by the Motion Picture Association of America for "violence, some sexuality, nudity, and language".[66] Leading into the film's release, Villeneuve told Europa Plus the theatrical version would be his only version, unlike the original, and any potential alternate versions would be made by someone else.[67]

text: Marketing

text: Warner Bros. and Columbia Pictures jointly released an announcement teaser on December 19, 2016.[68][69] A selection of excerpts (lasting 15 seconds) were released as a trailer tease on May 5, 2017 in the lead up to the full trailer, which was released on May 8, 2017.[70] A second trailer was released on July 17, 2017.[71]

text: Three short films have been made to explore events that occur in the 30-year period between Blade Runner and Blade Runner 2049:

text:
2036: Nexus Dawn is directed by Luke Scott, and follows Niander Wallace as he presents a new Nexus-9 replicant to lawmakers in an attempt to have a prohibition on replicants lifted. The short film also stars Benedict Wong as one of the lawmakers.[72][73]
2048: Nowhere to Run, also directed by Scott, follows Sapper Morton as he protects a mother and daughter from thugs.[74]
Blade Runner Black Out 2022, is an anime directed by Shinichirō Watanabe[75] wherein a rogue replicant named Iggy carries out an operation to detonate a nuclear warhead over Los Angeles, triggering an electromagnetic pulse that erases the Tyrell Corporation's database of registered replicants. Edward James Olmos reprises his role as Gaff in this film. Flying Lotus composed the soundtrack; Watanabe had used his music as a temp score in making a rough cut of the short.[76]

text: Reception

text: Box office

text: As of October 10, 2017[update], Blade Runner 2049 has grossed $40.8 million in the United States and Canada, and $49.2 million in other territories, for a worldwide total of $90 million, against a production budget of $150–185 million.[6]

text: In the United States and Canada, the film was initially projected to gross $43–50 million from 4,058 theaters in its opening weekend. In September 2017, a survey from Fandango indicated that the film was one of the most anticipated releases of the season.[77] It made $4 million from Thursday night previews, including $800,000 from IMAX, but just $12.6 million on its first day, lowering weekend estimates to $32–35 million.[78] It made $11.4 million on Saturday and went on to debut to $32.8 million, well below initial projections but still finishing first at the box office and marking the biggest openings of Villeneuve and Gosling's careers. Deadline.com attributed the film's performance to the 163 minute runtime limiting the number of showtimes theaters could have, as well as being unappealing to audiences, and the marketing being vague and relying on nostalgia and established fanbase to carry it.[79]

text: Overseas, it was expected to debut to an additional $60 million from 62 countries, for a worldwide opening of around $100 million.[4] It ended up making $50.2 million internationally, finishing number one in 42 markets, for a global opening of $81.7 million. It made $8 million in the United Kingdom, $4.9 million in Russia and $3.6 million in Australia.[80]

text: Critical response

text: On review aggregator website Rotten Tomatoes, the film has an approval rating of 88% based on 264 reviews, with an average rating of 8.2/10. The site's critical consensus reads, "Visually stunning and narratively satisfying, Blade Runner 2049 deepens and expands its predecessor's story while standing as an impressive filmmaking achievement in its own right."[81] Metacritic, another review aggregator, assigned the film a weighted average score of 81 out of 100, based on 51 critics, indicating "universal acclaim".[82] Critics who saw the film before its release were asked by Villeneuve not to reveal certain characters and plot points.[83] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[78]

text: Peter Travers of Rolling Stone gave the film three-and-a-half stars out of four, calling it an instant classic and writing: "For Blade Runner junkies like myself, who've mainlined five different versions of Ridley Scott's now iconic sci-fi film noir, [...] every minute of this mesmerizing mindbender is a visual feast to gorge on."[84] Peter Bradshaw of The Guardian gave the film five out of five stars, praising the production design, cinematography and score, and calling the CGI some of the best he had ever seen, writing: "It just has to be experienced on the biggest screen possible. Blade Runner 2049 is a narcotic spectacle of eerie and pitiless vastness, by turns satirical, tragic and romantic."[85] A. O. Scott of The New York Times called the film as a "a carefully engineered narrative puzzle" that "tries both to honor the original and to slip free of its considerable shadow", and mostly succeeds. He found it, though, ultimately unequal to the original, describing Blade Runner 2049 as "a more docile, less rebellious “improvement”". He also lauded Villeneuve's direction which he referred as a "unnerving calm, as if he were exploring and trying to synthesize the human and mechanical sides of his own sensibility", as well the cinematography and visual effects as "zones of strangeness that occasionally rise to the level of sublimity".[86]

text: Eric Kohn of IndieWire gave the film an A- rating, saying: "Blade Runner 2049 may not reinvent the rules for blockbuster storytelling, but it manages to inject the form with the ambitions of high art, maintaining a thrilling intensity along the way."[87] Scott Collura of IGN awarded the film a score of 9.7 out of 10 and called it one of the best sequels ever, saying: "2049 plays off of the themes, plot, and characters of the 1982 movie without cannibalizing it or negating or retroactively ruining any of those elements. Rather, it organically expands and grows what came before. It's a deep, rich, smart film that's visually awesome and full of great sci-fi concepts, and one that was well worth the 35-year wait."[88] Mick LaSalle of San Francisco Chronicle rated the film 3.5 out of 4 stars, labeling the film as a "quiet, thoughtful science fiction" while drawing a similarity on its tone to Villeneuve's recent film, Arrival and praising the performances, particularly Gosling and Ford.[89]

text: Christopher Orr writing for Atlantic magazine found the sequel to be a faithful and worthwhile continuation of the original film stating: "This is in part because, like its predecessor, Blade Runner 2049 is a decidedly cool artifact, and not primarily an actors’ film. Villeneuve’s most important collaborators are the cinematographer Roger Deakins and the production designer Dennis Gassner, who between them conjure a future world breathtaking in its decrepitude, a gorgeous ruin. From the grayed-out countrysides over which the sky has closed like a lid; to the drizzly neon decadence of Los Angeles; to a San Diego refashioned as a waste dump worthy of Wall-E; to the Ozymandian wreckage of Las Vegas—the film is a splendor of the first order."[90]

text: John Serba in his review for Mlive also saw the film as a worthy successor and continuation of the original film and capable of standing next to other strong films in this genre such as the 1927 Metropolis stating: "Blade Runner 2049 is a feast for the eyes and intellect, and for more patient audiences. It broods so intently and for so long, its occasional bursts of violent action break the film’s exquisitely meditative constitution. A key atmospheric component is the thrumming synthesizer score, by Hans Zimmer and Benjamin Wallfisch, emulating Vangelis’ masterful original."[91]

text: The Economist was more critical of the movie, calling it a “bombastic sequel” and noting its “thin and threadbare” storyline, which was “riddled with holes”, and the “little more than a cameo” appearance of Ford, despite his being used heavily in the film’s promotion.[92]

text: Accolades

text:
List of awards and nominations

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

IndieWire Critic's Poll
December 19, 2016
Most Anticipated of 2017
Blade Runner 2049
Won
[93][94]

Golden Trailer Awards
June 6, 2017
Best Teaser
Blade Runner 2049
Won
[95]

text: Possible sequel

text: In September 2015, Scott expressed interest in making additional films.[96] In October 2017, Villeneuve said that he expected a third film would be made if 2049 was successful. Writer of both films Hampton Fancher also revealed that he was considering reviving an old story idea involving Deckard travelling to another country, and Ford said that he would be open to returning if he liked the script.[97]


document_title: New Amsterdam (2018 TV series)

question_text: when does the show new amsterdam come on

root

text: New Amsterdam (2018 TV series)

text: Premise[edit]

text: New Amsterdam follows Dr. Max Goodwin as he becomes the medical director of one of the United States' oldest public hospitals, aiming to reform the neglected facility by tearing up its bureaucracy in order to provide exceptional care to patients.

tag: p

text: Cast and characters[edit]

text: Main[edit]

text:
Ryan Eggold as Dr. Max Goodwin
Janet Montgomery as Dr. Lauren Bloom
Freema Agyeman as Dr. Helen Sharpe
Jocko Sims as Dr. Floyd Reynolds
Tyler Labine as Dr. Iggy Frome
Anupam Kher as Dr. Vijay Kapoor

text: Recurring[edit]

text:
Zabryna Guevara as Dora
Lisa O'Hare as Georgia Goodwin
Margot Bingham

text: Guest[edit]

text:
Brooke Bloom ("Rituals")
Clifton Davis as Pierre Pampil ("Rituals")
Michelle Federer as Leo's Mom ("Rituals")
Cindy Cheung as Judge Hayashi ("Rituals")
Matthew Maher as Ray DeMarco ("Every Last Minute")
Laila Robins as Mrs. Ryland ("Every Last Minute")
Ron Rifkin as Peter Fulton ("Every Last Minute"), the dean of the hospital
Ken Ard as Mason ("Every Last Minute")

text: Episodes[edit]

text:
No.TitleDirected byWritten byOriginal air date [1]U.S. viewers(millions)1"Pilot"Kate DennisDavid SchulnerSeptember 25, 2018 (2018-09-25)8.39[2]
Dr. Max Goodwin is hired as the new Chief of Medicine at New Amsterdam hospital and starts out his career by firing everyone in the cardio-thoracic surgical department because of their statistics. He asks his fellow colleagues what he can do to make their ability to practice medicine easier and grants all the wishes, much the dismay of the staff that work with him. Dr. Goodwin butts heads with the chief of oncology, Dr. Helen Sharpe, as he believes that she spends too much time on television and not enough time practicing medicine leading him to give her an ultimatum. Max also meets the head of emergency, Dr. Lauren Bloom, who wants to be able to treat as many patients throughout her shift as she can, and Dr. Iggy Frome who is the chief of psychiatric and is dealing with a teenage patient who feels completely abandoned. Dr. Bloom must deal with her fling Dr. Floyd Reynolds ending as he becomes the new head of cardio-thoracic surgery and explains to her they can't have a relationship based on her skin color. Max asks Dr. Bloom to take a biopsy of his throat based on a fear he has.
2"Rituals"Peter HortonDavid SchulnerOctober 2, 2018 (2018-10-02)7.44[3]
Max finds out that he has cancer and looks to Dr. Sharpe for help, although every time she tries to explain things to him he can't seem to make time for her. Dr. Frome and Dr. Kapoor attempt to help a pediatric patient. Dr. Bloom tries to convince Dr. Reyonds that they might have something that is worth while and that not dating her for her skin color is not right. Max must deal with a crisis after his pregnant wife is admitted to the hospital with their unborn child's life in danger. As Dr. Sharpe continues to try to convince Max to make a plan about his cancer diagnosis he continues to try to convince her that although bringing in money to the hospital is important they're in the business of saving lives and that is more important.
3"Every Last Minute"Jonas PateShaun CassidyOctober 9, 2018 (2018-10-09)7.04[4]
4"Boundaries"Kate DennisDavid FosterOctober 16, 2018 (2018-10-16)6.27[5]
5"Cavitation"Darnell MartinErika Green SwaffordOctober 23, 2018 (2018-10-23)6.37[6]
6"Anthropocene[7]"TBATBAOctober 30, 2018 (2018-10-30)TBD
7"Domino Effect[8]"TBATBANovember 13, 2018 (2018-11-13)TBD
8"Three Dots[9]"TBATBANovember 20, 2018 (2018-11-20)TBD

tag: table

text: Production[edit]

text: Development[edit]

text: On September 25, 2017, it was announced that NBC had given the production, then titled Bellevue, a put pilot commitment. The pilot was written by David Schulner who was also set to executive produce alongside Peter Horton. Eric Manheimer, the former medical director at New York City’s Bellevue Hospital, was expected to serve as a producer. Production companies involved with the pilot were slated to consist of Universal Television.[10]

text: On January 12, 2018, it was reported that NBC had given the production an official pilot order. It was further reported that Horton was expected to direct the pilot episode.[11] On May 4, 2018, it was announced that NBC had given the production a series order. It was also reported that Pico Creek Productions and Mount Moriah Productions would serve as additional production companies.[12][13][14] A few days later, it was announced that the series would premiere in the fall of 2018 and air on Tuesdays at 10 p.m.[15]  On June 19, 2018, it was announced that the series would officially premiere on September 25, 2018.[16] On October 10, 2018, it was announced that NBC had ordered an additional nine episodes of the series, bringing the first season total up to twenty-two episodes.[17]

text: Casting[edit]

text: In February 2018, it was announced that Freema Agyeman, Anupam Kher, Janet Montgomery, and Tyler Labine had been cast in lead roles in the pilot.[18][19][20] In March 2018, it was reported that Ryan Eggold and Jocko Sims had also joined the main cast.[21][22] On September 26, 2018, it was announced that Margot Bingham had joined the cast in a recurring role.[23]

text: Release[edit]

text: Marketing[edit]

text: On May 13, 2018, NBC released the first official trailer for the series.[24]

text: Premiere[edit]

text: On June 22, 2018, a screening of the series was held during Seriesfest, an annual international television festival, at the Denver Art Museum's Lewis I. Sharp Auditorium in Denver, Colorado. The screening was followed by a question-and-answer session with series lead Ryan Eggold and executive producers David Schulner and Peter Horton. It was moderated by Vanity Fair's executive west coast editor, Krista Smith.[25] On September 10, 2018, the series took part in the 12th Annual PaleyFest Fall Television Previews which featured a preview screening of the series.[26]

text: Reception[edit]

text: Critical response[edit]

text: The series has been met with a mixed to negative response from critics upon its premiere. On the review aggregation website Rotten Tomatoes, the series holds a 33 percent approval rating with an average rating of 5.68 out of 10 based on 24 reviews. The website's critical consensus reads, "Overcrowded, overwrought, and overly familiar, New Amsterdam plays more like an exquisite corpse of pre-existing shows than a breakthrough for the genre – though that may be enough for medical drama devotees."[27] Metacritic, which uses a weighted average, assigned the series a score of 47 out of 100 based on 14 critics, indicating "mixed or average reviews."[28]

text: Ratings[edit]

text:
No.

Title

Air date
Rating/share(18–49)
Viewers(millions)
DVR(18–49)
DVR viewers(millions)
Total(18–49)
Total viewers(millions)

1

"Pilot"

September 25, 2018
1.8/9
8.39[2]
1.3
5.70
3.1
14.10[29]

2

"Rituals"

October 2, 2018
1.5/7
7.44[3]
1.4
5.42
2.9
12.86[30]

3

"Every Last Minute"

October 9, 2018
1.4/6
7.04[4]
1.4
5.43
2.8
12.47[31]

4

"Boundaries"

October 16, 2018
1.2/5
6.27[5]
TBD
TBD
TBD
TBD

5

"Cavitation"

October 23, 2018
1.4/6
6.37[6]
TBD
TBD
TBD
TBD


document_title: Honey, I Shrunk the Audience!

question_text: where is honey i shrunk the audience in disney world

text: Honey, I Shrunk the Audience!

text: Synopsis[edit]

text: Viewers enter the Imagination Institute's theater for the Inventor of the Year Award Ceremony, in which professor Wayne Szalinski is receiving the award. Attendees are asked to don their "safety goggles" (3d glasses) in preparation for the scientific demonstrations. The show opens with the crew of the show searching for Wayne, when he suddenly flies on stage miniaturized and in a transportation device called a Hoverpod.

text: He accidentally drops the control box and sends the machine flying off behind the stage out of control. Then the show starts with Christie Smithers introducing Dr. Nigel Channing. Dr. Channing welcomes the audience and introduces Wayne. The Hoverpod comes back and shorts out the neon Imagination Institute "Inventor of the Year Award" sign over the audience (at first only some letters are knocked out, leaving "NERD" spelled diagonally). Dr. Channing attempts to introduce Diane, Wayne's wife, but she says that she has to go help find Wayne. She takes Quark, the family's dog with her. Dr. Channing then introduces Wayne's sons, Nick and Adam. Nick, Wayne's oldest son, has a pet snake named Gigabyte around his neck, because he didn't want to leave him in their van.

text: Nick then demonstrates his father's Dimensional Duplicator, a copy machine, to kill time while the crew searches for him. Wayne's youngest son, Adam, puts his pet mouse, Photon, in the copy machine and quickly multiplies (in an animation designed by Curious Pictures). This does not go smoothly, and the audience ends up screaming with the loose mice running under their seats (which is really leg ticklers underneath the seats). To scare the mice away, Nick decides to use Wayne's Holo Pet Generator, which first takes the form of a cat, which then transforms into a lion, by accidentally giving the machine too much power, in the audience's faces (designed by Kleiser-Walczak). While the demonstrations go awry, Wayne manages to use his shrinking machine to return himself back to normal size. He brings out the machine to demonstrate its uses by shrinking a family's luggage, saving space and money when traveling, hoping they will fit comfortably in the palm of his hand.

text: Unfortunately, the machine goes out of control and shrinks the audience (plus Nick, who pushes Dr. Channing out of the way of the machine's electrobeam). Wayne inspects Nick and the audience and, after making sure they're okay, says the machine blew a fuse. He says that he's got some spare parts in his office to fix the machine (or so he hopes). Diane enters the room asking Wayne if everything is ok. Wayne responds with, "Honey, I shrunk the audience!" The viewers are then antagonized by obstacles such as Diane fainting upon seeing the tiny people and Nick, and Adam taking a picture of them with a blinding flash and picking up the theater so he can "show the little people to Mommy." The whole room is lifted right off its construction for a minute or two before Diane (who regained consciousness) and Channing persuade Adam to put the theater back where he found it. Then Gigabyte, much larger than the miniature audience, nearly eats them (as he had not yet been fed that day). Quark then chases him away with a few barks. Luckily, Wayne fixes the machine just in the nick of time and returns the audience and Nick back to normal size, but Quark is momentarily affected by the beam and then runs backstage out of sight.

text: Wayne accepts his award and begins his speech, but he is interrupted by Nick warning of a "big, humongous problem." Diane then says, "Wayne, you didn't!" He then responds with, "Honey, I did! I blew up the dog!" The now giant Quark walks out onto the stage and the curtain closes while viewers hear the Imagination Institute's crew trying to stop him from crushing the place. He then finds his way through the curtain and sneezes on the audience for the finale (which triggers hidden water sprayers in the back of the seats). Diane then says, "Bad boy Quark! You know better than that!" As they leave, the audience can hear the commotion from backstage continue.

text: Production[edit]

text:
The show was sponsored by Kodak.
The movie was presented in 3D by using polarized glasses and projectors.
The entire audience was on a platform that moved up to four inches high during the presentation to simulate the theater moving and the floor shaking (when Adam Szalinski picks it up).
The song "True Colors" is played as part of the pre-show film as an advertisement for Kodak. In Disneyland & Epcot, the song is sung by two unknown artists. In the Disneyland Paris version, it is sung by Cyndi Lauper.[1]

text: Cast and crew[edit]

text: Cast[edit]

text:
Rick Moranis as Wayne Szalinski
Marcia Strassman as Diane Szalinski
Robert Oliveri as Nick Szalinski
Daniel & Joshua Shalikar as Adam Szalinski
Eric Idle as Dr. Nigel Channing
Katherine Lanasa as Reporter (pre-show)
Meadow Sisto as Christie Smithers

text: Crew[edit]

text:
Directed by Randal Kleiser
Written by Bill Prady, Steve Spiegel
Produced by Thomas G. Smith
Co-producer – Steven Keller
Production designer – Leslie Dilley
Director of photography – Dean Cundey
Visual effects – Eric Brevig
Original score – Bruce Broughton[2]


document_title: List of best Major League Baseball season win-loss records

question_text: who has the most wins in an mlb season

question_tokens: who has the most wins in an mlb season

text: Season records[edit]

text: The following teams finished the season with a .700 winning percentage or higher.

text: Since the season was expanded to 162 games in 1961, only two teams have managed a winning percentage greater than .700 (which requires 114 wins). These two are the 1998 New York Yankees and the 2001 Seattle Mariners.

text:
NL = National League
AL = American League
AA = American Association
UA = Union Association

text:
Season
Franchise
League
Wins
Losses
Pct.
Finish

1906
Chicago Cubs
NL
116
36
.763
Lost 1906 World Series

1884
St. Louis Maroons
UA
94
19
.832
Union Association Champions

1902
Pittsburgh Pirates
NL
103
36
.741
National League Champions

1886
Chicago White Stockings
NL
90
34
.726
Lost 1886 World Series

1909
Pittsburgh Pirates
NL
110
42
.724
Won 1909 World Series

1954
Cleveland Indians
AL
111
43
.721
Lost 1954 World Series

2001
Seattle Mariners
AL
116
46
.716
Lost 2001 ALCS

1927
New York Yankees
AL
110
44
.714
Won 1927 World Series

1886
Detroit Wolverines
NL
87
36
.707
2nd place in National League

1897
Boston Beaneaters
NL
93
39
.705
Lost 1897 Temple Cup

1907
Chicago Cubs
NL
107
45
.704
Won 1907 World Series

1931
Philadelphia Athletics
AL
107
45
.704
Lost 1931 World Series

1998
New York Yankees
AL
114
48
.704
Won 1998 World Series

1887
St. Louis Browns
AA
95
40
.704
Lost 1887 World Series

1939
New York Yankees
AL
106
45
.702
Won 1939 World Series

text: Other teams[edit]

text: Several 19th century teams played .700 ball or better over shorter schedules, where there is much less of the "evening out" effect of a lengthier season.

text: For example, the Chicago White Stockings won the National League's first pennant in 1876 with a 52-14 record (.788), and won the 1880 NL pennant with a 67-17 record (.798), which stands as the overall percentage record between the National or the American League. The White Stockings' 1880 record would project to a record of 129-33 under the modern schedule of 162 games, while Pythagorean expectation based on the White Stockings' results (538 runs scored, 317 runs allowed) and a 162-game schedule would translate to a record of 120-42.

text: The all-time best single season record belongs to the Cincinnati Red Stockings, who posted baseball's only perfect record at 67-0 (57-0 against National Association of Base Ball Players clubs) in 1869. Their record would stretch to 81-0 across the 1870 season before losing 8-7 in eleven innings to the Brooklyn Atlantics in Brooklyn on June 14.[1][2] While this record is considered by many to be pre-MLB, the MLB (professional baseball's current official organization) has officially recognized this year as the beginning of professional baseball.[3]

text: The second-best record belongs to the 1875 Boston Red Stockings of the National Association, who finished with a record of 71-8 (.899), but the status of the National Association as a major league has long been disputed. The Red Stockings record would project to 146-16 under the modern schedule of 162 games, while Pythagorean expectation based on the Red Stockings results (831 runs scored, 343 runs allowed) and the modern 162-game schedule would translate to a record of 138-24.

text: The National Association folded at the end of 1875, and the Red Stockings, who had won the last four pennants, joined the National League for 1876, being renamed the Red Caps. The team went 39-31 for a fourth-place finish in 1876 before winning the 1877 and 1878 pennants with records of 42-18 and 41-19.

text: The third-best record belongs to the St. Louis Maroons of the 1884 Union Association, who finished with a record of 94-19 (.832), but the Union Association was quite lopsided in talent distribution (team owner Henry Lucas was also league president, an obvious conflict-of-interest situation which is now banned, and bought all the best available players for his franchise), generally disorganized (six teams played close to full schedules, another four teams folded and one relocated during the course of the season), and poorly scheduled. The Maroons' record would project to 135-27 under the modern schedule of 162 games, while Pythagorean expectation based on the Maroons' results (887 runs scored, 429 runs allowed) and a 162-game schedule would translate to a record of 131-31, but these results are of questionable merit.

text: The Union Association folded at the end of 1884, and the Maroons joined the National League for 1885; playing against stiffer competition, they went 36-72 in 1885, and 43-79 in 1886, finishing in last and sixth in both seasons. In 1887, the Maroons relocated to Indianapolis and became the Indianapolis Hoosiers, playing three more seasons below .500 before folding.


document_title: The Twelve Days of Christmas (song)

question_text: how many gifts is the 12 days of christmas

text: The Twelve Days of Christmas (song)

text: Lyrics[edit]

text: "The Twelve Days of Christmas" is a cumulative song, meaning that each verse is built on top of the previous verses. There are twelve verses, each describing a gift given by "my true love" on one of the twelve days of Christmas. There are many variations in the lyrics. The lyrics given here are from Frederic Austin's 1909 publication that first established the current form of the carol.[4] The first three verses run, in full, as follows:

text:
On the First day of Christmas my true love sent to me
a Partridge in a Pear Tree.

On the Second day of Christmas my true love sent to me
Two Turtle Doves
and a Partridge in a Pear Tree.

On the Third day of Christmas my true love sent to me
Three French Hens,[5]
Two Turtle Doves
and a Partridge in a Pear Tree.

text: Subsequent verses follow the same pattern, each adding one new gift and repeating all the earlier gifts so that each verse is one line longer than its predecessor:

text: Variations of the lyrics[edit]

text: The earliest known version of the lyrics was published in London under the title "The Twelve Days of Christmas sung at King Pepin's Ball", as part of a 1780 children's book, Mirth without Mischief.[6] Subsequent versions have shown considerable variation:

text:
In the earliest versions, the word on is not present at the beginning of each verse—for example, the first verse begins simply "The first day of Christmas". On was added in Austin's 1909 version, and became very popular thereafter.
In the early versions "my true love sent" me the gifts. However, a 20th-century variant has "my true love gave to me"; this wording has become particularly common in North America.[7]
In one nineteenth century variant, the gifts come from "my mother" rather than "my true love".
Some variants have "juniper tree" or "June apple tree" rather than "pear tree", presumably a mishearing of "partridge in a pear tree.
The 1780 version has "four colly birds"—colly being a regional English expression for "black" (the name of the collie dog breed may come from this word).[8][9] This wording must have been opaque to many even in the 19th century: "canary birds", "colour'd birds", "curley birds", and "corley birds" are found in its place. Frederic Austin's 1909 version, which introduced the now-standard melody, also altered the fourth day's gift to four "calling" birds, and this variant has become the most popular, although "colly" is still found.
The "five gold rings" may become "five golden rings", especially in North America.[7] In the standard melody, this change enables singers to fit one syllable per musical note.[10]
The gifts associated with the final four days are often reordered. For example, the pipers may be on the ninth day rather than the eleventh.[9]

text:
For ease of comparison with Austin's 1909 version given above:
(a) differences in wording, ignoring capitalisation and punctuation, are indicated in italics;
(b) items that do not appear at all in Austin's version are indicated in bold italics.

text:
Source
Giver
1
2
3
4
5
6
7
8
9
10
11
12

Mirth without
Mischief, 1780[6]
My true love sent to me
Partridge in a pear-tree
Turtle doves
French hens
Colly birds
Gold rings
Geese a laying
Swans a swimming
Maids a milking
Drummers drumming
Pipers piping
Ladies dancing
Lords a leaping

Angus, 1774–1825[11]
My true love sent to me
Partridge in a pear tree
Turtle doves
French hens
Colly birds
Gold rings
Geese a laying
Swans a swimming
Maids a milking
Drummers drumming
Pipers piping
Ladies dancing
Lords a leaping

Halliwell, 1842[12]
My mother sent to me
Partridge in a pear-tree
Turtle doves
French hens
Canary birds
Gold rings
Geese a laying
Swans a swimming
Ladies dancing
Lords a leaping
Ships a sailing
Ladies spinning
Bells ringing

Rimbault, c. 1846[13]
My mother sent to me
Parteridge in a pear tree
Turtle doves
French hens
Canary birds
Gold rings
Geese a laying
Swans a swimming
Ladies dancing
Lords a leaping
Ships a sailing
Ladies spinning
Bells ringing

Halliwell, 1853[14]
My true love sent to me
Partridge in a pear tree
Turtle doves
French hens
Colly birds
Gold rings
Geese a laying
Swans a swimming
Maids a milking
Drummers drumming
Pipers piping
Ladies dancing
Lords a leaping

Salmon, 1855[15]
My true love sent to me
Partridge upon a pear-tree
Turtle-doves
French hens
Collie birds
Gold rings
Geese a-laying
Swans a-swimming
Maids a-milking
Drummers drumming
Pipers piping
Ladies dancing
Lords a-leaping

Husk, 1864[16]
My true love sent to me
Partridge in a pear-tree
Turtle doves
French hens
Colley birds
Gold rings
Geese a-laying
Swans a-swimming
Maids a-milking
Drummers drumming
Pipers piping
Ladies dancing
Lords a-leaping

Hughes, 1864[17]
My true love sent to me
Partridge and a pear tree
Turtle-doves
Fat hens
Ducks quacking
Hares running
"and so on"
—
—
—
—
—
—

Cliftonian, 1867[18]
My true-love sent to me
Partridge in a pear-tree
Turtle-doves
French hens
Colley birds
Gold rings
Ducks a-laying
Swans swimming
Hares a-running
Ladies dancing
Lords a-leaping
Badgers baiting
Bells a-ringing

Clark, 1875[19]
My true love sent to me
Partridge in a pear tree
Turtle doves
French hens
Colour'd birds
Gold rings
Geese laying
Swans swimming
Maids milking
Drummers drumming
Pipers piping
Ladies dancing
Lords leaping

Kittredge, 1877 (1917)[20]
My true love sent to me
Some part of a juniper tree, And some part of a juniper tree
French hens
Turtle doves
Colly birds
Gold rings
Geese a-laying
Swans a-swimming
[forgotten by the singer]
Lambs a-bleating
Ladies dancing
Lords a-leading
Bells a-ringing

Henderson, 1879[21]
My true love sent to me
Partridge upon a pear tree
Turtle doves
French hens
Curley birds
Gold rings
Geese laying
Swans swimming
Maids milking
Drummers drumming
Pipers piping
—
—

Barnes, 1882[22]
My true love sent to me
The sprig of a juniper tree
Turtle doves
French hens
Coloured birds
Gold rings
Geese a-laying
Swans a-swimming
Hares a-running
Bulls a-roaring
Men a-mowing
Dancers a-dancing
Fiddlers a-fiddling

Stokoe, 1888[23]
My true love sent to me
Partridge on a pear tree
Turtle doves
French hens
Colly birds
Gold rings
Geese a-laying
Swans a-swimming
Maids a-milking
Drummers drumming
Pipers piping
Ladies dancing
Lords a leaping

Kidson, 1891[24]
My true love sent to me
Merry partridge on a pear tree
Turtle doves
French hens
Colley birds
Gold rings
Geese a-laying
Swans a-swimming
Maids a-milking
Drummers drumming
Pipers piping
Ladies dancing
Lords a leaping

Scott, 1892[25]
My true love brought to me
Very pretty peacock upon a pear tree
Turtle-doves
French hens
Corley birds
Gold rings
Geese a-laying
Swans a-swimming
Maids a-milking
Pipers playing
Drummers drumming
Lads a-louping
Ladies dancing

Cole, 1900[26]
My true love sent to me
Parteridge upon a pear tree
Turtle doves
French hens
Colly birds
Gold rings
Geese a laying
Squabs a swimming
Hounds a running
Bears a beating
Cocks a crowing
Lords a leaping
Ladies a dancing

Sharp, 1905[27]
My true Love sent to me
Goldie ring, and the part of a June apple tree
Turtle doves, and the part of a mistletoe bough
French hens
Colley birds
Goldie rings
Geese a-laying
Swans a-swimming
Boys a-singing
Ladies dancing
Asses racing
Bulls a-beating
Bells a-ringing

Austin, 1909[4]
My true love sent to me
Partridge in a Pear Tree
Turtle Doves
French Hens
Calling Birds
Gold Rings
Geese a-laying
Swans a-swimming
Maids a-milking
Ladies dancing
Lords a-leaping
Pipers piping
Drummers drumming

Swortzell, 1966[7]
My true love gave to me
Partridge in a pear tree
Turtle doves
French hens
Collie birds
Golden rings
Geese a-laying
Swans a-swimming
Maids a-milking
Pipers piping
Drummers drumming
Lords a-leaping
Ladies dancing

text: Scotland[edit]

text: A similar cumulative verse from Scotland, "The Yule Days", has been likened to "The Twelve Days of Christmas" in the scholarly literature.[28] It has thirteen days rather than twelve, and the number of gifts does not increase in the manner of "The Twelve Days". Its final verse, as published in Chambers, Popular Rhymes, Fireside Stories, and Amusements of Scotland (1842), runs as follows:[29]

text:
The king sent his lady on the thirteenth Yule day,
Three stalks o' merry corn,
Three maids a-merry dancing,
Three hinds a-merry hunting,
An Arabian baboon,
Three swans a-merry swimming,
Three ducks a-merry laying,
A bull that was brown,
Three goldspinks,
Three starlings,
A goose that was grey,
Three plovers,
Three partridges,
A pippin go aye;
Wha learns my carol and carries it away?

text: "Pippin go aye" (also spelled "papingo-aye" in later editions) is a Scots word for peacock[30] or parrot.[31]

text: Faroe Islands[edit]

text: In the Faroe Islands, there is a comparable counting Christmas song. The gifts include: one feather, two geese, three sides of meat, four sheep, five cows, six oxen, seven dishes, eight ponies, nine banners, ten barrels, eleven goats, twelve men, thirteen hides, fourteen rounds of cheese and fifteen deer.[32] These were illustrated in 1994 by local cartoonist Óli Petersen (born 1936) on a series of two stamps issued by the Faroese Philatelic Office.[33]

text: France[edit]

text: "Les Douze Mois" ("The Twelve Months") (also known as "La Perdriole"—"The Partridge")[34] is another similar cumulative verse from France that has been likened to The Twelve Days of Christmas.[28] Its final verse, as published in de Coussemaker, Chants Populaires des Flamands de France (1856), runs as follows:[35]

text:
Le douzièm' jour d'l'année , [the twelfth day of the year]
Que me donn'rez vous ma mie? [what will you give me, my love?]
Douze coqs chantants, [twelve singing cockerels]
Onze plats d'argent, [eleven silver dishes]
Dix pigeons blancs, [ten white pigeons]
Neuf bœufs cornus, [nine horned oxen]
Huit vaches mordants, [eight biting cows]
Sept moulins à vent, [seven windmills]
Six chiens courants, [six running dogs]
Cinq lapins courant par terre, [five rabbits running along the ground]
Quat' canards volant en l'air, [four ducks flying in the air]
Trois rameaux de bois, [three wooden branches]
Deux tourterelles, [two turtle doves]
Un' perdrix sole, [one lone partridge]
Qui va, qui vient, qui vole, [who goes, who comes, who flies]
Qui vole dans les bois. [who flies in the woods]

text: According to de Coussemaker, the song was recorded "in the part of [French] Flanders that borders on the Pas de Calais".[35]

text: Origins and meaning[edit]

text: The exact origins and the meaning of the song are unknown, but it is highly probable that it originated from a children's memory and forfeit game.[36]

text: The twelve days in the song are the twelve days starting with Christmas Day, or in some traditions, the day after Christmas (26 December) (Boxing Day or St. Stephen's Day, as being the feast day of St. Stephen Protomartyr), to the day before Epiphany, or the Feast of the Epiphany (6 January, or the Twelfth Day). Twelfth Night is defined by the Oxford English Dictionary as "the evening of the fifth of January, preceding Twelfth Day, the eve of the Epiphany, formerly the last day of the Christmas festivities and observed as a time of merrymaking."[37]

text: The best known English version was first printed in English in 1780 in a little book intended for children, Mirth without Mischief, as a Twelfth Night "memories-and-forfeits" game, in which a leader recited a verse, each of the players repeated the verse, the leader added another verse, and so on until one of the players made a mistake, with the player who erred having to pay a penalty, such as offering up a kiss or a sweet.[38]

text: Halliwell, writing in 1842, stated that "[e]ach child in succession repeats the gifts of the day, and forfeits for each mistake."[12]

text: Salmon, writing from Newcastle, claimed in 1855 that the song "[had] been, up to within twenty years, extremely popular as a schoolboy's Christmas chant".[15]

text: Husk, writing in 1864, stated:[39]

text: This piece is found on broadsides printed at Newcastle at various periods during the last hundred and fifty years. On one of these sheets, nearly a century old, it is entitled "An Old English Carol," but it can scarcely be said to fall within that description of composition, being rather fitted for use in playing the game of "Forfeits," to which purpose it was commonly applied in the metropolis upwards of forty years since. The practice was for one person in the company to recite the first three lines; a second, the four following; and so on; the person who failed in repeating her portion correctly being subjected to some trifling forfeit.

text: Thomas Hughes, in a short story published in 1864, described a fictional game of Forfeits involving the song:[17]

text: [A] cry for forfeits arose. So the party sat down round Mabel on benches brought out from under the table, and Mabel began, --

text: The first day of Christmas my true love sent to me a partridge and a pear-tree;

text: The second day of Christmas my true love sent to me two turtle-doves, a partridge, and a pear-tree;

text: The third day of Christmas my true love sent to me three fat hens, two turtle-doves, a partridge, and a pear-tree;

text: The fourth day of Christmas my true love sent to me four ducks quacking, three fat hens, two turtle-doves, a partridge, and a pear-tree;

text: The fifth day of Christmas my true love sent to me five hares running, four ducks quacking, three fat hens, two turtle-doves, a partridge, and a pear-tree.

text: And so on. Each day was taken up and repeated all round; and for every breakdown (except by little Maggie, who struggled with desperately earnest round eyes to follow the rest correctly, but with very comical results), the player who made the slip was duly noted down by Mabel for a forfeit.

text: Lady Gomme wrote in 1898:[40]

text: "The Twelve Days" was a Christmas game. It was a customary thing in a friend's house to play "The Twelve Days," or "My Lady's Lap Dog," every Twelfth Day night. The party was usually a mixed gathering of juveniles and adults, mostly relatives, and before supper — that is, before eating mince pies and twelfth cake — this game and the cushion dance were played, and the forfeits consequent upon them always cried. The company were all seated round the room. The leader of the game commenced by saying the first line. […] The lines for the "first day" of Christmas was said by each of the company in turn ; then the first "day" was repeated, with the addition of the "second" by the leader, and then this was said all round the circle in turn. This was continued until the lines for the "twelve days" were said by every player. For every mistake a forfeit — a small article belonging to the person — had to be given up. These forfeits were afterwards "cried" in the usual way, and were not returned to the owner until they had been redeemed by the penalty inflicted being performed.

text: "Twelve days of Christmas" was adapted from similar New Years' or spring French carols,[citation needed] of which at least three are known, all featuring a partridge, perdriz or perdriole, as the first gift. The pear tree appears in only the English version, but this could also indicate a French origin. According to Iona and Peter Opie, the red-legged (or French) partridge perches in trees more frequently than the native common (or grey) partridge and was not successfully introduced into England until about 1770.[3] Cecil Sharp observed that "from the constancy in English, French, and Languedoc versions of the 'merry little partridge,' I suspect that 'pear-tree' is really perdrix (Old French pertriz) carried into England"; and "juniper tree" in some English versions may have been "joli perdrix," [pretty partridge]. Sharp also suggests the adjective "French" in "three French hens", probably simply means "foreign".[41][42]

text: In the northern counties of England, the song was often called the "Ten Days of Christmas", as there were only ten gifts. It was also known in Somerset, Dorsetshire, and elsewhere in England. The kinds of gifts vary in a number of the versions, some of them becoming alliterative tongue-twisters.[43] "The Twelve Days of Christmas" was also widely popular in the United States and Canada. It is mentioned in the section on "Chain Songs" in Stith Thompson's Motif-Index of Folk-Literature (Indiana University Studies, Vol. 5, 1935), p. 416.

text: There is evidence pointing to the North of England, specifically the area around Newcastle upon Tyne, as the origin of the carol. Husk, in the 1864 excerpt quoted above, stated that the carol was "found on broadsides printed at Newcastle at various periods during the last hundred and fifty years", i.e. from approximately 1714. In addition, many of the nineteenth century citations come from the Newcastle area.[15][21][23][25]

text: Meanings of the gifts[edit]

text: According to The Oxford Dictionary of Nursery Rhymes, "Suggestions have been made that the gifts have significance, as representing the food or sport for each month of the year. Importance [certainly has] long been attached to the Twelve Days, when, for instance, the weather on each day was carefully observed to see what it would be in the corresponding month of the coming year. Nevertheless, whatever the ultimate origin of the chant, it seems probable [that] the lines that survive today both in England and France are merely an irreligious travesty."[3]

text: In 1979, a Canadian hymnologist, Hugh D. McKellar, published an article, "How to Decode the Twelve Days of Christmas" in which he suggested that "The Twelve Days of Christmas" lyrics were intended as a catechism song to help young Catholics learn their faith, at a time when practising Catholicism was criminalised in England (1558 until 1829).[44] Three years later in 1982, Fr. Hal Stockert wrote an article (subsequently posted on-line in 1995) in which he suggested a similar possible use of the twelve gifts as part of a catechism.[45][46] The possibility that the twelve gifts were used as a catechism during English and Irish Catholic penal times was also hypothesized in this same time period (1987 and 1992) by Fr. James Gilhooley, chaplain of Mount Saint Mary College of Newburgh, New York.[47][48] Snopes.com, a website reviewing urban legends, Internet rumours, e-mail forwards, and other stories of unknown or questionable origin, also concludes that the hypothesis of the twelve gifts of Christmas being a surreptitious catechism is incorrect.[38]

text: William S. Baring-Gould suggests that the presents sent on the first seven days were all birds—the "five gold rings" were not actually gold rings, but refer to the five golden rings of the ringed pheasant.[49] Others suggest the gold rings refer to "five goldspinks"—a goldspink being an old name for a goldfinch;[50] or even canaries.[51] However, the 1780 publication includes an illustration that clearly depicts the "five gold rings" as being jewellery.[6]

text: Music[edit]

text: Standard melody[edit]

text: The now-standard melody for the carol was published in 1909 by Novello & Co.. English composer Frederic Austin fitted the words to a traditional melody, to which he added his own two-bar motif for "Five gold rings".[52][53][54] Many of the decisions Austin made with regard to the lyrics subsequently became widespread:

text:
The initial "on" at the beginning of each verse.
The use of "calling birds", rather than "colly birds", on the fourth day.
The ordering of the final four verses.

text: The time signature of this song is not constant, unlike most popular music. This irregular meter perhaps reflects the song's folk origin. The introductory lines, such as "On the twelfth day of Christmas, my true love gave to me", are made up of two 4/4 bars, while most of the lines naming gifts receive one 3/4 bar per gift with the exception of "Five gold(en) rings," which receives two 4/4 bars, "Two turtle doves" getting a 4/4 bar with "And a" on its fourth beat and "Partridge in a pear tree" getting two 4/4 bars of music. In most versions, a 4/4 bar of music immediately follows "Partridge in a pear tree." "On the" is found in that bar on the 4th (pickup) beat for the next verse. The successive bars of three for the gifts surrounded by bars of four give the song its hallmark "hurried" quality.

text: The second to fourth verses' melody is different from that of the fifth to twelfth verses. Before the fifth verse (when "five gold(en) rings" is first sung), the melody, using solfege, is "sol re mi fa re" for the fourth to second items, and this same melody is thereafter sung for the twelfth to sixth items. However, the melody for "four colly birds, three French hens, two turtle doves" changes from this point, differing from the way these lines were sung in the opening four verses.

text: In the final verse, Austin inserted a flourish on the words "Five Gold Rings". This has not been copied by later versions, which simply repeat the melody from the earlier verses.

text: Earlier versions[edit]

text: In the 19th century, most sources for the lyrics do not include music, and those that do often include music different from what has become the standard melody.

text: Cecil Sharp's Folk Songs from Somerset (1905) contains two different melodies for the song, both distinct from the now-standard melody.[27]

text:
Older Musical settings of "Twelve Days of Christmas"

Musical setting from Edward Rimbault's Nursery Rhymes, with the Tunes to which They Are Still Sung in the Nurseries of England (c. 1846).[13] According to its preface, this book was "the first attempt to preserve by notation the ancient melodies to which these ditties are commonly chanted".[55]

This melody for "The Twelve Days" was published in 1888. It was "collected by the late Mr. John Bell, of Gateshead, about eighty years ago" [i.e. around 1808][23]  Play (help·info)

This melody was current in "country villages in Wiltshire", according to an 1891 newspaper article.[24]

text: Parodies and other versions[edit]

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

text:
Bing Crosby and The Andrews Sisters recorded the traditional version of this song on 10 May 1949 for Decca Records.[56]
Burl Ives, backed by Percy Faith and his Orchestra and Chorus, recorded a traditional version of "The Twelve Days of Christmas" in 1951.
The Ray Conniff Singers also recorded a traditional version in 1962, appearing on the album We Wish You a Merry Christmas.
Jasper Carrott performed "Twelve Drinks of Christmas" where he appears to be more inebriated with each successive verse.[57]
Perry Como recorded a traditional version of "Twelve Days of Christmas" in 1953 but varied the lyrics with "11 Lords a Leaping", "10 Ladies Dancing", and "9 Pipers Piping". It was musically supervised by Mitchell Ayres.
Allan Sherman released two different versions of "The Twelve Gifts of Christmas".[58] Sherman wrote and performed his version of the classic Christmas carol on a 1963 TV special that was taped well in advance of the holiday. Warner Bros. Records rushed out a 45 RPM version in early December.[59]
Alvin and the Chipmunks covered the song for their 1963 album Christmas with The Chipmunks, Vol. 2.
The illustrator Hilary Knight included A Firefly in a Fir Tree (later rereleased independently with the subtitle A Carol for Mice) in his 1963 Christmas Nutshell Library, a boxed set of four miniature holiday-themed books.[60] In this rendition, the narrator is a mouse, with the various gifts reduced to mouse scale, such as "nine nuts for nibbling" and "four holly berries."[61]
Frank Sinatra and his children, Frank Sinatra Jr., Nancy Sinatra, and Tina Sinatra, included their own version of "The Twelve Days of Christmas" on their 1968 album, The Sinatra Family Wish You a Merry Christmas.[62]
Fay McKay, an American musical comedian, is best known for "The Twelve Daze of Christmas", a parody in which the gifts were replaced with various alcoholic drinks, resulting in her performance becoming increasingly inebriated over the course of the song.[63]
A radio play written by Brian Sibley, "And Yet Another Partridge in a Pear Tree" was broadcast on BBC Radio 4 on Christmas Day 1977.[64] Starring Penelope Keith, it imagines the increasingly exasperated response of the recipient of the "twelve days" gifts.[65] It was rebroadcast in 2011.[66]
The Muppets and singer-songwriter John Denver performed "The Twelve Days of Christmas" on the 1979 television special John Denver and the Muppets: A Christmas Together. It was featured on the album of the same name. The song has been recorded by the Muppets five different times, featuring different Muppets in different roles each time.[67]
In 1975, the Sesame Street characters recorded a version of this song, using different lyrics. The 12 things are: one delicious cookie (Cookie Monster), two baby frogs (Hardhead Henry Harris, Elmo in the 1995 version), three footballs (Prairie Dawn), four wooly bears (Grover), five argyle socks (Bert), six rubber duckies (Ernie), seven rusty trashcans (Oscar the Grouch), eight counts a' counting (Count von Count), nine pounds of birdseed (Big Bird), ten wind-up rabbits (Smart Tina, later replaced by ten triangles Telly Monster), eleven broken buildings (Herry Monster) and "Twelve.... I can't remember!" (Mr. Snuffleupagus).[citation needed]
A Māori / New Zealand version, titled "A Pukeko in a Ponga Tree," written by Kingi Matutaera Ihaka, appeared as a picture book and cassette recording in 1981.[68][69]
On the late-night sketch-comedy program Second City TV in 1982, the Canadian-rustic characters Bob & Doug McKenzie (Rick Moranis and Dave Thomas) released a version on the SCTV spin-off album Great White North.[70]
Roger Whittaker recorded the traditional version with Angus' format in 1984.
The Twelve Days of Christmas (TV 1993), an animated tale which aired on NBC, features the voices of Marcia Savella, Larry Kenney, Carter Cathcart, Donna Vivino and Phil Hartman.[71]
Walt Kelly did a number of takes on the carol in Pogo. In one of them, the various characters, in fantastic hats, bring the gifts to Miz Beaver. By the 11th day, she, having run out of room -and patience-, calls a halt to the proceedings and speaks to Mr.Miggle, the general store proprieter, about taking them all off her hands.
Christian rock band Relient K released a recording of the song on their 2007 album Let It Snow, Baby... Let It Reindeer. This version known for its slightly satirical refrain: "What's a partridge? What's a pear tree? I don't know, so please don't ask me. But I can bet those are terrible gifts to get." [72]
A program hosted by Tom Arnold, The 12 Days of Redneck Christmas, which takes a look at Christmas traditions, premiered on CMT in 2008. The theme music is "The Twelve Days of Christmas."[73]
Polkadot Cadaver did a satiric version of the song on their album From Bethlehem to Oblivion.
Shannon Chan-Kent, as her character of Pinkie Pie from My Little Pony: Friendship Is Magic, sings her own version of the song on the album My Little Pony: It's a Pony Kind of Christmas.[74]
Irish actor Frank Kelly recorded "Christmas Countdown" in 1982 in which a man named Gobnait O’Lunacy receives 12 different Christmas gifts from a lady named Nuala. As each gift is received, the man gets increasingly upset with the person who sent them. This version charted in both Ireland (where it reached number 8 in 1982) and the UK (entering the UK chart in December 1983 and reaching number 26)[75][76]
A special Creature Comforts orchestral arrangement of "The Twelve Days of Christmas" was made by British animator Nick Park and Aardman Animations. Featuring different animals discussing or trying to remember the lyrics of the song, it was released on Christmas Day 2005.[77]
New Orleans band Benny Grunch and the Bunch perform a "locals-humor take" on the song, titled "The Twelve Yats of Christmas."[78][79]
The carol is the main plot device in Ellery Queen's, The Finishing Stroke.
The video game Starcraft: Broodwar released a new map named "Twelve Days of Starcraft" with the song which was adopted a new lyric by Blizzard on 23 December 1999.[80][unreliable source?] In 2013, CarbotAnimations created a new web animation, "StarCrafts Christmas Special 2013 the Twelve Days of StarCrafts", with the song which was played in the map "Twelve Days of Starcraft".[81]
Jimmy Buffet released a Parrothead version.[82]
Canadian impressionist Steve Ivings released a version in 1979, done in his voice impersonations of celebrities such as Dean Martin, Peter Falk, Marlon Brando, Walter Cronkite, Richard Burton, Liberace and Paul Lynde.

text: Christmas Price Index[edit]

text: Since 1984, the cumulative costs of the items mentioned in the song have been used as a tongue-in-cheek economic indicator. Assuming the gifts are repeated in full in each round of the song, then a total of 364 items are delivered by the twelfth day.[83] This custom began with and is maintained by PNC Bank.[84][85] Two pricing charts are created, referred to as the Christmas Price Index and The True Cost of Christmas. The former is an index of the current costs of one set of each of the gifts given by the True Love to the singer of the song "The Twelve Days of Christmas". The latter is the cumulative cost of all the gifts with the repetitions listed in the song. The people mentioned in the song are hired, not purchased. The total costs of all goods and services for the 2015 Christmas Price Index is US$34,130.99,[86] or $155,407.18 for all 364 items.[87][88] The original 1984 cost was $12,623.10. The index has been criticised for not accurately reflecting the true cost of the gifts featured in the Christmas carol.[89]


document_title: The Girl on the Train (2016 film)

question_text: where was the girl on the train filmed

question_tokens: where was the girl on the train filmed

text: The Girl on the Train (2016 film)

text: Plot[edit]

text: Rachel Watson (Emily Blunt) is an alcoholic who shares an apartment with her friend Cathy (Laura Prepon) and spends her days commuting aimlessly on a train after losing her job. From the train she observes the activities of her former husband, Tom Watson (Justin Theroux), his new wife, Anna Watson (Rebecca Ferguson), and a couple who live nearby, Scott (Luke Evans) and Megan Hipwell (Haley Bennett), whom she sees as the ideal couple.[6]

text: During her marriage, having failed to become pregnant, Rachel became prone to alcohol-induced blackouts during which she engaged in self-destructive and violent behavior, including an occasion where she caused a scene at the home of her husband's boss and his wife Martha (Lisa Kudrow), leading to Tom being fired. She continues to watch Tom, Anna, and their newborn daughter Evie, causing both Tom and Anna to warn her off. Unknown to her, Megan has been working as a nanny for Anna, but has suddenly resigned.[7]

text: During one train journey, Rachel spots Megan kissing a stranger on her balcony and becomes infuriated by what she perceives as Megan ruining her "perfect" marriage. After a drinking binge, Rachel leaves the train to confront Megan, only to black out and awaken hours later at her apartment, injured.[7] Rachel later learns that Megan is missing, and is questioned by Detective Sergeant Riley (Allison Janney), who suspects Rachel might be involved due to her recent erratic behavior and her presence in the neighborhood on the evening of Megan's disappearance. Rachel suspects a fellow-passenger (Darren Goldstein) of following her off the train and sees him in flashbacks to that evening but cannot piece her memories together.

text: Hearing that Scott is asking the public to help him find his wife, Rachel goes to see him, pretending to be a friend of Megan's, and tells him about Megan's affair.[6] From a photograph, she identifies Dr Kamal Abdic (Édgar Ramírez), Megan's psychiatrist, as the man on the balcony. It gradually becomes apparent that Scott is aggressive and controlling, while Megan was prone to dishonesty and sex addiction, feared becoming pregnant, and had frequent therapy sessions with Abdic. In one of her last sessions, she tells him that she had a baby girl when in her teens, whom she accidentally drowned in the bath.

text: Believing Abdic to be the key to Megan's disappearance, Rachel schedules an appointment with him, revealing the history of her marriage and alcoholism. Later, at a bar, she recognizes the man who followed her from the train, and confronts him. He claims to have found Rachel lying in a tunnel on his route home; he tried to help her up, but she rejected his help. Rachel returns to the tunnel and recalls seeing Megan shouting at her before she was injured.

text: Meanwhile, Anna becomes suspicious of Tom after Sgt. Riley suggests that he is encouraging Rachel's behavior by keeping in touch with her. Anna attempts to hack into Tom's computer, and in the process she finds a secret phone with several voice messages to another woman Tom is having an affair with.

text: Megan is found dead and forensics determine she was pregnant, but the child was neither Scott's nor Abdic's. Scott confronts Rachel, in the process revealing that he assaulted Megan prior to her death. Rachel sees Martha on the train and apologizes for her previous behavior, but her memory of the occasion does not match Martha's version; Martha tells her that Tom was fired for having sexual relations with co-workers. Rachel realizes that Tom planted false memories in her head on several occasions following a drinking binge.

text: Anna finds out that Tom was exchanging phone calls with Megan. Rachel realizes that Megan had confided in Abdic about her pregnancy, leading to their encounter on the balcony. After leaving the train that day, Rachel caught Tom meeting Megan and shouted at her, mistaking her for Anna. Tom attacked Rachel before returning to Megan, who told him about the baby and refused to get an abortion. Fearing that their affair would be exposed, Tom murdered Megan.

text: Rachel goes to Tom's house to warn Anna, who reveals that she already knows about the affair. Tom arrives and Rachel confronts him. As Tom and Rachel argue, Anna reveals that she had found Megan's phone. Tom then carries Evie out of the room; a fearful Anna pleads for him to give her the baby while Rachel tries to dial 911. Tom knocks Rachel unconscious; when she comes round, Tom threatens her again, trying to suggest that Rachel is responsible for his actions. He tries to strangle her, watched by Anna from the top of the stairs. Rachel runs from the house, grabbing a corkscrew on her way out. Tom catches up with her in the garden, and she stabs him in the neck with the corkscrew as Anna watches from the window. Anna arrives and pushes the corkscrew deeper into Tom's neck, killing him.

text: Rachel and Anna are both arrested, and separately confirm to the police that Rachel killed Tom in self-defense, after he revealed himself to be Megan's killer. Anna tells the skeptical detective that Rachel was right about everything.

text: One month later, a sobered-up Rachel is commuting to her new job on the same train. She now sits on the opposite side in a different car, leaving her old neighborhood in the past.

text: Cast[edit]

text:
Emily Blunt as Rachel Watson, a lonely alcoholic and Tom's ex-wife
Rebecca Ferguson as Anna Watson, a real estate agent and Tom's wife
Haley Bennett as Megan Hipwell, Scott’s wife
Justin Theroux as Tom Watson, Rachel’s ex-husband and Anna's husband.
Luke Evans as Scott Hipwell, Megan’s husband.
Allison Janney as DS. Riley, a detective
Édgar Ramírez as Dr. Kamal Abdic, Megan's psychiatrist.
Lisa Kudrow as Martha, the wife of a former boss of Tom.
Laura Prepon as Cathy, the landlord, roommate and college friend of Rachel.
Darren Goldstein as Man in the Suit

text: Production[edit]

text: On March 24, 2014, DreamWorks Pictures acquired the film rights to Paula Hawkins' debut novel, The Girl on the Train, which Marc E. Platt was set to produce through Marc Platt Productions.[8] On January 13, 2015, Erin Cressida Wilson was hired to write the script for the film.[9] On May 21, 2015, DreamWorks hired Tate Taylor to direct the film.[10] On June 4, 2015, TheWrap reported that Emily Blunt was offered for the title role, the lonely and alcoholic divorcee Rachel.[11] The studio had eyed Kate Mara for another of the three lead roles.[11] In July 2015, the book's author Hawkins told The Sunday Times that the film's setting would be moved from London to Westchester, New York.[12] On August 18, 2015, Deadline.com confirmed that Rebecca Ferguson was cast in the film to play Anna, one of three roles, along with Blunt.[13] On August 24, 2015, Haley Bennett was added to the cast to play the third female lead role, Megan.[14]

text: On September 21, 2015, it was reported that Jared Leto and Chris Evans were in talks to join the film, where Evans would play Tom, Rachel's ex-husband, and Leto would play the neighbor's husband.[15] On October 22, 2015, Édgar Ramírez joined the film to play Dr. Kamal Abdic, who is in an affair with the married Megan, and becomes a suspect in her disappearance.[16] On October 27, 2015, Justin Theroux was cast in the film to play Tom, replacing Evans, who left the film due to a scheduling conflict.[17] On October 28, 2015, Variety reported that Allison Janney had joined the film's cast to play a police detective.[18] On November 3, 2015, Lisa Kudrow was cast in the film to play Martha, a former co-worker of Tom.[19] On November 4, 2015, The Hollywood Reporter confirmed that Luke Evans had replaced Leto, who left the film due to a scheduling issue.[20] On January 7, 2016, it was announced that Laura Prepon had joined the cast as Cathy, the landlord, roommate, and college friend of Rachel Watson.[21]

text: Filming[edit]

text: Principal photography on the film began on November 4, 2015, in New York City.[22][23] In late November 2015, filming also took place in White Plains,[24] as well as in Hastings-on-Hudson and Irvington, New York.[25] Filming wrapped up on January 30, 2016.[26]

text: Post-production[edit]

text: During post-production on the film, Paula Hawkins' cameo was cut.[27]

text: Release[edit]

text: In November 2015, Walt Disney Studios Motion Pictures scheduled the film for an October 7, 2016, release through their Touchstone Pictures banner.[28][29][30] The film was part of DreamWorks' distribution deal with Walt Disney Studios, which began in 2009. However, DreamWorks and Disney did not renew their distribution deal, and in December 2015, Universal Pictures acquired the film's distribution rights, as part of their new distribution deal with DreamWorks' parent company, Amblin Partners.[31] Universal retained Disney's original release date.[5] Universal also distributed overseas, except in Europe, the Middle East and Africa, where distribution was handled by Mister Smith Entertainment through other film companies.[32] Entertainment One released the film in the United Kingdom on October 5, 2016.[1]

text: Reception[edit]

text: Box office[edit]

text: The Girl on the Train grossed $75.4 million in the United States and Canada and $97.8 million in other countries for a worldwide total of $173.2 million, against a production budget of $45 million.[3]

text: In the United States and Canada, the film was projected to gross around $25–30 million in its opening weekend, with some having it opening to as low as $18 million. The film was expected to play like the similarly-themed Gone Girl, which opened to $37.5 million in October 2014, although that film had more star power to carry it.[33][34] It went on to gross $24.5 million in its opening weekend, finishing first at the box office.[35] In its second weekend it grossed $12 million, finishing third at the box office.[36]

text: Critical response[edit]

text: The Girl on the Train received mixed reviews from critics. On review aggregator Rotten Tomatoes the film has an approval rating of 43% based on 240 reviews, with an average rating of 5.3/10. The site's critical consensus reads, "Emily Blunt's outstanding performance isn't enough to keep The Girl on the Train from sliding sluggishly into exploitative melodrama."[37] On Metacritic, the film has a weighted average score of 48 out of 100, based on 49 critics, indicating "mixed or average reviews".[38] Audiences polled by CinemaScore gave the film an grade of "B–" on an A+ to F scale.[39]

text: IGN critic Terri Schwartz gave the film a score of 5.5/10, writing: "The Girl on the Train has a talented cast, but ultimately squanders it for the sake of a hollow, ponderous plot. Alternately overly convoluted and predictable, the film relies too heavily on its twists while offering little in the way of character development, leaving its three central women as unrelatable and unlikable stereotypes."[40] Chicago Sun-Times' Richard Roeper gave 2 stars out 4, and said that the film is "shiny trash that begins with promise but quickly gets tripped up by its own screenplay and grows increasingly ludicrous and melodramatic, to the point where I was barely able to suppress a chuckle at some of the final scenes."[41] Christy Lemire of RogerEbert.com gave 1½ stars out of 4, and described the film as, "a flat and suspense-free tale of pretty people in peril."[42]

text: Rolling Stone's Peter Travers gave the film a positive review, commenting that: "[T]he movie gives away the game faster than the novel, but Emily Blunt digs so deep into the role of a blackout drunk and maybe murderer that she raises Girl to the level of spellbinder."[43]

text: Accolades[edit]

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

British Academy Film Awards
February 12, 2017
Best Actress in a Leading Role
Emily Blunt
Nominated
[44]

Hollywood Film Awards
November 6, 2016
Hollywood Producer Award
Marc Platt (also for Billy Lynn's Long Halftime Walk and La La Land)
Won
[45]

Make-Up Artists and Hair Stylists Guild
February 19, 2017
Feature-Length Motion Picture – Contemporary Hair Styling
Alan D'Angerio
Nominated
[46]

People's Choice Awards
January 18, 2017
Favorite Thriller Movie
The Girl on the Train
Won
[47]

Saturn Awards
June 28, 2017
Best Thriller Film
The Girl on the Train
Nominated
[48]

Best Actress
Emily Blunt
Nominated

Screen Actors Guild Awards
January 29, 2017
Outstanding Performance by a Female Actor in a Leading Role
Emily Blunt
Nominated
[49]


document_title: Executive order (United States)

question_text: the ability the president to veto legislation is an example of

text: Executive order (United States)

text: Basis in the United States Constitution[edit]

text: The United States Constitution does not have a provision that explicitly permits the use of executive orders. The term executive power in Article II, Section 1, Clause 1 of the Constitution is not entirely clear. The term is mentioned as direction to "take Care that the Laws be faithfully executed" and is part of Article II, Section 3. The consequence of failing to comply could possibly be removal from office.[3][4]

text: The U.S. Supreme Court has held[5] that all executive orders from the President of the United States must be supported by the Constitution, whether from a clause granting specific power, or by Congress delegating such to the executive branch.[6] Specifically, such orders must be rooted in Article II of the US Constitution or enacted by the congress in statutes. Attempts to block such orders have been successful at times when such orders exceeded the authority of the president or could be better handled through legislation.[7]

text: The Office of the Federal Register is responsible for assigning the executive order a sequential number after receipt of the signed original from the White House and printing the text of the executive order in the daily Federal Register and Title 3 of the Code of Federal Regulations.[8]

text: History and use[edit]

text: With the exception of William Henry Harrison, all presidents beginning with George Washington in 1789 have issued orders that in general terms can be described as executive orders. Initially they took no set form. Consequently, such orders varied as to form and substance.[9]

text: The first executive order was issued by George Washington on June 8, 1789, addressed to the heads of the federal departments, instructing them “to impress me with a full, precise, and distinct general idea of the affairs of the United States” in their fields.[10]

text: The most famous executive order was by President Abraham Lincoln when he issued the Emancipation Proclamation on January 1, 1863. Political scientist Brian R. Dirck states:

text: The Emancipation Proclamation was an executive order, itself a rather unusual thing in those days. Executive orders are simply presidential directives issued to agents of the executive department by its boss.[11]

text: Until the early 1900s, executive orders went mostly unannounced and undocumented, seen only by the agencies to which they were directed. This changed when the Department of State instituted a numbering scheme in 1907, starting retroactively with United States Executive Order 1 issued on October 20, 1862, by President Abraham Lincoln.[12] The documents that later came to be known as "executive orders" apparently gained their name from this order issued by Lincoln, which was captioned "Executive Order Establishing a Provisional Court in Louisiana".[13] This court functioned during the military occupation of Louisiana during the American Civil War, and Lincoln also used Executive Order 1 to appoint Charles A. Peabody as judge, and to designate the salaries of the court's officers.[12]

text: President Truman's Executive Order 10340 in Youngstown Sheet & Tube Co. v. Sawyer, 343 US 579 (1952) placed all steel mills in the country under federal control. This was found invalid because it attempted to make law, rather than clarify or act to further a law put forth by the Congress or the Constitution. Presidents since this decision have generally been careful to cite which specific laws they are acting under when issuing new executive orders. Likewise, when presidents believe their authority for issuing an executive order stems from within the powers outlined in the Constitution, the order will simply proclaim "under the authority vested in me by the Constitution" instead.

text: Wars have been fought upon executive order, including the 1999 Kosovo War during Bill Clinton's second term in office. However, all such wars have had authorizing resolutions from Congress. The extent to which the president may exercise military power independently of Congress and the scope of the War Powers Resolution remain unresolved constitutional issues, although all presidents since its passage have complied with the terms of the resolution while maintaining that they are not constitutionally required to do so.

text: President Truman issued 907 executive orders, with 1,081 orders by Theodore Roosevelt, 1,203 orders by Calvin Coolidge, and 1,803 orders by Woodrow Wilson. Franklin D. Roosevelt has the distinction of making a record 3,522 executive orders.

text: Franklin Roosevelt[edit]

text: Prior to 1932, uncontested executive orders had determined such issues as national mourning on the death of a president, and the lowering of flags to half-staff. President Franklin Roosevelt issued the first of his 3,522 executive orders on March 6, 1933, declaring a bank holiday, forbidding banks to release gold coin or bullion. Executive Order 6102 forbade the hoarding of gold coin, bullion and gold certificates. A further executive order required all newly mined domestic gold be delivered to the Treasury.[14]

text: By Executive Order 6581, the president created the Export-Import Bank of the United States. On March 7, 1934, he created the National Industrial Recovery Act (Executive Order 6632). On June 29, the president issued Executive Order 6763 "under the authority vested in me by the Constitution", thereby creating the National Labor Relations Board.

text: In 1934, while Charles Evans Hughes was Chief Justice of the United States (in the time period known as the Hughes Court), the Court found that the National Industrial Recovery Act (NIRA) was unconstitutional. The president then issued Executive Order 7073 "by virtue of the authority vested in me under the said Emergency Relief Appropriation Act of 1935", reestablishing the National Emergency Council to administer the functions of the NIRA in carrying out the provisions of the Emergency Relief Appropriations Act. On June 15, he issued Executive Order 7075, which terminated NIRA and replaced it with the Office of Administration of the National Recovery Administration.[15]

text: In the years that followed, President Roosevelt replaced the outgoing judges with those more in line with his views, ultimately appointing Hugo Black, Stanley Reed, Felix Frankfurter, William O. Douglas, Frank Murphy, Robert H. Jackson and James F. Byrnes to the Court. Historically, only George Washington had equal or greater influence over Supreme Court appointments, choosing all of its original members. Justices Frankfurter, Douglas, Black, and Jackson dramatically checked presidential power by invalidating the executive order at issue in The Steel Seizure Case (i.e., Executive Order 10340). In that case Roosevelt's successor, President Truman, had ordered private steel production facilities seized in support of the Korean War effort, but the Court held the executive order was not within the power granted to the President by the Constitution.

text: Table of Presidents using Executive Orders[edit]

text:
President
Number
issued[14]
Starting with
E.O. number[14]

George Washington
8
n/a

John Adams
1
n/a

Thomas Jefferson
4
n/a

James Madison
1
n/a

James Monroe
1
n/a

John Quincy Adams
3
n/a

Andrew Jackson
12
n/a

Martin van Buren
10
n/a

William Henry Harrison
0
n/a

John Tyler
17
n/a

James K. Polk
18
n/a

Zachary Taylor
5
n/a

Millard Fillmore
12
n/a

Franklin Pierce
35
n/a

James Buchanan
16
n/a

Abraham Lincoln
48
1

Andrew Johnson
79

Ulysses S. Grant
217

Rutherford B. Hayes
92

James Garfield
6

Chester Arthur
96

Grover Cleveland (first term)
113

Benjamin Harrison
143

Grover Cleveland (second term)
140

William McKinley
185

Theodore Roosevelt
1,081

William Howard Taft
724

Woodrow Wilson
1,803

Warren G. Harding
522

Calvin Coolidge
1,203

Herbert Hoover
968
5075

Franklin D. Roosevelt (~3.05 terms)
3,522
6071

Harry S. Truman
907
9538

Dwight D. Eisenhower
484
10432

John F. Kennedy
214
10914

Lyndon B. Johnson
325
11128

Richard Nixon
346
11452

Gerald R. Ford
169
11798

Jimmy Carter
320
11967

Ronald Reagan
381
12287

George H. W. Bush
166
12668

Bill Clinton[16]
308
12834

George W. Bush[16]
291
13198

Barack Obama[16]
276
13489

Donald Trump (as of December 8, 2017[update])[16][17]
53
13765

text: Reaction[edit]

text: Large policy changes with wide-ranging effects have been implemented through executive order, including the racial integration of the armed forces under Harry Truman and the desegregation of public schools under Dwight D. Eisenhower[citation needed].

text: Two extreme examples of an executive order are Franklin Roosevelt's Executive Order 6102 "forbidding the hoarding of gold coin, gold bullion, and gold certificates within the continental United States" and Executive Order 9066, which delegated military authority to remove any or all people in a military zone (used to target Japanese-Americans and German-Americans in certain regions). The order was then delegated to General John L. DeWitt, and subsequently paved the way for all Japanese-Americans on the West Coast to be sent to internment camps for the duration of World War II.

text: President George W. Bush issued Executive Order 13233 in 2001, which restricted public access to the papers of former presidents. The order was criticized by the Society of American Archivists and other groups, who stated that it "violates both the spirit and letter of existing U.S. law on access to presidential papers as clearly laid down in 44 USC 2201–07", and adding that the order "potentially threatens to undermine one of the very foundations of our nation". President Barack Obama revoked Executive Order 13233 in January 2009.[18]

text: The Heritage Foundation has accused presidents of abusing executive orders by using them to make laws without Congressional approval and moving existing laws away from their original mandates.[19]

text: Legal conflicts[edit]

text: In 1935, the Supreme Court overturned five of President Franklin Roosevelt's executive orders (6199, 6204, 6256, 6284, 6855). Executive Order 12954, issued by President Bill Clinton in 1995, attempted to prevent the federal government from contracting with organizations that had strike-breakers on the payroll; a federal appeals court subsequently ruled that the order conflicted with the National Labor Relations Act, and invalidated the order.[20][21]

text: Congress has the power to overturn an executive order by passing legislation that invalidates it. Congress can also refuse to provide funding necessary to carry out certain policy measures contained with the order or to legitimize policy mechanisms. In the case of the former, the president retains the power to veto such a decision; however, the Congress may override a veto with a two-thirds majority to end an executive order. It has been argued that a congressional override of an executive order is a nearly impossible event, due to the supermajority vote required and the fact that such a vote leaves individual lawmakers vulnerable to political criticism.[22]

text: On July 30, 2014, the Republican-led House of Representatives approved a resolution authorizing Speaker of the House John Boehner to sue President Barack Obama over claims that he exceeded his executive authority in changing a key provision of the Affordable Care Act ("Obamacare") on his own[23] and over what Republicans claimed had been "inadequate enforcement of the health care law", which Republican lawmakers opposed. In particular, Republicans "objected that the Obama administration delayed some parts of the law, particularly the mandate on employers who do not provide health care coverage".[24] The suit was filed in the U.S. District Court for the District of Columbia on November 21, 2014.[25]

text: Part of President Donald Trump's executive order Protecting the Nation from Foreign Terrorist Entry into the United States, which temporarily banned entry to the US from citizens of seven Muslim-majority countries, including for permanent residents, was stayed by a federal court on January 28, 2017.[26]

text: State governors' executive orders[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2011) (Learn how and when to remove this template message)

text: Executive orders issued by state governors are not the same as statutes passed by state legislatures, but do have the force of law in a similar way to the federal system. State executive orders are usually based on existing constitutional or statutory powers of the governor and do not require any action by the state legislature to take effect.

text: Executive orders may, for example, demand budget cuts from state government when the state legislature is not in session, and economic conditions take a downturn, thereby decreasing tax revenue below what was forecast when the budget was approved. Depending on the state constitution, a governor may specify what percentage each government agency must reduce by, and may exempt those that are already particularly underfunded, or cannot put long-term expenses (such as capital expenditures) off until a later fiscal year. The governor may also call the legislature into special session.

text: There are also other uses for gubernatorial executive orders. In 2007, for example, George "Sonny" Perdue, governor of Georgia, issued an executive order for all of its state agencies to reduce water use during a major drought. This was also demanded of its counties' water systems, however it is unclear whether this order would have the force of law.

text: Presidential proclamation[edit]

text: According to political expert Phillip J. Cooper, a presidential proclamation "states a condition, declares a law and requires obedience, recognizes an event or triggers the implementation of a law (by recognizing that the circumstances in law have been realized)".[27] Presidents define situations or conditions on situations that become legal or economic truth. These orders carry the same force of law as executive orders—the difference between the two is that executive orders are aimed at those inside government while proclamations are aimed at those outside government.

text: The administrative weight of these proclamations is upheld because they are often specifically authorized by congressional statute, making them "delegated unilateral powers." Presidential proclamations are often dismissed as a practical presidential tool for policy making because of the perception of proclamations as largely ceremonial or symbolic in nature. However, the legal weight of presidential proclamations suggests their importance to presidential governance.[28]