document_title: Silly Love Songs (Glee)

question_text: who does blaine sing to in silly love songs

root

text: Silly Love Songs (Glee)

text: Plot[edit]

text: Glee club director Will Schuester (Matthew Morrison) gives New Directions a love song assignment. Having fallen for the group's newest member Lauren Zizes (Ashley Fink), Puck (Mark Salling) serenades her with Queen's "Fat Bottomed Girls". Lauren finds his song choice insulting and stands him up on a pre-Valentine's date, but eventually agrees to spend Valentine's Day with him as friends.

tag: p

text: Artie Abrams (Kevin McHale) and Mike Chang (Harry Shum Jr.) celebrate their respective relationships by performing Michael Jackson's "P.Y.T. (Pretty Young Thing)" for their girlfriends, Brittany Pierce (Heather Morris) and Tina Cohen-Chang (Jenna Ushkowitz). Tina later begins to sing "My Funny Valentine" to Mike, but is too overcome with emotion, and begins to cry while continuing to sing.

text: Finn Hudson (Cory Monteith) sets up a kissing booth, to take advantage of his popularity in the hope of kissing his ex-girlfriend Quinn Fabray (Dianna Agron). He also wants to donate the proceeds to the glee club. Quinn initially refuses to buy a kiss from Finn, but does so at the insistence of her boyfriend Sam Evans (Chord Overstreet), who is suspicious of their relationship. The kiss further re-ignites Finn and Quinn's feelings for one another, and they begin an affair. Santana Lopez (Naya Rivera), angry for having recently had her bad behavior highlighted by the other club members, conspires to give them mono and reveal Quinn's infidelity. Finn's most recent ex-girlfriend Rachel Berry (Lea Michele) is dismayed by his renewed feelings for Quinn, but resolves to concentrate on her career instead of romance, and leads the female New Directions members in a performance of Katy Perry's "Firework".

text: At Dalton Academy, a private school attended by former New Directions member Kurt Hummel (Chris Colfer), the object of his affection Blaine Anderson (Darren Criss) announces his intention to sing a love song to his crush. Kurt believes that Blaine has feelings for him, so is disappointed when his crush turns out to be Jeremiah (Alexander Nifong), the assistant manager at a local Gap store. The Dalton Academy Warblers accompany Blaine as he serenades Jeremiah with Robin Thicke's "When I Get You Alone". Jeremiah is subsequently fired and rebuffs Blaine. Kurt confesses his feelings to Blaine, who tells Kurt that he cares for him but is terrible at romance, and does not want to risk damaging their friendship. The episode ends with New Directions assembled at Breadstix, a local restaurant, where the Warblers perform the titular "Silly Love Songs".

text: Production[edit]

text: "Silly Love Songs" was first announced by Glee co-creator Ryan Murphy in an interview with a German journalist.[4] The name of the episode and its airdate were announced shortly after the announcement of the show getting a short-term hiatus due to various cast members contracting the flu.[5][6] Inspiration for the episode may be partially related to a lobbying effort by Paul McCartney to have covers of songs by The Beatles incorporated into Glee. In an interview with various reporters at the 2010 Teen Choice Awards, Murphy revealed that he received a mixtape that was sent from McCartney, who is reportedly a fan of the series.[7] Recurring characters who appear in this episode include glee club members Mike Chang (Harry Shum, Jr.), Sam Evans (Chord Overstreet), and Lauren Zizes (Ashley Fink), football coach Shannon Beiste (Dot-Marie Jones), and Blaine Anderson (Darren Criss) the lead singer of the Dalton Academy Warblers.[8]

text: "Silly Love Songs" features cover versions of six songs: Katy Perry's "Firework", Queen's "Fat Bottomed Girls", Michael Jackson's "P.Y.T. (Pretty Young Thing)", "My Funny Valentine" from the musical Babes in Arms, "When I Get You Alone" by Robin Thicke, and "Silly Love Songs" by Paul McCartney and his band Wings.[9] This was the fourth time a song by Katy Perry was used in a Glee episode, with the previous covers being "I Kissed a Girl" in the pilot, "Teenage Dream" on the episode "Never Been Kissed" and "California Gurls" on the previous episode "The Sue Sylvester Shuffle".[10][11] All songs with the exception of "My Funny Valentine" were released as singles and made available for digital download.[9] All five singles were included on Glee soundtrack albums: "Firework", "P.Y.T. (Pretty Young Thing)", and "Fat Bottomed Girls" were featured in the sixth soundtrack album, Glee: The Music, Volume 5,[12][13] while "Silly Love Songs" and "When I Get You Alone" were featured on the seventh, Glee: The Music Presents the Warblers.[14]

text: Reception[edit]

text: Ratings[edit]

text: "Silly Love Songs" was originally broadcast in the United States on Fox on February 8, 2011. It received just under 11.58 million American viewers upon its initial airing, despite airing simultaneously with NCIS on CBS, The Biggest Loser on NBC, No Ordinary Family on ABC, and One Tree Hill on The CW.[1] It garnered a 4.6/13 Nielsen rating/share in the 18–49 demographic, the highest rating of the night.[2] This episode's total viewership and ratings were significantly down from the previous episode, "The Sue Sylvester Shuffle", which was watched by over 26.8 million American viewers and received an 11.1/29 rating/share in the 18–49 demographic.[3]

text: In Canada, where it also aired on February 8, 2011, the episode was watched by over 2.08 million viewers.[15] It ranked number ten in the most-watched television programs of the week.[15] The total viewership slightly declined from the previous episode, which attained 2.16 million viewers, as well as being the ninth most-watched television program of the week.[16] In Australia, where the episode aired on February 21, 2011, it was viewed by 921,000 viewers upon its initial airing.[17] It was the eleventh most-watched program on the night.[17] The episode's total viewership declined at a marginal rate from the previous episode, which drew 1.13 million viewers, and was the fourth most-watched program of the night and the most-watched in the 18–49 demographic. It placed tenth in the weekly viewership rankings.[18] In the UK, the episode was watched by 2.629 million viewers (2.233 million on E4, and 396,000 on E4+1), becoming the most-watched show on E4 and E4 +1 for the week, and the most-watched show on cable for the week.[19]

text: Critical response[edit]

text: "Silly Love Songs" was met with critical acclaim from many television critics upon its initial airing. Erica Futterman of Rolling Stone gave a very positive review of the episode, and wrote, "This was our favorite type of Glee episode. Though we enjoy over-the-top spectacles [...], the show's real cleverness shines when they take songs from across the board and fit them into a cohesive storyline. Sue Sylvester didn't make an appearance and—dare we say it—we didn't even miss her."[20] Bobby Hankinson of the Houston Chronicle enjoyed the episode, going on to write, "I thought it was a strong showing, if a little disjointed. Well, at least it was honest. If this show is one thing, it's disjointed. It's part of its spazzy appeal."[21] Melissa Maerz of the Los Angeles Times gave the episode a positive review: "On Tuesday night, Glee wasn’t only back at its usual time, it was back to doing what it does best: giving us entertaining [...] storylines involving characters we care about who sing songs that emerge organically and advance the story. It was like a perfect heart-shaped bubble of an episode reminding the show’s fans about all the things we’ve missed about the show these last couple of months."[22]

text: Robert Canning of IGN also gave the episode a positive review, and opined, "With the dissing of glee club temporarily put on hold, Glee the series was able to have a little fun with Tuesday night's episode. And fun it was, with the gang of New Directions taking on Valentine's Day, with flirting, kissing and, of course, singing. Without the bullying, this was a much lighter episode of Glee, and the results gave way to a lot more laughs and story development."[23] He went on to praise Ashley Fink's performance as Lauren Zizes, and said of Puck's falling in love with Lauren, "I can't decide if I want to root for this couple, but I certainly know I'm going to be rooting for Lauren."[23] Canning ultimately gave the episode an 8.5 out of 10.[23] Wyndham Wyeth of Paste went on to praise the episode for its depiction of relationships in high school, as well as the backing vocals for Salling's performance of "Fat Bottomed Girls" by Queen.[24] Todd VanDerWerff of The A.V. Club gave the episode a positive review and a grade of "A−": "'Silly Love Songs' is a fine example of the show at what's very nearly its absolute best. There’s nothing too heady here, but if the show has one tone that it's nailed almost completely consistently, it’s the feeling of teenage romance, the sense that the person you're in love with is the only person you will ever be in love with [...] followed almost immediately by the crippling feeling of heartbreak, of losing that person too soon. Teenage life moves fast and is filled with heightened emotions. And like most musicals, Glee has always been at its best when it embraces those two sides of its characters' lives. As such, 'Silly Love Songs', which is pretty much just an excuse to play around with the show's many romantic pairings among its glee club characters, is a lot of fun without trying all that hard."[25] In conclusion of his review, he wrote, "The best episodes play that elation and devastation off of each other. The worst episodes flounder about for some sort of emotional foothold. But when Glee just tells small, sweet stories about these kids and the ways they're trying to cope with being in high school when they know they're meant for bigger things, it can be terrific. Tonight was one of those episodes, and tonight's episode was terrific. Here's to a good February sweeps."[25]

text:
"See, now that's the Glee I would have liked to share with that Super Bowl–sized sample of America Sunday night. I can see why the producers went with the kind of episode they did. The story didn't require more than the most general knowledge of the series and its serial plots. It involved football. And it spotlighted a couple of the show's most publicized, accessible draws: Sue and songs. But what we saw in 'Silly Love Songs' to me is what makes the show special. Music, yes, and some far-fetched story twists. But all of it—or most of it—rooted in things that, with some dramatic license, a group of kids in a small Ohio town with a mall would do."

—James Poniewozik of Time, on reviewing "Silly Love Songs"[26]

tag: div

text: Matt Richenthal of TV Fanatic gave the episode a 4.6 out of 5 stars, and went on to describe the episode as "A funny, touching, entertaining Glee episode that didn't feature a single line from Sue Sylvester? I never thought I'd see the day. But that's exactly what transpired on 'Silly Love Songs', as the show stopped feeling like a Public Service Announcement for a week and actually focused on well-paced, well-written relationship developments among its core characters."[27] Joel Keller of TV Squad gave the episode a positive review, and wrote, "'Silly Love Songs' strikes an interesting contrast to Sunday night's post-Super Bowl episode in that tonight was more about the kids and where they are in their stories than about big production numbers and Sue's cartoon evilness. It was also the funniest episode of the season, in no small part because we got some insight into the lives of two New Directions members we rarely get to hang out with for any length of time: Santana and Lauren."[28] James Poniewozik of Time Magazine praised the storyline and the musical performances of the episode.[26] However, Soraya Roberts of the Daily News gave the episode a negative review: "This show sometimes sounds like it was written by a PIT, prime idiot TV writer. It's almost as bad as Tina breaking down into tears for no reason while singing 'My Funny Valentine' to Mike and Blaine attempting to channel Frank Sinatra while singing Paul McCartney's 'Silly Love Songs' in the middle of Breadsticks."[29] Lisa de Moraes of The Washington Post praised the storyline, calling it cohesive.[30]

text: Musical performances[edit]

text: The musical covers and performances for the episode were mostly well received by critics and fans alike. Sandra Gonzalez of Entertainment Weekly stated that her favorite was "Silly Love Songs" by Paul McCartney, performed by the Warblers.[31] In a review of the performance, she wrote, "This is much more Warbler-esque than 'When I Get You Alone'. I had also been worried we wouldn't get our weekly dose of dorky Warbler dance moves. Plus, major points for the blink-and-you'll-miss-it moment when Blaine sang the love 'won't come at all' line to Santana. It was probably my personal biggest laugh-out-loud moment of the episode." She gave the performance an "A".[31] She also praised Puck's performance of "Fat Bottomed Girls", and opined, "In general, I'm in love with Mark Salling's voice. He's right up there with Artie [...] in my book. And this song was smothered in awesome sauce. Bonus points for Puck's sort-of-feminine head bob, Brittany's background groovin', the club's reactions to him singing to Lauren, and Mr. Schu's mild eye-roll." She went on to give the performance an "A−".[31] Kristin Coachman of the Seattle Post-Intelligencer was a bit more critical of Puck's cover of the song: "This week Mark Salling [...] is singing Queen's 'Fat Bottomed Girls'. I know this song fits in with Puck's storyline for the episode, but I feel like the song was in the wrong key for him. At times it sounded like he was straining to hit the higher notes. Because of this, I have to wonder if the backing vocals are purposely drowning his voice out. It seems depending on the song selection for him, Salling's vocal performances continue to be very hit or miss this season."[32]

text: Tina's cover of "My Funny Valentine" stirred mixed emotions in Gonzalez. She criticized the ending: "When she started sobbing, it got weird. Then weirder. Then downright uncomfortable." However, she liked the earlier part of the performance, and wrote, "It was übersweet when Tina started getting choked up during her song, because let's face it, it happens. You can love someone so much it hurts. If she would have continued the song with a mild lump in her throat, I think I might have gotten choked up with her."[31]

text: Rachel's cover of "Firework" by Katy Perry was reviewed negatively by Coachman. She wrote, "I'm not loving Michele’s vocals on this track. It was like they wanted to purposely make her sound like Katy Perry. As much as I really like Katy Perry, Michele has more of a tremendous voice. There are parts where I thought she sounded really great, but for the most part this song just wasn't my cup of tea. Michele has such a beautiful voice; I wish she was given songs that would allow her to showcase it to her advantage."[32] Katie Morgan of Billboard gave a positive review of the Warblers' performance of "Silly Love Songs", writing, "Not only do they sound great [...], but the song brings a sugary sweet end to a super-saccharine episode."[33] The Marquee Blog at CNN gave the music numbers a positive review. A notable segment reads: "I just loved seeing The Warblers get their groove on amidst the jeans and cotton T-shirts. And Kurt was super gracious trying to be supportive of Blaine, in spite of his own feelings. I also totally loved the music [...] and overall this was one of my favorite episodes this season.[34] Brett Berk of Vanity Fair praised Salling's performance of "Fat Bottomed Girls", as well as the casts' performances of "P.Y.T." by Michael Jackson and "When I get You Alone" by Robin Thicke.[35] Erica Futterman of Rolling Stone gave Salling's performance a positive review. She wrote, "We were thoroughly entertained by Puck's attempt to win newbie Lauren Zizes over with his tribute to her larger figure. Only in Puck's world would Queen's raucous song qualify as a serenade—and our horror-turned-amusement was mirrored on his fellow New Directions' faces. Puck is no Freddie Mercury, but he handles the melody well and makes up for lack of range with swagger."[20]

text: Chart history[edit]

text: All five of the cover versions released as singles debuted on the Billboard Hot 100, and appeared on other musical charts. With these new Hot 100 debuts, plus the debut the same week of "She's Not There" from the prior episode "The Sue Sylvester Shuffle", which had aired two days before "Silly Love Songs", the Glee Cast passed Elvis Presley's record of 108 singles on the Hot 100, reaching 113 singles. The cast had nine songs on the Hot 100 that week, a new record for them.[36] The show's rendition of "Firework" debuted at number thirty-four;[37] it was at number thirty-five on the Billboard Canadian Hot 100.[38] The other four songs from this episode on the Hot 100 were "Silly Love Songs" at number forty-five, which also made number fifty-four on the Canadian Hot 100, "When I Get You Alone" at number forty-seven, which also made number sixty-one on the Canadian Hot 100, "Fat Bottomed Girls" at number fifty-six, which also made number fifty on the Canadian Hot 100, and "P.Y.T. (Pretty Young Thing)" at number fifty-eight, which also made number sixty-nine on the Canadian Hot 100.[37][38]


document_title: Oogenesis

question_text: when do females produce all of their oocytes which will develop into eggs

text: Oogenesis

text: Oogenesis in mammals[edit]

text: In mammals, the first part of oogenesis starts in the germinal epithelium, which gives rise to the development of ovarian follicles, the functional unit of the ovary.

text: Oogenesis consists of several sub-processes: oocytogenesis, ootidogenesis, and finally maturation to form an ovum (oogenesis proper). Folliculogenesis is a separate sub-process that accompanies and supports all three oogenetic sub-processes.

text:
Cell type
ploidy/chromosomes
chromatids
Process
Time of completion

Oogonium
diploid/46(2N)
2C
Oocytogenesis (mitosis)
Third trimester

primary oocyte
diploid/46(2N)
4C
Ootidogenesis (meiosis I) (Folliculogenesis)
Dictyate in prophase I for up to 50 years

secondary oocyte
haploid/23(1N)
2C
Ootidogenesis (meiosis II)
Halted in metaphase II until fertilization

Ootid
haploid/23(1N)
1C
Ootidogenesis (meiosis II)
Minutes after fertilization

Ovum
haploid/23(1N)
1C

tag: table

text: Oogonium —(Oocytogenesis)—> Primary Oocyte —(Meiosis I)—> First Polar Body (Discarded afterward) + Secondary oocyte —(Meiosis II)—> Second Polar Body (Discarded afterward) + Ovum

text: It should be noted that oocyte meiosis, important to all animal life cycles yet unlike all other instances of animal cell division, occurs completely without the aid of spindle-coordinating centrosomes.[3][4]

text: The creation of oogonia[edit]

text: The creation of oogonia traditionally doesn't belong to oogenesis proper, but, instead, to the common process of gametogenesis, which, in the female human, begins with the processes of folliculogenesis, oocytogenesis, and ootidogenesis.

text: Human oogenesis[edit]

text: Oocytogenesis[edit]

text: Oogenesis starts with the process of developing oogonia, which occurs via the transformation of primordial follicles into primary oocytes, a process called oocytogenesis.[5] Oocytogenesis is complete either before or shortly after birth.

text: Number of primary oocytes[edit]

text: It is commonly believed that, when oocytogenesis is complete, no additional primary oocytes are created, in contrast to the male process of spermatogenesis, where gametocytes are continuously created. In other words, primary oocytes reach their maximum development at ~20[6] weeks of gestational age, when approximately seven million primary oocytes have been created; however, at birth, this number has already been reduced to approximately 1-2 million.

text: Recently, however, two publications have challenged the belief that a finite number of oocytes are set around the time of birth.[7][8] The renewal of ovarian follicles from germline stem cells (originating from bone marrow and peripheral blood) has been reported in the postnatal mouse ovary. In contrast, DNA clock measurements do not indicate ongoing oogenesis during human females' lifetimes.[9] Thus, further experiments are required to determine the true dynamics of small follicle formation.

text: Ootidogenesis[edit]

text: The succeeding phase of ootidogenesis occurs when the primary oocyte develops into an ootid. This is achieved by the process of meiosis. In fact, a primary oocyte is, by its biological definition, a cell whose primary function is to divide by the process of meiosis.[10]

text: However, although this process begins at prenatal age, it stops at prophase I. In late fetal life, all oocytes, still primary oocytes, have halted at this stage of development, called the dictyate. After menarche, these cells then continue to develop, although only a few do so every menstrual cycle.

text: Meiosis I[edit]

text: Meiosis I of ootidogenesis begins during embryonic development, but halts in the diplotene stage of prophase I until puberty. The mouse oocyte in the dictyate (prolonged diplotene) stage actively repairs DNA damage, whereas DNA repair is not detectable in the pre-dictyate (leptotene, zygotene and pachytene) stages of meiosis.[11] For those primary oocytes that continue to develop in each menstrual cycle, however, synapsis occurs and tetrads form, enabling chromosomal crossover to occur. As a result of meiosis I, the primary oocyte has now developed into the secondary oocyte and the first polar body.

text: Meiosis II[edit]

text: Immediately after meiosis I, the haploid secondary oocyte initiates meiosis II. However, this process is also halted at the metaphase II stage until fertilization, if such should ever occur. When meiosis II has completed, an ootid and another polar body have now been created.

text: Folliculogenesis[edit]

text: Synchronously with ootidogenesis, the ovarian follicle surrounding the ootid has developed from a primordial follicle to a preovulatory one.

text: Maturation into ovum[edit]

text: Both polar bodies disintegrate at the end of Meiosis II, leaving only the ootid, which then eventually undergoes maturation into a mature ovum.

text: The function of forming polar bodies is to discard the extra haploid sets of chromosomes that have resulted as a consequence of meiosis..

text: In vitro maturation[edit]

text: In vitro maturation (IVM) is the technique of letting ovarian follicles mature in vitro. It can potentially be performed before an IVF. In such cases, ovarian hyperstimulation isn't essential. Rather, oocytes can mature outside the body prior to IVF. Hence, no (or at least a lower dose of) gonadotropins have to be injected in the body.[12] However, there still isn't enough evidence to prove the effectiveness and security of the technique.[12]

text: Oogenesis in non-mammals[edit]

text: Some algae and the oomycetes produce eggs in oogonia. In the brown alga Fucus, all four egg cells survive oogenesis, which is an exception to the rule that generally only one product of female meiosis survives to maturity.

text: In plants, oogenesis occurs inside the female gametophyte via mitosis. In many plants such as bryophytes, ferns, and gymnosperms, egg cells are formed in archegonia. In flowering plants, the female gametophyte has been reduced to an eight-celled embryo sac within the ovule inside the ovary of the flower. Oogenesis occurs within the embryo sac and leads to the formation of a single egg cell per ovule.

text: In ascaris, the oocyte does not even begin meiosis until the sperm touches it, in contrast to mammals, where meiosis is completed in the estrus cycle.


document_title: Web server

question_text: what is the role of the web server

question_tokens: what is the role of the web server

text: Web server

text: Overview[edit]

text: The primary function of a web server is to store, process and deliver web pages to clients. The communication between client and server takes place using the Hypertext Transfer Protocol (HTTP). Pages delivered are most frequently HTML documents, which may include images, style sheets and scripts in addition to the text content.

text: A user agent, commonly a web browser or web crawler, initiates communication by making a request for a specific resource using HTTP and the server responds with the content of that resource or an error message if unable to do so. The resource is typically a real file on the server's secondary storage, but this is not necessarily the case and depends on how the web server is implemented.

text: While the primary function is to serve content, a full implementation of HTTP also includes ways of receiving content from clients. This feature is used for submitting web forms, including uploading of files.

text: Many generic web servers also support server-side scripting using Active Server Pages (ASP), PHP, or other scripting languages. This means that the behaviour of the web server can be scripted in separate files, while the actual server software remains unchanged. Usually, this function is used to generate HTML documents dynamically ("on-the-fly") as opposed to returning static documents. The former is primarily used for retrieving or modifying information from databases. The latter is typically much faster and more easily cached but cannot deliver dynamic content.

text: Web servers are not only used for serving the World Wide Web. They can also be found embedded in devices such as printers, routers, webcams and serving only a local network. The web server may then be used as a part of a system for monitoring or administering the device in question. This usually means that no additional software has to be installed on the client computer, since only a web browser is required (which now is included with most operating systems).

text: History[edit]

text: In 1989 Sir Tim Berners-Lee proposed a new project to his employer CERN, with the goal of easing the exchange of information between scientists by using a hypertext system. The project resulted in Berners-Lee writing two programs in 1990:

text:
A browser called WorldWideWeb
The world's first web server, later known as CERN httpd, which ran on NeXTSTEP

tag: ul

text: Between 1991 and 1994, the simplicity and effectiveness of early technologies used to surf and exchange data through the World Wide Web helped to port them to many different operating systems and spread their use among scientific organizations and universities, and subsequently to industry.

text: In 1994 Berners-Lee decided to constitute the World Wide Web Consortium (W3C) to regulate the further development of the many technologies involved (HTTP, HTML, etc.) through a standardization process.

text: Path translation[edit]

text: Web servers are able to map the path component of a Uniform Resource Locator (URL) into:

text:
A local file system resource (for static requests)
An internal or external program name (for dynamic requests)

text: For a static request the URL path specified by the client is relative to the web server's root directory.

text: Consider the following URL as it would be requested by a client:

text: The client's user agent will translate it into a connection to www.example.com with the following HTTP 1.1 request:

text: The web server on www.example.com will append the given path to the path of its root directory. On an Apache server, this is commonly /home/www (on Unix machines, usually /var/www). The result is the local file system resource:

text: The web server then reads the file, if it exists, and sends a response to the client's web browser. The response will describe the content of the file and contain the file itself or an error message will return saying that the file does not exist or is unavailable.

text: Kernel-mode and user-mode web servers[edit]

text: A web server can be either incorporated into the OS kernel, or in user space (like other regular applications).

text: Web servers that run in user-mode have to ask the system for permission to use more memory or more CPU resources. Not only do these requests to the kernel take time, but they are not always satisfied because the system reserves resources for its own usage and has the responsibility to share hardware resources with all the other running applications. Executing in user mode can also mean useless buffer copies which are another handicap for user-mode web servers.

text: Load limits[edit]

text: A web server (program) has defined load limits, because it can handle only a limited number of concurrent client connections (usually between 2 and 80,000, by default between 500 and 1,000) per IP address (and TCP port) and it can serve only a certain maximum number of requests per second (RPS, also known as queries per second or QPS) depending on:

text:
its own settings,
the HTTP request type,
whether the content is static or dynamic,
whether the content is cached, and
the hardware and software limitations of the OS of the computer on which the web server runs.

text: When a web server is near to or over its limit, it becomes unresponsive.

text: Causes of overload[edit]

text: At any time web servers can be overloaded due to:

text:
Excess legitimate web traffic. Thousands or even millions of clients connecting to the web site in a short interval, e.g., Slashdot effect;
Distributed Denial of Service attacks. A denial-of-service attack (DoS attack) or distributed denial-of-service attack (DDoS attack) is an attempt to make a computer or network resource unavailable to its intended users;
Computer worms that sometimes cause abnormal traffic because of millions of infected computers (not coordinated among them)
XSS viruses can cause high traffic because of millions of infected browsers or web servers;
Internet bots Traffic not filtered/limited on large web sites with very few resources (bandwidth, etc.);
Internet (network) slowdowns, so that client requests are served more slowly and the number of connections increases so much that server limits are reached;
Web servers (computers) partial unavailability. This can happen because of required or urgent maintenance or upgrade, hardware or software failures, back-end (e.g., database) failures, etc.; in these cases the remaining web servers get too much traffic and become overloaded.

text: Symptoms of overload[edit]

text: The symptoms of an overloaded web server are:

text:
Requests are served with (possibly long) delays (from 1 second to a few hundred seconds).
The web server returns an HTTP error code, such as 500, 502, 503, 504, 408, or even 404, which is inappropriate for an overload condition.
The web server refuses or resets (interrupts) TCP connections before it returns any content.
In very rare cases, the web server returns only a part of the requested content. This behavior can be considered a bug, even if it usually arises as a symptom of overload.

text: Anti-overload techniques[edit]

text: To partially overcome above average load limits and to prevent overload, most popular web sites use common techniques like:

text:
Managing network traffic, by using:

Firewalls to block unwanted traffic coming from bad IP sources or having bad patterns
HTTP traffic managers to drop, redirect or rewrite requests having bad HTTP patterns
Bandwidth management and traffic shaping, in order to smooth down peaks in network usage

Deploying web cache techniques
Using different domain names to serve different (static and dynamic) content by separate web servers, e.g.:

http://images.example.com
http://www.example.com

Using different domain names or computers to separate big files from small and medium-sized files; the idea is to be able to fully cache small and medium-sized files and to efficiently serve big or huge (over 10 - 1000 MB) files by using different settings
Using many internet servers (programs) per computer, each one bound to its own network card and IP address
Using many internet servers (computers) that are grouped together behind a load balancer so that they act or are seen as one big web server
Adding more hardware resources (i.e. RAM, disks) to each computer
Tuning OS parameters for hardware capabilities and usage
Using more efficient computer programs for web servers, etc.
Using other workarounds, especially if dynamic content is involved

text: Market share[edit]

text: October 2017[edit]

text: Below are the latest statistics of the market share of all sites of the top web servers on the Internet by W3Techs Usage of Web Servers for Websites.

text:
Product
Vendor
Percent

Apache
Apache
48.5%

nginx
NGINX, Inc.
35.4%

IIS
Microsoft
10.8%

LiteSpeed Web Server
LiteSpeed Technologies
2.9%

GWS
Google
1.1%

text: All other web servers are used by less than 1% of the websites.

text: February 2017[edit]

text: Below are the latest statistics of the market share of all sites of the top web servers on the Internet by Netcraft February 2017 Web Server Survey.

text:
Product
Vendor
January 2017
Percent
February 2017
Percent
Change
Chart color

IIS
Microsoft
821,905,283
45.66%
773,552,454
43.16%
-2.50
red

Apache
Apache
387,211,503
21.51%
374,297,080
20.89%
-0.63
black

nginx
NGINX, Inc.
317,398,317
17.63%
348,025,788
19.42%
1.79
green

GWS
Google
17,933,762
1.00%
18,438,702
1.03%
0.03
blue

text: February 2016[edit]

text: Below are the latest statistics of the market share of all sites of the top web servers on the Internet by Netcraft February 2016 Web Server Survey.

text:
Product
Vendor
January 2016
Percent
February 2016
Percent
Change
Chart color

Apache
Apache
304,271,061
33.56%
306,292,557
32.80%
0.76
black

IIS
Microsoft
262,471,886
28.95%
278,593,041
29.83%
0.88
red

nginx
NGINX, Inc.
141,443,630
15.60%
137,459,391
16.61%
-0.88
green

GWS
Google
20,799,087
2.29%
20,640,058
2.21%
-0.08
blue

text: Apache, IIS and Nginx are the most used web servers on the Internet.


question_text: who plays lava girl in shark boy and lava girl

text: Plot[edit]

text: Max is a lonely child in the suburbs of Austin who creates an imaginary dreamworld named Planet Drool, where all of his dreams come to life. He creates two characters; Sharkboy, who was raised by sharks after losing his father at sea, and Lavagirl, who can produce fire and lava, but has trouble touching objects without setting them alight. The two left Max to guard Planet Drool. In reality, Max's parents have little time for him, and their marital relationship is not going well. Max is also bullied by fellow schoolmate Linus. However, he does receive friendship from Marissa, the daughter of his teacher Mr. Electricidad, whose name is Spanish for "electricity". After a chase, Linus steals Max's dream journal (where all of his most precious dreams are kept) and vandalizes it. The next day, as Max attempts to retaliate, twin tornadoes form outside the school. Sharkboy and Lavagirl emerge from the tornadoes and have Max accompany them to Planet Drool, which he learns is turning bad because of Mr. Electric, the dreamworld's now-corrupt electrician.

text: They confront Mr. Electric, who drops them in the Dream Graveyard, where some of Max's dreams have been dumped. They find Tobor, a robot toy that Max never finished building in the real world after being discouraged by his father. Tobor gives them a lift to other parts of the planet. The three form a friendship during their journey, but they face hardships, such as Sharkboy's anger for the oceans being frozen over, and Lavagirl's desperation to find her true purpose on Planet Drool. They are pursued by Mr. Electric and his "plughounds" across the planet. They plan to visit the Ice Princess and obtain the Crystal Heart, which can freeze time, giving them enough time to get to the center of Planet Drool and fix the dreamworld using Max's daydreaming. However, they are captured by Mr. Electric, and delivered to Linus's Planet Drool incarnation Minus, who has altered the dreamworld with Max's own dream journal, and traps the three in a cage. Sharkboy gets annoyed by Minus and has a shark frenzy, destroying the cage. After they escape, Max retrieves the dream journal from Minus while he is sleeping. Max informs Sharkboy that his father is alive in his book, but when Lavagirl wishes to learn what it says about her true identity, she burns the book to ash. In rage, Lavagirl asks Max why she was made out of lava, but Sharkboy tells him to let her cool down.

text: After an encounter with the Ice Guardian, Max, Sharkboy, and Lavagirl reach the Ice Princess, the Planet Drool incarnation of Marissa Electricidad. She hands over the Crystal Heart, but they are too late to stop the corruption since the ice princess is the only one who can use the Crystal Heart's power, and she cannot leave her home. Mr. Electric fools Sharkboy into jumping into water filled with electric eels, seemingly killing him. Lavagirl also dies after jumping into the water to retrieve Sharkboy. Tobor appears and convinces Max to dream a better and unselfish dream, which in turn revives Sharkboy, who then races Lavagirl to a volcano to revive her. Max concludes that her purpose is as a light against the dark clouds which have engulfed Planet Drool's skies. Max gains reality warping as the Daydreamer and defeats Minus, then offers to make a better dreamworld between the two of them, to which Minus agrees.

text: Mr. Electric refuses to accept the new dreamworld, and flies to Earth to kill Max while he is dreaming. Max awakens back in his classroom during the tornado storm. Mr. Electric materializes, and Max's parents get sucked into the storm, but are saved by Sharkboy and Lavagirl. Max gives the Crystal Heart to Marissa so she can use the Ice Princess's powers to destroy Mr. Electric. Mr. Electricidad, Linus and Max make peace with one another, and Max reunites with his parents.

text: Max later informs his class that Planet Drool became a proper dreamworld again, Sharkboy became the King of the Ocean, and Lavagirl became Queen of the Volcanoes, and as the film shows Max finally finishing Tobor, he reminds the class to "dream a better dream, and work to make it real".

text: Cast[edit]

text:
Cayden Boyd as Max. An imaginative 10-year-old[4] boy, known as the "day-dreamer" on Planet Drool. "At first he's dreaming all for himself; he wants Shark Boy and Lava Girl to take him away", says Boyd about the role. "I like that he's selfish in the beginning and he's not selfish in the end".[4]
Taylor Lautner as Sharkboy. Lautner said about the character, "He's very self-confident and sometimes his confidence gets him into trouble. He's also kinda jealous of the character, Max, because he has an inside crush on Lava Girl and she's overly motherly to Max."[5] Lautner's martial arts skills helped him to obtain the role of Sharkboy. "When I auditioned for the film, Robert Rodriguez, the director, didn't know that I had my martial arts [background], and while we were there in Austin, TX he saw a DVD of me and asked me to choreograph my own fight scenes", said Lautner.[6] Lautner was the first to audition for the film, says Rodriguez, and was chosen immediately.[7]
Taylor Dooley as Lavagirl. The role was cast after the two other main characters, Sharkboy and Max, had already been cast.[4] Her lava bike was computer-generated, like many of the elements in the film; Dooley and Lautner described the on-set versions of the lava bike and Sharkboy's shark-themed jetski as "a green box with handles".[8]
David Arquette and Kristin Davis play Max's parents. Max's father is an unemployed writer. They are on the brink of a divorce. They mean well for Max but are unable to settle his troubles. On Planet Drool, Max's parents appear as a pair of "Cookie Giants," who live happily in the Land of Milk and Cookies.
George Lopez as Mr. Electricidad, Mr. Electric, and the voices of Tobor and the Ice Guardian. Rodriguez states that he kept asking Lopez to play additional characters. Lopez spent a total of two weeks working on the film.[9]
Jacob Davich as Linus / Minus. He is a bully at Max's school and steals his Dream Journal. With it, he enters Max's dreamworld and, using the name "Minus" (a nickname bestowed by Mr. Electricidad for Linus' habit of disliked conduct), alters it to his version before ultimately befriending Max.
Sasha Pieterse as Marissa Electricidad / Ice Princess. Marissa is the daughter of Mr. Electricidad, and at first the only student who befriends Max. On Planet Drool, she appears as the Ice Princess, keeper of the Crystal Heart, which is a necklace she wears which can freeze anything, including time.

text: Robert Rodriguez has an uncredited role voicing a shark. As seen in the credits, two of Robert Rodriguez's children, Rebel and Racer, portray Sharkboy at age five and age seven respectively. Rico Torres plays Sharkboy's father. Marc Musso and Shane Graham play children at Max's school.

text: Production[edit]

text: Parts of the film were shot on location in Texas, where Max resides and goes to school in the film. Much of the film was shot in a studio against green screen. Most of the ships, landscapes and other effects including some creatures and characters, were accomplished digitally. According to Lautner and Dooley, when filming the scene with the dream train, the front part of the train was an actual physical set piece. "The whole inside was there and when they have all the gadgets you can pull on, that was all there but everything else was a green screen," said Dooley.[10] Eleven visual effects companies (Hybride Technologies, CafeFX, The Orphanage, Post Logic, Hydraulx, Industrial Light & Magic, R!ot Pictures, Tippett Studio, Amalgamated Pixels and Intelligent Creatures and Rodriguez's Texas-based Troublemaker Digital) worked on the film in order to accomplish over 1,000 visual effect shots.[11]

text: Robert Rodriguez appears in the credits fourteen times, most notably as director, a producer, a screenwriter (along with Marcel Rodriguez), visual effects supervisor, director of photography, editor, a camera operator, and a composer and performer. The story is credited to Racer Max Rodriguez, with additional story elements by Rebecca Rodriguez, who also wrote the lyrics for the main song, "Sharkboy and Lavagirl". Other members of the Rodriguez family can be seen in the film or were involved in the production.

text: Miley Cyrus had auditioned for the film with Lautner, and said it came down to her and another girl who was also auditioning; however, Cyrus began production on Hannah Montana.[12]

text: Reception[edit]

text: Critical response [edit]

text: The Adventures of Sharkboy and Lavagirl received a 20% rating on Rotten Tomatoes and the consensus: "The decision to turn this kiddie fantasy into a 3-D film was a miscalculation."[13] Roger Ebert gave the film 2 out of 4 stars and agreed with the other criticisms in which the 3-D process used was distracting and muted the colors, thus, he believes, "spoiling" much of the film and that the film would look more visually appealing when released in the home media market.[14]

text: Box office[edit]

text: For its opening weekend, the film earned $12.6 million in 2,655 theaters. It also was placed #5 at the box office, being overshadowed by Mr. & Mrs. Smith, Madagascar, Star Wars: Episode III – Revenge of the Sith, and The Longest Yard.[15] The film was not very successful in the US, taking in $39,177,541 and was a box office bomb. However, it did manage to gross $30,248,282 overseas, for a total of $69,425,966 worldwide.[3]

text: Lawsuit[edit]

text: The Total Nonstop Action professional wrestler Dean Roll, who trademarked the name "Shark Boy" in 1999, sued Miramax on June 8, 2005, claiming that his trademark had been infringed and demanding "[any] money, profits and advantages wrongfully gained". In April 2007, the suit was settled for a disclosed amount of $200,000.[16]

text: Soundtrack[edit]

text:
Original Motion Picture Soundtrack: The Adventures of Sharkboy and Lavagirl in 3-D

Soundtrack album by various artists

Released
June 28, 2005

Genre
Soundtrack, rock, pop

Length
43:26

Label
Varèse Sarabande

Robert Rodriguez film soundtrack chronology

Sin City
(2005)Sin City2005
The Adventures of Sharkboy and Lavagirl in 3-D
(2005)
Planet Terror
(2007)Planet Terror2007

text:
Professional ratings

Review scores

Source
Rating

Filmtracks
[17]

Music from the Movies
[18]

SoundtrackNet
[19]

text: Director Robert Rodriguez composed parts of the score himself, with contributions by composers John Debney and Graeme Revell. Green Day were reportedly set to contribute "Wake Me Up When September Ends" to the soundtrack, but Robert Rodriguez declined it.[citation needed]

text:
No.
Title
Writer(s)
Performer(s)
Length

1.
"The Shark Boy"
Robert Rodriguez, John Debney

3:47

2.
"The Lava Girl"
Rodriguez

1:28

3.
"Max's Dream"
Rodriguez

1:37

4.
"Sharkboy and Lavagirl Return"
Rodriguez

1:44

5.
"Planet Drool"
Rodriguez

2:12

6.
"Mount Never Rest"
Graeme Revell

2:35

7.
"Passage of Time"
Rodriguez, Carl Thiel

1:30

8.
"Mr. Electric"
Revell

1:09

9.
"Train of Thought"
Debney

2:01

10.
"Dream Dream Dream Dream (Dream Dream)"
Rodriguez
Shark Boy and the Lava Girls
1:54

11.
"Stream of Consciousness"
Debney

1:33

12.
"Sea of Confusion"
Debney

3:04

13.
"The LaLa's"
Nicole Weinstein

1:09

14.
"The Ice Princess"
Rodriguez, Debney

2:51

15.
"Sharkboy vs. Mr. Electric"
Revell

0:55

16.
"Lavagirl's Sacrifice"
Rodriguez

2:10

17.
"The Light"
Rodriguez

2:21

18.
"Battle of the Dreamers"
Rodriguez

1:21

19.
"Mr. Electric on Earth"
Revell

1:15

20.
"Unplugged"
Rodriguez, Debney

1:12

21.
"The Day Dreamer"
Rodriguez, Debney

1:29

22.
"Sharkboy and Lavagirl"
Rodriguez, Rebecca Rodriguez
Ariel Abshire & The Lava Girls
4:09

Total length:
43:26

text: Books[edit]

text: Around the time of the film's debut Rodriguez co-wrote a series of children's novels entitled Sharkboy and Lavagirl Adventures with acclaimed science fiction writer Chris Roberson. They include Book 1, The Day Dreamer, and Book 2, Return to Planet Drool, which announces that it will be continued in a third volume, Deep Sleep, which has yet to appear. They are illustrated throughout by Alex Toader, who designed characters and environments for the film and the previous Spy Kids franchise.[20]

text: In the first book, the story of the film is told from Lavagirl's and Sharkboy's perspective, with at least one new event. In Return to Planet Drool, Sharkboy, remembering his encounter with the Imagineer in the first book, continues the search for his father by seeking to return to the Dream World. He meets a very bored Lavagirl in the underwater city of Vent, where she now reigns as queen, and together they embark on a subterranean journey. They encounter piranhas, a gargantuan red bear, and a city of inhabited by the dreams of bygone eras, where they are held captive by superheroes, pirates, and cowboys. By the end, after learning the city's secrets, Sharkboy still hopes to find his father, and Lavagirl the secrets of her origin.

text: Jeff Jensen of Entertainment Weekly praised another book appearing around the time of the film, The Adventures of SharkBoy and LavaGirl: The Movie Storybook (by Racer Max Rodriguez and Robert Rodriguez), as a far cry from the usual movie storybook tie-in, and also praised Alex Toader's "cartoony yet detailed" illustrations.[21]