document_title: Justice League (film)

question_text: when did justice league come out in canada

root

text: Justice League (film)

text: Plot[edit]

text: Thousands of years ago, Steppenwolf and his legions of Parademons attempted to take over Earth with the combined energies of three Mother Boxes. They were foiled by a unified army that includes the Olympian Gods, Amazons, Atlanteans, mankind, and the Green Lantern Corps. After repelling Steppenwolf's army, the Mother Boxes were separated and hidden in locations on the planet. In the present, mankind is in mourning over Superman, whose death triggers the Mother Boxes to reactivate and Steppenwolf's return to Earth in an effort to regain favor with his master, Darkseid. Steppenwolf aims to gather the artifacts to form "The Unity", which will destroy Earth's ecology and terraform it in the image of Steppenwolf's homeworld.

tag: p

text: Steppenwolf retrieves the Mother Box from Themyscira, prompting Queen Hippolyta to warn her daughter Diana of Steppenwolf's return. Diana joins Bruce Wayne in his attempt to unite other metahumans to their cause, with Wayne going after Arthur Curry and Barry Allen, while Diana tries to locate Victor Stone. Wayne fails to persuade Curry, but manages to recruit an enthusiastic Allen onto the team. Although Diana fails to convince Stone to join, he agrees to help them locate the threat if he discovers their location. Stone later joins the team after his father Silas, along with several other S.T.A.R. Labs employees, is kidnapped by Steppenwolf seeking to acquire the Mother Box from mankind.

text: Steppenwolf attacks Atlantis to retrieve the next Mother Box, forcing Curry into action. The team receives intel from Commissioner James Gordon leading them to Steppenwolf's army, based in an abandoned facility under Gotham Harbor. Although the group manages to rescue the kidnapped employees, the facility is flooded during combat, which traps the team until Curry helps delay the flood so they can escape. Stone retrieves the last Mother Box, which he had hidden, for the group to analyze. Stone reveals that his father used the Mother Box to rebuild Stone's body after an accident almost cost him his life. Facing overwhelming odds against Steppenwolf's army, Wayne decides to use the Mother Box to resurrect Superman, not only to help them fight off Steppenwolf's invasion, but also to restore hope to mankind. Diana and Curry are hesitant about the idea, but Wayne forms a secret contingency plan in case Superman returns as hostile.

text: Clark Kent's body is exhumed and placed in the amniotic fluid of the genesis chamber of the Kryptonian ship alongside the Mother Box, which in turn activates and successfully resurrects Superman. However, Superman's memories have not returned, and he attacks the group after Stone accidentally launches a projectile at him. On the verge of being killed by Superman, Batman enacts his contingency plan: Lois Lane. Superman calms down and leaves with Lane to his family home in Smallville, where he reflects and his memories slowly come back. In the turmoil, the last Mother Box is left unguarded, and Steppenwolf retrieves it with ease. Without Superman to aid them, the five heroes travel to a village in Russia where Steppenwolf aims to unite the Mother Boxes once again and remake Earth. The team fights their way through the Parademons to reach Steppenwolf, although they are unable to distract him enough for Stone to separate the Mother boxes. Superman arrives and assists Allen in evacuating the city, as well as Stone in separating the Mother Boxes. The team defeats Steppenwolf, who, overcome with fear, is attacked by his own Parademons before they all teleport away.

text: In the aftermath of the battle, Bruce and Diana agree to set up a base of operations for the team, with room for more members. Diana steps back into the public spotlight as a hero; Barry acquires a job in Central City's police department, impressing his father; Victor continues to explore and enhance his abilities with his father in S.T.A.R. Labs; Arthur returns to Atlantis; and Superman resumes his life as reporter Clark Kent. In a mid-credits scene, Barry and Clark compete in a race to the Pacific coast to see who is faster. In a post-credits scene, Lex Luthor puts a decoy in his place and escapes from Arkham Asylum, and then recruits Slade Wilson to form their own league.

text: Cast[edit]

text:
Ben Affleck as Bruce Wayne / Batman:
A wealthy socialite, and the owner of Wayne Enterprises. He dedicates himself to protecting Gotham City from its criminal underworld as a highly trained, masked vigilante equipped with various tools and weapons.
Henry Cavill as Clark Kent / Superman:
A member of, and inspiration for, the Justice League, a Kryptonian survivor, and a journalist for the Daily Planet based in Metropolis.
Amy Adams as Lois Lane:
An undaunted and compassionate award-winning journalist for the Daily Planet and the love interest for Kent.[8]
Gal Gadot as Diana Prince / Wonder Woman:
An antiquities dealer, acquaintance of Wayne, and an immortal Amazonian warrior, who is the crown princess of Themyscira and daughter of Hippolyta and Zeus. She is endowed with metahuman attributes and abilities inherited from her parents.
Ezra Miller as Barry Allen / The Flash:
A Central City University student, who can move at superhuman speeds with his ability to tap into the Speed Force.
Jason Momoa as Arthur Curry / Aquaman:
The heir to the throne of the undersea nation of Atlantis.[9] His metahuman aquatic abilities and physical attributes originate from his Atlantean physiology.
Ray Fisher as Victor Stone / Cyborg:
A former college athlete who, after being cybernetically reconstructed after a nearly fatal car accident, is turned into a techno-organic being enhanced by reactive, adaptive biomimetic alien technology. His enhancements include the abilities of flight, variable weaponry and technopathy. Fisher portrays the character through the use of motion capture for the cybernetic portion of his body.[10]
Jeremy Irons as Alfred Pennyworth: Wayne's butler, chief of security, and trusted confidant.[11]
Diane Lane as Martha Kent: Kent's adoptive mother.[8]
Connie Nielsen as Hippolyta: Diana's mother and Queen of the Amazons.[8]
J. K. Simmons as James Gordon: The Commissioner of the Gotham City Police Department, and close ally of Batman.[8]
Ciarán Hinds as the voice of Steppenwolf: An alien military officer from Apokolips who leads an army of Parademons and is searching for the three Mother Boxes held on Earth. The character is described as "old, tired" and trying to find a way to escape his role of servitude under Darkseid.[12] Hinds portrayed the villain through use of motion capture and received some advice in the process from Liam Neeson, who had recently done similar work in A Monster Calls.[13]

text: The Olympian Old Gods Zeus, Ares and Artemis are portrayed by fitness model Sergi Constance, stuntman Nick McKinless, and MMA fighter Aurore Lauzeral, respectively.[14][15] All three were required to reach a specific degree of physicality, with Snyder instructing McKinless to sport "veins like worms and paper thin skin". In the finished film, McKinless' face was replaced with David Thewlis's face, and Thewlis received the credit as Ares.[14] Robin Wright reprises her role as Antiope during a flashback sequence. Amber Heard portrays the Atlantean Mera.[8] During a scene depicting Steppenwolf's first invasion of Earth, Julian Lewis Jones appears as King Atlan, while Francis Magee portrays King Arthur Pendragon, credited as ancient king of Atlantis and ancient king of men, respectively.[16][17] Joe Morton reprises his role as Silas Stone, Victor Stone's father and S.T.A.R. Labs' head while Billy Crudup appears as Henry Allen, Barry Allen's father. Joe Manganiello and Jesse Eisenberg appear uncredited in a post-credits scene as Slade Wilson / Deathstroke and Lex Luthor, respectively.[18] Michael McElhatton appears as the leader of a group of terrorists who clash with Wonder Woman early in the film,[19] while Holt McCallany makes an uncredited appearance as a burglar.[20] Marc McClure, who portrayed Jimmy Olsen in the Christopher Reeve Superman film series, has a cameo as a police officer.[21] An unidentified Green Lantern appears at the beginning of the film, created by use of CGI and embodied by an uncredited actor. Willem Dafoe and Kiersey Clemons filmed scenes as Nuidis Vulko and Iris West, respectively, although their roles were cut from the final film. Both actors are signed for multiple films and will appear in future installments of the franchise, Aquaman and Flashpoint, respectively.[22][23] Early in production, a scene depicting Green Lanterns Kilowog and Tomar-Re visiting Batman was filmed as another post-credits scene, further teasing Green Lantern Corps. The scene was later scrapped.[24]

text: Production[edit]

text: Development[edit]

text: In February 2007, it was announced that Warner Bros. had hired husband and wife duo Michele and Kieran Mulroney to write a script for a Justice League film.[25] The news came around the same time that Joss Whedon's long-developed Wonder Woman film was cancelled,[26] as well as The Flash, written and directed by David S. Goyer.[27] Reportedly titled Justice League: Mortal,[28] Michele and Kiernan Mulroney submitted their script to Warner Bros. in June 2007, receiving positive feedback,[29] which prompted the studio to immediately fast track production in the hope of beginning filming before the 2007–08 Writers Guild of America strike.[30] Warner Bros. was less willing to proceed with development of a sequel to Superman Returns, having been disappointed with its box office. Brandon Routh was not approached to reprise the role of Superman in Justice League: Mortal,[31] nor was Christian Bale from Batman Begins.[32] Warner Bros. intended for Justice League: Mortal to be the start of a new film franchise, and to branch out into separate sequels and spin-offs.[33] Shortly after filming The Dark Knight,[34] Bale stated in an interview that "It'd be better if it doesn't tread on the toes of what our Batman series is doing," and felt it would make more sense for Warner Bros. to release the film after The Dark Knight Rises.[32] Jason Reitman was the original choice to direct Justice League, but he turned it down, as he considers himself an independent filmmaker and prefers to stay out of big budget superhero films.[35] George Miller signed to direct in September 2007,[30] with Barrie Osbourne producing[36] on a projected $220 million budget.[37]

text: The following month, roughly 40 actors and actresses auditioned for the ensemble superhero roles, among them Joseph Cross, Michael Angarano, Max Thieriot, Minka Kelly, Adrianne Palicki and Scott Porter. Miller had intended to cast younger actors, as he wanted them to "grow" into their roles over the course of several films.[34] D. J. Cotrona was cast as Superman,[33] along with Armie Hammer as Batman.[38] Jessica Biel reportedly declined to play Wonder Woman role after negotiations.[39] The character was also linked to actresses Teresa Palmer and Shannyn Sossamon, along with Mary Elizabeth Winstead, who confirmed that she had auditioned.[40] Ultimately, Megan Gale was cast as Wonder Woman,[41] while Palmer was cast as Talia al Ghul, whom Miller had in mind to act with a Russian accent.[42] The script for Justice League: Mortal would have featured John Stewart as Green Lantern, a role originally offered to Columbus Short.[43] Hip hop recording artist and rapper Common was cast,[44] with Adam Brody as Barry Allen / Flash,[45] and Jay Baruchel as the lead villain, Maxwell Lord.[46] Longtime Miller collaborator Hugh Keays-Byrne had been cast in an unnamed role, rumored to be Martian Manhunter. Santiago Cabrera was eventually revealed to be Aquaman after the film was cancelled.[47] Marit Allen was hired as the original costume designer before her untimely death in November 2007,[48] and the responsibilities were assumed by Weta Workshop.[49]

text: However, the writers strike began that same month and placed the film on hold. Warner Bros. had to let the options lapse for the cast,[50] but development was fast tracked once more in February 2008 when the strike ended. Warner Bros. and Miller wanted to start filming immediately,[51] but production was pushed back three months.[33] Originally, the majority of Justice League: Mortal was to be shot at Fox Studios Australia in Sydney,[37] with other locations scouted nearby at local colleges,[36] and Sydney Heads doubling for Happy Harbor.[28] The Australian Film Commission had a say with casting choices, giving way for George Miller to cast Gale, Palmer and Keays-Bryne, all Australian natives. The production crew was composed entirely of Australians, but the Australian government denied Warner Bros. a 40 percent tax rebate as they felt they had not hired enough Australian actors.[37][52] Miller was frustrated, stating that "A once-in-a-lifetime opportunity for the Australian film industry is being frittered away because of very lazy thinking. They're throwing away hundreds of millions of dollars of investment that the rest of the world is competing for and, much more significantly, highly skilled creative jobs."[53] Production offices were then moved to Vancouver Film Studios in Canada. Filming was pushed back to July 2008, while Warner Bros was still confident they could produce the film for a summer 2009 release.[54][55]

text: With production delays continuing, and the success of The Dark Knight in July 2008,[56] Warner Bros. decided to focus on the development of individual films featuring the main heroes, allowing director Christopher Nolan to separately complete his Batman trilogy with The Dark Knight Rises in 2012. Gregory Noveck, senior vice president of creative affairs for DC Entertainment, stated, "we're going to make a Justice League movie, whether it's now or 10 years from now. But we're not going to do it and Warners is not going to do it until we know it's right."[57] Actor Adam Brody joked "They [Warner Brothers] just didn't want to cross their streams with a whole bunch of Batmans in the universe."[58] Warner Bros. relaunched development for a solo Green Lantern film, released in 2011 as a critical and financial disappointment. Meanwhile, film adaptations for The Flash and Wonder Woman continued to languish in development, while filming for a Superman reboot commenced in 2011 with Man of Steel, produced by Nolan and written by Batman screenwriter David S. Goyer. Shortly after filming on Man of Steel was complete, Warner Bros hired Will Beall to write the script for a new Justice League film.[59] Warner Bros. president Jeff Robinov explained that Man of Steel would be "setting the tone for what the movies are going to be like going forward. In that, it's definitely a first step."[60] The film included references to the existence of other superheroes in the DC Universe,[61] and set the tone for a shared fictional universe of DC Comics characters on film.[62] Goyer stated that should Green Lantern appear in a future installment, it would be a rebooted version of the character, unconnected to the 2011 film.[63]

text: With the release of Man of Steel in June 2013, Goyer was hired to write a sequel, as well as a new Justice League, with the Beall draft being scrapped.[64] The sequel was later revealed to be Batman v Superman: Dawn of Justice, a team-up film featuring Henry Cavill as Superman, Ben Affleck as Batman, Gal Gadot as Wonder Woman, Ezra Miller as The Flash, Jason Momoa as Aquaman, and Ray Fisher as Victor Stone / Cyborg, the latter three in minor roles that became more significant in the Justice League film. The universe is separate from Nolan and Goyer's work on The Dark Knight trilogy, although Nolan was still involved as an executive producer for Batman v Superman.[65] In April 2014, it was announced that Zack Snyder would also direct Goyer's Justice League script.[66] Warner Bros. was reportedly courting Chris Terrio to rewrite Justice League the following July, after having been impressed with his rewrite of Batman v Superman: Dawn of Justice.[67] On October 15, 2014, Warner Bros. announced the film would be released in two parts, with Part One on November 17, 2017, and Part Two on June 14, 2019. Snyder was set to direct both films.[68] In early July 2015, EW revealed that the script for Justice League Part One had been completed by Terrio.[69] Zack Snyder stated that the film would be inspired by the New Gods comic series by Jack Kirby.[70] Although Justice League was initially announced as a two-part film, with the second part set for release two years after the first, Snyder stated in June 2016 that they would be two distinct, separate films and not one film split into two parts, both being stand-alone stories.[71][72]

text: Casting[edit]

text: In April 2014, Ray Fisher was cast as Victor Stone / Cyborg. He first cameoed in Batman v Superman: Dawn of Justice, followed by a larger role in Justice League.[73][74] Henry Cavill, Ben Affleck, Gal Gadot, Diane Lane and Amy Adams also reprised their roles from Batman v Superman.[68][75] In October 2014, Jason Momoa was cast as Arthur Curry / Aquaman and debuted as the character in Dawn of Justice.[76][77] On October 20, 2014, Momoa told ComicBook.com that the Justice League film would be released first, and that is what they were preparing for. He thought the solo Aquaman film may be Aquaman's origin story.[78] On January 13, 2016, The Hollywood Reporter announced that Amber Heard was in negotiations to appear in the film as Aquaman's love interest Mera.[79] In March 2016, producer Charles Roven said that Green Lantern would not appear in any film before Justice League Part Two, and stated that they "could put Green Lantern in some introduction in Justice League 2, or barring that, a movie after."[80] Also in March, The Hollywood Reporter announced that J. K. Simmons had been cast as Commissioner James Gordon,[81] and Heard was confirmed to join the cast as Mera.[82] Adams also confirmed that she would reprise her role as Lois Lane in both Justice League films.[83][84] By April 2016, Willem Dafoe had been cast in an undisclosed role,[85] later revealed to be Nuidis Vulko,[86] while Cavill confirmed that he would return for both Justice League films.[87] In May 2016, Jeremy Irons confirmed he would appear as Alfred Pennyworth.[11] That same month, Jesse Eisenberg stated that he would reprise his role as Lex Luthor, and in June 2016, confirmed his return in an interview with Shortlist magazine.[88][89] In July 2016, Julian Lewis Jones was cast in an undisclosed role, later revealed to be Atlan, the king of Atlantis.[16] Laurence Fishburne, who portrays Perry White in the DCEU, said he declined to reprise his role in the film due to scheduling conflicts.[90] In April 2017, Michael McElhatton revealed that he had a role in Justice League, which was later revealed to be a bank robber who faces off against Wonder Woman.[19]

text: Filming[edit]

text: Principal photography commenced on April 11, 2016, with shooting taking place at Warner Bros. Studios, Leavesden, as well as various locations around London and Scotland. Additional filming took place in Chicago, Illinois, Los Angeles, and Djúpavík, in the Westfjords[91] of Iceland.[85][92][93] The old herring factory in Djúpavík was one Iceland filming location (Ben Affleck appeared to be standing near the herring oil tanks in the "Heroes" trailer). Snyder's longtime cinematographer Larry Fong was replaced by Fabian Wagner due to scheduling conflicts.[93] Affleck also served as executive producer.[94] In May 2016, it was revealed that Geoff Johns and Jon Berg would produce the Justice League films, and would also be in charge of the DC Extended Universe, after the largely negative critical reception of Batman v Superman: Dawn of Justice.[95] The same month, Irons stated that the Justice League storyline would be more linear and simple, compared to the theatrical version of Batman v Superman: Dawn of Justice.[96] Johns confirmed on June 3, 2016 that the title of the film is Justice League,[97] and later stated that the film would be "hopeful and optimistic" in comparison to previous DCEU films.[98] Filming wrapped in October 2016.[99][100][101]

text: Post-production[edit]

text: In May 2017, Snyder stepped down during post-production of the film to properly deal with the death of his daughter. Joss Whedon, whom Snyder had previously brought on to rewrite some additional scenes, took over to handle post-production duties in Snyder's place.[102] In July 2017, it was announced the film was undergoing two months of reshoots in London and Los Angeles, with Warner Bros. putting about $25 million into them (more than the typical $6–10 million additional filming costs).[103] The reshoots coincided with Cavill's schedule for Mission: Impossible – Fallout, for which he had grown a moustache which he was contracted to keep while filming, so Justice League's VFX team used special effects to digitally remove the moustache in post-production.[104] Warner Bros. later announced that Whedon would receive a screenwriting credit on the film alongside Chris Terrio.[105]

text: Music[edit]

text: In March 2016, Hans Zimmer, who co-composed the score for Man of Steel and Batman v Superman: Dawn of Justice, stated that he had officially retired from the "superhero business".[106] Junkie XL, who wrote and composed the soundtrack of Batman v Superman: Dawn of Justice with Zimmer, was originally scoring the film.[107] In June 2017, Danny Elfman was announced to have replaced Junkie XL.[108] Elfman had previously composed the films Batman and Batman Returns, and the theme music for Batman: The Animated Series. Elfman confirmed that he would use the Batman theme music from the 1989 film for Batman in the film, and would also briefly use John Williams' Superman theme during "a dark, twisted moment" in the film.[109][110] The film features a cover of Leonard Cohen's "Everybody Knows" performed by Sigrid, "Icky Thump" performed by the White Stripes, and a cover of the Beatles' "Come Together" performed by Gary Clark Jr. and Junkie XL.[111]

text: Release[edit]

text: Justice League held its world premiere in Beijing on October 26, 2017, and was theatrically released in North America in standard, RealD 3D and IMAX on November 17, 2017.[112] Justice League was released on Digital HD on February 13, 2018, and was released on Blu-ray, Blu-ray 3D, 4K Ultra-HD Blu-ray and DVD on March 13, 2018.[113]

text: Reception[edit]

text: Box office[edit]

text: Justice League grossed $229 million in the United States and Canada, and $428.9 million in other territories, for a worldwide total of $657.9 million, against a production budget of $300 million.[3] It had a worldwide opening of $278.8 million, the 24th biggest of all-time.[114][115] The estimated gross worldwide the film would have had to make in order to break even was around $750 million, and Deadline Hollywood estimated it ended up losing the studio about $60 million.[116][5]

text: In the United States and Canada, industry tracking initially forecast the film debuting to $110–120 million from 4,051 theaters (including 400 IMAX screens).[117] It made $13 million from Thursday night previews, up from the $11 million made by Wonder Woman the previous June.[118] However, after making $38.8 million on its first day (including Thursday previews), weekend projections were lowered to $95 million. It ended up debuting to $93.8 million, down 45% from Batman v Superman's opening of $166 million, and being the first film of the DCEU to open under $100 million. Deadline.com attributed the low figure to lukewarm audience reaction to the film and most of its predecessors, as well as poor critical reception, and partly Warner-owned[not in citation given] film review aggregation website Rotten Tomatoes not posting their aggregated score until the day before release, causing speculation and doubt from filmgoers.[119] In its second weekend, the film dropped 56% to $41.1 million, finishing second at the box office, behind newcomer Coco.[120] It was the second-best second weekend hold of the DCEU, behind Wonder Woman's 43%, but the lowest overall gross.[121] In its third week it again finished second behind Coco, grossing $16.7 million.[122]

text: Internationally, the film was projected to debut to $215–235 million for a worldwide opening of $325–355 million.[123] It made $8.5 million on its first day from nine countries, including South Korea, France and Brazil.[118] It ended up having a $185 million international debut from 65 countries, including $57.1 million from China, $9.8 million from the United Kingdom, $9.6 million from Mexico and $8.8 million from South Korea. The film broke a record in the Philippines with a debut of $1.12M (PHP 57.3M), making it the biggest industry opening day for a film there in 2017.[124] In Brazil, the film opened to $14.2 million, the biggest opening in the country's history.[114] Outside North America, the films largest markets were China ($106 million), Brazil ($41 million), Mexico ($24.8 million), and United Kingdom ($24 million).[125]

text: Critical response[edit]

text: Justice League received praise for its action sequences and performances (primarily Gadot and Miller) but criticism for the writing, pacing and CGI, as well as the plot (regarded as thin), and the villain (regarded as underdeveloped).[126] On review aggregator website Rotten Tomatoes, the film has an approval rating of 40%, based on 313 reviews, with an average rating of 5.3/10. The website's critical consensus reads, "Justice League leaps over a number of DC movies, but its single bound isn't enough to shed the murky aesthetic, thin characters, and chaotic action that continue to dog the franchise."[127] Metacritic, which uses a weighted average, assigned the film a score of 45 out of 100, based on 52 critics, indicating "mixed or average reviews".[128] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale, while PostTrak reported filmgoers gave it an 85% overall positive score (average 4 out of 5 stars) and a 69% "definite recommend".[119][129]

text: Richard Roeper of Chicago Sun-Times gave the film 3.5 out of 4 stars, praising the cast, especially Gadot, and saying "It's a putting-the-band-together origins movie, executed with great fun and energy."[130] Owen Gleiberman of Variety gave the film a positive review and wrote, "Justice League... has been conceived, in each and every frame, to correct the sins of Batman v Superman. It's not just a sequel—it's an act of franchise penance. The movie... is never messy or bombastic. It's light and clean and simple (at times almost too simple), with razory repartee and combat duels that make a point of not going on for too long."[131]

text: Writing for Rolling Stone, Peter Travers gave the film 2.5 out of 4 stars, praising the cast but criticizing the action sequences and writing, saying: "The scenes of the League members together, bickering and bonding, spike the film with humor and genuine feeling, creating a rooting interest in the audience. Without it, the film would crumble."[132] Conversely, Todd McCarthy of The Hollywood Reporter, while praising Gadot and Miller, called the film visually ugly and boring, saying, "Fatigue, repetition and a laborious approach to exposition are the keynotes of this affair, which is also notable for how Ben Affleck, donning the bat suit for the second time, looks like he'd rather be almost anywhere else but here."[133]

text: Accolades[edit]

text: The film's poster was nominated for "Best Action Poster" by the Golden Trailer Awards in June 2017.[134] In December 2017, Ezra Miller was nominated for "Best Comedic Performance" for his role as Barry Allen by the San Diego Film Critics Society.[135] Justice League was nominated for "Most Disappointing Film" by the Oklahoma Film Critics Circle Awards, and it was tied in second place with The Dark Tower.[136]

text: Sequel[edit]

text: A sequel was scheduled to be released in June 2019,[68] but has since been delayed to accommodate the release for a standalone Batman film.[137] By March 2017, producer Charles Roven announced that Zack Snyder would return as director.[138] In October 2017, J. K. Simmons stated that the studio is working on a sequel script, alongside The Batman.[139] Shortly after the release of Justice League, Henry Cavill stated that he is under contract with Warner Bros. to play Superman for one more film.[140]

text: In December 2017, it was reported that there were "no immediate plans" for Zack Snyder to direct a Justice League sequel, or any other DC films, with Snyder instead being relegated to an executive producer position. This comes after a reshuffling of film production staff at Warner Bros. due to the film's financial performance.[141]


document_title: Romance (love)

question_text: when did the concept of romantic love begin

question_tokens: when did the concept of romantic love begin

text: Romance (love)

text: General definitions[edit]

text: Romantic love is a relative term that distinguishes moments and situations within intimate relationships as contributing to a deepened relational connection.

text:
The addition of "drama" to relationships of close, deep and strong love[clarify].
Anthropologist Charles Lindholm defined love as "an intense attraction that involves the idealization of the other, within an erotic context, with expectation of enduring sometime into the future."[1]

tag: ol

text: Historical usage[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. (April 2018) (Learn how and when to remove this template message)

tag: table

text: Historians[who?] believe the word "romance" to have developed in the French vernacular meaning "verse narrative."  The word was originally an adverb of the Latin origin "Romanicus," meaning "of the Roman style." The connecting notion is that European medieval vernacular tales were usually about chivalric adventure, not combining the idea of love until late into the seventeenth century.

text: The word romance has also developed with other meanings in other languages such as the early nineteenth century Spanish and Italian definitions of "adventurous" and "passionate", sometimes combining the idea of "love affair" or "idealistic quality."

text: In primitive societies, tension existed between marriage and the erotic, but this was mostly expressed in taboo regarding the menstrual cycle and birth.[2]

text: Anthropologists such as Claude Lévi-Strauss show that there were complex forms of courtship in ancient as well as contemporary primitive societies. There may not be evidence, however, that members of such societies formed loving relationships distinct from their established customs in a way that would parallel modern romance.[3]

text: Before the 18th century, many marriages were not arranged, but rather developed out of more or less spontaneous relationships. After the 18th century, illicit relationships took on a more independent role. In bourgeois marriage, illicitness may have become more formidable and likely to cause tension.[4] In Ladies of the Leisure Class, Rutgers University professor Bonnie G. Smith depicts courtship and marriage rituals that may be viewed as oppressive to modern people. She writes "When the young women of the Nord married, they did so without illusions of love and romance. They acted within a framework of concern for the reproduction of bloodlines according to financial, professional, and sometimes political interests." Subsequent sexual revolution has lessened the conflicts arising out of liberalism, but not eliminated them.

text: Anthony Giddens, in his book The Transformation of Intimacy: Sexuality, Love and Eroticism in Modern Society, states that romantic love introduced the idea of a narrative into an individual's life. He adds that telling a story was one of the meanings of romance. According to Giddens, the rise of romantic love more or less coincided with the emergence of the novel. It was then that romantic love, associated with freedom and therefore the ideals of romantic love, created the ties between freedom and self-realization.

text: David R. Shumway, in his book Romance, Intimacy, and The Marriage Crisis, states that the discourse of intimacy emerged in the last third of the 20th century and that this discourse claimed to be able to explain how marriage and other relationships worked. For the discourse of intimacy emotional closeness was much more important than passion. This does not mean by any means that intimacy is to replace romance. On the contrary, intimacy and romance coexist.[5]

text: The 21st century has seen the growth of globalization and people now live in a world of transformations that affect almost every aspect of our lives, and love has not been the exception. One example of the changes experienced in relationships was explored by Giddens regarding homosexual relationships. According to Giddens since homosexuals were not able to marry they were forced to pioneer more open and negotiated relationships. These kinds of relationships then permeated the heterosexual population.

text: Shumway also states that together with the growth of capitalism the older social relations dissolved, including marriage. Marriage meaning for women changed as they had more socially acceptable alternatives and were less willing to accept unhappy relations and, therefore, divorce rates substantially increased.

text: The discourse of romance continues to exist today together with intimacy. Shumway states that on the one hand, romance is the part that offers adventure and intense emotions while offering the possibility to find the perfect mate. On the other hand, intimacy offers deep communication, friendship, and long lasting sharing.

text: Popularization of love[edit]

text: The conception of romantic love was popularized in Western culture by the concept of courtly love. Chevaliers, or knights in the Middle Ages, engaged in what were usually non-physical and non-marital relationships with women of nobility whom they served. These relations were highly elaborate and ritualized in a complexity that was steeped in a framework of tradition, which stemmed from theories of etiquette derived out of chivalry as a moral code of conduct.

text: Courtly love and the notion of domnei were often the subjects of troubadours, and could be typically found in artistic endeavors such as lyrical narratives and poetic prose of the time. Since marriage was commonly nothing more than a formal arrangement,[6] courtly love sometimes permitted expressions of emotional closeness that may have been lacking from the union between husband and wife.[7] In terms of courtly love, "lovers" did not necessarily refer to those engaging in sexual acts, but rather, to the act of caring and to emotional intimacy.

text: The bond between a knight and his Lady, or the woman of typically high stature of whom he served, may have escalated psychologically but seldom ever physically.[8] For knighthood during the Middle Ages, the intrinsic importance of a code of conduct was in large part as a value system of rules codified as a guide to aid a knight in his capacity as champion of the downtrodden, but especially in his service to the Lord.

text: In the context of dutiful service to a woman of high social standing, ethics designated as a code were effectively established as an institution to provide a firm moral foundation by which to combat the idea that unfit attentions and affections were to ever be tolerated as "a secret game of trysts" behind closed doors. Therefore, a knight trained in the substance of "chivalry" was instructed, with especial emphasis, to serve a lady most honorably, with purity of heart and mind. To that end, he committed himself to the welfare of both Lord and Lady with unwavering discipline and devotion, while at the same time, presuming to uphold core principles set forth in the code by the religion by which he followed.[8]

text: Religious meditations upon the Virgin Mary were partially responsible for the development of chivalry as an ethic and lifestyle:  the concept of the honor of a lady and knightly devotion to her, coupled with an obligatory respect for all women, factored prominently as central to the very identity of medieval knighthood. As knights were increasingly emulated, eventual changes were reflected in the inner-workings of feudal society. Members of the aristocracy were schooled in the principles of chivalry, which facilitated important changes in attitudes regarding the value of women.[9]

text: Behaviorally, a knight was to regard himself towards a lady with a transcendence of premeditated thought—his virtue ingrained within his character. A chevalier was to conduct himself always graciously, bestowing upon her the utmost courtesy and attentiveness. He was to echo shades of this to all women, regardless of class, age, or status.[10] Over time, the concept of chivalry and the notion of the courtly gentleman became synonymous with the ideal of how love and romance should exist between the sexes. Through the timeless popularization in art and literature of tales of knights and princesses, kings and queens, a formative and long standing (sub)consciousness helped to shape relationships between men and women.

text: De amore or The Art of Courtly Love, as it is known in English, was written in the 12th century. The text is widely misread as permissive of extramarital affairs. However, it is useful to differentiate the physical from without: romantic love as separate and apart from courtly love when interpreting such topics as: "Marriage is no real excuse for not loving", "He who is not jealous cannot love", "No one can be bound by a double love", and "When made public love rarely endures".[11]

text: Some believe that romantic love evolved independently in multiple cultures. For example, in an article presented by Henry Grunebaum, he argues "therapists mistakenly believe that romantic love is a phenomenon unique to Western cultures and first expressed by the troubadours of the Middle Ages."[12]

text: The more current and Western traditional terminology meaning "court as lover" or the general idea of "romantic love" is believed to have originated in the late nineteenth and early twentieth centuries, primarily from that of the French culture. This idea is what has spurred the connection between the words "romantic" and "lover," thus coining English phrases for romantic love such as "loving like the Romans do." The precise origins of such a connection are unknown, however. Although the word "romance" or the equivalents thereof may not have the same connotation in other cultures, the general idea of "romantic love" appears to have crossed cultures and been accepted as a concept at one point in time or another.

text: Types[edit]

text: Romantic love is contrasted with platonic love, which in all usages, precludes sexual relations, yet only in the modern usage does it take on a fully nonsexual sense, rather than the classical sense, in which sexual drives are sublimated. Sublimation tends to be forgotten in casual thought about love aside from its emergence in psychoanalysis and Nietzsche.[citation needed]

text: Unrequited love can be romantic in different ways: comic, tragic, or in the sense that sublimation itself is comparable to romance, where the spirituality of both art and egalitarian ideals is combined with strong character and emotions. Unrequited love is typical of the period of romanticism, but the term is distinct from any romance that might arise within it.[13]

text: Romantic love may also be classified according to two categories, "popular romance" and "divine or spiritual" romance:

text: In philosophy[edit]

text: Plato[edit]

text: Greek philosophers and authors have had many theories of love. Some of these theories are presented in Plato's Symposium. Six Athenian friends, including Socrates, drink wine and each give a speech praising the deity Eros. When his turn comes, Aristophanes says in his mythical speech that sexual partners seek each other because they are descended from beings with spherical torsos, two sets of human limbs, genitalia on each side, and two faces back to back. Their three forms included the three permutations of pairs of gender (i.e. one masculine and masculine, another feminine and feminine, and the third masculine and feminine) and they were split by the gods to thwart the creatures' assault on heaven, recapitulated, according to the comic playwright, in other myths such as the Aloadae.[15]

text: This story is relevant to modern romance partly because of the image of reciprocity it shows between the sexes. In the final speech before Alcibiades arrives, Socrates gives his encomium of love and desire as a lack of being, namely, the being or form of beauty.

text: René Girard[edit]

text: Though there are many theories of romantic love—such as that of Robert Sternberg, in which it is merely a mean combining liking and sexual desire—the major theories involve far more insight. For most of the 20th century, Freud's theory of the family drama dominated theories of romance and sexual relationships. This gave rise to a few counter-theories. Theorists like Deleuze counter Freud and Jacques Lacan by attempting to return to a more naturalistic philosophy:

text: René Girard argues that romantic attraction is a product of jealousy and rivalry—particularly in a triangular form.

text: Girard, in any case, downplays romance's individuality in favor of jealousy and the love triangle, arguing that romantic attraction arises primarily in the observed attraction between two others. A natural objection is that this is circular reasoning, but Girard means that a small measure of attraction reaches a critical point insofar as it is caught up in mimesis. Shakespeare's A Midsummer Night's Dream, As You Like It, and The Winter's Tale are the best known examples of competitive-induced romance.[16]

text: Girard's theory of mimetic desire is controversial because of its alleged sexism. This view has to some extent supplanted its predecessor, Freudian Oedipal theory. It may find some spurious support in the supposed attraction of women to aggressive men. As a technique of attraction, often combined with irony, it is sometimes advised that one feign toughness and disinterest, but it can be a trivial or crude idea to promulgate to men, and it is not given with much understanding of mimetic desire in mind. Instead, cultivating a spirit of self-sacrifice, coupled with an attitude of appreciation or contemplation, directed towards the other of one's attractions, constitutes the ideals of what we consider to be true romantic love. Mimesis is always the desire to possess, in renouncing it we offer ourselves as a sacrificial gift to the other.[17]

text: Mimetic desire is often challenged by feminists, such as Toril Moi,[18] who argue that it does not account for the woman as inherently desired.

text: Though the centrality of rivalry is not itself a cynical view, it does emphasize the mechanical in love relations. In that sense, it does resonate with capitalism and cynicism native to post-modernity. Romance in this context leans more on fashion and irony, though these were important for it in less emancipated times. Sexual revolutions have brought change to these areas. Wit or irony therefore encompass an instability of romance that is not entirely new but has a more central social role, fine-tuned to certain modern peculiarities and subversion originating in various social revolutions, culminating mostly in the 1960s.[19]

text: Arthur Schopenhauer[edit]

text: The process of courtship also contributed to Arthur Schopenhauer's pessimism, despite his own romantic success,[20] and he argued that to be rid of the challenge of courtship would drive people to suicide with boredom. Schopenhauer theorized that individuals seek partners who share certain interests and tastes, while at the same time looking for a "complement" or completing of themselves in a partner, as in the cliché that "opposites attract", but with the added consideration that both partners manifest this attraction for the sake of the species:

text:
But what ultimately draws two individuals of different sex exclusively to each other with such power is the will-to-live which manifests itself in the whole species, and here anticipates, in the individual that these two can produce, an objectification of its true nature corresponding to its aims.
—World as Will and Representation, Volume 2, Chapter XLIV

text: Other philosophers[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 2018) (Learn how and when to remove this template message)

text: Later modern philosophers such as La Rochefoucauld, David Hume and Jean-Jacques Rousseau also focused on morality, but desire was central to French thought and Hume himself tended to adopt a French worldview and temperament. Desire in this milieu meant a very general idea termed "the passions," and this general interest was distinct from the contemporary idea of "passionate" now equated with "romantic." Love was a central topic again in the subsequent movement of Romanticism, which focused on such things as absorption in nature and the absolute, as well as platonic and unrequited love in German philosophy and literature.

text: French philosopher Gilles Deleuze linked this idea of love as a lack mainly to Sigmund Freud, and Deleuze often criticized it.

text: In literature[edit]

text: Shakespeare and Søren Kierkegaard share a similar viewpoint that marriage and romance are not harmoniously in tune with each other. In Shakespeare's Measure for Measure, for example, "...there has not been, nor is there at this point, any display of affection between Isabella and the Duke, if by affection we mean something concerned with sexual attraction. The two at the end of the play love each other as they love virtue."[21] In Romeo and Juliet, in saying "all combined, save what thou must combine By holy marriage," Romeo implies that it is not marriage with Juliet that he seeks but simply to be joined with her romantically.

text: Kierkegaard addressed these ideas in works such as Either/Or and Stages on Life's Way:

text: In the first place, I find it comical that all men are in love and want to be in love, and yet one never can get any illumination upon the question what the lovable, i.e., the proper object of love, really is.

text: — Stages, p. 48

text: In How to Make Good Decisions and Be Right All the Time, British writer Iain King tried to establish rules for romance  applicable across most cultures.  He concluded on six rules, including:

text:
Do not flirt with someone unless you might mean it.
Do not pursue people who you are not interested in, or who are not interested in you.
In general, express your affection or uncertainty clearly, unless there is a special reason not to.[22]

text: Tragedy and other social issues[edit]

text: The "tragic" contradiction between romance and society is most forcibly portrayed in literature, in Tolstoy's Anna Karenina, in Flaubert's Madame Bovary, and William Shakespeare's Romeo and Juliet. The female protagonists in such stories are driven to suicide as if dying for a cause of freedom from various oppressions of marriage.

text: Even after sexual revolutions, on the other hand, to the extent that it does not lead to procreation (or child-rearing, as it also might exist in same-sex marriage), romance remains peripheral though it may have virtues in the relief of stress, as a source of inspiration or adventure, or in development and the strengthening of certain social relations. It is difficult to imagine the tragic heroines, however, as having such practical considerations in mind.

text: Romance can also be tragic in its conflict with society. The Tolstoy family focuses on the romantic limitations of marriage, and Anna Karenina prefers death to being married to her fiancé, however this is because she is tired of waiting and being hidden away from public, when her fiance makes failed attempts to get his mother's approval of the marriage. Even being aristocrats did not make them both free, as the society was nevertheless equally binding for all. Furthermore, in the speech about marriage that is given in Kierkegaard's Either/Or, Kierkegaard attempts to show that it is because marriage is lacking in passion fundamentally, that the nature of marriage, unlike romance, is explainable by a man who has experience of neither marriage nor love.

text: Reciprocity of the sexes appears in the ancient world primarily in myth where it is in fact often[when?] the subject of tragedy, for example in the myths of Theseus and Atalanta. Noteworthy female freedom or power was an exception rather than the rule, though this is a matter of speculation and debate.

text: Psychology[edit]

text: Many theorists attempt to analyze the process of romantic love.

text: Helen Fisher[edit]

text: Anthropologist Helen Fisher, in her book Why We Love,[23] uses brain scans to show that love is the product of a chemical reaction in the brain. Norepinephrine and dopamine, among other brain chemicals, are responsible for excitement and bliss in humans as well as non-human animals. She is famous for the use of MRI to study the brain activity of a person "in love", discovering the importance of the ventral tegmental area and the caudate nucleus in this biological drive.

text: Fisher concludes that these reactions have a genetic basis, and therefore love is a natural drive as powerful as hunger.

text: John Townsend[edit]

text: In his book What Women Want, What Men Want,[24] anthropologist John Townsend takes the genetic basis of love one step further by identifying how the sexes are different in their predispositions.

text: Townsend's compilation of various research projects concludes that men are susceptible to youth and beauty, whereas women are susceptible to status and security. These differences are part of a natural selection process where males seek many healthy women of childbearing age to mother offspring, and women seek men who are willing and able to take care of them and their children.

text: Karen Horney[edit]

text: Psychologist Karen Horney in her article "The Problem of the Monogamous Ideal",[25] indicates that the overestimation of love leads to disillusionment; the desire to possess the partner results in the partner wanting to escape; and the friction against sex result in non-fulfillment. Disillusionment plus the desire to escape plus non-fulfillment result in a secret hostility, which causes the other partner to feel alienated. Secret hostility in one and secret alienation in the other cause the partners to secretly hate each other. This secret hate often leads one or the other or both to seek love objects outside the marriage or relationship.

text: Harold Bessell[edit]

text: Psychologist Harold Bessell in his book The Love Test,[26] reconciles the opposing forces noted by the above researchers and shows that there are two factors that determine the quality of a relationship.

text: Bessell proposes that people are drawn together by a force he calls "romantic attraction," which is a combination of genetic and cultural factors. This force may be weak or strong and may be felt to different degrees by each of the two love partners. The other factor is "emotional maturity," which is the degree to which a person is capable of providing good treatment in a love relationship. It can thus be said that an immature person is more likely to overestimate love, become disillusioned, and have an affair whereas a mature person is more likely to see the relationship in realistic terms and act constructively to work out problems.

text: Lisa M. Diamond[edit]

text: Romantic love, in the abstract sense of the term, is traditionally considered to involve a mix of emotional and sexual desire for another as a person. However, Lisa M. Diamond, a University of Utah psychology professor, proposes that sexual desire and romantic love are functionally independent[27] and that romantic love is not intrinsically oriented to same-gender or other-gender partners. She also proposes that the links between love and desire are bidirectional as opposed to unilateral. Furthermore, Diamond does not state that one's sex has priority over another sex (a male or female) in romantic love because her theory suggests it is as possible for someone who is homosexual to fall in love with someone of the other gender as for someone who is heterosexual to fall in love with someone of the same gender.[28] In her 2012 review of this topic, Diamond emphasized that what is true for men may not be true for women. According to Diamond, in most men sexual orientation is fixed and most likely innate, but in many women sexual orientation may vary from 0 to 6 on the Kinsey scale and back again.[29]

text: Martie Haselton[edit]

text: Martie Haselton, a psychologist at UCLA, considers romantic love a "commitment device",  or mechanism that encourages two humans to form a lasting bond. She has explored the evolutionary rationale that has shaped modern romantic love and has concluded that long-lasting relationships are helpful to ensure that children reach reproductive age and are fed and cared for by two parents. Haselton and her colleagues have found evidence in their experiments that suggest love's adaptation. The first part of the experiments consists of having people think about how much they love someone and then suppress thoughts of other attractive people. In the second part of the experiment the same people are asked to think about how much they sexually desire those same partners and then try to suppress thoughts about others. The results showed that love is more efficient in pushing out those rivals than sex.[30]

text: University research[edit]

text: Research by the University of Pavia suggests that romantic love lasts for about a year (similar with limerence) before being replaced by a more stable form of love called companionate love.[31] In companionate love, changes occur from the early stage of love to when the relationship becomes more established and romantic feelings seem to end. However, research from Stony Brook University in New York suggests that some couples keep romantic feelings alive for much longer.[32]

text: Major theories[edit]

text: These are the major theories[citation needed] associated with current research on romantic relationships, especially in the context of positive psychology[citation needed].

text: Attachment patterns[edit]

text: Attachment styles that people develop as children can influence the way that they interact with partners in adult relationships, with secure attachment styles being associated with healthier and more trusting relationships than avoidant or anxious attachment styles.[33][34] Hazen and Shaver found that adult romantic attachment styles were similar to the categories of secure, avoidant, and anxious that had previously been studied in children’s attachments to their caregivers, demonstrating that attachment styles are stable across the lifespan.[35] Later on, researchers distinguished between dismissive avoidant attachment and fearful avoidant attachment.[36] Others have found that secure adult attachment, leading to the ability for intimacy and confidence in relationship stability, is characterized by low attachment-related anxiety and avoidance, while the fearful style is high on both dimensions, the dismissing style is low on anxiety and high on avoidance, and the preoccupied style is high on anxiety and low on avoidance.[37]

text: Romantic love definition/operationalization[edit]

text: Singer (1984a,[38] 1984b,[39] 1987[40]) first defined love based on four Greek terms: eros, meaning the search for beauty; philia, the feelings of affection in close friendships, nomos, the submission of and obedience to higher or divine powers, and agape, the bestowal of love and affection for the divine powers. While Singer did believe that love was important to world culture, he did not believe that romantic love played a major role (Singer, 1987[40]). However, Susan Hendrick and Clyde Hendrick at Texas Tech University (1992,[41] 2009[42]) have theorized that romantic love will play an increasingly important cultural role in the future, as it is considered an important part of living a fulfilling life. They also theorized that love in long-term romantic relationships has only been the product of cultural forces that came to fruition within the past 300 years. By cultural forces, they mean the increasing prevalence of individualistic ideologies, which are the result of an inward shift of many cultural worldviews.

text: Passionate and companionate love[edit]

text: Researchers have determined that romantic love is a complex emotion that can be divided into either passionate or companionate forms.[43] Berscheid and Walster (1978[44]) and Hatfield (1988[45]) found that these two forms can co-exist, either simultaneously or intermittently. Passionate love is an arousal-driven emotion that often gives people extreme feelings of happiness, and can also give people feelings of anguish.[citation needed] Companionate love is a form that creates a steadfast bond between two people, and gives people feelings of peace. Researchers have described the stage of passionate love as "being on cocaine," since during that stage the brain releases the same neurotransmitter, dopamine, as when cocaine is being used.[46] It is also estimated that passionate love (as with limerence) lasts for about twelve to eighteen months.[47]

text:
Robert Firestone, a psychologist, has a theory of the fantasy bond, which is what is mostly created after the passionate love has faded. A couple may start to feel really comfortable with each other to the point that they see each other as simply companions or protectors, but yet think that they are still in love with each other.[48] The results to the fantasy bond is the leading to companionate love.
Hendrick and Hendrick (1995[49]) studied college students who were in the early stages of a relationship and found that almost half reported that their significant other was their closest friend, providing evidence that both passionate and companionate love exist in new relationships. Conversely, in a study of long-term marriages, researchers (Contreras, Hendrick, and Hendrick, 1996[50]) found that couples endorsed measures of both companionate love and passionate love and that passionate love was the strongest predictor of marital satisfaction, showing that both types of love can endure throughout the years.

text: The triangular theory of love[edit]

text:
Psychologist Robert Sternberg (1986[51]) developed the triangular theory of love. He theorized that love is a combination of three main components: passion (physical arousal); intimacy (psychological feelings of closeness); and commitment (the sustaining of a relationship). He also theorized that the different combinations of these three components could yield up to seven different forms of love. These include popularized forms such as romantic love (intimacy and passion) and consummate love (passion, intimacy, and commitment). The other forms are liking (intimacy), companionate love (intimacy and commitment), empty love (commitment), fatuous love (passion and commitment), and infatuation (passion).
Studies on Sternberg’s theory love found that intimacy most strongly predicted marital satisfaction in married couples, with passion also being an important predictor (Silberman, 1995[52]). On the other hand, Acker and Davis (1992[53]) found that commitment was the strongest predictor of relationship satisfaction, especially for long-term relationships.

text: The self-expansion theory of romantic love[edit]

text: Researchers Arthur and Elaine Aron (1986[54]) theorized that humans have a basic drive to expand their self-concepts. Further, their experience with Eastern concepts of love caused them to believe that positive emotions, cognitions, and relationships in romantic behaviors all drive the expansion of a person’s self-concept. A study following college students for 10 weeks showed that those students who fell in love over the course of the investigation reported higher feelings of self-esteem and self efficacy than those who did not (Aron, Paris, and Aron, 1995[55]).

text: Mindful relationships[edit]

text: Harvey and Ormarzu (1997[56]) developed a model of minding relationships with five key components: seeking to know and be known by the other; using knowledge learned in a relationship to enhance the relationship; accepting the other person; being motivated to continue this process of learning, enhancing, and accepting; and developing a sense of appreciation in the relationship. Each of these components is considered adaptive, however, nonadaptive steps to minding a relationship were also theorized by the research team. The five nonadaptive components include: one or both partners out of step in seeking to know and be known by the other; not using the knowledge learned in a relationship to enhance the relationship (or using that knowledge to hurt the other); low acceptance and respect for the other person; not being motivated to continue the process of learning, enhancing, and accepting; and failing to develop a sense of appreciation in a relationship. Gottman studies the components of a flourishing romantic relationship have been studied in the lab (1994;[57] Gottman & Silver, 1999[58]). He used physiological and behavioral measures during couples’ interactions to predict relationship success and found that five positive interactions to one negative interaction are needed to maintain a healthy relationship. He established a therapy intervention for couples that focused on civil forms of disapproval, a culture of appreciation, acceptance of responsibility for problems, and self-soothing (Gottman, Driver, & Tabares, 2002[59]).

text: Relationship behaviors[edit]

text: The most recent[citation needed] research on romantic love and relationships focuses on behaviors that either sustain a relationship or aid in its dissolution. These behaviors can be considered either appetitive or aversive. Appetitive relationship processes are considered the promotion of positive relationship behaviors, as determined by psychologists Gable and Reis (2001,[60] 2003[61]). Aversive relationship processes are described as eliminating behaviors that have a negative effect on relationships (Gable and Reis 2001,[60] 2003[61]). This new research has also allowed relationship success to be predicted as a function of these appetitive and aversive processes. This is all related to research that shows that sharing positive life events with one’s partner is related to greater relationship satisfaction and intimacy (Gable et al., 2004[62]). In research by Gable et al. (2003) appetitive (promotion of positive relationship behaviors) and aversive (elimination of negative relationship behaviors) processes are independent constructs. A specific type of appetitive processing, capitalization, leads to increased relationship satisfaction and intimacy when one member of the relationship tells the other about positive life events and receive quality reactions and feedback from the partner (Gable, Reis, Impett, & Asher, 2004[62]).

text: Applications[edit]

text: Awareness of major theories on positive romantic relationships and knowledge of proven findings that support them gives couples the tools to strengthen their relationships and allows single individuals to have the resources to build a flourishing relationship in the future. Access to information like this could contribute to the reduction of divorce rates, as well as producing happier and healthier home lives for many families. For example, though there appears to be a correlation between an increased divorce rate and premarital cohabitation, living with a person of romantic interest before marriage still appears to be a common and growing trend.[63] Knowledge of this is one way positive psych could help aid flourishing relationships.

text: In addition to the aforementioned factors, awareness would also provide the opportunity for people to better understand or empathize with those who may not illustrate the level of positivity found in these major theories. Knowing this information can help with coming to terms with someone that is particularly difficult in a given romantic relationship, and could help one aid them to a better outlook through this gain of knowledge. The attachment style of individuals has a strong influence on the way future relationships are created and harnessed. While those with a secure attachment style fare better, one may be prone to more bumps in the road if having a disorganized style of attachment.

text: With a heightened awareness comes an upward spiral of positive relationships in general. Having younger individuals modeled by positive interactions would, in turn, greatly influence the probability of these individuals implementing such behaviors in their own social relationships.

text: It can be said that romantic love creates pair bonding between two individuals. It also increases the amount of available resources by combining those of two separate individuals thus leading to an increase in the reproductive fitness of potential offspring. This can be seen in the animal kingdom as well. For example, researchers observed the survival rate of mice offspring in father present and father absent environments and discovered that while both groups had approximately the same birth rate, with the father absent group even being a little bit higher, ultimately only 26% of the offspring in father absent group survived to emergence as opposed to the 81% of offspring that survived in the father present group.[64]

text: Controversies[edit]

text: Researchers such as Feeney and Noller question the stability of attachment style across the life span since studies that measured attachment styles at time points ranging from 2 weeks to 8 months found that 1 out of 4 adults' attachment style changed.[65] Furthermore, a study by Lopez and Gormley found that attachment styles could change during the first year of college and that changes to more secure attachment styles were associated with adjustments in self-confidence ratings and coping styles.[66] On the other hand, attachment styles in childhood mirror the ones found in adult romantic relationships.[67] In addition, research has shown that building interpersonal connections strengthens neural regulatory systems that are involved in emotions of empathy, enjoyment of positive social events, and stress management,[68][69] providing evidence that early social interactions affect adult relationships.

text: Another topic of controversy in the field of romantic relationships is that of domestic abuse. Following the theory that romantic love evolved as a byproduct of survival, it can be said that in some instances, it has turned into a maladaptation. Oxytocin is a neurophysical hormone produced in the brain. It is known to cause a decrease in stress response. It also can cause an increase in feelings of attachment. In the beginning stages of a romantic relationship, OT levels surge and then remain relatively stable over the duration of the relationship. The higher the surge of OT, the greater the likelihood is of partners staying together.[70] It plays an important role in increasing positive interpersonal behaviors such as trust, altruism, empathy, etc.[71] This response is not universal and can in fact, cause the opposite to occur depending on environment and individual. Individuals ranked high in rejection sensitivity exhibited aggressive tendencies and decreased willingness for cooperation, indicating a link between oxytocin and relationship maintenance.[72]

text: The feelings associated with romantic love function to ensure the greater reproductive fitness of individuals. The obligations of individuals in romantic relationships to preserve these bonds are based in kin selection theory, where by exhibiting aggressive behavior, a mate can use intimidation and dominance to ward off other potential predators, thus protecting the pair bond and their actual or potential offspring. This has however evolved to the point where it has become detrimental to the fitness of individuals; what is causing attachment to occur in a relationship, is now causing one partner to harm the other.

text: In the search for the root of intimate partner violence, intranasal oxytocin was administered to a control group and a group of participants with aggressive tendencies. Participants were then surveyed on how willing they were to engage in 5 behaviors towards their romantic partner. What they found was that oxytocin increased IPV inclinations only among the participants with a predisposition towards aggressive tendencies.[73] Oxytocin decreases trust and prosocial behavior in individuals with interpersonal difficulties. This, coupled with its role in relationship maintenance, illustrates that oxytocin serves to instill a sense of territoriality and protectiveness towards a mate.


document_title: Super Bowl LIV

question_text: where is super bowl 54 going to be held

question_tokens: where is super bowl 54 going to be held

text: Super Bowl LIV

text:
Super Bowl LIV

Date
February 2, 2020

Stadium
Hard Rock Stadium, Miami Gardens, Florida

TV in the United States

Network
Fox

Radio in the United States

Network
Westwood One

← LIII
Super Bowl
LV →

text: Super Bowl LIV, the 54th Super Bowl and the 50th modern-era National Football League (NFL) championship game, will decide the league champion for the league's centennial 2019 season. The game is scheduled to be played on February 2, 2020 in Miami Gardens, Florida (with the exact date pending potential changes to the NFL calendar). This will be the 11th Super Bowl hosted by the South Florida region and the sixth Super Bowl hosted in Miami Gardens, with the last one being Super Bowl XLIV ten years earlier. The game will be televised nationally by Fox.

text: Host-selection process[edit]

text: On May 19, 2015, the league announced the four finalists that will compete to host either Super Bowl LIII in 2019 or Super Bowl LIV. NFL owners voted on these cities in May 2016, with the first round of voting determining who will host Super Bowl LIII, and the second round deciding the site for Super Bowl LIV. The league had also originally announced in 2015 that Los Angeles would be eligible as a potential Super Bowl LIV site if there is a stadium in place, and a team moved there by the start of the 2018 season.[1][2][3] The league opened the relocation window in January 2016, selecting the former St. Louis Rams to return to Los Angeles; their new stadium in Inglewood, California was, at the time of the vote, not scheduled to open until August 2019 (it began construction in December 2016, giving nearly three years to construct the stadium). This meant that the new stadium was scheduled to be open in time for the game (and the league selected the relocating team just in time to be considered for Super Bowl LIV), but, under the current construction timetable, would require a waiver of league policy to host Super Bowl LIV, as the league does not allow stadiums in their first year of existence to host the Super Bowl to ensure that stadium construction delays and unforeseen problems do not jeopardize the game. In May 2016, the league granted this waiver and confirmed that Los Angeles was still in consideration for Super Bowl LIV.[4] Los Angeles has hosted the Super Bowl seven times, most recently in 1993 with Super Bowl XXVII; that game, along with the four prior Super Bowls in the area, were held at the Rose Bowl while first two Super Bowls in Los Angeles area were held at Los Angeles Memorial Coliseum. On May 24, 2016, Atlanta was chosen to host Super Bowl LIII, thereby making it ineligible to host Super Bowl LIV. Meanwhile, Los Angeles removed itself from the running for Super Bowl LIV; it was awarded rights to Super Bowl LV shortly thereafter. However, a year later, on May 23, 2017, NFL owners opted to instead award Super Bowl LV to Tampa and give Super Bowl LVI to Los Angeles after it was announced that Los Angeles Stadium at Hollywood Park would open in 2020 due to construction delays.

text: The two remaining finalists for Super Bowl LIV were as follows:[5][1]

text:
Hard Rock Stadium, Miami Gardens, Florida: South Florida has previously hosted 10 Super Bowls, with the last being Super Bowl XLIV in 2010.
Raymond James Stadium, Tampa, Florida: Tampa has hosted 4 Super Bowls, with the last being Super Bowl XLIII in 2009.

tag: ul

text: Miami was selected as the host site at the NFL owners meeting on May 24, 2016.[6][7]


document_title: Swan Song (Glee)

question_text: what song does kurt sing at the winter showcase

text: Swan Song (Glee)

text: Plot[edit]

text: Immediately after her collapse onstage at Sectionals, the glee club helps Marley Rose (Melissa Benoist) backstage. Unknown to the glee club at the time, leaving the stage in the middle of a performance is grounds for disqualification, and despite Will Schuester's (Matthew Morrison) efforts to get New Directions to return to the stage, Sue Sylvester (Jane Lynch) informs them that the Dalton Academy Warblers have been declared the winners of Sectionals. With New Directions' performance season over, Sue claims the choir room and auditorium for her own use, leaving the glee club without a practice venue, but confides to Becky Jackson (Lauren Potter) that she considers it an empty victory. Interim director Finn Hudson (Cory Monteith) tries to rally the glee club members to prepare for the upcoming holiday concert, but the entire club is dejected and points out to Finn that several members are seniors and do not have a "next year" to make another run at Nationals; Tina Cohen-Chang (Jenna Ushkowitz) and Artie Abrams (Kevin McHale) in particular blame Marley for their loss. As a result of the glee club's performance season ending early, most of the club members take up other extracurricular activities. The loss also spurs Sam Evans (Chord Overstreet) and Brittany Pierce (Heather Morris) to express their feelings for each other.

text: In New York, Kurt Hummel (Chris Colfer) prepares for his second NYADA audition, and dean Carmen Tibideaux (Whoopi Goldberg) hands Rachel Berry (Lea Michele) a highly coveted invitation to perform at the Winter Showcase. Dance teacher Cassandra July (Kate Hudson) believes that Rachel is not ready to perform at Winter Showcase, and the two have a dance showdown to "All That Jazz" from Chicago. Rachel realizes that she is not as good a dancer as Cassandra, and chooses to focus on singing for her Winter Showcase performance. Kurt visits Carmen's office and inquires about his second audition; she is highly critical of the audition and tells him that he is not suited for NYADA. At the Winter Showcase, Rachel performs "Being Good Isn't Good Enough" and "O Holy Night", receiving standing ovations after both songs. After Rachel's performance, Carmen surprises everyone by saying that the next performance will be Kurt's audition for NYADA. Rachel helps a panicked Kurt calm down and decide on a song to perform; he performs "Being Alive" from Company and also receives a standing ovation. Rachel ends up winning the Winter Showcase, and Kurt gets admitted to NYADA.

text: Rachel calls Finn, who is dejected after having cleared the glee club's trophies from the choir room and seeing the glee club break up. Finn confides that he feels like a failure after all that has happened. After reflecting on their mutual experiences with the glee club, she tells him to never give up on his dreams. Marley – the only student who remained committed to the glee club – tells Finn that she has found a new rehearsal space: the steps outside the school. Finn asks the other glee club members to meet there. When only Marley shows up at the appointed time, Finn and Marley begin singing "Don't Dream It's Over", but they are slowly joined by the other glee club members.

text: Production[edit]

text: Special guest stars Whoopi Goldberg and Kate Hudson return as NYADA dean Carmen Tibideaux and NYADA dance instructor Cassandra July respectively. Recurring guest stars include Principal Figgins (Iqbal Theba), glee club members Joe Hart (Samuel Larsen), Wade "Unique" Adams (Alex Newell), Marley Rose (Melissa Benoist), Jake Puckerman (Jacob Artist), Kitty Wilde (Becca Tobin) and Ryder Lynn (Blake Jenner), cheerleader Becky Jackson (Lauren Potter), and NYADA junior Brody Weston (Dean Geyer).[1] In addition, pianist Brad Ellis, who has acted as the glee club's accompanist ever since the pilot, speaks for the very first time - displaying his hatred for the Glee club students.

text: This episode includes six songs, all of which were released as singles and one of which was released as a track on the deluxe version of the album Glee: The Music, Season 4, Volume 1. The songs include Frank Sinatra and Nancy Sinatra's "Somethin' Stupid" performed by Chord Overstreet and Heather Morris,[2] "All That Jazz" from the musical Chicago performed by Hudson and Michele,[3] Barbra Streisand's cover of "Being Good Isn't Good Enough" from Hallelujah, Baby! performed by Michele,[4] "Being Alive" from Company performed by Colfer,[5] and Crowded House's "Don't Dream It's Over" performed by New Directions.[6] Michele's rendition of the Christmas carol "O Holy Night," which was released in 2010 on Glee: The Music, The Christmas Album, was also performed, but not released as an individual single.

text: Reception[edit]

text: Ratings[edit]

text: The episode was watched by 5.43 million American viewers, and garnering a 2.2/6 rating/share among adults 18-49. The show finished third in its timeslot against Grey's Anatomy which placed first, and Person of Interest which placed second.[7] Including DVR viewership, the episode was watched by 2.54 million, bringing the total viewership to 7.98 million viewers.[8]

text: In Canada, the episode was watched by 1.074 million viewers and placed nineteenth for the week.[9]

text: Critical response[edit]

text: This section is empty. You can help by adding to it. (April 2013)

text: Music and performances[edit]

text: This section needs expansion. You can help by adding to it. (April 2013)

text: In December 2012, TV Guide named the "Somethin' Stupid" rendition one of Glee's best performances, with the periodical commenting: "this sweet oldie proved the two could dance, crack jokes and make beautiful music together. In a season chock-full of highly choreographed top 40 hits, this simple song was a breath of fresh air."[10]


document_title: SAP S/4HANA

question_text: in what frequency are major releases for sap s/4 hana cloud delivered

question_tokens: in what frequency are major releases for sap s / 4 hana cloud delivered

text: SAP S/4HANA

text: Purpose[edit]

text: The offering is an Enterprise Resource Planning software meant to cover all day-to-day processes of an enterprise. It integrates functions from lines of businesses as well as industry solutions, and also re-integrates portions of SAP Business Suite products such as SAP SRM, SAP CRM and SAP SCM. However SAP Business Suite 4 only runs on the SAP HANA database, and thus it is packaged as one product: SAP S/4HANA.[1]

text: SAP's classical R3 based business suite and related products were designed to run on several database platforms, including those from Oracle, Microsoft and IBM.[2]

text: SAP has said that the SAP HANA platform can potentially save an organization 37% across hardware, software, and labor costs.[3]

text: History[edit]

text: The platform SAP HANA has been available since 2010, and SAP applications like SAP ERP and the SAP Business Suite have been able to run on the SAP HANA database and/or any other database.[4]

text: The S/4HANA launch[5] took place on February 3, 2015 at the New York Stock Exchange. The event introduced cloud and on premises editions, and launched the on-premises edition. Availability of the cloud edition followed at SAPPHIRE NOW (SAP’s annual customer conference) on May 6, 2015 in Orlando, Florida.[6]

text: SAP S/4HANA is being called SAP's biggest update to its ERP strategy and platform in over two decades.[7] Post-launch, Gartner analysts noted that SAP S/4HANA represented a “transformational shift,” but raised questions about the functionality, availability, pricing and migration surrounding S/4HANA.[8]

text: By April 21, 2015, 370 customers had purchased S/4HANA.[9] After the first half of 2015, positive growth was confirmed for SAP. In October 2015 SAP confirmed that S/4 HANA has exceeded over 1300 customer [10][11][12]

text: Growth continued through the third quarter of 2015.[13] Following its third quarter earnings announcement, SAP said the number of SAP S/4HANA customers had risen to 1,300.[14] After fourth quarter close of 2016, SAP announced that 5,400 customers had implemented SAP S/4HANA.

text: There are numerous ERP systems with the same intention, some of the product’s competitors in the Software as a Service space are Oracle,[15] Microsoft and Workday, Inc.[16]

text: Editions[edit]

text: The S/4HANA product offering consists of two editions: SAP S/4HANA On-Premise and SAP S/4HANA Cloud .

text: SAP S/4HANA On-Premise is similar in terms of coverage, functionality, industry-specific support, and localization to the current SAP Business Suite (35 languages, 61 country versions, 23 industries). This edition is available for on premises deployment and as a hosted offering via SAP and its partners.[17]

text: SAP also offers SAP S/4HANA Cloud .[18] SAP S/4 HANA Cloud was announced February 8, 2017 at an analyst briefing. SAP has emphasized the product as pivotal to its cloud shift.[19] It consists of functionality for finance, accounting, controlling, procurement, sales, manufacturing, plant maintenance, project system, and product lifecycle management, plus integration with SAP SuccessFactors , SAP Ariba , SAP Hybris and SAP Fieldglass.

text: SAP plans to have comprehensive industry coverage for the cloud edition, as well as industry-specific solutions.[20] It is currently available in several languages (English, German, French, Spanish, Russian, Chinese, Japanese and Portuguese). The cloud edition supports:

text:
SAP S/4HANA Marketing Cloud - for the marketing line of business (no country dependencies)
SAP S/4HANA Professional Services Cloud - for the professional services industry (country/regional scope: U.S., Germany, Australia, Canada, UK)
SAP S/4HANA Enterprise Management Cloud - for full ERP capabilities, covering all lines of business; cloud enterprise edition is the equivalent to the Enterprise Management on premises offering (country/regional scope: U.S., Germany, Australia, Canada, UK)
SAP S/4HANA Finance Cloud

text: Overview of Releases[edit]

text: Every 11 months Version coding: YYMM example 1709 - November 2017.

text:
SAP S/4HANA Finance 1503 : March 2015
SAP S/4HANA 1511: November 2015
SAP S/4HANA Finance 1605: May 2016
SAP S/4HANA 1610: October 2016
SAP S/4HANA 1709: November 2017

text: Deployment[edit]

text: SAP S/4HANA can be deployed on premise, in the cloud (private or public), or through a hybrid model that supports a variety of deployment scenarios.[21]

text: Implementation[edit]

text: There are various ways to get to S/4HANA, this depends on a customer’s starting point. For example, new implementation, system conversion, and landscape transformation.[22]

text:
New implementation - This is a new implementation of SAP S/4HANA (green field): customers who are migrating from a non-SAP legacy system or from an SAP ERP system and implementing a fresh system that requires an initial data load. In this scenario, the SAP S/4HANA system is implemented, and master and transactional data are migrated from the legacy system, thus standard data migration tools and content has to be used.
System conversion - This is a complete conversion of an existing SAP Business Suite system to SAP S/4HANA (lift & shift): customers who want to change their current SAP ERP system to SAP S/4HANA. This scenario is technically based on Software Update Manager (SUM) with Database Migration Option (DMO) in case the customer is not yet on SAP HANA as the underlying database.
Landscape transformation - This is a consolidation of current regional SAP systems into one global SAP S/4HANA system or a split out of different parts of a system: customers who want to consolidate their landscape or carve out selected entities (such as a company code) or processes into a single SAP S/4HANA system.

text: Product Lifecycle[edit]

text: Both SAP S/4HANA on-premise and the SAP S/4HANA cloud editions have release strategies which involve quarterly shipments. The cloud editions are released quarterly. The on-premise edition has one new release per year, and receives additional functionality and corrections in the form of Feature Pack Stacks (FPS) or Service Pack Stacks (SPS) each quarter.

text: On-premise: Each year, SAP is shipping a new product version of its on-premise SAP S/4HANA product (e.g. SAP S/4HANA 1610) this will always be followed by three successive FPS on a quarterly basis, after this SAP releases the next product version and the previous product version is receiving SPS on a quarterly basis until the end of mainstream maintenance. Technically, a FPS is like a SPS, but it may include non-disruptive, non-mandatory features. The numbering of FPS/SPS will be consecutive, i.e. the first SPS after a FPS3 would be consequently SPS4.[23]

text: Embedded Analytics[edit]

text: SAP S/4HANA Embedded Analytics is the collection of all analytics features integrated in SAP S/4HANA suite. It is the real time analysis on Transactional System. SAP delivered many pre-build models and reports using VDM(Virtual Data Models) which are based on CDS(Core Data Services) views. This eliminates the need to have a separate data warehousing system and the need to replicate data - where the data is usually one day old.

text: Embedded analytics brings transaction data and analytics into one platform with one Single Source of Truth. SAP Embedded Analytics can be consumed / reported through various reporting tools, including SAP Advanced Analysis for Office, SAP Lumira , SAP Predictive Analysis, SAP Fiori, SAP Smart Business Cockpits, SAP Design Studio, SAP Cloud for Analytics, KPI Modelling Apps ( Fiori ), Query Browser / Query Builder and EMP – for planning and consolidation.[24]


document_title: Never Back Down 2: The Beatdown

question_text: who plays tim in never back down 2

question_tokens: who plays tim in never back down 2

text: Never Back Down 2: The Beatdown

text: Plot[edit]

text: After losing a fight, boxer Zack Gomes is informed by a doctor that he has sustained a partially detached retina, and he may risk permanent blindness should he receive another hit to the head. On his way out of the hospital, he overhears the receptionist talking about MMA while viewing the website for an upcoming underground event known as "The Beatdown". Talented MMA fighter Tim Newhouse struggles to help his family when they are in debt following the death of his father. Former high school wrestler Mike Stokes is the new kid in college and deals with issues involving his father leaving his mother for a man. Comic book store clerk Justin Epstein is walking home when he is run down and stabbed by bullies. However, he is saved by Tim and his martial arts master Case Walker, who are training in a vacant lot.

text: Mike gets kicked off the college wrestling team for starting a brawl and knocking out a teammate who made degrading comments about his father. Afterwards, he goes to see Max Cooperman, who had previously contacted him about entering the Beatdown. Outside Max's dorm room, Mike meets Zack with both taking an instant disliking to each other. As part of their tryout, they brawl for a bit and Max tells them that while they are good, they need to get better. Max proceeds to refer them to Case, who is described to have a lifelong history of martial arts that consists of being a Kyokushin and Shotokan karate black-belt, a former collegiate wrestler, a Brazilian Jiu-Jitsu expert and Self defense instructor. He was set to become a phenomenon in the MMA world years ago.

text: They find Case at his home in an old junkyard with a makeshift gym where Tim and Justin are already training. Case is at first reluctant to train either of them, but he states that he will teach each of them differently and they must follow his orders without question. A few weeks into training, they each get into an argument over their reasons for training and deserving to be there more, the worst of it being Justin and Zack hurting each other physically, leaving them to settle it themselves. Max goes into Case's trailer and offers him the chance to make some money and at the same time, help him promote the Beatdown. Later on, Case is harassed by police officers, who threaten him for violating his probation. Because of this, the team builds a new gym where they can train and hold the Beatdown tournament. Danger strikes when Justin snaps from constant bullying, goes rogue and decides to not only attack his personal enemies but also the group itself by framing their mentor and setting him up to go to jail. The rest of the group find out what has happened to Case and decide to band together and take on Justin at the Beatdown to avenge their mentor. With each facing their own trials to reach the final match, it comes down to only one of them versus their own. Mike defeats Zack, while Justin injures Tim in the restroom - thus eliminating him from the tournament. In the tournament finals, Mike engages Justin in a grueling fight until he wins by breaking Justin's right shoulder via an Omoplata submission hold. Justin attempts to retaliate by jumping Mike from behind, but Mike counters with a superman punch to the face.

text: As Mike and his girlfriend Eve celebrate his win, he finally calls his father and ask him to go out to dinner because they have a lot to talk about. Case gets a call from "Big" John McCarthy and confirms his return to MMA.

text: Cast[edit]

text:
Evan Peters as Max Cooperman
Dean Geyer as Mike Stokes
Alex Meraz as Zack Gomes
Todd Duffee as Tim Newhouse
Scott Epstein as Justin Epstein
Jillian Murray as Eve
Michael Jai White as Case Walker
Laura Cayouette as Vale
Lyoto Machida as Himself
"Big" John McCarthy as Himself
Eddie Bravo as D.J. Bravo

text: Production[edit]

text: Filming started in September 2010 and finished in November 2010 in Baton Rouge, Louisiana. On a budget of $3 million, the film was shot in four weeks, and the rehearsals took two weeks.[3] The fights were choreographed by Larnell Stovall.

text: Soundtrack[edit]

text:
Rular Rah – "It's Supposed To Happen"
Rular Rah – "The Freshest"
Joe Jackson feat. Skratch Music – "Super Star"
Stephen R. Phillips & Tim P. – "Lick My Plate"
Tucker Jameson & The Hot Mugs – "Train Tracks"
Rick Balentine – "1st Attack of the Marms"
Willknots – "Perfect Day"
Startisan – "Just"
For The Taking – "Time is Running Out"
Justyna Kelley – "Fall Into You"
Stereo Black – "Inside"
Metaphor the Great & Jonathan Jackson – "Doo Doo Butt"
Kritical – "Are You Ready For This"
Pre-Fight Hype – "It's Goin Down"
Robert Fortune – "Cadillac"
The Resistors – "UTA"
For The Taking – "Takedown"
Rular Rah – "Only If You Knew"
Compella and The Twister – "Are You Ready"
Cody B. Ware – "#33 Forever"[A]
Tucker Jameson & The Hot Mugs – "Last Train Home"
Compella and The Twister – "Dropped"

text: A ^"#33 Forever" by Cody B. Ware is mistitled as "Are You Ready" in the DVD credits.

text: Home media[edit]

text: The film was released on DVD on September 13, 2011 from Sony Pictures Home Entertainment.

text: Sequel[edit]

text: A sequel, titled Never Back Down: No Surrender, was released on June 7, 2016 and began filming in Thailand in June 2015 again under the direction of White, who also reprises his role as Case Walker. The film also stars Esai Morales, MMA fighter Josh Barnett, Tony Jaa, former professional wrestler Nathan Jones and Gillian Waters.[4]