document_title: 2018 FIFA World Cup broadcasting rights

question_text: in which channel fifa world cup will be broadcasted

text: 2018 FIFA World Cup broadcasting rights

text: FIFA, through several companies, sold the broadcasting rights for the 2018 FIFA World Cup[1] to the following broadcasters.

text: Television[edit]

text:
Country/Region

Broadcaster

Ref.

 Afghanistan

ATN

[1][2]

 Albania

RTSH

[1]

 Andorra

TF1, France Télévisions, TVE, beIN Sports

[1]

 Angola

TPA, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Argentina

TV Pública, TyC Sports, DirecTV

[1]

 Armenia

ARMTV

[1]

 Australia

SBS, Optus Sport

[3][4][5]

 Austria

ORF, OE24, DAZN

[1]

 Azerbaijan

İTV, AzTV

[1]

 Bangladesh

BTV, Maasranga TV,  Nagorik TV, Sony Pictures Networks

[1][2][6]

 Bahamas

ZNS, DirecTV

[1]

 Belarus

BTRC

[1]

 Belgium

VRT, RTBF

[1]

 Benin

ORTB, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Bermuda

BBC, DirecTV

[1]

 Bhutan

Sony Pictures Networks

[1]

 Bolivia

Unitel, Red Uno, DirecTV

[1]

 Bosnia and Herzegovina

BHRT

[1]

 Brazil

Globo, SporTV, Fox Sports

[7][8][9]

 Brunei

Astro

[1]

 Bulgaria

BNT

[1]

 Burkina Faso

RTB, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Cambodia

CBS

[1][2]

 Cameroon

CRTV, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Canada

CBC, Sportsnet, TVA Sports

[4][10][1]

 Chad

ORTNV, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Chile

Canal 13, TVN, Mega, DirecTV, Movistar

[1]

 China

CCTV, Migu, Youku

[2][11][12]

 Colombia

Caracol TV, RCN TV, DirecTV

[1]

 Congo

Télé Congo, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Costa Rica

Teletica, Sky, Movistar

[1][13]

 Côte d'Ivoire

RTI, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Croatia

HRT

[1]

 Cuba

ICRT

[1]

 Cyprus

CyBC

[1]

 Czech Republic

ČT

[1]

 Denmark

DR, TV 2

[1]

 Dominica

Sky, DirecTV

[1]

 Dominican Republic

Antena 7, Sky

[14]

 Ecuador

RTS, DirecTV

[1]

 El Salvador

TCS, Sky

[1]

 Estonia

ERR

[1]

 Faroe Islands

DR, TV 2

[1]

 Finland

Yle

[1][15]

 France

TF1, France Télévisions, beIN Sports

[1]

 Gabon

RTG, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Gambia

GRTS, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Germany

ARD, ZDF, Sky Sport, DAZN

[16][17][18][19][20]

 Georgia

GPB

[1]

 Ghana

GBC, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Greece

ERT

[1]

 Greenland

DR, TV 2

[1]

 Guatemala

TV Azteca, Tigo Sports, Sky, Movistar

[1]

 Guinea

RTG, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Honduras

TVC, Sky, Movistar

[1]

 Hong Kong

ViuTV,  Now TV

[1][2][21][22]

 Hungary

MTVA

[1]

 Iceland

RÚV

[1]

 India

Jio TV, AirTel TV, Sony Pictures Networks

[1][23]

 Indonesia

Trans Media, K-Vision, SuperPass, USeeTV

[2][24][25][26][27]

 Iran

IRIB, beIN Sports

[28]

 Ireland

RTÉ

[1]

 Israel

KAN, Keshet, Sport 5, Charlton

[1]

 Italy

Mediaset

[1]

 Jamaica

TVJ, DirecTV

[1]

 Japan

NHK, NTV, TV Asahi, TBS, Fuji TV

[1]

 Kazakhstan

Qazaqstan

[1]

 Kenya

NTV, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Kosovo

RTK

[1]

 Kyrgyzstan

KTRK

[1]

 Laos

TVLAO

[1][2]

 Latvia

LTV

[1]

 Lebanon

Télé Liban, beIN Sports

[1][29][30]

 Liechtenstein

SRG SSR

[31]

 Lithuania

LRT

[1]

 Macau

TDM

[2][32]

 Madagascar

ORTM, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Malaysia

Astro, RTM

[1][33][34][35]

 Maldives

PSM, Sony Pictures Networks

[1]

 Mali

Africable, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Malta

PBS

[1]

 Mauritius

MBC, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Mexico

Televisa, TV Azteca, Sky México

[1]

 Moldova

TRM

[1]

 Monaco

TF1, France Télévisions, beIN Sports

[1]

 Mongolia

NTV, MNB

[1][2]

 Montenegro

RTCG

[1]

 Morocco

SNRT, beIN Sports

[1][36]

 Mozambique

TVM, TV Miramar, TV Sucesso, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Myanmar

Skynet Sports

[1][2]

 Namibia

NBC, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

   Nepal

NTV, Kantipur TV, Sony Pictures Networks

[1]

 Netherlands

NOS

[1]

 New Zealand

Sky Sport

[1][37]

 Nicaragua

Ratensa, Sky, Movistar

[1]

 Niger

ORTN, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Nigeria

NTA, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 North Korea

KCTV

[1]

 Norway

NRK, TV 2

[1]

 Pakistan

PTV, Sony Pictures Networks

[1]

 Panama

Corporación Medcom, Televisora Nacional, Sky, Movistar

[1]

 Papua New Guinea

EM TV, Sky Pacific

[1]

 Paraguay

SNT, Telefuturo, TyC, DirecTV

[1]

 Peru

Latina, DirecTV

[1]

 Philippines

ABS-CBN

[1][2][38]

 Poland

TVP, NC+

[1]

 Portugal

RTP, SIC, SportTV

[39][40][41]

 Romania

TVR

[1]

 Rwanda

RBA, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Russia

Perviy Kanal, VGTRK, Match TV

[42]

 San Marino

Mediaset

[1]

 Senegal

RTS, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Serbia

RTS

[1]

 Seychelles

SBC, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Singapore

Mediacorp, Singtel, StarHub

[2][43]

 Slovakia

RTVS

[1]

 Slovenia

RTVSLO

[1]

 Solomon Islands

Our Telekom, Sky Pacific

[1]

 South Africa

SABC, SuperSport, StarTimes

[1][44]

 South Korea

KBS, MBC, SBS

[1]

 Spain

TVE

[1]

 Sri Lanka

Sri Lanka Rupavahini Corporation, Sony Pictures Networks

[1]

 Suriname

SCCN, DirecTV

[1]

 Sweden

SVT, TV4

[16][18]

  Switzerland

SRG SSR, DAZN

[31]

 Taiwan

ELTA, CTS

[1][2][45]

 Tajikistan

Varzish TV

[1]

 Tanzania

TBC, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Thailand

TrueVisions, Channel 5, Amarin TV

[2][46][47][48]

 Timor Leste

ETO Telco

[1][2]

 Togo

TVT, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Trinidad & Tobago

CNC3, DirecTV

[1]

 Tunisia

ERTT, beIN Sports

[1]

 Turkey

TRT

[1]

 Uganda

BBS, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

 Ukraine

Inter, NTN

[1][49]

 United KingdomshowHome Nations/Territories
 Channel Islands
 England
 Isle of Man
 Northern Ireland
 Scotland
 Wales

BBC, ITV

[17]

 United Statesshowand territories
 American Samoa
 Guam
 Northern Mariana Islands
 Puerto Rico
 Baker Island
 Howland Island
 Jarvis Island
 Johnston Atoll
 Kingman Reef
 Midway Islands
 Navassa Island
 Palmyra Atoll
 Wake Island

NBC, Telemundo

[50][51]

 Uruguay

Monte Carlo, Canal 10, Teledoce, TyC, DirecTV

[1]

 Uzbekistan

Uzreport TV, Futbol TV

[2][52]

  Vatican City

RAI, Sky Sport

[1]

 Venezuela

Venevisión, TVes, Meridiano Televisión, VC Sports, DirecTV

[1]

 Vietnam

VTV

[2][53][54]

 Zambia

Muvi TV, Kwesé Sports, SuperSport, StarTimes, Canal+

[1]

text:
Region

Broadcaster

Ref.

CaribbeanshowCountries/Territories
 Antigua & Barbuda
 Anguilla
 Aruba
 Barbados
 Belize
 British Virgin Islands
 Cayman Islands
 Curaçao
 Dominican Republic
 Grenada
 Guyana
 Haiti
 Montserrat
 St. Lucia
 St. Kitts & Nevis
 St. Vincent & the Grenadines
 Turks and Caicos
 U.S. Virgin Islands

DirecTV

[1][55][1]

Middle East and North AfricashowCountries
 Algeria
 Bahrain
 Comoros
 Djibouti
 Egypt
 Iraq
 Jordan
 Kuwait
 Libya
 Mauritania
 Oman
 Palestinian Authority
 Qatar
 Saudi Arabia
 Somalia
 South Sudan
 Sudan
 Syria
 United Arab Emirates
 Yemen

beIN Sports

[1][56][57][58]

OceaniashowCountries/Territories
 Cook Islands
 Fiji
 Kiribati
 Micronesia
 Nauru
 Palau
 Samoa
 Tonga
 Tuvalu
 Vanuatu

Sky Pacific

[1]

Sub-Saharan AfricashowCountries
 Botswana
 Burundi
 Cape Verde
 Central African Republic
 DR Congo
 Equatorial Guinea
 Eritrea
 Ethiopia
 Guinea-Bissau
 Lesotho
 Liberia
 Malawi
 Sierra Leone
 Swaziland
 Zimbabwe

Kwesé Sports, SuperSport, StarTimes, Canal+

[1][59]

text: Radio[edit]

text:
Nation/Territory

Broadcaster

Ref

 Albania

RTSH

[1]

 Australia

SBS, ABC

[1]

 Austria

ORF

[1]

 Belarus

BTRC

[1]

 Belgium

VRT, RTBF

[1]

 Bosnia and Herzegovina

BHRT

[1]

 Brazil

Rádio Bandeirantes, Rádio Gaúcha, Rádio Itatiaia, Rádio Jovem Pan, Rádio Verdes Mares, Radio Sagres 730, Sistema Globo de Rádio, Super Rádio Tupi

[1]

 Bulgaria

BNR

[1]

 Chile

ADN Radio, Radio Bío-Bío, Radio Cooperativa, UCV Radio

[1]

 Colombia

Blu Radio, Caracol Radio, RCN Radio

[1]

 Costa Rica

Radio Columbia, Radio Monumental, Teletica Radio

[1]

 Croatia

HRT

[1]

 Cyprus

CyBC

[1]

 Denmark

DR

[1]

 Ecuador

RTS

[1]

 Estonia

ERR

[1]

 France

Europe 1, RTL, Radio France, RMC

[1]

 Finland

Yle

[1]

 Georgia

GPB

[1]

 Germany

ARD, RTL Radio, Radio Hamburg, Radio NRW, Hitradio RTL Sachsen, Hitradio FFH, Antenne Bayern, 89.0 RTL

[1]

 Guatemala

Emisoras Unidas, La Red Deportes 106.1

[1]

 Hong Kong

RTHK

[60]

 Iceland

RÚV

[1]

 Indonesia

RRI

[61]

 Iran

IRIB

[1]

 Ireland

RTÉ

[1]

 Israel

KAN

[1]

 Italy

RAI, Mediaset

[1][62]

 Jamaica

RJR 94 FM

[1]

 Kosovo

RTK

[1]

 Liechtenstein

SRG SSR

[1]

 Lithuania

LT

[1]

 Macau

TDM

[1]

 Macedonia

MRT

[1]

 Moldova

TeleRadio-Moldova

[1]

 Monaco

RMC Sport

[1]

 Montenegro

RTCG

[1]

 Morocco

SNRT,Radio Mars

[1][36]

 Netherlands

NOS

[1]

 Norway

NRK

[1]

 Peru

RPP

[1]

 Portugal

RTP, TSF, Rádio Renascença

[1]

 Portuguese-speaking AfricashowCountries
 Cape Verde
 Guinea-Bissau
 Mozambique
 São Tomé and Príncipe

RTP

[63]

 Russia

VGTRK

[1]

 Serbia

RTS

[1]

 Slovenia

RTVSLO

[1]

 South Africa

SABC

[1]

 South Korea

SBS

[1]

 Spain

RTVE, Cadena COPE, Cadena SER, Onda Cero, Radio Marca

[1]

 Sub-Saharan AfricashowCountries
 Angola
 Benin
 Botswana
 Burkina Faso
 Burundi
 Cameroon
 Cape Verde
 Central African Republic
 Chad
 Congo
 Côte d'Ivoire
 DR Congo
 Equatorial Guinea
 Eritrea
 Ethiopia
 Gabon
 Gambia
 Ghana
 Guinea
 Guinea-Bissau
 Kenya
 Lesotho
 Liberia
 Madagascar
 Malawi
 Mali
 Mauritius
 Mozambique
 Namibia
 Niger
 Nigeria
 Rwanda
 São Tomé and Príncipe
 Senegal
 Seychelles
 Sierra Leone
 Swaziland
 Tanzania
 Togo
 Uganda
 Zambia
 Zimbabwe

France Médias Monde

[1]

 Sweden

SR

[1]

  Switzerland

SRG SSR

[1]

 Turkey

TRT

[1]

 United KingdomshowHome Nations/Territories
 England
 Scotland
 Wales
 Northern Ireland
 Gibraltar
 Channel Islands
 Isle of Man

BBC, talkSPORT

[1]

 United States showand territories
 American Samoa
 Guam
 Northern Mariana Islands
 Puerto Rico
 U.S. Virgin Islands
 Baker Island
 Howland Island
 Jarvis Island
 Johnston Atoll
 Kingman Reef
 Midway Islands
 Navassa Island
 Palmyra Atoll
 Wake Island

ESPN Radio, Fútbol de Primera

[1][64]

 Uruguay

770 AM Oriental, 810 AM El Espectador, 850 AM Carve, 890 AM Sarandí Sport, 930 AM Monte Carlo, 970 AM Radio Universal, 1090 AM Radio Imparcial, 1410 AM Radio LaCatorce10, 99.5 FM Del Sol

[1]

 Vietnam

VOV

[1][65]


document_title: List of U.S. states by date of admission to the Union

question_text: when did minnesota become a state admitted to the union

root

text: List of U.S. states[edit]

text:
State

Date(admitted or ratified)

Formed from

1

 Delaware

December 7, 1787[8](ratified)

Colony of Delaware[b]

2

 Pennsylvania

December 12, 1787[10](ratified)

Proprietary Province of Pennsylvania

3

 New Jersey

December 18, 1787[11](ratified)

Crown Colony of New Jersey

4

 Georgia

January 2, 1788[8](ratified)

Crown Colony of Georgia

5

 Connecticut

January 9, 1788[12](ratified)

Crown Colony of Connecticut

6

 Massachusetts

February 6, 1788[8](ratified)

Crown Colony of Massachusetts Bay

7

 Maryland

April 28, 1788[8](ratified)

Proprietary Province of Maryland

8

 South Carolina

May 23, 1788[8](ratified)

Crown Colony of South Carolina

9

 New Hampshire

June 21, 1788[8](ratified)

Crown Colony of New Hampshire

10

 Virginia

June 25, 1788[8](ratified)

Crown Colony and Dominion of Virginia

11

 New York

July 26, 1788[13](ratified)

Crown Colony of New York

12

 North Carolina

November 21, 1789[14](ratified)

Crown Colony of North Carolina

13

 Rhode Island

May 29, 1790[8](ratified)

Crown Colony of Rhode Island and Providence Plantations

14

 Vermont

March 4, 1791[15](admitted)

Vermont Republic[c]

15

 Kentucky

June 1, 1792[16](admitted)

Virginia (nine counties in its District of Kentucky[d])

16

 Tennessee

June 1, 1796[18](admitted)

Southwest Territory

17

 Ohio

March 1, 1803[19][e](admitted)

Northwest Territory (part)

18

 Louisiana

April 30, 1812[21](admitted)

Territory of Orleans

19

 Indiana

December 11, 1816(admitted)

Indiana Territory

20

 Mississippi

December 10, 1817[22](admitted)

Mississippi Territory

21

 Illinois

December 3, 1818[23](admitted)

Illinois Territory (part)

22

 Alabama

December 14, 1819[24](admitted)

Alabama Territory

23

 Maine

March 15, 1820[25](admitted)

Massachusetts (District of Maine[f])

24

 Missouri

August 10, 1821[26](admitted)

Missouri Territory (part)

25

 Arkansas

June 15, 1836[27](admitted)

Arkansas Territory

26

 Michigan

January 26, 1837[28](admitted)

Michigan Territory

27

 Florida

March 3, 1845(admitted)

Florida Territory

28

 Texas

December 29, 1845(admitted)

Republic of Texas

29

 Iowa

December 28, 1846(admitted)

Iowa Territory (part)

30

 Wisconsin

May 29, 1848[29](admitted)

Wisconsin Territory (part)

31

 California

September 9, 1850[30](admitted)

unorganized territory (part)

32

 Minnesota

May 11, 1858[31](admitted)

Minnesota Territory (part)

33

 Oregon

February 14, 1859(admitted)

Oregon Territory (part)

34

 Kansas

January 29, 1861[32](admitted)

Kansas Territory (part)

35

 West Virginia

June 20, 1863[33](admitted)

Virginia (50 Trans-Allegheny region counties[g])

36

 Nevada

October 31, 1864(admitted)

Nevada Territory

37

 Nebraska

March 1, 1867(admitted)

Nebraska Territory

38

 Colorado

August 1, 1876[36](admitted)

Colorado Territory

39[h]

  North Dakota

November 2, 1889[38][i](admitted)

Dakota Territory (part)

40

 South Dakota

November 2, 1889[38][i](admitted)

Dakota Territory (part)

41

 Montana

November 8, 1889[39](admitted)

Montana Territory

42

 Washington

November 11, 1889[40](admitted)

Washington Territory

43

 Idaho

July 3, 1890(admitted)

Idaho Territory

44

 Wyoming

July 10, 1890(admitted)

Wyoming Territory

45

 Utah

January 4, 1896[41](admitted)

Utah Territory

46

 Oklahoma

November 16, 1907[42](admitted)

Oklahoma Territory and Indian Territory

47

 New Mexico

January 6, 1912(admitted)

New Mexico Territory

48

 Arizona

February 14, 1912(admitted)

Arizona Territory

49

 Alaska

January 3, 1959(admitted)

Territory of Alaska

50

 Hawaii

August 21, 1959(admitted)

Territory of Hawaii

tag: table

text: Articles of Confederation ratification dates[edit]

text: The Second Continental Congress approved the Articles of Confederation for ratification by the individual states on November 15, 1777. The Articles of Confederation came into force on March 1, 1781, after being ratified by all 13 states. On March 4, 1789, the general government under the Articles was replaced with the federal government under the present Constitution.[43]

tag: p

text:
State

Date

1

 Virginia

December 16, 1777

2

 South Carolina

February 5, 1778

3

 New York

February 6, 1778

4

 Rhode Island

February 9, 1778

5

 Connecticut

February 12, 1778

6

 Georgia

February 26, 1778

7

 New Hampshire

March 4, 1778

8

 Pennsylvania

March 5, 1778

9

 Massachusetts

March 10, 1778

10

 North Carolina

April 5, 1778

11

 New Jersey

November 19, 1778

12

 Delaware

February 1, 1779

13

 Maryland

February 2, 1781


document_title: Skin in the game (phrase)

question_text: where does the saying skin in the game come from

text: Skin in the game (phrase)

text: Etymology[edit]

text: The origin of the phrase is unknown.[1]

text: It has commonly been attributed to Warren Buffett, referring to his own investment in his initial fund.[2] However, William Safire refutes Buffett as the source of the phrase, pointing to earlier instances.[3]

text: Another possible explanation is that the phrase draws its origins from William Shakespeare's play The Merchant of Venice, in which the antagonist Shylock stipulates that the protagonist Antonio must promise a pound of his own flesh as collateral, to be exacted by Shylock in the event that Antonio's friend Bassanio defaults on the loan to which Antonio is guarantor.[citation needed]

text: In business and finance[edit]

text: The term is used to ask or convey an owner(s) or principals undefined but significant equity stake in an investment vehicle where outside investors are solicited to invest. The theory is that principal's equity contribution is directly related to the stability of the investment and confidence that management has in the venture and is also (falsely) strongly correlated to the expected yield of the investment.

text: According to the economist Joseph Stiglitz, there tends to be a negative correlation between excess "skin" and negative returns.[4]

text: The main issues surrounding "skin" or excess "skin" is the principal–agent problem whereby transparency and fiduciary obligations are disregarded by principals who have capital or excess capital (skin) tied into an entity. Many banks and other financial institutions bar employees from having any "skin" where client capital is managed, principally to address the issue of Front running and commingled funds (MF Global).[5] Investment structures such as hedge funds, private equity, Trusts and Mutual funds are legally limited to a minority investment positions or are done to create a tax efficient structure. Typically equity inputs by these fiduciaries are around 0.5-2%. Nassim Nicholas Taleb and Constantine Sandis have argued for skin in the game as a rational and ethical heuristic for all risk-taking.[6]


document_title: Tubocurarine chloride

question_text: how does d-tubocurarine act as a muscle relaxant

text: Tubocurarine chloride

text: History[edit]

text: Tubocurarine is a naturally occurring mono-quaternary alkaloid obtained from the bark of the South American plant Chondrodendron tomentosum, a climbing vine known to the European world since the Spanish conquest of South America. Curare had been used as a source of arrow poison by South American natives to hunt animals, and they were able to eat the animals' contaminated flesh subsequently without any adverse effects because tubocurarine cannot easily cross mucous membranes.Thus, tubocurarine is effective only if given parenterally, as demonstrated by Bernard, who also showed that the site of its action was at the neuromuscular junction.[1] Virchow and Munter confirmed the paralyzing action was limited to voluntary muscles.[2]

text: Etymology[edit]

text: The word "curare" comes from the South American Indian name for the arrow poison, ourare. Presumably, the initial syllable was pronounced with a heavy glottal stop. Tubocurarine is so-called because the plant samples containing the curare were stored and shipped to Europe in tubes.[citation needed] Likewise, curare stored in calabash containers was called calabash curare.

text: Use as an anesthetic[edit]

text: Griffith and Johnson are credited with pioneering the formal clinical introduction of tubocurarine as an adjunct to anesthetic practice on 23 January 1942, at the Montreal Homeopathic Hospital.[3] In this sense, tubocurarine is the prototypical adjunctive neuromuscular non-depolarizing agent. However, others before Griffith and Johnson had attempted use of tubocurarine in several situations:[4][5][6] some under controlled study conditions[7][8] while others not quite controlled and remained unpublished.[9] Regardless, all in all some 30,000 patients had been given tubocurarine by 1941, although it was Griffith and Johnson's 1942 publication[3] that provided the impetus to the standard use of neuromuscular blocking agents in clinical anesthestic practice – a revolution that rapidly metamorphosized into the standard practice of "balanced" anesthesia: the triad of barbiturate hypnosis, light inhalational anesthesia and muscle relaxation.[10] The technique as described by Gray and Halton was widely known as the "Liverpool technique",[10] and became the standard anesthetic technique in England in the 1950s and 1960s for patients of all ages and physical status. Present clinical anesthetic practice still employs the central principle of balanced anesthesia though with some differences to accommodate subsequent technological advances and introductions of new and better gaseous anesthetic, hypnotic and neuromuscular blocking agents, and tracheal intubation, as well as monitoring techniques that were nonexistent in the day of Gray and Halton: pulse oximetry, capnography, peripheral nerve stimulation, noninvasive blood pressure monitoring, etc.

text: Chemical properties[edit]

text: Structurally, tubocurarine is a benzylisoquinoline derivative. For many years, its structure, when first elucidated in 1948,[11] was wrongly thought to be bis-quaternary: in other words, it was thought to be an N,N-dimethylated alkaloid. In 1970, the correct structure was finally established,[12] showing one of the two nitrogens to be tertiary, actually a mono-N-methylated alkaloid.

text: Biosynthesis[edit]

text: Tubocurarine biosynthesis involves a radical coupling of the two enantiomers of N-methylcoclaurine. (R) and (S)-N-methylcoclaurine come from a Mannich-like reaction between dopamine and 4-hydroxyphenylacetaldehyde, facilitated by norcoclaurine synthase (NCS). Both dopamine and 4-hydroxyphenylacetaldehyde originate from L-tyrosine. Methylation of the amine and hydroxyl substituents are facilitated by S-adenosyl methionine (SAM). One methyl group is present on each nitrogen atom prior to the radical coupling. The additional methyl group is transferred to form tubocurarine, with its single quaternary N,N-dimethylamino group.[13]

text: Biological effects[edit]

text: Without intervention, acetylcholine (ACh) in the peripheral nervous system activates skeletal muscles. Acetylcholine is produced in the body of the neuron by choline acetyltransferase and transported down the axon to the synaptic gap. Tubocurarine chloride acts as an antagonist for the nicotinic acetylcholine receptor (nAChr), meaning it blocks the receptor site from ACh.[15] This may be due to the quaternary amino structural motif found on both molecules.

text: Clinical pharmacology[edit]

text: Unna et al. reported the effects of tubocurarine on humans:

text: "Forty-five seconds after the beginning of the injection, heaviness of the eyelids and transitory diplopia were perceived. At the completion of the injection, diplopia became fixed, but could be noticed only when the subject’s eyelids were raised by the operator. As curarization proceeded, it seemed to the subject as if the facial muscles, those of the tongue, pharynx, and lower jaw, the muscles of the neck and back, and the muscles of the extremities became relaxed in about that order. Accompanying the paralysis of the pharynx and the jaw muscles, inability of the subject to swallow was noted … Shortly after the injection was completed the subjects experienced a sensation of increased difficulty in breathing, as if an extra effort was necessary to maintain an adequate respiratory exchange. This sensation was present even though there was no objective evidence of impaired oxygenation or of carbon dioxide retention. It reached its maximum about five minutes after the injection, coinciding with the maximum depression of the vital capacity. In the majority of the experiments the respiratory rate was increased by about 50–100 per cent the first minutes after the injection of any one of the drugs while the tidal volume decreased."[16]

text: Tubocurarine has a time of onset of around 5 minutes which is relatively slow among neuromuscular-blocking drugs, and has a duration of action of 60 to 120 minutes.[17][18] It also causes histamine release,[19] now a recognized hallmark of the tetrahydroisioquinolinium class of neuromuscular blocking agents. Histamine release is associated with bronchospasms, hypotension, salivary secretions, making it dangerous for asthmatics, children, and those who are pregnant or lactating.[20] However, the main disadvantage in the use of tubocurarine is its significant ganglion-blocking effect,[21] that manifests as hypotension,[22] in many patients; this constitutes a relative contraindication to its use in patients with myocardial ischaemia.

text: Because of the shortcomings of tubocurare, much research effort was undertaken soon after its clinical introduction to find a suitable replacement. The efforts unleashed a multitude of compounds borne from structure-activity relations developed from the tubocurare molecule. Some key compounds that have seen clinical use are identified in the muscle relaxants template box below. Of the many tried as replacements, only a few enjoyed as much popularity as tubocurarine: pancuronium, vecuronium, rocuronium, atracurium, and cisatracurium. Succinylcholine is a widely used muscle relaxant drug which acts by activating, instead of blocking, the ACh receptor.

text: The potassium channel blocker tetraethylammonium (TEA) has been shown to reverse the effects of tubocurarine. It is thought to do so by increasing ACh release, which counteracts the antagonistic effects of tubocurarine on the ACh receptor.

text: Use as spider bite treatment[edit]

text: Spiders of the genus Latrodectus have α-latrotoxin in their venom. The most well known spider in this genus is the black widow spider. α-latrotoxin causes the release of neurotransmitters into the synaptic gap, including acetylcholine.[23] Bites are usually not fatal, but do cause a significant amount of pain in addition to muscle spasms. The venom is the most damaging to nerve endings, but the introduction of d-tubocurarine chloride blocks the nAChr, alleviating pain and muscle spasms while an antivenom can be administered.[24]

text: Toxicology[edit]

text: An individual administered tubocurarine chloride will be unable to move any voluntary muscles, including the diaphragm. A large enough dose will therefore result in death from respiratory failure unless artificial ventilation is initiated. The LD50 for mice and rabbits are 0.13 mg/kg and 0.146 mg/kg intravenously, respectively.It releases histamine and cause hypotension.[25]


document_title: Battalion

question_text: how many marines are there in a battalion

text: Battalion

text: Independent operations[edit]

text: A battalion is the smallest military organization capable of "limited independent operations",[1] in that the battalion is the lowest-level organizational unit containing an organic coordinating, or executive, staff (i.e., S-1, S-2, etc.) and a support and services unit (e.g., headquarters and headquarters company). The battalion must have a source of re-supply to enable it to sustain operations for more than a few days. This is because a battalion's basic load of ammunition, expendable weapons (e.g., hand grenades and disposable rocket launchers), water, rations, fuel, lubricants, replacement parts, batteries, and medical supplies normally consists of only what the battalion's soldiers and the battalion's organic vehicles can carry.

text: In addition to consisting of sufficient personnel and equipment (usually at least two primary mission companies and one mission support company) to perform significant operations, as well as a limited self-contained administrative and logistics capability, the commander is provided with a full-time staff whose function is to coordinate current operations and plan future operations. A battalion's subordinate units (companies and their organic platoons) are dependent upon the battalion headquarters for command, control, communications, and intelligence and the battalion's organic service and support structure to perform their mission. The battalion is usually part of a regiment, brigade, or group, depending on the organizational model used by that service.

text: Homogeneity[edit]

text: The bulk of a battalion's companies are often homogeneous with respect to type (e.g., an infantry or tank battalion), although there are exceptions such as combined arms battalions in the U.S. Army. A battalion includes a headquarters company and some sort of combat service support, typically organized within a combat support company.

text: British Army[edit]

text: The term battalion is used in the British Army Infantry and some corps including the Royal Electrical and Mechanical Engineers, and intelligence corps. It was formerly used in the Royal Engineers (before they switched to regiments), and was also used in the now defunct Royal Army Ordnance Corps and Royal Pioneer Corps. Other corps usually use the term "regiment" instead.

text: An infantry battalion is numbered ordinarily within its regiment (e.g., 1st Battalion, The Rifles, usually referred to as 1 Rifles). It normally has a headquarters company, support company, and three rifle companies (usually, but not always, A, B and C companies). Each company is commanded by a major, the officer commanding (OC), with a captain or senior lieutenant as second-in-command (2IC). The HQ company contains signals, quartermaster, catering, intelligence, administration, pay, training, operations and medical elements. The support company usually contains anti-tank, machine gun, mortar, pioneer and reconnaissance platoons. Mechanised units usually have an attached light aid detachment (LAD) of the Royal Electrical and Mechanical Engineers (REME) to perform field repairs on vehicles and equipment. A British battalion in theatre during World War II had around 845 men, whereas, as of 2012, a British battalion had around 650 soldiers. With successive rounds of cutbacks after the war, many infantry regiments were reduced to a single battalion (others were amalgamated to form large regiments that maintained multiple battalions, e.g., the Royal Anglian Regiment).

text: Important figures in a battalion headquarters include:

text:
Commanding officer (CO) (invariably a lieutenant colonel)
Second-in-command (2i/c) (major)
Adjutant (captain)
Quartermaster (QM) (LE captain)
Quartermaster (technical) (QM(T))
Medical officer (MO) (Royal Army Medical Corps captain or major)
Administrative officer (Adjutant General's Corps captain or major)
Padre (Royal Army Chaplains Department chaplain 4th or 3rd class)
Operations officer (Ops) (lieutenant)
Regimental sergeant major (RSM) (warrant officer class 1)
Regimental quartermaster sergeant (RQMS) (warrant officer class 2)
Regimental quartermaster sergeant (technical) (RQMS(T)) (warrant officer class 2)

tag: ul

text: Battalions of other corps are given separate cardinal numbers within their corps (e.g., 101 Battalion REME).

text: Battle group[edit]

text: A battle group consists of an infantry battalion or armoured regiment with sub-units detached from other military units acting under the command of the battalion commander.

text: Canadian Army[edit]

text: In the Canadian Forces, most battalions are reserve units of between 100–200 soldiers that include an operationally ready, field-deployable component of approximately a half-company apiece. The nine regular force infantry battalions each contain three or four rifle companies and one or two support companies. Canadian battalions are generally commanded by lieutenant-colonels, though smaller reserve battalions may be commanded by majors.

text: Those regiments consisting of more than one battalion are:

text:
The Royal Canadian Regiment (three regular and one reserve battalions)
Princess Patricia's Canadian Light Infantry (three regular battalions)
Royal 22e Régiment (three regular and two reserve battalions)
The Royal Newfoundland Regiment (two reserve battalions)

text: Tactically, the Canadian battalion forms the core of the infantry battle group, which also includes various supporting elements such as armour, artillery, combat engineers and combat service support. An infantry battle group will typically be commanded by the commander of the core infantry battalion around which it is formed and can range in size from 300 to 1,500 or more soldiers, depending on the nature of the mission assigned.

text: Royal Netherlands Army[edit]

text: In the Royal Netherlands Army, a mechanised infantry battalion usually consists of one command- and medical company, three mechanised infantry companies, and one support company, which has three platoons with heavy mortars and three platoons with anti-tank missiles (TOW). With the Dutch artillery units, the equivalent of a battalion is called an afdeling (which translates to "section").

text: Combat companies consist of (usually mechanised) infantry, combat engineers, or tanks. In the latter case, the unit is called an eskadron, which translates roughly to "squadron". There are also support battalions in the Dutch Army, which specialise on a specific task: for example, supplies and transport or communications.

text: The Netherlands have four battalions that are permanently reserved for the United Nations, for the purpose of peacekeeping duties.

text: An infantry battalion, logistical battalion, combat battalion, and the Royal Netherlands Marine Corps all have a battalion structure. Each battalion usually consists of the following:

text:
Battalion command
Commander
Second in command
General service
Personnel section
Intelligence section
Operations section
Materiel section
Communication section
Command company
Command group
Administration group
Medical group
Communication group
Supply platoon
Three infantry companies
Support company
Command group
Recon platoon
Mortar platoon
Anti-tank platoon

text: Swiss Army[edit]

text: With the major reform of its armed forces in 2004, the Swiss Army abandoned the old regimental system and adopted a combat team approach centred on battalions as the building blocks of mission-oriented task forces. Battalion sizes vary between branches.

text: United States[edit]

text: United States Army[edit]

text: In the United States Army, a battalion is a unit composed of a headquarters and two or more batteries, companies, or troops. They are normally identified by ordinal numbers (1st Battalion, 2nd Squadron, etc.) and normally have subordinate units that are identified by single letters (Battery A, Company A, Troop A, etc.). Battalions are tactical and administrative organizations with a limited capability to plan and conduct independent operations and are normally organic components of brigades, groups, or regiments.

text: A US Army battalion includes the battalion commander (lieutenant colonel), executive officer (major), command sergeant major (CSM), headquarters staff, and usually three to five companies, with a total of 300 to 1,200 soldiers. A regiment consists of between two and six organic battalions, while a brigade consists of between three and seven separate battalions.

text: During the American Civil War, an infantry or cavalry battalion was an ad hoc grouping of companies from the parent regiment (which had ten companies, A through K, minus J as described below), except for certain regular infantry regiments, which were formally organized into three battalions of six companies each (numbered 1–6 per battalion vice sequential letter designations). After 1882, cavalry battalions were renamed squadrons and cavalry companies were renamed troops. Artillery battalions typically comprised four or more batteries, although this number fluctuated considerably.

text: During World War II, most infantry regiments consisted of three battalions (1st, 2nd, and 3rd) with each battalion consisting of three rifle companies and a heavy weapons company. That is, rifle companies A, B, C along with heavy weapons Company D were part of the 1st battalion, rifle companies E, F, G, and heavy weapons Company H constituted the 2nd battalion, and rifle companies I, K, L, and heavy weapons Company M were in the 3rd. There was no J Company: the letter J was traditionally not used because in 18th and 19th centuries old-style type, the capital letters I and J looked alike, and were therefore easily confused with one another. It was common for a battalion to become temporarily attached to a different regiment. For example, during the confusion and high casualty rates of both the Normandy Landings and the Battle of the Bulge, in order to bolster the strength of a depleted infantry regiment, companies and even battalions were moved around as necessary.

text: The US Army also created independent tank battalions to attach to infantry divisions during World War II in order to give them fire support.

text: From the 1960s through the early 1980s, a typical maneuver (infantry or tank) battalion had five companies: headquarters and headquarters company (HHC) and A, B, and C Companies, plus a combat support company (CSC), with a scout platoon, 4.2 inch heavy mortar platoon, along with other elements that varied between organizations. These included heavy anti-tank TOW missile platoons, ground surveillance radar sections and Man-portable air-defense system sections. Beginning in the early 1980s, some elements of the combat support companies (the mortar and scout platoons) were merged into the headquarters company with the staff and support elements, others were moved to their parent type organization (ground surveillance radar and air defense), and in infantry battalions the heavy anti-tank missile platoon was organized as a separate company (E Company). In the late 1980s, there was a fourth "line" company added (D Company) in most infantry and tank battalions.

text: In this older structure, U.S. Army mechanized infantry battalions and tank battalions, for tactical purposes, task-organized companies to each other, forming a battalion-sized task force (TF).

text: Starting in 2005–2006, the U.S. Army's mechanized and tank battalions were reorganized into combined arms battalions (CABs). Tank battalions and mechanized infantry battalions no longer exist. These new combined arms battalions are modular units, each consisting of a headquarters company, two mechanized infantry companies, two armor companies, and a forward support company attached from the battalion's parent brigade support battalion. This new structure eliminated the need to task-organize companies between battalions; each combined arms battalion was organically composed of the requisite companies. At a higher level, each armored brigade (formerly designated as a heavy brigade) is now composed of three CABs (vs. the two CABs of a former heavy brigade), an armored reconnaissance squadron, a fires battalion (field artillery), a brigade engineer battalion (BEB), and a brigade support battalion (BSB).

text: United States Marine Corps[edit]

text: A United States Marine Corps battalion includes the battalion headquarters, consisting of the commanding officer (usually a lieutenant colonel, sometimes a colonel), an executive officer (the second-in-command, usually a major), the sergeant major, and the executive staff (S-1 through S-4 and S-6). The battalion headquarters is supported by a headquarters and service company (battery). A battalion usually contains two to five organic companies (batteries in the artillery), with a total of 500 to 1,200 Marines in the battalion. A regiment consists of a regimental headquarters, a headquarters company (or battery), and two to five organic battalions (Marine infantry regiments – three battalions of infantry; Marine artillery regiments – three to five battalions of artillery; Marine combat logistics regiments – one to three combat logistics battalions). In the U.S. Marine Corps, the brigade designation is used only in "Marine Expeditionary Brigade" (MEB). An MEB is one of the standard Marine Air-Ground Task Forces (MAGTF), is commanded by a brigadier general or major general, and consists of command element, a ground combat element (usually one reinforced Marine infantry regiment), an aviation combat element (a reinforced Marine aircraft group including rotary wing, fixed wing, and tiltrotor aircraft), and a combat logistics element (a Marine combat logistics regiment, which includes naval construction forces [Seabees] and naval medical elements).

text: In the U.S. Marine Corps, an infantry or "rifle" battalion typically consists of a headquarters and service company, three rifle, or "line", companies (designated alphabetically A through M depending upon which battalion of the parent regiment to which they are attached) and a weapons company. Weapons companies do not receive a letter designation. Marine infantry regiments use battalion and company designations as described above under World War II, with company letters D, H, and M not normally used but rather held in reserve for use in augmenting a fourth rifle company into each battalion as needed.

text: United States Marine Corps infantry battalions are task organized into Battalion Landing Teams (BLTs) as the ground combat element (GCE) of a Marine Expeditionary Unit (MEU). A standard U.S. Marine infantry battalion is typically supported by an artillery battery and a platoon each of tanks, amphibious assault vehicles, light armored reconnaissance vehicles, reconnaissance Marines, and combat engineers. The battalion structure is designed to readily expand to include a fourth rifle company, if required, as described above under battalion organization. Often Air Naval Gunfire Liaison Company (ANGLICO) officers are assigned to the battalion, to coordinate naval gunfire support.

text: United States Navy[edit]

text: The United States Navy has construction battalions and navy cargo handling battalions. They are structured roughly analogous to an army or marine corps battalion with staff and commanding officers of similar grade and experience.

text: Soviet Armed Forces[edit]

text: Motorised rifle battalion[edit]

text: In the Soviet Armed Forces, a motorised rifle battalion could be mounted in either BTR armoured personnel carriers or BMP infantry fighting vehicles, with the former being more numerous into the late 1980s. Both consisted of a battalion headquarters of 12 personnel and three motorised rifle companies of 110 personnel each, along with a number of combat support units: a mortar battery consisting of eight 120mm 120-PM-43 mortars or automatic 82mm 2B9 Vasileks, an air defense platoon with nine MANPADs, either the SA-7 Grail, SA-14 Gremlin or SA-16 Gimlet, and an automatic grenade launcher platoon with six 30mm AGS-17 launchers. The BTR battalion also featured an anti-tank platoon with four AT-3 Sagger or AT-4 Spigot launchers and two 73mm SPG-9 recoilless guns; BTR units on high-readiness status sometimes had six missile launchers and three recoilless guns. Both featured the same support units as well, with a signal platoon, supply platoon, repair workshop and medical aid station. The addition of the antitank platoon meant that a BTR battalion at full strength was 525 personnel and 60 BTRs, including three command variants, while a BMP battalion consisted of 497 personnel and 45 BMPs, including three command variants.[3]

text: Tank battalion[edit]

text: Prior to the late 1980s, Soviet tank battalions consisted of three tank companies of 13 T-64, T-72 or T-80 tanks each, along with a battalion headquarters mounted in a command tank and a headquarters and service platoon, for a total of 165 personnel and 40 tanks; battalions using the older T-54, T-55 or T-62s tanks had 31 or 40 additional enlisted personnel. However, forces in Eastern Europe began to standardize to a smaller formation with 135 personnel and 31 tanks total, with each tank company consisting of 10 tanks total.[4][5]

text: Artillery battalion[edit]

text: A Soviet artillery battalion in the late 1980s consisted of a battalion headquarters, a headquarters platoon, a maintenance and supply platoon and three firing batteries, each with six artillery pieces, whether the self-propelled 2S1 Gvozdikas or the towed D-30 howitzers, and numbering 260 personnel or 240 personnel respectively. Rocket launcher artillery battalions consisted of a headquarters and headquarters platoon, a service battery and three firing batteries equipped with BM-21 Grads for a total of 255 personnel.[6][7]


document_title: Wonder Woman (2017 film)

question_text: what year is the wonder woman movie set in

text: Wonder Woman (2017 film)

text: Plot[edit]

text: In present-day Paris, Diana receives a photographic plate from Wayne Enterprises of herself and four men taken during World War I, prompting her to recall her past. Daughter of Queen Hippolyta, Diana was raised on the hidden island of Themyscira, home to the Amazonian warrior women created by Zeus to protect mankind. Hippolyta shares the Amazonian history with Diana, including how Ares became jealous of humanity and orchestrated its destruction. When the other gods attempted to stop him, Ares killed all but Zeus, who used the last of his power to wound Ares and force his retreat. Before dying, Zeus left the Amazons the island and a weapon, the "Godkiller", to prepare them for Ares' return.

text: Although she initially forbids Diana to be trained as a warrior, Hippolyta reluctantly agrees to let Antiope train Diana, only more rigorously than any other warrior. In 1917, Diana, now a young woman, rescues American pilot Captain Steve Trevor when his plane crashes off the Themysciran coast. The island is soon invaded by a German soldiers that had been pursuing Trevor. The Amazons kill the crew, but Antiope sacrifices herself to save Diana. Steve is interrogated with the Lasso of Hestia and reveals that a great war is consuming the outside world and that he is an Allied spy. He has stolen a notebook of the chief chemist Dr. Isabel Maru, who is attempting to engineer a deadlier form of mustard gas under the orders of General Erich Ludendorff from a weapon facility in the Ottoman Empire. Believing Ares to be responsible for the war, Diana arms herself with the "Godkiller" sword, the lasso, and armor before leaving Themyscira with Steve to locate and stop Ares for good.

text: In London, they deliver Maru's notebook to the Supreme War Council, where Sir Patrick Morgan is trying to negotiate an armistice with Germany. Diana translates Maru's notes and reveals that the Germans plan to release the deadly gas at the Western Front. Although forbidden by his commander to act, Steve, with secret funding from Sir Patrick, recruits spy Sameer, marksman Charlie, and smuggler Chief to help prevent the gas from being released. The team reaches the front in Belgium. Diana goes alone through No Man's Land and captures the enemy trench, allowing the Allied forces to help her liberate the village of Veld. The team briefly celebrates, while Diana and Steve grow closer romantically.

text: The team learns that a gala will be held at the nearby German High Command. Steve and Diana separately infiltrate the party, with Steve intending to locate the gas and destroy it, while Diana intends to kill Ludendorff, believing that he is Ares and thus killing him will end the war. Steve stops her to avoid jeopardizing his mission, but this allows Ludendorff to unleash the gas on Veld, killing its inhabitants. Blaming Steve for intervening, Diana pursues Ludendorff to a base where the gas is being loaded into a bomber aircraft bound for London. Diana fights and kills Ludendorff, but is confused and disillusioned when his death does not stop the war.

text: Sir Patrick appears and reveals himself as Ares. He tells Diana that although he has subtly given humans ideas and inspirations, using Ludendorff and Maru as pawns in the process, it is ultimately their decision to resort to violence as they are inherently corrupt. When Diana attempts to kill Ares with the "Godkiller" sword, he destroys it, then reveals Diana to be the "Godkiller", as the daughter of Zeus and Hippolyta. He fails to persuade Diana to help him destroy mankind in order to restore paradise on Earth. While the two battle, Steve's team destroys Maru's laboratory. Steve hijacks and pilots the bomber carrying the poison to a safe altitude and detonates it, sacrificing himself. Ares attempts to direct Diana's rage and grief at Steve's death by convincing her to kill Maru, but the memories of her experiences with Steve cause her to realize that humans have good within them. She spares Maru and redirects Ares' lightning into him, killing him for good. Later, the team celebrates the end of the war. In the present day, Diana sends an email to Bruce Wayne thanking him for the photographic plate of her and Steve and continues to fight and give on the world's behalf.

text: Cast[edit]

text: Gal Gadot as Diana / Wonder Woman:

text: Chris Pine as Steve Trevor:

text: Robin Wright as Antiope:

text: Danny Huston as General Erich Ludendorff:

text: David Thewlis as Sir Patrick Morgan / Ares:

text: Connie Nielsen as Hippolyta:

text: Elena Anaya as Isabel Maru / Doctor Poison:

text: Lucy Davis as Etta Candy:

text: Saïd Taghmaoui as Sameer:

text: Ewen Bremner as Charlie:

text: Eugene Brave Rock as Chief Napi:

text: Lisa Loven Kongsli as Menalippe:

text: Additionally, Mayling Ng, Florence Kasumba, Madeleine Vall Beijner, Hayley Jane Warnes and Ann Wolfe portray Orana, Acantha, Egeria, Aella and Artemis, respectively, all of whom are Amazons.[13][14][15][16] James Cosmo appears as Field Marshal Haig, Steffan Rhodri appears as Colonel Darnell, and Dutch supermodel Doutzen Kroes portrays the Amazon Venelia.[15] Samantha Jo was cast as the Amazonian Euboea, and previously played the Kryptonian, Car-Vex, in Man of Steel.[17] Zack Snyder also makes a brief cameo appearance in the film as an unnamed soldier.[18]

text: Production[edit]

text: Background[edit]

text: Development for a live action Wonder Woman feature film began in 1996, with Ivan Reitman attached as producer and possible director.[19] In 1999 the project became attached to Jon Cohen, who adapted Wonder Woman for producer Joel Silver, with the hope that Sandra Bullock would star.[20] By 2001, Todd Alcott was hired to write the screenplay, with Silver Pictures backing the project.[21] At that time, performers such as Mariah Carey and Catherine Zeta-Jones were also rumored to be possible candidates for the role of Wonder Woman.[22] Leonard Goldberg, however, focused on Bullock[23] who said that she was approached for the role.  Lucy Lawless, the star of Xena: Warrior Princess, was also under consideration, though she stated that she would have been more interested if Wonder Woman was portrayed as a "flawed hero".[24] The screenplay went through various drafts written by Alcott, Cohen, Becky Johnston, and Philip Levens,[25] and by August 2003, Levens had been replaced by screenwriter Laeta Kalogridis.[26]

text: In March 2005, Warner Bros. and Silver Pictures announced that Joss Whedon would write and direct the film.[27]  Early drafts of his screenplay included Steve Trevor as the narrator, a fierce battle between Diana and her mother over Trevor's welfare, and after leaving Themyscira, his need to frequently rescue a Diana rendered helpless by the modern world.[28] Whedon was not able to complete a final version of his screenplay however, and left the project in 2007.[29][30]

text: Although Whedon stated in May 2005 that he would not cast the part of Wonder Woman until he finished the script,[31] Kate Beckinsale was linked to the part.[32] In 2010 however, Whedon admitted that he did have an actress in mind for the part, stating that "Wonder Woman was basically Angelina Jolie."[28][33]

text: A day before Whedon's departure from Wonder Woman, Warner Bros. and Silver Pictures purchased a spec script for the film written by Matthew Jennison and Brent Strickland. Set during World War II, the script impressed executives at Silver Pictures.[30] However, Silver stated that he had purchased the script because he did not want the rights reverting; while stating the script had good ideas, Silver did not want the film to be a period piece.[34] By April 2008, Silver hired Jennison and Strickland to write a new script set in contemporary times that would not depict Wonder Woman's origin, but explore Paradise Island's history.[35]

text: Development[edit]

text: In 2010, Warner Bros. stated that a Wonder Woman film was in development, along with films based on DC Comics superheroes the Flash and Aquaman.[36] Both Wonder Woman and Aquaman were still under consideration for solo film subjects as of June 2013.[37] DC Chief Diane Nelson said Wonder Woman "has been, since I started, one of the top three priorities for DC and for Warner Bros. We are still trying right now, but she's tricky."[38] On October 5, 2013, WB chairman Kevin Tsujihara said he wanted to get Wonder Woman in a film or on TV.[39] Shortly afterward, Paul Feig said he had pitched the studio an idea for Wonder Woman as an action-comedy film.[40][41] The studio then began to search for female directors to direct the film.[42] While Michelle MacLaren was the studio's initial choice to direct (and while she initially indicated interest),[43][44][45] she eventually left the project due to creative differences.[46]

text: In 2015, Patty Jenkins accepted an offer to direct Wonder Woman,[47] based on a screenplay by Allan Heinberg and a story co-written by Heinberg, Zack Snyder, Geoff Johns and Jason Fuchs.[48] Of this version, Gadot stated that,

text: for a long time, people didn't know how to approach the story. When Patty and I had our creative conversations about the character, we realized that Diana can still be a normal woman, one with very high values, but still a woman. She can be sensitive. She is smart and independent and emotional. She can be confused. She can lose her confidence. She can have confidence. She is everything. She has a human heart.[7]

text: This version was conceived of as a prequel to the first live-action, theatrical appearance of Wonder Woman, in the 2016 film, Batman v Superman: Dawn of Justice,[49] placing Wonder Woman in the 1910s and World War I (a decision which differs from her comic book origins as a supporter of the Allies during World War II).[50] As for story development, Jenkins credits the stories by the character's creator William Moulton Marston in the 1940s and George Perez's seminal stories in the 1980s in which he modernized the character.[51] In addition, it follows some aspects of DC Comics' origin changes in The New 52 reboot, where Diana is the daughter of Zeus.[52][53] Jenkins cited Richard Donner's Superman as an inspiration.[54]

text: Casting[edit]

text:
"I remember when I read in the news that Wonder Woman had been cast and my heart sank [...] I'm sure we wouldn't have made the same choice. And then I started paying attention to her, and watching her and looking at her and it was just unbelievable. Frankly, I think they did a better job than I could have because I don't know that I would have scoured the earth as hard to find her [...] They were looking for all the same things I would have looked for—all the values that Wonder Woman stands for exuding from someone in an honest way, and boy did they find it [...] She shares every quality with Wonder Woman and that's no joke. It's one of those rare things. You need someone who can appear to be Wonder Woman on screen [...] Every once in a while, there's superhero casting that transcends, because that person is so authentic to the character that it becomes identified with them, like Lynda Carter or Christopher Reeve."
 – Director Patty Jenkins[55] in response to the interview questions: "Let's talk a bit about Gal. You inherited her from Zack Snyder. Was it difficult to not get to choose your own Wonder Woman?" and "What is it about Gal that makes her such a good fit?"

tag: div

text: In late 2013, Zack Snyder cast Gal Gadot in the role of Wonder Woman for the 2016 film, Batman v Superman: Dawn of Justice over Élodie Yung and Olga Kurylenko.[56][57][58][59] Some fans initially reacted to this choice by criticizing Gadot's appearance.[60] Snyder would later comment on his decision to cast Gadot, stating that he tested a "bunch of actresses, as you can imagine. But the thing with Gal is that she's strong, she's beautiful, and she's a kind person, which is interesting, but fierce at the same time. It's that combination of being fierce but kind at the same time that we were looking for.[61] Gadot described Diana as having "the heart of a human so she can be emotional, she's curious, she's compassionate, she loves people. And then she has the powers of a goddess. She's all for good, she fights for good."[7] She also said that Diana has "many strengths and powers, but at the end of the day she's a woman with a lot of emotional intelligence".[62] As to how her character is different from her appearance in Batman v Superman: Dawn of Justice, Gadot said "We go back 100 years to when she's more naive", further explaining, "She's this young idealist. She's pure. Very different to the experienced, super-confident, grown-up woman you've seen".[63] Gadot underwent a diet and training regimen, practiced different martial arts and gained 17 pounds of muscle for the role.[64][65] Gadot was previously offered a different role (as a villain) in Man of Steel, which she declined because she was pregnant at the time; this allowed her to later be cast as Wonder Woman in the film's follow-up.[66] Gadot signed a three-picture deal.[58] She was paid a base salary of $300,000 for the film itself.[67]

text: Chris Pine was cast as Steve Trevor,[68][69] a character he described as a "rogue-ish, cynical realist who's seen the awful brutish nature of modern civilization" and added that he is a "worldly guy, a charming guy".[70] He signed a multi-picture deal.[68] Lucy Davis' performance as Etta Candy is the first live-action cinematic portrayal of the character.[71] As well, Elena Anaya's performance as Doctor Poison is the cinematic debut of that character. Nicole Kidman was in negotiations for the role of Queen Hippolyta, but was forced to drop out due to scheduling conflicts with Big Little Lies.[72][73]

text: Filming[edit]

text: Production began on November 21, 2015,[74][75] under the working title Nightingale.[76][77] Among the film sets were Lower Halstow, Kent,[78] and Australia House[79] in England  and the Sassi di Matera,[80] Castel del Monte[80] and Camerota[81] in Southern Italy. Matthew Jensen was the director of photography,[82] filming in the United Kingdom, France and Italy.[83] Production in London ended on March 13, 2016.[84] On March 20, 2016, filming was underway in Italy. In late April, filming took place at a museum in France, where a Wayne Enterprises truck was spotted alongside Gadot.[85] Production ended on May 9, 2016.[86] Patty Jenkins and director of photography Matt Jensen said that the film's look was inspired by painter John Singer Sargent.[87] Reshoots took place in November 2016, while Gadot was five months pregnant. A green cloth was placed over her stomach to edit out her pregnancy during post-production.[88]

text: To find the perfect location to shoot the Amazon island of Themyscira, the birthplace of Wonder Woman herself, the film's producers searched all over the world, finally settling on the Amalfi Coast: a stretch of coastline on the Tyrrhenian Sea, located in the Province of Salerno in Southern Italy.[89] It was chosen because most beaches in the world that sit below big cliffs disappear beneath the tide for part of every day. Production designer Aline Bonetto and her location manager Charles Somers considered 47 countries and visited several of them before they found what they were looking for. Bonetto explained that, "Italy had beautiful weather, a beautiful blue-green sea, not too much tide, not too much wave. Our effects team added some cliffs in post-production, and it was the perfect way to go".[90] The estuary at Lower Halstow in Kent is featured in the scene in which Diana arrives at a Belgian creek to make her way to the warfront.[91] Bill Westenhofer served as the visual effects supervisor for the film[92] and Martin Walsh served as editor.[82]

text: Music[edit]

text: On November 3, 2016, Rupert Gregson-Williams was hired to write and compose the film's music.[93][94] He was joined by Evan Jolly, Tom Howe,[95] Paul Mounsey,[96] and Andrew Kawczynski,[97] who provided additional music. The soundtrack was released on CD, digital, and vinyl the same day as the film.[98] Australian musician Sia sang a song for the film, titled "To Be Human", featuring English musician Labrinth. Written by Florence Welch and Rick Nowels, the track is also featured on the soundtrack.[99] The soundtrack also features samples from Wonder Woman's theme "Is She with You" from the Batman v Superman: Dawn of Justice soundtrack composed by Hans Zimmer and Junkie XL.

text: Additional music featured in the film are: "Another Little Drink Wouldn't Do Us Any Harm" by Clifford Grey and Nat Ayer and performed by Edgar Trevor and Cecil Cooper; "Molly O'Morgan" written by Fred Godfrey and Will Letters and performed by Ella Retford; "It's a Long Way to Tipperary" written by Jack Judge and Harry Williams; "Sous les ponts de Paris" written by Jean Rodor and Vincent Scotto and performed by Lucienne Delyle; "I'll Walk Beside You" written by Edward Lockton and Alan Murray and performed by Ewen Bremner; "Green Grow the Rushes, O" written by Robert Burns and performed by Ewen Bremner; and "Schatzwalzer Op. 4" written by Johann Strauss II and performed by the Berlin String Quartet.[100]

text: Release[edit]

text: Wonder Woman had its world premiere on May 15, 2017 in Shanghai.  It premiered on May 25, 2017 in Los Angeles.[101] The film's London premiere, which was scheduled to take place on May 31 at the Odeon Leicester Square, was cancelled due to the 2017 Manchester Arena bombing.[102] The film had its Latin America premiere in Mexico City on May 27. It was released in most of the world, including in IMAX,[103] on June 2, 2017, after originally being scheduled for June 23.[104][105] Belgium, Singapore and South Korea received the film first, with May 31 openings.[106][107][108] On April 17, it was announced that Wonder Woman would be released in China on June 2, the same day as its North American release.[109]

text: Marketing[edit]

text: The success of the superhero television series Supergirl informed the marketing and promotion strategy used for Wonder Woman.[110] According to Time Warner chief marketing officer Kristen O'Hara, they wanted to approach the Wonder Woman marketing campaign in a light manner, similar to how they did with Supergirl. O'Hara elaborated that the modest campaign route they took for Supergirl aided in establishing a large central fanbase among women well in advance of the series, which reportedly generated 5 million female superhero fans in one week.[110] They were then able to model over time, and grow that audience leading up to the 15-months-later release of Wonder Woman.[110] Though neither the film nor the series are aimed exclusively at women, the latter's campaign gave them their first opportunity to begin collecting data about female superhero fans.[110] In May 2017, a promo for Wonder Woman was released during the season finale of Supergirl, featuring a remix of the song "These Boots Are Made for Walkin'" and Supergirl (Melissa Benoist) wearing Wonder Woman's boots.[111] The promo included an appearance by Lynda Carter, star of the 1970s Wonder Woman, who plays the American president on Supergirl.[111]

text: The costs for television advertisements for Wonder Woman are higher in comparison to that of previous DCEU film Suicide Squad. Warner Bros. has spent over $3 million on advertisements for Wonder Woman, whereas they spent $2.6 million on advertisements for Suicide Squad.[112] Ticket selling site Fandango reported that Wonder Woman rounded the final leg of its marketing campaign as the most anticipated blockbuster of summer 2017, according to a poll conducted by 10,000 voters, the biggest survey in company history.[113] Separately, Fandango also found that 92% of people surveyed said that they are looking forward to seeing a film that features a standalone woman superhero, and 87% wished Hollywood would make more women-led superhero films.[114] In May 2017, NASCAR driver Danica Patrick drove her No. 10 car with a Wonder Woman paint scheme at the Go Bowling 400 in Kansas and at the Monster Energy Open in Charlotte.[115]

text: Home media[edit]

text: Wonder Woman was released on Digital HD on August 29, 2017 and on Blu-ray, Blu-ray 3D, 4K Ultra-HD Blu-ray and DVD on September 19, 2017.[116] The film debuted at the top spot of both the NPD VideoScan overall disc sales chart and the Blu-ray Disc sales chart.[117]

text: Controversies[edit]

text: Bans[edit]

text: On May 31, Wonder Woman was banned in Lebanon after the Campaign to Boycott Supporters of Israel asked the Lebanese government's Ministry of Economy and Trade to block the film because its star, Gal Gadot, is Israeli.[118] The Lebanese government did not, however, ban Gadot's Fast & Furious films which did screen in Lebanon.[119][120] On June 7, Variety reported that a Tunisian court suspended the theatrical release of Wonder Woman after a lawsuit brought by the Al-Chaab party and the Tunisian Association of Young Lawyers to have the film blocked due to Gadot's Israeli citizenship, military service, and public comments in support of the Israeli military during the 2014 war in Gaza.[121] Jordan was reportedly also considering a ban of the film and suspended screenings pending a decision,[122] but on June 11, it was reported that the government decided not to do so, as there was no legal precedent for it.[123]

text: Women-only screenings[edit]

text: Some men were unhappy with women-only screenings held at the Alamo Drafthouse Cinema in Austin, with some opponents of the gender-restricted screening stating on platforms such as Facebook that such screenings were discriminatory against men.[124][125][126]

text: A gay Albany Law School professor initiated a complaint with Austin's Equal Employment and Fair Housing Office claiming discrimination against male prospective customers and employees of the theater.[127] The chain responded with an online statement saying the event "may have created confusion—we want everybody to see this film" and announced a similar event at their Brooklyn location. Tickets sold out in less than an hour, prompting the chain to schedule additional screenings.[124] On July 18, Alamo Drafthouse proposed settlement offers of a Wonder Woman DVD to the complainants, stating "Respondent did not realize that advertising a 'women's only' screening was a violation of discrimination laws"[128]

text: Reception[edit]

text: Box office[edit]

text: Wonder Woman grossed $412.6 million in the United States and Canada and $409.3 million in other territories for a worldwide total of $821.9 million, against an estimated production budget of $120–149 million.[5] Estimates for the number the film needed to surpass internationally in order to cover its production and promotional costs and break even ranged from $300 million[129] to $460 million.[130] Deadline Hollywood calculated the net profit of the film to be $252.9 million, when factoring together all expenses and revenues, making it the 6th most profitable release of 2017.[131]

text: United States and Canada[edit]

text: In May 2017, early tracking had Wonder Woman opening with $65–75 million, and possibly as high as $105 million.[132][133][134][135][129] The film opened Friday, June 2, 2017, across 4,165 theaters and made $38.7 million on its opening day, including $3.7 million in IMAX. It was the biggest single-day gross for a woman-directed film, ahead of the $35.9 million opening Friday of Catherine Hardwicke's Twilight in 2008 and the biggest opening day for a woman-led comic book superhero film, ahead of Ghost in the Shell ($7 million).[136] This included $11 million it made from Thursday previews, also the best start for a film directed by a woman, surpassing Fifty Shades of Grey's $8.6 million which was directed by Sam Taylor-Johnson, and the third-biggest of the year, behind Beauty and the Beast and Guardians of the Galaxy Vol. 2. Of that, $1.5 million came from IMAX screenings.[137][138]

text: Earning a total of $103.3 million on its opening weekend, the film recorded a number of records: the biggest domestic opening of all time for a female director (surpassing previous record holder Fifty Shades of Grey), the biggest DC Comics release without Batman or Superman (ahead of Constantine), the sixth-biggest non-sequel comic book superhero debut ever, as well as the sixth-biggest June debut weekend.[139] Its three-day opening alone made it the highest-grossing woman-led comic book superhero film ever (surpassing Ghost in the Shell).[140] It was also the 16th superhero film to cross $100 million in its domestic box office launch.[141] About 9% ($9 million) of the opening weekend came from IMAX screenings from 343 theaters.[142] In its second week the film grossed $58.5 million, again topping the box office. It marked a 43.3% drop for its second weekend at the box office, better than the average 50–60% decline superhero films tend to see, and was a better second weekend than Batman v Superman: Dawn of Justice ($51.3 million) and Suicide Squad ($43.5 million).[143] In its third weekend it grossed $40.8 million, finishing second behind newcomer Cars 3 ($53.5 million). It was the second-best third weekend ever for Warner Bros. and was nearly double what Batman v Superman ($23.3 million), Suicide Squad ($20.9 million) and Man of Steel ($20.7 million) made in their third weekends. It earned $24.9 million and $15.7 million in its fourth and fifth weekends, respectively, dropping just 39% and 36% despite facing rough competition from opening films Transformers: The Last Knight and Despicable Me 3.[144] It eventually became the highest-grossing film directed by a woman, surpassing the previous records of Jennifer Yuh Nelson's Kung Fu Panda 2 and Phyllida Lloyd's Mamma Mia!.[9] By August 8, the film had garnered $400 million in ticket sales, becoming the second female-fueled film (after Disney's Beauty and the Beast), Warner Bros.' third-biggest movie (after Christopher Nolan's The Dark Knight and The Dark Knight Rises), holding the record of the highest-earning superhero origin film, replacing the previous record held by Spider-Man (2002), before being replaced itself in February 2018 by Black Panther. It also becoming the highest-earning film with a female director in terms of domestic earnings—surpassing Frozen (2013).[145][146][147]

text: Other countries[edit]

text: Beyond the US and Canada, the film was released day-and-date with its North American debut in 55 markets (72% of its total release), and was projected to debut with anywhere between $92–118 million.[129] It ended up opening to $125 million, including $38 million in China, $8.5 million in Korea, $8.4 million in Mexico, $8.3 million in Brazil and $7.5 million in the UK.[148] In its second week of release, the film brought in another $60 million, including holding the top spot on France, the UK, Australia and Brazil.[149] In the Philippines, it broke 2017 box office record for highest-earning non-holiday opening day—earning $4.7 million and becoming the 6th-most successful commercial film of all time as well overtaking the record set by Batman v Superman: Dawn of Justice.[150][151][152] The film opened in its last market, Japan, on August 25 and debuted to $3.4 million, helping the international gross cross the $400 million mark.[153] The biggest markets of Wonder Woman outside North America are China (US$90 million) followed by Brazil (US$34 million), UK (US$28 million), Australia($23 million) and Mexico($22 million).[154]

text: Critical response[edit]

text: Wonder Woman received largely positive reviews from film critics, with some calling it the best film set in the DC Extended Universe, and praising Jenkins's direction, acting, chemistry of Gadot and Pine, musical score, and action sequences.[8][158] On the review aggregator Rotten Tomatoes, the film holds an approval rating of 92% based on 377 reviews, with an average rating of 7.6/10. The website's critical consensus reads, "Thrilling, earnest, and buoyed by Gal Gadot's charismatic performance, Wonder Woman succeeds in spectacular fashion."[159] It is the second highest-rated superhero film on the site.[10][note 1] On Metacritic, the film has a weighted average score of 76 out of 100, based on 50 critics, indicating "generally favorable reviews".[160] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while PostTrak reported filmgoers gave it an 85% overall positive score and a 73% "definite recommend".[161]

text: Critics commented favorably on Gadot's performance of the titular character and Chris Pine's Steve Trevor.[162][163][157] Andrew Barker of Variety found the film to be more lighthearted than recent DC Comics films:

text:
“

Never prone to stewing in solitude, and taking more notes from Richard Donner than from Christopher Nolan, Patty Jenkins' Wonder Woman provides a welcome respite from DC's house style of grim darkness—boisterous, earnest, sometimes sloppy, yet consistently entertaining—with star Gal Gadot proving an inspired choice for this avatar of truth, justice, and the Amazonian way.[164]

”

text: Vox stated "Trevor is the superhero girlfriend comic book movies need".[165] The San Francisco Chronicle's Mick LaSalle lauded the performances of Gadot, Pine, Huston, and Thewlis while commending the film's "different perspective" and humor.[166] Richard Roeper of Chicago Sun-Times  described Gadot's performance as inspirational, heroic, heartfelt and endearing and the most "real" Wonder Woman portrayal.[167]

text: A. O. Scott of The New York Times wrote that it "briskly shakes off blockbuster branding imperatives and allows itself to be something relatively rare in the modern superhero cosmos. It feels less like yet another installment in an endless sequence of apocalyptic merchandising opportunities than like ... what's the word I'm looking for? A movie. A pretty good one, too."[168] Michael Phillips of Chicago Tribune compared the film to Captain America: The First Avenger, noting that as with "the first Captain America movie over in the Marvel Comics universe, DC's Wonder Woman offers the pleasures of period re-creation for a popular audience. Jenkins and her design team make 1918-era London; war-torn Belgium; the Ottoman Empire; and other locales look freshly realized, with a strong point of view. There are scenes here of dispossessed war refugees, witnessed by an astonished and heartbroken Diana, that carry unusual gravity for a comic book adaptation."[169] Katie Erbland of IndieWire commended its thematic depth, explaining that "Wonder Woman is a war movie. Patty Jenkins' first—and we hope not last—entry into the DC Expanded Universe is primarily set during World War I, but while the feature doesn't balk at war-time violence, it's the internal battles of its compelling heroine that are most vital."[170] Alonso Duralde of TheWrap similarly felt that, "Diana's scenes of action are thrilling precisely because they're meant to stop war, not to foment it; the idea of a demi-god using love to fight war might sound goofy in the abstract, but Jenkins makes the concept work."[171] Ann Hornaday of The Washington Post praised Gadot and Pine's performances as well the film's detailed plot and narrative while comparing of some slow-motion action sequences to The Matrix.[172] Stephanie Zacharek of Time magazine hailed the film as a "cut above nearly all the superhero movies that have been trotted out over the past few summers" while praising Gadot's performance as "charming" and "marvelous" and commending Jenkins's direction of the film as a step forward for women directors in directing big-budget blockbuster films in Hollywood.[173]

text: Elise Jost of Moviepilot observed that "Gadot's take on Wonder Woman is one of those unique cases of an actor merging with their story, similar to Robert Downey Jr.'s Tony Stark. Gal Gadot is Wonder Woman, and Wonder Woman is Gal Gadot."[157] Jost praised Gadot's interpretation of Wonder Woman as the one in which Gadot "absolutely nails the character's unwaveringly positive outlook on life. She's a force of nature who believes in the greater good; her conviction that she's meant to save the world is stronger than her bullet-deflecting shield. She's genuine, she's fun, she's the warm source of energy at the heart of the movie."[157] The Federalist suggests that Wonder Woman is "a story of Jesus". "The movie is wrapped up in faux Greek mythology, true, but there's no mistaking the Christology here."[174] "Perhaps Christ in the form of a beautiful and kick-ass Amazon is all that our contemporary society can handle right now", stated M. Hudson, a Christian feminist.[174] On HuffPost cultural critic, G. Roger Denson, who regards the superhero genre as a source of contemporary "Mainstream Mythopoetics" ("the making of new yet vitally meaningful, if not symbolic, stories filled with imagery reflecting, yet also shaping and advancing, the political, legal, moral and social practices of today"), wrote that the "No Man's Land" scene "that people are crying over in theaters and raving about afterward happens to be among the most powerfully mythopoetic scenes ever filmed at the same time it is one of the oldest myths to have been utilized by artists and writers after it had been invented by early military strategists and leaders." Specifically "used by director Patty Jenkins", the scene raises "the esteem for powerful yet compassionate women as heroes and leaders to a level equal with that of men for having won over a huge and adoring popular audience around the world".[175]

text: Steve Rose in The Guardian criticized the film for failing to explore the material's potential for "patriarchy-upending subversion".[176] Peter Travers of Rolling Stone criticized the film's over-reliance on exposition: "Wonder Woman is hobbled by a slogging origin story and action that only comes in fits and starts. Just when Gadot and director Patty Jenkins...are ready to kick ass, we get backstory."[177]

text: "Gas was intended to win the war. On that much Wonder Woman is absolutely right." said David Hambling in Popular Mechanics.[178] Rachel Becker of The Verge stated that despite the scientific liberties of using a "hydrogen-based" chemical weapon as a plot device, the film succeeds in evoking real and horrifying history. "First off, mustard gas is such a horrible, terrifying weapon, it doesn't need to be made more potent. But if you were a chemist bent on raining destruction on the Allied forces, you wouldn't do it by replacing the sulfur atom in mustard gas with a hydrogen atom. You'd know that sulfur is the linchpin holding together this poisonous molecule."[179]

text: Cultural impact[edit]

text: Wonder Woman has been the subject of a discussion regarding the appearance and representation of female power in general, and of female action heroes in particular[180] since her initial 1941 appearance in Sensation Comics,[180] as she was created to document "the growth in the power of women", while wearing "a golden tiara, a red bustier, blue underpants and knee-high, red leather boots."[181] She was blacklisted a year later in 1942 in the "Publications Disapproved for Youth" because, the group behind the list argued, she was "not sufficiently dressed".[181][182]

text: A few decades later, second-wave feminist Gloria Steinem's[183] Ms. Magazine debuted in 1972 with an image of Wonder Woman on the cover. Historian Tim Hanley suggests that this move shifted "the focus away from female superiority to sisterhood and equality, essentially making her a mascot of the women's movement".[180][184][185] This perception shifted over the years, however, as demonstrated in December 2016 when the United Nations decided to drop the title of "honorary ambassador for the empowerment of women and girls" which it had given to the comic book character Wonder Woman a few months prior, in a ceremony attended by the actors who had portrayed her (Lynda Carter and Gal Gadot).[186] The title was eliminated in response to a petition signed by 44,000 people which argued that Wonder Woman undermines female empowerment due to her costume, described as a "shimmery, thigh-baring bodysuit with an American flag motif and knee-high boots". The petition stated that "it is alarming that the United Nations would consider using a character with an overtly sexualised image at a time when the headline news in United States and the world is the objectification of women and girls".[187][188][184] Wonder Woman director Patty Jenkins responded to both the petition and to the U.N.'s decision by stating that she thinks "that that's sexist. I think it's sexist to say you can't have both. I have to ask myself what I would apply to any other superhero".[189]

text: The debate continued with the release of Jenkins's 2017 film, Wonder Woman, which according to the BBC had "some thinking it's too feminist and others thinking it's not feminist enough".[190] Kyle Killian found an inherent contradiction in the construction of Wonder Woman as "a warrior" whom, she states, is also highly sexualized. Killian thus suggests that these elements "should not be the focus of a kickass heroine—her beauty, bone structure, and sexiness—if she is to be a feminist icon".[191] Theresa Harold concurred, comparing Wonder Woman to Katniss Everdeen (of The Hunger Games), who "didn't have to wear a teenager's wet dream of a costume to fight in".[192] Christina Cauterucci also felt that Wonder Woman's ability to be considered a "feminist antidote" was undermined by her "sex appeal".[193] Other critics refer to the construction of Wonder Woman in the film as "an implausible post-feminist hero".[182][194]

text: Jenkins disagrees with this line of critique, however. She has stated that she was raised by a second-wave "feminist mother",[195][196] who taught her to be "both super aware that there had been sexism but also: 'Congratulations—thank you, now I get to do whatever I want, Mom!'"[195] Jenkins thus notes that it is this upbringing which has led her to question a feminist critique of Wonder Woman's costume.[197] When she was working on her own version of Wonder Woman's "Gladiator" re-design of the outfit (in the 2016 film Batman v Superman: Dawn of Justice)[198] Jenkins decided that Wonder Woman (as well as the other Amazons) "shouldn't be dressed in armor like men [...] It should be different [...] I, as a woman, want Wonder Woman to be hot as hell, fight badass, and look great at the same time—the same way men want Superman to have huge pecs and an impractically big body."[199] Jenkins also notes that she is "frustrated" by the critique of Wonder Woman's appearance, stating "when people get super critical about her outfit, who's the one getting crazy about what a woman wears? That's who she is; that's Wonder Woman."[196] Gal Gadot concurred with Jenkins, arguing that the character "is a feminist"[200] as "feminism is about equality and choice and freedom. And the writers, Patty and myself all figured that the best way to show that is to show Diana as having no awareness of social roles. She has no gender boundaries. To her, everyone is equal."[201]

text: Critics such as Valerie Estelle Frankel support Jenkins's vision. Frankel argues that the film subverts the male gaze,[197] stating that the construction of Wonder Woman tends to shift every few decades as it reflects the state of feminism during different time periods, including third-wave feminism (which reflects Jenkins's approach).[197][202][203] Zoe Williams offers a similar argument, stating that while Wonder Woman "is sort of naked a lot of the time," that is not, at the same time, "objectification so much as a cultural reset: having thighs, actual thighs you can kick things with, not thighs that look like arms, is a feminist act".[204] Williams then juxtaposes Wonder Woman to past female action heroes such as Sarah Connor, Ellen Ripley, and Lara Croft, whom she suggests were all constructed for the male gaze, in which a "female warrior becomes a sex object", (a point which she argues that Jenkins directly references in the film).[204]

text: Gloria Steinem also liked the film, stating that she felt it made the "Amazon origin story clear; [Wonder Woman] was stopping war, not perpetuating it." Steinem also noted that she knew "some women were disappointed by all the makeup, but I may be desperate—I was just happy that the Amazons had wild hair!" Her only complaint lay in the choice to eliminate the World War II setting as the Wonder Woman comic book developed in response to existing comics that were "so sadistic and racist that there was a congressional hearing on the subject".[205] Steinem also gave Hillary Clinton the first Wonder Woman Award in October 2017 during the Women's Media Center's "Speaking Truth to Power Awards" (an organization created by Steinem, Jane Fonda, and Robin Morgan). Upon receiving the award, Clinton noted that she had seen Jenkins's Wonder Woman film and that she "loved the outfit". She also said that as her granddaughter was "really keen" on Wonder Woman, Clinton "thought maybe I could borrow something from her for the night. It didn't quite work for me, but I will say that this award means a lot to me because as a little girl, and then as a young woman, and then as a slightly older woman, I always wondered when Wonder Woman would have her time, and now that has happened."[206] Clinton had previously praised Jenkins's film, in a public August 2017 message, stating that "it was just as inspirational as I'd suspected a movie about a strong, powerful woman in a fight to save the world from international disaster would be."[207][208][209]

text:
Director James Cameron continued this debate, through his critique of the representation of female power in Jenkins's film. In an August 2017 interview with The Guardian, Cameron qualifies Jenkins's vision of Wonder Woman as  "an objectified icon" and called the film "a step backwards". In contrast, he states, his character Sarah Connor (from his Terminator films) "was not a beauty icon. She was strong, she was troubled, she was a terrible mother, and she earned the respect of the audience through pure grit."[210] Jenkins stated in response that Cameron's "inability to understand what 'Wonder Woman' is, or stands for, to women all over the world is unsurprising as, though he is a great filmmaker, he is not a woman". She further argued "there is no right and wrong kind of powerful woman" because "if women have to always be hard, tough and troubled to be strong, and we aren't free to be multidimensional or celebrate an icon of women everywhere because she is attractive and loving, then we haven't come very far have we."[211] Reaction to this debate was mixed. Julie Miller sided with Cameron, whom she states refers to himself as "a pretty hardcore feminist" and who told Vulture that "I have no problem writing a script in which the males become subservient to the females, which is what happens in Aliens [...] It's up to Ripley to win the day." In contrast, Miller argues that Jenkins and Gadot envisioned Wonder Woman as "a woman who exuded both femininity and strength, along with genuine confusion as to why men would treat women differently than they do other men".[212] Susannah Breslin also agreed with Cameron, describing Jenkins's Wonder Woman as "a Playmate with a lasso" and "female power with no balls".[213] Others were more critical of Cameron's critique.[214] An article in Newsweek suggests that in contrast to his criticism of Jenkins, Cameron's own films include "lot of objectification" and quotes a few Hollywood celebrities who echoed this view. One of the quotes came from
Jesse McLaren who states that "James Cameron's just confused there's a female hero whose motivations aren't centered around motherhood."[215] Noah Berlatsky found areas of agreement between both Cameron and Jenkins, stating that while Cameron's objection is "an old point that's been made over and over for decades", Jenkins's film is not "solely focused on objectifying Gal Gadot for a male audience".[216]

text: A few weeks later in September, Cameron reiterated his criticism in an interview with The Hollywood Reporter. He compared Gal Gadot's representation of the character to Raquel Welch films of the 1960s,[217] and reinforced a comparison with Linda Hamilton's portrayal of Sarah Connor. He argued that Connor was "if not ahead of its time, at least a breakthrough in its time" because though she "looked great", she "wasn't treated as a sex object".[217] He also stated that he while he "applaud[s] Patty directing the film and Hollywood, uh, 'letting' a woman direct a major action franchise, I didn't think there was anything groundbreaking in Wonder Woman. I thought it was a good film. Period."[217] Former Wonder Woman actress Lynda Carter responded to Cameron's The Hollywood Reporter interview by asking him to "Stop dissing WW." Like Jenkins, she suggests that while Cameron does "not understand the character", she does. She also refers to Cameron's critiques as "thuggish jabs at a brilliant director" that are as "ill advised" as the "movie was spot on." Carter also states that she has the authority to make these observations because she has "embodied this character for more than 40 years".[218][219][220] A month later, Jenkins responded to Cameron's comments once again in an interview with Variety, stating that she "was not upset at all", as "everybody is entitled to their own opinion. But if you're going to debate something in a public way, I have to reply that I think it's incorrect."[221] Tricia Ennis was also critical of Cameron's statements, arguing that "while he may consider himself a feminist and an ally to women, [he] is not very good at it" as being an ally means using his position of privilege "without silencing the voices of those you're trying to help". She also states that it "is not enough to simply call yourself a feminist. It's not even enough to create a strong female character [...] You have to bring women to the table. You have to let them speak. You cannot speak for them. But speaking for women is exactly what Cameron is doing through his comments [...] Cameron is using his position of power as a respected producer and director to silence women."[222]

text: Accolades[edit]

text:
Award

Date of ceremony

Category

Recipient(s) and nominee(s)

Result

Ref(s)

AARP's Movies for Grownups Awards

February 5, 2018

Readers' Choice Poll

Wonder Woman

Won

[223][224]

American Film Institute

January 5, 2018

Top Ten Films of the Year

Wonder Woman

Won

[225]

Art Directors Guild Awards

January 27, 2018

Excellence in Production Design for a Fantasy Film

Aline Bonetto

Nominated

[226]

Casting Society of America

January 18, 2018

Big Budget Drama

Lora Kennedy, Kristy Carlson, Lucinda Syson, Jeanette Benzie (Associate)

Nominated

[227]

Cinema Audio Society Awards

February 24, 2018

Outstanding Achievement in Sound Mixing for a Motion Picture – Live Action

Chris Munro, Chris Burdon, Gilbert Lake, Alan Meyerson, Nick Kray and Glen Gathard

Nominated

[228]

Cinema for Peace Awards

February 19, 2018

Most Valuable Film of the Year

Wonder Woman

Nominated

[229]

Costume Designers Guild Awards

February 20, 2018

Excellence in Fantasy Film

Lindy Hemming

Won

[230]

Critics' Choice Movie Awards

January 11, 2018

Best Action Movie

Wonder Woman

Won

[231][232]

Best Costume Design

Lindy Hemming

Nominated

Best Visual Effects

Wonder Woman

Nominated

Detroit Film Critics Society

December 7, 2017

Breakthrough

Gal Gadot

Nominated

[233]

Dragon Awards

September 3, 2017

Best Science Fiction or Fantasy Movie

Wonder Woman

Won

[234]

Dublin Film Critics' Circle

December 13, 2017

Best Director

Patty Jenkins

Runner-up

[235]

EDA Awards

January 9, 2018

Best Woman Director

Patty Jenkins

Nominated

[236][237]

Outstanding Achievement by A Woman in The Film Industry

Patty Jenkins

Nominated

Empire Awards

March 18, 2018

Best Actress

Gal Gadot

Nominated

[238]

Best Director

Patty Jenkins

Nominated

Best Film

Wonder Woman

Nominated

Best Sci-Fi/Fantasy

Won

Golden Reel Awards

February 18, 2018

Feature Motion Picture – Music Score

Wonder Woman

Nominated

[239]

Golden Tomato Awards

January 3, 2018

Best Wide Release 2017

Wonder Woman

4th place

[240]

Best Comic Book/Graphic Novel Movie 2017

Won

Golden Trailer Awards

June 6, 2017

Best of Show

Wonder Woman

Won

[241][242]

Best Fantasy Adventure

Won

Best Summer 2017 Blockbuster Trailer

Nominated

Best Fantasy / Adventure Poster

Nominated

Best Summer 2017 Blockbuster Poster

Won

Golden Trailer Awards

May 31, 2018

Best Action TV Spot

Wonder Woman "Together"

Nominated

[243][244]

Best Action Poster

Wonder Woman "One Sheet"

Won

Wonder Woman "One Sheet" P+A

Nominated

Best Billboard

Wonder Woman

Nominated

Best International Poster

Wonder Woman "Walking"

Won

Best Opening Title Sequence or Closing Credit Sequence

Wonder Woman "Film Title"

Nominated

Best Summer Blockbuster Poster

Wonder Woman "One Sheet"

Nominated

Hollywood Music in Media Awards

November 16, 2017

Best Original Score – Sci-Fi/Fantasy/Horror Film

Rupert Gregson-Williams

Nominated

[245][246]

Hugo Awards

August 19, 2018

Best Dramatic Presentation

Wonder Woman

Pending

[247]

IndieWire Critics Poll

December 19, 2016

Most Anticipated of 2017

Wonder Woman

9th place

[248]

MTV Movie & TV Awards

June 18, 2018

Best Fight

Gal Gadot vs. German Soldiers

Won

[249]

Best Hero

Gal Gadot

Nominated

Best Movie

Wonder Woman

Nominated

Kids' Choice Awards

March 24, 2018

Favorite Movie

Wonder Woman

Nominated

[250]

Favorite Movie Actress

Gal Gadot

Nominated

National Board of Review

January 9, 2018

Spotlight Award

Wonder Woman, Patty Jenkins and Gal Gadot

Won

[251]

Palm Springs International Film Festival

January 2, 2018

Rising Star Award – Actress

Gal Gadot

Won

[252]

Producers Guild of America Awards

January 20, 2018

Best Theatrical Motion Picture

Charles Roven, Richard Suckle, Zack Snyder, and Deborah Snyder

Nominated

[253]

Publicists Guild Awards

March 2, 2018

Motion Picture

Wonder Woman

Nominated

[254]

Santa Barbara Film Festival

February 3, 2018

Virtuosos Award

Gal Gadot

Won

[255]

Satellite Awards

February 10, 2018

Best Adapted Screenplay

Allan Heinberg

Nominated

[256]

Best Original Score

Rupert Gregson-Williams

Won

Best Visual Effects

Wonder Woman

Nominated

Saturn Awards

June 27, 2018

Best Comic-to-Film Motion Picture

Wonder Woman

Nominated

[257]

Best Director

Patty Jenkins

Nominated

Best Writing

Allan Heinberg

Nominated

Best Actress

Gal Gadot

Won

Best Supporting Actor

Chris Pine

Nominated

Best Costume Design

Lindy Hemming

Nominated

Screen Actors Guild Awards

January 21, 2018

Outstanding Performance by a Stunt Ensemble in a Motion Picture

Wonder Woman

Won

[258]

Teen Choice Awards

August 13, 2017

Choice Movie: Action

Wonder Woman

Won

[259][260][261]

Choice Movie Actor: Action

Chris Pine

Won

Choice Movie Actress: Action

Gal Gadot

Won

Choice Movie: Ship

Gal Gadot and Chris Pine

Nominated

Choice Liplock

Gal Gadot and Chris Pine

Nominated

Choice Movie: Summer

Wonder Woman

Nominated

Choice Movie Actor: Summer

Chris Pine

Nominated

Choice Movie Actress: Summer

Gal Gadot

Nominated

USC Scripter Awards

February 10, 2018

Best Adapted Screenplay

Allan Heinberg and William Moulton Marston

Nominated

[262]

Washington D.C. Area Film Critics Association

December 8, 2017

Best Production Design

Aline Bonetto and Anna Lynch-Robinson

Nominated

[263]

Women Film Critics Circle

December 17, 2017

Women's Work: Best Ensemble

Wonder Woman

Nominated

[264][265]

Best Female Action Hero

Won

Best Equality of the Sexes

Nominated

text: Sequel[edit]

text: Originally signed for three feature films, with Wonder Woman and Justice League being her second and third films, Gadot signed an extension to her contract for additional films.[266] Jenkins initially signed for only one film,[267] but in an interview with Variety, Geoff Johns revealed that he and Jenkins were writing the treatment for a Wonder Woman sequel and that he has a "cool idea for the second one". At the 2017 San Diego Comic Con, Warner Bros. officially announced a sequel would be released on December 13, 2019, and would be titled Wonder Woman 2; the date was later moved up to November 1, 2019, to avoid competition with Star Wars: Episode IX.[268][269][270] Later, Jenkins was officially signed to return as director, with confirmation that Gadot will be returning as the titular role.[271] Days later, the studio hired Dave Callaham to co-write the film's script with Jenkins and Johns.[272] On March 9, 2018, Kristen Wiig was confirmed to play Cheetah, the villain of the film.[273] Later that month, it was announced that Pedro Pascal would have a key role in the film.[274] In May 2018, long-time DCEU producer Zack Snyder confirmed on social media platform Vero that he, along with wife Deborah Snyder, will serve as producers on the Wonder Woman sequel.[275] In June 2018, the title of the film was announced to be Wonder Woman 1984.[276]

text: Notes[edit]

text: ^ Jump up to: a b This is by an adjusted Tomatometer with at least 20 reviews each that, uses a weighted Bayesian based formula to account for the differences in ratings.

tag: ol