document_title: Sansa Stark

question_text: who does sansa marry on game of thrones

question_tokens: who does sansa marry on game of thrones

text: Sansa Stark

text: Character and appearances[edit]

text: Sansa Stark is the second child and elder daughter of Eddard Stark and Catelyn Stark. She was born and raised in Winterfell, until leaving with her father and sister at the beginning of the series. She has a younger sister Arya Stark, two younger brothers Rickon Stark and Bran Stark, as well as an older brother Robb Stark, and an older illegitimate half-brother, Jon Snow [5] who later turned out to be her paternal cousin, but this is only confirmed in the TV show for the time being.

text: Raised as a lady, Sansa is traditionally feminine. Sansa's interests are music, poetry, and singing. She strives to become like the heroines of romantic tales by attempting to find a prince, knight, or gentleman to fall in love with. For a companion animal, she owned a direwolf named Lady. However, Lady was killed in place of Arya's direwolf, Nymeria, in the first installment. Lady is killed because Nymeria attacked the Crown Prince, Joffrey Baratheon and later fled.

text: Sansa has been described as tall, slim, womanly, and beautiful, destined to be a lady or a queen. She has blue eyes and thick auburn hair that she inherits from her mother, who came from House Tully in the Riverlands region prior to her marriage to Eddard Stark. She has her hair dyed dark brown later on while in the Vale, disguising as Alayne Stone- the bastard daughter of Petyr Baelish. Sansa is 11 years old in A Game of Thrones and nearly 14 in A Feast for Crows. Arguably the most naive of the Stark children at the start of the series, Sansa often finds herself used as a pawn in the machinations of the other characters. However, as the story progresses, she matures and becomes more of a player of the game rather than a pawn for other characters.[6]

text: Storylines[edit]

text: A Game of Thrones[edit]

text: Sansa Stark begins the novel by being betrothed to Crown Prince Joffrey Baratheon, believing Joffrey to be a gallant prince. While Joffrey and Sansa are walking through the woods, Joffrey notices Arya sparring with the butchers boy, Mycah. A fight breaks out and Joffrey is attacked by Nymeria (Arya's Direwolf) after Joffrey threatens to hurt Arya. Sansa lies to King Robert about the circumstances of the fight in order to protect both Joffrey and her sister Arya. Since Arya ran off with her wolf to save it, Sansa's wolf is killed instead, estranging the Stark daughters.

text: During the Tourney of the Hand to honour her father Lord Eddard Stark, Sansa Stark is enchanted by the knights performing in the event. At the request of his mother, Queen Cersei Lannister, Joffrey spends a portion of the tourney with Sansa, but near the end he commands his guard Sandor Clegane, better known as The Hound, to take her back to her quarters. The Hound tells Sansa the little known story of his burned face and why he dislikes knights, in turn she comforts him.

text: After Eddard discovers the truth of Joffrey's paternity, he tells Sansa that they will be heading back to Winterfell. Sansa is devastated and wishes to stay in King's Landing, so she runs off to inform Queen Cersei of her father's plans, unwittingly providing Cersei with the information needed to arrest her father. After Robert dies, Sansa begs Joffrey to show mercy on her father and he agrees to allow Ned to live if Ned will swear an oath of loyalty. After promising Sansa that he will be merciful, Joffrey betrays his word and has her father executed in front of her. Sansa is now effectively a hostage in King's Landing and finally sees Joffrey's true nature after he forces her to look at the tarred head of her now deceased father.

text: A Clash of Kings[edit]

text: Sansa is a hostage in King's Landing, and has learned to be outwardly loyal to King Joffrey to avoid severe physical abuse.

text: At the celebration for Joffrey's name day, she saves the life of Ser Dontos Hollard after he shows up late and heavily inebriated. She begs Joffrey to spare his life and in turn wins Dontos' apparent loyalty. Later Ser Dontos reveals a plan to her to help her escape from King's Landing. Sansa is routinely beaten by Joffrey's guards. After her brother has won a battle against Joffrey's maternal family, she is publicly beaten and has her clothes torn. Tyrion Lannister intervenes on the abuse on her behalf, and Sandor Clegane, gives her his cloak to cover herself. Later, Sandor Clegane saves Sansa from a riot in King's Landing.

text: During the Battle of Blackwater Bay, all of the highborn ladies in King's Landing stay in the Red Keep with Queen Cersei who drunkenly mocks and berates Sansa. After Cersei learns that they are losing the battle, she flees and Sansa comforts the remaining women before going to her quarters. Once there she finds Sandor Clegane there who offers to take her away with him during the Battle of the Blackwater, although Sansa refuses. Before he vanishes from King's Landing, she gives him a song, and he gives her his cloak a second time. When Sansa awakens, the battle is over. House Lannister has won the battle, her betrothal to Joffrey is called off so he can marry Margaery Tyrell instead. Joffrey informs Sansa that he can still use her when he is married and to expect a nightly visitor for a long while.

text: A Storm of Swords[edit]

text: In the third book, Sansa is invited by Margaery to dine with her and her grandmother Olenna Redwyne. The two women seek to learn the true nature of Joffrey Baratheon after he and Margaery have become betrothed. In turn, Olenna suggests that Sansa should marry Willas Tyrell, brother to Margaery and grandson to Olenna. Sansa reveals the marriage plan to Ser Dontos who warns her of the Tyrells, however Sansa develops a close friendship with Margaery and is excited about becoming a part of her family when she marries Willas. However, when Tywin learns of the marriage plot he schemes to have Sansa's brother Robb Stark killed, knowing that would leave Sansa to inherit Winterfell and the North. He then commands his son Tyrion Lannister to marry Sansa. Tyrion is initially opposed to the marriage, but is eventually enticed by the prospect of becoming Lord of Winterfell, and so agrees to marry her.

text: Sansa is shocked one morning when she is being fitted for a gown that she is to marry Tyrion that day. Joffrey taunts Sansa and acts on behalf of her father to give her away during the ceremony to add further insult. Sansa ignores Tyrion and refuses to bend as he attempts to put his cloak around her, an important marriage custom in Westeros. In turn, Joffrey commands Ser Dontos to act as a stool so that Tyrion can cloak his bride in spite of his short stature. Later Sansa dances with many lords who attempt to offer words of comfort, however when it is her turn to dance with Joffrey, he threatens to rape her after her marriage. Tyrion intervenes and states his desire to castrate Joffrey. After the wedding ceremony, Tyrion chooses not to consummate the marriage due to Sansa's lack of desire in him. It is not long before many in King's Landing come to know that the marriage was never consummated.

text: It is not long after Sansa's marriage that Joffrey and Margaery are wed and afterwards there is a grand feast. At Joffrey's wedding, Joffrey is poisoned, and Cersei orders both Tyrion and Sansa to be arrested. As Joffrey begins to choke to death, Sansa manages to flee during the chaos. Once in her room, she gathers her belongings and notices that one of the amethysts from her hairnet, a gift from Ser Dontos, is missing. Sansa immediately realizes that the prince had been poisoned and starts to doubt Ser Dontos' rescue plan. Understanding that she will be implicated in the murder of Joffrey, she chooses to flee King's Landing with the knight anyway. Ser Dontos is later killed by Petyr Baelish, who reveals that he is the mastermind behind nearly all of the intrigues in the capital. He reveals that he was the one who sent Dontos to her and that Olenna took the amethyst from her hairnet.

text: Baelish smuggles Sansa to safety in the Vale of Arryn, where she poses as his bastard daughter Alayne Stone. She is taken to her Aunt Lysa Arryn, now married to Baelish. Lysa declares that Sansa must marry her sickly boy Robert, heir to the Vale. Petyr Baelish and Lysa are wed, however Lysa becomes jealous when she witnesses Littlefinger kissing her niece. Lysa later attempts to murder Sansa, but she is saved once again by Baelish, who kills Lysa.

text: A Feast for Crows[edit]

text: After Lysa's death, Sansa becomes mistress of the Eyrie and continues to pretend to be Baelish's illegitimate daughter, Alayne Stone. Baelish successfully pacifies the lords of the Vale, who suspected Baelish's hand in Lysa's death. Afterwards, Baelish reveals to Sansa his plans to eventually marry her to the heir to the Vale, Harrold Hardyng, and his long range plans to reveal her true identity and reclaim the North. Sansa acts as a mother figure to Robert Arryn, caring for him after the death of his mother Lysa, and is shown to have grown in intelligence since the start of the series - she is able to figure out some of Baelish's plans, and does not trust him as she once did with Joffrey.

text: Family tree of House Stark[edit]

text:
[hide]

v
t
e

Descendants of Rickard Stark

Rickard[a]

Lyarra[b]

Brandon[a]

Catelyn
Tully[c]

Eddard[a]

Lyanna[a][d]

Benjen[a]

Robb[c]

Jeyne
Westerling[e]

Sansa[c]

Tyrion
Lannister[f]

Arya[c]

Brandon[c]

Rickon[c]

Jon
Snow[c][d]

Notes:

^ Jump up to: a b c d e Martin, George R. R. (1996). "Chapter 4: Eddard". A Game of Thrones. pp. 36–45. ISBN 978-0-553-89784-5.
Jump up ^ Martin, George R. R.; García Jr., Elio M.; Antonsson, Linda (2014). "Appendix: Stark Lineage". The World of Ice & Fire. ISBN 978-0-553-80544-4.
^ Jump up to: a b c d e f g Martin. "Appendix: House Stark". A Game of Thrones. pp. 785–786.
^ Jump up to: a b In the TV series Game of Thrones, Jon is the son of Rhaegar Targaryen and Lyanna
Jump up ^ Martin, George R. R. (2000). "Chapter 14: Catelyn". A Storm of Swords. pp. 192–193. ISBN 978-0-553-89787-6.
Jump up ^ Martin, George R. R. (2000). "Chapter 28: Sansa". A Storm of Swords. pp. 382–393. ISBN 978-0-553-89787-6.

text: TV adaptation[edit]

text: Storylines[edit]

text: First season[edit]

text: Sansa is first seen with Arya at Winterfell during their embroidery lesson with Septa Mordane. Following the arrival of Robert Baratheon and his escort at Winterfell, he insists to Ned that Joffrey and Sansa should be married in order to join their houses. Sansa, who is desperate to leave Winterfell begs Catelyn to make Ned agree to the engagement. Following Sansa, Ned, and Arya's departure from Winterfell, Joffrey is injured by Arya's direwolf Nymeria, after he attacks the butcher's boy (Arya's friend), and Arya. Sansa, who was a witness to this claims to Robert and Cersei that she did not know what happened. As retribution for Joffrey's injury, Cersei convinces Robert to have Sansa's direwolf, Lady, slaughtered in place of the missing Nymeria. After arriving at Kings Landing, Sansa attends the Hands Tourney where Petyr 'Littlefinger' Baelish tells Sansa and Arya the story behind how Sandor 'The Hound' Clegane's face was burned. As time passes, Sansa begins to wear her hair like a southerner, and becomes rude towards Mordane, while also expressing fears that she will fail to give Joffrey a male heir. Following Ned's initial resignation as hand of the king, Sansa is devastated to hear she has to return to Winterfell, in which she likens Joffrey to a lion, and that he was nothing like Robert Baratheon. This statement from Sansa inspires Ned to investigate the Baratheon family line, prompting him to realise that Cersei's children were bastards fathered by Jaime Lannister, not Robert Baratheon. Following Robert's death, and Ned's arrest for declaring Joffrey was not the true king, The entire Stark household in Kings Landing, with the exception of Sansa and Arya, are executed. Cersei persuades Sansa to write to Robb and Catelyn Stark imploring them to swear fealty to Joffrey. At court, Sansa pleads to Joffrey to show Ned mercy, in which he agrees on the condition Ned swears loyalty to Joffrey. Sansa is present at the Great Sept of Baelor, where she is initially confident Ned will be saved. However, Sansa is horrified when Joffrey orders Ned's execution, and begs someone to intervene, before fainting as Ned is beheaded. Sansa, grieving the death of her father, is forced by Joffrey to look upon the spiked heads of both Ned and Septa Mordane. Sansa begs Joffrey to let her return home, but he informs Sansa that they are still to be married, and that she will stay and obey. Joffrey also tells Sansa that he will give her Robb's head once he is defeated, in which she retorts that Robb will give her Joffrey's head instead. While on the boardwalk, Sansa moves to push Joffrey to his death, but is stopped by Sandor Clegane, who warns her she will continue to be abused.

text: Second season[edit]

text: As the war of the five kings progresses, Sansa's position in Kings Landing becomes more perilous. On Joffrey's name day celebration, Sansa saves an inebriated Ser Dontos Hollard from execution, convincing Joffrey to instead make Dontos his fool. While at the celebration, Tyrion offers his condolences for Ned's death, in which Sansa insists her family are all traitors and that she is loyal to Joffrey. Later on, when her eldest brother Robb wins a battle against the Lannisters, Sansa is publicly beaten and humiliated in front of the court by Joffrey and Ser Meryn (on Joffrey's orders), as payment for her brother's crimes. Tyrion Lannister enters the court and rescues Sansa. Despite being a dwarf, Tyrion takes pity on Sansa's situation, and offers to have the engagement called off. Sansa maintains her facade that she is loyal to Joffrey, which impresses Tyrion to the point of believing Sansa might just survive Kings Landing. Tyrion has his lover, Shae, positioned as Sansa's handmaiden. Sansa and Shae form a friendship, in which Sansa is able to vent about her hatred of the Lannisters without fear of being revealed. Sansa is present when the royal family bids farewell to Joffrey's sister, Myrcella, on her departure to Dorne to form an alliance between the Lannisters and the Martells. While returning to the Red Keep, a riot breaks out in the streets of Kings Landing, amidst which Sansa finds herself caught in the fray. Three peasant men chase Sansa and attempt to rape her, before she is rescued and returned to the castle by Sandor Clegane. The following morning, Sansa has a nightmare of the incident, and wakes up in a bloodstained bed. Sansa had flowered, which meant she could bear Joffrey children. Sansa and Shae attempt to conceal this, which involved Shae threatening to kill a witness handmaiden if she told anyone. However, Sandor Clegane sees the blood, and both Cersei and Joffrey are informed. Cersei invites Sansa to her chambers to share some of her wisdom and experience as a wife and a mother. Cersei reminisces that her husband Robert was not interested in her giving childbirth. Cersei explains to Sansa that while Sansa may never love Joffrey (and vice versa), she will love his children. Cersei warns Sansa that the more people she loves, the weaker she will be. Therefore, Sansa should only love her children, as it is the only love she has no choice in. Before the battle of the Blackwater, Joffrey forces Sansa to kiss the blade of his sword, while bragging he will kill Stannis himself. Sansa implicitly taunts Joffrey by remarking he must be battling in the vanguard (which of course he would not be). Joffrey responds to this by insisting Sansa will kiss the blade again with Stannis' blood on it. During the battle, Sansa takes refuge with Cersei, Shae and the other women and children of Kings Landing. A drunk Cersei openly torments Sansa and the women. She does this by explaining that if the city falls, they will all be raped and have bastards in their bellies come morning. Cersei continues her taunting by also telling Sansa that tears are not the only weapons women have; the greatest weapon they own are between their legs. Following Cersei's departure from the refuge with Tommen, Sansa leaves to hide in her bedchamber, where she finds Sandor Clegane. Sandor, about to leave Kings Landing, offers to take Sansa home. Sansa declines, insisting Stannis would not harm her. After the battle is won by the Lannister-Tyrell forces, Loras Tyrell asks Joffrey to take his sister, Margaery, as his bride. Joffrey accepts the proposal, which annuls his marriage with Sansa. Sansa, while pretending to be devastated, is secretly delighted she no longer has to marry Joffrey. However Petyr Baelish warns that while Sansa is no longer engaged, Joffrey would have greater rein to abuse Sansa, especially now she is a woman. Petyr assures Sansa he will help get her home, in which Sansa once again displays a facade, asserting Kings Landing is her home. Petyr advises Sansa that everyone in Kings Landing is a liar, and that they are much more cunning at it than her.

text: Third season[edit]

text: With her engagement to Joffrey annulled, Sansa does not have to worry about spending the rest of her life with him, but is with lesser protection from tormentors. Petyr Baelish, an old friend of her mother's with a reputation for being sadistic and cunning, tells her that he can smuggle her out of the city, but she is reluctant. Sansa finds a friend in Loras Tyrell, who is kind to her and whom she hopes will ask for her hand. His sister, Joffrey's new fiance, Margaery, is also kind to her and takes her to dine with her grandmother, Olenna Tyrell, who asks her for her opinion of Joffrey. Sansa reveals Joffrey's true, cruel personality, but Margaery and Lady Olenna merely pass it by as a trivial matter, saying there is nothing to be done to change a man's character, especially a king's. Sansa's affection for Loras grows, unaware that Loras is gay and, while he likes her and enjoys spending time with her, can never love her. Margaery proposes the idea that Loras will marry Sansa, meaning Sansa can leave King's Landing, which she is overjoyed at. But when this is reported to the Lannisters, they fear that the Tyrells will pose an even greater threat with a member of House Stark as one of their allies, and quickly end the idea of the engagement, betrothing Loras to Cersei and engaging Sansa to Tyrion, which both Sansa and Shae are against. However, the day of the wedding, Tyrion promises not to harm her and, as she prepares to consummate the marriage, Tyrion realizes how unhappy she is and tells her that she doesn't have to consummate it unless she wants to. When Sansa asks Tyrion what would happen if she never wants him in her bed he quips "And so my watch begins." She and Tyrion do form somewhat of a friendly relationship, as he is kind to her and treats her well, and she soon realizes there are worse Lannisters to be wed to. However, their cordial relationship suffers a crushing blow when Sansa receives news of Robb and Catelyn's death at the Red Wedding, an event orchestrated by Tywin Lannister, Tyrion's father.

text: Fourth season[edit]

text: Sansa, still distraught over the death of Robb and Catelyn, is approached by Dontos Hollard, a former knight whom Sansa had convinced Joffrey to make his fool instead of executing him. Dontos gives her a necklace, claiming it was his mother's. However, the necklace turns out to be a fake; one of the gems contains poison, which Lady Olenna Tyrell uses to poison Joffrey at his wedding to Margaery Tyrell. In the commotion, Sansa is taken by Dontos, to Baelish's boat in Blackwater Bay. Baelish smuggles Sansa from King's Landing after both revealing the nature of the necklace and having Dontos killed by crossbow.

text: Lord Baelish, with Sansa posing as his bastard daughter Alayne Stone, pass through the Blood Gates to the Eyrie and to the keep of Lysa Arryn. Lysa initially invites them with open arms, revealing she knows exactly who her niece is, and they are welcome to be housed. It is soon revealed however, Lysa mistrusts the relationship between Sansa and Baelish accusing Baelish of violating Sansa and accusing him of never loving her. Later in the keep, Sansa strikes Lysa's son Robin and Baelish appears. Baelish then proclaims his undying love for her deceased mother, Catelyn and he shares a kiss with a stunned Sansa, with Lysa watching from above. Sansa is immediately summoned to Lysa's throne room, where she believes she had been summoned for striking her son. Lysa reveals she had observed the kiss, and though defending herself and Baelish's actions against her, Lysa holds her to the Moon Door, a trap door that leads hundreds of feet down into the mountains below. Baelish intervenes before she gets the chance to execute Sansa and pushes Lysa to her death instead as he proclaimed his love for her sister. Then Baelish later claimed to the lords of the Vale that she committed suicide. Sansa is called to give testimony, and although she reveals her true identity, she supports Baelish's story. She then joins Baelish and her cousin Robin Arryn on a tour of the Vale.

text: Fifth season[edit]

text: Baelish brokers a marriage between Sansa and Ramsay Bolton, now the heir to the North after the death of Robb Stark. Though reluctant to marry Ramsay, as his father Roose had personally murdered Robb, Baelish persuades her by claiming that the marriage will give her the opportunity to avenge her family. On the way to Winterfell, they encounter Brienne of Tarth, who had sworn to Catelyn Stark to take Sansa to safety and tries to convince Sansa to come with her; Baelish has her chased off by his men, but Brienne follows Sansa to Winterfell regardless. Though initially charming, Ramsay's sadistic nature becomes apparent when Sansa discovers that he has captured and enslaved Ned's former ward Theon Greyjoy, who had supposedly killed Sansa's brothers Bran and Rickon, and forced him to assume the identity of his serving man, Reek. After Ramsay rapes Sansa on their wedding night, Sansa asks Reek to signal to Brienne for help. Reek, wishing to spare Sansa Bolton's wrath, instead tells Ramsay, and he proceeds to flay the maid who had told Sansa of the signal and forces Sansa to look at her corpse. Furious, Sansa confronts Reek, who admits that he had failed to capture Bran and Rickon and killed two farm boys in their place. While the Boltons prepare to battle Stannis Baratheon's advancing forces, Sansa signals to Brienne, unaware that she has left to kill Stannis. When help does not come, Sansa attempts to return to her room but is caught by Ramsay's paramour Myranda, who threatens to mutilate Sansa. Finally snapping, Theon throws Myranda to her death, just as the Bolton forces return. Fearful of Ramsay's reaction, the two jump from Winterfell's battlements into the snow.

text: Sixth season[edit]

text: Sansa and Theon are captured by Bolton soldiers in the forest outside Winterfell, but Brienne and her squire Podrick Payne arrive in time to rescue them and kill the Bolton soldiers. This time, Sansa accepts Brienne's loyalty. While Theon returns to the Iron Islands, Sansa, Brienne, and Podrick journey on to Castle Black, where her half-brother Jon Snow has just resigned as Lord Commander of the Night's Watch. Sansa tries to persuade Jon to help her drive the Boltons out of Winterfell; although Jon initially refuses, he changes his mind after Ramsay sends a letter to Jon in which he gloats that he holds Rickon Stark captive and threatens to kill the Starks and the Wildlings Jon has let through the Wall if Sansa is not returned. Before Jon and Sansa leave Castle Black, Baelish arranges a meeting with Sansa in Mole's Town. He insists that he was unaware of Ramsay's nature and offers the support of the Knights of the Vale, also mentioning that her great-uncle Brynden "Blackfish" Tully has captured Riverrun from House Frey. Sansa sends Baelish away, declaring that she never wants to see him again, but sends Brienne to the Riverlands to convince the Blackfish to aid the Starks.

text: Although Jon and Sansa are only able to win over a handful of Northern lords, Jon insists that they must march on Winterfell, despite Sansa's objections. Sansa sends a letter to Baelish asking for his aid, and the Vale forces arrive at Winterfell in time to defeat the Boltons. Ramsay is captured and imprisoned with his hounds, and Sansa watches with satisfaction as they devour him alive. In the aftermath of the battle, she and Jon share a moment where Sansa apologizes for not telling Jon about Baelish and the Knights of the Vale. Jon forgives her but asks that they trust each other completely from now on. Sansa and Jon then share a happy smile when Sansa tells him that Winter is finally here. While in the godswood Baelish confesses his ambition to rule Westeros with Sansa at his side, but Sansa rebuffs his advances. Sansa also ignores Baelish's attempts to drive a wedge between her and Jon, but is surprised when the Northmen and Valemen declare Jon the new King in the North. Despite this she smiles at him happy that he has been praised. But she stops smiling when she notices Littlefinger glaring sinisterly at her and Jon.

text: Seventh season[edit]

text: Jon travels to Dragonstone to negotiate with Daenerys Targaryen for her support against the White Walkers, leaving Sansa as regent in his absence. Soon after, Bran and Arya return to Winterfell. Littlefinger seeks to drive a wedge between Sansa and Arya by letting Arya find Sansa's letter to Robb asking him to bend the knee to Joffrey, causing Arya to angrily confront Sansa. Sansa later sneaks into Arya' quarters and comes across the "faces" Arya has taken from the various people she has killed on her travels; Arya catches Sansa and tells Sansa of her ability to assume people's identities with the faces while menacing Sansa with a dagger, before abruptly handing Sansa the dagger and leaving.

text: Sansa later receives an invitation to King's Landing, where Jon intends to present Cersei (now Queen of the Seven Kingdoms) with proof of the White Walkers' existence. Refusing to return to King's Landing, she sends Brienne as her representative.

text: Sansa later shows Littlefinger the letter she received from Jon following the meeting in King's Landing, in which Jon states that he had pledged his support to Daenerys Targaryen. Littlefinger continues his manipulation of Sansa by claiming that Jon had betrayed the North and Sansa should seize power from Jon, as well as seemingly convincing her that Arya intends to murder her and take her role as Lady of Winterfell. Sansa summons Arya to the great hall and begins an accusation of treason and murder, but surprisingly directs the accusation towards Littlefinger. With help from their brother Bran (now known as Three-Eyed Raven), Sansa and Arya reveal that they are aware of Baelish's lies and treason and reveal his numerous crimes, including his murder of Lysa Arryn, his orchestrating the murders of both Jon Arryn and Eddard Stark, and his manipulating the Starks and Lannisters to war. Finding himself without support, Baelish tries to plead for his life, but Sansa refuses and allows Arya to slit Baelish's throat with his own Valyrian dagger, ending his manipulation and treachery for good. The Stark sisters later resolve their differences, and acknowledge that the Starks must stand together to survive the winter.

text: Reception[edit]

text: As her storyline has progressed, Sansa has received critical acclaim for the development of her character and her emergence from a naive young girl to a strong young woman. Rolling Stone ranked Sansa as No. 4 on a list of the "Top 40 Game of Thrones Characters", saying that Sansa is "often overlooked in favor of her killer kid sister", but that her "quiet, innate political shrewedness and emotional strength have enabled her to survive", and calling her "the show's best-kept secret".[7] In a ranking of the 48 best Game of Thrones characters listed in the main credits in the first five seasons on the website The Wrap, Sansa was ranked at No. 4, ahead of the more popular Daenerys Targaryen, Jon Snow, and Tyrion Lannister, saying that "Sansa has been kind of great in Season 6, turning into the sort of badass we always hoped but never thought she actually could become".[8]

text: In an article published on Mic.com, Julianne Ross says that "the elder Stark daughter is often cited as one of the most reviled characters on Game of Thrones", while also saying that "not coincidentally, Sansa Stark is also one of the most classically feminine characters on the show." Ross criticized the heavy hatred for Sansa, particularly in contrast to "her universally (and rightly) adored tomboy little sister Arya", stating that Sansa "arguably gets a disproportionate amount of fan hate because she doesn't fit the narrow 'strong female character' mold we're used to rooting for." [9] Blogger Rhiannon Thomas of Feminist Fiction wrote in 2012 that "the focus on this sort of female character - the oft-cited 'strong female character' - seems to suggest that femininity is still bad, and that women can only be strong by adopting stereotypically male roles and attitudes". Thomas went on to say that "in an abusive situation that would break so many people, Sansa survives" and that she has a "woman's courage" that "keeps her alive and in the game where characters like Arya would not last five minutes".[10]

text: In an article published on MTV.com by Crystal Bell titled "Sansa Stark is the Only Game of Thrones Hero Worth Rooting For",[11] Bell writes: "Sansa is the most relatable character in George R.R. Martin's canon. She's often despised for having no agency, but the way I see it, Sansa is hated for being a woman. Unlike Brienne, Arya, Cersei, and Margaery -- models of the "strong female character" archetype—Sansa's passivity denotes weakness. She doesn't have cool swordplay skills like her sister Arya; she isn’t a smart seductress like Margaery Tyrell or a fierce queen like Cersei. She is the epitome of femininity on Game of Thrones, and therefore, she is dismissed." Bell went on to say: "However, Sansa's greatest strength as a character has been her unwavering resilience. She was tortured and humiliated for seasons by the unhinged man-boys around her. She's been the subject of everyday sexism and misogyny since day one. And yet, she survives, even as armor-clad heroes fall before her. She is the show's survivor. She continuously endures the pain and humiliation of being a woman in Westeros. Just because Sansa doesn't wield a sword as fiercely as Arya and Brienne, or command a horde of dragons like Daenerys Targaryen, doesn't make her any less of a hero."

text: Sansa received particular acclaim in Season 6 of the show, during which she began her quest to retake her family home and exact revenge on those who wronged her. In an interview with The New York Times, actress Sophie Turner said that "she's [Sansa] no longer a pawn in anyone's game; she's no longer a prisoner...she's the one taking charge and doing her own thing, which is very exciting".[12] Megan Garber of The Atlantic praised the show's decision to have Sansa be the one orchestrating Ramsay's death in Battle of the Bastards, saying that "In the end, it was Sansa and her abuser, alone again in a darkened chamber; in the end though, it was Sansa making the decisions about who would be the victim." [13] On the scene, Turner said: "It's amazing. It's Sansa's first kill and it's such a strong moment for her because all her life she's been affected by these men who have just done such terrible things to her...."[14]

text: Following the penultimate Season 6 episode, Bennett Madison of Vanity Fair wrote "When Sansa icily reminds her dopey brother that 'No one can protect you', it's because she's always been on her own. As far back as King's Landing, Sansa's between quietly protecting herself, working on her stitchery while taking cool measure of everything going on around her, learning how to game the system, and slithering through situations that would have gotten the best of the show's more flashy or impulsive characters. In 'Battle of the Bastards', she got to show a little flash of her own; by being defiantly, gloriously correct in her convictions, by saving the day with her foresight and savvy, and by feeding Ramsay to the dogs." [15] Turner later told Time magazine about how gratifying it was to watch Sansa's development during Season 6 and defended the show on its cruel treatment of women: "In my opinion, Game of Thrones is not sexist, and its accurate to medieval time. The show puts social boundaries on the women, and they break out of these boundaries."[16]

text: Controversy[edit]

text: In the episode "Unbowed, Unbent, Unbroken", Sansa's rape was the main subject of controversy for the season's deviations from the books. The majority of professional criticism concerned the decision to have Ramsay rape Sansa on their wedding night, with most critics describing the scene as gratuitous and artistically unnecessary. "This grim scene was difficult for the show to justify," said Charlotte Runcie of The Daily Telegraph.[17] Joanna Robinson of Vanity Fair added, "this rape scene undercuts all the agency that’s been growing in Sansa since the end of last season. [...] I’d never advocate that Game of Thrones (or any work of fiction) shy away from edgy plots out of fear of pushback or controversy. But edgy plots should always accomplish something above pure titillation or shock value and what, exactly, was accomplished here?"[18] Christopher Orr wrote in The Atlantic, "I continue to be astonished that showrunners Benioff and Weiss still apparently believe that their tendency to ramp up the sex, violence, and—especially—sexual violence of George R.R. Martin’s source material is a strength rather than the defining weakness of their adaptation."[19] Myles McNutt of The A.V. Club wrote, "The issue with the show returning to rape as a trope is not simply because there have been thinkpieces speaking out against it, and is not solely driven by the rational concerns lying at the heart of those thinkpieces. It’s also that the show has lost my faith as a viewer."[20] Writers from Vanity Fair, The Mary Sue and The Daily Beast all disapproved of the decision to use Sansa's victimization as a motivating agent for Theon, saying that the scene undermined Sansa's character development: "Was it really important to make that scene about Theon's pain?" wrote Joanna Robinson of Vanity Fair.[18][21][22]

text: Other critics responded positively to the scene. Sean T. Collins of Rolling Stone wrote: "[B]y involving a multidimensional main character instead of one introduced primarily to suffer, the series has a chance to grant this story the gravity and seriousness it deserves.[23] Sarah Hughes of The Guardian wrote: "I have repeatedly made clear that I’m not a fan of rape as a plot device – but the story of Ramsay and Sansa’s wedding was more than that. [...] The writers are walking a very fine line here. They handled it well tonight, telling a gothic tale of innocence sacrificed".[24] Alyssa Rosenberg of The Washington Post wrote that the scene "managed to maintain a fine balance, employing a dignity and care for the experiences of victims that Game of Thrones has not always demonstrated."[25]

text: Some critics questioned why this scene in particular should generate outrage when similar scenes have not. Sara Stewart of the New York Post pointed out that the rape and sexual abuse of both female and male characters is typical for Game of Thrones: "Why are we suddenly so outraged about the rape of Sansa Stark, when this show has served up a steady diet of sexual assault and violence against women since its first season began?"[26] Cathy Young of Reason magazine, writing in Time noted what she calls a lack of complaint in response to the sexual mistreatment of male characters in earlier seasons, specifically the literal emasculation of Theon Greyjoy and the sexual assault of Gendry.[27]

text: Criticism of the scene has not extended to the quality of the acting. Joanna Robinson of Vanity Fair wrote, "And if we can say one positive thing about that scene it's that Allen nailed his performance. Theon's horror mirrored our own and the camera—focusing on his reaction—let our minds fill in the blanks."[18] Sophie Turner defended the scene as an artistic challenge for herself as an actor, saying, "When I read that scene, I kinda loved it. I love the way Ramsay had Theon watching. It was all so messed up. It's also so daunting for me to do it. [...] I think it's going to be the most challenging season for me so far, just because it's so emotional for her. It's not just crying all the time, like seasons 2 or 3, it's super messed up."[28] Iwan Rheon (Ramsay Bolton) agreed, referring to Turner's performances this season as "absolutely amazing."[29]

text: Some viewers, including U.S. Senator Claire McCaskill, announced that they would stop watching the show because of this scene.[29][30] According to Business Insider, this scene and increased use of streaming services are likely reasons why ratings dropped from 6.2 million viewers for this episode to 5.4 million for the next episode, "The Gift."[31]

text: Recognition and awards[edit]

text: Sophie Turner has received several award nominations for her portrayal of Sansa. For her performance in the series she earned the Glamour Award for Best UK TV Actress in 2016 and 2017,[32][33] and an EWwy Award for Best Supporting Actress in a Drama Series in 2016.[34] Other nominations include the Young Artist Award for Best Performance in a TV Series by a Supporting Young Actress in 2012,[35] and the EWwy Award for Best Supporting Actress in a Drama Series in 2015.[36]


document_title: Dallas Texans (NFL)

question_text: lamar hunt s dallas texans football team would eventually become the

root

text: Dallas Texans (NFL)

text: History[edit]

text: After the 1951 season, the financially troubled New York Yanks franchise was put on the market. Ted Collins, (1900-1964) had founded that franchise in 1944 as the Boston Yanks, in Boston, Massachusetts, then moved it to New York City in 1949 as the New York Bulldogs, and renamed it again briefly as the Yanks in 1950. Unable to find a buyer, Collins sold the team back to the League.

tag: p

text: On January 30, 1952, a Dallas-based group led by a pair of young millionaires, Giles Miller and his brother, Connell, bought what was ostensibly a new franchise—the first-ever major league sports team based in Texas.[2] However, it also acquired the entire Yanks old roster.[3] Thus, for all intents and purposes, the Millers bought the Yanks and moved them to Dallas. Home games were scheduled to be played at the Cotton Bowl, home stadium for the SMU Mustangs of Southern Methodist University. The Millers originally wanted to name the team as the Rangers, but later decided to call them the Texans instead.[4]

text: The Millers thought that big growing Texas, with its longstanding support of college football, would be a natural fit for the NFL to move farther south and west, and the team owners approved the move with an 11–1 vote. Giles Miller declared, "There is room in Texas for all kinds of football." However, the first game, against the New York Giants, set the tone for the season. While the Texans managed to get the first touchdown, they missed the extra point. They never found the end zone again and lost 24–6. In what proved to be another harbinger for the franchise, only 17,499 fans showed up at the Cotton Bowl (capacity 75,000) for the opening game. Attendance continued to dwindle as the losses piled up and the team showed no sign of being competitive. The nadir came with a November 9 game against the Los Angeles Rams, which attracted only 10,000 fans.

text: As it turned out, this was the last game the Texans played in Texas. Unable to meet payroll or get financial support from area businessmen (an important factor even in those days), the Millers returned the team to the League on November 14th with five games to go in the season.[5] The NFL moved the franchise's operations temporarily to Hershey, Pennsylvania (though it kept the "Dallas Texans" name). It also moved the Texans' last two home games out of Dallas, making them a traveling team.

text: The team played one of its final two "home" games at the Rubber Bowl in Akron, Ohio, where the franchise tallied its only win under the Texans moniker — over the ancient Chicago Bears of George Halas, in front of an estimated crowd of only 3,000 fans on Thanksgiving Day. As a measure of how low the NFL still ranked on the sports scene in the 1950s, a high school football game far outdrew the professional contest. Head coach Jim Phelan jokingly suggested because of the small turnout, they should "go into the stands and shake hands with each fan." Halas had been so certain that the Bears would overpower the lowly Texans that he started only his second-stringers. The Texans jumped out to a 20–2 lead and hung on for a 27–23 win. With the victory, the NFL avoided having a franchise with a winless regular season, something that had not happened since 1944.[6] The team's final game was a 41–6 flogging at the hands of the Detroit Lions. That game was supposed to be played in Dallas, but was moved to Detroit after the league took over the team—forcing the Texans to make their second trip of the year to Briggs Stadium. Two weeks later, the Lions won the NFL's 1952 championship.

text: George Taliaferro, the team's leading rusher, was selected to the Pro Bowl at the end of the season.

text: The NFL was unable to find a buyer for the Texans, and folded the team after the 1952 season. A few months later, the NFL granted a new franchise to a Baltimore-based ownership group headed by Baltimorean Carroll Rosenbloom, and awarded it the remaining assets (including the players) of the failed Texans operation.[7] Rosenbloom named his new team the Baltimore Colts, (after the previous team playing for the city in the competing All-America Football Conference, which merged with the NFL in 1950)

text: The Colts (later based in Indianapolis since 1984) do not claim the history of the earlier Yanks/Bulldogs/Yanks/Texans as their own, even though the Colts' 1953 first roster included many of the previous 1952 Texans. Likewise, the NFL also reckons the new Colts as a 1953 expansion team;[7] it does not consider the Colts to be a continuation of the Yanks/Bulldogs/Yanks/Texans franchise, or even the Dayton Triangles for that matter considering that other franchise's successor, the Brooklyn Dodgers/Tigers, merged with the Yanks in 1945. As a result, the Texans officially today remain as the last NFL team to permanently cease operations and not be included in the lineage of any current franchise team.

text: Although the NFL rapidly grew more prosperous during the latter part of the 1950s, (especially after the success of "The Greatest Game Ever Played" - the 1958 championship game in old Yankee Stadium between the vaunted New York Giants versus the developing Colts leading to a later profitable nationwide television contract), the fiasco in Dallas left the NFL leery of further expansion. Unable to persuade other NFL owners to reconsider, Texas oil scion Lamar Hunt with others, founded the American Football League as a direct competitor to the older NFL. When Hunt's new Dallas Texans were announced as charter members of the new league, the NFL quickly reconsidered its position on expansion and made a second venture into Dallas in 1960, establishing what would become a more successful and later world-wide famous team, the Dallas Cowboys, briefly known in the beginning as the Dallas Rangers. A minor league baseball team of that same name was expected to disband, but didn't and the "Cowboys" name was later adopted for the NFL team in mid-March 1960.[8] Both franchises shared the Cotton Bowl (also the home of Southern Methodist University's (SMU) Mustangs) stadium for their first three seasons.[9] The new AFL team moved after winning the 1962 AFL Championship in double overtime and became the Kansas City Chiefs for its fourth season in 1963.

text: The "Texans" name has since been revived by the NFL for the current Houston Texans, an expansion team in 2002, which replaced the earlier Houston Oilers a charter AFL franchise which moved to Nashville, Tennessee as the renamed Tennessee Titans.

text: Notable players[edit]

text: Pro Football Hall of Fame[edit]

text:
Art Donovan (1968 inductee)
Gino Marchetti (1972 inductee)
Les Richter (2011 inductee)

tag: ul

text: Others[edit]

text:
Jack Adkisson, more famous as professional wrestler - Fritz Von Erich
Joe Campanella, as Baltimore Colts' general manager in 1967[10]
Brad Ecklund
Weldon Humble
Chuck Ortmann
George Taliaferro
Frank Tripucka
Buddy Young
George Young, Baltimore high school and NFL coach with the Baltimore Colts, Miami Dolphins and general manager of the New York Giants, then later NFL executive staff.

text: First round draft selection[edit]

text:
Les Richter, Guard, California
(Pick was actually made by the New York Yanks on January 17, and the Yanks picks were given to Dallas.)

text: Season-by-season[edit]

text:
Year
W
L
T
Finish
Coach

1952
1
11
0
6th National
Jim Phelan

tag: table

text: 1952 results[edit]

text:
Week
Day & Date
Opponent
W-L-T
Score
Venue
Record

1
Sun 9/28/1952
New York Giants
L
24–6
Cotton Bowl
0–1–0

2
Sun 10/5/1952
San Francisco 49ers
L
37–14
Cotton Bowl
0–2–0

3
Sun 10/12/1952
Chicago Bears
L
38–20
Wrigley Field
0–3–0

4
Sat Night 10/18/1952
Green Bay Packers
L
24–14
Cotton Bowl
0–4–0

5
Sun 10/26/1952
San Francisco 49ers
L
48–21
Kezar Stadium
0–5–0

6
Sun 11/2/1952
Los Angeles Rams
L
42–20
Los Angeles Memorial Coliseum
0–6–0

7
Sun 11/9/1952
Los Angeles Rams
L
27–6
Cotton Bowl
0–7–0

8
Sun 11/16/1952
Detroit Lions
L
43–13
Briggs Stadium
0–8–0

9
Sun 11/23/1952
Green Bay Packers
L
42–14
East Stadium
0–9–0

10
Thu 11/27/1952
Chicago Bears
W
27–23
Rubber Bowl (Akron, Ohio) ^
1–9–0

11
Sun 12/7/1952
Philadelphia Eagles
L
38–21
Shibe Park
1–10–0

12
Sat 12/13/1952
Detroit Lions
L
41–6
Briggs Stadium ^
1–11–0

text: ^ moved from Dallas


document_title: Harry Potter (film series)

question_text: what is the 4th movie of harry potter called

question_tokens: what is the 4th movie of harry potter called

text: Harry Potter (film series)

text: Origins

text: Late in 1997, film producer David Heyman's London offices received a copy of the first book in what would become Rowling's series of seven Harry Potter novels. The book, Harry Potter and the Philosopher's Stone, was relegated to a low-priority bookshelf, where it was discovered by a secretary who read it and gave it to Heyman with a positive review. Consequently, Heyman, who had originally disliked "the rubbish title", read the book himself. Highly impressed by Rowling's work, he began the process that led to one of the most successful cinematic franchises of all time.[11]

text: Heyman's enthusiasm led to Rowling's 1999 sale of the film rights for the first four Harry Potter books to Warner Bros. for a reported £1 million (US$2,000,000).[12] A demand Rowling made was that the principal cast be kept strictly British, allowing nevertheless for the inclusion of many Irish actors, such as Richard Harris as Dumbledore, and for casting of French and Eastern European actors in Harry Potter and the Goblet of Fire where characters from the book are specified as such.[13] Rowling was hesitant to sell the rights because she "didn't want to give them control over the rest of the story" by selling the rights to the characters, which would have enabled Warner Bros. to make non-author-written sequels.[14]

text: Although Steven Spielberg initially negotiated to direct the first film, he declined the offer.[15] Spielberg wanted the adaptation to be an animated film, with American actor Haley Joel Osment providing Harry Potter's voice.[16][not in citation given] Spielberg contended that, in his opinion, there was every expectation of profit in making the film. He claims that making money would have been like "shooting ducks in a barrel. It's just a slam dunk. It's just like withdrawing a billion dollars and putting it into your personal bank accounts. There's no challenge".[17] In the "Rubbish" Bin section of her website, Rowling maintains that she had no role in choosing directors for the films, writing "Anyone who thinks I could (or would) have 'veto-ed' him [Spielberg] needs their Quick-Quotes Quill serviced."[18]

text: After Spielberg left, conversations began with other directors, including Chris Columbus, Jonathan Demme, Terry Gilliam, Mike Newell, Alan Parker, Wolfgang Petersen, Rob Reiner, Tim Robbins, Brad Silberling, and Peter Weir.[19] Petersen and Reiner both pulled out of the running in March 2000.[20] It was then narrowed down to Columbus, Gilliam, Parker, and Silberling.[21] Rowling's first choice was Terry Gilliam.[22] However, on 28 March 2000 Columbus was appointed as director of the film, with Warner Bros. citing his work on other family films such as Home Alone and Mrs. Doubtfire as influences for their decision.[23]

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

text: Steve Kloves was selected to write the screenplay for the first film. He described adapting the book as "tough" since it did not "lend itself to adaptation as well as the next two books". Kloves was sent a "raft" of synopses of books proposed as film adaptations, with Harry Potter being the only one that jumped out at him. He went out and bought the book, becoming an instant fan. When speaking to Warner Bros. he stated that the film had to be British and true to the characters.[24] David Heyman was confirmed to produce the film.[23] Rowling received a large amount of creative control for the film, an arrangement that Columbus did not mind.[25]

text: Warner Bros. had initially planned to release the first film over the 4 July 2001 weekend, making for such a short production window that several of the originally proposed directors had withdrawn themselves from contention. Eventually, due to time constraints, the date was put back to 16 November 2001.[26]

text: Casting the roles of Harry, Ron, and Hermione

text: In 2000, after a seven-month search, lead actor Daniel Radcliffe was discovered by producer David Heyman and writer Steve Kloves seated just behind them in a theatre. In Heyman's own words, "There sitting behind me was this boy with these big blue eyes. It was Dan Radcliffe. I remember my first impressions: He was curious and funny and so energetic. There was real generosity too, and sweetness. But at the same time he was really voracious and with hunger for knowledge of whatever kind."[11]

text: Radcliffe had already established himself as an actor in the 1999 BBC television production of David Copperfield in which he played the title role's childhood years. Heyman persuaded Radcliffe's parents to allow him to audition for the part of Harry Potter, which involved Radcliffe being filmed.[11] (This screen test footage was released via the first set of Ultimate Editions in 2009.)[27] Rowling was enthusiastic after viewing Radcliffe's filmed test, saying she didn't think there was a better choice for the part of Harry Potter.[11][28]

text: Also in 2000, the then unknown British actors Emma Watson and Rupert Grint were selected from thousands of auditioning children to play the roles of Hermione Granger and Ron Weasley, respectively. Their only previous acting experience was in school plays. Grint was eleven years old and Watson ten at the time they were cast.[29]

text: Los Angeles Times writer Geoff Boucher, who conducted the above-mentioned interview with Heyman, added that the casting of the three major roles "is especially impressive in hindsight. The trio's selection was arguably one of the best show-business decisions over the past decade... they have shown admirable grace and steadiness in the face of teen superstardom."[11][28]

text: Production

text: Filming of the series began at Leavesden Studios, Hertfordshire, England, in September 2000 and ended in December 2010, with post-production on the final film lasting until summer 2011.[6] Leavesden Studios was the main base for filming Harry Potter, and it opened to the public as a studio tour in 2012 (renamed as Warner Bros. Studios, Leavesden).[30]

text:
Motion Picture
Director
Writer
Producer(s) [n 1]
Composer
Novel by J. K. Rowling

Harry Potter and the Philosopher's Stone
Chris Columbus
Steve Kloves
David Heyman
John Williams
Harry Potter and the Philosopher's Stone

Harry Potter and the Chamber of Secrets
Harry Potter and the Chamber of Secrets

Harry Potter and the Prisoner of Azkaban
Alfonso Cuarón
Chris Columbus, David Heyman & Mark Radcliffe
Harry Potter and the Prisoner of Azkaban

Harry Potter and the Goblet of Fire
Mike Newell
David Heyman
Patrick Doyle
Harry Potter and the Goblet of Fire

Harry Potter and the Order of the Phoenix
David Yates
Michael Goldenberg
David Heyman & David Barron
Nicholas Hooper
Harry Potter and the Order of the Phoenix

Harry Potter and the Half-Blood Prince
Steve Kloves
Harry Potter and the Half-Blood Prince

Harry Potter and the Deathly Hallows – Part 1
David Heyman, David Barron & J. K. Rowling
Alexandre Desplat
Harry Potter and the Deathly Hallows

Harry Potter and the Deathly Hallows – Part 2

text: David Heyman produced all the films in the series with his production company Heyday Films, while David Barron joined the series as an executive producer on Chamber of Secrets and Goblet of Fire. Barron was later appointed producer on the last four films. Chris Columbus was an executive producer on the first two films alongside Mark Radcliffe and Michael Barnathan, but he became a producer on the third film alongside Heyman and Radcliffe. Other executive producers include Tanya Seghatchian and Lionel Wigram. J. K. Rowling, author of the series, was asked to become a producer on Goblet of Fire but declined. She subsequently accepted the role on the two-part Deathly Hallows.[31]

text: Heyday Films and Columbus' company 1492 Pictures collaborated with Duncan Henderson Productions in 2001, Miracle Productions in 2002, and P of A Productions in 2004. Even though Prisoner of Azkaban was the final film produced by 1492 Pictures, Heyday Films continued with the franchise and collaborated with Patalex IV Productions in 2005. The sixth film in the series, Half-Blood Prince, was the most expensive film to produce as of 2009[update].

text: Warner Bros. split the seventh and final novel in the series, Deathly Hallows, into two cinematic parts. The two parts were filmed back-to-back from early 2009 to summer 2010, with the completion of reshoots taking place on 21 December 2010; this marked the end of filming Harry Potter. Heyman stated that Deathly Hallows was "shot as one film" but released in two feature-length parts.[32]

text: Tim Burke, the visual effects supervisor of the series, said of the production on Harry Potter, "It was this huge family; I think there were over 700 people working at Leavesden, an industry in itself." David Heyman said, "When the first film opened, no way did I think we'd make eight films. That didn't seem feasible until after we'd done the fourth." Nisha Parti, the production consultant on the first film, said that Heyman "made the first film very much the way he felt the studio Warner Bros. wanted to make it." After the film's success, Heyman was given "more freedom".[33]

text: One of the aims of the filmmakers from the beginning of production was to develop the maturity of the films. Chris Columbus stated, "We realised that these movies would get progressively darker. Again, we didn't know how dark but we realised that as the kids get older, the movies get a little edgier and darker."[34] This transpired with the succeeding three directors who would work on the series in the following years, with the films beginning to deal with issues such as death, betrayal, prejudice, and political corruption as the series developed narratively and thematically.[5][35]

text: Directors

text: After Chris Columbus had finished working on Harry Potter and the Philosopher's Stone, he was hired to direct the second film, Harry Potter and the Chamber of Secrets. The production started within a week after the release of the first film. Columbus was set to direct all entries in the series,[36] but he did not want to return for the third film, Harry Potter and the Prisoner of Azkaban, claiming he was "burned out".[37] He moved to the position of producer, while Alfonso Cuarón was approached for the role of director. He was initially nervous about directing the instalment since he had not read any of the books or seen the films. After reading the series, he changed his mind and signed on to direct since he had immediately connected to the story.[38]

text: Because Cuarón decided not to direct the fourth instalment, Harry Potter and the Goblet of Fire, a new director had to be selected.[39] Mike Newell was chosen to direct the film, but he declined to direct the next film, Harry Potter and the Order of the Phoenix, which was given to David Yates, who also directed Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows, becoming the only director to helm more than one film since Chris Columbus.

text: Chris Columbus said his vision of the first two films was of a "golden storybook, an old-fashioned look", while Alfonso Cuarón changed the visual tone of the series, desaturated the colour palette, and expanded the landscape around Hogwarts.[34][39] Mike Newell decided to direct the fourth film as a "paranoid thriller", while David Yates wanted to "bring a sense of jeopardy and character to the world".[40][41] Cuarón, Newell, and Yates have said that their challenge was striking a balance between making the films according to their individual vision, while working within a cinematic world already established by Columbus.[39][40][41]

text: David Heyman commented on the "generosity of the directors" by revealing that "Chris spent time with Alfonso, Alfonso spent time with Mike and Mike spent time with David, showing him an early cut of the film, talking through what it means to be a director and how they went about [making the films]."[42]

text: David Heyman also said, "I suppose Chris Columbus was the most conservative choice from the studio's point of view. But he expressed real passion."[33] Producer Tanya Seghatchian said they were "more adventurous" in choosing a director for the third film and went straight to Alfonso Cuarón.[33] Mike Newell became the first British director of the series when he was chosen for the fourth film; Newell was considered to direct the first film before he dropped out.[33] David Yates directed the final films after David Heyman thought him capable of handling the edgy, emotional, and political material of the later novels.[43]

text: All the directors have been supportive of each other. Chris Columbus praised the character development in the films, while Alfonso Cuarón admired the "quiet poetry" of David Yates' films.[34][39] Mike Newell noted that each director had a different heroism, and David Yates views the first four films "respectfully and enjoy[s] them."[40][41] Daniel Radcliffe said Yates "took the charm of the films that Chris made and the visual flair of everything that Alfonso did and the thoroughly British, bombastic nature of the film directed by Mike Newell" and added "his own sense" of realism.[44]

text: Scripts

text: Steve Kloves wrote the screenplays for all but the fifth film, which was penned by Michael Goldenberg. Kloves had direct assistance from J.K. Rowling, though she allowed him what he described as "tremendous elbow room". Rowling asked Kloves to remain faithful to the spirit of the books; thus, the plot and tone of each film and its corresponding book are virtually the same, albeit with some changes and omissions for purposes of cinematic style, time, and budget constraints. Michael Goldenberg also received input from Rowling during his adaptation of the fifth novel; Goldenberg was originally considered to adapt the first novel before the studio chose Kloves.[45]

text: In a 2010 interview, David Heyman briefly explained the book-to-film transition. He commented on Rowling's involvement in the series, stating that she understood that "books and films are different" and was "the best support" a producer could have. Rowling had overall approval on the scripts, which were viewed and discussed by the director and the producers. Heyman also said that Kloves was the "key voice" in the process of adapting the novels and that certain aspects from the books needed to have been excluded from the scripts due to the filmmakers' decision to keep the main focus on Harry's journey as a character, which would ultimately give the films a defined structure. Heyman mentioned that some fans "don't necessarily understand the adaptation process" and that the filmmakers would have loved to "have everything" from the books in the films but noted that it was not possible since they had "neither time nor cinematic structure" to do so. He finished by saying that adapting a novel to the screen is "a really considered process."[46]

text: Because the films were being made as the novels were being published, the filmmakers had no idea of the story's outcome until the release of the final novel in 2007. Kloves spoke of his relationship with Rowling when adapting the novels by saying, "The thing is about Jo, which is remarkable for someone who had no experience with the filmmaking process, was her intuition. We had a conversation the very first day I met her where she said, 'I know the movies can't be the books... because I know what's coming and it's impossible to fully dramatise on screen what I'm going to write. But I just ask you to be true to the characters; that's all I care about.'"[47] Kloves also said, "I don't know what compelled me to say this [to Rowling], but I said, 'I've just got to warn you my favourite character is not Harry. My favourite character is Hermione.' And I think for some weird reason, from that moment on, she sort of trusted me."[47]

text: Cast and crew

text: Aside from the three lead actors, other notable cast members include Robbie Coltrane as Rubeus Hagrid, Tom Felton as Draco Malfoy, Alan Rickman as Severus Snape, and Dame Maggie Smith as Minerva McGonagall. Richard Harris, who played the role of Professor Albus Dumbledore, died on 25 October 2002 causing the role to be re-cast for the third instalment, Harry Potter and the Prisoner of Azkaban. David Heyman and director Alfonso Cuarón chose Michael Gambon to portray the character of Dumbledore, which he did for all succeeding films. Notable recurring cast members include Helena Bonham Carter as Bellatrix Lestrange, Warwick Davis as Filius Flitwick, Ralph Fiennes as Lord Voldemort, Brendan Gleeson as Alastor Moody, Richard Griffiths as Vernon Dursley, Jason Isaacs as Lucius Malfoy, Gary Oldman as Sirius Black, Fiona Shaw as Petunia Dursley, Timothy Spall as Peter Pettigrew, David Thewlis as Remus Lupin, Emma Thompson as Sybill Trelawney, Mark Williams as Arthur Weasley, and Julie Walters as Molly Weasley.

text: The series has seen many returning crew members from various departments, including Tim Burke, visual effects supervisor; Peter Doyle, digital film colourist; Nick Dudman, make-up and creature effects designer; David Holmes, stunt double; Amanda Knight, make-up artist; Stephenie McMillan, set designer; Greg Powell, stunt coordinator; Jany Temime, costume designer; and Fiona Weir, casting director.

text: Set design

text: The production designer for all eight films is Stuart Craig. Assisted by Stephenie McMillan, Craig has created iconic sets pieces including the Ministry of Magic, the Chamber of Secrets, Malfoy Manor, and the layout for the CGI Horcrux Cave. Because the novels were being published as the films were being made, Craig was required to rebuild some sets for future films and alter the design of Hogwarts.[50]

text: He said, "In the early days, every time you saw the exterior of Hogwarts, it was a physical miniature," which was made by craftsmen and occupied a large sound stage.[52][53] "We ended up with a profile of how Hogwarts looked, a skyline that actually I didn't design, and it wasn't always satisfactory, and as all the novels got written and movies got made there were new requirements [for buildings]. The [Astronomy Tower] definitely wasn't there originally, and so we were able to add that substantial piece. And in the last film, we needed an arena for the battle for Hogwarts – the big courtyard outside doubled in size, and if you look at the first movie it wasn't there at all. There were quite some liberties taken with the continuity of Hogwarts."[54] In the last film, Craig used a digital model instead of a miniature to "embrace the latest technology".[53]

text: On the method of creating the sets, Craig said he often started by sketching ideas onto a blank sheet of paper.[55] Stephanie McMillan also said that "each film always had plenty of new challenges," citing the changes in visual style between directors and cinematographers as an example, along with the developing story in the novels. Due to J.K. Rowling's descriptions of various settings in the novels, Craig noted his "responsibility was to place it together".[56]

text: Craig commented on his experience working in the studio environment: "I'm the production designer, but on a big movie like Harry Potter I may be responsible for 30 to 35 people; from the supervising art director, and a team of art directors and assistants, to draughtsmen and junior draughtsmen, and then on to model makers, sculptors and scenic artists." He said, "Ten years ago, all the Harry Potter drawings were done in pencil. I would take my roughs and plans and sections and give them to a professional architectural illustrator, who would create concept art using pencil and colour wash on watercolour paper." He said the process changed slightly throughout the years due to, what he called, the "digital revolution" of making films.[53]

text: When filming of the series was completed, some of Craig's sets had to be rebuilt or transported for them to be displayed at the Warner Bros. studio tour.[52]

text: Cinematography

text: Six directors of photography worked on the series: John Seale on the first film, Roger Pratt on the second and fourth, Michael Seresin on the third, Sławomir Idziak on the fifth, Bruno Delbonnel on the sixth, and Eduardo Serra on the seventh and eighth. Delbonnel was considered to return for both parts of Deathly Hallows, but he declined, stating that he was "scared of repeating" himself.[57] Delbonnel's cinematography in Half-Blood Prince gained the series its only Academy Award nomination for Best Cinematography. As the series progressed, each cinematographer faced the challenge of shooting and lighting older sets (which had been around since the first few films) in unique and different ways.[58] Chris Columbus said the series' vivid colouring decreased as each film was made.[34][59]

text: Michael Seresin commented on the change of visual style from the first two films to Prisoner of Azkaban: "The lighting is moodier, with more shadowing and cross-lighting." Seresin and Alfonso Cuarón moved away from the strongly coloured and brightly lit cinematography of the first two films, with dimmer lighting and a more muted colour palette being utilised for the succeeding five films.[60] After comparing a range of digital cameras with 35 mm film, Bruno Delbonnel decided to shoot the sixth movie, Half-Blood Prince, on film rather than the increasingly popular digital format. This decision was kept for the two-part Deathly Hallows with Eduardo Serra, who said that he preferred to work with film because it was "more technically accurate and dependable".[61]

text: Because the majority of Deathly Hallows takes place in various settings away from Hogwarts, David Yates wanted to "shake things up" by using different photographic techniques such as using hand-held cameras and very wide camera lenses.[62] Eduardo Serra said, "Sometimes we are combining elements shot by the main unit, a second unit, and the visual effects unit. You have to know what is being captured – colours, contrast, et cetera – with mathematical precision." He noted that with Stuart Craig's "amazing sets and the story", the filmmakers could not "stray too far from the look of the previous Harry Potter films."[61][63]

text: Editing

text: Along with continuous changes in cinematographers, there have been five film editors to work in post-production on the series: Richard Francis-Bruce edited the first instalment, Peter Honess the second, Steven Weisberg the third, Mick Audsley the fourth, and Mark Day films five through eight.

text: Music

text: The Harry Potter series has had four composers. John Williams scored the first three films: Philosopher's Stone, Chamber of Secrets, and Prisoner of Azkaban. However, the second entry was adapted and conducted by William Ross due to Williams's conflicting commitments. Williams also created Hedwig's Theme, which is used in every film in the series.

text: After Williams left the series to pursue other projects, Patrick Doyle scored the fourth entry, Goblet of Fire, which was directed by Mike Newell, with whom Doyle had worked previously. In 2006, Nicholas Hooper started work on the score to Order of the Phoenix by reuniting with director David Yates. Hooper also composed the soundtrack to Half-Blood Prince but decided not to return for the final films.

text: In January 2010, Alexandre Desplat was confirmed to compose the score for Harry Potter and the Deathly Hallows – Part 1.[64] The film's orchestration started in the summer with Conrad Pope, the orchestrator on the first three Harry Potter films, collaborating with Desplat. Pope commented that the music "reminds one of the old days."[65] Desplat returned to score Harry Potter and the Deathly Hallows – Part 2 in 2011.[66]

text: Director David Yates stated that he wanted John Williams to return to the series for the final installment, but their schedules did not align due to the urgent demand for a rough cut of the film.[67] The final recording sessions of Harry Potter took place on 27 May 2011 at Abbey Road Studios with the London Symphony Orchestra, orchestrator Conrad Pope, and composer Alexandre Desplat.[68]

text: Doyle, Hooper, and Desplat introduced their own personal themes to their respective soundtracks, while keeping a few of John Williams's themes.

text: Visual effects

text: There have been many visual effects companies to work on the Harry Potter series. Some of these include Rising Sun Pictures, Double Negative, Cinesite, Framestore, and Industrial Light & Magic. The latter three have worked on all the films in the series, while Double Negative and Rising Sun Pictures began their commitments with Prisoner of Azkaban and Goblet of Fire, respectively. Framestore contributed by developing many memorable creatures and sequences to the series.[69] Cinesite was involved in producing both miniature and digital effects for the films.[70] Producer David Barron said that "Harry Potter created the UK effects industry as we know it. On the first film, all the complicated visual effects were done on the [US] west coast. But on the second, we took a leap of faith and gave much of what would normally be given to Californian vendors to UK ones. They came up trumps." Tim Burke, the visual effects supervisor, said many studios "are bringing their work to UK effects companies. Every facility is fully booked, and that wasn't the case before Harry Potter. That's really significant."[33]

text: Final filming

text: On 12 June 2010, filming of the Deathly Hallows – Part 1 and Deathly Hallows – Part 2 was completed with actor Warwick Davis stating on his Twitter account, "The end of an Era – today is officially the last day of principal photography on 'Harry Potter' – ever. I feel honoured to be here as the director shouts cut for the very last time. Farewell Harry & Hogwarts, it's been magic!".[71] However, reshoots of the epilogue scene were confirmed to begin in the winter of 2010. The filming was completed on 21 December 2010, marking the official closure of filming the Harry Potter franchise.[72] Exactly four years earlier on that day, author J. K. Rowling's official website revealed the title of the final novel in the series – Harry Potter and the Deathly Hallows.[73]

text: Films

text: Harry Potter and the Philosopher's Stone (2001)

text: Harry Potter is an orphaned boy brought up by his unkind Muggle (non-magical) aunt and uncle. At the age of eleven, half-giant Rubeus Hagrid informs him that he is actually a wizard and that his parents were murdered by an evil wizard named Lord Voldemort. Voldemort also attempted to kill one-year-old Harry on the same night, but his killing curse mysteriously rebounded and reduced him to a weak and helpless form. Harry became extremely famous in the Wizarding World as a result. Harry begins his first year at Hogwarts School of Witchcraft and Wizardry and learns about magic. During the year, Harry and his friends Ron Weasley and Hermione Granger become entangled in the mystery of the Philosopher's Stone which is being kept within the school.

text: Harry Potter and the Chamber of Secrets (2002)

text: Harry, Ron, and Hermione return to Hogwarts for their second year, which proves to be more challenging than the last. The Chamber of Secrets has been opened, leaving students and ghosts petrified by an unleashed monster. Harry must face up to claims that he is the heir of Salazar Slytherin (founder of the Chamber), learn that he can speak Parseltongue, and also discover the properties of a mysterious diary, only to find himself trapped within the Chamber of Secrets itself.

text: Harry Potter and the Prisoner of Azkaban (2004)

text: Harry Potter's third year sees the boy wizard, along with his friends, attending Hogwarts School once again. Professor R. J. Lupin joins the staff as Defence Against the Dark Arts teacher, while convicted murderer Sirius Black escapes from Azkaban Prison. The Ministry of Magic entrusts the Dementors of Azkaban to guard Hogwarts from Black. Harry learns more about his past and his connection with the escaped prisoner.

text: Harry Potter and the Goblet of Fire (2005)

text: During Harry's fourth year, Hogwarts plays host to a legendary event: the Triwizard Tournament. Three European schools participate in the tournament, with three 'champions' representing each school in the deadly tasks. The Goblet of Fire chooses Fleur Delacour, Viktor Krum, and Cedric Diggory to compete against each other. However, curiously, Harry's name is also produced from the Goblet thus making him a fourth champion, which results in a terrifying encounter with a reborn Lord Voldemort.

text: Harry Potter and the Order of the Phoenix (2007)

text: Harry's fifth year begins with him being attacked by Dementors in Little Whinging. Later, he finds out that the Ministry of Magic is in denial of Lord Voldemort's return. Harry is also beset by disturbing and realistic nightmares, while Professor Umbridge, a representative of Minister for Magic Cornelius Fudge, is the new Defence Against the Dark Arts teacher. Harry becomes aware that Voldemort is after a prophecy which reveals: "neither can live while the other survives". The rebellion involving the students of Hogwarts, secret organisation Order of the Phoenix, the Ministry of Magic, and the Death Eaters begins.

text: Harry Potter and the Half-Blood Prince (2009)

text: In Harry's sixth year at Hogwarts, Lord Voldemort and his Death Eaters are increasing their terror upon the Wizarding and Muggle worlds. Headmaster Albus Dumbledore persuades his old friend Horace Slughorn to return to Hogwarts as a professor as there is a vacancy to fill. There is a more important reason, however, for Slughorn's return. While in a Potions lesson, Harry takes possession of a strangely annotated school textbook, inscribed 'This is the property of the Half-Blood Prince'. Draco Malfoy struggles to carry out a deed presented to him by Voldemort. Meanwhile, Dumbledore and Harry secretly work together to discover the method on how to destroy the Dark Lord once and for all.

text: Harry Potter and the Deathly Hallows – Part 1 (2010)

text: After unexpected events at the end of the previous year, Harry, Ron, and Hermione are entrusted with a quest to find and destroy Lord Voldemort's secret to immortality – the Horcruxes. It is supposed to be their final year at Hogwarts, but the collapse of the Ministry of Magic and Voldemort's rise to power prevents them from attending. The trio undergo a long journey with many obstacles in their path including Death Eaters, Snatchers, the mysterious Deathly Hallows, and Harry's connection with the Dark Lord's mind becoming ever stronger.

text: Harry Potter and the Deathly Hallows – Part 2 (2011)

text: After destroying one Horcrux and discovering the significance of the three Deathly Hallows, Harry, Ron and Hermione continue to seek the other Horcruxes in an attempt to destroy Voldemort, who has now obtained the powerful Elder Wand. The Dark Lord discovers Harry's hunt for Horcruxes and launches an attack on Hogwarts School, where the trio return for one last stand against the dark forces that threaten the Wizarding and Muggle worlds.

text: Release

text: The rights for the first four novels in the series were sold to Warner Bros. for £1,000,000 by J.K. Rowling. After the release of the fourth book in July 2000, the first film, Harry Potter and the Philosopher's Stone, was released on 16 November 2001. In its opening weekend, the film grossed $90 million in the United States alone, which set a record opening worldwide. The succeeding three motion picture adaptations followed suit in financial success, while garnering positive reviews from fans and critics. The fifth film, Harry Potter and the Order of the Phoenix, was released by Warner Bros. on 11 July 2007 in English-speaking countries, except for the UK and Ireland, which released the movie on 12 July.[74] The sixth, Harry Potter and the Half-Blood Prince, was released on 15 July 2009 to critical acclaim and finished its theatrical run ranked as the number two grossing film of 2009 on the worldwide charts.

text: The final novel, Harry Potter and the Deathly Hallows, was split into two cinematic parts: Part 1 was released on 19 November 2010, and Part 2, the conclusion to both the final film and the series, was released on 15 July 2011.[75] Part 1 was originally scheduled to be released in 3D and 2D,[76] but due to a delay in the 3D conversion process, Warner Bros. released the film only in 2D and IMAX cinemas. However, Part 2 was released in 2D and 3D cinemas as originally planned.[77]

text: The television broadcast rights for the series in the United States are currently held by Disney–ABC Domestic Television, which typically airs the films on the Freeform network. Disney's contract is expected to end in June 2018, after which, NBCUniversal will take control of the rights, after their deal with Warner Bros. was made in August 2016.[78] The film series has accrued nearly 1.3 billion viewings since their television debut—the highest-watched franchise in television broadcast history.[79]

text: Reception

text: Critical response

text: All the films have been a success financially and critically, making the franchise one of the major Hollywood "tent-poles" akin to James Bond, Star Wars, Indiana Jones and Pirates of the Caribbean. The series is noted by audiences for growing visually darker and more mature as each film was released.[34][80][81][82][83] However, opinions of the films generally divide book fans, with some preferring the more faithful approach of the first two films and others preferring the more stylised character-driven approach of the later films.

text: Some also feel the series has a "disjointed" feel due to the changes in directors, as well as Michael Gambon's interpretation of Albus Dumbledore differing from that of Richard Harris. Author J. K. Rowling has been constantly supportive of the films,[84][85][86] and evaluated Deathly Hallows as her favourite one in the series. She wrote on her website of the changes in the book-to-film transition, "It is simply impossible to incorporate every one of my storylines into a film that has to be kept under four hours long. Obviously films have restrictions – novels do not have constraints of time and budget; I can create dazzling effects relying on nothing but the interaction of my own and my readers' imaginations".[87]

text: Critical and public response

text:
Motion Picture
Rotten Tomatoes
Metacritic
CinemaScore

Harry Potter and the Philosopher's Stone
80% (193 reviews)[88]
64 (35 reviews)[89]
A[90]

Harry Potter and the Chamber of Secrets
82% (232 reviews)[91]
63 (35 reviews)[92]
A+[90]

Harry Potter and the Prisoner of Azkaban
91% (253 reviews)[93]
82 (40 reviews)[94]
A[90]

Harry Potter and the Goblet of Fire
88% (248 reviews)[95]
81 (38 reviews)[96]
A[90]

Harry Potter and the Order of the Phoenix
78% (245 reviews)[97]
71 (37 reviews)[98]
A−[90]

Harry Potter and the Half-Blood Prince
84% (269 reviews)[99]
78 (36 reviews)[100]
A−[90]

Harry Potter and the Deathly Hallows – Part 1
78% (265 reviews)[101]
65 (42 reviews)[102]
A[90]

Harry Potter and the Deathly Hallows – Part 2
96% (315 reviews)[103]
87 (41 reviews)[104]
A[90]

text: Accolades

text: At the 64th British Academy Film Awards in February 2011, J. K. Rowling, David Heyman, David Barron, David Yates, Alfonso Cuarón, Mike Newell, Rupert Grint and Emma Watson collected the Michael Balcon Award for Outstanding British Contribution to Cinema for the series.[105][106]

text: In addition, the American Film Institute recognised the entire series with a Special Award at the American Film Institute Awards in 2011. Special awards "are given to outstanding achievements in the moving image that do not fit into AFI's criteria for the other honorees." [107] In its press release, the Institute referred to the films as "a landmark series; eight films that earned the trust of a generation who wished for the beloved books of J.K. Rowling to come to life on the silver screen. The collective wizardry of an epic ensemble gave us the gift of growing older with Harry, Ron and Hermione as the magic of Hogwarts sprung from the films and into the hearts and minds of Muggles around the world." [107]

text: Harry Potter was also recognised by the BAFTA Los Angeles Britannia Awards, with David Yates winning the Britannia Award for Artistic Excellence in Directing for his four Harry Potter films.[108][109]

text:
Motion Picture
Academy Award nomination
Academy Award nominee
Academy Award ceremony

Harry Potter and the Philosopher's Stone
Best Art Direction
Best Costume Design
Best Original Score
Stuart Craig and Stephenie McMillan
Judianna Makovsky
John Williams
74th Academy Awards

Harry Potter and the Prisoner of Azkaban
Best Original Score
Best Visual Effects
John Williams
Roger Guyett, Tim Burke, John Richardson and Bill George
77th Academy Awards

Harry Potter and the Goblet of Fire
Best Art Direction
Stuart Craig and Stephenie McMillan
78th Academy Awards

Harry Potter and the Half-Blood Prince
Best Cinematography
Bruno Delbonnel
82nd Academy Awards

Harry Potter and the Deathly Hallows – Part 1
Best Art Direction
Best Visual Effects
Stuart Craig and Stephenie McMillan
Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi
83rd Academy Awards

Harry Potter and the Deathly Hallows – Part 2
Best Art Direction
Best Makeup
Best Visual Effects
Stuart Craig and Stephenie McMillan
Nick Dudman, Amanda Knight and Lisa Tomblin
Tim Burke, David Vickery, Greg Butler and John Richardson
84th Academy Awards

text: Six of the eight films were nominated for a total of 12 Academy Awards.

text: Some critics, fans, and general audiences have expressed disappointment that the Harry Potter series did not win any Oscars for its achievements. However, others have pointed out that certain films in the series had uneven reviews, in contrast to the three films of The Lord of the Rings, for example, which were all critically acclaimed. This has been partially attributed to the Harry Potter franchise going through several directors with their own styles in contrast to the Lord of the Rings trilogy, which was filmed in one massive undertaking by the same director, writer, and producer.[110][111]

text: Although not successful at the Oscars, the Harry Potter series has gained success in many other award ceremonies, including the annual Saturn Awards and Art Directors Guild Awards. The series has also gained a total of 24 nominations at the British Academy Film Awards presented at the annual BAFTAs, winning several, and 5 nominations at the Grammy Awards.

text: Philosopher's Stone achieved seven BAFTA Award nominations, including Best British Film and Best Supporting Actor for Robbie Coltrane.[112] The film was also nominated for eight Saturn Awards and won for its costumes design.[113] It was also nominated at the Art Directors Guild Awards for its production design[114] and received the Broadcast Film Critics Award for Best Live Action Family Film along with gaining two other nominations.[115]

text: Chamber of Secrets won the award for Best Live Action Family Film in the Phoenix Film Critics Society. It was nominated for seven Saturn Awards, including Best Director and Best Fantasy Film. The film was nominated for four BAFTA Awards and a Grammy Award for John Williams's score. Prisoner of Azkaban won an Audience Award, as well as Best Feature Film, at the BAFTA Awards. The film also won a BMI Film Music award along with being nominated at the Grammy Awards, Visual Effect Society Awards, and the Amanda Awards. Goblet of Fire won a BAFTA award for Best Production Design as well as being nominated at the Saturn Awards, Critic's Choice Awards, and the Visual Effects Society Awards.

text: Order of the Phoenix picked up three awards at the inaugural ITV National Movie Awards.[116] At the Empire Awards, David Yates won Best Director.[117] Composer Nicholas Hooper received a nomination for a World Soundtrack Discovery Award.[118] The film was nominated at the BAFTA Awards, but did not win for Best Production Design or Best Special Visual Effects.[119] Half-Blood Prince was nominated for BAFTA Awards in Production Design and Visual Effects,[120] and it was in the longlists for several other categories, including Best Supporting Actor for Alan Rickman.[121] Amongst other nominations and wins, the film also achieved Best Family Movie at the National Movie Awards as well as Best Live Action Family Film at the Phoenix Film Critics Society Awards, along with being nominated for Best Motion Picture at the Satellite Awards.

text: Deathly Hallows – Part 1 gained two nominations at the BAFTA Awards for Best Make-Up and Hair and Best Visual Effects, along with receiving nominations for the same categories at the Broadcast Film Critics Association Awards. Eduardo Serra's cinematography and Stuart Craig's production design were also nominated in various award ceremonies, and David Yates attained his second win at the Empire Awards, this time for Best Fantasy Film. He also obtained another Best Director nomination at the annual Saturn Awards, which also saw the film gain a Best Fantasy Film nomination.[122][123] Deathly Hallows – Part 2 was released to critical acclaim, gaining a mix of audience awards. Part 2 of Deathly Hallows was also recognised at the Saturn Awards as well as the BAFTA Awards, where the film achieved a win for Best Special Visual Effects.[124]

text: Box office performance

text: As of 2017[update], the Harry Potter film series is the 2nd highest-grossing film franchise of all time, with the eight films released grossing over $7.7 billion worldwide. Without adjusting for inflation, this is higher than the first 22 James Bond films and the six films in the Star Wars franchise.[125] Chris Columbus's Philosopher's Stone became the highest-grossing Harry Potter film worldwide upon completing its theatrical run in 2002, but it was eventually topped by David Yates's Deathly Hallows – Part 2, while Alfonso Cuarón's Prisoner of Azkaban grossed the least.[126][127][128][129]

text: Six films in the Harry Potter franchise — Harry Potter and the Prisoner of Azkaban, Harry Potter and the Goblet of Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows, Parts 1 & 2 — have to date grossed around $216 million in IMAX theaters worldwide.[130]

text:
Motion picture
Release date
Box office gross
Budget
Ref(s)

United Kingdom
USA & Canada
(approx. ticket sales)
Other countries
Worldwide

Harry Potter and the Philosopher's Stone
16 November 2001 (2001-11-16)
£66,096,060
$317,575,550
(55,976,200)
$657,179,821
$974,755,371
$125 million
[131][132][132][133][134]

Harry Potter and the Chamber of Secrets
14 November 2002 (2002-11-14)
£54,780,731
$261,988,482
(44,978,900)
$616,991,152
$878,979,634
$100 million
[133][134][135][136]

Harry Potter and the Prisoner of Azkaban
31 May 2004 (2004-05-31)
£45,615,949
$249,541,069
(40,183,700)
$547,147,480
$796,688,549
$130 million
[133][134][137]

Harry Potter and the Goblet of Fire
18 November 2005 (2005-11-18)
£48,328,854
$290,013,036
(45,188,100)
$606,898,042
$896,911,078
$150 million
[133][134][138][139]

Harry Potter and the Order of the Phoenix
11 July 2007 (2007-07-11)
£49,136,969
$292,004,738
(42,442,500)
$647,881,191
$939,885,929
$150 million
[133][134][140][141]

Harry Potter and the Half-Blood Prince
15 July 2009 (2009-07-15)
£50,713,404
$301,959,197
(40,261,200)
$632,457,290
$934,416,487
$250 million
[133][134][142][143]

Harry Potter and the Deathly Hallows – Part 1
19 November 2010 (2010-11-19)
£52,364,075
$295,983,305
(37,503,700)
$664,300,000
$960,283,305
Less than $250 million (official)
[133][134][144][145][146]

Harry Potter and the Deathly Hallows – Part 2
15 July 2011 (2011-07-15)
£73,094,187
$381,011,219
(48,046,800)
$960,500,000
$1,341,511,219
[134][146][147]

Total
£440,269,736
$7009239007659600000♠2,390,076,596
$7009533335497600000♠5,333,354,976
$7009772343157200000♠7,723,431,572
$1.155 billion
[148]

text: All-time rankings

text:
Motion picture
Rank
Ref(s)

All-time
(worldwide)
All-time
(United States)
All-time
(United Kingdom)
Yearly
(United States)
Yearly
(worldwide)
Opening day
(all-time)
Opening weekend
(all-time)

Philosopher's Stone
#29
#54
#9
#1
#1
#66
#55
[131]

Chamber of Secrets
#46
#90
#17
#4
#2
#81
#60
[133][135][136]

Prisoner of Azkaban
#62
#106
#33
#6
#2
#47
#49
[133]

Goblet of Fire
#42
#77
#28
#3
#1
#41
#40
[133][138][139]

Order of the Phoenix
#38
#73
#25
#5
#2
#34
#77
[133][140][141]

Half-Blood Prince
#39
#65
#24
#3
#2
#24
#75
[133][142][143]

Deathly Hallows – Part 1
#34
#68
#18
#5
#3
#22
#25
[133][144][145]

Deathly Hallows – Part 2
#8
#27
#7
#1
#1
#3
#8
[147][149]

text: Legacy and influence

text:
"Harry Potter was in the vanguard of a new approach to big-budget film-making. Most modern blockbuster franchises have two things in common: they are based on known properties such as books and comics, and they are steered by respected but little-known directors."

—The Economist[150]

tag: div

text: The Harry Potter films and their success have been retrospectively considered to have had a significant impact on the film industry. They are cited as having helped redefine the Hollywood blockbuster in the 21st century by initiating a shift toward established media franchises forming the basis of successful films. In the wake of the final film's release, Claudia Puig of USA Today wrote that the films "inspired every major studio to try to capture [its] alchemic formula, spawning a range of copycats and wannabes" and "also have shown Hollywood how to make a glossy blockbuster with an eye toward keeping costs down."[151] A 2009 article from The Economist argued that the films were "in the vanguard" of adaptations of established properties being the modern film franchise model, citing The Lord of the Rings, Spider-Man and The Dark Knight Trilogy as examples of successful film series that followed Harry Potter's suit.[150] Furthermore, the practice of splitting the finale of a film series into two back-to-back films began with the success of Deathly Hallows, and it would soon be replicated by The Hobbit: The Desolation of Smaug and The Battle of the Five Armies, The Twilight Saga: Breaking Dawn – Parts 1 and 2, The Hunger Games: Mockingjay – Parts 1 and 2, and Avengers: Infinity War and its untitled sequel.[152]

text: The films are also widely credited with singlehandedly signalling the popularity of films based on children's and young adult literature in the 2000s and 2010s, correlating with the book series' own literary influence. Costance Grady and Aja Romano, commenting on the whole Harry Potter franchise's legacy for Vox in light of its 20th anniversary, wrote that youth-targeted literature has since become "a go-to well of ideas for Hollywood," pointing to the successes of The Twilight Saga, The Hunger Games and The Divergent Series.[153]

text: The series has spawned a vast volume of fan fiction, with nearly 600 thousand inspired stories catalogued.[154] Youtube hosts many fan films, ranging from amateur productions to full length films.

text: Notes

text: Jump up ^ Not including executive producers.

tag: ol


document_title: No Regrets (The Walker Brothers album)

question_text: who played guitar on walker brothers no regrets

text: No Regrets (The Walker Brothers album)

text: Reception[edit]

text: No Regrets received mixed reviews from the majority of critics. Dave Thompson writing retrospectively for Allmusic praised the title track calling it "brilliant"[3] and "a gargantuan slab of maudlin sadness that wrung every last iota of pain from Scott's voice".[3] Thompson criticised the rest of the album saying it "stunk",[3] but did praise "He'll Break Your Heart" and "Burn Our Bridges".

text: Track listing[edit]

text: Side oneNo.TitleWriter(s)Length1."No Regrets"Tom Rush5:472."Hold an Old Friend's Hand"Donna Weiss3:473."Boulder to Birmingham"Bill Danoff, Emmylou Harris3:554."Walking in the Sun"Jeff Barry3:285."Lover's Lullaby"Janis Ian3:52

text: Side twoNo.TitleWriter(s)Length6."Got to Have You"Kris Kristofferson3:557."He'll Break Your Heart"Curtis Mayfield, Jerry Butler5:108."Everything That Touches You"Michael Kamen4:089."Lovers"Mickey Newbury3:0110."Burn Our Bridges"Jerry Ragovoy, Linda Laurie3:31

text: Personnel[edit]

text: Professional ratingsReview scoresSourceRatingAllmusic[3]

text:
John Walker, Judd Proctor, Len Walker, Scott Walker - acoustic guitar
Alan Parker - acoustic and electric guitar
Bones (Suzanne Lynch, Brigette du Doit, Janice Slater, Joy Yates) - backing vocals
Daryl Runswick - bass
Steve Gray - acoustic piano, string arrangements, conductor
Barry Morgan - drums
Dougie Wright - drums, percussion
Ritchy Hitchcock - electric guitar
B.J. Cole - pedal steel
David Katz Orchestra - orchestra
Chris Karan, Gary Walker - percussion
Dave MacRae - electric piano

text:
Phil Harding - engineer
Michael Joseph - photography

text: Charts[edit]

text:
Chart
Position

UK Album Chart[2]

49

text: Release details[edit]

text:
Country

Date

Label

Format

Catalog

United Kingdom

1975

GTO Records

Vinyl

GTLP 007

United Kingdom and Europe

1994

Sony Music Entertainment Inc.

CD

477354-10

Netherlands

1975

Polydor

Vinyl

2321 107