document_title: Dairy Queen

question_text: when was the first dairy queen blizzard made

text: Dairy Queen

text: History[edit]

text: The soft-serve formula was first developed in 1938 by Douds, Iowa-born John Fremont "J.F." "Grandpa" McCullough (1871‒1963)[8] and his son Alex. They convinced friend and loyal customer Sherb Noble to offer the product in his ice cream store in Kankakee, Illinois.[9] On the first day of sales, Noble dished out more than 1,600 servings of the new dessert within two hours.[10] Noble and the McCulloughs went on to open the first Dairy Queen store in 1940 in Joliet, Illinois. While this Dairy Queen has not been in operation since the 1950s, the building still stands at 501 N Chicago St. as a city-designated landmark.[11]

text: Since 1940, the chain has used a franchise system to expand its operations globally. In the US, the state with the most Dairy Queen restaurants is Texas.

text: International Dairy Queen, Inc. (IDQ) is the parent company of Dairy Queen. In the United States, it operates under American Dairy Queen Corp.[12][13] IDQ is a wholly owned subsidiary of Berkshire Hathaway.

text: At the end of fiscal year 2014, Dairy Queen reported over 6,400 stores in more than 25 countries; about 4,500 of its stores (approximately 70%) were located in the United States.[12][13][14]

text: DQ was an early pioneer of food franchising, expanding its 10 stores in 1941 to 100 by 1947, 1,446 in 1950, and 2,600 in 1955. The first store in Canada opened in Melville, Saskatchewan, in 1953.[15]

text: The red Dairy Queen symbol was introduced in 1958.

text: The company became International Dairy Queen, Inc. (IDQ) in 1962.

text: In 1987, IDQ bought the Orange Julius chain. IDQ was acquired by Berkshire Hathaway in 1998.[16]

text: Dairy Queens were a fixture of social life in small towns of the Midwestern and Southern United States during the 1950s and 1960s. In that role, they have often come to be referenced as a symbol of life in small-town America, as in Walter Benjamin at the Dairy Queen: Reflections at Sixty and Beyond by Larry McMurtry, Dairy Queen Days by Robert Inman, and Chevrolet Summers, Dairy Queen Nights by Bob Greene.

text: Stores[edit]

text: The company's stores are operated under several brands, all bearing the distinctive Dairy Queen logo and carrying the company's signature soft-serve ice cream (along with the trademark "curl"). In the 1970s, most restaurants were "Brazier" locations with a second floor for storage, recognizable for their red mansard roofs.

text: As of the end of 2014, Dairy Queen had more than 6,400 stores in 27 countries, including more than 1,400 locations outside the United States and Canada.[17]

text: The largest Dairy Queen in the United States is located in Bloomington, Illinois.[18] The busiest store in the United States is in Rosedale, Maryland.[19] The largest store in the world was built in Riyadh, Saudi Arabia.[20] The busiest store in the world is located in Charlottetown, Prince Edward Island, Canada.[19]

text: Standard stores[edit]

text: While some stores serve a very abbreviated menu primarily featuring DQ frozen treats and may be open only during spring and summer, the majority of DQ restaurants also serve hot food and are open all year.

text: So-called "Limited Brazier" locations may additionally offer hot dogs, barbecue beef (or pork) sandwiches, and in some cases french fries and chicken, but not hamburgers. Dairy Queen Full Brazier restaurants serve a normal fast-food menu featuring burgers, french fries, and grilled and crispy chicken in addition to frozen treats and hot dogs. Dairy Queen now offers happy hour. They offer certain items half off for a limited time.

text: In some locations built in the 1990s, the "Hot Eats, Cool Treats" slogan can be seen printed on windows or near the roof of the building. One such example was a former Dairy Queen Brazier location in Woodenville, Washington, where the slogan was printed near the tops of the windows. This location was converted into a Grill & Chill store around late 2016-2017.

text: DQ / Orange Julius[edit]

text: Also known as the "Treat Center" concept, an enhanced version of the original stores also serves drinks and foods from the Orange Julius menu. This was the company's preferred concept for new, small-scale locations, primarily in shopping mall food courts. Some early Treat Centers also included Karmelkorn. Since 2012, all Dairy Queen locations feature Orange Julius drinks.[21]

text: Dairy Queen Brazier[edit]

text: The name "Brazier" originated in 1957 when one of the company's franchisees, Jim Cruikshank, set out to develop the standardized food system. When he witnessed flames rising from an open charcoal grill (a brazier) in a New York eatery, he knew he had found the Brazier concept.

text: The "Brazier" name has been slowly phased out of signage and advertising since 1993, although it has not been removed from all existing signage, especially in many smaller towns and rural locations. Since the early 2000s, new or renovated locations which are similar to Brazier restaurants in terms of size and menu selection, but have been updated with the current logo and/or exterior, usually carry the name "DQ Restaurant", although the website's store locator still lists the stores that do not carry the "Grill & Chill" name as "Dairy Queen Brazier" and the smaller stores "Dairy Queen Ltd Brazier" and "Dairy Queen Stores".

text: However, the company website still considers their burger and hot dog lines as "Brazier Foods", according to the history section and some FAQ listed topics in the website.

text: DQ Grill and Chill[edit]

text: DQ Grill & Chill locations feature hot food, treats, table delivery and self-serve soft drinks. It is the new concept for new and renovated full-service restaurants. Stores are larger than older-style locations and feature a completely new store design. In most cases, they offer an expanded menu including breakfast, Grill Burgers, and grilled sandwiches, as well as limited table service (customers still place orders at the counter). They also contain self-serve soft drink fountains allowing free refills. Some of the older stores have upgraded to the new format. However, there are still older stores and stores that have not upgraded to the new format. In December 2001, Chattanooga, Tennessee was the site of the first two Dairy Queen Grill and Chill restaurants in the United States.[22][23][24] The nation's largest DQ Grill & Chill is located in Bloomington, Illinois.[25]

text: Texas Country Foods[edit]

text: Most locations in Texas, including those which otherwise resemble the Brazier or DQ Grill & Chill formats, use a separate hot food menu branded as Texas Country Foods. Among other differences, "Hungr-Buster" burgers are available in place of the Brazier and GrillBurger offerings. Other food offerings not found outside Texas include the "Dude" chicken-fried steak sandwich, steak finger country baskets, T-Brand tacos, and a one-half pound double meat hamburger, the "BeltBuster.".

text: Texas is home to the largest number of Dairy Queens in the U.S. All Texas Dairy Queen restaurants are owned and operated by franchisees. The Texas Dairy Queen Operators' Council (TDQOC) runs a separate marketing website from the national website. Bob Phillips, host of the popular Texas syndicated television series Texas Country Reporter, was for many years the DQ spokesman in Texas, as the restaurant was a co-sponsor of the program at the time.

text: Products[edit]

text: The company's products expanded to include malts and milkshakes in 1949, banana splits in 1951, Dilly Bars in 1955, Mr. Misty slush treats in 1961 (later renamed Misty Slush, then again to Arctic Rush; as of 2017, DQ again calls them Misty Slush, as seen on dairyqueen.com), Jets, Curly Tops, Freezes in 1964, and a range of hamburgers and other cooked foods under the Brazier banner in 1958. In 1971, the Peanut Buster Parfait, consisting of peanuts, hot fudge, and vanilla soft serve, was introduced. In 1995, the Chicken Strip Basket was introduced, consisting of chicken strips, Texas toast (only in the US), fries, and cream gravy (gravy in Canada). Other items include sundaes and the blended coffee drink, the MooLatte.

text: The majority of Dairy Queen locations serve Pepsi-Cola products, but unlike most other restaurants such contracts are not mandated onto the franchisee, and as a result, some locations serve Coca-Cola products instead. Wendy's (until 1998), Subway (until 2003), Arby's (until 2006), IHOP (until 2012), and Applebee's (until 2012) also allowed such leniency on beverage choice before signing exclusive soft drink deals with Coca-Cola and Pepsi-Cola, making Dairy Queen the last major restaurant chain without an exclusive soft drink contract.[citation needed]

text: Blizzard[edit]

text: A popular Dairy Queen item is the Blizzard, which is soft-serve mechanically blended with mix-in ingredients such as sundae toppings and/or pieces of cookies, brownies, or candy. It has been a staple on the menu since its introduction in 1985, a year in which Dairy Queen sold more than 100 million Blizzards.[26] Popular flavors include Oreo Cookies, mint Oreo, chocolate chip cookie dough, M&M's, Reese's Peanut Butter Cups, Heath Bar (Skor in Canada), and Butterfinger (Crispy Crunch in Canada). Seasonal flavors are also available such as October's pumpkin pie and June's cotton candy.[27] It has been argued that Dairy Queen drew its inspiration from the concrete served by the St. Louis-based Ted Drewes.[28] On July 26, 2010, Dairy Queen introduced a new "mini" size Blizzard, served in 6 oz. cups. During the 25th anniversary of the Blizzard, two special flavors were released: Strawberry Golden Oreo Blizzard and Buster Bar Blizzard. Salted Caramel Truffle was released in 2015 during the Blizzard's 27th anniversary and Dairy Queen's 75th anniversary, and is still on the menu today.

text: Blizzards get their name from the fact that they are so cold that they can be held upside-down and nothing will come out. Employees will demonstrate this to customers. There is a company policy that one Blizzard per order is to be flipped upside-down by the employee. If they do not, then the customer may request a coupon for a free Blizzard to use on their next visit, though this is at the owner's discretion.[29]

text: Prior to the reintroduction of the Blizzard in 1985, Dairy Queen served conventional "thick" milkshakes called "Blizzards" in the 1960s. These were served in traditional flavors such as vanilla, chocolate, and strawberry, with or without added malt on request.

text: In addition, Dairy Queen offers a Blizzard Cake in flavors such as Oreo and Reese's. Much like the restaurant's conventional ice cream cake, this variation is aimed toward celebrations and birthdays.[30]

text: Frozen yogurt[edit]

text: In 1990, Dairy Queen began offering frozen yogurt as a lower-calorie alternative to its soft serve ice cream. According to a company representative, Dairy Queen's regular soft serve has 35 calories per ounce and is 95% fat-free, whereas the frozen yogurt was 25 calories per ounce. However, in 2001, the company phased out the frozen yogurt option in all its stores, citing a lack of demand.[31][32]

text: In 2010, International Dairy Queen Inc filed a request for a preliminary injunction to stop Yogubliz Inc, a small California-based frozen yogurt chain, from selling "Blizzberry" and "Blizz Frozen Yogurt", alleging that the names could confuse consumers due to their similarity to Dairy Queen's Blizzard. U.S. District Judge R. Gary Klausner denied Dairy Queen's request.[33]

text: Advertising[edit]

text: For many years, the franchise's slogan was "We treat you right." During the early and mid-1990s, the slogan "Hot Eats, Cool Treats" came into use and preceded the aforementioned line in the Dairy Queen jingle. In recent years, it has been changed to "DQ: Something Different." A recent tagline, featured in early 2011, was "So Good It's RiDQulous,"[34] with Dairy Queen's current logo infused in the word "ridiculous". Their newest tagline reads, "Fan Food, not Fast Food".[35]

text: In Texas, at the end of advertisements, there is frequently a Texas flag waving, and the new DQ logo and slogan below saying, "The Texas Stop Sign", though the jingle uses "This is where we stop in Texas." Previous slogans included "That's what I like about Texas", "For Hot Eats & Cool Treats, Think DQ", "Nobody beats DQ Treats & Eats", "DQ is Value Country", and "This is DQ Country". These advertisements featured Texas Country Reporter host Bob Phillips as spokesperson since his program was mainly sponsored by Dairy Queen.

text: Dennis the Menace and other characters from the comic strip appeared in Dairy Queen marketing as a spokestoon from 1971 until December 2002, when he was dropped because Dairy Queen felt children could no longer relate to him.[36][37]

text: The advertising focused on a mouth with a tongue licking its large lips, which morphs into the present Dairy Queen logo (2001 logo in 2006), was removed in July 2011.

text: In 2011, Grey New York produced outlandish spots featuring a dapper man, played by John Behlmann, sporting a moustache, performing crazy feats for Dairy Queen. After announcing tasty menu offers, he would do something outrageous, like blow bubbles with kittens in them, water ski while boxing, or break a piñata, out of which tumbles Olympic gymnastics great Mary Lou Retton. Later, the same firm made additional commercials based around odd situation titles with the DQ logo placed somewhere in them, like "Gary DQlones Himself", "Now That's A Lunchtime DQuandary!" and "After The DQonquest". All were narrated by a man with an English accent.

text: In 2015, Dairy Queen and model railroad company of Milwaukee, Wisconsin, Wm. K. Walthers came out with a Walthers Cornerstone HO 1:87 Scale models of a restaurant – one from the 1950s with the original logo and one from 2007–present with the current logo. The models are both officially licensed replicas.

text: Logos[edit]

text: The original Dairy Queen logo was simply a stylized text sign with a soft serve cone at one end. In the late 1950s, the widely recognized red ellipse design was adopted. The initial shape was asymmetrical, with one of the side points having a greater extension than the other, especially when matched with the Brazier sign—a similarly sized yellow ovoid, tucked diagonally below its companion. By the 1970s, both sides were more closely matched, becoming symmetrical with the 2006 update (see online images for comparison). Some of the new 1950s signs continued to display a soft serve cone jutting from the right side.

text: "Little Miss Dairy Queen" began appearing in Pennsylvania signage in 1961.[38] She had a Dutch bonnet, resembling the ellipse logo, with a pinafore apron over her dress and wooden shoes.

text: A yellow trapezoid Brazier sign, placed below the red Dairy Queen logo, was developed in the late 1960s. It matched the roofline of the new store design of the era.

text: Although it had been used interchangeably with the Dairy Queen name for many decades, "DQ" became the company's official name in 2001. The font remained the same as in the original signage introduced 60 years prior. Throughout this period, the company placed the registered mark symbol immediately to the right, on the bottom side of the logo. When the company modernized its signage and logos in late 2006, it modified the font and italicized the letters, as well as adding arced lines, an orange one to represent its hot foods above and a blue one below to represent its ice cream products.[39] In the new design, the registered mark symbol was moved to be adjacent to the letter "Q".[40] The first overhaul of its logo in almost 70 years, the company claimed that the new logo would show brand growth and reflect the "fun and enjoyment" associated with its products.[39] Advertising industry observers have noted that the new logo was an unneeded update of a known and trusted industry brand and that its new features were distracting.[40][41]

text: The original signage is still in use in older locations or in locations that use a "retro" design motif in the property's design. One example was the sign used at the Dairy Queen in Ottawa, Ontario, Canada, which was destroyed and replaced in 2013.

text:
Prototype Dairy Queen logo from 1940 to 1958, still in use at a small number of locations

1958-2001, still in use on some signs, including Brazier locations

2001-2007, secondary logo from 1960-2007 on packaging, still in use on some signs

2007–present

text: Global locations[edit]

text: Countries currently with Dairy Queen locations:

text:
Bahamas
Bahrain
Brunei
Cambodia
Canada
Cayman Islands
China
Costa Rica
Egypt
Guatemala
Guyana
Indonesia
Jamaica
Jordan
Kuwait
Laos
Mexico
Oman
Panama
Philippines
Qatar
Saudi Arabia
South Korea
Thailand
Taiwan
Trinidad and Tobago
United Arab Emirates
United States
Vietnam

tag: ol

text: Countries formerly with Dairy Queen locations:

text:
Austria (withdrew around 1999)
Cyprus
Dominican Republic (withdrew in the 2000s)
Gabon
Guam
Hungary (withdrew in the 1990s)
Italy
Japan (withdrew around 2000)
Morocco (withdrew in the 2000s)
Poland (withdrew in 2016)
Singapore
Slovenia (withdrew in 2000)
Turkey (withdrew in the 1990s)
Macao (withdrew in 2016)


document_title: Renin

question_text: where is the majority of the renin produced in the kidney

root

text: Renin

text: Biochemistry and physiology[edit]

text: Structure[edit]

text: The primary structure of renin precursor consists of 406 amino acids with a pre- and a pro-segment carrying 20 and 46 amino acids, respectively. Mature renin contains 340 amino acids and has a mass of 37 kDa.[5]

tag: p

text: Secretion[edit]

text: The enzyme renin is secreted by pericytes (mural cells) (1) in vicinity of the afferent arterioles and similar microvessels of the kidney from specialized cells of the juxtaglomerular apparatus—the juxtaglomerular cells, in response to three stimuli:

text:
A decrease in arterial blood pressure (that could be related to a decrease in blood volume) as detected by baroreceptors (pressure-sensitive cells). This is the most direct causal link between blood pressure and renin secretion (the other two methods operate via longer pathways).
A decrease in sodium load delivered to the distal tubule. This load is measured by the macula densa of the juxtaglomerular apparatus.
Sympathetic nervous system activity, which also controls blood pressure, acting through the β1 adrenergic receptors.

text: Human renin is secreted by at least 2 cellular pathways: a constitutive pathway for the secretion of the precursor prorenin and a regulated pathway for the secretion of mature renin.[6]

text: Renin-angiotensin system[edit]

text: The renin enzyme circulates in the blood stream and hydrolyzes (breaks down) angiotensinogen secreted from the liver into the peptide angiotensin I.

text: Angiotensin I is further cleaved in the lungs by endothelial-bound angiotensin-converting enzyme (ACE) into angiotensin II, the most vasoactive peptide.[8][9] Angiotensin II is a potent constrictor of all blood vessels. It acts on the smooth muscle and, therefore, raises the resistance posed by these arteries to the heart. The heart, trying to overcome this increase in its 'load', works more vigorously, causing the blood pressure to rise. Angiotensin II also acts on the adrenal glands and releases aldosterone, which stimulates the epithelial cells in the distal tubule and collecting ducts of the kidneys to increase re-absorption of sodium, exchanging with potassium to maintain electrochemical neutrality, and water, leading to raised blood volume and raised blood pressure. The RAS also acts on the CNS to increase water intake by stimulating thirst, as well as conserving blood volume, by reducing urinary loss through the secretion of vasopressin from the posterior pituitary gland.

text: The normal concentration of renin in adult human plasma is 1.98–24.6 ng/L in the upright position.[10]

text: Function[edit]

text: Renin activates the renin-angiotensin system by cleaving angiotensinogen, produced by the liver, to yield angiotensin I, which is further converted into angiotensin II by ACE, the angiotensin-converting enzyme primarily within the capillaries of the lungs. Angiotensin II then constricts blood vessels, increases the secretion of ADH and aldosterone, and stimulates the hypothalamus to activate the thirst reflex, each leading to an increase in blood pressure. Renin's primary function is therefore to eventually cause an increase in blood pressure, leading to restoration of perfusion pressure in the kidneys.

text: Renin is secreted from juxtaglomerular kidney cells, which sense changes in renal perfusion pressure, via stretch receptors in the vascular walls. The juxtaglomerular cells are also stimulated to release renin by signaling from the macula densa. The macula densa senses changes in sodium delivery to the distal tubule, and responds to a drop in tubular sodium load by stimulating renin release in the juxtaglomerular cells. Together, the macula densa and juxtaglomerular cells comprise the juxtaglomerular complex.

text: Renin secretion is also stimulated by sympathetic nervous stimulation, mainly through beta-1 adrenergic receptor (β1 adrenoreceptor) activation.

text: Renin can bind to ATP6AP2, which results in a fourfold increase in the conversion of angiotensinogen to angiotensin I over that shown by soluble renin. In addition, renin binding results in phosphorylation of serine and tyrosine residues of ATP6AP2.[11]

text: The level of renin mRNA appears to be modulated by the binding of HADHB, HuR and CP1 to a regulatory region in the 3' UTR.[12]

text: Genetics[edit]

text: The gene for renin, REN, spans 12 kb of DNA and contains 8 introns.[13] It produces several mRNA that encode different REN isoforms.

text: Mutations in the REN gene can be inherited, and are a cause of a rare inherited kidney disease, so far found to be present in only 2 families. This disease is autosomal dominant, meaning that it is characterized by a 50% chance of inheritance and is a slowly progressive chronic kidney disease that leads to the need for dialysis or kidney transplantation. Many—but not all—patients and families with this disease suffer from an elevation in serum potassium and unexplained anemia relatively early in life. Patients with a mutation in this gene can have a variable rate of loss of kidney function, with some individuals going on dialysis in their 40s while others may not go on dialysis until into their 70s. This is a rare inherited kidney disease that exists in less than 1% of people with kidney disease.[14]

text: Model organisms[edit]

text:
Ren1 knockout mouse phenotype

[show]Characteristic
Phenotype

Homozygote viability
Normal

Fertility
Normal

Body weight
Normal

Anxiety
Normal

Neurological assessment
Normal

Grip strength
Normal

Hot plate
Normal

Dysmorphology
Normal

Non-Invasive Blood Pressure
Abnormal[15]

Indirect calorimetry
Normal

Glucose tolerance test
Normal

Auditory brainstem response
Normal

DEXA
Normal

Radiography
Normal

Body temperature
Normal

Eye morphology
Normal

Clinical chemistry
Normal

Haematology
Normal

Micronucleus test
Normal

Heart weight
Normal

Skin Histopathology
Normal

Brain histopathology
Normal

Salmonella infection
Normal[16]

Citrobacter infection
Abnormal[17]

All tests and analysis from[18][19]

tag: table

text: Model organisms have been used in the study of REN function. A knockout mouse line, called Ren1Ren-1c Enhancer KO was generated.[20] Male and female animals underwent a standardized phenotypic screen to determine the effects of deletion.[18][21] Twenty four tests were carried out on mutant mice and two significant abnormalities were observed. Homozygous mutant animals had a decreased heart rate and an increased susceptibility to bacterial infection.[18] A more detailed analysis of this line indicated plasma creatinine was also increased and males had lower mean arterial pressure than controls.[20]

text: Clinical applications[edit]

text: An over-active renin-angiotension system leads to vasoconstriction and retention of sodium and water. These effects lead to hypertension. Therefore, renin inhibitors can be used for the treatment of hypertension.[22][23] This is measured by the plasma renin activity (PRA).

text: In current medical practice, the renin-angiotensin-aldosterone system's overactivity (and resultant hypertension) is more commonly reduced using either ACE inhibitors (such as ramipril and perindopril) or angiotensin II receptor blockers (ARBs, such as losartan, irbesartan or candesartan) rather than a direct oral renin inhibitor. ACE inhibitors or ARBs are also part of the standard treatment after a heart attack.

text: The differential diagnosis of kidney cancer in a young patient with hypertension includes juxtaglomerular cell tumor (reninoma), Wilms' tumor, and renal cell carcinoma, all of which may produce renin.[24]

text: Measurement[edit]

text: Renin is usually measured as the plasma renin activity (PRA). PRA is measured specially in case of certain diseases that present with hypertension or hypotension. PRA is also raised in certain tumors.[25] A PRA measurement may be compared to a plasma aldosterone concentration (PAC) as a PAC/PRA ratio.

text: Discovery and naming[edit]

text: The name renin = ren + -in, "kidney" + "compound". The most common pronunciation in English is /ˈriːnɪn/ (long e); /ˈrɛnɪn/ (short e) is also common, but using /ˈriːnɪn/ allows one to reserve /ˈrɛnɪn/ for rennin. Renin was discovered, characterized, and named in 1898 by Robert Tigerstedt, Professor of Physiology, and his student, Per Bergman, at the Karolinska Institute in Stockholm.[26][27]


document_title: Ant-Man (film)

question_text: who plays the little girl in ant man

question_tokens: who plays the little girl in ant man

text: Ant-Man (film)

text: Plot[edit]

text: In 1989, scientist Hank Pym resigns from S.H.I.E.L.D. after discovering their attempt to replicate his Ant-Man shrinking technology. Believing the technology is dangerous, Pym vows to hide it as long as he lives.

text: In the present day,[N 1] Pym's estranged daughter, Hope van Dyne, and former protégé, Darren Cross, have forced him out of his company, Pym Technologies. Cross is close to perfecting a shrinking suit of his own, the Yellowjacket, which horrifies Pym.

text: Upon his release from prison, well-meaning thief Scott Lang moves in with his old cellmate, Luis. Lang visits his daughter Cassie unannounced and is chastised by his former wife Maggie and her police-detective fiancé, Paxton, for not providing child support. Unable to hold a job because of his criminal record, Lang agrees to join Luis' crew and commit a burglary. Lang breaks into a house and cracks its safe, but only finds what he believes to be an old motorcycle suit, which he takes home. After trying the suit on, Lang accidentally shrinks himself to the size of an insect. Terrified by the experience, he returns the suit to the house, but is arrested on the way out. Pym, the homeowner, visits Lang in jail and smuggles the suit into his cell to help him break out.

text: Pym, who manipulated Lang through an unknowing Luis into stealing the suit as a test, wants Lang to become the new Ant-Man to steal the Yellowjacket from Cross. Having been spying on Cross after discovering his intentions, van Dyne and Pym train Lang to fight and to control ants. While van Dyne harbors resentment towards Pym about her mother Janet's death, he reveals that Janet, known as the Wasp, disappeared into a subatomic quantum realm while disabling a Soviet nuclear missile. Pym warns Lang that he could suffer a similar fate if he overrides his suit's regulator. They send him to steal a device that will aid their heist from the Avengers' headquarters, where he briefly fights Sam Wilson.

text: Cross perfects the Yellowjacket and hosts an unveiling ceremony at Pym Technologies' headquarters. Lang, along with his crew and a swarm of flying ants, infiltrates the building during the event, sabotages the company's servers, and plants explosives. When he attempts to steal the Yellowjacket, he, along with Pym and Hope, are captured by Cross, who intends to sell both the Yellowjacket and Ant-Man suits to Hydra. Lang breaks free and he and Hope dispatch most of the Hydra agents, though one flees with a vial of Cross' particles and Pym is shot. Lang pursues Cross, while the explosives detonate, imploding the building as Pym and van Dyne escape.

text: Cross dons the Yellowjacket and attacks Lang before Lang is arrested by Paxton. Cross takes Cassie hostage to lure Lang into another fight. Lang overrides the regulator and shrinks to subatomic size to penetrate Cross' suit and sabotage it to shrink uncontrollably, killing Cross. Lang disappears into the quantum realm but manages to reverse the effects and returns to the macroscopic world. Out of gratitude for Lang's heroism, Paxton covers for Lang to keep him out of prison. Seeing that Lang survived and returned from the quantum realm, Pym wonders if his wife is alive as well. Later, Lang meets up with Luis, who tells him that Wilson is looking for him.

text: In a mid-credits scene, Pym shows van Dyne a new Wasp prototype suit and offers it to her. In a post-credits scene, Wilson and Steve Rogers have Bucky Barnes in their custody. Unable to contact Tony Stark because of "the accords",[N 2] Wilson mentions that he knows someone who can help.

text: Cast[edit]

text:
Paul Rudd as Scott Lang / Ant-Man:
A former systems engineer at VistaCorp and petty criminal who acquires a suit that allows him to shrink in size but increase in strength.[5][6][7][8][9] Regarding Rudd's casting, producer Kevin Feige said, "Look at that origin of the petty crook who comes into contact with a suit and does his best to make good, and then look at someone like Paul Rudd, who can do slightly unsavory things like break into people's houses and still be charming and who you root for and whose redemption you will find satisfaction in."[6] Director Peyton Reed compared Lang to George Clooney's character Danny Ocean from Ocean's Eleven, saying, "He's a guy trying to create a new life for himself and find redemption." To get in shape for the role, Rudd worked with trainers and cut alcohol, fried foods, and carbohydrates out of his diet.[10] Rudd stated that in preparation for his role, he "basically didn't eat anything for about a year ... I took the Chris Pratt approach to training for an action movie. Eliminate anything fun for a year and then you can play a hero."[11] Rudd signed a multi-film contract with Marvel, with Feige saying it was "three [films]-plus-plus to appear in other things."[12]
Evangeline Lilly as Hope van Dyne:
The daughter of Hank Pym and Janet van Dyne and a senior board member of Pym Technologies, who helps Darren Cross take over the company.[13][14][15][16][17] Throughout the film, character progression brings Hope closer to becoming a hero.[18] Lilly described her character as "capable, strong, and kick-ass", but said that being raised by two superheroes resulted in Hope being "a pretty screwed up human being... and the clear message sent by my name is that I'm not a big fan of my father and so I took my mother's name."[19] She added that van Dyne's "arc in the movie is trying to find a relationship" with Pym.[10] Originally cast by Wright, Lilly was reluctant to take the role after he left the project until she read the revised script and got a chance to meet with Reed.[15] Feige said that van Dyne was the more obvious choice to take up the mantle of Ant-Man, being "infinitely more capable of actually being a superhero" than Lang, and that the reason she does not is because of Pym's experience with losing her mother, rather than sexism, which Feige felt would not be a problem for Pym in modern times. Lilly signed a multi-film contract with Marvel.[20]
Corey Stoll as Darren Cross / Yellowjacket:
A former protégé of Pym's, who takes over his mentor's company and militarizes a similar version of the Ant-Man technology to create the Yellowjacket suit.[14][16][21][22] Stoll described the suit as "the next generation of Ant-Man's suit", with a sleeker, more militaristic look as "if Apple had designed a battle suit."[23] As for his character, Stoll said that Cross was more like Hank Pym than "Thanos or Loki, who are villains that know it", since Cross is a "brilliant scientist, who is not ethically pure" with shades of gray.[24] Unlike Rudd, who wore a practical costume as Ant-Man, Stoll wore a motion capture suit while performing as Yellowjacket. Reed explained that this decision was made early on when creating and filming with a real Yellowjacket costume was found to be impractical.[25]
Bobby Cannavale as Paxton:
A San Francisco Police Department officer who is engaged to Lang's former wife Maggie.[17][26] Cannavale stated that Rudd and McKay convinced him to join the film during the rewriting process before Marvel approached him, saying, "They sort of pumped [my] part up a bit...I really went on good faith [taking the role] because they're so secretive [at Marvel] about the script. I just trusted them." He also added that the process felt like an indie film instead of a large-scale blockbuster, and that he was able to improvise frequently along with the other actors.[26] Patrick Wilson was originally cast in the role,[27] before leaving the film because of scheduling conflicts brought on by the filming delay.[28]
Michael Peña as Luis:
Lang's former cellmate and a member of his crew.[29][30] Peña stated that he modeled Luis' vocal style and positive outlook on life "on a friend of a friend", saying, "That's just the way he talks and the cadence. He's got this grin on the entire time and he doesn't care. He's the kind of guy where you're like 'Hey, what'd you do this weekend?' and he's like 'I went to jail, dawg,' with a smile on his face. Not a lot of people do that. Not a lot of people think of life on those terms."[31] Peña signed a contract with Marvel for three films.[32]
Tip "T.I." Harris as Dave:[33][34]
A member of Lang's crew.[29] Harris described Dave as Lang's "homeboy".[35] Harris also revealed that he was not permitted to read the entire script, explaining "You're just handed scenes as the film [went] along, and when you do that, it's like a blank canvas, 'This is what I'm going to do for this scene,' and you can remember previous performances and remain consistent with that. The energy created by the ensemble you have around you, it contributes to the outlook or the final view of what your character has become, and what he meant to the story."[36]
Anthony Mackie as Sam Wilson / Falcon:
An Avenger who is a former pararescueman trained by the military in aerial combat using a specially designed wing pack.[37] On including Falcon, Reed said that it was not done just to include the character, rather "[i]t served a plot point; a purpose in our story" and allowed them to enhance Peña's "tip montages", which were written by production writers Gabriel Ferrari and Andrew Barrer,[38] also adding Falcon "seemed like the right character — not a marquee character like Iron Man or Thor, but the right level of hero."[39] Rudd and McKay decided to include Falcon after watching Captain America: The Winter Soldier.[40]
Wood Harris as Gale:[33][34] A police officer and Paxton's partner.
Judy Greer as Maggie: Lang's estranged former wife.[33][34][41]
David Dastmalchian as Kurt:[33][34]
A member of Lang's crew.[29] Dastmalchian, who is American, worked with actress Isidora Goreshter to learn how to speak in his character's Russian accent. On his character, Dastmalchian said that he "had this idea that Kurt was born and raised in a town even further out than Siberia and he was just an amazing computer wizard who fell in with the wrong people. But he was obsessed with two things: Saturday Night Fever and Elvis Presley, hence the polyester shirts unbuttoned too far and the hair in that pompadour."[42]
Michael Douglas as Hank Pym:
A former S.H.I.E.L.D. agent,[4] entomologist, and physicist who became the original Ant-Man in 1963 after discovering the subatomic particles that make the transformation possible. He later mentors Lang to take over the role.[7][8][21][43] Douglas compared his decision to join a superhero film to his role in Behind the Candelabra saying, "Sometimes—like [when] they didn't see you for Liberace—you've got to shake them up a little bit and have some fun."[44] Describing Pym, Douglas said, "He's sort of a Northern California, formal guy. He's lost control of his company. He lives in sort of a time warp. He was always a bit of a tinkerer. He's got a lab, plus a lot of other stuff, in his basement that we find out about. He's certainly bitter about what happened with his company and deeply scared of what the future might hold—because he himself, after having gotten small so many times, it's difficult. He looks and tries to find a guy that he can work with and has the right characteristics, which is [Scott]."[17] Douglas indicated that he would not be wearing the Ant-Man suit.[45]

tag: ul

text: Additionally, John Slattery and Hayley Atwell reprise their roles as Howard Stark and Peggy Carter, respectively, from previous MCU media.[46][47] Slattery stated that his involvement in Ant-Man was "not that much more" than his participation in Iron Man 2,[48] while Atwell described her appearance as being "more of a cameo".[47] Abby Ryder Fortson portrays Cassie, the daughter of Lang and Maggie;[12][18][49] Gregg Turkington appears as Dale, the manager of a Baskin-Robbins store;[34][50][51] and Martin Donovan plays Mitchell Carson, a former member of S.H.I.E.L.D. who works for Hydra and looks to purchase the Yellowjacket technology.[52][53] YouTuber Anna Akana portrays a writer in Luis' story at the end of the film.[54] Garrett Morris, who portrayed Ant-Man in a Saturday Night Live sketch, appears as a taxi driver.[55] Ant-Man co-creator Stan Lee makes a cameo appearance in the film as a bartender.[56][57] Chris Evans and Sebastian Stan make uncredited appearances during the post-credits scene as Steve Rogers / Captain America and Bucky Barnes / Winter Soldier, respectively.[58] Hayley Lovitt makes a nonspeaking cameo as Janet van Dyne / Wasp.[59] Tom Kenny provides the voice of a toy rabbit that Scott gives to Cassie.[60]

text: Production[edit]

text: Development[edit]

text: Development of an Ant-Man film began as early as the late 1980s, when Ant-Man co-creator Stan Lee pitched the idea to New World Pictures, Marvel Comics' parent company at the time. However, Walt Disney Pictures was developing a film based on a similar concept, Honey, I Shrunk the Kids, and although Ant-Man went into development, nothing came to fruition.[61]

text: In 2000, Howard Stern met with Marvel in an attempt to purchase the film rights to Ant-Man.[62] In May of that year, Artisan Entertainment announced a deal with Marvel to coproduce, finance, and distribute a film based on Ant-Man.[63] In 2003, Edgar Wright and his writing partner Joe Cornish wrote a treatment for Artisan, with Wright explaining that it revolved around Scott Lang as a burglar "so he could have gone slightly in the Elmore Leonard route", though Artisan wanted the film to be "like a family thing". However, Wright believed that the treatment was never sent to Marvel.[64] A year later, the duo pitched the film to Marvel Studios' then head of production, Kevin Feige.[10] In April 2006, Marvel Studios hired Wright to direct and co-write Ant-Man with Cornish as part of the company's first slate of independently produced films. Wright would also co-produce the film with his Big Talk Productions partner Nira Park.[65]

text:
"The thing I like about Ant-Man is that it's not like a secret power, there's no supernatural element or it's not a genetic thing. There's no gamma rays. It's just like the suit and the gas, so in that sense, it really appealed to me in terms that we could do something high-concept, really visual, cross-genre, sort of an action and special effects bonanza, but funny as well."

—Screenwriter Edgar Wright[66]

tag: div

text: At the 2006 San Diego Comic-Con International, Wright said he was intrigued by the story's high concept and character. Wright also stressed that the film would not be a spoof but an action-adventure with some comedic elements and would incorporate both the Hank Pym and Scott Lang incarnations of the character.[67] Wright said that he was looking to "do a prologue where you see Pym as Ant-Man in action in the 60s, in sort of Tales to Astonish mode basically, and then the contemporary, sort of flash-forward, is Scott Lang's story, and how he comes to acquire the suit, how he crosses paths with Hank Pym, and then, in an interesting sort of Machiavellian way, teams up with him."[66] The next February, Wright said that the project was in "a holding pattern" while the script was being revised,[68] and that he had been doing research for the film by studying nanotechnology.[69] In March 2008, Wright said that the first draft of the script had been completed and he was working on the second.[70]

text: Stan Lee tweeted in February 2010 that Marvel was prepping the film and that he met with Wright for lunch to discuss the character.[71] Wright noted that there was no timetable for the film because Marvel did not consider the character to be one of their bigger, tentpole properties, so "It's more like me and Kevin Feige saying...'Let's make a good script that works, that's all about a great genre film, and that isn't necessarily relying on anything else'".[72] At the 2010 San Diego Comic-Con International, Wright said that Ant-Man would not fit in the chronology of The Avengers due to the origin story he had written not working in the MCU.[73] In January 2011, Wright stated that he had resumed writing the script for the film following the conclusion of the international promotion for Scott Pilgrim vs. the World,[74] and by April he and Cornish delivered the second draft of Ant-Man to Marvel.[75] At the 2011 San Diego Comic-Con International, Wright revealed a third draft had been handed in.[76]

text: In May 2012, Feige said that the project was "as close as it's ever been" while Wright teased the film by tweeting a pictogram of Ant-Man.[77] In June, Wright spent just under a week shooting footage for a reel that would be used to test out the potential look and tone of his movie, as well as to decide how convincing Ant-Man's powers look on screen.[78] The test footage was screened to audiences during the Marvel Studios panel at the 2012 San Diego Comic-Con International, with Wright confirming that Ant-Man would be happening.[79] Germain Lussier of /Film felt the footage worked and was "awesome", as "it had a totally different vibe from the other Marvel films. It was much more like something you'd recognize from Hot Fuzz."[80] Lussier, along with Katy Rich of CinemaBlend, also enjoyed the costume design choice.[80][81] That October, Disney scheduled the film for release on November 6, 2015.[82]

text: Feige stated in January 2013 that Ant-Man would be part of Phase Three of the Marvel Cinematic Universe,[83] and indicated in May that the screenplay needed to be modified in order to fit into the universe, as the project had been in development before the first Iron Man film. Feige also stated that shooting was slated to begin sometime in 2014,[84] and that casting would begin towards the end of 2013.[85] In July 2013, Wright said that he and Cornish had completed the script for the film and that Marvel allowed him to delay its production so that he could complete The World's End,[86] as that film's producer Eric Fellner was diagnosed with cancer.[87]

text: In August 2013, after Joss Whedon, director of Avengers: Age of Ultron, announced that Hank Pym would not be Ultron's creator, Wright said Ultron was never a part of the story of Ant-Man,[88] explaining that "just to sort of set up what Ant-Man does is enough for one movie".[89] Wright described Ant-Man as a stand-alone film but said it would fit into the larger continuity of the Marvel Cinematic Universe, explaining, "I like to make it standalone because I think the premise of it needs time. I want to put the crazy premise of it into a real world, which is why I think Iron Man really works because it's a relatively simple universe; it's relatable. I definitely want to go into finding a streamlined format where you use the origin format to introduce the main character and further adventures can bring other people into it."[90] Wright also stated that pre-production for Ant-Man would begin in October and filming would begin in 2014.[91] The next month, Disney moved the film's release date up to July 31, 2015.[92]

text: Pre-production[edit]

text: In October 2013, Wright revealed that he was in Los Angeles to work on Ant-Man by tweeting a photograph from the production of the June 2012 test reel.[93] Joseph Gordon-Levitt and Paul Rudd were soon being considered for the lead role,[94] though Gordon-Levitt dismissed his consideration as a rumor.[95] Feige stated that Ant-Man would be a "heist movie", and that a casting announcement for Hank Pym would come before the end of 2013.[96] The next month, Feige stated that Eric O'Grady's Ant-Man would not be featured in the film,[97] while Rudd became the front-runner to play Hank Pym, and casting for the character's girlfriend had begun.[98] Around that time, the filmmakers' intentions to shoot in the United Kingdom were dashed because of a lack of studio space, which Wright believed was due to the plan by Pinewood Shepperton to add fifteen studios to their facility, which was rejected in part by the local council in May 2013 because the project was eyeing protected land.[99][100] By the end of the month, the film was scheduled to be shot in the U.S. instead.[101]

text: In December 2013, Wright, a fan of the comic book since childhood—owning copies of Tales to Astonish #27 featuring "The Man in the Ant-Hill" storyline and Marvel Premiere #47 featuring the first appearance of Scott Lang—[102] stated that the difference between Ant-Man and other films featuring size-changing is "other shrinking movies are usually about somebody trapped small. This is different in that he can actually change size and he can do that at will, so it becomes more of a power than an impediment."[103] Wright also talked about the challenge of directing a superhero film, saying, "Shaun and Hot Fuzz and World's End are all R-rated films. I like the challenge of making a PG-13 film. Because you've got to entertain in a different way. You don't have the same tools."[104] By December 19, Rudd was in negotiations to star in the film,[105][106] and Marvel announced that he had been cast as Ant-Man the next day.[107]

text: In January 2014, Wright posted a screenshot on his blog from the Avengers: Earth's Mightiest Heroes episode "To Steal an Ant-Man", which features Hank Pym and introduces the Scott Lang character, with the caption "homework".[108][109] Michael Douglas was subsequently cast as Pym, with Rudd confirmed to play Lang.[7] Michael Peña was offered an unspecified role in the film,[110] and filming was scheduled to take place at Pinewood Atlanta in Fayette County, Georgia,[111] while Disney changed the release date once again, moving the film up to July 17, 2015.[112] The next month, Evangeline Lilly entered early talks to portray the female lead,[13] and Wright announced on his blog that Bill Pope, who he worked with on Scott Pilgrim vs. the World and The World's End, would be his director of photography.[113] By March, Wright and Cornish turned in a fifth draft of the script, amid alleged disputes on the direction the script was taking. As well, Wright and Cornish wrote a scene intended for the post-credits of Avengers: Age of Ultron that would have acted as a prelude to the film.[114] Corey Stoll entered negotiations for an undisclosed role in the film,[22] and by April, Patrick Wilson and Matt Gerald were cast in undisclosed roles.[115][116]

text:
"Ant-Man is interesting because he was one of the original Avengers, which I think people forget about. So, I like that idea in the movie universe... I also like that it's this sort of passing of the torch. There's sort of a weird mentor / pupil thing happening between Michael Douglas' character Hank Pym and Scott Lang, which Paul Rudd plays. Hank Pym used to be old Ant-Man and he is trying to find someone to be the new Ant-Man. I like that. I think that's sort of a classic Marvel Comics thing and something that we really haven't seen in that universe."

—Peyton Reed, director of Ant-Man[117]

text: On May 23, 2014, Marvel and Wright jointly announced that Wright was leaving the project due to "differences in their vision of the film", and that the studio was closing in on a new director.[118] On the split, Wright said, "I wanted to make a Marvel movie but I don’t think they really wanted to make an Edgar Wright movie." He also added that at one point, Marvel wanted to do a draft of the script without him, which was "a tough thing to move forward" as Wright has written all of the previous films he directed. Wright continued, "Suddenly becoming a director-for-hire on it, you’re sort of less emotionally invested and you start to wonder why you’re there, really."[119] The majority of Wright's crew also left the project in the wake of his departure.[120][119] By May 30, Adam McKay had entered negotiations to replace Wright,[121] but pulled out of negotiations the next day.[122] On June 7, Marvel announced that Peyton Reed would direct the film, with McKay contributing to the film's script.[5] Other directors that had been under consideration include Ruben Fleischer, Rawson Marshall Thurber, Nicholas Stoller, Michael Dowse, and David Wain.[123][124][125][126]

text: Later in June, Feige stated the film was still intended to be released on the July 17, 2015 date, with production slated to begin on August 18, 2014.[127][128] Feige elaborated that "much of the movie will still be based very much on [Wright and Cornish's] draft and the DNA of what Edgar has created up to this point", with Reed stepping in to direct and McKay reworking only parts of the script. "[Reed] wanted to be sure that he wasn't just inheriting something or following someone else's lead. Or wasn't inheriting something that the evil studio had watered down to be something bad," Feige continued. "He looked at everything, he talked with us, and he said 'Number one, I agree with the direction you're going in. And number two, I can add to it.'"[129]

text: McKay stated that Rudd helped him rewrite the script, calling Rudd "great with dialogue", adding "the two of us holed up in hotel rooms on the east and west coast, and I think it was like six to eight weeks we just ground it out and did a giant rewrite of the script. I was really proud of what we did, I really thought we put some amazing stuff in there and built on an already strong script from Edgar Wright and sort of just enhanced some stuff."[130] Rudd elaborated, "The idea, the trajectory, the goal, and the blueprint of it all, is really Edgar and Joe. It's their story. We changed some scenes, we added new sequences, we changed some characters, we added new characters. If you took the two scripts and held them up together they'd be very different—but the idea is all theirs."[131] Reed also offered contributions to the revised script, as did Lilly and Stoll, who contributed ideas to help flesh out their respective characters. Lilly's character received a fuller arc and more action sequences as a result.[17] One of the important things when joining the film for Reed was emphasizing both Hope and Janet van Dyne more, given the Wasp being "a crucial part" of the Ant-Man comics.[132] For their efforts, McKay and Rudd were credited as additional writers of the screenplay, with Wright and Cornish credited for the screenplay and story.[133] Wright also held an executive producer credit on the film.[134]

text: By the end of July, Wilson left the film because of scheduling conflicts brought on by the filming delay, and characters being played by Gerald and Kevin Weisman were cut in McKay's revised script.[28] Also, Reed indicated that in addition to Georgia, filming would take place in San Francisco.[135] The next month, Reed revealed that Scott Lang's daughter would appear in the film,[136] and Gabriel Ferrari and Andrew Barrer were hired to make further revisions to the script.[137] Eric Pearson, a member of Marvel Studios' writing program who had written the Marvel One-Shot films, did uncredited work on the film as well,[138] scripting the strip club scene and Stan Lee's cameo.[139] After reading the revised script, Evangeline Lilly felt that the film was "pulled" more into the MCU than Wright's version which "was much more in the Edgar Wright camp of films." She added that, while Wright's version was "incredible" and would have been great to film and watch, "it wouldn't have fit in the Marvel Universe. It would have stuck out like a sore thumb, no matter how good it was. It just would have taken you away from this cohesive universe they're trying to create. And therefore it ruins the suspended disbelief that they've built."[15]

text: Arnim Zola from Captain America: The First Avenger and Captain America: The Winter Soldier was considered to make an appearance in the film, with concept art created depicting him in his robot body from the comics.[140]

text: Filming[edit]

text: Principal photography began on August 18, 2014 in San Francisco,[34] under the working title Bigfoot.[4] Scenes were shot in the Tenderloin neighborhood and Buena Vista Park.[141] By the end of September 2014, production on Ant-Man moved to Pinewood Atlanta Studios in Fayette County, Georgia,[142] and David Callaham completed a rewrite of the film.[143] Filming also took place at the State Archives building in Downtown Atlanta,[144] to double as Pym Technologies, which is located on Treasure Island, San Francisco in the film.[145] In October 2014, Martin Donovan was added to the cast,[52] and Feige revealed that Ant-Man would no longer start Phase Three of the Marvel Cinematic Universe and would instead be the final film of Phase Two.[146] When told by /Film's Germain Lussier that this placement between Avengers: Age of Ultron and Captain America: Civil War made the film feel like an afterthought, Feige replied,

text: It's not [an after thought]. The truth is the phases mean a lot to me and some people but...Civil War is the start of Phase Three. It just is. And Ant-Man is a different kind of culmination of Phase Two because it very much is in the MCU. You meet new characters and you learn about Hank Pym and his lineage with the MCU over the years. But at the same time, it also picks up the thread of Age of Ultron in terms of heroes—major heroes, Avengers—coming from unexpected places... And in that way it connects a lot. Also, Hank Pym's attitude towards Avengers, towards S.H.I.E.L.D., and kind of the cinematic universe in general, is much more informed after the events of Age of Ultron, and in a certain way, before the events of Civil War.[147]

text: Feige later expanded on this by saying, "[W]e put Ant-Man at the end of Phase Two as opposed to the beginning of Phase Three, because it sets up a lot of the things you're going to see heading into Phase Three, one of which is this mind-bending, reality-altering landscape [in Doctor Strange]."[40] On December 5, 2014, Reed announced on social media that principal photography on Ant-Man had been completed.[148]

text: For the film, cinematographer Russell Carpenter used a 1.85 aspect ratio shot with Arri Alexa XT and M cameras, using the M for fight sequences and helicopter filming. Camera operator Peter Rosenfeld said, "Russell and Peyton's decision to shoot in 1.85 was a good call, since at 2.35 there's insufficient height in frame to appreciate the vertical aspects of [Ant-Man] going from standing full-size to falling through a crack in the floor." Carpenter and Technicolor also devised a lookup table (LUT) to darken the color palette. Carpenter said, "For a lot of recent comedies I've kept my LUTs kind of 'Kodak' – saturated and upbeat. But this show needed something different that affected skin tones and the Ant-Man suit, which dates back to the 1980s, so it looks a little run-down. What I loved about this LUT was how it allowed the costume to retain the color but took it from fire-engine red to something a little more weathered."[149]

text: The filmmakers made extensive use of macro photography. Production designer Shepherd Frankel said, "It's more visually interesting to depict things from Ant-Man's point of view instead of seeing him from a normal perspective. But we wanted a realistic realization, not Honey, I Shrunk the Kids with its oversized set pieces."[149] Rebecca Baehler served as the director of macro photography, taking cues from Carpenter.[150] Carpenter said vibration became "a tremendous problem" when moving the camera during the macro photography because "one inch off the ground is like fifteen feet in the air. From an ant's perspective, you move four inches, to a human perspective, that's a football field!" The solution required the filmmakers to search for a creative solution, so they turned to Baehler, who had a background in commercial "tabletop" photography. In order to add Rudd's performance as Ant-Man when in the macro world, a Centroid facial capture set up was used, with a five-camera array of Alexas surrounding Rudd. Rosenfeld explained, "One camera was set up vertically while the others were horizontal with overlapping image areas, all set to record at 48 frames per second. This maximized resolution and provided 3D modeling [of] Paul's performance." Reed would then call out story moments with Rudd performing "facial expressions that would later be composited on a CG Ant-Man."[149]

text: Post-production[edit]

text: Following the completion of principal photography, Marvel released an updated synopsis revealing that Jordi Mollà was included in the cast and the names of several supporting characters.[33] However, Mollà subsequently did not appear in the theatrical release of the film. Reed explained that the film's original opening, which was filmed and cut in the editing process, featured a standalone sequence similar to the opening of a James Bond film, where an unseen Pym was attempting to retrieve some microfilm from Mollà's character, Castillo, a Panama army general. Reed stated the scene was going to show Ant-Man's powers, without seeing him, almost "like an Invisible Man sequence, and it's really, really cool. It started to feel tonally disconnected from the movie we were making and story-wise, and it also kind of like, it set a standalone adventure, but it didn’t just connect to the rest of our story...It felt like vestige of those earlier drafts [by Wright and Cornish], which as a standalone thing was really cool."[151] Dan Lebental and Colby Parker, Jr. served as film editors.[34] In March 2015, Hayley Atwell confirmed that she would reprise her role as Peggy Carter in the film.[47] In April 2015, Reed stated that the film was not completed yet and would be undergoing "a little bit of additional" filming.[152]

text: In June 2015, Feige confirmed that the character of Janet van Dyne would be seen, though the film would not address Pym and van Dyne's infamous domestic abuse storyline in the comics, saying, "We hint at a temper in a way that people who know the stories might go, 'Oh, perhaps that's a bit of [Hank's] character,' but not in a way that would ever indicate [he beat his wife]."[153] Also in the month, Reed confirmed there would be a post-credit sequence "that may tie into the other films."[154] Feige revealed the post-credit sequence was footage shot by Anthony and Joe Russo for Captain America: Civil War, saying the clip would be seen in that film, though it may be "different takes...different angles."[155][156] On June 25, 2015, Reed announced on social media that production of Ant-Man was officially complete.[157] In early July 2015, an international teaser trailer revealed that Anthony Mackie would appear in the film as Sam Wilson / Falcon.[37] Mackie appears in the post-credit sequence as well, along with Chris Evans and Sebastian Stan as Steve Rogers / Captain America and Bucky Barnes / Winter Soldier, respectively.[58] Stan stated the scene that was used for the post-credit sequence was shot in May 2015, and would appear in the middle of Civil War.[158] Also in the month, Reed revealed that the quantum realm in the film was the MCU's version of the microverse,[38] which could not be called that due to legal reasons. The alternate name was suggested by consultant Spiros Michalakis, a quantum physicist and staff researcher at the California Institute of Technology, to "inject elements of modern physics into the script".[159] Reed also said that the end of the film originally had a sequence where Ant-Man went after Carson to retrieve the stolen vial of Cross' particles, "... But then for a couple reasons, it felt like maybe we should leave those particles out there."[160] For the title sequences, Marvel again went with design firm Sarofsky, who had done the credits for both Captain America: The Winter Soldier and Guardians of the Galaxy, with the credits "intricately connected to the film's overall narrative."[161]

text: Visual effects[edit]

text: Visual effects for the film were provided by Industrial Light & Magic (ILM), Lola VFX, Double Negative, Luma Pictures, and Method Studios, with previsualization by The Third Floor.[17][150][162] Double Negative handled the scenes featuring shrunken characters, incorporating the macro photography and motion capture performances shot in principal photography with digital models of the characters. Double Negative also worked on Ant-Man's shrinking effect, in coordination with ILM to be used by all vendors, which showed the outline of his body – an element from the comics. Visual effects supervisor Alex Wuttke said, "It's like a little time echo. As Ant-Man shrinks in almost a stop motion way he would leave behind outlines of the poses he'd been in as he shrinks down... We'd have two CG cameras rendering the action from different points along the timeline with slightly different framings. One would be the main shot camera, the other would be a utility camera that would provide renders of static poses of Ant-Man at different points along the timeline."[150]

text: For the flashbacks in 1989, Douglas and Donovan appeared de-aged via CGI, alongside Atwell as Carter (aged in makeup and with CGI) and John Slattery as Howard Stark.[4][50][150][153] To de-age Douglas, Lola VFX used a similar process and technology that was used to make Steve Rogers skinny in Captain America: The First Avenger and Carter older in Captain America: The Winter Soldier as well as footage of Douglas' other films from the late 1980s as reference.[40][162] Dax Griffin served as Douglas' body double and an additional reference for Lola, because of his "striking resemblance of Michael when he was about 40".[162][163] For Donovan, he only needed to be de-aged about a decade, so no double was used. The work on him focused on his eyes, neck, and chin. Atwell wore a wig on set, along with a fine layer of latex makeup to give the skin a more leathery look, with Lola transposing the facial features of an elderly actress onto her face.[150]

text: Method and Luma both worked on creating the various ants seen in the film, with Method creating the several species of ants, to share among the vendors. Luma also handled many of the scenes at Pym Technologies when Ant-Man attempts to acquire the Yellowjacket. ILM worked on the Falcon fight sequence, having done Falcon visual effects in The Winter Soldier. Using practical suit pieces built by Legacy Effects, ILM mixed live-action shots with digital take-overs and fully digital shots to create the sequence. ILM also handled the sequences in the quantum realm, providing an array of microscopic and largely psychedelic imagery for the subatomic shrinking, taking advantage of procedural fractal rendering techniques the studio had utilized on Lucy.[150]

text: Music[edit]

text: In February 2014, Wright tweeted that Steven Price would score the film.[113] However, Price left soon after Wright's departure from the project in May 2014.[120] In January 2015, Christophe Beck, who worked with Reed on Bring It On, was hired to replace Price.[164] Describing the film's score, Beck said, "For Ant-Man, I wanted to write a score in the grand symphonic tradition of my favorite superhero movies, with a sweeping scope and a big, catchy main theme. What makes this score stand out among other Marvel movies, though, is a sneaky sense of fun since it is, after all, not only a superhero movie, but also a heist comedy."[165] Hollywood Records released the soundtrack digitally on July 17, 2015, and had a physical release on August 7.[166]

text: Release[edit]

text: Ant-Man premiered at the Dolby Theatre in Hollywood on June 29, 2015,[167] and opened the 2015 Fantasia International Film Festival on July 14, 2015, along with Miss Hokusai.[168] The film was released in France on July 14,[169] and was released in North America on July 17,[112] in 3D and IMAX 3D.[170][171] The film was released in the United States in 3,800 theaters, with the breakdown of 3,100 3D screens, 361 IMAX screens, 388 large format screens and 133 D-Box screens.[169] Ant-Man had originally been scheduled for release on November 6, 2015.[82] In September 2013, the release was moved to July 31, 2015,[92] before changing for a final time to July 17, 2015 in January 2014.[112] An unfinished version of the film was screened on June 24, 2015, at CineEurope.[172]

text: Marketing[edit]

text: In March 2014, ABC aired a one-hour television special, Marvel Studios: Assembling a Universe, which included a sneak peek of Ant-Man.[173][174] In July 2014, Reed, Rudd, Douglas, Lilly, and Stoll appeared at Marvel Studios' panel at the 2014 San Diego Comic-Con International to help promote the film and screen a visual effects test featuring Rudd and Douglas.[21] In October 2014, Marvel Comics' Editor-in-Chief Axel Alonso stated there are comic tie-in plans for the film.[175] In November 2014, ABC aired another one-hour television special titled, Marvel 75 Years: From Pulp to Pop!, which featured behind the scenes footage of Ant-Man.[176] Marvel Comics' February 2015 solicitations released in December 2014, revealed a two-issue comic tie-in, Marvel's Ant-Man Prelude, following Hank Pym as Ant-Man on a mission during the Cold War.[177] A second comic tie-in, Marvel's Ant-Man—Scott Lang: Small Time, was released digitally on March 3, 2015. It explains Lang's circumstances at the beginning of the film.[178]

text: In January 2015, Disney officially began the film's marketing campaign by releasing a miniature "ant-sized" teaser trailer, a full-sized version of the same teaser trailer, a poster, a cover on Entertainment Weekly, and a full-length trailer during the premiere of the television series Agent Carter. Scott Mendelson of Forbes, said, "It was darn-clever for Disney to put out a miniature 'can't see anything without a microscope' version of the now-standard trailer for the trailer. I sighed just a little when they 'gave in' and released a human-sized version, realizing that Disney had just released what amounted to a teaser to a teaser to a trailer... But nonetheless, credit where credit is due, Disney was able to turn a single theatrical trailer into three separate news drops in about five days." Mendelson went on to say that "the peppy, witty trailer above is a general audience sell. Marvel knows the geeks will come if only to throw stones, but it's the mainstream audience that needs to be sold. So far, so good."[179] However, Graeme McMillan of The Hollywood Reporter criticized the trailer for its placement during the broadcast premiere of Agent Carter, its tone, its soundtrack, and for being thematically similar to other trailers from Marvel Studios. McMillan concluded, "The Ant-Man trailer isn't bad, per se; it is, however, impressively underwhelming, which almost seems worse. Thanks to the last-minute exit of original writer-director Edgar Wright and the subsequent struggle to find a replacement, Ant-Man has become the movie that people are expecting to be Marvel's first failure, in critical if not financial terms, at least; this trailer, which fails to convince and gets by on goodwill for those involved and the Marvel brand as much as anything else, doesn't do enough — or anything, really — to persuade audiences that that's not the case."[180] The trailer generated 29 million views worldwide in three days, the third-largest viewership for a Marvel Studios film, behind trailers for Iron Man 3 and Avengers: Age of Ultron.[181]

text: In April 2015, Marvel debuted a second trailer for Ant-Man. Mendelson said it was "frankly the Ant-Man trailer that we've been waiting for. It's not just funny and exciting, it's an 'Ah ha!' moment when we realize just what exactly an Ant-Man movie has to offer."[182] Also in April, miniature billboards promoting Ant-Man with battery-powered LED lights began appearing in Melbourne, Brisbane and other areas around Queensland, Australia as part of a street marketing campaign for the film.[183] The next month, Marvel, in partnership with Dolby Laboratories, Visa, and Raspberry Pi, announced the "Ant-Man Micro-Tech Challenge", aimed at females aged 14 through 18, to create DIY projects involving micro technology and readily accessible and found materials. Winners teamed with STEM (Science, Technology, Engineering, and Mathematics education) programs in their areas to lead teams in recreating their projects.[184] In June, Marvel released posters featuring Ant-Man juxtaposed with Iron Man's armor, Captain America's shield, and Thor's hammer Mjolnir. Mendelson compared this to Disney's marketing campaign for Lilo & Stitch that put the protagonist into iconic scenes from other Disney cartoons.[185] A six-minute IMAX preview of the film began screeing before showings of Jurassic World,[186] and scenes from the film were shown at Disney California Adventure's Bug's Life Theater in 3D with in-theater effects.[187]

text: In early July 2015, Marvel began a viral marketing campaign featuring Leslie Bibb, reprising her role from the Iron Man films as journalist Christine Everhart, reporting for the faux news program WHIH Newsfront. In the program, Everhart discuses the fallout from the events of Avengers: Age of Ultron, Lang's imprisonment,[188][189] and events leading to Captain America: Civil War.[9] Also in July, Michael Douglas and executives from Marvel Entertainment rang the closing bell of the New York Stock Exchange in celebration of the release of Ant-Man.[190] Disney spent $34.8 million on television advertising for the film, more than the $26.9 million spent for Avengers: Age of Ultron, since the former was a new property.[191]

text: In December 2015, to commemorate the home media release of Ant-Man, Marvel UK launched a website that offers visitors a view of various London landmarks from the perspective of an ant in a Google Street View-type experience. The company commissioned photographer Will Pearson to capture ten different locations including Tower Bridge, Oxford Circus, the British Museum, St Paul's Cathedral and Nelson's Column using a 360° miniature camera that sat centimeters off of the ground.[192]

text: Home media[edit]

text: Ant-Man was released for digital download by Walt Disney Studios Home Entertainment on November 17, 2015 and released on Blu-ray, Blu-ray 3D, and DVD on December 8, 2015. The digital and Blu-ray releases include behind-the-scenes featurettes, audio commentary, deleted scenes, and a blooper reel.[193] Upon its first week of release on home media in the U.S., the film debuted at number two on the Nielsen VideoScan First Alert chart, which tracks overall disc sales, as well as the dedicated Blu-ray Disc sales chart, with 63% of unit sales coming from Blu-ray.[194]

text: The film was also collected in the 13-disc box set, titled "Marvel Cinematic Universe: Phase Two Collection", which includes all of the Phase Two films in the Marvel Cinematic Universe. It was released on December 8, 2015.[195]

text: Reception[edit]

text: Box office[edit]

text: Ant-Man grossed $180.2 million in North America and $339.1 million in other territories for a worldwide total of $519.3 million.[3] Deadline.com calculated the net profit of the film to be $103.9 million, when factoring together "production budgets, P&A, talent participations and other costs, with box office grosses, and ancillary revenues from VOD to DVD and TV," placing it 14th on their list of 2015's "Most Valuable Blockbusters".[196]

text: Ant-Man made $6.4 million from its Thursday night showings in North America, with 48% of tickets sales for IMAX and other large-format showings, and $23.4 million on its opening day, including Thursday's previews,[197] making it the second-lowest opening day for a Marvel film, only ahead of 2008's The Incredible Hulk ($21.4 million).[198] It fell 18% to earn $19.25 million on Saturday, and for its opening weekend total, earned $57.2 million.[197][199] It marked the second-lowest debut for Marvel ahead of the $55.4 million debut of The Incredible Hulk in 2008.[200] IMAX contributed $6.1 million to the opening gross, with premium large format screens comprising $6.4 million and Cinemark XD comprising $1.3 million, respectively. Though the film fell below its $60 million estimate, Disney nonetheless said it was content with the results, which continued Marvel's streak of number one opening films, giving the studio its twelfth consecutive win.[197] Disney also reported that the film drew the largest share of families (28%) and women (32%) of any Marvel superhero title.[200] It was also the biggest live-action opening ever for Rudd (breaking Knocked Up's record of $30.7 million) and a record opening for Douglas.[197] It continued to be the top film at the box office in its second weekend.[201]

text: Outside North America, it earned $55.4 million in its opening weekend from 37 countries, debuting in third place at the international box office behind the Chinese film Monster Hunt and Minions as well as an IMAX opening of $9.1 million. The top openings were the UK ($6 million), Mexico ($5.6 million), and Russia ($4.9 million). It had the biggest opening for a first-installment Marvel film in Hong Kong, Indonesia, Malaysia, the Philippines, Singapore, Taiwan, and Thailand.[202] The film's opening in South Korea in early September 2015 earned $9.3 million, the highest opening for an international market at the time,[203] before being surpassed by the Chinese opening in mid-October 2015, which earned $42.4 million, with $5.1 million coming from IMAX. The large opening weekend in China helped Ant-Man place first at the international box office for the first time, with the Chinese opening the second largest for an MCU film in the country behind Avengers: Age of Ultron.[204][205] The film stayed at number one in China for a second week, earning an additional $22 million.[206] As of November 1, 2015[update], the largest markets are China with $101.3 million, followed by the UK with $25.4 million, and South Korea with $18.9 million.[207][208]

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes reported an 82% approval rating, based on 287 reviews, with an average rating of 6.8/10. The website's consensus reads, "Led by a charming performance from Paul Rudd, Ant-Man offers Marvel thrills on an appropriately smaller scale – albeit not as smoothly as its most successful predecessors."[209] On Metacritic, the film has an average score of 64 out of 100, based on 43 critics, indicating "generally favorable reviews".[210] CinemaScore reported that audiences gave the film an "A" grade on an A+ to F scale.[197]

text: Justin Chang of Variety said the film "succeeds well enough as a genial diversion and sometimes a delightful one, predicated on the rarely heeded Hollywood wisdom that less really can be more."[211] Todd McCarthy of The Hollywood Reporter remarked, "Although the story dynamics are fundamentally silly and the family stuff, with its parallel father-daughter melodrama, is elemental button-pushing, a good cast led by a winning Paul Rudd puts the nonsense over in reasonably disarming fashion."[212] Kenneth Turan of the Los Angeles Times wrote, "Playful in unexpected ways and graced with a genuinely off-center sense of humor, Ant-Man (engagingly directed by Peyton Reed) is light on its feet the way the standard-issue Marvel behemoths never are."[213] Kim Newman of Empire wrote that it "straddles as many genres as the Avengers films have characters but manages to do most of them pretty well. Extremely likable, with a few moments of proper wonder."[214] A. O. Scott of The New York Times said, "This film is a passable piece of drone work from the ever-expanding Marvel-Disney colony."[215]

text: Conversely, Alonso Duralde of TheWrap said the film "serves up jokes that don't land and thrills that don't thrill."[216] Richard Roeper of the Chicago Sun-Times said Ant-Man "is a lightweight, cliché-riddled origins story that veers between inside-joke comedy, ponderous redemption story lines and admittedly nifty CGI sequences that still seem relatively insignificant compared to the high stakes and city-shattering destruction that take place in most of the Avengers movies."[217] Catherine Shoard of The Guardian wrote, "Ant-Man is a cut-and-shut muddle, haunted by [Edgar Wright's] ghost, produced by a high-end hot dog factory, by turns giddying and stupefying."[218] Joe Morgenstern of The Wall Street Journal said that it is "a film that will surely be popular, given Marvel's marketing might, but one that's woefully short on coherence and originality."[219] Christopher Orr of The Atlantic said, "It's difficult to shake the sense that the film was assembled hurriedly and somewhat haphazardly. Which, from all available evidence, is exactly what happened."[220]

text: Accolades[edit]

text:
Year
Award
Category
Recipient(s)
Result
Ref(s)

2015
Teen Choice Awards
Choice Summer Movie Star: Male
Paul Rudd
Nominated
[221]

Choice Summer Movie Star: Female
Evangeline Lilly
Nominated

2016
Critics' Choice Awards
Best Actor in an Action Movie
Paul Rudd
Nominated
[222]

American Cinema Editors Awards
Best Edited Feature Film – Comedy or Musical
Dan Lebental and Colby Parker, Jr
Nominated
[223]

British Academy Film Awards
Best Special Visual Effects
Jake Morrison, Greg Steele, Dan Sudick and Alex Wuttke
Nominated
[224]

Visual Effects Society Awards
Outstanding Created Environment in a Photoreal Feature
Florian Witzel, Taylor Shaw, Alexis Hall, Heath Kraynak
Nominated
[225]

Outstanding Virtual Cinematography in a Photoreal Project
James Baker, Alex Kahn, Thomas Luff, Rebecca Baehler
Nominated

Kids' Choice Awards
Favorite Movie
Ant-Man
Nominated
[226]

Saturn Awards
Best Comic-to-Film Motion Picture
Ant-Man
Won
[227]

Best Supporting Actor
Michael Douglas
Nominated

Best Supporting Actress
Evangeline Lilly
Nominated

Best Actor
Paul Rudd
Nominated

Best Film Director
Peyton Reed
Nominated

Best Film Editing
Dan Lebental, Colby Parker, Jr.
Nominated

Empire Awards
Best Comedy
Ant-Man
Nominated
[228]

Best Visual Effects
Ant-Man
Nominated

MTV Movie Awards
Best Hero
Paul Rudd
Nominated
[229]

Golden Trailer Awards
Best Fantasy Adventure
"Control"
Nominated
[230]

Best Fantasy Adventure TV Spot
"Operation Online"
Nominated

text: Sequel[edit]

text: A sequel, Ant-Man and the Wasp is scheduled to be released on July 6, 2018, with Reed once again returning as director. Production writers Barrer and Ferrari also return to write the screenplay with Rudd, Chris McKenna and Erik Sommers. Rudd, Lilly, Cannavale, Peña, Harris, Greer, Dastmalchian, Fortson and Douglas all reprise their roles from Ant-Man,[231] and are joined by Michelle Pfeiffer, Laurence Fishburne, Hannah John-Kamen, Randall Park and Walton Goggins as Janet van Dyne, Bill Foster, Ghost, Jimmy Woo, and Sonny Burch, respectively.[232][231]

text: Notes[edit]

text:
Jump up ^ The events of the film are set a few months after the events of Avengers: Age of Ultron (2015).[4]
Jump up ^ As seen in Captain America: Civil War (2016).


document_title: Petrarchan sonnet

question_text: where does the volta occur in english and italian sonnets

text: Petrarchan sonnet

text: Form[edit]

text: The rhyme scheme for the octave is typically a b b a a b b a. The sestet is more flexible. Petrarch typically used c d e c d e or c d c d c d for the sestet. Some other possibilities for the sestet include c d d c d d, c d d e c e, or c d d c c d (as in Wordsworth's "Nuns Fret Not at Their Convent's Narrow Room" [a sonnet about sonnets]). This form was used in the earliest English sonnets by Wyatt and others. For background on the pre-English sonnet, see Robert Canary's web page, The Continental Origins of the Sonnet.[2] In a strict Petrarchan sonnet, the sestet does not end with a couplet (since this would tend to divide the sestet into a quatrain and a couplet). However, in Italian sonnets in English, this rule is not always observed, and c d d c e e and c d c d e e are also used.

text: The octave and sestet have special functions in a Petrarchan sonnet. The octave's purpose is to introduce a problem, express a desire, reflect on reality, or otherwise present a situation that causes doubt or a conflict within the speaker's soul and inside an animal and object in the story. It usually does this by introducing the problem within its first quatrain (unified four-line section) and developing it in the second. The beginning of the sestet is known as the volta, and it introduces a pronounced change in tone in the sonnet; the change in rhyme scheme marks the turn. The sestet's purpose as a whole is to make a comment on the problem or to apply a solution to it. The pair are separate but usually used to reinforce a unified argument — they are often compared to two strands of thought organically converging into one argument, rather than a mechanical deduction. Moreover, Petrarch's own sonnets almost never had a rhyming couplet at the end as this would suggest logical deduction instead of the intended rational correlation of the form.[3]

text: Poets adopting the Petrarchan sonnet form often adapt the form to their own ends to create various effects. These poets do not necessarily restrict themselves to the metrical or rhyme schemes of the traditional Petrarchan form; some use iambic hexameter, while others do not observe the octave-sestet division created by the traditional rhyme scheme. Whatever the changes made by poets exercising artistic license, no "proper" Italian sonnet has more than five different rhymes in it.

text: Sir Thomas Wyatt and Henry Howard, Earl of Surrey are both known for their translations of Petrarch's sonnets from Italian into English. While Howard tended to use the English sonnet form in his own work, reserving the Petrarchan form for his translations of Petrarch, Wyatt made extensive use of the Italian sonnet form in the poems of his that were not translation and adaptation work. As a result, he is often credited for integrating the Petrarchan sonnet into English vernacular tradition.[3]

text: The form also gave rise to an 'anti-Petrarchan' convention which may have revealed the mistress to be ugly and unworthy. The convention was also mocked, or adopted for alternative persuasive means by many of the Inns of Court writers during the Renaissance.

text: Structure[edit]

text: The sonnet is split in two groups: the "octave" (of 8 lines) and the "sestet" (of 6 lines), for a total of 14 lines.

text: The octave (the first 8 lines) typically introduces the theme or problem using a rhyme scheme of abba abba. The sestet (the last 6 lines) provides resolution for the poem and rhymes variously, but usually follows the schemes of cdecde or cdccdc.

text: Example of a Petrarchan sonnet: William Wordsworth's "London, 1802"[edit]

text: Octave - introduces the theme or problem

text: Sestet - solves the problem

text: Notes[edit]

text:
Jump up ^ Spiller, Michael R. G. The Development of the Sonnet: An Introduction. London: Routledge, 1992. Questia School. Web. 5 Dec. 2013.
Jump up ^ Canary, Robert. "The Continental Origins of the Sonnet" June 2006 "Archived copy". Archived from the original on 2009-10-04. Retrieved 2010-05-24.  Accessed 24 May 2010
^ Jump up to: a b J.W Lever The Elizabethan Love Sonnet" Barnes & Noble: London, 1968. pp. 6-14


document_title: Keeping up with the Joneses

question_text: where did the phrase keeping up with the jones come from

text: Keeping up with the Joneses

text: Origins[edit]

text: The phrase originates with the comic strip Keeping Up with the Joneses, created by Arthur R. "Pop" Momand in 1913. The strip ran until 1940 in The New York World and various other newspapers. The strip depicts the social climbing McGinis family, who struggle to "keep up" with their neighbors, the Joneses of the title. The Joneses were unseen characters throughout the strip's run, often spoken of but never shown. The idiom keeping up with the Joneses has remained popular long after the strip's end.[1][2][3][4]

text: Use of the name Jones for neighbors involved in social comparison predates Momand's comic strip. In 1879, English writer E. J. Simmons wrote in Memoirs of a Station Master of the railroad station as a place for social exchange: "The Joneses, who don't associate with the Robinsons, meet there."[1] American humorist Mark Twain made an allusion to Smith and Jones families with regard to social custom in the essay "Corn Pone Opinions," written in 1901 but first published in 1923. "The outside influences are always pouring in upon us, and we are always obeying their orders and accepting their verdicts. The Smiths like the new play; the Joneses go to see it, and they copy the Smith verdict."[5] Starting in 1908, D.W. Griffith directed a series of comedy shorts starring The Biograph Girl, Florence Lawrence, featuring the people next door, The Joneses.

text: An alternative explanation is that the Joneses of the saying refer to the wealthy family of Edith Wharton's father, the Joneses.[6] The Joneses were a prominent New York family with substantial interests in Chemical Bank as a result of marrying the daughters of the bank's founder, John Mason.[7] The Joneses and other rich New Yorkers began to build country villas in the Hudson Valley around Rhinecliff and Rhinebeck, which had belonged to the Livingstons, another prominent New York family to whom the Joneses were related. The houses became grander and grander. In 1853, Elizabeth Schermerhorn Jones built a 24-room gothic villa called Wyndcliffe described by Henry Winthrop Sargent in 1859 as being very fine in the style of a Scottish castle, but by Edith Wharton, Elizabeth's niece, as a gloomy monstrosity.[8] The villa reportedly spurred more building, including a house by William B. Astor (married to a Jones cousin), a phenomenon described as "keeping up with the Joneses". The phrase is also associated with another of Edith Wharton's aunts, Mary Mason Jones, who built a large mansion at Fifth Avenue and 57th Street, then undeveloped. Wharton portrays her affectionately in The Age of Innocence as Mrs. Manson Mingott, "calmly waiting for fashion to flow north".

text: A slightly different version is that the phrase refers to the grand lifestyle of the Joneses who by the mid-century were numerous and wealthy, thanks to the Chemical Bank and Mason connection. It was their relation Mrs William Backhouse Astor, Jr who began the "patriarchs balls", the origin of "The Four Hundred", the list of the society elite who were invited. By then the Joneses were being eclipsed by the massive wealth of the Astors, Vanderbilts and others but the four hundred list published in 1892 contained many of the Joneses and their relations—old money still mattered.

text: Social effects[edit]

text: The philosophy of "keeping up with the Joneses" has widespread effects on some societies. According to this philosophy, conspicuous consumption occurs when people care about their standard of living in relation to their peers.[9] The term was re-introduced in 1976 when an article about parenting included it[citation needed] and has remained a commercial and cultural watchword ever since.

text: According to Roger Mason, "the demand for status goods, fueled by conspicuous consumption, has diverted many resources away from investment in the manufacture of more material goods and services in order to satisfy consumer preoccupations with their relative social standing and prestige".[10]

text: Social status once depended on one's family name; however, the rise of consumerism in the United States gave rise to social mobility. With the increasing availability of goods, people became more inclined to define themselves by what they possessed and the subtle quest for higher status accelerated. Conspicuous consumption and materialism have been an insatiable juggernaut ever since.[11] The desire to increase one's position in the social hierarchy is responsible for much of the social mobility in America. The upward mobility over the past few decades in America is due in part to the large number of women joining the labor force. U.S. women have slowly and steadily increased their participation in the labor force from 46% of all women (age 16+) in 1974 to almost 60% in 2004.[12]

text: Even in countries where the desire for upward social mobility via consumerism and conspicuous consumption is strong, the poor may not be able to better themselves. Doug Henwood observed that "both the US and British poor were more likely to stay poor for a long period of time: almost half of all people who were poor for one year stayed poor for five or more years, compared with 30% in Canada and 36% in Germany. And, despite claims of great upward mobility in the United States, 45% of the poor rose out of poverty in a given year, compared with 45% in the UK, 53% in Germany, and 56% in Canada. And of those who did exit poverty, 15% of Americans were likely to make a round trip back under the poverty line, compared with 16% in Germany, 10% in the UK, and 7% in Canada".[13] The level of income inequality in a country has an inverse relationship with social mobility according to the authors of The Spirit Level.[14]

text: Inability to "keep up with the Joneses" might result in dissatisfaction, even for people whose status is high.[15]

text: One area in which "living above one's means" has caused negative social effects is that of credit card use. In the first quarter of 2002, total credit debt was $660 billion. By 2005, the total credit card debt had increased to $735 billion.[16] America's average credit card debt in 2007 was $8,400 per household. By the end of 2007, consumer debt in America had risen to $2.5 trillion.[17]

text: In popular culture[edit]

text: In the 1936 book The Next 100 Years, Clifford C. Furnas writes that the phenomenon of "'Keeping up with the Joneses' ... is descended from the spreading of the peacock's tail."[18]

text: The phrase is also referenced in the song "Luckenbach, Texas (Back to the Basics of Love)" by Waylon Jennings.

text: In the UK, when Princess Margaret married the fashionable photographer Anthony Armstrong-Jones in 1960, the media would sometimes mention 'keeping up with the Armstrong-Joneses'.

text: Ahmad Lewis has a song off his hit record called "The Joneses."

text: The phase appears in the song "I Wanna Go Back" by Christian singer David Dunn on his 2017 album "Yellow Balloons."


document_title: Open Heaven / River Wild

question_text: who sings love on the line by hillsong

question_tokens: who sings love on the line by hillsong

text: Open Heaven / River Wild

text: Background[edit]

text: In March 2015, "O Praise the Name (Anástasis)" was released as a free download on Hillsong's website, and served as a single for Easter.[3] David Ware served as vocalist for "O Praise the Name", while prominent worship leader Marty Sampson co-wrote the song.[4] Sampson played the song for Hillsong global creative director Cass Langton, who was "overwhelmed" by the song, saying, "The lyrics… they captivated me. The thoughts in the song opened my eyes again to the Gospel story, and I felt the emotions of the death and resurrection of Jesus Christ all over again — I could hardly wait to hear our church worship to this song."[5][6]

text: On 14 June 2015, Langton announced through a blog post that the recording of the next annual live worship album will be at the 2015 Hillsong Conference at the Allphones Arena in Sydney, Australia, marking the first time the album would be recorded entirely during the conference,[7][non-primary source needed][2] as opposed to the typical July releases that coincide with the event.[3]

text: On 17 August 2015, Hillsong released a teaser video on various social media accounts; the title of the album as well as the cover art and the 16 October release date were announced the next day.[8] On 3 September 2015 Hillsong released the trailer to YouTube along with the track-listing for the new album.[9][non-primary source needed]

text: Recording[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2015) (Learn how and when to remove this template message)

text: The live worship album and DVD were recorded during the span of the 2015 Hillsong Conference in Sydney, Australia from 29 June to 3 July.

text: Worship leaders from several Hillsong Church locations, such as Aryel Murphy from Hillsong Los Angeles, Chris Davenport from Hillsong New York, Tarryn Stokes from Hillsong Melbourne and Reuben Morgan from Hillsong London, were included in the recording.

text: Promotion[edit]

text: Singles[edit]

text: "One Thing" was released on 18 September 2015 via iTunes as a pre-order single.

text: "O Praise the Name (Anastásis)" was released on 2 October 2015 via iTunes as a pre-order single.[citation needed]

text: Critical reception[edit]

text:
Professional ratings

Review scores

Source
Rating

The Christian Beat
[10]

Jesus Wired
75/100[11]

New Release Today
[12]

Worship Leader
[13]

text: Barry Westman, rating the album five stars for Worship Leader, says, "this collection of songs will provide the church with a fresh batch of songs for corporate worship with a heartfelt and intimate feel."[13] Awarding the album four stars at New Release Today, Kevin Davis states, "These are very passionate worship songs sung with vocal sincerity and reverence with biblically based lyrics."[12] Madeleine Dittmer, giving the album four and a half stars from The Christian Beat, writes, "The twelve tracks on this album are beautifully written songs of praise that draw listeners in to a sacred place of worship."[10] Indicating in a 75-percent review at Jesus Wired, Rebekah Joy describes, "[the album] really provides some good anthems of worship that really fit in with the Hillsong brand."[11]

text: Track listing[edit]

text:
Standard edition[14]

No.
Title
Writer(s)
Worship leader[15][better source needed][16]
Length

1.
"O Praise the Name (Anástasis)"
Benjamin Hastings, Marty Sampson, Dean Ussher
Marty Sampson
5:29

2.
"Love on the Line"
Brooke Ligertwood, Scott Ligertwood, Aryel Murphy
Aryel Murphy
4:56

3.
"One Thing"
Joel Houston, Aodhan King, Dylan Thomas
Aodhan King
6:13

4.
"Open Heaven (River Wild)"
Matt Crocker, Sampson
Matt Crocker, Hannah Hobbs
7:29

5.
"Transfiguration"
King, B. Ligertwood, S. Ligertwood, Taya Smith
Taya Smith
5:36

6.
"What a Saviour"
Chris Davenport, Houston
Joel Houston
6:57

7.
"Heart Like Heaven"
Crocker, Houston
Jad Gillies
7:28

8.
"Jesus I Need You"
B. Ligertwood, S. Ligertwood, Reuben Morgan, Jarred Rogers
David Ware, Reuben Morgan
4:59

9.
"Here with You"
Joshua Grimmett, Johannes Shore, Jamie Snell
Tarryn Stokes
4:20

10.
"In God We Trust"
Ben Fielding, Eric Liljero, Morgan
Ben Fielding, Annie Garratt
4:01

11.
"Faithfulness"
Davenport
Chris Davenport
5:38

12.
"Never Forsaken"
Hastings, Hannah Hobbs
Laura Toggs
4:36

Total length:
67:42

text:
Digital deluxe edition[17]

No.
Title
Writer(s)
Worship leader[15][16]
Length

13.
"Here Now (Madness)" (featuring Hillsong United)
Michael Guy Chislett, Houston
Joel Houston, Jad Gillies, Taya Smith
6:55

14.
"Rule" (featuring Hillsong United)
Crocker, Houston, Benjamin Tennikoff
Jonathon Douglass
4:13

15.
"This Is Living" (featuring Hillsong Young & Free)
Joel Davies, King
Aodhan King
3:34

16.
"Pursue / All I Need Is You" (Medley; featuring Hillsong Young & Free)
Hobbs, King / Sampson
Aodhan King, Tracy Pratt
7:43

Total length:
90:07

text:
DVD[18]

No.
Title
Worship leader
Length

1.
"O Praise the Name (Anástasis)"
Marty Sampson
5:24

2.
"Love on the Line"
Aryel Murphy
4:54

3.
"One Thing"
Aodhan King
6:14

4.
"Open Heaven (River Wild)"
Matt Crocker, Hannah Hobbs
7:28

5.
"Transfiguration"
Taya Smith
5:35

6.
"What a Saviour"
Joel Houston
6:48

7.
"Heart Like Heaven"
Jad Gillies
7:27

8.
"Jesus I Need You"
David Ware
5:11

9.
"Here with You"
Tarryn Stokes
4:29

10.
"In God We Trust"
Ben Fielding, Annie Garratt
3:59

11.
"Faithfulness"
Chris Davenport
5:35

12.
"Never Forsaken"
Tarryn Stokes
4:10

13.
"Here Now (Madness)"
Joel Houston, Jad Gillies, Taya Smith
7:04

14.
"Rule"
Jonathon Douglass
4:12

15.
"This Is Living"
Aodhan King
3:57

16.
"Pursue / All I Need Is You" (Medley)
Aodhan King, Tracy Pratt
7:42

Total length:
90:09

text: Charts[edit]

text:
Chart (2015)
Peak
position

Australian Albums (ARIA)[19]
1

Belgian Albums (Ultratop Flanders)[20]
137

Canadian Albums (Billboard)[21]
37

Dutch Albums (MegaCharts)[22]
19

New Zealand Albums (RMNZ)[23]
4

Norwegian Albums (VG-lista)[24]
3

Swedish Albums (Sverigetopplistan)[25]
24

UK Albums (OCC)[26]
39

US Billboard 200[27]
25

US Christian Albums (Billboard)[28]
1