document_title: Apollo 13 (film)

question_text: how did they do zero gravity in apollo 13

root

text: Apollo 13 (film)

text: Plot[edit]

text: In July 1969, astronaut Jim Lovell hosts a house party where guests watch Neil Armstrong's televised first human steps on the Moon. Afterwards Lovell, who had orbited the Moon on Apollo 8, tells his wife Marilyn that he intends to return to the Moon to walk on its surface.

tag: p

text: Three months later, as Lovell conducts a VIP tour of NASA's Vertical Assembly Building, his boss Deke Slayton informs him that because of problems with Alan Shepard's crew, his crew will fly Apollo 13 instead of 14. Lovell, Ken Mattingly, and Fred Haise train for their new mission. A few days before launch, Mattingly is exposed to the measles, and the flight surgeon demands his replacement with Mattingly's backup, Jack Swigert. Lovell resists breaking up his team, but relents when Slayton threatens to bump his crew to a later mission. As the launch date approaches, Marilyn has a nightmare about her husband getting killed in space, but goes to the Kennedy Space Center the night before launch to see him off.

text: On April 11, 1970, Flight Director Gene Kranz gives the go-ahead from Houston's Mission Control Center for the Apollo 13 launch. As the Saturn V rocket climbs through the atmosphere, a second stage engine cuts off prematurely, but the craft reaches its Earth parking orbit. After the third stage fires to send Apollo 13 to the Moon, Swigert performs the maneuver to connect the Command/Service Module Odyssey to the Lunar Module Aquarius and pull it away from the spent rocket.

text: Three days into the mission, the crew makes a television transmission, which the networks decline to broadcast live. After Swigert turns on the liquid oxygen tank stirring fans as requested, one of the tanks explodes, emptying its contents into space and sending the craft tumbling. The other tank is soon found to be leaking. They attempt to stop the leak by shutting off fuel cells #1 and #3, but to no avail. With the fuel cells closed, the Moon landing must be aborted, and Lovell and Haise must hurriedly power up Aquarius to use as a "lifeboat" for the return home, as Swigert shuts down Odyssey before its battery power runs out. In Houston, Kranz rallies his team to come up with a plan to bring the astronauts home safely, declaring "failure is not an option". Controller John Aaron recruits Mattingly to help him invent a procedure to restart Odyssey for the landing on Earth.

text: As Swigert and Haise watch the Moon pass beneath them, Lovell laments his lost chance of walking on its surface, then turns their attention to the business of getting home. With Aquarius running on minimal electrical power, the crew suffers freezing conditions, and Haise contracts a urinary infection and a fever. Swigert suspects Mission Control is withholding their inability to get them home; Haise angrily blames Swigert's inexperience for the accident; and Lovell quickly squelches the argument. When carbon dioxide approaches dangerous levels, ground control must quickly invent a way to make the Command Module's square filters work in the Lunar Module's round receptacles. With the guidance systems on Aquarius shut down, the crew must make a difficult but vital course correction by manually igniting the Lunar Module's engine.

text: Mattingly and Aaron struggle to find a way to turn on the Command Module systems without drawing too much power, and finally transmit the procedure to Swigert, who restarts Odyssey by transferring extra power from Aquarius. When the crew jettisons the Service Module, they are surprised to see the extent of the damage. As they release Aquarius and re-enter the Earth's atmosphere, no one is sure that Odyssey's heat shield is intact. The tense period of radio silence due to ionization blackout is longer than normal, but the astronauts report all is well and splash down in the Pacific Ocean.

text: As helicopters bring the three men aboard the recovery ship USS Iwo Jima for a hero's welcome, Lovell's voice-over describes the subsequent investigation into the explosion, and the careers of Haise, Swigert, Mattingly, and Kranz. He wonders if and when mankind will return to the Moon.

text: Cast[edit]

text:
Tom Hanks as Apollo 13 Commander Jim Lovell: Jim Lovell stated that before his book Lost Moon was even written, the movie rights were being shopped to potential buyers[5] and that his first reaction was that Kevin Costner would be a good choice to play him.[5][6] However, by the time Howard acquired the director's position, Costner's name never came up in serious discussion, and Hanks had already been interested in doing a film based on Apollo 13. When Hanks' representative informed him that a script was being passed around, he had the script sent to him.[5] John Travolta was initially offered the role of Lovell, but declined.[7]
Kevin Bacon as Apollo 13 backup Command Module Pilot Jack Swigert
Bill Paxton as Apollo 13 Lunar Module Pilot Fred Haise
Gary Sinise as Apollo 13 prime Command Module Pilot Ken Mattingly: Sinise was invited by Howard to read for any of the characters, and chose Mattingly.[5]
Ed Harris as White Team Flight Director Gene Kranz: Harris described the film as "cramming for a final exam." Harris described Gene Kranz as "corny and like a dinosaur", but was respected by the crew.[5] Apollo 13 would be Harris' second space travel-themed movie; he had starred as pioneering astronaut John Glenn in 1983's The Right Stuff.
Kathleen Quinlan as Marilyn Gerlach Lovell, Jim's wife
Chris Ellis as Director of Flight Crew Operations Deke Slayton
Joe Spano as "NASA Director", a composite character loosely based on Chris Kraft
Marc McClure as Black Team Flight Director Glynn Lunney
Clint Howard as White Team Electrical, Environmental and Consumables Manager (EECOM) Sy Liebergot
Ray McKinnon as White Team Flight Dynamics Officer Jerry Bostick
Todd Louiso as White Team Flight Activities Officer
Loren Dean as EECOM John Aaron
Xander Berkeley as "Henry Hurt", a fictional NASA Office of Public Affairs staff member[8]
David Andrews as Apollo 12 Commander Pete Conrad
Christian Clemenson as Flight Surgeon Dr. Charles Berry
Ben Marley as Apollo 13 backup Commander John Young
Brett Cullen as Capsule Communicator (CAPCOM) 1
Ned Vaughn as CAPCOM 2
Tracy Reiner as Haise's wife Mary
Mark Wheeler  as Neil Armstrong Apollo 11 Commander
Larry Williams as Buzz Aldrin Apollo 11  Lunar Module Pilot
Mary Kate Schellhardt as Lovell's older daughter Barbara
Max Elliott Slade as Lovell's older son James (Jay), who attended military school at the time of the flight
Emily Ann Lloyd as Lovell's younger daughter Susan
Miko Hughes as Lovell's younger son Jeffrey

tag: ul

text: The real Jim Lovell appears as captain of the recovery ship USS Iwo Jima; Howard had intended to make him an admiral, but Lovell himself, having retired as a captain, chose to appear in his actual rank. Horror film director Roger Corman, a mentor of Howard, appears as a congressman being given a VIP tour by Lovell of the Vehicle Assembly Building, as it had become something of a tradition for Corman to make a cameo appearance in his protégés' films.[9][10] The real Marilyn Lovell appeared among the spectators during the launch sequence.[6] CBS News anchor Walter Cronkite appears in archive news footage and can be heard in newly recorded announcements, some of which he edited himself to sound more authentic.[6]

text: In addition to his brother, Clint Howard, several other members of Ron Howard's family appear in the movie:

text:
Rance Howard (his father) appears as the Lovell family minister.
Jean Speegle Howard (his mother) appears as Lovell's mother Blanch.
Cheryl Howard (his wife) and Bryce Dallas Howard (his daughter) appear as uncredited background performers in the scene where the astronauts wave goodbye to their families.[10]

text: Brad Pitt was offered a role in the film, but turned it down to star in Se7en.[11]  Reportedly, the real Pete Conrad expressed interest in appearing in the film.[6]

text: Jeffrey Kluger appears as a television reporter.[10]

text: Production[edit]

text: Preproduction and props[edit]

text: The screenplay by William Broyles, Jr. and Al Reinert was rewritten by John Sayles after Hanks had been cast and construction of the spacecraft sets had begun.[12]

text: While planning the film, director Ron Howard decided that every shot of the film would be original and that no mission footage would be used.[13] The spacecraft interiors were constructed by the Kansas Cosmosphere and Space Center's Space Works, which also restored the Apollo 13 Command Module. Two individual Lunar Modules and two Command Modules were constructed for filming. While each was a replica, composed of some of the original Apollo materials, they were built so that different sections were removable, which enabled filming to take place inside the capsules. Space Works also built modified Command and Lunar Modules for filming inside a Boeing KC-135 reduced-gravity aircraft, and the pressure suits worn by the actors, which are exact reproductions of those worn by the Apollo astronauts, right down to the detail of being airtight. When the actors put the suits on with their helmets locked in place, air was pumped into the suits to cool them down and allow them to breathe, exactly as in launch preparations for the real Apollo missions.[14]

text: The real Mission Control Center consisted of two control rooms located on the second and third floors of Building 30 at the Johnson Space Center in Houston, Texas. NASA offered the use of the control room for filming, but Howard declined, opting instead to make his own replica from scratch.[6][13] Production designer Michael Corenblith and set decorator Merideth Boswell were in charge of the construction of the Mission Control set at Universal Studios. The set was equipped with giant rear-screen projection capabilities and a complex set of computers with individual video feeds to all the flight controller stations. The actors playing the flight controllers were able to communicate with each other on a private audio loop.[14] The Mission Control room built for the film was on the ground floor.[13] One NASA employee, who was a consultant for the film, said that the set was so realistic that he would leave at the end of the day and look for the elevator before remembering he was not in Mission Control.[6] By the time the film was made, the USS Iwo Jima had been scrapped, so her sister ship, the USS New Orleans, was used as the recovery ship instead.[13]

text:
For actors, being able to actually shoot in zero gravity as opposed to being in incredibly painful and uncomfortable harnesses for special effects shots was all the difference between what would have been a horrible moviemaking experience as opposed to the completely glorious one that it actually was.
—Tom Hanks[14]

tag: div

text: Howard anticipated difficulty in portraying weightlessness in a realistic manner. He discussed this with Steven Spielberg, who suggested using a KC-135 airplane, which can be flown in such a way as to create about 23 seconds of weightlessness, a method NASA has always used to train its astronauts for space flight. Howard obtained NASA's permission and assistance in filming in the realistic conditions aboard multiple KC-135 flights.[15]

text: Cast training and filming[edit]

text: In Los Angeles, Ed Harris and all the actors portraying flight controllers enrolled in a Flight Controller School led by Gerry Griffin, an Apollo 13 flight director, and flight controller Jerry Bostick. The actors studied audiotapes from the mission, reviewed hundreds of pages of NASA transcripts, and attended a crash course in physics.[13][14]  Astronaut Dave Scott was impressed with their efforts, stating that each actor was determined to make every scene technically correct, word for word.[5]

text: Soundtrack[edit]

text:
Apollo 13: Music From The Motion PictureSoundtrack album by James HornerReleased
June 27, 1995Genre
SoundtrackLength
77:41Label
MCA

tag: table

text: Professional ratingsReview scoresSourceRatingAllMusic[16]Filmtracks.com[17]SoundtrackNet[18]Tracksounds[19]

text: The score to Apollo 13 was composed and conducted by James Horner. The soundtrack was released in 1995 by MCA Records and has seven tracks of score, eight period songs used in the film, and seven tracks of dialogue by the actors at a running time of nearly seventy-eight minutes. The music also features solos by vocalist Annie Lennox and Tim Morrison on the trumpet. The score was a critical success and garnered Horner an Academy Award nomination for Best Original Score.[20]

text: All music composed by James Horner, except where noted.

text: Apollo 13: Original Motion Picture SoundtrackNo.TitleLength1."Main Title"1:322."One Small Step"0:423."Night Train" (performed by James Brown)3:274."Groovin'" (performed by The Young Rascals)2:265."Somebody to Love" (performed by Jefferson Airplane)2:556."I Can See for Miles" (performed by The Who)4:097."Purple Haze" (performed by The Jimi Hendrix Experience)2:488."Launch Control"3:289."All Systems Go/The Launch"6:3910."Welcome to Apollo 13"0:3811."Spirit in the Sky" (performed by Norman Greenbaum)3:5012."House Cleaning/Houston, We Have a Problem"1:3413."Master Alarm"2:5414."What's Going On?"0:3415."Into the L.E.M."3:4316."Out of Time/Shut Her Down"2:2017."The Darkside of the Moon" (performed by Annie Lennox)5:0918."Failure is Not an Option"1:1819."Honky Tonkin'" (performed by Hank Williams)2:4220."Blue Moon" (performed by The Mavericks)4:0921."Waiting for Disaster/A Privilege"0:4322."Re-Entry & Splashdown"9:0523."End Titles" (performed by Annie Lennox)5:34

text: Release[edit]

text: The film was released on June 30, 1995 in North America and on September 22, 1995 in the UK.

text: In September 2002 the film was re-released in IMAX. It was the first film to be digitally remastered using IMAX DMR technology.[21]

text: Box-office performance[edit]

text:
The film was a box-office success, bringing in $355,237,933 worldwide.[2] The film's widest release was 2,347 theaters.[2]
The film's opening weekend and the following two weeks placed it at #1 with a US gross of $25,353,380, which made up 14.7% of the total US gross.[2]

text:
Apollo 13 box office revenue

Source
Gross (US$)
% Total
All-time rank (unadjusted)

North America

$173,837,933[2]

48.9%

229[2]

Foreign

$181,400,000[2]

51.1%

N/A

Worldwide

 $355,237,933[2]

100.0%

282[2]

text: Reception[edit]

text: Review aggregator Rotten Tomatoes reports that the film has an overall approval rating of 95%, based on 85 reviews, with a weighted average rating of 8.2/10. The site's critical consensus reads, "In recreating the troubled space mission, Apollo 13 pulls no punches: it's a masterfully told drama from director Ron Howard, bolstered by an ensemble of solid performances."[22] Metacritic, which assigns a normalized rating to reviews from mainstream critics, gave the film an average score of 77 out of 100, based on 22 critics, indicating "generally favorable reviews".[23]

text: Roger Ebert of the Chicago Sun-Times praised the film in his review saying: "A powerful story, one of the year's best films, told with great clarity and remarkable technical detail, and acted without pumped-up histrionics."[24] Richard Corliss from Time highly praised the film, saying: "From lift-off to splashdown, Apollo 13 gives one hell of a ride."[25] Edward Guthmann of San Francisco Chronicle gave a mixed review and wrote: "I just wish that Apollo 13 worked better as a movie, and that Howard's threshold for corn, mush and twinkly sentiment weren't so darn wide."[26] Peter Travers from Rolling Stone praised the film and wrote: "Howard lays off the manipulation to tell the true story of the near-fatal 1970 Apollo 13 mission in painstaking and lively detail. It's easily Howard's best film."[27] Movie Room Reviews said "This film is arguably one of the most dramatic and horrendous spaceflight stories ever told."[28]

text: Janet Maslin made the film an NYT Critics' Pick, calling it an "absolutely thrilling" film that "unfolds with perfect immediacy, drawing viewers into the nail-biting suspense of a spellbinding true story." According to Maslin, "like Quiz Show, Apollo 13 beautifully evokes recent history in ways that resonate strongly today. Cleverly nostalgic in its visual style (Rita Ryack's costumes are especially right), it harks back to movie making without phony heroics and to the strong spirit of community that enveloped the astronauts and their families. Amazingly, this film manages to seem refreshingly honest while still conforming to the three-act dramatic format of a standard Hollywood hit. It is far and away the best thing Mr. Howard has done (and Far and Away was one of the other kind)."[29] The academic critic Raymond Malewitz focuses on the DIY aspects of the "mailbox" filtration system to illustrate the emergence of an unlikely hero in late 20th-century American culture—"the creative, improvisational, but restrained thinker—who replaces the older prodigal cowboy heroes of American mythology and provides the country a better, more frugal example of an appropriate 'husband'."[30]

text: Ron Howard stated that, after the first test preview of the film, one of the comment cards indicated "total disdain"; the audience member had written that it was a "typical Hollywood" ending and that the crew would never have survived.[31] Marilyn Lovell praised Quinlan's portrayal of her, stating she felt she could feel what Quinlan's character was going through, and remembered how she felt in her mind.[5]

text: Home media[edit]

text: A 10th-anniversary DVD of the film was released in 2005; it included both the theatrical version and the IMAX version, along with several extras.[32]  The IMAX version has a 1.66:1 aspect ratio.[33]

text: In 2006, Apollo 13 was released on HD DVD and on April 13, 2010 it was released on Blu-ray disc as the 15th-anniversary edition on the 40th anniversary of the Apollo 13 accident.[32] The Film was released on 4K UHD Blu-Ray on October 17, 2017.[34]

text: Accolades[edit]

text:
Year
Award
Category
Recipient
Result
Ref.

1996

Academy Awards (1996)

Best Film Editing

Mike Hill and Daniel Hanley

Won

[4]

Best Sound

Rick Dior, Steve Pederson, Scott Millan, and David MacMillan

Won

Best Actor in a Supporting Role

Ed Harris (lost to Kevin Spacey in The Usual Suspects)

Nominated

Best Actress in a Supporting Role

Kathleen Quinlan (lost to Mira Sorvino in Mighty Aphrodite)

Nominated

Best Art Direction

Art Direction: Michael Corenblith; Set Decoration: Merideth Boswell (lost to Restoration)

Nominated

Best Original Dramatic Score

James Horner (lost to Il Postino)

Nominated

Best Picture

Brian Grazer (lost to Braveheart)

Nominated

Best Visual Effects

Robert Legato, Michael Kanfer, Leslie Ekker, and Matt Sweeney (lost to Babe)

Nominated

Best Adapted Screenplay

William Broyles Jr. and Al Reinert (lost to Sense and Sensibility)

Nominated

American Cinema Editors (Eddies)

Best Edited Feature Film

Mike Hill, Daniel P. Hanley

Nominated

American Society of Cinematographers

Outstanding Achievement in Cinematography in Theatrical Releases

Dean Cundey

Nominated

BAFTA Film Awards

Best Production Design

Michael Corenblith

Won

Outstanding Achievement in Special Visual Effects

Robert Legato, Michael Kanfer, Matt Sweeney, Leslie Ekker

Won

Best Cinematography

Dean Cundey

Nominated

Best Editing

Mike Hill, Daniel Hanley

Nominated

Best Sound

David MacMillan, Rick Dior, Scott Millan, Steve Pederson

Nominated

Casting Society of America (Artios)

Best Casting for Feature Film, Drama

Jane Jenkins, Janet Hirshenson

Nominated

Chicago Film Critics Association Awards

Best Picture

Apollo 13

Won

Directors Guild of America

Outstanding Directorial Achievement in Motion Pictures

Ron Howard, Carl Clifford, Aldric La'Auli Porter, Jane Paul

Won

Golden Globe Awards

Best Supporting Actor – Motion Picture

Ed Harris as Gene Kranz

Nominated

Best Supporting Actress – Motion Picture

Kathleen Quinlan as Marilyn Lovell

Nominated

Best Director – Motion Picture

Ron Howard

Nominated

Best Motion Picture – Drama

Apollo 13

Nominated

Heartland Film Festival

Studio Crystal Heart Award

Jeffrey Kluger

Won

Hugo Awards

Best Dramatic Presentation

Apollo 13

Nominated

MTV Movie Awards

Best Male Performance

Tom Hanks as Jim Lovell

Nominated

Best Movie

Apollo 13

Nominated

PGA Awards

Motion Picture Producer of the Year Award

Brian Grazer, Todd Hallowell

Won

Saturn Awards

Best Action / Adventure / Thriller Film

Apollo 13

Nominated

Screen Actors Guild Awards

Outstanding Performance by a Male Actor in a Supporting Role

Ed Harris as Gene Kranz

Won

Outstanding Performance by a Cast

Kevin Bacon, Tom Hanks, Ed Harris, Bill Paxton, Kathleen Quinlan, and Gary Sinise

Won

Space Foundation's Douglas S. Morrow Public Outreach Award

Best Family Feature – Drama

Apollo 13

Won

[35]

Writers Guild of America Awards

Best Screenplay Adapted from Another Medium

William Broyles Jr., Al Reinert

Nominated

Young Artist Awards

Best Family Feature – Drama

Apollo 13

Nominated

2005

American Film Institute

AFI's 100 Years... 100 Movie Quotes

"Houston, we have a problem." (#50)

Won

[36]

2006

American Film Institute

AFI's 100 Years... 100 Cheers

Apollo 13 (#12)

Won

[36]

text: Technical and historical accuracy[edit]

text: The film depicts the crew hearing a bang quickly after Swigert followed directions from mission control to stir the oxygen and hydrogen tanks. In reality, the crew heard the bang 93 seconds later.[37]

text: The film portrays the Saturn V launch vehicle being rolled out to the launch pad two days before launch. In reality, the launch vehicle was rolled out on the mobile launch platform using the crawler-transporter weeks before the launch date.

text: The movie depicts Swigert and Haise arguing about who was at fault.  The show The Real Story: Apollo 13 broadcast on the Smithsonian Channel includes Haise stating that no such argument took place and that there was no way anyone could have foreseen that stirring the tank would cause problems.[38]

text: The dialogue between ground control and the astronauts was taken nearly verbatim from transcripts and recordings, with the exception of one of the taglines of the film, "Houston, we have a problem." (This quote was voted #50 on the list "AFI's 100 Years... 100 Movie Quotes".) According to the mission transcript, the actual words uttered by Jack Swigert were "Hey, we've got a problem here" (talking over Haise, who had started "Okay, Houston"). Ground control responded by saying "This is Houston, say again please." Jim Lovell then repeated, "Houston, we've had a problem."[39]

text: One other incorrect dialogue is after the re-entry blackout. In the movie, Tom Hanks (as Lovell) says "Hello Houston... this is Odyssey... it's good to see you again." In the actual re-entry, the Command Module's transmission was finally acquired by a Sikorsky SH-3D Sea King recovery aircraft which then relayed communications to Mission Control. CAPCOM and fellow astronaut Joe Kerwin (not Mattingly, who serves as CAPCOM in this scene in the movie) then made a call to the spacecraft "Odyssey, Houston standing by. Over." Jack Swigert, not Lovell, replied "Okay, Joe," and unlike in the movie, this was well before the parachutes deployed; the celebrations depicted at Mission Control were triggered by visual confirmation of their deployment.[40]

text: The tagline "Failure is not an option", stated in the film by Gene Kranz, also became very popular, but was not taken from the historical transcripts. The following story relates the origin of the phrase, from an e-mail by Apollo 13 Flight Dynamics Officer Jerry Bostick:

text: As far as the expression "Failure is not an option," you are correct that Kranz never used that term. In preparation for the movie, the script writers, Al Reinart and Bill Broyles, came down to Clear Lake to interview me on "What are the people in Mission Control really like?" One of their questions was "Weren't there times when everybody, or at least a few people, just panicked?" My answer was "No, when bad things happened, we just calmly laid out all the options, and failure was not one of them. We never panicked, and we never gave up on finding a solution." I immediately sensed that Bill Broyles wanted to leave and assumed that he was bored with the interview. Only months later did I learn that when they got in their car to leave, he started screaming, "That's it! That's the tag line for the whole movie, Failure is not an option. Now we just have to figure out who to have say it." Of course, they gave it to the Kranz character, and the rest is history.[41]

text: In the film, Flight Director Gene Kranz and his White Team are portrayed as managing all of the essential parts of the flight, from liftoff to landing.  Consequently, the actual role of the other flight directors and teams, especially Glynn Lunney and his Black Team, were neglected.  In fact, it was Flight Director Lunney and his Black Team who got Apollo 13 through its most critical period in the hours immediately after the explosion, including the mid-course correction that sent Apollo 13 on a "free return" trajectory around the Moon and back to the Earth.  Astronaut Ken Mattingly, who was replaced as Apollo 13 Command Module Pilot at the last minute by Jack Swigert, later said:

text: If there was a hero, Glynn Lunney was, by himself, a hero, because when he walked in the room, I guarantee you, nobody knew what the hell was going on.  Glynn walked in, took over this mess, and he just brought calm to the situation.  I've never seen such an extraordinary example of leadership in my entire career.  Absolutely magnificent.  No general or admiral in wartime could ever be more magnificent than Glynn was that night.  He and he alone brought all of the scared people together.  And you've got to remember that the flight controllers in those days were—they were kids in their thirties.  They were good, but very few of them had ever run into these kinds of choices in life, and they weren't used to that.  All of a sudden, their confidence had been shaken.  They were faced with things that they didn't understand, and Glynn walked in there, and he just kind of took charge.[42]

text: A DVD commentary track, recorded by Jim and Marilyn Lovell and included with both DVD versions,[32] mentions several inaccuracies included in the film, all done for reasons of artistic license:

text:
We were working and watching the controls during that time. Because we came in shallow, it took us longer coming through the atmosphere where we had ionization. And the other thing was that we were just slow in answering.
—Jim Lovell, on the real reason for the delay in replying after Apollo 13's four-minute re-entry into Earth's atmosphere[43]

text:
In the film, Mattingly plays a key role in solving a power consumption problem that Apollo 13 was faced with as it approached re-entry. Lovell points out in his commentary that Mattingly was a composite of several astronauts and engineers—including Charles Duke (whose rubella led to Mattingly's grounding)—all of whom played a role in solving that problem.[6]
When Jack Swigert is getting ready to dock with the LM, a concerned NASA technician says: "If Swigert can't dock this thing, we don't have a mission." Lovell and Haise also seem worried. In his DVD commentary, the real Jim Lovell says that if Swigert had been unable to dock with the LM, he or Haise could have done it. He also says that Swigert was a well-trained Command Module Pilot and that no one was really worried about whether he was up to the job,[43] but he admitted that it made a nice subplot for the film. What the astronauts were really worried about, Lovell says, was the expected rendezvous between the Lunar Module and the Command Module after Lovell and Haise left the surface of the Moon.[6]
A scene set the night before the launch, showing the astronauts' family members saying their goodbyes while separated by a road, to reduce the possibility of any last-minute transmission of disease, depicted a tradition not begun until the Space Shuttle program.[6]
The film depicts Marilyn Lovell dropping her wedding ring down a shower drain. According to Jim Lovell, this did occur,[43] but the drain trap caught the ring and his wife was able to retrieve it.[6]  Lovell has also confirmed that the scene in which his wife had a nightmare about him being "sucked through an open door of a spacecraft into outer space" also occurred, though he believes the nightmare was prompted by her seeing a scene in Marooned, a 1969 film they saw three months before Apollo 13 launched.[43]


document_title: True Grit (novel)

question_text: where is true grit supposed to take place

text: True Grit (novel)

text: Plot summary[edit]

text: The novel is narrated by Mattie Ross, churchgoing elderly spinster distinguished by intelligence, independence, and strength of mind. She recounts the story of her adventures many years earlier, at 14, when she undertook a quest to avenge her father's death at the hands of a drifter named Tom Chaney. She is joined on her quest by Marshal Reuben J. "Rooster" Cogburn and a Texas Ranger named LaBoeuf (pronounced "La-beef").

text: As Mattie's tale begins, Chaney is employed on the Ross's family farm in West-Central Arkansas, near the town of Dardanelle in Yell County. Chaney is not adept as a farmhand, and Mattie has only scorn for him, referring to him as "trash" and noting that her kind-hearted father Frank only hired him out of pity. One day, Frank Ross and Chaney go to Fort Smith to buy some horses. Ross takes $250 with him to pay for the horses, along with two gold pieces that he always carried, but he ends up spending only $100 on the horses. Later, Ross tries to intervene in a barroom confrontation involving Chaney. Chaney kills him, robs the body of the remaining $150 and two gold pieces, and flees into Indian Territory (now Oklahoma) on his horse.

text: Mattie hears that Chaney has joined an outlaw gang led by the infamous "Lucky" Ned Pepper and wishes to track down the killer. Upon arriving at Fort Smith, she looks for the toughest deputy US Marshal in the district. That man turns out to be Reuben J. "Rooster" Cogburn, an aging, one-eyed, overweight, trigger-happy, hard-drinking man. Mattie is convinced that he has "grit" and that he is best suited for the job, due to his reputation for violence.

text: Playing on Cogburn's need for money, Mattie persuades him to take on the job, insisting that she accompany him as part of the bargain. During their preparation, a Texas Ranger named LaBoeuf appears. He has been tracking Chaney for four months for killing a senator and his dog in Texas, and he hopes to bring him back to Texas dead or alive for a cash reward. Cogburn and LaBoeuf take a dislike to each other, but after some haggling, they agree to join forces in the hunt, realizing that they can both benefit from each other's respective talents and knowledge. Once they reach a deal, the two men attempt to leave Mattie behind, but she proves more tenacious than they had expected. They repeatedly try to lose her, but she persists in following them and seeing her transaction with Marshal Cogburn through to the end. Eventually, she is jumped by Cogburn and LaBoeuf, who had hidden themselves from view, and LaBoeuf begins to spank Mattie. Mattie appeals to Cogburn and he orders LaBoeuf to stop. At this point, Mattie is allowed to join their posse.

text: Together, but with very different motivations, the three ride into the wilderness to confront Ned Pepper's gang. Along the way, they develop an appreciation for one another.

text: Film and television adaptations[edit]

text: In 1969, the book was adapted as a screenplay  by Marguerite Roberts for the Western film True Grit directed by Henry Hathaway and starring Kim Darby as Mattie Ross, Robert Duvall as "Lucky" Ned Pepper, Glen Campbell as LaBoeuf, Jeff Corey as Tom Chaney, and John Wayne as Rooster Cogburn (a role that won John Wayne Best Actor at the Academy Awards).

text: A film sequel, Rooster Cogburn, was produced from an original screenplay in 1975, with John Wayne reprising his role, and Katharine Hepburn as an elderly spinster, Eula Goodnight, who teams with him. The sequel was not well received, and the plot was considered a needless reworking of the plot of True Grit combined with elements of The African Queen.[4]

text: A made-for-television sequel aired in 1978 entitled True Grit: A Further Adventure and starring Warren Oates and Lisa Pelikan. The TV-movie featured more adventures of Rooster Cogburn and Mattie Ross.

text: In 2010, Joel and Ethan Coen released another film adaptation of the novel, also entitled True Grit, with thirteen-year-old actress Hailee Steinfeld as Mattie Ross, veteran actor Jeff Bridges playing Rooster Cogburn, Matt Damon as LaBoeuf, Barry Pepper as Lucky Ned, and Josh Brolin as Tom Chaney.  Their version, focusing on Mattie's point of view, follows the novel more closely than the 1969 film. The Coen movie is shot in settings more typical of the novel. (The 1969 film was shot in the Colorado Rockies and the Sierra Nevada, while the 2010 film was shot in Santa Fe, New Mexico as well as Granger and Austin, Texas.) [5]

text: In November 2010, The Overlook Press published a movie tie-in edition of True Grit, featuring an afterword by Donna Tartt to accompany the 2010 film adaptation. It reached #1 on The New York Times's Bestseller List on January 30, 2011.


document_title: List of national birds

question_text: what country's national bird is the flamingo

question_tokens: what country 's national bird is the flamingo

text: List of national birds

text: This is a list of national birds, most official, but some unofficial.

text: National birds[edit]

text:
Country

Name of bird

Scientific name

Official status

Picture

Ref.

 Angola
Red-crested turaco
Tauraco erythrolophus
Yes

[1]

 Anguilla
Zenaida dove
Zenaida aurita
Yes

[2]

 Antigua and Barbuda
Magnificent frigatebird
Fregata magnificens
Yes

[3]

 Argentina
Rufous hornero
Furnarius rufus
Yes

[4]

 Aruba
Shoco (Burrowing Owl). Proposed as national bird and recognized as one of Aruba's "national symbols" in 2012
Athene cunicularia arubensis
No

[5]

 Australia
Emu
Dromaius novaehollandiae
No

[6]

 Austria
Barn swallow
Hirundo rustica
Yes

[7]

 Bahamas
American flamingo
Phoenicopterus ruber
Yes

[8]

 Bahrain
Himalayan bulbul
Pycnonotus leucogenys
Yes

[9]

 Bangladesh
Oriental magpie-robin
Copsychus saularis
Yes

[10]

 Belarus
White stork
Ciconia ciconia
No

[11]

 Belgium
Common kestrel
Falco tinnunculus
Yes

[12]

 Belize
Keel-billed toucan
Ramphastos sulfuratus
Yes

[13]

 Bermuda
Bermuda petrel
Pterodroma cahow
No

[14]

 Bhutan
Common raven
Corvus corax
Yes

[15]

 Bolivia
Andean condor
Vultur gryphus
Yes

[16]

 Botswana
Kori bustard
Ardeotis kori
Yes

[17][18]

 Brazil
Rufous-bellied thrush
Turdus rufiventris
Yes

[19]

 British Virgin Islands
Mourning dove
Zenaida macroura
Yes

[20]

 Cambodia
Giant ibis
Thaumatibis gigantea
Yes

[21]

 Cayman Islands
Grand Cayman parrot
Amazona leucocephala caymanensis
Yes

[22]

 Chile
Andean condor
Vultur gryphus
Yes

[23]

 China
Red-crowned crane. Proposed as national bird by State Forestry Administration in 2007 (awaiting State Council approval).
Grus japonensis
No

[24][25]

 Colombia
Andean condor
Vultur gryphus
Yes

[26]

 Costa Rica
Clay-colored thrush
Turdus grayi
Yes

[27]

 Croatia
Common nightingale
Luscinia megarhynchos
No

[28]

 Cuba
Cuban trogon
Priotelus temnurus
Yes

[29]

 Denmark
Mute swan
Cygnus olor
Yes

[30]

 Dominica
Imperial amazon
Amazona imperialis
Yes

[31]

 Dominican Republic
Palmchat
Dulus dominicus
Yes

[32]

 Ecuador
Andean condor
Vultur gryphus
Yes

[33]

 El Salvador
Turquoise-browed motmot
Eumomota superciliosa
Yes

[34]

 Estonia
Barn swallow
Hirundo rustica
Yes

[35]

 Faroe Islands
Eurasian oystercatcher
Haematopus ostralegus
Yes

[36]

 Finland
Whooper swan
Cygnus cygnus
Yes

[37]

 France
Gallic rooster
Gallus gallus
No

[38]

 Germany
Golden eagle
Aquila chrysaetos
No

[39]

 Gibraltar
Barbary partridge
Alectoris barbara
Yes

[40]

 Greece
Little owl
Athene noctua
No

[41]

 Grenada
Grenada dove
Leptotila wellsi
Yes

[42]

 Guatemala
Resplendent quetzal
Pharomachrus mocinno
Yes

[43]

 Guyana
Hoatzin
Opisthocomus hoazin
Yes

[44]

 Haiti
Hispaniolan trogon
Priotelus roseigaster
Yes

[45]

 Honduras
Scarlet macaw
Ara macao
Yes

[46]

 Hungary
Saker falcon
Falco cherrug
Yes

[47]

 Iceland
Gyrfalcon
Falco rusticolus
Yes

[48]

 India
Indian peacock
Pavo cristatus
Yes

[49]

 Indonesia
Javan hawk-eagle
Nisaetus bartelsi
Yes

[50]

 Iran
Common nightingale
Luscinia megarhynchos
Yes

[51]

 Iraq
Chukar partridge
Alectoris chukar
Yes

[52]

 Ireland
Northern lapwing
Vanellus vanellus
No

[53]

 Israel
Hoopoe
Upupa epops
Yes

[54]

 Italy
Italian sparrow
Passer italiae
Yes

[55]

 Jamaica
Doctor bird
Trochilus polytmus
Yes

[56]

 Japan
Green pheasant
Phasianus versicolor
Yes

[57]

 Jordan
Sinai rosefinch
Carpodacus synoicus
Yes

[58]

 Kenya
Lilac-breasted roller
Coracias caudatus
No

[59]

 Latvia
White wagtail
Motacilla alba
Yes

[60]

 Liberia
Garden bulbul
Pycnonotus barbatus
Yes

[58]

 Lithuania
White stork
Ciconia ciconia
Yes

[61]

 Luxembourg
Goldcrest
Regulus regulus
Yes

[62]

 Malta
Blue rock thrush
Monticola solitarius
Yes

[63]

 Mexico
Golden eagle
Aquila chrysaetos
Yes

[64]

 Mongolia
Saker falcon
Falco cherrug
Yes

[65]

 Montserrat
Montserrat oriole
Icterus oberi
Yes

[66]

 Myanmar
Grey peacock-pheasant
Polyplectron bicalcaratum
No

[67]

 Namibia
African fish eagle
Haliaeetus vocifer
Yes

[68][69]

   Nepal
Himalayan monal
Lophophorus impejanus
Yes

[70]

 Netherlands
Black-tailed godwit
Limosa limosa
No

[71]

 New Zealand
Kiwi
Apteryx mantelli
No

[72]

 Nicaragua
Turquoise-browed motmot
Eumomota superciliosa
Yes

[73]

 Nigeria
Black crowned crane
Balearica pavonina
Yes

[74]

 North Korea
Northern goshawk
Accipiter gentilis
Yes

[75]

 Norway
White-throated dipper
Cinclus cinclus
Yes

[76]

 Pakistan
Chukar partridge
Alectoris chukar
Yes

[77]

Shaheen falcon (Heritage bird)
Falco peregrinus peregrinator
Unofficial

[78]

 Palestine
Palestine sunbird
Cinnyris oseus
No

[79]

 Panama
Harpy eagle
Harpia harpyja
Yes

[80]

 Papua New Guinea
Raggiana bird-of-paradise
Paradisaea raggiana
Yes

[81]

 Paraguay
Bare-throated bellbird
Procnias nudicollis
Yes

[82]

 Peru
Andean cock-of-the-rock
Rupicola peruvianus
Yes

[83]

 Philippines
Philippine eagle
Pithecophaga jefferyi
Yes

[84]

 Poland
White-tailed eagle (national bird)
Haliaeetus albicilla
Yes

[85][86]

White stork (national bird)
Ciconia ciconia
No

[87]

 Puerto Rico
Puerto Rican spindalis
Spindalis portoricensis
Yes

[88]

 Saint Helena
Saint Helena plover
Charadrius sanctaehelenae
Yes

[89]

 Saint Kitts and Nevis
Brown pelican
Pelecanus occidentalis
Yes

[90]

 Saint Vincent and the Grenadines
St Vincent parrot
Amazona guildingii
Yes

[91]

 Scotland
Golden eagle
Aquila chrysaetos
No

[92]

 Serbia
Eagle

Yes

[93]

Griffon vulture
Gyps fulvus
Yes

[94]

 Singapore
Crimson sunbird
Aethopyga siparaja
No

[95]

 South Africa
Blue crane
Anthropoides paradisea
Yes

[96][97]

 Sri Lanka
Sri Lanka junglefowl
Gallus lafayetii
Yes

[98]

 Swaziland
Purple-crested turaco
Tauraco porphyreolophus
Yes

[96]

 Sweden
Common blackbird
Turdus merula
Yes

[99]

 Thailand
Siamese fireback
Lophura diardi
Yes

[100]

 Trinidad and Tobago
Scarlet ibis
Eudocimus ruber
Yes

[101]

Cocrico
Ortalis ruficauda
Yes

[101]

 Uganda
East African crowned crane
Balearica regulorum gibbericeps
Yes

[102]

 Ukraine
White stork
Ciconia ciconia
No

[103]

 United Arab Emirates
Falcon
Falco
Yes

[104]

 United Kingdom
European robin
Erithacus rubecula
No

[105][106]

 United States
Bald eagle
Haliaeetus leucocephalus
Yes

[107]

 Uruguay
Southern lapwing
Vanellus chilensis
No

[108]

 Venezuela
Venezuelan troupial
Icterus icterus
Yes

[109]

 Wales
Red Kite
Milvus milvus
No

[110]

 Zambia
African fish eagle
Haliaeetus vocifer
Yes

[96][111]

 Zimbabwe
African fish eagle
Haliaeetus vocifer
Yes

[96]


document_title: Shakespeare in Love

question_text: who plays christopher marlowe in shakespeare in love

text: Shakespeare in Love

text: Plot[edit]

text: In 1593 London, William Shakespeare is a sometime player in the Lord Chamberlain's Men and poor playwright for Philip Henslowe, owner of The Rose Theatre. Shakespeare is working on a new comedy, Romeo and Ethel, the Pirate's Daughter. Suffering from writer's block, he has barely begun the play, and is further distracted by attempts both to seduce Rosaline, the mistress of Richard Burbage, owner of the rival Curtain Theatre and to convince Burbage to buy the play from Henslowe. Shakespeare receives helpful advice on his play from rival playwright Christopher 'Kit' Marlowe', but becomes despondent when he learns Rosaline is sleeping with Edmund Tilney, the powerful Master of Revels. Henslowe, who is in debt to the ruthless moneylender Fennyman and in desperate need for a new play, begins auditions anyway.

text: Viola de Lesseps, the daughter of a wealthy merchant, who has seen Shakespeare's plays at court, disguises herself as a man named Thomas Kent to audition. "He" gains Shakespeare's interest when he auditions with a speech from Two Gentlemen of Verona after a series of actors bore him by reciting Christopher Marlowe, but when Shakespeare questions her, Viola runs away in fear of being discovered. Shakespeare pursues Kent to Viola's house and leaves a note with the nurse, asking Thomas Kent to begin rehearsals at the Rose. He sneaks into the house with the minstrels playing that night at the ball, where Viola's parents are arranging her betrothal to Lord Wessex, an impoverished aristocrat. While dancing with Viola, Shakespeare is struck speechless, but is forcibly ejected by Wessex. Wessex also asks Will's name, to which he replies that he is Christopher Marlowe after Wessex threatens to kill him. Shakespeare sneaks into Viola's garden, finding her on her balcony, where they briefly confess their mutual attraction to each other before he is discovered by her nurse and flees.

text: Inspired by Viola, Shakespeare writes quickly, completely transforming the play into what will become Romeo and Juliet. Rehearsals begin, with "Thomas Kent" as Romeo, the leading tragedian Ned Alleyn as Mercutio and the stagestruck Fennyman given a small role as the Apothocary. Shakespeare soon discovers Viola's true identity, and they begin a secret affair.

text: Viola is summoned to court to receive approval for her proposed marriage to Lord Wessex. Shakespeare accompanies her, disguised as her female cousin. There, he persuades Wessex to wager £50 that a play can capture the true nature of love, the exact amount Shakespeare requires to buy a share in the Chamberlain's Men. Queen Elizabeth I declares that she will judge the matter when the occasion arises.

text: When Burbage finds out that Shakespeare has both seduced Rosaline and cheated him out of the money he was paid for the play, he goes to the Rose Theatre with his Curtain Theatre Company and starts a brawl. The Rose Theatre company drives Burbage and his company out and then celebrate at the local pub, where a drunken Henslowe lets slip to a horrified Viola that Shakespeare is married, albeit separated from his wife. News arrives that Marlowe has been murdered, and a guilt-ridden Shakespeare believes Wessex has had Marlowe killed, believing him to be Viola's lover. Viola briefly believes Shakespeare has been murdered but he appears at her church, terrifying Wessex who believes he is a ghost. Viola confesses her love for Shakespeare, but both recognize she cannot escape her duty to marry Wessex.

text: John Webster, an unpleasant young boy who hangs around the theater, spies on Will and Viola making love and informs Tilney, who closes the Rose for breaking the ban on women actors. Viola's identity is exposed, leaving them without a stage or lead actor, until Richard Burbage offers them his theatre and the heartbroken Shakespeare takes the role of Romeo. Following her wedding, Viola learns that the play will be performed that day, and runs away to the Curtain. Planning to watch with the crowd, Viola overhears that the boy playing Juliet cannot perform, his voice having broken overnight, and Henslowe asks her to replace him. She plays Juliet to Shakespeare's Romeo to an enthralled audience.

text: Master Tilney arrives to arrest everyone for indecency due to Viola's presence, but the Queen reveals herself having been in attendance and restrains Tilney, instead asserting that Kent's resemblance to a woman is, indeed, remarkable. However, even a queen is powerless to end a lawful marriage, and she orders Kent to "fetch" Viola because she must sail with Wessex to the Colony of Virginia. The Queen also tells Wessex, who followed Viola to the theatre, that Romeo and Juliet has won the bet for Shakespeare, and has Kent deliver his £50 with instructions to write something "a little more cheerful next time, for Twelfth Night".

text: Viola and Shakespeare say their goodbyes, and he vows to immortalise her, as he imagines the beginnings of Twelfth Night, imagining her as a castaway disguised as a man after a voyage to a strange land.

text: Cast[edit]

text:
Gwyneth Paltrow as Viola de Lesseps
Joseph Fiennes as William Shakespeare
Geoffrey Rush as Philip Henslowe
Colin Firth as Lord Wessex
Ben Affleck as Ned Alleyn
Judi Dench as Elizabeth I of England
Simon Callow as Edmund Tilney
Jim Carter as Ralph Bashford
Martin Clunes as Richard Burbage
Antony Sher as Dr. Moth
Imelda Staunton as Nurse
Tom Wilkinson as Hugh Fennyman
Mark Williams as Wabash
Daniel Brocklebank as Sam Gosse
Jill Baker as Lady de Lesseps
Patrick Barlow as Will Kempe
Joe Roberts as John Webster
John Inman as Lady Capulet
Rupert Everett as Christopher 'Kit' Marlowe
Sandra Reinton as Rosaline

text: Production[edit]

text: The original idea for Shakespeare in Love came to screenwriter Marc Norman in the late 1980s after a rudimentary pitch from his son Zachary.[4] Norman wrote a draft screenplay which he presented to director Edward Zwick, which attracted Julia Roberts, who agreed to play Viola. However, Zwick disliked Norman's screenplay and hired the playwright Tom Stoppard to improve it (Stoppard's first major success had been with the Shakespeare-themed play Rosencrantz & Guildenstern Are Dead).[5]

text: The film went into production in 1991 at Universal, with Zwick as director, but although sets and costumes were in construction, Shakespeare had not yet been cast, because Roberts insisted that only Daniel Day-Lewis could play the role.[citation needed] Day-Lewis was uninterested, and when Roberts failed to persuade him, she withdrew from the film, six weeks before shooting was due to begin. The production went into turnaround, and Zwick was unable to persuade other studios to take up the screenplay.[5]

text: Eventually, Zwick got Miramax interested in the screenplay, but Miramax chose John Madden as director. Miramax boss Harvey Weinstein acted as producer, and persuaded Ben Affleck to take a small role as Ned Alleyn.[6]

text: The film was considerably reworked after the first test screenings. The scene with Shakespeare and Viola in the punt was re-shot, to make it more emotional, and some lines were re-recorded to clarify the reasons why Viola had to marry Wessex. The ending was re-shot several times, until Stoppard eventually came up with the idea of Viola suggesting to Shakespeare that their parting could inspire his next play.[7]

text: Among the locations used in the production were Hatfield House, Hertfordshire (for the fireworks scene), Broughton Castle, Oxfordshire (which played the role of the de Lesseps home), the beach at Holkham in Norfolk, the chapel at Eton College, Berkshire, and the Great Hall of Middle Temple, London.[8]

text: References to Elizabethan literature[edit]

text: Much of the action of the film echoes that of Romeo and Juliet. Will and Viola play out the famous balcony and bedroom scenes; like Juliet, Viola has a witty nurse, and is separated from Will by a gulf of duty (although not the family enmity of the play: the "two households" of Romeo and Juliet are supposedly inspired by the two rival playhouses). In addition, the two lovers are equally "star-crossed" — they are not ultimately destined to be together (since Viola is of rich and socially ambitious merchant stock and is promised to marry Lord Wessex, while Shakespeare himself is poor and already married). There is also a Rosaline, with whom Will is in love at the beginning of the film. There are references to earlier cinematic versions of Shakespeare, such as the balcony scene pastiching the Zeffirelli Romeo and Juliet.[9]

text: Many other plot devices used in the film are common in Shakespearean comedies and other plays of the Elizabethan era: the Queen disguised as a commoner, the cross-dressing disguises, mistaken identities, the sword fight, the suspicion of adultery, the appearance of a "ghost" (cf. Macbeth), and the "play within a play". According to Douglas Brode, the film deftly portrays many of these devices as though the events depicted were the inspiration for Shakespeare's own use of them in his plays.[10]

text: The film also has sequences in which Shakespeare and the other characters utter words that later appear in his plays, or in other ways echo those plays:

text:
On the street, Shakespeare hears a Puritan preaching against the two London stages: "The Rose smells thusly rank, by any name! I say, a plague on both their houses!" Two references in one, both to Romeo and Juliet; first, "A rose by any other name would smell as sweet" (Act II, scene ii, lines 1 and 2); second, "a plague on both your houses" (Act III, scene I, line 94).
Backstage at a performance of The Two Gentlemen of Verona, Shakespeare sees William Kempe in full make-up, silently contemplating a skull, a reference to the gravediggers scene in Hamlet.
Shakespeare utters the lines "Doubt thou the stars are fire, / Doubt that the sun doth move" (from Hamlet) to Philip Henslowe.
As Shakespeare's writer's block is introduced, he is seen crumpling balls of paper and throwing them around his room. They land near props which represent scenes in several of his plays: a skull (Hamlet), and an open chest (The Merchant of Venice).
Viola, as well as being Paltrow's character in the film, is the name of the lead character in Twelfth Night who dresses as a man after the supposed death of her brother.
At the end of the film, Shakespeare imagines a shipwreck overtaking Viola on her way to America, inspiring the second scene of his next play, Twelfth Night, a scene which also echoes the beginning of The Tempest.
Shakespeare writes a sonnet to Viola which begins: "Shall I compare thee to a summer's day?" (from Sonnet 18).
Shakespeare tells Henslowe that he still owes him for "one gentleman of Verona", a reference to Two Gentlemen of Verona, part of which we also see being acted before the Queen later in the film.
In a boat, Shakespeare tells Viola, who is disguised as Thomas Kent, of his lady’s beauty and charms, she dismisses his praise, as no real woman could live up to this ideal, this is a 'set up' for Sonnet 130, "My mistress’ eyes are nothing like the sun".[original research?]
Later in the same scene Shakespeare's boatman identifies himself as a writer and attempts to foist his work on his passenger. This may allude to the Elizabethan waterman and poet John Taylor (poet).[original research?]

text: Christopher Marlowe is presented in the film as the master playwright whom the characters consider the greatest English dramatist of that time — this is historically accurate, yet also humorous, since the film's audience knows what will eventually happen to Shakespeare's reputation. Marlowe gives Shakespeare a plot for his next play, "Romeo and Ethel the Pirate's Daughter" ("Romeo is Italian...always in and out of love...until he meets...Ethel. The daughter of his enemy! His best friend is killed in a duel by Ethel's brother or something. His name is Mercutio.")[11] Marlowe's Doctor Faustus is quoted repeatedly: "Was this the face that launched a thousand ships/ And burned the topless towers of Ilium?" A reference is also made to Marlowe's final, unfinished play The Massacre at Paris in a scene wherein Marlowe (Rupert Everett) seeks payment for the final act of the play from Richard Burbage (Martin Clunes). Burbage promises the payment the next day, so Marlowe refuses to part with the pages and departs for Deptford, where he is killed.[12] The only surviving text of The Massacre at Paris is an undated octavo that is probably too short to represent the complete original play. It has been suggested that it is a memorial reconstruction by the actors who performed the work.[13]

text: The child John Webster who plays with mice is a reference to the leading figure in the next, Jacobean, generation of playwrights. His plays (The Duchess of Malfi, The White Devil) are known for their 'blood and gore', which is humorously referred to by the child saying that he enjoys Titus Andronicus, and also saying of Romeo and Juliet, when asked his opinion by the Queen, "I liked it when she stabbed herself."[14]

text: When the clown Will Kempe (Patrick Barlow) says to Shakespeare that he would like to play in a drama, he is told that "they would laugh at Seneca if you played it," a reference to the Roman tragedian renowned for his sombre and bloody plot lines which were a major influence on the development of English tragedy.[citation needed]

text: Will is shown signing a paper repeatedly, with many relatively illegible signatures visible. This is a reference to the fact that several versions of Shakespeare's signature exist, and in each one he spelled his name differently.[citation needed]

text: Plot precedents and similarities[edit]

text: After the film's release, certain publications, including Private Eye, noted strong similarities between the film and the 1941 novel No Bed for Bacon, by Caryl Brahms and S. J. Simon, which also features Shakespeare falling in love and finding inspiration for his later plays. In a foreword to a subsequent edition of No Bed for Bacon (which traded on the association by declaring itself "A Story of Shakespeare and Lady Viola in Love") Ned Sherrin, Private Eye insider and former writing partner of Brahms', confirmed that he had lent a copy of the novel to Stoppard after he joined the writing team,[15] but that the basic plot of the film had been independently developed by Marc Norman, who was unaware of the earlier work.

text: The film's plot can claim a tradition in fiction reaching back to Alexandre Duval's "Shakespeare amoureux ou la Piece a l'Etude" (1804), in which Shakespeare falls in love with an actress who is playing Richard III.[16]

text: The writers of Shakespeare in Love were sued in 1999 by bestselling author Faye Kellerman. She claimed that the plotline was stolen from her 1989 novel The Quality of Mercy, in which Shakespeare romances a Jewish woman who dresses as a man, and attempts to solve a murder. Miramax Films spokesman Andrew Stengel derided the claim, filed in the US District Court six days before the 1999 Academy Awards, as "absurd", and argued that the timing "suggests a publicity stunt".[17][18]

text: Historical inaccuracies[edit]

text: The film is "not constrained by worries about literary or historical accuracy" and includes anachronisms such as a reference to Virginia tobacco plantations, at a time before the Colony of Virginia existed.[19] A leading character is a member of the House of Wessex, which died out in 1066. Elizabeth I never entered a public theatre, as she does in the film. Between Romeo and Juliet and Twelfth Night, Shakespeare wrote ten other plays over a period of six years.[20] The biggest historical liberty concerns the central theme of Shakespeare struggling to create the story of Romeo and Juliet as he simply adapted an existing story for theatre. The Italian verse tale The Tragical History of Romeus and Juliet had been translated into English by Arthur Brooke in 1562, 32 years before Shakespeare's Romeo and Juliet.[21]

text: Reception[edit]

text: Janet Maslin made the film an "NYT Critics' Pick", calling it "pure enchantment". According to Maslin, "Gwyneth Paltrow, in her first great, fully realized starring performance, makes a heroine so breathtaking that she seems utterly plausible as the playwright's guiding light."[19] Roger Ebert, who gave the film four stars out of four, wrote: "The contemporary feel of the humor (like Shakespeare's coffee mug, inscribed "Souvenir of Stratford-Upon-Avon") makes the movie play like a contest between "Masterpiece Theatre" and Mel Brooks. Then the movie stirs in a sweet love story, juicy court intrigue, backstage politics and some lovely moments from Romeo and Juliet... Is this a movie or an anthology? I didn't care. I was carried along by the wit, the energy and a surprising sweetness."[11]

text: Rotten Tomatoes gives the film a 92% positive rating based on 131 critics' reviews with an average rating of 8.3 out of 10. The critics' consensus states: "Endlessly witty, visually rapturous, and sweetly romantic, Shakespeare in Love is a delightful romantic comedy that succeeds on nearly every level."[22]

text: Shakespeare in Love was among 1999's box office number-one films in the United Kingdom. The U.S. box office reached over $100 million; including the box office from the rest of the world, the film took in over $289 million.[3]

text: The Sunday Telegraph claimed that the film prompted the revival of the title of Earl of Wessex. Prince Edward was originally to have been titled Duke of Cambridge following his marriage to Sophie Rhys-Jones in 1999, the year after the film's release. However, after watching Shakespeare in Love, he reportedly became attracted to the title of the character played by Colin Firth, and asked Queen Elizabeth II to be given the title of Earl of Wessex instead.[23]

text: Accolades[edit]

text: American Film Institute recognition:

text: AFI's 100 Years...100 Passions – #50[24]

text:
Award
Category
Recipient(s)
Outcome

71st Academy Awards[25]
Best Picture
David Parfitt, Donna Gigliotti, Marc Norman, Harvey Weinstein and Edward Zwick
Won

Best Actress
Gwyneth Paltrow
Won

Best Supporting Actress
Judi Dench
Won

Best Art Direction
Art Direction:Martin Childs; Set Decoration: Jill Quertier
Won

Best Costume Design
Sandy Powell
Won

Best Original Musical or Comedy Score
Stephen Warbeck
Won

Best Original Screenplay
Marc Norman and Tom Stoppard
Won

Best Director
John Madden
Nominated

Best Supporting Actor
Geoffrey Rush
Nominated

Best Cinematography
Richard Greatrex
Nominated

Best Film Editing
David Gamble
Nominated

Best Makeup
Lisa Westcott and Veronica Brebner
Nominated

Best Sound
Robin O'Donoghue, Dominic Lester, and Peter Glossop
Nominated

52nd British Academy Film Awards[26]
BAFTA Award for Best Film

Won

BAFTA Award for Best Actress in a Supporting Role
Judi Dench
Won

BAFTA Award for Best Editing
David Gamble
Won

BAFTA Award for Best Direction
John Madden
Nominated

BAFTA Award for Best Actor in a Leading Role
Joseph Fiennes
Nominated

BAFTA Award for Best Actress in a Leading Role
Gwyneth Paltrow
Nominated

BAFTA Award for Best Actor in a Supporting Role
Geoffrey Rush
Nominated

BAFTA Award for Best Actor in a Supporting Role
Tom Wilkinson
Nominated

BAFTA Award for Best Cinematography
Richard Greatrex
Nominated

BAFTA Award for Best Original Screenplay
Marc Norman and Tom Stoppard
Nominated

BAFTA Award for Best Makeup and Hair
Lisa Westcott
Nominated

BAFTA Award for Best Sound
Robin O'Donoghue, Dominic Lester, Peter Glossop, and John Downer
Nominated

Anthony Asquith Award for Film Music
Stephen Warbeck
Nominated

BAFTA Award for Best Costume Design
Sandy Powell
Nominated

BAFTA Award for Best Production Design
Martin Childs
Nominated

49th Berlin International Film Festival[27]
Golden Bear

Nominated

Silver Bear
Marc Norman and Tom Stoppard
Won

Directors Guild of America Awards 1998[28]
Outstanding Directorial Achievement in Motion Pictures
John Madden
Nominated

56th Golden Globe Awards[29]
Golden Globe Award for Best Motion Picture – Musical or Comedy

Won

Golden Globe Award for Best Actress – Motion Picture Musical or Comedy
Gwyneth Paltrow
Won

Golden Globe Award for Best Screenplay
Marc Norman and Tom Stoppard
Won

Golden Globe Award for Best Director
John Madden
Nominated

Golden Globe Award for Best Supporting Actor – Motion Picture
Geoffrey Rush
Nominated

Golden Globe Award for Best Supporting Actress – Motion Picture
Judi Dench
Nominated

5th Screen Actors Guild Awards[30]
Outstanding Performance by a Cast in a Motion Picture
Ben Affleck, Simon Callow, Jim Carter, Martin Clunes, Judi Dench, Joseph Fiennes, Colin Firth, Gwyneth Paltrow, Geoffrey Rush, Antony Sher, Imelda Staunton, Tom Wilkinson and Mark Williams
Won

Outstanding Performance by a Male Actor in a Leading Role
Joseph Fiennes
Nominated

Outstanding Performance by a Female Actor in a Leading Role
Gwyneth Paltrow
Won

Outstanding Performance by a Male Actor in a Supporting Role
Geoffrey Rush
Nominated

Outstanding Performance by a Female Actor in a Supporting Role
Judi Dench
Nominated

Writers Guild of America Awards 1998[31]
Best Original Screenplay
Marc Norman and Tom Stoppard
Won

1998 New York Film Critics Circle Awards[32]
Best Screenplay
Marc Norman and Tom Stoppard
Won

text: In 2005, the Writers Guild of America ranked its script the 28th greatest ever written.[33]

text: Cultural influence[edit]

text:
The film was spoofed and homaged, along with Star Wars, in the 1999 short film George Lucas in Love.
The film was seen and frequently interrupted by Brenda Meeks in Scary Movie.

text: Stage adaptation[edit]

text: In November 2011, Variety reported that Disney Theatrical Productions intended to produce a stage version of the film in London with Sonia Friedman Productions.[34] The production was officially announced in November 2013.[35]

text: The production opened at the Noël Coward Theatre in London's West End on 23 July 2014, receiving rave reviews from critics. It was called "A joyous celebration of theatre" in the Daily Telegraph,[36] "Joyous" in The Independent,[37] and "A love letter to theatre" in The Guardian.[38]

text: Based on the film screenplay by Norman and Stoppard, it was adapted for the stage by Lee Hall. The production was directed by Declan Donnellan and designed by Nick Ormerod, the joint founders of Cheek by Jowl.


document_title: Queensland cricket team

question_text: when did queensland first win the sheffield shield

text: Queensland cricket team

text: History[edit]

text: 1824 to 1926/27[edit]

text: The first European settlement in Queensland was a penal colony established at Redcliffe in 1824, which moved to Brisbane the following year. Free settlers first arrived in 1842.

text: The earliest evidence of cricket being played in Queensland is in 1857, two years prior to separation from New South Wales and statehood. A match between Brisbane and Ipswich was held in 1859 while in 1860 a Toowoomba team played Dalby. By 1862 there were also teams in Warwick, Maryborough, Gayndah, Gympie, Rockhampton and the Lockyer Valley.[1]

text: Queensland's first inter-colonial (i.e. representative) match was in 1864 when their XXII was beaten by a New South Wales XI.[2] In 1875, Queensland recorded their first victory when their XVIII beat the NSW XI. That victory was a catalyst for the formation of the Queensland Cricket Association in 1876.[1] Queensland was finally granted first-class status in 1892/93, winning its inaugural first-class match against NSW in that season by 14 runs.[3] Queensland rarely played more than two inter-colonial matches per season from 1892/93, with generally one match (and often both) against New South Wales. The tyranny of distance and non-professional status of the players severely limited opportunities for more first-class competition during this period.

text: The Sheffield Shield competition commenced in 1892/93 but Queensland's initial applications for admission were refused.[2] Despite their minimal first-class exposure, Queensland still produced four Australian Test players prior to their Sheffield Shield debut, though none played more than six Tests. The first was the colourful Arthur Coningham who played his only Test in 1895. Remarkably, he took a wicket with his very first delivery[4] (it was also the first ball of the Test). He also scored Queensland's initial first-class century, 151 against NSW.[5]

text: 1910/11 was a very successful season as Queensland recorded three first-class wins for the first time, beating NSW home and away and Victoria in Melbourne in their only three games of the summer.[6]

text: 1926/27 to 1963/64[edit]

text: Queensland was finally admitted to the Sheffield Shield in 1926/27 and had a successful debut year, defeating NSW in their first ever Shield match and also eventual winners SA in their only meeting. Like most new teams the side struggled to maintain that level of performance and finished last in the (then) four-team competition 15 times in its first 19 seasons. However the decision to include Queensland quickly paid off with the emergence of regular Test players such as Bill Brown, Don Tallon, Percy Hornibrook and Ron Oxenham. Brisbane hosted its first Test match in 1928/29 when Australia met England at the Exhibition Ground.

text: By the early 1950s Queensland had a very competitive side and was regularly finishing in the top three of the (now) five team Shield following Western Australia's admission in 1946/47. In 1956/57 they finished an agonising one point behind winners NSW.[7] More Australian players were produced, including Ron Archer, Wally Grout, Ken 'Slasher' Mackay and Peter Burge. Another highlight of this period was the dramatic Tied Test between Australia and the West Indies at the Gabba in 1960/61.

text: 1964/65 to 1972/73[edit]

text: This period was undoubtedly Queensland's worst era, finishing last eight times in nine Shield seasons. Rock bottom was reached in 1967/68 when the side failed to win a single game. The QCA decided to recruit high-profile interstate players to revive the team's fortunes. Greg Chappell was vice-captain of South Australia under brother Ian and was lured north for the 1973/74 season with the promise of the Queensland captaincy. Emerging pace bowler Jeff Thomson followed the next year.

text: 1973/74 to 1993/94[edit]

text: The addition of Chappell and Thomson to a side containing players such as Sam Trimble, Martin Kent, Tony Dell and Geoff Dymock had an immediate impact. Queensland gained four seconds and a third over the next five seasons, as well as winning the domestic one day cup in 1975/76, Queensland's first piece of silverware.

text: The Queensland teams of the 1980s were even stronger, featuring many outstanding cricketers, both "home-grown" like Craig McDermott, Carl Rackemann and Ian Healy and others attracted from interstate or overseas such as Vivian Richards, Allan Border, Kepler Wessels and Ian Botham. Queensland were runners up five times in seven seasons[8] in the 1980s (including a heartbreaking one wicket loss to NSW in 1984/85), and won the one-day trophy three more times in this period, but that first Shield win was still elusive.

text: 1994/95 to date[edit]

text: The 68-year wait finally came to an end in the 1994/95 season when Stuart Law led Queensland to their inaugural Sheffield Shield win after finishing last the previous year.

text: Since their breakthrough win, Queensland has enjoyed a golden era winning the competition a further six times (including three consecutive seasons from 1999/2000 to 2001/02) and also finishing as runners-up six times. Their most recent title, a victory over the Tasmanian Tigers in 2011–12 saw the Bulls win by 7 wickets in one of the most closely contested finals of recent times. Since a final was introduced to the Sheffield Shield competition in the 1982/83 cricket season the Queensland Bulls have contested 18 out of 30 finals. Since Tasmania were admitted in 1977/78, the Bulls have finished in sixth (i.e. last) just twice.

text: Colours and mascot[edit]

text: The primary club colour of Queensland Bulls is Maroon, which represents the state colour of Queensland. The secondary club colour is Gold, with additional contrasting colour of white.

text: The "Bulls" mascot and nickname were adopted at the commencement of the 1993/94 season.

text: Home grounds[edit]

text: The side plays most of its home games at the Brisbane Cricket Ground, generally referred to as "the Gabba", a contraction of the suburb name of Woolloongabba in which it is located. Matches are occasionally played at Allan Border Field in Albion, Brisbane and Cazaly's Stadium in Cairns. 28 first-class games and two Tests were played at the Exhibition Ground between 1893 and 1931.

text: Current squad[edit]

text: Players with international caps are listed in bold.

text:
No.
Name
Nat
Birth date
Batting Style
Bowling Style
Notes

Batsmen

4
Usman Khawaja

(1986-12-18) 18 December 1986 (age 31)
Left-handed
Right-arm medium
Cricket Australia contract, Captain

9
Marnus Labuschagne

(1994-06-22) 22 June 1994 (age 23)
Right-handed
Right-arm leg break

15
Joe Burns

(1989-09-06) 6 September 1989 (age 28)
Right-handed
Right-arm medium

25
Sam Truloff

(1993-03-24) 24 March 1993 (age 25)
Right-handed
Right-arm leg break

44
Charlie Hemphrey

(1989-08-31) 31 August 1989 (age 28)
Right-handed
Right-arm off break

47
Sam Heazlett

(1995-09-12) 12 September 1995 (age 22)
Left-handed
Left-arm off break

50
Chris Lynn

(1990-10-04) 4 October 1990 (age 27)
Right-handed
Slow left-arm orthodox

66
Peter Forrest

(1985-11-15) 15 November 1985 (age 32)
Right-handed
Right-arm medium

94
Matt Renshaw

(1996-03-28) 28 March 1996 (age 22)
Left-handed
Right-arm off break
Cricket Australia contract

–
Bryce Street

–
Left-handed
Right-arm medium
Rookie contract

All-rounders

20
Michael Neser

(1990-03-29) 29 March 1990 (age 28)
Right-handed
Right-arm medium-fast

24
Jack Wildermuth

(1993-09-01) 1 September 1993 (age 24)
Right-handed
Right-arm medium-fast

31
Ben Cutting

(1987-01-30) 30 January 1987 (age 31)
Right-handed
Right-arm fast-medium

52
Jason Floros

(1990-11-24) 24 November 1990 (age 27)
Left-handed
Right-arm off break

–
James Bazley

(1995-04-08) 8 April 1995 (age 23)
Right-handed
Right-arm medium

–
Max Bryant

(1999-10-03) 3 October 1999 (age 18)
Right-handed
Right-arm medium
Rookie contract

–
Harry Wood

–
Right-handed
Right-arm fast-medium
Rookie contract

Wicket-keepers

33
Lachlan Pfeffer

(1991-04-08) 8 April 1991 (age 27)
Left-handed
—

59
Jimmy Peirson

(1992-10-13) 13 October 1992 (age 25)
Right-handed
—

Bowlers

14
Peter George

(1986-10-16) 16 October 1986 (age 31)
Right-handed
Right-arm fast-medium

16
Mark Steketee

(1994-01-17) 17 January 1994 (age 24)
Right-handed
Right-arm fast-medium

21
Cameron Gannon

(1989-01-23) 23 January 1989 (age 29)
Right-handed
Right-arm fast-medium

22
Mitchell Swepson

(1993-10-04) 4 October 1993 (age 24)
Right-handed
Right-arm leg break

35
Brendan Doggett

(1994-04-03) 3 April 1994 (age 24)
Right-handed
Right-arm fast-medium

58
Luke Feldman

(1984-08-01) 1 August 1984 (age 33)
Right-handed
Right-arm fast-medium

64
Billy Stanlake

(1994-11-04) 4 November 1994 (age 23)
Right-handed
Right-arm fast-medium
Cricket Australia contract

–
Xavier Bartlett

(1998-12-17) 17 December 1998 (age 19)
Right-handed
Right-arm fast-medium
Rookie contract

–
Matthew Kuhnemann

(1996-09-20) 20 September 1996 (age 21)
Left-handed
Slow left-arm orthodox
Rookie contract

–
Jack Prestwidge

–
Right-handed
Right-arm fast-medium
Rookie contract

text: Source(s): Cricinfo, Queensland Bulls

text: Test players[edit]

text: Queensland has produced more than 50 players who have represented Australia in Test matches,[9] while a number of Test players from other countries have played for the team. For a fuller list of players, see Queensland cricketers.

text:
Andy Bichel
Allan Border
Carl Rackemann
Ian Botham
Bill Brown
Peter Burge
Greg Chappell
Eddie Gilbert +
Wally Grout
Wes Hall
Ryan Harris
Matthew Hayden
Ian Healy
Graeme Hick
Trevor Hohns
Alec Hurwood
Mitchell Johnson
Michael Kasprowicz
Stuart Law
Ray Lindwall
Martin Love
Colin McCool
Craig McDermott
Ken Mackay
Viv Richards
Greg Ritchie
Andrew Symonds
Don Tallon
Jeff Thomson
Shane Watson
Usman Khawaja
Joe Burns
Matt Renshaw

text: + Not a Test player

text: Titles[edit]

text: Sheffield Shield[edit]

text: 8 titles:

text:
1994/95
1996/97
1999/2000
2000/01
2001/02
2005/06
2011/12
2017/18

text: Domestic One-Day Cup[edit]

text: 10 titles:

text:
1975/76
1980/81
1981/82
1988/89
1995/96
1997/98
2006/07
2008/09
2012/13
2013/14

text: First-class records[edit]

text: Batting records[edit]

text: Most runs for Queensland[10]

text:
Player
Runs
Career

Martin Love
10297
1992/93 – 2008/09

Stuart Law
9920
1988/89 – 2003/04

Jimmy Maher
9889
1993/94 – 2007/08

Sam Trimble
9465
1959/60 – 1975/76

Matthew Hayden
8831
1991/92 – 2007/08

Allan Border
7661
1980/81 – 1995/96

text: Highest individual score:

text: Martin Love 300* vs Victoria in 2003/04

text: Most centuries:

text: Martin Love 28

text: Most runs in a season:

text: Stuart Law 1204 runs in 1990/91

text: Highest partnership:

text: Kepler Wessels and Robbie Kerr 388 vs in 1982/83

text: Highest team score:

text: 900-6d vs Victoria in 2005/06

text: Bowling records[edit]

text: Most wickets for Queensland[11]

text:
Player
Wickets
Average

Michael Kasprowicz
498
1989/90 – 2007/08

Andy Bichel
463
1992/93 – 2007/08

Carl Rackemann
425
1979/80 – 1995/96

Jeff Thomson
349
1974/75 – 1985/86

Craig McDermott
329
1983/84 – 1995/96

Geoff Dymock
309
1971/72 – 1981/82

text: Most wickets in a season:

text: Michael Kasprowicz 64 wickets in 1995/96

text: Most wickets in an innings:

text: Peter Allan 10–61 vs Victoria in 1965/66

text: Most wickets in a match:

text: Peter Allan 13–110 vs NSW in 1968/69


document_title: Care Standards Act 2000

question_text: who does the care standards act 2000 protect

text: Care Standards Act 2000

text:
Care Standards Act 2000

Parliament of the United Kingdom

Long title
An Act to establish a National Care Standards Commission; to make provision for the registration and regulation of children’s homes, independent hospitals, independent clinics, care homes, residential family centres, independent medical agencies, domiciliary care agencies, fostering agencies, nurses agencies and voluntary adoption agencies; to make provision for the regulation and inspection of local authority fostering and adoption services; to establish a General Social Care Council and a Care Council for Wales and make provision for the registration, regulation and training of social care workers; to establish a Children’s Commissioner for Wales; to make provision for the registration, regulation and training of those providing child minding or day care; to make provision for the protection of children and vulnerable adults; to amend the law about children looked after in schools and colleges; to repeal the Nurses Agencies Act 1957; to amend Schedule 1 to the Local Authority Social Services Act 1970; and for connected purposes. This act was set up to ensure that all individuals who use health care services are receiving the care that they are entitled too.

Citation
(c.14)

Territorial extent
 UK (England and Wales; Scotland; Northern Ireland)

Other legislation

Relates to
Nurses Agencies Act 1957, Local Authority Social Services Act 1970

Text of statute as originally enacted

text: Care Standards Act 2000 (CSA) is an Act of the Parliament of the United Kingdom which provides for the administration of a variety of care institutions, including children's homes, independent hospitals, nursing homes and residential care homes.

text: The CSA, which was enacted in April 2002, replaces the Registered Homes Act 1984 and parts of the Children Act 1989, which pertain to the care or the accommodation of children.

text: The aim of the legislation is to reform the law relating to the inspection and regulation of various care institutions.


document_title: Odd Squad (TV series)

question_text: odd squad why did olive and otto leave

question_tokens: odd squad why did olive and otto leave

text: Odd Squad (TV series)

text: Description[edit]

text: The series follows the exploits of Odd Squad, an organization run entirely by children, that solve peculiar problems using math skills. In particular, it typically features two employees of the organization's investigation division that work in precinct 13579 of the organization— Agents Olive (Dalila Bela) and Otto (Filip Geljo) in the 1st season, and Olympia (Anna Cathcart) and Otis (Issac Kragten) in the second season. Selected episodes feature other types of employees of the fictional organization, like security officers, so-called "tube operators", and scientists. The names of the employees, with one exception, always start with the letter O.

text: Agents are typically assigned cases by their boss, Ms. O (Millie Davis), and travel via a system of interconnected tubes to get to their destinations. They deduce the solution to the problem or how to detain the perpetrator by using basic mathematical principles that are typically the focus of the episode. Often, they cannot solve the problem at the scene and must go back to their precinct's headquarters or to the "Mathroom" (T.J. McGibbon), a talking, sentient room that can display their information in front of them to help them see connections and better solve their case. Along with math, agents also use "gadgets" designed by the scientists; in the first season, Agent Oscar (Sean Michael Kyer) heads the lab, gaining an assistant, Agent Oona (Olivia Presti), in early season two who eventually takes over the lab. The characters also have to deal with a variety of recurring villains who often put a mathematical spin on their plots.

text: Characters[edit]

text: Main[edit]

text:
Agent Olive (Dalila Bela, season 1): Referred to as a longtime employee of the Odd Squad, Olive began season 1 of the series adapting to working with and training her new partner, Otto. Olive is usually calm, brisk, and serious. She has a morbid fear of pies, which she acquired after saving her organization's building from a pie-related disaster instigated by her previous partner, a very gifted agent named Todd who was fired from the organization for misconduct and went on to pursue villainy. In the season 1 finale, Olive departs the series along with her partner, Otto, to run a different Odd Squad precinct as Ms. O.
Agent Otto (Filip Geljo, season 1): Olive's partner, and in the first episode the newest employee of the organization. In contrast to his partner's more serious demeanor and personality, he is a more lenient, laid-back employee. Despite his lack of experience with his job, Otto frequently uncovers the facts needed to solve the case at hand, even doing so in the absence of his more experienced partner, proving his worth as an agent. In the season 1 finale, Otto departs the series to run another Odd Squad office as Mr. O with his partner, Olive.
Ms. O/Oprah (Millie Davis, seasons 1–): "Ms. O" is the title of any female head of an Odd Squad division, but in-show, the title most often refers to the head of the division featured on the show. Ms. O is a very strict boss. She has the tendency to yell (a habit seen less frequently as the series progresses) and is often seen sipping a juice box. Despite appearing younger than most of the agents, Ms. O has worked for Odd Squad for several decades; her actual age remains a mystery. In-show, it is revealed that her actual name is "Oprah".
Agent Oscar (Sean Michael Kyer, seasons 1–2): Oscar was the precinct's head scientist, in charge of the precinct's laboratory. Other employees go to him for technical solutions to their problems. Oscar is depicted as being very intelligent and having a quirky and goofy personality. He departed from the series in the Season 2 episode "Oscar Strikes Back", where he became the president of the organization's science division after the former president was dismissed for misconduct.
Agent Olympia (Anna Cathcart, season 2): A new agent, introduced in the first episode of season 2, who joins the series to fill in the opening left by the departure of Olive in the season 1 finale. She was given early graduation from the organization's training Academy because Ms. O wanted her in the equivalent of Otto's position. She is depicted as being very social and outgoing, and having a generally happy and carefree personality.
Agent Otis (Isaac Kragten, season 2): A new agent, introduced at the start of season 2, who joins to fill the opening left by the departure of Otto in the season 1 finale. Unlike his partner, he has a more serious and socially-reserved personality. There are no records of him attending the organization's "Academy", but he is depicted as being the more seasoned member of the new team. Possibly as part of his more socially-reserved demeanor, he has several unusual dislikes; initially he had a dislike of chewing gum, and once he refused a pizza party offered to him as a reward for his productivity, claiming to not like the ingredients of a pizza.
Agent Oona (Olivia Presti, season 2): The precinct's head scientist who is in charge of the laboratory, taking the role from Oscar after his departure from the series in the Season 2 episode "Oscar Strikes Back". Like her predecessor, she is depicted as having a quirky personality.

text: Recurring[edit]

text: Odd Squad employees[edit]

text:
Dr. O (Peyton Kennedy, seasons 1–2, and Kaden Stephen, season 2): The precinct's resident medical employee, who assists in helping the others with medical-related problems. She is known for her eccentric behavior and frequently says things that make no sense, whilst frequently reminding the agents "I'm a doctor!" in a manner reminiscent of Star Trek's Dr. McCoy. It is revealed in-show that she was once a worker in the Odd Squad gift shop, but became a doctor when the gift shop was shut down so the space could be used for a laboratory. After the original Dr. O leaves to work as a doctor in space, she is ultimately replaced with a new male doctor who previously worked in another department.
Agent Obfusco (Jaeden J. Noel, season 1): An Odd Squad agent and cross-cultural expert who speaks in obscure riddles. He is difficult for the other agents to understand, and has a generally extremely peculiar and eccentric demeanor, which leads the other employees to try and avoid working with him. He has a sister named Obfuscolina who is even more eccentric than him, to the point where he cannot understand anything she says and considers himself 'normal' when compared to her.
Agent Ocean (Elijah Sandiford, season 2): The precinct's director of the 'Creature Room', which houses many bizarre "creatures" and plants. Ocean has a laid-back and easy-going personality and he is friendly to the other agents. He specializes in animals/creature knowledge that Odd Squad agents may need to know.
Agent Octavia (Julia Lalonde, season 1): Agent Oz's partner. It was noted in an episode that she is one of the precinct's best employees. She is usually looking for her partner because he is invisible.
Oksana (Madeleine Barbeau, seasons 1–): The precinct's resident cook, in charge of providing the employees with food. In the show it is mentioned that she has to prepare all the meals by herself. She has a deadpan and sarcastic personality.
Agent Olaf (Eshaan Buadwal, seasons 1–): Agent Oren's partner. Olaf is happy-go-lucky and jovial in nature but tends to be very simple-minded. Despite this, he has shown to have moments of intelligence, often to the shock and amazement of his fellow agents. He shares Oren's penchant for laziness. He dreams of becoming a dentist and fears not becoming one. He has an unusual obsession with potatoes. Later on in the series it is revealed that he is a werewolf.
Agent Orchid (Michela Luci, seasons 1–): One of the younger agents. She tends to be extremely stubborn.
Agent Oren (Brendan Heard, seasons 1–): Agent Olaf's partner. Oren is depicted as snarky and arrogant. Oren and his partner have an ongoing rivalry with Olive and Otto. Unlike their industrious rivals, Oren likes to weasel his way out of work whenever possible. Oren likes to brag and considers himself the precinct's best employee. Oren has an unusual fear of pancakes and dreams of becoming an 'Odd Squad' director and running his own precinct.
Agent Owen (Christian Distefano, seasons 1–): The head of the precinct's Security department (the department in charge of defending against intruders, checking the precinct's assigned city/town for "oddness", and making sure the more dangerous "creatures" do not escape their containment).
Agent Ozlyn (Arista Arhin, season 2): Worker in the Security Department.
Agent Olly (Sasha Steiner, season 2): A former doctor who now assists Oksana with maintaining the building's breakroom and cafeteria.

text: Others[edit]

text:
Delivery Debbie (Ashley Botting): A female pizzeria owner who has appeared in numerous episodes and played a key part in the series movie, Odd Squad: The Movie (2016). Her arch rival is Delivery Doug who specializes in the sale of egg-salad sandwiches.[4]
Polly Graph (Ava Preston): A girl who runs a stand selling hot chocolate or lemonade, depending on the season, outside her house. Employees of the local 'Odd Squad' precinct frequently patronize her stand. She is very fond of graphs and seemingly always has just the right visual representation to deal with the situation at hand. While she is not an agent, she offers data of all sorts to employees who visit her stand. Ms. O has asked her to come in to assist on cases and internal business within the organization on occasion.
Soundcheck (Lucas Meeuse, Matthew Armet, Thomas Alderson, Stephan Dickson): A fictitious and satirical boy band made up of Tony D., Danny T., Ringo, and Johnny J., and is well liked by all the precinct employees with the exception of Agent Olive, who later admits to liking them in Odd Squad: The Movie (2016). Songs by the group include Take Away Four, The Force of Gravity and Up, Down, Left, Right. Sound Check as a group appears on the album Odd Squad: Stop the Music.

text: Villains[edit]

text:
Fladam[5][6] (Martin Roach, seasons 1–): A villain with glasses capable of transforming anything into a two-dimensional form.
Noisemaker (David Tompa, seasons 1–): A villain who wants to fill the world with odd noises. He wears a variety of instruments all over his body that make sounds whenever he moves.
Odd Todd (Joshua Kilimnik, seasons 1–): Previously an employee of the organization, Todd was fired for misconduct and began to pursue villainy, taking the name of 'Odd Todd'. A recurring villain in the first season, he was outsmarted by Agent Otto and renounced villainy for other interests. In the second season, he has taken up gardening and has been seen providing assistance to the precinct's employees. Early in the first season before Todd was introduced, a running gag was in place where characters would comment about Otto being "so much better than Olive's last partner"; upon Otto's asking about who was her last partner, they would change the subject. Another running gag in place was that the number 43—his badge number—was hidden in various places for viewers to find.
Puppetmaster: A villainess who not only turns people into Muppet-based puppets, but also interestingly plays with sock puppets she presumably makes. She has long hair styled in an updo.
Shapeshifter (Laura Landauer, seasons 1–): A villain who can transform anything or anyone, including herself, into a different object or person (Examples: In one episode she transforms a briefcase into a pie; in the same episode she also took the form of another character) but the resulting object or person weighs the same as the object/person they were before. A younger version of Shapeshifter is seen in the movie produced to accompany the series, "Odd Squad: The Movie" (2016).
Tiny Dancer (Danielle Benton, seasons 1–): A villain that makes inanimate objects dance on command.

text: Episode list[edit]


document_title: Bob's your uncle

question_text: what does bob's your uncle mean in british slang

question_tokens: what does bob 's your uncle mean in british slang

text: Bob's your uncle

text: ...And Bob's your uncle is an expression of unknown origin, that means "and there it is" or "and there you have it." It is commonly used in Great Britain and Commonwealth countries. Typically, someone says it to conclude a set of simple instructions or when a result is reached. The meaning is similar to that of the French expression "et voilà!"

text: "Bob's your uncle" is an exclamation that is used when "everything is all right" and the simple means of obtaining the successful result is explained. For example: "left over right; right over left, and Bob's your uncle – a reef knot." Sometimes the phrase is followed with "and Nellie's your aunt" or "and Fanny's your aunt." It is sometimes elaborately phrased Robert is your mother's brother or similar for comic effect.

text: Origin[edit]

text: A. J. Langguth and others have suggested that the expression arose after Conservative Prime Minister Robert "Bob" Cecil appointed his nephew Arthur Balfour as Chief Secretary for Ireland in 1887, an act which was apparently both surprising and unpopular. Whatever other qualifications Balfour might have had, "Bob's your uncle" was seen as the conclusive one.[1] Regardless of the origin, the meaning has become acknowledging, announcing, or explaining a result or outcome that is achieved more easily than might be imagined.[2][3]

text: It is suggested in Shantaram by Gregory David Roberts that Frederick Roberts, 1st Earl Roberts was known as Uncle Bobs and that the phrase referred to him. [4]