document_title: American Crime (TV series)

question_text: how many episodes of american crime season 1

text: American Crime (TV series)

text: Overview[edit]

text: The first season takes place in Modesto, California, where a war veteran becomes the victim of a home invasion gone wrong and the lives of four people are forever changed after each one is connected to the crime.

text: The second season takes place in Indianapolis, Indiana, where the co-captains of a private school's basketball team are accused of sexually assaulting a male classmate and posting photographs of the incident online.

text: The third season takes place in Alamance County, North Carolina, where five people struggle to survive in a place where the American Dream comes with a price.

text: Cast and characters[edit]

text: Season 1[edit]

text: Main[edit]

text:
Felicity Huffman as Barbara "Barb" Hanlon
Timothy Hutton as Russ Skokie
W. Earl Brown as Thomas "Tom" Carlin
Richard Cabral as Hector Tontz
Caitlin Gerard as Aubry Taylor
Benito Martinez as Alonzo Gutiérrez
Penelope Ann Miller as Eve Carlin
Elvis Nolasco as Carter Nix
Johnny Ortiz as Anthony "Tony" Gutiérrez

text: Recurring[edit]

text:
Regina King as Aliyah Shadeed[16] (born Doreen Nix), Carter Nix's sister and a convert to Islam
David Hoflin as Mark Skokie, Barb and Russ' younger son, on leave from the Army
Gwendoline Yeo as Richelle, Mark's fiancée
Gleendylis Inoa as Jennifer "Jenny" Gutiérrez, the sister of Tony and daughter of Alonzo Gutiérrez
Lili Taylor as Nancy Straumberg[17]
Kira Pozehl as Gwendolyn "Gwen" Skokie, Matt's wife who is in a coma after being beaten during a home invasion
Grant Merritt as Matt Skokie, Gwen's husband who was killed during a home invasion
Bob Hess as Michael Taylor, Aubry's father
Jennifer Savidge as Ruth Taylor, Aubry's mother
Joe Nemmers as Deputy D.A. Rick Soderbergh
Brent Anderson as Detective Chuck Palmer
Todd Terry as Jackson, defense attorney for Hector Tontz

text: Season 2[edit]

text: Main[edit]

text:
Felicity Huffman as Leslie Graham, the private school's manipulative principal[18][19]
Timothy Hutton as Dan Sullivan, the school's basketball coach[18][19]
Lili Taylor as Anne Blaine, Taylor's mother[10][18]
Elvis Nolasco as Chris Dixon, a public school's principal[18][20]
Trevor Jackson as Kevin LaCroix, a private school student and captain of the basketball team[21]
Connor Jessup as Taylor Blaine, the sexual assault accuser[18][22]
Joey Pollari as Eric Tanner, the gay basketball player accused of sexual assault by Taylor[23]
Angelique Rivera as Evy Dominguez, Taylor's girlfriend and a witness to the crime[22]
Regina King as Terri LaCroix, Kevin's strict mother[18][24]

text: Recurring[edit]

text:
Hope Davis as Steph Sullivan, Coach Sullivan's wife[25]
Faran Tahir as Rhys Bashir, the chairman of the board at Leyland[26]
André L. Benjamin as Michael LaCroix, Kevin's father[27]
Emily Bergl as Lillah Tanner, Eric's mother who seems to have a hard time accepting her son's homosexuality after he is outed.[28]
Christopher Stanley as Charles, a businessman and Dr. Graham's boyfriend[29]
Brent Anderson as Curt Tanner, Eric's father. Unlike his wife he tries to make an effort to come to terms with Eric being gay.
Stephanie Sigman as Monica Salazar, an administrator at a public school and colleague of Dixon[30]
Richard Cabral as Sebastian De La Torre, a white hat computer hacker[20]
Lynn Blackburn as Cammy Ross, a reporter for a local media outlet
Sky Azure Van Vliet as Becca Sullivan, Coach Sullivan's daughter and a cheerleader
Michael Seitz as Wes Baxter, a basketball player at Leyland
Ty Doran as Peter Tanner, Eric's brother and a student at Marshall

text: Season 3[edit]

text: Main[edit]

text:
Felicity Huffman as Jeanette Hesby[12][31]
Timothy Hutton as Nicholas Coates[32][33]
Lili Taylor as Clair Coates, Nicholas' wife[34][33]
Connor Jessup as Coy Henson, a young American who is addicted to drugs[35][36]
Richard Cabral as Isaac Castillo, a farm crew chief[37][36]
Benito Martinez as Luis Salazar, a father from Mexico who wants to find his missing son[38][36]
Regina King as Kimara Walters, a social worker who wants to have a baby[13]

text: Recurring[edit]

text:
Sandra Oh as Abby Tanaka[39]
Cherry Jones as Laurie Ann Hesby, the matriarch of Hesby Farms[40][36]
Tim DeKay as JD Hesby, Laurie Ann's brother.[41]
Janel Moloney as Raelyn, Jeanette's sister, a single mother recently abandoned by her husband.[42]
Dallas Roberts as Carson Hesby, Jeanette's husband[31]
Ana Mulvoy-Ten as Shae Reese, a 17-year-old sex worker[43][36]
Mickaëlle X. Bizet as Gabrielle Durand, a Haitian woman, the nanny of the Coates' son[33][36]
Clayton Cardenas as Diego Castillo[36]

text: Production[edit]

text: Development and casting[edit]

text: In October 2013, ABC announced it was developing a drama pilot created by John Ridley.[44] In January 2014, ABC greenlighted the pilot, and signed a deal with Ridley to direct.[45][46]

text: Elvis Nolasco and Caitlin Gerard were the first regular members to be cast, as announced on February 14, 2014.[47] Later Richard Cabral, Johnny Ortiz, Benito Martinez and W. Earl Brown were cast for regular supporting roles in the pilot.[48][49] In early March, Timothy Hutton was cast in a lead role as Russ, and Penelope Ann Miller signed on in a supporting role of the mother of the murdered man's wife.[50][51] Soon thereafter, it was announced that Felicity Huffman was cast in the lead role of Barb Skokie, Russ' stoic ex-wife and mother of the murdered young man.[52][53]

text: Filming[edit]

text: The pilot episode, along with further episodes, was filmed in Austin, Texas, which substitutes for the California Central Valley city of Modesto.[54] On May 8, 2014, ABC picked up the pilot to the series for the 2014–15 television season.[3][4]

text: Filming for the series moved to Los Angeles with the third season, as the show's production was awarded a California tax credit.[13]

text: Episodes[edit]

text: SeasonEpisodesOriginally airedFirst airedLast aired111March 5, 2015 (2015-03-05)May 14, 2015 (2015-05-14)210January 6, 2016 (2016-01-06)March 9, 2016 (2016-03-09)38March 12, 2017 (2017-03-12)April 30, 2017 (2017-04-30)

text: Reception[edit]

text: Critical response[edit]

text: American Crime has been met with wide acclaim from critics with many praising the writing, directing, and the acting abilities of its cast (particularly Felicity Huffman and Regina King). Rotten Tomatoes gave the first season a rating of 95% based on 42 reviews with an average rating of 8.32 out of 10. The site's critical consensus reads, "Raw, emotional portrayals of diverse characters in dire pain, mashed up with chilling narratives and a gutsy attitude make American Crime a must-see."[55] Metacritic gave the first season a score of 85 out of 100, based on 35 reviews.[56] Deadline Hollywood critic Dominic Patten said in his review: "the 11-episode limited series marks a resounding flag planting by network television and tells cable that it doesn't own poignant drama on our small screens."[57] Critic Ed Bark praised the performance of Felicity Huffman and wrote that she would be a favorite to win at next year's Primetime Emmy Awards.[58]

text: The second season continued to receive critical acclaim from critics. On Rotten Tomatoes, the season has a 97% rating based on 35 reviews with an average score of 8.34 out of 10. The site's critical consensus reads, "American Crime's intense second season infuses a complicated, topical story with genuine emotion, and patiently allows its narrative arc to develop without sacrificing momentum."[59] On Metacritic, it has a score of 85 out of 100 based on 26 reviews.[60]

text: The third season has received even higher acclaim than its first two seasons. On Rotten Tomatoes, it has a 100% rating, based on 27 reviews with an average score of 8.9 out of 10. The site's critical consensus reads, "American Crime offers a unique anthology series filled with surprising revelations and compelling inter-connected narratives that opt for original, emotional human commentary instead of tired arguments over current events."[61] On Metacritic, it has a score of 90 out of 100, based on 26 reviews, indicating "universal acclaim".[62] Verne Gay of Newsday calls it "Another brilliant, powerful, moving season of one of TV's best."[63]

text: Ratings[edit]

text:
Season

Timeslot (ET)

Episodes

Premiered

Ended

TVseason

Rank

18–49average

Overall viewership (including DVR)

Date

Viewers(in millions)

Date

Viewers(in millions)

1

Thursday 10:00 p.m.

11

March 5, 2015

8.37[64]

May 14, 2015

4.21[65]

2014–15

#85[66]

1.7[66]

6.70[66]

2

Wednesday 10:00 p.m.

10

January 6, 2016

4.74[67]

March 9, 2016

3.70[68]

2015–16

#73[69]

1.6[69]

6.03[69]

3

Sunday 10:00 p.m.

8

March 12, 2017

2.67[70]

April 30, 2017

2.00[71]

2016–17

#121[72]

N/A

3.33[72]

text: Accolades[edit]

text:
Ceremony

Category

Recipient

Result

 Season 1

5th Critics' Choice Television Awards[73]

Best Limited Series

American Crime

Nominated

Best Actress in a Movie or Limited Series

Felicity Huffman

Nominated

Best Supporting Actor in a Movie or Limited Series

Elvis Nolasco

Nominated

67th Primetime Emmy Awards[74][75]

Outstanding Limited Series

American Crime

Nominated

Outstanding Lead Actor in a Limited Series or a Movie

Timothy Hutton

Nominated

Outstanding Lead Actress in a Limited Series or a Movie

Felicity Huffman

Nominated

Outstanding Supporting Actor in a Limited Series or a Movie

Richard Cabral  (Episode: "Episode Ten")

Nominated

Outstanding Supporting Actress in a Limited Series or a Movie

Regina King  (Episode: "Episode Four")

Won

Outstanding Writing for a Limited Series, Movie or a Dramatic Special

John Ridley  (Episode: "Episode One")

Nominated

Outstanding Casting for a Limited Series, Movie or a Special

Kim Coleman and Beth Sepko Lindsay

Nominated

Outstanding Single-Camera Picture Editing for a Limited Series or a Movie

Luyen Vu  (Episode: "Episode One")

Nominated

Outstanding Sound Editing for a Limited Series, Movie or a Special

Gregg Barbanell, Catherine Harper, Walter Newman, Pete Reynolds, Louie Schultz, Darleen Stoker, Bruce Tanis and Kenneth Young  (Episode: "Episode One")

Nominated

Outstanding Sound Mixing for a Limited Series or a Movie

Ryan Davis, Ben Lowry and Rick Norman  (Episode: "Episode Eleven")

Nominated

20th Satellite Awards[76]

Best Television Series – Drama

American Crime

Nominated

Best Actor in a Television Series – Drama

Timothy Hutton

Nominated

Best Actress in a Television Series – Drama

Felicity Huffman

Nominated

Best Supporting Actor – Series, Miniseries or Television Film

Elvis Nolasco

Nominated

Best Supporting Actress – Series, Miniseries or Television Film

Regina King

Nominated

Best Ensemble – Television Series

Felicity Huffman, Timothy Hutton, W. Earl Brown, Regina King, Richard Cabral, Caitlin Gerard, Benito Martinez, Penelope Ann Miller, Elvis Nolasco, and Johnny Ortiz

Won

47th NAACP Image Awards[77]

Outstanding Television Movie, Mini-Series or Dramatic Special

American Crime

Nominated

Outstanding Supporting Actress in a Drama Series

Regina King

Won

Outstanding Director in a Drama Series

John Ridley  (Episode: "Episode One")

Won

Millicent Shelton  (Episode: "Episode Ten")

Nominated

Outstanding Writer in a Drama Series

John Ridley  (Episode: "Episode One")

Nominated

73rd Golden Globe Awards[78]

Best Miniseries or Television Film

American Crime

Nominated

Best Actress – Miniseries or Television Film

Felicity Huffman

Nominated

Best Supporting Actress – Series, Miniseries or Television Film

Regina King

Nominated

Season 2

68th Primetime Emmy Awards[79]

Outstanding Limited Series

American Crime

Nominated

Outstanding Lead Actress in a Limited Series or Movie

Felicity Huffman

Nominated

Lili Taylor

Nominated

Outstanding Supporting Actress in a Limited Series or Movie

Regina King  (Episode: "Season Two: Episode Eight")

Won

7th Critics' Choice Television Awards[80]

Best Actress in a Movie or Limited Series

Felicity Huffman

Nominated

Lili Taylor

Nominated

Best Supporting Actress in a Movie or Limited Series

Regina King

Won

74th Golden Globe Awards[81]

Best Miniseries or Television Film

American Crime

Nominated

Best Actress – Miniseries or Television Film

Felicity Huffman

Nominated

23rd Screen Actors Guild Awards[82]

Outstanding Performance by a Female Actor in a Television Movie or Limited Series

Felicity Huffman

Nominated

69th Writers Guild of America Awards[83]

Long Form – Original

Julie Hébert, Sonay Hoffman, Keith Huff, Stacy A. Littlejohn, Kirk A. Moore, Davy Perez, Diana Son

Nominated

Season 3

69th Primetime Emmy Awards[84]

Outstanding Lead Actress in a Limited Series or Movie

Felicity Huffman

Nominated

Outstanding Supporting Actress in a Limited Series or Movie

Regina King

Nominated


document_title: Minister of Sport and Recreation (South Africa)

question_text: who is the minister of sports and recreation

root

text:
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tag: table

text:
South Africa
Minister of Sport and Recreation

List[show]

10 other official names:
Minister van Sport en Ontspanning  (Afrikaans)
uNgqongqotjhe wezemiDlalo nokuziThabisa  (Southern Ndebele)
UMphathiswa lezeMidlalo noLonwabo  (Xhosa)
Indvuna Wezemidlalo Nokungcebeleka  (Zulu)
Indvuna Letemidlalo Nekukhibika  (Swati)
Tona ya Dipapadi le Boitapološo  (Northern Sotho)
Letona la Dipapadi le Boikgathollo  (Sotho)
Tona la Metshameko le Boitapoloso  (Tswana)
Holobye ya Mintlangu na Vuhungasi  (Tsonga)
Minisiṱa wa zwa Mitambo na Vhuḓimvumvusi  (Venda)

Flag of South Africa

Incumbent
Mr Thembelani Nxesi
since 30 March 2017

Department of Sport and Recreation

Style
The Honourable

Appointer
Jacob Zuma

Inaugural holder
Abe Williams

Formation
1993

Deputy
Gert Oosthuizen

Website
Department of Sport and Recreation

text: The Minister of Sport and Recreation is a Minister in the Cabinet of South Africa.

tag: p


document_title: Coco (2017 film)

question_text: how old was coco in the movie coco

question_tokens: how old was coco in the movie coco

text: Coco (2017 film)

text: Plot[edit]

text: In Santa Cecilia, Mexico, Imelda Rivera was the wife of a musician, who left her and their 3-year-old daughter Coco, to pursue a career in music. When he never returns, Imelda banishes music from her life and that of her family and opens a shoemaking family business.

text: Ninety-six years later, her great-great-grandson, 12-year-old Miguel, now lives with Coco and their family. He secretly dreams of becoming a musician like Ernesto de la Cruz, a popular actor and singer of Coco's generation. One day, Miguel inadvertently damages the picture frame holding a photo of Coco with her parents at the center of the family ofrenda and removes the photograph, discovering that his great-great-grandfather (whose face had been torn out) was holding Ernesto's famous guitar.

text: Concluding that Ernesto is his great-great-grandfather, Miguel leaves to enter a talent show for the Day of the Dead despite the objections of his grandmother Elena. He enters Ernesto's mausoleum and takes his guitar to use in the show, but becomes invisible to everyone in the village plaza. However, he can interact with his Xoloitzcuintli dog Dante and his skeletal dead relatives who are visiting from the Land of the Dead for the holiday. Taking him there, they realize that Imelda cannot visit, as Miguel removed her photo from the ofrenda. Discovering that he is cursed for stealing from the dead, Miguel must return to the Land of the Living before sunrise or he will become one of the dead; to do so, he must receive a blessing from a member of his family using an Aztec marigold petal that can undo the curse placed upon him when he stole Ernesto's guitar. Imelda offers Miguel a blessing but on the condition that he abandon his musical pursuits when he returns to the Land of the Living; Miguel refuses and attempts to seek Ernesto's blessing.

text: Miguel encounters Héctor, a down-on-his-luck skeleton who once played music with Ernesto and offers to help Miguel reach him. In return, Héctor asks Miguel to take his photo back to the Land of the Living so he can visit his daughter before she forgets him and he disappears completely. Upon learning he has other relatives, however, Héctor attempts to return Miguel to them, but Miguel escapes and infiltrates Ernesto's mansion, learning along the way that an old friendship between the two deteriorated before Héctor's death. Ernesto welcomes Miguel as his descendant, but Héctor confronts them, imploring Miguel to take his photo to the Land of the Living. After an argument between Ernesto and Héctor, Miguel soon realizes that Ernesto murdered Héctor using a poisoned drink and stole the songs Héctor had written, passing them off as his own to become famous.

text: To maintain his legacy, Ernesto steals the photo and has Miguel and Héctor thrown into a cenote pit. Miguel realizes that Héctor is his actual great-great-grandfather and that Coco is Héctor's daughter, the only living person who still remembers him. With the help of Dante – who turns into an alebrije – the dead Riveras find and rescue the duo. Miguel reveals that Héctor's decision to return home to Imelda and Coco resulted in his death, and Imelda and Héctor gradually reconcile. They infiltrate Ernesto's sunrise concert to retrieve Héctor's photo from Ernesto and his crimes are revealed to everyone. Ernesto is crushed by a falling church bell as in his previous life, but Héctor's photo falls into the water and disappears.

text: As the sun rises, Héctor is in danger of being forgotten by Coco and disappearing. Imelda and Héctor bless Miguel with no conditions attached so he can return to the Land of the Living, where he plays "Remember Me", a song Héctor wrote for her during her childhood. The song revitalizes her memory of Héctor, and she gives Miguel the torn-out piece of the photo from the ofrenda, which shows Héctor's face, and tells her family stories about her father, thus keeping the memory of him alive. Elena reconciles with Miguel, accepting music back into the family.

text: One year later, Miguel proudly presents the family ofrenda – including the restored photo of Héctor and Imelda – to his new baby sister Socorro as Elena adds a photo of the now-deceased Coco. Letters kept by Coco contain evidence that Ernesto stole Héctor's songs. As a result, Ernesto's legacy is destroyed, and the community honors Héctor instead. In the Land of the Dead, Héctor and Imelda join Coco for a visit to the living Riveras as Miguel sings and plays for his dead and living relatives.

text: Cast[edit]

text:
Anthony Gonzalez as Miguel Rivera, a 12-year-old aspiring musician.[11][20]
Gael García Bernal as Héctor, a charming trickster in the Land of the Dead who enlists Miguel to help him visit the Land of the Living, and is later revealed to be Miguel's great-great-grandfather, Imelda's husband, Coco's father and the patriarch of the Rivera family.[11]

Bernal also voices Héctor in the Spanish version.[21]

Benjamin Bratt as Ernesto de la Cruz, the most famous musician in the history of Mexico and Miguel's idol. Revered by fans worldwide until his untimely death, the charming and charismatic musician is even more beloved in the Land of the Dead.[11][22]

Antonio Sol provides de la Cruz's singing voice, except for "Remember Me".[23]

Alanna Ubach as Mamá Imelda Rivera, Miguel's late great-great-grandmother, Héctor's wife, Coco's mother and the matriarch of the Rivera family.[20]
Renée Victor as Elena Rivera, Miguel's grandmother ("Abuelita") who strictly enforces the ban on music that is the legacy of her grandmother.[11]
Ana Ofelia Murguía as Mamá Socorro "Coco" Rivera, Miguel's great-grandmother and the daughter of Héctor and Imelda.[24]
Edward James Olmos as Chicharrón, a friend of Héctor's who is forgotten in the Land of the Dead.[20]
Alfonso Arau as Papá Julio Rivera, Miguel's late great-grandfather and Coco's husband.[20]

Arau also voices Papá Julio in the Spanish version.[21]

Selene Luna as Tía Rosita Rivera, Miguel's late great-grandaunt, and Julio's sister.[20]
Dyana Ortellí as Tía Victoria Rivera, Miguel's late grandaunt, and Elena's sister.[20]
Herbert Sigüenza as Tíos Oscar and Felipe Rivera, Miguel’s late identical twin great-great-granduncles.[20]
Jaime Camil as Papá Enrique Rivera, Miguel's father and Elena's son.[20]
Sofía Espinosa as Mamá Luisa Rivera, Miguel's mother. She is pregnant with her second child during the events of the movie.[20]

Espinosa also voices Mamá Luisa in the Spanish version.[21]

Luis Valdez as Tío Berto Rivera, Miguel's uncle.[20]

Valdez also voices Don Hidalgo.

Polo Rojas as Abel Rivera, Miguel's cousin.
Montse Hernandez as Rosa Rivera, Miguel's cousin.
Lombardo Boyar as a Mariachi whom Miguel meets in Santa Cecilia Plaza.[20]

Boyar also voices Gustavo, a musician of the Land of the Dead

Octavio Solis as the Arrival Agent.[20]
Gabriel Iglesias as the Head Clerk.[20]
Cheech Marin as a Corrections Officer.[20]
Carla Medina as a Departure Agent.[20]

Medina also voices the departure agent in the Spanish version.[21]

Blanca Araceli as an Emcee.[20]
Natalia Cordova-Buckley as Frida Kahlo.[25]
Salvador Reyes as a Security Guard.[20]

Reyes also voices the Security Guard in the Spanish version.[21]

John Ratzenberger as Juan Ortodoncia,[26] a skeleton in the Land of the Dead with bad teeth.

tag: ul

text: Production[edit]

text: Development[edit]

text: Lee Unkrich first pitched an idea for the film in 2010, when Toy Story 3, which he also directed, was released.[11] Initially the film was to be about an American child, learning about his Mexican heritage, while dealing with the death of his mother. Eventually the team realized that this was the wrong approach and reformed the film to focus on a Mexican child instead.[27] Of the original version, Unkrich noted that it "reflected the fact that none of us at the time were from Mexico."[27] The fact that the film depicted "a real culture" caused anxiety for Unkrich, who "felt an enormous responsibility on [his] shoulders to do it right."[27]

text: The Pixar team made several trips to Mexico to help define the characters and story of Coco. Unkrich said, "I'd seen it portrayed in folk art. It was something about the juxtaposition of skeletons with bright, festive colors that captured my imagination. It has led me down a winding path of discovery. And the more I learn about [el] Día de los Muertos, the more it affects me deeply."[28] The team found it difficult working with skeletal creatures, as they lacked any muscular system, and as such had to be animated differently from their human counterparts.[29] Coco also took inspiration from Hayao Miyazaki's anime films Spirited Away (2001) and Howl's Moving Castle (2004) as well as the action film John Wick (2014).[30]

text: Casting[edit]

text: In 2016, the Coco team made an official announcement about the cast, which revealed that Gael Garcia Bernal, Benjamin Bratt, Renée Victor, and Anthony Gonzalez would voice the characters.[31]

text: Filming[edit]

text: On April 13, 2016, Unkrich announced that they had begun work on the animation.[32] The film's writer, Adrian Molina, was promoted to co-director in late 2016.[11]

text: Disney made a request to trademark the phrase "Día de los Muertos" for merchandising applications. This was met with criticism from the Mexican American community in the United States.[33] Lalo Alcaraz, a Mexican American cartoonist, drew a film poster titled "Muerto Mouse", depicting a skeletal Godzilla-sized Mickey Mouse with the byline "It's coming to trademark your cultura."[34] More than 21,000 people signed a petition on Change.org stating that the trademark was "cultural appropriation and exploitation at its worst."[33] A week later, Disney cancelled the attempt, with the official statement saying that the "trademark filing was intended to protect any title for our film and related activities. It has since been determined that the title of the film will change, and therefore we are withdrawing our trademark filing."[35] In 2015, Pixar hired Alcaraz to consult on the film,[34] joining playwright Octavio Solis and former CEO of the Mexican Heritage Corp. Marcela Davison Aviles, to form a cultural consultant group.[11]

text: Soundtrack[edit]

text:
Coco (Original Motion Picture Soundtrack)

Soundtrack album by Various Artists

Released
November 10, 2017 (2017-11-10)

Recorded
August–October 2017

Studio

Eastwood Scoring Stage (score)
Avatar Studios
Henson Recording Studios
Estudio 13
Audio By the Bay
Crawford Media Services

Genre

Son mexicano
Mariachi
Son jarocho
Ranchera
Huapango
Bolero
Mexican pop

Length
78:17

Label
Walt Disney

Producer

Michael Giacchino
Tom MacDougall
Germaine Franco
Kristen Anderson-Lopez
Robert Lopez

Pixar chronology

Cars 3
(2017)Cars 32017
Coco
(2017)
Incredibles 2
(2018)Incredibles 22018

Michael Giacchino chronology

War for the Planet of the Apes
(2017) War for the Planet of the Apes2017
Coco
(2017) Coco2017
Incredibles 2
(2018) Incredibles 22018

text: The film's score was composed by Michael Giacchino. Germaine Franco, Adrian Molina, Robert Lopez, and Kristen Anderson-Lopez wrote the songs.[1] Recording for the score began on August 14, 2017.[36] The score was released on November 10, 2017.[37]

text: All music composed by Michael Giacchino except where indicated.

text:
No.
Title
Writer(s)
Performer(s)
Length

1.
"Remember Me"
Kristen Anderson-Lopez & Robert Lopez
Benjamin Bratt
1:49

2.
"Much Needed Advice"
Germaine Franco, Michael Giacchino, & Adrian Molina
Bratt & Antonio Sol
1:46

3.
"Everyone Knows Juanita"
Franco & Molina
Gael García Bernal
1:15

4.
"Un Poco Loco"
Franco & Molina
García Bernal & Anthony Gonzalez
1:52

5.
"Jálale (Instrumental)"
Holger Beier, Pat Beier, & Camilo Lara
Mexican Institute of Sound
2:55

6.
"The World Es Mi Familia"
Franco & Molina
Gonzalez & Sol
0:51

7.
"Remember Me (Lullaby)"
Anderson-Lopez & Lopez
García Bernal, Gabriella Flores & Libertad García Fonzi
1:10

8.
"La Llorona"
Traditional
Sol & Alanna Ubach
2:46

9.
"Remember Me (Reunion)"
Anderson-Lopez & Lopez
Gonzalez & Ana Ofelia Murguía
1:14

10.
"Proud Corazón"
Franco & Molina
Gonzalez
2:04

11.
"Remember Me (Dúo)"
Anderson-Lopez & Lopez
Miguel feat. Natalia Lafourcade
2:44

12.
"Will He Shoemaker?"

3:18

13.
"Shrine and Dash"

1:24

14.
"Miguel's Got an Axe to Find"

1:17

15.
"The Strum of Destiny"

1:10

16.
"It's All Relative"

2:38

17.
"Crossing the Marigold Bridge"

1:49

18.
"Dept. of Family Reunions"

2:45

19.
"The Skeleton Key to Escape"

1:10

20.
"The Newbie Skeleton Walk"

1:08

21.
"Adiós Chicharrón"

1:45

22.
"Plaza de la Cruz"

0:21

23.
"Family Doubtings"

2:24

24.
"Taking Sides"

0:57

25.
"Fiesta Espactacular"

0:56

26.
"Fiesta con de la Cruz"

2:33

27.
"I Have a Great-Great-Grandson"

1:15

28.
"A Blessing and a Fessing"

4:45

29.
"Cave Dwelling on the Past"

2:22

30.
"Somos Familia"

2:21

31.
"Reunión Familiar de Rivera"

3:04

32.
"A Family Dysfunction"

2:00

33.
"Grabbing a Photo Opportunity"

1:47

34.
"The Show Must Go On"

2:32

35.
"For Whom the Bell Tolls"

2:02

36.
"A Run for the Ages"

1:50

37.
"One Year Later"

1:00

38.
"Coco – Día de los Muertos Suite"

5:47

Total length:
78:17

text:
[show]Banda Sonora Original[38]

No.
Title
Writer(s)
Performer(s)
Length

1.
"Recuérdame (Interpretada por Ernesto De la Cruz)"
Kristen Anderson-Lopez & Robert Lopez
Marco Antonio Solís
1:49

2.
"Dueto a Través del Tiempo"
Germaine Franco, Michael Giacchino, & Adrian Molina
Solís
1:45

3.
"Juanita"
Franco & Molina
Gael García Bernal
1:15

4.
"Un Poco Loco"
Franco & Molina
García Bernal & Luis Ángel Gómez Jaramillo
1:52

5.
"Jálale (Instrumental)"
Holger Beier, Pat Beier, & Camilo Lara
Mexican Institute of Sound
2:54

6.
"El Mundo es mi Familia"
Franco & Molina
Gómez Jaramillo & Solís
0:50

7.
"Recuérdame (Arrullo)"
Anderson-Lopez & Lopez
García Bernal & Lucy Hernández
1:09

8.
"La Llorona"
Traditional
Solís & Angélica Vale
2:45

9.
"Recuérdame (Reencuentro)"
Anderson-Lopez & Lopez
Rocío Garcel & Gómez Jaramillo
1:13

10.
"El Latido de mi Corazón"
Franco & Molina
Gómez Jaramillo
2:01

11.
"Recuérdame"
Anderson-Lopez & Lopez
Carlos Rivera
2:43

12.
"Remember Me (Dúo)"
Anderson-Lopez & Lopez
Natalia Lafourcade & Miguel
2:44

13.
"El corrido de Miguel Rivera (Inspirado en "Coco")"

Bronco
3:57

14.
"La bikina (Inspirado en "Coco")"
Rubén Fuentes
Karol Sevilla
2:56

15.
"Bésame mucho (Inspirado en "Coco")"
Consuelo Velázquez
Jorge Blanco
2:57

16.
"Un mundo raro (Inspirado en "Coco")"

La Santa Cecilia
3:27

17.
"Recuérdame (Solo) (Inspirado en "Coco")"
Anderson-Lopez & Lopez
Lafourcade
2:43

text:
[show]Banda Sonora Original (Disc 2)

No.
Title
Length

1.
"Will He Shoemaker?"
3:18

2.
"Shrine and Dash"
1:24

3.
"Miguel's Got an Axe to Find"
1:17

4.
"The Strum of Destiny"
1:10

5.
"It's All Relative"
2:38

6.
"Crossing the Marigold Bridge"
1:49

7.
"Dept. of Family Reunions"
2:45

8.
"The Skeleton Key to Escape"
1:10

9.
"The Newbie Skeleton Walk"
1:08

10.
"Adiós Chicharrón"
1:45

11.
"Plaza de la Cruz"
0:21

12.
"Family Doubtings"
2:24

13.
"Taking Sides"
0:57

14.
"Fiesta Espactacular"
0:56

15.
"Fiesta con de la Cruz"
2:33

16.
"I Have a Great-Great-Grandson"
1:15

17.
"A Blessing and a Fessing"
4:45

18.
"Cave Dwelling on the Past"
2:22

19.
"Somos Familia"
2:21

20.
"Reunión Familiar de Rivera"
3:04

21.
"A Family Dysfunction"
2:00

22.
"Grabbing a Photo Opportunity"
1:47

23.
"The Show Must Go On"
2:32

24.
"For Whom the Bell Tolls"
2:02

25.
"A Run for the Ages"
1:50

26.
"One Year Later"
1:00

27.
"Coco – Día de los Muertos Suite"
5:47

text:
[show]Banda Sonora Original em Português[39]

No.
Title
Writer(s)
Performer(s)
Length

1.
"Lembra-te de Mim (Ernesto de la Cruz)"
Kristen Anderson-Lopez & Robert Lopez
Mário Redondo
1:49

2.
"Conselho Muito Necessário"
Germaine Franco, Michael Giacchino, & Adrian Molina
Redondo
1:45

3.
"Quem Não Conhece a Juanita?"
Franco & Molina
Pedro Leitão
1:15

4.
"Un Poco Loco"
Franco & Molina
Joao Pedro Gonçalves & Leitão
1:52

5.
"Jálale (Instrumental)"
Holger Beier, Pat Beier, & Camilo Lara
Mexican Institute of Sound
2:54

6.
"O Mundo es Mi Família"
Franco & Molina
Gonçalves & Redondo
0:50

7.
"Lembra-te de Mim (Canção de Embalar)"
Anderson-Lopez & Lopez
Leitão & Maria Galante
1:09

8.
"La Llorona"
Traditional
Alanna Ubach & Antonio Sol
2:45

9.
"Lembra-te de Mim (Reunião)"
Anderson-Lopez & Lopez
Gonçalves & Ermelinda Duarte
1:13

10.
"Pulsar do Meu Corazón"
Franco & Molina
Gonçalves
2:03

11.
"Remember Me (Dúo)"
Anderson-Lopez & Lopez
Natalia Lafourcade & Miguel
2:44

12.
"Will He Shoemaker?"

3:18

13.
"Shrine and Dash"

1:24

14.
"Miguel's Got an Axe to Find"

1:17

15.
"The Strum of Destiny"

1:10

16.
"It's All Relative"

2:38

17.
"Crossing the Marigold Bridge"

1:49

18.
"Dept. of Family Reunions"

2:45

19.
"The Skeleton Key to Escape"

1:10

20.
"The Newbie Skeleton Walk"

1:08

21.
"Adiós Chicharrón"

1:45

22.
"Plaza de la Cruz"

0:21

23.
"Family Doubtings"

2:24

24.
"Taking Sides"

0:57

25.
"Fiesta Espactacular"

0:56

26.
"Fiesta con de la Cruz"

2:33

27.
"I Have a Great-Great-Grandson"

1:15

28.
"A Blessing and a Fessing"

4:45

29.
"Cave Dwelling on the Past"

2:22

30.
"Somos Familia"

2:21

31.
"Reunión Familiar de Rivera"

3:04

32.
"A Family Dysfunction"

2:00

33.
"Grabbing a Photo Opportunity"

1:47

34.
"The Show Must Go On"

2:32

35.
"For Whom the Bell Tolls"

2:02

36.
"A Run for the Ages"

1:50

37.
"One Year Later"

1:00

38.
"Coco – Día de los Muertos Suite"

5:47

text: Release[edit]

text: Coco was released in Mexico on October 27, 2017, the weekend before Día de los Muertos. The film was released in the United States on November 22, 2017, during the Thanksgiving weekend, and three weeks after Día de los Muertos, and in the United Kingdom on January 19, 2018.[40] The film was released in a crowded market, preceded by Thor: Ragnarok, Justice League and another animated film, The Star, and followed by Star Wars: The Last Jedi and another animated film, Ferdinand three weeks after Thanksgiving. It is one of the three Disney film productions being released in the November–December corridor.[41] It is the second Pixar offering of the year, following Cars 3, with 2017 being the second year Pixar released two films, after 2015 (with Inside Out and The Good Dinosaur).[42][43][44] The film was accompanied in theaters by Walt Disney Animation Studios' 21-minute featurette Olaf's Frozen Adventure as a limited time offering,[45] featuring the characters from Frozen, making Coco the first Pixar film not to be accompanied by a Pixar short in theaters since their first film, Toy Story, in 1995.[46]

text: Marketing[edit]

text: The first teaser trailer was released on March 15, 2017, two days before Disney's Beauty and the Beast opened worldwide.[41] The teaser trailer introduced the basic concept of the film, while highlighting its focus on music.[47] Scott Mendelson of Forbes praised the trailer as "a terrific old-school Pixar sell, mostly consisting of a single sequence and offering just the barest hint of what's to come."[41] The film's themes and imagery drew comparison to another animated film that centered around Día de Muertos, The Book of Life (2014).[47][48] A two-minute short film, titled Dante's Lunch—A Short Tail, was released online on March 29, 2017. It introduces the film's supporting character, a Xoloitzcuintle named Dante. The short was created early in the animation process by Unkrich and his team to have a better sense of the character.[49] The first official trailer was released on June 7, 2017,[50] followed by a second trailer on September 13.[51] The film was marketed extensively in Mexico, including traditional wall-painted advertising usually used for local events and never for films.[citation needed] Cinépolis, a movie chain in the country, held a contest for dubbing a character in the film,[52] and another movie chain[which?] held a contest to become an interviewer for the cast and crew of the film.[53]

text: The film will also have its own VR game, being Pixar's first VR development.[54]

text: Home media[edit]

text: While still showing in theaters worldwide, Coco was released for High Definition online streaming and digital download on February 13, 2018, and on DVD, Blu-ray, and 4K Ultra HD Blu-ray on February 27, 2018, by Walt Disney Studios Home Entertainment.[55]

text: Reception[edit]

text: Box office[edit]

text: As of April 15, 2018[update], Coco has grossed $209.7 million in the United States and Canada, and $580.3 million in other countries, for a worldwide total of $790 million.[9]

text: United States and Canada[edit]

text: In the United States and Canada, Coco was projected to gross $55–65 million from 3,987 theaters in its first five days, including around $40 million in its opening weekend.[56] It made $2.3 million from Tuesday night previews, landing between Disney's previous two November releases Moana ($2.6 million) and The Good Dinosaur ($1.3 million), and $13.2 million on its first day. It went on to debut to $50.8 million (including a five-day total of $72.9 million), finishing first at the box office.[57] It was the 4th-biggest Thanksgiving opening weekend ever, behind fellow animated films Frozen, Moana and Toy Story 2.[6] In its second weekend, the film dropped by 46% to $27.5 million, a smaller drop than Moana, Frozen, Tangled, and The Good Dinosaur, and again topping the box office.[58][59] It topped the box office once again in its third weekend, dropping by 33% and grossing $18.5 million, a similar hold to Moana.[60] It became the fourth film of 2017 to top the box office three times, following Split, The Fate of the Furious and The Hitman's Bodyguard, before being overtaken by Disney's own Star Wars: The Last Jedi and another animated film, Ferdinand, in its fourth weekend.[61][62]

text: It fell to number six in its fifth weekend, due to competition from three new releases—Jumanji: Welcome to the Jungle, Pitch Perfect 3, and The Greatest Showman—despite a small drop again; it grossed $2.8 million on Christmas Day.[63] On the holiday week of December 22–28, the film finished at number six with a gross of $16.3 million, which was 6% up from the previous week, despite losing over 1,000 theaters.[64] It finished at number six in its sixth weekend, going up 39% and 87%, respectively, during the three-day[65] and four-day weekends;[66] it grossed $2.6 million on New Year's Day.[67] It fell outside the top 10 in its eighth weekend (which included Martin Luther King Jr. Day), dropping 38% and 14% respectively, during the three-day[68] and four-day weekends.[69]

text: Other countries[edit]

text: Coco was released in Mexico on October 27, nearly a month before its release in the United States. It grossed $9.3 million on its opening weekend, the biggest opening weekend for an original animated film and the biggest debut for an animated film outside of the summer movie season in the market.[70] In its second weekend, it earned another $10.8 million, a 12% increase over its first weekend, bringing its total to $28 million. It became the fastest ten-day grosser ever for an animated feature in Mexico, as well as the biggest original animated release ever in the territory.[71][72] It dropped by 23% in its third weekend, grossing $8.4 million. That brought its total to MX$792 million (US$41.4 million), making it the highest-grossing animated film and the second-highest grossing film of all time in Mexico, behind Disney's own The Avengers, in local currency.[73] A few days later, on November 15, it passed The Avengers to become the highest-grossing film in the Mexican market.[14][15][16][17]

text: In China, Coco finished number one at the weekend box office, with a three-day total of $18.2 million, making it the second-highest opening ever for a Disney or Pixar animated release in that market, behind Zootopia.[74][75] After seeing increases each weekday on its first week,[76] the film increased by 148% on its second weekend, bringing its total to $75.6 million in the market.[59][77] It dropped by 21% in its third weekend, finishing first once again and grossing $35 million.[78] The film fell to number three in its fourth weekend, due to competition from two new domestic releases, grossing an additional $17.1 million.[79] Coco's success in China came as a surprise to most box office analysts who were projecting a gross of $30–40 million. By its second weekend, it had become the highest-grossing Pixar release ever in China, nearly doubling previous record-holder Finding Dory, and by its fifth weekend, it had surpassed Despicable Me 3 to become the second highest-grossing animated movie of all time in the country, behind Zootopia.[80][81] As of March 5, 2018, the film's largest markets were China ($189.2 million), Mexico ($57.8 million), France ($32.8 million), South Korea ($25.7 million), the United Kingdom ($23.1 million), Spain ($20.7 million), Argentina ($14.8 million), Italy ($14.2 million) and Germany ($12.1 million).[82][83] The movie was released in Japan, its final market, on March 16, 2018.

text: Critical response[edit]

text: On review aggregator website Rotten Tomatoes, the film holds an approval rating of 97% based on 273 reviews, with an average rating of 8.2/10. The site's critical consensus reads, "Coco's rich visual pleasures are matched by a thoughtful narrative that takes a family-friendly—and deeply affecting—approach to questions of culture, family, life, and death."[84] It was the site's highest-rated animated film and ninth highest-rated wide release of 2017.[85][86] On Metacritic, which assigns a normalized rating to reviews, the film has a weighted average score of 81 out of 100, based on 48 critics, indicating "universal acclaim."[87] Audiences polled by CinemaScore gave the film an average grade of "A+" on an A+ to F scale, one of fewer than 80 films in the history of the service to receive such a score; it was also the sixth Pixar film to earn the rating – the previous being Up in 2009.[6] It also earned a 95% positive score, including a rare five-out-of-five rating, from filmgoers on PostTrak, along with a 76% "definite recommend".[58]

text: Michael Rechtshaffen of The Hollywood Reporter said, "At every imaginative juncture, the filmmakers (the screenplay is credited to Pixar veteran Molina and Matthew Aldrich) create a richly woven tapestry of comprehensively researched storytelling, fully dimensional characters, clever touches both tender and amusingly macabre, and vivid, beautifully textured visuals."[88] Robert Abele of TheWrap praised the film, saying: "If an animated movie is going to offer children a way to process death, it's hard to envision a more spirited, touching and breezily entertaining example than Coco."[89] In his review for Variety, Peter Debruge wrote, "In any case, it works: Coco's creators clearly had the perfect ending in mind before they'd nailed down all the other details, and though the movie drags in places, and features a few too many childish gags... the story's sincere emotional resolution earns the sobs it's sure to inspire." Debruge also described the film as "[An] effective yet hardly exceptional addition to the Pixar oeuvre."[90] Matt Zoller Seitz of RogerEbert.com gave the film four out of four, writing that "There's a touch of Japanese master Hayao Miyazaki in the film's matter-of-fact depiction of the dead interacting with the living, as well as its portrayal of certain creatures" such as Dante and Pepita. He concluded his review by stating, "I had some minor quibbles about [Coco] while I was watching it, but I can't remember what they were. This film is a classic."[91]

text: Peter Travers of Rolling Stone rated the film 3.5 out of four, calling it a "loving tribute to Mexican culture", while praising the animation, vocal performances (particularly of Gonzalez, García Bernal, and Bratt), and its emotional and thematic tone and depth.[92] The Chicago Tribune's Michael Phillips called the film "vividly good, beautifully animated", praising Giacchino's musical score and the songs, as well drawing a comparison to the emotional tone of Inside Out.[93] A. O. Scott of The New York Times praised the film as "a time-tested tune with captivating originality and flair, and with roving, playful pop-culture erudition", and called the film's cultural vibe "inclusive" and "a 21st-century Disney hallmark".[94] Richard Roeper of the Chicago Sun-Times found the film to be "full of life" and deemed it "a bouncy and heart-tugging adventure", while lauding the vocal performances as "fantastic" and "first-rate".[95] Brian Truitt of USA Today described the film as "effervescent, clever and thoughtful," calling it one of "Pixar's most gorgeously animated outings", and "the most musical Pixar film, with a host of catchy tunes".[96] Stephen Whitty of the Newark Star-Ledger wrote that the backgrounds "have a vibrancy, and its atmosphere carries a warmth. And even after it's done, both linger, just a bit—like a perfectly struck guitar chord".[97]

text: Accolades[edit]

text: Coco was nominated for various awards and won a number of them, including several for Best Animated Feature.[98] The song "Remember Me" was particularly praised. At the 75th Golden Globe Awards, it won Best Animated Feature Film while it was nominated for Best Original Song for the song, "Remember Me".[99] It led the 45th Annie Awards with most nominations, garnering thirteen, among them Best Animated Feature, Outstanding Achievement for Directing in an Animated Feature Production, Outstanding Achievement for Writing in an Animated Feature Production, and Outstanding Achievement for Voice Acting in an Animated Feature Production for Gonzalez.[100] At the 90th Academy Awards, it won the Best Animated Feature and Best Original Song.[101]


question_text: what types of organizations were involved in developing the tia/eia-568-b standard

question_tokens: what types of organizations were involved in developing the tia / eia-568-b standard

text: History[edit]

text: ANSI/TIA-568 was developed through the efforts of more than 60 contributing organizations including manufacturers, end-users, and consultants. Work on the standard began with the EIA, to define standards for telecommunications cabling systems. EIA agreed to develop a set of standards, and formed the TR-42 committee,[3] with nine subcommittees to perform the work. The work continues to be maintained by TR-42 within the TIA, EIA is not longer in existence and hence EIA has been removed from the name.

text: The first revision of the standard, TIA/EIA-568-A.1-1991 was released in 1991. The standard was updated to revision B in 1995. The demands placed upon commercial wiring systems increased dramatically over this period due to the adoption of personal computers and data communication networks and advances in those technologies. The development of high-performance twisted pair cabling and the popularization of fiber optic cables also drove significant change in the standards. These changes were first released in a revision C in 2009 which has subsequently been replaced by the D series.[4]

text: Goals[edit]

text: ANSI/TIA-568 defines structured cabling system standards for commercial buildings, and between buildings in campus environments. The bulk of the standards define cabling types, distances, connectors, cable system architectures, cable termination standards and performance characteristics, cable installation requirements and methods of testing installed cable. The main standard, ANSI/TIA-568.0-D defines general requirements, while ANSI/TIA-568-C.2 focuses on components of balanced twisted-pair cable systems. ANSI/TIA-568.3-D addresses components of fiber optic cable systems, and ANSI/TIA-568-C.4, addressed coaxial cabling components.[5]

text: The intent of these standards is to provide recommended practices for the design and installation of cabling systems that will support a wide variety of existing and future services. Developers hope the standards will provide a lifespan for commercial cabling systems in excess of ten years. This effort has been largely successful, as evidenced by the definition of category 5 cabling in 1991, a cabling standard that (mostly) satisfied cabling requirements for 1000BASE-T, released in 1999. Thus, the standardization process can reasonably be said to have provided at least a nine-year lifespan for premises cabling, and arguably a longer one.

text: All these documents accompany related standards that define commercial pathways and spaces (TIA-569-C-1, February 2013), residential cabling (ANSI/TIA-570-C, August 2012), administration standards (ANSI/TIA-606-B, June 2012), grounding and bonding (TIA-607-B-2, August 2013), and outside plant cabling (TIA-758-B, April 2012).

text: Cable categories[edit]

text: The standard defines categories of unshielded twisted pair cable systems, with different levels of performance in signal bandwidth, insertion loss, and cross-talk. Generally increasing category numbers correspond with a cable system suitable for higher rates of data transmission. Category 3 cable was suitable for telephone circuits and data rates up to 16 million bits per second. Category 5 cable, with more restrictions on attenuation and cross talk, has a bandwidth of 100 MHz.[6] The 1995 edition of the standard defined categories 3, 4, and 5. Categories 1 and 2 were excluded from the standard since these categories were only used for voice circuits, not for data.[7] The current revision includes Category 5e (100 MHz), 6 (250 MHz), 6A (500 MHz) and 8 (2,000 MHz).

text: Structured cable system topologies[edit]

text: ANSI/TIA-568-D defines a hierarchical cable system architecture, in which a main cross-connect (MCC) is connected via a star topology across backbone cabling to intermediate cross-connects (ICC) and horizontal cross-connects (HCC). Telecommunications design traditions utilized a similar topology. Many people refer to cross-connects by their telecommunications names: "distribution frames" (with the various hierarchies called MDFs, IDFs and wiring closets). Backbone cabling is also used to interconnect entrance facilities (such as telco demarcation points) to the main cross-connect. Maximum allowable backbone fibre distances vary between 300m and 3000m, depending upon the cable type and use.

text: Horizontal cross-connects provide a point for the consolidation of all horizontal cabling, which extends in a star topology to individual work areas such as cubicles and offices. Under TIA/EIA-568-B, maximum allowable horizontal cable distance is 90m of installed cabling, whether fibre or twisted-pair, with 100m of maximum total length including patch cords. No patch cord should be longer than 5m. Optional consolidation points are allowable in horizontal cables, often appropriate for open-plan office layouts where consolidation points or media converters may connect cables to several desks or via partitions.

text: At the work area, equipment is connected by patch cords to horizontal cabling terminated at jackpoints.

text: TIA/EIA-568 also defines characteristics and cabling requirements for entrance facilities, equipment rooms and telecommunications rooms.

text: T568A and T568B termination[edit]

text: Perhaps the widest known and most discussed feature of ANSI/TIA-568 is the definition of the pin-to-pair assignments, or pinout, between the pins in a connector (a plug or a socket) and the wires in a cable.

text: The standard specifies how to connect eight-conductor 100-ohm balanced twisted-pair cabling, such as Category 3 and Category 6 unshielded twisted-pair (UTP), to 8P8C eight-pin modular connectors (often incorrectly called RJ45 connectors).

text: The standard defines two alternative pinouts: T568A and T568B. The pinout definitions occupy merely 1 of the standard's 468 pages. Much attention is paid to them because cables do not function if the pinouts at their two ends aren't correctly matched.

text: ANSI/TIA-568 recommends the T568A pinout for horizontal cables. This pinout's advantage is that it is compatible with the 1-pair and 2-pair Universal Service Order Codes (USOC) pinouts. The U.S. Government requires it in federal contracts.

text: The standard also allows the T568B pinout, as an alternative "if necessary to accommodate certain 8-pin cabling systems". This pinout matches the older AT&T 258A (Systimax) pinout. In the 1990s, when the original TIA/EIA-568 was published, 258A had the most widely installed UTP cabling infrastructure. Many organizations still use T568B out of inertia.

text: The colors of the wire pairs in the cable, in order, are: blue (for pair 1), orange, green, and brown (for pair 4). Each pair consists of one conductor of solid color and a second conductor which is white with a stripe of the other color.

text: The difference between the two pinouts is that the orange and green wire pairs are exchanged.

text: Wiring[edit]

text: See modular connector for numbering of the pins.[8]

text:
Pin
T568A pair
T568B pair
10BASE-T 100BASE-TX
1000BASE-T signal ID
Wire
T568A color
T568B color
Pins on plug face (socket is reversed)

1
3
2
TX+
DA+
tip

white/green stripe

white/orange stripe

2
3
2
TX−
DA−
ring

green solid

orange solid

3
2
3
RX+
DB+
tip

white/orange stripe

white/green stripe

4
1
1
—
DC+
ring

blue solid

blue solid

5
1
1
—
DC−
tip

white/blue stripe

white/blue stripe

6
2
3
RX−
DB−
ring

orange solid

green solid

7
4
4
—
DD+
tip

white/brown stripe

white/brown stripe

8
4
4
—
DD−
ring

brown solid

brown solid

text: Note that the only difference between T568A and T568B is that pairs 2 and 3 (orange and green) are swapped. Both configurations wire the pins "straight through", i.e., pins 1 through 8 on one end are connected to pins 1 through 8 on the other end.[9] Also, the same sets of pins connect to the opposite ends that are paired in both configurations: pins 1 and 2 form a pair, as do 3 and 6, 4 and 5, and 7 and 8. One can use cables wired according to either configuration in the same installation without significant problem. The primary thing one has to be careful of, is not to accidentally wire the ends of the same cable according to different configurations (unless one intends to create an ethernet crossover cable) or, worse, swapping two lines from different pairs. This creates crosstalk, which is normally rectified by correctly twisting a pair together.[10] These problems will be most apparent in the more stringent specifications such as Category 6.

text: Use for T1 connectivity[edit]

text: In Digital Signal 1 (T1) service, the pairs 1 and 3 (T568A) are used, and the USOC-8 jack is wired as per spec RJ-48C. The Telco termination jack is often wired to spec RJ-48X, which provides for a Transmit-to-Receive loopback when the plug is withdrawn.

text: Vendor cables are often wired with tip and ring reversed—i.e. pins 1 and 2 reversed, or pins 4 and 5 reversed. This has no effect on the signal quality of the T1 signal, which is fully differential, and uses the Alternate Mark Inversion (AMI) signaling scheme.

text: Backward compatibility[edit]

text: Because pair 1 connects to the center pins (4 and 5) of the 8P8C connector in both T568A and T568B, both standards are compatible with the first line of RJ11, RJ14, RJ25, and RJ61 connectors that all have the first pair in the center pins of these connectors.

text: If the second line of an RJ14, RJ25 or RJ61 plug is used, it connects to pair 2 (orange/white) of jacks wired to T568A but to pair 3 (green/white) in jacks wired to T568B. This makes T568B potentially confusing in telephone applications.

text: Because of different pin pairings, the RJ25 and RJ61 plugs cannot pick up lines 3 or 4 from either T568A or T568B without splitting pairs. This would most likely result in unacceptable levels of hum, crosstalk and noise.

text: Theory[edit]

text: The original idea in wiring modular connectors, as seen in the registered jacks, was that the first pair would go in the center positions, the next pair on the next outermost ones, and so on. Also, signal shielding would be optimized by alternating the "live" and "earthy" pins of each pair. The terminations diverge slightly from this concept because on the 8 position connector, the resulting pinout would separate the outermost pair too far to meet the electrical echo requirements of high-speed LAN protocols.

text: Standards[edit]

text:
ANSI/TIA-568.0-D, Generic Telecommunications Cabling for Customer Premises, Ed. D, 09-2015
ANSI/TIA-568.1-D, Commercial Building Telecommunications Cabling Standard, Ed. D, 09-2015
ANSI/TIA-568-C.2, Balanced Twisted-Pair Telecommunication Cabling and Components Standard, Ed. C, Err. 04-2014
ANSI/TIA-568.3-D, Optical Fiber Cabling And Components Standard, Ed. D, 10-2016
ANSI/TIA-568-C.4, Broadband Coaxial Cabling and Components Standard, Ed. C, 07-2011


document_title: The Turn of the Screw

question_text: when was the turn of the screw set

question_tokens: when was the turn of the screw set

text: The Turn of the Screw

text: Plot[edit]

text: On Christmas Eve, an unnamed narrator listens to Douglas, a friend, read a manuscript written by a former governess whom Douglas claims to have known and who is now dead. The manuscript tells the story of how the young governess is hired by a man who has become responsible for his young nephew and niece after the deaths of their parents. He lives mainly in London but also has a country house, Bly. He is uninterested in raising the children.

text: The boy, Miles, is attending a boarding school, while his younger sister, Flora, is living at a summer country house in Essex. She is currently being cared for by Mrs. Grose, the housekeeper. Miles and Flora's uncle, the governess' new employer, gives her full charge of the children and explicitly states that she is not to bother him with communications of any sort. The governess travels to her new employer's country house and begins her duties.

text: Miles soon returns from school for the summer just after a letter arrives from the headmaster stating that he has been expelled. Miles never speaks of the matter, and the governess is hesitant to raise the issue. She fears there is some horrible secret behind the expulsion but is too charmed by the adorable young boy to want to press the issue. Soon thereafter, around the grounds of the estate, the governess begins to see the figures of a man and woman whom she does not recognise. These figures come and go at will without ever being seen or challenged by other members of the household, and they seem to the governess to be supernatural. She learns from Mrs. Grose that the governess' predecessor, Miss Jessel, and another employee, Peter Quint, had had a sexual relationship. Before their deaths, Jessel and Quint spent much of their time with Flora and Miles, and this fact has grim significance for the current governess when she becomes convinced that the two children are secretly aware of the ghosts' presence.

text: Later, without permission, Flora leaves the house while Miles is playing music for the governess. The governess notices Flora's absence and goes with Mrs. Grose in search of her. They find her in a folly on the shore of the lake, and the governess is convinced that Flora has been talking to the ghost of Miss Jessel. When the governess finally confronts Flora, the girl denies seeing Miss Jessel and demands never to see the governess again. At the governess' suggestion, Mrs. Grose takes Flora away to her uncle, leaving the governess with Miles, who that night at last talks to her about his expulsion; the ghost of Quint appears to the governess at the window. The governess shields Miles, who attempts to see the ghost. The governess tells Miles he is no longer controlled by the ghost and then finds that Miles has died in her arms, and the ghost has gone.

text: Major themes[edit]

text: Throughout his career James was attracted to the ghost story. However, he was not fond of literature's stereotypical ghosts. He preferred to create ghosts that were eerie extensions of everyday reality, "the strange and sinister embroidered on the very type of the normal and easy", as he put it in the New York Edition preface to his final ghost story, "The Jolly Corner".

text: With The Turn of the Screw, many critics have wondered if the "strange and sinister" were only in the governess's mind and not part of reality. The result has been a longstanding critical dispute about the reality of the ghosts and the sanity of the governess. Beyond the dispute, critics have closely examined James's narrative technique for the story. The framing introduction and subsequent first-person narrative by the governess have been studied by theorists of fiction interested in the power of fictional narratives to convince or even manipulate readers.

text: The imagery of The Turn of the Screw is reminiscent of gothic fiction. The emphasis on old and mysterious buildings throughout the novella reinforces this motif. James also relates the amount of light present in various scenes to the strength of the supernatural or ghostly forces apparently at work. The governess refers directly to The Mysteries of Udolpho and indirectly to Jane Eyre, evoking a comparison of the governess not only to the character of Jane Eyre, but also to the character of Bertha, the madwoman confined in Thornfield.[2]

text: Literary significance and criticism[edit]

text: Oliver Elton wrote in 1907 that "There is...doubt, raised and kept hanging, whether, after all, the two ghosts who can choose to which persons they will appear, are facts, or delusions of the young governess who tells the story."[3] Edmund Wilson was another of the earlier proponents of the theory questioning the governess's sanity, positing sexual repression as a cause for her experiences.[4] Wilson eventually recanted his opinion after considering the governess's point-by-point description of Quint. Then John Silver[5] pointed out hints in the story that the governess might have gained previous knowledge of Quint's appearance in non-supernatural ways. This induced Wilson to return to his original opinion that the governess was delusional and that the ghosts existed only in her imagination.

text: William Veeder sees Miles's eventual death as induced by the governess. In a complex psychoanalytic reading, Veeder concludes that the governess expressed her repressed rage toward her father and toward the master of Bly on Miles.[6]

text: Other critics, however, have strongly defended the governess. They note that James's letters, his New York Edition preface, and his Notebooks contain no definite evidence that The Turn of the Screw was intended as anything other than a straightforward ghost story, and James certainly wrote ghost stories that did not depend on the narrator's imagination. For example, "Owen Wingrave" includes a ghost that causes its title character's sudden death, although no one actually sees it. James's Notebooks entry indicates that he was inspired originally by a tale he heard from Edward White Benson, the archbishop of Canterbury. There are indications that the story James was told was about an incident in Hinton Ampner, where in 1771 a woman named Mary Ricketts moved from her home after seeing the apparitions of a man and a woman, day and night, staring through the windows, bending over the beds, and making her feel her children were in danger.[7][8]

text: In a 2012 commentary in The New Yorker, Brad Leithauser has given his own perspective on the different interpretations of James' novella:

text: All such attempts to 'solve' the book, however admiringly tendered, unwittingly work toward its diminution[; its] profoundest pleasure lies in the beautifully fussed over way in which James refuses to come down on either side... the book becomes a modest monument to the bold pursuit of ambiguity.[9]

text: According to Leithauser, the reader is meant to entertain both the proposition that the governess is mad and the proposition that the ghosts really do exist, and consider the dreadful implications of each.

text: Poet and literary critic Craig Raine, in his essay "Sex in nineteenth-century literature", states quite categorically his belief that Victorian readers would have identified the two ghosts as child molesters.[10]

text: Publication history[edit]

text: The Turn of the Screw was first published in the magazine Collier's Weekly, serialised in 12 instalments (27 January – 16 April 1898). The title illustration by John La Farge depicts the governess with her arm around Miles. Episode illustrations were by Eric Pape.[11]

text:
"The next night, by the corner of the hearth, in the best chair … Douglas began to read"

"He did stand there!—But high up, beyond the lawn and at the very top of the tower"

"Holding my candle high, till I came within sight of the tall window"

"He presently produced something that made me drop straight down on the stone slab"

"I must have thrown myself, on my face, on the ground"

text: In October 1898 the novella appeared with the short story "Covering End" in a volume titled The Two Magics, published by Macmillan in New York City and by Heinemann in London.[12]

text: James revised The Turn of the Screw ten years later for his New York Edition.[13] In The Collier's Weekly Version of The Turn of the Screw (2010), the tale is presented in its original serial form with a detailed analysis of the changes James made over the years. Among many other revisions, James changed the children's ages.[14]

text: Adaptations[edit]

text: Film, stage, and television[edit]

text: The Turn of the Screw has been the subject of numerous adaptations and reworkings in a variety of media, and these reworkings and adaptations have, themselves, been analysed in the academic literature on Henry James and neo-Victorian culture.[15] It was adapted to an opera by Benjamin Britten, which premiered in 1954,[15] and the opera has been filmed on numerous occasions.[16] The novella was adapted as a ballet score (1980) by Luigi Zaninelli,[17] and separately as a ballet (1999) by Will Tucket for the Royal Ballet.[18] Harold Pinter directed The Innocents (1950), a Broadway play which was an adaptation of The Turn of the Screw,[19] and a subsequent eponymous stage play, adapted by Rebecca Lenkiewicz was presented in a co-production with Hammer at the Almeida Theatre, London, in January 2013.[20]

text: There have been numerous film adaptations of the novel.[17] The critically acclaimed The Innocents (1961), directed by Jack Clayton, and Michael Winner's prequel The Nightcomers (1972) are two particularly notable examples.[15] Other feature film adaptations include Rusty Lemorande's 1992 eponymous adaptation (set in the 1960s)[16]; Eloy de la Iglesia's Spanish-language Otra vuelta de tuerca (The Turn of the Screw, 1985);[17] Presence of Mind (1999), directed by Atoni Aloy; In a Dark Place (2006), directed by Donato Rotunno[16] and Walter Lima Jr.'s Brazilian-Portuguese-language Através da Sombra (Through the Shadow, 2016).[citation needed] The Others (2001) is not an adaptation but has some themes in common with James's novella.[16][21] In February of 2018, Steven Spielberg began filming an adaptation of the novella called The Turning on the Kilruddery Estate in Ireland.[22]

text: Television films have included a 1959 American adaptation as part of Ford Startime directed by John Frankenheimer and starring Ingrid Bergman;[16][23] the West German Die sündigen Engel (The Sinful Angel, 1962),[24] a 1974 adaptation directed by Dan Curtis, adapted by William F. Nolan;[16] a French adaptation entitled Le Tour d'écrou (The Turn of the Screw, 1974); a Mexican miniseries entitled Otra vuelta de tuerca (The Turn of the Screw, 1981);[24] a 1982 adaptation directed by Petr Weigl primarily starring Czech actors lip-synching;[25] a 1990 adaptation directed by Graeme Clifford; The Haunting of Helen Walker (1995), directed by Tom McLoughlin; a 1999 adaptation directed by Ben Bolt;[16] a low-budget 2003 version written and directed by Nick Millard;[24] the Italian-language Il mistero del lago (The Mystery of the Lake, 2009); and a 2009 BBC film adapted by Sandy Welch, starring Michelle Dockery and Sue Johnston.[24]

text: Literary reworkings[edit]

text: Literary reworkings of The Turn of the Screw identified by James scholar Adeline R. Tintner include The Secret Garden (1911), by Frances Hodgson Burnett; "Poor Girl" (1951), by Elizabeth Taylor; The Peacock Spring (1975), by Rumer Godden; Ghost Story (1975) by Peter Straub; "The Accursed Inhabitants of House Bly" (1994) by Joyce Carol Oates; and Miles and Flora (1997)—a sequel—by Hilary Bailey.[26] Further literary adaptations identified by other authors include Affinity (1999), by Sarah Waters; A Jealous Ghost (2005), by A. N. Wilson;[27] and Florence & Giles (2010), by John Harding.[15] Young adult novels inspired by The Turn of the Screw include The Turning (2012) by Francine Prose[28] and Tighter (2011) by Adele Griffin.[29]

text: In popular culture[edit]

text: The Turn of the Screw has also influenced television.[30] In December 1968, the ABC daytime drama Dark Shadows featured a storyline based on The Turn of the Screw. In the story, the ghosts of Quentin Collins and Beth Chavez haunted the west wing of Collinwood, possessing the two children living in the mansion. The story led to a year-long story in the year 1897, as Barnabas Collins travelled back in time to prevent Quentin's death and stop the possession.[30] In early episodes of Star Trek: Voyager ("Cathexis", "Learning Curve" and "Persistence of Vision"), Captain Kathryn Janeway is seen on the holodeck acting out scenes from a holonovel which appears to be based on The Turn of the Screw.[31]

text: Editions[edit]

text: Pre-millennium

text:
The Turn of the Screw: Authoritative Text, Contexts, Criticism, edited by Robert Kimbrough (New York: W.W. Norton & Company, 1966) [no ISBN].
The Tales of Henry James, edited by Edward Wagenknecht (New York: Frederick Ungar Publishing Co. 1984) ISBN 0-8044-2957-X.
The Aspern Papers and The Turn of the Screw, with an introduction and notes by Anthony Curtis (Harmondsworth: Penguin, 1986) ISBN 9780141439907. (Includes excerpts from the New York Preface to both novellas. Does not include a list of suggested further reading).
The Turn of the Screw: Authoritative Text, Contexts, Criticism, edited by Deborah Esch and Jonathan Warren (New York: W.W. Norton & Company, 1999) ISBN 0-393-95904-X. (Offers a selection of criticism, including an excerpt from Edmund Wilson's study of the novella).

text: Post-millennium

text:
The Turn of the Screw and Other Stories, edited by T.J. Lustig (Oxford: Oxford University Press, 2008) ISBN 978-0-199-53617-7.
The Collier's Weekly Version of The Turn of the Screw, edited by Peter G. Beidler (Seattle: Coffeetown Press, 2010) ISBN 978-1-60381-018-0.
The Turn of the Screw and Other Stories, edited by Kimberly Reed (Peterborough: Broadview Press, 2010) ISBN 978-1-770-48255-5.
The Turn of the Screw, edited by David Bromwich (New York: Penguin Classics, 2011) ISBN 978-0-141-44135-1.


document_title: A View to a Kill

question_text: where is a view to a kill filmed

question_tokens: where is a view to a kill filmed

text: A View to a Kill

text: Plot[edit]

text: MI6 agent James Bond is sent to Siberia to locate the body of 003 and recover a microchip originating from the Soviet Union. Upon his return, Q analyses the microchip and establishes that it is a copy of one designed to withstand an electromagnetic pulse and made by government contractor Zorin Industries.

text: Bond visits Ascot Racecourse to observe the company's owner, Max Zorin. Zorin's horse wins a race but proves hard to control. Sir Godfrey Tibbett, a racehorse trainer and MI6 agent, believes that Zorin's horse was drugged, although tests proved negative. Through Tibbett, Bond meets with French private detective Achille Aubergine who informs Bond that Zorin is holding a horse sale later in the month. During their dinner at the Eiffel Tower, Aubergine is assassinated by Zorin's bodyguard May Day, who subsequently escapes after being chased by Bond.

text: Bond and Tibbett travel to Zorin's estate for the horse sale. Bond is puzzled by a woman who rebuffs him and finds out that Zorin has written her a cheque for $5 million. At night, Bond and Tibbett break into Zorin's laboratory and learn that he is implanting adrenaline-releasing devices in the horses. Zorin identifies Bond as an agent, has May Day assassinate Tibbett, and believes that his attempt to assassinate Bond has been successful. Afterwards, General Gogol of the KGB confronts Zorin for killing Bond without permission and reveals that Zorin was initially trained and financed by the KGB but has now gone rogue. Later, Zorin unveils to a group of investors his plan to destroy Silicon Valley which will give him—and the potential investors—a monopoly over the microchip industry.

text: Bond goes to San Francisco, where he learns from CIA agent Chuck Lee that Zorin could be the product of medical experimentation with steroids performed by a Nazi scientist who is now Zorin's physician, Dr. Carl Mortner. Bond then investigates a nearby oil rig owned by Zorin and while there finds KGB agent Pola Ivanova recording Zorin's conversation. Ivanova's partner Klolktoff is captured and killed while trying to place limpet mines on the rig, but Ivanova and Bond escape. They go to her place where Bond is able to steal the recording. Bond tracks down the woman that Zorin attempted to pay off, State Geologist Stacey Sutton, and discovers that Zorin is trying to purchase her family's oil business.

text: The two travel to San Francisco City Hall to review Zorin's submitted plan. However, Zorin is alerted to their presence and arrives together with May Day, who murders Chuck. When Bond and Sutton try to procure the plans, Zorin kills chief geologist W. G. Howe with Bond's gun and sets fire to the building to frame Bond for the murder and kill him and Sutton at the same time. Bond and Sutton survive the fire, but when the police prepare to arrest Bond for the murders of Howe and Chuck, he and Sutton escape in a fire truck.

text: Bond and Sutton infiltrate Zorin's mine and discover his plot to detonate explosives beneath the lakes along the Hayward and San Andreas faults, which would cause them to flood, causing the Silicon Valley area to be permanently submerged underwater. A larger bomb is also in the mine to destroy a "geological lock" that prevents the two faults from moving at the same time. Once the bombs are in place, Zorin and his security chief Scarpine flood the mines, killing the mine workers. Sutton escapes, while Bond and May Day are stranded in the mine. When May Day realizes that Zorin has abandoned her, she helps Bond remove the larger bomb by putting the device onto a handcar and pushing it out of the mine. When the handcar's brakes block their attempt, May Day stays on it to make it roll clear of the mine; once outside, the bomb explodes, killing her.

text: Zorin, who had escaped in his airship with Scarpine and Mortner, abducts Sutton, but Bond grabs hold of the airship's mooring rope. Zorin tries to knock Bond off the rope, but Bond manages to moor the airship to the framework of the Golden Gate Bridge. Sutton attacks Zorin, and in the fracas, Mortner and Scarpine are temporarily knocked out. Sutton flees and joins Bond out on the bridge, but Zorin pursues them with an axe. The ensuing fight between Zorin and Bond culminates with Zorin falling to his death in the waters of San Francisco Bay. An enraged Mortner attempts to attack Bond using lit sticks of dynamite, but Bond cuts the airship cable free, which causes Mortner to drop the dynamite in the cabin. The dynamite explodes, killing Mortner and Scarpine and destroying the airship. General Gogol awards Bond the Order of Lenin for foiling Zorin's strategy.

text: Cast[edit]

text:
Roger Moore as James Bond, MI6 agent 007.
Christopher Walken as Zorin: a psychopathic industrialist, the product of a Nazi genetic experiment, planning to destroy the Silicon Valley to gain a monopoly in the microchip market.
Tanya Roberts as Stacey: The granddaughter of an oil tycoon whose company is taken over by Zorin.
Grace Jones as May Day: Zorin's lover and chief henchwoman. She seemingly possesses superhuman strength.
Patrick Macnee as Godfrey Tibbett: Bond's ally, a horse trainer who helps him infiltrate Zorin's chateau and stables.
Patrick Bauchau as Scarpine: Zorin's murderous loyal associate.
David Yip as Lee: a CIA agent who assists Bond and Sutton in San Francisco.
Willoughby Gray as Carl Mortner: formally Hans Glaub, a Nazi scientist and father figure to Zorin (in the German release version, he is a Polish communist).
Fiona Fullerton as Ivanova; a KGB agent known to Bond, sent by Gogol to spy on Zorin.
Manning Redwood as Bob: Zorin's chief mining engineer who handles his oil interests on the East Bay.
Alison Doody as Jenny Flex: One of May Day's assistants who is often seen with Pan Ho.
Robert Brown as M: The head of MI6
Desmond Llewelyn as Q: An MI6 officer in charge of the research and development branch. He supplies 007 with his equipment for his mission.
Lois Maxwell as Miss Moneypenny: M's secretary (Maxwell's 14th and final appearance in the role).
Geoffrey Keen as Fredrick Gray: The British Minister of Defence.
Walter Gotell as General Gogol: The head of the KGB.
Papillon Soo Soo as Pan Ho: One of May Day's assistants.
Daniel Benzali as Howe: A city official working at San Francisco City Hall.
Mary Stavin as Kimberley Jones: British agent who assists Bond in the pre-credit sequence.
Bogdan Kominowski as Klotkoff: one of General Gogol's KGB agents who is killed while infiltrating Zorin's oil rig.
Dolph Lundgren in an early, minor role as Venz, one of General Gogol's KGB agents.
Jean Rougerie as French private detective Achille Aubergine.

text: Maud Adams makes an uncredited cameo appearance as an extra in one of the Fisherman's Wharf scenes, making it her third Bond film appearance.[2][3]

text: Production[edit]

text: A View to a Kill was produced by Albert R. Broccoli and Michael G. Wilson. Wilson also co-authored the screenplay along with Richard Maibaum. At the end of Octopussy during the "James Bond Will Return" sequence, it listed the next film as "From a View to a Kill", the name of the original short story; however, the title was later changed.[4] When a company with a name similar to Zorin (the Zoran Corporation) was discovered in the United States, a disclaimer was added to the start of the film affirming that Zorin was not related to any real-life company. This is the first Bond film to have a disclaimer (The Living Daylights had a disclaimer about the use of the Red Cross).[5]

text: Casting[edit]

text: Early publicity for the film in 1984 included an announcement that David Bowie would play Zorin. He later decided to turn down the role, saying, "I didn't want to spend five months watching my stunt double fall off cliffs." The role was offered to Sting and finally to Christopher Walken.[6]

text: Dolph Lundgren has a brief appearance as one of General Gogol's KGB agents. Lundgren, who was dating Grace Jones at the time, was visiting her on set when one day an extra was missing so the director John Glen then asked him if he wanted to get a shot at it. Lundgren appears during the confrontation between Gogol and Zorin at the racetrack, standing several steps below Gogol.[7]

text: Filming[edit]

text: The film was shot at Pinewood Studios in London, Iceland, Switzerland, France and the United States. Several French landmarks such as the Eiffel Tower, its Jules Verne Restaurant and the Château de Chantilly were filmed. The rest of the major filming was done at Fisherman's Wharf, Dunsmuir House, San Francisco City Hall and the Golden Gate Bridge in San Francisco. The Lefty O'Doul Bridge was featured in the fire engine chase scene. The horse racing scenes were shot at Ascot Racecourse.[8]

text: Production of the film began on 23 June 1984 in Iceland, where the second unit filmed the pre-title sequence.[9] On 27 June 1984, several leftover canisters of petrol used during filming of Ridley Scott's Legend caused Pinewood Studios' "007 Stage" to burn to the ground. The stage was rebuilt, and reopened in January 1985[10] (renamed as "Albert R. Broccoli's 007 Stage") for filming of A View to a Kill. Work had continued on other stages at Pinewood when Roger Moore rejoined the main unit there on 1 August 1984. The crew then departed for shooting the horse-racing scenes at Royal Ascot Racecourse. The scene in which Bond and Sutton enter the mineshaft was then filmed in a waterlogged quarry near Staines and the Amberley Chalk Pits Museum in West Sussex.[11]

text: On 6 October 1984, the fourth unit, headed by special effects supervisor John Richardson, began its work on the climactic fight sequence. At first, only a few plates constructed to resemble the Golden Gate Bridge were used. Later that night, shooting of the burning San Francisco City Hall commenced. The first actual scenes atop the bridge were filmed on 7 October 1984.[12]

text: In Paris it was planned that two stunt men, B.J. Worth and Don Caldvedt, would help film two takes of a parachute drop off a (clearly visible) platform that extended from a top edge of the Eiffel Tower. However, sufficient footage was obtained from Worth's jump, so Caldvedt was told he would not be performing his own jump. Caldvedt, unhappy at not being able to perform the jump, parachuted off the tower without authorisation from the City of Paris. He was subsequently sacked by the production team for jeopardising the continuation of filming in the city.[2]

text: Airship Industries managed a major marketing coup with the inclusion of their Skyship 500 series blimp in the film. At the time Airship Industries were producing a fleet of blimps which were recognisable over many capitals of the world offering tours, or advertising sponsorship deals. As all Bond films have included the most current technology, this included the lighter than air interest.[13] The blimp seen in the climax was then on a promotional tour of Los Angeles after its participation in the opening ceremony of the 1984 Olympic Games. At that time, it had "WELCOME" painted across the side of the gasbag, but was replaced by "ZORIN INDUSTRIES" for the film. During the summer of 1984, the blimp was used to advertise Fujifilm. In real life, inflating the airship would take up to 24 hours, but during the film it was shown to take two minutes.[13]

text: Music[edit]

text: The soundtrack was composed by John Barry, and published by EMI/Capitol.[14] The theme song, "A View to a Kill", was written by Barry and Duran Duran, and performed by the band. "May Day Jumps" is the only track that uses the "James Bond Theme". Barry's composition from On Her Majesty's Secret Service was modified for use in the songs "Snow Job", "He's Dangerous" and "Golden Gate Fight" of A View to a Kill.[15] "A View to a Kill" reached number two on the UK Singles Chart and number one on the Billboard Hot 100 in the United States, thus becoming the peak song in the James Bond series.[16] The 2015 track Writing's On The Wall later out performed the song in the UK by reaching number one.[17]

text: Duran Duran was chosen to do the song after bassist John Taylor (a lifelong Bond fan) approached producer Cubby Broccoli at a party, and somewhat drunkenly asked "When are you going to get someone decent to do one of your theme songs?"[18][19]

text: During the opening sequence, a cover version of the 1965 Beach Boys song "California Girls", performed by Gidea Park with Adrian Baker (a tribute band), is used during a chase in which Bond snowboards; it has been suggested that this sequence helped initiate interest in snowboarding.[20]

text: Release and reception[edit]

text: This was the first Bond film with a premiere outside the UK, opening on 22 May 1985 at San Francisco's Palace of Fine Arts.[21] The British premiere was held on 12 June 1985 at the Odeon Leicester Square Cinema in London.[9] It achieved a box office collection of US$152.4 million worldwide with $50.3 million in the United States alone.[22][23] On its opening weekend in the US it earned $10.6 million.[23] Although its box office reception was excellent, the film's critical response was mostly negative. Rotten Tomatoes currently gives A View to a Kill a 36% approval rating,[24] which is the lowest rating for the Eon-produced Bond films on the website.[25] The film was first broadcast on British television on 31 January 1990.

text: One of the most common criticisms was that Roger Moore was 57 at the time of filming – and had visibly aged in the two years that had passed since Octopussy. The Washington Post critic said "Moore isn't just long in the tooth—he's got tusks, and what looks like an eye job has given him the pie-eyed blankness of a zombie. He's not believable anymore in the action sequences, even less so in the romantic scenes—it's like watching women fall all over Gabby Hayes."[26] Sean Connery declared that "Bond should be played by an actor 35, 33 years old. I'm too old. Roger's too old, too!"[27] In a December 2007 interview, Roger Moore remarked, "I was only about four hundred years too old for the part."[28]

text: Moore also stated that, at the time, A View to a Kill was his least favourite Bond film, and mentioned that he was mortified to find out that he was older than his female co-star's mother. He was quoted saying "I was horrified on the last Bond I did. Whole slews of sequences where Christopher Walken was machine-gunning hundreds of people. I said 'That wasn't Bond, those weren't Bond films.' It stopped being what they were all about. You didn't dwell on the blood and the brains spewing all over the place".[29]

text: Pauline Kael of The New Yorker said "The James Bond series has had its bummers, but nothing before in the class of A View to a Kill. You go to a Bond picture expecting some style or, at least, some flash, some lift; you don't expect the dumb police-car crashes you get here. You do see some ingenious daredevil feats, but they're crowded together and, the way they're set up, they don't give you the irresponsible, giddy tingle you're hoping for." Kael also singled out the dispirited direction and the hopeless script. "Director John Glen stages the slaughter scenes so apathetically that the picture itself seems dissociated. (I don't think I've ever seen another movie in which race horses were mistreated and the director failed to work up any indignation. If Glen has any emotions about what he puts on the screen, he keeps them to himself.)"[30]

text: Lawrence O'Toole of Maclean's believed it was one of the series' best entries. "Of all the modern formulas in the movie industry, the James Bond series is among the most pleasurable and durable. Lavish with their budgets, the producers also bring a great deal of craft, wit and a sense of fun to the films. Agent 007 is like an old friend who an audience meets for drinks every two years or so; he regales them with tall tales, winking all the time. The 14th and newest Bond epic, A View to a Kill, is an especially satisfying encounter. Opening with a breathtaking ski chase in Siberia, A View to a Kill is the fastest Bond picture yet. Its pace has the precision of a Swiss watch and the momentum of a greyhound on the track. There is a spectacular chase up and down the Eiffel Tower and through Paris streets, which Bond finishes in a severed car on just two wheels. But none of the action prepares the viewer for the heart-stopping climax with Zorin's dirigible tangled in the cables on top of San Francisco's Golden Gate Bridge." And although O'Toole believed that Moore was showing his age in the role, "there are plenty of tunes left in his violin. James Bond is still a virtuoso, with a licence to thrill."[31]

text: Brian J. Arthurs of The Beach Reporter said it was the worst film of the Bond series.[24] Chris Peachment of the Time Out Film Guide said, "Grace Jones is badly wasted."[32] Norman Wilner of MSN chose it as the worst Bond film,[33] while IGN picked as the fourth worst,[34] and Entertainment Weekly as the fifth worst.[35]

text: Bond historian John Brosnan believed A View to a Kill was Moore's best Bond entry. He said Moore looked in better shape than the previous Bond film, Octopussy. Brosnan especially admired the dirigible finale.[36]

text: Danny Peary had mixed feelings about A View to a Kill but was generally complimentary: "Despite what reviewers automatically reported, [Moore] looks trimmer and more energetic than in some of the previous efforts ... I wish Bond had a few more of his famous gadgets on hand, but his actions scenes are exciting and some of the stunt work is spectacular. Walken's the first Bond villain who is not so much an evil person as a crazed neurotic. I find him more memorable than some of the more recent Bond foes ... Unfortunately, the filmmakers – who ruined villain Jaws by making him a nice guy in Moonraker – make the mistake of switching May Day at the end from Bond's nemesis to his accomplice, depriving us of a slam-bang fight to the finish between the two (I suppose gentleman Bond isn't allowed to kill women, even a monster like May Day) ... [The film] lacks the flamboyance of earlier Bond films, and has a terrible slapstick chase sequence in San Francisco, but overall it's fast-paced, fairly enjoyable, and a worthy entry in the series.".[37]

text: Also among the more positive reviews was Movie Freaks 365's Kyle Bell: "Good ol' Roger gave it his best. ... Whether you can get past the absurdity of the storyline, you can't really deny that it has stunning stunt work and lots of action. It's an entertaining movie that could have been better."[38] Walken was also praised by online critic Christopher Null for portraying a "classic Bond villain".[39]

text: Roberts was nominated for a Golden Raspberry Award as Worst Actress, but she lost the trophy to Linda Blair, who appeared in Night Patrol, Savage Island and Savage Streets.[40]

text: Appearances in other media[edit]

text: This film was adapted into two video games in 1985. The first, titled A View to a Kill, was published by Domark. It was available for the ZX Spectrum, Amstrad CPC, Commodore 64, Oric 1 and Oric Atmos, and MSX. The second, titled James Bond 007: A View to a Kill was a text-based video game for DOS and Apple II computers. It was developed by Angelsoft, Inc. and published by Mindscape Inc.

text: The film was loosely adapted into a series of four Find Your Fate adventure game books, Win, Place, or Die, Strike it Deadly, Programmed for Danger, and Barracuda Run, which were released in 1985.[41]

text: May Day was a playable multiplayer character in the 1997 and 2000 video games GoldenEye 007 and 007: The World Is Not Enough for the Nintendo 64. In the 2002 game Nightfire, May Day and Max Zorin also appears as bots.[42] Other references include Nikolai Diavolo, a character in the 2004 game James Bond 007: Everything or Nothing, claiming Zorin to be his mentor and friend.[43] In GoldenEye: Rogue Agent, a multiplayer level is the summit of the Golden Gate Bridge, including the Zorin blimp, which would fire on players when activated. Players are also able to climb the suspension cables (similar to the events of the film).[44]


document_title: Sneaky Pete

question_text: who plays the real pete in sneaky pete

question_tokens: who plays the real pete in sneaky pete

text: Sneaky Pete

text: Cast[edit]

text: Main[edit]

text:
Giovanni Ribisi as Marius Josipovic / Pete Murphy
Marin Ireland as Julia Bernhardt
Shane McRae as Taylor Bowman
Libe Barer as Carly Bernhardt
Michael Drayer as Eddie Josipovic
Peter Gerety as Otto Bernhardt
Margo Martindale as Audrey Bernhardt

text: Recurring[edit]

text:
Domenick Lombardozzi as Abraham Persikof
Debra Monk as Connie Persikof
Alison Wright as Marjorie
Ethan Embry as Real Pete Murphy
Bryan Cranston as Vince Lonigan
Max Darwin as Tate
Karolina Wydra as Karolina
Michael O'Keefe as Detective Winslow
Pej Vahdat as Raj Kumar Mukherjee
Virginia Kull as Katie Boyd
Malcolm-Jamal Warner as James Bagwell
Brad William Henke as Brendon Boyd
Jacob Pitts as Lance Lord
Justine Cotsonas as Shannon
Victor Williams as Richard
Mike Houston as Dennis
Jay O. Sanders as Sam
Jeté Laurence as Ellen
C.S. Lee as Joseph Lee
Chaske Spencer as Chayton Dockery
René Ifrah as Wali
Jeffrey De Serrano as Ayawamat
Ben Vereen as Porter

text: Reception[edit]

text: The first season of Sneaky Pete received very positive reviews from critics. Rotten Tomatoes gave the first season a 100% 'Certified Fresh' rating based on 22 critic reviews, with the critical consensus "Suspenseful, smart, and terrifically cast, Sneaky Pete is part dramedy, part crime caper, and all in all entertaining."[5] Metacritic gave the first season a 78 out of 100 score based on 21 critic reviews, indicating 'generally favorable reviews'.[6]

text: Episodes[edit]

text:
No.
Title
Directed by
Written by
Original release date

1
"Pilot"
Seth Gordon
Story by : David Shore & Bryan Cranston
Teleplay by : David Shore
August 7, 2015 (2015-08-07)

2
"Safe"
Michael Dinner
Graham Yost
January 13, 2017 (2017-01-13)

3
"Mr. Success"
Michael Pressman
Fred Golan
January 13, 2017 (2017-01-13)

4
"The Fury"
Craig Zisk
Benjamin Cavell
January 13, 2017 (2017-01-13)

5
"Sam"
Sarah Pia Anderson
Graham Yost
January 13, 2017 (2017-01-13)

6
"Coyote Is Always Hungry"
Adam Arkin
Jennifer Kennedy
January 13, 2017 (2017-01-13)

7
"Lieutenant Bernhardt"
Laura Innes
Sal Calleros
January 13, 2017 (2017-01-13)

8
"The Roll Over"
Bryan Cranston
Ian MacDonald
January 13, 2017 (2017-01-13)

9
"The Turn"
Rosemary Rodriguez
Benjamin Cavell
January 13, 2017 (2017-01-13)

10
"The Longest Day"
Michael Dinner
Story by : Graham Yost
Teleplay by : Fred Golan
January 13, 2017 (2017-01-13)

text: Development[edit]

text: In November 2014, CBS gave a production commitment to Sneaky Pete.[7] A formal pilot for the show was shot in New York in March 2015.[8] On May 8, CBS decided to pass on the pilot, while also canceling Vince Gilligan and David Shore's other series on the network, Battle Creek.[9] Just two days later, it was reported that the pilot might be moving to cable networks, with many expressing interest.[10]

text: In June, it was reported that Amazon was in negotiations to pick up the pilot, with some tweaking and possible minor reshoots before being made available to the viewers.[11] The pilot was released on Amazon on August 7, 2015 and was ordered to series on September 2, 2015.[12]

text: In March 2016, it was announced that Shore would be leaving the project, and would be replaced by Graham Yost, who would be taking over as executive producer and showrunner. Start of production of the full series was pushed back to allow for the transition.[2]

text: Episode 2 and the remainder of the first season premiered on January 13, 2017.[3]