document_title: Pride & Prejudice (2005 film)

question_text: who plays mary in pride and prejudice 2005

text: Pride & Prejudice (2005 film)

text: Plot[edit]

text: During the 19th century, the Bennet family, consisting of Mr. and Mrs. Bennet and their five daughters—Jane, Elizabeth, Mary, Kitty and Lydia—live in comparative financial independence as gentry at Longbourn, a working farm in rural England. As the Bennets have no sons, Longbourn is destined to be inherited by Mr. Bennet's cousin, Mr. Collins, and so Mrs. Bennet is anxious to marry off her five daughters before Mr. Bennet dies, to secure herself in her widowhood.

text: Wealthy bachelor Charles Bingley has recently moved into Netherfield, a nearby estate. He is introduced to local society at an assembly ball, along with his haughty sister Caroline and reserved friend, Mr. Darcy, who "owns half of Derbyshire". Bingley is enchanted with the gentle and beautiful Jane, while Elizabeth takes an instant dislike to Darcy after he coldly rebuffs her attempts at conversation and after she later overhears him insulting her. When Jane becomes sick on a visit to Netherfield, Elizabeth goes to stay with her, verbally sparring with both Caroline and Darcy.

text: Later the Bennets are visited by Mr. Collins, a pompous clergyman who talks of little but his patroness, Lady Catherine de Bourgh. After learning from Mrs. Bennet that Jane is expected to become engaged soon, Collins decides to pursue Elizabeth, utterly oblivious to her lack of interest in him. Meanwhile, the easy-going and charming Lieutenant Wickham of the newly-arrived militia captures the girls' attention; he wins Elizabeth's sympathy by telling her that Darcy had cheated him of his inheritance. At a ball at Netherfield, Elizabeth, startled by Darcy's abrupt appearance and request, accepts a dance with him before realizing it, but vows to her best friend Charlotte Lucas that she has "sworn to loathe him for all eternity". During the dance, she attacks him with witty sarcasm and Darcy responds in kind. At the same ball, Charlotte expresses concern to Elizabeth that Jane's behaviour towards Mr. Bingley is too reserved and that Bingley may not realise that she loves him.

text: The next day at Longbourn, Collins proposes to Elizabeth but she strongly declines. When Bingley unexpectedly returns to London, Elizabeth dispatches a heartbroken Jane to the city to stay with their aunt and uncle, the Gardiners, in hopes of re-establishing contact between Jane and Bingley. Later, Elizabeth is appalled to learn that her friend Charlotte will marry Collins to gain financial security and avoid remaining a spinster.

text: Months later, Elizabeth visits the newly-wed Mr. and Mrs. Collins at Rosings, Lady Catherine's manor estate; they are invited to dine there and meet Darcy and Colonel Fitzwilliam, Lady Catherine's nephews. Here Darcy shows greater interest in Elizabeth. The next day, not realizing that Jane is Elizabeth's sister, Colonel Fitzwilliam lets slip to Elizabeth that Darcy had separated Bingley from Jane. Distraught, she flees outside, but Darcy chooses that moment to track her down and propose marriage.

text: He says he loves her "most ardently" despite her "lower rank." Elizabeth refuses him, citing his treatment of Jane, Bingley, and Wickham; they argue fiercely, with Darcy explaining that he had been convinced that Jane did not return Bingley's love. Darcy leaves angry and heartbroken. He finds Elizabeth later and presents her with a letter, which explains that Wickham is a gambler who demanded and received £3,000 in cash in-lieu of the clergy position intended for him by Darcy's father; upon being refused more money, after having squandered it all a few years later, Wickham attempted to seduce and elope with Darcy's 15-year-old sister, Georgiana, to obtain her £30,000 inheritance but abandoned her upon learning that he would never receive the money.

text: A couple of months later, the Gardiners take Elizabeth on a trip to the Peak District; their visit also includes Darcy's estate, Pemberley; Elizabeth agrees to go with them, believing he is in London. Elizabeth is impresssed by its wealth and beauty and hears nothing but good things about Darcy from his housekeeper. There, she accidentally runs into Darcy who has arrived home early. He invites her and the Gardiners to meet his sister. His manners have softened considerably, and Georgiana takes an instant liking to Elizabeth. When Elizabeth learns that her immature and flirtatious youngest sister Lydia has run away with Wickham, she tearfully blurts out the news to Darcy and the Gardiners before returning home. Her family expects social ruin for having a disgraced daughter, but over a week later they are relieved to hear that Mr. Gardiner had discovered the pair in London and that they had married. Lydia later slips to Elizabeth that Darcy was the one who found them and paid for the marriage.

text: When Bingley and Darcy suddenly return to Netherfield, Jane accepts Bingley's proposal. The same evening, Lady Catherine unexpectedly visits Elizabeth, insisting she renounce Darcy as he is supposedly to marry her own daughter, Anne. Elizabeth refuses and, unable to sleep, walks on the moor at dawn. There, she meets Darcy, also unable to sleep after hearing of his aunt's behaviour. He admits his continued love and Elizabeth accepts his proposal.

text: Mr. Bennet gives his consent after Elizabeth assures him of her love for Darcy. In the U.S. release of the film, an additional last scene shows the newlyweds outside at Pemberley, happy together.

text: Cast[edit]

text:
Keira Knightley as Elizabeth Bennet
Matthew Macfadyen as Mr Fitzwilliam Darcy
Brenda Blethyn as Mrs Bennet
Donald Sutherland as Mr Bennet
Tom Hollander as Mr William Collins
Rosamund Pike as Jane Bennet
Carey Mulligan as Catherine 'Kitty' Bennet
Jena Malone as Lydia Bennet
Talulah Riley as Mary Bennet
Judi Dench as Lady Catherine de Bourgh
Simon Woods as Mr Charles Bingley
Tamzin Merchant as Georgiana Darcy
Claudie Blakley as Charlotte Lucas
Kelly Reilly as Caroline Bingley
Rupert Friend as Mr George Wickham
Rosamund Stephen as Anne de Bourgh
Cornelius Booth as Colonel Fitzwilliam
Penelope Wilton as Mrs Gardiner
Peter Wight as Mr Gardiner
Meg Wynn Owen as Mrs Reynolds
Sinead Matthews as Betsy

text: Production[edit]

text: Conception and adaptation[edit]

text: As with several recent Jane Austen adaptations, Pride & Prejudice was an Anglo-American collaboration, between British studio Working Title Films (in association with French company StudioCanal) and its American parent company Universal Studios.[6][7] Working Title at the time was known for mainstream productions like Bridget Jones's Diary and Love Actually that drew international audiences,[8] rather than films in the historical drama genre.[9] Its co-chairman Tim Bevan explained that the studio wanted to "bring Austen's original story, concentrating on Lizzie, back in all its glory to the big screen for audiences everywhere to enjoy".[10] Given a "relatively inexpensive" budget of £22 million ($28 million),[2][3] the film was expected to excel at the box office, particularly based on the commercial successes of Romeo + Juliet (1996) and Shakespeare in Love (1998) as well as the resurgence of interest in Austen's works.[11][12]

text: Given little instruction from the studio, screenwriter Deborah Moggach spent over two years adapting Pride and Prejudice for film. She had sole discretion with the early script, and eventually wrote approximately ten drafts.[14][15] Realising it held "a perfect three-act structure",[15] Moggach attempted to be as faithful to the original novel as possible, calling it "so beautifully shaped as a story – the ultimate romance about two people who think they hate each other but who are really passionately in love. I felt, 'If it's not broken, don't fix it.'"[10] While she could not reproduce the novel's "fiercely wonderful dialogue in its entirety", she attempted to keep much of it.[10]

text: Moggach's first script was closest to Austen's book, but later versions trimmed extraneous storylines and characters.[15] Moggach initially wrote all scenes from Elizabeth's point of view in keeping with the novel; she later set a few scenes from the male perspective, such as when Bingley practices his marriage proposal, in order to "show Darcy and Bingley being close" and to indicate Darcy was a "human being instead of being stuck up".[14] Small details were inserted that acknowledged wider events outside of the characters' circle, such as those then occurring in France.[10] While Moggach is the only screenwriter credited for the film, playwright Lee Hall also made early additions to the script.[16][17]

text: Television director Joe Wright was hired in early 2004,[17] making Pride & Prejudice his feature film directorial debut.[18] He was considered a surprising choice for a film in the romance drama genre due to his past work with social realism.[19][20] Wright's body of work had impressed the producers,[10] who were looking for a fresh perspective;[8] they sent him a script despite the fact that Wright had not read the novel.[10][21] He commented that at the time, "I didn't know if I was really all that interested; I thought I was a little bit more mainstream than this, a bit more edgy. But then I read the script and I was surprised I was very moved by it".[22] He next read the novel, which he called "an amazing piece of character observation and it really seemed like the first piece of British Realism. It felt like it was a true story; had a lot of truth in it about understanding how to love other people, understanding how to overcome prejudices, understanding the things that separate us from other people ... things like that."[22]

text:
"I wanted to make something that is about young people, about young people experiencing these emotions for the first time and not understanding the feelings they are having. If you have a 40-year-old man as your star not understanding the feeling he's having then it becomes a bit unbelievable and suspect, rather like The 40-Year-Old Virgin or something instead of Pride & Prejudice".
— Director Joe Wright commenting on the ages of the actors in the 1940 adaptation[22]

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text: The only adaptation of Pride and Prejudice Wright had seen was the 1940 production, which was the last time the novel had been adapted into a feature film. The director purposely did not watch the other productions, both out of fear he would inadvertently steal ideas and because he wanted to be as original as possible.[22] He did, however, watch other period films, including Ang Lee's Sense and Sensibility, Roger Michell's Persuasion, and John Schlesinger's Far from the Madding Crowd; Wright cited this last film as the greatest influence on his own adaptation, calling it "very real and very honest – and it is quite romantic as well".[23] In trying to create an atmosphere of charged flirtation, the director also gained inspiration from teen romance films such as Sixteen Candles[24] and The Breakfast Club.[25]

text: Wright's hire occurred while Moggach was on her third draft.[15] Despite her desire to work closely with Austen's dialogue, Wright made an effort to not "be too reverential to [it]. I don't believe people spoke like that then; it's not natural."[21] While a few scenes, such as the discussion over accomplished women, aligned closely with the author's original dialogue, many others "substituted instead a mixture of modern idiom and archaic-sounding sentence structure".[16] One alteration concerned politeness; Wright noted that while Austen's work had characters waiting before speaking, he believed that "particularly in big families of girls, everyone tends to speak over each other, finishing each other's sentences, etc. So I felt that the Bennet family's conversations would be overlapping like that."[10] Sense and Sensibility actress and screenwriter Emma Thompson aided in script development, though she opted to be uncredited. She advised the nervous director about adapting Austen for the screen and made dialogue recommendations, such as with parts of the Collins-Charlotte storyline.[26][27]

text: Citing the year Austen first wrote a draft of the novel,[note 1] Wright and Moggach changed the period setting from 1813 (the novel's publication date) to the late eighteenth century; this decision was partly because Wright wanted to highlight the differences within an England influenced by the French Revolution,[10][21] as he was fascinated that it had "caused an atmosphere among the British aristocracy of fear".[23] Additionally, Wright chose the earlier period because he hated dresses with an empire silhouette, which were popular in the later period.[10][21] The decision helped make the film visually distinct from other recent Austen adaptations.[24] In comparison to the popular 1995 BBC version, which featured Colin Firth and Jennifer Ehle, producer Paul Webster desired to make an adaptation that "doesn't conform to the television drama stereotypes of a perfect clean Regency world".[10] Wright and Moggach opted for a "muddy hem version" of Longbourn, presenting a more rural setting than in previous adaptations[29][14] out of a desire to depict the Bennets in "very close proximity to their rural life"[21] and to emphasise their relative poverty.[30] While the degree of poverty was criticised by some critics, Wright felt that the "mess adds to the drama of the predicament that the family were in", and helps contrast the Bennets, Darcys, and Bingleys.[31]

text: Casting[edit]

text: Wright found casting of the film to be difficult because he was very particular about "the types of people [he] wanted to work with".[22] While interviewing to direct, he insisted that the actors match the ages of the characters in the novel.[23] Wright specifically cast actors that had rapport on and off screen, and insisted that they partake in three weeks of rehearsal in improvisation workshops.[15] Wright also had to balance who he thought was best for each role with what the producers wanted – mainly a big name attraction.[22] Though Wright had not initially pictured someone as attractive as English actress Keira Knightley for the lead role of Elizabeth Bennet,[19] he cast her after realising that the actress "is really a tomboy [and] has a lively mind and a great sense of humour".[10] Knightley at the time was known for Bend It Like Beckham and the Pirates of the Caribbean film series.[24] She had been an Austen fan since age 7, but initially feared taking the role out of apprehension that she would be doing "an absolute copy of Jennifer Ehle's performance", which she deeply admired.[32] Knightley believed Elizabeth is "what you aspire to be: she's funny, she's witty and intelligent. She's a fully rounded and very much loved character."[33] For the period, the actress studied etiquette, history and dancing but ran into trouble when she acquired a short haircut while preparing for her role in the bounty hunter film Domino.[32]

text: Webster found the casting of Darcy especially hard due to the character's iconic status and because "Colin Firth cast a very long shadow" as the 1995 Darcy.[34] Wright later commented that his choice of Knightley allowed him to cast comparative unknown Matthew Macfadyen, something that would have been impossible had he chosen a less well-known actress for Elizabeth Bennet.[22] Macfadyen at the time was known for his role in the British television spy series Spooks,[34] but had no recognition internationally.[24] A fan of the actor's television work,[23] Wright called Macfadyen "a proper manly man ... I didn't want a pretty boy kind of actor. His properties were the ones I felt I needed [for Darcy]. Matthew's a great big hunk of a guy."[22] Macfadyen did not read the novel before filming, preferring to rely solely on the script.[35]

text: According to Wright, Rosamund Pike was cast as the eldest sister "because [he] knew she wasn't going to play her as a nice, simple person. Jane has a real interior world, she has her heart broken."[19] Despite being Pike's ex-boyfriend, Simon Woods was cast as her romantic interest Mr Bingley.[19] The other three Bennet sisters were played by Talulah Riley, Carey Mulligan, and Jena Malone, the only American actress among them.[10] Wright believed Malone to have a "pretty faultless English accent".[36] Mulligan heard about the casting call at a dinner hosted by Julian Fellowes, to whom she had written a letter after failing to get into drama school; she won the part after three auditions.[37][38] Tamzin Merchant appears as Georgiana Darcy; she was hired despite having no previous acting experience after she wrote a letter to the casting director.[10] In addition to Merchant, Pride & Prejudice was the feature film debut of both Mulligan[39] and Riley.[40]

text: Donald Sutherland reminded Wright of his own father and was cast as the Bennet patriarch;[36] Wright thought the actor possessed the "strength to handle those six women".[19] Brenda Blethyn was hired to play Mrs Bennet, whom Moggach believed to be the unsung heroine of the film;[41] Wright explained that it was "a tricky part [to fill], as she can be very annoying; you want to stop her chattering and shrieking. But Brenda has the humour and the heart to show the amount of love and care Mrs Bennet has for her daughters."[10] Wright convinced veteran actress Judi Dench to join the cast as Lady Catherine de Bourgh by writing her a letter that read "I love it when you play a bitch. Please come and be a bitch for me."[5][19] Dench had only one week available to shoot her scenes, forcing Wright to make them his first days of filming.[26][42]

text: Costume design[edit]

text: Known for her BAFTA award-winning work on the 2004 film Vera Drake, Jacqueline Durran was hired as the costume designer. She and Wright approached his film "as a difficult thing to tackle" because of their desire to distinguish it from the television adaptation. Due to Wright's dislike of the high waistline, Durran focused on later eighteenth century fashions that often included a corseted, natural waistline rather than an empire silhouette (which became popular after the 1790s).[43] A generational divide was established: the older characters dress in mid-eighteenth century fashions while the young wear "a sort of proto-Regency style of hair and dress".[44] Mrs Bennet was of the older generation, and her dresses appeared to have been mended.[35]

text: Durran's costumes also helped emphasise social rank among the different characters;[45] Caroline Bingley for instance is introduced in an empire silhouetted dress, clothing that would have then been at the height of fashion.[46] During her interview, Durran opined that all the women wear white at the Netherfield Ball due to its contemporary popularity, an idea that Wright credits as his reason for hiring her.[47] All of the costumes were handmade, as clothing was at the time.[35] However, costumes and hairstyles were adjusted to appeal to contemporary audiences, sacrificing historical accuracy.[48]

text: To help differentiate the Bennet sisters, Durran viewed Elizabeth as the "tomboy", clothing her in earthy colours because of her love of the countryside.[43] For the other sisters, Durran remarked, "Jane was the most refined and yet it's still all a bit slapdash and homemade, because the Bennets have no money. One of the main things Joe wanted was for the whole thing to have a provincial feel. Mary is the bluestocking: serious and practical. And then Lydia and Kitty are a bit Tweedledum and Tweedledee in a kind of teenage way. I tried to make it so that they'd be sort of mirror images. If one's wearing a green dress, the other will wear a green jacket; so you always have a visual asymmetry between the two."[43] In contrast to the 1940 film, the 2005 production displayed the Bennet sisters in worn-down but comfortable dresses[30] that allowed the actors better moveability.[35]

text: Mr Darcy's costume went through a series of phases. Durran noted:

text: "The first time we see him he's at Meriton  [sic], where he has a very stiffly tailored jacket on and he's quite contained and rigid. He stays in that rigid form for the first part of the film. By the time we get to the proposal that goes wrong in the rain, we move to a similar cut, but a much softer fabric. And then later he's got a completely different cut of coat, not interlined and he wears it undone. The nth degree is him walking through the mist in the morning, completely undressed by 18th-century standards. It's absolutely unlikely, but then Lizzie's in her nightie, so what can you say?"[43]

text: Filming[edit]

text: Moggach believed the novel was very filmable, "despite it containing no description and being a very unvisual book".[15] To Wright, many other period films had relied on paintings for inspiration rather than photographs, causing them to appear unreal. He thus used "Austen's prose [to give him] many visual references for the people in the story", including using close-up shots of various characters.[10] The filmmakers also changed several scenes to more romantic locales than those in the book. For instance, in the film, Darcy first proposes outdoors in a rainstorm at a building with neoclassical architecture; in the book, this scene takes place inside a parsonage. In the film, his second proposal occurs on the misty moors as dawn breaks;[50][51] in the book, he and Elizabeth are walking down a country lane in broad daylight.[52] Wright has acknowledged that "there are a lot of period film clichés; some of them are in the film and some are not, but for me it was important to question them".[10]

text: During script development, the crew spent four to five months scouting locations,[35] creating a "constant going back and forth between script and location".[15] The film was shot entirely on location within England on an 11-week schedule[6][10] during the 2004 summer.[54] Co-producer Paul Webster noted that "it is quite unusual for a movie this size to be shot entirely on location. Part of Joe [Wright]'s idea was to try to create a reality which allows the actors to relax and feel at one with their environment."[10] Working under production designer Sarah Greenwood and set decorator Katie Spencer, the crew filmed on seven estates in six different counties. Because "nothing exists in the United Kingdom that is untouched by the twenty-first century", many of the sites required substantial work to make them suitable for filming.[55] Visual effects company Double Negative digitally restored several locations to make them contemporaneous; they eradicated weeds, enhanced gold plating on window frames, and removed anachronisms such as gravel driveways and electricity pylons. Double Negative also developed the typeface used for the film's title sequence.[56]

text: Production staff selected particularly grand-looking residences to better convey the wealth and power of certain characters.[57] Locations included Chatsworth House in Derbyshire, the largest privately held country house in England. Chatsworth and Wilton House in Salisbury stood in for Pemberley.[18][49] After a search of various sites in England, the moated manor house Groombridge Place in Kent was chosen for Longbourn.[58] Location manager Adam Richards believed Groombridge had an "immense charm" that was "untouched by post-17th Century development".[59] Reflecting Wright's choice of realism, Groombridge's interior was designed to be "shabby chic".[60] Representing Netherfield Park was the late-18th century site Basildon Park in Berkshire, leading it to close for seven weeks to allow time for filming.[61] Burghley House in Cambridgeshire[18][53] stood in for Rosings, while the adjacent town of Stamford served as Meryton. Other locations included Haddon Hall (for The Inn at Lambton), the Temple of Apollo and Palladian Bridge of Stourhead (for the Gardens of Rosings), Hunsford (for Collins' parsonage and church) and Peak District (for Elizabeth and the Gardiners' tour).[49] The first dance scenes were shot on a set in a potato warehouse in Lincolnshire with the employment of local townspeople as extras;[15] this was the only set the crew built that was not already in existence.[62]

text: Wikimedia Commons has media related to Film locations of Pride and Prejudice (2005).

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text: Music[edit]

text: Italian composer Dario Marianelli wrote the film score, the first of his four collaborations with Wright. Their relationship began when Paul Webster, who had worked with Marianelli on the 2001 film The Warrior, introduced him to Wright. In their first conversation, Marianelli and Wright discussed the early piano sonatas of Ludwig van Beethoven, which "became a point of reference" and "starting point" for the original score.[63] In addition to Beethoven, pieces such as "Meryton Townhall" and "The Militia Marches In" (featuring the flute) were inspired by the film's period,[64] with the intention that they could conceivably have been heard during that time. "Meryton Townhall" and "Another Dance" contained actual dance cues that were fitting for the late eighteenth century. According to music critic William Ruhlmann, Marianelli's score had a "strong Romantic flavour to accompany the familiar romantic plot".[65]

text: Multiple scenes feature actors playing pianos, forcing Marianelli to complete several of the pieces before filming began. According to him, "Those pieces already contained the seeds of what I developed later on into the score, when I abandoned historical correctness for a more intimate and emotional treatment of the story".[63] Marianelli was not present when the actors played his music due to the birth of his second daughter.[63] The soundtrack featured French pianist Jean-Yves Thibaudet, whom Wright considered one of the greatest piano players in the world.[66] Thibaudet was accompanied by the English Chamber Orchestra. The soundtrack ultimately contained seventeen instrumental tracks of music organised in a different way from the film.[64]

text: Editing[edit]

text:
"You have to be true to the integrity of the book and to Jane Austen, but then you also have to be quite ruthless. What you don't see, you don't miss ... By focusing on Elizabeth Bennett and what's happening to her, and her gruelling and difficult journey, certain things slough off as you go along."
— Deborah Moggach on editing the film[15]

text: In contrast to the five-hour BBC adaptation,[67] Wright compressed his film into two hours and nine minutes of screen time.[68] He remarked that the film is "obviously about Elizabeth and Darcy, following them and anything that detracts or diverts you from that story is what you have to cut".[22] Some of the most notable changes from the original book include time compression of several major sequences, including the departure of Wickham and the militia, Elizabeth's visit to Rosings Park and Hunsford Parsonage, Elizabeth's visit to Pemberley, Lydia's elopement and subsequent crisis; the elimination of several supporting characters, including Mr and Mrs Hurst, Mr and Mrs Phillips,[14] Lady and Maria Lucas, Mrs Younge, several of Lydia's friends (including Colonel and Mrs Forster) and various military officers and townspeople;[67] and the elimination of several sections in which characters reflect or converse on events that have recently occurred—for example, Elizabeth's chapter-long change of mind after reading Darcy's letter.[69]

text: Moggach and Wright debated how to end the film, but knew they did not want to have a wedding scene "because we didn't want Elizabeth to come off as the girl who became a queen at this lavish wedding, or for it to be corny".[14] Shortly before the North American release, the film was modified to include a final scene (not in the novel) of the married Darcys enjoying a romantic evening and passionate kiss at Pemberley[70][71] in an attempt to attract sentimental viewers;[14] this became a source of complaint for the Jane Austen Society of North America (JASNA). After watching a preview of the film before its wide release, former JASNA president Elsa Solender commented, "It has nothing at all of Jane Austen in it, is inconsistent with the first two-thirds of the film, insults the audience with its banality and ought to be cut before release".[72] It had been removed from the British version after preview audiences found it unintentionally humorous;[73] however, later audiences complained that they were excluded from viewing this version, causing the film to be re-released in the UK and Ireland 10 weeks after the original UK premiere date.[74][75] The original British version ended with Mr Bennet's blessing upon Elizabeth and Darcy's union,[5] thus circumventing the last chapter in the novel, which summarises the lives of the Darcys and the other main characters over the next several years.[76]

text: Major themes and analysis[edit]

text: Romanticism and realism[edit]

text: Film, literary, and Austen scholars noted the appearance of romance and romanticism within Pride & Prejudice, especially in comparison to previous adaptations.[77] Sarah Ailwood marked the film as "an essentially Romantic interpretation of Austen's novel", citing as evidence Wright's attention to nature as a means to "position Elizabeth and Darcy as Romantic figures ... Wright's Pride & Prejudice takes as its central focus Austen's concern with exploring the nature of the Romantic self and the possibilities for women and men to achieve individual self-fulfillment within an oppressive patriarchal social and economic order."[78] Likewise, Catherine Stewart-Beer of Oxford Brookes University called Elizabeth's presence on the Derbyshire cliff a "stunning, magical evocation of Wright's strong stylistic brand of Postmodern Romanticism", but found this less like Austen and more reminiscent of Emily Brontë's Wuthering Heights.[79] In her analysis, University of Provence scholar Lydia Martin concluded that the "Romantic bias of the film is shown through the shifts in the characters' relationships, the soundtrack and the treatment of landscape".[80]

text: Realism is a prominent aspect of the film, a theme confirmed by Wright in interviews as well as the DVD audio commentary.[81] In a 2007 article, Ursinus College film studies professor Carole Dole argued that Pride & Prejudice is "a hybrid that embraces both an irreverent realism to which younger audiences are accustomed (and which reflects the director's realist aesthetic) and the classic heritage film's reverence for country houses, attractive landscapes and authentic period detail". Such "irreverent realism" included the depiction of Longbourn as a working farm complete with chickens, cattle and pigs; as Dole explains, "The agricultural realities of 1790s England are equally evident in the enclosed yard with barn and hay where Lizzie twirls barefoot over the mud on a rope swing". Referring to recent adaptations such as 1999's gritty Mansfield Park, Dole cited Pride & Prejudice as evidence that the heritage film is still around but has "been transformed into a more flexible genre".[5] Jessica Durgan agreed with this assessment, writing that the film "simultaneously reject[s] and embrac[es] heritage to attract a larger audience".[8]

text: Family[edit]

text: Raised with three sisters, Moggach was particularly interested in the story's family dynamics.[10] Brock University professor Barbara K. Seeber believed that in contrast to the novel, the 2005 adaptation emphasises the familial over the romantic. Evidence of this can be seen in how Pride & Prejudice "significantly recast the Bennet family, in particular its patriarch, presenting Mr Bennet as a sensitive and kind father whose role in the family's misfortunes is continually downplayed."[82] Seeber further observed that the film is "the first to present Mrs Bennet in a sympathetic light", with Mr Bennet displayed as "an attentive husband as well as a loving father."[82]

text: Stewart-Beer and Austen scholar Sally B. Palmer noted alterations within the depiction of the Bennet family;[83] Stewart-Beer remarked that while their family home "might be chaotic, in this version it is, at heart, a happy home—much happier and much less dysfunctional, than Austen's original version of Longbourn ... For one, Mr and Mrs Bennet actually seem to like each other, even love each other, a characterisation which is a far cry from the source text."[79] Producer Paul Webster acknowledged the familial theme in the DVD featurette "A Bennet Family Portrait", remarking "Yes, it's a great love story between Elizabeth Bennet and Fitzwilliam Darcy, but underpinning it all is the kind of love that runs this family."[82]

text: Depiction of Elizabeth Bennet[edit]

text: Wright intended for the film to be "as subjective as possible" in being from Elizabeth's perspective; the audience first glimpses Darcy when she does.[84] This focus on Elizabeth features some dramatic changes from the novel. Knightley's Elizabeth has an "increasingly aloof and emotionally distant" relationship with her family. Evidence of this can be seen with Elizabeth's gradual alienation from Jane as the film progresses; this is in contrast to the book, where Elizabeth confides more of her feelings to Jane after difficult events.[79] Wright wanted to create a "real" relationship between the two sisters and have them grow apart, as he thought the book depicted them as too "syrupy."[85] Moggach's intent was for Elizabeth to "keep secrets to herself. They are a great burden to her ... As she keeps all this to herself, we feel for her more and more. The truest comedy, I believe, is born from pain."[10]

text: In her "feisty, impassioned" interactions with Darcy and "rebellious refusal to 'perform'" for Lady Catherine, Stewart-Beer sees Knightley's depiction as "far removed from Austen's original Elizabeth, who has a greater sense of grounded maturity, even though both Elizabeths have an occasional inclination to fluster, fun and giggles."[79] According to George Washington University professor Laurie Kaplan, while Wright's focus on Elizabeth is consistent with the novel, the screenplay removed her line of self-recognition: "Till this moment, I never knew myself". Kaplan characterises the sentence as Elizabeth's "most important", and believes its deletion "violates not only the spirit and the essence of Austen's story but the viewer's expectations as well."[86]

text: Release[edit]

text: Marketing[edit]

text: After a string of Jane Austen semi-adaptions in the late 1990s and early 2000s,[note 2] Pride & Prejudice was positioned to take audiences "back into the world of period drama and what many saw as a more authentic version of Austen."[7] While the novel was known to audiences, the large number of related productions required the film to distinguish itself.[88] It was marketed to attract mainstream, young viewers,[89] with one observer referring to it as "the ultimate chick-flick romance" and "more commercial than previous big-screen Austen adaptations."[90] Another wrote that it brings "millennial girlhood to the megaplex ... If Ehle's Lizzie is every forty-, or fifty-something's favorite independent, even 'mature,' Austen heroine, Knightley is every twenty-something's sexpot good girl."[91] An ampersand replaced the word "and" in the film title, similar to the 1996 postmodern film Romeo + Juliet.[5]

text: Already a star at the time of release, Knightley's appearance in the film was emphasised by featuring her in all promotional materials (similar to Colin Firth's prominent appearance in the 1995 adaptation).[92] Several commentators likened the main poster of Pride & Prejudice to that of 1995's Sense and Sensibility, which was seen as an attempt to attract the same demographic.[13] Advertising noted that the film came "from the producers of Bridget Jones's Diary", a 2001 romantic comedy film, before mentioning Austen.[5] Leading up to the release, fans were allowed to download pictures and screensavers online, which emphasised the differences between Pride & Prejudice and previous adaptations. Lydia Martin wrote that in contrast to past Pride and Prejudice productions, marketing materials downplayed the "suggested antagonism between the heroes" in favour of highlighting a "romantic relationship", as can be seen with the positioning of the characters as well as with the tagline, "Sometimes the last person on earth you want to be with is the one you can't be without."[80]

text: Box office[edit]

text: On 11 September 2005, Pride & Prejudice premiered at the Toronto International Film Festival as a special Gala Presentation.[93][94] The film was released in cinemas on 16 September in the United Kingdom and Ireland.[95][96] It achieved the number one spot in its first week, earning £2.5 million ($4.6 million) while playing on 397 screens.[97][98][99] The film stayed at the top for two more weeks, earning by then a total of over £9 million at the UK box office. It was featured on 412 screens at its widest domestic release.[99]

text: On 11 November 2005, the film debuted in the United States with an opening weekend of $2.9 million on 215 screens.[100] Two weeks later, it played on 1,299 screens and box office returns increased to $7.2 million; the film left cinemas the week of 24 February 2006 with a total US gross of $38,405,088.[4] Jack Foley, the president of distribution of Focus Features, the film's US distributor, attributed Pride & Prejudice's success in America to Austen's appeal to "the boomer market" and its status as a known "brand".[101]

text: Pride & Prejudice was released in an additional fifty-nine countries between September 2005 and May 2006 by United International Pictures.[98] With a worldwide gross of $121,147,947, it was the 72nd highest grossing film of 2005 in the US and was the 41st highest internationally.[4]

text: Home media[edit]

text: In the US and UK, Universal Studios Home Entertainment released the standard VHS and DVD in February 2006 for both widescreen and fullframe; attached bonus features included audio commentary by director Joe Wright, a look into Austen's life and the ending scene of Elizabeth and Darcy kissing.[68][4][102] On 13 November 2007, Universal released the deluxe edition DVD to coincide with the theatrical arrival of Wright's 2007 film Atonement. The deluxe edition included both widescreen and fullscreen features, the original soundtrack CD, a collectible book and booklet, as well as a number of special features not included in the original DVD.[103] In the US, a Blu-ray version of the film was released by Universal on 26 January 2010, which also contained bonus features.[104]

text: Reception[edit]

text: Pride & Prejudice was only the second film version after "the famed, but oddly flawed, black-and-white 1940 adaptation, starring Greer Garson and Laurence Olivier",[105] and until 2005, The Times considered the 1995 television adaptation "so dominant, so universally adored, [that] it has lingered in the public consciousness as a cinematic standard."[105] Wright's film consequently met with some scepticism from admirers of Austen, especially in relation to plot changes and casting choices.[106]"Any resemblance to scenes and characters created by Miss Austen is, of course, entirely coincidental," mocked The New Yorker's film critic.[107] Given Austen's characters were landed gentry, especially criticised was the re-imagining of the Bennetts as country bumpkins, lacking even the basics of table manners, and their home "a barnyard".[108]

text: Comparing six major adaptations of Pride and Prejudice in 2005, The Daily Mirror gave the only top marks of 9 out of 10 to the 1995 serial and the 2005 film, leaving the other adaptations behind with six or fewer points.[109] On the review aggregation website Rotten Tomatoes, the film has a "certified fresh" approval rating of 86% based on reviews from 173 critics, with an average rating of 7.7/10. The website's consensus reads: "Sure, it's another adaptation of cinema's fave Jane Austen novel, but key performances and a modern filmmaking sensibility make this familiar period piece fresh and enjoyable."[110] Metacritic reported an average score of 82 out of 100, based on 37 reviews and classified the film as "universally acclaimed".[111]

text: Critics claimed the film's time constraints did not capture the depth and complexity of the television serials[18] and called Wright's adaptation "obviously [not as] daring or revisionist" as the serial.[112] JASNA president Joan Klingel Ray preferred the young age of Knightley and Macfadyen, saying that Jennifer Ehle had formerly been "a little too 'heavy' for the role."[113] Peter Bradshaw of The Guardian, while praising Knightley for an outstanding performance "which lifts the whole movie", considered the casting of the leads "arguably a little more callow than Firth and Ehle." He does add that "Only a snob, a curmudgeon, or someone with necrophiliac loyalty to the 1995 BBC version with Colin Firth and Jennifer Ehle could fail to enjoy [Knightley's] performance."[112] At the time, BBC film critic Stella Papamichael considered it Knightley's "best performance yet."[95] However, The Daily Telegraph critic thought Knightley's acting skills slight, in her view, "Someone who radiates little more than good-mannered perkiness", and that between her and Macfadyen there was "little spark".[114]

text: Critics were divided about Macfadyen's portrayal of Darcy, expressing pleasant surprise,[113][115] dislike for his lack of gradual emotional shift as in the novel,[113][116] and praise for his matching the insecure and sensitive personality of the book character better than Firth.[18]

text: Critics also drew attention to other aspects of the film. Writing for The Sydney Morning Herald, Sandra Hall criticised Wright's attention to realism for being "careless with the customs and conventions that were part of the fabric of Austen's world."[117] In another review, Time Out magazine lamented the absence of Austen's "brilliant sense of irony", remarking that the film's "romantic melodrama's played up at the expense of her razor-sharp wit."[116] More positively, Derek Elley of Variety magazine praised Wright and Moggach for "extracting the youthful essence" of the novel while also "providing a richly detailed setting" under Greenwood and Durran's supervision.[6] Equally pleased with the film was the San Francisco Chronicle's Ruthe Stein, who wrote that Wright made a "spectacular feature film debut" that is "creatively reimagined and sublimely entertaining".[118] Claudia Puig of USA Today called it "a stellar adaptation, bewitching the viewer completely and incandescently with an exquisite blend of emotion and wit."[119]

text: Accolades[edit]

text:
Award

Category

Recipients and nominees

Result

Academy Awards[120]

Best Actress

Keira Knightley

Nominated

Best Original Score

Dario Marianelli

Nominated

Best Art Direction

Sarah Greenwood, Katie Spencer

Nominated

Best Costume Design

Jacqueline Durran

Nominated

American Cinema Editors[121]

Best Edited Feature Film – Comedy or Musical

Paul Tothill

Nominated

Boston Society of Film Critics[122]

Best New Filmmaker

Joe Wright

Won

British Academy Film Awards[123][124]

Best British Film

Pride & Prejudice

Nominated

Best Actress in a Supporting Role

Brenda Blethyn

Nominated

Most Promising Newcomer

Joe Wright

Won

Best Adapted Screenplay

Deborah Moggach

Nominated

Best Costume Design

Jacqueline Durran

Nominated

Best Makeup & Hair

Fae Hammond

Nominated

Broadcast Film Critics Association[125]

Best Actress

Keira Knightley

Nominated

Chicago Film Critics Association[126]

Best Actress

Keira Knightley

Nominated

Best Cinematography

Roman Osin

Nominated

Best Supporting Actor

Donald Sutherland

Nominated

Most Promising Filmmaker

Joe Wright

Nominated

Empire Awards[127]

Best Actress

Keira Knightley

Nominated

Best British Film

Pride & Prejudice

Won

Best Director

Joe Wright

Nominated

Best Newcomer

Kelly Reilly

Won

European Film Awards[128]

Best Cinematographer

Roman Osin

Nominated

Best Composer

Dario Marianelli

Nominated

Best Film

Joe Wright

Nominated

Golden Globe Awards[129]

Best Actress – Motion Picture Musical or Comedy

Keira Knightley

Nominated

Best Film – Musical or Comedy

Pride & Prejudice

Nominated

London Film Critics' Circle[130]

British Actress of the Year

Keira Knightley

Nominated

British Director of the Year

Joe Wright

Won

British Film of the Year

Pride & Prejudice

Nominated

British Newcomer of the Year

Matthew Macfadyen

Nominated

British Newcomer of the Year

Joe Wright

Nominated

British Supporting Actor of the Year

Tom Hollander

Won

British Supporting Actress of the Year

Brenda Blethyn

Nominated

British Supporting Actress of the Year

Rosamund Pike

Nominated

text: Impact and legacy[edit]

text: Wright's adaptation failed to have the same cultural impact as the 1995 serial and has since attracted sharply-divided opinions.[92][131][132] However, even three years after the release, Knightley was still associated with Elizabeth Bennet among a generation of young viewers who had not seen the 1995 production.[133] Given the varied opinions about the film, JASNA published an edited special issue of its online journal Persuasions On-Line in 2007 with the collaboration of nineteen Austen scholars from six countries; the intent was to foster discussion and stimulate scholarly analysis. JASNA had done this only once before, for the 1996 film Emma.[92][131][134]

text: Pride & Prejudice impacted later productions in the costume drama and heritage film genres. Literary critics protested that Wright's adaptation effectively "popularized Austen's celebrated romance and brought her novel to the screen as an easy visual read for an undemanding mainstream audience."[135] Carole Dole noted that the film's success "only made it more likely that future adaptations of Austen will feature, if not necessarily mud, then at least youthful and market-tested performers and youth-oriented filmmaking techniques balanced with the visual pleasures of the heritage film." She cited Anne Hathaway in the 2007 film Becoming Jane as an example.[5] Jessica Durgan added that Pride & Prejudice conceived a new hybrid genre by rejecting the visual cues of the heritage film, which attracted "youth and mainstream audiences without alienating the majority of heritage fans."[8]

text: Production of Pride & Prejudice began Wright's relationship with Working Title Films, the first of four collaborations.[136] Many members of the film's cast and crew joined Wright in his later directorial efforts. For his adaptation of Atonement, which he viewed as "a direct reaction to Pride & Prejudice",[137] Wright hired Knightley, Blethyn, Marianelli, Thibaudet, Greenwood, and Durran.[138] Atonement employed themes similar to Austen's, including the notion of a young writer living in "an isolated English country house" who "mixes up desires and fantasies, truths and fiction."[73] Wright's 2009 film The Soloist included Hollander, Malone, and Marianelli,[139][140][141] while Hollander was also featured in Hanna (2011).[142] Wright's 2012 adaptation of Anna Karenina features Knightley, Macfadyen, Marianelli, Durran, and Greenwood and is produced by Bevan, Eric Fellner, and Webster.[136]

text: On 11 December 2017, Netflix announced that a person from Chile watched the film 278 times during the entire year.[143] It was later reported that the person is a 51-year old woman, who declared herself as "obssesed" to the film and sees Elizabeth Bennet as "a feminist icon".[144]


document_title: Tum Mere Ho

question_text: who is the singer of tum mere ho

question_tokens: who is the singer of tum mere ho

root

text: Tum Mere Ho

text: Plot summary[edit]

text: Shiva (Aamir Khan) is blessed with magical snake-charming powers. When he meets Paro (Juhi Chawla) from a nearby village, he falls head-over-heels in love with her. She is also attracted to him. But Paro's father, Choudhry Charanjit Singh, is not pleased with this match, and he hires men to subdue and kill Shiva, all in vain. Little to Shiva's knowledge, during his childhood, his father attacked and killed a shape-shifting snake in order to fulfill his greed, earning the wrath of the snake's powerful mother who promises to exact revenge.

tag: p

text: Shiva was bitten, and thought deceased, his family lovingly sent his body afloat a river to which was discovered by Shiva's adoptive Father and revived.

text: Cast[edit]

text:
Aamir Khan as Shiva
Juhi Chawla as Paro
Ishrat Ali
Ajit Vachani as Choudhry Charanjit Singh
Sudhir Pandey as Thakur Choudhary
Kalpana Iyer as Mother Snake
Menka Patel as Poonam
Anirudh Agarwal

tag: ul

text: Soundtrack[edit]

text: Anand-Milind composed the music while Majrooh Sultanpuri wrote the lyrics.

text:
#
Title
Singer(s)

1
"Maine Daba Li Thi"
Anuradha Paudwal

2
"Sheesha Chahe Toot Bhi Jaaye"
Udit Narayan

3
"Jatan Chahe Jo Karle"
Udit Narayan, Sadhana Sargam

4
"Tum Mere Ho"
Udit Narayan, Anupama Deshpande

5
"Tum Mere Ho 2"
Udit Narayan


document_title: Dwight Schrute

question_text: who does dwight end up with on the office

text: Dwight Schrute

text: Casting[edit]

text: Dwight Schrute is portrayed by American actor Rainn Wilson. In a Rolling Stone interview, Seth Rogen said he auditioned for the role. The character is loosely based on Gareth Keenan of the original British version of the show, who was played by actor Mackenzie Crook.

text: All original series characters were adapted for the U.S. version. Unlike Steve Carell, Wilson watched every episode of the original British series, and was a fan before he auditioned for the U.S. version.[2] Wilson had originally auditioned for Michael Scott, a performance he described as a "terrible Gervais impersonation";[2] however, the casting directors liked his audition as Dwight much more, and hired him for the role. Wilson based Dwight's hairstyle on his own style he had when he was sixteen.[2] In an interview, he said that he went to a barber to get "the worst haircut possible."[3]

text: Character information[edit]

text: When the series begins, Dwight Schrute is a competent salesman, despite lacking general knowledge, at the Scranton branch of the paper distribution company, Dunder Mifflin. Dwight formally held the title of "Assistant to the Regional Manager",[4] but constantly refers to himself as "Assistant Regional Manager", attempting to elevate himself to second-in-command to branch Manager, Michael Scott. (Michael privately makes him Assistant Manager in "The Fight", tells him that no record/mention will be kept of the "title change only", then never acknowledges it again.) Dwight craves authority over his co-workers, and relishes any minor task that Michael or anyone else will give him.[2] Although Dwight acts superior to many individuals and is often resourceful in crises, he is shown to actually be quite gullible, ignorant, and naïve.[2] For this reason, he is easily tricked and pranked by his desk-mate and fellow salesman, Jim Halpert.[5]

text: Dwight often speaks in a halting, intense manner, even in casual conversations.[2] At the office, his most recurring formal wear is a mustard-colored, short-sleeved collar shirt, with a dark necktie and, usually, a brown suit jacket. He often uses one-upmanship to better himself over his peers, such as boasting about how he trains specific parts of his body. Dwight will sometimes engage in jokes and games in attempts to appease Michael, but often fails to do so, because of Michael's perception of himself as the jokester of the workplace. After Dwight temporarily leaves Dunder Mifflin, it is shown that he had long been watering the office plant and arranging the toys on Michael's desk in a manner that made Michael happy, unbeknownst to Michael.

text: Dwight is a former volunteer sheriff deputy,[6] but has to step down after breaking his pledge by helping his boss pass his drug test in the episode 'Drug Testing'. He is also a notary public; this creates difficulties when Angela desires to send him a notarized letter regarding their break-up. He resides on his family's beet farm, alongside his cousin, Mose (played by producer/writer Michael Schur). Dwight has affinities for paintball, Battlestar Galactica, ping pong, survivalism, Goju Ryu karate[7] and weapons. He also has a preference to ride in the back seat of cars behind the driver, because it is the safest location in a car.

text: In "Whistleblower", encouraged to invest in real estate by former CEO and owner of Dunder Mifflin, Jo Bennett, Dwight decides to purchase the industrial park building. He has shown entrepreneurial traits, like converting the building lobby into a coffee shop in "Nepotism", converting an empty room in the office building into a state-of-the-art gym in "Mrs. California", and organizing a barn maze before Halloween, where kids can pay admission to play, in "WUPHF.com".

text: In an episode commentary on the season one DVD, Wilson refers to Dwight as a "fascist nerd". In a feature on the season three DVD, Wilson describes Dwight as "someone who does not hate the system, but has a deep and abiding love for it".[8]

text: Family and childhood[edit]

text: In "Lecture Circuit", Dwight claims to remember his own birth, including his father, Dwight Schrute II, delivering him from the womb, and his mother biting off the umbilical cord.[9] In "Grief Counseling", Dwight states that he was a twin, but he "resorbed" his twin while still in his mother's womb (this occurrence is called twin embolisation syndrome), causing him to believe that he now has "the strength of a grown man and a little baby". He also claims to have been born weighing 13 lb 5 oz (6.0 kg), rendering his mother incapable of walking for three months and two days,[10] and in "Baby Shower", he claims to have performed his own circumcision. In "Viewing Party", he informs Jim and Pam Halpert that, in the Schrute family, the youngest child raises the other children.

text: Little is known about Dwight's parents, except that his father used to take him hunting, cheated in games, made he and his siblings biscuits for breakfast every morning, and that he battled obesity, high blood pressure, and high cholesterol.

text: Dwight's maternal grandfather, whose surname is Manheim (according to Dwight's web log on NBC.com)[11] fought in the Second World War. He killed twenty men before being imprisoned in an Allied prison camp (revealed in "The Fight"), implying that he was a soldier in the German army. In "Dunder Mifflin Infinity", Dwight tells the documentary film crew that his grandfather is (at the time of the episode) 103 years old, and is still "puttering around down in Argentina", implying that his grandfather was one of the members of the SS who fled into South America. Dwight attempted to visit him once, but his travel visa was protested by the Shoah Foundation.[12] In "Take Your Daughter to Work Day", Michael refers to Dwight's grandmother as a "Nazi war criminal".[13] Dwight's father and grandfather are also named Dwight Schrute; however, his Amish great-grandfather was named Dwide Schrude. In "Casino Night", Dwight reveals that the tuxedo he is wearing is the one that his grandfather was buried in. In a deleted scene from "The Surplus", Dwight tells Angela that his family came to the United States on a U-boat. It is revealed in "Money" that the Schrute family has a tradition, where when a male has intercourse with a woman, he is rewarded with a bag of wild oats that are left on his doorstep by his parents. Dwight also speaks German, but his knowledge of it is "pre-industrial and mostly religious", as might be expected if the language was learned exclusively in a Mennonite or Amish church or context.

text: Dwight was shunned by his family from the age of four until his sixth birthday, for forgetting to save the excess oil from a can of tuna.[14] He lost a grade school spelling bee to Raj Patel by misspelling the word "failure", in front of the entire school.[15] In seventh grade, Dwight played the invented role of "Mutey the Mailman" in a production of Oklahoma! He explains that there were not enough roles for all of the children, so they made up roles.[16]

text: Dwight lives in a nine-bedroom, one-bathroom (which is located under the porch, as revealed in "Office Olympics"), farmhouse on his family's 60-acre (240,000 m2) beet farm, alongside Mose, selling beets to local stores, restaurants and roadside beet stands.[17] Dwight uses part of his farm to grow hemp.[18] Dwight and Mose have also turned Schrute Farms into a ramshackle bed and breakfast, that was visited by Jim and Pam, during "Money".[19] The bed and breakfast had three theme rooms: America, Irrigation, and Nighttime. Schrute Farms was also to be the site of Andy and Angela's wedding before the two broke off their engagement. In "Garden Party", Andy throws a garden party at Schrute Farms in order to impress new CEO Robert California, and at the end of the episode, Robert also discusses the possibility of holding his birthday party at the farm.

text: According to one of Dwight's web logs on NBC.com's "Schrute-Space", he had an uncle, named Gunther, a goat farmer, who fled the Allied invasion of Germany and married a Finnish woman, with whom he had 17 children.[20] He also had an Uncle Girt, who revealed that the Schrute family has an ongoing hatred of Harry S. Truman, because they were staunch supporters of Thomas Dewey. In another blog, he mentions a cousin named Heindl, who received numerous injuries and infections from an attack by a small dog.[21]

text: Interests[edit]

text: Dwight is trained in the art of surveillance, and is a former Lackawanna County volunteer sheriff's deputy.[6] He has a purple belt in Goju-Ryu karate, and is the senpai at his dojo.[7] Dwight is a pop culture and sci-fi enthusiast, who has expressed fanship of many sci-fi movies and popular television series. In the episode "The Fire", he mentioned the movie The Crow as being his favorite film. He hints at belief in fictional creatures such as androids, zombies and vampires (though curiously, despite having claimed in "Business School", to have shot a werewolf(that was actually his neighbor's dog), he says in one of his blog entries that he does not believe in them; however, he may have simply been denying claims of werewolves at Schrute Farms in order to prevent potential visitors from being frightened away).[21] He enjoys, and is shown to be skilled at, playing table tennis, and states that many of his heroes are table tennis players.[22] His musical tastes vary, but heavy metal and classic rock seem to be a recurring theme.[1] His personal musical talents are not lacking, as he plays guitar and recorder, and sings, as well.[13] He has a fascination with cars; he usually checks a car's suspension, especially muscle cars. He drives a 1987 Pontiac Trans Am though in the Finale (The Office) he's driving a 2013 Dodge Challenger. His technological talents are limited, but he shows a passion for the online role playing game Second Life, in which the only differences between himself and his avatar is that his avatar has the last name 'Shelford' and the ability to fly.[18] He also shows an interest in trains, as he is restoring a turn-of-the-century steam engine in his slaughterhouse, during "The Meeting", which has him bonding with Toby Flenderson, as they share the same interest. In "Todd Packer", it is revealed that Dwight does not know who Justin Bieber is, asking Jim "Who is Justice Beaver?", leaving Jim to answer "A crime-fighting beaver."

text: Dwight owns an impressive array of weaponry. In addition to Laser Tag and paintball equipment, he has a crossbow range at his farm ("Office Olympics") and, when he was named official Security Supervisor of the Scranton branch,[6] hinted that he might bring a bo staff to work. He maintained a hidden arsenal of weapons around the office, including pepper spray, nunchucks, throwing stars, a stun gun, a boomerang, handcuffs, a nightstick, a pair of brass knuckles and a Chinese sword, all of which were confiscated by Toby.[23] Dwight also claimed to have sat at his desk for an entire day with a spud gun, without any difficulty from Security.[6] Dwight also uses a real gun, a Colt Anaconda, fired within city limits, to start off the race in "Fun Run".[24] In "Branch Wars", he produces a disturbing number of Molotov cocktails for a panty raid on Utica. In "Survivor Man", it is revealed that Dwight still has numerous knives (and other weapons) hidden on himself (as in "Stress Relief", there is a knife strapped to his leg) or strategically positioned throughout the office (such as "Mr. A Knife" in a filing cabinet, twin sais behind a water cooler, a sword in a ceiling tile, a blow dart in a bathroom stall, and a compound bow under a couch), and that he owns a .22 rifle with scope. Also, in this episode, it is shown that Dwight has extensive knowledge of how to survive in the wilderness, being able to provide himself with food, and, by observing Michael, from a distance, through the scope of his center-fire rifle, he stops Michael from poisoning himself, although it is not clear whether the mushrooms Michael started to ingest were actually poisonous.[25]

text: Dwight is vocal about his views on justice, which is reflected in his television viewing habits, as he enjoys watching and has great admiration for Judge Judy, as well as Vic Mackey on The Shield. In "The Negotiation", Roy Anderson attacks Jim, because he kissed Roy's fiancee, Pam, but Dwight intercepts the attack with pepper spray.[23] Throughout the episode, Jim attempts to show his appreciation, but Dwight refuses to accept his gifts, simply stating "Citizens do not accept prizes for being citizens".[23] In "Drug Testing", Dwight finds half of a joint in the parking lot, which incites him to carry out a severe, and thorough, investigation.[6] When he discovers that Michael might have been exposed to illegal drugs at a concert, he substitutes his own urine during the mandatory drug test.[6] Dwight then resigns from his volunteer position at the Sheriff's Department, because he feels that he is no longer worthy of working there. In "Frame Toby", Dwight states that he is skilled at framing people, as well as animals, revealing that he once framed a raccoon for opening a Christmas gift, and a bear for eating out of the garbage, although, he had made it obvious to the police that he wanted Toby to be imprisoned.[6] In the episode "Women's Appreciation", he is quoted as saying "Better a thousand innocent men are locked up, than one guilty man roam free."

text: In "Conflict Resolution", Dwight states that he does not like to smile, as showing one's teeth is a submission signal in primates, and that whenever someone smiles at him, "all [he] sees is a chimpanzee, begging for its life". Dwight owns many exotic pets including piranhas, frogs, an arctic wolf, a raccoon, a porcupine named Henrietta, and an opossum, although the wolf escaped due to poor restraints and he flushed his piranhas down the toilet. He also has an interest in bears, and is ready to debate the habits and characteristics of different species of bears.

text: In "Costume Contest", Dwight claims to be able to sit on a fence, and that he is even able to sleep on one, stating that "The trick is to do it face down, with the post in your mouth".

text: It is revealed in the "Suit Warehouse" episode that as a child Dwight collected cat feces.

text: In "Death of A Salesmen" Dwight's family made the decision to have him buried in a Battlestar Galactica outfit, showing that he dies on earth, but lives forever in the galaxy.

text: Relationships[edit]

text: In "Drug Testing", Dwight states that he likes his co-workers, "with four exceptions", leaving it up to the audience to make educated guesses about whom these four exceptions are. The four are most likely Jim Halpert, Ryan Howard, Meredith Palmer and Toby Flenderson, due to Michael's hatred of him. However, it is also probable that Phyllis Lapin-Vance could be one of the exceptions, as, on many occasions, she and Dwight are shown to have a strained relationship. Kelly Kapoor is likewise a viable choice as her ditsy nature contrasts Dwight's overly serious character, as we see later in the same episode during Dwight's interrogation of Kelly. This theory is also reinforced by Angela's hatred of Kelly and the influence Angela may hold as Dwight's girlfriend at the time. Pam Halpert is also a possible exception as she is often an accomplice to Jim's pranks against Dwight.

text: Angela Martin[edit]

text: Towards the middle of season 2, Dwight develops a secret relationship with Angela Martin. Pam begins to suspect a relationship between the two, in "E-mail Surveillance", by observing their interactions, suspicions which are strengthened in "The Injury" and "Conflict Resolution", and confirmed by "Traveling Salesmen", where Angela confides in Pam about her relationship, using code names.[1] In "Michael's Birthday", Ryan discovers the relationship between the two when he overhears a coded conversation between them in the kitchen, while in "The Negotiation" Jim discovers the relationship while coming out of the office bathroom after quitting time, to find Dwight and Angela kissing (he then tells the documentary crew that, with his silence, the debt he feels to Dwight is repaid).[23]

text: In the episode "Fun Run", Angela asks Dwight to care for her sick cat, Sprinkles. Instead of caring for the feline, Dwight feels he should kill it as a waste of resources, and then tells Angela Sprinkles was dead when he arrived.[24] When he lets the truth slip out shortly after, Angela terminates their relationship. Jim, on a visit to Dwight's beet farm, finds Dwight sitting alone at night, contemplating Angela's cherub figurine and moaning in anguish.[19]

text: In the fourth season finale "Goodbye, Toby", Dwight is obviously hurt when Angela's boyfriend, Andy, proposes to her. However, in the final scene of the episode, Phyllis catches Dwight having sex with Angela in the office.[26]

text: In the fifth season premiere, "Weight Loss", Dwight and Angela have resumed a covert relationship, using a storage room in the warehouse to have sex. In "Crime Aid", Andy and Angela set a date for their wedding. After some advice from Phyllis, Dwight gives Angela an ultimatum: call off the engagement, or he will no longer be with her. She chooses to marry Andy. When Andy learns about Angela's affair with Dwight, a duel between Dwight and Andy takes place, but both realize that Angela has been lying to them, and break up with her. For quite some time afterwards, Dwight and Angela avoid each other.

text: In the season 6 episode "The Delivery", Dwight, witnessing Jim and Pam talk to customers about their unborn child, decides that he wants a child, and asks Angela to be the mother. They sign an elaborate contract, including eating guidelines for Angela to follow when she is pregnant, and how the baby will be raised. While Angela is excited by the reconciliation, Dwight doesn't share her romantic feelings. When Dwight develops an interest in Pam's friend Isabel, he tells Angela to forget about the contract; this infuriates Angela and she sues him in small-claims court. When an arbitrator tells them that the contract is valid and would involve a $30,000 settlement (because it would be illegal to force Dwight and Angela to procreate), Dwight cuts a deal with Angela for five sessions of sex. He then proceeds to abuse his genitals in an effort to sterilize himself, and fends off Angela's efforts to be romantic.

text: In Season 7, after Angela meets a state senator who she finds much more personable than Dwight, she voids the pact in WUPHF.com.

text: In "Jury Duty", it is revealed that, a month before her wedding to the state senator, Robert Lipton, Dwight and Angela had sex, as Robert was not fulfilling Angela's sexual needs, so Dwight believes that he is the baby's biological father.[27] In "New Guys", it is revealed that he is not the father.

text: In season 9, they become close again first when Dwight finds out that Robert is cheating on Angela with Oscar, and later in "Moving On" when Angela helps him take care of his elderly aunt. They share a kiss, but afterwards both say that she should remain faithful to her husband. After inheriting his aunt's beet farm, Dwight starts a relationship with neighboring brusselsprout farmer Esther Bruegger (Nora Kirkpatrick). When Dwight seems to be getting serious with Esther and the Senator has publicly dumped Angela, Angela breaks down and admits to Oscar Martinez that she still loves Dwight. On the day that he intends to ask Esther to marry him, Dwight instead proposes to Angela. She says yes, finally admitting that he is the father of her son Phillip. ("A.A.R.M.")

text: Michael Scott[edit]

text: Dwight holds a high level of respect for Michael, viewing him as a model for success, and often participating with Michael's ill-conceived schemes.[2] However, he betrays Michael numerous times, such as when he goes over Michael's head to vie for the manager's job in "The Coup". Despite this, Michael frequently dismisses Dwight and often appears embarrassed by his antics; for much of the series, he also refuses to promote Dwight from "Assistant to the Regional Manager" to "Assistant Regional Manager". In later seasons, Dwight was shown to return the favor, such as Dwight telling Michael that he would have a better career if he'd taken a job at Home Depot. Several times throughout the series, however, it is revealed that Michael does care about Dwight's feelings, and the two sometimes share bonding moments. In "Training Day", Dwight is unhappy when the open branch manager position goes to Deangelo Vickers, and when he learns that Michael did not recommend him for the job, as he led him to believe, he snubs Michael and goes to a meeting Vickers has called, leaving Michael standing outside, by himself. In "Goodbye, Michael", Dwight is still frustrated with Michael, but his hostility turns into heartfelt appreciation as Michael hands him the recommendation letter. At first, the letter does not seem to impress him, but, as he reads through, he realizes that Michael really does respect him. They are later seen engaging in a friendly paintball fight, and Dwight's loyalty to Michael is once again restored. Also, after Michael left, Dwight did not have the same respect for Deangelo and Andy that Dwight previously had for Michael, implying that Dwight truly respects and values Michael. In a deleted scene from "Finale", Dwight stated that Michael sent him his "World's Best Boss" mug when he became Regional Manager.

text: In the episode "Finale", as Jim explains that the "Bestest Mench" (best man) in Dwight's wedding must be older than him, Dwight is disappointed. However, the camera reveals that Michael returned, and the two continue to engage in a friendly conversation. During the wedding, Michael is present behind Angela and Dwight getting married, eventually attending the reception. He watches as his "family" is sitting together, and is last seen dancing with Dwight.

text: Jim Halpert[edit]

text: Dwight is frequently the victim of practical jokes by co-workers Jim Halpert and Pam Beesly, including putting his desk supplies in the snack machine, putting his stapler into jello, and moving his desk into the men's restroom, although it appears that he remains oblivious to Pam's involvement; these pranks tend to exploit his stubborn and gullible nature. Dwight's frustration with Jim's pranks reaches a crisis point in "Conflict Resolution", when Dwight threatens to quit unless Jim is transferred.[28] Dwight occasionally pulls successful pranks on Jim in turn, most prominently in "Classy Christmas" where he subjects Jim to a barrage of pranks revolving around snowballs. Professionally, Dwight wins the 2005 Salesman of the Year Award, although, this is likely due to, at least in part, his theft of Jim's largest client.[15]

text: During "Initiation", Dwight tells Ryan he regrets that he and Jim never got along. In "Traveling Salesmen", Jim is irritated when Andy replaces Dwight after Dwight quits. In addition, as shown in "Traveling Salesmen", Jim and Dwight make an incredibly efficient sales team, functioning well as a duo and thinking similarly in their tactics. The two were paired together when they began as traveling salesmen at the company. Dwight plans to demote Jim from the Assistant Regional Manager spot, and make him miserable, during "The Job".[29]

text: Dwight's relationship with Jim mellows somewhat in later seasons, and they, at times, cooperate effectively on sales calls or running the office in Michael's absence, sometimes even socializing together. Jim often supports Dwight when he is genuinely hurt or in danger (such as in "Money" and "Last Day in Florida") and occasionally compliments his successes (such as in "Dwight K. Schrute, (Acting) Manager"). However, when Jim is promoted to co-manager, Dwight's enmity returns to full force, and he conducts an ongoing campaign to depose Jim, who eventually resumes his old job as sales representative in "Manager and Salesman".

text: Jim and Dwight team up in "Todd Packer" to remove Todd Packer after he returns to the Dunder Mifflin offices and takes Dwight's desk. The two at first cannot agree on a plan, but eventually trick Packer into thinking he has got a job offer in Tallahassee.[30]

text: During "After Hours", Jim enlists Dwight into trying to get Kathy, an unwanted female suitor, out of his room by tricking Dwight into thinking that he has bedbugs. This prompts Dwight to overreact, first by stripping down to ward off bugs and then spraying Jim's bed with cleaning chemicals. However, the ploy works when Kathy exits the room. Jim and Dwight are then shown sharing ice cream and a friendly smile in Dwight's room, while watching TV on his bed, where it is implied Jim will have to stay the night due to the chemicals in his own room, as earlier Dwight suggested Jim stay with Kathy. In "Last Day in Florida", Robert California confides to Jim that he's going to terminate Dwight's plans to launch the Sabre store, effectively terminating Dwight's job altogether. Jim tries to let Dwight know, who dismisses his warnings as nothing more than just another prank and insults Jim throughout the day, including in front of the other Sabre staff. At Pam's insistence, Jim tries to tell Dwight one more time before he's dismissed, just as Dwight is about to accept what he thinks is his promotion in the board room. However, Jim physically attacks Dwight just before he goes in, and the two had a wrestling match to which Jim finally concedes. When Dwight steps in, he sees that Packer, who has stolen Dwight's promotion in the meantime, takes the fall and is promptly fired by Robert in the meeting. Defeated, Dwight walks out of the boardroom and lends Jim a hand up and returns to Scranton. When Kelly sees Dwight, she mentions that she thought Dwight was staying in Florida, prompting Jim to distract her with a compliment.

text: During season 9's "Dwight Christmas", Dwight is convinced by Jim to hold a traditional Christmas party in the style of his family. Jim must leave before the party is over and Dwight is noticeably emotionally upset when Jim must leave. Later, when Jim returns, Dwight embraces him in a hug. Soon after, in "Suit Warehouse", Dwight absent-mindedly says "love you" at the end of a phone conversation with Jim, much to his embarrassment and the bemusement of his coworkers.

text: In "Livin' the Dream", the 3rd-to-last episode of the series, Jim suggests to David Wallace that Dwight deserves to replace Andy Bernard as Regional Manager because Dwight loves paper more than anyone else. David agrees and Dwight is promoted to Regional Manager at the end of the episode as a result; Dwight subsequently appoints Jim to fill his old position, Assistant to the Regional Manager.

text: In the final episode of the series "Finale", Dwight asks Jim to be the best man at his wedding. Jim throws Dwight a commendable bachelor party rife with surprises (which Jim refers to as "pranks"). Before the wedding Jim informs Dwight that, under Schrute tradition, he is not allowed to be best man as he is younger than him. Jim surprises him with the arrival of Michael Scott. The wedding proceeds in Schrute tradition with Michael as Dwight's new best man. Later in the episode Jim and Pam tell Dwight they are quitting so Jim can pursue a sports marketing career in Austin, but Dwight fires them instead so he can give them severance packages.

text: Pam Halpert[edit]

text: Although she is often involved in Jim's pranks on Dwight, Dwight has, at certain times, displayed a curious sense of protectiveness towards her. In "Back from Vacation" and "Diwali", he comforts a tearful Pam, and in "China", he secretly allows Pam to save face when she feels vulnerable about her job abilities. In "The Job", Dwight offers Pam the position of "Secret Assistant to the Regional Manager", and following Jim's advice concerning any offers from Dwight to be involved in something secret, she accepts. Though Jim presumably meant this as the opening move of a prank, Pam instead uses it as a bonding opportunity between her and Dwight.

text: The two briefly become best friends while he suffers a concussion in "The Injury". In the season 6 episode "The Delivery", Dwight shows more signs of his begrudging friendship with Jim and Pam during Pam's pregnancy. In the episode, he is sent to the Halperts' house to retrieve Pam's iPod, while they are at the hospital. Instead of finding the iPod and bringing it back to her, Dwight completely rebuilds and repaints their kitchen, after discovering mold. He also advises Pam on how to keep her daughter, Cece, from crying, during "Viewing Party", by relating his child rearing experiences. Dwight's odd friendship with Pam is explored again in "Doomsday". At this point, Pam is the only one in the office who is able to understand Dwight's inner feelings, as she successfully convinces him to deactivate his doomsday machine. It is implied at the end of the episode that Dwight, despite his outward contempt for his coworkers, feels a sense of responsibility (and possibly even affection) towards them.

text: In a talking-head interview, in the episode "Tallahassee", Dwight talks about how first impressions last forever. He recalls that, when he first met Pam, she said something to him that "slightly rubbed [him] the wrong way", and while he has since loved working with her, even stating that she is wonderful, due to that first impression, he hates her. In the episode "The Whale", Dwight openly tells Pam that he considers her his friend. In the final episode of the series, Dwight refers to Pam as his best friend and ensures that she and Jim get a nice severance as they leave Dunder Mifflin.

text: Andy Bernard[edit]

text: As a result of the Scranton-Stamford merger, Dwight loses his number two position to Jim and engages in an ongoing battle with new salesman Andy Bernard, to gain Michael's favor for "third-in-command". The struggle comes to a climax in "Traveling Salesmen".[1] In Season 4, Andy and Dwight are shown to work well together as a sales team, but Andy's successful pursuit of Angela, after she broke up with Dwight, was irritating to him. When Andy gets engaged to Angela, Dwight is greatly upset by this, and embarks on an affair with her. This affair culminates in a short-lived fight between Andy and Dwight, when they discover Angela has lied to both of them, about having sex with another. In "Michael Scott Paper Company," they once again find themselves courting the same woman - Erin Hannon. However, by the end of the fifth season, Andy and Dwight become friends, and discover they both share a mutual interest in music and hunting.[31]

text: Ryan Howard[edit]

text: In the beginning of the series, Dwight feels threatened by Ryan Howard, to whom Michael often assigns personal tasks. He continues to resent Ryan, throughout the second season, often addressing him as "Temp",[4] even after Ryan took over Jim's position.[12] In the beginning of season 2, Dwight's friendship with Michael was slightly torn during "The Fire", when Michael seems to be viewing Ryan more favorably than Dwight, and in "Performance Review", in which Michael must evaluate Ryan.[32] In "Initiation", Dwight decides to assist Ryan, during his first sales call, although the two get off to a rough start when Dwight hazes him in a series of bizarre initiation rituals. Soon afterwards, Dwight takes Ryan on his first meeting, which ends in disaster. Ryan then eggs the potential customer's building out of spite, and Dwight develops some respect for him.[33]

text: During season 4, Dwight, along with Michael, comes to Ryan's rescue when they visit him in New York City, when he gets into a scuffle.

text: Ryan and Dwight later team up again in season 6, when Dwight plans to sabotage Jim's occupation, as branch co-manager.[34]

text: Romantic relationships[edit]

text: A subtle running joke throughout the series is Dwight's surprising success with attractive women, with Michael often failing to "hook up" at the same time. Despite Dwight's unusual appearance and mannerisms, he manages to attract women, who usually develop stronger feelings for him than vice versa. Michael has even pointed out how socially weird Dwight is acting, only for the woman to brush it off. In "Night Out", Dwight hooks up with a women's basketball player, while Michael fails in his attempts with other women. As Michael and Dwight leave the club, the woman calls out for Dwight to call her, which he says to Michael that he will not do. In "Niagara", Michael and Dwight compete for the attention of Pam's best friend, Isabel. When Dwight starts talking about his farm, Michael tries to explain that no one can connect with his experiences as farmer, only for Isabel to become interested in Dwight's horses. Dwight ultimately manages to have sex with her, and she begins to develop deeper feelings for him which he does not return, although it is finally hinted in "The Delivery" that Dwight might have more intimate feelings for her than he originally let on. They meet again at the bar in "Happy Hour", and bond further, kissing at the end of the episode. In a chat at OfficeTally.com, Mindy Kaling noted that Dwight is not a typical "nerd" character, that he is a "farmer and kind of strapping and tall", and it generally makes sense that he does well with the opposite sex. In season 9, he begins to date an attractive neighboring farmer named Esther (Nora Kirkpatrick). He ultimately ends his relationship with her in "A.A.R.M.".

text: In the Season Nine episode, "The Death of a Salesman" Dwight tragically dies of cancer surrounded by his loving co-workers.

text: Character reception[edit]

text: The Dwight Schrute character has had a very positive reception, and is often cited as one of the most popular characters on the show. According to Entertainment Weekly he is one of the "greatest sidekicks."[35] In TV Guide's list of the top 100 characters in television history, Dwight was ranked 85th. In an ABC News interview with Rainn Wilson, the interviewer commented that "Words barely describe Dwight Schrute, the suck-up salesman and assistant to the regional manager of the Scranton branch for the Dunder Mifflin Paper Company..."[36] and "Dwight, as played by the 41-year-old Wilson, has become one of the breakout characters in television comedy. Dwight is a survivalist geek, a student of karate who likes to shoot a crossbow and watch "Battlestar Galactica" on television. And he takes himself very, very seriously..."[36] E! News commented that Rainn Wilson should be nominated for an Emmy Award for his performance of Dwight, commenting: "...Who's laughing now? Who's laughing now, Dwight Schrute? Oh, only the ten million-plus people who watched as you pepper sprayed the living daylights out of Roy for trying to pop Jim in the face last night. My God, have I missed you, man. Mr. Schrute, you are the reason I love my job, my friend. It is the selflessly heroic actions of a man such as you that make television a nice place to be on a Thursday night. You may just be an everyday citizen who does not accept prizes for being a citizen, but you'd best be accepting a supporting actor Emmy nod this year, because, hot damn if you don't deserve it."[37]

text: Another positive review of the character was given by PopMatters, an online entertainment news site. The review stated: "One of the show’s ironies is that Michael and Dwight, hapless though they might be within the office or in most social settings, are actually top salesmen...Undeterred, or unaware of any of this, Dwight carries on with his dreams of grandeur, even instituting a reward system called "Schrute Bucks" for employees who please him during a brief but tyrannical reign as branch manager...Dwight approaches sales with the same militaristic fervor as everything else in his life, and it pays off for him (maybe that’s one of the reasons why, when Jim gives Dwight one of Benito Mussolini’s speeches to deliver when he accepts a sales award in Season Two, Dwight delivers it so enthusiastically that he gets a standing ovation)..."[38] Metalcore band The Devil Wears Prada named a song "Assistant to the Regional Manager," alluding to Dwight's position. In addition, the band created a T-shirt design that indirectly associates itself with Dwight by strongly resembling him. It is named "Guy Wearing Tie."[39]

text: Outside of The Office[edit]

text: Bobblehead doll[edit]

text: In the episode "Valentine's Day", Dwight is given a bobblehead doll as a Valentine's gift, from Angela. Following the episode, fans of the show petitioned NBC to make the bobblehead doll available for purchase on their online store.[40] NBC responded by creating an initial run of 4,000 bobblehead dolls, which sold out almost immediately.[40] The creator of the show, Greg Daniels, joked about the bobbleheads, saying "Yes, they are fun, but they also serve a business purpose. People who want to manage by consensus can buy six and keep them nodding all the time to whatever they say."[40] In 2010 Hallmark released a smaller talking version of the doll as part of their 2010 Christmas Keepsake Ornament selection.

text: Résumé[edit]

text: In "Halloween", Jim and Pam uploaded Dwight's resume to "Monster.com, Craigslist, and Google."[41] A producer actually did create a Monster account for Dwight and uploaded his résumé a month before the episode aired. It can be found by employers with resume database access who search for salesmen in Scranton, Pennsylvania.[42] The résumé stated that he was willing to relocate to another state,[42] wanted a salary close to $30,000 (USD),[42] desired the job title of Regional Manager,[42] was currently "Assistant to the Regional Manager",[42] and had a Bachelor's Degree.[42] The posted résumé also stated: "My time spent at Dunder Mifflin was very enjoying. I had the opportunity to learn from an experienced and talented boss. My branch consistently was one of the top sellers of the company..."[42]

text: Schrute Farms[edit]

text: In "Money", Pam refers to a TripAdvisor page for Dwight's bed and breakfast. This can be found by searching for Schrute Farms.[43] Jim and Pam discover that Dwight is running the Schrute Farm as an "agritourism" bed and breakfast. They spend the night there, taking part in table-making demonstrations, beet wine-making, and distributing manure. That night, however, Jim hears an unnerving moaning sound throughout the night, later shown to be Dwight in his room crying over his breakup with Angela. The TripAdvisor page said:

text: "Schrute Farms is the number one beet-related agritourism destination in Northeastern Pennsylvania. We offer the finest accommodations for the casual traveler and/or radish enthusiast. Come join us and experience majestic Schrute Farms.[43] "

text: Jim and Pam ("JandP2") also posted a review, which can be seen on the reviews page. It read: "The architecture reminds one of a quaint Tuscan beet farm, and the natural aroma of the beets drifts into the bedrooms and makes you dream of simpler times. You will never want to leave your room. The informative lecture will satisfy all your beet curiosity, and the dawn goose walk will tug at your heart strings. Table making never seemed so possible. Great story to tell your friends. Plenty of parking! The staff’s attention to detail and devotion to cleanliness was limitless. From their enthusiastic welcome to the last wave good-bye, Schrute Farms delivers."[43]

text: An angry Angela also put a review up, and mentioned the death of her cat as a main cause for the review. It said: "I have to warn people about the proprietor of Schrute Farms—he may portray himself as a gentleman farmer, but he is not what he seems! He killed my cat, Sprinkles! Who knows what he might do to you or your loved ones..."[43]

text: According to Dwight, during the Civil War, while the Battle of Gettysburg was known for having the most deaths, the battle of Schrute Farms was known for having the highest DPA (deaths per acre). He also claimed it was the northernmost battle during the Civil War. However, in reality, it was actually a safe haven for men who wanted relief from the war to focus on artistic lifestyles. It is insinuated that this was a camp for homosexual soldiers. Melvin Fifer Garris is the only known soldier to write home from Schrute Farms during the Civil War.

text: Vice presidential bid joke[edit]

text:
External video

 Rainn Wilson on The Tonight Show discussing the "nomination"

text: On the May 7, 2008, episode of The Daily Show with Jon Stewart, US Senator and Republican Party presidential nominee John McCain joked that Dwight Schrute would be his vice presidential candidate choice.[44][45] Rainn Wilson appeared on The Tonight Show on May 14, 2008, and read to Jay Leno a list of demands from Dwight in exchange for being vice president.[46] Included in this list was being able to pilot Air Force One at any time, and only to be addressed as "Iceman" while piloting.[46] He also demanded that Jack Bauer be immediately promoted to United States Secretary of Defense, his bunker to include a foosball table and be zombie-proof, and that the Secret Service members be armed with nunchakus, throwing stars, and flamethrowers.[46] Finally, he demanded a flamethrower, an Iron Man suit, and that fellow character Michael Scott be an "ambassador to Hawaii."[46]

text: Dwight in academic research[edit]

text: Researchers at Brigham Young University, Stanford and Northwestern University demonstrated that social outsiders, similar to Dwight's character, lead to better group decision making. Media accounts of their published study reported that having a Dwight Schrute around is good for business. Dwight was included in articles about the research by Time magazine,[47] Toronto Globe and Mail,[48] The Salt Lake Tribune[49] and Brigham Young University.[50]

text: Possible spin-off series and departure from The Office[edit]

text: On January 25, 2012, news broke that NBC was planning a spin-off series, starring Wilson as Dwight, that would be set at Schrute Farms, Dwight's bed-and-breakfast and beet farm.[51] The spin-off was to have been created by Wilson and executive producer Paul Lieberstein, but Office developer Greg Daniels would not have been involved.[51] The series was in the works for a premiere in early 2013, and would have caused Wilson to leave The Office during the ninth season.[51] The spin-off was scheduled to have been introduced as a backdoor pilot in a later episode of the ninth season.[51] Despite the news report, Wilson tweeted "Don't believe everything you read in the press, OK?".[52] In October 2012, NBC announced that it was not accepting the spin-off series.[53] Sadly, this plan was never followed through due to the illness of Rainn, which, although it got better, left NBC To have to kill off Dwight.