title: Crisis on Infinite Earths (Arrowverse)

text: About part four, Agard wrote that the Speed Force flashbacks were "very cheesy and reminiscent of things "Arrow" has done in the past. On the other hand, I found it very effective in putting us in the mindset for the final battle and, more importantly, the end of "Arrow"... [T]his episode honors his connection to the other shows and how this one show's existence has created so much." Oliver's death in this episode "packed way more of an emotional punch [over the one in part one] because of the three actors’ performances." About the "Legends" episode, Agard was "surprised by how strong" it was: "The last episode of a crossover is usually the weakest because the big battle ends up taking precedence over character moments, but that's not the case here at all." He graded both episodes an "A−". Delia Harrington of "Den of Geek" called the final two episodes "very different, but equally compelling". Harrington praised Amell and Benoist's performances, and enjoyed the final episodes' cameos and Easter eggs. Like Agard, she found that Oliver's death in these episodes "was much more in line with what his character deserved". About part five, Harrington said: "The governing principle of this episode was the banana pants aesthetic of "Legends", and that's exactly what it needed," noting the appearance of the giant Beebo. Giving the episodes 4 out of 5 stars, she concluded: "For those of us who were touting "Arrow" as the best superhero property on any screen, big or small, back in Season 1, this is truly the television equivalent to "Endgame"-level storytelling. Some of the old heroes are gone. New heroes rise in their place. The fandom mourns, but we also get to celebrate all the new stories there are to tell."


title: Crisis on Infinite Earths (Arrowverse)

text: Kate Kulzick of "The A.V. Club" was more negative on the "Arrow" episode, giving it a "C−". She said, ""Arrow"s contribution to the crossover not only fails to live up to the dramatic stakes of that cliffhanger, it sours the goodwill generated by the first three episodes, retreading old ground and sending the crossover limping into its finale." Kulzick was disappointed that the Monitor and Anti-Monitor's godlike powers were poorly explained, and called the Speed Force moments "arbitrary" in what could have been "a wonderful opportunity to relive and re-imagine high points from each of the Arrowverse shows’ histories." In the approach to the final battle between the Paragons and Anti-Monitor, she felt that the episode "really starts to flounder". Unlike Agard and Harrington, Kulzick called Oliver's death "a pale shadow of the raw and emotional end of part one", and "one hell of a disappointing way to send [him] out". "The A.V. Club"s Allison Shoemaker called some of the concepts in the "Legends" episode "flimsy": "The plot is fine. The characters and their reactions to what's happened, to that loss and the new status quo, is what really hits home." Highlighting Barry and Sara's conversation, followed by Sara and Diggle's, Shoemaker graded the episode a "B+".


title: Crisis on Infinite Earths (Arrowverse)

text: "Crisis Aftermath" is an aftershow which aired after the December 8 "Supergirl" episode and the December 10 "Flash" episode. The show, which went "in-depth to explore" the crossover, was hosted by Kevin Smith. "Entertainment Weekly" helped develop the aftershow, which included discussions with executive producers Guggenheim, Dries, Rovner, Shimizu, and Wallace; the stars Cryer, Garrett, McNamara, and Conroy; and panel guest Dani Fernandez, among others. "Entertainment Weekly" writer Chancellor Agard appeared in a segment "helping to break down the multiversal destruction" seen in the crossover.


title: Scott Bakula

text: Scott Stewart Bakula (; born October 9, 1954) is an American actor. He is known for his roles in two science-fiction television series: as Sam Beckett on "Quantum Leap" and as Captain Jonathan Archer on "". For "Quantum Leap", he received four Emmy Award nominations and a Golden Globe Award.


title: Scott Bakula

text: Bakula starred in the comedy-drama series "Men of a Certain Age" and guest-starred in the second and third seasons of NBC's "Chuck" as the title character's father Stephen J. Bartowski. From 2014 to 2015, he played entrepreneur Lynn on the HBO show "Looking". From 2014 to 2021, he portrayed Special Agent on "".


title: Scott Bakula

text: Bakula was born in St. Louis, Missouri, the son of Sally () and Joseph Stewart Bakula (1928–2014), a lawyer. He has a younger brother and a younger sister. The family surname comes from Czech and Bohemian ancestry, translating literally to "stick" (spelled bakuľa). He attended Jefferson College,<ref name="http://www.websterkirkwoodtimes.com"></ref> followed by the University of Kansas for a time, but left, saying:


title: Scott Bakula

text: Bakula moved to New York City in 1976, made his Broadway debut playing baseball legend Joe DiMaggio in 1983's "", and appeared in the well-received 1985 Off-Broadway production "Three Guys Naked from the Waist Down"; he would later appear in its Pasadena Playhouse production. The success of "Three Guys" Off-Broadway brought him attention, and when his next show, the musical "Nightclub Confidential", which co-starred his wife Krista Neumann, moved to Los Angeles, he moved there at the urging of his California agent, Maggie Henderson, and his New York agent, Jerry Hogan. As Bakula recalled in 2000:


title: Scott Bakula

text: He was cast in two short-lived series: "Gung Ho" and "Eisenhower & Lutz". During a Hollywood writers' strike, he returned to New York to star in "Romance/Romance", and then afterward landed the lead role opposite co-star Dean Stockwell in the science fiction television series "Quantum Leap" (1989–1993). Bakula played time traveler Dr. Sam Beckett, who was trapped by a malfunction of his time machine to correct things gone wrong in the past. His performance in the show earned him a Golden Globe Award (along with three nominations) and four Emmy Award nominations for Best Actor, as well as five consecutive Viewers for Quality Television Awards for Best Actor in a Quality Drama Series.


title: Scott Bakula

text: From 1993 to 1995, he played Peter Hunt, a reporter and occasional love interest on the sitcom "Murphy Brown". In 1995, Bakula appeared on the cover of "Playgirl". He played the titular Mr. Smith in the sole season of "Mr. & Mrs. Smith" in 1996. He voiced Danny Cat in the animated film "Cats Don't Dance" (1997). He played the aging veteran pitcher Gus Cantrell in "" (1998), the final movie in the "Major League" trilogy. He also played Jim Olmeyer, the same-sex partner of Sam Robards' Jim Berkley, in the film "American Beauty" (1999).


title: Scott Bakula

text: Bakula played Jonathan Archer, Captain of Earth's first Warp 5 interstellar starship, on "" from 2001 to 2005. In 2006, he reprised the role of Archer for the "" PC and Xbox 360 video games as a voice-over.


title: Scott Bakula

text: Bakula starred in the musical "Shenandoah", a play which also provided his first professional theatrical role in 1976, at Ford's Theatre, in 2006. Bakula is heard singing "Pig Island" on Sandra Boynton's children's CD "Philadelphia Chickens", which is labeled as being "For all ages except 43." Scott Bakula said that he might be starring as Sam in a "Quantum Leap" film as stated in "TV Guide Magazine" along with Dean Stockwell. At Comic Con 2010, he announced that a script was being worked on and that while he would be in the movie, he would not have the main role.


title: Scott Bakula

text: Bakula performed various songs from his career for a one-night-only performance entitled "An Evening with Scott Bakula" at Sidney Harman Hall on January 18, 2008, as a benefit for the restoration of the historic Ford's Theater. Bakula had three appearances in 2008. He appeared as Atty. Jack Ross in an episode of "Boston Legal", "Glow in the Dark", which aired on February 12, 2008, on the ABC network. From March 4 – April 20, he starred as Tony Hunter in the world premiere of "Dancing in the Dark" at The Old Globe in San Diego, California. "Dancing in the Dark" is based on the movie "The Band Wagon" (1953). Bakula appeared as the character Chris Fulbright in the five-episode run of the Tracey Ullman sketch comedy series "State of the Union" on Showtime.


title: Scott Bakula

text: Bakula appeared in the dark comedy film "The Informant!" (2009) as Brian Shepard, an FBI agent. In April 2009, he began a recurring role on the television series "Chuck" as Stephen J. Bartowski, the eponymous character's long-lost father. From July 31 to August 2, 2009, he starred as Nathan Detroit in three performances of "Guys and Dolls" at the Hollywood Bowl. Beginning in December 2009, Bakula began appearing as Terry, one of the three lead characters in TNT's hour-long comedy/drama "Men of a Certain Age".


title: Scott Bakula

text: In 2011, Bakula performed a voice cameo in the film "Source Code" as a slight nod to his character on "Quantum Leap", with his catchphrase of "Oh, boy." and appeared in the feature-length documentary "The Captains", which was written and directed by William Shatner, Bakula is interviewed by the original "Star Trek" captain about his life and career leading up to his performances as Captain Jonathan Archer in "Star Trek: Enterprise". In the movie, Shatner interviews Bakula at his ranch in California where they discuss the pitfalls that come with a career in television.


title: Scott Bakula

text: In September 2011, Bakula starred in "Terrible Advice" by Saul Rubinek at the Menier Chocolate Factory. In April to May 2012, he guest starred in the last five episodes of "Desperate Housewives" as Bree Van de Kamp's criminal defense lawyer and third husband. In April 2013, he made a guest appearance on "Two and a Half Men" as a car dealer. In August 2013, it was announced Bakula would have a recurring role in the first season of HBO's new series "Looking". He also appeared in the film "Geography Club" (2013).


title: Scott Bakula

text: In February 2014, Bakula was cast as the lead in a backdoor pilot for the "NCIS" spin-off series, "", which began as a two-part episode of its parent series in the spring season of 2014.


title: Scott Bakula

text: In 2016 Bakula appeared as a guest judge on the HGTV show "Brothers Take New Orleans" with "Property Brothers" hosts Jonathan and Drew Scott.


title: Scott Bakula

text: He made a cameo appearance as himself in the season 12 opening episode of "It's Always Sunny in Philadelphia".


title: Scott Bakula

text: Bakula married Krista Neumann in 1981. They had two children before divorcing in 1995. He married actress Chelsea Field in 2009 after a 15-year relationship. Bakula and Field share two children.


title: Scott Bakula

text: Bakula says he was "hardly ever home for four and a half seasons" of "Quantum Leap", so he chose to prioritize his family life on later projects. His "Star Trek: Enterprise" contract required that filming be completed by 6p.m. every Wednesday so he could have dinner with his family. During filming of "", he returned home to Los Angeles every weekend to spend time with his wife.


title: Jimmy Smits

text: Jimmy L. Smits (born July 9, 1955) is an American actor. He is best known for playing attorney Victor Sifuentes on the 1980s-1990s legal drama "L.A. Law", NYPD Detective Bobby Simone on the 1990s-2000s police drama "NYPD Blue", Matt Santos on the political drama "The West Wing", and for appearing in "Switch" (1991), "My Family" (1995), "The Jane Austen Book Club" (2007), and "In the Heights" (2021). He also appeared as Bail Organa in the "Star Wars" franchise and as ADA Miguel Prado in "Dexter". From 2012 to 2014, he joined the main cast of "Sons of Anarchy" as Nero Padilla. Smits also portrayed Elijah Strait in the NBC drama series "Bluff City Law".


title: Jimmy Smits

text: Smits was born in Brooklyn, New York. Smits's father, Cornelis Leendert Smits (1929–2015), was from Paramaribo, Suriname, and was of Dutch descent. Smits's mother, Emilina (née Pola; 1930–2015), was Puerto Rican, born in Peñuelas. He and his two sisters, Yvonne and Diana, grew up in a working-class neighborhood. When he was ten years old, he lived in Puerto Rico for a couple of years. Until then he did not speak Spanish. He described attending a Spanish-only school as "jarring" and "traumatic."


title: Jimmy Smits

text: Smits was raised in a strict, devout Roman Catholic family. He identifies as Puerto Rican and frequently visits Puerto Rico.


title: Jimmy Smits

text: Smits was an athlete in his youth. He graduated from Thomas Jefferson High School. He earned a bachelor's degree from Brooklyn College in 1980 and an MFA from Cornell University in 1982.


title: Jimmy Smits

text: One of Smits's early roles was playing Sonny Crockett's original partner on the first episode of "Miami Vice" in 1984. In the first five minutes of the episode he falls victim to a car bomb.


title: Jimmy Smits

text: Beginning in 1986, Smits played Victor Sifuentes in the first five seasons of the NBC television Steven Bochco legal drama "L.A. Law", for which he was nominated for six Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series, winning in 1990.


title: Jimmy Smits

text: Additionally, Smits played a repairman on "Pee-wee's Playhouse", and he starred in the multigenerational story of a Chicano family in the film "My Family" (1995), alongside Edward James Olmos and Jennifer Lopez.


title: Jimmy Smits

text: One of Smits's most acclaimed roles was that of Detective Bobby Simone on the ABC television program "NYPD Blue", in which he starred from 1994 to 1998. He received several Emmy nominations for his performance on the series and was reunited with his former co-star Dennis Franz at the 2016 Emmy Awards presentation. He won the ALMA award twice.


title: Jimmy Smits

text: In 1999, Smits received the HOLA Award for Excellence from the Hispanic Organization of Latin Actors (HOLA).


title: Jimmy Smits

text: Smits was scheduled to host the 2001 Latin Grammy Awards broadcast on September 11, 2001. It was canceled due to continuous news coverage and out of respect for the victims of the terrorist attacks earlier that day. He did host a non-televised press conference to announce the winners.


title: Jimmy Smits

text: Smits appeared as Senator Bail Organa of Alderaan in "" (2002) and "" (2005), in which the character becomes Princess Leia's adoptive father. He reappeared as Bail Organa in the game "" (2008) and the spinoff movie "Rogue One" (2016). He later reprised the role for "Obi-Wan Kenobi" (2022).


title: Jimmy Smits

text: Smits played the role of Congressman Matt Santos of Houston, Texas, in the final two seasons of the NBC television drama "The West Wing", joining fellow "L.A. Law" alumnus John Spencer. His character eventually ran for and won the U.S. presidency.


title: Jimmy Smits

text: In "Dexter" season 3, Smits played the role of Miguel Prado, an assistant district attorney who befriends the title character. Smits was nominated for an Emmy Award for Outstanding Guest Actor in a Drama Series for the role.


title: Jimmy Smits

text: Additionally, Smits portrayed the character Alex Vega in the CBS TV series "Cane", which aired from September 25, 2007, to December 18, 2007, and was subsequently canceled by the network due to the 2007 Screen Writer's Guild strike.


title: Jimmy Smits

text: Smits joined the "Sons of Anarchy" cast in season 5 as Nero Padilla, a high-level pimp who refers to himself as a "companionator". He builds a relationship with Gemma Teller Morrow (Katey Sagal) and forms an alliance and mentorship with Gemma's son, the central character Jax Teller (Charlie Hunnam).


title: Jimmy Smits

text: On February 25, 2019, news outlets reported that Smits was cast as Elijah Strait in NBC drama series "Bluff City Law" and it was picked up to series on May 6, 2019. "Bluff City Law" brings Smits back to TV courtrooms on a steady basis for the first time in over a quarter century since his role in "L.A. Law."


title: Jimmy Smits

text: In the mid-1980s, Smits acted in numerous performances at the Hangar Theatre in Ithaca, New York, Cornell's summer repertory program. In 1982 at the Hangar his roles included Max in "Cabaret", Paul in "Loose Ends", and the lead in "Pudd'nhead Wilson". Smits has participated in the Public Theater's New York Shakespeare Festival, playing the role of Duke Orsino in "Twelfth Night" in 2002 and Benedick in 'Much Ado about Nothing in 2004. In 2003, Smits starred in the Broadway production of the Pulitzer Prize-winning play, "Anna in the Tropics", by Nilo Cruz, performed at the Royale Theatre. From November 2009 to February 2010, he appeared opposite Christine Lahti, Annie Potts, and Ken Stott in the critically lauded Broadway play "God of Carnage", replacing Jeff Daniels. In December 2012 through March 2013, he appeared in Chicago in "The Motherfucker with the Hat", at Steppenwolf Theatre Company.


title: Jimmy Smits

text: Smits was married to high school sweetheart, Barbara Smits, from 1981 until 1987. They have two children, Taina (born in 1975) and Joaquin (born in 1983). Since 1986, he has been in a relationship with actress Wanda De Jesus; they live together in Los Angeles.


title: Jimmy Smits

text: Smits was arrested in 1987 for assaulting an officer after police answered a call for help at his home. His girlfriend De Jesus falsely identified herself as Juanita Cruz and began to attack the officers questioning her, Smits joined in and both were arrested for battery on the police officers who responded to the call. The charges were later dropped because of conflicting witness statements. He later pleaded guilty to the misdemeanor of disturbing the peace and was sentenced to 18 months of unsupervised probation, 50 hours of community service and a $150 fine. De Jesus pleaded guilty to misidentifying herself to a police officer and disturbing the peace. She was fined $250 and sentenced to 18 months of unsupervised probation and 75 hours of community service.


title: Jimmy Smits

text: Smits helped found the National Hispanic Foundation for the Arts to advance the presence of Latinos in the media, telecommunications, and entertainment industries. He is also an advocate for diagnostic colorectal screening and has appeared in a public service commercial. In 2010, he filmed a PSA for Detroit Non-Profit Cass Community Social Services and also served as the Honorary Chair of their 6th Annual "Catch the Fireworks With Cass" event.


title: Jimmy Smits

text: Smits has also donated to several other organizations, including the Red Cross, New York Cares, and Stand up to Cancer.


title: Jimmy Smits

text: Smits also received the Ackerman Leadership Award for his work "championing bilingual and bicultural mental health and social services for Latino families."


title: Theseus

text: Theseus (, ; ) was the mythical king and founder-hero of Athens. The myths surrounding Theseus his journeys, exploits, and friends have provided material for fiction throughout the ages.


title: Theseus

text: Theseus is sometimes described as the son of Aegeus, King of Athens, and sometimes as the son of the god Poseidon. He was raised by his mother, Aethra, and, upon discovering his connection to Aegeus, travels overland to Athens, having many adventures on the way. When he reaches Athens, he finds that Aegeus is married to Medea (formerly wife of Jason), who plots against him.


title: Theseus

text: The most famous legend about Theseus is his slaying of the Minotaur, half man and half bull. He then goes on to unite Attica under Athenian rule: the "synoikismos" ('dwelling together'). As the unifying king, he is credited with building a palace on the fortress of the Acropolis. Pausanias reports that after "synoikismos", Theseus established a cult of Aphrodite ('Aphrodite of all the People') on the southern slope of the Acropolis.


title: Theseus

text: Plutarch's "Life of Theseus" makes use of varying accounts of the death of the Minotaur, Theseus' escape, and his romantic involvement with and betrayal of Ariadne, daughter of King Minos.


title: Theseus

text: Plutarch's avowed purpose is to construct a life that parallels the "Life of Romulus", the founding myth of Rome. Plutarch's sources, not all of whose texts have survived independently, include Pherecydes (mid-fifth century BCE), Demon (c. 400 BCE), Philochorus, and Cleidemus (both fourth century BCE). As the subject of myth, the existence of Theseus as a real person has not been proven, but scholars believe that he may have been alive during the Late Bronze Age, possibly as a king in the 8th or 9th century BCE.


title: Theseus

text: Aegeus, one of the primordial kings of Athens, was childless. Desiring an heir, he asked the Oracle of Delphi for advice. Her cryptic words were "Do not loosen the bulging mouth of the wineskin until you have reached the height of Athens, lest you die of grief." Aegeus did not understand the prophecy and was disappointed. He asked the advice of his host Pittheus, king of Troezen. Pittheus understood the prophecy, got Aegeus drunk, and gave Aegeus his daughter Aethra.


title: Theseus

text: But following the instructions of Athena in a dream, Aethra left the sleeping Aegeus and waded across to the island of Sphairia that lay close to Troezen's shore. There, she poured a libation to Sphairos (Pelops's charioteer) and Poseidon and was possessed by the sea god in the night. The mix gave Theseus a combination of divine as well as mortal characteristics in his nature; such double paternity, with one immortal and one mortal, was a familiar feature of other Greek heroes. After Aethra became pregnant, Aegeus decided to return to Athens. Before leaving, however, he buried his sandals and sword under a huge rock and told Aethra that when their son grew up, he should move the rock, if he were heroic enough, and take the tokens for himself as evidence of his royal parentage. In Athens, Aegeus was joined by Medea, who had left Corinth after slaughtering the children she had borne and had taken Aegeus as her new consort.


title: Theseus

text: Thus Theseus was raised in his mother's land. When Theseus grew up to be a young man, he moved the rock and recovered his father's tokens. His mother then told him the truth about his father's identity and that he must take the sword and sandals back to the king Aegeus to claim his birthright. To journey to Athens, Theseus could choose to go by sea (which was the safe way) or by land, following a dangerous path around the Saronic Gulf, where he would encounter a string of six entrances to the Underworld, each guarded by a chthonic enemy. Young, brave, and ambitious, Theseus decided to go alone by the land route and defeated many bandits along the way.


title: Theseus

text: When Theseus arrived in Athens, he did not reveal his true identity immediately. Aegeus gave him hospitality but was suspicious of the young, powerful stranger's intentions. Aegeus's consort Medea recognized Theseus immediately as Aegeus' son and worried that Theseus would be chosen as heir to Aegeus' kingdom instead of her son Medus. She tried to arrange to have Theseus killed by asking him to capture the Marathonian Bull, an emblem of Cretan power.


title: Theseus

text: On the way to Marathon, Theseus took shelter from a storm in the hut of an ancient woman named Hecale. She swore to make a sacrifice to Zeus if Theseus were successful in capturing the bull. Theseus did capture the bull, but when he returned to Hecale's hut, she was dead. In her honor, Theseus gave her name to one of the demes of Attica, making its inhabitants in a sense her adopted children.


title: Theseus

text: When Theseus returned victorious to Athens, where he sacrificed the Bull, Medea tried to poison him. At the last second, Aegeus recognized the sandals and the sword and knocked the poisoned wine cup from Theseus's hands. Thus father and son were reunited, and Medea fled to Asia.


title: Theseus

text: When Theseus appeared in the town, his reputation had preceded him, as a result of his having traveled along the notorious coastal road from Troezen and slain some of the most feared bandits there. It was not long before the Pallantides' hopes of succeeding the childless Aegeus would be lost if they did not get rid of Theseus (the Pallantides were the sons of Pallas and nephews of King Aegeus, who was then living at the royal court in the sanctuary of Delphic Apollo). So they set a trap for him. One band of them would march on the town from one side while another lay in wait near a place called Gargettus in ambush. The plan was that after Theseus, Aegeus, and the palace guards had been forced out the front, the other half would surprise them from behind. However, Theseus was not fooled. Informed of the plan by a herald named Leos, he crept out of the city at midnight and surprised the Pallantides. "Theseus then fell suddenly upon the party lying in ambush, and slew them all. Thereupon the party with Pallas dispersed," Plutarch reported.


title: Theseus

text: Pasiphaë, wife of King Minos of Crete, had several children. The eldest of these, Androgeus, set sail for Athens to take part in the Panathenaic Games, which were held there every four years. Being strong and skillful, he did very well, winning some events outright. He soon became a crowd favorite, much to the resentment of the Pallantides, who assassinated him, incurring the wrath of Minos.


title: Theseus

text: When King Minos heard what had befallen his son, he ordered the Cretan fleet to set sail for Athens. Minos asked Aegeus for his son's assassins, saying that if they were to be handed to him, the city would be spared. However, not knowing who the assassins were, King Aegeus surrendered the whole city to Minos' mercy. His retribution was to stipulate that at the end of every Great Year, which occurred after every seven cycles on the solar calendar, the seven most courageous youths and the seven most beautiful maidens were to board a boat and be sent as tribute to Crete, never to be seen again.


title: Theseus

text: In another version, King Minos had waged war with the Athenians and was successful. He then demanded that, at nine-year intervals, seven Athenian boys and seven Athenian girls were to be sent to Crete to be devoured by the Minotaur, a half-man, half-bull monster that lived in the Labyrinth created by Daedalus.


title: Theseus

text: On the third occasion, Theseus volunteered to talk to the monster to stop this horror. He took the place of one of the youths and set off with a black sail, promising to his father, Aegeus, that if successful he would return with a white sail. Like the others, Theseus was stripped of his weapons when they sailed. On his arrival in Crete, Ariadne, King Minos' daughter, fell in love with Theseus and, on the advice of Daedalus, gave him a ball of thread (a clew), so he could find his way out of the Labyrinth. That night, Ariadne escorted Theseus to the Labyrinth, and Theseus promised that if he returned from the Labyrinth he would take Ariadne with him. As soon as Theseus entered the Labyrinth, he tied one end of the ball of string to the doorpost and brandished his sword which he had kept hidden from the guards inside his tunic. Theseus followed Daedalus' instructions given to Ariadne: go forwards, always down, and never left or right. Theseus came to the heart of the Labyrinth and upon the sleeping Minotaur. The beast awoke and a tremendous fight occurred. Theseus overpowered the Minotaur with his strength and stabbed the beast in the throat with his sword (according to one "scholium" on Pindar's Fifth Nemean Ode, Theseus strangled it).


title: Theseus

text: After decapitating the beast, Theseus used the string to escape the Labyrinth and managed to escape with all of the young Athenians and Ariadne as well as her younger sister Phaedra. Then he and the rest of the crew fell asleep on the beach of the island of Naxos, where they stopped on their way back, looking for water. Theseus then abandoned Ariadne, where Dionysus eventually found and married her. Theseus forgot to put up the white sails instead of the black ones, so his father, the king, believing he was dead, died by suicide, throwing himself off a cliff of Sounion and into the sea, causing this body of water to be named the Aegean Sea.


title: Theseus

text: According to Plutarch's "Life of Theseus", the ship Theseus used on his return from Minoan Crete to Athens was kept in the Athenian harbor as a memorial for several centuries.


title: Theseus

text: "The ship wherein Theseus and the youth of Athens returned had thirty oars, and was preserved by the Athenians down even to the time of Demetrius Phalereus, for they took away the old planks as they decayed, putting in new and stronger timber in their place..."


title: Theseus

text: The ship had to be maintained in a seaworthy state, for, in return for Theseus's successful mission, the Athenians had pledged to honor Apollo every year henceforth. Thus, the Athenians sent a religious mission to the island of Delos (one of Apollo's most sacred sanctuaries) on the Athenian state galley—the ship itself—to pay their fealty to the god. To preserve the purity of the occasion, no executions were permitted between the time when the religious ceremony began to when the ship returned from Delos, which took several weeks.


title: Theseus

text: To preserve the ship, any wood that wore out or rotted was replaced; it was thus unclear to philosophers how much of the original ship remained, giving rise to the philosophical question of whether it should be considered "the same" ship or not. Such philosophical questions about the nature of identity are sometimes referred to as the "Ship of Theseus" paradox.


title: Theseus

text: Regardless of these issues, the Athenians preserved the ship. They believed that Theseus had been an actual, historical figure and the ship gave them a tangible connection to their divine provenance.


title: Theseus

text: Theseus's best friend was Pirithous, king of the Lapiths. Pirithous had heard stories of Theseus's courage and strength in battle but wanted proof so he rustled Theseus's herd of cattle and drove it from Marathon and Theseus set out in pursuit. Pirithous took up his arms and the pair met to do battle but were so impressed with each other's gracefulness, beauty and courage they took an oath of friendship and joined the Calydonian boar hunt.


title: Theseus

text: In "Iliad" I, Nestor numbers Pirithous and Theseus "of heroic fame" among an earlier generation of heroes of his youth, "the strongest men that Earth has bred, the strongest men against the strongest enemies, a savage mountain-dwelling tribe whom they utterly destroyed." No trace of such an oral tradition, which Homer's listeners would have recognized in Nestor's allusion, survived in the literary epic. Later, Pirithous was preparing to marry Hippodamia. The centaurs were guests at the wedding feast, but got drunk and tried to abduct the women, including Hippodamia. The Lapiths won the ensuing battle.


title: Theseus

text: In Ovid's "Metamorphoses" Theseus fights against and kills Eurytus, the "fiercest of all the fierce centaurs" at the wedding of Pirithous and Hippodamia.


title: Theseus

text: Also according to Ovid, Phaedra, Theseus' wife, felt left out by her husband's love for Pirithous and she used this as an excuse to try to convince her stepson, Hippolytus, to accept being her lover, as Theseus also neglected his son because he preferred to spend long periods with his companion.


title: Theseus

text: Theseus, a great abductor of women, and his bosom companion, Pirithous, since they were sons of Zeus and Poseidon, pledged themselves to marry daughters of Zeus. Theseus, in an old tradition, chose Helen, and together they kidnapped her, intending to keep her until she was old enough to marry. Pirithous chose Persephone, even though she was already married to Hades, king of the underworld. They left Helen with Theseus's mother, Aethra at Aphidna, whence she was rescued by the Dioscuri.


title: Theseus

text: On Pirithous's behalf they rather unwisely traveled to the underworld, domain of Persephone and her husband Hades. As they wandered through the outskirts of Tartarus, Theseus sat down to rest on a rock. As he did so he felt his limbs change and grow stiff. He tried to rise but could not. He was fixed to the rock. As he turned to cry out to his friend, he saw that Pirithous too was crying out. Around him gathered the terrible band of Furies with snakes in their hair, torches, and long whips in their hands. Before these monsters, the hero's courage failed and he was led away to eternal punishment.


title: Theseus

text: For many months in half-darkness, Theseus sat immovably fixed to the rock, mourning for both his friend and for himself. In the end, he was rescued by Heracles who had come to the underworld for his 12th task. There he persuaded Persephone to forgive him for the part he had taken in the rash venture of Pirithous. So Theseus was restored to the upper air but Pirithous never left the kingdom of the dead, for when Heracles tried to free Pirithous, the underworld shook. They then decided the task was beyond any hero and left. When Theseus returned to Athens, he found that the Dioscuri had taken Helen and Aethra to Sparta.


title: Theseus

text: Phaedra, Theseus' second wife and the daughter of King Minos, bore Theseus two sons, Demophon and Acamas. While these two were still in their infancy, Phaedra fell in love with Hippolytus, Theseus' son by the Amazon queen Hippolyta. According to some versions of the story, Hippolytus had scorned Aphrodite to become a follower of Artemis, so Aphrodite made Phaedra fall in love with him as punishment. He rejected her out of chastity.


title: Theseus

text: Alternatively, in Euripides' version, "Hippolytus", Phaedra's nurse told Hippolytus of her mistress's love and he swore he would not reveal the nurse as his source of information. To ensure that she would die with dignity, Phaedra wrote to Theseus on a tablet claiming that Hippolytus had raped her before hanging herself. Theseus believed her and used one of the three wishes he had received from Poseidon against his son. The curse caused Hippolytus' horses to be frightened by a sea monster, usually a bull, and drag their rider to his death. Artemis would later tell Theseus the truth, promising to avenge her loyal follower on another follower of Aphrodite.


title: Theseus

text: In a version recounted by the Roman playwright Seneca, entitled "Phaedra", after Phaedra told Theseus that Hippolytus had raped her, Theseus called upon Neptune (as he did Poseidon in Euripides' interpretation) to kill his son. Upon hearing the news of Hippolytus' death at the hands of Neptune's sea monster, Phaedra died by suicide out of guilt, for she had not intended for Hippolytus to die.


title: Theseus

text: In yet another version, Phaedra simply told Theseus Hippolytus had raped her and did not kill herself. Dionysus sent a wild bull that terrified Hippolytus's horses.


title: Theseus

text: A cult grew up around Hippolytus, associated with the cult of Aphrodite. Girls who were about to be married offered locks of their hair to him. The cult believed that Asclepius had resurrected Hippolytus and that he lived in a sacred forest near Aricia in Latium.


title: Theseus

text: According to some sources, Theseus also was one of the Argonauts, although Apollonius of Rhodes states in the "Argonautica" that Theseus was still in the underworld at this time. Both statements are inconsistent with Medea being Aegeus' wife by the time Theseus first came to Athens. With Phaedra, Theseus fathered Acamas, who was one of those who hid in the Trojan Horse during the Trojan War. Theseus welcomed the wandering Oedipus and helped Adrastus to bury the Seven against Thebes.


title: Theseus

text: Lycomedes of the island of Skyros threw Theseus off a cliff after he had lost popularity in Athens. In 475 BCE, in response to an oracle, Cimon of Athens, having conquered Skyros for the Athenians, identified as the remains of Theseus "a coffin of a great corpse with a bronze spear-head by its side and a sword." (Plutarch, "Life of Theseus"). The remains found by Cimon were reburied in Athens. The early modern name "Theseion" (Temple of Theseus) was mistakenly applied to the Temple of Hephaestus which was thought to be the actual site of the hero's tomb.


title: Peter Bogdanovich

text: Peter Bogdanovich (July 30, 1939 – January 6, 2022) was an American director, writer, actor, producer, critic, and film historian.


title: Peter Bogdanovich

text: One of the "New Hollywood" directors, Bogdanovich started as a film journalist until he was hired to work on Roger Corman's "The Wild Angels" (1966). After that film's success, he directed his own film "Targets" (1968), which received critical acclaim. He gained widespread recognition and further acclaim for his coming-of-age drama "The Last Picture Show" (1971). The film received eight Academy Award nominations, including for the Best Picture, with Bogdanovich receiving nominations for Best Director and Best Adapted Screenplay, and Ben Johnson and Cloris Leachman winning Oscars for their supporting roles.


title: Peter Bogdanovich

text: Following "The Last Picture Show", he directed the screwball comedy "What's Up, Doc?" (1972), a major box office success, and another critical and commercial success, "Paper Moon" (1973), which earned him a Golden Globe Award for Best Director nomination. His following three films were all critical and commercial failures, including "Daisy Miller" (1974). He took a three-year hiatus and then returned with cult films "Saint Jack" (1979) and "They All Laughed" (1981). After his girlfriend Dorothy Stratten's murder, he took another four-year hiatus from filmmaking and wrote a memoir on her death titled "The Killing of the Unicorn" before making a comeback with "Mask" (1985), a critical and commercial success. He later went on to direct films such as "Noises Off" (1992), "The Thing Called Love" (1993), "The Cat's Meow" (2001), and "She's Funny That Way" (2014). As an actor, he was known for his roles in HBO series "The Sopranos" and Orson Welles's last film, "The Other Side of the Wind" (2018), which he also helped to finish. He received a Grammy Award for Best Music Film for directing the Tom Petty documentary "Runnin' Down a Dream" (2007).


title: Peter Bogdanovich

text: An accomplished film historian, he directed documentaries such as "Directed by John Ford" (1971) and "" (2018), and published over ten books, some of which include in-depth interviews with friends Howard Hawks and Alfred Hitchcock. Bogdanovich's works have been cited as important influences by many major filmmakers.


title: Peter Bogdanovich

text: Peter Bogdanovich was born in Kingston, New York, the son of Herma (née Robinson) and Borislav Bogdanovich, a pianist and painter. His mother was of Austrian Jewish descent and his father was a Serb. Bogdanovich was fluent in Serbian, having learned it before English. He had an older brother who died in an accident in 1938, at eighteen months of age, after a pot of boiling soup fell on him, though Bogdanovich did not learn about his brother until he was seven and did not know the circumstances of his death until he was an adult. His parents both arrived in the U.S. in May 1939 on visitors' visas, along with his mother's immediate family, three months before the onset of World War II. In 1952, when he was twelve, Bogdanovich began keeping a record of every film he saw on index cards, complete with reviews; he continued to do so until 1970. He saw up to four hundred films a year. He graduated from New York City's Collegiate School in 1957 and studied acting at the Stella Adler Conservatory.


title: Peter Bogdanovich

text: In the early 1960s, Bogdanovich was known as a film programmer at the Museum of Modern Art in New York City, where he programmed influential retrospectives and wrote monographs for the films of Orson Welles, John Ford, Howard Hawks, and Alfred Hitchcock. Bogdanovich also brought attention to Allan Dwan, a pioneer of American film who had fallen into obscurity by then, in a 1971 retrospective Dwan attended. He also programmed for New Yorker Theater.


title: Peter Bogdanovich

text: Before becoming a director, he wrote for "Esquire", "The Saturday Evening Post", and "Cahiers du Cinéma" as a film critic. These articles were collected in "Pieces of Time" (1973).


title: Peter Bogdanovich

text: In 1966, following the example of "Cahiers du Cinéma" critics François Truffaut, Jean-Luc Godard, Claude Chabrol, and Éric Rohmer, who had created the Nouvelle Vague ("New Wave") by making their own films, Bogdanovich decided to become a director. Encouraged by director Frank Tashlin, whom he would interview in his book "Who the Devil Made It", Bogdanovich headed for Los Angeles with his wife Polly Platt and in so doing, left his rent unpaid.


title: Peter Bogdanovich

text: Intent on breaking into the industry, Bogdanovich would ask publicists for movie premiere and industry party invitations. At one screening, Bogdanovich was viewing a film and director Roger Corman was sitting behind him. The two struck up a conversation when Corman mentioned he liked a cinema piece Bogdanovich wrote for "Esquire". Corman offered him a directing job, which Bogdanovich accepted immediately. He worked with Corman on "Targets", which starred Boris Karloff, and "Voyage to the Planet of Prehistoric Women", under the pseudonym Derek Thomas. Bogdanovich later said of the Corman school of filmmaking, "I went from getting the laundry to directing the picture in three weeks. Altogether, I worked 22 weeks – preproduction, shooting, second unit, cutting, dubbing – I haven't learned as much since."


title: Peter Bogdanovich

text: Returning to journalism, Bogdanovich struck up a lifelong friendship with Orson Welles while interviewing him on the set of Mike Nichols's "Catch-22". Bogdanovich played a major role in reviving Welles and his career with his writings on the actor-director, including his book "This is Orson Welles". In the early 1970s, when Welles was having financial problems, Bogdanovich let him stay at his Bel Air mansion for a couple of years.


title: Peter Bogdanovich

text: In 1970, Bogdanovich was commissioned by the American Film Institute to direct a documentary about John Ford for their tribute, "Directed by John Ford". The resulting film included candid interviews with John Wayne, James Stewart, and Henry Fonda, and was narrated by Orson Welles. Out of circulation for years due to licensing issues, Bogdanovich and TCM released it in 2006, re-edited it to make it "faster and more incisive", with additional interviews with Clint Eastwood, Walter Hill, Harry Carey Jr., Martin Scorsese, Steven Spielberg, and others.


title: Peter Bogdanovich

text: Much of the inspiration that led Bogdanovich to his cinematic creations came from early viewings of the film "Citizen Kane". In an interview with Robert K. Elder, author of "The Film That Changed My Life", Bogdanovich explains his appreciation of Orson Welles's work:It's just not like any other movie you know. It's the first modern film: fragmented, not told straight ahead, jumping around. It anticipates everything that's being done now, and which is thought to be so modern. It's all become really decadent now, but it was certainly fresh then.


title: Peter Bogdanovich

text: The 32-year-old Bogdanovich was hailed by critics as a "Wellesian" wunderkind when his best-received film, "The Last Picture Show", was released in 1971. The film earned eight Academy Award nominations, including Best Director, and won two statues, for Cloris Leachman and Ben Johnson in the supporting acting categories. Bogdanovich co-wrote the screenplay with Larry McMurtry, and it won the 1971 BAFTA award for Best Screenplay. Bogdanovich cast the 21-year-old model Cybill Shepherd in a major role in the film and fell in love with her, an affair leading to his divorce from Polly Platt, his longtime artistic collaborator and the mother of his two daughters.


title: Peter Bogdanovich

text: Bogdanovich followed up "The Last Picture Show" with the screwball comedy "What's Up, Doc?", starring Barbra Streisand and Ryan O'Neal. Bogdanovich then formed The Directors Company with Francis Ford Coppola and William Friedkin and co-owned by Paramount Pictures. Paramount allowed the directors to make a minimum of twelve films with a budget of $3 million each. It was through this entity that Bogdanovich's "Paper Moon" was produced.


title: Peter Bogdanovich

text: "Paper Moon", a Depression-era comedy starring Ryan O'Neal that won his 10-year-old daughter Tatum O'Neal an Oscar as Best Supporting Actress, proved the high-water mark of Bogdanovich's career. Forced to share the profits with his fellow directors, Bogdanovich became dissatisfied with the arrangement. The Directors Company subsequently produced only two more pictures, Coppola's "The Conversation" (1974, which was nominated for Best Picture in 1974 alongside "The Godfather Part II"), and Bogdanovich's Cybill Shepherd-starring "Daisy Miller", which had a lackluster critical reception and was a disappointment at the box—office. The partners of The Directors Company all went their separate ways after the production of "Daisy Miller".


title: Peter Bogdanovich

text: Bogdanovich's next effort, "At Long Last Love", was a musical starring Shepherd and Burt Reynolds. Both that and his next film, "Nickelodeon", were critical and box-office disasters, severely damaging his standing in the film community. Reflecting upon his recent career, Bogdanovich said in 1976, "I was dumb. I made a lot of mistakes."


title: Peter Bogdanovich

text: In 1975, he sued Universal for breaching a contract to produce and direct "Bugsy". He then took a few years off, then returned to directing with a lower-budgeted film, "Saint Jack", which was filmed in Singapore and starred Ben Gazzarra in the title role. The film earned critical praise, although was not a box-office hit. The making of this film marked the end of his romantic relationship with Cybill Shepherd.


title: Peter Bogdanovich

text: Bogdanovich's next film was the romantic comedy "They All Laughed" which featured Dorothy Stratten, a former model and "Playboy" Playmate of the Month for August 1979 and Playmate of the Year in 1980, who began a romantic relationship with Bogdanovich. Bogdanovich took over distribution of "They All Laughed" himself. He later blamed this for why he had to file for bankruptcy in 1985. He declared he had a monthly income of $75,000 and monthly expenses of $200,000.


title: Peter Bogdanovich

text: Stratten was murdered by her estranged husband shortly after filming completed. Following her death, Bogdanovich began writing "The Killing of the Unicorn – Dorothy Stratten 1960–1980", a memoir detailing the relationship between Bogdanovich and Stratten, the making of "They All Laughed" and Stratten's murder. Bogdanovich says he wrote the book for himself, "I wanted to understand what happened to her. I felt I couldn't move forward with my life, creative or otherwise until I did." Bogdanovich says the book was meant to be delivered to William Morrow in August 1982 "but new facts kept coming to light and so it was delayed. I did more and more rewriting. In all, I suppose, I wrote the book five times." The book was eventually published in 1984.


title: Peter Bogdanovich

text: Teresa Carpenter's "Death of a Playmate" article about Dorothy Stratten's murder was published in "The Village Voice" and won the 1981 Pulitzer Prize, and while Bogdanovich did not criticize Carpenter's article in his book, she had lambasted both Bogdanovich and "Playboy" mogul Hugh Hefner, claiming that Stratten was a victim of them as much as of her husband, Paul Snider, who killed her and himself. Carpenter's article served as the basis of Bob Fosse's film "Star 80". Bogdanovich opposed the production and refused to allow the film to use his name. He was portrayed as the fictional "Aram Nicholas", and he threatened litigation if he found the character objectionable.


title: Peter Bogdanovich

text: Hefner retaliated by accusing Bogdanovich of seducing Stratten's younger sister Louise, shortly after the murder, when she was 13. Bogdanovich vehemently denied the accusation. On December 30, 1988, the 49-year-old Bogdanovich married 20-year-old Louise, sparking a tabloid frenzy. The couple divorced in 2001.


title: Peter Bogdanovich

text: Bogdanovich returned to directing officially with "Mask", released in 1985 to critical acclaim. "Mask" was released with a song score by Bob Seger against Bogdanovich's wishes (he favored Bruce Springsteen). A director's cut of the film, slightly longer and with Springsteen's songs, was belatedly released on DVD in 2004.


title: Peter Bogdanovich

text: In 1990, Bogdanovich adapted Larry McMurtry’s novel "Texasville", a sequel to "The Last Picture Show", into a film. It is set 33 years after the events of "The Last Picture Show", and Jeff Bridges and Cybill Shepherd both reprised their roles as Duane and Jacy. It was a critical and box office disappointment relative to the first film. Bogdanovich often complained that the version of "Texasville" that was released was not the film he had intended. His cut of "Texasville" was later released on LaserDisc, and the theatrical cut was released on DVD by MGM in 2005. After the release of "Texasville", Bogdanovich revisited "The Last Picture Show" and produced a modified director's cut for Criterion which includes seven minutes of previously unseen footage and re-edited scenes.


title: Peter Bogdanovich

text: In 1991, Bogdanovich developed an alternative calendar, titled "A Year and a Day: Goddess Engagement Calendar". The calendar consisted of 13 months of 28 days and a bonus day to equal 365 days. Each month was named after a different species of tree. Bogdanovich attributed his inspiration for the calendar to the works of Robert Graves.


title: Peter Bogdanovich

text: Bogdanovich directed two more theatrical films in 1992 and 1993, but neither of these films recaptured the success of his early career. One, "Noises Off", based on the Michael Frayn play, while another, "The Thing Called Love", is better known as one of River Phoenix's last roles before his death. In the mid-90s, Bogdanovich began to work in television, directing films such as "To Sir, with Love II". In 1997, he declared bankruptcy again. Drawing from his encyclopedic knowledge of film history, he authored several critically lauded books, including "Peter Bogdanovich's Movie of the Week", which offered the lifelong cinephile's commentary on 52 of his favorite films, and "Who The Devil Made It: Conversations with Legendary Film Directors" and "Who the Hell's in It: Conversations with Hollywood's Legendary Actors", both based on interviews with directors and actors.


title: Peter Bogdanovich

text: In 2001, Bogdanovich resurfaced with "The Cat's Meow". Returning once again to a reworking of the past, this time the alleged killing of director Thomas Ince by William Randolph Hearst. The film was a modest critical success but made little money at the box-office. Bogdanovich said that he was told the story of the alleged Ince murder by Welles, who in turn said he heard it from writer Charles Lederer.


title: Peter Bogdanovich

text: In addition to directing some television work, Bogdanovich returned to acting with a recurring guest role on the cable television series "The Sopranos", playing Dr. Melfi's psychotherapist, also later directing a fifth-season episode. He had a voice role, as Bart Simpson's therapist's analyst in an episode of "The Simpsons", and appeared as himself in the "Robots Versus Wrestlers" episode of "How I Met Your Mother". Quentin Tarantino cast Bogdanovich as a disc jockey in "" and "". "Quentin knows, because he's such a movie buff, that when you hear a disc jockey's voice in my pictures, it's always me, sometimes doing different voices", said Bogdanovich. "So he called me and he said, 'I stole your voice from "The Last Picture Show" for the rough cut, but I need you to come down and do that voice again for my picture ... '" He hosted "The Essentials" on Turner Classic Movies, but was replaced in May 2006 by TCM host Robert Osborne and film critic Molly Haskell. Bogdanovich hosted introductions to movies on Criterion Collection DVDs, and had a supporting role in "Out of Order".


title: Peter Bogdanovich

text: In 2006, Bogdanovich joined forces with ClickStar, where he hosted a classic film channel, Peter Bogdanovich's Golden Age of Movies. Bogdanovich also wrote a blog for the site. In 2003, he appeared in the BBC documentary "Easy Riders, Raging Bulls", and in 2006 he appeared in the documentary "Wanderlust". The following year, Bogdanovich was presented with an award for outstanding contribution to film preservation by the International Federation of Film Archives (FIAF) at the Toronto International Film Festival.


title: Peter Bogdanovich

text: In 2010, Bogdanovich joined the directing faculty at the School of Filmmaking at the University of North Carolina School of the Arts. On April 17, 2010, he was awarded the Master of Cinema Award at the 12th Annual RiverRun International Film Festival. In 2011, he was given the Auteur Award by the International Press Academy, which is awarded to filmmakers whose singular vision and unique artistic control over the elements of production give a personal and signature style to their films.


title: Peter Bogdanovich

text: In 2012, Bogdanovich made news with an essay in "The Hollywood Reporter", published in the aftermath of the Aurora, Colorado theater shooting, in which he argued against excessive violence in the movies:


title: Peter Bogdanovich

text: In 2014, Bogdanovich's last narrative film, "She's Funny That Way", was released in theaters and on-demand, followed by the documentary, "" in 2018. In 2018, Orson Welles' long-delayed film "The Other Side of the Wind", which was filmed in the 1970s and featured a prominent supporting role by Boganovich, who had long hoped to complete it, was released by Netflix to critical acclaim.


title: Peter Bogdanovich

text: He collaborated with Turner Classic Movies, and TCM host Ben Mankiewicz, to create a documentary podcast about his life, which premiered in 2020.


title: Peter Bogdanovich

text: In 2020, a copy of Bogdanovich's original cut of "She's Funny That Way", originally titled "Squirrels to the Nuts", was found on eBay. In the wake of Bogdanovich's death in January 2022, the cut was shown at New York's Museum of Modern Art beginning on March 28, 2022.


title: Peter Bogdanovich

text: Weeks before his death in January 2022, Bogdanovich collaborated with Kim Basinger to create "LIT Project 2: Flux", a first of its kind short film made available on the Ethereum blockchain as a non-fungible token. The project was scheduled to be released on January 25, 2022.


title: Peter Bogdanovich

text: Bogdanovich died from complications of Parkinson's disease at his home in Los Angeles on January 6, 2022, at the age of 82. Since his death, many directors, actors, and other public figures paid tribute to him, including Martin Scorsese, Francis Ford Coppola, Jennifer Aniston, Barbra Streisand, Cher, William Friedkin, Guillermo del Toro, James Gunn, Ellen Burstyn, Laura Dern, Joe Dante, Bryan Adams, Ben Stiller, Jeff Bridges, Michael Imperioli, Paul Feig and Viola Davis. Peter Bradshaw of "The Guardian" described him as "a loving cineaste and fearless genius of cinema." "The New York Times" described Bogdanovich as "[a genius] of the Hollywood system who, with great success and frustration, worked to transform it in the same era."


title: Peter Bogdanovich

text: His work has been cited as an influence by such filmmakers as Quentin Tarantino, David Fincher, Sofia Coppola, Wes Anderson, Noah Baumbach, Edgar Wright, M. Night Shyamalan, David O. Russell, James Mangold, Rian Johnson, and the Safdie brothers.


title: Monica Barbaro

text: Monica Barbaro (born June 18, 1990) is an American actress. Her major roles include season 2 of "UnREAL", "The Good Cop", and "."


title: Monica Barbaro

text: Barbaro was born on June 18, 1990, in San Francisco. She grew up in Mill Valley, California, where she graduated from Tamalpais High School in 2007. Her parents divorced when she was a child. Barbaro started dancing at an early age and would go on to study ballet. While taking electives in acting, she completed a degree in dance at the Tisch School of the Arts in New York City. After graduating in 2010, she decided to pursue acting and returned to San Francisco. There, she attended the Beverly Hills Playhouse acting school.


title: Monica Barbaro

text: Barbaro gained attention in 2013 for her lead role in "It's Not About the Nail", a viral comedy short about communication in a marriage. Her first major television role was portraying the character of Yael on the second season of the Lifetime television series "UnREAL". Following "UnREAL", Barbaro joined the cast of NBC legal drama "Chicago Justice", an entry in Dick Wolf's "Chicago" franchise, in which she portrayed Anna Valdez. In 2018, Barbaro also played Cora Vasquez on Netflix's "The Good Cop", alongside Josh Groban and Tony Danza. Between 2018 and 2019, Barbaro had a recurring part in the ABC sitcom "Splitting Up Together". In the 2022 blockbuster "", Barbaro portrayed Lieutenant Natasha "Phoenix" Trace, a naval aviator. Though it may have taken a back seat to her acting career, Barbaro shared that dancing is finding its way back into her life. "I'm bringing it all back because I realized I'm not getting any younger, so if there's a time to break out my dancing, it should be before it's too late." In addition to a dance scene in "At Midnight", scheduled for release in late 2022, she also claimed to be currently working on a movie heavily featuring dancing as a core plot point.


title: Howitzer

text: A howitzer () is a long-ranged weapon, falling between a cannon (also known as an artillery gun in the United States), which fires shells at flat trajectories, and a mortar, which fires at high angles of ascent and descent. Howitzers, like other artillery equipment, are usually organized in a group called a battery.


title: Howitzer

text: Howitzers, together with long-barreled guns, mortars, and rocket artillery, are the four basic types of modern artillery. Mortars fire at angles of elevation greater than 45°, and are useful for mountain warfare because the projectile could go over obstacles. Cannons fire at low angles of elevation (<45°), and the projectile lands much faster at its target than it would in the case of a mortar. But the cannon is not useful if there is an obstacle like a hill/wall in front of its target.


title: Howitzer

text: The English word "howitzer" comes from the Czech word , from , 'crowd', and is in turn a borrowing from the Middle High German word or (modern German ), meaning 'crowd, throng'. , sometimes in the compound , also designated a pike square formation in German.


title: Howitzer

text: In the Hussite Wars of the 1420s and 1430s, the Czechs used short-barreled cannons to fire at short distances into crowds of infantry, or into charging heavy cavalry, to make horses shy away. The word was rendered into German as in the earliest attested use in a document dating from 1440; later German renderings include and, eventually , from which derive the Scandinavian , Polish and Serbo-Croatian , Estonian , Finnish , Russian (), Ukrainian (), Italian , Spanish , Portuguese , French , Romanian and the Dutch word , which led to the English word "howitzer".


title: Howitzer

text: Since World War I, the word "howitzer" has been changing to describe artillery pieces that previously would have belonged to the category of gun-howitzers – relatively long barrels and high muzzle velocities combined with multiple propelling charges and high maximum elevations. This is particularly true in the armed forces of the United States, where gun-howitzers have been officially described as howitzers since circa World War II. Because of this practice, the word howitzer is used in some armies as a generic term for any kind of artillery piece that is designed to attack targets using indirect fire. Thus, artillery pieces that bear little resemblance to howitzers of earlier eras are now described as howitzers, although the British call them guns.


title: Howitzer

text: The British had a further method of nomenclature. In the 18th century, they adopted projectile weight for guns replacing an older naming system (such as "culverin", "saker", etc.) that had developed in the late 15th century. Mortars had been categorized by calibre in inches in the 17th century, and this was duplicated with howitzers.


title: Howitzer

text: The current U.S. military doctrine defines howitzers as any cannon artillery capable of both high-angle fire (45° to 90° elevation) and low-angle fire (0° to 45° elevation); guns are defined as being only capable of low-angle fire (0° to 45° elevation); and mortars are defined as being only capable of high-angle fire (45° to 90° elevation).


title: Howitzer

text: The first artillery identified as howitzers developed in the late 16th century as a medium-trajectory weapon between that of the flat trajectory (direct fire) of cannon and the high trajectory (indirect fire) of mortars. Originally intended for use in siege warfare, they were particularly useful for delivering cast iron shells filled with gunpowder or incendiary materials into the interior of fortifications. In contrast to contemporaneous mortars, which were fired at a fixed angle and were entirely dependent on adjustments to the size of propellant charges to vary range, howitzers could be fired at a wide variety of angles. Thus, while howitzer gunnery was more complicated than the technique of employing mortars, the howitzer was an inherently more flexible weapon that could fire its projectiles along a wide range of trajectories.


title: Howitzer

text: In the middle of the 18th century, a number of European armies began to introduce howitzers that were mobile enough to accompany armies in the field. Though usually fired at the relatively high angles of fire used by contemporary siege howitzers, these field howitzers were rarely defined by this capability. Rather, as the field guns of the day were usually restricted to inert projectiles (which relied entirely on momentum for their destructive effects), the field howitzers of the 18th century were chiefly valued for their ability to fire explosive shells. Many, for the sake of simplicity and rapidity of fire, dispensed with adjustable propellant charges.


title: Howitzer

text: The Abus gun was an early form of howitzer in the Ottoman Empire. In 1758, the Russian Empire introduced a specific type of howitzer (or rather gun-howitzer), with a conical chamber, called a licorne, which remained in service for the next 100 years. In the mid-19th century, some armies attempted to simplify their artillery parks by introducing smoothbore artillery pieces that were designed to fire both explosive projectiles and cannonballs, thereby replacing both field howitzers and field guns. The most famous of these "gun-howitzers" was the Napoleon 12-pounder, a weapon of French design that was extensively used in the American Civil War.


title: Howitzer

text: In 1859, the armies of Europe (including those that had recently adopted gun-howitzers) began to rearm field batteries with rifled field guns. These field pieces used cylindrical projectiles that, while smaller in caliber than the spherical shells of smoothbore field howitzers, could carry a comparable charge of gunpowder. Moreover, their greater range let them create many of the same effects (such as firing over low walls) that previously required the sharply curved trajectories of smoothbore field howitzers. Because of this, military authorities saw no point in obtaining rifled field howitzers to replace their smoothbore counterparts but instead used rifled field guns to replace both guns and howitzers.


title: Howitzer

text: In siege warfare, the introduction of rifling had the opposite effect. In the 1860s, artillery officers discovered that rifled siege howitzers (substantially larger than field howitzers) were a more efficient means of destroying walls (particularly walls protected by certain kinds of intervening obstacles) than smoothbore siege guns or siege mortars. Thus, at the same time armies were taking howitzers of one sort out of their field batteries, they were introducing howitzers of another sort into their siege trains and fortresses. The lightest of these weapons (later known as "light siege howitzers") had calibers around 150 mm and fired shells that weighed between 40 and 50 kilograms. The heaviest (later called "medium siege howitzers") had calibers between 200 mm and 220 mm and fired shells that weighed about 100 kilograms (220 pounds).


title: Howitzer

text: During the 1880s, a third type of siege howitzer was added to inventories of a number of European armies. With calibers that ranged between 240 mm and 270 mm and shells that weighed more than 150 kilograms, these soon came to be known as "heavy siege howitzers". A good example of a weapon of this class is provided by the 9.45-inch (240 mm) weapon that the British Army purchased from the Skoda works in 1899.


title: Howitzer

text: In the early 20th century, the introduction of howitzers that were significantly larger than the heavy siege howitzers of the day made necessary the creation of a fourth category, that of "super-heavy siege howitzers". Weapons of this category include the famous Big Bertha of the German Army and the 15-inch (381 mm) howitzer of the British Royal Marine Artillery. These large howitzers were transported mechanically rather than by teams of horses. They were transported as several loads and had to be assembled at their firing position.


title: Howitzer

text: These field howitzers introduced at the end of the 19th century could fire shells with high trajectories giving a steep angle of descent and, as a result, could strike targets that were protected by intervening obstacles. They could also fire shells that were about twice as large as shells fired by guns of the same size. Thus, while a 75 mm field gun that weighed one ton or so was limited to shells that weigh around 8 kg, a 105 mm howitzer of the same weight could fire 15 kg shells. This is a matter of fundamental mechanics affecting the stability and hence the weight of the carriage.


title: Howitzer

text: As heavy field howitzers and light siege howitzers of the late 19th and early 20th centuries used ammunition of the same size and types, there was a marked tendency for the two types to merge. At first, this was largely a matter of the same basic weapon being employed on two different mountings. Later, as on-carriage recoil-absorbing systems eliminated many of the advantages that siege platforms had enjoyed over field carriages, the same combination of barrel assembly, recoil mechanism and carriage was used in both roles.


title: Howitzer

text: By the early 20th century, the differences between guns and howitzers were relative, not absolute, and generally recognized as follows:


title: Howitzer

text: The onset of trench warfare after the first few months of the First World War greatly increased the demand for howitzers that gave a steep angle of descent, which were better suited than guns to the task of striking targets in a vertical plane (such as trenches), with large amounts of explosive and considerably less barrel wear. The German army was well equipped with howitzers, having far more at the beginning of the war than France.


title: Howitzer

text: Many howitzers introduced in the course of World War I had longer barrels than pre-war howitzers. The standard German light field howitzer at the start of the war (the 10.5 cm leichte Feldhaubitze 98/09) had a barrel that was 16 calibers long, but the light field howitzer adopted by the German Army in 1916 (105 mm leichte Feldhaubitze 16) had a barrel that was 22 calibers long. At the same time, new models of field gun introduced during that conflict, such as the 77 mm field gun adopted by the German Army in 1916 (7,7 cm Feldkanone 16) were often provided with carriages that allowed firing at comparatively high angles, and adjustable propellant cartridges.


title: Howitzer

text: In the years after World War I, the tendency of guns and howitzers to acquire each other's characteristics led to the renaissance of the concept of the gun-howitzer. This was a product of technical advances such as the French invention of autofrettage just before World War I, which led to stronger and lighter barrels, the use of cut-off gear to control recoil length depending on firing elevation angle, and the invention of muzzle brakes to reduce recoil forces. Like the gun-howitzers of the 19th century, those of the 20th century replaced both guns and howitzers. Thus, the 25-pounder "gun-howitzer" of the British Army replaced both the 18-pounder field gun and the 4.5-inch howitzer.


title: Howitzer

text: During World War II, the military doctrine of Soviet deep battle called for extensive use of heavy artillery to hold the formal line of front. Soviet doctrine was remarkably different from the German doctrine of Blitzkrieg and called for a far more extensive use of artillery. As a result, howitzers saw most of the action on the Eastern front. Most of the howitzers produced by the USSR at the time were not self-propelled. Notable examples of Soviet howitzers include the M-10, M-30 and D-1.


title: Howitzer

text: Since World War II, most of the artillery pieces adopted by armies for attacking targets on land have combined the traditional characteristics of guns and howitzers—high muzzle velocity, long barrels, long range, multiple charges and maximum elevation angles greater than 45 degrees. The term "gun-howitzer" is sometimes used for these (e.g., in Russia); many nations use "howitzer", while the UK (and most members of The Commonwealth of Nations) calls them "guns", for example Gun, 105 mm, Field, L118.


title: Star Trek Beyond

text: Star Trek Beyond is a 2016 American science fiction action film directed by Justin Lin, written by Simon Pegg and Doug Jung, and based on the television series "Star Trek" created by Gene Roddenberry. It is the 13th film in the "Star Trek" franchise and the third installment in the reboot series, following "Star Trek" (2009) and "Star Trek Into Darkness" (2013). Chris Pine and Zachary Quinto reprise their respective roles as Captain James T. Kirk and Commander Spock, with Pegg, Karl Urban, Zoe Saldana, John Cho, and Anton Yelchin reprising their roles from the previous films. This was one of Yelchin's last films; he died in June 2016, a month before the film's release. Idris Elba, Sofia Boutella, Joe Taslim, and Lydia Wilson also appear.


title: Star Trek Beyond

text: Principal photography began in Vancouver on June 25, 2015. The film premiered in Sydney on July 7, 2016, and was released in the United States on July 22, 2016, by Paramount Pictures. The film is dedicated to the memory of Yelchin, as well as to actor Leonard Nimoy, who died during pre-production. The film grossed $343.5 million at the box office, and received positive reviews with praise for Lin's direction, the acting, action sequences, musical score, and visual effects. At the 89th Academy Awards, the film was nominated for Best Makeup and Hairstyling.


title: Star Trek Beyond

text: The Federation starship USS "Enterprise" arrives at starbase "Yorktown", for resupply and shore leave for its crew. Struggling to find meaning in their exploration, Captain James T. Kirk has applied for a promotion to vice admiral; he recommends Spock as his replacement. Meanwhile, Hikaru Sulu reunites with his family, Montgomery Scott works to keep the ship operational, and Spock and Nyota Uhura have ended their relationship; Spock also receives word from New Vulcan that Ambassador Spock has died.


title: Star Trek Beyond

text: "Enterprise" is dispatched on a rescue mission after an escape pod drifts out of a nearby uncharted nebula. Its occupant, Kalara, claims her ship is stranded on Altamid, a planet in the nebula. Upon arrival, a massive swarm of small ships ambushes the "Enterprise" and quickly tears it apart. The swarm's leader, Krall, and his crew board the crippled "Enterprise", capture and kill many crew members, and attempt to capture the Abronath, a relic recovered during a recent mission. Kirk orders the crew to abandon ship, leaving the disintegrating "Enterprise" saucer section to crash on Altamid.


title: Star Trek Beyond

text: On the planet, Krall captures Sulu, Uhura, and other survivors. Kirk and Pavel Chekov, accompanied by Kalara, locate the "Enterprise"s saucer section. Knowing that Kalara knew they would be attacked, Kirk tricks her into revealing herself as Krall's spy. She is killed when Kirk and Chekov escape Krall's soldiers and flip the "Enterprise" saucer, crushing her. Elsewhere on the planet, Dr. Leonard McCoy and a wounded Spock search for other survivors. Spock tells McCoy that he ended his relationship with Uhura and is leaving Starfleet to help the Vulcan survivors and continue the late Ambassador Spock's work. Jaylah, a scavenger who previously escaped Krall's encampment where her father was killed, rescues Scott and takes him to her makeshift home, the grounded USS "Franklin", an early Starfleet vessel reported missing over a century earlier. Scott is reunited with Kirk, Chekov, McCoy and Spock. Krall coerces the captive "Enterprise" crew to hand over the Abronath, then uses it to complete an ancient bioweapon. With the device complete, Krall intends to kill "Yorktown"s inhabitants, then use the base to attack the United Federation of Planets. Kirk and the others free the crew as Krall launches into space with the bioweapon, leading his drones to "Yorktown".


title: Star Trek Beyond

text: The "Enterprise" survivors power up the "Franklin" and launch her in pursuit of Krall. Theorizing the swarm's system may be vulnerable to high frequencies such as VHF or radio, they jam and destroy the swarm by broadcasting the song "Sabotage" by the Beastie Boys. Krall is chased by the "Franklin" through "Yorktown". Uhura, Kirk and Scotty discover from the "Franklin"s logs that Krall is actually Balthazar Edison, "Franklin"s former captain. A pre-Federation human soldier, Edison rejected the Federation's principles of unity and cooperation with former enemies like the Xindi and the Romulans. When he and his crew were stranded on Altamid by a wormhole, the survivors used the extinct natives' technology to prolong their lives at the cost of the others and re-purposed the ancient race's dormant mining drone workers into the swarm. Thinking the Federation had abandoned them, Edison planned to destroy the Federation and resume galactic conflict. Kirk pursues Edison into "Yorktown"s ventilation system, where Edison activates the bioweapon. Before it can spread, Kirk ejects it and Edison into space, where the weapon disintegrates Edison. Using a commandeered alien ship, Spock and McCoy save Kirk moments before he is also blown into space.


title: Star Trek Beyond

text: In the aftermath, Commodore Paris closes the files of Captain Edison and the USS "Franklin" crew. Though offered the promotion to vice admiral, Kirk decides to remain as a captain; Spock chooses to remain in Starfleet and renews his relationship with Uhura. On Kirk's recommendation, Jaylah is accepted into Starfleet Academy. As the crew celebrates Kirk's birthday, they watch the construction of their new ship, the USS "Enterprise"-A—and resume their mission.


title: Star Trek Beyond

text: Leonard Nimoy appears in a photo cameo as Spock Prime, alongside George Takei, Walter Koenig, William Shatner, James Doohan, DeForest Kelley, and Nichelle Nichols as the Prime versions of Sulu, Chekov, Kirk, Scott, McCoy, and Uhura, respectively. Jeff Bezos cameos as an alien Starfleet official. Carlo Ancelotti has a brief cameo as a doctor at Starbase "Yorktown".


title: Star Trek Beyond

text: Abrams returned only as a producer so he could focus on directing "". Writer-producer Roberto Orci was announced as director in May 2014. He would have been making his directorial debut. However, in December, Orci's role was also listed as a producer only, with Edgar Wright considered to replace him as director, along with a shortlist of others, including Rupert Wyatt, Morten Tyldum, Daniel Espinosa, Justin Lin and Duncan Jones. Also, "Star Trek" actor and director Jonathan Frakes expressed interest in the job. At the end of the month, Lin was announced as director of the third installment.


title: Star Trek Beyond

text: In 2013, Orci had begun writing the script with Patrick McKay and J. D. Payne, with Payne saying of the script in March, "We really want to get back to the sense of exploration and wonder. The kind of optimistic sense of the future that "Star Trek" has always kind of had at its core. It's the Chicago Bulls in space, in terms of these people who are all awesome at their job." In January 2015, after Orci's departure as director, Simon Pegg and Doug Jung were hired to rewrite the screenplay, with Pegg saying on the previous draft, Paramount "had a script for "Star Trek" that wasn't really working for them. I think the studio was worried that it might have been a little bit too "Star Trek"-y." Pegg had been asked to make the new film "more inclusive", stating that the solution was to "make a western or a thriller or a heist movie, then populate that with "Star Trek" characters so it's more inclusive to an audience that might be a little bit reticent."


title: Star Trek Beyond

text: The first film's major cast members signed on for two sequels as part of their original deals. In 2014, early in the film's development, William Shatner said that he was contacted by producer Abrams to see if he would be interested in a possible role, but as the process continued and the script changed hands, the role never materialized. Alice Eve was not included in the film despite her character having joined the "Enterprise" crew at the end of the last installment, because Pegg, in writing the script, did not have anything meaningful for her to do; however, he stressed that Eve could appear in a later installment. Joseph Gatt's cyborg Science Officer 0718 was dropped from the film after a rewrite. In March 2015, Idris Elba was in early talks to play the villain, and he was confirmed for the role in the following months. Pegg noted that the villain would be an original one, rather than a known antagonist from past stories in the "Star Trek" franchise. In April, Sofia Boutella joined the cast in a lead role, and in early July, Deep Roy was confirmed to reprise his role of Keenser. That month, Joe Taslim was added to the cast opposite Elba's villain, and by August, Lydia Wilson joined as well. In March 2016, Shohreh Aghdashloo was cast as Commodore Paris for reshoots on the film.


title: Star Trek Beyond

text: Principal photography on the film began on June 25, 2015, in Vancouver, and Squamish, British Columbia, after several delays caused by multiple script rejections. Additional filming locations were Seoul, South Korea, and Dubai, United Arab Emirates. Principal filming ended on October 15, 2015. In March 2016, production underwent reshoots, with Aghdashloo added to the cast.


title: Star Trek Beyond

text: The visual effects are provided by Atomic Fiction, DNEG and Kelvin Optical and Supervised by Kevin Baillie, Ryan Tudhope, Pauline Duvall and Peter Chiang as the Production Supervisor with help from Rodeo FX.


title: Star Trek Beyond

text: In August 2015, composer Michael Giacchino confirmed that he would return to write the score. On June 26, 2016, singer Rihanna released a teaser across her social media accounts for a single for the film entitled "Sledgehammer", and the song premiered the following day. The Beastie Boys' "Sabotage" was used in the movie's trailer, as well as the final battle scene.


title: Star Trek Beyond

text: A teaser trailer for the film was released on December 14, 2015, and was criticized by some fans for focusing too much on action, and for featuring the Beastie Boys song "Sabotage", which many considered out of place, despite its use in the first film of the rebooted series. Pegg expressed similar thoughts of dissatisfaction with the teaser, saying that he "didn't love it" because "I know there's a lot more to the film." He interpreted the trailer to be a way of the marketing team saying, "Come and see this movie! It's full of action and fun!" A second trailer was released on May 20, 2016, to warmer reviews. A third and final trailer was released on June 27, 2016, featuring Rihanna's single "Sledgehammer".


title: Star Trek Beyond

text: The film was released in 2D, RealD 3D, IMAX 3D and Barco Escape. In August 2014, it was announced that Paramount had pushed back the release of the film to 2016, for the 50th anniversary celebration of the debut of Gene Roddenberry's original sci-fi series. In December, it was announced that the film was to be released on July 8, 2016. In September 2015, the film's release date was pushed back to July 22, 2016. The film was released in Dolby Cinema format in selected theaters. The film had its Australian premiere in Sydney on July 7.


title: Star Trek Beyond

text: "Star Trek Beyond" was released on Digital HD on October 4, 2016, and on Ultra HD Blu-ray, Blu-ray and DVD on November 1, 2016.


title: Star Trek Beyond

text: "Star Trek Beyond" underperformed financially at the box office. Scott Mendelson of "Forbes" observed that one factor contributing to the film's underperformance was its untimely release in a crowded summer in which it was surrounded by other films like "Ghostbusters", "Jason Bourne" and "Suicide Squad". He also noted that had Paramount released the film for the "Star Trek"s 50th anniversary on September 8, the film could have benefited from that occasion, as demonstrated in October 2012 when MGM released the James Bond film "Skyfall" (which went on to gross over $1 billion) for that series' 50th anniversary.


title: Star Trek Beyond

text: "Star Trek Beyond" grossed $158.8 million in the United States and Canada and $184.6 million in other countries for a worldwide total of $343.5 million, against a production budget of $185 million. It had a global opening of $89.2 million and an IMAX opening of $11.6 million on 571 IMAX screens. Industry analyst Danny Cox had previously estimated that in order for the film to break even, it would have to earn $340–350 million worldwide, and ended losing an estimated $50.5 million.


title: Star Trek Beyond

text: In the United States and Canada, the film was projected to gross $50–60 million from 3,928 theaters in its opening weekend. It opened alongside "" and "Lights Out", but critics noted that the film did not face any direct competition with them. It opened across 3,928 theaters, of which 391 were IMAX. It made $5.5 million from Thursday previews from 3,100 theaters, an improvement over its two immediate predecessors. Of that, the film grossed $1.1 million on 387 IMAX screens. This includes revenues generated from Wednesday night, when Paramount screened all "Star Trek" films, which concluded with a 10pm screening of "Beyond". On its opening day, it earned $22.3 million, which is the second-biggest among the franchise, only behind "Star Trek" ($30.9 million), the third-biggest opening day of the summer for a live-action film and the second-biggest opening day of the year for a non-comic book superhero live-action film, behind only "The Jungle Book". It earned $59.3 million in its opening weekend, which is the third-biggest debut among the franchise but the lowest of the reboot series (behind "Star Trek" and "Star Trek Into Darkness" for both). Adjusted for inflation, it ranks fourth behind the aforementioned films and "" ($60 million). It performed exceptionally well in IMAX making $8.7 million in 387 IMAX screens. The film came in 14% lower than the opening of its immediate predecessor, "Star Trek Into Darkness", but box office experts noted that the fall was mild in comparison to other sequels of 2016 and is still considered a hit. It dropped precipitously by 69% on its second Friday and was overtaken by newcomer spy film "Jason Bourne", earning $6.75 million. By comparison, "Star Trek" dropped 56% on its first Friday while "Star Trek into Darkness" fell 53%. However, this was not the worst Friday-to-Friday drop for a "Star Trek" film, as "" plunged 83% on its second Friday due to negative word-of-mouth and heavy competition from "".


title: Star Trek Beyond

text: By the second and third weekend following the film's release, box office revenue continued to drop significantly due to the release of competing films like "Jason Bourne" and "Suicide Squad".


title: Star Trek Beyond

text: Internationally, the film received a scattered release pattern and was released across approximately 76 markets. It opened in 37 markets in conjunction with its North American release in its first weekend, including in the United Kingdom, Germany and Australia — territories where the franchise has traditionally performed well. It earned a total of $30 million from the said number of markets which is slightly lower than "Star Trek Into Darkness" $31.7 million international debut in 2013. Paramount said that the heatwave in Europe negatively impacted the weekend's results. "Beyond" debuted at first place in 16 of them and recorded the biggest opening weekend ever for the franchise in 17 markets, including Russia, Taiwan and Thailand. It debuted in third place overall at the international box office, behind "Skiptrace" and "The Legend of Tarzan". "Beyond" set numerous records in IMAX theaters. Led by very strong results in the UK and Russia, it grossed an estimated weekend of $3.2 million on 184 screens besting "Star Trek Into Darkness" $2.8 million debut. In its second weekend, it fell drastically by 57% earning $13 million. As a result, it slipped into sixth place at the box office. After fluctuating up and down the charts, it finally topped the international box office in its seventh weekend due to a robust debut in China and remained at the top for the second weekend in a row.


title: Star Trek Beyond

text: The highest international tallies were recorded in the United Kingdom, Ireland and Malta ($6.1 million), South Korea ($5.6 million), Germany ($4.5 million), Russia and the CIS ($3.3 million), Australia ($3 million), France ($2.1 million), Mexico ($1.5 million), Brazil ($1.6 million), Venezuela ($1.4 million) and Taiwan ($1 million). In the United Kingdom, where the performance of the franchise has been consistently solid, it was edged out by the family film "The BFG". Its £4.74 million ($6.2 million) opening from 535 theaters is the lowest among the rebooted series and a 31% decline from the £8.43 million ($11 million) opening posted by "Star Trek Into Darkness", if previews are deducted. "The Guardian" cited J. J. Abrams' departure as the director and fans' unenthusiastic response to Idris Elba as the villain (in comparison to Benedict Cumberbatch in "Star Trek Into Darkness") as some possible reasons why the film failed to generate lucrative revenue. The site also projected a total gross of around £20 million ($26 million+) for the film.


title: Star Trek Beyond

text: It opened in China on September 2, and earned an estimated $9.30 million on its opening day (representing 66% of the total marketplace), including $370,000 in midnight preview showings which is 160% larger than the opening day of "Star Trek Into Darkness" and $21.8 million in two days. In total, it had an opening weekend of $31.3 million (per Paramount) and $30.7 million (according to Chinese box office service Ent Group) from 6,259 screens, marking the biggest "Star Trek" debut in country which is 105% bigger than the opening of "Star Trek Into Darkness". It was the only one of five new releases to make any impression on the chart. It remained at the top of the box office for a second weekend by adding another $10.1 million (according to Chinese data provider Ent Group), or $11.37 million (according to Paramount) from 5,830 locations from Friday to Sunday, a steep decline of 62.6% from its previous weekend. It fell out of the top 10 in its third weekend, and has grossed a total of $64.2 million there. It is projected the film will end its run there anywhere around $70–100 million, a disappointing figure considering the robust marketing effort by investors Alibaba Pictures and Huahua Media. Thus, the film is the second Paramount film to underperform in that corner following "" in July.


title: Star Trek Beyond

text: In terms of total earnings, its biggest offshore markets are the United Kingdom ($13.3 million), Germany ($8.6 million), Russia and the CIS ($5.5 million) and Australia ($5.2 million). "Star Trek Beyond" opened in Japan on October 21, where it has earned $4.9 million as of 17 November 2016.


title: Star Trek Beyond

text: On Rotten Tomatoes, the film has an approval rating of 86% based on 310 reviews, with an average rating of 7.00/10. The website's critical consensus reads, ""Star Trek Beyond" continues the franchise's post-reboot hot streak with an epic sci-fi adventure that honors the series' sci-fi roots without skimping on the blockbuster action." On Metacritic, the film has a score of 68 out of 100, based on 50 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale, down from the first two films' "A".


title: Star Trek Beyond

text: Richard Roeper of the "Chicago Sun-Times" gave the film 3 stars out of 4 and said, "Even with its big-screen pyrotechnics and its feature-length running time, "Star Trek Beyond" plays like an extended version of one of the better episodes from the original series, and I mean that in the best possible way." Scott Collura of "IGN" awarded the film 8.4/10, describing it as being: "terrific, a fun and exciting entry in the series that balances subtle fan service while also feeling fresh and modern; "Star Trek Beyond" is the perfect way to celebrate the series’ 50th anniversary." David Rooney of "The Hollywood Reporter" said the screenplay by Simon Pegg and Doug Jung "injects a welcome strain of humor that's true to the original Gene Roddenberry creation, delivering nostalgia without stiff veneration", and went on by saying, "While "Beyond" won't unseat 1982's thrilling "" as the gold standard for "Star Trek" movies, it's a highly entertaining entry guaranteed to give the franchise continuing life." Owen Gleiberman of "Variety", in an otherwise positive review, described the film being: "a very familiar, old-fangled, no-mystery structure, and that's because it's basically the "Star Trek" version of an interplanetary action film, with a plot that doesn't take you to many new frontiers." Furthermore, he called "Star Trek Beyond" "a somewhat diverting place holder, but one hopes that the next "Star Trek" movie will have what it takes to boldly go where no "Star Trek" movie has gone before." Mark Hugues of "Forbes" said, ""Star Trek Beyond" is the third-best "Star Trek" film of all time, creating the sort of emotional connection and familiar, powerful characterizations we loved in the original series while delivering top-notch action and the best "Star Trek" movie villain since "First Contact"s Borg Queen."


title: Star Trek Beyond

text: Despite its international success, "Star Trek Beyond" was met by critics who were less taken with the film. Kyle Smith of the "New York Post" gave the film 1½ stars out of 4 and he commented that the filmmakers "should have called it "Star Trek Into Drowsiness."" Smith later added, ""Beyond" is tepid when it's trying to be emotional, moronic when it's trying to be thrilling and unfunny when it's trying to be non-unfunny. It lacks a storytelling module: Things just click into place when needed, as when Kirk commands Scotty to rev up a busted old spaceship, Scott says it's impossible, and 14 seconds later everything is ready to rip." James Berardinelli of "Reelviews" gave 2½ stars out of 4, writing: ""Star Trek Beyond" is a "Star Trek" movie, although not an especially good one; The action sequences are frenetic, kinetic, and, at times, incoherent. This isn't unexpected; it's Lin's trademark. But the plot, credited to Simon Pegg & Doug Jung, is pure "Trek". Unfortunately, it's also instantly forgettable." Dave Robinson of outlet "Crash Landed" writes that ""Star Trek Beyond" fails to push beyond its own roots and becomes just another very safe sci-fi popcorn movie in an increasingly crowded market, that will likely have you leaving the theatre feeling exactly as you entered." Chris Nashawaty of "Entertainment Weekly" gave the film a C+ and wrote, "[w]ith "Beyond", it feels like just another summer tentpole with not enough going on underneath the tent."


title: Star Trek Beyond

text: A planned fourth film has been announced several times since the release of "Beyond". Pine and Quinto had signed contracts to return as Kirk and Spock for a fourth film should one be made. In July 2016, Abrams confirmed plans for a fourth film and stated that Chris Hemsworth would return as Kirk's father, George, whom he played in the prologue of the first film. Later that month, Paramount confirmed the return of Hemsworth, as well as most of the "Beyond" cast, producers Abrams and Lindsey Weber, and writers J. D. Payne and Patrick McKay. That same month, Abrams said that Chekov would not be recast, after Anton Yelchin died in an accident outside his residence in California.


title: Star Trek Beyond

text: In December 2017, it was revealed that Quentin Tarantino had pitched an idea for a potential "Star Trek" film to Abrams and Paramount, and in 2019 Tarantino confirmed he had signed the contract from Paramount, who was reportedly enthusiastic about the idea. Tarantino was mentioned as a possibility to direct the film if his schedule allowed, and that Abrams and Paramount would attempt to assemble a writers' room to explore the concept. On December 22, writer Mark L. Smith was hired by Paramount and Bad Robot to write a screenplay based on Tarantino's original pitch, with Tarantino expected to direct.


title: Star Trek Beyond

text: In April 2018, it was announced that two new "Star Trek" films were in development at Paramount. Later that month, it was announced that S. J. Clarkson would direct the second "Star Trek" film in development, and that the film would enter production before Tarantino's film. J.D. Payne and Patrick McKay would co-write the screenplay, while Abrams and Lindsey Weber would co-produce the project. In August 2018, Pine and Hemsworth walked away from negotiations to star in the film after refusing to take pay cuts as a result of "Star Trek Beyond"s reported under-performance at the domestic box office. According to Hemsworth, the reason for his exit was because he found the script underwhelming. In January 2019, Paramount reportedly cancelled development of the fourth installment.


title: Star Trek Beyond

text: On November 19, 2019, it was reported that Pine had signed on to return for a fourth installment alongside Quinto, Saldana, Pegg, and Urban, and that Noah Hawley was in talks to write and direct the film. Pegg later stated that he had no knowledge of the reboot cast's return in the film. The following year, it was announced that Hawley's movie had been put on indefinite hold, reportedly by Paramount's new president to get a better handle on how to move the film franchise forward. In November 2020, it was revealed that the project was cancelled and Hawley left.


title: Star Trek Beyond

text: In December 2019, it was reported that Tarantino had left his proposed film, looking to make a smaller budget film. In January 2020, Tarantino stated the film "might" be made, but he would not direct it. In March 2021, "" writer Kalinda Vazquez was hired by Paramount to pen a new "Star Trek" film, which is said to be based on an original story. The following month, it was announced that the next installment in the franchise would be released on June 9, 2023, with Abrams returning to produce; sources at the time reported the 2023 release would not be the Vazquez script. Matt Shakman was hired as the director in July 2021, and the release date has been delayed to December 2023. While no plans were official, Paramount hoped that cast members, including Pine, would return for the film. In February 2022, it was announced that shooting for the film would begin at the end of the year and the cast was in talks to return for the film, including Pine, Quinto, Pegg, Urban, Saldaña, and Cho. On August 26, 2022, Shakman exited the film, citing "scheduling issues".


title: Consumer electronics

text: Consumer electronics or home electronics are electronic (analog or digital) equipment intended for everyday use, typically in private homes. Consumer electronics include devices used for entertainment, communications and recreation. Usually referred to as black goods due to many products being housed in black or dark casings. This term is used to distinguish them from "white goods" which are meant for housekeeping tasks, such as washing machines and refrigerators, although nowadays, these would be considered black goods, some of these being connected to the Internet. In British English, they are often called brown goods by producers and sellers. In the 2010s, this distinction is absent in large big box consumer electronics stores, which sell entertainment, communication and home office devices, light fixtures and appliances, including the bathroom type.


title: Consumer electronics

text: Radio broadcasting in the early 20th century brought the first major consumer product, the broadcast receiver. Later products included telephones, televisions, and calculators, then audio and video recorders and players, game consoles, mobile phones, personal computers and MP3 players. In the 2010s, consumer electronics stores often sell GPS, automotive electronics (car stereos), video game consoles, electronic musical instruments (e.g., synthesizer keyboards), karaoke machines, digital cameras, and video players (VCRs in the 1980s and 1990s, followed by DVD players and Blu-ray players). Stores also sell smart light fixtures and appliances, digital cameras, camcorders, cell phones, and smartphones. Some of the newer products sold include virtual reality head-mounted display goggles, smart home devices that connect home devices to the Internet, streaming devices, and wearable technology.