title: The Tempest

text: Romance: Shakespeare's romantic narrative appears in the characters themselves and the island setting. Often, romances involve exotic and remote locations like this island in "The Tempest". The environment is the home for Prospero and Miranda. It is also the setting where one of the shipwrecked characters, Ferdinand, falls in love with Miranda. However, they are part of a knight and a princess situation. Romance will use the theme of a knight trying to win the love of the princess. Ferdinand is an example of fitting such a role since he has to work for Prospero to win respect and love him to marry his daughter Miranda.


title: The Tempest

text: Comedy: "The Tempest" was initially presented as a form of tragic comedy in the First Folio by John Fletcher of Shakespeare's plays. Another form of comedy that "The Tempest" creates is the concept of Greek and Latin New Comedy. Lester E Barber's article ""The Tempest" and New Comedy" suggests that The New Comedy has to do in part with the narrative of slaves with the characters of Ariel and Caliban. Both characters are considered comedic slaves because their goal is to be free from Prospero's hold. Here both characters differ in how they present themselves as slaves. Arguably Caliban is sometimes considered a character who is not a part of New Comedy since he is regarded as a Convent Vehicle. Lester E Barber suggests a Convent Vehicle is a slave who does vile and unintelligent things that cause them to fail miserably and be humiliated and punished. Caliban fits this through his hatred and disobedience to Prospero. Ariel as a slave carries a different approach to himself since he is a Typical Paradigm. A Typical Paradigm is a more brilliant slave that is more intelligent than other slaves, supportive of their masters, and will fix their master's problems. Ariel is very obedient to Prospero and follows his wishes to use magic against the shipwrecked victims as part of Prospero's revenge.


title: The Tempest

text: Like "The Comedy of Errors," "The Tempest" roughly adheres to the unities of time, place, and action. Shakespeare's other plays rarely respected the three unities, taking place in separate locations miles apart and over several days or even years. The play's events unfold in real time before the audience, Prospero even declaring in the last act that everything has happened in, more or less, three hours. All action is unified into one basic plot: Prospero's struggle to regain his dukedom; it is also confined to one place, a fictional island, which many scholars agree is meant to be located in the Mediterranean Sea. Another reading suggests that it takes place in the New World, as scholars have noted some parts of the play share similarities with the European colonization of the Americas. Still others argue that the island can represent any land that has been colonised.


title: The Tempest

text: In the denouement of the play, Prospero enters into a parabasis (a direct address to the audience). In his book "Back and Forth" the poet and literary critic Siddhartha Bose argues that Prospero's epilogue creates a "permanent parabasis" which is "the condition of [Schlegelian] Romantic Irony". Prospero, and by extension Shakespeare, turns his absolution over to the audience. The liberation and atonement Prospero 'gives' to Ariel and Caliban is also handed over to the audience. However, just as Prospero derives his power by "creating the language with which the other characters are able to speak about their experiences", so too the mechanics and customs of theatre limit the audience's understanding of itself and its relationship to the play and to reality. Four centuries after original productions of the play audiences are still clapping at the end of "The Tempest", rewarding Prospero for recreating the European hegemony. One need not change the text of "The Tempest" for feminist and anti-colonial reproductions. All that is needed is a different kind of audience, one that is aware of itself and its agency.


title: The Tempest

text: In Shakespeare's day, much of the world was still being colonized by European merchants and settlers, and stories were coming back from the Americas, with myths about the Cannibals of the Caribbean, faraway Edens, and distant tropical Utopias. With the character Caliban (whose name is almost an anagram of Cannibal and also resembles "Cariban", the term then used for natives in the West Indies), it has been suggested that Shakespeare may be offering an in-depth discussion of the morality of colonialism. Different views of this are found in the play, with examples including Gonzalo's Utopia, Prospero's enslavement of Caliban, and Caliban's subsequent resentment. Postcolonial scholars have argued that Caliban is also shown as one of the most natural characters in the play, being very much in touch with the natural world (and modern audiences have come to view him as far nobler than his two Old World friends, Stephano and Trinculo, although the original intent of the author may have been different). There is evidence that Shakespeare drew on Montaigne's essay "Of Cannibals"—which discusses the values of societies insulated from European influences—while writing "The Tempest".


title: The Tempest

text: Beginning in about 1950, with the publication of "Psychology of Colonization" by Octave Mannoni, Postcolonial theorists have increasingly appropriated "The Tempest" and reinterpreted it in light of postcolonial theory. This new way of looking at the text explored the effect of the "coloniser" (Prospero) on the "colonised" (Ariel and Caliban). Although Ariel is often overlooked in these debates in favour of the more intriguing Caliban, he is nonetheless an essential component of them. The French writer Aimé Césaire, in his play "Une Tempête" sets "The Tempest" in Haiti, portraying Ariel as a mulatto who, unlike the more rebellious Caliban, feels that negotiation and partnership is the way to freedom from the colonisers. Fernandez Retamar sets his version of the play in Cuba, and portrays Ariel as a wealthy Cuban (in comparison to the lower-class Caliban) who also must choose between rebellion or negotiation. It has also been argued that Ariel, and not Caliban or Prospero, is the rightful owner of the island. Michelle Cliff, a Jamaican author, has said that she tries to combine Caliban and Ariel within herself to create a way of writing that represents her culture better. Such use of Ariel in postcolonial thought is far from uncommon; the spirit is even the namesake of a scholarly journal covering post-colonial criticism.


title: The Tempest

text: Feminist interpretations of "The Tempest" consider the play in terms of gender roles and relationships among the characters on stage, and consider how concepts of gender are constructed and presented by the text, and explore the supporting consciousnesses and ideologies, all with an awareness of imbalances and injustices. Two early feminist interpretations of "The Tempest" are included in Anna Jameson's "Shakespeare’s Heroines" (1832) and Mary Clarke's "The Girlhood of Shakespeare’s Heroines" (1851).


title: The Tempest

text: "The Tempest" is a play created in a male dominated culture and society, a gender imbalance the play explores metaphorically by having only one major female role, Miranda. Miranda is fifteen, intelligent, naive, and beautiful. The only humans she has ever encountered in her life are male. Prospero sees himself as her primary teacher, and asks if she can remember a time before they arrived to the island—he assumes that she cannot. When Miranda has a memory of "four or five women" tending to her younger self (1.2.44–47), it disturbs Prospero, who prefers to portray himself as her only teacher, and the absolute source of her own history—anything before his teachings in Miranda's mind should be a dark "abysm", according to him. (1.2.48–50) The "four or five women" Miranda remembers may symbolize the young girl's desire for something other than only men.


title: The Tempest

text: Other women, such as Caliban's mother Sycorax, Miranda's mother and Alonso's daughter Claribel, are only mentioned. Because of the small role women play in the story in comparison to other Shakespeare plays, "The Tempest" has attracted much feminist criticism. Miranda is typically viewed as being completely deprived of freedom by her father. Her only duty in his eyes is to remain chaste. Ann Thompson argues that Miranda, in a manner typical of women in a colonial atmosphere, has completely internalised the patriarchal order of things, thinking of herself as subordinate to her father.


title: The Tempest

text: Most of what is said about Sycorax is said by Prospero, who has never met Sycorax—what he knows of her he learned from Ariel. When Miranda asks Prospero, "Sir, are you not my father?", Prospero responds,


title: The Tempest

text: This surprising answer has been difficult for those interpretations that portray their relationship simply as a lordly father to an innocent daughter, and the exchange has at times been cut in performance. A similar example occurs when Prospero, enraged, raises a question of the parentage of his brother, and Miranda defends Prospero's mother:


title: The Tempest

text: The book "Brave New World" by Aldous Huxley references "The Tempest" in the title, and explores genetically modified citizens and the subsequent social effects. The novel and the phrase from "The Tempest", 'brave new world', has itself since been associated with public debate about humankind's understanding and use of genetic modification, in particular with regards to humans.


title: The Tempest

text: A record exists of a performance of "The Tempest" on 1 November 1611 by the King's Men before James I and the English royal court at Whitehall Palace on Hallowmas night. The play was one of the six Shakespeare plays (and eight others for a total of 14) acted at court during the winter of 1612–13 as part of the festivities surrounding the marriage of Princess Elizabeth with Frederick V, the Elector of the Palatinate of the Rhine. There is no further public performance recorded prior to the Restoration; but in his 1669 preface to the Dryden/Davenant version, John Dryden states that "The Tempest" had been performed at the Blackfriars Theatre. Careful consideration of stage directions within the play supports this, strongly suggesting that the play was written with Blackfriars Theatre rather than the Globe Theatre in mind.


title: The Tempest

text: Adaptations of the play, not Shakespeare's original, dominated the performance history of "The Tempest" from the English Restoration until the mid-19th century. All theatres were closed down by the puritan government during the English Interregnum. Upon the restoration of the monarchy in 1660, two patent companies—the "King's Company" and the "Duke's Company"—were established, and the existing theatrical repertoire divided between them. Sir William Davenant's "Duke's Company" had the rights to perform "The Tempest". In 1667 Davenant and John Dryden made heavy cuts and adapted it as "The Tempest, or The Enchanted Island". They tried to appeal to upper-class audiences by emphasising royalist political and social ideals: monarchy is the natural form of government; patriarchal authority decisive in education and marriage; and patrilineality preeminent in inheritance and ownership of property. They also added characters and plotlines: Miranda has a sister, named Dorinda; Caliban also has a sister, named Sycorax. As a parallel to Shakespeare's Miranda/Ferdinand plot, Prospero has a foster-son, Hippolito, who has never set eyes on a woman. Hippolito was a popular breeches role, a man played by a woman, popular with Restoration theatre management for the opportunity to reveal actresses' legs. Scholar Michael Dobson has described "The Tempest, or The Enchanted Island" by Dryden and Davenant as "the most frequently revived play of the entire Restoration" and as establishing the importance of enhanced and additional roles for women.


title: The Tempest

text: In 1674, Thomas Shadwell re-adapted Dryden and Davenant as an opera of the same name, usually meaning a play with sections that were to be sung or danced. Restoration playgoers appear to have regarded the Dryden/Davenant/Shadwell version as Shakespeare's: Samuel Pepys, for example, described it as "an old play of Shakespeares" in his diary. The opera was extremely popular, and "full of so good variety, that I cannot be more pleased almost in a comedy" according to Pepys. Prospero in this version is very different from Shakespeare's: Eckhard Auberlen describes him as "reduced to the status of a Polonius-like overbusy father, intent on protecting the chastity of his two sexually naive daughters while planning advantageous dynastic marriages for them." The operatic "Enchanted Island" was successful enough to provoke a parody, "The Mock Tempest, or The Enchanted Castle", written by Thomas Duffett for the King's Company in 1675. It opened with what appeared to be a tempest, but turns out to be a riot in a brothel.


title: The Tempest

text: In the early 18th century, the Dryden/Davenant/Shadwell version dominated the stage. Ariel was—with two exceptions—played by a woman, and invariably by a graceful dancer and superb singer. Caliban was a comedian's role, played by actors "known for their awkward figures". In 1756, David Garrick staged another operatic version, a "three-act extravaganza" with music by John Christopher Smith.


title: The Tempest

text: "The Tempest" was one of the staples of the repertoire of Romantic Era theatres. John Philip Kemble produced an acting version which was closer to Shakespeare's original, but nevertheless retained Dorinda and Hippolito. Kemble was much-mocked for his insistence on archaic pronunciation of Shakespeare's texts, including "aitches" for "aches". It was said that spectators "packed the pit, just to enjoy hissing Kemble's delivery of 'I'll rack thee with old cramps, / Fill all they bones with aches'." The actor-managers of the Romantic Era established the fashion for opulence in sets and costumes which would dominate Shakespeare performances until the late 19th century: Kemble's Dorinda and Miranda, for example, were played "in white ornamented with spotted furs".


title: The Tempest

text: In 1757, a year after the debut of his operatic version, David Garrick produced a heavily cut performance of Shakespeare's script at Drury Lane, and it was revived, profitably, throughout the century.


title: The Tempest

text: It was not until William Charles Macready's influential production in 1838 that Shakespeare's text established its primacy over the adapted and operatic versions which had been popular for most of the previous two centuries. The performance was particularly admired for George Bennett's performance as Caliban; it was described by Patrick MacDonnell—in his "An Essay on the Play of The Tempest" published in 1840—as "maintaining in his mind, a strong resistance to that tyranny, which held him in the thraldom of slavery".


title: The Tempest

text: The Victorian era marked the height of the movement which would later be described as "pictorial": based on lavish sets and visual spectacle, heavily cut texts making room for lengthy scene-changes, and elaborate stage effects. In Charles Kean's 1857 production of "The Tempest", Ariel was several times seen to descend in a ball of fire. The hundred and forty stagehands supposedly employed on this production were described by the "Literary Gazette" as "unseen ... but alas never unheard". Hans Christian Andersen also saw this production and described Ariel as "isolated by the electric ray", referring to the effect of a carbon arc lamp directed at the actress playing the role. The next generation of producers, which included William Poel and Harley Granville-Barker, returned to a leaner and more text-based style.


title: The Tempest

text: In the late 19th and early 20th centuries, Caliban, not Prospero, was perceived as the star act of "The Tempest", and was the role which the actor-managers chose for themselves. Frank Benson researched the role by viewing monkeys and baboons at the zoo; on stage, he hung upside-down from a tree and gibbered.


title: The Tempest

text: Continuing the late-19th-century tradition, in 1904 Herbert Beerbohm Tree wore fur and seaweed to play Caliban, with waist-length hair and apelike bearing, suggestive of a primitive part-animal part-human stage of evolution. This "missing link" portrayal of Caliban became the norm in productions until Roger Livesey, in 1934, was the first actor to play the role with black makeup. In 1945 Canada Lee played the role at the Theatre Guild in New York, establishing a tradition of black actors taking the role, including Earle Hyman in 1960 and James Earl Jones in 1962.


title: The Tempest

text: In 1916, Percy MacKaye presented a community masque, "Caliban by the Yellow Sands", at the Lewisohn Stadium in New York. Amidst a huge cast of dancers and masquers, the pageant centres on the rebellious nature of Caliban but ends with his plea for more knowledge ("I yearn to build, to be thine Artist / And 'stablish this thine Earth among the stars- / Beautiful!") followed by Shakespeare, as a character, reciting Prospero's "Our revels now are ended" speech.


title: The Tempest

text: John Gielgud played Prospero numerous times, and is, according to Douglas Brode, "universally heralded as ... [the 20th] century's greatest stage Prospero". His first appearance in the role was in 1930: he wore a turban, later confessing that he intended to look like Dante. He played the role in three more stage productions, lastly at the Royal National Theatre in 1974. Derek Jacobi's Prospero for The Old Vic in 2003 was praised for his portrayal of isolation and pain in ageing.


title: The Tempest

text: Peter Brook directed an experimental production at the Round House in 1968, in which the text was "almost wholly abandoned" in favour of mime. According to Margaret Croydon's review, Sycorax was "portrayed by an enormous woman able to expand her face and body to still larger proportions—a fantastic emblem of the grotesque ... [who] suddenly ... gives a horrendous yell, and Caliban, with black sweater over his head, emerges from between her legs: Evil is born."


title: The Tempest

text: In spite of the existing tradition of a black actor playing Caliban opposite a white Prospero, colonial interpretations of the play did not find their way onto the stage until the 1970s. Performances in England directed by Jonathan Miller and by Clifford Williams explicitly portrayed Prospero as coloniser. Miller's production was described, by David Hirst, as depicting "the tragic and inevitable disintegration of a more primitive culture as the result of European invasion and colonisation". Miller developed this approach in his 1988 production at the Old Vic in London, starring Max von Sydow as Prospero. This used a mixed cast made up of white actors as the humans and black actors playing the spirits and creatures of the island. According to Michael Billington, "von Sydow's Prospero became a white overlord manipulating a mutinous black Caliban and a collaborative Ariel keenly mimicking the gestures of the island's invaders. The colonial metaphor was pushed through to its logical conclusion so that finally Ariel gathered up the pieces of Prospero's abandoned staff and, watched by awe-struck tribesmen, fitted them back together to hold his wand of office aloft before an immobilised Caliban. "The Tempest" suddenly acquired a new political dimension unforeseen by Shakespeare."


title: The Tempest

text: Psychoanalytic interpretations have proved more difficult to depict on stage. Gerald Freedman's production at the American Shakespeare Theatre in 1979 and Ron Daniels' Royal Shakespeare Company production in 1982 both attempted to depict Ariel and Caliban as opposing aspects of Prospero's psyche. However neither was regarded as wholly successful: "Shakespeare Quarterly", reviewing Freedman's production, commented, "Mr. Freedman did nothing on stage to make such a notion clear to any audience that had not heard of it before."


title: The Tempest

text: In 1988, John Wood played Prospero for the RSC, emphasising the character's human complexity, in a performance a reviewer described as "a demented stage manager on a theatrical island suspended between smouldering rage at his usurpation and unbridled glee at his alternative ethereal power".


title: The Tempest

text: Japanese theatre styles have been applied to "The Tempest". In 1988 and again in 1992 Yukio Ninagawa brought his version of "The Tempest" to the UK. It was staged as a rehearsal of a Noh drama, with a traditional Noh theatre at the back of the stage, but also using elements which were at odds with Noh conventions. In 1992, Minoru Fujita presented a Bunraku (Japanese puppet) version in Osaka and at the Tokyo Globe.


title: The Tempest

text: Sam Mendes directed a 1993 RSC production in which Simon Russell Beale's Ariel was openly resentful of the control exercised by Alec McCowen's Prospero. Controversially, in the early performances of the run, Ariel spat at Prospero, once granted his freedom. An entirely different effect was achieved by George C. Wolfe in the outdoor New York Shakespeare Festival production of 1995, where the casting of Aunjanue Ellis as Ariel opposite Patrick Stewart's Prospero charged the production with erotic tensions. Productions in the late 20th-century have gradually increased the focus placed on sexual tensions between the characters, including Prospero/Miranda, Prospero/Ariel, Miranda/Caliban, Miranda/Ferdinand and Caliban/Trinculo.


title: The Tempest

text: "The Tempest" was performed at the Globe Theatre in 2000 with Vanessa Redgrave as Prospero, playing the role as neither male nor female, but with "authority, humanity and humour ... a watchful parent to both Miranda and Ariel." While the audience respected Prospero, Jasper Britton's Caliban "was their man" (in Peter Thomson's words), in spite of the fact that he spat fish at the groundlings, and singled some of them out for humiliating encounters. By the end of 2005, "BBC Radio" had aired 21 productions of "The Tempest", more than any other play by Shakespeare.


title: The Tempest

text: In 2016 "The Tempest" was produced by the Royal Shakespeare Company. Directed by Gregory Doran, and featuring Simon Russell Beale, the RSC's version used performance capture to project Ariel in real time on stage. The performance was in collaboration with The Imaginarium and Intel, and featured "some gorgeous [and] some interesting" use of light, special effects, and set design.


title: The Tempest

text: "The Tempest" has more music than any other Shakespeare play, and has proved more popular as a subject for composers than most of Shakespeare's plays. Scholar Julie Sanders ascribes this to the "perceived 'musicality' or lyricism" of the play.


title: The Tempest

text: Two settings of songs from "The Tempest" which may have been used in performances during Shakespeare's lifetime have survived. These are "Full Fathom Five" and "Where The Bee Sucks There Suck I" in the 1659 publication "Cheerful Ayres or Ballads", in which they are attributed to Robert Johnson, who regularly composed for the King's Men. It has been common throughout the history of the play for the producers to commission contemporary settings of these two songs, and also of "Come Unto These Yellow Sands".


title: The Tempest

text: "The Tempest" has also influenced songs written in the folk and hippie traditions: for example, versions of "Full Fathom Five" were recorded by Marianne Faithfull for "Come My Way" in 1965 and by Pete Seeger for "Dangerous Songs!?" in 1966. Michael Nyman's "Ariel Songs" are taken from his score for the film "Prospero's Books".


title: The Tempest

text: Ludwig van Beethoven's 1802 Piano Sonata No. 17 in D minor, Op. 31, No. 2, was given the subtitle "The Tempest" some time after Beethoven's death because, when asked about the meaning of the sonata, Beethoven was alleged to have said "Read "The Tempest"". But this story comes from his associate Anton Schindler, who is often not trustworthy.


title: The Tempest

text: At least forty-six operas or semi-operas based on "The Tempest" exist. In addition to the Dryden/Davenant and Garrick versions mentioned in the "Restoration and 18th century" section above, Frederic Reynolds produced an operatic version in 1821, with music by Sir Henry Bishop. Other pre-20th-century operas based on "The Tempest" include Fromental Halévy's "La Tempesta" (1850) and Zdeněk Fibich's "Bouře" (1894).


title: The Tempest

text: In the 20th century, Kurt Atterberg's "Stormen" premiered in 1948 and Frank Martin's "Der Sturm" in 1955. Michael Tippett's 1971 opera "The Knot Garden" contains various allusions to "The Tempest". In Act 3, a psychoanalyst, Mangus, pretends to be Prospero and uses situations from Shakespeare's play in his therapy sessions. John Eaton, in 1985, produced a fusion of live jazz with pre-recorded electronic music, with a libretto by Andrew Porter. Michael Nyman's 1991 opera "Noises, Sounds & Sweet Airs" was first performed as an opera-ballet by Karine Saporta. This opera is unique in that the three vocalists, a soprano, contralto, and tenor, are voices rather than individual characters, with the tenor just as likely as the soprano to sing Miranda, or all three sing as one character.


title: The Tempest

text: The soprano who sings the part of Ariel in Thomas Adès's 21st-century opera is stretched at the higher end of the register, highlighting the androgyny of the role. Mike Silverman of the Associated Press commented, "Adès has made the role of the spirit Ariel a tour de force for coloratura soprano, giving her a vocal line that hovers much of the time well above high C."


title: The Tempest

text: Luca Lombardi's Prospero was premiered 2006 at Nuremberg Opera House. Ariel is sung by 4 female voices (S,S,MS,A) and has an instrumental alter ego on stage (flute). There is an instrumental alter ego (cello) also for Prospero.


title: The Tempest

text: Choral settings of excerpts from "The Tempest" include Amy Beach's "Come Unto These Yellow Sands" (SSAA, from "Three Shakespeare Songs"), Matthew Harris's "Full Fathom Five", "I Shall No More to Sea", and "Where the Bee Sucks" (SATB, from "Shakespeare Songs", Books I, V, VI), Ryan Kelly's "The Tempest" (SATB, a setting of the play's Scene I), Jaakko Mäntyjärvi's "Full Fathom Five" and "A Scurvy Tune" (SATB, from "Four Shakespeare Songs" and "More Shakespeare Songs"), Frank Martin's "Songs of Ariel" (SATB), Ralph Vaughan Williams' "Full Fathom Five" and "The Cloud-capp'd Towers" (SATB, from Three Shakespeare Songs), and David Willcocks's "Full Fathom Five" (SSA).


title: The Tempest

text: Orchestral works for concert presentation include Pyotr Ilyich Tchaikovsky's fantasy "The Tempest" (1873), Fibich's symphonic poem "Bouře" (1880), John Knowles Paine's symphonic poem "The Tempest" (1876), Benjamin Dale's overture (1902), Arthur Honegger's orchestral prelude (1923), Felix Weingartner's overture "Der Sturm", Heorhiy Maiboroda's overture, and Egon Wellesz's "Prosperos Beschwörungen" (five works 1934–36).


title: The Tempest

text: Ballet sequences have been used in many performances of the play since Restoration times. A one-act ballet of "The Tempest" by choreographer Alexei Ratmansky was premiered by American Ballet Theatre set to the incidental music of Jean Sibelius on 30 October 2013 in New York City.


title: The Tempest

text: Stage musicals derived from "The Tempest" have been produced. A production called "The Tempest: A Musical" was produced at the Cherry Lane Theatre in New York City in December 2006, with a concept credited to Thomas Meehan and a script by Daniel Neiden (who also wrote the songs) and Ryan Knowles. Neiden had previously been connected with another musical, entitled "Tempest Toss’d". In September 2013, The Public Theater produced a new large-scale stage musical at the Delacorte Theater in Central Park, directed by Lear deBessonet with a cast of more than 200.


title: The Tempest

text: Percy Bysshe Shelley was one of the earliest poets to be influenced by "The Tempest". His "With a Guitar, To Jane" identifies Ariel with the poet and his songs with poetry. The poem uses simple diction to convey Ariel's closeness to nature and "imitates the straightforward beauty of Shakespeare's original songs". Following the publication of Darwin's ideas on evolution, writers began to question mankind's place in the world and its relationship with God. One writer who explored these ideas was Robert Browning, whose poem "Caliban upon Setebos" (1864) sets Shakespeare's character pondering theological and philosophical questions. The French philosopher Ernest Renan wrote a closet drama, "Caliban: Suite de La Tempête" ("Caliban: Sequel to The Tempest"), in 1878. This features a female Ariel who follows Prospero back to Milan, and a Caliban who leads a coup against Prospero, after the success of which he actively imitates his former master's virtues. W. H. Auden's "long poem" "The Sea and the Mirror" takes the form of a reflection by each of the supporting characters of "The Tempest" on their experiences. The poem takes a Freudian viewpoint, seeing Caliban (whose lengthy contribution is a prose poem) as Prospero's libido.


title: The Tempest

text: In 1968 Franco-Caribbean writer Aimé Césaire published "Une Tempête", a radical adaptation of the play based on its colonial and postcolonial interpretations, in which Caliban is a black rebel and Ariel is mixed-race. The figure of Caliban influenced numerous works of African literature in the 1970s, including pieces by Taban Lo Liyong in Uganda, Lemuel Johnson in Sierra Leone, Ngũgĩ wa Thiong'o in Kenya, and David Wallace of Zambia's "Do You Love Me, Master?". A similar phenomenon occurred in late 20th-century Canada, where several writers produced works inspired by Miranda, including "The Diviners" by Margaret Laurence, "Prospero's Daughter" by Constance Beresford-Howe and "The Measure of Miranda" by Sarah Murphy. Other writers have feminised Ariel (as in Marina Warner's novel "Indigo") or Caliban (as in Suniti Namjoshi's sequence of poems "Snapshots of Caliban").


title: The Tempest

text: From the mid-18th century, Shakespeare's plays, including "The Tempest", began to appear as the subject of paintings. In around 1735, William Hogarth produced his painting "A Scene from The Tempest": "a baroque, sentimental fantasy costumed in the style of Van Dyck and Rembrandt". The painting is based upon Shakespeare's text, containing no representation of the stage, nor of the (Davenant-Dryden centred) stage tradition of the time. Henry Fuseli, in a painting commissioned for the Boydell Shakespeare Gallery (1789) modelled his Prospero on Leonardo da Vinci. These two 18th-century depictions of the play indicate that Prospero was regarded as its moral centre: viewers of Hogarth's and Fuseli's paintings would have accepted Prospero's wisdom and authority. John Everett Millais's "Ferdinand Lured by Ariel" (1851) is among the Pre-Raphaelite paintings based on the play. In the late 19th century, artists tended to depict Caliban as a Darwinian "missing-link", with fish-like or ape-like features, as evidenced in Joseph Noel Paton's "Caliban", and discussed in Daniel Wilson's book "Caliban: The Missing Link" (1873).


title: The Tempest

text: Charles Knight produced the "Pictorial Edition of the Works of Shakespeare" in eight volumes (1838–43). The work attempted to translate the contents of the plays into pictorial form. This extended not just to the action, but also to images and metaphors: Gonzalo's line about "mountaineers dewlapped like bulls" is illustrated with a picture of a Swiss peasant with a goitre. In 1908, Edmund Dulac produced an edition of "Shakespeare's Comedy of The Tempest" with a scholarly plot summary and commentary by Arthur Quiller-Couch, lavishly bound and illustrated with 40 watercolour illustrations. The illustrations highlight the fairy-tale quality of the play, avoiding its dark side. Of the 40, only 12 are direct depictions of the action of the play: the others are based on action before the play begins, or on images such as "full fathom five thy father lies" or "sounds and sweet airs that give delight and hurt not".


title: The Tempest

text: Fantasy writer Neil Gaiman based a story on the play in one issue (the final issue) of his comics series "The Sandman". The comic stands as a sequel to the earlier "Midsummer Night's Dream" issue. This issue follows Shakespeare over a period of several months as he writes the play, which is named as his last solo project, as the final part of his bargain with the Dream King to write two plays celebrating dreams. The story draws many parallels between the characters and events in the play and Shakespeare's life and family relationships at the time. It is hinted that he based Miranda on his daughter Judith Shakespeare and Caliban on her suitor Thomas Quiney.


title: The Tempest

text: As part of Random House's Hogarth Shakespeare series of contemporary reimaginings of Shakespeare plays by contemporary writers, Margaret Atwood's 2016 novel "Hag-Seed" is based on "The Tempest". The 2019 novella Miranda in Milan by Katharine Duckett also reimagines the events which might occur after the end of the play.


title: The Tempest

text: "The Tempest" first appeared on the screen in 1905. Charles Urban filmed the opening storm sequence of Herbert Beerbohm Tree's version at Her Majesty's Theatre for a -minute "flicker", whose individual frames were hand-tinted, long before the invention of colour film. In 1908 Percy Stow directed "The Tempest" running a little over ten minutes, which is now a part of the British Film Institute's compilation "Silent Shakespeare". It portrays a condensed version of Shakespeare's play in a series of short scenes linked by intertitles. At least two other silent versions, one from 1911 by Edwin Thanhouser, are known to have existed, but have been lost. The plot was adapted for the Western "Yellow Sky", directed by William A. Wellman, in 1946.


title: The Tempest

text: The 1956 science fiction film "Forbidden Planet" set the story on a planet in space, Altair IV, instead of an island. Professor Morbius and his daughter Altaira (Anne Francis) are the Prospero and Miranda figures (both Prospero and Morbius having harnessed the mighty forces that inhabit their new homes). Ariel is represented by the helpful Robby the Robot, while Sycorax is replaced with the powerful race of the Krell. Caliban is represented by the dangerous and invisible "monster from the id", a projection of Morbius' psyche born from the Krell technology instead of Sycorax's womb.


title: The Tempest

text: In the opinion of Douglas Brode, there has only been one screen "performance" of "The Tempest" since the silent era, he describes all other versions as "variations". That one performance is the Hallmark Hall of Fame version from 1960, directed by George Schaefer, and starring Maurice Evans as Prospero, Richard Burton as Caliban, Lee Remick as Miranda, and Roddy McDowall as Ariel. It cut the play to slightly less than ninety minutes. Critic Virginia Vaughan praised it as "light as a soufflé, but ... substantial enough for the main course."


title: The Tempest

text: A 1969 episode of the television series "", "Requiem for Methuselah", again set the story in space on the apparently deserted planet Holberg 917-G. The Prospero figure is Flint (James Daly), an immortal man who has isolated himself from humanity and controls advanced technology that borders on magic. Flint's young ward Rayna Kapec (Louise Sorel) fills the Miranda role, and Flint's versatile robotic servant M4 parallels Ariel.


title: The Tempest

text: In 1979, Derek Jarman produced the homoerotic film "The Tempest" that used Shakespeare's language, but was most notable for its deviations from Shakespeare. One scene shows a corpulent and naked Sycorax (Claire Davenport) breastfeeding her adult son Caliban (Jack Birkett). The film reaches its climax with Elisabeth Welch belting out "Stormy Weather". The central performances were Toyah Willcox's Miranda and Heathcote Williams's Prospero, a "dark brooding figure who takes pleasure in exploiting both his servants".


title: The Tempest

text: Several television versions of the play have been broadcast. Among the most notable is the 1980 BBC Shakespeare production, virtually complete, starring Michael Hordern as Prospero.


title: The Tempest

text: Paul Mazursky's 1982 modern-language adaptation "Tempest", with Philip Dimitrius (Prospero) as a disillusioned New York architect who retreats to a lonely Greek island with his daughter Miranda after learning of his wife Antonia's infidelity with Alonzo, dealt frankly with the sexual tensions of the characters' isolated existence. The Caliban character, the goatherd Kalibanos, asks Philip which of them is going to have sex with Miranda. John Cassavetes played Philip, Raul Julia Kalibanos, Gena Rowlands Antonia and Molly Ringwald Miranda. Susan Sarandon plays the Ariel character, Philip's frequently bored girlfriend Aretha. The film has been criticised as "overlong and rambling", but also praised for its good humour, especially in a sequence in which Kalibanos' and his goats dance to Kander and Ebb's "New York, New York".


title: The Tempest

text: John Gielgud wrote that playing Prospero in a film of "The Tempest" was his life's ambition. Over the years, he approached Alain Resnais, Ingmar Bergman, Akira Kurosawa, and Orson Welles to direct. Eventually, the project was taken on by Peter Greenaway, who directed "Prospero's Books" (1991) featuring "an 87-year-old John Gielgud and an impressive amount of nudity". Prospero is reimagined as the author of "The Tempest", speaking the lines of the other characters, as well as his own. Although the film was acknowledged as innovative in its use of Quantel Paintbox to create visual tableaux, resulting in "unprecedented visual complexity", critical responses to the film were frequently negative: John Simon called it "contemptible and pretentious".


title: The Tempest

text: The Swedish-made 1989 animated film "Resan till Melonia" (directed by Per Åhlin) is an adaptation of the Shakespeare play, focusing on ecological values. "Resan till Melonia" was critically acclaimed for its stunning visuals drawn by Åhlin and its at times quite dark and nightmare-like sequences, even though the film was originally marketed for children.


title: The Tempest

text: Closer to the spirit of Shakespeare's original, in the view of critics such as Brode, is Leon Garfield's abridgement of the play for S4C's 1992 "" series. The 29-minute production, directed by Stanislav Sokolov and featuring Timothy West as the voice of Prospero, used stop-motion puppets to capture the fairy-tale quality of the play.


title: The Tempest

text: Another "offbeat variation" (in Brode's words) was produced for NBC in 1998: Jack Bender's "The Tempest" featured Peter Fonda as Gideon Prosper, a Southern slave-owner forced off his plantation by his brother shortly before the Civil War. A magician who has learned his art from one of his slaves, Prosper uses his magic to protect his teenage daughter and to assist the Union Army.


title: The Tempest

text: Director Julie Taymor's 2010 adaptation "The Tempest" starred Helen Mirren as a female version of Prospero. In 2012, the year that the UK hosted a 'Tempest' themed Olympics opening ceremony, directors Rob Curry and Anthony Fletcher released a theatrical documentary following a South London youth club as they staged a production of the play at the Oval House Theatre in Kennington. The adaptation focused heavily on the post-colonial legacy of the play, featuring as it did a racially mixed cast of young Londoners.


title: The Tempest

text: All references to "The Tempest", unless otherwise specified, are taken from the Folger Shakespeare Library's "Folger Digital Editions" texts edited by Barbara Mowat, Paul Werstine, Michael Poston, and Rebecca Niles. Under their referencing system, 4.1.165 means act 4, scene 1, line 165.


title: Heart symbol

text: The heart symbol is an ideograph used to express the idea of the "heart" in its metaphorical or symbolic sense. Represented by an anatomically inaccurate shape, the heart symbol is often used to represent the center of emotion, including affection and love, especially romantic love. It is sometimes accompanied or superseded by the "wounded heart" symbol, depicted as a heart symbol pierced with an arrow or as a heart symbol "broken" into two or more pieces, indicating lovesickness.


title: Heart symbol

text: Peepal leaves were used in artistic depictions of the Indus Valley civilisation: a heart-shaped pendant originating from there has been discovered and is now exhibited in the Delhi national museum. In the 5th–6th century BC, the heart shape was used to represent the heart-shaped fruit of the plant silphium, a plant possibly used as a contraceptive and an aphrodisiac. Silver coins from Cyrene of the 5th–6th century BC bear a similar design, sometimes accompanied by a silphium plant and is understood to represent its seed or fruit.


title: Heart symbol

text: Since ancient times in Japan, the heart symbol has been called "Inome" (猪目) meaning the eye of a wild boar, and it has the meaning of warding off evil spirits. The decorations are used to decorate Shinto shrines, Buddhist temples, castles and weapons. The oldest examples of this pattern are seen in some of the Japanese original "tsuba" (sword guard) of the style called "toran gata tsuba" (lit., inverted egg shaped "tsuba") that were attached to swords from the sixth to seventh centuries, and part of the "tsuba" was hollowed out in the shape of a heart symbol.


title: Heart symbol

text: The combination of the heart shape and its use within the heart metaphor was developed in the end of the Middle Ages, although the shape has been used in many ancient epigraphy monuments and texts. With possible early examples or direct predecessors in the 13th to 14th century, the familiar symbol of the heart representing love developed in the 15th century, and became popular in Europe during the 16th.


title: Heart symbol

text: Before the 14th century, the heart shape was not associated with the meaning of the heart metaphor. The geometric shape itself is found in much earlier sources, but in such instances does not depict a heart, but typically foliage: in examples from antiquity fig leaves, and in medieval iconography and heraldry typically the leaves of ivy and of the water-lily.


title: Heart symbol

text: The first known depiction of a heart as a symbol of romantic love dates to the 1250s. It occurs in a miniature decorating a capital 'S' in a manuscript of the French . In the miniature a kneeling lover (or more precisely, an allegory of the lover's "sweet gaze" or ) offers his heart to a damsel. The heart here resembles a pine cone (held "upside down", the point facing upward), in accord with medieval anatomical descriptions. However, in this miniature what suggests a heart shape is only the result of a lover's finger superimposed on an object; the full shape outline of the object is partly hidden, and therefore unknown. Moreover, the French title of the manuscript that features the miniature translates into "Novel Of The Pear" in English. Thus the heart shaped object would be a pear; the conclusion that a pear represents a heart is dubious. Opinions therefore differ over this being the first depiction of a heart as symbol of romantic love.


title: Heart symbol

text: Giotto in his 1305 painting in the Scrovegni Chapel (Padua) shows an allegory of charity (caritas) handing her heart to Jesus Christ. This heart is also depicted in the pine cone shape based on anatomical descriptions of the day (still held "upside down"). Giotto's painting exerted considerable influence on later painters, and the motive of Caritas offering a heart is shown by Taddeo Gaddi in Santa Croce, by Andrea Pisano on the bronze door of the south porch of the Florence Baptistery (), by Ambrogio Lorenzetti in the Palazzo Publico in Siena () and by Andrea da Firenze in Santa Maria Novella in Florence (). The convention of showing the heart point upward switches in the late 14th century and becomes rare in the first half of the 15th century.


title: Heart symbol

text: The "scalloped" shape of the now-familiar heart symbol, with a dent in its base, arises in the early 14th century, at first only lightly dented, as in the miniatures in Francesco da Barberino's (before 1320). A slightly later example with a more pronounced dent is found in a manuscript from the Cistercian monastery in Brussels. The convention of showing a dent at the base of the heart thus spread at about the same time as the convention of showing the heart with its point downward. The modern indented red heart has been used on playing cards since the late 15th century.


title: Heart symbol

text: Various hypotheses attempted to connect the "heart shape" as it evolved in the Late Middle Ages with instances of the geometric shape in antiquity. Such theories are modern, proposed from the 1960s onward, and they remain speculative, as no continuity between the supposed ancient predecessors and the late medieval tradition can be shown. Specific suggestions include: the shape of the seed of the silphium plant, used in ancient times as an herbal contraceptive, and stylized depictions of features of the human female body, such as the female's breasts, buttocks, pubic mound, or spread vulva.


title: Heart symbol

text: Heart shapes can be seen on various stucco reliefs and wall panels excavated from the ruins of Ctesiphon, the Persian capital ().


title: Heart symbol

text: The Luther rose was the seal that was designed for Martin Luther at the behest of Prince John Frederick, in 1530, while Luther was staying at the Coburg Fortress during the Diet of Augsburg. Luther wrote an explanation of the symbol to Lazarus Spengler: "a black cross in a heart, which retains its natural color, so that I myself would be reminded that faith in the Crucified saves us. 'For one who believes from the heart will be justified' (Romans 10:10)."


title: Heart symbol

text: The aorta remains visible, as a protrusion at the top centered between the two "chambers" indicated in the symbol, in some depictions of the Sacred Heart well into the 18th century, and is partly still shown today (although mostly obscured by elements such as a crown, flames, rays, or a cross) but the "hearts" suit did not have this element since the 15th century.


title: Heart symbol

text: Since the 19th century, the symbol has often been used on Valentine's Day cards, candy boxes, and similar popular culture artifacts as a symbol of romantic love.


title: Heart symbol

text: The use of the heart symbol as a logograph for the English verb "to love" derives from the use in "I ♥ NY," introduced in 1977.


title: Heart symbol

text: Heart symbols are frequently used to symbolize "health" or "lives" in video games. "Super Mario Bros. 2" (1987, 1988) had a "life bar" composed of hexagons, but in 1990s remakes of these games, the hexagons were replaced by heart shapes (the Castlevania franchise being a notable exception, where the hearts are ammunition for the secondary weapons instead of representing health). Since the 1990s, the heart symbol has also been used as an ideogram indicating health outside of the video gaming context, e.g. its use by restaurants to indicate heart-healthy nutrient content claim (e.g. "low in cholesterol"). A copyrighted "heart-check" symbol to indicate heart-healthy food was introduced by the American Heart Association in 1995.


title: Heart symbol

text: The earliest heart-shaped charges in heraldry appear in the 12th century; the hearts in the coat of arms of Denmark go back to the royal banner of the kings of Denmark, in turn based on a seal used as early as the 1190s. However, while the charges are clearly heart-shaped, they did not depict hearts in origin, or symbolize any idea related to love. Instead, they are assumed to have depicted the leaves of the water-lily. Early heraldic heart-shaped charges depicting the leaves of water-lilies are found in various other designs related to territories close to rivers or a coastline ("e.g." Flags of Frisia).


title: Heart symbol

text: Inverted heart symbols have been used in heraldry as stylized testicles ("coglioni" in Italian) as in the canting arms of the Colleoni family of Milan.


title: Heart symbol

text: A seal attributed to William, Lord of Douglas (of 1333) shows a heart shape, identified as the heart of Robert the Bruce. The authenticity of this seal is "very questionable", i.e. it could possibly date to the late 14th or even the 15th century.


title: Heart symbol

text: Heraldic charges actually representing hearts became more common in the early modern period, with the Sacred Heart depicted in ecclesiastical heraldry, and hearts representing love appearing in bourgeois coats of arms. Hearts also later became popular elements in municipal coats of arms.


title: Heart symbol

text: There has been some conjecture regarding the link between the traditional heart symbol and images of the fruit of silphium, a (probably) extinct plant known to classical antiquity and belonging to the genus "Ferula", used as a condiment and medicine, (the medicinal properties including contraceptive and abortifacient activity, linking the plant to sexuality and love). Silver coins from the ancient Libya of the 6th to 5th centuries BC bear images strongly reminiscent of the heart symbol, sometimes accompanied by images of the silphium plant. The related "Ferula" species asafoetida - which was actually used as an inferior substitute for silphium - is regarded as an aphrodisiac in Tibet and India, suggesting yet a third amatory association relating to silphium.


title: Heart symbol

text: A common emoticon for the heart is <3. In Unicode several heart symbols are available in text format:


title: Heart symbol

text: And from the Miscellaneous Symbols and Pictographs and Supplemental Symbols and Pictographs ranges associated with emoji:


title: Heart symbol

text: In Code page 437, the original character set of the IBM PC, the value of 3 (hexadecimal 03) represents the heart symbol. This value is shared with the non-printing ETX control character, which overrides the glyph in many contexts.


title: Heart symbol

text: The best-known of these is the cardioid, which is an epicycloid with one cusp; though as the cardioid lacks the point, it may be seen as a stylized water-lily leaf, a so-called seeblatt, rather than a heart. Other curves, such as the implicit curve (x+y−1)−xy=0, may produce better approximations of the heart shape.


title: Paimon

text: Paimon is a spirit named in early grimoires. These include "The Lesser Key of Solomon" (in the "Ars Goetia"), Johann Weyer's "Pseudomonarchia Daemonum", Collin de Plancy's "Dictionnaire Infernal", the "Livre des Esperitz" (as ""Poymon""), the "Liber Officiorum Spirituum" (as Paymon), "The Book of Abramelin", and certain French editions of "The Grimoire of Pope Honorius" (as Bayemon); as well as British Library, Sloane MS 3824.


title: Paimon

text: King Paimo(n) appears as the ninth spirit in the "Ars Goetia", the 22nd spirit in the "Pseudomonarchia Daemonum", and in the "Dictionnaire Infernal". In the "Liber Officiorum Spirituum", he is first listed as the sixth spirit and later as the third king.


title: Paimon

text: The "Goetia", Weyer, de Plancy, "Livre des Esperitz", "Liber Officiorum Spirituum", and Sloane MS 3824 all rank Paimon as a king. The "Livre des Espiritz", Sloane MS 3824, and the "Grimoire of Pope Honorius" specify that King Paimon is king of the west. In the "Book of Abramelin" (where his appearance is given no description), he is instead one of the eight dukes.


title: Paimon

text: The "Goetia", Weyer, and de Plancy warn that if King Paimon appears alone, a sacrifice must be made to summon Lebal (sometimes called Bebal), the most devoted to Lucifer, and Abalam, two kings who serve under him but do not always accompany him. These three sources state that he rules 200 legions of spirits, some of which are of the order of Angels and the rest Powers. The "Livre des Esperitz", on the other hand, credits him with just 25 legions of spirits. Sloane MS 3824 mentions him as employing a "bishop" named Sperion, among other spirits.


title: Paimon

text: Critical editions of the "Lesser Key of Solomon" list him as a former Dominion. Weyer notes a confusion over whether he was a former Dominion or Cherub. According to Thomas Rudd, King Paimon is opposed by the Shemhamphorasch angel Haziel.


title: Paimon

text: In the "Goetia", Weyer, de Plancy, "Livre des Esperitz", "Liber Officiorum Spirituum", he is described as a man riding a Dromedary camel, preceded by men playing loud music (particularly trumpets), as well as cymbals. Sloane MS 3824 describes the camel as crowned, while the rest describe King Paimon himself as crowned. The "Goetia" itself makes no mention of King Paimon's face, while the rest describe him as having a beautiful face but still refer to him as male.


title: Paimon

text: Sloane MS 3824 and the "Liber Officiorum Spirituum" describe him as having a "Hoarse Voice", and those works, Weyer, and the "Goetia" note that he must be commanded to speak plainly, with the "Liber Officiorum Spirituum" specifying that King Paimon will speak in his native language until commanded to converse in the summoner's own language.


title: Paimon

text: The "Goetia", Weyer, "Livre des Esperitz", and the "Liber Officiorum Spirituum" all describe him as teaching science and answering other questions. The "Goetia" and Weyer specify that his knowledge includes all arts and "secret Things" , such as knowledge regarding the Earth, its waters, and the winds. The "Livre des Esperitz" and the "Liber Officiorum Spirituum" broaden this to truthfully answering all questions asked of him, with the former source also claiming that he can reveal hidden treasures and the latter highlighting that he knows all the affairs of the world. The Goetia, Weyer, and the "Livre des Esperitz" also claim he has the ability to bestow dignities and lordships. The "Goetia" and Weyer credited him with granting familiars (who are likewise good at teaching). The "Liber Officiorum Spirituum" uniquely gives him command over fish. Sloane MS 3824 mentions Paimon in "An Experiment to Cause a Thief to Return".


title: Paimon

text: In "Abramelin", King Paimo(n)'s powers include knowledge of past and future events, clearing up doubts, making spirits appear, creating visions, acquiring and dismissing servant spirits, reanimating the dead for several years, flight, remaining underwater indefinitely, and general abilities to "make all kinds of things" (and) "all sorts of people and armor appear" at the behest of the magician.


title: Malcolm Gladwell

text: Malcolm Timothy Gladwell (born 3 September 1963) is an English-born Canadian journalist, author, and public speaker. He has been a staff writer for "The New Yorker" since 1996. He has published seven books: "" (2000); "" (2005); "" (2008); "" (2009), a collection of his journalism; "" (2013); "Talking To Strangers: What We Should Know about the People We Don't Know" (2019) and "The Bomber Mafia: A Dream, a Temptation, and the Longest Night of the Second World War" (2021). His first five books were on "The New York Times" Best Seller list. He is also the host of the podcast "Revisionist History" and co-founder of the podcast company Pushkin Industries.


title: Malcolm Gladwell

text: Gladwell's writings often deal with the unexpected implications of research in the social sciences, like sociology and psychology, and make frequent and extended use of academic work. Gladwell was appointed to the Order of Canada in 2011.


title: Malcolm Gladwell

text: Gladwell was born in Fareham, Hampshire, England. His mother is Joyce (née Nation) Gladwell, a Jamaican psychotherapist. His father, Graham Gladwell, was a mathematics professor from Kent, England. When he was six his family moved from Southampton to the Mennonite community of Elmira, Ontario, Canada. He has two brothers. Throughout his childhood, Malcolm lived in rural Ontario Mennonite country, where he attended a Mennonite church. Research done by historian Henry Louis Gates Jr. revealed that one of Gladwell's maternal ancestors was a Jamaican free woman of colour (mixed black and white) who was a slaveowner. His great-great-great-grandmother was of Igbo ethnicity from Nigeria, West Africa.


title: Malcolm Gladwell

text: In the epilogue of his book "Outliers" he describes many lucky circumstances that came to his family over the course of several generations, contributing to his path towards success. Gladwell has said that his mother is his role model as a writer.


title: Malcolm Gladwell

text: Gladwell's father noted Malcolm was an unusually single-minded and ambitious boy. When Malcolm was 11, his father, who was a professor of mathematics and engineering at the University of Waterloo, allowed him to wander around the offices at his university, which stoked the boy's interest in reading and libraries. The University of Waterloo granted Gladwell an honorary doctorate in 2007. In the spring of 1982, Gladwell interned with the National Journalism Center in Washington, D.C. He graduated with a bachelor's degree in history from Trinity College of the University of Toronto, in 1984.


title: Malcolm Gladwell

text: Gladwell's grades were not high enough for graduate school, so he decided to pursue advertising as a career. After being rejected by every advertising agency he applied to, he accepted a journalism position at conservative magazine "The American Spectator" and moved to Indiana. He subsequently wrote for "Insight on the News", a conservative magazine owned by Sun Myung Moon's Unification Church. In 1987, Gladwell began covering business and science for "The Washington Post", where he worked until 1996. In a personal elucidation of the 10,000-hour rule he popularized in "Outliers", Gladwell notes, "I was a basket case at the beginning, and I felt like an expert at the end. It took 10 years—exactly that long."


title: Malcolm Gladwell

text: When Gladwell started at "The New Yorker" in 1996 he wanted to "mine current academic research for insights, theories, direction, or inspiration". His first assignment was to write a piece about fashion. Instead of writing about high-class fashion, Gladwell opted to write a piece about a man who manufactured T-shirts, saying: "[I]t was much more interesting to write a piece about someone who made a T-shirt for $8 than it was to write about a dress that costs $100,000. I mean, you or I could make a dress for $100,000, but to make a T-shirt for $8—that's much tougher."


title: Malcolm Gladwell

text: Gladwell gained popularity with two "New Yorker" articles, both written in 1996: "The Tipping Point" and "The Coolhunt". These two pieces would become the basis for Gladwell's first book, "The Tipping Point", for which he received a $1 million advance. He continues to write for "The New Yorker". Gladwell also served as a contributing editor for "Grantland", a sports journalism website founded by former ESPN columnist Bill Simmons.


title: Malcolm Gladwell

text: In a July 2002 article in "The New Yorker", Gladwell introduced the concept of the "talent myth" that companies and organizations, in his view, incorrectly follow. This work examines different managerial and administrative techniques that companies, both winners and losers, have used. He states that the misconception seems to be that management and executives are all too ready to classify employees without ample performance records and thus make hasty decisions. Many companies believe in disproportionately rewarding "stars" over other employees with bonuses and promotions. However, with the quick rise of inexperienced workers with little in-depth performance review, promotions are often incorrectly made, putting employees into positions they should not have and keeping other, more experienced employees from rising. He also points out that under this system, narcissistic personality types are more likely to climb the ladder, since they are more likely to take more credit for achievements and take less blame for failure. He states both that narcissists make the worst managers and that the system of rewarding "stars" eventually worsens a company's position. Gladwell states that the most successful long-term companies are those who reward experience above all else and require greater time for promotions.


title: Malcolm Gladwell

text: With the release of "The Bomber Mafia: A Dream, a Temptation, and the Longest Night of the Second World War" in April 2021, Gladwell has had seven books published. When asked for the process behind his writing, he said: "I have two parallel things I'm interested in. One is, I'm interested in collecting interesting stories, and the other is I'm interested in collecting interesting research. What I'm looking for is cases where they overlap".


title: Malcolm Gladwell

text: The initial inspiration for his first book, "The Tipping Point", which was published in 2000, came from the sudden drop of crime in New York City. He wanted the book to have a broader appeal than just crime, however, and sought to explain similar phenomena through the lens of epidemiology. While Gladwell was a reporter for "The Washington Post", he covered the AIDS epidemic. He began to take note of "how strange epidemics were", saying epidemiologists have a "strikingly different way of looking at the world". The term "tipping point" comes from the moment in an epidemic when the virus reaches critical mass and begins to spread at a much higher rate.


title: Malcolm Gladwell

text: Gladwell's theories of crime were heavily influenced by the "broken windows theory" of policing, and Gladwell is credited for packaging and popularizing the theory in a way that was implementable in New York City. Gladwell's theoretical implementation bears a striking resemblance to the "stop-and-frisk" policies of the NYPD. However, in the decade and a half since its publication, "The Tipping Point" and Gladwell have both come under fire for the tenuous link between "broken windows" and New York City's drop in violent crime. During a 2013 interview with BBC journalist Jon Ronson for "The Culture Show", Gladwell admitted that he was "too in love with the broken-windows notion". He went on to say that he was "so enamored by the metaphorical simplicity of that idea that I overstated its importance".


title: Malcolm Gladwell

text: After "The Tipping Point," Gladwell published "Blink" in 2005. The book explains how the human unconscious interprets events or cues as well as how past experiences can lead people to make informed decisions very rapidly. Gladwell uses examples like the Getty kouros and psychologist John Gottman's research on the likelihood of divorce in married couples. Gladwell's hair was the inspiration for "Blink". He stated that once he allowed his hair to get longer, he started to get speeding tickets all the time, an oddity considering that he had never gotten one before and that he started getting pulled out of airport security lines for special attention. In a particular incident, he was apprehended by three police officers while walking in downtown Manhattan because his curly hair matched the profile of a rapist, despite the fact the suspect looked nothing like him otherwise.


title: Malcolm Gladwell

text: Gladwell's "The Tipping Point" (2000) and "Blink" (2005) were international bestsellers. "The Tipping Point" sold more than two million copies in the United States. "Blink" sold equally well. As of November 2008, the two books had sold a combined 4.5 million copies.


title: Malcolm Gladwell

text: Gladwell's third book, "Outliers", published in 2008, examines how a person's environment, in conjunction with personal drive and motivation, affects his or her possibility and opportunity for success. Gladwell's original question revolved around lawyers: "We take it for granted that there's this guy in New York who's the corporate lawyer, right? I just was curious: Why is it all the same guy?", referring to the fact that "a surprising number of the most powerful and successful corporate lawyers in New York City have almost the exact same biography". In another example given in the book, Gladwell noticed that people ascribe Bill Gates's success to being "really smart" or "really ambitious". He noted that he knew a lot of people who are really smart and really ambitious, but not worth $60 billion. "It struck me that our understanding of success was really crude—and there was an opportunity to dig down and come up with a better set of explanations."


title: Malcolm Gladwell

text: Gladwell's fourth book, "What the Dog Saw: And Other Adventures", was published in 2009. "What the Dog Saw" bundles together Gladwell's favourites of his articles from "The New Yorker" since he joined the magazine as a staff writer in 1996. The stories share a common theme, namely that Gladwell tries to show us the world through the eyes of others, even if that other happens to be a dog.


title: Malcolm Gladwell

text: Gladwell's fifth book, "David and Goliath", was released in October 2013, and examines the struggle of underdogs versus favourites. The book is partially inspired by an article Gladwell wrote for "The New Yorker" in 2009 entitled "How David Beats Goliath". The book was a bestseller but received mixed reviews.


title: Malcolm Gladwell

text: Gladwell's sixth book, "Talking to Strangers", was released September 2019. The book examines interactions with strangers, covers examples that include the deceptions of Bernie Madoff, the trial of Amanda Knox, the suicide of Sylvia Plath, the Jerry Sandusky pedophilia case at Penn State, and the death of Sandra Bland. Gladwell explained what inspired him to write the book as being "struck by how many high profile cases in the news were about the same thing—strangers misunderstanding each other." It challenges the assumptions we are programmed to make when encountering strangers, and the potentially dangerous consequences of misreading people we do not know.


title: Malcolm Gladwell

text: Gladwell's seventh book, "The Bomber Mafia: A Dream, a Temptation, and the Longest Night of the Second World War", was released in April 2021. The book weaves together the stories of a Dutch genius and his homemade computer, a band of brothers in central Alabama, a British psychopath, and pyromaniacal chemists at Harvard to examine one of the greatest moral challenges in modern American history.


title: Malcolm Gladwell

text: "The Tipping Point" was named as one of the best books of the decade by Amazon.com customers, "The A.V. Club", "The Guardian", and "The Times". It was also Barnes & Noble's fifth-best-selling non-fiction book of the decade. "Blink" was named to "Fast Company" list of the best business books of 2005. It was also number 5 on Amazon customers' favourite books of 2005, named to "The Christian Science Monitor" best non-fiction books of 2005, and in the top 50 of Amazon customers' favourite books of the decade. "Outliers" was a number 1 "New York Times" bestseller for 11 straight weeks and was "Time"'s number 10 non-fiction book of 2008 as well as named to the "San Francisco Chronicle" list of the 50 best non-fiction books of 2008.


title: Malcolm Gladwell

text: "Fortune" described "The Tipping Point" as "a fascinating book that makes you see the world in a different way". The "Daily Telegraph" called it "a wonderfully offbeat study of that little-understood phenomenon, the social epidemic".


title: Malcolm Gladwell

text: Reviewing "Blink", "The Baltimore Sun" dubbed Gladwell "the most original American journalist since the young Tom Wolfe." Farhad Manjoo at "Salon" described the book as "a real pleasure. As in the best of Gladwell's work, "Blink" brims with surprising insights about our world and ourselves." "The Economist" called "Outliers" "a compelling read with an important message". David Leonhardt wrote in "The New York Times Book Review": "In the vast world of nonfiction writing, Malcolm Gladwell is as close to a singular talent as exists today" and "Outliers" "leaves you mulling over its inventive theories for days afterward". Ian Sample wrote in "The Guardian": "Brought together, the pieces form a dazzling record of Gladwell's art. There is depth to his research and clarity in his arguments, but it is the breadth of subjects he applies himself to that is truly impressive."


title: Malcolm Gladwell

text: Gladwell's critics have described him as prone to oversimplification. "The New Republic" called the final chapter of "Outliers," "impervious to all forms of critical thinking" and said Gladwell believes "a perfect anecdote proves a fatuous rule". Gladwell has also been criticized for his emphasis on anecdotal evidence over research to support his conclusions. Maureen Tkacik and Steven Pinker have challenged the integrity of Gladwell's approach. Even while praising Gladwell's writing style and content, Pinker summed up Gladwell as "a minor genius who unwittingly demonstrates the hazards of statistical reasoning", while accusing him of "cherry-picked anecdotes, post-hoc sophistry and false dichotomies" in his book "Outliers". Referencing a Gladwell reporting mistake in which Gladwell refers to "eigenvalue" as "Igon Value", Pinker criticizes his lack of expertise: "I will call this the Igon Value Problem: when a writer's education on a topic consists in interviewing an expert, he is apt to offer generalizations that are banal, obtuse or flat wrong." A writer in "The Independent" accused Gladwell of posing "obvious" insights. "The Register" has accused Gladwell of making arguments by weak analogy and commented Gladwell has an "aversion for fact", adding: "Gladwell has made a career out of handing simple, vacuous truths to people and dressing them up with flowery language and an impressionistic take on the scientific method." In that regard, "The New Republic" has called him "America's Best-Paid Fairy-Tale Writer". His approach was satirized by the online site "The Malcolm Gladwell Book Generator".


title: Malcolm Gladwell

text: In 2005, Gladwell commanded a $45,000 speaking fee. In 2008, he was making "about 30 speeches a year—most for tens of thousands of dollars, some for free", according to a profile in "New York" magazine. In 2011, he gave three talks to groups of small businessmen as part of a three-city speaking tour put on by Bank of America. The program was titled "Bank of America Small Business Speaker Series: A Conversation with Malcolm Gladwell". Paul Starobin, writing in the "Columbia Journalism Review", said the engagement's "entire point seemed to be to forge a public link between a tarnished brand (the bank), and a winning one (a journalist often described in profiles as the epitome of cool)". An article by Melissa Bell of "The Washington Post" posed the question: "Malcolm Gladwell: Bank of America's new spokesman?" "Mother Jones" editor Clara Jeffery said Gladwell's job for Bank of America had "terrible ethical optics". However, Gladwell says he was unaware that Bank of America was "bragging about his speaking engagements" until the "Atlantic Wire" emailed him. Gladwell explained:


title: Malcolm Gladwell

text: In 2012, CBS's "60 Minutes" attributed the trend of American parents "redshirting" their five-year-olds (postponing entrance into kindergarten to give them an advantage) to a section in Gladwell's "Outliers".


title: Malcolm Gladwell

text: Sociology professor Shayne Lee referenced "Outliers" in a CNN editorial commemorating Martin Luther King Jr.'s birthday. Lee discussed the strategic timing of King's ascent from a "Gladwellian perspective". Gladwell gives credit to Richard Nisbett and Lee Ross for inventing the Gladwellian genre.


title: Malcolm Gladwell

text: Gladwell has provided blurbs for "scores of book covers", leading "The New York Times" to ask, "Is it possible that Mr. Gladwell has been spreading the love a bit too thinly?" Gladwell, who said he did not know how many blurbs he had written, acknowledged, "The more blurbs you give, the lower the value of the blurb. It's the tragedy of the commons."


title: Malcolm Gladwell

text: Gladwell is host of the podcast "Revisionist History", initially produced through Panoply Media and now through Gladwell's own podcast company. It began in 2016, and has aired five 10-episode seasons. Each episode begins with an inquiry about a person, event, or idea, and proceeds to question the received wisdom about the subject. Gladwell was recruited to create a podcast by Jacob Weisberg, editor-in-chief of The Slate Group, which also includes the podcast network Panoply Media. In September 2018, Gladwell announced he was co-founding a podcast company, later named Pushkin Industries, with Weisberg. About this decision, Gladwell told the "Los Angeles Times": "There is a certain kind of whimsy and emotionality that can only be captured on audio."


title: Malcolm Gladwell

text: He also has a music podcast with Bruce Headlam and Rick Rubin, titled "Broken Record" where they interview musicians. It has two seasons, 2018–2019 and 2020 with a total of 49 episodes.


title: Malcolm Gladwell

text: Gladwell is a Christian. His family attended Above Bar Church in Southampton, UK, and later Gale Presbyterian in Elmira when they moved to Canada. His parents and siblings are part of the Mennonite community in Southwestern Ontario. Gladwell wandered away from his Christian roots when he moved to New York, only to rediscover his faith during the writing of "David and Goliath" and his encounter with Wilma Derksen regarding the death of her child.


title: Malcolm Gladwell

text: Gladwell was a national class runner and an Ontario High School (Ontario Federation of School Athletic Associations – OFSAA) champion. He was among Canada's fastest teenagers at 1500 metres, running 4:14 at the age of 13 and 4:05 when aged 14. At university, Gladwell ran 1500 metres in 3:55. In 2014, at the age of 51, he ran a 4:54 at the Fifth Avenue Mile. At 57 he ran a 5:15 mile.


title: Malcolm Gladwell

text: Gladwell was a featured storyteller for the Moth podcast. He told a story about a well-intentioned wedding toast for a young man and his friends that went wrong.


title: Malcolm Gladwell

text: Gladwell is the only guest to have been featured as a headliner at every OZY Fest festival—an annual music and ideas festival produced by OZY Media—other than OZY co-founder and CEO Carlos Watson. Gladwell has also appeared on several television shows for OZY Media, including the "Carlos Watson Show" (YouTube) and "Third Rail With OZY" (PBS).


title: World Tourism rankings

text: The World Tourism rankings are compiled by the United Nations World Tourism Organization as part of their "World Tourism Barometer" publication, which is released up to six times per year. In the publication, destinations are ranked by the number of international visitor arrivals, by the revenue generated by inbound tourism, and by the expenditure of outbound travelers.


title: World Tourism rankings

text: In 2019 there were 1.459 billion international tourist arrivals worldwide, with a growth of 3.7% as compared to 2018. The top 10 international tourism destinations in 2019 were:


title: World Tourism rankings

text: In 2019, there were 69.9 million international tourist arrivals to Africa (excluding Egypt and Libya), an increase of 2.4% from 2018. In 2019, the top ten African destinations were:


title: World Tourism rankings

text: In 2019, there were 219.1 million international tourist arrivals to the Americas, an increase of 1.5%. In 2019, the top ten destinations were:


title: World Tourism rankings

text: In 2019, there were 360.7 million international tourist arrivals to Asia-Pacific, an increase of 4.1% over 2018. In 2019, the top ten destinations were:


title: World Tourism rankings

text: In 2019, there were 744.3 million international tourist arrivals to Europe, an increase of 3.9% over 2017. In 2019, the top ten destinations were:


title: World Tourism rankings

text: In 2019, there were 61.4 million international tourist arrivals to the Middle East (excluding Iran and Israel), an increase of 2.1% over 2018. In 2019, the top ten destinations were:


title: World Tourism rankings

text: International tourism receipts grew to billion in 2019, corresponding to an increase in real terms of 2.7% from 2018. The World Tourism Organization reports the following destinations as the top ten tourism earners for the year 2019, with the United States by far the top earner.


title: World Tourism rankings

text: The World Tourism Organization reports the following source markets as the top ten spenders on international tourism for the year 2019, with China by far being the top spender:


title: Now You See Me (film)

text: Now You See Me is a 2013 American heist drama film directed by Louis Leterrier from a screenplay by Ed Solomon, Boaz Yakin, and Edward Ricourt and a story by Yakin and Ricourt. It is the first installment in the "Now You See Me" series. The film features an ensemble cast of Jesse Eisenberg, Mark Ruffalo, Woody Harrelson, Isla Fisher, Dave Franco, Mélanie Laurent, Michael Caine, and Morgan Freeman. The plot follows an FBI agent and an Interpol detective who track and attempt to bring to justice a team of magicians who pull off bank heists and robberies during their performances and reward their audiences with the money.


title: Now You See Me (film)

text: The film premiered in New York City on May 21, 2013 before its official release in the United States on May 31, 2013, by Summit Entertainment. The film received mixed reviews with criticism being focused on the ending, but became a box office success, grossing $351.7 million worldwide against a budget of $75 million. The film won the People's Choice Award for Favorite Thriller Movie and also received nominations for the Empire Award for Best Thriller and the Saturn Award for Best Thriller Film and Best Music.


title: Now You See Me (film)

text: Magicians J. Daniel Atlas, Merritt McKinney, Henley Reeves, and Jack Wilder each receive a tarot card leading them to a New York City apartment, where they discover hologram technology with instructions from an unknown benefactor. A year later, at the MGM Grand Las Vegas, they perform as "The Four Horsemen" in a show funded by insurance magnate Arthur Tressler. Their final trick appears to transport an audience member inside the vault of the Crédit Républicain bank in Paris. Stacks of euros are drawn into the vault's air vents and showered on the Las Vegas crowd; the trick is shown to have actually happened as the Paris vault is found empty of its recent shipment of Euros.


title: Now You See Me (film)

text: FBI agent Dylan Rhodes and French Interpol agent Alma Dray seize and interrogate the Horsemen about the robbery but, having no evidence to hold them, have no choice but to release them. They turn to Thaddeus Bradley, a former magician turned magic debunker. Thirty years ago, Lionel Shrike, a magician exposed by Thaddeus, attempted to relaunch his career, but died inside a safe during a failed escape trick. Thaddeus demonstrates how the Horsemen used a mock vault under the Las Vegas stage, and explains that they stole the money "before" it arrived at the bank, replacing it with flash paper designed to look like the money, which ignited when the vents were activated without creating any smoke or residue. He reveals that they manipulated the audience participant (who was "intentionally" selected beforehand) to attend the show, where he was hypnotized into helping to perform the final trick, also revealing that he was actually dropped into the duplicate vault below the stage.


title: Now You See Me (film)

text: Thaddeus and the FBI follow the Horsemen to their next show in New Orleans, where the magicians transfer more than $140 million from Tressler's private accounts to certain members in the audience, composed of people whose insurance claims were denied by Tressler's company in the wake of Hurricane Katrina. Rhodes attempts to capture the magicians, but members of the audience who were hypnotized tackle him when he says a certain word, allowing the magicians to escape, and a vengeful Tressler hires Thaddeus to expose them for robbing him. Alma suspects the Horsemen are connected to "the Eye", a Freemason-like, elite group of magicians so skilled that many think they have access to real magic, who steal from the rich to give to the poor. Alma also suspects that there may be someone helping the Horsemen.


title: Now You See Me (film)

text: Discovering that the Horsemen replaced Dylan's cell phone with a bugged clone, allowing them to remain ahead of the investigation, the FBI track Dylan's "real" phone to the New York apartment, where three of the Horsemen escape while Jack stays back to destroy their documents. Pursued by the authorities, he loses control of his car in a fiery crash on the Queensboro Bridge. Unable to save Jack, Dylan recovers papers pointing to the Horsemen's next crime: stealing millions in cash from the Elkhorn Company's safe. After answering a call from Thaddeus, Dylan suspects that Alma may be helping the Horsemen, which she denies. The FBI head to the Elkhorn Company, but find the safe missing (having being loaded on a truck under orders of one of the FBI agents, who was "also" hypnotized) and intercept it, only to discover that it contains nothing but balloon animals; it is revealed to be a decoy. They converge on the Horsemen's final show at 5 Pointz, where the magicians appear with a farewell message to the crowd. As they leap off the roof, Alma disrupts Dylan's attempt to shoot them; the Horseman disappear in a shower of counterfeit money.


title: Now You See Me (film)

text: The "real" money from the Elkhorn safe is found in Thaddeus' car and he is apprehended, presumed to be an accomplice with the Horsemen. Dylan visits him in jail, and Thaddeus deduces that the Horsemen duped the FBI into following the duplicate safe, allowing Jack, who faked his death using a decoy car and a cadaver stolen from a morgue, to break into the "real" safe (which was in fact "never" stolen but was actually "hidden" behind a giant mirror to trick the FBI into thinking that it "was" indeed missing) and frame Thaddeus with the stolen money. Thaddeus realizes that "Dylan" is the mastermind behind the Four Horsemen's plots, which proves Alma's suspicions correct. At the Central Park Carousel, Daniel, Merritt, Henley, and Jack are welcomed by Dylan as the newest members of the Eye.


title: Now You See Me (film)

text: Meeting Alma in Paris at the Pont des Arts, Dylan reveals that "he" is Lionel Shrike's son. He is also the mastermind behind Horsemen tricks in order to seek retribution for his father's death: the Elkhorn Company's faulty safe led to the accident; Thaddeus Bradley who ruined his father's career; and the Crédit Républicain and Tressler's insurance company failed to pay out his father's life insurance. Alma, having fallen in love with Dylan, agrees to keep his secret and they attach a love lock to the railing, throwing the key into the Seine.


title: Now You See Me (film)

text: In a mid-credits scene, the Horsemen drive to a deserted junkyard, and find a set of locked crates with the symbol of the Eye.


title: Now You See Me (film)

text: On October 25, 2011, Summit Entertainment announced the release date for "Now You See Me" for July 18, 2013. On November 3, 2011, the company revealed the film's first synopsis and teaser poster.


title: Now You See Me (film)

text: On January 16, 2012, shooting began in New Orleans, Louisiana, which lasted until March 26, 2012. Additional filming took place in New York City on February 13 and in Las Vegas from April 9, 2012 to the following day.


title: Now You See Me (film)

text: Isla Fisher "nearly drowned" while filming the water tank scene. "My chain got stuck. I had to really swim to the bottom; I couldn't get up. Everyone thought I was acting fabulously. I was actually drowning," she said during an interview on "Chelsea Lately". "No one realized I was actually struggling." A stuntman standing nearby used a quick-release switch to save her.


title: Now You See Me (film)

text: The official soundtrack, titled "Now You See Me (Original Motion Picture Soundtrack)", for the film was composed by Brian Tyler and was released by Glassnote Records on May 28, 2013 for physical purchase and digital download. The film's soundtrack song "Entertainment", performed by French rock band Phoenix, was featured in the film's end credits.


title: Now You See Me (film)

text: The film premiered in New York City on May 21, 2013 before its official release in the United States on May 31, 2013 by Summit Entertainment.


title: Now You See Me (film)

text: "Now You See Me" was released on DVD and Blu-ray on September 3, 2013 through Lionsgate Home Entertainment. The Blu-ray release contains an extended version of the film featuring ten additional minutes. It also contains two featurettes: a behind-the-scenes and a "History of Magic", plus 30 minutes of deleted scenes.


title: Now You See Me (film)

text: By the end of its box office run, "Now You See Me" had grossed $117.7 million in the U.S. and Canada and $234 million in other territories for a worldwide total of $351.7 million, against a budget of $75 million.


title: Now You See Me (film)

text: The film had a successful box office run, placing second behind "Fast & Furious 6" and taking $29,350,389 on its opening weekend from 2,925 theaters. By the end of June, it had grossed double its production budget. The film stayed in the top 10 of the North American box office for six weeks after release.


title: Now You See Me (film)

text: The biggest markets in other territories were France, China, Russia, South Korea, United Kingdom and Australia where the film grossed $25.7 million, $22.9 million, $21.2 million, $17.1 million, $16.8 million and $16.1 million, respectively.


title: Now You See Me (film)

text: "Now You See Me" received mixed reviews from critics. The most common criticism is that various plot points were insufficiently resolved at the film's conclusion, leaving some questions unanswered or answered unclearly (although some suggested that this was intentional, leaving room for a sequel). On Rotten Tomatoes the film has an approval rating of 50% based on 173 reviews, with an average rating of 5.80/10. The site's critical consensus reads, ""Now You See Me"s thinly sketched characters and scattered plot rely on sleight of hand from the director to distract audiences." On Metacritic , the film has a score of 50 out of 100, based on reviews from 35 critics, indicating "mixed or average reviews". Audience polls conducted by CinemaScore give the film a grade of "A−" on an A+ to F scale. Peter Hammond from Movieline wrote, "Pure summer movie magic—literally. More fun than "Ocean's 11", "12", and "13" combined. You won't believe your eyes—and that's the point."


title: Now You See Me (film)

text: The film was criticized for its twist ending, with several critics citing it as too farfetched and illogical. Critic Lee Cassanell claimed the creators "ran out of top hats and rabbits and decided to saw their audiences' brains in half." Eric D. Snider was more positive towards the rest of the film, but felt that "The story moves jauntily toward its destination; the destination, unfortunately, is a disappointing wreck." Kent Garrison was far more critical, claiming the film to rely on "one of the worst, if not the worst twist in cinema history, and literally erases everything that it builds up to."


title: Now You See Me (film)

text: On July 3, 2013, after the box office success of the film, Lionsgate's CEO Jon Feltheimer confirmed that there would be a sequel to the film with production beginning in 2014 for an unspecified release date. Louis Leterrier stated that he would return to direct the sequel; however, in September 2014, it was confirmed that Jon M. Chu would replace Leterrier as director. Eisenberg, Ruffalo, Harrelson, Franco, Caine and Freeman were set to reprise their roles for the sequel. Fisher was unable to participate because of her third pregnancy and was replaced by Lizzy Caplan. The film was released on June 10, 2016, titled "Now You See Me 2". On October 2, 2014, Michael Caine said in an interview that Daniel Radcliffe would be playing his son in the film. Filming began in late November.


title: Now You See Me (film)

text: On May 22, 2015, Lionsgate revealed the details about the development of the sequel, when CEO Jon Feltheimer announced that they had "already begun early planning for "Now You See Me 3"."


title: Oxytocin

text: Oxytocin (Oxt or OT) is a peptide hormone and neuropeptide normally produced in the hypothalamus and released by the posterior pituitary. It plays a role in social bonding, reproduction, childbirth, and the period after childbirth. Oxytocin is released into the bloodstream as a hormone in response to sexual activity and during labour. It is also available in pharmaceutical form. In either form, oxytocin stimulates uterine contractions to speed up the process of childbirth. In its natural form, it also plays a role in bonding with the baby and milk production. Production and secretion of oxytocin is controlled by a positive feedback mechanism, where its initial release stimulates production and release of further oxytocin. For example, when oxytocin is released during a contraction of the uterus at the start of childbirth, this stimulates production and release of more oxytocin and an increase in the intensity and frequency of contractions. This process compounds in intensity and frequency and continues until the triggering activity ceases. A similar process takes place during lactation and during sexual activity.


title: Oxytocin

text: Oxytocin is derived by enzymatic splitting from the peptide precursor encoded by the human OXT gene. The deduced structure of the active nonapeptide is:


title: Oxytocin

text: The term "oxytocin" derives from the Greek "ὠκυτόκος" ("ōkutókos"), based on ὀξύς (oxús), meaning "sharp" or "swift", and τόκος (tókos), meaning "childbirth". The adjective form is "oxytocic", which refers to medicines which stimulate uterine contractions, to speed up the process of childbirth.


title: Oxytocin

text: The uterine-contracting properties of the principle that would later be named oxytocin were discovered by British pharmacologist Henry Hallett Dale in 1906, and its milk ejection property was described by Ott and Scott in 1910 and by Schafer and Mackenzie in 1911.


title: Oxytocin

text: In the 1920s, oxytocin and vasopressin were isolated from pituitary tissue and given their current names.


title: Oxytocin

text: Oxytocin's molecular structure was determined in 1952. In the early 1950s, American biochemist Vincent du Vigneaud found that oxytocin is made up of nine amino acids, and he identified its amino acid sequence, the first polypeptide hormone to be sequenced. In 1953, du Vigneaud carried out the synthesis of oxytocin, the first polypeptide hormone to be synthesized. Du Vigneaud was awarded the Nobel Prize in 1955 for his work.


title: Oxytocin

text: Further work on different synthetic routes for oxytocin, as well as the preparation of analogues of the hormone ("e.g." 4-deamido-oxytocin) was performed in the following decade by Iphigenia Photaki.


title: Oxytocin

text: Estrogen has been found to increase the secretion of oxytocin and to increase the expression of its receptor, the oxytocin receptor, in the brain. In women, a single dose of estradiol has been found to be sufficient to increase circulating oxytocin concentrations.


title: Oxytocin

text: Oxytocin and vasopressin are the only known hormones released by the human posterior pituitary gland to act at a distance. However, oxytocin neurons make other peptides, including corticotropin-releasing hormone (CRH) and dynorphin, for example, that act locally. The magnocellular neurons that make oxytocin are adjacent to magnocellular neurons that make vasopressin, and are similar in many respects.


title: Oxytocin

text: The oxytocin peptide is synthesized as an inactive precursor protein from the "OXT" gene. This precursor protein also includes the oxytocin carrier protein neurophysin I. The inactive precursor protein is progressively hydrolyzed into smaller fragments (one of which is neurophysin I) via a series of enzymes. The last hydrolysis that releases the active oxytocin nonapeptide is catalyzed by peptidylglycine alpha-amidating monooxygenase (PAM).


title: Oxytocin

text: The activity of the PAM enzyme system is dependent upon vitamin C (ascorbate), which is a necessary vitamin cofactor. By chance, sodium ascorbate by itself was found to stimulate the production of oxytocin from ovarian tissue over a range of concentrations in a dose-dependent manner. Many of the same tissues ("e.g." ovaries, testes, eyes, adrenals, placenta, thymus, pancreas) where PAM (and oxytocin by default) is found are also known to store higher concentrations of vitamin C.


title: Oxytocin

text: Oxytocin is known to be metabolized by the oxytocinase, leucyl/cystinyl aminopeptidase. Other oxytocinases are also known to exist. Amastatin, bestatin (ubenimex), leupeptin, and puromycin have been found to inhibit the enzymatic degradation of oxytocin, though they also inhibit the degradation of various other peptides, such as vasopressin, met-enkephalin, and dynorphin A.


title: Oxytocin

text: In the hypothalamus, oxytocin is made in magnocellular neurosecretory cells of the supraoptic and paraventricular nuclei, and is stored in Herring bodies at the axon terminals in the posterior pituitary. It is then released into the blood from the posterior lobe (neurohypophysis) of the pituitary gland. These axons (likely, but dendrites have not been ruled out) have collaterals that innervate neurons in the nucleus accumbens, a brain structure where oxytocin receptors are expressed. The endocrine effects of hormonal oxytocin and the cognitive or behavioral effects of oxytocin neuropeptides are thought to be coordinated through its common release through these collaterals. Oxytocin is also produced by some neurons in the paraventricular nucleus that project to other parts of the brain and to the spinal cord. Depending on the species, oxytocin receptor-expressing cells are located in other areas, including the amygdala and bed nucleus of the stria terminalis.


title: Oxytocin

text: In the pituitary gland, oxytocin is packaged in large, dense-core vesicles, where it is bound to neurophysin I as shown in the inset of the figure; neurophysin is a large peptide fragment of the larger precursor protein molecule from which oxytocin is derived by enzymatic cleavage.


title: Oxytocin

text: Secretion of oxytocin from the neurosecretory nerve endings is regulated by the electrical activity of the oxytocin cells in the hypothalamus. These cells generate action potentials that propagate down axons to the nerve endings in the pituitary; the endings contain large numbers of oxytocin-containing vesicles, which are released by exocytosis when the nerve terminals are depolarised.


title: Oxytocin

text: Endogenous oxytocin concentrations in the brain have been found to be as much as 1000-fold higher than peripheral levels.


title: Oxytocin

text: Outside the brain, oxytocin-containing cells have been identified in several diverse tissues, including in females in the corpus luteum and the placenta; in males in the testicles' interstitial cells of Leydig; and in both sexes in the retina, the adrenal medulla, the thymus and the pancreas. The finding of significant amounts of this classically "neurohypophysial" hormone outside the central nervous system raises many questions regarding its possible importance in these diverse tissues.


title: Oxytocin

text: The Leydig cells in some species have been shown to possess the biosynthetic machinery to manufacture testicular oxytocin "de novo", to be specific, in rats (which can synthesize vitamin C endogenously), and in guinea pigs, which, like humans, require an exogenous source of vitamin C (ascorbate) in their diets.


title: Oxytocin

text: Oxytocin is synthesized by corpora lutea of several species, including ruminants and primates. Along with estrogen, it is involved in inducing the endometrial synthesis of prostaglandin F to cause regression of the corpus luteum.


title: Oxytocin

text: Virtually all vertebrates have an oxytocin-like nonapeptide hormone that supports reproductive functions and a vasopressin-like nonapeptide hormone involved in water regulation. The two genes are usually located close to each other (less than 15,000 bases apart) on the same chromosome, and are transcribed in opposite directions (however, in fugu, the homologs are further apart and transcribed in the same direction).


title: Oxytocin

text: The two genes are believed to result from a gene duplication event; the ancestral gene is estimated to be about 500 million years old and is found in cyclostomata (modern members of the Agnatha).


title: Oxytocin

text: Oxytocin has peripheral (hormonal) actions, and also has actions in the brain. Its actions are mediated by specific oxytocin receptors. The oxytocin receptor is a G-protein-coupled receptor, OT-R, which requires magnesium and cholesterol and is expressed in myometrial cells. It belongs to the rhodopsin-type (class I) group of G-protein-coupled receptors.


title: Oxytocin

text: Studies have looked at oxytocin's role in various behaviors, including orgasm, social recognition, pair bonding, anxiety, in-group bias, situational lack of honesty, autism, and maternal behaviors. Oxytocin is believed to have a significant role in social learning. There are indicators that oxytocin may help to decrease noise in the brain's auditory system, increase perception of social cues and support more targeted social behavior. It may also enhance reward responses. However, its effects may be influenced by context, such as the presence of familiar or unfamiliar individuals.


title: Oxytocin

text: The peripheral actions of oxytocin mainly reflect secretion from the pituitary gland. The behavioral effects of oxytocin are thought to reflect release from centrally projecting oxytocin neurons, different from those that project to the pituitary gland, or that are collaterals from them. Oxytocin receptors are expressed by neurons in many parts of the brain and spinal cord, including the amygdala, ventromedial hypothalamus, septum, nucleus accumbens, and brainstem, although the distribution differs markedly between species. Furthermore, the distribution of these receptors changes during development and has been observed to change after parturition in the montane vole.