title: Traditional animation

text: While working on a scene, a key animator will usually prepare a "pencil test" of the scene. A pencil test is a much rougher version of the final animated scene (often devoid of many character details and color); the pencil drawings are quickly photographed or scanned and synced with the necessary soundtracks. This allows the animation to be reviewed and improved upon before passing the work on to their "assistant animators," who will add details and some of the missing frames in the scene. The work of the assistant animators is reviewed, pencil-tested, and corrected until the lead animator is ready to meet with the director and have their scene "sweatboxed."


title: Traditional animation

text: Once the key animation is approved, the lead animator forwards the scene on to the "clean-up department," made up of the "clean-up animators" and the "inbetweeners." The clean-up animators take the lead and assistant animators' drawings and trace them onto a new sheet of paper, making sure to include all of the details present on the original model sheets, so that the film maintains a cohesiveness and consistency in art style. The "inbetweeners" will draw in whatever frames are still missing "in-between" the other animators' drawings. This procedure is called tweening. The resulting drawings are again pencil-tested and sweatboxed until they meet approval.


title: Traditional animation

text: This process is the same for both "character animation" and "special effects animation", which on most high-budget productions are done in separate departments. Often, each major character will have an animator or group of animators solely dedicated to drawing that character. The group will be made up of one supervising animator, a small group of key animators, and a larger group of assistant animators. Effects animators animate anything that moves and are not a character, including props, vehicles, machinery and phenomena such as fire, rain, and explosions. Sometimes, instead of drawings, a number of special processes are used to produce special effects in animated films; rain, for example, has been created in Disney animated films since the late 1930s by filming slow-motion footage of water in front of a black background, with the resulting film superimposed over the animation.


title: Traditional animation

text: Once the clean-ups and in-between drawings for a sequence are completed, they are prepared for a process known as "ink-and-paint." Each drawing is then transferred from paper to a thin, clear sheet of plastic called a "cel," a contraction of the material name celluloid (the original flammable cellulose nitrate was later replaced with the more stable cellulose acetate). The outline of the drawing is inked or photocopied onto the cel, and gouache, acrylic or a similar type of paint is used on the reverse sides of the cels to add colors in the appropriate shades. The transparent quality of the cel allows for each character or object in a frame to be animated on different cels, as the cel of one character can be seen underneath the cel of another; and the opaque background will be seen beneath all of the cels.


title: Traditional animation

text: When an entire sequence has been transferred to cels, the photography process begins. Each cel involved in a frame of a sequence is laid on top of each other, with the background at the bottom of the stack. A piece of glass is lowered onto the artwork in order to flatten any irregularities, and the composite image is then photographed by a special animation camera, also called rostrum camera. The cels are removed, and the process repeats for the next frame until each frame in the sequence has been photographed. Each cel has "registration holes," small holes along the top or bottom edge of the cel, which allow the cel to be placed on corresponding peg bars before the camera to ensure that each cel aligns with the one before it; if the cels are not aligned in such a manner, the animation, when played at full speed, will appear "jittery." Sometimes, frames may need to be photographed more than once, in order to implement superimpositions and other camera effects. Pans are created by either moving the cels or backgrounds 1 step at a time over a succession of frames (the camera does not pan; it only zooms in and out).


title: Traditional animation

text: Dope sheets are created by the animators and used by the camera operator to transfer each animation drawing into the number of film frames specified by the animators, whether it is 1 (1s, ones) 2 (2s, twos) or 3 (3s, threes).


title: Traditional animation

text: As the scenes come out of final photography, they are spliced into the Leica reel, taking the place of the pencil animation. Once every sequence in the production has been photographed, the final film is sent for development and processing, while the final music and sound effects are added to the soundtrack.


title: Traditional animation

text: The current process, termed "digital ink and paint", is the same as traditional ink and paint until after the animation drawings are completed; instead of being transferred to cels, the animators' drawings are either scanned into a computer or drawn directly onto a computer monitor via graphics tablets, where they are colored and processed using one or more of a variety of software packages. The resulting drawings are composited in the computer over their respective backgrounds, which have also been scanned into the computer (if not digitally painted), and the computer outputs the final film by either exporting a digital video file, using a video cassette recorder or printing to film using a high-resolution output device. Use of computers allows for easier exchange of artwork between departments, studios, and even countries and continents (in most low-budget American animated productions, the bulk of the animation is actually done by animators working in other countries, including South Korea, Taiwan, Japan, China, Singapore, Mexico, India, and the Philippines). As the cost of both inking and painting new cels for animated films and TV programs and the repeated usage of older cels for newer animated TV programs and films went up and the cost of doing the same thing digitally went down, eventually, the digital ink-and-paint process became the standard for future animated movies and TV programs.


title: Traditional animation

text: Hanna-Barbera was the first American animation studio to implement a computer animation system for digital ink-and-paint usage. Following a commitment to the technology in 1979, computer scientist Marc Levoy led the Hanna-Barbera Animation Laboratory from 1980 to 1983, developing an ink-and-paint system that was used in roughly a third of Hanna-Barbera's domestic production, starting in 1984 and continuing until replaced with third-party software in 1996. It was first tested in the "Pac-Man" episodes "Nighty Nightmares" and "The Pac-Mummy". In addition to a cost savings compared to traditional cel painting of 5 to 1, the Hanna-Barbera system also allowed for multiplane camera effects evident in H-B productions such as "A Pup Named Scooby-Doo" (1988).


title: Traditional animation

text: Digital ink and paint has been in use at Walt Disney Animation Studios since 1989, where it was used for the final rainbow shot in "The Little Mermaid". All subsequent Disney animated features were digitally inked-and-painted (starting with "The Rescuers Down Under", which was also the first major feature film to entirely use digital ink and paint), using Disney's proprietary CAPS (Computer Animation Production System) technology, developed primarily by Pixar Animation Studios. The CAPS system allowed the Disney artists to make use of colored ink-line techniques mostly lost during the xerography era, as well as multiplane effects, blended shading, and easier integration with 3D CGI backgrounds (as in the ballroom sequence in the 1991 film "Beauty and the Beast"), props, and characters.


title: Traditional animation

text: While Hanna-Barbera and Disney began implementing digital inking and painting, it took the rest of the industry longer to adapt. Many filmmakers and studios did not want to shift to the digital ink-and-paint process because they felt that the digitally colored animation would look too synthetic and would lose the aesthetic appeal of the non-computerized cel for their projects. Many animated television series were still animated in other countries by using the traditionally inked-and-painted cel process as late as 2004, though most of them switched over to the digital process at some point during their run. The last major feature film to use traditional ink and paint was Satoshi Kon's "Millennium Actress" (2001); the last major animation productions in the west to use the traditional process were Nickelodeon's "SpongeBob SquarePants", both Fox's "The Simpsons" and "King of the Hill" and both Cartoon Network's "The Powerpuff Girls" and "Ed, Edd n Eddy", which all switched to digital paint between 2000 to 2004, while the last major animated production overall to abandon cel animation was the television adaptation of "Sazae-san", which remained stalwart with the technique until September 29, 2013, when it switched to fully digital animation on October 6, 2013. Prior to this, the series adopted digital animation solely for its opening credits in 2009, but retained the use of traditional cels for the main content of each episode. Minor productions, such as "Hair High" (2004) by Bill Plympton, have used traditional cels long after the introduction of digital techniques. Most studios today use one of a number of other high-end software packages, such as Toon Boom Harmony, Toonz (OpenToonz), Animo, and RETAS, or even consumer-level applications such as Adobe Flash, Toon Boom Technologies and TV Paint.


title: Traditional animation

text: The cel animation process was invented by Earl Hurd and John Bray in 1915. The cel is an important innovation to traditional animation, as it allows some parts of each frame to be repeated from frame to frame, thus saving labor. A simple example would be a scene with two characters on screen, one of which is talking and the other standing silently. Since the latter character is not moving, it can be displayed in this scene using only one drawing, on one cel, while multiple drawings on multiple cels are used to animate the speaking character.


title: Traditional animation

text: For a more complex example, consider a sequence in which a person sets a plate upon a table. The table stays still for the entire sequence, so it can be drawn as part of the background. The plate can be drawn along with the character as the character places it on the table. However, after the plate is on the table, the plate no longer moves, although the person continues to move as they draw their arm away from the plate. In this example, after the person puts the plate down, the plate can then be drawn on a separate cel from them. Further frames feature new cels of the person, but the plate does not have to be redrawn as it is not moving; the same cel of the plate can be used in each remaining frame that it is still upon the table. The cel paints were actually manufactured in shaded versions of each color to compensate for the extra layer of cel added between the image and the camera; in this example, the still plate would be painted slightly brighter to compensate for being moved one layer down.


title: Traditional animation

text: In TV and other low-budget productions, cels were often "cycled" (i.e., a sequence of cels was repeated several times), and even archived and reused in other episodes. After the film was completed, the cels were either thrown out or, especially in the early days of animation, washed clean and reused for the next film. In some cases, some of the cels were put into the "archive" to be used again and again for future purposes in order to save money. Some studios saved a portion of the cels and either sold them in studio stores or presented them as gifts to visitors.


title: Traditional animation

text: A "cel overlay" is a cel with inanimate objects used to give the impression of a foreground when laid on top of a ready frame. This creates the illusion of depth, but not as much as a multiplane camera would. A special version of cel overlay is called "line overlay", made to complete the background instead of making the foreground, and was invented to deal with the sketchy appearance of xeroxed drawings. The background was first painted as shapes and figures in flat colors, containing rather few details. Next, a cel with detailed black lines was laid directly over it, each line is drawn to add more information to the underlying shape or figure and give the background the complexity it needed. In this way, the visual style of the background will match that of the xeroxed character cels. As the xerographic process evolved, line overlay was left behind.


title: Traditional animation

text: In very early cartoons made before the use of the cel, such as "Gertie the Dinosaur" (1914), the entire frame, including the background and all characters and items, were drawn on a single sheet of paper, then photographed. Everything had to be redrawn for each frame containing movements. This led to a "jittery" appearance; imagine seeing a sequence of drawings of a mountain, each one slightly different from the one preceding it. The pre-cel animation was later improved by using techniques like the slash and tear system invented by Raoul Barre; the background and the animated objects were drawn on separate papers. A frame was made by removing all the blank parts of the papers where the objects were drawn before being placed on top of the backgrounds and finally photographed.


title: Traditional animation

text: In lower-budget productions, shortcuts available through the cel technique are used extensively. For example, in a scene in which a person is sitting in a chair and talking, the chair and the body of the person may be the same in every frame; only their head is redrawn, or perhaps even their head stays the same while only their mouth moves. This is known as "limited animation." The process was popularized in theatrical cartoons by United Productions of America and used in most television animation, especially that of Hanna-Barbera. The end result does not look very lifelike, but is inexpensive to produce, and therefore allows cartoons to be made on small television budgets.


title: Traditional animation

text: Moving characters are often shot "on twos". One drawing is shown for every two frames of film (which usually runs at 24 frames per second), meaning there are only 12 drawings per second. Even though the image update rate is low, the fluidity is satisfactory for most subjects. However, when a character is required to perform a quick movement, it is usually necessary to revert to animating "on ones", as "twos" are too slow to convey the motion adequately. A blend of the two techniques keeps the eye fooled without unnecessary production costs.


title: Traditional animation

text: Academy Award-nominated animator Bill Plympton is noted for his style of animation that uses very few in-betweens and sequences that are done "on threes" or "on fours", holding each drawing on the screen from 1/8 to 1/6 of a second. While Plympton uses near-constant three-frame holds, sometimes animation that simply averages eight drawings per second is also termed "on threes" and is usually done to meet budget constraints, along with other cost-cutting measures like holding the same drawing of a character for a prolonged time or panning over a still image, techniques often used in low-budget TV productions. It is also common in anime, where fluidity is sacrificed in lieu of a shift towards complexity in the designs and shading (in contrast with the more functional and optimized designs in the Western tradition); even high-budget theatrical features such as Studio Ghibli's employ the full range: from smooth animation "on ones" in selected shots (usually quick action accents) to common animation "on threes" for regular dialogue and slow-paced shots.


title: Traditional animation

text: Creating "animation loops" or "animation cycles" is a labor-saving technique for animating repetitive motions, such as a character walking or a breeze blowing through the trees. In the case of walking, the character is animated taking a step with its right foot, then a step with its left foot. The loop is created so that, when the sequence repeats, the motion is seamless. In general, they are used only sparingly by productions with moderate or high budgets.


title: Traditional animation

text: Ryan Larkin's 1969 Academy Award-nominated National Film Board of Canada short "Walking" makes creative use of loops. In addition, a promotional music video from Cartoon Network's Groovies featuring the Soul Coughing song "Circles" poked fun at animation loops as they are often seen in "The Flintstones", in which Fred and Barney (along with various Hanna-Barbera characters that aired on Cartoon Network), supposedly walking in a house, wonder why they keep passing the same table and vase over and over again.


title: Traditional animation

text: The multiplane process is a technique primarily used to give a sense of depth or parallax to two-dimensional animated films. To use this technique in traditional animation, the artwork is painted or placed onto separate layers called planes. These planes, typically constructed of planes of transparent glass or plexiglass, are then aligned and placed with specific distances between each plane. The order in which the planes are placed, and the distance between them, is determined by what element of the scene is on the plane as well as the entire scene’s intended depth. A camera, mounted above or in front of the planes, moves its focus toward or away from the planes during the capture of the individual animation frames. In some devices, the individual planes can be moved toward or away from the camera. This gives the viewer the impression that they are moving through the separate layers of art as though in a three-dimensional space.


title: Traditional animation

text: Predecessors of this technique and the equipment used to implement it began appearing in the late 19th century. Painted glass panes were often used in matte shots and glass shots, as seen in the work of Norman Dawn. In 1923, Lotte Reiniger and her animation team constructed one of the first multiplane animation structures, a device called a "." Its top-down, vertical design allowed for overhead adjusting of individual, stationary planes. The "" was used in the filming of "The Adventures of Prince Achmed," one of Reiniger’s most well-known works. Future multiplane animation devices would generally use the same vertical design as Reiniger’s device. One notable exception to this trend was the "Setback Camera," developed and used by Fleischer Studios. This device used miniature three-dimensional models of sets, with animated cels placed at various positions within the set. This placement gave the appearance of objects moving in front of and behind the animated characters, and was often referred to as the Tabletop Method.


title: Traditional animation

text: The spread and development of multiplane animation helped animators tackle problems with motion tracking and scene depth, and reduced production times and costs for animated works. In a 1957 recording, Walt Disney explained why motion tracking was an issue for animators, as well as what multiplane animation could do to solve it. Using a two-dimensional still of an animated farmhouse at night, Disney demonstrated that zooming in on the scene, using traditional animation techniques of the time, increased the size of the moon. In real-life experience, the moon would not increase in size as a viewer approached a farmhouse. Multiplane animation solved this problem by separating the moon, farmhouse, and farmland into separate planes, with the moon being farthest away from the camera. To create the zoom effect, the first two planes were moved closer to the camera during filming, while the plane with the moon remained at its original distance. This provided a depth and fullness to the scene that was closer in resemblance to real life, which was a prominent goal for many animation studios at the time.


title: Traditional animation

text: Applied to animation by Ub Iwerks at the Walt Disney studio during the late 1950s, the electrostatic copying technique called xerography allowed the drawings to be copied directly onto the cels, eliminating much of the "inking" portion of the ink-and-paint process. This saved time and money, and it also made it possible to put in more details and to control the size of the xeroxed objects and characters. At first, it resulted in a more sketchy look, but the technique was improved upon over time.


title: Traditional animation

text: Disney animator and engineer Bill Justice had patented a forerunner of the Xerox process in 1944, where drawings made with a special pencil would be transferred to a cel by pressure, and then fixing it. It is not known if the process was ever used in animation.


title: Traditional animation

text: The xerographic method was first tested by Disney in a few scenes of "Sleeping Beauty" and was first fully used in the short film "Goliath II", while the first feature entirely using this process was "One Hundred and One Dalmatians" (1961). The graphic style of this film was strongly influenced by the process. Some hand inking was still used together with xerography in this and subsequent films when distinct colored lines were needed. Later, colored toners became available, and several distinct line colors could be used, even simultaneously. For instance, in "The Rescuers" the characters' outlines are gray. White and blue toners were used for special effects, such as snow and water.


title: Traditional animation

text: Invented by Dave Spencer for the 1985 Disney film "The Black Cauldron", the APT (Animation Photo Transfer) process was a technique for transferring the animators' art onto cels. Basically, the process was a modification of a repro-photographic process; the artists' work was photographed on high-contrast "litho" film, and the image on the resulting negative was then transferred to a cel covered with a layer of light-sensitive dye. The cel was exposed through the negative. Chemicals were then used to remove the unexposed portion. Small and delicate details were still inked by hand if needed. Spencer received an Academy Award for Technical Achievement for developing this process.


title: Traditional animation

text: Rotoscoping is a method of traditional animation invented by Max Fleischer in 1915, in which animation is "traced" over actual film footage of actors and scenery. Traditionally, the live-action will be printed out frame by frame and registered. Another piece of paper is then placed over the live-action printouts and the action is traced frame by frame using a lightbox. The end result still looks hand-drawn but the motion will be remarkably lifelike. The films "Waking Life" and "American Pop" are full-length rotoscoped films. Rotoscoped animation also appears in the music videos for A-ha's song "Take On Me" and Kanye West's "Heartless". In most cases, rotoscoping is mainly used to aid the animation of realistically rendered human beings, as in "Snow White and the Seven Dwarfs," "Peter Pan," and "Sleeping Beauty".


title: Traditional animation

text: A method related to conventional rotoscoping was later invented for the animation of solid inanimate objects, such as cars, boats, or doors. A small live-action model of the required object was built and painted white, while the edges of the model were painted with thin black lines. The object was then filmed as required for the animated scene by moving the model, the camera, or a combination of both, in real-time or using stop-motion animation. The film frames were then printed on paper, showing a model made up of the painted black lines. After the artists had added details to the object not present in the live-action photography of the model, it was xeroxed onto cels. A notable example is Cruella de Vil's car in Disney's "One Hundred and One Dalmatians". The process of transferring 3D objects to cels was greatly improved in the 1980s when computer graphics advanced enough to allow the creation of 3D computer-generated objects that could be manipulated in any way the animators wanted, and then printed as outlines on paper before being copied onto cels using Xerography or the APT process. This technique was used in Disney films such as "Oliver and Company" (1988) and "The Little Mermaid" (1989). This process has more or less been superseded by the use of cel-shading.


title: Traditional animation

text: Related to rotoscoping are the methods of vectorizing live-action footage, in order to achieve a very graphical look, like in Richard Linklater's film "A Scanner Darkly".


title: Traditional animation

text: Similar to the computer animation and traditional animation hybrids described above, occasionally a production will combine both live-action and animated footage. The live-action parts of these productions are usually filmed first, the actors pretending that they are interacting with the animated characters, props, or scenery; animation will then be added into the footage later to make it appear as if it has always been there. Like rotoscoping, this method is rarely used, but when it is, it can be done to terrific effect, immersing the audience in a fantasy world where humans and cartoons co-exist. Early examples include the silent "Out of the Inkwell" (begun in 1919) cartoons by Max Fleischer and Walt Disney's "Alice Comedies" (begun in 1923). Live-action and animation were later combined in features such as "Song of the South" (1946), "The Incredible Mr. Limpet", "Mary Poppins" (both in 1964), "Who Framed Roger Rabbit" (1988), "Cool World" (1992), "Space Jam" (1996), "" (2003), "The SpongeBob SquarePants Movie" (2004), and "Enchanted" (2007), among many others. The technique has also seen significant use in television commercials, especially for breakfast cereals marketed to children to interest them and boost sales.


title: Traditional animation

text: Besides traditionally animated characters, objects, and backgrounds, many other techniques are used to create special elements such as smoke, lightning and "magic", and to give the animation, in general, a distinct visual appearance. Today special effects are mostly done with computers, but earlier they had to be done by hand. To produce these effects, the animators used different techniques, such as drybrush, airbrush, charcoal, grease pencil, backlit animation, diffusing screens, filters, or gels. For instance, the "Nutcracker Suite" segment in "Fantasia" has a fairy sequence where stippled cels are used, creating a soft pastel look.


title: Traditional animation

text: The methods mentioned above describe the techniques of an animation process that originally depended on cels in its final stages, but painted cels are rare today as the computer moves into the animation studio, and the outline drawings are usually scanned into the computer and filled with digital paint instead of being transferred to cels and then colored by hand. The drawings are composited in a computer program on many transparent "layers" much the same way as they are with cels, and made into a sequence of images which may then be transferred onto film or converted to a digital video format.


title: Traditional animation

text: It is now also possible for animators to draw directly into a computer using a graphics tablet such as a Cintiq or a similar device, where the outline drawings are done in a similar manner as they would be on paper. The Goofy short "How To Hook Up Your Home Theater" (2007) represented Disney's first project based on the paperless technology available today. Some of the advantages are the possibility and potential of controlling the size of the drawings while working on them, drawing directly on a multiplane background and eliminating the need for photographing line tests and scanning.


title: Traditional animation

text: Though traditional animation is now commonly done with computers, it is important to differentiate computer-assisted traditional animation from 3D computer animation, such as "Toy Story", "Shrek", "", and "Ice Age." However, often traditional animation and 3D computer animation will be used together, as in Don Bluth's "Titan A.E." and Disney's "Hercules", "Tarzan", "", and "Treasure Planet." Most anime and many western animated series still use traditional animation today, such as "Ghost in the Shell", "Neon Genesis Evangelion", and "Cowboy Bebop". DreamWorks executive Jeffrey Katzenberg coined the term "tradigital animation" to describe animated films produced by his studio which incorporated elements of traditional and computer animation equally, such as "The Road to El Dorado", "", and "".


title: Traditional animation

text: Many video games such as "Viewtiful Joe", "", "Ico", "Ōkami", "Mirror's Edge", and others use "cel-shading" animation filters or lighting systems to make their full 3D animation appear as though it were drawn in a traditional cel-style. This technique was also used in the animated movie "Appleseed," and cel-shaded 3D animation is typically integrated with cel animation in Disney films and in many television shows, such as Fox's "Futurama", "Family Guy", and "American Dad!" and both Nickelodeon animated series "Invader Zim" and "The Fairly Oddparents". In one scene of the 2007 Pixar movie "Ratatouille", an illustration of Gusteau (in his cookbook), speaks to Remy (who, in that scene, was lost in the sewers of Paris) as a figment of Remy's imagination; this scene is also considered an example of cel-shading in an animated feature. More recently, animated shorts such as "Paperman", "Feast", and "The Dam Keeper" have used a more distinctive style of cel-shaded 3D animation, capturing a look and feel similar to a 'moving painting'.


title: Traditional animation

text: Among the most common types of animation rostrum cameras was the Oxberry. Such cameras were always made of black anodized aluminum, and commonly had 2 peg bars, 1 at the top and 1 at the bottom of the lightbox. The Oxberry Master Series had 4 peg bars, 2 above and 2 below, and sometimes used a "floating peg bar" as well. The height of the column on which the camera was mounted determined the amount of zoom achievable on a piece of artwork. Such cameras were massive mechanical affairs that might weigh close to a ton and take hours to break down or set up.


title: Traditional animation

text: In the later years of the animation rostrum camera, stepper motors controlled by computers were attached to the various axes of movement of the camera, thus saving many hours of hand cranking by human operators. Gradually, motion control techniques were adopted throughout the industry.


title: Traditional animation

text: Digital ink and paint processes gradually made these traditional animation techniques and equipment obsolete.


title: Traditional animation

text: Computers and digital video cameras can also be used as tools in traditional cel animation without affecting the film directly, assisting the animators in their work and making the whole process faster and easier. Doing the layouts on a computer is much more effective than doing it by traditional methods. Additionally, video cameras give the opportunity to see a "preview" of the scenes and how they will look when finished, enabling the animators to correct and improve upon them without having to complete them first. This can be considered a digital form of "pencil testing".


title: Traditional animation

text: The most famous device used for multiplane animation was the multiplane camera. This device, originally designed by former Walt Disney Studios animator/director Ub Iwerks, is a vertical, top-down camera crane that shot scenes painted on multiple, individually adjustable glass planes. The movable planes allowed for changeable depth within individual animated scenes. In later years Disney Studios would adopt this technology for their own uses. Designed in 1937 by William Garity, the multiplane camera used for the film "Snow White and the Seven Dwarfs" utilized artwork painted on up to seven separate, movable planes, as well as a vertical, top-down camera.


title: Traditional animation

text: The final animated film by Disney that featured the use of their multiplane camera was "The Little Mermaid", though the work was outsourced as Disney’s equipment was inoperative at the time. Usage of the multiplane camera or similar devices declined due to production costs and the rise of digital animation. Beginning largely with the use of CAPS, digital multiplane cameras would help streamline the process of adding layers and depth to animated scenes.


title: Superman III

text: Superman III is a 1983 superhero film directed by Richard Lester from a screenplay by David Newman and Leslie Newman based on the DC Comics character Superman. It is the third installment in the "Superman" film series and a sequel to "Superman II" (1980). The film features a cast of Christopher Reeve, Richard Pryor, Jackie Cooper, Marc McClure, Annette O'Toole, Annie Ross, Pamela Stephenson, Robert Vaughn, and Margot Kidder.


title: Superman III

text: Although the film recouped its budget of $39 million, it proved less successful than the first two "Superman" films, both financially and critically. While harsh criticism focused on the film's comedic and campy tone, as well as on the casting and performance of Pryor, the special effects and Christopher Reeve's performance as Superman were praised.


title: Superman III

text: The Metropolis-based conglomerate Webscoe hires Gus Gorman, a talented computer programmer. Gus embezzles from his employer through salami slicing, which brings him to the attention of CEO Ross Webster. Webster is intrigued by Gus' potential to help him financially. Webster, his sister Vera, and Webster's girlfriend Lorelei blackmail Gus into helping him.


title: Superman III

text: At the "Daily Planet", Clark Kent convinces Perry White to let him and Jimmy Olsen visit Smallville for Clark's high-school reunion, while fellow reporter and Clark's unrequited romantic interest Lois Lane leaves for a Bermuda vacation. En route, as Superman, Kent extinguishes a fire in a chemical plant containing unstable beltric acid, which produces corrosive vapor when superheated.


title: Superman III

text: At the reunion, Clark reunites with childhood friend Lana Lang, a divorcée with a young son named Ricky. Clark is harassed by Brad Wilson, his former bully and Lana's ex-boyfriend. Later, while having a picnic with Lana, Superman saves an unconscious Ricky from being killed by a combine harvester.


title: Superman III

text: Infuriated by Colombia's refusal to do business with him, Webster orders Gus to command Vulcan, an American weather satellite, to create a tornado to destroy Colombia's coffee crop, allowing Webster to corner the market. Gus travels to Smallville to use a Webscoe subsidiary to reprogram the satellite. Although Vulcan creates a devastating storm, Superman neutralizes it. Seeing Superman as a threat to his plans, Webster orders Gus to fabricate Kryptonite. Gus uses Vulcan to locate and analyze Krypton's debris. As one of the elements of Kryptonite is unknown, he substitutes tar.


title: Superman III

text: Lana convinces Superman to appear at Ricky's birthday party, but Smallville turns it into a town celebration. Gus and Vera, disguised as Army officers, give Superman the flawed Kryptonite as an award. Although it has no immediate effect, Superman becomes selfish, and then commits petty acts of vandalism such as straightening the Leaning Tower of Pisa and blowing out the Olympic Flame.


title: Superman III

text: Gus asks Webster to build the world's most sophisticated supercomputer; the CEO agrees, if Gus creates an energy crisis by directing all oil tankers to the middle of the Atlantic Ocean. When the captain of one tanker insists on maintaining his original course, Lorelei seduces Superman, persuading him to waylay the tanker and breach its double hull, causing an oil spill. The villains decamp to the supercomputer's location in Glen Canyon.


title: Superman III

text: Superman suffers a nervous breakdown and splits into two beings: the immoral, corrupted dark Superman and the moral, mild-mannered Clark Kent. The two fight in a junkyard, with Clark eventually defeating his evil self. Regaining his sanity, Superman repairs the damage he caused in the oil spill and heads west to deal with the villains. After defending himself from exploding rockets and an ASALM missile, Superman confronts Webster, Vera, and Lorelei. The supercomputer identifies Superman's weakness and unleashes a beam of pure Kryptonite.


title: Superman III

text: Guilt-ridden and horrified by the notion of "going down in history as the man who killed Superman", Gus destroys the Kryptonite ray with a firefighter's axe. Superman escapes, but the computer becomes self-aware, defending itself against Gus's attempts to disable it. The computer transforms Vera into a cyborg that attacks her brother and Lorelei with beams of energy that immobilize them. Superman returns with beltric acid, which the supercomputer believes is not dangerous. The intense heat emitted by the supercomputer causes the acid to become volatile, destroying it. Superman leaves Webster and his cronies for the authorities and drops Gus off at a West Virginia coal mine, recommending him to the company as a computer programmer.


title: Superman III

text: As Clark, Superman visits Lana after she moves to Metropolis. A drunken Brad attacks Clark believing he was proposing to her, but the reporter defeats him without revealing his secret identity. Lana's new job as Perry White's secretary surprises Lois Lane, who returns from her vacation with an article about corruption in Bermuda, and has a newfound respect for Clark after reading his story. Before lunch with Lana, Superman restores the Leaning Tower of Pisa and flies into the sunrise for further adventures.


title: Superman III

text: Film director/puppeteer Frank Oz originally had a cameo in this film as a surgeon, but the scene was ultimately deleted, though it was later included in the TV extended version of the film. Shane Rimmer, who had a role in "Superman II" as a NASA controller, has a small part as a state police officer. Pamela Mandell, who played a diner waitress in the same film, appears here as the hapless wife of a "Daily Planet" sweepstakes winner. Aaron Smolinski, who had played baby Clark Kent in the first film, appears in this one as the little boy next to the photo booth Superman changes into. He also would later appear in "Man of Steel" as a communications officer.


title: Superman III

text: Richard Donner confirmed that he had been interested in writing at least two more "Superman" films, which he intended to allow Tom Mankiewicz to direct, and that he would have included Brainiac as the villain of the third film. However, Donner departed the series during the production of "Superman II". The film was formally announced at the 33rd Cannes Film Festival in May 1980, months before the theatrical release of the second film. In December 1980, producer Ilya Salkind wrote a treatment for this film that included Brainiac, Mister Mxyzptlk and Supergirl. The treatment was released online in 2007. The Mr. Mxyzptlk portrayed in the outline varies from his good-humored comic counterpart, as he uses his abilities to cause serious harm. Dudley Moore was the top choice to play the role. Meanwhile, in the same treatment, Brainiac was from Colu and had discovered Supergirl in the same way that Superman was found by the Kents. Brainiac is portrayed as a surrogate father to Supergirl and eventually fell in love with his "daughter", who did not reciprocate his feelings, as she had fallen in love with Superman. Brainiac retaliates by using a personality machine to corrupt and manipulate Superman. The climax of the film would have seen Superman, Supergirl, Brainiac, Jimmy Olsen, and Lana Lang time travel to the Middle Ages for a final confrontation in a fiefdom taken over by Brainiac. After defeating him and leaving him behind as a helpless serf, Superman and Supergirl would have either been married at either the end of "Superman III" or in "Superman IV". The treatment was rejected by Warner Bros. Pictures as being too complex and expensive to shoot, and Salkind additionally wanted to save the character of Supergirl for a solo film. Because of the high budgets required for the series the Salkinds considered selling the rights to the series to Dino De Laurentiis. The significance of computers to the plot, the villains' plan to corrupt Superman, and the splitting of him into a good and an evil half would be carried over into the final film. The film was originally intended to be titled "Superman vs. Superman", but it was retitled after the producers of "Kramer vs. Kramer" threatened a lawsuit.


title: Superman III

text: Both Gene Hackman and Margot Kidder are said to have been angry with the way the Salkinds treated "Superman" director Richard Donner, with Hackman retaliating by refusing to reprise the role of Lex Luthor. After Margot Kidder publicly criticized the Salkinds for their treatment of Donner, the producers reportedly "punished" the actress by reducing her role in "Superman III" to a brief appearance. Hackman later denied such claims, stating that he had been busy with other movies and general consensus that making Luthor a constant villain would be akin to incessant horror movie sequels where a serial killer keeps coming back from the grave. Hackman would reprise his role as Lex Luthor in "Superman IV", with which the Salkinds had no involvement. In his commentary for the 2006 DVD release of "Superman III", Ilya Salkind denied any ill will between Margot Kidder and his production team and denied the claim that her part was cut for retaliation. Instead, he said, the creative team decided to pursue a different direction for a love interest for Superman, believing the Lois and Clark relationship had been played out in the first two films, (but could be revisited in the future). With the choice to give a more prominent role to Lana Lang, Lois' part was reduced for story reasons. Salkind also denied the reports about Gene Hackman being upset with him, stating that Hackman was unable to return because of other film commitments.


title: Superman III

text: After an appearance by Richard Pryor on "The Tonight Show", telling Johnny Carson how much he enjoyed seeing "Superman II", the Salkinds were eager to cast him in a prominent role in the third film, riding on Pryor's success in films such as "Silver Streak", "Stir Crazy" and "The Toy". Pryor accepted a $5 million salary to appear in the film. Following the release of the film, Pryor signed a five-year contract with Columbia Pictures worth $40 million.


title: Superman III

text: Principal photography commenced on June 21, 1982. Most of the interior scenes were shot, like the previous "Superman" films, at Pinewood Studios outside London. The junkyard scene was filmed on Pinewood's backlot. The coal mine scene, where Superman leaves Gus, was filmed at Battersea Power Station, where Richard Lester had previously shot scenes for the Beatles film "Help!".


title: Superman III

text: Most exteriors were filmed in Calgary, Alberta due to Canada's tax breaks for film companies. Superman's drinking binge was filmed at the St. Louis Hotel in Downtown East Village, Calgary, while other scenes such as the slapstick-comedy opening were shot several blocks to the west. While the supercomputer set was created on Pinewood's 007 Stage, exteriors were shot at Glen Canyon in Utah.


title: Superman III

text: As with the previous sequel, the musical score was composed and conducted by Ken Thorne, using the Superman theme and most other themes from the first film composed by John Williams. Giorgio Moroder was hired to create songs for the film, though their use in the film is minimal.


title: Superman III

text: "Superman III" was shown at the Uptown Theater in Washington, D.C. on June 12, 1983, and then had its New York premiere on June 14, 1983, at Cinema I. It was released in theatres on June 17, 1983, in the United States and July 19, 1983, in the United Kingdom.


title: Superman III

text: William Kotzwinkle wrote a novelization of the film published in paperback by Warner Books in the U.S. and by Arrow Books in the United Kingdom to coincide with the film's release; Severn House published a British hardcover edition. Kotzwinkle thought the novelization "a delight the world has yet to find out about." However, writing in "Voice of Youth Advocates", Roberta Rogow hoped this would be the final Superman film and said, "Kotzwinkle has done his usual good job of translating the screenplay into a novel, but there are nasty undertones to the film, and there are nasty undertones to the novel as well. Adults may enjoy the novel on its own merits, as a Black Comedy of sorts, but it's not written for kids, and most of the under-15 crowd will either be puzzled or revolted by Kotzwinkle's dour humor."


title: Superman III

text: Like the previous films, a separate extended edition was produced. It was aired on ABC. The opening credits were in outer space, featuring the main Superman theme with slight differences. This is followed by a number of scenes, including additional dialogue but not added into any of the official VHS, DVD or Blu-ray cuts of the film. The "Deluxe Edition" of "Superman III", released in 2006 on par with the DVD release of "Superman Returns", included these scenes in its extra features section as "deleted scenes".


title: Superman III

text: "Superman III" grossed $60 million at the United States box office, and $20.2 million internationally, for a total of $80.2 million worldwide. The film was the 12th highest-grossing film of 1983 in North America.


title: Superman III

text: "Superman III" holds a 30% approval rating and has an average rating of on Rotten Tomatoes based on 56 reviews. The website's critical consensus states, "When not overusing sight gags, slapstick and Richard Pryor, "Superman III" resorts to plot points rehashed from the previous "Superman" flicks." The film has a Metacritic rating of 44, indicating "mixed or average reviews" from 13 professional reviewers.


title: Superman III

text: Film critic Leonard Maltin said that "Superman III" was an "appalling sequel that trashed everything that Superman was about for the sake of cheap laughs and a co-starring role for Richard Pryor". The film was nominated for two Razzie Awards including Worst Supporting Actor for Richard Pryor and Worst Musical Score for Giorgio Moroder. Audiences also saw Robert Vaughn's villainous Ross Webster as an inferior fill-in for Lex Luthor.


title: Superman III

text: Christopher John reviewed "Superman III" in "Ares Magazine" #16 and commented that "compared to the first film in this series, everything about "Superman III" is a joke, a harsh cruel joke played on all the people who wanted to see more of the Superman they saw a few years ago."


title: Superman III

text: Colin Greenland reviewed "Superman III" for "Imagine" magazine, and stated that "What ultimately spoils the fun in "Superman III" is not the incoherent story or even the technophobia. It is simply overloaded - too many ideas, too many gadgets, too many stars (Pamela Stephenson is completely wasted in a part which would have been too dumb for Goldie Hawn). The wiring all comes loose at the end; an anticlimax, and a rushed one at that."


title: Superman III

text: Fans of the Superman series placed a great deal of the blame on director Richard Lester. Lester made a number of popular comedies in the 1960s — including The Beatles' "A Hard Day's Night" — before being hired by the Salkinds in the 1970s for their successful "Three Musketeers" series, as well as "Superman II" which, although better received, was also criticised for unnecessary sight gags and slapstick. Lester broke tradition by setting the opening credits for "Superman III" during a prolonged slapstick sequence rather than in outer space.


title: Superman III

text: The film's screenplay, by David and Leslie Newman, was also criticized. When Richard Donner was hired to direct the first two films, he found the Newmans' scripts so distasteful that he hired Tom Mankiewicz for heavy rewrites. Since Donner and Mankiewicz were no longer attached, the Salkinds were free to bring their version of "Superman" to the screen and once again hired the Newmans for writing duties. Reeve stated in his autobiography that the original script for the first "Superman" had so many puns and gags that it risked having Superman earn a reputation akin to that of Batman being associated with the campy TV show of the 1960s. "In one scene in this script, Superman would be in pursuit of Lex Luthor, identified by his bald head and grab him, only to realize he had captured Telly Savalas who would remark "Who loves ya, baby?" and offer Superman a lollipop. Dick [Donner] had done away with much of that inanity."


title: Superman III

text: Reeve's own performance as a corrupted Man of Steel received praise, particularly the junkyard battle between this newly darkened Superman and Clark Kent. One of the film's positive reviews was from the fiction writer Donald Barthelme, who praised Reeve as "perfect", also describing Vaughn as "essentially playing William Buckley - all those delicious ponderings, popping of the eyes, licking of the corner of the mouth."


title: Paul Winfield

text: Paul Edward Winfield (May 22, 1939 – March 7, 2004) was an American stage, film and television actor. He was known for his portrayal of a Louisiana sharecropper who struggles to support his family during the Great Depression in the landmark film "Sounder" (1972), which earned him an Academy Award nomination. He portrayed Martin Luther King Jr. in the 1978 television miniseries "King", for which he was nominated for an Emmy Award. Winfield was also known for his roles in "", "The Terminator, L.A. Law," and 24 episodes of the sitcom "227". He received four Emmy nominations overall, winning in 1995 for his 1994 guest role in "Picket Fences".


title: Paul Winfield

text: Winfield was the son of Lois Beatrice Edwards, a single mother who was a union organizer in the garment industry. Although published obituaries stated he was born in Los Angeles on May 22, 1941, some primary sources indicate he was born May 22, 1939, in Dallas, Texas. His stepfather from the age of eight was Clarence Winfield, a city trash collector and construction worker. He graduated from Manual Arts High School in Los Angeles. From there, he attended the University of Portland, 1957–59; Stanford University, 1959; Los Angeles City College, 1959–63; University of California, Los Angeles, 1962–64; University of Hawaii, 1965 and the University of California, Santa Barbara, 1970–71.


title: Paul Winfield

text: A lifetime member of The Actors Studio, Winfield carved out a diverse career in film, television, theater and voiceovers by taking groundbreaking roles at a time when black actors were rarely even cast. He first appeared in the 1965 "Perry Mason" episode, "The Case of the Runaway Racer," as Mitch, a race car mechanic. His first major feature film role was in the 1969 film "The Lost Man" starring Sidney Poitier. Winfield first became well known to television audiences when he appeared for several years opposite Diahann Carroll on the groundbreaking television series "Julia". Filmed during a high point of racial tensions in the United States, the show was unique in featuring a black female as the central character. He also starred as Martin Luther King Jr. in the 1978 miniseries "King".


title: Paul Winfield

text: In 1973, Winfield was nominated for the Academy Award for Best Actor for the 1972 film "Sounder", and his co-star in that film, Cicely Tyson, was nominated for Best Actress. Prior to their nominations and Diana Ross's for "Lady Sings the Blues" the same year, only three other black Americans – Dorothy Dandridge, Sidney Poitier and James Earl Jones – had ever been nominated for a leading role. He also appeared, in a different role, in the 2003 Disney-produced television remake of "Sounder", which was directed by Kevin Hooks, his co-star from the original. Winfield played the part of "Jim the Slave" in "Huckleberry Finn" (1974) which was a musical based on the novel by Mark Twain. Winfield would recall late in his career that as a young actor he had played one of the two leads in "Of Mice and Men" in local repertory, made up in whiteface, since a black actor playing it would have been unthinkable. Winfield also starred in miniseries, including "Scarlett", and two based on the works of novelist Alex Haley: "" and "".


title: Paul Winfield

text: Winfield gained a new segment of fans for his brief but memorable roles in several science fiction television series and movies. He portrayed starship Starfleet Captain Terrell, an unwilling minion of the villain Khan, in "," and Lieutenant Ed Traxler, a friendly but crusty cop partnered with Lance Henriksen in "The Terminator". In 1996, he was part of the 'name' ensemble cast in Tim Burton's comic homage to 1950s science fiction "Mars Attacks!", playing the complacently self-satisfied Lt. General Casey. On the small screen he appeared as Dathon, an alien captain who communicates in allegories, in the "" episode "Darmok". He also appeared in the second season "Babylon 5" episode "Gropos" as General Richard Franklin, the father of regular character Dr. Stephen Franklin, and on the fairy tale sitcom "The Charmings" as The Evil Queen's wise-cracking Magic Mirror. He also portrayed the character of Julian Barlow in the television series "227" during its last two seasons.


title: Paul Winfield

text: Winfield also took on roles as homosexual characters in the films "Mike's Murder" in 1984 and again in 1998 in the film "Relax...It's Just Sex". He found success off-camera due to his unique voice. He provided voices on the cartoons "Spider-Man", "The Magic School Bus", "", "Batman Beyond", "Gargoyles", "K10C", and "The Simpsons", on the latter voicing the Don King parody Lucius Sweet. In his voiceover career, he is perhaps best known as the narrator for the A&E true crime series "City Confidential", a role he began in 1998 and continued with until his death in 2004. Throughout his career, Winfield frequently managed to perform in the theater. His only Broadway production, "Checkmates", in 1988, co-starring Ruby Dee, was also the Broadway debut of Denzel Washington. He also appeared in productions at the Mark Taper Forum in Los Angeles, and The Shakespeare Theatre in Washington, D.C. Winfield was nominated for an Emmy Award for his performances in "King" and "". He won an Emmy Award, in 1995, for Outstanding Guest Actor in a Drama Series, for his appearance as Judge Harold Nance in an episode of the CBS drama "Picket Fences".


title: Paul Winfield

text: Winfield was gay, but remained discreet about it in the public eye. Prior to realizing his sexuality, he had a relationship with his "Sounder" co-star Cicely Tyson for 18 months. His partner of 30 years, architect Charles Gillan Jr., died on March 5, 2002, of bone cancer. Winfield long battled obesity and diabetes. He died of a heart attack on March 7, 2004 at age 64 at Queen of Angels – Hollywood Presbyterian Medical Center in Los Angeles. Winfield and Gillan are interred together at Forest Lawn Memorial Park in Los Angeles.


title: Eddie Kendricks

text: Edward James Kendrick (December 17, 1939 – October 5, 1992), better known as Eddie Kendricks, was an American singer and songwriter. Noted for his distinctive falsetto singing style, Kendricks co-founded the Motown singing group the Temptations, and was one of their lead singers from 1960 until 1971. He was the lead voice on such famous songs as "The Way You Do the Things You Do", "Get Ready", and "Just My Imagination (Running Away with Me)". As a solo artist, Kendricks recorded several hits of his own during the 1970s, including the number-one single "Keep On Truckin'".


title: Eddie Kendricks

text: Kendricks was born to Johnny and Lee Bell Kendrick in Union Springs, Alabama on December 17, 1939. He had one sister, Patricia, and three brothers, Charles, Robert, and Clarence. His family moved to the Ensley neighborhood of Birmingham, where he met and began singing with his best friend Paul Williams in their church choir in the late 1940s. In 1955, Kendricks, Williams, and friends Kell Osborne and Jerome Averette formed a doo-wop group called the Cavaliers, and began performing around Birmingham. The group decided to move for better opportunities in their musical careers, and in 1957 the group moved to Cleveland, Ohio on E 123rd and Kinsman. In Cleveland, they met manager Milton Jenkins, and soon moved with Jenkins to Detroit, Michigan, where the Cavaliers renamed themselves the Primes. Under Jenkins' management, the Primes were successful in the Detroit area, eventually creating a female spin-off group called the Primettes (later the Supremes). In 1961, Osbourne moved to California, and the Primes disbanded. Kendricks and Paul Williams joined forces with members Elbridge “Al” Bryant, Otis Williams and Melvin "Blue" Franklin of Otis Williams and the Distants after two members quit and became the Elgins, who on the same day changed their name to the Temptations and signed to Motown.


title: Eddie Kendricks

text: The Temptations began singing background for Mary Wells. After an initial dry period, the Temptations quickly became the most successful male vocal group of the 1960s. Although technically Kendricks was first tenor in the group's harmony, he often sang in the falsetto register. Among the Temptations songs Kendricks sang lead on were "Dream Come True" (1962), the group's first charting single; "The Way You Do the Things You Do" (1964), the group's first US Top 20 hit; "I'll Be in Trouble" (1964); "The Girl's Alright With Me" (1964), a popular B-side that Kendricks co-wrote; "Girl (Why You Wanna Make Me Blue)" (1964); "Get Ready" (1966); "Please Return Your Love to Me" (1968); and "Just My Imagination" (1971). He was also allowed to sing a few leads in his lower registers such as "May I Have This Dance" (1962). He shared lead vocal duty on other records, including "You're My Everything" (1967) (shared with David Ruffin), and a long string of Norman Whitfield produced psychedelic soul records where all five Temptations sang lead, such as the Grammy winner "Cloud Nine" (1968), "I Can't Get Next to You" (1969), and "Ball of Confusion" (1970). He also leads on "I'm Gonna Make You Love Me" (1968), a popular duet with Diana Ross and the Supremes, and on the Temptations' version of the Christmas classic "Rudolph the Red-Nosed Reindeer" (1968).


title: Eddie Kendricks

text: In the Temptations, Kendricks was responsible for creating most of the group's vocal arrangements, and also served as wardrobe manager, including the now famous purple suits the group wore for one performance. Though Whitfield had chief responsibility for writing, Kendricks co-wrote and received credit for several Temptations songs apart from "The Girl's Alright With Me" including "Isn't She Pretty" (1961) and "Don't Send Me Away" (1967). His favorite food was cornbread, and as a result he was nicknamed "Cornbread" (or "Corn" for short) by his groupmates. According to Otis Williams, Kendricks romantically pursued Diana Ross, lead singer of the Supremes, and he was said to have been close friends with Martha Reeves of the Vandellas. In her second book, "Supreme Faith", Supremes singer Mary Wilson writes that she and Kendricks were lovers "briefly," but remained close friends.


title: Eddie Kendricks

text: Kendricks remained in the group through the rest of the decade, but a number of issues began to push him away from it in the late 1960s and early 1970s. He was uncomfortable with singing the psychedelic style that Whitfield was now crafting for the group as opposed to the romantic ballads they had sung under the direction of Smokey Robinson; his friend Paul Williams was often too ill to perform with the group; and Kendricks often found himself at odds with bandmates Otis Williams and Melvin Franklin. As he grew away from the group, Kendricks began to rekindle his friendship with ex-Temptation David Ruffin, who convinced him to leave.


title: Eddie Kendricks

text: In a 1991 interview with a Chicago television series called "Urban Street", Kendricks said he had actually considered leaving the group as early as 1965, even though that was when the band was finally starting to take off, because of things that "weren't quite proper." He explained that they were working with people that "didn't have their best interests at heart." Kendricks, however, initially decided to stay in the group because he was worried he would not get the support he needed if he left. He also stated that his relationship with Berry Gordy was less than cordial. "Berry Gordy is a man I don't know, I only met him about three times," he said, but "I know he didn't particularly care for me." Kendricks stated that he did not agree with many decisions that were made.


title: Eddie Kendricks

text: Following one final altercation with Williams and Franklin during a run at the Copacabana nightclub in November 1970, Kendricks walked off after the first night and did not return, and it was mutually decided he would leave the group. While working on his first solo album, Kendricks recorded one last hit single with the Temptations, 1971's "Just My Imagination (Running Away with Me)". By the time the record reached number one on the US Billboard Hot 100 in April 1971, Kendricks had signed a solo deal with Motown's Tamla division and was preparing the release of his first solo album, "All By Myself". However, many of his problems with Motown would reoccur.


title: Eddie Kendricks

text: Kendricks' solo career began slowly; he endured two years of singles that missed the Top 40, while the Temptations continued with their string of Norman Whitfield-helmed hits (one of which, "Superstar (Remember How You Got Where You Are)", was written as a jab towards Kendricks and Ruffin). Despite enjoying only a modicum of commercial success and radio airplay, Kendricks's 1972 album "People... Hold On" (recorded with his touring group, the Young Senators, composed of Jimi Dougans, Frank Hooker, LeRoy Fleming, Wornell Jones, David Lecraft, James Drummer Johnson and John Engram) was a cornerstone of DJ playlists in downtown New York's nascent disco scene. The expansive, eight-minute take on "Girl, You Need A Change Of Mind", which peaked at number 13 on the soul chart, was a particular favorite at David Mancuso's Loft. The single was later remade by R&B singer D'Angelo for the "Get on the Bus" soundtrack. As the dance craze seeped through into other cities, Kendricks scored a number one pop hit in 1973 with the Frank Wilson-produced "Keep on Truckin'", becoming the only member of the Temptations to register a number one hit in the U.S. as a solo artist. As well as reaching number 18 in the UK, it sold over one million copies, and was awarded a gold disc. Further hits included 1974's "Boogie Down" (US number 2, UK number 39) and another million selling release, "Son of Sagittarius" (US number 28) from the same year, 1975's "Shoeshine Boy" (US number 18), and 1976's "He's a Friend" (US number 36). Another notable song is "Intimate Friends" (1977), which was sampled for the Alicia Keys song "Unbreakable", "A Penny for My Thoughts" by Common, Sparkle's "Time to Move on" on her self-titled first studio album, and for Sweet Sable's "Old Time's Sake" from the soundtrack for the 1994 2pac film, "Above the Rim". Erykah Badu also sampled "Intimate Friends" for her song "Fall in Love (Your Funeral)", as well as his song "My People... Hold on" for her song "My People" on her album "New Amerykah Part One (4th World War)".


title: Eddie Kendricks

text: Exasperated by a lack of creative and financial control, Kendricks left Motown in 1978. He moved first to Arista Records, and later to Atlantic Records. By this time, his popularity had waned, and he was also gradually losing his upper range as a result of chain smoking.


title: Eddie Kendricks

text: Kendricks and Ruffin re-joined the Temptations for a well-received 1982 reunion tour. The group, then a seven-piece act, also recorded a reunion album, and enjoyed a hit with the Rick James-written-and-produced "Standing on the Top". Kendricks sang a few lead lines on the song but had no leads on any of the LP's other tracks. In an interview with Tom Meros, Dennis Edwards, Kendricks' former Temptations bandmate, claimed that Kendricks had issues hitting the higher notes during recording sessions for the album. Because of his singing difficulty, Edwards said that Kendricks went to a physician to examine his vocal ability. The physician discovered a "pin drop" of cancer on one of his lungs. However, Kendricks reportedly refused to undergo chemotherapy at the time because of fear that he would lose his hair.


title: Eddie Kendricks

text: Ruffin and Kendrick (Kendricks dropped the "s" from his stage name during the 1980s) reportedly met up one night when Ruffin went to watch Kendrick perform in a nightclub; Kendrick spotted Ruffin in the crowd, pointed him out, and invited him to come up on stage and perform with him. Afterward they talked about touring on their own and recorded an album as a duo for RCA in 1988.


title: Eddie Kendricks

text: Earlier, in 1985, they participated in the Hall & Oates live album, "Live at The Apollo", recorded at a benefit at New York City's Apollo Theater; and sang with the duo at Live Aid in Philadelphia and the MTV Video Music Awards in New York. Hall & Oates have cited Kendrick and Ruffin specifically, and the Temptations in general, as a major influence. Ruffin started touring with Kendrick as a duo act in 1985. The live medley of "The Way You Do the Things You Do" and "My Girl" was released as a single, reaching number 20 on the "Billboard" Hot 100, number 12 on the Adult Contemporary chart, and number 40 on the R&B chart. The single earned them a Grammy nomination.


title: Eddie Kendricks

text: In 1989, Kendrick, Ruffin, and their Temptations bandmates were inducted into the Rock and Roll Hall of Fame. There, Kendrick and Ruffin made plans with fellow former Temptation Dennis Edwards to tour and record as "Ruffin/Kendrick/Edwards, Former Leads of the Temptations". The Ruffin/Kendrick/ Edwards project was cut short in 1991, when Kendrick was diagnosed with lung cancer and David Ruffin died of a drug overdose, although Kendrick and Edwards continued to tour for the remainder of 1991. After having surgery in late 1991, Kendricks resumed touring through the summer of 1992.


title: Eddie Kendricks

text: In late 1991 Kendricks, by now living in his native Birmingham, Alabama, underwent surgery to have one of his lungs removed in the hope of preventing the spread of cancer. He believed the disease was caused by his 30 years of smoking. He continued to tour through the summer of 1992, when he fell ill again and was hospitalized.


title: Eddie Kendricks

text: Kendricks died of lung cancer at Baptist Medical Center-Princeton in Birmingham on October 5, 1992, at age 52. He was survived by his three children: Parris, Aika, and Paul Kendricks (named after Paul Williams). A funeral services was held at the First Baptist Church in Ensley, Alabama. He was buried in Elmwood Cemetery, Birmingham. Friends and fans paid tribute to Kendricks at four concerts, held at the Strand in Los Angeles, on October 16 and October 17, 1992. Performers including Bobby Womack, Chaka Khan, Mary Wilson, and Vesta Willams sang Temptations songs, as well as some of their own.


title: Eddie Kendricks

text: Kendricks was nominated for four Grammy Awards, winning one for "Cloud Nine" with the Temptations in 1969. The Temptations received the Grammy Lifetime Achievement Award in 2013.


title: Eddie Kendricks

text: In 1998, NBC aired "The Temptations", a four-hour television miniseries based upon an autobiographical book by Otis Williams. Kendricks was portrayed by actor Terron Brooks.


title: Eddie Kendricks

text: On October 16, 1999, Eddie Kendrick Memorial Park, located on the corner of 18th Street and 4th Avenue North, was dedicated to Birmingham native Eddie Kendricks of the Temptations. The park uses Kendricks' family name sans the "s", which was added early in his career. The memorial features a bronze sculpture of Kendricks by local artist Ron McDowell as well as sculptures of the other Temptations, set into a granite wall. Inscribed on the granite are the names of Temptations' hit songs. Recorded music can be heard throughout the park, featuring songs by Kendricks and the Temptations.


title: Eddie Kendricks

text: Rapper Kendrick Lamar was named by his mother after Kendricks. In 2019, Kendricks was inducted as a solo artist into the National Rhythm & Blues Hall of Fame.


title: Vikramarkudu

text: Vikramarkudu is a 2006 Indian Telugu-language action film directed by S. S. Rajamouli who co-wrote the film with V. Vijayendra Prasad. The film stars Ravi Teja and Anushka Shetty. It follows a thief who discovers a girl insisting he is her father, while a series of events connect his life to her actual father, who is his look-alike. The film's music was composed by M. M. Keeravani with cinematography and editing by Sarvesh Murari and Kotagiri Venkateswara Rao respectively.


title: Vikramarkudu

text: "Vikramarkudu" was released on 23 June 2006 with 180 prints globally. Made on a budget of ₹11 crore (US$2.4 million), "Vikramarkudu" was commercially successful earning a distributors' share of 23 crore (US$5.1 million). The film was screened at the International Film Festival of India in the mainstream section.


title: Vikramarkudu

text: "Vikramarkudu" was a breakthrough film for Anushka Shetty. The film was remade in Kannada as "Veera Madakari" (2009), in Tamil as "Siruthai" (2011), in Hindi as "Rowdy Rathore" (2012), in Indian Bengali as "" (2012) and twice in Bangladeshi Bengali as "Ulta Palta 69" (2007) and "Action Jasmine" (2015).


title: Vikramarkudu

text: Atthili Satthi Babu (Ravi Teja) is a rookie thief in Hyderabad, who is crazy about performing daredevil acts. Once, he meet Neeraja, who is in Hyderabad to attend a marriage, and they falls in love immediately. Satthi Babu tells her the truth about him being a thief and resolves to give up crime forever. But before that, he decides to swindle one last person for a large sum of money along with his uncle Duvva. He tricks a woman at a bus stand and flees with a trunk. This leads Satthi Babu to Neha, a young girl who was in the trunk instead of the wealth he thought was in the trunk, who thinks that Satthi Babu is her father. Flummoxed by what is happening, but forced to keep Neha with her as a police officer Inspector Mahanti keeps his eye on him.


title: Vikramarkudu

text: Although he tries keeping Neha away from Neeraja's eyes, the latter finds out about Neha. Angry and hurt, Neeraja leaves for her place, leaving Satthi Babu heartbroken. Soon, unknown goons attack him, taking him to be Deputy Commissioner of Police, Vikram Singh Rathore IPS (Ravi Teja), Neha's real father. Rathore looks exactly like Satthi Babu, which had caused all the confusion. While many unknown people help Satthi Babu run to safety with Neha in his arms, he is soon surrounded by the goons. It is then that Rathore makes an appearance and saves the day killing every goon by himself, but he soon dies suffering from injuries.


title: Vikramarkudu

text: The other policemen who had assisted the SP then inform Satthi Babu of the whole incident. In Chambal village of Devgarh, Madhya Pradesh, the slain, and corrupt local M. L. A. Bavuji, a borderline psychopath, engulfs the town with his political corruption, illegal activities, criminal nexus, rape, and money laundering. His son Munna indulges in abusing women and raping the wives of policemen. Rathore immediately arrests him but he (Munna) is released by stating that he is mentally insane with the help of Home Minister. Later at a party organised by Bavuji (even Home minister comes to the party), Munna humiliates the police by removing their clothes but was killed by Rathore (intelligently) when he was hung from a tree by the belt of a humiliated inspector. After a few days, Rathore was attacked by Bavuji's brother Titla on Holi, where he was stabbed from the back as well as shot in the head while trying to save a village child and was assumed to be dead. But he survives with a brain injury, although the goons assumed that he is dead. Effects of this brain injury are later visible, and these effects are diminished by water falling on his head.


title: Vikramarkudu

text: After knowing the incidents, Satthi Babu then adopts Neha, who does not know that her real father is dead. Then Satthi Babu returns to Devgarh posing as Rathore, and heads to settle the scores with Bavuji. Duvva tells Neeraja the truth, and she forgives Satthi Babu. Satthi Babu, being a goon, handles Bavuji well with tricks. He sets the MLA's wine factory afire and makes the villagers rob his food store. In the ensuing fight, he single-handedly defeats all of Bavuji's men. In the end, he fights with Titla on a rope bridge. Satthi Babu ties and cuts the rope, and Titla falls to death. Satthi Babu marries Neeraja, and they leave for a new life with Neha and Duvva.


title: Vikramarkudu

text: The shooting was disrupted by quarry workers who started pelting the film's unit with stones, damaging most of the equipment and injuring some of the film crew, including the director Rajamouli. The quarry workers were asked, by the quarry manager, to stop their work and leave the area, for the shooting of particular scenes. What started as a small miff between the manager and the workers escalated with the workers showering stones, even as the film crew was leaving the quarry in their vehicles. The injured crew members were admitted to Apollo hospital. Director Rajamouli suffered a hairline fracture to his hand. A formal complaint was lodged against the quarry workers and its owner.


title: Vikramarkudu

text: The audio of "Vikramarkudu" was launched at a function arranged in a set erected near Hitec city on the night of 31 May. K Raghavendra Rao launched the audio and gave the first unit to YVS Chowdary. Ramesh Prasad, B Gopal and Gunnam Gangaraju were also invited as guests. The unit members who were present include ML Kumar Chowdary, Ravi Teja, Rajamouli, Anushka, Keeravani, Vijayendra Prasad, Brahmanandam, lyricist Danayya, Rajiv Kanakala, Ajay, Rama Rajamouli, Ravindra, Sarvesh Murari, Ram Lakshman, M Ratnam, Kotagiri Venkateswara Rao and Suresh Bujji. Suma anchored the event and Aditya Music bought audio rights.


title: Vikramarkudu

text: The soundtrack received a very good response from the public as well as critics. The song "College Papala" (well known as Chinta Ta Chita Chita) was reused by Sajid–Wajid in the Hindi remake of this film, "Rowdy Rathore" and also by M. M. Keeravani in the Kannada remake film Veera Madakari


title: Vikramarkudu

text: The film was commercially successful and was one of the highest grossers of Telugu cinema in 2006. and a theatrical run of 100 days in 54 centres. "Vikramarkudu" earned a distributors' share of {INR}19 crore (US$4.2 million) and worldwide gross collections of over 25 crore (US$5.5 million).


title: Vikramarkudu

text: It received positive reviews from critics. Idlebrain wrote: "On a whole, "Vikramarkudu" is another prospective blockbuster from the stable of Rajamouli". Totaltollywood wrote: "First half of the film goes in full entertainment mode. Second half gets into action part but the entertainment values are maintained at the same level.". Sify wrote: "On the whole, "Vikramarkudu" is a masala entertainer and is OK timepass fare.". Nowrunning wrote: "Watching "Vikramarkudu" is like eating a plate of Mirchi Bhajji from the roadside pushcart.". Fullhyd wrote: ""Vikramarkudu" is like one of those dishes that smell great during cooking, but just don’t taste the same way in the end. The film assiduously builds its story to a crest with your adrenaline pumping on all cylinders, but doesn’t quite know how to handle it thereon.". Cinegoer wrote: "One thing is that "Vikramarkudu" never bores you. It will keep you glued to the screen, because so many things happen all the time and the narrative moves quickly.".


title: Vikramarkudu

text: The film was dubbed into Malayalam, Hindi, and Bhojpuri as "Vikramathithya", "Pratighat: A Revenge" in 2007, and "Vikram Singh Rathod IPS" in 2011 respectively. It was also remade twice in Bangladeshi Bengali as "Ulta Palta 69" and "Action Jasmine", in Kannada as "Veera Madakari", in Tamil as "Siruthai", in Hindi as "Rowdy Rathore", and in Indian Bengali as "".


title: Vikramarkudu

text: In September 2021, V. Vijayendra Prasad began writing the film's sequel, and Sampath Nandi entered into talks for directing it.


title: Blinkit

text: Blink Commerce Private Limited, d/b/a Blinkit and formerly Grofers, is an Indian instant delivery service. It was founded in December 2013 and is based out of Gurgaon.


title: Blinkit

text: Customers of the company use a mobile application to order groceries and essentials online. Blinkit's employees then secure the items from their warehouse and deliver the items to the consumer within 10 minutes. By November 2021, the company was delivering 1.25 lakhs order every day. Blinkit currently operates in more than 30 cities in India. As of 2021, the company has raised about million from investors including SoftBank, Tiger Global and Sequoia Capital.


title: Blinkit

text: On 24 June 2022, Zomato announced its acquisition of Blinkit for US$568 million in an all-stock deal. The acquisition was completed on August 10, 2022.


title: Blinkit

text: Blinkit was founded in December 2013 by Albinder Dhindsa and Saurabh Kumar as Grofers. Having met each other while working for Cambridge Systematics during the late 2000s, they teamed up to enter the grocery delivery space. Their goal was to solve the problems (both on customer as well as merchant end) associated with the unorganized nature of the sector. The startup piloted in Delhi NCR before reaching other cities in India.


title: Blinkit

text: After seven years of operations as an online grocery delivery service, Blinkit introduced express grocery delivery in India, by building dark stores across cities. In July 2021, the company reported delivering over 7000 groceries in 15 minutes in Gurgaon. A month later, in August 2021, it introduced 10-minute delivery in the top-12 cities, after completing over 20,000 under-15-minute deliveries per day across 10 cities.


title: Blinkit

text: On December 13, 2021, Grofers changed its brand name to Blinkit in line with its vision to embrace quick-commerce.


title: Blinkit

text: Blinkit primarily delivers groceries, fresh fruits and vegetables, meat, stationery, bakery items, personal care, baby care and pet care products, snacks, flowers, etc.


title: Blinkit

text: In August 2021, the company's 10-minute delivery service faced criticism with concerns raised over the safety of delivery partners. CEO Albinder Dhindsa, in a tweet, defended the mechanism behind express delivery and claimed that there had been zero accidents.


title: I-Land

text: I-Land (; stylised in all caps) is a South Korean boy group survival reality show organised by Belift Lab, a joint venture between entertainment companies CJ E&M and Hybe Corporation.


title: I-Land

text: Twenty-three male trainees participated in the show, of which seven were selected to debut as Enhypen in the show's finale on September 18, 2020. The winning contestants were Yang Jung-won, Lee Hee-seung, Ni-ki, Jake, Jay, Park Sung-hoon, and Kim Sun-oo; the first six members were decided by global ranking, and the seventh by producer's choice.


title: I-Land

text: A second season, "I-Land 2", was expected to premiere in the first half of 2022 featuring female trainees; however, on July 15, 2022, it was announced that would be postponed to 2023 in order to better organize the show.


title: I-Land

text: On May 14, 2020, Mnet released the first teaser video for "I-Land" and introduced the participating producers and mentors. Beginning on June 1, the contestants were revealed.


title: I-Land

text: The show premiered on June 26 on the cable channels Mnet, tvN Korea, Mnet Japan, and tvN Asia (Asia-Pacific). It via Mnet Smart, AbemaTV (Japan), Joox (Hong Kong, Indonesia, Malaysia, Myanmar, Thailand); on the "Mnet K-POP" & "Hybe Labels" YouTube channels and Rakuten Viki (worldwide except certain regions). The first part of the show ended on July 31. The second part of the show aired from August 14 to September 18.


title: I-Land

text: A special episode, titled "I-LAND Special: The New Beginning", aired on August 7, with Hwang Kwang-hee, Apink's Kim Nam-joo, Momoland's JooE, vocal coach Kim Sung-eun and DOOBU as hosts. In addition to recapping the events of the first half of the show, the hosts previewed the second part, including increased participation of global viewers, more performances, and specials appearances by BTS and Seventeen.


title: I-Land

text: BTS and Tomorrow X Together appeared as guests on the final episode, broadcast live with an earlier time slot, at 8:00 p.m. KST.


title: I-Land

text: Twenty-three trainees are brought to a complex (called the I-Land) in the middle of nowhere surrounded by a luscious green forest for 113 days. The trainees will live together in the three-floor complex with modern living spaces, gym, dance studios, item room (for storage), and individual practice rooms; however, only 12 contestants can stay at any one time. The others will be on the "Ground", a simple building with a dance studio and dining area, and will have to commute to and from the I-Land building every day at set times. The two living spaces are connected by a gate and stage, where their skills will be evaluated. A key part of the show's concept is that both the participants' and producers' votes play a heavy role, as they decide who stays in I-Land and who goes to the Ground. Although the I-Land only accommodates 12 trainees, the trainees may be dropped and demoted to the Ground and promptly be replaced by trainees from the Ground.


title: I-Land

text: While the show primarily focuses on the trainees and producers votes, the audience can vote on who remains in the I-Land in the last part of part one of the show. Based on the results, any trainees in the Ground will be eliminated. From there, the I-Landers will compete among themselves in the second part of the series to determine who will debut in the final seven-member group. In the second part, only the producers and audience can vote. Thus, the show was originally supposed to focus on trainee and producer votes without much audience influence, but in part 2 of the show, the trainees did not vote at all, and global votes were introduced.


title: I-Land

text: Actor Namkoong Min served as "I-Land"'s official host, commentator and narrator. The contestants were evaluated by main producer Bang Si-hyuk, CEO of Big Hit Music, as well as South Korean singer Rain and rapper Zico, both of whom rose to prominence in K-pop and K-hip hop, respectively, in the early 21st century. Rain and Zico will also mentor the trainees.


title: I-Land

text: A first in South Korean survival programs, Big Brother-style live cameras display multi-camera footage from inside the I-Land and Ground in a one-hour, video on demand segment called "I-LAND Cam". New videos released every Monday, Wednesday, Friday, and Saturday on the Weverse app and its website. In the last week of the show, "I-LAND Cam" streamed live in real-time, every day for one hour starting at 6PM KST; on the final day, for the final episode, "I-LAND Cams" streamed live starting at 5AM KST.


title: I-Land

text: Originally, there were a total of 23 contestants who participated in "I-Land"; however, as the show progressed, one contestant (Kim Yoon-won) voluntarily dropped out in the fifth episode of Part 1 due to a worsening ankle injury.


title: I-Land

text: The ages of all contestants are presented in accordance with the international age system as of Episode 1 (June 26, 2020).


title: I-Land

text: A scoring system was introduced in Episode 2. Each I-Lander is evaluated individually and scored from 0 to 100. These scores are displayed anonymously, so any particular individual's score is unknown, and then averaged to calculate the team score. Based on the team score, a certain number of I-Landers be moved to the Ground and replaced.


title: I-Land

text: In Episode 3, a separate "teamwork" score was also given and factored into the overall average score.


title: I-Land

text: A global voting system opened after Episode 5 on July 24, 2020 at 12:00 a.m. KST and ended on August 2, 2020 at 12:00 a.m. KST. Viewers vote once per day for six contestants out of the total 23 that they wish to see progress to the second part of "I-Land".


title: I-Land

text: The second global vote started on August 1, 2020 at 12:00 a.m. KST, after Episode 6, and ended on August 2, 2020 at 12:00 p.m. KST. Viewers vote for six contestants out of the 16 Grounders, excluding the top six I-Landers, that they wish to see progress to the second part of "I-Land". Every vote is multiplied by three.


title: I-Land

text: The new system was introduced in Episode 7. Each I-Lander is evaluated individually and ranked from one to 12. The top seven I-Landers will wear a badge symbolizing the debut group, and the ranks can change after each skill test. Identical to Part 1, there are four tests; on each test, one or more contestants will be eliminated according to their ranks. In Test 1 and Test 3, eliminated contestants are selected by producers only, while in Test 2 and the Final Test, global votes from viewers will be added to determine the eliminated contestants and final debut lineup.


title: I-Land

text: Another global voting system was introduced to select the seven debuting members. For the first part of voting, each viewer can vote up to two contestants per day from August 15, 2020 12:00 a.m. KST to August 29, 2020 11:59 p.m. KST. Votes for contestants who were eliminated during the voting period are disregarded.


title: I-Land

text: The second part of voting started on September 5, 2020 and ended before the final episode on September 18, 2020. Viewers can select only one contestant per day. Votes for contestants who were eliminated during the voting period are disregarded.


title: I-Land

text: Another voting period occurred during the live broadcast of the show's finale. Viewers can select only one contestant, and voting is only open for an hour.


title: I-Land

text: Trainees must perform a song either in the small groups in which they arrived or alone if they arrived as such. The contestants already present raise their hands to decide whether the new arrivals are worthy to be in the I-Land. If a trainee receives 12 or more votes, they are allowed to be on the I-Land; otherwise, they will be on the Ground. There is no limit to the number of times any one trainee could raise his hand. However, if more than 12 contestants were voted to the I-Land after the entry test is complete, they must choose one or more to be moved to the Ground until only 12 remain.


title: I-Land

text: The trainees, who are only just getting to know each other, begin their first official mission with the theme "encounter". The I-Landers and Grounders must perform the show's theme song "Into The I-LAND" (original version by IU). There are 12 parts in the song, and each trainee picks which they want to perform. The I-Landers are evaluated individually by the producers and directors, and the entire group's average score determines the number of contestants who move out of the I-Land. The Grounders each submit a daily performance video to be reviewed by the producers and directors to determine who will replace the demoted I-Landers, although they do not actually perform on stage.


title: I-Land

text: Lee Hee-seung is appointed as leader and assigned the part 1 position by the contestants but later gives up both to Ni-ki. Rain evaluates their performance two days before their performance. The I-Landers receive an average score of 59 and therefore choose six contestants to be moved out of the I-Land.


title: I-Land

text: The trainees' second mission is designed to test and develop their teamwork. Both the I-Landers and the Grounders must perform a remix of "Fire" by BTS, given six days to prepare. The scoring system from the theme song mission will be used; however, the highest individual scoring I-Lander is given a dropout exemption card, which can be used on any of the I-Landers, including himself. If the card is used, the next dropout candidate will automatically be demoted to the Ground. If there were no dropouts from I-Land in this round, the Grounders will not be able to perform at all.


title: I-Land

text: Jay and Ni-ki become the leaders of the Grounders, while Lee Hee-seung is the leader of the I-Landers. Two days before the test, Rain and DOOBU evaluate the Grounders, and Zico, Pdogg and Son Sung-deuk evaluate the I-Landers as a midpoint check. The I-Landers receive a teamwork score of 80 and an average score of 78 and therefore choose four contestants to be moved out from the I-Land. Having received the highest individual score, K uses his dropout exemption card to save Yang Jung-won, and Ta-ki moves to the Ground instead. Both received five votes; however, Ta-ki's higher individual score initially saved him from being dropped.


title: I-Land

text: The trainees' third mission involves picking representatives for vocal and dance battles between the I-Landers and Grounders to test their sacrifice and ability to directly compete. If the Grounders win, six contestants will be dropped from the I-Land. If I-Landers wins, no contestants will be dropped. The trainees are given six days to prepare.


title: I-Land

text: Rain and Son Sung-deuk evaluate the I-Landers, and Zico, Pdogg, and DOOBU evaluate the Grounders as a midpoint check, three days before the test. The I-Landers won the battle; therefore, no I-Landers are moved to the Ground.


title: I-Land

text: The fourth and last mission of the first part of the show decides the final 12 contestants. The trainees must perform an original song titled "I&credible" with the theme "Awakening". Similar to "Into the I-LAND", there are 12 parts, and each trainee must pick which part they want to perform. They are given seven days to prepare.


title: I-Land

text: Rain and Son Sung-deuk evaluate the Grounders, and Zico, Pdogg, and DOOBU evaluate the I-Landers as a midpoint check. Jay and Jake help the I-Landers with the details of the choreography, and Ni-ki helps the Grounders. From the I-Land, three contestants are voted out by the I-Landers themselves, and another three from the producers. Six trainees from the Ground, including the demoted I-Landers, are selected to fill the six remaining spots in the I-Land by the global fans through voting. The six remaining I-Landers automatically advance to the second part of the show. After the eliminated I-Landers arrive on the Ground, they must perform again with the Grounders, given three days to redistribute parts and prepare.


title: I-Land

text: I-Landers K, Lee Hee-seung, Park Sung-hoon, Yang Jung-won, Jake, and Jay are saved from being dropped to the Ground and they will continue on the second part of the show.


title: I-Land

text: The first test of the second part of "I-Land" and the final 12 contestants is performing songs by BTS. The 12 contestants are divided into three units, with each one performing a different song. BTS announced the mission themselves in a message recorded from the living room of the I-Land complex while the contestants watch from the lobby. The producers pick the contestant who will be eliminated based on individual scoring. The unit with the highest team score will be exempted from elimination; if the contestant with the lowest individual score is in the winning unit, the trainee with the next-lowest score will be eliminated. They are given seven days to prepare. Son Sung-deuk and DOOBU evaluate the I-Landers as a midpoint check.


title: I-Land

text: Choreographers Bae Yoon Jung and Son Sung-deuk give a mini-mission, a freestyle dance battle, with those ranking first through third serving as leaders of each unit and choosing either their unit lineup or song.


title: I-Land

text: The "Fake Love" unit ranks first. Ta-ki receives the lowest individual score but is saved from being eliminated as he is a member of the winning unit. Lee Geon-u, who places 11th, is eliminated instead. The contestants placing first through third based on individual scores earn the opportunity to spend one day of outside of the I-Land.


title: I-Land

text: The second test of the second part of the show is about chemistry between the contestants and global fans. The contestants are divided into two units and must perform new singles "Flicker" and "Dive Into You". The eliminations for this round will be determined by global votes. The contestant who is chosen by the producers as first place will have their votes in the 24 hours before global voting ends doubled.


title: I-Land

text: Lee Hee-seung, the first-place contestant, selects his song and unit lineup. Each unit has six days to prepare. Son Sung-deuk and DOOBU evaluate the units' performances, while vocal coach Kim Sung-eun evaluates the vocal performances of the I-Landers as a midpoint check. Jake was the I-Lander picked by the producers. The contestant who places 11th participates in the mini-mission and practice for the next test, the Concept Test, but does not perform for the producers.


title: I-Land

text: The third test of the second part of the show is about concept performance and features a mini-mission to form teams. The trainees cover two songs by Seventeen, "Pretty U" and "Hit". They are given one day to practice. The8, Jun, Dino and Hoshi of Seventeen visit the I-Land to administer the mini-mission themselves, which was won by Team "Pretty U". Kim Sun-oo places first and selects his song and lineup for the main mission. The contestants are divided into two units to perform new singles, "Chamber 5 (Dream of Dreams)" as a refreshing concept and "Flame On" as an explosion concept. The producers choose the contestant who will be eliminated based on individual scoring.


title: I-Land

text: Park Sung-hoon and Kim Sun-oo were appointed as team leaders. Ta-ki, placed 11th in global votes for the previous Chemistry Test, is eliminated. Kim Sun-oo replaces Ta-ki with Park Sung-hoon, and K replaces Park Sung-hoon as leader of "Flame On". Both units have five days to practice, and Son Sung-deuk evaluates them as a midpoint check.


title: I-Land

text: K places first in the main part of the Concept Test, and Hanbin is eliminated by virtue of placing tenth.


title: I-Land

text: The last test of the show will determine the lineup of the debut group, which will have seven members. The top six trainees will be selected from global votes, while one trainee will be chosen by the producers. The trainees perform a new single titled "Calling (Run Into You)" during the live broadcast. Son Sung-deuk and DOOBU evaluate the I-Landers as a midpoint check. The I-Landers will also get to film their own PR video, the duration of which is based on their ranking; trainees placed first, second, and third will have 60, 50, and 40 seconds, respectively, and the remaining will have 30 seconds.


title: I-Land

text: The 13 previously-eliminated trainees return to the I-Land and reunite with the current contestants to practice their first song, "Into The I-LAND", together and perform it on live broadcast for the first time.


title: I-Land

text: The debut group name is revealed as "Enhypen", derived from the hyphen (-) symbol, which implies connection, discovery, and growth"." The final lineup consists of Yang Jung-won, Jay, Jake, Niki, Lee Hee-seung, Park Sung-hoon, with Kim Sun-oo as the producer's pick.


title: I-Land

text: In the ratings below, the highest rating for the show is in and the lowest in . Some ratings have already been rounded off to one decimal place, as they are usually of lower ranks. Despite low domestic TV ratings, the international simulcast on online video platforms generated an accumulated 13.6 million views per episode.


title: Michael Avenatti

text: Michael John Avenatti (born February 16, 1971) is an American former attorney and convicted felon, best known for his legal representation and defrauding of adult film actress Stormy Daniels in unsuccessful lawsuits against then U.S. president Donald Trump, and for his attempted extortion of sports apparel company Nike that led to his conviction for several felonies. His firm had represented celebrity defendants and has filed suits against "Fortune" 500 companies. Avenatti has appeared extensively on television and in print as a legal and political commentator, and as a representative for prominent clients.


title: Michael Avenatti

text: Before Supreme Court Justice Brett Kavanaugh was confirmed, Avenatti introduced a written declaration in September 2018 accusing Kavanaugh of spiking drinks at parties when he was in high school. The accuser, Julie Swetnick, later repudiated the declaration in an interview with NBC News, claiming Avenatti had misrepresented her allegations. Chuck Grassley referred Avenatti and Swetnick to the Department of Justice for criminal investigation.


title: Michael Avenatti

text: Beginning in March 2019, Avenatti was indicted in California and New York on different federal criminal counts including tax evasion, extortion, fraud, and embezzlement. On February 14, 2020, Avenatti was convicted of all charges against him in the New York court. He has been ineligible to practice law in California since May 4, 2020. On July 8, 2021, he was sentenced to 30 months in prison.


title: Michael Avenatti

text: The second of four federal criminal trials involving Avenatti began on July 21, 2021 in Los Angeles, California with Avenatti defending himself. He was found guilty of wire fraud and aggravated identity theft. On June 2, 2022, he was sentenced to four years in prison for defrauding Daniels. On December 5, 2022, he was sentenced to 14 years in prison for wire fraud and obstruction against the Internal Revenue Service.