title: All Good Things (film)

text: A single minute-long scene was shot on a bridge over the Housatonic River. Scenes were shot on Route 7 in Gaylordsville, Connecticut, on June 3, where a shop opposite the local fire department was used as a health food store. The following day, filming moved to Waterbury, Connecticut. The Hospital of Saint Raphael was used as a filming location on June 6. The film set at the hospital was built on a vacant floor scheduled to be renovated, and took a week for set designers to prepare. Filming later returned to Brookfield, Connecticut. The crew also shot for two days at the Ridgefield Community Center—standing in for New York's Gracie Mansion—in Ridgefield, Connecticut. Manhattan's West 38th Street, between 7th and 8th Avenues, was used for the old 42nd Street for shooting on June 25–26; shops were converted into 1970s Times Square sex shops and strip shows.


title: All Good Things (film)

text: Jarecki, who previously produced and directed the 2003 documentary "Capturing the Friedmans", said that making "All Good Things" "was less about wanting to do a narrative feature vs. a documentary and more about the merits of this particular project". He shot "hundreds of hours of footage" of people associated with the true story of Robert Durst, saying that "It was part of the process. Maybe it will end up on the DVD some day."


title: All Good Things (film)

text: He eventually used some of that footage in the HBO documentary miniseries "" (2015). This included the result of approximately twenty hours of discussion with Durst himself.


title: All Good Things (film)

text: The film was originally set for release on July 24, 2009. In spring 2009, the film was delayed. An insider from The Weinstein Company stated that "the movie is really strong. We just needed more time to complete it." Soon after, the film was set to release on December 11, 2009, only to be delayed again. The Weinstein Company released their upcoming film slate, with "All Good Things" listed for a March 2010 release. This never materialized.


title: All Good Things (film)

text: In March 2010, director Andrew Jarecki bought back the U.S. distribution rights and was searching for a new distributor for the film. The Weinstein Company still holds the international rights, as well as basic cable television rights. On August 24, 2010, Magnolia Pictures acquired the American rights and gave the film a theatrical release on December 3, 2010.


title: All Good Things (film)

text: "All Good Things" was released on DVD and Blu-ray on March 29, 2011, with commentary by Jarecki and Robert Durst.


title: All Good Things (film)

text: , the film holds a 35% approval rating on review aggregator Rotten Tomatoes, based on 98 reviews with an average rating of 5.51 out of 10. The consensus was: "It's well-acted, and the true story that inspired it offers plenty of drama—which is why it's so frustrating that "All Good Things" is so clichéd and frustratingly ambiguous." On Metacritic, the film has a weighted average score of 57 out of 100, based on 27 critics, indicating "mixed or average reviews".


title: All Good Things (film)

text: Both Kirsten Dunst and Ryan Gosling were praised for their performances. Roger Ebert awarded the film three and a half out of four stars, applauded Dunst's performance, but added, "I don't understand David Marks after seeing this film, and I don't know if Andrew Jarecki does."


title: All Good Things (film)

text: "All Good Things" earned $582,024 at the US box office and another $1,172,365 at the foreign box office for a worldwide total of $1,754,389.


title: All Good Things (film)

text: Robert Durst professed admiration for "All Good Things" and telephoned Jarecki after its release, offering to be interviewed, although he had not previously cooperated with journalists. Durst and Jarecki spent more than 20 hours together over several years. In February and March, 2015, director Jarecki's six-part documentary miniseries, "The Jinx", was shown on HBO. Durst was arrested in New Orleans, Louisiana, on first degree murder charges the day before the final episode aired on March 15, in which he appeared unintentionally to confess to three murders.


title: Lambert Wilson

text: Lambert Wilson (born 3 August 1958) is a French actor, singer and activist. He is best known internationally for his portrayal of The Merovingian in "The Matrix Reloaded", "The Matrix Revolutions" and "The Matrix Resurrections".


title: Lambert Wilson

text: Wilson is the son of Georges Wilson, who was an actor, theatrical manager and director of the Théâtre National Populaire. As a teenager, he had little interest in the French theatre and aimed to become an "American actor" and appear in Hollywood pictures. He studied acting at the Drama Centre London to learn English. He played his first movie role in the 1977 American film "Julia", directed by Fred Zinneman.


title: Lambert Wilson

text: Five years later, he played his first starring role in another film by Zinneman, "Five Days One Summer", opposite Sean Connery. But the film was not a commercial success, and neither was "Sahara" in which Wilson co-starred with Brooke Shields. Wilson ultimately found success in his home country: during the 1980s, he became popular with French audiences by appearing in successful films such as "La Boum 2", "The Public Woman" and "Rendez-vous". At the time, he was often cast either as tormented characters or in romantic parts, although he found himself more convincing in the former kind of roles.


title: Lambert Wilson

text: Wilson screen tested for "The Living Daylights" (1987) for the role of James Bond, appearing in test footage opposite Maryam d'Abo (the Bond girl in "The Living Daylights") as Tatiana Romanova, re-enacting scenes from "From Russia with Love" (1963). Wilson was featured in a series of Calvin Klein ads featuring Christy Turlington for Eternity in 1991, as well as a poster ad, years later in 1998.


title: Lambert Wilson

text: Wilson released "Musicals" on the EMI label in 1989 (re-issued in 2004), with John McGlinn conducting Orchestre Philharmonique de Monte-Carlo. It features him singing songs of the American Musical Theatre catalogue, those well-known ("Maria" from "West Side Story", "There But For You Go I" from Lerner & Loewe's "Brigadoon", "The Cafe Song" from "Les Misérables", "Johanna" from Stephen Sondheim's ""), rare ("Love Song" from Kurt Weill and Alan Jay Lerner's "Love Life", "It Must Be So" from Leonard Bernstein's "Candide", and "Silly People", which was cut from Sondheim's "A Little Night Music"), and those in-between ("Finishing the Hat" from "Sunday in the Park with George", "You Do Something to Me" from Cole Porter's "Fifty Million Frenchmen", "Never Will I Marry" from Frank Loesser's "Greenwillow").


title: Lambert Wilson

text: He has directed stage presentations of Alfred de Musset's "Les Caprices de Marianne" starring Laure Marsac at Paris' Bouffes du Nord as well as Jean Racine's "Bérénice" starring Kristin Scott Thomas and Didier Sandre at Avignon and then Chaillot.


title: Lambert Wilson

text: In 1989, his performance as Abbé Pierre in the film "Hiver 54, l'abbé Pierre", for which he received the Jean Gabin prize, won him critical accolades. In the late 1980s and early 1990s, however, his screen career suffered from a series of box office failures, such as "The Possessed" and "El Dorado".


title: Lambert Wilson

text: He later said that the French producers had come, at the time, to regard him as "box office poison". He eventually won back the favour of French audiences by appearing in the successful comedies "Same Old Song" (1997) and "Jet Set" (2000).


title: Lambert Wilson

text: Wilson was cast in the role of The Merovingian in "The Matrix Reloaded" (2002) and "The Matrix Revolutions" (2003), perhaps his best-known role in the American cinema. Being completely fluent in English, his strong French accent in the film is fabricated for the role. The role also popularised the Ediety tie knot, now commonly referred to as "The Merovingian".


title: Lambert Wilson

text: In November 2012, he was selected as a member of the main competition jury at the 2012 International Film Festival of Marrakech. In April 2013, Wilson was invited by MINUSTAH (United Nations Stabilization Mission in Haiti) to visit Haiti in the capacity of helping with various UN-backed environment and cultural programmes.


title: Lambert Wilson

text: He was the master of ceremonies for the opening and closing ceremonies of the 2014 and 2015 Cannes Film Festival.


title: Lambert Wilson

text: In February 2016, he released a tribute album called "Wilson chante Montand" to the singer Yves Montand to commemorate the 25th anniversary of the death of the artist. Among the 17 tracks on the album there is "Mais qu’est-ce que j’ai ?" which was composed by Henri Betti with the lyrics by Édith Piaf in 1947. The musical arrangements of the 17 songs were made by Bruno Fontaine. Also in 2016, he portrayed Jacques Cousteau in the biopic "The Odyssey".


title: Lambert Wilson

text: Wilson's commitment to safeguarding the environment is manifest in his support of Greenpeace and Agir pour l'Environnement amongst others.  He works on behalf of the Fondation Abbé-Pierre and the Mouvement Emmaüs in France to eradicate hunger and poverty. Wilson is an ambassador for Les Toiles Enchantées  (an association that brings contemporary cinema to hospitals and hospices for children), and "parrain" (patron) for a proposed new cinema at the Institut Français in London.


title: Lambert Wilson

text: Wilson is Chevalier and Officier des Arts et des Lettres and Chevalier and Officier de l'Ordre National du Mérite. He was raised to Commandeur de l’Ordre du Mérite by President Emmanuel Macron in 2017.


title: Lambert Wilson

text: In January 2018 he engaged to assist the Food and Agriculture Organisation of the United Nations (FAO) in communications regarding work to eradicate world hunger and poverty ("Working for Zero Hunger"). The same year he starred in "Volontaire" by Hélène Fillières.


title: Lambert Wilson

text: In 2021, Wilson reprised his role of The Merovingian from "The Matrix" franchise in "The Matrix Resurrections".


title: Miep Gies

text: Hermine "Miep" Gies (; ; 15 February 1909 – 11 January 2010) was one of the Dutch citizens who hid Anne Frank, her family (Otto Frank, Margot Frank, Edith Frank) and four other Dutch Jews (Fritz Pfeffer, Hermann van Pels, Auguste van Pels, Peter van Pels) from the Nazis in an annex above Otto Frank's business premises during World War II. She was Austrian by birth, but in 1920, at the age of eleven, she was taken in as a foster child by a Dutch family in Leiden to whom she became very attached. Although she was initially only to stay for six months, this stay was extended to one year because of frail health, after which Gies chose to remain with them, living the rest of her life in the Netherlands. She died in 2010 at age 100, a month before her 101st birthday.


title: Miep Gies

text: In 1933, Gies began working for Otto Frank, a Jewish businessman who had moved with his family from Germany to the Netherlands in the hope of sparing his family from Nazi persecution. She became a close, trusted friend of the Frank family and was a great support to them during the twenty-five months they spent in hiding. Together with her colleague Bep Voskuijl, she retrieved Anne Frank's diary after the family was arrested, and kept the papers safe until Otto Frank returned from Auschwitz in June 1945 and learned of his younger daughter's death soon afterwards. Gies had stored Anne Frank's papers in the hopes of returning them to the girl, but gave them to Otto Frank, who compiled them into a diary first published in June 1947.


title: Miep Gies

text: In collaboration with Alison Leslie Gold, Gies wrote the book "Anne Frank Remembered: The Story of the Woman Who Helped to Hide the Frank Family" in 1987.


title: Miep Gies

text: Born in Vienna to Karoline Maria Santrouschitz, Gies was transported to Leiden from Vienna in December 1920 to escape the food shortages prevailing in Austria after World War I. The Nieuwenburgs, a working-class family who already had five children of their own, took her as their foster daughter, and called her by the diminutive "Miep" by which she became known. In 1922, she moved with her foster family to Gaaspstraat 25 in Amsterdam. Gies was an honor student, and described herself as "reserved and very independent"; after graduating high school, she worked as an accountant and then in 1933 as a secretary with the Dutch branch of the German spice firm Opekta (later known as Gies & Company). Gies wrote, "But the office was not the only thing in my life. My social life at this time was very lively. I loved to dance and belonged like many young Dutch girls, to a dance club."


title: Miep Gies

text: Otto Frank had just relocated from Germany and had been appointed managing director of Opekta's recently expanded Dutch operations. Gies, Frank's employee, became a close friend of the family, as did her fiancé, Jan Gies. After refusing to join a Nazi women's association, her passport was invalidated, and she was ordered to be deported back to Austria within 90 days (by then annexed by Germany, which classified her as a German citizen). The couple faced some difficulties, but they were married on 16 July 1941 so that she could obtain Dutch citizenship and thus evade deportation. "Anne was impressed with my gold ring. She looked at it dreamily. (...) Because times were hard, we had only one ring, although the custom was for a couple to have two. Henk [In her book, Miep called Jan by the name of Henk, because Anne Frank had used that pseudonym in her diary] and I had barely scraped together enough money for one gold ring. He had insisted that I should wear it." Gies's fluency in Dutch and German helped the Frank family assimilate into Dutch society, and she and her husband became regular guests at the Franks' home.


title: Miep Gies

text: With her husband Jan and other Opekta employees (Victor Kugler, Johannes Kleiman and Bep Voskuijl), Miep Gies helped hide Otto and Edith Frank; their daughters Margot and Anne; Hermann, Auguste and Peter van Pels; and Fritz Pfeffer in several upstairs rooms in the company's office building on Amsterdam's Prinsengracht from 6 July 1942 to 4 August 1944. In an interview, Gies said she was glad to help the families hide because she was extremely concerned after seeing what was happening to the Jews in Amsterdam. Every day, she saw trucks loaded with Jews heading to the railway station, en route to Nazi concentration camps. She did not tell anyone, not even her own foster parents, about the people in hiding whom she was assisting.


title: Miep Gies

text: When purchasing food for the people in hiding, Gies avoided suspicion in many ways: for example, by visiting several different suppliers in a day. She never carried more than what one shopping bag could hold or what she could hide under her coat. To prevent the Opekta workers from becoming suspicious, Gies tried not to enter the hiding place during office hours. Her husband also helped by providing ration cards that he had obtained illegally. By visiting various grocery shops and markets on a regular basis, Gies developed a good sense of the supply situation.


title: Miep Gies

text: At their apartment, close to the Merwedeplein where the Franks had lived before going into hiding, Gies and her husband Jan (who belonged to the Dutch resistance) also hid an anti-Nazi university student.


title: Miep Gies

text: On the morning of 4 August 1944, sitting at her desk, Gies, along with Voskuijl and Kleiman, was confronted by a man with a gun commanding "Stay put! Don't move! Not a sound!" The families had been betrayed and the Grüne Polizei arrested the people hidden at 263 Prinsengracht, as well as Kugler and Kleiman. The next day, Gies went to the German police office to try to find the arrestees. She offered money to buy their freedom but did not succeed. Gies and the other helpers could have been executed if they had been caught hiding Jews; however, she was not arrested because the police officer who came to interrogate her was from Vienna, her birth town. She recognized his accent and told him they had the same hometown. He was amazed, then started pacing and cursing at her, finally deciding to let her stay. Gies remained safe with her husband in Amsterdam throughout the rest of the war.


title: Miep Gies

text: Before the hiding place was emptied by the authorities, Gies and the younger secretary Bep Voskuijl retrieved parts of Anne Frank's diaries and saved them in their desk drawer. Gies was determined to give them back to Anne. After the war had ended and it was confirmed that Anne Frank had perished in the Bergen-Belsen concentration camp, Gies gave the collection of papers and notebooks to the sole survivor from the Secret Annex, Otto Frank. After transcribing sections for his family, his daughter's literary ability became apparent and he arranged for the book's publication in 1947. Gies did not read the diaries before turning them over to Otto and later remarked that if she had, she would have had to destroy them because the papers contained the names of all five of the helpers as well as of their black-market suppliers. She was persuaded by Otto Frank to read the diary in its second printing. In 1947, Miep and Jan Gies moved to Jekerstraat 65, by the , along with Otto Frank.


title: Miep Gies

text: Miep Gies had assured Anne Frank's biographer Melissa Müller repeatedly that she did not think the main suspect, Willem van Maaren, was the culprit in the betrayal.


title: Miep Gies

text: Gies was interviewed about her memories of hiding the Frank family for the 1995 documentary film "Anne Frank Remembered" by Jon Blair.


title: Miep Gies

text: In 1994, Gies was awarded the Order of Merit of the Federal Republic of Germany as well as the Wallenberg Medal by the University of Michigan. The following year, Gies received the Yad Vashem Righteous Among the Nations medal. In 1997, she was knighted in the Order of Orange-Nassau by Queen Beatrix of the Netherlands. The minor planet 99949 Miepgies is named in her honor. She always maintained that while she appreciated the honors, they embarrassed her: "I am not a hero. I am not a special person. I don't want attention. I did what any decent person would have done."


title: Miep Gies

text: On 30 July 2009, the Austrian Ambassador to the Netherlands, Wolfgang Paul, presented Grand Decoration of Honour for Services to the Republic of Austria to Gies at her home.


title: Miep Gies

text: On 11 January 2010, a month before her 101st birthday, Miep Gies died in the city of Hoorn after suffering injuries from a fall.


title: The Long Goodbye (film)

text: The Long Goodbye is a 1973 American neo-noir satirical mystery crime thriller film directed by Robert Altman and based on Raymond Chandler's 1953 novel. The screenplay was written by Leigh Brackett, who co-wrote the screenplay for Chandler's "The Big Sleep" in 1946. The film stars Elliott Gould as Philip Marlowe and features Sterling Hayden, Nina Van Pallandt, Jim Bouton (in a rare acting role), Mark Rydell and an early uncredited appearance by Arnold Schwarzenegger.


title: The Long Goodbye (film)

text: The story's period was moved from 1949–50 to 1970s Hollywood. "The Long Goodbye" has been described as "a study of a moral and decent man cast adrift in a selfish, self-obsessed society where lives can be thrown away without a backward glance ... and any notions of friendship and loyalty are meaningless." In 2021, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".


title: The Long Goodbye (film)

text: Late one night, private investigator Philip Marlowe is visited by his close friend Terry Lennox, who asks for a lift from Los Angeles to the California–Mexico border at Tijuana. Marlowe obliges. On returning home, Marlowe is met by two police detectives who accuse Lennox of having murdered his rich wife, Sylvia. Marlowe refuses to give them any information, so they arrest him. After he is jailed for three days, the police release him, because they have learned that Lennox has committed suicide in Mexico. The police and the press seem to believe it is an obvious case, but Marlowe does not accept the official facts.


title: The Long Goodbye (film)

text: Marlowe is hired by Eileen Wade, who asks him to find her missing husband Roger, an alcoholic novelist with writer's block whose macho, Hemingway-like persona is proving self-destructive, resulting in days-long disappearances from their Malibu home. While investigating Eileen's missing husband, Marlowe visits the subculture of private detoxification clinics for rich alcoholics and drug addicts. He locates and recovers Roger and learns that the Wades knew the Lennoxes socially, and suspects that there is more to Lennox's suicide and Sylvia's murder. Marlowe incurs the wrath of gangster Marty Augustine, who wants money returned that Lennox owed him, and threatens Marlowe by maiming his own mistress.


title: The Long Goodbye (film)

text: After a side-trip to Mexico, where officials corroborate the details of Lennox's death, Marlowe returns to the Wade house. A party breaks up after an argument over Roger's unpaid bill from the detoxification clinic. Later that night, Eileen and Marlowe are interrupted when she sees a drunken Roger wandering into the sea; before they can stop him, he drowns. Eileen confesses that Roger had been having an affair with Sylvia, and might have killed her. Marlowe tells this to the police, who tell him that Roger's time at the clinic provides an alibi.


title: The Long Goodbye (film)

text: After visiting Augustine, whose missing money has been returned, Marlowe sees Eileen driving away in her open topped Mercedes-Benz 450SL. While running after her, he is struck by a car and hospitalized. Waking up, he is given a harmonica by the heavily-bandaged patient in the next bed. Returning to Malibu, he finds the Wade house being packed up by a real estate company and Eileen gone.


title: The Long Goodbye (film)

text: He returns to Mexico, where he bribes local officials into revealing the truth. They confess to having set up Terry's apparent suicide and reveal he is alive and well in a Mexican villa. Marlowe finds Terry, who admits to killing Sylvia and reveals that he is having an affair with Eileen. Roger had discovered the affair and disclosed it to Sylvia, after which Terry killed her in the course of a violent argument. Terry gloats that Marlowe fell for his manipulations, causing Marlowe to fatally shoot Terry. As Marlowe walks away, he passes Eileen, who is on her way to meeting Terry. Marlowe pulls out his harmonica and plays it while strolling jauntily down the road.


title: The Long Goodbye (film)

text: It took a number of years for a film of "The Long Goodbye" to be made, although there had been a television production in 1954 with Dick Powell. By the time of Chandler's death, the only novels of his that had not been made into films were "The Long Goodbye" and "Playback".


title: The Long Goodbye (film)

text: In October 1965 it was announced the rights to "Goodbye" were held by producers Elliott Kastner and Jerry Gershwin who would make it the following year in Los Angeles and Mexico.


title: The Long Goodbye (film)

text: In 1967 producer Gabriel Katzka had the rights. He wanted to make it as a follow up to their adaptation of "The Little Sister" (which became "Marlowe"). Stirling Silliphant, who wrote "Marlowe", did a script. However the film was not made and MGM let their option lapse.


title: The Long Goodbye (film)

text: Producers Jerry Bick and Elliott Kastner bought the rights back and made a production deal with the United Artists distribution company for them to finance. Sales of Chandler had been consistent over the years and in the early 1970s the author's books were selling as much as when Chandler was alive.


title: The Long Goodbye (film)

text: They commissioned the screenplay from Leigh Brackett, who had been Kastner's client when he was an agent and had written the script for the Humphrey Bogart version of "The Big Sleep". Brackett:


title: The Long Goodbye (film)

text: ... set the deal with United Artists, and they had a commitment for a film with Elliott Gould, so either you take Elliott Gould or you don't make the film. Elliott Gould was not exactly my idea of Philip Marlowe, but anyway there we were. Also, as far as the story was concerned, time had gone by—it was twenty-odd years since the novel was written, and the private eye had become a cliché. It had become funny. You had to watch out what you were doing. If you had Humphrey Bogart at the same age that he was when he did "The Big Sleep", he wouldn't do it the same way. Also, we were faced with a technical problem of this enormous book, which was the longest one Chandler ever wrote. It's tremendously involuted and convoluted. If you did it the way he wrote it, you would have a five-hour film.


title: The Long Goodbye (film)

text: Brian G. Hutton, who had made a number of movies for Kastner, was originally attached as director and Brackett says Hutton wanted the script structured so that "the heavy had planned the whole thing from the start" but when writing it she found the idea contrived.


title: The Long Goodbye (film)

text: The producers offered the script to both Howard Hawks and Peter Bogdanovich to direct it. Both refused the offer, but Bogdanovich recommended Robert Altman.


title: The Long Goodbye (film)

text: United Artists president David Picker may have picked Gould to play Marlowe as a ploy to get Altman to direct. At the time, Gould was in professional disfavor because of his rumored troubles on the set of "A Glimpse of Tiger", in which he bickered with costar Kim Darby, fought with director Anthony Harvey, and acted erratically. Consequently, he had not worked in nearly two years; nevertheless, Altman convinced Bick that Gould suited the role. United Artists had Elliott Gould undergo the usual employment medical examination, and also a psychological examination attesting to his mental stability.


title: The Long Goodbye (film)

text: In January 1972 it was announced Altman and Gould would make the film. Altman called the film "a satire in melancholy."


title: The Long Goodbye (film)

text: In adapting Chandler's book, Leigh Brackett had problems with its plot, which she felt was "riddled with cliches", and faced the choice of making it a period piece or updating it. Altman received a copy of the script while shooting "Images" in Ireland. He liked the ending because it was so out of character for Marlowe. He agreed to direct but only if the ending was not changed.


title: The Long Goodbye (film)

text: Brackett recalled meeting Altman while he was doing "Images". "We conferred about ten o'clock in the morning and yakked all day, and I went back to the hotel and typed all the notes and went back the next day. In a week we had it all worked out. He was a joy to work with. He had a very keen story mind."


title: The Long Goodbye (film)

text: Altman and Brackett spent a lot of time talking over the plot. Altman wanted Marlowe to be a loser. He even nicknamed Gould's character Rip Van Marlowe, as if he had been asleep for 20 years, had woken up, and was wandering around Los Angeles in the early 1970s but "trying to invoke the morals of a previous era".


title: The Long Goodbye (film)

text: Brackett says her first draft was too long, and she shortened it, but the ending was inconclusive. She had Marlowe shooting Terry Lennox. Altman conceived of the film as a satire and made several changes to the script, like having Roger Wade commit suicide and having Marty Augustine smash a Coke bottle across his girlfriend's face. Altman said, "it was supposed to get the attention of the audience and remind them that, in spite of Marlowe, there is a real world out there, and it is a violent world".


title: The Long Goodbye (film)

text: Many of the key roles in the film were cast with unconventional choices. Jim Bouton, cast as Marlowe's friend Terry Lennox, was not an actor; he was a former Major League Baseball pitcher and the author of the bestselling book "Ball Four". Nina Van Pallandt was best known at the time as the ex-lover of writer Clifford Irving, who had written a fake autobiography of Howard Hughes that turned into a major scandal. Mark Rydell, who played vicious gangster Marty Augustine, had an acting background, but was better known as the director of films like "The Cowboys" and "The Reivers". Henry Gibson was another odd choice, having just completed four years as a cast member of the TV comedy-variety series "Rowan and Martin's Laugh-In".


title: The Long Goodbye (film)

text: In May 1972 it was announced Dan Blocker would appear. He was cast in the role of Roger Wade. However, he died before filming started. The film is dedicated to his memory in the closing credits.


title: The Long Goodbye (film)

text: Near the midpoint of the film, during a scene in which Marlowe meets with Marty Augustine, Augustine orders everyone to strip and we see Arnold Schwarzenegger in briefs portraying a massive thug working for Augustine. Arnold received neither screen credit nor lines in this appearance.


title: The Long Goodbye (film)

text: Altman did not read all of Chandler's book and instead used "Raymond Chandler Speaking", a collection of letters and essays. He gave copies of this book to the cast and crew, advising them to study the author's literary essays. The opening scene with Philip Marlowe and his cat came from a story a friend of Altman's told him about his cat only eating one type of cat food. Altman saw it as a comment on friendship. The director decided that the camera should never stop moving and put it on a dolly. The camera movements would counter the actions of the characters so that the audience would feel like a voyeur. To compensate for the harsh light of Southern California, Altman gave the film a soft pastel look reminiscent of old postcards from the 1940s.


title: The Long Goodbye (film)

text: When it came to the scenes between Philip Marlowe and Roger Wade, Altman had Elliott Gould and Sterling Hayden ad lib most of their dialogue because, according to the director, Hayden was drunk and stoned on marijuana most of the time. Altman was reportedly thrilled by Hayden's performance, despite him being second choice to Blocker. Altman's home in Malibu Colony was used as the location for the scenes that took place in Wade's house. "I hope it works," said Altman during filming. "We've got a script but we don't follow it closely."


title: The Long Goodbye (film)

text: The soundtrack of "The Long Goodbye" features two songs, "Hooray for Hollywood" and "The Long Goodbye", composed by John Williams and Johnny Mercer. It was Altman's idea to have every occurrence of the latter song arranged differently, from hippie chant to supermarket muzak to radio music, setting the mood for the hero's encounters with eccentric Californians, while pursuing his case.


title: The Long Goodbye (film)

text: Varèse Sarabande released selections from Williams' score on a CD in 2004 paired with the album re-recording of Williams' music from "Fitzwilly"; in 2015 Quartet Records issued a CD entirely devoted to "The Long Goodbye".


title: The Long Goodbye (film)

text: "The Long Goodbye" was previewed at the Tarrytown Conference Center in Tarrytown, New York. The gala was hosted by Judith Crist, then the film critic for "New York" magazine. The film was not well received by the audience, except for Nina van Pallandt's performance. Altman attended a question-and-answer session afterward, where the mood was "vaguely hostile", reportedly leaving the director "depressed".


title: The Long Goodbye (film)

text: "The Long Goodbye" was not well received by critics during its limited release in Los Angeles, Chicago, Philadelphia and Miami. "Time" magazine's Jay Cocks wrote, "Altman's lazy, haphazard putdown is without affection or understanding, a nose-thumb not only at the idea of Philip Marlowe but at the genre that his tough-guy-soft-heart character epitomized. It is a curious spectacle to see Altman mocking a level of achievement to which, at his best, he could only aspire". Charles Champlin of the "Los Angeles Times" found the film "quite sleek, marvelously and inventively photographed ... The problem is that the Altman-Brackett Marlowe, played by Elliott Gould, is an untidy, unshaven, semiliterate, dim-wit slob who could not locate a missing skyscraper and would be refused service at a hot dog stand. He is not Chandler's Marlowe, or mine, and I can't find him interesting, sympathetic or amusing, and I can't be sure who will." Gary Arnold of "The Washington Post" wrote that the film "is not a movie version of the Chandler mystery that anyone with a liking for Chandler could possibly enjoy ... If you are not prepared to shuffle along from scene to pointless, protracted scene with klutzy old Elliott, there will be little to occupy your time or offset your annoyance."


title: The Long Goodbye (film)

text: Roger Ebert, however, gave the film three out of four stars and praised Elliott Gould's "good performance, particularly the virtuoso ten-minute stretch at the beginning of the movie when he goes out to buy food for his cat. Gould has enough of the paranoid in his acting style to really put over Altman's revised view of the private eye". Gene Siskel also liked the film and gave it three-and-a-half out of four stars, calling it "a most satisfying motion picture" with Gould displaying "surprising finesse and reserve" in his performance, though he faulted the "convoluted and too quickly resolved plot."


title: The Long Goodbye (film)

text: The New York opening was canceled at the last minute after several advance screenings had already been held for the press. The film was abruptly withdrawn from release with rumors that it would be re-edited.


title: The Long Goodbye (film)

text: On Rotten Tomatoes, the film holds an approval rating of 94% based on 54 reviews, with an average rating of 8.40/10. The site's critical consensus reads, "An ice-cold noir that retains Robert Altman's idiosyncratic sensibilities, "The Long Goodbye" ranks among the smartest and most satisfying Marlowe mysteries." On Metacritic, the film has a score of 87 out of 100, based on 17 critics, indicating "universal acclaim."


title: The Long Goodbye (film)

text: Studio executives analyzed the reviews for months, concluding that the reason for the film's failure was the misleading advertising campaign in which it had been promoted as a "detective story". They spent $40,000 on a new release campaign, which included a poster by "Mad" magazine artist Jack Davis.


title: The Long Goodbye (film)

text: When "The Long Goodbye" was re-released, reviewer Vincent Canby wrote, "it's an original work, complex without being obscure, visually breathtaking without seeming to be inappropriately fancy".


title: The Long Goodbye (film)

text: Pauline Kael's lengthy review in "The New Yorker" called the film "a high-flying rap on Chandler and the movies", hailed Gould's performance as "his best yet" and praised Altman for achieving "a self-mocking fairy-tale poetry".


title: The Long Goodbye (film)

text: Despite Kael's effusive endorsement and its influence among younger critics, "The Long Goodbye" was relatively unpopular and earned poorly in the rest of the United States. The "New York Times" listed it in its Ten Best List for film for that year, while Vilmos Zsigmond was awarded the National Society of Film Critics' prize for Best Cinematographer. Ebert later ranked it among his Great Movies collection and wrote, "Most of its effect comes from the way it pushes against the genre, and the way Altman undermines the premise of all private eye movies, which is that the hero can walk down mean streets, see clearly, and tell right from wrong".


title: The Long Goodbye (film)

text: The 1973 cinematic adaptation deviates markedly from the 1953 novel. Screenwriter Leigh Brackett took many liberties with the story, plot and characters of "The Long Goodbye" in her adaptation. In the film, Marlowe kills his best friend, Terry Lennox. Lennox did kill his own wife, because she discovered he was having an affair with Eileen, and he admits this to Marlowe. The father of millionairess Sylvia Lennox, Sylvia herself as well as her sister, do not appear in the film; Roger Wade commits suicide in the film, rather than being murdered; and gangster Marty Augustine and his subplots are additions to the film. Bernie Ohls, Marlowe's sometime-friend on the LAPD, is also absent.


title: The Long Goodbye (film)

text: The film quotes from the novel when Marlowe, under police interrogation, asks, "Is this where I'm supposed to say, 'What's all this about?' and he [the cop] says, 'Shut up! I ask the questions'?"


title: The Long Goodbye (film)

text: Throughout the film are stylistic nods to the Chandler novels and 1950s American culture. Marlowe drives a 1948 Lincoln Continental convertible Cabriolet, in contrast with the contemporary cars driven by others in the film. Marlowe also chain smokes in the film, in contrast with a health-conscious California; no one else smokes on screen. As a reference to the American iconography which Chandler used in his novels, Marlowe wears a tie with American flags on it (the tie looks plain red in the movie due to cinematographer Vilmos Zsigmond's post-flashing).


title: The Long Goodbye (film)

text: A "making-of" featurette on the DVD is entitled "Rip van Marlowe", a reference to the character Rip Van Winkle, to emphasize the contrast between Marlowe's anachronistic 1950s behavior and the film's 1970s setting.


title: The Long Goodbye (film)

text: "" (2017), the soundtrack of which was also composed by John Williams, briefly samples Williams's own theme for "The Long Goodbye" (lyrics by Johnny Mercer) during Finn and Rose's escape, although this was not included in the official soundtrack release. This is one of the few times that a "Star Wars" soundtrack incorporated a song from outside the "Star Wars" universe.


title: David Hemmings

text: David Edward Leslie Hemmings (18 November 1941 – 3 December 2003) was an English actor and director. He is best remembered for his roles in British films and television programmes of the 1960s and 1970s, particularly the 1966 mystery film "Blowup", directed by Michelangelo Antonioni. Early in his career, Hemmings was a boy soprano appearing in operatic roles. In 1967, he co-founded the Hemdale Film Corporation.


title: David Hemmings

text: His education at Alleyn's School, Glyn Grammar School in Ewell, and the Arts Educational Schools led him to start his career performing as a boy soprano in several works by the composer Benjamin Britten, who formed a close friendship with him at this time. Most notably, Hemmings created the role of Miles in Britten's chamber opera "Turn of the Screw" (1954). His intimate, yet innocent, relationship with Britten is described in John Bridcut's book "Britten's Children" (2006).


title: David Hemmings

text: Although many commentators identified Britten's relationship with Hemmings as based on an infatuation, throughout his life, Hemmings maintained categorically that Britten's conduct with him was beyond reproach at all times. Hemmings had earlier played the title role in Britten's "The Little Sweep" (1952), which was part of Britten's "Let's Make an Opera!" children's production.


title: David Hemmings

text: Britten's interest in Hemmings ceased very abruptly, from the moment his voice broke, which occurred unexpectedly while singing the aria "Malo" during a performance of "The Turn of the Screw" in 1956 in Paris. Britten was furious, waved Hemmings away, and never had any further contact with him.


title: David Hemmings

text: Hemmings then moved on to acting in films. He made his first film appearance in the drama film "The Rainbow Jacket" (1954). He could also be seen in "Saint Joan" (1957).


title: David Hemmings

text: Hemmings had bigger roles in "Five Clues to Fortune" (1957), "The Heart Within" (1957), and "No Trees in the Street" (1959), directed by J. Lee Thompson. He could also be seen in "Men of Tomorrow" (1959), "In the Wake of a Stranger" (1959), "Sink the Bismarck!" (1960), and "The Wind of Change" (1961).


title: David Hemmings

text: Hemmings began to be known for playing young men, for example in "The Painted Smile" (1962) and "Some People" (1962).


title: David Hemmings

text: Hemmings' first lead role was in the low budget teen musical "Live It Up!" (1963). He went back to support roles for Michael Winner's "The System" (1964), then starred in a sequel to "Live It Up!", "Be My Guest" (1965).


title: David Hemmings

text: Hemmings luck changed when he was cast in the lead of "Blowup" (1966). It was directed by Michelangelo Antonioni, who detested the "Method" way of acting. He sought to find a fresh young face for the lead in the film. He found Hemmings, at the time acting in small stage theatre in London, although at their first meeting, Antonioni told Hemmings, "you look wrong. You're too young". Hemmings was offered the part of the protagonist after actor Sean Connery turned the role down because Antonioni would not show him the full script, but only a seven-page treatment stored in a cigarette packet.


title: David Hemmings

text: The resulting film was a critical and commercial sensation for MGM which financed it, helping turn Hemmings and co-star Vanessa Redgrave into stars. "I've been discovered half a dozen times," said Hemmings. "This time I think I've made it."


title: David Hemmings

text: He accepted an offer from Warner Bros to play Mordred in the expensive musical "Camelot" (1967). He also had another supporting part in the thriller "Eye of the Devil" (1966), playing the brother of Sharon Tate.


title: David Hemmings

text: Hemmings was then cast as Louis Nolan in the expensive epic "The Charge of the Light Brigade" (1968), which, like "Camelot", was widely seen but failed to recoup its cost.


title: David Hemmings

text: Around 1967, Hemmings was briefly considered for the role of Alex in a planned film version of Anthony Burgess's novel "A Clockwork Orange" (1962), which was to be based on a screen treatment by satirist Terry Southern and British photographer Michael Cooper. Cooper and the Rolling Stones were reportedly upset by the move and it was decided to return to the original plan in which Mick Jagger, the lead vocalist of the Rolling Stones, would play Alex, with the rest of the Stones as his droog gang; the production was shelved after Britain's chief censor, the Lord Chamberlain, indicated that he would not permit it to be made.


title: David Hemmings

text: Hemmings co-starred with Richard Attenborough in a comedy, "Only When I Larf" (1968), then was the sole star of an anti-war film, "The Long Day's Dying" (1968). Both films flopped.


title: David Hemmings

text: More financially successful was "Barbarella" (1968) in which Hemmings had a key role. He played the lead in two period films for MGM: a comedy, "The Best House in London" (1969), and the historical epic "Alfred the Great" (1969), in which Hemmings had the title role. Neither film did well at the box office, with "Alfred the Great" being a notable flop.


title: David Hemmings

text: Hemmings managed to be cast in some star roles: "The Walking Stick" (1970) with Samantha Eggar, for MGM; "Fragment of Fear" (1970), a thriller; and "Unman, Wittering and Zigo" (1971).


title: David Hemmings

text: Hemmings went to Hollywood to play a supporting role in "The Love Machine" (1971). Back in Britain he starred in a horror film, "Voices" (1973).


title: David Hemmings

text: He went to Spain to appear in "Lola" (1974), and in Britain supported Richard Harris in "Juggernaut" (1974).


title: David Hemmings

text: Hemmings appeared in the Italian giallo film "Profondo Rosso" (also known as "Deep Red" or "The Hatchet Murders") (1975) directed by Dario Argento. Back in England he supported Anthony Newley in "Mister Quilp" (1975).


title: David Hemmings

text: Hemmings directed the drama film "The 14" (1973), which won the Silver Bear at the 23rd Berlin International Film Festival.


title: David Hemmings

text: From this point on, Hemmings was really a supporting actor. In 1977 he appeared as Eddy in the film "Islands in the Stream", an adaptation of Hemingway's novel of the same name, starring George C Scott.


title: David Hemmings

text: He had support roles in "The Squeeze" (1977), "The Prince and the Pauper" (1977), "The Heroin Busters" (1977), "The Disappearance" (1977), "Squadra antitruffa" (1977), "Blood Relatives" (1978) and "Power Play" (1978).


title: David Hemmings

text: Hemmings directed David Bowie and Marlene Dietrich in the drama film "Schöner Gigolo, armer Gigolo" (also known as "Just a Gigolo") (1978). The film was poorly received, with Bowie describing it as "my 32 Elvis Presley films rolled into one".


title: David Hemmings

text: Hemmings received an offer to play a supporting role in an Australian vampire film, "Thirst". He starred in a TV film, "Charlie Muffin" then returned to Australia to feature in "Harlequin".


title: David Hemmings

text: Hemmings then received an offer from Ginnane to direct the Australian horror film "The Survivor", based on James Herbert's 1976 novel of the same name, starring Robert Powell and Jenny Agutter. Hemmings directed "Race for the Yankee Zephyr" shot in New Zealand.


title: David Hemmings

text: Hemmings then relocated to Hollywood. He played supporting roles in "Man, Woman and Child" (1983) and "Airwolf" (1984).


title: David Hemmings

text: He also worked extensively as a director of television programmes including the action-adventure drama series "Quantum Leap" (e.g., the series premiere); the crime series "Magnum, P.I." (in which he also played characters in several episodes); and two action-adventure series "The A-Team" and "Airwolf" (in which he also played the role of Doctor Charles Henry Moffet, twisted creator of "Airwolf", in the pilot and the second-season episode "Moffett's Ghost"a typographical error by the studio's titles unit). He once joked, "People thought I was dead. But I wasn't. I was just directing "The A-Team"."


title: David Hemmings

text: Hemmings also directed the puzzle-contest video "" (1984). He directed (and acted in) the television film "The Key to Rebecca" (1985), an adaptation of Ken Follett's 1980 novel of the same name. He also briefly served as a producer on the NBC crime-drama television series "Stingray".


title: David Hemmings

text: He directed the drama film "Dark Horse" (1992) and as an actor returned to the voyeuristic preoccupations of his "Blowup" character with a plum part as the Big Brother-esque villain in the season-three opener for the television horror anthology series "Tales From the Crypt".


title: David Hemmings

text: In later years, he had roles including appearing as Cassius in the historical epic film "Gladiator" (2000), with Russell Crowe, as well as appearing in the drama film "Last Orders" (2001) and the spy film "Spy Game" (2001). He appeared as Mr. Schermerhorn in the historical film "Gangs of New York" (2002), directed by Martin Scorsese.


title: David Hemmings

text: His final screen appearances included the science-fiction action film, "Equilibrium" (2002), shortly before his death, as well the superhero film "The League of Extraordinary Gentlemen" (2003), with Sean Connery and as Frank Sinatra's attorney in the 2003 Australian film "The Night We Called It a Day", a comedy based on true events. He also appeared in the horror film "Blessed" (2004) with Heather Graham, which was dedicated to him in his memory after a fatal heart attack while on set.


title: David Hemmings

text: In 1967, Hemmings recorded a pop single, "Back Street Mirror" (written by Gene Clark), and a studio album, "David Hemmings Happens", in Los Angeles. The album featured instrumental backing by several members of the Byrds, and was produced by Byrds' mentor Jim Dickson.


title: David Hemmings

text: In the 1970s, he was jointly credited with former Easybeats members Harry Vanda and George Young as a co-composer of the song "Pasadena". The original 1973 recording of this song – the first Australian hit for singer John Paul Young – was produced by Simon Napier-Bell, in whose SNB Records label Hemmings was a partner at the time.


title: David Hemmings

text: Hemmings also later provided the narration for Rick Wakeman's progressive-rock album "Journey to the Centre of the Earth" (1974) – an adaptation of Jules Verne's science-fiction novel "A Journey to the Center of the Earth" (1864) – which was recorded live.


title: David Hemmings

text: After his death his autobiography, "Blow Up... and Other ExaggerationsThe Autobiography of David Hemmings", was published in 2004.


title: David Hemmings

text: He was married four times: to Genista Ouvry (1960–1967), actress Gayle Hunnicutt (1968–1975), Prudence de Casembroot (1976–1997), and Lucy Williams (2002 to his death). Hemmings met Hunnicutt while he was in America promoting "Blowup", by which time his marriage to Ouvry was over. At their outdoor wedding, Henry Mancini conducted an orchestra and the Mamas and the Papas performed next to a swimming pool filled with doves dyed puce. Of his relationship with Hunnicutt, Hemmings remarked, "We were the poor man's Taylor and Burton". Their marriage ended when Hunnicutt discovered Hemmings' affairs with actress Samantha Eggar, his co-star in "The Walking Stick" (1970), and his secretary Prudence de Casembroot.


title: David Hemmings

text: During his subsequent marriage to Prudence de Casembroot, Hemmings continued his infidelities with, among others, Tessa Dahl. Hemmings had six children; he and Ouvry had daughter Deborah, he and Hunnicutt had actor son Nolan, while he and de Casembroot had sons George, Edward and William and daughter Charlotte.


title: David Hemmings

text: Hemmings was an active supporter of liberal causes, and spoke at a number of meetings on behalf of the UK's Liberal Party.


title: David Hemmings

text: Hemmings died in 2003 at age 62 of a heart attack, in Bucharest, Romania, on the film set of "Blessed" (working title: "Samantha's Child") after he had performed his scenes for the day.


title: David Hemmings

text: His funeral was held at St Peter's Church, in the hamlet of Blackland near Calne, Wiltshire, where he had resided in his final years. He was buried in the church's graveyard.


title: Survivor: Edge of Extinction

text: Survivor: Edge of Extinction is the 38th season of the American CBS competitive reality television series "Survivor". The season featured fourteen new contestants competing with four returning players. The season premiered on February 20, 2019 and concluded on May 15, 2019. Chris Underwood was named the winner of the series defeating Gavin Whitson and Julie Rosenberg by a vote of 9–4–0. Underwood was the first person to win Survivor after being voted out in the same season. It was the twelfth season to feature returning players and the seventh to be filmed in Fiji.


title: Survivor: Edge of Extinction

text: This season introduced a new feature wherein contestants who are voted out have an option to take a boat to the titular "Edge of Extinction" rather than leave the game permanently. The Edge of Extinction is a desolate, abandoned beach with even fewer amenities than the main island: contestants on the Edge of Extinction may either wait for an opportunity to re-join the main game or may choose to leave the game at any point by raising a white sail. Castaways on the Edge of Extinction were given regular correspondence by way of coded maps and letters, which led to the location of daily rice rations and advantages in the game. The remaining contestants were initially unaware of this twist; it was officially revealed at the tribal merge, at which point the remaining Edge of Extinction castaways competed in a challenge with the winner returning to the game. The losing castaways were given the opportunity to remain on the Edge of Extinction and, from that point on, all remaining Edge of Extinction inhabitants went to each Tribal Council as members of the jury. This is the most recent season to have the winner reveal and the reunion special taking place live.


title: Survivor: Edge of Extinction

text: Host Jeff Probst explained that the "Edge of Extinction" concept was the result of a goal to "try to get a little deeper psychologically, a little deeper spiritually," asking contestants, "is there a possibility of the spiritual death and rebirth that you seek in life, where you realize something deeper about yourself?"


title: Survivor: Edge of Extinction

text: This season featured 14 new players and four returning players, the first season since "" (11 seasons prior) to feature a mix of both new and returning players. According to host Jeff Probst, the decision to bring back returning players was made as a response to the Edge of Extinction concept to illustrate the difficulties of the game, stating, "Once we landed on Extinction, what stood out to me is we're asking people to go further than they've ever gone before in a game that's already very difficult. Let's bring reminders of how difficult it is. We're going to bring four returning players that are going to remind you."


title: Survivor: Edge of Extinction

text: As such, producers ultimately cast four returning players for this season: Joe Anglim from "" and "", Aubry Bracco from "" and "", Kelley Wentworth from "" and "Cambodia", and David Wright from "". Benjamin “Coach” Wade from "", "", and "" was also asked back by producers but ultimately turned down the offer, saying he felt it was a waste to play on a season with newbies.


title: Survivor: Edge of Extinction

text: The 14 new players and four returning players were divided into two tribes of nine: Kama and Manu. At Kama, the new players aligned against returnees Aubry and Joe but avoided Tribal Council, while at Manu, returnees David and Kelley struck up an uneasy truce to control early votes, aided by their respective closest allies, Rick and Lauren. After the tribe swap, Aubry was voted out, while Kelley turned on David to eliminate Rick. Players who were voted out were given a chance to head to a secluded island, the Edge of Extinction, for a chance to return to the game; at the merge, Rick won a competition and rejoined the game.


title: Survivor: Edge of Extinction

text: After the merge, the Kama majority alliance voted out Joe before turning on each other, leading to a series of short-term coalitions to eliminate common threats, including David and Kelley. Rick emerged as the biggest remaining target, but stayed in the game after winning immunity challenges and playing hidden immunity idols. Wardog was the strategic force of the old Manu alliance, while Ron was the strategic force of the old Kama alliance, which caused both to get blindsided by an emerging four-person alliance of Lauren, Victoria, Aurora, and Gavin. However, Lauren then led the charge to blindside Aurora, and then Victoria, both for being big threats to win.


title: Survivor: Edge of Extinction

text: When five players remained, Chris, who had been on the Edge of Extinction since Day 8, won the final re-entry challenge and returned to the game. Chris convinced Lauren to play her hidden immunity idol on him, successfully played an idol on himself and won the final immunity challenge to earn a spot at the final Tribal Council, only to give up his immunity so he could face Rick in the fire-making challenge; Chris defeated Rick to join Julie and Gavin at the Final Tribal Council.


title: Survivor: Edge of Extinction

text: At the Final Tribal Council, Julie was largely ignored due to playing with her emotions, and not strategy. She explained her case saying she had tight bonds with Ron and others and said she was the reason why Julia was sent home. Gavin was praised for his social game, effective use of the Extra Vote, and his immunity wins, but playing a relatively safe strategic game, with no big moves. Chris said that even though he was only in the game for 13 days, he made big moves by opting to go into the fire-making challenge, use of multiple idols, and making great social bonds with the people on Edge of Extinction. Because of this, Chris won in a 9-4-0 vote over Gavin and Julie.


title: Survivor: Edge of Extinction

text: "Survivor: Edge of Extinction" received negative reviews due to the poorly balanced editing, the Edge of Extinction twist, and the abundance of idols and advantages at the end of the season that helped contribute to the controversial outcome in Chris Underwood, who was voted out on Day 8 and didn't return to the game until Day 35, being crowned the champion of the season. While Underwood was praised for his gameplay in the final few days of the game, his win was controversial due to his early elimination, resulting in him not being involved in the elimination of the majority of the players due to his position on the Edge of Extinction.


title: Survivor: Edge of Extinction

text: "Survivor" blogger and former contestant Stephen Fishbach spoke negatively about the season, stating about Underwood's victory, "On paper, it seems impossible, even insulting. "The" signature challenge of "Survivor" is, how do you vote people out of the game in such a way that they're willing to vote for you to win. Chris didn't have to do any of that. Rather than having to betray his tribemates, Chris spent a month feeding them, healing wounds and building bonds. And what does that mean about the past 10 episodes of the show? Were they all just a pointless waiting room for Chris' march to victory?" Fishbach also panned the editing at the conclusion of the season, as many of the cast members received less screen time than the four returning players, Devens, and at the finale, Underwood.


title: Survivor: Edge of Extinction

text: Dalton Ross of "Entertainment Weekly" also criticized the season's editing and casting, as well as the eventual winner. According to Ross, "Rick Devens was the only true breakout from the cast...but that may also be because so much of the attention early was spent on the four returning players." Ross spoke of Chris' victory, "It's so hard to know what to make of Chris as a winner. He was voted out, only played 13 out of 39 days, and had what other players said was a 'monumental' advantage of getting to become friends with the entire jury in a non-game setting...doesn't really seem fair." Ross ranked the season 29th out of 38 (at the time); as of the conclusion of the 40th season, it is now ranked 30th out of 40.


title: Survivor: Edge of Extinction

text: Leigh Oleszczak of "Surviving Tribal" wrote, "There was a lot wrong with "Survivor: Edge of Extinction"... They tried it once and it gave us not only one of the worst seasons ever but the worst winner ever." Andy Dehnart of "Reality Blurred" also panned the season and its finale, stating, "If you want a shoddily produced game with no coherent rules, just lots of signs that the producers are twisting the game into shapes because they don't understand or care about game design, there are plenty of other options. One of them starts next month on CBS and is called "Big Brother"." Daniel George of "Surviving Tribal" also lambasted the Edge of Extinction twist, giving seven reasons why it was a failure in his review of the season. However, the twist would later be used again , where it received high praise for the returning contestant despite criticizing it for the return.


title: Survivor: Edge of Extinction

text: In 2020, "Survivor" fan site "Purple Rock Podcast" ranked this season 26th out of 40 saying that the "gimmick employed here always seemed destined for failure." Later that same year, "Inside Survivor" ranked this season 33rd out of 40 saying that the Edge of Extinction twist "ultimately makes the whole season feel empty and pointless."


title: Survivor: Edge of Extinction

text: In 2021, "Rob Has a Podcast" ranked "Edge of Extinction" 36th out of 40 during their "Survivor All-Time Top 40 Rankings" podcast. Despite the highly negative responses to the season, "Survivor" once again led the country in the key 18-49 demographic and second overall in viewers during its timeslot.


title: Return on investment

text: Return on investment (ROI) or return on costs (ROC) is a ratio between net income (over a period) and investment (costs resulting from an investment of some resources at a point in time). A high ROI means the investment's gains compare favourably to its cost. As a performance measure, ROI is used to evaluate the efficiency of an investment or to compare the efficiencies of several different investments. In economic terms, it is one way of relating profits to capital invested.


title: Return on investment

text: In business, the purpose of the return on investment (ROI) metric is to measure, per period, rates of return on money invested in an economic entity in order to decide whether or not to undertake an investment. It is also used as an indicator to compare different investments within a portfolio. The investment with the largest ROI is usually prioritized, even though the spread of ROI over the time period of an investment should also be taken into account. Recently, the concept has also been applied to scientific funding agencies’ (e.g., National Science Foundation) investments in research of open source hardware and subsequent returns for direct digital replication.


title: Return on investment

text: ROI and related metrics provide a snapshot of profitability, adjusted for the size of the investment assets tied up in the enterprise. ROI is often compared to expected (or required) rates of return on money invested. ROI is not time-adjusted (unlike e.g. net present value): most textbooks describe it with a "Year 0" investment and two to three years' income.


title: Return on investment

text: Marketing decisions have an obvious potential connection to the numerator of ROI (profits), but these same decisions often influence assets’ usage and capital requirements (for example, receivables and inventories). Marketers should understand the position of their company and the returns expected. For a marketing ROI percentage to be credible, the effects of the marketing program must be isolated from other influences when reported to executives. In a survey of nearly 200 senior marketing managers, 77 percent responded that they found the "return on investment" metric very useful.


title: Return on investment

text: Return on investment may be extended to terms other than financial gain. For example, social return on investment (SROI) is a principles-based method for measuring extra-financial value (i.e., environmental and social value not currently reflected in conventional financial accounts) relative to resources invested. It can be used by any entity to evaluate the impact on stakeholders, identify ways to improve performance and enhance the performance of investments.


title: Return on investment

text: As a decision tool, it is simple to understand. The simplicity of the formula allows users to freely choose variables, e.g., length of the calculation time, whether overhead cost is included, or which factors are used to calculate income or cost components. The use of ROI as an indicator for prioritizing investment projects alone can be misleading since usually the ROI figure is not accompanied by an explanation of its make-up. ROI should be accompanied by the underlying data that forms the inputs, this is often in the format of a business case. For long-term investments, the need for a Net Present Value adjustment is great and without it the ROI is incorrect. Similar to discounted cash flow, a Discounted ROI should be used instead. One limitation associated with the traditional ROI calculation is that it does not fully "capture the short-term or long-term importance, value, or risks associated with natural and social capital" because it does not account for the environmental, social, and governance performance of an organization. Without a metric for measuring the short- and long-term environmental, social and governance performance of a firm, decision makers are planning for the future without considering the extent of the impacts associated with their decisions. One or more separate measures, aligned with relevant compliance functions, are frequently provided for this purpose.


title: Return on investment

text: Return on investment can be calculated in different ways depending on the goal and application. The most comprehensive formula is:


title: Return on investment

text: Return on investment (%) = (current value of investment if not exited yet or sold price of investment if exited + income from investment − initial investment and other expenses) / initial investment and other expenses x 100%.


title: Return on investment

text: You bought 1 share of stock for US$100 and paid a buying commission of US$5. Then over a year you received US$4 of dividends and sold the share 1 year after you bought it for US$200 paying a US$5 selling commission.


title: Return on investment

text: For a single-period review, divide the return (net profit) by the resources that were committed (investment):


title: Return on investment

text: Complications in calculating ROI can arise when real property is refinanced, or a second mortgage is taken out. Interest on a second, or refinanced, loan may increase, and loan fees may be charged, both of which can reduce the ROI, when the new numbers are used in the ROI equation. There may also be an increase in maintenance costs and property taxes, and an increase in utility rates if the owner of a residential rental or commercial property pays these expenses.


title: Return on investment

text: Complex calculations may also be required for property bought with an adjustable rate mortgage (ARM) with a variable escalating rate charged annually through the duration of the loan.


title: Return on investment

text: Marketing not only influences net profits but also can affect investment levels too. New plants and equipment, inventories, and accounts receivable are three of the main categories of investments that can be affected by marketing decisions.


title: Return on investment

text: RoA, RoNA, RoC, and RoIC, in particular, are similar measures with variations on how 'investment' is defined.


title: Return on investment

text: ROI is a popular metric for heads of marketing because of marketing budget allocation. Return on Investment helps identify marketing mix activities that should continue to be funded and which should be cut.


title: Return on investment

text: To address the lack of integration of the short and long term importance, value and risks associated with natural and social capital into the traditional ROI calculation, companies are valuing their environmental, social and governance (ESG) performance through an integrated management approach to reporting that expands ROI to Return on Integration. This allows companies to value their investments not just for their financial return but also the long term environmental and social return of their investments. By highlighting environmental, social and governance performance in reporting, decision makers have the opportunity to identify new areas for value creation that are not revealed through traditional financial reporting. The social cost of carbon is one value that can be incorporated into Return on Integration calculations to encompass the damage to society from greenhouse gas emissions that result from an investment. This is an integrated approach to reporting that supports Integrated Bottom Line (IBL) decision making, which takes triple bottom line (TBL) a step further and combines financial, environmental and social performance reporting into one balance sheet. This approach provides decision makers with the insight to identify opportunities for value creation that promote growth and change within an organization.


title: Right-to-work law

text: In the context of labor law in the United States, the term "right-to-work laws" refers to state laws that prohibit union security agreements between employers and labor unions which require employees who are not union members to contribute to the costs of union representation. Unlike the right to work definition as a human right in international law, U.S. right-to-work laws do not aim to provide a general guarantee of employment to people seeking work but rather guarantee an employee's choice of being a member of and financially supporting collective bargaining organizations (i.e. labor unions).


title: Right-to-work law

text: The 1947 federal Taft–Hartley Act governing private sector employment prohibits the "closed shop" in which employees are required to be members of a union as a condition of employment, but allows the union shop or "agency shop" in which employees pay a fee for the cost of representation without joining the union. Individual U.S. states set their own policies for state and local government employees (i.e. public sector employees). Twenty-eight states have right-to-work policies (either by statutes or by constitutional provision). In 2018, the U.S. Supreme Court ruled that agency shop arrangements for public sector employees were unconstitutional in the case "Janus v. AFSCME".


title: Right-to-work law

text: The original use of the term "right to work" was coined by French socialist leader Louis Blanc before 1848. According to the American Enterprise Institute, the modern usage of the term "right to work" was coined by "Dallas Morning News" editorial writer William Ruggles in 1941.


title: Right-to-work law

text: According to "PandoDaily", the modern term was coined by Vance Muse, a Republican Party operative who headed the Christian American Association, an early right-to-work advocacy group, to replace the term "American Plan" after it became associated with the anti-union violence of the First Red Scare. Muse used racial segregationist arguments in advocating for anti-union laws.


title: Right-to-work law

text: According to "Slate", right-to-work laws are derived from legislation forbidding unions from forcing strikes on workers, as well as from legal principles such as freedom of contract, which sought to prevent passage of laws regulating workplace conditions.


title: Right-to-work law

text: The National Labor Relations Act, generally known as the Wagner Act, was passed in 1935 as part of President Franklin D. Roosevelt's "Second New Deal". Among other things, the act provided that a company could lawfully agree to be any of the following:


title: Right-to-work law

text: The act tasked the National Labor Relations Board, which had existed since 1933, with overseeing the rules.


title: Right-to-work law

text: In 1947, the U.S. Congress passed the Labor Management Relations Act of 1947, generally known as the Taft–Hartley Act, over President Harry S. Truman's veto. The act repealed some parts of the Wagner Act, including outlawing the closed shop. Section 14(b) of the Taft–Hartley Act also authorizes individual states (but not local governments, such as cities or counties) to outlaw the union shop and agency shop for employees working in their jurisdictions. Any state law that outlaws such arrangements is known as a "right-to-work state".


title: Right-to-work law

text: The federal government operates under open shop rules nationwide, but many of its employees are represented by unions. Unions that represent professional athletes have written contracts that include particular representation provisions (such as in the National Football League), but their application is limited to "wherever and whenever legal," as the Supreme Court has clearly held that the application of a right-to-work law is determined by the employee's "predominant job situs." Players on professional sports teams in states with right-to-work laws are thus subject to those laws and cannot be required to pay any portion of union dues as a condition of continued employment.


title: Right-to-work law

text: The first arguments concerning the right to work centered on the rights of a dissenting minority with respect to an opposing majoritarian collective bargain. President Franklin Roosevelt's New Deal had prompted many U.S. Supreme Court challenges, including those regarding the constitutionality of the National Industry Recovery Act (NIRA) of 1933. In 1936, as a part of its ruling in "Carter v. Carter Coal Co." the Court ruled against mandatory collective bargaining, stating:


title: Right-to-work law

text: The effect, in respect to wages and hours, is to subject the dissentient minority ... to the will of the stated majority . ... To 'accept' in these circumstances, is not to exercise a choice, but to surrender to force. The power conferred upon the majority is, in effect, the power to regulate the affairs of an unwilling minority. This is legislative delegation in its most obnoxious form; for it is not even delegation to an official or an official body ... but to private persons . ... [A] statute which attempts to confer such power undertakes an intolerable and unconstitutional interference with personal liberty and private property. The delegation is so clearly arbitrary, and so clearly a denial of rights safeguarded by the due process clause of the Fifth Amendment, that it is unnecessary to do more than refer to decisions of this Court which foreclose the question.


title: Right-to-work law

text: Besides the Supreme Court, other proponents of right-to-work laws also point to the U.S. Constitution and the right to freedom of association. They argue that workers should both be free to join unions or to refrain, and thus, sometimes refer to states without right-to-work laws as forced unionism states. These proponents argue that by being forced into a collective bargain, what the majoritarian unions call a fair share of collective bargaining costs, is actually financial coercion and a violation of freedom of choice. An opponent to the union bargain is forced to financially support an organization for which they did not vote in order to receive monopoly representation for which they have no choice.


title: Right-to-work law

text: The Seventh-day Adventist Church discourages the joining of unions, citing the writings of Ellen White, one of the church's founders, and what writer Diana Justice calls the "loss of free will" that occurs when a person joins a labor union.


title: Right-to-work law

text: Proponents such as the Mackinac Center for Public Policy contend that it is unfair that unions can require new and existing employees to either join the union or pay fees for collective bargaining expenses as a condition of employment under union security agreement contracts. Other proponents contend that unions may still be needed in new and growing sectors of the economy, for example the voluntary and third party sectors, to assure adequate benefits for new immigrant, part-time aides such as the direct support professional workforce.


title: Right-to-work law

text: Right-to-work proponents, including the Center for Union Facts, contend that political contributions made by unions are not representative of the union workers. The agency shop portion of this had previously been contested with support of National Right to Work Legal Defense Foundation in "Communications Workers of America v. Beck", resulting in "Beck rights" preventing agency fees from being used for expenses outside of collective bargaining if the non-union worker notifies the union of their objection. The right to challenge the fees must include the right to have it heard by an impartial fact finder. "Beck" applies only to unions in the private sector, given agency fees were struck down for public-sector unions in "Janus v. AFSCME" in 2018.


title: Right-to-work law

text: Opponents, such as Richard Kahlenberg, have argued that right-to-work laws simply "gives employees the right to be free riders—to benefit from collective bargaining without paying for it." Benefits the dissenting union members would receive despite not paying dues also include representation during arbitration proceedings. In "Abood v. Detroit BoE", the Supreme Court of the United States permitted public-sector unions to charge non-members agency fees so that employees in the public sector could be required to pay for the costs of representation, even as they opted not to be a member, as long as these fees are not spent on the union's political or ideological agenda. This decision was reversed, however, in "Janus v. AFSCME", with the Supreme Court ruling that such fees violate the First Amendment in the case of public-sector unions, as all bargaining by a public-sector union can be considered political activity.


title: Right-to-work law

text: Opponents argue that right-to-work laws restrict freedom of association, and limit the sorts of agreements that individuals acting collectively can make with their employer by prohibiting workers and employers from agreeing to contracts that include fair share fees. They also argue that American law imposes a duty of fair representation on unions, so non-members in right-to-work states can force unions to provide grievance services without compensation that are paid by union members. Kahlenberg and Marvit also argue that, at least in efforts to pass a right-to-work law in Michigan, excluding police and firefighter unions—traditionally less hostile to Republicans—from the law caused some to question claims that the law was simply an effort to improve Michigan's businesses climate, not to seek partisan advantage.


title: Right-to-work law

text: In December 2012, libertarian writer J. D. Tuccille wrote in "Reason": "I consider the restrictions right-to-work laws impose on bargaining between unions and businesses to violate freedom of contract and association. ... I'm disappointed that the state has, once again, inserted itself into the marketplace to place its thumb on the scale in the never-ending game of playing business and labor off against one another. ... This is not to say that unions are always good. It means that, when the state isn't involved, they're private organizations that can offer value to their members."


title: Right-to-work law

text: According to Tim Bartik of the W. E. Upjohn Institute for Employment Research, many studies of the effect of right-to-work laws exist but are inconsistent. Studies have found both "some positive effect on job growth" and no effect. A 2019 paper in the "American Economic Review" by economists from MIT, Stanford, and the U.S. Census Bureau, which surveyed 35,000 U.S. manufacturing plants, found that "the business environment, as measured by right-to-work laws, boosts incentive management practices." According to a 2020 study published in the "American Journal of Sociology", right-to-work laws lead to greater economic inequality by indirectly reducing the power of labor unions. Looking at the growth of states in the Southeast following World War II, Bartik says that while these states have right-to-work laws, they have also benefited from "factors like the widespread use of air conditioning and different modes of transportation that helped decentralize manufacturing."


title: Right-to-work law

text: Economist Thomas Holmes argues that it is difficult to analyze right-to-work laws by comparing states because of other similarities between states that have passed these laws. For instance, right-to-work states often have some strong pro-business policies, making it difficult to isolate the effect of right-to-work laws. Holmes compared counties close to the border between states with and without right-to-work laws, thereby holding constant an array of factors related to geography and climate. He found that the cumulative growth of employment in manufacturing in the right-to-work states was 26% greater than that in the non-right-to-work states. Given the study design, Holmes writes that "my results do not say that it is right-to-work laws that matter, but rather that the 'pro-business package' offered by right-to-work states seems to matter." Moreover, as noted by Kevin Drum and others, this result may reflect business relocation rather than an overall enhancement of economic growth since, as Drum writes, "businesses prefer locating in states where costs are low and rules are lax".


title: Right-to-work law

text: In January 2012, in the immediate aftermath of passage of Indiana's right-to-work law, a Rasmussen Reports telephone survey found that 74% of likely voters disagreed with the question "Should workers who do not belong to a union be required by law to pay union dues if the company they work for is unionized?" but found that "most also don't think a non-union worker should enjoy benefits negotiated by the union."


title: Right-to-work law

text: In January through March 2013, 43% of those polled believed that the law would help Michigan's economy, while 41% believed that it would hurt.


title: Right-to-work law

text: In 2012, President Barack Obama opposed right-to-work legislation in Michigan. In 2017, Republican members of Congress introduced legislation for a national right-to-work law.


title: Right-to-work law

text: Ohio allows employees to opt out from joining a union, but unions are allowed to charge a typically smaller fee for employees that opted out.


title: Right-to-work law

text: Some states had right-to-work laws in the past, but repealed them or had them declared invalid. There are also some counties and municipalities located in states without right-to-work laws that have passed local laws to ban union security agreements.


title: Right-to-work law

text: Lincolnshire passed a local right-to-work ordinance, but it was struck down by the U.S. Seventh Circuit Court of Appeals. An appeal to the U.S. Supreme Court resulted in the case being vacated as being moot because in the intervening period Illinois had passed the Illinois Collective Bargaining Freedom Act to invalidate such local ordinances.


title: Right-to-work law

text: In a 2022 referendum, voters in Illinois approved a state constitutional amendment establishing a right to collective bargaining. The amendment also prevents any future state legislature or local government from passing a right-to-work law.


title: Right-to-work law

text: Before its passage in 2012, the Republican-controlled Indiana General Assembly passed a right-to-work bill in 1957, which led to the Democratic takeover of Indiana's Governor's Mansion and General Assembly in the coming elections, and eventually, the new Democrat-controlled legislature repealing the right-to-work law in 1965. Right-to-work was subsequently reenacted in 2012.


title: Right-to-work law

text: On November 18, 2016, the U.S. Sixth Circuit Court of Appeals upheld the right of local governments to enact local right-to-work laws in Kentucky. Kentucky had 12 local ordinances. A statewide law was subsequently enacted in 2017.


title: Right-to-work law

text: The legislature passed a right-to-work bill in 2017, but the law was defeated in a 2018 referendum before it could take effect.


title: Right-to-work law

text: New Hampshire adopted a right-to-work bill in 1947, but it was repealed in 1949 by the state legislature and governor.


title: Right-to-work law

text: In 2017, a proposed right to work bill was defeated in the New Hampshire House of Representatives 200–177. In 2021, the same bill was reintroduced but again defeated in the House of Representatives 199–175.


title: Right-to-work law

text: New Mexico law previously did not explicitly prohibit nor allow mandatory union membership as a condition of employment at the statewide level, thereby leaving it up to local jurisdictions to establish their own right-to-work policies. Several counties, notably Chaves, Eddy, Lea, Lincoln, McKinley, Otero, Roosevelt, Sandoval, San Juan, and Sierra counties, in addition to Ruidoso village adopted such laws. In 2019, the New Mexico Legislature approved legislation that prohibits local right-to-work laws and further states that union membership and the payment of union dues may be required as a condition of employment in workplaces subject to a collective bargaining agreement; it was signed by governor Michelle Lujan Grisham. In 2020, New Mexico's legislature passed House Bill 364 that authorizes and promotes the use of card check protocols for workers considering organizing into a labor union. New Mexico does not currently require Project Labor Agreements for state-sponsored projects, but some local jurisdictions (notably Bernalillo County and the City of Albuquerque) have ordinances in place requiring Project Labor Agreements for locally-sponsored projects that exceed specified dollar-value thresholds.


title: Apiaceae

text: Apiaceae or Umbelliferae is a family of mostly aromatic flowering plants named after the type genus "Apium" and commonly known as the celery, carrot or parsley family, or simply as umbellifers. It is the 16th-largest family of flowering plants, with more than 3,800 species in about 446 genera, including such well-known and economically important plants as ajwain, angelica, anise, asafoetida, caraway, carrot, celery, chervil, coriander, cumin, dill, fennel, lovage, cow parsley, parsley, parsnip and sea holly, as well as silphium, a plant whose identity is unclear and which may be extinct.


title: Apiaceae

text: The family Apiaceae includes a significant number of phototoxic species, such as giant hogweed, and a smaller number of highly poisonous species, such as poison hemlock, water hemlock, spotted cowbane, fool's parsley, and various species of water dropwort.


title: Apiaceae

text: Most Apiaceae are annual, biennial or perennial herbs (frequently with the leaves aggregated toward the base), though a minority are woody shrubs or small trees such as "Bupleurum fruticosum". Their leaves are of variable size and alternately arranged, or with the upper leaves becoming nearly opposite. The leaves may be petiolate or sessile. There are no stipules but the petioles are frequently sheathing and the leaves may be perfoliate. The leaf blade is usually dissected, ternate, or pinnatifid, but simple and entire in some genera, e.g. "Bupleurum". Commonly, their leaves emit a marked smell when crushed, aromatic to fetid, but absent in some species.


title: Apiaceae

text: The defining characteristic of this family is the inflorescence, the flowers nearly always aggregated in terminal umbels, that may be simple or more commonly compound, often umbelliform cymes. The flowers are usually perfect (hermaphroditic) and actinomorphic, but there may be zygomorphic flowers at the edge of the umbel, as in carrot ("Daucus carota") and coriander, with petals of unequal size, the ones pointing outward from the umbel larger than the ones pointing inward. Some are andromonoecious, polygamomonoecious, or even dioecious (as in "Acronema"), with a distinct calyx and corolla, but the calyx is often highly reduced, to the point of being undetectable in many species, while the corolla can be white, yellow, pink or purple. The flowers are nearly perfectly pentamerous, with five petals and five stamens.


title: Apiaceae

text: There is often variation in the functionality of the stamens even within a single inflorescence. Some flowers are functionally staminate (where a pistil may be present but has no ovules capable of being fertilized) while others are functionally pistillate (where stamens are present but their anthers do not produce viable pollen). Pollination of one flower by the pollen of a different flower of the same plant (geitonogamy) is common. The gynoecium consists of two carpels fused into a single, bicarpellate pistil with an inferior ovary. Stylopodia support two styles and secrete nectar, attracting pollinators like flies, mosquitoes, gnats, beetles, moths, and bees. The fruit is a schizocarp consisting of two fused carpels that separate at maturity into two mericarps, each containing a single seed. The fruits of many species are dispersed by wind but others such as those of "Daucus" spp., are covered in bristles, which may be hooked in sanicle "Sanicula europaea" and thus catch in the fur of animals. The seeds have an oily endosperm and often contain essential oils, containing aromatic compounds that are responsible for the flavour of commercially important umbelliferous seed such as anise, cumin and coriander. The shape and details of the ornamentation of the ripe fruits are important for identification to species level.


title: Apiaceae

text: Apiaceae was first described by John Lindley in 1836. The name is derived from the type genus "Apium", which was originally used by Pliny the Elder circa 50 AD for a celery-like plant. The alternative name for the family, Umbelliferae, derives from the inflorescence being generally in the form of a compound umbel. The family was one of the first to be recognized as a distinct group in Jacques Daleschamps' 1586 "Historia generalis plantarum". With Robert Morison's 1672 "Plantarum umbelliferarum distribution nova" it became the first group of plants for which a systematic study was published.


title: Apiaceae

text: The family is solidly placed within the Apiales order in the APG III system. It is closely related to Araliaceae and the boundaries between these families remain unclear. Traditionally groups within the family have been delimited largely based on fruit morphology, and the results from this have not been congruent with the more recent molecular phylogenetic analyses. The subfamilial and tribal classification for the family is currently in a state of flux, with many of the groups being found to be grossly paraphyletic or polyphyletic.


title: Apiaceae

text: Prior to molecular phylogenetic studies, the family was subdivided primarily based on fruit characteristics. Molecular phylogenetic analyses from the mid-1990s onwards have shown that fruit characters evolved in parallel many times, so that using them in classification resulted in units that were not monophyletic. In 2004, it was proposed that Apiaceae should be divided into four subfamilies:


title: Apiaceae

text: Apioideae is by far the largest subfamily with about 90% of the genera. Most subsequent studies have supported this division, although leaving some genera unplaced. A 2021 study suggested the relationships shown in the following cladogram.


title: Apiaceae

text: The "Platysace" clade and the genera "Klotzschia" and "Hermas" fell outside the four subfamilies. It was suggested that they could be accommodated in subfamilies of their own. "Phlyctidocarpa" was formerly placed in the subfamily Apioideae, but if kept there makes Apioideae paraphyletic. It could be placed in an enlarged Saniculoideae, or restored to Apioideae if the latter were expanded to include Saniculoideae.


title: Apiaceae

text: The subfamilies can be further divided into tribes and clades, with many clades falling outside formally recognized tribes.


title: Apiaceae

text: The number of genera accepted by sources varies. , Plants of the World Online (PoWO) accepted 444 genera, while GRIN Taxonomy accepted 462. The PoWO genera are not a subset of those in GRIN; for example, "Haloselinum" is accepted by PoWO but not by GRIN, while "Halosciastrum" is accepted by GRIN but not by PoWO, which treats it as a synonym of "Angelica". The Angiosperm Phylogeny Website had an "approximate list" of 446 genera.


title: Apiaceae

text: The black swallowtail butterfly, "Papilio polyxenes", uses the family Apiaceae for food and host plants for oviposition. The 22-spot ladybird is also commonly found eating mildew on these plants.


title: Apiaceae

text: Many members of this family are cultivated for various purposes. Parsnip ("Pastinaca sativa"), carrot ("Daucus carota") and Hamburg parsley ("Petroselinum crispum") produce tap roots that are large enough to be useful as food. Many species produce essential oils in their leaves or fruits and as a result are flavourful aromatic herbs. Examples are parsley ("Petroselinum crispum"), coriander ("Coriandrum sativum"), culantro, and dill ("Anethum graveolens"). The seeds may be used in cuisine, as with coriander ("Coriandrum sativum"), fennel ("Foeniculum vulgare"), cumin ("Cuminum cyminum"), and caraway ("Carum carvi").


title: Apiaceae

text: Other notable cultivated Apiaceae include chervil ("Anthriscus cerefolium"), angelica ("Angelica" spp.), celery ("Apium graveolens"), arracacha ("Arracacia xanthorrhiza"), sea holly ("Eryngium" spp.), asafoetida ("Ferula asafoetida"), galbanum ("Ferula gummosa"), cicely ("Myrrhis odorata"), anise ("Pimpinella anisum"), lovage ("Levisticum officinale"), and hacquetia ("Hacquetia epipactis").


title: Apiaceae

text: Generally, all members of this family are best cultivated in the cool-season garden; they may not grow at all if the soils are too warm. Almost every widely cultivated plant of this group is a considered useful as a companion plant. One reason is that the tiny flowers, clustered into umbels, are well suited for ladybugs, parasitic wasps, and predatory flies, which drink nectar when not reproducing. They then prey upon insect pests on nearby plants. Some of the members of this family considered "herbs" produce scents that are believed to mask the odours of nearby plants, thus making them harder for insect pests to find.


title: Apiaceae

text: The poisonous members of the Apiaceae have been used for a variety of purposes globally. The poisonous "Oenanthe crocata" has been used as an aid in suicides, and arrow poisons have been made from various other family species.


title: Apiaceae

text: Many species in the family Apiaceae produce phototoxic substances (called furanocoumarins) that sensitize human skin to sunlight. Contact with plant parts that contain furanocoumarins, followed by exposure to sunlight, may cause phytophotodermatitis, a serious skin inflammation. Phototoxic species include "Ammi majus", "Notobubon galbanum," the parsnip ("Pastinaca sativa") and numerous species of the genus "Heracleum", especially the giant hogweed ("Heracleum mantegazzianum"). Of all the plant species that have been reported to induce phytophotodermatitis, approximately half belong to the family Apiaceae.


title: Apiaceae

text: The family Apiaceae also includes a smaller number of poisonous species, including poison hemlock, water hemlock, spotted cowbane, fool's parsley, and various species of water dropwort.


title: Apiaceae

text: Some members of the family Apiaceae, including carrot, celery, fennel, parsley and parsnip, contain polyynes, an unusual class of organic compounds that exhibit cytotoxic effects.


title: Matt Busby

text: Sir Alexander Matthew Busby (26 May 1909 – 20 January 1994) was a Scottish football player and manager, who managed Manchester United between 1945 and 1969 and again for the second half of the 1970–71 season. He was the first manager of an English team to win the European Cup and is widely regarded as one of the greatest managers of all time.


title: Matt Busby

text: Before going into management, Busby was a player for two of Manchester United's greatest rivals, Manchester City and Liverpool. During his time at City, Busby played in two FA Cup Finals, winning one of them. After his playing career was interrupted by the Second World War, Busby was offered the job of assistant coach at Liverpool, but they were unwilling to give him the control over the first team that he wanted. As a result, he took the vacant manager's job at Manchester United instead, where he built the famous Busby Babes team. Eight of these players died in the Munich air disaster, but Busby rebuilt the side and United won the European Cup a decade later. In a total of 25 years with the club, he won 13 trophies.


title: Matt Busby

text: Busby was born to Alexander and Helen "Nellie" (née Greer) Busby in a two-roomed pitman's cottage in the mining village of Orbiston, Bellshill, Lanarkshire. When he was born, Busby's mother was told by the doctor, "A footballer has come into this house today". Busby's father was a miner, but was called up to serve in the First World War and killed by a sniper's bullet on 23 April 1917 at the Battle of Arras. His great-great grandfather, George Busby, emigrated to Scotland from Ireland during the Great Famine, while his mother's side of the family emigrated to Scotland from Ireland later on in the 19th century. Three of his uncles were killed in France with the Cameron Highlanders. Busby's mother was left to raise Matt and his three sisters alone until her marriage to a man called Harry Matthie in 1919.


title: Matt Busby

text: Busby would often accompany his father down into the coal pits, but his true aspiration was to become a professional footballer. In his 1973 autobiography Busby described himself as being as football mad as any other boy in Bellshill citing in particular the impression made on him by Alex James and Hughie Gallacher.


title: Matt Busby

text: His mother might have quashed those dreams when she applied to emigrate with Matt to the United States in the late 1920s, but he was granted a reprieve by the nine-month processing time.


title: Matt Busby

text: In the meantime, Busby got a full-time job as a collier and played football part-time for Stirlingshire Junior side Denny Hibs. He had played only a few matches for Denny Hibs, but it was not long before he was signed up by a Manchester City side that was a couple of games away from regaining promotion to the First Division.


title: Matt Busby

text: Aged 18, Busby signed for Manchester City on a one-year contract worth £5 per week on 11 February 1928, with the provision for him to leave at the end of the deal if he still wished to emigrate to the United States with his mother. He decided to stay and made his debut for City on 2 November 1929, more than 18 months after first signing for the Blues, when he played at inside left in a 3–1 win at home to Middlesbrough in the First Division. He made 11 more appearances for City that season, all at inside forward, scoring five goals in the process.