title: Elric of Melniboné

text: Beginning in 2008, Del Rey Books reprinted the Elric material as a series of six illustrated books: "The Stealer of Souls", "To Rescue Tanelorn", "The Sleeping Sorceress", "Duke Elric", "Elric in the Dream Realms", and "Elric: Swords and Roses". This series arranged the stories in the sequence they were originally published, along with related fiction and nonfiction material. The version of "Stormbringer" featured in this collection restored all the original material missing since the 1977 DAW edition – which had formed the basis for all later editions – as well as Moorcock's preferred versions of all the revised material in an attempt to produce a definitive text. These volumes present the evolution of the character through early juvenile stories, early fanzine musings by Moorcock, some Elric stories, some others introducing the reader to the wider "Eternal Champion" theme, stories of other heroes who coexist with Elric in the realm of Melniboné, unpublished prologues, installments of Moorcock's essay "Aspects of Fantasy", a 1970s screenplay, a reader's guide, notes from an Elric series that never developed, contemporary reviews, and appreciation essays by other writers.


title: Elric of Melniboné

text: In August 2012, Victor Gollancz Ltd. announced their intention to republish all of Michael Moorcock's back catalogue, including all the Elric stories, presented in internal chronological order along with previously unpublished material, in both print and e-book formats. The Elric stories were published in seven volumes in 2014–15: "Elric of Melniboné and Other Stories", "Elric: The Fortress of the Pearl", "Elric: The Sailor on the Seas of Fate", "Elric: The Sleeping Sorceress", "Elric: The Revenge of the Rose", "Elric: Stormbringer!", and "Elric: The Moonbeam Roads".


title: Elric of Melniboné

text: A video game based on "Elric" was in development by Haiku Studios and to be published by Psygnosis for the PlayStation during the late 1990s.


title: Elric of Melniboné

text: Writing for NPR, Jason Sheehan calls Elric "far and away the coolest, grimmest, moodiest, most elegant, degenerate, drug-addicted, cursed, twisted and emotionally weird mass murderer of them all".


title: Mandakini (actress)

text: Mandakini (born Yasmeen Joseph; 30 July 1963) is an Indian former actress. She is best remembered for her lead role in the 1985 popular film "Ram Teri Ganga Maili".


title: Mandakini (actress)

text: Mandakini was born on July 30, 1963, in Meerut as Yasmeen Joseph to a British father and a Kashmiri mother. At the young age of 22, she was discovered by legendary film director Raj Kapoor and given the screen name "Mandakini".


title: Mandakini (actress)

text: Mandakini got her first movie in the Hindi film industry when she was cast in the lead role in the 1985 movie "Ram Teri Ganga Maili" by film producer-director Raj Kapoor opposite his youngest son Rajiv Kapoor. The film was a blockbuster, and it earned Mandakini a Filmfare nomination as Best Actress. She caused a stir after she was seen partially nude in two sequences of the film. She then acted in a few more successful films, such as "Dance Dance" with Mithun Chakraborty, "Kahan Hai Kanoon" with Aditya Pancholi and "Pyaar Karke Dekho" with Govinda, but could not recreate the success of her first movie. The actress decided to bid adieu to the Bollywood industry after her 1996 film Zordaar.


title: Mandakini (actress)

text: In the early '90s, she was briefly linked to gangster Dawood Ibrahim, when she was seen with the gangster in Dubai. While she admitted to meeting him, Mandakini strongly denied the rumours of any affair with him".


title: Mandakini (actress)

text: In 1990, Mandakini married a former Buddhist monk, Dr. Kagyur T. Rinpoche Thakur, and embraced Buddhism. Her husband had gained fame in childhood as the baby featured in Murphy Radio advertisements in the 1970s and 1980s. The couple have a son named Rabbil and a daughter Rabze Innaya. After embracing Buddhism and becoming a follower of the Dalai Lama, Mandakini started running classes in Tibetan yoga, while her husband runs a Tibetan Herbal Centre.


title: Too Hot to Handle (season 1)

text: The first season of "Too Hot to Handle" was released on Netflix on April 17, 2020. A ninth episode reunion special was released on May 8.


title: Too Hot to Handle (season 1)

text: Harry Jowsey was a contestant on the first season of "Heartbreak Island" in New Zealand. He later participated in the new reality show of MTV, "Match Me If You Can". He also participated on Floor Is Lava with season 2 contestant Chase de Moor. Harry and Francesca Farago starred on "Netflix’s Reality Games" and were 2 of 4 players representing team "Too Hot to Handle". Francesca Farago appeared on the 27th series of "The Only Way Is Essex". She also appeared on the Netflix dating reality "Love Is Blind" season one special episodes ("After The Altar") as one contestant's new dating partner.


title: Too Hot to Handle (season 1)

text: Lydia Clyma was featured on "Magaluf Weekender" and "Sex Clinic". Sharron Townsend appeared on MTV's "Undressed" in 2017, and he has had minor appearances in "Love & Hip Hop" and "Creed II". Matthew Smith was a contestant on the twenty-first season of "America's Next Top Model". Madison Wyborny starred on Neighbors & Friends.


title: Too Hot to Handle (season 1)

text: Chloe Veitch later went on to appear on season two of "The Circle US" in 2021. Kelz Dyke competed on "". David Birtwistle appeared on Channel 4 dating show "The Love Trap" in 2021. Kori Sampson and Lydia Clyma each appeared on an episode of series 2 of "Celeb Ex In The City". Chloe Veitch and Nicole O'Brien both took part in "Celebrity Ghost Trip" as a pair. In 2022 Chloe competed on "Celebrity Hunted". She then went on to appear on an episode of "Eating With My Ex" with Kori. Kori starred on series 2 of "Celebrity Ex On The Beach".


title: Kedarnath (film)

text: Kedarnath is a 2018 Indian Hindi-language romantic disaster film written and directed by Abhishek Kapoor. Featuring Sushant Singh Rajput and newcomer Sara Ali Khan in lead roles, it tells an inter-faith love story between a wealthy Hindu Brahmin girl whose family owns a lodge and shops near the historic Kedarnath Temple in the Uttarakhand mountains and a Muslim boy who is a 'pithoo' (porter) working in the same vicinity. As their relationship grows closer, the pair face many obstacles, including familial disapproval and contrasting backgrounds; when the sudden rains of the 2013 Uttarakhand floods devastate the region, the couple are forced to survive against the elements and face the ultimate test of their love.


title: Kedarnath (film)

text: The film is produced by Ronnie Screwvala of RSVP Movies in his comeback feature film venture, and by Pragya Kapoor under Guy in the Sky Pictures, with Kanika Dhillon as a co-writer. The film's production began in June 2012, and principal photography commenced on 5 September 2017. The film released on 7 December 2018 to mixed reviews with praise for Rajput's and Khan's performances, cinematography, music and storyline but criticism for it's VFX, screenplay and overall execution.


title: Kedarnath (film)

text: Based in the valley around the Kedarnath Temple in 2013, Mansoor Khan is a local Muslim porter. Mandakini "Mukku" Mishra is the younger daughter of a Hindu priest Brijraj who runs a hotel for pilgrims by the temple on behalf of the temple committee. She is engaged to the nephew of the head priest, Kullu. He was meant to marry her older sister, Brinda. They both engaged in childhood but he dumped Brinda and switched to her sister Mukku who turned out to be prettier, and Brijraj agreed. Out of rebellion, Mukku flirts with the local boys and convinces them to come to her house and propose in order to embarrass Brijraj and Kullu. However, Mansoor is different, as they both notice each other and then Mukku makes the first move and hires him as her regular porter as she goes from her family home to a neighbouring village to help at her uncle's shop. She talks and talks to him and flirts outrageously and finally gets enough of a reaction to know he feels the same way. They are trapped in the rain together, share stories of their childhood, and then share a kiss. Brinda, incensed by jealousy, tells Mansoor that Mukku is just flirting with him as she has flirted with all the other boys. Mukku is unable to defend herself when he confronts her, but starts following him around everywhere, finally sitting in the rain outside his house. Brinda tries to cover for her, but she is found out and both Brijraj and Kullu come for her, planning to throw out all the Muslims, which, not-so-coincidentally, will also open up space for the new luxury hotel they are planning.


title: Kedarnath (film)

text: Mukku is taken home by her family who move up her wedding. Nevertheless, she keeps insisting that Mansoor will come for her. Mansoor comes, but is spotted and beaten brutally by Kullu and his men. However, his friend pleads to save him and carries an unconscious Mansoor back to his home. While the porter community prepares to leave the valley, Mansoor decides not to leave without Mukku.


title: Kedarnath (film)

text: Mukku is married with Kullu and slits her wrist to contemplate suicide, but is saved by her family; Kullu taunts Mansoor with the news. Mansoor runs to Mukku and promises he will come back for her that night when she is recovered, so they can leave the valley together. Kullu plans to take his band of priests and kill Mansoor and drive out all the Muslims. All of a sudden it rains and the floods begin. Mansoor sends his mother Ameena with the other porters into the mountains and runs towards Mukku. She and her family are trying to gather the guests of their hotel in a top floor, whilst Kullu and his mother arrive driven in by the storm and Mukku refuses to go to him. Suddenly the floor crashes down as Brinda and the sisters' mother Lata are swept away along with half the other people. Mukku and Brijraj and a few others make their way to the temple, where Mansoor finds them there just as the water sweeps down. He grabs her hand in the flood, and Brijraj holds on to her and all three are saved. After the water goes down, they make their way to a house that is still standing and wave at an Indian Army helicopter that is coming to save them. Mansoor sends up the woman and child who are with them first, then Brijraj, then Mukku, and finally prepares to go himself. But there is only space for one more person and the father of the family has not gone yet, so Mansoor sacrifices himself and sends him instead. Mukku screams as she helplessly watches Mansoor die as the ground below him crumbles into the raging river. Three years later, in the winter, as the presiding idol of the Kedarnath Temple returns from the Ukhimath Temple, Mukku is still seen living with Brijraj and running the lodge, listening to Mansoor's favourite song on the radio which she dedicated to him as she smiles.


title: Kedarnath (film)

text: The film's principal photography began on 5 September 2017. The first motion poster of the film released on 19 August 2017. The first look of Sara Ali Khan came out on 8 October 2017. Rajput's portions of the shoot was completed on 16 June 2018.


title: Kedarnath (film)

text: In February 2018, a dispute between director Abhishek Kapoor and the producers KriArj Entertainment led to a lawsuit that threatened the completion of production. The producers later clarified their intent to continue production. An ensuing court case led KriArj to drop out of the film's production entirely when Ronnie Screwvala's RSVP Movies opted to take over. The legal battle brought about some confusion for the shooting schedule of lead actress Sara Ali Khan, a daughter of actress Amrita Singh, as she was simultaneously shooting for her second film "Simmba" with Ranveer Singh. Due to having free days as per the Kedarnath producers' court case, Khan allotted those days to film with the "Simmba" crew; this decision was unfitting to Kedarnath director Kapoor who took Khan to court. The two eventually settled out of court as Khan agreed to split her time between both films. The case also had an effect on the release of the film; as the producers ended up losing several lucrative prospective release slots near the end of the year; it seemed as if the film would be releasing in 2019 and that Rohit Shetty-directed "Simmba" would be Sara Ali Khan's debut film. However, when the producers' of Ajay Devgn-starrer "Total Dhamaal" relinquished their 7 December release date in favor of late February 2019, RSVP Movies was quick to secure it for Kedarnath.


title: Kedarnath (film)

text: In November 2018, priests of Kedarnath demanded a ban on the film as they believed it promotes love jihad. A BJP leader, Ajendra Ajay of Dehradun's BJP media relations team, also took issue and urged a ban; he wrote to the Central Board of Film Certification (CBFC) asserting that the film makes fun of Hindu sentiments despite being set against the backdrop of the Uttarakhand floods. Speaking at the trailer launch of the film, producer Ronnie Screwvala addressed concerns by stating that he believed there was "nothing offensive in the film," and that he would be "happy to talk" about objections once the Censor Board themselves have seen the film. Director Abhishek Kapoor concurred, urging people to watch the film itself and not judge based on the teaser.


title: Kedarnath (film)

text: In December 2018, two lawyers from Andheri filed a complaint to the Mumbai police and the Films Division of Mumbai, requesting the film not to be released. They claimed that it promotes 'love jihad', and stated that the film's producers "cooked up an imaginary love story," and warned that should the film release, it would "give birth to grave chaos and anarchy in the whole country and certainly cause huge destruction everywhere." On 6 December, the day before the film's release, the Bombay High Court dismissed the lawyers' plea that the film hurt religious sentiments and "lowered the dignity of the eponymous deity," and allowed the film to be released as planned. In an interview with the Mumbai Mirror, Sara Ali Khan denied that the film promoted 'love jihad,' stating that the film was "really not that kind of a film, rather it's about how Kedarnath is as much Mansoor's world as it's Mukku's. I don't understand this kind of divisiveness...just as everyone doesn't have to like every movie, we can coexist with different world views."


title: Kedarnath (film)

text: On 5 December 2018, a PIL (Public interest litigation) filed by Prakash Rajput, head of the IHS religious society, was met with disapproval from the High Court of Gujarat. Rajput asserted that the film hurt Hindu sentiments by portraying Muslim-Hindu love, and that it had a kissing scene, which was not appropriate for family audiences. The court questioned him thoroughly before eventually dismissing his complaints as "a publicity stunt" and fining him Rs. 5,000.


title: Kedarnath (film)

text: An official poster of film was released on 29 October 2018; the following day, 30 October, a teaser was released.


title: Kedarnath (film)

text: The official trailer and theatrical release poster were released on 12 November 2018. On 5 November 2018, the first song and music video from the film was released, titled "Namo Namo," a devotional song composed by Amitabh Bhattacharya and sung by Amit Trivedi, portrayed on Sushant Singh Rajput's character Mansoor, introducing him as a "jolly yet hardworking pithoo" (porter around the Kedarnath area), who cares for his customers as they pilgrimage.


title: Kedarnath (film)

text: On 12 November 2018, lead actors Rajput and Khan started promotions of the film by appearing on the Reality TV competition show Indian Idol 10. On 15 November 2018, the film's second song was released on YouTube: "Sweetheart." Written by Amitabh Bhattacharya, composed by Amit Trivedi, and sung by Dev Negi, the song is a "foot-tapping number" picturized on the lead pair as they dance enthusiastically to a stirring dhol beat. A mehendi/sangeet ceremony is in the backdrop of the song and hints at the developing relationship between the two. On 20 November 2018, a third song was released, "Qaafirana," depicting the lead couple's budding romance on their journey through the Kedarnath hills. It was composed by Amit Trivedi, and sung by Arijit Singh and Nikhita Gandhi.


title: Kedarnath (film)

text: On 24 November, a short dialogue promo of the film was released, titled "Panditji Senti Hogaye." It depicts Mukku as a "free-spirited woman" who doesn't want to be confined to household chores and running her parents' hotel. She is in conflict with her dad, whom she calls "Panditji," and dreams of going off on her own.


title: Kedarnath (film)

text: On 27 November 2018, lead actors Rajput and Khan promoted the film on the Reality TV singing competition show Sa Re Ga Ma Pa. On 28 November 2018, the film's fourth song, "Jaan 'Nisaar," was released. A love ballad sung in both male and female versions by Arijit Singh and Asees Kaur respectively, written by Amitabh Bhattacharya and composed by Amit Trivedi, the song depicts the caste-based conflict and heartbreak the couple eventually go through in their relationship.


title: Kedarnath (film)

text: On 2 December, a second short dialogue video was uploaded -"Aadat daal lo", which depicts Mukku's wit against Mansoor's flirtatious insults, and eventually her romantic inclinations towards him. On 4 December, another short dialogue was released, titled "Koshish Ki Hai Kabhi" which reveals the ensuing romantic banter between Mukku and Mansoor as they journey through the mountains. 5 December, several days before the film's release, the producers held a special screening for Bollywood industry personalities.


title: Kedarnath (film)

text: "Kedarnath" released to mostly mixed reviews from critics. While most of them highly praised Sara Ali Khan's debut performance, and acclaimed the visuals, they summarized the plot as "predictable" and "worn out."


title: Kedarnath (film)

text: Rachit Gupta of the Times of India gave the film 3 out of 5 stars, called it "an all-too-familiar love story" yet praised the debut performance of Sara Ali Khan, calling her a "live wire," and commending her on-screen charisma and confidence, saying that she reminds audiences of "a young and boisterous Amrita Singh (her mother) in films like Betaab and Chameli Ki Shaadi." Sushant Singh Rajput gives a commendable support to Khan, but doesn't do much heavy lifting. While the film suffered from a slow pace, its climax and CGI buildup strongly helped the narrative. He noted no truly memorable songs save for "Namo Namo," but stated that the setting of the film helped keep the film fresh, along with Khan.


title: Kedarnath (film)

text: Ruchika Kher of Times Now News gave the film 3.5 out of 5 stars, saying that the film has all the ingredients of a hit film: "a fresh face (a star kid at that), an inter-faith love story, the backdrop of a real-life tragedy, and good performances." She commended the chemistry between the two leads, saying that much of their romantic interplay can "bring a smile to your face." Like other reviewers, she highly praised Sara Ali Khan, calling her "brilliant" and "a breath of fresh air," noting that she gave a stellar performance in the climax. She also praised Rajput's nuanced performance, "effortlessly mixing restraint and aggression as required." She admired Kapoor's direction and the film's songs as well, yet was critical of certain tonal inconsistencies in scenes where Rajput's character is attacked, and when Khan's family finds out about the romance. Overall, she called it a respectable debut film for Sara Ali Khan.


title: Kedarnath (film)

text: Meena Ayer of Dna India gave the film 3 out of 5 stars. She highly praised Khan, calling her an "a superstar on the rise...extraordinarily-talented star kid," finding it "hard to believe that this is her first film because she is so spectacular," noting that director Abhishek Kapoor "does full justice to her." Rajput was a "talented actor" who "is game to complement her without displaying any ego." She criticized the predictability of the love story, saying that "the conflict is there, but it is not enough to evoke more than a certain degree of emotion." In the second half of the film's disaster scenes, she praised Abhishek Kapoor for being "a sensitive director" who "stayed true to the story," yet noted that the disaster scenes seem a bit "disturbing" and take up so much time that "a pall of gloom descends on the audience." Yet she ultimately called it a worthy watch for Sara Ali Khan.


title: Kedarnath (film)

text: Shubra Gupta of The Indian Express gave the film 2 out of 5 stars, calling the film a "weepie without the tears." Like Rachit Gupta, she also noted the similarity of debutante Sara Ali Khan to her mother, showing a "perky confidence." Sushant Singh Rajput was on average form, and while supporting actors Nishant Dahiya, Pooja Gor, and Alka Amin made an impact, Nitish Bharadwaj "as the angry ‘door-ho-jaao-meri-nazaron-se-baap’ is old, old hat." She was more critical of the structure of the film, saying that the "writing is sketchy, and the tone confused, never quite knowing whether to go quiet and life-like or to swell with wailing violins."


title: Kedarnath (film)

text: Kunal Guha of the Mumbai Mirror have the film 2.5 out of 5 stars, praising the cinematography's well-defined landscaping, Sara Ali Khan's performance, and the song "Namo Namo." He criticized the direction of Kapoor, Rajput's performance (calling it "struggling"), and the "ghisa-pita formula." He said that Khan "shines" and that "she often conveys it through her eyes alone – giving us a taste of the diverse faces she can throw on." He was critical of the film's flow and tonality as a whole, saying it "seems like watching an '80s Hindi movie for an hour-and-a-half and then an '80s shark movie for another 10 minutes."


title: Kedarnath (film)

text: Manjusha Radhakrishnan of Gulf News gave the film 2.5 out of 5 stars, saying that the film is "perfectly stormy and is good for a one-time watch." She noted that the brisk pace makes up for the lack of emotional investment in the lead character, and called Rajput "as earnest as they come in attempting to play Mansoor." She praised Sara Ali Khan, calling her "a natural," and that while she has rawness in a few emotional scenes, she "has a commanding screen presence." She called the film as one that evidently "belongs to Khan as all forces are at work to display her range as an actor." She said that the chemistry between the two leads worked well in the first half, but unraveled into melodrama in the second. She criticized the "archaic" antagonists, the fiancé figure (Tarun Gahlot) and the father (Nitish Bharadwaj); she also noted how the second-half wedding feels undeserved. Yet she praised the visual effects of the natural disaster, saying that they "rattle you" and "makes you believe that a natural disaster is the biggest leveller in life."


title: Kedarnath (film)

text: "Kedarnath" earned 6.85 crore on first day of opening from its India shows. In first weekend of opening, domestic earning was 27 crore. The first week domestic earning of the film was 40.85 crore. The film grossed 85.28 crore in domestic market and 11.36 crore in overseas market, taking worldwide gross to 102.77 crore.


title: Relative permittivity

text: The relative permittivity (in older texts, dielectric constant) is the permittivity of a material expressed as a ratio with the electric permittivity of a vacuum. A dielectric is an insulating material, and the dielectric constant of an insulator measures the ability of the insulator to store electric energy in an electrical field.


title: Relative permittivity

text: Permittivity is a material's property that affects the Coulomb force between two point charges in the material. Relative permittivity is the factor by which the electric field between the charges is decreased relative to vacuum.


title: Relative permittivity

text: Likewise, relative permittivity is the ratio of the capacitance of a capacitor using that material as a dielectric, compared with a similar capacitor that has vacuum as its dielectric. Relative permittivity is also commonly known as the dielectric constant, a term still used but deprecated by standards organizations in engineering as well as in chemistry.


title: Relative permittivity

text: where "ε"("ω") is the complex frequency-dependent permittivity of the material, and "ε" is the vacuum permittivity.


title: Relative permittivity

text: Relative permittivity is a dimensionless number that is in general complex-valued; its real and imaginary parts are denoted as:


title: Relative permittivity

text: The relative permittivity of a material for a frequency of zero is known as its static relative permittivity.


title: Relative permittivity

text: The historical term for the relative permittivity is "dielectric constant". It is still commonly used, but has been deprecated by standards organizations, because of its ambiguity, as some older reports used it for the absolute permittivity ε. The permittivity may be quoted either as a static property or as a frequency-dependent variant, in which case it is also known as the "dielectric function". It has also been used to refer to only the real component ε' of the complex-valued relative permittivity.


title: Relative permittivity

text: In the causal theory of waves, permittivity is a complex quantity. The imaginary part corresponds to a phase shift of the polarization relative to and leads to the attenuation of electromagnetic waves passing through the medium. By definition, the linear relative permittivity of vacuum is equal to 1, that is ε = ε, although there are theoretical nonlinear quantum effects in vacuum that become non-negligible at high field strengths.


title: Relative permittivity

text: The relative static permittivity, "ε", can be measured for static electric fields as follows: first the capacitance of a test capacitor, "C", is measured with vacuum between its plates. Then, using the same capacitor and distance between its plates, the capacitance "C" with a dielectric between the plates is measured. The relative permittivity can be then calculated as


title: Relative permittivity

text: For time-variant electromagnetic fields, this quantity becomes frequency-dependent. An indirect technique to calculate "ε" is conversion of radio frequency S-parameter measurement results. A description of frequently used S-parameter conversions for determination of the frequency-dependent "ε" of dielectrics can be found in this bibliographic source. Alternatively, resonance based effects may be employed at fixed frequencies.


title: Relative permittivity

text: The relative permittivity is an essential piece of information when designing capacitors, and in other circumstances where a material might be expected to introduce capacitance into a circuit. If a material with a high relative permittivity is placed in an electric field, the magnitude of that field will be measurably reduced within the volume of the dielectric. This fact is commonly used to increase the capacitance of a particular capacitor design. The layers beneath etched conductors in printed circuit boards (PCBs) also act as dielectrics.


title: Relative permittivity

text: Dielectrics are used in radio frequency (RF) transmission lines. In a coaxial cable, polyethylene can be used between the center conductor and outside shield. It can also be placed inside waveguides to form filters. Optical fibers are examples of "dielectric waveguides". They consist of dielectric materials that are purposely doped with impurities so as to control the precise value of "ε" within the cross-section. This controls the refractive index of the material and therefore also the optical modes of transmission. However, in these cases it is technically the relative permittivity that matters, as they are not operated in the electrostatic limit.


title: Relative permittivity

text: The relative permittivity of air changes with temperature, humidity, and barometric pressure. Sensors can be constructed to detect changes in capacitance caused by changes in the relative permittivity. Most of this change is due to effects of temperature and humidity as the barometric pressure is fairly stable. Using the capacitance change, along with the measured temperature, the relative humidity can be obtained using engineering formulas.


title: Relative permittivity

text: The relative static permittivity of a solvent is a relative measure of its chemical polarity. For example, water is very polar, and has a relative static permittivity of 80.10 at 20 °C while "n"-hexane is non-polar, and has a relative static permittivity of 1.89 at 20 °C. This information is important when designing separation, sample preparation and chromatography techniques in analytical chemistry.


title: Relative permittivity

text: The correlation should, however, be treated with caution. For instance, dichloromethane has a value of ε of 9.08 (20 °C) and is rather poorly soluble in water (13g/L or 9.8mL/L at 20 °C); at the same time, tetrahydrofuran has its ε = 7.52 at 22 °C, but it is completely miscible with water. In the case of tetrahydrofuran, the oxygen atom can act as a hydrogen bond acceptor; whereas dichloromethane cannot form hydrogen bonds with water.


title: Relative permittivity

text: This is even more remarkable when comparing the ε values of acetic acid (6.2528) and that of iodoethane (7.6177). The large numerical value of ε is not surprising in the second case, as the iodine atom is easily polarizable; nevertheless, this does not imply that it is polar, too (electronic polarizability prevails over the orientational one in this case).


title: Relative permittivity

text: Again, similar as for absolute permittivity, relative permittivity for lossy materials can be formulated as:


title: Relative permittivity

text: in terms of a "dielectric conductivity" "σ" (units S/m, siemens per meter), which "sums over all the dissipative effects of the material; it may represent an actual [electrical] conductivity caused by migrating charge carriers and it may also refer to an energy loss associated with the dispersion of "ε"′ [the real-valued permittivity]" ( p. 8). Expanding the angular frequency "ω" = 2π"c/λ" and the electric constant "ε" = 1/"µ""c", which reduces to:


title: Relative permittivity

text: where "λ" is the wavelength, "c" is the speed of light in vacuum and "κ" = "µ""c"/2π = 59.95849 Ω ≈ 60.0 Ω is a newly introduced constant (units ohms, or reciprocal siemens, such that "σλκ" = "ε" remains unitless).


title: Relative permittivity

text: Permittivity is typically associated with dielectric materials, however metals are described as having an effective permittivity, with real relative permittivity equal to one. In the low-frequency region, which extends from radio frequencies to the far infrared and terahertz region, the plasma frequency of the electron gas is much greater than the electromagnetic propagation frequency, so the refractive index "n" of a metal is very nearly a purely imaginary number. In the low frequency regime, the effective relative permittivity is also almost purely imaginary: It has a very large imaginary value related to the conductivity and a comparatively insignificant real-value.


title: The Witches (1990 film)

text: The Witches is a 1990 dark fantasy comedy horror film directed by Nicolas Roeg, produced by Jim Henson and starring Anjelica Huston, Mai Zetterling, Rowan Atkinson, and Jasen Fisher. Based on the 1983 book of the same name by Roald Dahl, the story features evil witches who masquerade as ordinary women, and a boy and his grandmother who must find a way to foil their plans.


title: The Witches (1990 film)

text: The film was produced by Jim Henson Productions for Lorimar Film Entertainment as the last theatrical film to be produced by Lorimar before the company was merged into Warner Bros. in 1993. Even though Dahl disliked "The Witches" for its ending's differing from his source material, the film was very well received by critics, and it developed a cult following over the years.


title: The Witches (1990 film)

text: During a vacation with his grandmother Helga in Norway, seven-year-old American boy, Luke Eveshim, is warned about witches, female demons who immensely hate children and use various methods to destroy or transform them. Helga tells Luke what real witches, unlike the ordinary womens have claws instead of fingernails which they hide by wearing gloves, bald heads which they cover by wearing wigs that give them rashes, square feet with no toes which they hide by wearing sensible shoes, a purple tinge in their pupils and a powerful sense of smell which they use to sniff out children. To a witch, clean children stink of dog's droppings; the dirtier the children, the less likely she is to smell them. Helga says her childhood friend, Erica, fell victim to a witch and was cursed to spend the rest of her life trapped inside a painting, aging gradually until finally disappearing a few years earlier.


title: The Witches (1990 film)

text: After Luke's parents are killed in a car accident, Helga becomes Luke's legal guardian and they move to England. While playing outside in a treehouse, Luke is approached by a witch trying to lure him with a snake and a chocolate bar, so he stays in his treehouse for protection and the witch goes away. On Luke's ninth birthday, Helga falls ill with diabetes. Her doctor advises they spend the summer by the sea. At their seaside hotel in Bournemouth, Luke meets and befriends a gluttonous but friendly boy, Bruno Jenkins. Luke unintentionally antagonizes the hotel manager, Mr. Stringer, after his pet mice frighten his maid girlfriend. Also at the hotel is a convention of witches, masquerading as the Royal Society for the Prevention of Cruelty to Children. The Grand High Witch, the all-powerful leader of the world's witches, is attending under the name Eva Ernst.


title: The Witches (1990 film)

text: Luke hides inside the ballroom and spies on the witches' meeting. Eva unveils her latest creation: a magic potion to turn all the world's children into mice, which will be used in confectionery products in sweet shops and candy stores to be purchased using money provided by Eva. Bruno, who was given the potion earlier, is brought into the room, turns into a mouse, and flees. Luke is discovered and runs to Helga in their room but finds her resting after having a diabetes-induced dizzy spell. The witches seize Luke in the room and take him back to the ballroom, where he is forced to drink the potion and turned into a mouse before escaping. He finds Bruno and reunites with Helga, who has since recovered. Luke devises a plan to defeat the witches by sneaking into Eva's room to steal a bottle of the potion, then sneaking into the kitchen and puts it into the soup for the special RSPCC party. Luke and Helga try to get Bruno to his parents, but they do not believe her story and are frightened by the mouse.


title: The Witches (1990 film)

text: Mr. Jenkins orders the soup, though Helga stops him from consuming it. The Jenkinses finally realize Bruno is a mouse when he speaks up. As the witches enter the banquet, Miss Susan Irvine, Eva's long-suffering and mistreated assistant, quits upon being banned from the celebration. The formula turns all the witches into mice, and the staff and hotel guests join in killing them, unknowingly ridding England of its witches. Amidst the chaos, Helga spots the transformed Eva and traps her under a water jug before helpfully pointing her out to Mr. Stringer, who chops her in two with a meat cleaver. She then returns Bruno to his bewildered parents. Luke and Helga return home to where Eva's trunk full of money and an address book of all witches in the United States is delivered, allowing them to plan an operation to wipe out all the witches in America. That night, Miss Irvine, now a good witch (having reformed after Eva's death), drives to Luke and Helga's house and returns Luke to human form, as well as his pet mice and glasses. She leaves to pay Bruno a visit, as Luke and Helga wave goodbye.


title: The Witches (1990 film)

text: "The Witches" was adapted from the children's book of the same title by British author Roald Dahl. It was the final film that Jim Henson personally worked on before his death, the final theatrical film produced by Lorimar Productions, and the last film made based on Dahl's material before his death (both Henson and Dahl died that year).


title: The Witches (1990 film)

text: The following people did special puppeteer work in this film: Anthony Asbury, Don Austen (Bruno's mouse form), Sue Dacre, David Greenaway, Brian Henson, Robert Tygner, and Steve Whitmire (Luke's mouse form). The early portion of the film was shot in Bergen, Norway. Much of the rest was shot on location in England including Cookham, Berkshire and at the Headland Hotel situated on the coast in Newquay, Cornwall.


title: The Witches (1990 film)

text: During the shoot, Rowan Atkinson caused a Mr. Bean style calamity when he left the bath taps running in his room (the frantically knocking porter was told "go away, I'm asleep"). The flood wrote off much of the production team's electrical equipment on the floor below. At the time, Huston was dating Jack Nicholson, who frequently phoned the hotel and sent huge flower bouquets, much to the excitement of the staff.


title: The Witches (1990 film)

text: Director Nicolas Roeg later cut scenes he thought would be too scary for children after seeing his young son's reaction to the original cut.


title: The Witches (1990 film)

text: The elaborate makeup effects for Huston's Grand High Witch took six hours to apply, and another six to remove. The prosthetics included a full face mask, hump, mechanized claws, and a withered collarbone. Huston described a monologue scene she had to do where "I was so uncomfortable and tired of being encased in rubber under hot lights for hours that the lines had ceased to make sense to me and all I wanted to do was cry."


title: The Witches (1990 film)

text: The green vapour used extensively at the end of the film was oil based, and would obscure the contacts in Huston's eyes, which had to be regularly flushed out with water by an expert. Roeg chose a sexy costume for the character to wear and emphasized to Huston that the Grand High Witch should have sex appeal at all times, despite her grotesque appearance in certain scenes of the film.


title: The Witches (1990 film)

text: Dahl was incensed that Henson had changed his original ending in the script. As a gesture of conciliation, Henson offered to film two versions before he made his final choice: the book version where Luke remains a mouse, and the "happier" version where he is transformed back into a human. During the editing process, Dahl watched an early cut of the film with his original ending, and the final scene brought him to tears. However, Henson and Roeg decided to go with the "happier" ending, which resulted in Dahl stating that he would launch a publicity campaign against the film if his name was not removed from the credits. He was only dissuaded from this on the urging of Henson.


title: The Witches (1990 film)

text: The film was slated to be distributed by Lorimar Television, but when the company dissolved their theatrical distribution operation, it wound up sitting on the shelf for more than a year after filming was completed. The film premiered on 25 May 1990, in London and was scheduled to open the same day in the United States, but following Florida test screenings earlier that year Warner Bros. delayed the American release until August. The film took in $10,360,553 in the United States, and 266,782 in Germany.


title: The Witches (1990 film)

text: Warner Home Video first released the film on VHS and LaserDisc in 1991. The second release (and first re release) was on VHS and for the first time on DVD in 1999. Both versions (and any television screenings) use the original open matte negative of the film, instead of matting it down to 1.85:1 (or 1.66:1). It was released on the Blu-ray format in Spain only in 2017. In July 2019, a Blu-ray release from Warner Archive Collection was announced, and was released on 20 August 2019. In August 2020, a Special Edition 30th Anniversary region free Blu-ray release from Warner Bros in the United Kingdom was announced, in special packaging including is a booklet, Original Theatrical release poster, and four art cards, all housed alongside the disc in a collector’s box and was released on 12 October 2020.


title: The Witches (1990 film)

text: The film contains an orchestral score composed by Stanley Myers. To date, a soundtrack CD has not been released, and the entire score remains obscure. Throughout the score, the "Dies irae" appears, highly reminiscent of Berlioz's "Symphonie fantastique" Movement V, "Dream of a Witches' Sabbath".


title: The Witches (1990 film)

text: "The Witches" received critical acclaim. The film holds a 93% approval rating on Rotten Tomatoes based on reviews from 43 critics, with an average rating of 7.6/10. The consensus reads: "With a deliciously wicked performance from Anjelica Huston and imaginative puppetry by Jim Henson's creature shop, Nicolas Roeg's dark and witty movie captures the spirit of Roald Dahl's writing like few other adaptations." On Metacritic, it has an average score of 78 out of 100, based on reviews from 25 critics, indicating "generally favorable reviews".


title: The Witches (1990 film)

text: Roger Ebert gave the film three out of four stars, calling it "an intriguing movie, ambitious and inventive, and almost worth seeing just for Anjelica Huston's obvious delight in playing a completely uncompromised villainess."


title: The Witches (1990 film)

text: Despite the overall positive reception, Roald Dahl disliked the film, and regarded it as "utterly appalling" and although he praised Huston’s performance as the Grand High Witch, he was critical of the ending that contrasted with his book.


title: Order of Merit of the Italian Republic

text: The Order of Merit of the Italian Republic () is the senior Italian order of merit. It was established in 1951 by the second President of the Italian Republic, Luigi Einaudi.


title: Order of Merit of the Italian Republic

text: The highest-ranking honour of the Republic, it is awarded for "merit acquired by the nation" in the fields of literature, the arts, economy, public service, and social, philanthropic and humanitarian activities and for long and conspicuous service in civilian and military careers. The post-nominal letters for the order are OMRI.


title: Order of Merit of the Italian Republic

text: The order effectively replaced national orders such as the Civil Order of Savoy (1831), the Order of the Crown of Italy (1868), the Order of Saints Maurice and Lazarus (1572) and the Supreme Order of the Most Holy Annunciation (1362).


title: Order of Merit of the Italian Republic

text: Investiture takes place twice a year – on 2 June, the anniversary of the foundation of the Republic, and on 27 December, the anniversary of the promulgation of the Italian Constitution. However, those awards on Presidential , related to termination of service or granted to foreigners, may be made at any time.


title: Order of Merit of the Italian Republic

text: The badge, modified in 2001, bears the inscription encircling the national coat of arms on the obverse and the Latin (for the union of the country) and (for the liberty of the citizens) encircling the head of Italia Turrita on the reverse. The six degrees with corresponding ribbons are as follows (with numbers to 2 June 2020):


title: Order of Merit of the Italian Republic

text: The order is bestowed by decree of the President of the Italian Republic, as head of the orders of knighthood, on the recommendation of the President of the Council of Ministers. Except in exceptional circumstances, no one can be awarded for the first time a rank higher than Knight. The minimum age requirement is normally 35.


title: WebAssembly

text: WebAssembly (sometimes abbreviated Wasm) defines a portable binary-code format and a corresponding text format for executable programs as well as software interfaces for facilitating interactions between such programs and their host environment.


title: WebAssembly

text: The main goal of WebAssembly is to enable high-performance applications on web pages, "but it does not make any Web-specific assumptions or provide Web-specific features, so it can be employed in other environments as well." It is an open standard and aims to support any language on any operating system, and in practice all of the most popular languages already have at least some level of support.


title: WebAssembly

text: Announced in and first released in , WebAssembly became a World Wide Web Consortium recommendation on 5 December 2019 and it received the "Programming Languages Software Award" from ACM SIGPLAN in 2021. The World Wide Web Consortium (W3C) maintains the standard with contributions from Mozilla, Microsoft, Google, Apple, Fastly, Intel, and Red Hat.


title: WebAssembly

text: WebAssembly was first announced in 2015, and the first demonstration was executing Unity's "Angry Bots" in Firefox, Google Chrome, and Microsoft Edge. The precursor technologies were asm.js from Mozilla and Google Native Client, and the initial implementation was based on the feature set of asm.js. The asm.js technology already provides near-native code execution speeds and can be considered a viable alternative for browsers that don't support WebAssembly or have it disabled for security reasons.


title: WebAssembly

text: In March 2017, the design of the minimum viable product (MVP) was declared to be finished and the preview phase ended. In late September 2017, Safari 11 was released with support. In February 2018, the WebAssembly Working Group published three public working drafts for the Core Specification, JavaScript Interface, and Web API.


title: WebAssembly

text: Since April 2022, WebAssembly 2.0 is in draft status, which isn't a breaking change; integrates some extensions.


title: WebAssembly

text: While WebAssembly was initially designed to enable near-native code execution speed in the web browser, it has been considered valuable outside of such, in more generalized contexts. Since WebAssembly's runtime environments (RE) are low level virtual stack machines (akin to JVM or Flash VM) that can be embedded into host applications, some of them have found a way to standalone runtime environments like Wasmtime and Wasmer.


title: WebAssembly

text: In November 2017, Mozilla declared support "in all major browsers", after WebAssembly was enabled by default in Edge 16. The support includes mobile web browsers for iOS and Android. , 96% of installed browsers support WebAssembly (version 1.0). But for older browsers, Wasm can be compiled into asm.js by a JavaScript polyfill.


title: WebAssembly

text: WebAssembly implementations usually use either ahead-of-time (AOT) or just-in-time (JIT) compilation, but may also use an interpreter. While the first implementations have landed in web browsers, there are also non-browser implementations for general-purpose use, including Wasmer, Wasmtime or WAMR, wasm3, WAVM, and many others.


title: WebAssembly

text: Because WebAssembly executables are precompiled, it is possible to use a variety of programming languages to make them. This is achieved either through direct compilation to Wasm, or through implementation of the corresponding virtual machines in Wasm. There have been around 40 programming languages reported to support Wasm as a compilation target.


title: WebAssembly

text: Emscripten compiles C and C++ to Wasm using the Binaryen and LLVM as backend. The Emscripten SDK can compile any LLVM-supported languages (such as C, C++ or Rust, among others) source code into a binary file which runs in the same sandbox as JavaScript code. Emscripten provides bindings for several commonly used environment interfaces like WebGL.


title: WebAssembly

text: Its initial aim is to support compilation from C and C++, though support for other source languages such as Rust, .NET languages and AssemblyScript (TypeScript-like) is also emerging. After the MVP release, there are plans to support multithreading and garbage collection which would make WebAssembly a compilation target for garbage-collected programming languages like C# (supported via Blazor), F# (supported via Bolero with help of Blazor), Python, and even JavaScript where the browser's just-in-time compilation speed is considered too slow. A number of other languages have some support including Python, Julia, and Ruby.


title: WebAssembly

text: WebAssembly is supported on desktops, and mobile, but on the latter, in practice (for non-small memory allocations, such as with Unity game engine) there are "grave limitations that make many applications infeasible to be "reliably" deployed on mobile browsers [..] Currently allocating more than ~300MB of memory is not reliable on Chrome on Android without resorting to Chrome-specific workarounds, nor in Safari on iOS."


title: WebAssembly

text: There is no direct Document Object Model (DOM) access; however, it is possible to create proxy functions for this, for example through stdweb or web_sys when using the Rust language.


title: WebAssembly

text: All major web browsers allow WebAssembly if Content-Security-Policy is not specified, or if "unsafe-eval" is used, but otherwise the major web browsers behave differently. In practice WebAssembly can't be used on Chrome without "unsafe-eval", while a worker thread workaround is available.


title: WebAssembly

text: In June 2018, a security researcher presented the possibility of using WebAssembly to circumvent browser mitigations for Spectre and Meltdown security vulnerabilities once support for threads with shared memory is added. Due to this concern, WebAssembly developers put the feature on hold. However, in order to explore these future language extensions, Google Chrome added experimental support for the WebAssembly thread proposal in October 2018.


title: WebAssembly

text: WebAssembly has been criticized for allowing greater ease of hiding the evidence for malware writers, scammers and phishing attackers; WebAssembly is present on the user's machine only in its compiled form, which "[makes malware] detection difficult". The speed and concealability of WebAssembly have led to its use in hidden crypto mining on the website visitor's device. Coinhive, a now defunct service facilitating cryptocurrency mining in website visitors' browsers, claims their "miner uses WebAssembly and runs with about 65% of the performance of a native Miner." A June 2019 study from the Technische Universität Braunschweig analyzed the usage of WebAssembly in the Alexa top 1 million websites and found the prevalent use was for malicious crypto mining, and that malware accounted for more than half of the WebAssembly-using websites studied. An April 2021 study from Universität Stuttgart found that since then crypto mining has been marginalized, falling to below 1% of all WebAssembly modules gathered from a wide range of sources, also including the Alexa top 1 million websites.


title: WebAssembly

text: The ability to effectively obfuscate large amounts of code can also be used to disable ad blocking and privacy tools that prevent web tracking like Privacy Badger.


title: WebAssembly

text: As WebAssembly supports only structured control flow, it is amenable toward security verification techniques including symbolic execution. Current efforts in this direction include the Manticore symbolic execution engine.


title: WebAssembly

text: WebAssembly System Interface (WASI) is a simple interface (ABI and API) designed by Mozilla intended to be portable to any platform. It provides POSIX-like features like file I/O constrained by capability-based security. There are also a few other proposed ABI/APIs.


title: WebAssembly

text: Solomon Hykes, a co-founder of Docker, wrote in 2019, "If WASM+WASI existed in 2008, we wouldn't have needed to create Docker. That's how important it is. WebAssembly on the server is the future of computing." Wasmer, out in version 1.0, provides "software containerization, we create universal binaries that work anywhere without modification, including operating systems like Linux, macOS, Windows, and web browsers. Wasm automatically sandboxes applications by default for secure execution".


title: WebAssembly

text: Wasm code (binary code, i.e. bytecode) is intended to be run on a portable virtual stack machine (VM). The VM is designed to be faster to parse and execute than JavaScript and to have a compact code representation. An external functionality (like syscalls) that may be expected by Wasm binary code is not stipulated by the standard. It rather provides a way to deliver interfacing via modules by the host environment that the VM implementation runs in.


title: WebAssembly

text: A Wasm program is designed to be a separate module containing collections of various Wasm-defined values and program type definitions. These are expressed in either binary or textual format (see below) that both have a common structure.


title: WebAssembly

text: The core standard for the binary format of a Wasm program defines an instruction set architecture (ISA) consisting of specific binary encodings of types of operations which are executed by the VM (without specifying how exactly they must be executed). The list of instructions includes standard memory load/store instructions, numeric, parametric, control of flow instruction types and Wasm-specific variable instructions.


title: WebAssembly

text: The number of opcodes used in the original standard (MVP) was a bit fewer than 200 of the 256 possible opcodes. Subsequent versions of WebAssembly pushed the number of opcodes a bit over 200. The WebAssembly SIMD proposal (for parallel processing) introduces an alternate opcode prefix (0xfd) for 128-bit SIMD. The concatenation of the SIMD prefix, plus an opcode that is valid after the SIMD prefix, forms a SIMD opcode. The SIMD opcodes bring an additional 236 instructions for the "minimum viable product" (MVP) SIMD capability (for a total of around 436 instructions). Those instructions, the "finalized opcodes" are implemented in Google's V8 (in Google Chrome) and in the corresponding engine in Mozilla Firefox (but not enabled in stable versions of the web browsers), and there are also some additional proposal for instructions for later "post SIMD MVP", and there's also a separate "relaxed-simd" proposal on the table.


title: WebAssembly

text: These SIMD opcodes are also portable and translate to native instruction sets like x64 and ARM. In contrast, neither Java's JVM (nor CIL) support SIMD, at their "opcode level", i.e. in the standard; both do have some parallel APIs which provide SIMD speedup. There is an extension for Java adding intrinsics for x64 SIMD, that isn't portable, i.e. not usable on ARM or smartphones. Smartphones can support SIMD by calling assembly code with SIMD, and C# has similar support.


title: WebAssembly

text: In March 2017, the WebAssembly Community Group reached consensus on the initial (MVP) binary format, JavaScript API, and reference interpreter. It defines a WebAssembly binary format (), which is not designed to be used by humans, as well as a human-readable WebAssembly text format () that resembles a cross between S-expressions and traditional assembly languages.


title: WebAssembly

text: The table below shows an example of a factorial function written in C and its corresponding WebAssembly code after compilation, shown both in text format (a human-readable textual representation of WebAssembly) and in binary format (the raw bytecode, expressed below in hexadecimal), that is executed by a Web browser or run-time environment that supports WebAssembly.


title: WebAssembly

text: The WebAssembly text format is more canonically written in a folded format using S-expressions. For instructions and expressions, this format is purely syntactic sugar and has no behavioral differences with the linear format. Through , the code above decompiles to:


title: WebAssembly

text: Note that a module is implicitly generated by the compiler. The function is actually referenced by an entry of the type table in the binary, hence a type section and the emitted by the decompiler. The compiler and decompiler can be accessed online.


title: Jack the Giant Slayer

text: Jack the Giant Slayer (previously titled Jack the Giant Killer) is a 2013 American fantasy adventure film directed by Bryan Singer and written by Darren Lemke, Christopher McQuarrie and Dan Studney, from a story by Lemke and David Dobkin. The film, based on the British fairy tales "Jack the Giant Killer" and "Jack and the Beanstalk", stars Nicholas Hoult, Eleanor Tomlinson, Stanley Tucci, Ian McShane, Bill Nighy, and Ewan McGregor. The film tells the story of Jack, a young farmhand who must rescue a princess from a race of giants after inadvertently opening a gateway to their land in the sky.


title: Jack the Giant Slayer

text: Development of "Jack the Giant Slayer" began in 2005, when Lemke first pitched the idea. D. J. Caruso was hired to direct the film in January 2009, but in September of that year, Caruso was replaced by Singer, who hired McQuarrie and Studney to rework the script. The main characters were cast between February and March 2011, and principal photography began in April 2011 in England with locations in Somerset, Gloucestershire and Norfolk. Release of the film was moved back in post-production to allow more time for special effects and marketing.


title: Jack the Giant Slayer

text: "Jack the Giant Slayer" premiered on February 26, 2013, in Hollywood. It was released theatrically in the United States on March 1, 2013, receiving mixed reviews from critics and was a box office flop.


title: Jack the Giant Slayer

text: In the Kingdom of Cloister, Jack, a young farm boy, is fascinated by the legend of Erik, an ancient king who defeated an army of invading giants from a realm in the sky by controlling them with a magical crown. At the same time, Princess Isabelle becomes fascinated with the same legend.


title: Jack the Giant Slayer

text: Ten years later, Jack goes into town to sell his horse to support his uncle's farm. There, Jack spots Isabelle and becomes enamored with her after defending her honor from a group of hooligans. Meanwhile, Lord Roderick returns to his study, only to find that a monk has robbed him. The monk offers Jack some magic beans he stole from Roderick as collateral for Jack's horse. Back at the castle, Isabelle quarrels with her father King Brahmwell as she wants to explore the kingdom, but he wants her to stay and marry Roderick. Likewise, Jack's uncle scolds him for being foolish before throwing the beans on the floor and leaving the house.


title: Jack the Giant Slayer

text: Determined to be free, Isabelle sneaks out of the castle and seeks shelter from the rain in Jack's house. As it rains, one of the beans takes root and grows into a massive beanstalk that carries the house and Isabelle into the sky as Jack falls to the ground.


title: Jack the Giant Slayer

text: Jack, Roderick, and Roderick's attendant Wicke volunteer to join the king's knights, led by Elmont and his second-in-command, Crawe, and climb the beanstalk in search of Isabelle. As they climb, a lightning storm during the night knocks five knights from the beanstalk, and Roderick and Wicke cut the safety rope, intentionally sending them to fall to their deaths - the two claim the rope snapped. At the top, they discover the giants' realm and decide to split into two groups: one with Jack, Elmont, and Crawe, and the other including Roderick, Wicke, and one of the surviving knights, but not before Roderick hangs back and forcibly takes the remaining beans from Jack, issuing death threats to the boy if he ever tells anybody about the incident (although Jack manages to save one for himself).


title: Jack the Giant Slayer

text: Jack's group is trapped by a giant, who takes Elmont and Crawe prisoner while Jack, his scent hidden because he has gone underwater, escapes. Meanwhile, Roderick tricks the last knight close to the ledge and pushes him to his death, but then immediately encounters two other giants; one eats Wicke, but before the other can do the same to Roderick, Roderick dons the magical crown.


title: Jack the Giant Slayer

text: Jack follows the giant to their stronghold, where the two-headed giant leader, Fallon, has devoured Crawe for his defiance. Jack finds Isabelle and Elmont imprisoned there. As the giants prepare to kill their remaining prisoners, Roderick walks in and enslaves the giants with the crown. He tells the giants they will attack Cloister at dawn, also giving them permission to eat Isabelle and Elmont. One of the giants prepares to cook Elmont as a pig-in-a-blanket and is about to chop Isabelle up when Jack, who is above him, impales his neck with a kitchen knife. The trio makes for the beanstalk, where Jack causes the giant sent to guard the beanstalk to fall off the realm's edge with wild honeybees. Seeing the giant's body, Brahmwell orders the beanstalk cut down to avoid an invasion by the giants, putting the safety of the Earth ahead of the possibility of Isabelle returning home.


title: Jack the Giant Slayer

text: Jack and Isabelle head down the beanstalk, during which they admit their growing feelings for each other, while Elmont stays to confront Roderick. Elmont kills Roderick, but Fallon takes the crown before Elmont can claim it, and Elmont is forced to escape down the falling beanstalk or be trapped in the giant's realm. Jack, Isabelle, and Elmont all survive the fall after the beanstalk is cut down. As everyone returns home, Jack warns that the giants are using Roderick's beans to create beanstalks to descend down to Earth and attack Cloister.


title: Jack the Giant Slayer

text: The giants chase Jack, Isabelle, and Brahmwell into the castle, where Elmont fills the moat with oil and sets it on fire. Fallon falls into the moat and breaks into the throne room from below. As the siege continues and both sides struggle for control of the drawbridge, Fallon captures Jack and Isabelle, but Jack throws the final bean down Fallon's throat before the giant can eat him, causing a beanstalk to rip apart his body. Jack takes the crown and just as the giants break into the courtyard, he takes control of them and sends the giants back to their realm to cut down the beanstalks themselves.


title: Jack the Giant Slayer

text: After Brahmwell abolishes the law that the princess can't be with a commoner, Jack and Isabelle marry and tell the story of the giants to their children. As time passes, the magic crown is crafted into St Edward's Crown and is secured in the Tower of London while the giants' realm is shown to still exist above London in the modern day.


title: Jack the Giant Slayer

text: Screenwriter Darren Lemke first proposed the idea of contemporizing the "Jack and the Beanstalk" fairy tale with CGI in 2005 before the release of other contemporary films based on fairy tales such as "Alice in Wonderland" (2010), "Red Riding Hood" (2011) and "Snow White and the Huntsman" (2012). Lemke described the script as "a male-oriented story of a boy becoming a man" and drew a parallel between Jack and Luke Skywalker of "Star Wars". In January 2009, New Line Cinema hired D. J. Caruso to direct the script, which was subsequently rewritten by Mark Bomback. By August 2009, it was reported that Bryan Singer might be replacing Caruso; this became official in September 2009.


title: Jack the Giant Slayer

text: In April 2010, Singer re-teamed with screenwriter Christopher McQuarrie to rework the screenplay. Singer and McQuarrie had previously collaborated on "Public Access", "The Usual Suspects", "Apt Pupil", and "Valkyrie". Singer stated, "Chris McQuarrie did a significant re-write for me. He brought a different structure. It was very much a page-one situation; a different storyline. It involved the same characters, but some we juggled around and switched around. He just brought a very different perspective". McQuarrie's re-write included a deeper back story for the giants and explanation of their relationship with the humans, which Singer considered a "vast improvement"; it also upped the budget. To get the budget back in line, Singer brought in television writer Dan Studney to work on the project.


title: Jack the Giant Slayer

text: In May 2010, "ReelzChannel" reported that production of the film would be delayed until February 2011. The report cited Singer's interest in being able to pre-visualize scenes with the digital giants in-camera with the live-action actors ("a la" James Cameron's "Avatar") and the need for more time to work out the complex process as reasons for the delay.


title: Jack the Giant Slayer

text: In October 2010, New Line gave Bryan Singer the green-light to begin pre-production work on "Jack the Giant Killer", with production scheduled to begin the following spring. In November 2010, Singer began screen-testing for the male and female leads. Aaron Johnson, Nicholas Hoult, and Aneurin Barnard were considered for the role of the young farmhand, and Adelaide Kane, Lily Collins, and Juno Temple tested for the princess role.


title: Jack the Giant Slayer

text: In December 2010, Singer said, "I'm very much looking forward to using the EPIC Red for my next movie "Jack the Giant Killer" which will be shot in, what else, 3D. The camera's incredibly compact size and extraordinary resolution are ideal for the 3D format. But more importantly "Jack the Giant Killer" is my first movie set in a time before electricity. The EPIC's extraordinary exposure latitude will allow me to more effectively explore the use of natural light".


title: Jack the Giant Slayer

text: In February 2011, "The Hollywood Reporter" reported that Stanley Tucci had been cast as the antagonist, the king's advisor who plans on taking over the kingdom, and Bill Nighy and John Kassir were cast as Fallon, the two-headed leader of the giants; Nighy would play the big head and Kassir would play the smaller head. Also in February, Nicholas Hoult was offered the lead role. Singer said he had liked him since "Skins" and was very supportive of his casting in "". Later that month, Ewan McGregor joined the cast as the leader of the king's elite guard, who helps fight giants.


title: Jack the Giant Slayer

text: In March 2011, Eleanor Tomlinson was cast opposite Nicholas Hoult as the princess and Ian McShane was cast to play her father, King Brahmwell. Two days later, New Line and Warner Bros. announced a release date of June 15, 2012.


title: Jack the Giant Slayer

text: Principal photography began on April 12, 2011, in the British countryside. In May 2011, production moved to Somerset, England for two weeks with filming scheduled in Wells, Cheddar and secret locations in the county including scenes filmed at Wells Cathedral. Also in May, scenes were shot at Puzzlewood in the Forest of Dean near Coleford, Gloucestershire. Puzzlewood, which features unusual tree and rock formations, has previously been used for filming of the BBC TV series "Doctor Who" and "Merlin". The same forest is said to have inspired J. R. R. Tolkien to write "The Hobbit". Later that month, filming took place at Norwich Cathedral in Norwich, Norfolk.


title: Jack the Giant Slayer

text: About the performance-capture process Singer stated, "It's fascinating ... It takes you back to play-acting as a kid in your living room because you are running around and having to imagine that you are in Gantua and imagine that there are these weapons and all these giant things. But there's nothing when you are there other than styrofoam and blocks. It forces the actors to regress to when they would play-act as kids or do minimalist theatre. But in that way it's fascinating - I can see why Robert Zemeckis and James Cameron have started to shoot pictures this way".


title: Jack the Giant Slayer

text: In January 2012, Warner Bros. moved back the release date by nine months, from June 15, 2012, to March 22, 2013. "The Hollywood Reporter" stated: "Warner can likely afford the move because of Christopher Nolan's "The Dark Knight Rises", which opened in July. And moving the film back gives the studio more time for special effects, as well as a chance to attach trailers for it to Peter Jackson's Christmas tentpole """. In October 2012, Warner Bros. again moved the release date, this time to March 1, 2013, three weeks earlier than the previous date. Warner Bros also changed the title of the film from "Jack the Giant Killer" to "Jack the Giant Slayer".


title: Jack the Giant Slayer

text: The film's special effects were completed by seven different visual effects houses: Digital Domain, Giant Studios, The Third Floor, MPC, Soho VFX, Rodeo FX and Hatch Productions. Creating the giants took four main steps. The first step was Pre-Capture, in which performance capture was used to capture the actor's facial and body movements and render them in a real-time virtual environment. The second step took place during principal photography, where Simulcam technology was used to help the human characters virtually interact with the giants that were rendered earlier in Pre-Capture. The third step was Post-Capture, a second performance capture shoot to adjust giants' movements to seamlessly fit the live-action performances. The final step involved putting the finishing touches on the giant's animation, skin, hair and clothing, and composition in the shots. Creating the beanstalk involved two main requirements: set extension for shots of the actors interacting with the beanstalk, which were shot against a bluescreen, and complete CG renderings for shots of the beanstalk growing and extending from Earth into the world of the giants.


title: Jack the Giant Slayer

text: Singer stated that he had to tone down the special effects to keep the film age-appropriate for children. He said, "This movie probably has a bigger on-screen body count than any movie I've done before. It's done in a way that's fun, but it was a challenge to get away with that without it becoming upsetting to people ... It was about creating a tone like "Raiders of the Lost Ark" or "Star Wars" that allows you to get away with a lot of stuff because it feels like a movie."


title: Jack the Giant Slayer

text: The film's soundtrack features music by John Ottman, who also served as an editor and associate producer on the film. "Jack the Giant Slayer" marks Ottman's seventh collaboration with director Bryan Singer; they previously worked together on "Public Access", "The Usual Suspects", "Apt Pupil", "X2: X-Men United", "Superman Returns", and "Valkyrie". The soundtrack album was released on February 26, 2013, by WaterTower Music.


title: Jack the Giant Slayer

text: "Jack the Giant Slayer" premiered on Tuesday, February 26, 2013, at TCL Chinese Theatre in Hollywood, California.


title: Jack the Giant Slayer

text: Pre-release tracking showed that "Jack the Giant Slayer" was projected to gross $30 million to $35 million in its opening weekend, a disappointing figure considering it cost at least $185 million to produce. The film grossed $400,000 from Thursday night and midnight runs, ahead of its wide release open on Friday, March 1, 2013. Through the weekend, the film grossed $28.01 million in North America at 3,525 locations, taking first place at the box office. The audience was 55% male and 56% were over the age of 25, despite the studio's efforts to target families. At the same time, the film took in an additional $13.7 million in 10 Asian markets at 1,824 locations.


title: Jack the Giant Slayer

text: Four weeks into its theatrical run, "The Hollywood Reporter" reported that the film was on track to lose between $125 million and $140 million for Legendary Pictures, suggesting that the film would likely close at $200 million worldwide, short of its combined production and marketing budget. "Jack the Giant Slayer" closed in theaters on June 13, 2013, grossing a total of $65,187,603 in North America and $197,687,603 worldwide. In explaining its box office failure, analysts pointed to the conflict between the director's darker, more adult-themed vision with the studio's desire for a family-friendly product, leading to the final compromise of a PG-13 film that did not sufficiently appeal to adults or children.


title: Jack the Giant Slayer

text: "Jack the Giant Slayer" received a mixed response from film critics. On the review aggregation website Rotten Tomatoes the film has a rating of 52%, based on 208 reviews, with an average rating of 5.70/10. The site's critical consensus reads, "It's enthusiastically acted and reasonably fun, but "Jack the Giant Slayer" is also overwhelmed by digital effects and a bland, impersonal story." On Metacritic, it has a weighted average score of 51 out of 100, based on 37 critics, indicating "mixed or average reviews". Audiences surveyed by CinemaScore gave the film a grade "B+" on scale of A to F.


title: Jack the Giant Slayer

text: Todd McCarthy of "The Hollywood Reporter" said, "Simply in terms of efficient storytelling, clear logistics and consistent viewer engagement, "Jack" is markedly superior to the recent ""." Richard Roeper of the "Chicago Sun-Times" said, ""Jack the Giant Slayer" is a rousing, original and thoroughly entertaining adventure."


title: Jack the Giant Slayer

text: Justin Chang of "Variety" said, ""Jack the Giant Slayer" feels, unsurprisingly, like an attempt to cash in on a trend, recycling storybook characters, situations and battle sequences to mechanical and wearyingly predictable effect." Manohla Dargis of "The New York Times" said, "This finally is just a digitally souped-up, one-dimensional take on 'Jack and the Beanstalk'." Kenneth Turan of the "Los Angeles Times" said, "Bryan Singer's take on the old fairy tale has all things money can buy — except a good script."


title: Jack the Giant Slayer

text: In April 2013, Warner Bros. Home Entertainment announced the release of "Jack the Giant Slayer" on Blu-ray 3D, Blu-ray Disc and DVD. The discs were released on June 18, 2013, in two editions; a three-disc 3D/Blu-ray/DVD combo pack, and a two-disc Blu-ray/DVD combo pack. Both sets include the "Become a Giant Slayer" featurette, deleted scenes, a gag reel and a digital copy of the film.


title: Online food ordering

text: Online food ordering is the process of ordering food, for delivery or pickup, from a website or other application. The product can be either ready-to-eat food (e.g., direct from a home-kitchen, restaurant, or a virtual restaurant) or food that has not been specially prepared for direct consumption (e.g., vegetables direct from a farm/garden, fruits, frozen meats. etc).


title: Online food ordering

text: Online food ordering/delivery through third-party companies have emerged as a global industry, leading to a "delivery revolution." From 2018 to 2021, global revenues for the online food delivery sector rose from $90 billion to $294 billion.


title: Online food ordering

text: The online food ordering market has increased in the U.S with 40 percent of U.S adults having ordered their food online once. The online food ordering market includes foods prepared by restaurants, prepared by independent people, and groceries being ordered online and then picked up or delivered.


title: Online food ordering

text: The first online food ordering service, World Wide Waiter (now known as Waiter.com), was founded in 1995. The site originally serviced only northern California, later expanding to several additional cities in the United States.


title: Online food ordering

text: By the late 2000s, major pizza chains had created their own mobile applications and started doing 20–30 percent of their business online. With increased smartphone penetration, and the growth of both Uber and the sharing economy, food delivery startups started to receive more attention. In 2010, Snapfinger, who is a multi-restaurant ordering website, had a growth in their mobile food orders by 17 percent in one year.


title: Online food ordering

text: In 2015, China's online food ordering and delivery market grew from 0.15 billion yuan to 44.25 billion yuan.


title: Online food ordering

text: As of September 2016, online delivery accounted for about 3 percent of the 61 billion U.S. restaurant transactions.


title: Online food ordering

text: In a 2019 market study of restaurant delivery services, the global market for online-ordered prepared food delivery was estimated at $94 billion and is estimated to grow at just over 9 percent a year, reaching $134.5 billion in 2023. The study defined the market as 1)"meals ordered online which are directly delivered by the restaurant, no matter if ordered via a platform (e.g. Delivery Hero) or a restaurant website (e.g. Domino's)"; 2) online meal orders and deliveries "both carried out by a platform" (Deliveroo, Uber Eats, e.g.); 3) "online orders that are picked up in the restaurant" by the customer. It does not include phone orders.


title: Online food ordering

text: According to research conducted by the NDP Group, online restaurant ordering is growing 300% faster than dine-in traffic."Online ordering has started to become the norm, thanks to the convenience, accuracy, and ability to integrate payments. At scale, ubiquitous on-demand and subscription delivery of prepared food could potentially spell the end of cooking at home.”


title: Online food ordering

text: In restaurant-controlled online food ordering, the restaurants create their own website and app, or choose to hire a delivery vendor. If they choose to create their own website, they make sure to obtain software that manages the orders efficiently, meaning it has the capability to manage different orders at once. When they hire a vendor, the restaurant pays for a monthly fee or percentage-based fees. The vendor covers the developmental costs.


title: Online food ordering

text: A customer can choose to have the food delivered or for pick-up/take-away. The process consists of a customer choosing the restaurant of their choice, scanning the menu items, choosing an item, and finally choosing for pick-up or delivery. Payment is then administered by paying with a credit card or debit card through the app or website or in cash at the restaurant when going to pickup. The website and app inform the customer of the food quality, duration of food preparation, and when the food is ready for pick-up or the amount of time it will take for delivery. Papa John's is one of the restaurants that created their own Papa John's system, website, and app, and do their own delivery. In 2010, they redesigned their website and launched mobile apps for iPhones, iPads, iPods, Androids Phones, Blackberrys, and Windows Phones.


title: Online food ordering

text: The preexisting delivery infrastructure of these franchises paired with the online ordering system. In 2010, Papa John's International announced that its online sales had exceeded $2 billion.


title: Online food ordering

text: In this case, a person cooks and offers meals or kits via their website, which are then directly sent to consumers. The consumer chooses which meal and how many meals they want sent to their office or home, and pays depending on the meals or the program they are interested in. People choose to order meals from other people for different reasons: not wanting or having time to cook, wanting to eat home-cooked meals, or to lose weight by eating healthy foods. Examples of this type of service include DineWise, NutriSystem, Chef's Diet, etc.


title: Online food ordering

text: Some food cooperatives like Macomb Co-op allow members to place orders of locally grown and/or produced food online and pick up and pay for their orders at a central location.


title: Online food ordering

text: The riders and drivers for nearly all independent restaurant delivery app services are independent contractors, having the flexibility to choose when they work. In Australia, specifically riders for the food app of Foodora, consider themselves employees because they sometimes work full time hours, are required to wear uniforms, and run shift system.


title: Online food ordering

text: However, food delivery riders and drivers usually do not receive any insurance coverage, protective gear, or sick pay as independent contractors, which have led to some asking for improved safety standards. In response, Deliveroo gave riders a helmet with a GoPro camera to record any problems they may face, specifically with criminals. The riders have the opportunity to raise safety concerns about delivery areas in the app.


title: Online food ordering

text: As the food delivery sector has grown, businesses have turned to virtual restaurants, also known as ghost kitchens, to fill the need for inexpensive kitchen space to handle the increased volume. A ghost kitchen site will be purpose-built to be delivery-only and have separate areas of stoves, refrigeration and storage space to accommodate food preparation teams of several different restaurants. As they are often located in less densely populated areas of a city, they also have parking areas for the delivery vehicles. Companies providing this service are often subsidiaries of the delivery companies. Ghost kitchens also allow for the creation of virtual restaurant brands—restaurants that exist only online, with no bricks-and-mortar presence.The ghost kitchen has also gradually developed into a shared space ghost kitchen. They simultaneously share the same space for multiple ghost kitchens and then equip them with complete tableware and space.


title: Meredith Vieira

text: Meredith Louise Vieira (born December 30, 1953) is an American broadcast journalist and television personality. She is best known as the original moderator of the daytime talk show "The View" (1997–2006), the original host of the syndicated daytime version of the game show "Who Wants to Be a Millionaire" (2002–2013), and as co-host of the NBC morning news program "Today" (2006–2011). She currently hosts the syndicated weekday game show "25 Words or Less".


title: Meredith Vieira

text: Vieira has also been a contributor to "Dateline NBC", "Rock Center with Brian Williams", and "NBC Nightly News", and hosted the Lifetime television series "Intimate Portrait" (1994–2005). From 2014 to 2016, she hosted her own syndicated daytime talk show, "The Meredith Vieira Show".


title: Meredith Vieira

text: Vieira was born in Providence, Rhode Island, and raised in nearby East Providence, the daughter of Mary Elsie (Rosa), a homemaker, and Edwin Vieira, a medical doctor, both first-generation Portuguese Americans. She is the youngest of four children, with three older brothers. All four of Vieira's grandparents came from the Azores—three from Faial Island, one of the nine islands in the archipelago. The family name Vieira means "scallop" in Portuguese. They emigrated to New England in the late-19th and early-20th centuries, settling around Providence, Rhode Island. Vieira was raised in the Roman Catholic faith, but she has stated in recent interviews that she has "spirituality, not a religion".


title: Meredith Vieira

text: Vieira attended the Lincoln School, a Quaker all-girls offshoot of Moses Brown School in Providence, graduating in 1971. She graduated with a degree in English from Tufts University in 1975.


title: Meredith Vieira

text: Vieira began her broadcasting career in 1975 as a news announcer for WORC radio in Worcester, Massachusetts, doing afternoon drive news during the "B. J. Dean Show". She began a career in television working as a local reporter and anchor at WJAR-TV in Providence, eventually making her way into the newsroom at WCBS-TV in New York City where she was an investigative reporter from 1979 to 1982.


title: Meredith Vieira

text: Vieira first gained national recognition as a CBS reporter based in its Chicago bureau from 1982 to 1984. She later became a correspondent for nationwide news-magazine shows including "West 57th" (1985–89) and "60 Minutes" (1989–91). Her final assignment at CBS was as co-anchor of the "CBS Morning News" (1992–93).


title: Meredith Vieira

text: Vieira moved to ABC initially as one of six regular correspondents for the news-magazine show "Turning Point" (1994–99), and was also the host of the Lifetime Network's show "Intimate Portrait", which debuted on January 3, 1995, and ran until August 28, 2004.


title: Meredith Vieira

text: Vieira served as the original moderator and co-host of ABC's daytime talk show "The View" from its debut on August 11, 1997, until June 9, 2006. As moderator, she was responsible for opening and closing each of the show's live episodes, introducing "Hot Topics," guiding conversations, and breaking to commercials. On her final episode of "The View", Vieira's co-hosts gave her a roast to commemorate her departure.


title: Meredith Vieira

text: Vieira explained what led her to become "The View"'s moderator in an interview with the "Pittsburgh Post-Gazette", by making the following statement:


title: Meredith Vieira

text: In August 2006, Vieira told "Time" that she hasn't watched "The View" since she left the show, except the episode when Star Jones announced she was leaving. She said it was "very sad" what's happened to it: "I'm proud of the work we did there, but it's not a good time in the history of the show... It's hard to watch. It sort of became a joke." On August 29, 2006, Vieira told the "New York Post" that she didn't mean that "The View" was a joke. She said the interview was taken out of context. "I felt that the media was turning ["The View"] into a joke, not that the show was a joke," she says. "Time" added a clarification to its website, saying "[Vieira] assures "Time" that in no way were her comments meant to be insensitive or derogatory..."


title: Meredith Vieira

text: Vieira became the first host of the American syndicated version of "Who Wants to Be a Millionaire" on September 16, 2002; prior to that, American audiences had known it as a primetime show on ABC hosted by Regis Philbin. Rosie O'Donnell (who would later succeed Vieira on "The View") was originally offered to host the syndicated version, but rejected it almost immediately. Vieira won two Daytime Emmy Awards for Outstanding Game Show Host for her hosting duties on "Millionaire" (one in 2005, the other in 2009); as such, she is the second woman ever to win an Emmy Award in this category (after Betty White for "Just Men!" in 1983), and the first to win multiple times. In addition to hosting the show, Vieira also served as its co-executive producer, a title that she would hold from 2005 until her departure from the show.


title: Meredith Vieira

text: ABC originally offered Vieira hosting duties on the syndicated "Millionaire" to sweeten one of her re-negotiations for "The View". When the show was honored by GSN on its 2007 "Gameshow Hall of Fame" special, one of the show's executive producers, Leigh Hampton, said that when the syndicated version was being developed, the production team felt that it was not feasible for Philbin to continue hosting, as the show recorded four episodes in a single day, and that the team was looking for qualities in a new host: it had to be somebody who would love the contestants and be willing to root for them. After O'Donnell declined the opportunity to host the syndicated version, Vieira was the one that the team settled on, because she had the above-mentioned qualities. On the special, Vieira herself gave the following explanation for why she decided to host the syndicated "Millionaire":


title: Meredith Vieira

text: Prior to hosting the syndicated version of "Millionaire", Vieira was a celebrity contestant in a special tournament on the third season of the original primetime version, winning $250,000 for her selected charitable organization, the Windows of Hope Family Relief Fund. Seven and three-quarter years later, she would even turn the tables on Philbin himself with her surprise appearance on the finale of the show's 10th anniversary primetime revival on August 23, 2009—hosting its final segment while giving him the opportunity to answer one question in order to win $50,000 for his selected organization, Cardinal Hayes High School in the Bronx.


title: Meredith Vieira

text: On January 10, 2013, Vieira announced that after eleven seasons with the syndicated "Millionaire", throughout which she had hosted more than 1,800 episodes and offered a vast multitude of contestants a combined total of over $70,000,000, she would be leaving the show as part of an effort to focus on other projects in her career. She finalized taping of her last episodes with the show in November 2012.


title: Meredith Vieira

text: Vieira accepted an offer to succeed Katie Couric as co-anchor of "Today" on April 6, 2006, the day after Couric announced that she would depart the show to become anchor of the "CBS Evening News". The following day, Vieira announced on "The View" that she would be leaving the show to be co-anchor of "Today", a role "View" co-host and ABC News journalist Barbara Walters had filled nearly four decades earlier during her tenure at NBC during the 1960s and 1970s. Vieira hosted the show with Matt Lauer from September 13, 2006, through June 8, 2011, also becoming a contributing anchor for "Dateline NBC".


title: Meredith Vieira

text: Vieira continued as host of "Millionaire" while appearing on "Today". As part of her contract with "Millionaire", Vieira agreed not to appear on "Today" during hours that would conflict with the airing of the game show on competing stations. As a result, she rarely appeared on the third or fourth hours of "Today". Her first appearance during the third hour came on June 25, 2008, for ""Today" Throws a Wedding". She also appeared during the entire third hour during the 2008 Beijing Summer Olympics, 2010 Vancouver Winter Olympics and the Barack Obama inauguration on January 20, 2009.


title: Meredith Vieira

text: Vieira announced on May 9, 2011, that she would depart as co-host in the following month, but would remain with "Today" in the role of special correspondent. Her last appearance as regular co-host was on June 8; she returned to the show for the Halloween broadcast on October 31, 2011, and again as special co-host with Matt Lauer in London, United Kingdom for the Diamond Jubilee of Queen Elizabeth II. She has remained with NBC in a minimized role and became a contributor to "Dateline NBC" and a correspondent on "Rock Center with Brian Williams". In January 2013, she filled in for Kathie Lee Gifford on the fourth hour of "Today", appearing alongside Hoda Kotb, and she reported the story "Inconceivable" on "Dateline NBC".


title: Meredith Vieira

text: Vieira was one of the hosts for NBC's coverage of the 2012 London Summer Olympics. She and co-host Matt Lauer were criticized for their NBC coverage of the opening ceremony. Vieira also provided some "Today" Olympics coverage during the games. Vieira co-hosted the opening ceremony of the 2014 Sochi Winter Olympics with Matt Lauer, and was slated to provide coverage during the two weeks of the games. On February 14, 2014, she became the first woman to solo anchor NBC's Olympics prime time coverage, alternated with Lauer while covering for an ailing Bob Costas.


title: Meredith Vieira

text: In July 2013, Vieira announced that she would begin hosting her own syndicated afternoon daytime talk show, "The Meredith Vieira Show", starting in September 2014, produced by NBCUniversal Television Distribution. On January 4, 2016, it was announced that the show would be ending after two seasons. The talk show aired from September 8, 2014 to May 20, 2016 and ended with 290 episodes.


title: Meredith Vieira

text: Vieira guest anchored Today with Hoda & Jenna for a few episodes in 2019, due to host Hoda Kotb being on maternity leave.


title: Meredith Vieira

text: In May 2018, Vieira co-hosted Royal Wedding Watch with Matt Baker, PBS's weeklong coverage of the wedding of Prince Harry and Meghan Markle.


title: Meredith Vieira

text: Vieira returned to daytime TV in the fall of 2019 as host of the syndicated game show "25 Words or Less" from Fox Television Stations. Based on a board game, the show pairs contestants with celebrities in an effort to guess a list of five words using less than 25 words in total.


title: Meredith Vieira

text: Vieira married CBS News journalist Richard M. Cohen on June 14, 1986. They live in Irvington, Westchester County, New York. Cohen has had multiple sclerosis since he was 25 years old, and has had two bouts of colon cancer, one in 1999 and one a year later. Vieira and Cohen have three children; their younger son, Gabe Cohen, is a reporter based in Washington state.


title: Meredith Vieira

text: Vieira joined "60 Minutes" in 1989, following the birth of her first child. Don Hewitt, executive producer of "60 Minutes", allowed her to work part-time for two seasons so she could care for her child. After that, it was arranged that she would work full-time. But after two years, she became pregnant again and asked to continue the part-time arrangement. Hewitt declined her request, firing her, and deciding instead to hire someone who would work full-time. Her departure from the show garnered headlines, as a national debate started to take place about whether women could balance both family and career. She turned down opportunities to co-host CBS's "The Early Show" and ABC's "Good Morning America" in the mid-1990s when her children were young.


title: Meredith Vieira

text: Vieira discusses her family and career decisions in the book "Divided Lives: The Public and Private Struggles of Three American Women" by Elsa Walsh.


title: Sigil of Baphomet

text: The Sigil of Baphomet is the official insignia of the Church of Satan. It first appeared on the cover of "The Satanic Mass LP" in 1968 and later on the cover of "The Satanic Bible" in 1969. The sigil has been called a "material pentagram" representational of carnality and earthy principles. The Church describes the symbol as the "...preeminent visual distillation of the iconoclastic philosophy of Satanism."


title: Sigil of Baphomet

text: The familiar goat's head inside an inverted pentagram did not become the foremost symbol of Satanism until the founding of the Church of Satan in 1966. The original goat pentagram containing the Hebrew letters at the five points of the pentagram spelling out Leviathan (לויתן), the ancient serpent from the biblical Chaoskampf, first appeared in the book "La Clef de la Magie Noire" by French occultist Stanislas de Guaita, in 1897. With the pentagram inverted, matter is ruling over spirit, a condition associated with evil. In the book, de Guaita also showed an upright pentagram with the Pentagrammaton (יהשוה) at the vertices of the pentagram. The Pentagrammaton is an esoteric version of the Hebrew name of Jesus, Yeshua, (ישוע) by adding the letter shin (ש) in the middle of the Tetragrammaton divine name Yod-He-Vav-He, (יהוה). The lower four points represented the four elements of the material world, while the uppermost point represented spirit ruling over matter. The upper Pentacle includes The concept of an inverted pentagram being a representation of evil and an upright pentagram symbolizing holiness originated with the 19th-century French occultist Eliphas Lévi. Anton LaVey, the founder of the Church of Satan based his “Sigil of Baphomet” on this image. This symbol was later used in Maurice Bessy's book "A Pictorial History of Magic and the Supernatural", with the words "Samael" and "Lilith" removed.


title: Sigil of Baphomet

text: During his years of research into the "black arts", LaVey had come across this book and added it to his collection. When he chose to turn his magic circle, the Order of the Trapezoid, into the Church of Satan, he decided that the symbol was the one which most fully embodied the principles which were the bedrock of the Satanic church. Contrary to claims made against the Church by detractors, LaVey never claimed to have created this particular symbol. In its formative years, this particular version of the symbol was utilized by the Church on membership cards, stationery, medallions and most notably above the altar in the ritual chamber of the Black House. During the writing of "The Satanic Bible", it was decided that a unique version of the symbol should be rendered to be identified exclusively with the Church. The complete graphic now known as the "Sigil of Baphomet", named such for the first time in LaVey's "The Satanic Rituals", first appeared on the cover of "The Satanic Mass LP" in 1968 and later on the cover of "The Satanic Bible" in 1969. This version was drawn by LaVey and attributed to "Hugo Zorilla" (a pseudonym used by LaVey in some of his art).


title: Sigil of Baphomet

text: The sigil, when combined with the text "The First Church of Satan", was previously trademarked by the Church of Satan, but the trademark was abandoned in 2000.


title: Church Fathers

text: The Church Fathers, Early Church Fathers, Christian Fathers, or Fathers of the Church were ancient and influential Christian theologians and writers who established the intellectual and doctrinal foundations of Christianity. The historical period in which they worked became known as the Patristic Era and spans approximately from the late 1st to mid-8th centuries, flourishing in particular during the 4th and 5th centuries, when Christianity was in the process of establishing itself as the state church of the Roman Empire.


title: Church Fathers

text: In traditional dogmatic theology, authors considered Church Fathers are treated as authoritative, and a somewhat restrictive definition is used. The academic field of patristics, the study of the Church Fathers, has extended the scope of the term, and there is no definitive list. Some, such as Origen and Tertullian, made major contributions to the development of later Christian theology, but certain elements of their teaching were later condemned.


title: Church Fathers

text: In the Catholic Church and Eastern Orthodox Church traditions there are four Fathers each who are called the "Great Church Fathers".


title: Church Fathers

text: In the Eastern Orthodox Church, three of them (Basil of Caesarea, Gregory of Nazianzus and John Chrysostom) are honored as the "Three Holy Hierarchs".