title: Nerve (2016 film)

text: The film was projected to gross around $10 million in its opening weekend and $15 million over its first five days from 2,538 theaters. The film grossed $3.7 million on its opening day and ended up finishing 8th at the box office in its opening weekend, grossing $9.4 million (a five-day total of $15.5 million).


title: Nerve (2016 film)

text: On Rotten Tomatoes, the film has an approval rating of 67% based on 138 reviews, with an average rating of 5.78/10. The site's critical consensus reads, ""Nerve"s fast pace and charming leads help overcome a number of fundamental flaws, adding up to a teen-friendly thriller with enough energy to occasionally offset its muddled execution." On Metacritic, the film has a weighted average score of 58 out of 100 based on 33 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.


title: Nerve (2016 film)

text: Scott Tobias of "Uproxx" wrote, "Though the ending surrenders to a tsk-tsk-ing morality play that turns on the mob the game (and the film) has so smartly orchestrated, "Nerve" is the rare virtual thriller that understands how social media actually works and the addictive little subcultures that can spin out of it." Dave Palmer of "The Reel Deal" gave the film 7/10, saying, "It is a lot of fun, and not even in a turn-your-brain off kind of way. The film actually has some smart things to say about teenagers, their phones and what people will do to get internet famous and it is all delivered in a colorful little package."


title: Nerve (2016 film)

text: "Nerve" has been mentioned in relation to the real-life dare game called Blue Whale Challenge, which attracted media attention starting from 2016 and shares some similarities with what's depicted in the film.


title: Pledis Entertainment

text: Pledis Entertainment () is a South Korean entertainment company founded by Han Sung-Soo in 2007. The label is home to actress Nana, Hwang Min-hyun, Baekho, and K-pop groups Seventeen and Fromis 9. Its name originates from the pleiades, a star cluster in the constellation Taurus.


title: Pledis Entertainment

text: On May 25, 2020, Hybe Corporation became the majority shareholder of Pledis Entertainment, subdivision of Hybe Corp., as an independent label.


title: Pledis Entertainment

text: Pledis Entertainment was founded in 2007. Son Dam-bi was the first artist to debut under Pledis, and was dubbed the 'female Rain' by media outlets. In its beginning stages, the agency did not have management premises, only a practice room. In January 2009, Pledis debuted its first girl group, After School. A sub-unit of After School called Orange Caramel was formed in 2010, consisting of members Nana, Lizzy and Raina.


title: Pledis Entertainment

text: In December 2010, Pledis released "Happy Pledis 1st Album", featuring After School, which included the tracks "Love Love Love" and "Someone Is You". "Happy Pledis" was a series of albums to be released annually, featuring Pledis artists, with proceeds going to charity. Proceeds from the first album were donated to Save the Children.


title: Pledis Entertainment

text: In July 2011, two further sub-units of After School were created, A.S. Red and A.S. Blue. "Happy Pledis 2nd Album", featuring Son Dam-bi, After School, Pledis Boys, and Yoo Ara, was released in December, with proceeds going to UNICEF.


title: Pledis Entertainment

text: In March 2012, Pledis debuted their first boy band NU'EST. In May 2012, the agency joint ventures with Fantagio and debuted a six-member girl group, Hello Venus.


title: Pledis Entertainment

text: On November 11, 2013, Pledis Entertainment and Chinese agency Yuehua Entertainment held a press conference titled "Yuehua Entertainment X Pledis" at the Beijing Banquet Hall, marking the start of a collaboration under which the sub-unit NU'EST-M was formed with the addition of Chinese member Jason Fulong Fei, known as JA. The six-member team performed for the first time at the press event.


title: Pledis Entertainment

text: On July 21, 2014, the partnership between Pledis and Fantagio was dissolved. The two members under Pledis, Yoo Ara and Yoonjo, left Hello Venus while the four members under Fantagio continued as a group under the same name.


title: Pledis Entertainment

text: In December 2014, Jooyeon graduated from After School after her contract expired. That month, Kahi announced to parted ways with the agency.


title: Pledis Entertainment

text: Thirteen-member boy group Seventeen debuted in May 2015, after training under the company for several years. In June 2015, Son Dam-bi parted ways with the agency after ten years.


title: Pledis Entertainment

text: In March 2016, Pledis formed a pre-debut team called "Pledis Girlz". Some of the pre-debut team members Nayoung, Roa, Yuha, Eunwoo, Rena, Kyulkyung and Xiyeon had competed in the survival show "Produce 101" and concluded the show with two members, Nayoung and Kyulkyung, debuting in the survival project girl group I.O.I. Before their debut, Pledis Girlz held concerts which the members performed weekly from May 2016 until January 2017 and also released their pre-debut single titled "WE", with the exception of Nayoung and Kyulkyung, who were still promoting with I.O.I at the time. In January 2017, Pledis Girlz concluded their weekly concerts with the announcement of the official group name Pristin, following Nayoung and Kyulkyung wrapping up their activities with I.O.I in the same months. Pristin officially debuted as a ten-member girl group in March 2017.


title: Pledis Entertainment

text: In May 2018, Lizzy graduated from After School following the expiration of her contract but remains a member of Orange Caramel.


title: Pledis Entertainment

text: In June 2018, it was confirmed that After School member Kaeun and Huh Yunjin, a Korean-American trainee, would participate in the survival show series "Produce 48". At the end of the show, it was revealed that Kaeun placed 14th overall and Yunjin placed 26th. Both failed to make it into the final lineup of the winning group, Iz*One. Yunjin was later signed to Source Music and debuted as an member of Le Sserafim in May 2022.


title: Pledis Entertainment

text: On May 24, 2019, Pristin was officially disbanded. Pledis announced that while Kyulkyung, Yehana, and Sungyeon would stay with the company, the remaining seven (Xiyeon, Rena, Roa, Kyla, Nayoung, Yuha, and Eunwoo) would be departing.


title: Pledis Entertainment

text: After reuniting for the first time in almost two years, NU'EST announced their contract renewal with Pledis Entertainment.


title: Pledis Entertainment

text: On December 20, 2019, Han Dong-geun parted ways with Pledis Entertainment. On December 27, 2019, Raina graduated from After School following the expiration of her contract.


title: Pledis Entertainment

text: On January 16, 2020, After School's E-Young announced that she has left Pledis Entertainment with the expiration of her contract.


title: Pledis Entertainment

text: On May 25, 2020, Hybe Corporation, formerly Big Hit Entertainment, officially announced the acquisition of a majority shareholder of Pledis Entertainment. It was also announced that Pledis Entertainment will receive financial and expertise support from Hybe Labels while still operating as an independent label. On October 18, 2020, Fair Trade Commission officially approved Hybe Corp.’s acquisition of Pledis Entertainment.


title: Pledis Entertainment

text: On March 22, 2021, Pledis Entertainment, as well as the other labels part of Hybe Labels, moved to its new headquarters in the Yongsan Trade Center, the new headquarters of Hybe Corporation. On March 31, 2021, the official website of Pledis Entertainment in its "Company" section changed its physical address to the new building in Yongsan, Seoul.


title: Pledis Entertainment

text: On August 16, 2021, it was announced that the girl group fromis 9 would be managed by Pledis Entertainment and they would be leaving Off The Record after the release of their single album "9 Way Ticket" in May 2021 as the agency would be taking over all management of the group following their transfer to the agency.


title: Pledis Entertainment

text: In December 2021, Nana has re-signed her contract with Pledis Entertainment. This is her third contract renewal with the agency within 12 years since her debut in 2009.


title: Pledis Entertainment

text: On February 28, 2022, it was announced that NU'EST's exclusive contract with Pledis Entertainment will end on March 14, 2022. It was also announced that members Aron, JR and Ren will leave the agency at the conclusion of their contract, while Baekho and Minhyun opted to renew. With the news of their contract expiring, the NU'EST members confirmed the group's disbandment through handwritten letters to their fans, announcing their decision to go their own separate ways.


title: Pledis Entertainment

text: On July 28, 2022, Pledis Entertainment announced that member Jang Gyu-ri would be leaving fromis 9 on July 31. The company explained in their statement that when the group transferred to Pledis, every member signed a new exclusive artist contract with the company, however, Gyuri chose not to. After lengthy discussion about what is the best direction for each other, Gyuri chose not to sign a contract and embark on a new journey.


title: The Political Compass

text: The Political Compass is a website which uses responses to a set of 62 propositions to rate political ideology in a political spectrum with two axes: economic (left–right) and social (authoritarian–libertarian).


title: The Political Compass

text: The website does not reveal the people behind it, beyond the fact that it seems to be based in the United Kingdom. At the bottom of any page on the website, it is stated that the copyright of "The Political Compass", which is claimed as a trademark, belongs to an organisation named Pace News Limited. Pace News Limited is a company registered in New Zealand whose director is political journalist Wayne Brittenden. According to "The New York Times", the site is the work of Brittenden.


title: The Political Compass

text: According to Tom Utley, writing in "The Daily Telegraph", the site is connected to One World Action, a charity founded by Glenys Kinnock. An early version of the site was published on One World Action's web server.


title: The Political Compass

text: The underlying theory of the political model used by "The Political Compass" is that political ideology may be better measured along two separate, independent axes. The economic (left–right) axis measures one's opinion of how the economy should be run: "left" is defined as the desire for the economy to be run by a cooperative collective agency, which can mean the state but also a network of communes, while "right" is defined as the desire for the economy to be left to the devices of competing individuals and organizations.


title: The Political Compass

text: The other axis (authoritarian–libertarian) measures one's political opinions in a social sense, regarding the amount of personal freedom that one would allow: "libertarianism" is defined as the belief that personal freedom should be maximised, while "authoritarianism" is defined as the belief that authority should be obeyed. This makes it possible to divide people into four quadrants: authoritarian left (marked by red and placed in the top left), authoritarian right (blue in the top right), libertarian right (yellow or purple in the bottom right), and libertarian left (green in the bottom left). The makers of the Political Compass say that the quadrants "are not separate categories, but regions on a continuum".


title: The Political Compass

text: A number of other multi-axis models of political thought exist and some are based on similar axes to "The Political Compass," most famously the Nolan Chart, developed by the American libertarian, David Nolan. A similar chart appeared in 1970 in "The Floodgates of Anarchy" by Albert Meltzer and Stuart Christie and in 1968 in the "Rampart Journal of Individualist Thought" by Maurice C. Bryson and William R. McDill. Other online political quizzes also use the same two axes to improve upon the more primitive left-right political spectrum, such as iSideWith.com. There also are multiple other similar websites that have a compass but with different algorithms, such as Sapply and Spekd.


title: The Political Compass

text: The website does not explain its scoring system. A number of writers, including Tom Utley and Brian Patrick Mitchell, have criticised its validity.


title: Elefant

text: The Elefant (German for "elephant") was a heavy tank destroyer used by German Wehrmacht Panzerjäger during World War II. Ninety-one units were built in 1943 under the name Ferdinand, after its designer Ferdinand Porsche, using VK 45.01 (P) tank hulls produced for the Tiger I tank design abandoned in favour of a Henschel design.


title: Elefant

text: In January to April 1944, "Ferdinands" received modifications and upgrades. They were renamed "Elefant" in May 1944. The official German designation was Panzerjäger Tiger" (P) and the ordnance inventory designation was Sd.Kfz." 184.


title: Elefant

text: Porsche GmbH had manufactured about 100 chassis for their unsuccessful proposal for the Tiger tank, the "Porsche Tiger", in the Nibelungenwerk factory in Sankt Valentin, Austria. Both the successful Henschel proposal and the Porsche design used the same Krupp-designed turret—the Henschel design had its turret more-or-less centrally located on its hull, while the Porsche design placed the turret much closer to the front of the superstructure. Since the competing Henschel Tiger design was chosen for production, the Porsche chassis were no longer required for the Tiger tank project. It was therefore decided that the Porsche chassis were to be used as the basis of a new heavy panzerjäger, "Ferdinand", mounting Krupp's newly developed "Panzerjägerkanone 43/2" (PaK 43) anti-tank gun. This precise long-range weapon was intended to destroy enemy tanks before they came within their own range of effective fire.


title: Elefant

text: The "Ferdinand" was intended to supplant previous light "panzerjäger"s, such as the "Marder II" and "Marder III", in the offensive role. A similar gun was used in the lightly armored "Hornisse" (later known as "Nashorn") tank destroyer, built at the same time.


title: Elefant

text: The petrol–electric transmission made it much easier to relocate the engines than would be the case on a mechanical-transmission vehicle (the engines can be mounted anywhere, and only the length of the power cables needs to be altered, as opposed to re-designing the driveshafts and locating the engines for the easiest routing of powershafts to the gearbox), so without the forward-mounted turret of the Porsche Tiger prototype, the twin engines were relocated to the front, where the turret had been, leaving room ahead of them for the now-isolated driver and assistant-driver only. The now empty rear half of the hull was covered with a heavily armored, full five-sided casemate with slightly-sloped upper faces and armored solid roof, and turned into a crew compartment, mounting a single 8.8 cm Pak 43 cannon in the forward face of the casemate. The initial "Ferdinand" conversions were thus among the first physical examples of what became known as the dedicated "Jagdpanzer" tank destroyers, all of which had completely enclosed casemates, but most of which were designed with the casemate as an integral component of the vehicle's hull armor from the start; the Ferdinand was more of a cross between the earlier, thinly armored, high-profile, "three-side" (open-top/rear) "Panzerjäger" and the later, more heavily armored, lower-profile, rear-engined "Jagdpanzer". The driver and assistant driver were in a separate compartment at the front. As the engines were placed in the middle, the assistant driver and the driver were isolated from the rest of the crew and could be addressed only by intercom.


title: Elefant

text: Add-on armor of 100 mm was bolted to the front plates, increasing the plate's thickness to 200 mm and adding another 5 tonnes of weight.


title: Elefant

text: The two Porsche air-cooled engines in each vehicle were replaced by two 300 PS (296 hp; 221 kW) Maybach HL120 TRM engines. The engines drove a single Siemens-Schuckert 500 kVA generator each, which powered two Siemens 230 kW (312.7 PS) individual-output electric motors, one each connected to each of the rear sprockets. The electric motors also acted as the vehicle's steering unit. This "petrol-electrical" drive delivered 0.11 km/L (909 litres/100 km or 0.26 miles per gallon) off-road and 0.15 km/L (667 litres/100 km or 0.35 mpg) on road at a maximum speed of 10 km/h off-road and 30 km/h on road. In addition to this high fuel consumption and poor performance, the vehicle was maintenance-intensive; the sprockets needed to be changed every 500–900 km. Porsche had experience of this form of petrol-electric transmission extending back to 1901, when he designed a car that used it.


title: Elefant

text: Suspension for the "slack track" equipped "Ferdinand" consisted of six twin bogies (three per side) with longitudinal torsion bars, without any overlapping wheels or return rollers. There are sprockets at both ends of the vehicle. The drive sprockets are at the rear, while the front pair contain a drum brake system.


title: Elefant

text: The vehicle was fitted with an 88 mm "Panzerjägerkanone" 43/2 gun (early designation "8,8 cm Stu.K. 43/1"). This 71 caliber-long gun had originally been developed as a replacement for the well-known 88 mm anti-aircraft gun that had been used against Allied tanks in the Western Desert Campaign and on the Eastern Front. It had a much longer barrel than the L/56 guns, which gave it a higher muzzle velocity, and fired a different, longer cartridge. These improvements gave the 88 mm L/71 significantly improved armor penetration ability over the earlier 88 mm. Although it lost the competition to the 8.8 cm Flak 41 and never became an anti-aircraft weapon, it was turned into the very successful Pak 43 anti-tank gun.


title: Elefant

text: Ninety-one existing "Porsche Tiger" chassis were converted (chassis number 150010 to 150100). The work was completed in just a few months from March to May 1943. Three Bergepanzer Ferdinands (the recovery vehicle variant of the Ferdinand tank destroyer) were produced at the Nibelungenwerke in summer 1943.


title: Elefant

text: "Ferdinands" first saw combat in the Battle of Kursk, where eighty-nine were committed, the largest deployment of the vehicle during its service.


title: Elefant

text: The "Ferdinand" was optimized for destroying Soviet T-34 tanks and 76.2 mm anti-tank guns from behind the front lines with its 88 mm gun at a range of over 3 kilometres, a role which it performed well. Its most significant problem at Kursk was mine damage and mechanical failure. Any damage to the tracks or suspension negated the protection of the armor, as crews were forced to dismount and attempt repairs. The immense weight of the "Ferdinand" made towing difficult: the standard armored recovery vehicle in German service at the time was the "Bergepanzer IV", a variant of the "Panzer IV" that could tow a single "Panzer" IV without assistance. It was insufficient for larger vehicles, with a Tiger I heavy tank requiring three Bergepanzer IVs to be towed, and the "Ferdinand" requiring five linked in tandem to pull the vehicle off the field.


title: Elefant

text: In addition, the "Ferdinand" was hampered by flaws such as the lack of peripheral vision blocks, or a machine gun as secondary defensive armament. Apocryphal reports say that Soviet infantry, quickly recognizing this flaw, could easily hide in their trenches until the "Ferdinand" advanced through their lines, then swarm the vehicle with grenades and Molotov cocktails from the sides. However, losses to Soviet infantry are disputed in after-action reports. On the other hand, Heinz Guderian himself complained that the "Elefant", much as other failed designs, suffered from lack of close-range protection against infantry assaults.


title: Elefant

text: In the initial stages of the Kursk battle, when the Germans were on the offensive, heavy vehicles could be recovered and repaired with relative peace at night; this at first allowed the majority of knocked-out "Ferdinands" to be rescued, repaired and returned to duty. However, once the tide of battle had turned against the Germans and they fell back on the defensive, with fewer vehicles to spare, functional "Ferdinands" with minor damage to their tracks or suspensions had little hope of recovery, and crews were usually forced to destroy the vehicle to prevent a mostly intact "Jagdpanzer" from falling into the hands of the Soviets.


title: Elefant

text: The units were deployed at a company level, sometimes sub-divided into platoons, with infantry or tanks in accompaniment to protect the flanks and rear of the vehicles. On the attack, this "Jagdpanzer" was a first-strike vehicle; while in defence, they often comprised a mobile reserve used to blunt enemy tank assaults.


title: Elefant

text: The surviving "Ferdinands" fought various rear-guard actions in 1943 until they were recalled to be modified and overhauled, partially based on battle experience gained in the Battle of Kursk. Returned to the Nibelungenwerke factory in Austria, on 2 January 1944, upgrades commenced on 48 of the 50 surviving vehicles. The most visible exterior upgrades were 1) the addition of a ball-mounted MG 34 in the hull front, 2) a new commander's cupola (modified from the standard StuG III cupola) for improved vision, 3) re-designed armored engine grates (for better bullet and shrapnel protection) and 4) the application of "Zimmerit" anti-magnetic mine paste.


title: Elefant

text: issued to the 1st company of 653rd Heavy Panzerjäger Battalion (German: "schwere Panzerjäger-Abteilung 653", "sPzJgrAbt 653"), which was immediately deployed in Italy in response to the Allied landing at Anzio-Nettuno. The remaining 37 vehicles were completed in April, issued to the 2nd and 3rd companies of "sPzJgrAbt" 653, and sent by train to the Tarnopol battles in Ukraine.


title: Elefant

text: On 1 May 1944, German Army High Command, Oberkommando des Heeres (OKH) issued an order to formally change the panzerjäger's name from "Ferdinand" to "Elefant". This order forbade future use of "Ferdinand" and even directed units in the field to edit their records. This is contrary to popular belief that the name change was linked to the January–April mechanical upgrades to the "Ferdinand" panzerjäger; the name change was purely administrative in nature.


title: Elefant

text: Three "Bergepanzer Elefant" armoured recovery vehicles were converted from Ferdinand/Elefant hulls and issued with the 2nd and 3rd companies of sPzJgrAbt 653 to the East in the summer of 1944.


title: Elefant

text: Although the modifications improved the vehicles, some problems could never be fully fixed. In 1944, the "Ferdinand/Elefants" served on the Italian front, but were rather ineffective as their weight of nearly 70 tonnes did not allow them to use most Italian roads and bridges. As at Kursk, most losses were not as a direct result from combat, but resulted when mechanical breakdowns and lack of spare parts compelled their crews to destroy and abandon them. One company of "Elefants" saw action during the Soviets' January 1945 Vistula–Oder offensive in Poland, and the last surviving vehicles were in combat at Zossen during the Battle of Berlin.


title: Elefant

text: The "Ferdinand"/"Elefant" may have been the most successful mass produced tank destroyer employed during the war in kills per loss, reaching an average claimed ratio of approximately 10:1. During the Battle of Kursk, sPzJgrAbt 653 claimed to have knocked out 320 enemy tanks, for the loss of 13 "Ferdinands". This impressive average ratio was due to its superior firepower and protection, which gave it an enormous advantage when used in head-on combat or a static defensive role (however note that "claimed" tank kills are well-proven to invariably greatly exceed "actual" kills, and different organizations have different standards of defining a 'kill'). However, poor mobility and mechanical unreliability greatly diminished its operational capability.


title: Elefant

text: The "Elefant" and "Nashorn" were both superseded by the "Jagdpanther". All three vehicles mounted the same gun, with only some minor differences between them. The "Jagdpanther"—a true "jagdpanzer"—was a successor to the other two, combining acceptable mobility and good, sloped armour while retaining the excellent gun, mostly solving the reliability, mobility, and/or protection problems that the earlier vehicles had.


title: Elefant

text: One "Ferdinand" was captured by Soviet forces at Kursk, and it was sent to NII BT testing facility in Kubinka, Moscow for testing. It was on display at the Kubinka Tank Museum outside Moscow. Its gun mantlet was painted red. Its chassis number was unknown, either No. 150090 or No. 501.


title: Elefant

text: An "Elefant", numbered "102" of sPz. Jgr. Abt 653, was captured at Anzio by the Americans, and is now part of the United States Army Ordnance Training Support Facility's collection at Fort Lee, VA. The example at Fort Lee was restored to display condition in 2007–2008, as documented on the show "Tank Overhaul", but not in its original paint scheme. The Fort Lee "Elefant" was loaned to the Bovington Tank Museum in Dorset, UK as part of the museum's "Tiger Collection" display from April 2017 until January 2019, and later returned to the United States. This display brought all the members of the Tiger family together in one place for the first time.


title: Miss Fisher's Murder Mysteries

text: Miss Fisher's Murder Mysteries is an Australian drama television series. It was first broadcast on ABC on 24 February 2012. It is based on author Kerry Greenwood's historical mystery novels, and it was created by Deb Cox and Fiona Eagger. The series revolves around the personal and professional life of Phryne Fisher (Essie Davis), a glamorous private detective in 1920s Melbourne. Three series have been broadcast, and a feature film titled "Miss Fisher and the Crypt of Tears" was released in February 2020. A television spin-off "Ms Fisher's Modern Murder Mysteries" was broadcast in 2019. "Miss Fisher's Murder Mysteries" has been aired in over 100 countries and territories.


title: Miss Fisher's Murder Mysteries

text: "Miss Fisher's Murder Mysteries" revolves around the personal and professional life of Phryne Fisher (Essie Davis), a glamorous private detective in late 1920s Melbourne. In the first series, a running theme is the kidnapping and death of Phryne's younger sister Janey when they were children watching a circus, a crime that still haunts Phryne, feeling she should have protected her sister.


title: Miss Fisher's Murder Mysteries

text: The first thirteen-part series was filmed over a six-month period in and around Melbourne from July 2011 and each episode had a budget of A$1 million. The drama has been bought by broadcasters in 120 countries and territories worldwide. A second series was commissioned in August 2012 and filming began in February 2013. The series began airing from 6 September 2013 and concluded with a Christmas special on 22 December 2013. A third series was commissioned in June 2014 and began airing on 8 May 2015.


title: Miss Fisher's Murder Mysteries

text: Head writer and producer of the series, Deb Cox, has said that she and Fiona Eagger were looking to adapt a crime novel for television and believed the Australian Broadcasting Corporation (ABC) were looking for a prime-time crime series for their network. The producers were disappointed by what they initially found and Cox explained: "It takes so long to raise the finance and script and produce a television series, so you need to feel it's worthwhile—both financially and philosophically. It was hard to find a reason to bring stories about psychotic killers and serial murderers to the screen." Cox and Eagger then came across Kerry Greenwood's Phryne Fisher murder mystery series and were drawn to them because of their diverse fan base.


title: Miss Fisher's Murder Mysteries

text: Eagger said that they were curious to discover what made the series appeal to all generations. Eagger told a writer for "If Magazine", "We were a bit curious to know what it was about it that could appeal to a 16-year-old and a 70-year-old. Phryne is one of the first feminists. She chooses to live alone, she chooses not to get married. She's got many lovers. She's a bit of a James Bond action hero—she's much better dressed than James Bond though." Cox and Eagger realised that the novels reflected their moral values and fit in with their style of storytelling, so they began adapting them.


title: Miss Fisher's Murder Mysteries

text: Cox and Eagger initially thought adapting novels would be easier than writing an original screenplay, but soon discovered that it was not. Speaking to Andrew Wrathall from Fancygoods.com.au, Cox stated, "It takes a whole new set of skills to preserve what's most important in the stories, rationalise the impossible, gather what's left into a cohesive whole and still reflect the boundless worlds of imagination encouraged in the readers' minds by a few hundred words on paper—in a way that's achievable in production terms!" She added that the restrictions tested their limits of creativity and inventiveness. Greenwood was invited to the first brainstorming session for the series and provided the producers with answers to their questions and helped with the historical background to the novels. The author would read the scripts and help make corrections. Cox praised Greenwood's ability to write for the screen and accept the changes they made to the novels.


title: Miss Fisher's Murder Mysteries

text: In June 2011, it was announced that the ABC had commissioned a thirteen-part series to air on their ABC1 channel the following year. The drama was originally titled "The Phryne Fisher Murder Mystery Series", but was changed on the advice of distributor All3Media, who wanted to avoid having to tell international broadcasters how to pronounce Phryne's name.


title: Miss Fisher's Murder Mysteries

text: The first series was filmed over a six-month period in and around Melbourne from July 2011. Greenwood had researched the history of the city "meticulously" for the novels, so the producers were keen to do the same. While they used some real locations, others were recreated, including a Turkish bathhouse and the Eastern Market. The interior of Phryne's house was built on a sound stage at the ABC's studio in Elsternwick. The historic house Wardlow in Parkville, Victoria was used as the exterior to the house. A number of National Trust houses provide settings including Rippon Lea Estate at Elsternwick, Labassa at Caulfield North and Como House in South Yarra. Each episode had a budget of $1 million. Eagger said "I wanted every cent on screen. I wanted the steam train, I wanted the plane, I wanted the ocean liner and the Hispano-Suiza. It stretched everyone, it really made people bleed." ABC TV, Film Victoria, Screen Australia and distributor All3Media funded the series.


title: Miss Fisher's Murder Mysteries

text: The second series was approved for Screen Australia funding in July 2012. Filming began on 18 February 2013 in Melbourne. The shoot wrapped on 9 August.


title: Miss Fisher's Murder Mysteries

text: On 6 August 2012, Michael Idato from "The Sydney Morning Herald" said that the ABC had commissioned a second series of "Miss Fisher's Murder Mysteries". Idato reported the second series would go into production later in the year. ABC's Head of Fiction, Carole Sklan, stated "ABC TV is delighted to be bringing a second series of "Miss Fisher's Murder Mysteries" to the screen. The first series proved an instant hit with viewers and Every Cloud Productions has again assembled a stellar cast and team for 13 more exciting, intriguing, and unpredictable mystery stories."


title: Miss Fisher's Murder Mysteries

text: The second series is based on Greenwood's novels "Dead Man's Chest", "Unnatural Habits" and various short stories. Cox commented that she and Eagger were "thrilled" that many of the cast and crew from the first series were returning. The second series premiered on 6 September 2013.


title: Miss Fisher's Murder Mysteries

text: In February 2014, ABC TV channel controller Brendan Dahill told David Knox from TV Tonight that a third series of "Miss Fisher's Murder Mysteries" had yet to be commissioned. Dahill explainedThe position we are in is an embarrassment of riches—tons of successful series and at some point Carole (Sklan, Head of Fiction) and I need to sit down and work out how many of the successful shows we can afford to return, without standing still, and still doing new stuff. Woven into that we obviously need to know how much money we think we're going to have.Knox added that there were fears funds to the broadcaster could be cut. Colin Vickery, writing for news.com.au, reported that another reason "Miss Fisher's Murder Mysteries" had not been green-lit for a third series was due to ABC wanting to attract a younger audience. Vickery also said that if the show was given a third series it would not air until 2015.


title: Miss Fisher's Murder Mysteries

text: On 13 June 2014, it was confirmed that "Miss Fisher's Murder Mysteries" had been commissioned for a third series. ABC renewed the series after a social media campaign run by fans of the show. The third series began shooting in mid-October 2014 in Melbourne and wrapped on 23 January 2015. Eagger told "If Magazine"s Emily Blatchford that all of the cast would be returning, and admitted that the writers wanted to add some magic to the series and include an episode set in the military. She also hinted that there might be a wedding. Eagger added "It's a tough time for the ABC so we are thrilled they are able to bring us back, and to have that support from Film Victoria as well." The third series began airing from 8 May 2015.


title: Miss Fisher's Murder Mysteries

text: The costume designer for the series was Marion Boyce. She told ABC's Darren Smith that she loves the 20s and 30s and thought the opportunity to work on a show in her hometown (Melbourne) was "fantastic." Boyce had eight weeks' pre-production, but she said that she began putting stuff together early on. She stated "After those eight weeks, we had 16 days to complete the next two episodes. It was a fast and furious process, and the series included circuses, bohemian nightclubs and the docks. Each episode is quite different from the rest." The costume department included one cutter, one sewer, a costume coordinator and a buyer who was also an art finisher. Boyce called the team "incredibly talented", as they had to do a lot of different jobs. The team, Mandy Murphy and Gareth Blaha, the head of the ABC's Costume Department, along with two milliners, made some of the hats. Boyce and her team created around 120 costumes for the series, including sleepwear, daywear, nightwear and special-occasion outfits.


title: Miss Fisher's Murder Mysteries

text: Boyce explained that while vintage pieces were incorporated into the series, the department designed the majority of costumes. Cox told Alexandra Spring from "Vogue Australia" that some of the costumes were sourced from eBay and vintage shops. Cox said "Once you go back to the 1920s, things have either deteriorated or they are too small because the women were smaller, so it means a lot of it has to be made from scratch." The fabrics were taken from Boyce's own collection and fabric stores in Melbourne and Sydney. The designer admitted that parting with some of the fabrics was difficult, as she had had some of them for around 25 years. Boyce told Smith that at the end of filming, the costumes that were hired were returned: those made from fabric bought by the ABC were sent back to them, and those made from fabrics out of Boyce's own collection came back to her.


title: Miss Fisher's Murder Mysteries

text: Boyce explained that Phryne is "completely fluid" and has "an extraordinary amount of energy", so she wanted her outfits to move with her when she went from room to room. When it came to Dot, Boyce designed her wardrobe with her religion and position in society in mind. Dot's clothes are more buttoned up, so she does not show off her body parts. Boyce commented "She was a really nice contrast to Phryne and a lot more conservative. Dot has nice tweeds and cardigans."


title: Miss Fisher's Murder Mysteries

text: Distribution of "Miss Fisher's Murder Mysteries" was acquired in 120 territories worldwide. The Canadian broadcaster Knowledge Network began airing the series at 8:30 pm on 5 October 2012. The UKTV network acquired the broadcasting rights to "Miss Fisher's Murder Mysteries" in the United Kingdom in September 2012. Series 1 premiered on the network's Alibi channel on 11 February 2013.


title: Miss Fisher's Murder Mysteries

text: French broadcaster France 3 acquired "Miss Fisher's Murder Mysteries" in January 2013, while Alibi and the Knowledge Network renewed their deals to air Series 2. Alex Farber of "Broadcast" reported that Norway's TVNorge, Poland's Canal+, and Eastern Europe's Viasat networks had also picked up the show. The series began airing on Italy's Rai 1 channel on 31 July 2013.


title: Miss Fisher's Murder Mysteries

text: The series first became available in North America on Acorn TV only. "Miss Fisher's Murder Mysteries" premiered in the United States on PBS in 2013 with further stations broadcasting the series in the Autumn, and others more in 2014. The series premiered on Ovation in the US as well along with the PBS broadcast in 2016. But the series still continues to air past the point it went off on PBS after it ended.


title: Miss Fisher's Murder Mysteries

text: There has been minor censorship on at least some American Public Television stations. In the episode "Murder in Montparnasse," Miss Fisher had posed for a full frontal nude painting as a young woman. When the painting was seen in the episode, portions of it were blurred. There was no blurring on Netflix.


title: Miss Fisher's Murder Mysteries

text: Netflix holds broadcasting rights for all three series in several countries, including the United States, Denmark, United Kingdom, France, Germany, Italy, Japan and Canada. It also currently hold rights for the first two series in the Australian market in association with ABC TV and ABC Commercial.


title: Miss Fisher's Murder Mysteries

text: "Miss Fisher's Murder Mysteries - OST", a CD collection featuring various artists used as music on the show, was released in Australia by ABC Commercial on 27 April 2012. The compilation included the series' theme music by Greg J. Walker. The selections were made available simultaneously on iTunes. The soundtrack for Series 2 was released on 15 November 2013, and for Series 3 on 1 May 2015. The official soundtrack for the series featuring music composed by Greg J. Walker was released on iTunes on 10 June 2014.


title: Miss Fisher's Murder Mysteries

text: Episodes 1–7 were released on DVD in Region 4 on 3 May 2012, while episodes 8–13 were released on 7 June 2012. The series was also released on Blu-ray. Series 1 was released as a DVD box set by ABC Commercial in November 2012. Series 2 was released on DVD as a box set by Acorn Media on 27 May 2014. The complete series (1–3) was released as a DVD box set by ABC Commercial on 4 November 2015.


title: Miss Fisher's Murder Mysteries

text: "Miss Fisher's Murder Mysteries" became available for streaming and VOD on Netflix in the U.S. in September 2014. It became available in the United Kingdom in June 2015, in Canada in March 2016, and in Australia/New Zealand in April 2017. The series became available on Amazon Video on 16 May 2016.


title: Miss Fisher's Murder Mysteries

text: A stand-alone action-adventure feature film picked up the story from the end of the third series. It wrapped production in November 2018 and stars Essie Davis, Nathan Page, and other members of the original television series, along with new guest stars Rupert Penry-Jones, Daniel Lapaine and Jacqueline McKenzie. The film was budgeted at $8 million and was directed by Tony Tilse.


title: Miss Fisher's Murder Mysteries

text: Since 2016, there had been speculation on the possibility that the television series would be made into a feature film. In May 2016, Essie Davis acknowledged interest in playing Miss Fisher in a film. "[We’re] just working out the ideas of how to make it bigger and better and more fabulous than the TV show," she said. Later that year, it was revealed that plans were afoot to produce a trilogy of Phryne Fisher films.


title: Miss Fisher's Murder Mysteries

text: In April 2017, a photo was published on the official "Miss Fisher Murder Mysteries" Instagram account showing Essie Davis and Nathan Page holding advance copies of a film script titled "Miss Fisher and the Crypt of Tears". On 14 September 2017, a crowdfunding campaign was launched on Kickstarter in support of the film. On 15 December 2017, an additional ongoing crowdfunding campaign was begun through IndieGoGo in order to allow fans to continue supporting the effort. The original campaign reached its goal of $250,000 in less than 48 hours. Filming began in October 2018 and was completed by 27 November 2018.


title: Miss Fisher's Murder Mysteries

text: A television spin-off, titled "Ms Fisher's Modern Murder Mysteries", was announced in July 2018 and first aired in 2019. The new series follows Phryne Fisher's niece, Peregrine Fisher, in mid-sixties mod-era Melbourne, as she inherits her aunt's home and car and becomes a private detective in her own right. The series aired on the Seven Network in Australia followed by an international release. Geraldine Hakewill leads the cast as Peregrine Fisher. Joel Jackson is Detective James Steed, while Catherine McClements portrays "Birdie, an ex-member of WW2 Special Forces who is the president and mastermind of The Adventuresses’ club".


title: Miss Fisher's Murder Mysteries

text: A Mandarin language version of the television show was produced by the Shanghai 99 Visual Company, Tencent Penguin Film and talent management company Easy Entertainment. It consists of 30 episodes, starring Ma Yili and Gao Weiguang. Known as "Miss S.", the series is set in Shanghai in the 1930s. The creators of "Miss Fisher's Murder Mysteries" assisted in the making of this series. It first aired on August 28, 2020.


title: Miss Fisher's Murder Mysteries

text: While reviewing the first episode, David Brown from the "Radio Times" commented "Just when you thought that all variations of the amateur-detective genre had been explored, along comes Miss Phryne Fisher, who sashays through the jazz clubs of late 1920s Ballarat, tackling villains with her pearl-handled pistol. The plot's hardly revolutionary, but it is worth watching for lead actress Essie Davis, with her sleek bob and killer cheekbones, who runs bad guys to ground with both wit and raunch."


title: Assault on Precinct 13 (1976 film)

text: Assault on Precinct 13 is a 1976 American action thriller film written, directed, scored, and edited by John Carpenter. Austin Stoker stars as a police officer who defends a defunct precinct against a relentless criminal gang, along with Darwin Joston as a convicted murderer who helps him. Laurie Zimmer, Tony Burton, Martin West, and Nancy Kyes co-star as other defenders of the precinct.


title: Assault on Precinct 13 (1976 film)

text: Carpenter was approached by producer J. Stein Kaplan to make a low-budget exploitation film for under $100,000, on the condition that Carpenter would have total creative control. Carpenter's script, originally titled "The Anderson Alamo", was inspired by the Howard Hawks Western film "Rio Bravo" and the George A. Romero horror film "Night of the Living Dead". Despite controversy with the MPAA over a scene involving the violent killing of a young girl, the film received an R rating and opened in the United States on November 5, 1976.


title: Assault on Precinct 13 (1976 film)

text: "Assault on Precinct 13" was initially met with mixed reviews and unimpressive box-office returns in the United States, but when the film premiered in the 1977 London Film Festival, it received an ecstatic review by festival director Ken Wlaschin that led to critical acclaim first in Britain and then throughout Europe. It has garnered a cult following and reappraisal from critics, with many evaluating the film as one of the best action films of its era and of Carpenter's career. A remake was released in 2005, directed by Jean-François Richet and starring Ethan Hawke and Laurence Fishburne.


title: Assault on Precinct 13 (1976 film)

text: In South-Central Los Angeles, a local gang, Street Thunder, steals a cache of assault rifles and pistols. At 3:00 am on a Saturday in Anderson, a crime-infested ghetto, a team of heavily-armed LAPD officers ambush and kill six members of the gang. Later, the gang's four warlords swear a blood oath of revenge against the police and the citizens of Los Angeles.


title: Assault on Precinct 13 (1976 film)

text: During the day, three sequences of events occur parallel to one another: First, Lieutenant Ethan Bishop, a newly promoted highway patrol officer, is assigned to take charge of the decommissioned Anderson police precinct during the last few hours before it is permanently closed. Only a skeleton staff remains, composed of Sergeant Chaney and the station's two secretaries, Leigh and Julie. Across town, two of the Street Thunder warlords, along with two other gang members, drive around the neighborhood looking for people to kill. One of the warlords shoots and kills a little girl, Kathy, and the driver of an ice-cream truck. Kathy's father, Lawson, pursues and kills the warlord and the other gang members chase him into the Anderson precinct. In shock, Lawson is unable to communicate to Bishop or Chaney what has happened to him.


title: Assault on Precinct 13 (1976 film)

text: Just before this, a prison bus commanded by Starker stops at the station to find medical help for one of three prisoners being transported to the state prison. The prisoners are Napoleon Wilson, Wells, and Caudell, who is sick. As the prisoners are put into cells, the telephone lines go dead, and when Starker prepares to put the prisoners back on the bus, the gang opens fire on the precinct, using weapons fitted with silencers. In seconds, they kill Chaney, the bus driver, Caudell, Starker, and the two officers accompanying Starker. Bishop unchains Wilson from Starker's body and puts Wilson and Wells back into the cells. When the gang members cut the station's electricity and begin a second wave of shooting, Bishop sends Leigh to release Wells and Wilson, and they help Bishop and Leigh repel an attempted invasion, though Julie is killed in the firefight and Leigh is shot in one arm.


title: Assault on Precinct 13 (1976 film)

text: Meanwhile, the gang members remove all evidence of the skirmish to avoid attracting outside attention. Bishop hopes that someone has heard the police weapons firing, but the neighborhood is too sparsely populated for nearby residents to pinpoint the location of the noise. Wells is chosen to sneak out of the precinct through the sewer line and hot-wire a car, but is killed by a gang member hiding in the back seat. However, two police officers responding to reports of gunfire find the dead body of a telephone repairman hanging from a pole near the police station and call for backup.


title: Assault on Precinct 13 (1976 film)

text: As the gang rallies for an all-out final assault, Wilson, Leigh, and Bishop retreat to the basement, taking the still-catatonic Lawson with them. The gang then storms the building and rushes the survivors, who protect themselves with a large, durable sign. Bishop shoots a tank full of acetylene gas, which explodes and kills all the gang members in the basement. The remainder of the gang flees as more police support arrives to secure the station. Venturing down into the basement, the police officers find dozens of dead and badly-burned gang members strewn about the hallway; the only survivors are Bishop, Leigh, Wilson, and Lawson. Lawson is wheeled out on a stretcher, while Leigh refuses medical help for the gunshot wound in her arm and walks off. An officer tries to cuff Wilson, but Bishop angrily stops him and asks Wilson to walk out of the station with him.


title: Assault on Precinct 13 (1976 film)

text: Following the release of "Dark Star", "Assault" and a second script entitled "Eyes" were supposed to be two low-budget films written and directed by John Carpenter, with financing by J. Stein Kaplan. After reviewing the first draft of "Assault" and following the sale of the script "Eyes" to Barbra Streisand and Jon Peters, later renamed "Eyes of Laura Mars", Kaplan and Kaufman concentrated on just "Assault". "J. Stein Kaplan was a friend of mine from USC," said Carpenter. "He knew Joseph Kaufman from his days in Philadelphia … Basically their fathers were funding "Assault on Precinct 13"". The two families of the producers formed the CKK Corporation to finance the film.


title: Assault on Precinct 13 (1976 film)

text: Carpenter had hoped to make a Howard Hawks-style Western like "El Dorado" or "Rio Lobo", but when the $100,000 budget prohibited it, Carpenter refashioned the basic scenario of "Rio Bravo" into a modern setting. Carpenter employed the pseudonym "John T. Chance" for his original version of the script, entitled "The Anderson Alamo", but he used his own name for the writing credit on the completed film. The script was written in eight days. Carpenter joked, "The script came together fast, some would say "too" fast."


title: Assault on Precinct 13 (1976 film)

text: Carpenter's script makes many allusions to film history and inspirations for this film. It has many references to the films of Howard Hawks. For example, the character of Leigh, played by Laurie Zimmer, was a reference to "Rio Bravo" writer Leigh Brackett. The running gag of having Napoleon Wilson constantly ask, "Got a smoke?", was inspired by the cigarette gags used in many of Hawks's Westerns. Also, subtle references are made to directors Sergio Leone and Alfred Hitchcock. The day and time titles were used to make the film feel more like a documentary.


title: Assault on Precinct 13 (1976 film)

text: "Assault" underwent several months of preproduction. Carpenter assembled a main cast that consisted mostly of experienced but relatively obscure actors. The two leads were Austin Stoker, who had appeared previously in "Battle for the Planet of the Apes" and "Sheba, Baby", and Darwin Joston, who had worked primarily in television and was also Carpenter's next-door neighbor. After an open casting call, Carpenter added Charles Cyphers and Nancy Loomis to the cast.


title: Assault on Precinct 13 (1976 film)

text: Behind the scenes, Carpenter worked with cinematographer Douglas Knapp (a fellow USC student), art director Tommy Lee Wallace, sound mixer Bill Varney and property master Craig Stearns. "I hardly knew what the job required," said Wallace, "but he believed in me, and, of course my price was right. It was typical of John during those lean days. He made the very best of whatever talent and facilities he had around him." Carpenter drew storyboards for key sequences, including the "ice cream truck" sequence, the death of the white warlord, Napoleon Wilson struggling to get the keys of the guard after the siege starts, and the failed escape by prisoner Wells.


title: Assault on Precinct 13 (1976 film)

text: "Assault" started in November 1975 and was shot in only 20 days, including Thanksgiving, on a budget of $100,000. The film was shot on 35-mm Panavision in a 2.35:1 anamorphic aspect ratio on Metrocolor film stock, and was Carpenter's first experience with Panavision cameras and lenses. Carpenter has referred to this film as the most fun he has ever had directing.


title: Assault on Precinct 13 (1976 film)

text: Two weeks of shooting indoors were followed by two weeks on-location. The interiors of the police station were shot on the now-defunct Producers Studios set, while the exterior shots and jail cells were from the old Venice police station. The bus traveling to Sonora was shot on a closed section of the Los Angeles freeway system, with cast and crew having lunch on the freeway. Carpenter's philosophy to making "Assault", which he believes can be applied to making any low-budget film, was to shoot as little footage as possible and extend the scenes for as long as he could.


title: Assault on Precinct 13 (1976 film)

text: The first scene, in which several gang members of Street Thunder are gunned down by cops, was shot at USC. The gang members were played by USC students, who Carpenter remembered had a lot of fun finding ways of dying while spilling blood over themselves.


title: Assault on Precinct 13 (1976 film)

text: "The first night I saw dailies," replied art director Wallace, "projected on a bedsheet in the producer's ratty apartment… My jaw dropped and I sat up so straight I cast a shadow with my head. This looked like a zillion dollars. "This looked like a real movie"."


title: Assault on Precinct 13 (1976 film)

text: One of the film's distinctive features is its score, written in three days by John Carpenter and performed by Carpenter and Tommy Lee Wallace. Carpenter, assisted by Dan Wyman, had several banks of synthesizers that would each have to be reset when another sound had to be created, taking a great deal of time. "When I did my original themes for ["Assault"] … it was done with very old technology," replied Carpenter. "It was very difficult to get the sounds, and it took very long to get something simple." Carpenter made roughly three to five separate pieces of music and edited them to the film as appropriate.


title: Assault on Precinct 13 (1976 film)

text: The main title theme, partially inspired by both Lalo Schifrin's score to "Dirty Harry" and Led Zeppelin's "Immigrant Song", is composed of a pop synthesizer riff with a drum machine underneath that "builds only in texture, but not thematically," according to David Burnand and Miguel Mera. A held, high synthesizer note, with no other changes except inner frequency modulations, becomes the musical motif of the gang members, and reoccurs during certain violent acts in the film. In the film, synthesizers and drum machines represent the city and the gang.


title: Assault on Precinct 13 (1976 film)

text: Carpenter also uses a plaintive electric piano theme when Lt. Bishop first enters the abandoned precinct. It reoccurs in the film during the quiet moments of the siege, becoming in effect a musical articulation of rhythm of the siege itself. Bishop is heard whistling the tune of this particular theme at the beginning and end of the film, making the electric piano theme "a non-diegetic realization of a diegetic source." Burnand and Mera have noted that "there is some attempt to show the common denominators of human behavior regardless of 'tribal' affiliations, and there is a clear attempt to represent this through simple musical devices."


title: Assault on Precinct 13 (1976 film)

text: Many film critics who praised the film also praised the musical score by Carpenter. As John Kenneth Muir noted, "Carpenter wrote the riveting musical score for "Assault"... The final result was a unique, synthetic sound that is still quite catchy, even after 20 years … Delightfully, it even serves as a counterpoint in one important scene." Dave Goldner of "SFX" wrote that "Assault" had "one of the most catchy theme tunes in film history." In early 2004, Piers Martin of NME wrote that Carpenter's minimalist synthesizer score accounted for much of the film's tense and menacing atmosphere and its "impact, 27 years on, is still being felt."


title: Assault on Precinct 13 (1976 film)

text: A vocal version of the theme, titled "You Can't Fight It", with lyrics and production by Kenny Lynch, was recorded by Trinidad singer Jimmy Chambers and released in the UK as a 45 on the Pye label in April 1978, but it failed to chart and is now a rare item. Beyond its use in the film, the score is often cited as an influence on various electronic and hip hop artists with its main title theme being sampled by artists including Afrika Bambaataa, Tricky, Dead Prez, and Bomb the Bass. The main theme was reworked in 1986 as an Italo disco 12" and more famously as the 1990 UK-charting rave-song "Hardcore Uproar".


title: Assault on Precinct 13 (1976 film)

text: Despite this influence, except for a few compilation appearances, the film's score remained available only in bootleg form until 2003, when it was given an official release through the French label, Record Makers.


title: Assault on Precinct 13 (1976 film)

text: Carpenter edited the film using the pseudonym John T. Chance, the name of John Wayne's character in "Rio Bravo"; his frequent collaborator Debra Hill served as assistant editor. According to Carpenter, the editing process was a bare-bones process. One mistake Carpenter was not proud of was one shot "cut out of frame", which means the cut is made within the frame so a viewer can see it. "Assault" was shot on Panavision, which takes up the entire negative, and edited on Moviola, which cannot show the whole image, so if a cut was made improperly (i.e., frame line not lined up properly), then one would cut a half of a sprocket into the film and "cut out of frame," as happened to Carpenter. In the end, it did not matter because he said, "It was so dark, no one could see it, thank God!"


title: Assault on Precinct 13 (1976 film)

text: Tommy Lee Wallace, the film's art director, spoke admiringly about Carpenter during post. "[Carpenter] asked if I could cut sound effects. The answer, of course, was 'Sure!' Once again, here I was, a perfectly green recruit, yet John made a leap of faith … he further insisted we get the best processing money could, which at that time was the legendary MGM color labs. Finally, he insisted we get the best post-production sound money could buy, which was Samuel Goldwyn Sound, another legend. The expense for this unorthodox approach ate up a huge amount of the budget. The production manager fumed that we were exploiting people to pay for processing— and it was true."


title: Assault on Precinct 13 (1976 film)

text: Although the film's title is "Assault on Precinct 13", the action mainly takes place in a police station referred to as Precinct 9, Division 13, by Bishop's staff sergeant over the radio. The film's distributor was responsible for the misnomer. Carpenter originally called the film "The Anderson Alamo" before briefly changing the title to "The Siege" to shop to distributors. The film was acquired by Irwin Yablans. During post-production, however, the distributor rejected Carpenter's title in favor of the film's present name. The moniker "Precinct 13" was used to give the new title a more ominous tone. When the film became popular in Britain, Michael Myers of Miracle Films purchased the British theatrical distribution rights.


title: Assault on Precinct 13 (1976 film)

text: The film was released in Germany on September 3, 1979, under the title "Assault – Anschlag bei Nacht", or "Assault–Attack at Night".


title: Assault on Precinct 13 (1976 film)

text: The most infamous scene in the movie occurs when a gang member casually shoots a little girl (Kathy) standing near an ice-cream truck, with her death being shown in graphic, bloody detail. The MPAA, headed by Richard Heffner at the time, threatened to give the film an X rating if the scene were not cut. Following the advice of his distributor, Carpenter gave the appearance of complying by cutting the scene from the copy he gave to the MPAA, but he distributed the film with the "ice-cream truck" scene intact, a common practice among low-budget films. Carpenter regrets shooting the ice-cream scene in such an explicit fashion: "…it was pretty horrible at the time … I don't think I'd do it again, but I was young and stupid."


title: Assault on Precinct 13 (1976 film)

text: "Assault" was first released in Los Angeles at the State Theater on November 3, 1976, to mixed reviews and unimpressive box-office earnings. Whitney Wiliams of "Variety" wrote, "Some exciting action in the second half packs enough interest to keep this entry alive for the violence market... John Carpenter's direction of his screenplay, after a pokey opening half, is responsible for the realistic movement." Dan O'Bannon, Carpenter's co-writer on "Dark Star", attended the Los Angeles premiere. At this point in their professional relationship, O'Bannon was jealous of Carpenter's success and reluctantly attended the premiere. O'Bannon was disgusted by the film and told Carpenter so. According to author Jason Zinoman, O'Bannon saw a reflection of the coolness that Carpenter displayed toward him in the film's casual disregard for the humanity of its characters. It reminded him of how easily their friendship had been discarded. "His disdain for human beings would be serviced if he could make a film without people in it," replied O'Bannon.


title: Assault on Precinct 13 (1976 film)

text: The film opened at the Cannes Film Festival in May 1977, where it received favorable notices from some of the British critics. "Carpenter at Cannes wiped us off the face of the earth with "Precinct 13"" replied director George A. Romero, who was at the festival with his film "Martin". "Right from the scene when the little girl gets blown away, I was blown away." As a result, Linda Myles booked the film for the Edinburgh Film Festival in August 1977. However, the film did not get critical acclaim until it was screened at the 21st London Film Festival on December 1, 1977. Ken Wlaschin, festival director, described the film in the brochure:


title: Assault on Precinct 13 (1976 film)

text: John Carpenter, whose small-budget science-fiction epic "Dark Star" was widely acclaimed, has turned his inventive imagination to the thriller for his first solo directional effort. The result, even without taking into consideration his tiny budget and cast of unknowns, is astonishing. "Assault on Precinct 13" is one of the most powerful and exciting crime thrillers from a new director in a long time. It grabs hold of the audience and simply doesn't let go as it builds to a crescendo of irrational violence that reflects only too well our fears of unmotivated attack... It is a frightening look at the crumbling of rational ideas of law and order under an irresistible attack by the forces of irrationality and death.


title: Assault on Precinct 13 (1976 film)

text: Wlaschin found "Assault" to be the best film of the London Film Festival and included it in his "Action Cinema" section of that festival. It became one of the festival's best-received films, garnering tremendous critical and popular acclaim. According to Derek Malcolm of the "Guardian", the applause was "deafening". Carpenter was delighted by the new praise.


title: Assault on Precinct 13 (1976 film)

text: The overwhelmingly positive British response to the film led to its critical and commercial success throughout Europe. Derek Malcolm of "Cosmopolitan" wrote, "[The film] is fast becoming one of the cult movies of the year ... The great virtue of the film is the way it grabs hold of its audience and simply refuses to let go. It exploits all our fears of irrational violence and unmotivated attack, and at the same time manages to laugh at itself without spoiling the tension - a very considerable feat. Carpenter, who is clearly a director with places to go, has succeeded in making a comedy that scares the pants off us. And don't think you're laughing at it. As a matter of fact, it's laughing at you." Malcolm later wrote that he held some reservations about the film: "I don't feel like going on and on about the movie, partly because I think it is in grave danger of being oversold anyway, and partly because it isn't much more to me than tremendous fun". The film broke one house record in the UK and was named one of the best films of the year by critics and moviegoers.


title: Assault on Precinct 13 (1976 film)

text: Over the years, the film has received acclaim from critics, emphasizing John Carpenter's resourceful abilities as director, writer, editor, and music composer, and Douglas Knapp's stylish cinematography, as well as exceptional acting from Austin Stoker, Darwin Joston, Laurie Zimmer, and Tony Burton.


title: Assault on Precinct 13 (1976 film)

text: Vincent Canby of "The New York Times" wrote, "["Assault"] is a much more complex film than Mr. Carpenter's '"Halloween",' though it's not really about anything more complicated than a scare down the spine. A lot of its eerie power comes from the kind of unexplained, almost supernatural events one expects to find in a horror movie but not in a melodrama of this sort … If the movie is really about anything at all, it's about methods of urban warfare and defense. Mr. Carpenter is an extremely resourceful director whose ability to construct films entirely out of action and movement suggests that he may one day be a director to rank with Don Siegel." Jeffrey Wells of "Films In Review" wrote, "Skillfully paced and edited, "Assault" was rich with Hawksian dialogue and humor, especially in the clever caricature of the classic 'Hawks woman' by Laurie Zimmer." Tom Allen and Andrew Sarris of the "Village Voice" described the film as "one of the most stylishly kinetic independent films of the 1970s." Alan Jones of "Starburst" wrote, "Bravura remake of "Rio Bravo"."


title: Assault on Precinct 13 (1976 film)

text: Dave Golder of "SFX" magazine hailed the film as, "A superb, bloody thriller about a siege in an abandoned L.A. cop station." In his book "The Horror Films of the 1970s", John Kenneth Muir gave the film three and a half stars, calling it "a lean, mean exciting horror motion picture... a movie of ingenuity, cunning and thrills." Mick Martin & Marsha Porter of the Video Movie Guide gave the film four and a half stars out of five, writing, "…John Carpenter's riveting movie about a nearly deserted L.A. police station that finds itself under siege by a youth gang. It's a modern day version of Howard Hawks' "Rio Bravo", with exceptional performances by the entire cast." In 2003, Dalton Ross of "Entertainment Weekly" described "Assault" as "a tight, tense thriller … Carpenter's eerie score and Douglas Knapp's stylish cinematography give this low-budget shoot-out all the weight of an urban "Rio Bravo"." Leonard Maltin also gave the film three and a half stars out of four: "A nearly deserted L.A. police station finds itself under a state of siege by a youth gang in this riveting thriller, a modern-day paraphrase of Howard Hawks' "Rio Bravo". Writer/director Carpenter also did the eerie music score for this knockout."


title: Assault on Precinct 13 (1976 film)

text: Tim Pulleine of "The Guardian" described the film as superficial despite successfully meeting the requirements of the genre. Brian Lindsey of Eccentric Cinema gave the film 6 out of a scale of 10, saying the film "isn't believable for a second—yet this doesn't stop it from being a fun little B picture in the best drive-in tradition".


title: Assault on Precinct 13 (1976 film)

text: The film has a 96% approval rating on Rotten Tomatoes based on 45 reviews, with an average rating of 7.8/10. It is Carpenter's highest-rated film as writer-director on the website. The site's consensus reads: "Lean, taut and compellingly gritty, John Carpenter's loose update of "Rio Bravo" ranks as a cult action classic and one of the filmmaker's best." On Metacritic, the film has a weighted average score of 89 out of 100, based on 7 critics, indicating "Universal acclaim".


title: Assault on Precinct 13 (1976 film)

text: John Carpenter won the 1978 annual British Film Institute award for the "originality and achievement of his first two films", "Dark Star" and "Assault", at the 1977 London Film Festival.


title: Assault on Precinct 13 (1976 film)

text: "Assault on Precinct 13" is now considered by many to be one of the greatest and most underrated action films of the 1970s, as well as one of the best films in John Carpenter's career. In the July 1999 issue, "Premiere" put the film on its list of 50 "Lost and Profound" unsung film classics, writing:


title: Assault on Precinct 13 (1976 film)

text: A trim, grim, vicious, and incredibly effective action movie with no cut comic-relief bit players, no winks at the audience, and no stars. Just a powder keg of a premise (lifted in part from Howard Hawks's "Rio Bravo"), in which a quasiterrorist group's killing spree culminates in the action described in the title. Carpenter's mastery of wide-screen and almost uncanny talent at crafting suspense and action sequences make "Assault" such a nerve-racking experience that you may have to reupholster your easy chair after watching it at home.


title: Assault on Precinct 13 (1976 film)

text: In 1988, Alan Jones of "Starburst" said "Assault" is "arguably still the best film [Carpenter] ever made." In 2000 John Kenneth Muir placed the film at No. 3 on his rated list of John Carpenter's filmography, behind "The Thing" and "Halloween". In October 2007, Noel Murray and Scott Tobias of The A.V. Club also ranked "Assault" at No. 3 of John Carpenter's best films ("The Essentials"), saying, "The first John Carpenter film that really "feels" like a John Carpenter film, this homage to Howard Hawks Westerns suggests a path that Carpenter's career might've taken if "Halloween" hadn't become such a hit. Carpenter's made many different kinds of movies over the course of his long career, but he hasn't gotten to return often enough to terse tales of gun-toting heroes and villains." In Jeff Chang's 2005 book, "Can't Stop Won't Stop", he cites "Assault on Precinct 13" as the start of "the urban horror" genre. Chang describes the film


title: Assault on Precinct 13 (1976 film)

text: Instead of Indian braves, Zulu warriors, or graveyard zombies, "Assault on Precinct 13's" heroes defended themselves in a desolate police station against marauding waves of dark, heavily armed gang members seeking revenge for their cop-killed brothers.


title: Assault on Precinct 13 (1976 film)

text: In his fifth edition of "The New Biographical Dictionary of Film" in 2010, film historian David Thomson described "Assault" as "a Hawksian set of a police station besieged by hoodlums - economical, tense, beautiful, and highly arousing. It fulfills all Carpenter's ambitions for gripping the audience emotionally and never letting go." Writers Michelle Le Blanc and Colin Odell have written of the film: "["Assault"] looks as fresh as the day it was first screened; its violence still shocking, its soundtrack still effective, and both the dialogue and its delivery are top notch, all in a film whose $100,000 budget wouldn't satisfy the catering demands of the average Hollywood picture. This is because there is an overriding vision, a consistency to Carpenter's work that rewards repeat viewing and presents a single unifying world view."


title: Assault on Precinct 13 (1976 film)

text: Film director Edgar Wright and actor Simon Pegg are big fans of "Assault". "You wouldn't really call it an action film," claims Pegg, "because it was pre- the evolution of that kind of film. And yet it is kind of an action film in a way." "It's very much his [Carpenter's] kind of urban Western", adds Wright, "in the way it is staging "Rio Bravo" set up in downtown '70s LA... And the other thing is, for a low-budget film particularly, it looks great." In October 2011, artist Tyler Stout premiered his mondo-style poster of "Assault". Stout's poster would later serve as the cover on the Region B Blu-ray of "Assault".


title: Assault on Precinct 13 (1976 film)

text: "Assault" has influenced a number of action films that came after, setting the rules for the genre that would continue with films such as "Die Hard" and "The Matrix". The second section of "From Dusk till Dawn" was described by "Variety" as a "Night of the Living Dead-tinged offshoot of ... Assault on Precinct 13". In 2002, the film inspired Florent Emilio Siri's 2002 quasi-remake "The Nest". The core plot of the film has reportedly inspired a 2019 Indian Tamil film Kaithi.


title: Assault on Precinct 13 (1976 film)

text: As a result of the film, John Carpenter went on to work with producer Irwin Yablans on "Halloween", the most successful film of Carpenter's career. Due to the success of "Assault" in London, Carpenter named the Shape in "Halloween" after Michael Myers of Miracle Films, the British distributor for "Assault". Myers's son Martin considered the tribute as a "tremendous honor" and "a lasting memorial to his late father". Donald Pleasence would go on to star in Carpenter's "Halloween" because his daughters were big fans of "Assault". Debra Hill, the film's script supervisor, went on to produce Carpenter's future features and become his girlfriend.


title: Assault on Precinct 13 (1976 film)

text: In 2005, the film was remade by director Jean-François Richet and starring Ethan Hawke and Laurence Fishburne. The Richet remake has been praised by some as an expertly made B-movie, and dismissed by others as formulaic, with many critics preferring the original "Assault" to the remake.


title: Assault on Precinct 13 (1976 film)

text: Critics and commentators have often described "Assault" as a cross between Howard Hawks's "Rio Bravo" and George A. Romero's "Night of the Living Dead". Carpenter acknowledges the influence of both films.


title: Assault on Precinct 13 (1976 film)

text: In his 2000 book "The Films of John Carpenter", John Kenneth Muir deconstructs Carpenter's use of "Rio Bravo" as a template for "Assault": "Although [the film's] premise may sound like typical 1970s picture, it was quintessential Carpenter in execution — which meant it was really quintessential Howard Hawks. Of primary importance was not the bloodshed or action, but rather the developing friendship and respect in evidence between the white convict Napoleon Wilson and black cop Lt. Bishop … also important in ["Assault"]'s homage to director Hawks was the unforgettable presence of actress Laurie Zimmer as a prototypical 'Hawksian Woman,' i.e., a female who gives as good as she gets and is both tough and feminine at the same time."


title: Assault on Precinct 13 (1976 film)

text: As with most of Carpenter's antagonists, Street Thunder is portrayed as a force that possesses mysterious origins and almost supernatural qualities. "Rather than going for any particular type of gang," replied Carpenter, "I decided to include everybody." The gang members are not humanized and are instead represented as though they were zombies or ghouls—they are given almost no dialogue, and their movements are stylized, with a slow, deliberate, relentless quality. Carpenter has acknowledged the influence of George A. Romero's "Night of the Living Dead" on his portrayal of the gang.


title: Assault on Precinct 13 (1976 film)

text: "Assault" was shot in 2.35:1 anamorphic Panavision widescreen, Carpenter's first use of the format that he would use on all of his feature films. "I just love Panavision," replied Carpenter. "It's a cinematic ratio."


title: Assault on Precinct 13 (1976 film)

text: "Assault" was released on VHS by Media Home Entertainment in 1978 and on laserdisc by Image Entertainment on March 12, 1997. The '97 laserdisc came with commentary by John Carpenter, an isolated music score track and the original theatrical trailer.


title: Assault on Precinct 13 (1976 film)

text: The film was one of the first films to be released on the DVD medium on November 25, 1997, also by Image Entertainment. On March 11, 2003, Image Entertainment released in new widescreen "Special Edition" DVD of the film. Dalton Ross of "Entertainment Weekly" gave this 2003 DVD release a B+. Brian Lindsay of Eccentric Cinema gave the film's 2003 DVD release a 10 out of 10, the website's highest rating. Special features of the 2003 DVD release include:


title: Assault on Precinct 13 (1976 film)

text: The film was later released on UMD video for the PlayStation Portable on July 26, 2005 and in a "Restored Collector's Edition" for both DVD and Blu-ray Disc in 2008 and 2009, respectively. Both releases have all of the special features found on the 2003 "Special Edition" DVD.


title: Assault on Precinct 13 (1976 film)

text: "Assault on Precinct 13" was re-released on November 19, 2013, as Shout! Factory acquired the rights to release the film in the United States under its sublabel Scream Factory in a 'Collector's Edition'. Special features for this set include new interviews with actress Nancy Loomis Kyes and art director/sound effects designer Tommy Lee Wallace, and from previous editions, audio commentary from John Carpenter and Austin Stoker, theatrical trailer, and radio spots. All other special features from the previous editions have been excluded from this set. The film has also received Blu-ray releases in Germany, on May 25, 2012, in a '3-Disc Limited Collector's Edition' which includes two DVDs and contains a 24-page booklet in addition to the special features available on the Image Entertainment DVD and Blu-ray, with a subsequent standard edition released on November 16, 2012, in Australia, it is available via Umbrella Entertainment, released August 5, 2015. A '40th Anniversary Edition' became available in the United Kingdom by Second Sight, and features John Carpenter's score for the film on a bonus disc. The Blu-ray of the film is presented in its original aspect ratio of 2.35:1, with 5.1 DTS-HD surround sound and dual mono sound, and a plethora of special features including new interviews with actor Austin Stoker, executive producer Joseph Kaufman, and art director and sound effects designer Tommy Lee Wallace, along with commentaries from Wallace and John Carpenter, trailer and radio spots, and five art cards.


title: Big Four international beauty pageants

text: The Big Four or the Big League Pageants refers to the four major international beauty pageants for women – Miss World, Miss Universe, Miss International and Miss Earth. The group was first described by the "China Daily" newspaper in 2004 as "the world's four major beauty contests". In April 2008, the "South China Morning Post" described them as "four of the world's top beauty pageants"; the same description was also used by South Korea's leading newspaper, "Chosun Ilbo" in 2010. In 2017, the "Latin Times" considered the group as the "most important pageants in the world". In 2018, NBC News referred to them as the "four biggest international pageants", while "Agencia EFE" delineated them in 2019 as the "four most influential beauty pageants in the world".


title: Big Four international beauty pageants

text: Hundreds of thousands of beauty contests are held annually, but the Big Four are considered the most prestigious, widely covered and broadcast by media. The Wall Street Journal, BBC News, CNN, Xinhua News Agency, and global news agencies such as Reuters, Associated Press and Agence France-Presse collectively refer to the four major pageants as "Big Four" namely:


title: Big Four international beauty pageants

text: In April 2008, Cynthia Kanema of Zambia earned the distinction of the first woman to have participated the world's top four beauty pageants: Miss World 2003, Miss International 2004, Miss Universe 2005, and Miss Earth 2005. In 2011, Miss South Africa Bokang Montjane became the second woman to have competed in all of the Big Four pageants: Miss Earth 2007 (Top 16), Miss International 2009, Miss Universe 2011, Miss World 2011 (Top 7).


title: Big Four international beauty pageants

text: The first country to win all four major international pageant titles was Brazil, when it won Miss Earth 2004. Brazil has won two Miss Universe crowns, two Miss Earth crowns, one Miss World crown, and one Miss International crown.


title: Big Four international beauty pageants

text: In winning Miss Earth 2005, Venezuela became the second country to win titles for each of the Big Four pageants. It has produced seven Miss Universe titles, eight Miss International titles, six Miss World titles, and two Miss Earth titles. By winning Miss Earth 2013, Venezuela became the first and so far only country to win all four pageants multiple times.


title: Big Four international beauty pageants

text: After winning Miss World 2013, the Philippines was the third country to win all titles of the Big Four pageants. The Philippines currently has six Miss International crowns, four Miss Earth crowns, four Miss Universe crowns, and one Miss World crown. By winning Miss World 2013, Miss International 2013, Miss Earth 2014, Miss Earth 2015, and Miss Universe 2015, the Philippines achieved the feat in a span of only three calendar years. The country continued its streak after winning Miss International 2016, Miss Earth 2017, and Miss Universe 2018, and currently holds the distinction of longest streak of wins in all four major beauty pageants with a streak of six successive years.


title: Big Four international beauty pageants

text: After winning Miss Earth 2019, Puerto Rico became the first territory to win all titles of the Big Four pageants. It currently has five Miss Universe crowns and two of each in Miss World and Miss International.


title: Big Four international beauty pageants

text: After winning Miss Earth 2020, the United States became the fourth country to win in all titles of the Big Four pageants. It currently has eight Miss Universe crowns, three crowns in Miss World, and three crowns in Miss International.


title: Big Four international beauty pageants

text: The Philippines holds the longest streak of winning at least one of the Big Four pageant titles in a single year with wins in six consecutive years from 2013 to 2018 (Miss World 2013 and Miss International 2013, Miss Earth 2014, Miss Universe 2015 and Miss Earth 2015, Miss International 2016, Miss Earth 2017, and Miss Universe 2018), and is currently the only country in the world to win at least once in all of the Big Four pageant titles in any of its titles streak. Venezuela ranks second overall in streak of Big Four pageant wins, lasting four consecutive years from 2008 to 2011 (Miss Universe 2008, Miss Universe 2009, Miss International 2010, Miss World 2011).


title: Big Four international beauty pageants

text: France became the first nation to win at least 2 of the Big 4 beauty pageant titles in the same year, winning in 1953 (Miss Universe and Miss World), followed by Brazil in 1968 (Miss Universe and Miss International), Australia in 1972 (Miss Universe and Miss World), Venezuela in 1981 (Miss Universe and Miss World) as well as in 2013 (Miss Universe and Miss Earth), India in 1994 and 2000 (Miss Universe and Miss World), Ecuador in 2011 (Miss International and Miss Earth), and the Philippines in 2013 (Miss World and Miss International) and 2015 (Miss Universe and Miss Earth).


title: Big Four international beauty pageants

text: In its first two editions, Sweden recorded back-to-back with Kiki Hakansson and May-Louise Flodin in Miss World 1951 and Miss World 1952, respectively. United Kingdom contestants Ann Sidney and Lesley Langley duplicated this feat in Miss World 1964 and Miss World 1965, respectively. The most recent back-to-back Miss World victories came from India, with Yukta Mookhey in Miss World 1999 and Priyanka Chopra in Miss World 2000 edition.


title: Big Four international beauty pageants

text: In Miss Universe, Venezuela is currently the only country to win back-to-back in Miss Universe 2008 and Miss Universe 2009. Stefanía Fernandez won the Miss Universe 2009 title in which Venezuela earned a Guinness World Record to have the first Miss Universe winner succeeded by her compatriot, Miss Universe 2008 Dayana Mendoza.


title: Big Four international beauty pageants

text: In Miss Earth, the victory of Angelia Ong in Miss Earth 2015, succeeding Jamie Herrell, Miss Earth 2014, made the Philippines to date the only country to win back-to-back in the Miss Earth pageant.


title: Big Four international beauty pageants

text: As of the crowning of Jasmin Selberg as Miss International 2022 on December 13, 2022, 222 women have won the Big Four international beauty pageants.


title: Big Four international beauty pageants

text: Not replaced resigned or dethroned titles appear in bold and assumed titles appear in bold underlined.


title: Roy Nelson (fighter)

text: Roy Nelson (born June 20, 1976) is a retired American mixed martial artist who competed in the Heavyweight division. A professional competitor since 2004, he formerly competed for the UFC, EliteXC, the IFL, BodogFIGHT, and most recently for Bellator MMA. In the UFC, Nelson was the winner of and achieved success as a top 10 UFC Heavyweight. Nelson is also the former IFL Heavyweight Champion, competing under Ken Shamrock and the Lion's Den. He holds notable victories over Mirko Cro Cop, Cheick Kongo, and Antônio Rodrigo Nogueira.


title: Roy Nelson (fighter)

text: Nelson was born and raised in Las Vegas, Nevada and attended Cimarron-Memorial High School, where he competed in wrestling, football, and baseball. Nelson briefly trained in karate and began training in Ark Wong's Ng Ga Kuen Shaolin Kung Fu when he was 15 years old. Nelson worked briefly as a warehouse worker in 1999. Nelson originally began training in Brazilian jiu-jitsu under UFC veteran John Lewis in 2000. After seven years working as a substitute teacher and after-school program volunteer in Clark County, Nelson began his own career in mixed martial arts. Nelson has been a long-time student of Brazilian jiu-jitsu master Renzo Gracie, who granted him a black belt on August 26, 2009. Nelson was known initially for his strong Jiu-Jitsu game, and has competed at the Abu Dhabi Grappling Championships.


title: Roy Nelson (fighter)

text: Prior to Nelson's professional mixed martial arts career, he played rugby for the Las Vegas Blackjacks for two seasons (2002–2003).


title: Roy Nelson (fighter)

text: Nelson made his professional mixed martial arts debut at a tournament on April 17, 2004. Nelson won both of his fights, winning the Rage on the River Heavyweight Tournament. Nelson compiled a record of 6–1 before being signed by the IFL.


title: Roy Nelson (fighter)

text: As a member of Ken Shamrock's Lion's Den, Nelson was asked to become a member of the IFL's Nevada Lions in 2007, and made his promotional debut at IFL: Oakland on January 19, 2007 against veteran Vince Lucero. Nelson won via TKO in the first round.


title: Roy Nelson (fighter)

text: In the 2007 IFL World Grand Prix, Nelson became the Heavyweight Champion, defeating Antoine Jaoude on December 29, 2007. Nelson successfully defended his title twice, before the IFL ceased operations.


title: Roy Nelson (fighter)

text: After the IFL ceased operations Nelson took a fight with EliteXC on 10 days' notice against former UFC Heavyweight Champion Andrei Arlovski. Roy Nelson lost via KO in the second round; however, controversy broke out over Nelson being stood up by the referee in the first round from side control, while staying active and working on a kimura.


title: Roy Nelson (fighter)

text: He then went on to fight for Roy Jones Jr.'s Square Ring Promotions against Jeff Monson. This fight also ended in a controversial loss for Nelson. According to the TV commentators and most MMA media, Nelson won the bout. However, Monson was awarded a unanimous decision.


title: Roy Nelson (fighter)

text: Nelson was one of the sixteen fighters in "". He provided commentary on the show for multiple websites, including weekly Q&A sessions about each individual episode for USA Today's Fighting Stances and a blog for SpikeTV.com.


title: Roy Nelson (fighter)

text: In his first fight of the show, Nelson defeated former street-fighter Kimbo Slice via TKO stoppage in the second round with repeated punches to the head in the crucifix position. The broadcast was the highest rated MMA show in U.S. history with a 3.7 rating. The fight itself had 6 million viewers.


title: Roy Nelson (fighter)

text: In the quarterfinals, Nelson defeated Justin Wren in a two-round majority decision. In the semi-finals, Nelson defeated James McSweeney via strikes in the first round again utilizing the crucifix position. He defeated Brendan Schaub at to become the winner of "The Ultimate Fighter: Heavyweights". In the finale, Nelson knocked out Schaub at 3:45 into the first round with a right hook to Schaub's left temple and then hit Schaub on the ground with one punch to the face before the referee pulled Nelson off Schaub. With the win, Nelson earned a six-figure contract with the UFC.


title: Roy Nelson (fighter)

text: Nelson was scheduled to fight Cheick Kongo, though the bout was cancelled after Kongo withdrew. Nelson instead faced Junior dos Santos at UFC 117 in a bout to determine the #1 contender (after Cain Velasquez) to the UFC Heavyweight Championship. Nelson lost by unanimous decision, but was able to withstand the varied attacks of dos Santos, as he was becoming the first man to take dos Santos to a decision. Nelson was scheduled to face Shane Carwin at UFC 125. Carwin, however, had to pull out of the fight due to a back injury. Nelson was pulled off the card altogether.


title: Roy Nelson (fighter)

text: On November 14, 2010, UFC President Dana White announced that Nelson's UFC career would be on hold due to Nelson being contractually bound to another fight promotion. White declined to specifically name the promotion, but sources close to Nelson confirmed that Roy Jones Jr.'s Square Ring Promotions claimed to have Nelson tied down. Nelson stated on The MMA Hour with Ariel Helwani that this is old news and that he is still able to fight in the UFC with no problems.


title: Roy Nelson (fighter)

text: Nelson faced Frank Mir on May 28, 2011, at UFC 130 and lost by unanimous decision. UFC president Dana White criticized Nelson's performance after the fight for Nelson's lack of conditioning. Nelson blamed a bout with the flu for his poor performance. Nelson indicated that he has plans of cutting weight and fighting in the light heavyweight division at some point in the future.


title: Roy Nelson (fighter)

text: Nelson next fought the returning Fabrício Werdum at UFC 143 on February 4, 2012. He lost the fight via unanimous decision. The back and forth action earned "Fight of the Night" honors.


title: Roy Nelson (fighter)

text: Nelson was scheduled to face Antônio Silva on May 26, 2012 at UFC 146, but Silva was moved up to fight Cain Velasquez. Nelson was then briefly expected to face Gabriel Gonzaga. However, Gonzaga himself was forced out of the bout with an injury and replaced by Dave Herman, who Nelson knocked out in 51 seconds. He earned "Knockout of the Night" honors due to his performance. Joe Rogan said on the live broadcast that "When Herman sat down on his ass, he had no idea where he was".


title: Roy Nelson (fighter)

text: It was announced on July 12, 2012 that Nelson would be coaching on the show, The Ultimate Fighter, against fellow heavyweight Shane Carwin, with the two expected to face each other on December 15, 2012 at . On November 14, it was announced that Shane Carwin injured his knee and wouldn't be able to fight. On November 15, it was reported that Nelson would face Matt Mitrione at the TUF 16 Finale. Nelson defeated Mitrione via first-round TKO.


title: Roy Nelson (fighter)

text: Nelson faced Cheick Kongo on April 27, 2013 at UFC 159. Nelson won the fight by knockout at 2:03 of the first round. The win also won him his fourth "Knockout of the Night" bonus award.


title: Roy Nelson (fighter)

text: Nelson faced Stipe Miocic on June 15, 2013 at UFC 161. Miocic defeated Nelson via unanimous decision. There was speculation about his MMA future because his contract was expiring, but Nelson renewed it soon after.


title: Roy Nelson (fighter)

text: Nelson faced Daniel Cormier on October 19, 2013 at UFC 166. He lost the fight via unanimous decision.


title: Roy Nelson (fighter)

text: Nelson faced Antônio Rodrigo Nogueira on April 11, 2014 in the main event at UFC Fight Night 39. After dropping Nogueira several times with punches in the first round, Nelson finished the fight via knockout with an overhand right. The win also earned Nelson his first "Performance of the Night" bonus award. Nelson broke his right hand during the fight for which he required surgery in order to repair.


title: Roy Nelson (fighter)

text: Nelson next faced Mark Hunt on September 20, 2014, in the main event at UFC Fight Night 52. Nelson lost the fight via knockout in the second round. It was his first loss by knockout and his first finished fight outside round 1 in a scheduled 5-round fight.


title: Roy Nelson (fighter)

text: After working as a coach on "Road to UFC Japan", Nelson faced Josh Barnett on September 27, 2015 in the main event at UFC Fight Night 75. He lost the fight via unanimous decision.


title: Roy Nelson (fighter)

text: Nelson faced Jared Rosholt on February 6, 2016 at UFC Fight Night 82. He won the fight by unanimous decision (30–27, 30–27, and 29–28).


title: Roy Nelson (fighter)

text: Nelson faced Derrick Lewis on July 7, 2016 at UFC Fight Night 90 Even though breaking his personal record of most takedowns in a fight with 7, Nelson lost via split decision.


title: Roy Nelson (fighter)

text: Nelson faced Antônio Silva on September 24, 2016 at UFC Fight Night 95. He won the fight by knockout in the second round. After the fight, out of frustration with what he thought was a late stoppage, Nelson push-kicked referee John McCarthy.


title: Roy Nelson (fighter)

text: Nelson faced Alexander Volkov on April 15, 2017 at UFC on Fox 24. He lost the fight by unanimous decision.


title: Roy Nelson (fighter)

text: In May 2017, it was announced that Nelson's contract with the UFC had expired in April and that he had a signed multi-fight contract with Bellator MMA.


title: Roy Nelson (fighter)

text: In his debut Nelson faced Javy Ayala at Bellator 183 on September 23, 2017. He won the fight by unanimous decision in what was his first non-UFC related match in nearly 8 years.


title: Roy Nelson (fighter)

text: Nelson faced Matt Mitrione in the quarterfinal round of the Bellator Heavyweight World Grand Prix Tournament at Bellator 194 on February 16, 2018. He lost the fight via majority decision.


title: Roy Nelson (fighter)

text: Nelson was expected to face Mirko Cro Cop in a rematch at Bellator 200 on May 25, 2018. However, the bout was scrapped during the week leading up to the event as Cro Cop pulled out of the fight citing an injury.


title: Roy Nelson (fighter)

text: Nelson faced Sergei Kharitonov in the Bellator 207 co-main event on October 12, 2018. He lost the fight via knockout in round one.


title: Roy Nelson (fighter)

text: The rematch against Mirko Cro Cop eventually took place on February 16, 2019 at Bellator 216. Nelson lost the fight by unanimous decision.


title: Roy Nelson (fighter)

text: Nelson faced Valentin Moldavsky at Bellator 244 on August 21, 2020. He lost the fight by unanimous decision.


title: Roy Nelson (fighter)

text: Despite possessing a black belt in Brazilian Jiu-Jitsu, later years saw Nelson develop a reputation for his powerful striking game, specifically his signature overhand-right.


title: Roy Nelson (fighter)

text: Nelson is also known for having an iron chin. In fact, after his bout against fellow heavyweight Stipe Miocic at UFC 161, Nelson had broken the record for the amount of significant strikes absorbed by a fighter without being knocked out, receiving 437 strikes across his then 10-fight UFC career.


title: Roy Nelson (fighter)

text: Nelson is married to Jess Nelson and they have a son, Jackson. Nelson's nickname 'Big Country' originates from his early years in MMA, when his training partners thought Nelson was from some remarkable wrestling state like Iowa or Oklahoma because of his wrestling pedigree.


title: Priest (2011 film)

text: Priest is a 2011 American action horror film directed by Scott Stewart and stars Paul Bettany as the title character. It is loosely based on the Korean comic of the same name by Hyung Min-woo. In an alternate universe, humanity and vampires have warred for centuries. After the last Vampire War, a veteran Warrior Priest lives in obscurity until his niece (Lily Collins) is kidnapped by vampires.


title: Priest (2011 film)

text: The film was released on , 2011. The film earned over $78 million at the box office against a $60 million production budget, but it was panned by critics, who praised the film's visual style and art direction while criticizing the movie's use of genre clichés, writing, acting, editing and action scenes.


title: Priest (2011 film)

text: A centuries-long war between humans and vampires has devastated the planet's surface and led to a theocracy under an organization called The Church. Despite the vampires' vulnerability to sunlight, and all of mankind's technological advances, the vampires' greater strength and speed made them impossible to defeat until humanity sheltered them in giant walled cities and trained a group of elite warriors, the Priests, which turned the tide.


title: Priest (2011 film)

text: In the opening scene, a group of Priests enters the Sola Mira Hive but are ambushed by the vampires. As they attempt to retreat, one of their numbers is seized from behind, and their leader tries to pull him to safety, but is forced to let go and watch him dragged, screaming, back into the hive.


title: Priest (2011 film)

text: Years later, the majority of the vampires have been killed, while the remainder were placed in reservations. With the war over, the Clergy disbanded the Priests. Outside the walled cities, some humans seek out a living, free from the totalitarian control of The Church.


title: Priest (2011 film)

text: Priest (Paul Bettany) is approached by Hicks (Cam Gigandet), the sheriff of a free town, Augustine. Priest learns that his brother, Owen, and Owen's wife, Shannon—Priest's girlfriend before he was recruited by the clergy—were mortally wounded in a vampire attack, and Priest's niece, Lucy (Lily Collins), was kidnapped. Hicks asks for Priest's help in rescuing Lucy. Priest asks the Church to reinstate his authority, but leader Monsignor Orelas (Christopher Plummer) does not believe the vampire story and refuses, insisting on maintaining the common belief that the vampires have been completely defeated, for fear of compromising the Church's authority. Priest defiantly leaves the city and Orelas sends three Priests and a Priestess (Maggie Q) to bring him back.