title: Folketing

text: Since the 2007 elections, the Liberal Alliance (previously Ny Alliance) have gained momentum in opinion polls, and since early 2010, the governing coalition have not been able to gather a majority in the polls without the support of the Alliance. The continuing rise in the polls is to an extent the result of the internal crisis in the Conservative People's Party over the leadership Lene Espersen and the continuing debate over a lack of "true" liberal/conservative ideology in government policy.


title: Folketing

text: On 13 January 2011, the continuing turmoil within the Conservative group in the Folketing caused Lene Espersen to resign as political leader of the party and focus on her role as Minister of Foreign Affairs. A leadership election between Brian Mikkelsen, the Minister of Economic and Business Affairs and Lars Barfoed, the Justice Minister, was widely expected, but on 14 January the Conservative group in the Folketing unanimously elected Barfoed as their new political leader.


title: Folketing

text: The Social Democrats under the leadership of Helle Thorning-Schmidt have enjoyed continuing majorities in opinion polls since late 2009 and hopes to form a centre-left government coalition consisting of the Socialist People's Party and the Social Liberal Party with parliamentary support from the small Red-Green Alliance.


title: Folketing

text: Both Margrethe Vestager (Social Liberal Party) and Villy Søvndal (Socialist People's Party) pledged their support to Thorning-Schmidt before the 2011 election. But there has been considerable debate about the future politics of this coalition, mainly because the Social Liberal Party demands a more liberal economic agenda. Also on immigration issues there are political differences between the three coalition parties. This has led some observers to believe that the Social Liberal Party will not join a government coalition but instead opt to be a part of the parliamentary support of a new, centre-left government. In the event the Social Liberals did join the new three-party coalition government formed on 3 October.


title: Folketing

text: Following the 2015 general election, Thorning-Schmidt was replaced as Prime Minister by her predecessor Lars Løkke Rasmussen. Until 28 November 2016, he led a government consisting only of Venstre – a very unusual situation in Danish politics.


title: Folketing

text: The Speaker is the presiding officer of the Folketing. The Speaker determines which members may speak, and is responsible for maintaining order during debates. The position was created in 1850, and the inaugural holder of the office was Carl Christoffer Georg Andræ. The current Speaker is Søren Gade of Venstre. The Speaker and four Deputy Speakers are elected by MPs at the opening of parliament after each general election and compose presidium of the body.


title: Folketing

text: A representative democracy, a bias is seen in the demographics of the Folketing as opposed to the demographics of Denmark, with middle-aged men being over represented, the Folketing is therefore not a direct representation of the country.


title: Folketing

text: About one third of seats have been switched for new members every election, a figure that has stayed more or less constant over previous elections. The largest change in these figures was seen in the election of 1973, where 45 percent of seats saw new members, and the lowest change was happened in the election of 1988 where 14.8 percent of members were newcomers.


title: Folketing

text: Since the incorporation of women into the Folketing in 1915, a general rise in the seats held by women has been observed. In the most recent election in 2019, 70 of 179 seats were held by women


title: Folketing

text: Between 1918 and 1920 the Folketing had 140 seats, this was then increased to 149. The number was increased to 179 in 1953, which it remains to this day.


title: Boiling frog

text: The boiling frog is an apologue describing a frog being slowly boiled alive. The premise is that if a frog is put suddenly into boiling water, it will jump out, but if the frog is put in tepid water which is then brought to a boil slowly, it will not perceive the danger and will be cooked to death. The story is often used as a metaphor for the inability or unwillingness of people to react to or be aware of sinister threats that arise gradually rather than suddenly.


title: Boiling frog

text: While some 19th-century experiments suggested that the underlying premise is true if the heating is sufficiently gradual, according to modern biologists the premise is false: changing location is a natural thermoregulation strategy for frogs and other ectotherms, and is necessary for survival in the wild. A frog that is gradually heated will jump out. Furthermore, a frog placed into already boiling water will die immediately, not jump out.


title: Boiling frog

text: The boiling frog story is generally offered as a metaphor cautioning people to be aware of even gradual change lest they suffer eventual undesirable consequences. It may be invoked in support of a slippery slope argument as a caution against creeping normality. It is also used in business to reinforce that change needs to be gradual to be accepted. The term "boiling frog syndrome" is a metaphor used to describe the failure to act against a problematic situation which will increase in severity until reaching catastrophic proportions. It thereby encapsulates the barely noticeable impact of slow environmental degradation that has been described by Daniel Pauly as shifting baselines.


title: Boiling frog

text: The story has been retold many times and used to illustrate widely varying viewpoints: in 1960 about warning against those who are sympathetic towards the Soviet Union during the Cold War; in 1980 about the impending collapse of civilization anticipated by survivalists; in the 1990s about inaction in response to climate change and staying in abusive relationships. It has also been used by libertarians to warn about the slow erosion of civil liberties.


title: Boiling frog

text: In the 1996 novel "The Story of B", environmentalist author Daniel Quinn spends a chapter on the metaphor of the boiling frog, using it to describe human history, population growth and food surplus. Pierce Brosnan's character Harry Dalton mentioned it in the 1997 disaster movie "Dante's Peak" in reference to the accumulating warning signs of the volcano's reawakening. Al Gore used a version of the story in a "New York Times" op-ed, in his presentations and the 2006 movie "An Inconvenient Truth" to describe ignorance about global warming. In the movie version the frog is rescued before it is harmed. This use of the story was referenced by writer/director Jon Cooksey in the title of his 2010 comedic documentary "How to Boil a Frog".


title: Boiling frog

text: Law professor and legal commentator Eugene Volokh commented in 2003 that regardless of the behavior of real frogs, the boiling frog story is useful as a metaphor, comparing it to the metaphor of an ostrich with its head in the sand. Economics Nobel laureate and "New York Times" op-ed writer Paul Krugman used the story as a metaphor in a July 2009 column, while pointing out that real frogs behave differently. Journalist James Fallows has been advocating since 2006 for people to stop retelling the story, describing it as a "stupid canard" and a "myth". After Krugman's column appeared, however, he declared "peace on the boiled frog front" and said that using the story is acceptable if the writer points out that it is not literally true.


title: Boiling frog

text: In philosophy, the boiling frog story has been used as a way of explaining the sorites paradox. It describes a hypothetical heap of sand from which individual grains are removed one at a time, and asks if there is a specific point when it can no longer be defined as a heap.


title: Boiling frog

text: During the 19th century, several experiments were performed to observe the reaction of frogs to slowly heated water. In 1869, while doing experiments searching for the location of the soul, German physiologist Friedrich Goltz demonstrated that a frog that has had its brain removed will remain in slowly heated water, but an intact frog attempted to escape the water when it reached 25 °C.


title: Boiling frog

text: Other 19th-century experiments were purported to show that frogs did not attempt to escape gradually heated water. An 1872 experiment by Heinzmann was said to show that a normal frog would not attempt to escape if the water was heated slowly enough, which was corroborated in 1875 by Fratscher.


title: Boiling frog

text: In 1888, William Thompson Sedgwick said that the apparent contradiction between the results of these experiments was a consequence of different heating rates used in the experiments: "The truth appears to be that if the heating be sufficiently gradual, no reflex movements will be produced even in the normal frog; if it be more rapid, yet take place at such a rate as to be fairly called 'gradual', it will not secure the response of the normal frog under any circumstances". Goltz had raised the temperature of the water from 17.5 °C to 56 °C in about ten minutes, or 3.8 °C per minute, in his experiment, whereas Heinzmann heated the frogs over the course of 90 minutes from about 21 °C to 37.5 °C, a rate of less than 0.2 °C per minute. Edward Wheeler Scripture recounted this conclusion in "The New Psychology" (1897): "a live frog can actually be boiled without a movement if the water is heated slowly enough; in one experiment the temperature was raised at a rate of 0.002°C per second, and the frog was found dead at the end of 2½ hours without having moved."


title: Boiling frog

text: Modern scientific sources report that the alleged phenomenon is not real. In 1995, Douglas Melton, a biologist at Harvard University, said, "If you put a frog in boiling water, it won't jump out. It will die. If you put it in cold water, it will jump before it gets hot—they don't sit still for you." George R. Zug, curator of reptiles and amphibians at the National Museum of Natural History, also rejected the suggestion, saying that "If a frog had a means of getting out, it certainly would get out." In 2002, Victor H. Hutchison, a retired zoologist at the University of Oklahoma with a research interest in thermal relations of amphibians, said that "The legend is entirely incorrect!" He described how a critical thermal maximum for many frog species has been determined by contemporary research experiments: as the water is heated by about 2 °F (about 1 °C), per minute, the frog becomes increasingly active as it tries to escape, and eventually jumps out if it can.


title: USS Enterprise (NCC-1701)

text: USS "Enterprise" (NCC-1701) is a fictional starship in the "Star Trek" media franchise. It is the main setting of (1966–69), and it is depicted in films, other television series, spin-off fiction, products, and fan-created media. Under the command of Captain James T. Kirk, the "Enterprise" carries its crew on a mission "to explore strange, new worlds; to seek out new life and new civilizations; to boldly go where no man has gone before." The 2022 series "" depicts the "Enterprise" under the command of Kirk's predecessor, Captain Christopher Pike.


title: USS Enterprise (NCC-1701)

text: Matt Jefferies designed the "Enterprise" for television, and its core components – a saucer-shaped primary hull, two offset engine nacelles, and a cylindrical secondary hull – persisted across several television and film redesigns. After the "Enterprise"'s destruction in the third franchise film, the production model was refurbished and depicted as its successor starship, the USS "Enterprise", NCC-1701-A.


title: USS Enterprise (NCC-1701)

text: Initially a vision of the potential for human spaceflight, the "Enterprise" became a popular culture icon. The vessel influenced the design of subsequent franchise spacecraft, and the model filmed for the original "Star Trek" TV series has been on display for decades at the National Air and Space Museum. The "Enterprise" has repeatedly been identified as one of the best-designed and most influential science fiction spacecraft.


title: USS Enterprise (NCC-1701)

text: Pato Guzman was the original art director assigned to "Star Trek"; Matt Jefferies, his assistant, took over when Guzman left the project. Jefferies, who was not a science fiction fan, was the "Enterprise"'s primary designer and he based his work on concepts from series creator Gene Roddenberry. Roddenberry did not have any ideas about what the ship should look like, but he laid out several parameters:


title: USS Enterprise (NCC-1701)

text: Roddenberry further specified that the "Enterprise" would have a crew of 100–150 and be incredibly fast. Jefferies and Roddenberry did not want the "Enterprise" to look like any of the rocket ships already used by the aerospace industry or in popular culture; many designs were rejected for being "too conventional". To meet Roddenberry's requirement that the ship look believable, Jefferies tried "to visualize what the fourth, fifth or tenth generation of present-day equipment would be like". Jefferies' experience with aviation let him imbue his designs with what he called "aircraft logic". He imagined the ship's engines would be too powerful to be near the crew, requiring them to be set apart from the hull. While Jefferies initially rejected a disk-shaped component, worried about the similarities to flying saucers, a spherical module eventually flattened into a disk.


title: USS Enterprise (NCC-1701)

text: During a visit to Jefferies, Roddenberry and NBC staff were drawn to a sketch of the "Enterprise" resembling its final configuration. Jefferies had created a small model of this design that, when held from a string, hung upside-down – an appearance he had to "unsell". He kept the hull smooth, with a sense that the ship's components were serviced from inside. He designed the Klingon starship seen in the third season by rearranging and changing the shape of the "Enterprise"s basic modules: a main body, two engine pods, and a neck with a head on it. Some of Jefferies' rejected design concepts – such as spherical hull sections and warp engines that encircle a ship – inspired future "Star Trek" vessel designs.


title: USS Enterprise (NCC-1701)

text: The "Enterprise" was originally going to be named "Yorktown", but Roddenberry was fascinated by the aircraft carrier "Enterprise" and had "always been proud of that ship and wanted to use the name." The "NCC-1701" registry stems from "NC" being one of the international aircraft registration codes assigned to the United States. The second "C" was added because Soviet aircraft used "C"s, and Jefferies believed a venture into space would be a joint operation by the United States and Russia. Jefferies rejected "3", "6", "8", and "9" as "too easily confused" on screen; he eventually reasoned the "Enterprise" was the first vessel of Starfleet's 17th starship design, hence "1701". "The Making of Star Trek" explains that "USS" means "United Space Ship" and that ""Enterprise" is a member of the Starship Class". Licensed texts, on-screen graphics, and dialogue later describe the ship as a "Constitution"-class vessel.


title: USS Enterprise (NCC-1701)

text: The first miniature built from Jefferies' drawings was a scale model. Desilu Studios, which produced "Star Trek", hired Richard C. Datin to make a pre-production model. Datin used a subcontractor with a large lathe for major subcomponents and otherwise worked on the model for about 110 hours in November 1964. The model was made mostly of pine, with Plexiglass and brass details. Datin made minor changes after Roddenberry's review, and he submitted the completed model – which cost about $600 – to Desilu in December 1964.


title: USS Enterprise (NCC-1701)

text: Desilu then ordered a larger filming model, which Datin contracted to Volmer Jensen and Production Model Shop in Burbank. Datin supervised the work and did detailing on the model, which was constructed from plaster, sheet metal, and wood. When completed, it was long, weighed , and cost $6,000. The model was delivered too late to be used much for the initial pilot, "". When Roddenberry was approved to film the second pilot, "Where No Man Has Gone Before" (1966), various details of the 11-foot model were altered, and the starboard windows and running lights were internally illuminated. When the series went into production, the model was altered yet again, and it was regularly modified throughout its active filming. Most of the fine details on the large model were not visible to television viewers. Wiring for the interior lighting ran into the model on its left side, so the model could only be filmed from the right; for shots requiring the other side of the "Enterprise", the footage was either flipped or filmed using the 33-inch model. Because of this, some of the fine details added to the model were added only to its left side.


title: USS Enterprise (NCC-1701)

text: The 11-foot model was initially filmed by Howard Anderson. Anderson's team struggled to film the model in a way that suggested it was moving at tremendous speeds, as the producers wanted to avoid the cliched look of a spacecraft drifting through space. Anderson could not keep up with the filming and special effects needs for regular production, so producers hired several other studios to contribute effects and additional footage. Motion control equipment was too expensive, so the ship was filmed with stop motion. Filming was often delayed by the heat generated by the studio and model's lights. Special effects were produced as cheaply as possible. Most third-season footage of the "Enterprise" was reused first- or second-season footage. Animators for "" (1973–75) rotoscoped "Enterprise" footage to recreate the ship's movements, contributing to the impression of the animated series being a fourth season of the original. The animated show's limited color palette could not accommodate all of the ship's various colors, so the "Enterprise" was depicted as a consistent gray.


title: USS Enterprise (NCC-1701)

text: For the "" episode "Trials and Tribble-ations" (1996), Greg Jein created an "Enterprise" model exactly half the size of the 11-foot original"," and it was the first production model of the starship to be built in more than 30 years. A CGI "Enterprise" makes a cameo appearance at the end of the "" series finale, "These Are the Voyages..." (2005). Artists creating another CGI "Enterprise" for the remastered original series had to ensure the model was not so detailed that it was incongruous with the overall 1960s production.


title: USS Enterprise (NCC-1701)

text: The "Enterprise" was meant to serve as a familiar, recurring setting, similar to Dodge City in "Gunsmoke" and Blair General Hospital in "Dr. Kildare". Reusing sets also helped address Desilu's budget concerns. As production continued, standing sets like the engine room and bridge became increasingly detailed. The bridge was monochromatic for "The Cage", but it was redecorated for "Where No Man Has Gone Before" because of the increasing popularity of color televisions. Roddenberry described the ship's hallways as "Des Moines Holiday Inn Style". To keep the ship from looking too sterile, Roddenberry hired Mike Minor to create several paintings that were hung in Kirk's quarters, the recreation area, and the upper rim of the bridge. The ship's chairs were manufactured by Burke of Dallas and similar to the original tulip chair designed by Eero Saarinen. At Roddenberry's direction, sound effects designer Doug Grindstaff created sounds for different parts of the vessel: console sound effects were often created with a Hammond electric organ or other musical instrument, and engine sounds were created in part with a noisy air conditioner. The production staff used the term "Jefferies tube" as an inside joke referencing Matt Jefferies to describe the ship's maintenance tunnels, and the term is used in dialogue to describe similar crawl spaces in spinoffs. Although the interior in "The Animated Series" was largely recreated from the live action series, a second turbolift was added to the bridge in response to Roddenberry being asked, "What do they do if the [one turbolift's] doors get stuck?" Franz Joseph designed full "Enterprise" interior deck plans in 1974 with approval from Roddenberry.


title: USS Enterprise (NCC-1701)

text: The "Enterprise" bridge was partially recreated for the "Star Trek: The Next Generation" episode "" (1992). The original set had long been torn down, and producers initially planned to use the film-era set. Ultimately, recreations of the captain's chair, navigation console, and engineering console were rented from fans, and the rest filled in with archival footage and greenscreen technology. The bridge was again partially recreated, with other parts added digitally, for the "Deep Space Nine" episode "Trials and Tribble-ations" (1996). Mike Okuda used a computer to recreate the graphics seen on the "Enterprise" sets, and others were drawn by artist Doug Drexler. Set designer Laura Richarz's biggest challenge was finding Burke chairs to populate the ship: she found just one, which the production team used to make molds to create more.


title: USS Enterprise (NCC-1701)

text: Shortly after the animated "Star Trek" went off the air, pre-production began on "". Ken Adam and Ralph McQuarrie designed a new "Enterprise" with a triangular hull that later inspired the appearance of the eponymous ship in "." "Planet of the Titans" was dropped in favor of a return to television with "", for which Jefferies designed a new "Enterprise"."" He began with the original design and identified components, such as the engines, that would have been upgraded. Some components, like the sensor dish, would move inside the ship to be more easily serviced. Abandoning "Phase II" in favor of producing "" (1979) necessitated additional "Enterprise" redesigns because the film medium would resolve more detail than television, and one of the most difficult challenges facing the film producers was recreating the "Enterprise" for film. Roddenberry told "Cinefantastique" that the changes to the "Enterprise" would be explained within the story as the outcome of a major refit.


title: USS Enterprise (NCC-1701)

text: When Jefferies left the project, art director Richard Taylor wanted to start over with designing the "Enterprise". However, Roddenberry convinced him to continue working with Jefferies' design. Taylor brought on Andrew Probert to work with him on refining the ship's details. Probert added items such as phaser banks, control thrusters, and hatches for saucer section landing gear; Taylor redesigned the edge of the saucer and elements of the warp nacelles. Art director Joe Jennings and conceptual illustrator Mike Minor added additional details. David Kimble created diagrams and deck plans for the updated "Enterprise" that were provided to model makers, toy companies, and other licensed product manufacturers.


title: USS Enterprise (NCC-1701)

text: Jim Dow was in charge of building the model. Paramount Pictures subsidiary Magicam spent 14 months and $150,000 building the , model. An arc-welded aluminum skeleton ensured parts of the ship would not sag, bend, or shake when moved. While the original "Enterprise" model was seen in only 17 poses, the new model had five articulation points and could be shot from any angle. Paul Olsen painted the "Aztec" hull pattern to provide an additional level of detail and to suggest the presence of interlocking panels providing strength. The effect is made possible by small particles of mica in the paint, which alters its apparent color. However, the paint created light flare that made it hard to discern the edge of the ship against a dark background, and bluescreen light reflected by the pearlescent paint also complicated filming. Effects supervisor Douglas Trumbull relit the ship as if it were an ocean liner, "a grand lady of the seas at night", because there would be no external light source in deep space. A model was used for long shots.


title: USS Enterprise (NCC-1701)

text: Production designer Harold Michelson was responsible for the ship's interior design. The "Enterprise" interiors were designed to be distinct from the film's Klingon ship, and certain support structure designs were used throughout the "Enterprise" sets to convey a shared motif. A new bridge had been designed and partially built for "Phase II", and Michelson largely retained the design and its consoles. Chekov's console was rotated 90 degrees to break the monotony of stations facing the wall. Designer Lee Cole brought logic and function to the console designs, though Michelson wanted to remain focused on "drama, spectacle and beauty" over accuracy and logic. Rear projection films for bridge displays came initially from Stowmar Enterprises. When production exhausted the films faster than Stowmar could supply them, production designers manufactured their own from oscilloscopes, medical imagery, and an experimental computer lab.


title: USS Enterprise (NCC-1701)

text: Set designer Lewis Splittgerber described the engine room set as the most difficult to realize. Through forced perspective and small actors, the set was depicted as a engineering space. Corridors were initially a straight-wall design similar to the television series, and Michelson changed them to an angular design with light radiating upward. Director Robert Wise wanted the corridors to be narrower than on the television series, and mirrors gave the impression that they were longer than they actually were. Wise was also responsible for the ship's drab interior color scheme: the muted colors were meant to be comfortable across a five-year journey.


title: USS Enterprise (NCC-1701)

text: "The Motion Picture"s model was slightly refurbished for "" (1982), with its exterior shine dulled and extra detail added to the frame. Industrial Light & Magic (ILM) staff found the "Enterprise" difficult to work with: it took eight people to mount the model and a forklift to move it. Illustrator Mike Minor described the ship as a "sculpture" with an "aerodynamic shape," requiring careful filming so that its movements did not appear "silly"."" ILM developed techniques to depict damage to the "Enterprise" without actually harming the model.


title: USS Enterprise (NCC-1701)

text: The budget required the reuse of existing sets, but they presented challenges in realizing director Nicholas Meyer's desire for a "livelier" tone. The "Enterprise" was given a ship's bell, boatswain's call, and more blinking lights and signage to match the nautical atmosphere Meyer wanted to convey. Rear-projection systems for bridge displays were replaced with monitors looping taped material created by graphic designer Lee Cole at the Jet Propulsion Laboratory. The bridge set was "unbuttoned" so segments could be removed to better accommodate filming more dynamic action, though filming on the 360-degree set was still challenging. Further complicating the set was that it served three roles: the "Enterprise" bridge, the "Reliant" bridge, and the Starfleet bridge simulator. The production crew made several "plugs" to cover consoles and alcoves, and pyrotechnics could destroy the plugs during combat sequences without damaging the underlying set. The torpedo bay set is a redress of the Klingon bridge from "The Motion Picture." Kirk's quarters were redressed with more personal items and a more naval appearance, and the same set depicted Spock's more monastic quarters."" David Kimble's deck plans from "The Motion Picture" influenced how previously unseen interior arrangements like the torpedo bay were depicted in "The Wrath of Khan".""


title: USS Enterprise (NCC-1701)

text: Recognizing the plot of "" (1984) was otherwise predictable, producer Harve Bennett decided to have the "Enterprise" destroyed. Though he meant for the event to be kept secret, news leaked. Visual effects supervisor Ken Ralston hated the "Enterprise" model and reveled in its destruction. Rather than damage the large and expensive original model, several less expensive miniatures and modules were created and destroyed. One of the destroyed models had been created by Brick Price Movie Miniatures for "Star Trek Phase II". A new ship designed for the film, the USS "Excelsior", was meant to make the "Enterprise" "look old and out of date". Model maker Bill George tried to imagine what the "Enterprise" would look like if it were designed by the Japanese, and he used that impression as the basis for his refinement of the "Excelsior" model.


title: USS Enterprise (NCC-1701)

text: Ralston had hoped the "Enterprise"s destruction in "The Search for Spock" would lead to a new "Enterprise" design for sequels, but the producers of "" (1986) decided to have the crew assigned to a duplicate of their previous ship. It took ILM more than six weeks to restore and repaint the model to appear as the new USS "Enterprise", NCC-1701-A. After visiting ILM, Majel Barrett described the model as "gorgeous," and she said some of its details – such as the windows into the arboretum – were not done justice by photographs.


title: USS Enterprise (NCC-1701)

text: Although its original pearlescent paint job had been covered and the ship redressed as the "Enterprise"-A, the eight-foot film franchise model was used as a referent for the CGI "Enterprise" created for the 2001 director's cut of "The Motion Picture". The director's cut replaced several bridge computer voices with human voices to "warm up" the film. The bridge and several other "Enterprise" film sets were redressed for use in "" (1987–1994).


title: USS Enterprise (NCC-1701)

text: The "Enterprise" was redesigned for the 2009 "Star Trek" film. Previsualization lead David Dozoretz credits the designers for overcoming the challenge of doing "a 2009 version of the '60s". Director J. J. Abrams wanted "Enterprise" to have a "hot rod" look while retaining the traditional shape, and he otherwise gave designers leeway to create the ship. The designers wanted the "Enterprise" to appear as carefully crafted as a luxury car. Concept artist Ryan Church retained much of the original "Enterprise" design and focused on the functionality behind the familiar components. His initial designs were modeled and refined by set designer Joseph Hiura. This design was then given to ILM for further refinement and developed into photo-realistic models by Alex Jaeger's team. ILM's Roger Guyett, recalling the original "Enterprise" as being "very static", added moving parts. ILM retained subtle geometric forms and patterns to allude to the original "Enterprise", and the model's digital paint recreated the "Aztec" hull pattern from the first films. The large engine nacelles had a sleeker finish and shape compared to the original ship's otherwise simple nacelles. Sean Hargreaves' redesign of the successor NCC-1701-A "beef[ed] up" the vessel's support pylons, which are depicted as vulnerabilities in "Star Trek Beyond" (2016).


title: USS Enterprise (NCC-1701)

text: According to Abrams, recreating the original bridge would have been ridiculous and too small. His enthusiasm for a new iPhone influenced Church's redesign for the bridge. Sophisticated technology became a motif on the new set, with multiple displays and computer graphics. The main viewscreen from the television series was kept, and giving different characters their own computer displays suggested the idea of a team working together. Because the original series transporter room seemed flat to Abrams, he used swirling light and a moving camera to make the redesigned set and effects more dynamic. The budget prevented the creation of a huge, functional engineering room set, and producers instead filmed in portions of a Budweiser plant. Ben Burtt consulted with original series sound designed Douglas Grindstaff on sound design for the new "Enterprise".


title: USS Enterprise (NCC-1701)

text: The "Enterprise" appears briefly at the end of the ""'s first-season finale (2018), and occasionally in the show's second season (2019). John Eaves, Scott Schneider, and William Budge redesigned the "Enterprise" for "Discovery", which occurs about a decade before the original "Star Trek". The designers had an unusually long time to work on the ship: April to October 2017, whereas they usually had only a few weeks to design a vessel. Other than a few small notes, they were given no explicit direction about the ship's appearance; Schneider called the redesign project the trio's "golden hour".


title: USS Enterprise (NCC-1701)

text: They briefly considered but quickly decided against an appearance significantly different from Jefferies' original design. Eaves created 10 relatively similar sketches that streamlined the original "Enterprise" to appear more consistent with the sleek "Discovery" aesthetic, and the team selected one to refine. They developed the vessel with the assumption that components like the warp nacelles and impulse engines would be replaced over time; the modules for the "Enterprise"s appearance in "Discovery" are meant to appear more primitive than what is depicted in "Star Trek". The designers tried to incorporate elements from other ships that precede and succeed the "Enterprise", such as the 21st-century "Phoenix" in "" (1996), the 22nd-century "Enterprise" in "Star Trek: Enterprise" (2001–2005), and the USS "Enterprise"-B in "Star Trek Generations" (1994). They also included elements from the "Enterprise" refit for "The Motion Picture". One distinct challenge was the hull: Jefferies' design featured a smooth hull, but the lack of features would appear too simple on modern high-definition displays. The designers added details, such as phaser banks and control thrusters, that "must have been there" on the original "Enterprise" but were not depicted on the "Star Trek" models. The ship's scale also fluctuated, which meant the designers had to adjust the window sizes and patterns.


title: USS Enterprise (NCC-1701)

text: Budge kept the designers in check with ensuring details and features added to the "Enterprise" were consistent with other "Discovery" ships. One such feature was whether the bridge would have a window: most "Discovery" ship bridges have a front-facing window, but the "Enterprise" had never been depicted like that. The solution was to depict the "Enterprise" bridge as having a large piece of transparent aluminum at its front that can become either transparent or opaque. Eaves sent the design team's model to the visual effects team, which made further design changes. "Discovery" producer Gretchen J. Berg said she hoped fans see the "Enterprise"'s appearance in "Discovery" as a blending of old and new "Star Trek". Another "Discovery" producer, Aaron Harberts, wasn't worried whether fans were satisfied with the ship's redesign: while many of the staff who developed the new appearance were "Star Trek" fans, Harberts stated fans rarely agree on anything.


title: USS Enterprise (NCC-1701)

text: The "Enterprise" bridge appears in the second season's finale. Production designer Tamara Deverell and her team wanted to honor the original bridge but needed to create the set using modern techniques and to meet modern audience expectations. The production's widescreen format, as opposed to the original series' 4:3 aspect ratio, required the set design to be more "stretched out" horizontally; designers referenced "Star Trek" film bridges – also recorded in widescreen – to assist with designing for the different ratio. Ultimately, the bridge was a fully constructed set, save for greenscreen for the main viewer. The set maintained the original's layout and included references and details from "Star Trek", such as Sulu's and Spock's console scanners, red bridge railings, and turbolift handles. They also created new elements, such as a corridor running behind the bridge. According to Deverell, the hardest part of designing the bridge was choosing the color palette. The bridge chairs were nearly identical to those used in "Star Trek", and the new captain's chair was heavily influenced by Captain Kirk's original. A fan-created replica of the original bridge – later opened as museum – sent the production team hundreds of buttons for the set's consoles.


title: USS Enterprise (NCC-1701)

text: The "Enterprise" is the main setting of "" (2022), which depicts the ship led by Captain Christopher Pike. Anson Mount, who plays Pike, said "Strange New Worlds" has a "big idea of the week" like the original "Star Trek", and as such the "Enterprise" is "the star of the show". Rebecca Romjin, who plays first officer Una Chin-Riley, called the "Enterprise" "sexy, and groovy, and fun." Producer Akiva Goldsman said the designers for "Strange New Worlds" "tried to evoke the experience of watching [The Original Series], but with the grammar available to us today." He said the ship is meant to be aspirational and to pull audiences into an imagined future.


title: USS Enterprise (NCC-1701)

text: The "Enterprise" in "Strange New Worlds" differs slightly from its appearance in "Discovery". The bridge set for "Strange New Worlds" was more compact than the one built for "Discovery" to bring it closer to the size of the original series set. The sets were designed to function like a practical starship, with moving components and pre-programmed monitor graphics that reacted to the actors. While the viewscreen was a visual effect in "Discovery", it was physically built into the "Strange New Worlds" set. Sickbay was an entirely new design, meant to convey a large scale and capable of accommodating many camera movements. Designers relied on a massive augmented reality LED volume to depict the massive scale of main engineering. Due to COVID-19, some sets were not complete when filming began; Goldsman said they were "building the "Enterprise" around shooting on the "Enterprise"." Production designers also changed the color scheme, "warming" it from its "Discovery" palette. A specific shade of red is used as a secondary color throughout the ship, complementing warm and cold off-whites.


title: USS Enterprise (NCC-1701)

text: Starfleet commissioned the "Enterprise" in 2245. Robert April is the "Enterprise"s first captain, succeeded by Christopher Pike. Pike leads the "Enterprise" for about a decade, and he is the commanding officer in , the second season of "Star Trek: Discovery", and in "Star Trek: Strange New Worlds". Throughout the first live action and animated "Star Trek" television series, Captain James T. Kirk commands the ship and its 430-person crew on an exploration mission from 2264 to 2269. "Star Trek: The Motion Picture" takes place in the 2270's as the "Enterprise" is completing an 18-month refit overseen by its new captain, Willard Decker. Decker describes the refit vessel as "an almost totally new "Enterprise"" when Admiral Kirk takes command to address a threat to Earth. "Star Trek" novels and other media depict a second five-year mission under Kirk's command between the events of the first and second films.


title: USS Enterprise (NCC-1701)

text: Captain Spock commands the "Enterprise", serving as a training ship, at the beginning of "Star Trek II: The Wrath of Khan" in 2285. Kirk assumes command to investigate problems at space station Regula 1. The USS "Reliant", hijacked by Khan Noonien Singh, seriously damages the "Enterprise"; Spock sacrifices his life to save the ship. Starfleet decides to decommission the "Enterprise" at the beginning of "Star Trek III: The Search for Spock", and Kirk and his senior officers steal the ship as part of their plan to restore Spock's life. During their mission, a Klingon attack disables the ship. Kirk lures most of the Klingons onto the crippled "Enterprise", which he and his officers set to self-destruct before abandoning ship. When Kirk and his officers return to Earth, Kirk is demoted to captain and given command of a new USS "Enterprise", NCC-1701-A.


title: USS Enterprise (NCC-1701)

text: The 2009 reboot film "Star Trek" and its sequels occur in a different timeline than the original "Star Trek". The "Enterprise" first appears while under construction in Riverside, Iowa, in 2255. Captain Christopher Pike commands "Enterprise" on its 2258 maiden voyage to respond to a Vulcan distress call. At the film's conclusion, James Kirk is promoted to captain and receives command of the "Enterprise". The vessel is destroyed in "Star Trek Beyond" and a new "Enterprise", NCC-1701-A, is commissioned under Kirk's command.


title: USS Enterprise (NCC-1701)

text: Like other "Star Trek" ships with the same name, the original "Enterprise" is "a character in its own right," and the ship "was just as important ... as Kirk, Spock, and McCoy". According to film critic Scott Jordan Harris, the "Enterprise" was the franchise's most important character, pointing out:Writing in the "Journal of Popular Film & Television", National Air and Space Museum curator Margaret Weitekamp identifies two distinct celebrity "Enterprise"s: the fictional starship "Enterprise" as a character or popular culture icon, and the actual physical objects (for example, the filming models) as an iconic design. According to Weitekamp, "The two "Enterprise"s overlap, and are clearly related, but they do not map completely onto each other," and unpacking distinctions between them contributes to scholarly analysis of popular and material culture and of "this significant television artifact".


title: USS Enterprise (NCC-1701)

text: The "Enterprise"'s design, which influenced future starships in the franchise, is iconic. The design came at the end of a trend for science-fiction spaceships to resemble rockets, and just as real spacecraft began to influence sci-fi designs. When it first appeared on television, the "Enterprise" was called an "elegant and weird looking behemoth". Design expert Jonathan Glancey described the "convincing and exciting" "Enterprise" as having the same aesthetic appeal as the Concorde jet, B-17 bomber, and "Queen Elizabeth 2" ocean liner. The interiors are also exemplars of 1960s design. "Popular Mechanics" said the original "Enterprise" has the best design of the franchise's various ships named "Enterprise". "io9" also ranked the original design as the best version of the "Enterprise", characterizing the original as superior to ten later versions of its namesake, and ranked the film refit as the franchise's second best.


title: USS Enterprise (NCC-1701)

text: Harris included the "Enterprise" as one of the 50 most significant objects to appear in film, alongside the ruby slippers in "The Wizard of Oz", the Maschinenmensch in "Metropolis", and the Batmobile in "Batman Begins". "Time" called the ship's redesign for "The Motion Picture" "bold" and "handsome". Conversely, Harlan Ellison called the "Enterprise" a "jalopy" in "The Motion Picture", and "The Washington Post" said the "Enterprise" looked "like a toy boat in a lava lamp" in "The Wrath of Khan." "Entertainment Weekly" wrote that, after being depicted as a complicated vessel requiring detailed care in "The Wrath of Khan", it seemed "a bit loony" for the "Enterprise" to be operable by just a handful of officers in "The Search for Spock". Jill Sherwin suggested that the aging "Enterprise" in "The Search for Spock" served as a metaphor for the aging "Star Trek" franchise.


title: USS Enterprise (NCC-1701)

text: The ship's destruction has been described as "truly iconic" and "a good way to go", though David Gerrold wrote that it "casts a pall" over "The Search for Spock" that even Spock's resurrection does not displace. David C. Fein, who produced the director's cut of "The Motion Picture", described the "Enterprise" as Kirk's lover, and said destroying the ship meant Kirk "killed the woman that he loves more than any existing being in the world." "Popular Mechanics" ranked the ship's destruction the 32nd greatest scene in science fiction.


title: USS Enterprise (NCC-1701)

text: "The New York Times" called it "a joy" to see the original "Enterprise" as redesigned for "Discovery"'s second-season premiere. "Engadget" called the "Enterprise" in "Strange New Worlds" "gorgeous inside and out." Writing for Tor.com, Keith DeCandido praised "Strange New Worlds"' producers for balancing the "Enterprise"'s original 1960s look with what audiences expect from modern productions.


title: USS Enterprise (NCC-1701)

text: The starship "Enterprise" has had considerable cultural impact, and the original ship's model is "a living cultural object". Bjo Trimble said the original "Star Trek" received more fan letters about the "Enterprise" than any of the actors. According to film critic Scott Jordan Harris, although the contemporaneous Apollo program prompted intellectual awareness of the possibilities of space travel, it was the "Enterprise" of the 1960s that sparked space travel fantasies. A 1976 write-in campaign led to the first Space Shuttle being named "Enterprise" rather than "Constitution". In 2009, Virgin Galactic named its first commercial spaceship to honor the "Star Trek" vessel. The United States Navy evaluated the efficiency of the "Enterprise" bridge's style and layout, and the USS "Independence"'s bridge and USS "Zumwalt"'s Ship's Mission Center have been compared to the "Enterprise" bridge. An "Enterprise" bridge replica created for a "Star Trek" fan series was later opened as a public exhibit. The distinct beeps emitted by R2-D2 in "Star Wars" are "an offspring" of the melodic sounds created for the "Enterprise"s bridge console. Vulcan, Alberta, created a model starship inspired by the "Enterprise".The "Enterprise" design has been licensed for use in variety of games, models, and toys. AMT's 1966 "Enterprise" model is one of the company's highest-selling kits. Ballantine Books released a set of "Enterprise" blueprints in April 1975, and by December 1976 they were in their seventh printing. The first run of a cutaway drawing of the "Enterprise" for "The Motion Picture" sold over one million prints. In 2010, Simon & Schuster's Gallery Books published a Haynes Manual for "owners" of the USS "Enterprise". The United States Postal Service has released several USS "Enterprise" stamps. Pulitzer Prize–winning editorial cartoonist Mike Luckovich has used the "Enterprise" as the setting for two of his illustrations for "The Atlanta Journal-Constitution".


title: USS Enterprise (NCC-1701)

text: Paramount Pictures donated the original series filming model to the Smithsonian Institution in 1974, disassembled across three crates and dirty. In shipping the model, Paramount estimated the value of the model at $5,000. Starting in 1976, it hung at an exhibit gallery entrance at the National Air and Space Museum before being moved to the gift shop, where it stayed for 14 years. In the first of its initial restorations, the model was altered to look more like the starship "Enterprise" and less like a studio filming model. The model underwent restorations in 1974, 1984, 1992, and 2016. For much of its time on display, fans have been surprised at the differences between the model and their expectations about how the "real" spacecraft should appear. A substantial, multi-year restoration culminated in 2016 with the unveiling of a new display in the Milestones of Flight Hall. This restoration highlighted the duality of the "Enterprise" as both a filming model and inspirational starship.


title: USS Enterprise (NCC-1701)

text: The original captain's chair prop sold at auction for $304,750. In 2006, Paul Allen bought the "Enterprise" model created for the original "Star Trek" films for $240,000, and it is on display at the Museum of Pop Culture. Another model of the film version is on display at aerospace company Blue Origin.


title: The Three Musketeers (1993 film)

text: The Three Musketeers is a 1993 action-adventure comedy film from Walt Disney Pictures, Caravan Pictures (first film produced), and The Kerner Entertainment Company, directed by Stephen Herek from a screenplay by David Loughery. It stars Charlie Sheen, Kiefer Sutherland, Chris O'Donnell, Oliver Platt, Tim Curry, Rebecca De Mornay and Gabrielle Anwar.


title: The Three Musketeers (1993 film)

text: The film is loosely based on the 1844 novel "The Three Musketeers" ("Les Trois Mousquetaires") by Alexandre Dumas. It recounts the adventures of d'Artagnan on his quest to join the three title characters in becoming a musketeer. However, this adaptation simplifies and alters the story.


title: The Three Musketeers (1993 film)

text: In 1625, young-but-skilled fencer d'Artagnan sets off for Paris, France in hopes to follow in his murdered father's footsteps and become a member of the musketeers: the personal guard of the King of France. He is pursued by Gérard and his brothers, accused of blemishing their sister's honor. Meanwhile, Captain Rochefort of the Cardinal's Guards disbands the musketeers per the orders of Cardinal Richelieu, the King's Minister, ostensibly to help fight in an impending war with England. Rochefort informs Richelieu that three musketeers refused to relinquish their duties: Athos, Porthos, and Aramis.


title: The Three Musketeers (1993 film)

text: In Paris, d'Artagnan "rescues" the queen's handmaidens from their own bodyguards, and after a scolding, takes a liking to one, Constance. In the city d'Artagnan encounters each of the Three Musketeers separately, unaware of their identities or association, resulting in a separate duel arranged with each. At the arranged location, Athos, Porthos and Aramis reveal themselves as musketeers to d'Artagnan's surprise. Before they can duel, a Captain of the Cardinal's Guard arrives with four other guards to arrest the musketeers; although d'Artagnan is not sought by the guards, he allies with the musketeers during the skirmish. The Musketeers kill four guards, while d'Artagnan outduels the Captain, who falls to his death. Impressed but displeased at d'Artagnan's involvement, the musketeers leave d'Artagnan behind after encouraging him to flee and maintain his innocence. When more of the Cardinal's Guards arrive, d'Artagnan is captured.


title: The Three Musketeers (1993 film)

text: D'Artagnan escapes his cell and eavesdrops on a conversation between Richelieu and the mysterious Milady de Winter, where the Cardinal plots to supplant the King, tasking Milady with delivering a secret treaty to England's Duke of Buckingham. D'Artagnan is caught by Rochefort without having seen Milady's face. Richelieu orders him executed for refusing to give up the musketeers' location, but he is saved by the musketeers. As they flee, d'Artagnan reveals Richelieu's plans; they decide to intercept the spy at Calais and retrieve the treaty to prove Richelieu's guilt.


title: The Three Musketeers (1993 film)

text: During a skirmish, the party splits up; d'Artagnan rides ahead to Calais, but passes out from exhaustion and is found by Milady de Winter. He wakes in a bed stripped of his weapons and clothes as Milady tries to seduce him. d'Artagnan speaks openly of his plans, not knowing she is the spy. She attempts to kill him, but he convinces her to keep him alive. As her party boards the boat to England, they are confronted by the musketeers. Milady attempts to run away but is stopped by Athos, who is revealed to have been her first husband, but betrayed her to the authorities when he found out she was branded a murderer. The musketeers retrieve the treaty and Milady is sentenced to death for the murder of her second husband, Lord de Winter; just before she is executed, Athos begs her forgiveness. Moved, she reveals the Cardinal's plans to assassinate the king at his birthday celebration, then throws herself off a cliff to her death.


title: The Three Musketeers (1993 film)

text: Athos, Porthos and Aramis send missives to rally the rest of the musketeers. Richelieu and Rochefort hired a sharpshooter; during the assembly, d'Artagnan interrupts the sniper's shot, which narrowly misses the king. The musketeers reveal themselves, and Richelieu blames them for the attempted assassination.


title: The Three Musketeers (1993 film)

text: As the three face off with the Cardinal's guards, men rush to their aid and reveal themselves as musketeers. The two forces battle as Richelieu takes the king and queen hostage, shooting Aramis in the chest before fleeing to the dungeon with Athos and Porthos in pursuit. d'Artagnan duels Rochefort and is disarmed; as Rochefort gloats about having killed d'Artagnan's father, Constance retrieves and throws him his sword and d'Artagnan promptly kills Rochefort.


title: The Three Musketeers (1993 film)

text: Athos and Porthos arrive just as Richelieu's boat leaves on an underground river, with Richelieu vowing to return. The boatman then reveals himself as Aramis, his crucifix having stopped the bullet. Aramis moves to apprehend the Cardinal, but King Louis punches Richelieu himself, knocking him into the river.


title: The Three Musketeers (1993 film)

text: The musketeers are reinstated by the king, and d'Artagnan is offered anything he wants; he chooses to serve Louis as a musketeer. Outside the musketeer headquarters, Gérard and his brothers arrive and challenge d'Artagnan to a duel; Porthos reminds him that musketeers not only protect King and country, but also each other. Gérard and his brothers are then chased off by the entire musketeer division.


title: The Three Musketeers (1993 film)

text: In 1992 Walt Disney Pictures, Columbia Pictures, and TriStar Pictures simultaneously began development on three separate adaptations of "The Three Musketeers". Disney purchased a screenplay for the film from David Loughery for $650,000 after he had already been hired to write the screenplay of the Columbia adaptation, and Columbia producer Brad Wyman accused Disney of stealing concepts which were its intellectual property. The matter was settled out of court, and the Columbia adaptation was cancelled. The TriStar adaptation was to be written by Joel Gross and directed by Jeremiah S. Chechik, and was to be more adult-oriented and faithful to Alexandre Dumas' original novel than the Disney version.


title: The Three Musketeers (1993 film)

text: Charlie Sheen was originally sought for the role of Porthos before he was cast as Aramis, while Brendan Fraser was the first choice for the role of 'dArtagnan. Brad Pitt and Stephen Dorff also turned down the role of d'Artagnan, which ultimately went to O'Donnell. William Baldwin, Jean-Claude Van Damme, Al Pacino, Johnny Depp, Cary Elwes, Robert Downey Jr., and Gary Oldman were also sought out by Disney for parts in the film. Winona Ryder was considered for the role of Milady de Winter, but dropped out and Rebecca De Mornay was cast. Kiefer Sutherland, Chris O'Donnell and Oliver Platt all endured six weeks of fencing and riding lessons. Sheen missed this training as he was still filming "Hot Shots! Part Deux". Depp was cast in Chechik's adaptation at TriStar after Baldwin, Downey Jr., and Sutherland were also considered for roles in the film. Oliver Platt had also been approached to play Porthos in that version as well. However, it never entered production.


title: The Three Musketeers (1993 film)

text: Cinergi Pictures, the film's production studio, dropped the film because its chairman Andrew G. Vajna disapproved of Disney's casting choices. Jordan Kerner and Jon Avnet were briefly involved with the film but also quit in order to focus on "When a Man Loves a Woman". Disney President David Haberman hired Caravan Pictures under Joe Roth and Roger Birnbaum to produce the film. Roth and Birnbaum had previously bid against both Columbia and Disney for Loughery's script while working at 20th Century Fox.


title: The Three Musketeers (1993 film)

text: Disney decided against shooting the film on-location in Paris because much of the city's French Baroque architecture had been destroyed in World War II. After initially settling on Barrandov Studios in Prague, the production moved to Vienna after the local government offered $2 million. Principal photography began on April 26, 1993, with a budget of $30 million. "The Three Musketeers" was mostly shot in Perchtoldsdorf, Austria, where De Mornay attended high school and college.


title: The Three Musketeers (1993 film)

text: Filming locations included Charlestown, Cornwall, UK, and Castle Landsee (Burgenland); Burg Liechtenstein, Maria Enzersdorf, Hinterbrühl, Korneuburg (Lower Austria); and Vienna (particularly Hofburg) in Austria. Some sequences were shot in Cornwall, UK. A small woods called Golitha Falls was used in one sequence when the musketeers are being pursued by guards. The small harbor village of Charlestown is home to the galleon that was used in a night-shoot.


title: The Three Musketeers (1993 film)

text: The film was highly anticipated after Disney announced that its September 1993 test screenings for the film showed the most positive response it had ever received from an audience. However, after its release it received highly negative reviews from both critics and fans.


title: The Three Musketeers (1993 film)

text: On Rotten Tomatoes the film finds an approval rating of 30% based on 30 reviews, with an average rating of 4.8/10. The site's critics consensus reads: "Its starry trio of do-gooders may promise to fight 'one for all, all for one,' but this "Three Musketeers" is a slickly unmemorable update bound to satisfy very few." At Metacritic, the film has a weighted average score of 43 out of 100, based on 24 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: The Three Musketeers (1993 film)

text: Film critic Leonard Maltin christened this version "Young Swords", as it reunited Sheen and Sutherland, both of "Young Guns" fame. Janet Maslin of "The New York Times" described the movie as "Conceived frankly as a product, complete with hit-to-be theme song over the closing credits, this adventure film cares less about storytelling than about keeping the Musketeers' feathered hats on straight whenever they go galloping." Michael Wilmington of the "Chicago Tribune" wrote that "The new Walt Disney version of "The Three Musketeers"-plushly mounted, but ineptly written and cast-gallops along like a gargantuan tutti-frutti wagon running amok."


title: The Three Musketeers (1993 film)

text: Chris O'Donnell was nominated for a Golden Raspberry Award as Worst Supporting Actor for his work in the film, but lost to Woody Harrelson for "Indecent Proposal".


title: The Three Musketeers (1993 film)

text: The film grossed $11.5 million in its opening weekend, placing it at number 1 at the US box office. It went on to gross $53.9 million in the United States and Canada and $57 million internationally for a worldwide total of $111 million.


title: The Three Musketeers (1993 film)

text: Bryan Adams co-wrote "All for Love" with Robert John "Mutt" Lange and Michael Kamen for the movie's end credits, performing it with Rod Stewart and Sting. As Janet Maslin predicted, the song was a big hit (reaching No. 1 in North America and several other territories). Kamen also composed the movie's score, conducting the Greater Los Angeles All Star Orchestra.


title: The Three Musketeers (1993 film)

text: The soundtrack album was released on compact disc and cassette on November 12, 1993 by Hollywood Records and Columbia Records in North America and A&M Records (the label to which both Adams and Sting were signed at the time) elsewhere.


title: Metafiction

text: Metafiction is a form of fiction which emphasises its own narrative structure in a way that continually reminds the audience that they are reading or viewing a fictional work. Metafiction is self-conscious about language, literary form, and story-telling, and works of metafiction directly or indirectly draw attention to their status as artifacts. Metafiction is frequently used as a form of parody or a tool to undermine literary conventions and explore the relationship between literature and reality, life, and art.


title: Metafiction

text: Although metafiction is most commonly associated with postmodern literature that developed in the mid-20th century, its use can be traced back to much earlier works of fiction, such as "The Canterbury Tales" (Geoffrey Chaucer, 1387), "Don Quixote" (Miguel de Cervantes, 1605), "The Life and Opinions of Tristram Shandy, Gentleman" (Laurence Sterne, 1759), and "Vanity Fair" (William Makepeace Thackeray, 1847).


title: Metafiction

text: Metafiction became particularly prominent in the 1960s, with works such as "Lost in the Funhouse" by John Barth, "The Babysitter" and "The Magic Poker" by Robert Coover, "Slaughterhouse-Five" by Kurt Vonnegut, "The French Lieutenant's Woman" by John Fowles, "The Crying of Lot 49" by Thomas Pynchon, and "Willie Master's Lonesome Wife" by William H. Gass.


title: Metafiction

text: Since the 1980s, contemporary Latino literature has an abundance of self-reflexive, metafictional works, including novels and short stories by Junot Díaz ("The Brief Wondrous Life of Oscar Wao"), Sandra Cisneros ("Caramelo"), Salvador Plascencia ("The People of Paper"), Carmen Maria Machado ("Her Body"), Rita Indiana ("Tentacle"), and Valeria Luiselli ("Lost Children Archive").


title: Metafiction

text: The term 'metafiction' was coined in 1970 by William H. Gass in his book "Fiction and the Figures of Life". Gass describes the increasing use of metafiction at the time as a result of authors developing a better understanding of the medium. This new understanding of the medium led to a major change in the approach toward fiction. Theoretical issues became more prominent aspects, resulting in an increased self-reflexivity and formal uncertainty. Robert Scholes expands upon Gass' theory and identifies four forms of criticism on fiction, which he refers to as formal, behavioural, structural, and philosophical criticism. Metafiction assimilates these perspectives into the fictional process, putting emphasis on one or more of these aspects.


title: Metafiction

text: These developments were part of a larger movement (arguably a 'metareferential turn') which, approximately from the 1960s onwards, was the consequence of an increasing social and cultural self-consciousness, stemming from, as Patricia Waugh puts it, "a more general cultural interest in the problem of how human beings reflect, construct and mediate their experience in the world."


title: Metafiction

text: Due to this development, an increasing number of novelists rejected the notion of rendering the world through fiction. The new principle became to create through the medium of language a world that does not reflect the real world. Language was considered an "independent, self-contained system which generates its own 'meanings. and a means of mediating knowledge of the world. Thus, literary fiction, which constructs worlds through language, became a model for the construction of 'reality' rather than a reflection of it. Reality itself became regarded as a construct instead of an objective truth. Through its formal self-exploration, metafiction thus became the device that explores the question of how human beings construct their experience of the world.


title: Metafiction

text: Robert Scholes identifies the time around 1970 as the peak of experimental fiction (of which metafiction is an instrumental part) and names a lack of commercial and critical success as reasons for its subsequent decline. The development toward metafictional writing in postmodernism generated mixed responses. Some critics argued that it signified the decadence of the novel and an exhaustion of the artistic capabilities of the medium, with some going as far as to call it the 'death of the novel'. Others see the self-consciousness of fictional writing as a way to gain deeper understanding of the medium and a path that leads to innovation that resulted in the emergence of new forms of literature, such as the historiographic novel by Linda Hutcheon.


title: Metafiction

text: Video games also started to draw on concepts of metafiction particularly with the rise of independent video games in the 2010s. Games like "The Magic Circle", "The Beginner's Guide", "Undertale", and "Pony Island" use various techniques as to have the player question the bounds between the fiction of the video game and the reality of them playing the game.


title: Metafiction

text: According to Werner Wolf, metafiction can be differentiated into four pairs of forms that can be combined with each other.


title: Metafiction

text: Explicit metafiction is identifiable through its use of clear metafictional elements on the surface of a text. It comments on its own artificiality and is quotable. Explicit metafiction is described as a mode of telling. An example would be a narrator explaining the process of creating the story they are telling.


title: Metafiction

text: Rather than commenting on the text, implicit metafiction foregrounds the medium or its status as an artifact through various, for example disruptive, techniques such as metalepsis. It relies more than other forms of metafiction on the reader's ability to recognize these devices in order to evoke a metafictional reading. Implicit metafiction is described as a mode of showing.


title: Metafiction

text: Direct metafiction establishes a reference within the text one is just reading. In contrast to this, indirect metafiction consists in metareferences external to this text, such as reflections on other specific literary works or genres (as in parodies) and general discussions of aesthetic issue. Since there is always a relationship between the text in which indirect metafiction occurs and the referenced external texts or issues, indirect metafiction always impacts the text one is reading, albeit in an indirect way.


title: Metafiction

text: Critical metafiction aims to find the artificiality or fictionality of a text in some critical way, which is frequently done in postmodernist fiction. Non-critical metafiction does not criticize or undermine the artificiality or fictionality of a text and can, for example, be used to "suggest that the story one is reading is authentic".


title: Metafiction

text: While all metafiction somehow deals with the medial quality of fiction or narrative and is thus generally media-centred, in some cases there is an additional focus on the truthfulness or inventedness (fictionality) of a text, which merits mention as a specific form. The suggestion of a story being authentic (a device frequently used in realistic fiction) would be an example of (non-critical) truth-centred metafiction.


title: Metafiction

text: In this scene Tristram Shandy, the eponymous character and narrator of the novel, foregrounds the process of creating literature as he interrupts his previous thought and begins to talk about the beginnings of books. The scene evokes an explicitly metafictional response to the problem (and by addressing a problem of the novel one is just reading but also a general problem, the excerpt is thus an example of both direct and indirect metafiction, which may additionally be classified as generally media-centred, non-critical metafiction). Through the lack of context to this sudden change of topic (writing a book is not a plot point, nor does this scene take place at the beginning of the novel, where such a scene might be more willingly accepted by the reader) the metafictional reflection is foregrounded. Additionally, the narrator addresses readers directly, thereby confronting readers with the fact that they are reading a constructed text.


title: Metafiction

text: This scene from "The British Museum is Falling Down" (1965) features several instances of metafiction. First, the speaker, Adam Appleby (the protagonist of the novel) discusses the change the rise of the novel brought upon the literary landscape, specifically with regards to thematic changes that occurred. Second, he talks about the mimetic aspect of realist novels. Third, he alludes to the notion that the capabilities of literature have been exhausted, and thus to the idea of the death of the novel (all of this is explicit, critical indirect metafiction). Fourth, he covertly foregrounds that fact that the characters in the novel are fictional characters, rather than masking this aspect, as would be the case in non-metafictional writing. Therefore, this scene features metafictional elements with reference to the medium (the novel), the form of art (literature), a genre (realism), and arguably also lays bare the fictionality of the characters and thus of the novel itself (which could be classified as critical, direct, fiction-centred metafiction).


title: Metafiction

text: "The Eyre Affair" (2001) is set in an alternative history in which it is possible to enter the world of a work of literature through the use of a machine. In the novel, literary detective Thursday Next chases a criminal through the world of Charlotte Brontë's "Jane Eyre". This paradoxical transgression of narrative boundaries is called metalepsis, an implicitly metafictional device when used in literature. Metalepsis has a high inherent potential to disrupt aesthetic illusion and confronts the reader with the fictionality of the text. However, as metalepsis is used as a plot device that has been introduced as part of the world of "The Eyre Affair" it can, in this instance, have the opposite effect and is compatible with immersion. It can thus be seen as an example of metafiction that does not (necessarily) break aesthetic illusion.


title: Nationality

text: Nationality is a legal identification of a person in international law, establishing the person as a subject, a "national", of a sovereign state. It affords the state jurisdiction over the person and affords the person the protection of the state against other states.


title: Nationality

text: Article 15 of the Universal Declaration of Human Rights states that "Everyone has the right to a nationality", and "No one shall be arbitrarily deprived of his nationality nor denied the right to change his nationality". By international custom and conventions, it is the right of each state to determine who its nationals are. Such determinations are part of nationality law. In some cases, determinations of nationality are also governed by public international law—for example, by treaties on statelessness and the European Convention on Nationality.


title: Nationality

text: The rights and duties of nationals vary from state to state, and are often complemented by citizenship law, in some contexts to the point where citizenship is synonymous with nationality. However, nationality differs technically and legally from citizenship, which is a different legal relationship between a person and a country. The noun "national" can include both citizens and non-citizens. The most common distinguishing feature of citizenship is that citizens have the right to participate in the political life of the state, such as by voting or standing for election. However, in most modern countries all nationals are citizens of the state, and full citizens are always nationals of the state.


title: Nationality

text: In older texts or other languages the word "nationality", rather than "ethnicity", is often used to refer to an ethnic group (a group of people who share a common ethnic identity, language, culture, lineage, history, and so forth). This older meaning of "nationality" is not defined by political borders or passport ownership and includes nations that lack an independent state (such as the Arameans, Scots, Welsh, English, Andalusians, Basques, Catalans, Kurds, Kabyles, Baluchs, Hindkowans, Pashtuns, Multanis, Sindhis, Berbers, Bosniaks, Palestinians, Hmong, Inuit, Copts, Māori, Wakhis, Xhosas and Zulus, among others). Individuals may also be considered nationals of groups with autonomous status that have ceded some power to a larger sovereign state.


title: Nationality

text: Nationality is also employed as a term for national identity, with some cases of identity politics and nationalism conflating the legal nationality as well as ethnicity with a national identity.


title: Nationality

text: Nationality is the status that allows a nation to grant rights to the subject and to impose obligations upon the subject. In most cases, no rights or obligations are automatically attached to this status, although the status is a necessary precondition for any rights and obligations created by the state.


title: Nationality

text: In European law, nationality is the status or relationship that gives the nation the right to protect a person from other nations. Diplomatic and consular protection are dependent upon this relationship between the person and the state. A person's status as being the national of a country is used to resolve the conflict of laws.


title: Nationality

text: Within the broad limits imposed by a few treaties and international law, states may freely define who are and are not their nationals. However, since the "Nottebohm" case, other states are only required to respect the claim(s) by a state to protect an alleged national if the nationality is based on a true social bond. In the case of dual nationality, the states may determine the most effective nationality for the person, to determine which state's laws are the most relevant. There are also limits on removing a person's status as a national. Article 15 of the Universal Declaration of Human Rights states that "Everyone has the right to a nationality," and "No one shall be arbitrarily deprived of his nationality nor denied the right to change his nationality."


title: Nationality

text: Nationals normally have the right to enter or return to the country they belong to. Passports are issued to nationals of a state, rather than only to citizens, because passport is a travel document used to enter the country. However, nationals may not have the right of abode (the right to live permanently) in the countries that granted them passports.


title: Nationality

text: Conceptually, citizenship is focused on the internal political life of the state and nationality is a matter of international law. Article 15 of the Universal Declaration of Human Rights states that everyone has the right to nationality. As such nationality in international law can be called and understood as citizenship, or more generally as subject or belonging to a sovereign state, and not as ethnicity. This notwithstanding, around 10 million people are stateless.


title: Nationality

text: In the contemporary era, the concept of full citizenship encompasses not only active political rights, but full civil rights and social rights. Nationality is a necessary but not sufficient condition to exercise full political rights within a state or other polity. Nationality is required for full citizenship.


title: Nationality

text: Historically, the most significant difference between a national and a citizen is that the citizen has the right to vote for elected officials, and the right to be elected. This distinction between full citizenship and other, lesser relationships goes back to antiquity. Until the 19th and 20th centuries, it was typical for only a certain percentage of people who belonged to the state to be considered as full citizens. In the past, a number of people were excluded from citizenship on the basis of sex, socioeconomic class, ethnicity, religion, and other factors. However, they held a legal relationship with their government akin to the modern concept of nationality.


title: Nationality

text: United States nationality law defines some persons born in some of the US outlying possessions as US nationals but not citizens. British nationality law defines six classes of British national, among which "British citizen" is one class (having the right of abode in the United Kingdom, along with some "British subjects"). Similarly, in the Republic of China, commonly known as Taiwan, the status of national without household registration applies to people who have the Republic of China nationality, but do not have an automatic entitlement to enter or reside in the Taiwan Area, and do not qualify for civic rights and duties there. Under the nationality laws of Mexico, Colombia, and some other Latin American countries, nationals do not become citizens until they turn the age of majority.


title: Nationality

text: Even if the nationality law classifies people with the same nationality on paper ("de jure"), the right conferred can be different according to the place of birth or residence, creating different "de facto" classes of nationality, sometimes with different passports as well. For example, although Chinese nationality law operates uniformly in China, including Hong Kong and Macau SARs, with all Chinese nationals classified the same under the nationality law, in reality local laws, in mainland and also in the SARs, govern the right of Chinese nationals in their respective territories which give vastly different rights, including different passports, to Chinese nationals according to their birthplace or residence place, effectively making a distinction between Chinese national of mainland China, Hong Kong or Macau, both domestically and internationally. The United Kingdom had a similar distinction as well before 1983, where all nationals with a connection to the UK or one of the colonies, were classified as "Citizens of the United Kingdom and Colonies", but their rights where different depending on the connection under different laws, which was formalised into different classes of nationalities under the British Nationality Act 1981.


title: Nationality

text: Nationality is sometimes used simply as an alternative word for ethnicity or national origin, just as some people assume that citizenship and nationality are identical. In some countries, the cognate word for "nationality" in local language may be understood as a synonym of ethnicity or as an identifier of cultural and family-based self-determination, rather than on relations with a state or current government. For example, some Kurds say that they have Kurdish nationality, even though there is no Kurdish sovereign state at this time in history.


title: Nationality

text: In the context of former Soviet Union and former Socialist Federal Republic of Yugoslavia, "nationality" is often used as translation of the Russian "nacional'nost' " and Serbo-Croatian "narodnost", which were the terms used in those countries for ethnic groups and local affiliations within the member states of the federation. In the Soviet Union, more than 100 such groups were formally recognized. Membership in these groups was identified on Soviet internal passports, and recorded in censuses in both the USSR and Yugoslavia. In the early years of the Soviet Union's existence, ethnicity was usually determined by the person's native language, and sometimes through religion or cultural factors, such as clothing. Children born after the revolution were categorized according to their parents' recorded ethnicities. Many of these ethnic groups are still recognized by modern Russia and other countries.


title: Nationality

text: Similarly, the term "nationalities of China" refers to ethnic and cultural groups in China. Spain is one nation, made up of nationalities, which are not politically recognized as nations (state), but can be considered smaller nations within the Spanish nation. Spanish law recognizes the autonomous communities of Andalusia, Aragon, Balearic Islands, Canary Islands, Catalonia, Valencia, Galicia and the Basque Country as "nationalities" ("nacionalidades").


title: Nationality

text: In 2013, the Supreme Court of Israel unanimously affirmed the position that "citizenship" (e.g. Israeli) is separate from "le'om" (; "nationality" or "ethnic affiliation"; e.g. Jewish, Arab, Druze, Circassian), and that the existence of a unique "Israeli" "le'om" has not been proven. Israel recognizes more than 130 "le'umim" in total.


title: Nationality

text: National identity is person's subjective sense of belonging to one state or to one nation. A person may be a national of a state, in the sense of being its citizen, without subjectively or emotionally feeling a part of that state, for example, many migrants in Europe often identify with their ancestral and/or religious background rather than with the state of which they are citizens. Conversely, a person may feel that he belongs to one state without having any legal relationship to it. For example, children who were brought to the US illegally when quite young and grew up there while having little contact with their native country and their culture often have a national identity of feeling American, despite legally being nationals of a different country.


title: Nationality

text: Dual nationality is when a single person has a formal relationship with two separate, sovereign states. This might occur, for example, if a person's parents are nationals of separate countries, and the mother's country claims all offspring of the mother's as their own nationals, but the father's country claims all offspring of the father's.


title: Nationality

text: Nationality, with its historical origins in allegiance to a sovereign monarch, was seen originally as a permanent, inherent, unchangeable condition, and later, when a change of allegiance was permitted, as a strictly exclusive relationship, so that becoming a national of one state required rejecting the previous state.


title: Nationality

text: Dual nationality was considered a problem that caused a conflict between states and sometimes imposed mutually exclusive requirements on affected people, such as simultaneously serving in two countries' military forces. Through the middle of the 20th century, many international agreements were focused on reducing the possibility of dual nationality. Since then, many accords recognizing and regulating dual nationality have been formed.


title: Nationality

text: Statelessness is the condition in which an individual has no formal or protective relationship with any state. There are various reasons why a person can become stateless. This might occur, for example, if a person's parents are nationals of separate countries, and the mother's country rejects all offspring of mothers married to foreign fathers, but the father's country rejects all offspring born to foreign mothers. Although this person may have an emotional national identity, he or she may not legally be the national of any state.


title: Nationality

text: Another stateless situation arises when a person holds a travel document (passport) which recognizes the bearer as having the nationality of a "state" which is not internationally recognized, has no entry into the International Organization for Standardization's country list, is not a member of the United Nations, etc. In the current era, persons native to Taiwan who hold passports of Republic of China are one example.


title: Nationality

text: Some countries (like Kuwait, the UAE, and Saudi Arabia) can also remove one's citizenship; the reasons for removal can be fraud and/or security issues. There are also people who are abandoned at birth and the parents' whereabouts are not known.


title: Nationality

text: Nationality law defines citizenship and statelessness. Citizenship is awarded based on two well-known principles: "jus sanguinis" and "jus soli". "Jus sanguinis" translated from Latin means "right of blood". According to this principle, citizenship is awarded if the parent(s) of the person are citizens of that country. "Jus soli" is referred to as "birthright citizenship". It means, anyone born in the territory of the country is awarded citizenship of that country.


title: Nationality

text: Statelessness is defined by the 1954 Statelessness Convention as "a person who is not considered a national by any State under operation of its law.” A person can become stateless because of administrative reasons. For example, "A person may be at risk of statelessness if she is born in a State that applies "jus sanguinis" while her parents were born in a State that applies "jus soli", leaving the person ineligible for citizenship in both States due to conflicting laws." Moreover, there are countries in which if a person does not reside for a specified period of time, they can automatically lose their nationality. To protect those individuals from being deemed "stateless", 1961 Statelessness Convention places limitations on nationality laws. See 1961 Statelessness Convention, arts. 6–8.


title: Nationality

text: The following list includes states in which parents are able to confer nationality on their children or spouses.


title: Gua sha

text: Gua sha (), or kerokan (in Indonesia), is a traditional Chinese medicine (TCM) practice in which a tool is used to scrape people's skin in order to produce light petechiae. Practitioners believe that "gua sha" releases unhealthy bodily matter from blood stasis within sore, tired, stiff, or injured muscle areas to stimulate new oxygenated blood flow to the areas, thus promoting metabolic cell repair, regeneration, healing, and recovery.


title: Gua sha

text: "Gua sha" is sometimes referred to as "scraping", "spooning" or "coining" by English speakers. The treatment has also been known by the French name, "tribo-effleurage". "Gua sha" has no known health benefits and can have adverse effects, some of them potentially serious.


title: Gua sha

text: "Gua sha", the literal translation being "to scrape petechia" which refers to the sand-like bruising after the treatment, spread from China to Vietnam, where it became very popular. It is known as "cạo gió", which roughly means "to scrape wind", as in Vietnamese culture "catching a cold" or fever is often referred to as "trúng gió", "to catch wind". The origin of this term is the "Shang Han Lun", a c. 220 CE Chinese medical text on illness caused by cold. As in most Asian countries, China's medical sciences were a profound influence in Vietnam, especially between the 5th and 7th centuries CE. "Cạo gió" is an extremely common remedy in Vietnam and for expatriate Vietnamese.


title: Gua sha

text: "Gua sha" involves repeated pressed strokes over lubricated skin with a smooth-edged, blunt instrument. Skin is typically lubricated with massage oil or balm, and commonly a ceramic Chinese soup spoon was used, or a blunt, well-worn coin, even honed animal bones, water buffalo horn, or jade, or even a simple metal cap with a blunt rounded edge is used.


title: Gua sha

text: In cases of fatigue from heavy manual labor work, a piece of ginger root soaked in rice wine is sometimes used to rub down the spine from top to bottom.


title: Gua sha

text: The smooth edge is placed against the oiled skin surface, pressed down firmly, and then moved down the muscles—hence the term "tribo-effleurage" (i.e., friction-stroking)—or along the pathway of the acupuncture meridians, along the surface of the skin, with each stroke being about 4–6 inches long.


title: Gua sha

text: Practitioners tend to follow the tradition they were taught to obtain "sha": typically using either "gua sha" or fire cupping. The techniques are sometimes used together. In China, both "gua sha" and fire cupping are widely available in institutions ranging from national and public hospitals to private massage shops. Due to local peoples' deep trust in Traditional Chinese medicine and the treatments' reasonable price, both are very popular.


title: Gua sha

text: Gua sha's effectiveness is not backed up by sound clinical evidence. In use, it nearly always damages the skin. Negative side effects of "gua sha" range from minor ones – including dermatitis, burns and blood in the urine – to rare major ones including bleeding in the brain and severe injuries requiring skin grafts.


title: Gua sha

text: The use of hospital standards of sterilization and personal protective equipment is important to prevent contamination of infectious pathogens. Although no cases of blood-borne pathogens have been reported, the risk of transmission of blood cells and fluids cannot be ruled out, as with all contact producers. Protective measurements against infectious agents that are recommended include the single use of disposable devices, sterilization of re-used equipment, and glove use. Lubricants should be poured out into cups and they are to be disposed of after each use. Devices that cannot be adequately sterilized such as horn and bone are not recommended.


title: Gua sha

text: A slightly different form of "gua sha" using the edges of coins rather than porcelain items is practiced as a folk medicine technique. Individuals practice this "coining" amongst their own family members in many Asian countries, such as Vietnam, or in Cambodia, and also in their respective emigrant communities abroad. Health care practitioners in hospitals in Orange County, California, routinely see evidence of coining among hospitalized Vietnamese patients. The clinical fact sheet calls it "Cao gio" (sounds like "gow sah") it's literal meaning is 'scrape the wind'.


title: Gua sha

text: In 1980, it was found that many Vietnamese still distrusted U.S. medical practitioners in part due to fear of being accused of child abuse. "This practice has been misidentified as child abuse in case reports," despite the intention of the parents. However, physicians are required by law to report injuries from remedies such as "coining" to the appropriate agency (e.g., state child-protective service or state adult-protective service), regardless of intention.


title: Gua sha

text: The 2001 movie "The Gua Sha Treatment" () was made in Hong Kong and showed "gua sha". It is a story about cultural conflicts experienced by a Chinese family in the United States.


title: Thums Up

text: Thums Up is an Indian multinational brand of cola in India. It was introduced in 1977 to offset the withdrawal of The Coca-Cola Company from India. The brand was later bought by Coca-Cola who re-launched it in order to fight against Pepsi to capture the market.


title: Thums Up

text: , Thums Up is the leader in the cola segment in India, commanding approximately 42% market share and an overall 15% market share in the Indian aerated waters market. In 2021, the company became a billion-dollar brand in India.


title: Thums Up

text: Thums Up was created in 1977, after the American company Coca-Cola withdrew from India, due to regulations requiring it to disclose its formula and sell 60% of its equity to an Indian company under a government plan for foreign-owned companies to share stakes with domestic partners. The Chauhan brothers owned part of the Parle company and already had two other brands of soda, Limca and Gold Spot, which were popular in India at the time. Thums Up quickly became the most popular cola brand in India and achieved a near monopoly among cola products in India during the 1980s, above other cola products such as Campa Cola, Double Seven, Dukes and United Breweries Group's McDowell's Crush.


title: Thums Up

text: Ramesh Chauhan had developed the formula from scratch, experimenting with ingredients such as cinnamon, cardamom, and nutmeg. The company also wanted the drink to be fizzy, even when it was not ice-cold, so it could be sold by vendors. After much testing and experimentation, the Chauhan brothers and their research team created a cola that was fizzier and spicier than Coca-Cola. They originally planned to name the drink “Thumbs Up,” but removed the “b” to make the name unique.


title: Thums Up

text: In 1991, when the Indian government opened the market to multinationals, Pepsi was the first to come in. Thums Up and Pepsi subsequently engaged in heavy competition for endorsements. Pepsi advertisements included major Indian movie stars like Juhi Chawla, while Thums Up increased its spending on cricket sponsorship. Thums Up also introduced a larger bottle, branded "MahaCola" (meaning 'great [in size] cola'; the original size was ). This nickname gained popularity in smaller towns where people would ask for "Maha Cola" instead of Thums Up.


title: Thums Up

text: In 1993, Coca-Cola re-entered the market, and the three companies competed intensely. Later in the year, Coca-Cola bought the Parle-owned drinks Gold Spot, Limca and Thums Up for $60 million. When these were sold to Coca-Cola, Thums Up had a market share of 85 percent in India.


title: Thums Up

text: Despite its strong overall equity, the brand was losing its popularity among the core cola-drinking age group of 12- to 25-year-olds, partly due to a lack of advertising. At first, Coca-Cola cut advertising and production for Thums Up to drive customers to their flagship brand, but soon realised that Thums Up customers would turn to Pepsi instead of Coca-Cola, were Thums Up withdrawn from the market. Instead, Coca-Cola decided to use Thums Up as a rival brand to Pepsi. The Coca-Cola Company by this time had about 60.5% share of the Indian soft-drink market but found out that if it took out Thums Up, it would remain with only 28.7% of the market, hence Thums Up was re-launched, targeting 30- to 40-year-olds.


title: Thums Up

text: Thums Up started an advertising campaign directly attacking Pepsi’s television commercials, focusing on the strength of the drink hoping that the depiction of an "adult" drink would appeal to young consumers. "Grow up to Thums Up" was a successful campaign. The brand's market share and equity increased.


title: Thums Up

text: carbonated water, sugar, acidity regulator (E338), and caffeine. The beverage also contains natural colour (150d) and added flavours ("natural, nature identical and artificial flavouring substances").


title: Thums Up

text: The original Thums Up logo was a red thumbs up hand gesture with a slanted, white, sans-serif typeface. This would later be modified by Coca-Cola with blue strokes and a more modern-looking typeface.


title: Thums Up

text: The famous slogan until the early 1980s was "Happy days are here again", coined by copywriter, Vasant Kumar. The slogan later became "I want My Thunder", and subsequently "Taste the thunder!"


title: Thums Up

text: Product placement in films was used in the 1980s with Thums Up appearing in the background of many Hindi films.


title: Thums Up

text: In October 2012, Coca-Cola India signed Salman Khan once again as the brand ambassador of Thums Up. The company has also tied with Salman Khan's movie "Dabangg 2" and his charitable organisation as part of the deal.


title: Thums Up

text: In 2022, the company launched its ads campaign "Toofan" with Indian cricketer Jasprit Bumrah aiming to inspiring the audiences to reach their ‘PalatDe’ moments by teaming their strong, unshakeable belief systems and undying spirits with the taste of the product. A similar video ad was created showcasing Mohammed Siraj as the Indian fast bowler. Popular Bollywood actor Shah Rukh Khan became brand ambassador. A new ad campaign was launched as #ThumsUpStrong spirit. The strong unique taste of the brand is naturally weaved into strength as an emotion, that urges the drinkers to stay strong and believe in their dreams. Teaming with South Indian actor Vijay Deverakonda, the company released its action-packed campaign to build on the strong taste and experience.


title: Thums Up

text: Thums Up was a major sponsor of cricket matches and also had a notable presence at the Sharjah cricket matches. In the early 1980s, it came out with several postcards featuring Sunil Gavaskar and Imran Khan.


title: Thums Up

text: Besides cricket, Parle’s southern bottler was a major sponsor of Indian motorsport in the 1980s. In addition to sponsoring several Indian track drivers in Sholavaram races, they sponsored several regional car and bike rallies. They were also associated for several seasons with the Lakshmi Mills Super Speeds team.


title: Thums Up

text: Thums Up announced a worldwide partnership with the 2020 Summer Olympics in July 2021 to commemorate the 100th year of India's participation in the Olympic Games. The brand rolled out a special athlete packaging, featuring Indian Olympians Bajrang Punia, Manu Bhaker, Vikas Krishan Yadav, Deepika Kumari, and Atanu Das.


title: Thums Up

text: The company announced a worldwide partnership with the Tokyo 2020 Paralympics in August 2021. The brand rolled out a special athlete packaging, featuring six athletes including Mariyappan Thangavelu (high jump), Sakina Khatun (powerlifting), Suyash Yadav (swimming), Navdeep Singh (javelin throw), Sumit Antil (javelin throw), and Avani Lekhara (shooting).


title: Thums Up

text: A peak in the Manmad Hills has become known as the "Thums Up Mountain" or the ""Thums Up Dongar"" (in Marathi), because it is shaped, by coincidence, like the "Thums Up" logo. It is visible from trains passing by and has become a popular sight.


title: Bayonetta 2

text: "Bayonetta 2" was announced in a Nintendo Direct presentation on September 13, 2012. Unlike the Sega-published "Bayonetta", which was a multiplatform release for Xbox 360 and PlayStation 3, a publishing deal with Nintendo meant that "Bayonetta 2" released as a platform-exclusive for Wii U. The titular character, Bayonetta, sports a new costume and hairstyle and the game features a new two-player mode. The game is the second "Bayonetta" product to receive Japanese voiceovers, using the same cast that voiced the "" anime film by Gonzo.


title: Bayonetta 2

text: "Bayonetta 2" was released in September 2014 in Japan and October 2014 for the rest of the world. The Special and First Print Editions of the game included a Wii U port of the original "Bayonetta" as a separate disc inside the case. The game received critical acclaim from many reviewers, praising the combat system and overall improvements from the first game.


title: Bayonetta 2

text: A Nintendo Switch version was released in February 2018. A sequel, "Bayonetta 3", was released on October 28, 2022.


title: Bayonetta 2

text: "Bayonetta 2" carries on the action-style gameplay of its predecessor, in which players control the eponymous Bayonetta as she fights against various angelic and demonic forces using combinations of melee attacks and gunplay. Dodging enemy attacks at the last second activates 'Witch Time', slowing down enemies around Bayonetta and allowing players to easily retaliate and solve certain environmental puzzles. Players are also able to use special moves called Torture Attacks, trapping opponents in infernal devices for extra points. Weapon customization from the first game also returns, allowing players to equip combinations of new weapons on both Bayonetta's hands and feet. A large array of weapons can be equipped, including the character's signature guns, a bow, swords and other forms of projectile weapons. Players earn grades during combat, with the highest 'Pure Platinum' grade achieved by performing high numbers of combos, in the fastest time possible, without being damaged. As with the previous game, Bayonetta can use Torture Attacks on her enemies, conjured torture devices that finish off single enemies in gruesome ways and grant a bonus to the player.