title: Via Rail

text: Feasibility studies were funded by the federal government in the 2016–2018 budgets, and the 2018 budget allowed for the funding of the fleet replacement portion of the plan, though not the dedicated rail lines. Contrary to expectations, the 2019 federal budget did not include a final decision for new funds for HFR. However, in January 2020 Via announced the hiring of a joint venture of engineering firms AECOM and Arup to undertake a detailed engineering study of the proposal.


title: Via Rail

text: Two former Via routes—"The Malahat" (service ended in 2011) and "Chaleur" (service ended in 2013)—are currently suspended due to poor track conditions. Via plans to reintroduce service once track upgrades have been completed. The Quebec government announced funds for repairs to "Chaleur" trackage in 2017, with a completion date stated only as being "several years away." No concrete plan to restore trackage along "The Malahat" has been announced .


title: Via Rail

text: The Winnipeg–Churchill train was disrupted by severe spring flooding on 23 May 2017, when the Hudson Bay Railway tracks were damaged beyond standard maintenance. Winnipeg–Gillam service continued. OmniTRAX, the original owner of the track, refused to make the repairs, saying that the track was no longer viable, despite the matching federal subsidy. The railroad was Churchill's only land link to southern Canada, and its loss resulted in significant cost-of-living increases for residents along the corridor (a stranded train was removed by ship in October 2017).


title: Via Rail

text: Service to Churchill was restored in late 2018, after the tracks, Churchill port, and Churchill marine tank farm were purchased by Arctic Gateway Group. The federal government assisted in the purchase with $74 million of dedicated northern infrastructure money up front and an additional commitment of $43 million over 10 years. To restore passenger rail service before winter, Arctic Gateway repaired 29 washouts in 35 days. Although a special Via train arrived in Churchill on 1 November, the first regular Via train arrived in Churchill on 4 December, 560 days after service initially ceased.


title: Via Rail

text: On February 13, 2020, following several days of blockades during the nationwide Coastal GasLink Pipeline protests, Via Rail announced that it would be shutting down most of its passenger train service across Canada until further notice, with the exception of the Sudbury–White River train line and the Winnipeg–Churchill train between Churchill and The Pas. Later in 2020, in response to the COVID-19 pandemic, nearly all Via Rail trains were suspended with the exception of the Winnipeg-Churchill train as well as one train daily on each route within the corridor. Along with the previous protest-related service suspensions, it is the most extensive temporary reduction of service in Via Rail's history.


title: Via Rail

text: Travel on Via varies by region as much as class. Many of Via's policies and protocols are the product of running a national train system with varying pressures and needs of different passengers, communities, and contexts. The results are wide-ranging travel experiences depending on the distance and location of the journey.


title: Via Rail

text: Some Via routes outside the corridor offer the option of unscheduled stops at places where there is no station. With 48 hours notice, a passenger can request to entrain or detrain at a specified milepost. This option is available on all of the Adventure Routes, as well as the "Canadian" between Capreol and Winnipeg.


title: Via Rail

text: Smoking is prohibited on all Via trains. Smoking tobacco has been banned on the "Corridor" routes since 1993 and this policy was gradually extended to all trains, while smoking "cannabis" was banned on all Via routes on the same day it was made legal in Canada. The last remaining on-board smoking was permitted in a smoker's lounge on some long-distance routes, only at certain times of day until 2002.


title: Via Rail

text: Washrooms are provided for each car. On sleeper cars, every private room has its own separate washroom.


title: Via Rail

text: Food service varies by train. All trains besides the Sudbury–White River train offer snacks, light meals, and both alcoholic and non-alcoholic beverages for purchase. Long-distance trains offer traditional sit-down dining and full meals to sleeper class passengers. Economy-class passengers can purchase hot take-out meals prepared in the dining car on long-distance trains during the peak season, and eat in the sit-down dining car in the off-peak.


title: Via Rail

text: Complimentary Wi-Fi service is available in the "Corridor". Via was the first North American transportation service to offer Wi-Fi to its passengers in early 2006, and was one of the first in the world to do so.


title: Via Rail

text: Wi-Fi service has been added to the "Ocean" train in the service cars, and to the "Canadian", although connections are unreliable in most places outside urban centres.


title: Via Rail

text: Via operates in the provinces of Alberta, British Columbia, Manitoba, New Brunswick, Nova Scotia, Ontario, Quebec, and Saskatchewan. The only province or territory connected to the continental railway network and not served by Via is the Northwest Territories. Newfoundland and Labrador, Nunavut, Prince Edward Island, and Yukon have no rail connections to the continental network and thus no Via service.


title: Via Rail

text: Unlike Amtrak, which gives every route a specific name, most Via trains are identified only by their route number and destination. The only named Via trains are the "Canadian" and the "Ocean". The five "Adventure Routes" were previously branded as the "Skeena", the "Saguenay", the "Abitibi", the "Lake Superior", and the "Hudson Bay", respectively, and may still be referred to by these names in local usage.


title: Via Rail

text: In total, about 88 percent of Via trackage is owned by Class I railroads, 8 percent by shortline railroads, and 5 percent by government agencies.


title: Via Rail

text: The "Maple Leaf", operating between New York City and Toronto via Albany, Buffalo, and Niagara Falls, is jointly managed by Via and Amtrak. The train operates using Amtrak equipment, but on the Canadian side of the border is staffed by Via employees and operated as a typical Via train.


title: Via Rail

text: Two other train routes link Canada and the US: the "Adirondack" (Montreal-New York) and the Amtrak "Cascades" (Vancouver-Seattle-Portland). While both of these routes share stations with Via at their Canadian termini, they are fully operated by Amtrak and single-ticket connections to Via trains are not offered.


title: Via Rail

text: Via also has connection agreements with several local and intercity bus operators, car-sharing services, and airlines. Passengers who are flying with some airlines can combine their air and rail trips under the same record locator.


title: Via Rail

text: Via owns 74 locomotives and 501 passenger cars. Examples include the GMD F40PH-2 diesel locomotive and the famed "Park"-class sleeper-dome-lounge cars found on the rear of the "Canadian" and the Jasper–Prince Rupert train.


title: Via Rail

text: In 2010, Via's carbon dioxide (CO) equivalent emissions per passenger kilometre were 0.117 kg. For comparison, this is similar to Amtrak or a car with two people, about twice as high as the UK rail average, about four times the average US motorcoach, and about eight times a Finnish electric intercity train or fully loaded fifty-seat coach.


title: Indian art

text: Indian art consists of a variety of art forms, including painting, sculpture, pottery, and textile arts such as woven silk. Geographically, it spans the entire Indian subcontinent, including what is now India, Pakistan, Bangladesh, Sri Lanka, Nepal, and at times eastern Afghanistan. A strong sense of design is characteristic of Indian art and can be observed in its modern and traditional forms.


title: Indian art

text: The origin of Indian art can be traced to prehistoric settlements in the 3rd millennium BCE. On its way to modern times, Indian art has had cultural influences, as well as religious influences such as Hinduism, Buddhism, Jainism, Sikhism and Islam. In spite of this complex mixture of religious traditions, generally, the prevailing artistic style at any time and place has been shared by the major religious groups.


title: Indian art

text: In historic art, sculpture in stone and metal, mainly religious, has survived the Indian climate better than other media and provides most of the best remains. Many of the most important ancient finds that are not in carved stone come from the surrounding, drier regions rather than India itself. Indian funeral and philosophic traditions exclude grave goods, which is the main source of ancient art in other cultures.


title: Indian art

text: Indian artist styles historically followed Indian religions out of the subcontinent, having an especially large influence in Tibet, South East Asia and China. Indian art has itself received influences at times, especially from Central Asia and Iran, and Europe.


title: Indian art

text: Rock art of India includes rock relief carvings, engravings and paintings, some (but by no means all) from the South Asian Stone Age. It is estimated there are about 1300 rock art sites with over a quarter of a million figures and figurines. The earliest rock carvings in India were discovered by Archibald Carlleyle, twelve years before the Cave of Altamira in Spain, although his work only came to light much later via J Cockburn (1899).


title: Indian art

text: Dr. V. S. Wakankar discovered several painted rock shelters in Central India, situated around the Vindhya mountain range. Of these, the c. 750 sites making up the Bhimbetka rock shelters have been enrolled as a UNESCO World Heritage Site; the earliest paintings are some 10,000 years old. The paintings in these sites commonly depicted scenes of human life alongside animals, and hunts with stone implements. Their style varied with region and age, but the most common characteristic was a red wash made using a powdered mineral called "geru", which is a form of Iron Oxide (Hematite).


title: Indian art

text: Despite its widespread and sophistication, the Indus Valley civilisation seems to have taken no interest in public large-scale art, unlike many other early civilizations. A number of gold, terracotta and stone figurines of girls in dancing poses reveal the presence of some forms of dance. Additionally, the terracotta figurines included cows, bears, monkeys, and dogs.


title: Indian art

text: Much the most common form of figurative art found is small carved seals. Thousands of steatite seals have been recovered, and their physical character is fairly consistent. In size they range from inch to 1 inches square. In most cases they have a pierced boss at the back to accommodate a cord for handling or for use as personal adornment. Seals have been found at Mohenjo-Daro depicting a figure standing on its head, and another, on the Pashupati Seal, sitting cross-legged in a yoga-like pose. This figure has been variously identified. Sir John Marshall identified a resemblance to the Hindu god, Shiva.


title: Indian art

text: The animal depicted on a majority of seals at sites of the mature period has not been clearly identified. Part bull, part zebra, with a majestic horn, it has been a source of speculation. As yet, there is insufficient evidence to substantiate claims that the image had religious or cultist significance, but the prevalence of the image raises the question of whether or not the animals in images of the IVC are religious symbols. The most famous piece is the bronze "Dancing Girl" of Mohenjo-Daro, which shows remarkably advanced modelling of the human figure for this early date.


title: Indian art

text: After the end of the Indus Valley Civilization, there is a surprising absence of art of any great degree of sophistication until the Buddhist era. It is thought that this partly reflects the use of perishable organic materials such as wood.


title: Indian art

text: The millennium following the collapse of the Indus Valley civilisation, coinciding with the Indo-Aryan migration during the Vedic period, is devoid of anthropomorphical depictions. It has been suggested that the early Vedic religion focused exclusively on the worship of purely "elementary forces of nature by means of elaborate sacrifices", which did not lend themselves easily to anthropomorphological representations. Various artefacts may belong to the Copper Hoard culture (2nd millennium BCE), some of them suggesting anthropomorphological characteristics. Interpretations vary as to the exact signification of these artifacts, or even the culture and the periodization to which they belonged. Some examples of artistic expression also appear in abstract pottery designs during the Black and red ware culture (1450-1200 BCE) or the Painted Grey Ware culture (1200-600 BCE), with finds in a wide area, including the area of Mathura.


title: Indian art

text: After a gap of about a thousand years, most of the early finds correspond to what is called the "second period of urbanization" in the middle of the 1st millennium BCE. The anthropomorphic depiction of various deities apparently started in the middle of the 1st millennium BCE, possibly as a consequence of the influx of foreign stimuli initiated with the Achaemenid conquest of the Indus Valley, and the rise of alternative local faiths challenging Vedism, such as Buddhism, Jainism and local popular cults.


title: Indian art

text: The north Indian Maurya Empire flourished from 322 BCE to 185 BCE, and at its maximum extent controlled all of the sub-continent except the extreme south as well as influences from Indian ancient traditions, and Ancient Persia, as shown by the Pataliputra capital.


title: Indian art

text: The emperor Ashoka, who died in 232 BCE, adopted Buddhism about half-way through his 40-year reign, and patronized several large stupas at key sites from the life of the Buddha, although very little decoration from the Mauryan period survives, and there may not have been much in the first place. There is more from various early sites of Indian rock-cut architecture.


title: Indian art

text: The most famous survivals are the large animals surmounting several of the Pillars of Ashoka, which showed a confident and boldly mature style and craft and first of its kind iron casting without rust until date, which was in use by vedic people in rural areas of the country, though we have very few remains showing its development. The famous detached Lion Capital of Ashoka, with four animals, was adopted as the official Emblem of India after Indian independence. Mauryan sculpture and architecture is characterized by a very fine Mauryan polish given to the stone, which is rarely found in later periods.


title: Indian art

text: Many small popular terracotta figurines are recovered in archaeology, in a range of often vigorous if somewhat crude styles. Both animals and human figures, usually females presumed to be deities, are found.


title: Indian art

text: Yakshas seem to have been the object of an important cult in the early periods of Indian history, many of them being known such as Kubera, king of the Yakshas, Manibhadra or Mudgarpani. The Yakshas are a broad class of nature-spirits, usually benevolent, but sometimes mischievous or capricious, connected with water, fertility, trees, the forest, treasure and wilderness, and were the object of popular worship. Many of them were later incorporated into Buddhism, Jainism or Hinduism.


title: Indian art

text: In the 2nd century BCE, Yakshas became the focus of the creation of colossal cultic images, typically around 2 meters or more in height, which are considered as probably the first Indian anthropomorphic productions in stone. Although few ancient Yaksha statues remain in good condition, the vigor of the style has been applauded, and expresses essentially Indian qualities. They are often pot-bellied, two-armed and fierce-looking. The Yakshas are often depicted with weapons or attributes, such as the Yaksha Mudgarpani who in the right hand holds a "mudgar" mace, and in the left hand the figure of a small standing devotee or child joining hands in prayer. It is often suggested that the style of the colossal Yaksha statuary had an important influence on the creation of later divine images and human figures in India. The female equivalent of the Yakshas were the Yakshinis, often associated with trees and children, and whose voluptuous figures became omnipresent in Indian art.


title: Indian art

text: Some Hellenistic influence, such as the geometrical folds of the drapery or the walking stance of the statues, has been suggested. According to John Boardman, the hem of the dress in the monumental early Yaksha statues is derived from Greek art. Describing the drapery of one of these statues, John Boardman writes: "It has no local antecedents and looks most like a Greek Late Archaic mannerism", and suggests it is possibly derived from the Hellenistic art of nearby Bactria where this design is known.


title: Indian art

text: In the production of colossal Yaksha statues carved in the round, which can be found in several locations in northern India, the art of Mathura is considered as the most advanced in quality and quantity during this period.


title: Indian art

text: The major survivals of Buddhist art begin in the period after the Mauryans, from which good quantities of sculpture survives. Some key sites are Sanchi, Bharhut and Amaravati, some of which remain "in situ", with others in museums in India or around the world. Stupas were surrounded by ceremonial fences with four profusely carved toranas or ornamental gateways facing the cardinal directions. These are in stone, though clearly adopting forms developed in wood. They and the walls of the stupa itself can be heavily decorated with reliefs, mostly illustrating the lives of the Buddha. Gradually life-size figures were sculpted, initially in deep relief, but then free-standing. Mathura was the most important centre in this development, which applied to Hindu and Jain art as well as Buddhist. The facades and interiors of rock-cut "chaitya" prayer halls and monastic "viharas" have survived better than similar free-standing structures elsewhere, which were for long mostly in wood. The caves at Ajanta, Karle, Bhaja and elsewhere contain early sculpture, often outnumbered by later works such as iconic figures of the Buddha and bodhisattvas, which are not found before 100 CE at the least.


title: Indian art

text: Buddhism developed an increasing emphasis on statues of the Buddha, which was greatly influenced by Hindu and Jain religious figurative art, The figures of this period which were also influenced by the Greco-Buddhist art of the centuries after the conquests of Alexander the Great. This fusion developed in the far north-west of India, especially Gandhara in modern Afghanistan and Pakistan. The Indian Kushan Empire spread from Central Asia to include northern India in the early centuries CE, and briefly commissioned large statues that were portraits of the royal dynasty.


title: Indian art

text: With the fall of the Maurya Empire, control of India was returned to the older custom of regional dynasties, one of the most significant of which was the Shunga Dynasty (c. 185 BCE – 72 BCE) of central India. During this period, as well as during the Satavahana Dynasty which occurred concurrently with the Shunga Dynasty in south India, some of the most significant early Buddhist architecture was created. Arguably, the most significant architecture of this dynasty is the stupa, a religious monument which usually holds a sacred relic of Buddhism. These relics were often, but not always, in some way directly connected to the Buddha. Due to the fact that these stupas contained remains of the Buddha himself, each stupa was venerated as being an extension of the Buddha's body, his enlightenment, and of his achievement of nirvana. The way in which Buddhists venerate the stupa is by walking around it in a clockwise manner.


title: Indian art

text: One of the most notable examples of the Buddhist stupa from the Shunga Dynasty is The Great Stupa at Sanchi, which was thought to be founded by the Mauryan emperor Ashoka c. 273 BCE – 232 BCE during the Maurya Empire. The Great Stupa was enlarged to its present diameter of 120 feet, covered with a stone casing, topped with a balcony and umbrella, and encircled with a stone railing during the Shunga Dynasty c. 150 BCE – 50 BCE.


title: Indian art

text: In addition to architecture, another significant art form of the Shunga Dynasty is the elaborately moulded terracotta plaques. As seen in previous examples from the Mauryan Empire, a style in which surface detail, nudity, and sensuality is continued in the terracotta plaques of the Shunga Dynasty. The most common figural representations seen on these plaques are women, some of which are thought to be goddesses, who are mostly shown as bare-chested and wearing elaborate headdresses.


title: Indian art

text: The Satavahana dynasty ruled in central India, and sponsored many large Buddhist monuments, stupas, temples, and prayer-halls, including the Amaravati Stupa, the Karla Caves, and the first phase of the Ajanta Caves.


title: Indian art

text: Stupas are religious monuments built on burial mounds, which contain relics beneath a solid dome. Stupas in different areas of India may vary in structure, size, and design; however, their representational meanings are quite similar. They are designed based on a mandala, a graph of cosmos specific to Buddhism. A traditional stupa has a railing that provides a sacred path for Buddhist followers to practice devotional circumambulation in ritual settings. Also, ancient Indians considered caves as sacred places since they were inhabited by holy men and monks. A chaitya was constructed from a cave.


title: Indian art

text: Relief sculptures of Buddhist figures and epigraphs written in Brahmi characters are often found in divine places specific to Buddhism. To celebrate the divine, Satavahana people also made stone images as the decoration in Buddhist architectures. Based on the knowledge of geometry and geology, they created ideal images using a set of complex techniques and tools such as chisels, hammers, and compasses with iron points.


title: Indian art

text: In addition, delicate Satavahana coins show the capacity of creating art in that period. The Satavahanas issued coins primarily in copper, lead and potin. Later on, silver came into use when producing coins. The coins usually have detailed portraits of rulers and inscriptions written in the language of Tamil and Telugu.


title: Indian art

text: Officially established by Kujula Kadphises, the first Kushan emperor who united the Yuezhi tribes, the Kushan empire was a syncretic empire in central and southern Asia, including the regions of Gandhara and Mathura in northern India. From 127 to 151 CE, Gandharan reached its peak under the reign of Kanishka the Great. In this period, Kushan art inherited the Greco-Buddhist art. Mahayana Buddhism flourished, and the depictions of Buddha as a human form first appeared in art. Wearing a monk's robe and a long length of cloth draped over the left shoulder and around the body, the Buddha was depicted with 32 major lakshanas (distinguishing marks), including a golden-colored body, an ushnisha (a protuberance) on the top of his head, heavy earrings, elongated earlobes, long arms, the impression of a chakra (wheel) on the palms of his hands and the soles of his feet, and the urna (a mark between his eyebrows). One of the hallmarks of Gandharan art is its relation to naturalism of Hellenistic art. The naturalistic features found in Gandharan sculptures include the three-dimensional treatment of the drapery, with unregularized folds that are in realistic patterns of random shape and thickness. The physical form of the Buddha and his bodhisattvas are well-defined, solid, and muscular, with swelling chests, arms, and abdomens. Buddhism and Buddhism art spread to Central Asia and the far East across Bactria and Sogdia, where the Kushan Empire met the Han Dynasty of China.


title: Indian art

text: The Gupta period is generally regarded as a classic peak of north Indian art for all the major religious groups. Although painting was evidently widespread, and survives in the Ajanta Caves, the surviving works are almost all religious sculpture.


title: Indian art

text: The period saw the emergence of the iconic carved stone deity in Hindu art, as well as the Buddha-figure and Jain "tirthankara" figures, these last often on a very large scale. The main centres of sculpture were Mathura Sarnath, and Gandhara, the last the centre of Greco-Buddhist art.


title: Indian art

text: The Gupta period marked the "golden age" of classical Hinduism, and saw the earliest constructed Hindu temple architecture, though survivals are not numerous.


title: Indian art

text: Over this period Hindu temple architecture matured into a number of regional styles, and a large proportion of the art historical record for this period consists of temple sculpture, much of which remains in place. The political history of the middle kingdoms of India saw India divided into many states, and since much of the grandest building was commissioned by rulers and their court, this helped the development of regional differences. Painting, both on a large scale on walls, and in miniature forms, was no doubt very widely practiced, but survivals are rare. Medieval bronzes have most commonly survived from either the Tamil south, or the Himalayan foothills.


title: Indian art

text: Inscriptions on the Pillars of Ashoka mention coexistence of the northern kingdoms with the triumvirate of Chola, Chera and Pandya Tamil dynasties, situated south of the Vindhya mountains. The medieval period witnessed the rise and fall of these kingdoms, in conjunction with other kingdoms in the area. It is during the decline and resurgence of these kingdoms that Hinduism was renewed. It fostered the construction of numerous temples and sculptures.


title: Indian art

text: The Shore Temple at Mamallapuram constructed by the Pallavas symbolizes early Hindu architecture, with its monolithic rock relief and sculptures of Hindu deities. They were succeeded by Chola rulers who were prolific in their pursuit of the arts. The Great Living Chola Temples of this period are known for their maturity, grandeur and attention to detail, and have been recognized as a UNESCO Heritage Site. The Chola period is also known for its bronze sculptures, the lost-wax casting technique and fresco paintings. Thanks to the Hindu kings of the Chalukya dynasty, Jainism flourished alongside Islam evidenced by the fourth of the Badami cave temples being Jain instead of Vedic. The kingdoms of South India continued to rule their lands until the Muslim invasions that established sultanates there and destroyed much of the temples and marvel examples of architectures and sculptures


title: Indian art

text: Recognized as a UNESCO World Heritage Site, the Khajuraho group of monuments were constructed by the Chandela clan of the Rajput dynasties. Apart from the usual Hindu temples, 10% of the sculptures depict erotic twisted bodies of men and women that shed light on the everyday socio-cultural and religious practices in Medieval India. Ever since their discovery, the degree of sexuality depicted in these sculptures has drawn both negative and positive criticism from scholars.


title: Indian art

text: The Khajuraho temples were in active use under Hindu kingdoms, until the establishment of the Delhi Sultanates of the 13th century. Under Muslim rule until the 18th century, many of Khajuraho's monuments were destroyed, but a few ruins still remain.


title: Indian art

text: Other Hindu states are now mainly known through their surviving temples and their attached sculpture. These include Badami Chalukya architecture (5th to 6th centuries), Western Chalukya architecture (11th to 12th centuries) and Hoysala architecture (11th to 14th centuries), all centred on modern Karnataka.


title: Indian art

text: In east India, Odisha and West Bengal, Kalinga architecture was the broad temple style, with local variants, before the Muslim conquest.


title: Indian art

text: In antiquity, Bengal was a pioneer of painting in Asia under the Pala Empire. Miniature and scroll painting flourished during the Mughal Empire. Kalighat painting or Kalighat Pat originated in the 19th century Bengal, in the vicinity of Kalighat Kali Temple of Kolkata, and from being items of souvenir taken by the visitors to the Kali temple, the paintings over a period of time developed as a distinct school of Indian painting. From the depiction of Hindu gods other mythological characters, the Kalighat paintings developed to reflect a variety of themes.


title: Indian art

text: Although Islamic conquests in India were made as early as the first half of the 10th century, it wasn't until the Mughal Empire that one observes emperors with a patronage for the fine arts. Emperor Humayun, during his reestablishment of the Delhi Sultanate in 1555, brought with him Mir Sayyid Ali and Abd al-Samad, two of the finest painters from Persian Shah Tahmasp's renowned atelier.


title: Indian art

text: During the reign of Akbar (1556–1605), the number of painters grew from around 30 during the creation of the "Hamzanama" in the mid-1560s, to around 130 by the mid 1590s. According to court historian Abu'l-Fazal, Akbar was hands-on in his interest of the arts, inspecting his painters regularly and rewarding the best. It is during this time that Persian artists were attracted to bringing their unique style to the empire. Indian elements were present in their works from the beginning, with the incorporation of local Indian flora and fauna that were otherwise absent from the traditional Persian style. The paintings of this time reflected the vibrancy and inclusion of Akbar's kingdom, with production of Persian miniatures, the Rajput paintings (including the Kangra school) and the Pahari style of Northern India. They also influenced the Company style watercolor paintings created during the British rule many years later.


title: Indian art

text: With the death of Akbar, his son Jahangir (1605–1627) took the throne. He preferred each painter work on a single piece rather than the collaboration fostered during Akbar's time. This period marks the emergence of distinct individual styles, notably Bishan Das, Manohar Das, Abu al-Hasan, Govardhan, and Daulat. Jahangir himself had the capability to identify the work of each individual artist, even if the work was unnamed. The "Razmnama" (Persian translation of the Hindu epic "Mahabharata") and an illustrated memoir of Jahangir, named "Tuzuk-i Jahangiri", were created under his rule. Jahangir was succeeded by Shah Jahan (1628–1658), whose most notable architectural contribution is the Taj Mahal. Paintings under his rule were more formal, featuring court scenes, in contrast to the personal styles from his predecessor's time. Aurangzeb (1658–1707), who held increasingly orthodox Sunni beliefs, forcibly took the throne from his father Shah Jahan. With a ban of music and painting in 1680, his reign saw the decline of Mughal patronage of the arts.


title: Indian art

text: As painting declined in the imperial court, artists and the general influence of Mughal painting spread to the princely courts and cities of north India, where both portraiture, the illustration of the Indian epics, and Hindu religious painting developed in many local schools and styles. Notable among these were the schools of Rajput, Pahari, Deccan, Kangra painting.


title: Indian art

text: The last empire in southern India has left spectacular remains of Vijayanagara architecture, especially at Hampi, Karnataka, often heavily decorated with sculpture. These developed the Chola tradition. After the Mughal conquest, the temple tradition continued to develop, mainly in the expansion of existing temples, which added new outer walls with increasingly large gopurams, often dwarfing the older buildings in the centre. These became usually thickly covered with plaster statues of deities and other religious figures, which need have their brightly-coloured paint kept renewed at intervals so they do not erode away.


title: Indian art

text: In South-Central India, during the late fifteenth century after the Middle kingdoms, the Bahmani sultanate disintegrated into the Deccan sultanates centered at Bijapur, Golconda, Ahmadnagar, Bidar, and Berar. They used vedic techniques of metal casting, stone carving, and painting, as well as a distinctive architectural style with the addition of citadels and tombs from Mughal architecture. For instance, the Baridi dynasty (1504–1619) of Bidar saw the invention of "bidri" ware, which was adopted from Vedic and Maurya period ashoka pillars of zinc mixed with copper, tin, and lead and inlaid with silver or brass, then covered with a mud paste containing sal ammoniac, which turned the base metal black, highlighting the colour and sheen of the inlaid metal. Only after the Mughal conquest of Ahmadnagar in 1600 did the Persian influence patronized by the Turco-Mongol Mughals begin to affect Deccan art.


title: Indian art

text: British colonial rule had a great impact on Indian art, especially from the mid-19th century onwards. Many old patrons of art became less wealthy and influential, and Western art more ubiquitous as the British Empire established schools of art in major cities. The oldest, the Government College of Fine Arts, Chennai, was established in 1850. In major cities with many Europeans, the Company style of small paintings became common, created by Indian artists working for European patrons of the East India Company. The style mainly used watercolour, to convey soft textures and tones, in a style combining influences from Western prints and Mughal painting. By 1858, the British government took over the task of administration of India under the British Raj. Many commissions by Indian princes were now wholly or partly in Western styles, or the hybrid Indo-Saracenic architecture. The fusion of Indian traditions with European style at this time is evident from Raja Ravi Varma's oil paintings of sari-clad women in a graceful manner.


title: Indian art

text: The Bengal School of Art commonly referred as Bengal School, was an art movement and a style of Indian painting that originated in Bengal, primarily Kolkata and Shantiniketan, and flourished throughout the Indian subcontinent, during the British Raj in the early 20th century. Also known as 'Indian style of painting' in its early days, it was associated with Indian nationalism (swadeshi) and led by Abanindranath Tagore (1871–1951), but was also promoted and supported by British arts administrators like E. B. Havell, the principal of the Government College of Art and Craft, Kolkata from 1896; eventually it led to the development of the modern Indian painting.


title: Indian art

text: Tagore later attempted to develop links with Japanese artists as part of an aspiration to construct a pan-Asianist model of art. Through the paintings of 'Bharat Mata', Abanindranath established the pattern of patriotism. Painters and artists of Bengal school were Nandalal Bose, M.A.R Chughtai, Sunayani Devi (sister of Abanindranath Tagore), Manishi Dey, Mukul Dey, Kalipada Ghoshal, Asit Kumar Haldar, Sudhir Khastgir, Kshitindranath Majumdar, Sughra Rababi.


title: Indian art

text: Between 1920 and 1925, Gaganendranath pioneered experiments in modernist painting. Partha Mitter describes him as "the only Indian painter before the 1940s who made use of the language and syntax of Cubism in his painting". From 1925 onwards, the artist developed a complex post-cubist style.


title: Indian art

text: With the Swadeshi Movement gaining momentum by 1905, Indian artists attempted to resuscitate the cultural identities suppressed by the British, rejecting the Romanticized style of the Company paintings and the mannered work of Raja Ravi Varma and his followers. Thus was created what is known today as the Bengal School of Art, led by the reworked Asian styles (with an emphasis on Indian nationalism) of Abanindranath Tagore (1871–1951), who has been referred to as the father of Modern Indian art. Other artists of the Tagore family, such as Rabindranath Tagore (1861–1941) and Gaganendranath Tagore (1867–1938) as well as new artists of the early 20th century such as Amrita Sher-Gil (1913–1941) were responsible for introducing Avant-garde western styles into Indian Art. Many other artists like Jamini Roy and later S.H. Raza took inspiration from folk traditions. In 1944, K.C.S. Paniker founded the Progressive Painters' Association (PPA) thus giving rise to the "madras movement" in art.


title: Indian art

text: In 1947, India became independent of British rule. A group of six artists – K. H. Ara, S. K. Bakre, H. A. Gade, M.F. Husain, S.H. Raza and Francis Newton Souza – founded the Bombay Progressive Artists' Group in the year 1952, to establish new ways of expressing India in the post-colonial era. Though the group was dissolved in 1956, it was profoundly influential in changing the idiom of Indian art. Almost all India's major artists in the 1950s were associated with the group. Some of those who are well-known today are Bal Chabda, Manishi Dey, V. S. Gaitonde, Krishen Khanna, Ram Kumar, Tyeb Mehta, K. G. Subramanyan, A. Ramachandran, Devender Singh, Akbar Padamsee, John Wilkins, Himmat Shah and Manjit Bawa. Present-day Indian art is varied as it had been never before. Among the best-known artists of the newer generation include Bose Krishnamachari and Bikash Bhattacharjee.


title: Indian art

text: Painting and sculpture remained important in the later half of the twentieth century, though in the work of leading artists such as Nalini Malani, Subodh Gupta, Narayanan Ramachandran, Vivan Sundaram, Jitish Kallat, GR Iranna, Bharati Kher, Chittravanu Muzumdar, they often found radical new directions. Bharti Dayal has chosen to handle the traditional Mithila painting in most contemporary way and created her own style through the exercises of her own imagination, they appear fresh and unusual.


title: Indian art

text: The increase in discourse about Indian art, in English as well as vernacular Indian languages, changed the way art was perceived in the art schools. Critical approach became rigorous; critics like Geeta Kapur, R. Siva Kumar, Shivaji K. Panikkar, Ranjit Hoskote, amongst others, contributed to re-thinking contemporary art practice in India.


title: Indian art

text: The first known sculpture in the Indian subcontinent is from the Indus Valley civilisation (3300–1700 BC), found in sites at Mohenjo-daro and Harappa in modern-day Pakistan. These include the famous small bronze male dancerNataraja. However such figures in bronze and stone are rare and greatly outnumbered by pottery figurines and stone seals, often of animals or deities very finely depicted. After the collapse of the Indus Valley civilization there is little record of sculpture until the Buddhist era, apart from a hoard of copper figures of (somewhat controversially) c. 1500 BCE from Daimabad. Thus the great tradition of Indian monumental sculpture in stone appears to begin relatively late, with the reign of Ashoka from 270 to 232 BCE, and the Pillars of Ashoka he erected around India, carrying his edicts and topped by famous sculptures of animals, mostly lions, of which six survive. Large amounts of figurative sculpture, mostly in relief, survive from Early Buddhist pilgrimage stupas, above all Sanchi; these probably developed out of a tradition using wood. Indeed, wood continued to be the main sculptural and architectural medium in Kerala throughout all historic periods until recent decades.


title: Indian art

text: During the 2nd to 1st century BCE in far northern India, in the Greco-Buddhist art of Gandhara from what is now southern Afghanistan and northern Pakistan, sculptures became more explicit, representing episodes of the Buddha's life and teachings. Although India had a long sculptural tradition and a mastery of rich iconography, the Buddha was never represented in human form before this time, but only through some of his symbols. This may be because Gandharan Buddhist sculpture in modern Afghanistan displays Greek and Persian artistic influence. Artistically, the Gandharan school of sculpture is said to have contributed wavy hair, drapery covering both shoulders, shoes and sandals, acanthus leaf decorations, etc.


title: Indian art

text: The pink sandstone Hindu, Jain and Buddhist sculptures of Mathura from the 1st to 3rd centuries CE reflected both native Indian traditions and the Western influences received through the Greco-Buddhist art of Gandhara, and effectively established the basis for subsequent Indian religious sculpture. The style was developed and diffused through most of India under the Gupta Empire (c. 320-550) which remains a "classical" period for Indian sculpture, covering the earlier Ellora Caves, though the Elephanta Caves are probably slightly later. Later large scale sculpture remains almost exclusively religious, and generally rather conservative, often reverting to simple frontal standing poses for deities, though the attendant spirits such as apsaras and yakshi often have sensuously curving poses. Carving is often highly detailed, with an intricate backing behind the main figure in high relief. The celebrated lost wax bronzes of the Chola dynasty (c. 850–1250) from south India, many designed to be carried in processions, include the iconic form of Shiva as Nataraja, with the massive granite carvings of Mahabalipuram dating from the previous Pallava dynasty.


title: Indian art

text: The Chola period is also remarkable for its sculptures and bronzes. Among the existing specimens in the various museums of the world and in the temples of South India may be seen many fine figures of Siva in various forms, Vishnu and his wife Lakshmi, Siva saints and many more.


title: Indian art

text: The tradition and methods of Indian cliff painting gradually evolved throughout many thousands of years – there are multiple locations found with prehistoric art. The early caves included overhanging rock decorated with rock-cut art and the use of natural caves during the Mesolithic period (6000 BCE). Their use has continued in some areas into historic times. The Rock Shelters of Bhimbetka are on the edge of the Deccan Plateau where deep erosion has left huge sandstone outcrops. The many caves and grottos found there contain primitive tools and decorative rock paintings that reflect the ancient tradition of human interaction with their landscape, an interaction that continues to this day.


title: Indian art

text: The oldest surviving frescoes of the historical period have been preserved in the Ajanta Caves with Cave 10 having some from the 1st century CE, though the larger and more famous groups are from the 5th century. Despite climatic conditions that tend to work against the survival of older paintings, in total there are known more than 20 locations in India with paintings and traces of former paintings of ancient and early medieval times (up to the 8th to 10th centuries CE), although these are just a tiny fraction of what would have once existed. The most significant frescoes of the ancient and early medieval period are found in the Ajanta, Bagh, Ellora, and Sittanavasal caves, the last being Jain of the 7th-10th centuries. Although many show evidence of being by artists mainly used to decorating palaces, no early secular wall-paintings survive.


title: Indian art

text: The Chola fresco paintings were discovered in 1931 within the circumambulatory passage of the Brihadisvara Temple at Thanjavur, Tamil Nadu, and are the first Chola specimens discovered. Researchers have discovered the technique used in these frescoes. A smooth batter of limestone mixture is applied over the stones, which took two to three days to set. Within that short span, such large paintings were painted with natural organic pigments. During the Nayak period the Chola paintings were painted over. The Chola frescoes lying underneath have an ardent spirit of saivism is expressed in them. They probably synchronised with the completion of the temple by Rajaraja Cholan the Great.


title: Indian art

text: Kerala mural painting has well-preserved fresco or mural or wall painting in temple walls in Pundarikapuram, Ettumanoor and Aymanam and elsewhere.


title: Indian art

text: Although few Indian miniatures survive from before about 1000 CE, and some from the next few centuries, there was probably a considerable tradition. Those that survive are initially illustrations for Buddhist texts, later followed by Jain and Hindu equivalents, and the decline of Buddhist as well as the vulnerable support material of the palm-leaf manuscript probably explain the rarity of early examples.


title: Indian art

text: Mughal painting in miniatures on paper developed very quickly in the late 16th century from the combined influence of the existing miniature tradition and artists trained in the Persian miniature tradition imported by the Mughal Emperor's court. New ingredients in the style were much greater realism, especially in portraits, and an interest in animals, plants and other aspects of the physical world. Deccan painting developed around the same time in the Deccan sultanates courts to the south, in some ways more vital, if less poised and elegant.


title: Indian art

text: Miniatures either illustrated books or were single works for muraqqas or albums of painting and Islamic calligraphy. The style gradually spread in the next two centuries to influence painting on paper in both Muslim and Hindu princely courts, developing into a number of regional styles often called "sub-Mughal", including Rajput painting, Pahari painting, and finally Company painting, a hybrid watercolour style influenced by European art and largely patronized by the people of the British raj. In "pahari" ("mountain") centres like that of Kangra painting the style remained vital and continued to develop into the early decades of the 19th century. From the mid-19th century Western-style easel paintings became increasingly painted by Indian artists trained in Government art schools.


title: Indian art

text: The Indian subcontinent has the longest continuous legacy of jewellery-making, with a history of over 5,000 years. Using jewellery as a store of capital remains more common in India than in most modern societies, and gold appears always to have been strongly preferred for the metal. India and the surrounding areas were important sources of high-quality gemstones, and the jewellery of the ruling class is typified by using them lavishly. One of the first to start jewellery-making were the people of the Indus Valley civilization. Early remains are few, as they were not buried with their owners.


title: Indian art

text: Wood was undoubtedly extremely important, but rarely survives long in the Indian climate. Organic animal materials such as ivory or bone were discouraged by the Dharmic religions, although Buddhist examples exist, such as the Begram ivories, many of Indian manufacture, but found in Afghanistan, and some relatively modern carved tusks. In Muslim settings they are more common.


title: Indian art

text: Obscurity shrouds the period between the decline of the Harappans and the definite historic period starting with the Mauryas, and in the historical period, the earliest Indian religion to inspire major artistic monuments was Buddhism. Though there may have been earlier structures in wood that have been transformed into stone structures, there are no physical evidences for these except textual references. Soon after the Buddhists initiated rock-cut caves, Hindus and Jains started to imitate them at Badami, Aihole, Ellora, Salsette, Elephanta, Aurangabad and Mamallapuram and Mughals. It appears to be a constant in Indian art that the different religions shared a very similar artistic style at any particular period and place, though naturally adapting the iconography to match the religion commissioning them. Probably the same groups of artists worked for the different religions regardless of their own affiliations.


title: Indian art

text: Buddhist art first developed during the Gandhara period and Amaravati periods around the 1st century BCE. It flourished greatly during the Gupta Periods and Pala periods that comprise the Golden Age of India. Although the most glorious art of these Indian empires was mostly Buddhist in nature, subsequently Hindu Empires like the Pallava, Chola, Hoysala and Vijayanagara Empires developed their own styles of Hindu art as well.


title: Indian art

text: There is no time line that divides the creation of rock-cut temples and free-standing temples built with cut stone as they developed in parallel. The building of free-standing structures began in the 5th century, while rock-cut temples continued to be excavated until the 12th century. An example of a free-standing structural temple is the Shore Temple, a part of the Mahabalipuram World Heritage Site, with its slender tower, built on the shore of the Bay of Bengal with finely carved granite rocks cut like bricks and dating from the 8th century.


title: Indian art

text: Folk and tribal art in India takes on different manifestations through varied media such as pottery, painting, metalwork, paper-art, weaving and designing of objects such as jewellery and toys. These are not just aesthetic objects but in fact have an important significance in people's lives and are tied to their beliefs and rituals. The objects can range from sculpture, masks (used in rituals and ceremonies), paintings, textiles, baskets, kitchen objects, arms and weapons, and the human body itself (tattoos and piercings). There is a deep symbolic meaning that is attached to not only the objects themselves but also the materials and techniques used to produce them.


title: Indian art

text: Often puranic gods and legends are transformed into contemporary forms and familiar images. Fairs, festivals, local heroes (mostly warriors) and local deities play a vital role in these arts (Example: Nakashi art from Telangana or Cherial Scroll Painting).


title: Indian art

text: Folk art also includes the visual expressions of the wandering nomads. This is the art of people who are exposed to changing landscapes as they travel over the valleys and highlands of India. They carry with them the experiences and memories of different spaces and their art consists of the transient and dynamic pattern of life. The rural, tribal and arts of the nomads constitute the matrix of folk expression. Examples of folk arts are Warli, Madhubani Art, Manjusha Art, Tikuli Art, Gond art and Bhil art etc.


title: Indian art

text: While most tribes and traditional folk artist communities are assimilated into the familiar kind of civilised life, they still continue to practice their art. Unfortunately though, market and economic forces have ensured that the numbers of these artists are dwindling. A lot of effort is being made by various NGOs and the Government of India to preserve and protect these arts and to promote them. Several scholars in India and across the world have studied these arts and some valuable scholarship is available on them.


title: Indian art

text: The folk spirit has a tremendous role to play in the development of art and in the overall consciousness of indigenous cultures.


title: Indian art

text: The year 1997 bore witness to two parallel gestures of canon formation. On the one hand, the influential Baroda Group, a coalition whose original members included Vivan Sundaram, Ghulam Mohammed Sheikh, Bhupen Khakhar, and Nalini Malani—and which had left its mark on history in the form of the 1981 exhibition “Place for People”—was definitively historicized in 1997 with the publication of Contemporary Art in Baroda, an anthology of essays edited by Sheikh. On the other hand, the art historian R. Siva Kumar's benchmark exhibition and related publication, A Contextual Modernism, restored the Santiniketan artists—Rabindranath Tagore, Nandalal Bose, Benode Behari Mukherjee, and Ramkinkar Baij—to their proper place as the originators of an indigenously achieved yet transcultural modernism in the 1930s, well before the Progressives composed their manifesto in the late 1940s. Of the Santiniketan artists, Siva Kumar observed that they “reviewed traditional antecedents in relation to the new avenues opened up by cross-cultural contacts. They also saw it as a historical imperative. Cultural insularity, they realized, had to give way to eclecticism and cultural impurity.”


title: Indian art

text: The idea of Contextual Modernism emerged in 1997 from R. Siva Kumar's as a postcolonial critical tool in the understanding of an alternative modernism in the visual arts of the erstwhile colonies like India, specifically that of the Santiniketan artists.


title: Indian art

text: Several terms including Paul Gilroy's "counter culture of modernity" and Tani Barlow's "Colonial modernity" have been used to describe the kind of alternative modernity that emerged in non-European contexts. Professor Gall argues that 'Contextual Modernism' is a more suited term because “the colonial in "colonial modernity" does not accommodate the refusal of many in colonized situations to internalize inferiority. Santiniketan's artist teachers' refusal of subordination incorporated a counter vision of modernity, which sought to correct the racial and cultural essentialism that drove and characterized imperial Western modernity and modernism. Those European modernities, projected through a triumphant British colonial power, provoked nationalist responses, equally problematic when they incorporated similar essentialisms.”


title: Indian art

text: According to R. Siva Kumar "The Santiniketan artists were one of the first who consciously challenged this idea of modernism by opting out of both internationalist modernism and historicist indigenousness and tried to create a context sensitive modernism." He had been studying the work of the Santiniketan masters and thinking about their approach to art since the early 80s. The practice of subsuming Nandalal Bose, Rabindranath Tagore, Ram Kinker Baij and Benode Behari Mukherjee under the Bengal School of Art was, according to Siva Kumar, misleading. "This happened because early writers were guided by genealogies of apprenticeship rather than their styles, worldviews, and perspectives on art practice".


title: Indian art

text: "Contextual Modernism" in the recent past has found its usage in other related fields of studies, specially in Architecture.


title: The Last One (Friends)

text: "The Last One", also known as "The One Where They Say Goodbye", is the series finale of the television sitcom "Friends". The episode serves as the seventeenth and eighteenth episode of season ten; the episode's two parts were classified as two separate episodes. It was written by series creators David Crane and Marta Kauffman, and directed by executive producer Kevin S. Bright. The series finale first aired on NBC in the United States on May 6, 2004, when it was watched by 52.5 million viewers, making it the most watched entertainment telecast in six years and the fifth most watched overall television series finale in U.S. history as well as the most watched episode from any television series throughout the decade 2000s on U.S. television. In Canada, the finale aired simultaneously on May 6, 2004, on Global, and was viewed by 5.16 million viewers, becoming the highest viewed episode of the series.


title: The Last One (Friends)

text: The series finale closes several long-running storylines. Ross Geller (David Schwimmer) confesses his love for Rachel Green (Jennifer Aniston), and they decide to resume their relationship; and Monica Geller (Courteney Cox) and Chandler Bing (Matthew Perry) adopt twins and move to the suburbs. The episode's final scene shows the group leaving Monica and Chandler's apartment for the final time and going for one last cup of coffee together.


title: The Last One (Friends)

text: Prior to writing the episode, Crane, Kauffman and Bright watched finales from other sitcoms for the inspiration. Kauffman found that she liked the ones that stayed true to the series. Filming took place at Warner Bros. Studios in Burbank, California; part one was filmed on January 16, and part two on January 23. The finale was well received by critics and the cast members.


title: The Last One (Friends)

text: Phoebe Buffay (Lisa Kudrow) and Joey Tribbiani (Matt LeBlanc) pack the belongings of Monica Geller (Courteney Cox) and Chandler Bing (Matthew Perry), who have accompanied Erica (Anna Faris) to the hospital. Rachel Green (Jennifer Aniston) leaves Ross Geller's (David Schwimmer) bedroom after their apparent reunion in the previous episode. Erica gives birth to twins, much to the surprise of Monica and Chandler, who were expecting only one child. At his apartment, Joey shows Phoebe his house-warming gift for Monica and Chandler: a chick and duckling to replace the ones that died. Ross arrives and confesses to the pair that he slept with Rachel. Rachel emerges from her bedroom and, to his disappointment, tells Ross that their night together was "the perfect way to say goodbye".


title: The Last One (Friends)

text: Later at the Central Perk café, Phoebe convinces Ross to tell Rachel how he feels about her before she leaves for her new job in Paris. As he is about to tell her, Central Perk manager Gunther (James Michael Tyler) confesses his love for Rachel. Back at Monica and Chandler's apartment, Ross decides not to tell Rachel, for fear of rejection. She prepares to leave to catch her flight, but waits long enough for Monica and Chandler to return with the twins, named Erica (after their biological mother) and Jack (after Monica's father). After Rachel leaves, Ross has a change of heart, and Phoebe takes him in her taxi to follow Rachel to the airport.


title: The Last One (Friends)

text: Joey returns to his apartment to fetch the chick and the duck he was hiding, but finds they have become trapped in the foosball table. Chandler and Joey decide to break it open when they cannot find any other way of getting the birds out. Phoebe's reckless driving gets her and Ross to JFK Airport and, after buying a ticket to get past security, they search the information boards for Rachel's flight number. When they cannot locate her flight on any of the information boards, Ross calls and checks the number with Monica but discovers they are at the wrong airport; Ross and Phoebe drove to JFK, while Rachel was flying out of nearby Newark Airport. Phoebe phones Rachel, who has already boarded her flight, to stall her for time. When a passenger (Jim Rash) overhears Phoebe saying there is a problem with the fictitious "left phalange" of the plane, he gets off the plane, prompting everyone else to leave. Chandler and Joey, who are emotionally attached to the foosball table, find they are unable to break it open, but Monica does gleefully with a crowbar and mallet. After they retrieve the birds, Chandler suggests Joey keep them, and the two reaffirm their friendship with a long, tense hug.


title: The Last One (Friends)

text: Phoebe and Ross arrive at the airport as Rachel boards the plane again. Ross tells her he loves her, but she is unable to deal with his confession and gets on the plane anyway. A dejected Ross returns home and finds a message from Rachel on the phone. She explains her actions and as she does it, decides to get off the plane. At first a flight attendant is trying to force her to sit down. The message cuts off and Ross frantically tries fixing the answering machine, wondering out loud if she got off the plane. From behind him, Rachel appears and says she did, and they get back together for good. The following morning, the friends gather in Monica and Chandler's empty apartment and reminisce about how all of them had lived there at one point or another. With some time remaining before Monica and Chandler leave for their new house, the six all leave their keys to the apartment on the kitchen counter and decide to go for one last cup of coffee together, to which Chandler sarcastically and jokingly quips, "Where?" and they all laugh as they head down the hallway. The final shot shows the empty apartment, slowly panning around from the living space to the front door as Jefferson Airplane's "Embryonic Journey" plays.


title: The Last One (Friends)

text: The series' creators completed the first draft of the hour-long finale in January 2004, four months prior to its airing on May 6. Before writing the episode, David Crane, Marta Kauffman and Kevin S. Bright decided to watch the series finales of other sitcoms, paying attention to what worked and what did not. Kauffman found that they liked the ones which stayed true to the series, and they found the finale of "The Mary Tyler Moore Show" to be the gold standard. The writers had difficulty writing the finale, and spent several days thinking about the final scene without being able to write a word. Crane said that they did not want to do "something high concept, or take the show out of the show".


title: The Last One (Friends)

text: The music playing as the camera pans across the empty apartment at the end of the episode is "Embryonic Journey" by Jefferson Airplane. The song "Yellow Ledbetter" by the band Pearl Jam is also featured in the episode—after Rachel boards the plane for the first time—making it the first Pearl Jam song to be licensed for a television show. A spokesperson for the group said it was, "simply a matter of the show's producers asking permission".


title: The Last One (Friends)

text: The episode was filmed in Los Angeles, California on Stage 24 at Warner Bros. Studios, where "Friends" had been filmed since its second season. The first part was taped on January 16, and the second on January 23, 2004. After the series finale, Stage 24 was renamed "The Friends Stage".


title: The Last One (Friends)

text: A month before the filming of the final episode, Aniston said that with each episode it got "harder just to read the lines." She explained that the cast was "all just nerves and raw emotions ... No one knows how to feel. We may need to be sedated on the last night." The producers promised a tearful ending, and the cast admitted their crying was not faked when they filmed their scenes. LeBlanc revealed it had been too much for him and the rest of the cast; he said Kudrow started crying first, and when he looked at Aniston and Cox they also appeared emotional. Schwimmer, who LeBlanc thought was the "consummate professional", was also upset, so LeBlanc "just lost it." Maggie Wheeler, who played Chandler's "on and off" girlfriend Janice, told "People", "the entire cast had to go back and have their makeup redone before starting," and that Perry broke the tension by saying, "Somebody is gonna get fired." Perry told the "New York Daily News" that he did not cry, "but I felt like I was about to for like seven hours."


title: The Last One (Friends)

text: Although it was planned that some key scenes of the episode would be filmed without an audience to avoid leaks of plot spoilers, the producers decided not to worry about the issue and filmed it all in front of the live studio audience. The producers also instigated the rumor that multiple endings would be filmed; in fact, only one was planned and shot.


title: The Last One (Friends)

text: At the start of each "Friends" episode filming, the cast would ordinarily be introduced to the studio audience one at a time, but this time the cast headed out for their pre-curtain bow together. "That made me cry," said Diane Newman, who was the script supervisor of the show. Among the specially invited audience of the taping were Hank Azaria, who played Phoebe's scientist boyfriend David in several episodes over the years; David Arquette, who filmed his then-wife Cox and the others backstage with a video camera; and Wheeler. Missing was Brad Pitt, Aniston's then-husband; Pitt told the producers he wanted to be surprised when the finale aired on television. Although some guests were invited, around 75% of the studio audience were 'ordinary' members of the public so that their reactions would be congruous with the rest of the series. However, friends, family and colleagues of the cast and crew served as extras throughout the episode.


title: The Last One (Friends)

text: NBC heavily promoted the series finale, which was preceded by weeks of hype. Viewing parties were organized by local NBC affiliates around the United States, including an event at Universal CityWalk featuring a special broadcast of the finale on an outdoor Astrovision screen. It was shown in New York City, where over 3,000 people watched it on big screens in parks. The finale was the subject of two episodes of "Dateline NBC", one of which ran for two hours. Prior to the airing of the episode, a one-hour retrospective of clips from previous episodes was shown. Following the finale, "The Tonight Show with Jay Leno" was filmed on the set of the "Friends"<nowiki>'</nowiki> Central Perk café, which featured the series' cast as guests. The advertising rates for the finale averaged $2 million for 30 seconds of commercial time. This currently remains as the largest advertising rate ever for a sitcom, breaking the previous record held by the "Seinfeld" finale at $1.7 million.


title: The Last One (Friends)

text: The finale was watched by 52.5 million American viewers making it the most watched entertainment telecast in six years, and the most watched episode of the decade 2000s on U.S. television. The "Friends" finale was the fourth most watched overall series finale in U.S. television history, behind the finales of "M*A*S*H", "Cheers" and "Seinfeld", which were watched by 105.9, 84.4 and 76.3 million viewers, respectively. The episode was also the second most watched episode of "Friends", behind The One After the Superbowl which attracted 52.92 million viewers. The retrospective episode was watched by just under 36 million viewers, and the finale was the second most-watched television show of the year, behind only Super Bowl XXXVIII.


title: The Last One (Friends)

text: The episode was nominated for two Primetime Emmy Awards at the 56th Primetime Emmy Awards for Outstanding Multi-Camera Sound Mixing for a Series or Special and Outstanding Multi-Camera Picture Editing for a Series, but lost to the final season of "Frasier" in both categories.


title: The Last One (Friends)

text: Robert Bianco of "USA Today" described the finale as entertaining and satisfying, and praised it for deftly mixing emotion and humor while showcasing each of the stars. Sarah Rodman of the "Boston Herald" praised Aniston and Schwimmer for their acting, but felt that their characters' reunion "felt a bit too neat, even if it was what most of the show's legions of fans wanted." "Newsday"<nowiki>'</nowiki>s Noel Holston called the episode "sweet and dumb and satisfying," while Roger Catlin of "The Hartford Courant" felt that newcomers to the series would be "surprised at how laughless the affair could be, and how nearly every strained gag depends on the sheer stupidity of its characters."


title: The Last One (Friends)

text: An editorial in "USA Today" highlighted the view of many critics who found problem with the aging cast, commenting, ""Friends" was getting creaky even as it remained popular." Heather Havrilesky of Salon.com said that despite the "nauseating hype and the disappointing season and the lackluster finale, it's important to remember what a great show this was for such a very long time." Ken Parish Perkins of the "Fort Worth Star-Telegram" gave the finale a B grade, calling it "more touching than comical, more satisfying in terms of closure than knee-slappingly funny."


title: The Last One (Friends)

text: The cast members reportedly got together in Los Angeles; David Schwimmer, who plays Ross, said, "It's exactly what I had hoped. We all end up with a sense of a new beginning and the audience has a sense that it's a new chapter in the lives of all these characters."


title: The Last One (Friends)

text: At the taping of the episode, the cast and crew passed around yearbooks, custom-made by the production staff, and signed them for each other. The cast gave the producers inscribed Cartier SA watches, while the producers gave the cast Neil Lane jewelry. As the sets were broken down, the cast and crew each got a chunk of the street outside Central Perk in a glass box as a keepsake.


title: The Last One (Friends)

text: There were three separate wrap parties—a dinner at the Aniston-Pitt residence on January 19, 2004, a sit down at cast hangout Il Sole in West Hollywood on January 22, and a big party for 1,000 guests on January 24 at Los Angeles' Park Plaza Hotel. At the party at the Park Plaza Hotel, The Rembrandts performed the theme song of "Friends", "I'll Be There for You", and the cast gave a re-enactment of the pilot episode's first scene.


title: Raqesh Bapat

text: Raqesh Bapat is an Indian actor and model. He is known for his work in films like "Tum Bin" (2001), "Koi Mere Dil Mein Hai" (2005), "Vrundavan" (2016) and "Savita Damodar Paranjape" (2018) and television shows like "" (2005-2008), "" (2010-2012) and "Qubool Hai" (2014). He was ranked sixteenth in "The Times of India"'s Top 20 Most Desirable Men of Maharashtra in 2017.


title: Raqesh Bapat

text: Raqesh Bapat was born on September 1, 1978, in Amravati. He won the National Award at the junior level for his painting.


title: Raqesh Bapat

text: He was married to Ridhi Dogra in 2011 but they divorced in 2019. He started dating Shamita Shetty in September 2021, who was his connection in Bigg Boss OTT


title: Raqesh Bapat

text: He was given his first role, Amar Shah in the movie "Tum Bin" (2001), after the director's wife noticed him in a toothpaste ad and recommended him to her husband. He next played Guarav in "Dil Vil Pyar Vyar" (2002). He then appeared in the suspense thriller "Tumse Milke Wrong Number" (2003) directed by Jignesh M. Vaishnav, in "Kaun Hai Jo Sapno Mein Aaya" (2004), directed by Rajesh Bhatt; in "Naam Gum Jaayega", a romantic drama written and directed by Amol Shetge; and in the critically panned "Koi Mere Dil Mein Hai" (2005), directed by Deepak Ramsay.


title: Raqesh Bapat

text: Bapat began his television career in 2005 with the Sphere Origins Hindi television drama "" from 2005 to 2008. He was nominated for the Indian Telly Award for Best Actor in a Negative Role.


title: Raqesh Bapat

text: Bapat appeared in two films in 2006: "Jai Santoshi Maa", directed by Ahmed Siddiqui which also starred Nushrat Bharucha in the lead role, and "Jaadu Sa Chal Gaya", directed by Dev Basu.


title: Raqesh Bapat

text: In 2008, Bapat played the role of Anuj, in a show presented by Hats Off Productions, aired on NDTV Imagine's "Ek Packet Umeed". The show depicted the tale of all genres of women living under one roof and Raqesh playing the sole man in the serial. The show was named Best Weekly Programme at The Indian Telly Awards.


title: Raqesh Bapat

text: In 2010, Bapat appeared in the show "Seven- The Ashvamedha Prophecy", an Indian supernatural television series that aired on Sony Entertainment Television. The series was produced by Yash Chopra. Bapat played the role of Shlok, the male guardian of Seven. "Seven" was the story of the search for the seven descendants and their journey of discovering their real capabilities. The show won three Telly Awards and an ITA award.


title: Raqesh Bapat

text: From 2010 to 2012, Bapat played the male protagonist Aditya Singh Jakhar in "", an Indian television drama on STAR Plus. The show revolves around the lives of four women of the Jhaakar family and the darker realities of their relationships. It gained a lot of popularity. It was the first show on Indian television to have a homosexual storyline.


title: Raqesh Bapat

text: In 2011, he replaced Gautam Rode in the role of Karan in "Simplly Sapney", an Indian television drama series that aired on Zee Next based on the lives of four girls who come to work at a hotel and how their lives change.


title: Raqesh Bapat

text: Bapat made a comeback in films after six years in 2012, with a releases: a Hindi and a Marathi film. He starred in "Heroine", a drama directed, written, and co-produced by Madhur Bhandarkar.


title: Raqesh Bapat

text: He then made his Marathi film debut with "Aayna ka Bayna", a dance film directed by Samit Kakkad. The film also starred Sachin Khedekar and Amruta Khanvilkar.


title: Raqesh Bapat

text: Bapat also appeared in "Hongey Judaa Na Hum", a television drama series which premiered on Sony Entertainment Television India. He played a lead of Rohan Mishra opposite Aamna Sharif.


title: Raqesh Bapat

text: In 2013, he took part in "Nach Baliye 6", a dance, reality-television series that airs on Star Plus with his then wife Ridhi Dogra. On the show, ten television celebrity couples compete against each other.


title: Raqesh Bapat

text: In the same year he appeared in two films. In "Gippi", a Hindi teen film, directed by Sonam Nair and produced by Karan Johar, he played the role of a chemistry teacher. He also appeared in "A New Love Ishtory", a comedy drama film directed by John Matthew Matthan.


title: Raqesh Bapat

text: He replaced Karan Singh Grover in the lead role of Asad Ahmed Khan on "Qubool Hai", which was produced by 4 Lion Films and broadcast on Zee TV in January 2014. He did not continue with the series when it took a time leap in early 2014.


title: Raqesh Bapat

text: He appeared in "Citizen" (2015), a Marathi film, along with Rajshree Landge, Yatin Karyekar, Pushkar Shrotri, and Uday Tikekar.


title: Raqesh Bapat

text: In 2016, he played the lead roles in two Marathi films. "Vrundavan" also starred many senior and celebrated actors from the Marathi film industry, including Mahesh Manjrekar, Ashok Saraf, Mohan Joshi, Sharad Ponkshe, and Uday Tikekar. "Sarv Mangal Savdhan" was a romantic comedy directed by Rahil Khan, in which Bapat appeared along with actress Manjari Fadnis.


title: Raqesh Bapat

text: In the same year he replaced Karan Grover in the lead role of scientist Shantanu Kant in "Bahu Hamari Rajni Kant" (2016-2017), a popular fantasy drama family show on Life OK. The show also airs on MBC 2.


title: Raqesh Bapat

text: Bapat starred in "Savita Damodar Paranjpe" in 2018. The film is a Marathi psychological thriller based on the famous 1985 Shekhar Tamhane directorial drama of the same name. It was very well received at the 11th edition of the Goa Marathi Film Festival. The audience gave a standing ovation during the screening. It also went on to screen on Netflix.


title: Raqesh Bapat

text: He also appeared in "Tu Aashiqui" (2018) which aired on Colors TV. This was a musical drama romance television show based on two lovers' efforts to unite. He played the role of Reyansh Diwan who made an entry in Pankti's life as an influential and charming businessman.


title: Raqesh Bapat

text: Bapat played the lead role in two Marathi films in 2019, including "WhatsApp Love" along with actress Anuja Sathe, and directed by Hemant Kumar Mahale. Bapat played Raja in "Mumbai Apli Ahe" (2019), a film directed by Bharat Sunanda, set in the Mumbai of the 90s and revolving around Raja, who starts as small criminal and grows up to become a notorious don in the city.


title: Raqesh Bapat

text: He also starred in "Forever" (2019), a romantic thriller film directed by Vinay Tiwari along with Nisha Aliya.


title: Raqesh Bapat

text: In 2021, Bapat appeared in the reality show "Bigg Boss OTT" and emerged as the third runner-up. Next, he entered "Bigg Boss 15" as a wildcard contestant on Day 35 but walked out of the house on Day 40 citing medical reasons.


title: Comparative politics

text: Comparative politics is a field in political science characterized either by the use of the "comparative method" or other empirical methods to explore politics both within and between countries. Substantively, this can include questions relating to political institutions, political behavior, conflict, and the causes and consequences of economic development. When applied to specific fields of study, comparative politics may be referred to by other names, such as comparative government (the comparative study of forms of government).


title: Comparative politics

text: Comparative politics is the systematic study and comparison of the diverse political systems in the world. It is comparative in searching to explain why different political systems have similarities or differences and how developmental changes came to be between them. It is systematic in that it looks for trends, patterns, and regularities among these political systems. The research field takes into account political systems throughout the globe, focusing on themes such as democratization, globalization, and integration. New theories and approaches have been used in political science in the last 40 years thanks to comparative politics. Some of these focus on political culture, dependency theory, developmentalism, corporatism, indigenous theories of change, comparative political economy, state-society relations, and new institutionalism. Some examples of comparative politics are studying the differences between presidential and parliamentary systems, democracies and dictatorships, parliamentary systems in different countries, multi-party systems such as Canada and two-party systems such as the United States. Comparative politics must be conducted at a specific point in time, usually the present. A researcher cannot compare systems from different periods of time; it must be static.


title: Comparative politics

text: While historically the discipline explored broad questions in political science through between-country comparisons, contemporary comparative political science primarily uses subnational comparisons. More recently, there has been a significant increase in the interest of subnational comparisons and the benefit it has on comparative politics. We would know far less about major credible issues within political science if it weren't for subnational research. Subnational research contributes important methodological, theoretical, and substantive ideas to the study of politics. Important developments often obscured by a national-level focus are easier to decipher through subnational research. An example could be regions inside countries where the presence of state institutions have been reduced in effect or value.


title: Comparative politics

text: The name comparative politics refers to the discipline's historical association with the comparative method, described in detail below. Arend Lijphart argues that comparative politics does not have a "substantive" focus in itself, but rather a "methodological" one: it focuses on "the "how" but does not specify the "what" of the analysis." Peter Mair and Richard Rose advance a slightly different definition, arguing that comparative politics is defined by a combination of a "substantive" focus on the study of countries' political systems and a "method" of identifying and explaining similarities and differences between these countries using common concepts.


title: Comparative politics

text: Sometimes, especially in the United States, the term "comparative politics" is used to refer to "the politics of foreign countries." This usage of the term is disputed.


title: Comparative politics

text: Comparative politics is significant because it helps people understand the nature and working of political frameworks around the world. There are many types of political systems worldwide according to the authentic, social, ethnic, racial, and social history. Indeed, even comparative constructions of political association shift starting with one country then onto the next. For instance, India and the United States are majority-rule nations; nonetheless, the U.S. has a liberal vote-based presidential system contrasted with the parliamentary system used in India. Even the political decision measure is more diverse in the United States when found in light of the Indian popular government. The United States has a president as their leader, while India has a prime minister. Relative legislative issues encourage us to comprehend these central contracts and how the two nations are altogether different regardless of being majority rule. This field of study is critical for the fields of international relations and conflict resolution. Near politics encourages international relations to clarify worldwide legislative issues and the present winning conditions worldwide. Although both are subfields of political science, comparative politics examines the causes of international strategy and the effect of worldwide approaches and frameworks on homegrown political conduct and working.


title: Comparative politics

text: Harry H. Eckstein traces the history of the field of comparative politics back to Aristotle, and sees a string of thinkers from Machiavelli and Montesquieu, to Gaetano Mosca and Max Weber, Vilfredo Pareto and Robert Michels, on to James Bryce - with his "Modern Democracies" (1921) - and Carl Joachim Friedrich - with his "Constitutional Government and Democracy" (1937) - contributing to its history.


title: Comparative politics

text: Philippe C. Schmitter argues that the "family tree" of comparative politics has two main traditions: one, invented by Aristotle, that he calls "sociological constitutionalism"; a second, that he traced back to Plato, that he calls "legal constitutionalism"".


title: Comparative politics

text: Gerardo L. Munck offers the following periodization for the evolution of modern comparative politics, as a field of political science - understood as an academic discipline - in the United States:


title: Comparative politics

text: By some definitions, comparative politics can be traced back to Greek philosophy, as Plato's Republic and Aristotle's "The Politics".


title: Comparative politics

text: As a modern sub-discipline, comparative politics is constituted by research across a range of substantive areas, including the study of:


title: Comparative politics

text: While many researchers, research regimes, and research institutions are identified according to the above categories or foci, it is not uncommon to claim geographic or country specialization as the differentiating category.


title: Comparative politics

text: The division between comparative politics and international relations is artificial, as processes within nations shape international processes, and international processes shape processes within states. Some scholars have called for an integration of the fields. Comparative politics does not have similar "isms" as international relations scholarship.


title: Comparative politics

text: While the name of the subfield suggests one methodological approach ("the comparative method"), political scientists in comparative politics use the same diversity of social scientific methods as scientists elsewhere in the field, including experiments, comparative historical analysis, case studies, survey methodology, and ethnography. Researchers choose a methodological approach in comparative politics driven by two concerns: ontological orientation and the type of question or phenomenon of interest.


title: Comparative politics

text: Since the turn of the century, many students of comparative politics have compared units within a country. Relatedly, there has been a growing discussion of what Richard O. Snyder calls the "subnational comparative method."


title: Ronald D. Moore

text: Ronald Dowl Moore (born July 5, 1964) is an American screenwriter and television producer. He is best known for his work on "Star Trek"; on the re-imagined "Battlestar Galactica" television series, for which he won a Peabody Award and an Emmy Award; and on "Outlander", based on the novels of Diana Gabaldon. In 2019, he created and wrote the series "For All Mankind" for Apple TV+.


title: Ronald D. Moore

text: Moore was raised in Chowchilla, California. He describes himself as a 'recovering Catholic' and is agnostic. Moore dabbled in writing and drama in high school. He went on to study government (political science) at Cornell University, where he was Literary Secretary of The Kappa Alpha Society, originally on a Navy ROTC scholarship, but left during his senior year in the spring of 1986 after losing interest in his studies. He later completed his degree through Regents College. He served for one month during the summer of his freshman year on the frigate USS "W.S. Sims".


title: Ronald D. Moore

text: Moore spent the next three years drifting between various odd jobs and temporary work. As Moore himself recounted in the book, "Star Trek: The Next Generation 365", by the fall of 1986, he was "less than a year into my career as a college dropout... working as a medical records technician (otherwise known as a receptionist) at an animal hospital, all the while telling myself that I was actually a professional writer simply awaiting my inevitable discovery."


title: Ronald D. Moore

text: In 1988, he toured the "" sets during the filming of the episode "." While there, he passed a script he had written to one of Gene Roddenberry's assistants, who helped him get an agent who submitted the script through proper channels. About seven months later, executive producer Michael Piller read the script and bought it; it became the third-season episode "The Bonding." Based on that script, he was offered the opportunity to write a second script titled and that led to a staff position as a script editor. Two years later, he was promoted to co-producer, then producer for the series' final year (1994).


title: Ronald D. Moore

text: Moore wrote a number of episodes that developed the Klingon race and culture, starting with "" which introduced the Klingon home world, the Klingon High Council and the Klingon Chancellor and continuing with "," "," "" and "Rightful Heir." He is credited with writing or co-writing 27 "Next Generation" episodes.


title: Ronald D. Moore

text: He co-wrote several episodes with Brannon Braga, developing a successful working relationship that led to them being offered the chance to write the series television finale, "" (which won the 1995 Hugo Award for Best Dramatic Presentation). The series also received an Emmy Award nomination in its final year for Outstanding Drama Series, losing to "Picket Fences". The pair also wrote the screenplay for the "Next Generation" crew's first two big screen appearances, "Star Trek Generations" and "".


title: Ronald D. Moore

text: Moore then joined the production staff of "" for its third season as a supervising producer, being promoted to a co-executive producer position for the series' final two years. During this time he also worked again with Braga on the script for the second "Next Generation" motion picture, "" and on a draft of the "" script that was re-written by Robert Towne for which they received a "story by" credit.


title: Ronald D. Moore

text: During his time on "Deep Space Nine", he continued to write episodes that expanded on Klingon culture such as "The House of Quark", "Sons of Mogh", "", "Looking for par'Mach in All the Wrong Places", "Soldiers of the Empire", "You Are Cordially Invited..." and "". He also wrote episodes that dealt with controversial subjects such as genetic engineering ("Doctor Bashir, I Presume?"), co-wrote the episode that featured Star Trek's first same-sex kiss ("") and killed off another popular character, Vedek Bareil Antos ("").


title: Ronald D. Moore

text: During his time on "Deep Space Nine", he also made an effort to engage with fans; frequently posting on AOL forums where he would answer fan questions or address their concerns about the show, a practice he continued with "Battlestar Galactica" through his weblog and in his podcasts.


title: Ronald D. Moore

text: With the end of "Deep Space Nine" in 1999, Moore transferred over to the production staff of "" at the start of its sixth season, where his writing partner Braga was executive producer. However, Moore left "Voyager" only a matter of weeks later, with "" and "Barge of the Dead" as his only credits. In a January 2000 interview for "Cinescape" magazine, Moore cited problems in his working relationship with Braga for his short stay:


title: Ronald D. Moore

text: Moore and Braga can be heard talking together on the commentary tracks for the DVD release of "Star Trek Generations" and "Star Trek: First Contact".


title: Ronald D. Moore

text: After leaving "Voyager", Moore briefly worked as a consulting producer on "Good vs Evil" before joining "Roswell" as a co-executive producer and staff writer at the start of its second season in 2000. Moore and series creator Jason Katims jointly ran "Roswell" until the show ended in 2002. Moore wrote some of the show's most popular episodes, including "Ask Not" and the series finale "Graduation," which he co-wrote with Katims. He also wrote the episode "Cry Your Name."


title: Ronald D. Moore

text: During this time, Moore also developed a pilot based on Anne McCaffrey's "Dragonriders of Pern" for The WB, but production on the project was halted due to 'creative differences' between Moore and the network. The network tried changing the story (without Moore's approval) until it didn't resemble the original book series. Moore was an original fan of the books, and refused to continue working on the pilot with the changes being made.


title: Ronald D. Moore

text: In 2002, David Eick (whom Moore worked with on "Good vs Evil") approached Moore about a new four-hour "Battlestar Galactica" mini-series for Universal. Moore developed the mini-series with Eick, writing the scripts and updating the old series, also developing a back-story that could work for a regular weekly series should the mini-series be successful. At the same time, Moore was approached by HBO about running a new television series called "Carnivàle"; however they decided to offer the position to Henry Bromell instead and offered Moore a consultant position on the writing staff. He accepted, but then Bromell left soon after production started and Moore became show runner. While Moore worked on the first year of "Carnivàle", Eick ran the day-to-day production of the "Galactica" mini-series in Canada. "Galactica" aired in 2003 and became the highest-rated miniseries on cable that year and the best ratings that year for any show on Sci-Fi. After "Carnivàle" reached the end of its first season and the Sci-Fi Channel ordered a thirteen-episode weekly series of "Galactica", Moore left "Carnivàle" to assume a full-time executive producer role on "Galactica".


title: Ronald D. Moore

text: The weekly "Galactica" television series debuted in October 2004 in the United Kingdom and January 2005 in the United States and Canada. Moore wrote the first two episodes of the new series, with the first episode "33" winning the 2005 Hugo Award for Best Dramatic Presentation, Short Form, the second that Moore has received during his career. In 2007, Moore was nominated once again for an Emmy Award for writing the episodes "Occupation" and "Precipice," which aired together as the third season opener.


title: Ronald D. Moore

text: In April 2006, "Battlestar Galactica" was among the winners of the 65th Annual Peabody Awards; Moore was among the writers and producers cited for "plotlines that are deeply personal and relatable, while never compromising their affinity and passion for science fiction."


title: Ronald D. Moore

text: Moore was quite vocal about the 2007-2008 Writers Guild of America strike, as his "Battlestar Galactica" series was one of the major flashpoints leading to the strike. Starting in August 2006, the Writers Guild ordered production to cease on the "" series of webisodes which had been produced as a link between the show's second and third seasons. Tension over this would last throughout the third season. "Battlestar Galactica" was, along with other popular series such as "Lost" and "Heroes", one of the shows at the forefront of the debate over "new media" revenues, as the series was extensively downloaded from iTunes and recoups much of its production costs from high DVD sales as opposed to direct ratings. It was also among the most heavily time-shifted series on television, which the Nielsen ratings system does not count.


title: Ronald D. Moore

text: Moore's directorial debut was scheduled to be the first episode of "Battlestar Galactica" following the final season's mid-season cliffhanger, which he would also have written. Though the writers' strike did halt production on the fourth season of "Battlestar Galactica", work did resume and the show concluded on March 20, 2009. When the Writers Guild began their strike, Moore felt it was inappropriate to continue to communicate to fans using the "official" blog he maintained on the Scifi Channel website. As a result, he chose to start a personal website and blog, rondmoore.com, so that he could continue to freely comment on the situation without violating the terms of his membership in the Writers Guild. When the strike ended, Moore continued his commentary via his personal web site and blog.


title: Ronald D. Moore

text: With the success of "Battlestar Galactica", the Sci Fi Channel announced in April 2006 that Moore and Eick would be producing a spin-off called "Caprica" with "24" scriptwriter Remi Aubuchon and NBC Universal Television Studio. Moore later said in interviews that he and Eick had begun toying with the idea of a spinoff series as early as the beginning of the second season, however. The show was set 58 years before the events of "Battlestar Galactica" and depicts the creation of the Cylon race and the emergence of a terrorist group which apparently worships the same monotheistic god later worshipped by the Cylons.


title: Ronald D. Moore

text: The "Caprica" series premiere was released on DVD in 2009 and began airing in January 2010. Moore contributed to the pilot made-for-TV movie, then handed off control to new head writer Jane Espenson. Syfy abruptly canceled the show mid-run on October 27, 2010, before its first season had finished airing, citing low ratings. The remaining five episodes, of the twenty produced for season one, were burned off in a marathon on January 4, 2011.


title: Ronald D. Moore

text: In April 2009, Moore, along with several other "Battlestar Galactica" alumni, made a cameo appearance in the "" episode "A Space Oddity." The episode was directed by Michael Nankin (who directed a number of Galactica episodes), written by Bradley Thompson and David Weddle (who both started their TV writing careers on "Deep Space Nine", and worked as writer/producers on "Galactica") and based on a story by Naren Shankar (who went to school with Moore and started his writing career on "Star Trek: The Next Generation"). In the episode, Moore has one line of dialogue as he portrays an irate audience member at a science fiction convention, yelling at the (fictional) producer of a dark-and-gritty remake of a beloved cult series. Several of his "Battlestar Galactica" colleagues including Grace Park and Rekha Sharma appear in non-speaking cameos, while Kate Vernon is a major guest star in the episode.


title: Ronald D. Moore

text: Moore also developed a pilot for Fox called "Virtuality". It aired on June 26, 2009, and was not picked up. "Virtuality" was the first show developed under the banner of Moore's new personal production company, "Tall Ship Productions".


title: Ronald D. Moore

text: Moore worked on the script for the companion/prequel film of the 1982 John Carpenter film, "The Thing". His screenplay was scrapped late in 2009 and rewritten by Eric Heisserer, writer of the 2010 "A Nightmare on Elm Street". "The Thing" began production in March 2010 and was released in October 2011.


title: Ronald D. Moore

text: In March 2010, following the mixed reception of the first half of "Caprica"'s first season, SyFy channel approached Moore to produce another "Battlestar Galactica" spin-off. The show was entitled "", and was to feature a young William Adama's experiences in the First Cylon War. The series was originally designed as a series of webisodes, but with the cancellation of "Caprica", "Blood & Chrome" was slated to become a full television series without any direct involvement from Moore.


title: Ronald D. Moore

text: In May 2010, Moore signed a two-year deal with Sony Pictures TV to create and executive produce series projects for broadcast and cable through his production company, Tall Ship Productions. By late 2010 this resulted in two of Moore's pitches being purchased by major TV networks for potential development into pilot episodes. The first was a remake of "The Wild Wild West" purchased by CBS. The second was purchased by NBC and called "The McCulloch", an action-adventure series about the crew of a US Coast Guard vessel as they travel the world, to be co-produced by NBC-Universal and Sony. But neither of these projects made it to the screen.


title: Ronald D. Moore

text: In 2011, Moore was commissioned by Lucasfilm's Rick McCallum to write scripts for a "Star Wars" live action TV series, which was being developed for ABC.


title: Ronald D. Moore

text: Moore developed a series for NBC in 2011 which had been described as "Harry Potter for grown-ups," and it was confirmed on March 3, 2011 that the new show would be called "17th Precinct". Tricia Helfer, Jamie Bamber, and James Callis had signed up for the new series which would have centered around cops at the local 17th Precinct in the fictional city of Excelsior, with Moore writing the pilot. On May 13, 2011 it was confirmed that NBC had decided not to pick up the series.