title: Alex de Minaur

text: De Minaur began playing tennis at age three at the Sydney Private Tennis Academy at the Parkside Tennis Courts in Kogarah Bay. He was coached by Kerry Dock and then by Cindy Dock, a former Australian player. He has been coached by Adolfo Gutierrez since he was nine years old and living in Alicante. De Minaur reached a career-high ranking of 2 on the juniors circuit and won the 2016 Australian Open boys' doubles title alongside Blake Ellis. Although Lleyton Hewitt has never officially been his coach, he continues to be a mentor.


title: Alex de Minaur

text: De Minaur plays tennis under the flag of Australia. He made his professional debut in July 2015 at the Spain F22, reaching the quarterfinals. He was given a wildcard into the qualifying rounds of the 2016 Australian Open, but lost in round one to Kimmer Coppejans. De Minaur then spent the majority of the 2016 season playing on the ITF circuit in Spain, reaching two finals. He made his first ATP Challenger Tour final in Eckental, Germany after qualifying, however lost to Steve Darcis in the final.


title: Alex de Minaur

text: De Minaur commenced 2017 at the Brisbane International, where he defeated Mikhail Kukushkin and Frances Tiafoe in qualifying to reach his first ATP Tour main draw. He lost in the first round to Mischa Zverev. The following week, he received a wildcard into the Apia International Sydney where he defeated world No. 46, Benoît Paire to claim his first Tour-level win.


title: Alex de Minaur

text: De Minaur made his Grand Slam debut at the 2017 Australian Open after receiving a wildcard. He faced Gerald Melzer in the first round and won in five sets after saving a match point in the fourth set. He lost to Sam Querrey in round two.


title: Alex de Minaur

text: In May, de Minaur made his French Open debut after being awarded a wildcard. He lost the opening round to Robin Haase, in straight sets. In June, de Minaur lost in the first round of Nottingham and Ilkley Challengers and the second round of Wimbledon qualifying.


title: Alex de Minaur

text: In December, de Minaur won the Australian Open play off for a main draw wildcard into the 2018 Australian Open. He finished the year with a singles ranking of No. 208.


title: Alex de Minaur

text: De Minaur commenced the year at the Brisbane International after receiving a wildcard into the main draw. He defeated American Steve Johnson in straight sets before scoring a career high win against world number 24 Milos Raonic in straight sets. He then defeated qualifier Michael Mmoh in the quarterfinals before losing to Ryan Harrison in the semifinals. De Minaur is the lowest ranked player and the youngest to reach the semifinals of the men's draw in the Brisbane International's 10-year history.


title: Alex de Minaur

text: De Minaur received a special exempt spot in the main draw of the Sydney event, where he consecutively eliminated Fernando Verdasco, Damir Džumhur and Feliciano López to reach his second ATP Tour semifinal; he reached this milestone just one week after having played in his first tour semifinal in Brisbane. De Minaur became the youngest player to play in two consecutive ATP semifinals since Rafael Nadal in 2005. He beat Frenchman Benoît Paire in the semifinals to meet Daniil Medvedev in the final. De Minaur lost the final in three sets, having won the opener.


title: Alex de Minaur

text: At the 2018 Australian Open, de Minaur lost in the first round to Tomáš Berdych, but took a set off of the 19th seed.


title: Alex de Minaur

text: He was awarded a wildcard into the 2018 French Open, but lost in the first round to British 16th seed Kyle Edmund.


title: Alex de Minaur

text: Following this, he made two consecutive Challenger finals, losing to Jérémy Chardy at Surbiton, before defeating Dan Evans in straight sets to claim his first Challenger-level title at the Nottingham Open.


title: Alex de Minaur

text: He saw his best results to date at a major at Wimbledon, defeating 29th seed and French Open semifinalist Marco Cecchinato and Pierre-Hugues Herbert to reach the third round, where he fell to world No.1 and second seed Rafael Nadal.


title: Alex de Minaur

text: In Washington, de Minaur defeated Vasek Pospisil, 11th seed Steve Johnson, eighth seed and Australian Open semifinalist Chung Hyeon and received a walkover over Andy Murray to reach the semifinals where he faced Andrey Rublev. De Minaur saved four match points while down 2–6 in the second set tiebreak, winning six points in a row to win it 8–6. He then won the final set 6–4 to reach his first ATP 500 final against Alexander Zverev, in which he went down 4–6, 2–6. De Minaur entered the top 50 in the rankings for the first time at World No. 45 on 6 August 2018.


title: Alex de Minaur

text: At the US Open, de Minaur defeated Taro Daniel and Frances Tiafoe before losing to seventh seed Marin Čilić in five sets. Later in the year, he replaced Nick Kyrgios as Australia's highest ranked male singles player.


title: Alex de Minaur

text: De Minaur qualified as the second seed into the 2018 Next Generation ATP Finals. He beat Andrey Rublev, Taylor Fritz, Liam Caruana in group stage. He then defeated Jaume Munar in the semifinals, before losing to top seed Stefanos Tsitsipas.


title: Alex de Minaur

text: De Minaur began his year with a quarter-final run in Brisbane, competing at a career-high of World No. 31 –– resulting in him being seeded for a Grand Slam tournament for the first time in his career at the upcoming Australian Open. At the 2019 Sydney International, straight-set victories over Dušan Lajović, Reilly Opelka, Jordan Thompson and Gilles Simon saw him return to the finals. He defeated Andreas Seppi (7–5, 7–6) to claim his first career title.


title: Alex de Minaur

text: Seeded No. 27 at the 2019 Australian Open, he lost in the third round to Rafael Nadal. De Minaur reached a then career-high ranking of World No. 24 in March 2019. Following the Australian Open, de Minaur suffered a groin injury, sidelining him for two months. At Wimbledon, De Minaur won his opening round before losing to Steve Johnson in the second round in five sets. De Minaur made his fourth ATP Final in Atlanta, where he defeated Taylor Fritz to clinch the trophy. He did not face a single break point in the four matches he played during the tournament, winning 116 of 123 first serve points.


title: Alex de Minaur

text: At the US Open, de Minaur defeated Kei Nishikori in third round, earning his first career win over a top 10-ranked opponent. He reached the fourth round for the first time in the event, however, lost to Grigor Dimitrov 7–5, 6–3, 6–4.


title: Alex de Minaur

text: In September, de Minaur claimed his 3rd ATP title beating Frenchman Adrian Mannarino in two sets in the final of the Zhuhai Championships. At the Swiss Indoors, de Minaur reached the final of an ATP 500 event for the second time in his career, losing to Roger Federer. As a result, de Minaur reached a career-high ranking of World No. 18.


title: Alex de Minaur

text: De Minaur qualified as the first seed into the 2019 Next Generation ATP Finals. He beat Alejandro Davidovich Fokina, Miomir Kecmanović, Casper Ruud in group stage. He then beat Frances Tiafoe in the semis, before losing to Italian wildcard Jannik Sinner.


title: Alex de Minaur

text: De Minaur started new season by playing for Australia at the first edition of the ATP Cup. He won his first two matches beating Alexander Zverev of Germany and Denis Shapovalov of Canada. Facing Great Britain in the quarter-finals, he lost his singles match to Dan Evans. However, in doubles, he and Nick Kyrgios won a three-set thriller over Jamie Murray and Joe Salisbury to send Australia to the semifinals. However, in the semifinals, he was defeated by Rafael Nadal.


title: Alex de Minaur

text: He withdrew from the first edition of the Adelaide International due to an abdominal strain. He also withdrew from the Australian Open due to the same injury. De Minaur returned from injury in February and played at the Mexican Open. He lost in the first round to Miomir Kecmanović. Due to the COVID-19 pandemic, many of the ATP tour tournaments were suspended.


title: Alex de Minaur

text: At the Cincinnati Masters, his first tournament since February, he was eliminated in the first round by Jan-Lennard Struff. However, in doubles, de Minaur (partnered with Pablo Carreño Busta) won the 2020 Cincinnati Masters doubles title, defeating Jamie Murray and Neal Skupski in the final (6–2, 7–5).


title: Alex de Minaur

text: At the US Open, he reached his first Grand Slam quarterfinal, where he was beaten by eventual champion Dominic Thiem.


title: Alex de Minaur

text: In Rome, de Minaur was defeated in the first round by German qualifier Dominik Koepfer. At the French Open, he was beaten in the first round by qualifier and 2018 semi-finalist, Marco Cecchinato. At the European Open, de Minaur reached the final where he lost to Ugo Humbert. Following this, at the Paris Masters, he was knocked out in the third round by eventual champion, Daniil Medvedev.


title: Alex de Minaur

text: He played his final tournament of the season at the Sofia Open, where he was defeated in the quarterfinals by the eventual champion Jannik Sinner. De Minaur ended the year ranked No. 23.


title: Alex de Minaur

text: De Minaur started his 2021 season at the Antalya Open. Seeded fourth, he won his fourth ATP singles title when his opponent, eighth seed Alexander Bublik, retired from the final due to a right ankle injury. Playing for Australia at the 2021 ATP Cup, he lost both of his matches to Roberto Bautista Agut and Stefanos Tsitsipas. Seeded 21st at the Australian Open, he reached the third round where he was defeated by 16th seed Fabio Fognini.


title: Alex de Minaur

text: In March, de Minaur competed at the Rotterdam Open. Here, he was eliminated in the second round by Kei Nishikori. Seeded ninth at the Dubai Championships, he fell in the second round to Jérémy Chardy. Seeded 15th at the Miami Open, he suffered a second-round upset at the hands of Daniel Elahi Galán.


title: Alex de Minaur

text: Moving on to the clay-court season, de Minaur played at the Monte-Carlo Masters. He was beaten in the first round by Alejandro Davidovich Fokina. Seeded 14th at the Barcelona Open, he made it to the third round where he lost to second seed and eventual finalist, Stefanos Tsitsipas. In Madrid, he was defeated in the third round by third seed and two-time finalist, Dominic Thiem. At the Italian Open, he was eliminated in the first round by Italian wildcard Gianluca Mager. Seeded 21st at the French Open, he was beaten in the second round by Marco Cecchinato.


title: Alex de Minaur

text: In June, de Minaur had a short but successful grass season. Seeded fourth at the Stuttgart Open, he reached the quarterfinals where he lost to Jurij Rodionov. Seeded fourth at the Queen's Club Championships, he made it to the semifinals where he fell to top seed Matteo Berrettini. In doubles, he and Cameron Norrie reached the semifinals where they lost to Reilly Opelka/John Peers. In the week before Wimbledon, he won his first title on grass and fifth in his career at the Eastbourne International defeating Lorenzo Sonego in the final. With this run, he reached a new career-high singles ranking No. 15. Seeded 15th at Wimbledon, he could not keep up his good form and lost in the first round to Sebastian Korda.


title: Alex de Minaur

text: He returned to action in August at the Washington Open. Seeded third, he was defeated in the second round by Steve Johnson. Seeded 12th at the Canadian Open, he was eliminated in the second round by Nikoloz Basilashvili. Seeded 14th at the Western & Southern Open in Cincinnati, he fell in his second-round match to Gaël Monfils. Seeded 14th at the US Open, he lost in the first round to Taylor Fritz.


title: Alex de Minaur

text: Seeded fourth at the Moselle Open, de Minaur's woes continued as he was defeated in the second round by Marcos Giron. Seeded third in Sofia, he again lost in the second round to Giron. Seeded 22nd at the Indian Wells Masters, he reached the fourth round where he faced second seed Stefanos Tsitsipas. He pushed Tsitsipas to three sets, but he ended up losing the match. Seeded sixth and last year finalist at the European Open, he fell in the first round to American qualifier Brandon Nakashima. In Vienna, he was eliminated in his second-round match by second seed and eventual champion, Alexander Zverev. At the Paris Masters, he was beaten in the first round by lucky loser and compatriot, Alexei Popyrin.


title: Alex de Minaur

text: De Minaur started his 2022 season by representing Australia at the ATP Cup. Australia was in Group B alongside Italy, Russia, and France. In his first match, he beat world No. 7, Matteo Berrettini, of Italy, for his first victory against a top 10 player since 2020. He then lost his second match to world No. 2, Daniil Medvedev of Russia, in straight sets. In his final tie, he defeated Ugo Humbert of France. In the end, Australia ended second in Group B. Seeded 32nd at the Australian Open, he reached the fourth round of a Grand Slam for the third time in his career and the first time at the Australian Open. He ended up losing to 11th seed and world No. 10, Jannik Sinner.


title: Alex de Minaur

text: In February, de Minaur competed at the Rotterdam Open. He reached the quarterfinals where he lost to top seed, world No. 4, and eventual finalist, Stefanos Tsitsipas. In Dubai, he was defeated in the first round by Karen Khachanov. Playing for Australia in the Davis Cup tie against Hungary, de Minaur helped Australia win the tie 3–2 over Hungary by beating Zsombor Piros and Márton Fucsovics. Seeded 29th at the Indian Wells Masters, he made it to the fourth round where he was beaten by 20th seed and eventual champion, Taylor Fritz. Seeded 25th at the Miami Open, he lost in the third round to third seed and world No. 5, Stefanos Tsitsipas.


title: Alex de Minaur

text: De Minaur started his clay-court season at the Monte-Carlo Masters. He lost in the second round to fifth seed, world No. 8, and last year finalist, Andrey Rublev, in three sets. Seeded 10th at the Barcelona Open, he upset fourth seed and world No. 10, Cam Norrie in the quarterfinals. He lost his semifinal match to fifth seed, world No. 11, and eventual champion, Carlos Alcaraz, in three sets, despite having two match points at 7-6(4), 6–5. In Madrid, he was defeated in the second round by 10th seed and world No. 12, Jannik Sinner. At the Italian Open, he reached the third round where he was beaten by second seed, world No. 3, and 2017 champion, Alexander Zverev. Seeded fourth at the Lyon Open, he reahed the semifinals where he fell to Alex Molčan. Seeded 19th at the French Open, he was knocked out in the first round by world No. 74 ranked Frenchman, Hugo Gaston, in a five set match which lasted almost 4 hours.


title: Alex de Minaur

text: De Minaur started his grass-court season at the Libéma Open. Seeded fourth, he lost in the second round to 2019 champion Adrian Mannarino. At the Queen's Club Championships, he upset eighth seed and world No. 18, Reilly Opelka, in the first round. He was defeated in the second round by Alejandro Davidovich Fokina.


title: Alex de Minaur

text: He won his sixth title at the 2022 Atlanta Open defeating James Duckworth (tennis), Adrian Mannarino, Ilya Ivashka and Jenson Brooksby in the final.


title: Alex de Minaur

text: He won his 150th match at the 2022 Stockholm Open defeating Benjamin Bonzi. Next he defeated JJ Wolf and fourth seed Denis Shapovalov to reach the semifinals where he lost to Holger Rune. The following week at the next tournament in Basel he lost again to Holger Rune in the first round.


title: Alex de Minaur

text: At the 2022 Rolex Paris Masters he won in the first round against Sebastian Korda. He reached the third round for the third time at this tournament defeating world No. 3 Daniil Medvedev for his biggest and first top-5 win in 19 attempts.


title: Alex de Minaur

text: De Minaur is famous for his speed and agility on court, which have earned him the jocular title "Speed Demon" on the tour. He is known for his ability to retrieve seemingly impossible balls and hit winners from defensive positions or force opponents into making mistakes. His footwork and court coverage are considered some of the best on tour, though some have questioned the physical toll it could take on his body in the long-term. Despite this, his fighting spirit, "never say die" attitude and intensity on the court have earned him a huge fan base for a young player.


title: Alex de Minaur

text: His baseline game suits that of a counterpuncher, often retrieving balls and slowly constructing points. However, he is also known to inject sudden pace into rallies to surprise opponents, and often opts for a one-two combination on his serve, using the serve and a powerful groundstroke to endpoints quickly. His forehand is significantly better than his backhand on the offensive, and he often uses it to construct points or hit winners when attacking.


title: Alex de Minaur

text: Moreover, de Minaur possesses a strong first serve, but his second serve is considerably weaker and usually an attacking point for opponents. His volleys were initially a weakness too, but have improved, moving towards a more transitional offensive game.


title: Alex de Minaur

text: Critics point out that despite his defensive capabilities, de Minaur does not possess any real weapons to hurt top opponents. Some have argued his defensive game is unsustainable physically in the long-term and is not sufficient to challenge the best players in the world as he tends to play himself out of aggressive positions. Instead, he should focus on developing his groundstrokes towards more consistent aggression to end points quickly.


title: Alex de Minaur

text: De Minaur made his ATP Cup debut for Australia in January 2020. He scored a victory against then world No.7 Alexander Zverev; which helped Australia claim a 3–0 victory over Germany. In 2022, he beat world No. 7 Matteo Berrettini (6–3, 7–6).


title: Alex de Minaur

text: In February 2018, De Minaur made his Davis Cup debut for Australia, against then world No.5 Alexander Zverev from Germany in the opening rubber. He fell just short of a spectacular upset, losing in a fifth-set tiebreaker after at one point leading 3–0, (40–Ad.) in the decider.


title: Alex de Minaur

text: De Minaur was selected to represent Australia at the 2020 Tokyo Olympics (to be held in July 2021), but was forced to withdraw after testing positive for Covid-19.


title: Alex de Minaur

text: "De Minaur's record against players who have been ranked in the top 10. Active players are in boldface:"


title: RT America

text: RT America was a U.S.-based news channel headquartered in Washington, D.C. Owned by TV Novosti and operated by production company T&RProductions, it was a part of the RT network, a global multilingual television news network based in Moscow funded by the Russian government. The channel said it reached an audience of 85 million people in the United States, but this figure is disputed. It was distributed through select cable providers, over-the-top services, a live stream through its website, and three low-power digital subchannels. Since the channel's closure, viewers who tune into the cable channel or their live stream are being shown a live feed of an RT International broadcast instead.


title: RT America

text: Among the channel's shows at its closure included: "Dennis Miller + One" with Dennis Miller, "CrossTalk" with Peter Lavelle and "The Keiser Report" with Max Keiser. Other shows included "News with Ed Schultz" (2016–2018) and "Larry King Now" (2012-2020). Additional personalities included Rick Sanchez, Stacy Herbert, Chris Hedges, Jesse Ventura, Sean Stone, Lee Camp, Mike Papantonio and Ben Swann.


title: RT America

text: Incidents centered upon RT America include "Breaking the Set" host Abby Martin's 2014 statement of her opposition to Russia's intervention in Ukraine, which was followed the next day by anchor Liz Wahl's on-the-air resignation, which she issued on account of her belief that RT was a propaganda machine for President Vladimir Putin. In 2017, David Z. Morris wrote in "Fortune" that, "in its early years, RT provided a platform for various fringe theories or simply false narratives in American public discourse [...] according to a[n unnamed] social network analyst interviewed by the "[New York] Times", RT isn't simply a platform for a right-wing agenda. Rather, it fuels fringe viewpoints across the political spectrum, providing grist for libertarian, far-left, and anti-globalization factions as well." James Kirchick wrote in "The Washington Post" that the channel was "not a 'news service' in any meaningful sense of the term".


title: RT America

text: After losing the majority of its cable and satellite coverage following the 2022 Russian invasion of Ukraine, the channel ceased operations of all live programming on March 3, 2022, with T&R Productions indicating the layoffs of all off- and on-air staff would be permanent.


title: RT America

text: The channel was launched in the United States in February 2010 as RT was looking to increase its reach. It was launched along with Rusiya Al-Yaum in 2007, the Spanish-language channel RT Actualidad in 2009, and the RT Documentary channel in 2011.


title: RT America

text: In October 2017, after the United States Department of Justice insisted that RT America register as a "foreign agent" under the Foreign Agents Registration Act (FARA), the Russian Justice Ministry declared "foreign agents" several U.S.-government funded media outlets, including the Voice of America and Radio Free Europe/Radio Liberty. RT America's editor in chief, Margarita Simonyan, said that it would comply with the demand in order to avoid further legal action by the U.S. government, but blasted the move noting that registration also resulted in the TV channel losing its Congressional press credentials, and undermined assertions by the U.S. Department of Justice that FARA registration would not have any effect on the channel's ability to operate in the United States.


title: RT America

text: The network was removed from the services offered by DirecTV on March 1, 2022, following Russia's invasion of Ukraine, with Ora Media pausing production on several shows it produced for RT America. Dish Network dropped the channel on March 4.


title: RT America

text: After losing the majority of its cable and satellite coverage, the channel ceased operations of all live programming on March 3, 2022, with T&R Productions indicating the layoffs of all off- and on-air staff would be permanent.


title: RT America

text: A 2017 report by the United States Intelligence Community characterized RT as "the Kremlin's principal international propaganda outlet" and said that RT America had been set up as an autonomous nonprofit organization to avoid FARA's registration requirement.


title: RT America

text: According to David Z. Morris, writing in "Fortune" magazine in 2017, "in its early years, RT provided a platform for various fringe or simply false narratives in American public discourse," with guests on the network "arguing that the 9/11 attacks were a CIA conspiracy and that Osama bin Laden's death was faked." According to him, "RT America has been more likely to highlight legitimate but marginalized political perspectives, and further blurs the line between propaganda and commentary by employing respected U.S. journalists such as Chris Hedges, Ed Schultz, and Larry King." He also added that during the 2016 U.S. presidential election campaign, RT published conspiracy theories about the murder of Seth Rich to undermine the Hillary Clinton campaign. Some of these gained traction on social media and were distributed around the internet.


title: RT America

text: National Public Radio has accused the channel of being pro-Trump during the Trump's presidency, and typically has been an accused of being a conservative-leaning channel.


title: RT America

text: In their investigation of alleged Russian meddling in the U.S. 2016 elections, the U.S. intelligence services stated that they had "high confidence" that RT was involved in a campaign ordered by President Vladimir Putin. "The New York Times" reported their findings in 2017 indicating that "the attack was carried out through the targeted use of real information, some open and some hacked, and the creation of false reports, or 'fake news,' broadcast on state-funded news media like RT and its sibling."


title: RT America

text: James Kirchick wrote in "The Washington Post" in September 2017 that "RT is not a 'news service' in any meaningful sense of the term. Reputable news services don't employ Illuminati correspondents. RT has no regard whatsoever for basic journalistic values like objectivity or the pursuit of truth." Kirchick was a guest in August 2013 to talk about Chelsea Manning, and used the opportunity to "speak out against the horrific anti-gay legislation" which had recently been approved by President Putin. The clip went viral on social media.


title: RT America

text: William Broad of "The New York Times" wrote about the network's coverage of 5G, the mobile phone technology. Broad said the network aired seven programs in 2019 on the subject up to mid-April that year. One of these, entitled "A Dangerous 'Experiment on Humanity", Broad commented, linked 5G "signals to brain cancer, infertility, autism, heart tumors and Alzheimer's disease — claims that lack scientific support". According to Broad, the channel focused on "Vaxxed: From Cover-Up to Catastrophe", a 2016 film by the British anti-vaccine campaigner Andrew Wakefield, to echo the charge by an unnamed black minister in Los Angeles who was seen in a video addressing an audience and, according to Broad, saying that "childhood immunizations had caused autism in 200,000 black children." Domestically, in Russia itself, President Putin is a firm advocate of vaccinations.


title: RT America

text: An Oxford University study interviewing 23 of RT's journalists noted that it regularly hired personalities with little or no experience, often making employment offers before they graduated from college, so that it could influence their work more easily. One of its leading personalities, Rachel Blevins, was recruited from her work on fringe websites and radio networks; she accepted the RT offer largely because it was in line with her philosophies far more than other American networks, and she continued to defend the network until and after its demise.


title: RT America

text: On March 4, 2014, "Breaking the Set" host Abby Martin (whose show was at the time produced by RT America), speaking directly to her viewing audience during the show's closing statement, said that although she worked for RT, she was against Russia's intervention in Ukraine. She said that "what Russia did is wrong", as she is against intervention by any nation into another country's affairs. Later, Martin asserted that RT still supported her despite her differences of opinion with the Russian government. RT's press office suggested that Martin would be sent to Crimea, and responded to accusations of propaganda, stating "the charges of propaganda tend to pop up every time a news outlet, particularly RT, dares to show the side of events that does not fit the mainstream narrative, regardless of the realities on the ground. This happened in Georgia, this is happening in Ukraine".


title: RT America

text: Glenn Greenwald said that American media elites love to mock Russian media, especially RT, as being a source of shameless pro-Putin propaganda, where free expression is strictly barred. Agreeing the "network has a strong pro-Russian bias", he suggested that Martin's action "remarkably demonstrated what 'journalistic independence' means".


title: RT America

text: The day after Martin's statement, RT America anchor Liz Wahl resigned on air, which she said was due to her belief that RT was a propaganda machine for President Vladimir Putin. She stated:


title: RT America

text: I cannot be part of a network funded by the Russian government that whitewashes the actions of Putin. I am proud to be an American and believe in disseminating the truth. And that is why, after this newscast, I am resigning.


title: RT America

text: Wahl said that what "broke" her was that RT censored a question from her interview with Ron Paul about "Russia's "intervention" in Ukraine".


title: RT America

text: In response, RT released a statement: "When a journalist disagrees with the editorial position of his or her organization, the usual course of action is to address those grievances with the editor, and, if they cannot be resolved, to quit like a professional. But when someone makes a big public show of a personal decision, it is nothing more than a self-promotional stunt. We wish Liz the best of luck on her chosen path".


title: RT America

text: In a March 2014 "Politico" article, Wahl expanded on her resignation statement, saying, "For about two and a half years. I'd looked the other way as the network smeared America for the sake of making the Kremlin look better by comparison, while it sugarcoated atrocities by one brutal dictator after another."


title: RT America

text: When asked by Brian Stelter, host of CNN's "Reliable Sources", about a clip of her interviewing a guest on RT, Wahl responded,


title: RT America

text: On January 12, 2017, during a live House of Representatives debate on the Securities and Exchange Commission, C-SPAN 1's live broadcast was suddenly interrupted by a cut-in of RT America. C-SPAN explained the interruption as a technical malfunction, blaming it on an internal routing error, that moved the RT America feed from an internal monitor within C-SPAN used to monitor the network alongside others to the broadcast feed for C-SPAN 1.


title: RT America

text: RT stated that while it was testing its systems in preparation for the inauguration of Donald Trump, its signal was "mistakenly routed onto the primary encoder feeding C-SPAN 1's signal to the internet, rather than to an unused backup."


title: Pearl necklace (sexual act)

text: A "pearl necklace" is slang for a sexual act in which a man ejaculates semen on or near the neck, chest, or breast of another person. The term originates from the way the deposited semen resembles a necklace of translucent white pearls.


title: Pearl necklace (sexual act)

text: Receiving a pearl necklace is an activity that sex workers use as a safe sex alternative for people who prefer not to wear condoms.


title: Pearl necklace (sexual act)

text: George Carlin used the term in his "Incomplete List of Impolite Words" joke as early as 1984, on the album "Carlin on Campus". The term was also used in the stoner comedy "Half Baked" (1996). The ZZ Top song "Pearl Necklace" drew attention for its lyrics which were alleged to objectify women. The term appears in episode 69 of the HBO sex comedy "Sex and the City", first broadcast in 2004.


title: Symphony

text: A symphony is an extended musical composition in Western classical music, most often for orchestra. Although the term has had many meanings from its origins in the ancient Greek era, by the late 18th century the word had taken on the meaning common today: a work usually consisting of multiple distinct sections or movements, often four, with the first movement in sonata form. Symphonies are almost always scored for an orchestra consisting of a string section (violin, viola, cello, and double bass), brass, woodwind, and percussion instruments which altogether number about 30 to 100 musicians. Symphonies are notated in a musical score, which contains all the instrument parts. Orchestral musicians play from parts which contain just the notated music for their own instrument. Some symphonies also contain vocal parts (e.g., Beethoven's Ninth Symphony).


title: Symphony

text: The word "symphony" is derived from the Greek word (), meaning "agreement or concord of sound", "concert of vocal or instrumental music", from (), "harmonious". The word referred to a variety of different concepts before ultimately settling on its current meaning designating a musical form.


title: Symphony

text: In late Greek and medieval theory, the word was used for consonance, as opposed to (), which was the word for "dissonance". In the Middle Ages and later, the Latin form "symphonia" was used to describe various instruments, especially those capable of producing more than one sound simultaneously. Isidore of Seville was the first to use the word symphonia as the name of a two-headed drum, and from c. 1155 to 1377 the French form "symphonie" was the name of the "organistrum" or hurdy-gurdy. In late medieval England, "symphony" was used in both of these senses, whereas by the 16th century it was equated with the dulcimer. In German, "Symphonie" was a generic term for spinets and virginals from the late 16th century to the 18th century.


title: Symphony

text: In the sense of "sounding together," the word begins to appear in the titles of some works by 16th- and 17th-century composers including Giovanni Gabrieli's "Sacrae symphoniae", and "Symphoniae sacrae, liber secundus", published in 1597 and 1615, respectively; Adriano Banchieri's "Eclesiastiche sinfonie, dette canzoni in aria francese, per sonare, et cantare", Op. 16, published in 1607; Lodovico Grossi da Viadana's "Sinfonie musicali", Op. 18, published in 1610; and Heinrich Schütz's "Symphoniae sacrae", Op. 6, and "Symphoniarum sacrarum secunda pars", Op. 10, published in 1629 and 1647, respectively. Except for Viadana's collection, which contained purely instrumental and secular music, these were all collections of sacred vocal works, some with instrumental accompaniment.


title: Symphony

text: In the 17th century, for most of the Baroque era, the terms "symphony" and "sinfonia" were used for a range of different compositions, including instrumental pieces used in operas, sonatas and concertos—usually part of a larger work. The "opera sinfonia", or "Italian overture" had, by the 18th century, a standard structure of three contrasting movements: fast, slow, fast and dance-like. It is this form that is often considered as the direct forerunner of the orchestral symphony. The terms "overture", "symphony" and "sinfonia" were widely regarded as interchangeable for much of the 18th century.


title: Symphony

text: In the 17th century, pieces scored for large instrumental ensemble did not precisely designate which instruments were to play which parts, as is the practice from the 19th century to the current period. When composers from the 17th century wrote pieces, they expected that these works would be performed by whatever group of musicians were available. To give one example, whereas the bassline in a 19th-century work is scored for cellos, double basses and other specific instruments, in a 17th-century work, a basso continuo part for a sinfonia would not specify which instruments would play the part. A performance of the piece might be done with a basso continuo group as small as a single cello and harpsichord. However, if a bigger budget was available for a performance and a larger sound was required, a basso continuo group might include multiple chord-playing instruments (harpsichord, lute, etc.) and a range of bass instruments, including cello, double bass, bass viol or even a serpent, an early bass wind instrument.


title: Symphony

text: LaRue, Bonds, Walsh, and Wilson write in the second edition of "The New Grove Dictionary of Music and Musicians" that "the symphony was cultivated with extraordinary intensity" in the 18th century. It played a role in many areas of public life, including church services, but a particularly strong area of support for symphonic performances was the aristocracy. In Vienna, perhaps the most important location in Europe for the composition of symphonies, "literally hundreds of noble families supported musical establishments, generally dividing their time between Vienna and their ancestral estate [elsewhere in the Empire]". Since the normal size of the orchestra at the time was quite small, many of these courtly establishments were capable of performing symphonies. The young Joseph Haydn, taking up his first job as a music director in 1757 for the Morzin family, found that when the Morzin household was in Vienna, his own orchestra was only part of a lively and competitive musical scene, with multiple aristocrats sponsoring concerts with their own ensembles.


title: Symphony

text: LaRue, Bonds, Walsh, and Wilson's article traces the gradual expansion of the symphonic orchestra through the 18th century. At first, symphonies were string symphonies, written in just four parts: first violin, second violin, viola, and bass (the bass line was taken by cello(s), double bass(es) playing the part an octave below, and perhaps also a bassoon). Occasionally the early symphonists even dispensed with the viola part, thus creating three-part symphonies. A basso continuo part including a bassoon together with a harpsichord or other chording instrument was also possible.


title: Symphony

text: The first additions to this simple ensemble were a pair of horns, occasionally a pair of oboes, and then both horns and oboes together. Over the century, other instruments were added to the classical orchestra: flutes (sometimes replacing the oboes), separate parts for bassoons, clarinets, and trumpets and timpani. Works varied in their scoring concerning which of these additional instruments were to appear. The full-scale classical orchestra, deployed at the end of the century for the largest-scale symphonies, has the standard string ensemble mentioned above, pairs of winds (flutes, oboes, clarinets, bassoons), a pair of horns, and timpani. A keyboard continuo instrument (harpsichord or piano) remained an option.


title: Symphony

text: The "Italian" style of symphony, often used as overture and entr'acte in opera houses, became a standard three-movement form: a fast movement, a slow movement, and another fast movement. Over the course of the 18th century it became the custom to write four-movement symphonies, along the lines described in the next paragraph. The three-movement symphony died out slowly; about half of Haydn's first thirty symphonies are in three movements; and for the young Mozart, the three-movement symphony was the norm, perhaps under the influence of his friend Johann Christian Bach. An outstanding late example of the three-movement Classical symphony is Mozart's "Prague Symphony", from 1786.


title: Symphony

text: Variations on this layout, like changing the order of the middle movements or adding a slow introduction to the first movement, were common. Haydn, Mozart and their contemporaries restricted their use of the four-movement form to orchestral or multi-instrument chamber music such as quartets, though since Beethoven solo sonatas are as often written in four as in three movements.


title: Symphony

text: The composition of early symphonies was centred on Milan, Vienna, and Mannheim. The Milanese school centred around Giovanni Battista Sammartini and included Antonio Brioschi, Ferdinando Galimberti and Giovanni Battista Lampugnani. Early exponents of the form in Vienna included Georg Christoph Wagenseil, Wenzel Raimund Birck and Georg Matthias Monn, while later significant Viennese composers of symphonies included Johann Baptist Wanhal, Carl Ditters von Dittersdorf and Leopold Hofmann. The Mannheim school included Johann Stamitz.


title: Symphony

text: The most important symphonists of the latter part of the 18th century are Haydn, who wrote at least 106 symphonies over the course of 36 years, and Mozart, with at least 47 symphonies in 24 years.


title: Symphony

text: At the beginning of the 19th century, Beethoven elevated the symphony from an everyday genre produced in large quantities to a supreme form in which composers strove to reach the highest potential of music in just a few works. Beethoven began with two works directly emulating his models Mozart and Haydn, then seven more symphonies, starting with the Third Symphony ("Eroica") that expanded the scope and ambition of the genre. His Symphony No. 5 is perhaps the most famous symphony ever written; its transition from the emotionally stormy C minor opening movement to a triumphant major-key finale provided a model adopted by later symphonists such as Brahms and Mahler. His Symphony No. 6 is a programmatic work, featuring instrumental imitations of bird calls and a storm; and, unconventionally, a fifth movement (symphonies usually had at most four movements). His Symphony No. 9 includes parts for vocal soloists and choir in the last movement, making it a choral symphony.


title: Symphony

text: Of the symphonies by Schubert, two are core repertory items and are frequently performed. Of the Eighth Symphony (1822), Schubert completed only the first two movements; this highly Romantic work is usually called by its nickname "The Unfinished". His last completed symphony, the Ninth (1826) is a massive work in the Classical idiom.


title: Symphony

text: Of the early Romantics, Felix Mendelssohn (five symphonies, plus thirteen string symphonies) and Robert Schumann (four) continued to write symphonies in the classical mould, though using their own musical language. In contrast, Berlioz favored programmatic works, including his "dramatic symphony" "Roméo et Juliette", the viola symphony "Harold en Italie" and the highly original "Symphonie fantastique". The latter is also a programme work and has both a march and a waltz and five movements instead of the customary four. His fourth and last symphony, the "Grande symphonie funèbre et triomphale" (originally titled "Symphonie militaire") was composed in 1840 for a 200-piece marching military band, to be performed out of doors, and is an early example of a band symphony. Berlioz later added optional string parts and a choral finale. In 1851, Richard Wagner declared that all of these post-Beethoven symphonies were no more than an epilogue, offering nothing substantially new. Indeed, after Schumann's last symphony, the "Rhenish" composed in 1850, for two decades the Lisztian symphonic poem appeared to have displaced the symphony as the leading form of large-scale instrumental music. However, Liszt also composed two programmatic choral symphonies during this time, "Faust" and "Dante". If the symphony had otherwise been eclipsed, it was not long before it re-emerged in a "second age" in the 1870s and 1880s, with the symphonies by Bruckner, Brahms, Tchaikovsky, Saint-Saëns, Borodin, Dvořák, and Franck—works which largely avoided the programmatic elements of Berlioz and Liszt and dominated the concert repertory for at least a century.


title: Symphony

text: Over the course of the 19th century, composers continued to add to the size of the symphonic orchestra. Around the beginning of the century, a full-scale orchestra would consist of the string section plus pairs of flutes, oboes, clarinets, bassoons, horns, trumpets, and lastly a set of timpani. This is, for instance, the scoring used in Beethoven's symphonies numbered 1, 2, 4, 7, and 8. Trombones, which had previously been confined to church and theater music, came to be added to the symphonic orchestra, notably in Beethoven's 5th, 6th, and 9th symphonies. The combination of bass drum, triangle, and cymbals (sometimes also: piccolo), which 18th-century composers employed as a coloristic effect in so-called "Turkish music", came to be increasingly used during the second half of the 19th century without any such connotations of genre. By the time of Mahler (see below), it was possible for a composer to write a symphony scored for "a veritable compendium of orchestral instruments". In addition to increasing in variety of instruments, 19th-century symphonies were gradually augmented with more string players and more wind parts, so that the orchestra grew substantially in sheer numbers, as concert halls likewise grew.


title: Symphony

text: Towards the end of the 19th century, Gustav Mahler began writing long, large-scale symphonies that he continued composing into the early 20th century. His Third Symphony, completed in 1896, is one of the longest regularly performed symphonies at around 100 minutes in length for most performances. The Eighth Symphony was composed in 1906 and is nicknamed the "Symphony of a Thousand" because of the large number of voices required to perform the work.


title: Symphony

text: The 20th century saw further diversification in the style and content of works that composers labeled "symphonies". Some composers, including Dmitri Shostakovich, Sergei Rachmaninoff, and Carl Nielsen, continued to write in the traditional four-movement form, while other composers took different approaches: Jean Sibelius' Symphony No. 7, his last, is in one movement, Richard Strauss' Alpine Symphony, in one movement, split into twenty-two parts, detailing an eleven hour hike through the mountains and Alan Hovhaness's Symphony No. 9, "Saint Vartan"—originally Op. 80, changed to Op. 180—composed in 1949–50, is in twenty-four.


title: Symphony

text: A concern with unification of the traditional four-movement symphony into a single, subsuming formal conception had emerged in the late 19th century. This has been called a "two-dimensional symphonic form", and finds its key turning point in Arnold Schoenberg's Chamber Symphony No. 1, Op. 9 (1909), which was followed in the 1920s by other notable single-movement German symphonies, including Kurt Weill's First Symphony (1921), Max Butting's Chamber Symphony, Op. 25 (1923), and Paul Dessau's 1926 Symphony.


title: Symphony

text: Alongside this experimentation, other 20th-century symphonies deliberately attempted to evoke the 18th-century origins of the genre, in terms of form and even musical style, with prominent examples being Sergei Prokofiev's Symphony No. 1 "Classical" of 1916–17 and the Symphony in C by Igor Stravinsky of 1938–40.


title: Symphony

text: There remained, however, certain tendencies. Designating a work a "symphony" still implied a degree of sophistication and seriousness of purpose. The word "sinfonietta" came into use to designate a work that is shorter, of more modest aims, or "lighter" than a symphony, such as Sergei Prokofiev's Sinfonietta for orchestra.


title: Symphony

text: In the first half of the century, composers including Edward Elgar, Gustav Mahler, Jean Sibelius, Carl Nielsen, Igor Stravinsky, Bohuslav Martinů, Roger Sessions, Sergei Prokofiev, Rued Langgaard and Dmitri Shostakovich composed symphonies "extraordinary in scope, richness, originality, and urgency of expression". One measure of the significance of a symphony is the degree to which it reflects conceptions of temporal form particular to the age in which it was created. Five composers from across the span of the 20th century who fulfil this measure are Jean Sibelius, Igor Stravinsky, Luciano Berio (in his Sinfonia, 1968–69), Elliott Carter (in his "Symphony of Three Orchestras", 1976), and Pelle Gudmundsen-Holmgreen (in "Symphony/Antiphony", 1980).


title: Symphony

text: From the mid-20th century into the 21st there has been a resurgence of interest in the symphony with many postmodernist composers adding substantially to the canon, not least in the United Kingdom: Peter Maxwell Davies (10), Robin Holloway (1), David Matthews (9), James MacMillan (4), Peter Seabourne (5), and Philip Sawyers (3).


title: Symphony

text: Hector Berlioz originally wrote the "Grande symphonie funèbre et triomphale" for military band in 1840. Anton Reicha had composed his four-movement 'Commemoration' Symphony (also known as "Musique pour célébrer le Mémorie des Grands Hommes qui se sont Illustrés au Service de la Nation Française") for large wind ensemble even earlier, in 1815, for ceremonies associated with the reburial of Louis XVI and Marie Antoinette


title: Symphony

text: After those early efforts, few symphonies were written for wind bands until the 20th century when more symphonies were written for concert band than in past centuries. Although examples exist from as early as 1932, the first such symphony of importance is Nikolai Myaskovsky's Symphony No. 19, Op. 46, composed in 1939. Some further examples are Paul Hindemith's Symphony in B-flat for Band, composed in 1951; Morton Gould's Symphony No. 4 "West Point", composed in 1952; Vincent Persichetti's Symphony No. 6, Op. 69, composed in 1956; Vittorio Giannini's Symphony No. 3, composed in 1958; Alan Hovhaness's Symphonies No. 4, Op. 165, No. 7, "Nanga Parvat", Op. 175, No. 14, "Ararat", Op. 194, and No. 23, "Ani", Op. 249, composed in 1958, 1959, 1961, and 1972 respectively; John Barnes Chance's Symphony No. 2, composed in 1972; Alfred Reed's 2nd, 3rd, 4th, and 5th symphonies, composed in 1979, 1988, 1992, and 1994 respectively; eight of the ten numbered symphonies of David Maslanka; five symphonies to date by Julie Giroux (although she is currently working on a sixth); Johan de Meij's Symphony No. 1 "The Lord of the Rings", composed in 1988, and his Symphony No. 2 "The Big Apple", composed in 1993; Yasuhide Ito's Symphony in Three Scenes 'La Vita', composed in 1998, which is his third symphony for wind band; John Corigliano's Symphony No. 3 'Circus Maximus, composed in 2004; Denis Levaillant's PachaMama Symphony, composed in 2014 and 2015, and James M. Stephenson's Symphony No. 2 which was premiered by the United States Marine Band ("The President's Own") and received both the National Band Association's William D. Revelli (2017) and the American Bandmasters Association's Sousa/Ostwald (2018) awards.


title: Symphony

text: In some forms of English, the word "symphony" is also used to refer to the orchestra, the large ensemble that often performs these works. The word "symphony" appears in the name of many orchestras, for example, the London Symphony Orchestra, the Boston Symphony Orchestra, the St. Louis Symphony, the Houston Symphony, or Miami's New World Symphony. For some orchestras, "(city name) Symphony" provides a shorter version of the full name; for instance, the OED gives "Vancouver Symphony" as a possible abbreviated form of Vancouver Symphony Orchestra. Additionally, in common usage, a person may say they are going out to hear a symphony perform, a reference to the orchestra and not the works on the program. These usages are not common in British English.


title: The Bounty (1984 film)

text: The Bounty is a 1984 British historical drama film directed by Roger Donaldson, starring Mel Gibson and Anthony Hopkins, and produced by Bernard Williams with Dino De Laurentiis as executive producer. It is the fifth film version of the story of the mutiny on the "Bounty". The supporting cast features Laurence Olivier, Daniel Day-Lewis, Liam Neeson and Edward Fox.


title: The Bounty (1984 film)

text: The screenplay by Robert Bolt was based on the book "Captain Bligh and Mr Christian" (1972) by Richard Hough. The film was made by Dino De Laurentiis Productions and Bounty Productions Ltd. and distributed by Orion Pictures Corporation and Thorn EMI Screen Entertainment. The music score was composed by Vangelis and the cinematography designed by Arthur Ibbetson.


title: The Bounty (1984 film)

text: The film is set as flashbacks from the court martial at Portsmouth of Commanding Lieutenant William Bligh for the loss of to mutineers, led by his friend Fletcher Christian, during its expedition to Tahiti to gather breadfruit pods for transplantation in the Caribbean.


title: The Bounty (1984 film)

text: Bligh sets out from Great Britain in December 1787, electing to sail the "Bounty" west round the tip of South America in an attempt to use the expedition to fulfill an ambition to circumnavigate the globe. The attempt to round Cape Horn fails due to harsh weather, and the ship is obliged to take the longer eastern route. Finally arriving in Tahiti in October 1788, Bligh finds that due to the delays, the wind is against them for a quick return journey and they must stay on the island for four months longer than planned.


title: The Bounty (1984 film)

text: During their stay in Tahiti, ship discipline becomes problematic. Many of the crew develop a taste for the easy pleasures that island life offers, especially the native women, making the relationship with their Captain tense. Bligh, at the same time, subjects the crew to pressure, eventually reaching breaking point when some members become intent on staying on the island. When the ship leaves Tahiti, Fletcher is forced to leave his native wife, Mauatua, behind.


title: The Bounty (1984 film)

text: The resumption of naval discipline on the return voyage turns Bligh into a tyrant not willing to tolerate any disobedience whatsoever, creating an atmosphere of tension and violence. Bligh insists that the ship is dirty and orders the crew to clean up several times a day. Many of the men, including Christian, are singled out for tongue-lashings by Bligh.


title: The Bounty (1984 film)

text: Playing on Christian's resentment against Bligh's treatment of both him and the men, the more militant members of the crew finally persuade Christian to take control of the ship. Bligh is roused from his bed and arrested, along with those considered loyal to him, and they are forced into a ship's boat, minimally supplied, and cast adrift. The film follows both the efforts of Fletcher Christian to get his men beyond the reach of British punishment and the epic voyage of Bligh to get his loyalists safely to the Dutch East Indies in a longboat.


title: The Bounty (1984 film)

text: Bligh, through courage and excellent seamanship, and a return of his good character and leadership qualities, successfully manages to reach civilisation after a very harrowing journey without navigational charts or firearms. One man, however, is killed by natives as the crew stop for supplies on a hostile island. Bligh is portrayed as a man who, on the one hand takes his sense of discipline and command too far, exceeding the limits of the ship's company, but whose character ultimately successfully protects his loyal non-mutineers and guides their overcrowded boat to safety.


title: The Bounty (1984 film)

text: The mutineers sail back to Tahiti to collect their wives, girlfriends and native friends. King Tynah, however, is concerned that their presence on the island could incite King George to declare war against Tahiti and his people. Realising the folly of staying, the mutineers gather supplies and sail away to try to find a safe refuge. Christian pleads with Tynah to allow Mauatua to decide her own destiny. Tynah concedes, and Mauatua chooses the uncertainty of a life with Christian over remaining with her father.


title: The Bounty (1984 film)

text: The search for a safe haven is long and seemingly impossible, as they realise that any pursuing Royal Navy vessels will search all known islands and coastlines to find them. At this point, those who remained on board the "Bounty" are so frustrated that they are ready to rebel against Christian to turn the ship back towards Tahiti. After Christian forces the crew to continue on, they eventually find Pitcairn Island, a place which Christian realises is not marked on British maps of the region.


title: The Bounty (1984 film)

text: As the crew of the "Bounty" burn the ship to keep it from being found (as well as to motivate the crew to tough it out on the island), the judgment of Bligh's court-martial is read: Bligh is found not to have been responsible for the loss of the "Bounty", and is commended for the voyage of the open boat. Meanwhile, Fletcher Christian and his men realise that they will never go back home to Britain.


title: The Bounty (1984 film)

text: This version was originally a longstanding project of director David Lean and his frequent collaborator, Robert Bolt. They started working on a script in Bora Bora in October 1977.


title: The Bounty (1984 film)

text: Lean and Bolt decided to make two films. One named "The Lawbreakers" that dealt with the voyage out to Tahiti and the subsequent mutiny, and the second which was to have been named "The Long Arm", a study of the journey and the mutineers after the mutiny, as well as the admiralty's response in sending out the frigate .


title: The Bounty (1984 film)

text: In November 1977 producer Dino De Laurentiis announced he would finance the project and make it after his version of the "Hurricane". Phil Kellogg was to produce the films. In December of that year, Paramount announced they would finance and distribute.


title: The Bounty (1984 film)

text: The intention was to shoot the film in Tahiti, where De Laurentiis had built a large facility for shooting "Hurricane", including a brand-new hotel.


title: The Bounty (1984 film)

text: While working on the script, Lean directed a documentary, "", about discovering an anchor that belonged to a ship of Captain Cook.


title: The Bounty (1984 film)

text: In August 1978 Lean said he expected each film to cost $25 million. "With the high brow critics you're as good as dead if you spend that sort of money on a film", he said. "For that kind of money, the argument runs, anyone should be able to make a good picture. Which is absolute rubbish."


title: The Bounty (1984 film)

text: A replica of "The Bounty" was built in New Zealand. A script was finished by November 1978. Bernard Williams became attached as producer. He says Lean and De Laurentiis assumed both films could be made for $40 million in total, but Williams budgeted "The Lawbreakers" alone at $40 million. De Laurentiis decided he could not afford to proceed. "Dino is no longer behind the project", said Kellogg in November, adding "The first script is finished and the second is underway. I expect the pictures to go in about a year by now and we'll make them back to back."


title: The Bounty (1984 film)

text: On 12 April 1979 Bolt suffered a massive heart attack, followed by a stroke two days later, with the second script incomplete.


title: The Bounty (1984 film)

text: They looked at making the project as a seven-part TV series. Paramount were interested but decided to pull out after two months feeling the project was too "masculine" and lacked female interest.


title: The Bounty (1984 film)

text: Lean tried to interest Sam Spiegel who persuaded the director to make just the one film. Lean had a go at the script himself.


title: The Bounty (1984 film)

text: Lean was ultimately forced to abandon the project after overseeing casting and the construction of the "Bounty" replica which cost $4 million. In June 1981 the producer was trying to sell the replica.


title: The Bounty (1984 film)

text: "It was three years' work wasted", said Lean later. "And the sad part is, it was the best script I've ever had. It was really a cracker it would have made a marvellous film. But after all that work they pulled the rug from under me."


title: The Bounty (1984 film)

text: De Laurentiis did not want to lose the millions he had already put into the project—$2 million in development costs plus the cost of the ship—and looked for another director.


title: The Bounty (1984 film)

text: Donaldson was an Australian who had forged a career as director in New Zealand with "Sleeping Dogs" and "Smash Palace". The latter was the first New Zealand film to obtain a distributor in the US. Donaldson said he met with de Laurentiis to discuss filming a sequel to "Conan the Barbarian". Donaldson worked on a new script for that film. "Some time during that period I mentioned that I thought The Bounty sounded like an interesting project", Donaldson said. "Well, when I finished with the Conan script, he didn't really like it so I figured, well, I'm finished with Dino."


title: The Bounty (1984 film)

text: The producer then offered him "The Bounty" despite not having seen any of the director's films and the fact that his biggest budget to date had been $1 million. (De Laurentiis later says he gave Donaldson the job on the basis of "Smash Palace".)


title: The Bounty (1984 film)

text: "Making the movie was something that, initially, I wasn't sure I wanted to do", said Donaldson. "I thought it might be perceived as some sort of a remake. But I looked at it and decided I'd do it as long as I could do something completely on my own, not a remake at all, but based much more on fact—something to set the record straight."


title: The Bounty (1984 film)

text: "I saw it as an intense personal drama about two friends who have a tragic and violent falling out—a drama in which your sympathies change as events change", Donaldson said. "When you leave the movie, I hope that deep down you feel that you've understood a relationship between two men."


title: The Bounty (1984 film)

text: Anthony Hopkins was one of two actors considered for the role of Captain Bligh by David Lean. The other was Oliver Reed. Hopkins was approached as early as 1978.


title: The Bounty (1984 film)

text: In April 1980, when David Lean was still attached, Christopher Reeve was the favorite to play Fletcher Christian. Lean had enjoyed "Superman" and Katharine Hepburn had recommended Reeve to Lean. "It's not a remake", said Reeve. "The other versions were just remakes of the first movie. This is the true story based on the diaries of those actually on the Bounty and from the trial of the mutineers. It's the best screenplay I've ever read and it would be an honor and a privilege to accept the part of Christian."


title: The Bounty (1984 film)

text: Reeve stayed on the project through the change in director. However he dropped out at the last minute and was replaced by Mel Gibson. Gibson was looking for a project after "The Night of the Running Man" at MGM was cancelled. "I liked the idea they were going to show Bligh and Christian as the young men they were", said Gibson. "I also liked the idea of playing a role that Errol Flynn first attempted."


title: The Bounty (1984 film)

text: The role of Peter Heywood (who inspired the character 'Roger Byam' in the novel and earlier film versions) was originally intended to be played by Hugh Grant.


title: The Bounty (1984 film)

text: Tevaite Vernette was spotted at Papeete Airport and offered the female lead. She had to be persuaded and only agreed to play the lead once filming began.


title: The Bounty (1984 film)

text: The film was shot on location over 20 weeks in Mo'orea, French Polynesia, Port of Gisborne, New Zealand and at the Old Royal Naval College and the Reform Club, Pall Mall, London. Many of the shots of the ship were filmed in Opunohu Bay, Moorea, the bay where Captain James Cook anchored during 1777. Below-the-deck scenes were shot at Lee Studios outside London.


title: The Bounty (1984 film)

text: The replica of the "Bounty" used in the film was built in Whangarei, New Zealand before the script was even completed at a cost of $4 million; the entire film cost $25 million. Donaldson said the boat "has got to be the most expensive movie prop ever built. It's exact right down to the hand stitching on the sails."


title: The Bounty (1984 film)

text: The director says filming on the ship was hard. "It's only 90 feet long and its design is archaic. So it rolled all the time and people were constantly seasick. It wasn't a pleasant experience."


title: The Bounty (1984 film)

text: As well as the New Zealand-built "Bounty", Lean had also looked at refitting the frigate "Rose" to play the role of "Pandora". The latter has since gone on to become HMS "Surprise" in Peter Weir's "". For the storm sequences a detailed 25-foot model of the "Bounty" was built.


title: The Bounty (1984 film)

text: Gibson described the making of the film as difficult because of the long production time and bad weather: "I went mad. They would hold their breath at night when I went off. One night I had a fight in a bar and the next day they had to shoot only one side of my face because the other was so messed up. If you see the film, you can see the swelling in certain scenes." Anthony Hopkins, who had battled with alcoholism until becoming abstinent in 1975, was worried about Gibson's heavy drinking, saying, "Mel is a wonderful, wonderful fellow with a marvellous future. He's already something of a superstar, but he's in danger of blowing it unless he takes hold of himself." Gibson, who likewise self-identified as an alcoholic, agreed with this concern, and added his admiration for the Welsh actor: "He was terrific. He was good to work with because he was open and he was willing to give. He's a moral man, and you could see this. I think we had the same attitudes."


title: The Bounty (1984 film)

text: Donaldson said Hopkins "became Bligh" during filming. "So much so that you didn't want to sit with him at breakfast."


title: The Bounty (1984 film)

text: Donaldson admits he and Hopkins clashed during filming. "I'm a bit of a hard task-master", admitted Donaldson later. "I won't give up until I really think we've wrung everything we can out of every scene... It was 90 degrees in Tahiti and the humidity was 100%, and Tony was wearing this wool-serge uniform, done up to the neck. That was demanding, just physically."


title: The Bounty (1984 film)

text: The score was composed by Vangelis. The soundtrack has never been officially released, but a two-CD limited edition bootleg was released by One World Music (OWM-95034) in 1995. The score for the tracks "Opening Titles" and "Closing Titles" were remade for the compilation album "Themes" released in 1989 by Polydor Records.


title: The Bounty (1984 film)

text: "The Bounty" was screened out of competition as the closing film at the 1984 Cannes Film Festival on 23 May. It was released in the United States by Orion Pictures on 4 May 1984 and in the United Kingdom on 5 October 1984 by Thorn EMI Screen Entertainment.


title: The Bounty (1984 film)

text: The film was released as a special-edition DVD in the United Kingdom in March 2002 by Sanctuary with five extra features, including separate audio commentaries, first by the director Roger Donaldson, producer Bernie Williams and production designer John Graysmarkand and solo commentary by maritime historian Stephen Walters, a fifty-two-minute 'making of' documentary narrated by Edward Fox, The Bounty on Film discussing the various Bounty films, original theatrical trailer and booklet. In the United States Twilight Time released a limited-edition Blu-ray on 10 March 2015 with little in terms of bonus material; however, it features an isolated score track by Vangelis. A special-edition DVD and Blu-ray with the same special features as the 2002 issue was released in Australia by Via Vision Entertainment on 5 December 2018.


title: The Bounty (1984 film)

text: On 2 January 2019 a Blu-ray was issued in the U.S. and Canada by Kino Lorber Studio Classic with the commentary tracks, Original theatrical trailer and image gallery.


title: The Bounty (1984 film)

text: The first version, an Australian silent film, "The Mutiny of the Bounty", was made in 1916. The second, "In the Wake of the Bounty" (1933) was another Australian production, starring Errol Flynn in his film debut, portraying Fletcher Christian.


title: The Bounty (1984 film)

text: The third and most famous version, "Mutiny on the Bounty" (1935), starred Charles Laughton, Clark Gable and Franchot Tone. The fourth, a remake of the third film, released in 1962, starred Marlon Brando, Trevor Howard and Richard Harris.


title: The Bounty (1984 film)

text: The most recent film, starring Mel Gibson, is generally regarded as more revisionist as well as a more historically accurate depiction of the mutiny than the two earlier film versions. According to director Donaldson, "The major difference between our film and the other versions is that none of the others pointed out that Bligh and Christian were friends. They'd made voyages together before they sailed on the "Bounty". And while they were on the "Bounty", Bligh demoted another officer and promoted Christian, who was at that stage nothing but a midshipman, and made him second in command. What interested me was to explore how their relationship deteriorated from that point to where Christian leads a mutiny against Bligh." Unlike earlier versions, this film did not portray Bligh as a villainous character. According to Gibson, "It was a kind of fresh look at Captain Bligh, and I think of all the renditions of who Bligh was, his was probably the closest. His Bligh was stubborn and didn't suffer fools, but he was brilliant and just had a lot of bad luck."


title: The Bounty (1984 film)

text: "The Bounty" also paints a far less heroic portrait of Christian. In Gibson's description, "Fletcher was just a lad of twenty-two and he behaved like one. The first time he decided to test his horns and fight for the herd, it was a mistake. He shouldn't have done it." Gibson later expressed the opinion that the film did not go far enough in correcting the historical record."I think the main problem with that film was that it tried to be a fresh look at the dynamic of the mutiny situation, but didn't go far enough. In the old version, Captain Bligh was the bad guy and Fletcher Christian was the good guy. But really Fletcher Christian was a social climber and an opportunist. They should have made him the bad guy, which indeed he was. He ended up setting all these people adrift to die, without any real justification. Maybe he'd gone island crazy. They should have painted it that way. But they wanted to exonerate Captain Bligh while still having the dynamic where the guy was mutinying for the good of the crew. It didn't quite work." The film also portrays the sailors exploiting the islanders. Unlike the earlier film versions, the native women are shown (accurately) totally bare-breasted. Gibson said, "It was a complete culture shock and it was unbelievable to them. It was paradise in terms of personal freedoms—freedoms that shouldn't have been taken advantage of. They exploited the people, fooled them and didn't tell them the whole truth". Gibson chose to suddenly erupt in violent emotion during the mutiny scene because eyewitness accounts had described Christian as 'extremely agitated' and 'sweating and crying'.


title: The Bounty (1984 film)

text: "The Bounty" grossed $8.6 million in the United States and Canada, and $9.7 million in other territories, for a total worldwide gross of $18.3 million, against a production budget of $20 million. In the U.S. and Canada the film grossed $2,622,306 in its opening weekend in 986 theatres.


title: The Bounty (1984 film)

text: The film received generally favourable reviews, many liking the film for realism and historical accuracy as well as being entertaining. On the aggregate site Rotten Tomatoes it has received a 74% rating from 19 critical reviews with an average rating of 6.28/10. The website's critical consensus reads, "Thanks in large part to its cast, and Anthony Hopkins in particular, "The Bounty's" retelling of the mutiny on the HMS Bounty is an intelligent, engaging adventure saga." Roger Ebert gave the film four stars out of four, stating, "this "Bounty" is not only a wonderful movie, high-spirited and intelligent, but something of a production triumph as well."


title: The Bounty (1984 film)

text: However, others were disappointed with the film, especially given its distinguished cast. Many critics singled out Gibson's performance as bland, particularly when compared to the performances given by Clark Gable and Marlon Brando in two earlier adaptations. Vincent Canby of "The New York Times" stated, "Both Bligh and Christian are unfinished characters in a screenplay that may or may not have been tampered with... The movie seems to have been planned, written, acted, shot and edited by people who were constantly being over-ruled by other people. It's totally lifeless. The film was entered into the 1984 Cannes Film Festival.


title: The Bounty (1984 film)

text: Colin Greenland reviewed "The Bounty" for "Imagine" magazine, and stated that "By concentrating on the deadlock of the characters and the inevitable explosion, director Roger Donaldson has left many things unexamined: the Tahitians are not allowed to be much more than stereotype happy savages, for example. But his film is a powerful vision of the hell – and the wild beauty – of the high seas."


title: The Bounty (1984 film)

text: Anthony Hopkins later said "It was such a sad mess of a film, such a botched job. Yet I'd put so much time and effort into the role. So right then and there I decided: Never again. I will no longer invest so much effort in something over which I have no control. It's too frustrating. That film was a sort of turning point for me. For years I'd been trying to cultivate a don't-give-a-damn attitude. After watching `The Bounty' I knew I had it." He and Donaldson later worked together on "The World's Fastest Indian".


title: Jigsaw (Marvel Comics)

text: Jigsaw (William "Billy" Russo, also known as "The Beaut" before his disfigurement) is a fictional character appearing in American comic books published by Marvel Comics. Created by writer Len Wein and artist Ross Andru, the character made his first full appearance in "The Amazing Spider-Man" #162 (November 1976). He is depicted as an enemy of the Punisher, Spider-Man and a recurring foe of Daredevil.


title: Jigsaw (Marvel Comics)

text: The character was portrayed by Dominic West in the film "" and Ben Barnes in the Marvel Cinematic Universe / Netflix series "The Punisher".


title: Jigsaw (Marvel Comics)

text: Jigsaw was created by writer Len Wein and artist Ross Andru. He first appeared in "The Amazing Spider-Man" #162 (November 1976). He returned in "The Amazing Spider-Man" #188, and "The Punisher" #1 and #4–5. Jigsaw then allied with the Rev in "The Punisher" Vol. 2, #35–40, and Gregario in #55–56. Following a cameo appearance in "The Punisher War Journal" #61, Jigsaw's origin was detailed in Issues #3–4 of the prequel limited series "The Punisher: Year One", and he further bedeviled the Punisher in "Punisher" Vol. 3, #2–4 and #9–10.


title: Jigsaw (Marvel Comics)

text: Preceding an encounter with the eponymous character in "Daredevil" Vol. 2, #61–64, Jigsaw appeared in "The New Avengers" #1–3, #35, #46, #50, #57, and "The New Avengers Annual" #2; concurrent to his appearances in that title, Jigsaw also starred in "Punisher War Journal" Vol. 2, #11, #18–20, and #22–23. He was then featured in the five-issue miniseries "", and made a subsequent cameo in the "Thunderbolts" Vol. 2 Annual.


title: Jigsaw (Marvel Comics)

text: Jigsaw received profiles in "The Official Handbook of the Marvel Universe" #6, "The Official Handbook of the Marvel Universe Master Edition" #10, "Marvel Encyclopedia" #4 and #5, "The New Avengers Most Wanted Files" #1, and "Official Handbook of the Marvel Universe A–Z" #6.


title: Jigsaw (Marvel Comics)

text: Billy Russo was born to a poor Italian-American family, kicked out and abandoned as an orphan by his abusive father at the age of ten, and went on to become a hitman for New York's Italian criminal underworld, where his good looks garnered him the nickname "Billy the Beaut". He married a woman named Susan, and would beat both her and their son, Henry, once forcing Henry to drown his pet cat's kittens by threatening to shoot Susan. After the botched gangland execution that inadvertently led to the Castle family being massacred, Russo is hired by Frank Costa to cover up their deaths by killing all of their friends and loved ones. Russo kills all of his targets except for Frank Castle, who survives a bomb planted by Russo. Hours later, Frank, now the vigilante Punisher, tracks Russo down to a Maggia nightclub. He guns down all of Russo's men, but leaves him alive to send a message to organized crime after knocking him through a glass window pane, an act that reduces Russo's face to a jigsaw puzzle-like mess of scars.


title: Jigsaw (Marvel Comics)

text: Taking advantage of his hideous visage, Russo adopts the identity of "Jigsaw", and attempts to frame the Punisher for murder. However, the plan fails due to the intervention of Spider-Man and Nightcrawler; Spider-Man witnesses one of Jigsaw's murders, and one of his victims is an old friend of Nightcrawler's. Jigsaw later battled Spider-Man again.


title: Jigsaw (Marvel Comics)

text: It is revealed in the first "Punisher" miniseries that Jigsaw was behind a plan to drug the Punisher, causing his enemy to behave erratically and attack anyone he perceived as a criminal, even for something as minor as littering. Jigsaw also attempts to kill the Punisher while he is incarcerated. The Punisher confronts and defeats him, and later stops Jigsaw from escaping under cover of a prison riot. Later in the series, Jigsaw is brainwashed by the Trust into serving as a member of a Punisher-style assassination squad. He manages to remember who he is after encountering Castle once again, and attacks the Punisher, only to be defeated once more.


title: Jigsaw (Marvel Comics)

text: Jigsaw is broken out of Ryker's Island by the Rev, who has him supervise the importation of a sterility-inducing Venezuelan drug intended for testing on the people of New York City. When the drug shipment is destroyed by the Punisher, Jigsaw sics a street gang on him, and flees to Venezuela with the Rev. After Jigsaw's face is healed by the Rev's powers, he is shot by the Punisher, but resurrected by the Rev, with the assistance of Belasco. Jigsaw's restored face is destroyed, and he is left for dead in the jungle in a later battle with the Punisher. Jigsaw recovers, and subsequently attempts to illegally reenter the United States, but is arrested and returned to Ryker's Island. When the Punisher is captured by the authorities and sent to same prison, Jigsaw tries to kill him, but the Punisher survives and escapes from Ryker's.


title: Jigsaw (Marvel Comics)

text: After the Punisher is arrested and sentenced to death for countless murders, Jigsaw dons a stylized copy of his costume and embarks on a homicidal rampage, targeting all those connected to the execution. When the Punisher is revealed to still be alive, an overjoyed Jigsaw attempts to kill him, but the Punisher overpowers him with the assistance of Daredevil. Jigsaw later partners with various syndicates to lay siege to the estate of the Geraci crime family after learning that Punisher has been forced to become their new underboss. Jigsaw and his allies abduct the Geracis, but they are saved by the Punisher, who shoots Jigsaw in the head.


title: Jigsaw (Marvel Comics)

text: Jigsaw next establishes a gunrunning operation, which is broken up by Daredevil and Black Widow. When his attempt at negotiating with Daredevil (who had declared himself the new Kingpin) fails, Jigsaw seeks revenge by breaking into Daredevil's home, where he is subdued by Black Widow. Jigsaw is remanded to the Raft, an island supervillain prison, which he escapes from (breaking Spider-Man's arm in the process) when the facility is attacked by Electro. Once free, Jigsaw tries to rob a bank, but is beaten by Tigra. This humiliation leads to his forming an alliance with the self-proclaimed "super-villain Kingpin" the Hood; together, Jigsaw and the Hood film themselves threatening and torturing Tigra. Later, Jigsaw takes part in the Hood's attack on the Sanctum Sanctorum, where he attempts to snipe Jessica Jones and Danielle Cage, only to be foiled by Spider-Man.


title: Jigsaw (Marvel Comics)

text: Jigsaw has resumed his vendetta against the Punisher, in the pages of "Punisher: War Journal". Now wearing a color-inverted mockup of the Punisher costume, Jigsaw arranges for the brainwashing of a young auxiliary police officer in the NYPD. Exploiting the naive cop's pathological "hero-worship" complex, Jigsaw and his new psychiatrist girlfriend turn the young man into a new version of the Punisher.


title: Jigsaw (Marvel Comics)

text: After a battle on the Brooklyn Bridge where the Punisher once again spares Jigsaw's life, Jigsaw is taken into S.H.I.E.L.D. custody. While imprisoned he is seemingly shot dead by the man that he and his girlfriend (who was actually undercover S.H.I.E.L.D. agent Lynn Michaels) had brainwashed. Jigsaw survived the attempt on his life, and was transferred to a "reprogramming asylum" by H.A.M.M.E.R. He returns to the Hood's Gang in "Secret Invasion" to assist in fending off the invading Skrulls, and rejoins again in "Dark Reign" to help attack the New Avengers.


title: Jigsaw (Marvel Comics)

text: Jigsaw then partners with the similarly disfigured Stuart Clarke. Together, the "Jigsaw Brothers" hire Lady Gorgon to impersonate Maria Castle while they manipulate Henry, the Punisher's ally and Jigsaw's son, into helping them capture and kill the Punisher. After betraying and murdering Clarke, Jigsaw battles the Punisher on top of his own burning headquarters, only to fall through the roof of the building and into the fire below.


title: Jigsaw (Marvel Comics)

text: Jigsaw resurfaced when the pictures of he and Spider-Man were shown enjoying ice cream cones together while under the thrall of fairy king Oberoth'M'Gozz.


title: Jigsaw (Marvel Comics)

text: A recovered Jigsaw afterward appears in the "Civil War II" storyline as one of the criminals that the Kingpin has assembled to help him rebuild his New York empire.


title: Jigsaw (Marvel Comics)

text: During the "Search for Tony Stark" arc, Jigsaw rejoined Hood's gang and assisted in the attack on Castle Doom.


title: Jigsaw (Marvel Comics)

text: In the fallout from the Secret Empire event, Punisher is captured by Nick Fury and handed over to Baron Zemo, who's eager to exact punishment on the vigilante for targeting Hydra. Jigsaw accompanies Zemo in Bagalia, acting as one of the Baron's operatives. Zemo's plans to publicly execute Frank Castle in Bagalia go wrong and Jigsaw is dispatched to re-capture Castle. Commanding Zemo's Hydra agents, Jigsaw ultimately kills Sister Mercy, a nun Frank befriended in Bagalia's prison.


title: Jigsaw (Marvel Comics)

text: Both Zemo and Castle ultimately escape Bagalia and Jigsaw then appears in NYC, where he is presented as a disguised member of Zemo's new team of Thunderbolts. Jigsaw clashes with Thunderbolts veteran Moonstone while holed up with the rest of the team, but when the Thunderbolts do battle with Punisher's squad of allied heroes, Jigsaw intervenes to save Zemo, allowing the Thunderbolts to escape with a hostage.


title: Jigsaw (Marvel Comics)

text: Jigsaw is an athletic man with no superhuman powers. During his time in prison, he was able to hone his physical strength to a level comparable to the Punisher. He has extensive experience with street-fighting techniques, and familiarity with a variety of weapons and criminal techniques. He carries various handguns as needed. He has been known to wear a special exo-skeleton in his outfits. Before Jigsaw was disfigured, he was a highly-charismatic leader and criminal organizer, but after the accident, only the latter trait remained.


title: Jigsaw (Marvel Comics)

text: A cyborg and the under-capo of a crime syndicate called Cyber-Nostra, Multi-Fractor is the one to inform the group's leader, Fearmaster, of the existence of the new Punisher, who Multi-Fractor encounters for the first time while attempting to illegally demolish a decrepit neighborhood inhabited by "Decreds". Multi-Fractor survives his initial run-in with the Punisher, who he encounters again while extorting protection money from a Grav-Ball Stadium. When the Punisher gains the upper hand in the ensuing fight, a trio of corrupt police officers come to Multi-Fractor's aid, providing him with a power-enhancing device, which kills him when the Punisher rams the machine into Multi-Fractor's chest.


title: Jigsaw (Marvel Comics)

text: A mortician and a veterinarian resurrect Multi-Fractor as Jigsaw 2099, a Frankenstein's monster-like being made of machinery and body parts taken from animals. Jigsaw attempts to get revenge on the Punisher, but is temporarily flash frozen by the crime fighter, psychologically tortured for information, and then imprisoned in the Punisher's "Punishment Hotel". Jigsaw is located and freed by Fearmaster, and together the two try to execute the Punisher with his own Molecular Disintegrator. When the machine is turned on, its fail-safes activate, and blast Jigsaw. Jigsaw is later discovered, taken captive, and further augmented by a gang, which he massacres and escapes from before rejoining Fearmaster.


title: Jigsaw (Marvel Comics)

text: Jigsaw appears in both Batman/Punisher intercompany crossover books. In the first crossover, Jigsaw allies with the Joker and they both fight the Punisher and Batman (Jean Paul Valley). In the sequel, Jigsaw's face is repaired by one of the world's foremost plastic surgeons, extorted by the Joker (although the result is never seen as his face is heavily bandaged for most of the story), whom Jigsaw allies with again to take over Gotham. At the end of this crossover, Jigsaw's reconstructed face is destroyed by one of the Punisher's fragmentation grenades, and he is knocked out and left for the police by Batman (Bruce Wayne). Jigsaw and the Punisher's activities in Gotham are later recounted by both Azrael and Nightwing.


title: Jigsaw (Marvel Comics)

text: When the Amalgam Universe came into being as a result of the events of "DC vs. Marvel", Jigsaw was merged with Wonder Woman foe Cheetah to form "Pelt-Man"; cursed by an ancient ritual to resemble a big cat, Billy Minerva took his anger over his condition out on beautiful people, mutilating their faces until he was located and subdued by Trevor Castle and Diana Prince.


title: Jigsaw (Marvel Comics)

text: At some point in "Earth X", Jigsaw died, and was sent to the Realm of the Dead. When Captain Marvel and Thanos destroyed Death and created Paradise, Jigsaw was among the many who came to realize that they were actually deceased. Jigsaw rejected Paradise and remained in the Realm of the Dead, where he and the Jackal took to tormenting the Punisher, who had committed suicide, and was living in blissful ignorance with his equally unaware family. Jigsaw and the Jackal's actions cause the Punisher to remember his death, and drive a wedge between him and his disbelieving loved ones, who only come to accept that they are dead much later. Captain America, who had been sent by Paradise to bring others to it, punishes Jigsaw and the Jackal by banishing them to a desolate region of the Realm of the Dead.


title: Jigsaw (Marvel Comics)

text: Jigsaw, operating under the alias The Heavy, appears in the "Girls in White Dresses" storyline of "The Punisher MAX". An American drug lord, Jigsaw expands his empire to Mexico, and has his affiliates within the country kidnap women from border towns for use as disposable slave labor in meth labs. When the families of the abducted and murdered women seek aid from the Punisher, Jigsaw drives the crime fighter to suicidal despair by tricking him into believing he had accidentally shot an innocent girl, though a last minute epiphany prompts the Punisher into exhuming and performing an amateur autopsy on the child, leading to the discovery that the bullet that ended her life was not one of his own. The Punisher proceeds to destroy Jigsaw's Mexican operation and free his captives, and during a subsequent fight between the two archenemies the Punisher knocks Jigsaw out a window and onto the boxcar of a passing train, leaving his fate ambiguous.


title: Jigsaw (Marvel Comics)

text: Bullseye later researches Jigsaw and other enemies of the Punisher, such as Barracuda, Finn Cooley, and General Nikolai Zakharov.


title: Jigsaw (Marvel Comics)

text: Jigsaw's role in "Girls in White Dresses" was regarded as generic and anticlimactic, and his inclusion in the MAX imprint criticized as obtrusive and gratuitous, by Jesse Schedeen of IGN, who felt that the character was "planted in this story mainly to appeal to fans of ".


title: Jigsaw (Marvel Comics)

text: Jigsaw is Al Capone's top assassin in "Punisher Noir". He, Barracuda, and the Russian are hired to kill Frank Castelione, a grocer who had defied mob boss Dutch Schultz. Years later, Frank's son, the Punisher, tries to ambush Jigsaw, but is shot unconscious, and has his skull-face mask removed. Jigsaw takes the Punisher to his lair, and tortures him by carving a skull into the Punisher's chest. After Jigsaw mentions who helped him and Barracuda murder Frank, the Punisher escapes his bonds, and kills Jigsaw by garroting.


title: Droste effect

text: The Droste effect (), known in art as an example of "mise en abyme", is the effect of a picture recursively appearing within itself, in a place where a similar picture would realistically be expected to appear. This produces a loop which in theory could go on forever, but in practice only continues as far as the image's resolution allows.


title: Droste effect

text: The effect is named after a Dutch brand of cocoa, with an image designed by Jan Musset in 1904. It has since been used in the packaging of a variety of products. The effect is seen in the Dutch artist M. C. Escher's 1956 lithograph "Print Gallery", which portrays a gallery that depicts itself. Apart from advertising, the Droste effect is displayed in the model village at Bourton-on-the-Water: this contains a model of itself, with two further iterations. The effect has been a motif, too, for the cover of many comic books, where it was especially popular in the 1940s.


title: Droste effect

text: The "Droste" effect is named after the image on the tins and boxes of Droste cocoa powder which displayed a nurse carrying a serving tray with a cup of hot chocolate and a box with the same image, designed by Jan Musset. This familiar image was introduced in 1904 and maintained for decades with slight variations from 1912 by artists including Adolphe Mouron. The poet and columnist Nico Scheepmaker introduced wider usage of the term in the late 1970s.


title: Droste effect

text: The appearance is recursive: the smaller version contains an even smaller version of the picture, and so on. Only in theory could this go on forever, as fractals do; practically, it continues only as long as the resolution of the picture allows, which is relatively short, since each iteration geometrically reduces the picture's size.


title: Droste effect

text: The Droste effect was anticipated by Giotto early in the 14th century, in his "Stefaneschi Triptych". The altarpiece portrays in its centre panel Cardinal Giacomo Gaetani Stefaneschi offering the triptych itself to St. Peter. There are also several examples from medieval times of books featuring images containing the book itself or window panels in churches depicting miniature copies of the window panel itself.


title: Droste effect

text: The Dutch artist M. C. Escher made use of the Droste effect in his 1956 lithograph "Print Gallery", which portrays a gallery containing a print which depicts the gallery, each time both reduced and rotated, but with a void at the centre of the image. The work has attracted the attention of mathematicians including Hendrik Lenstra. They devised a method of filling in the artwork's central void in an additional application of the Droste effect by successively rotating and shrinking an image of the artwork.


title: Droste effect

text: In the 20th century, the Droste effect was used to market a variety of products. The packaging of Land O'Lakes butter featured a Native American woman holding a package of butter with a picture of herself. Morton Salt similarly made use of the effect. The cover of the 1969 vinyl album "Ummagumma" by Pink Floyd shows the band members sitting in various places, with a picture on the wall showing the same scene, but the order of the band members rotated. The logo of The Laughing Cow cheese spread brand pictures a cow with earrings. On closer inspection, these are seen to be images of the circular cheese spread package, each bearing the image of the laughing cow.


title: Droste effect

text: The Droste effect is a theme in Russell Hoban's children's novel, "The Mouse and His Child", appearing in the form of a label on a can of "Bonzo Dog Food" which depicts itself.


title: Droste effect

text: A three-dimensional example of the Droste Effect can be seen in Bourton-on-the-Water, England. A model of the village was built within the village in the 1930s at a 1:9 scale, using traditional building materials. It contains within it a model of itself, which in turn includes a further smaller model, and then an even smaller model within that.


title: Droste effect

text: The Droste effect has been a motif for the cover of comic books for many years, known as an "infinity cover". Such covers were especially popular during the 1940s. Examples include "Batman" #8 (December 1941–January 1942), "Action Comics" #500 (October 1979), and "Bongo Comics Free For All!" (2007 ed.). "Little Giant Comics" #1 (July 1938) is said to be the first-published example of an infinity cover.


title: Whitechapel (TV series)

text: Whitechapel is a British police procedural, produced by Carnival Films and distributed by BBC Worldwide, in which detectives in London's Whitechapel district deal with murders which replicated historical crimes. The first series was broadcast in the UK on 2 February 2009 and depicted the search for a modern copycat killer replicating the murders of Jack the Ripper.


title: Whitechapel (TV series)

text: A second series was commissioned by ITV in September 2009 with the focus on the Kray twins. The first episode of this second series was broadcast on 11 October 2010.


title: Whitechapel (TV series)

text: A third series was commissioned by ITV in March 2011, which was extended to six episodes as three two-part stories.


title: Whitechapel (TV series)

text: The first and second series were broadcast in the United States on six consecutive Wednesday evenings beginning 26 October 2011 on the BBC America cable network. The third was broadcast in the US starting on Wednesday 28 March 2012, also on BBC America.


title: Whitechapel (TV series)

text: On 24 September 2012, ITV renewed "Whitechapel" for a fourth and final series consisting of six episodes. The first episode was broadcast on 4 September 2013.


title: Whitechapel (TV series)

text: On 16 November 2013, lead actor Rupert Penry-Jones confirmed that ITV had decided not to recommission the show.


title: Whitechapel (TV series)

text: The names of the some of the characters are drawn from real people associated with the Whitechapel murders case committed by Jack the Ripper. Joseph Chandler was a Police Inspector who was the first officer to arrive at the scene of the death of Annie Chapman. Edward Buchan was a contemporary suspect for the murders who committed suicide on the day of Mary Jane Kelly's funeral. Mary Bousfield was Martha Tabram's landlady. John McCormack was the lover of suspected ripper victim Alice McKenzie.


title: Whitechapel (TV series)

text: The Assistant Commissioner of the Metropolitan Police, and head of the Criminal Investigation Department at the time of the murders was named Robert Anderson, he was the highest ranking officer to work on the cases.


title: Whitechapel (TV series)

text: Series one and two were broadcast as a single six-episode season on BBC America, and were subsequently released on DVD as such. For the BBC America DVD release, the two stories were given individual titles, with series one being entitled: "The Walk of Terror" (Parts 1–3) respectively.


title: Whitechapel (TV series)

text: Series one and two were broadcast as a single six-episode season on BBC America, and were subsequently released on DVD as such. For the BBC America DVD release, the two stories was given individual titles, with series two being entitled: "The Legend Rising" (Parts 1–3) respectively.


title: Whitechapel (TV series)

text: "Whitechapel" was commissioned for a third series in March 2011, but unlike the previous two series, which were each based on a single event, the new series was split into three separate two-part stories, which each focused on a different case. For the BBC America DVD releases, the three stories were given individual titles: "The Murder in Darkness", "The Hunger for Mercy" and "The Sins of Betrayal" respectively.


title: Whitechapel (TV series)

text: "Whitechapel" was commissioned for a fourth series in October 2012, and follows the same format as the third series, featuring three individual cases. For the BBC America DVD releases, the last three stories were given the titles "The Real Enemy", "The Force of Injustice" and "To This End", respectively.


title: Whitechapel (TV series)

text: The first series was written by Ben Court and Caroline Ip. ITV Director of Drama Laura Mackie said ""Whitechapel" is a very modern take on the detective genre which combines the Victorian intrigue of the original case with the atmospheric backdrop of a contemporary East End of London. This is not simply about bloodthirstily recreating the Ripper murders, but rather focusing on the three main characters at the heart of the story and the black humour that binds the team together."


title: Whitechapel (TV series)

text: "Whitechapel" debuted on 2 February 2009 at 9pm with 8.13 million viewers on the overnight ratings. Series one received positive reviews, and holds a Metacritic score of 75 out of 100, indicating "generally favourable" reviews.


title: Whitechapel (TV series)

text: A review in the "Leicester Mercury" said that it was ""Life on Mars", without the time-travel" adding "what Whitechapel lacked in originality, it more than made up for with atmosphere and enthusiasm." After Episode 2 was broadcast on 9 February, Andrew Billen in "The Times" said that he had warmed to it more and more, adding, "slowly, the show is making Ripperologists of us all, as Jack's 'canonical' murders are separated from the ones he actually committed. It is all in the worst possible taste and bloody good fun." However, "The Daily Telegraph" was less impressed, writing "The premise was feeble, the script imbecilic, the acting on autopilot, the direction lacking in any glimmer of tension."


title: Whitechapel (TV series)

text: Series two received favourable reviews, and holds a Metacritic score of 69 out of 100, indicating "generally favourable" reviews.


title: Fred DeLuca

text: Frederick Adrian DeLuca (October 3, 1947 – September 14, 2015) was an American businessman, who was the co-founder and president of the Subway franchise of fast food restaurants with Peter Buck. During his tenure, Subway grew into the largest franchise in the world.


title: Fred DeLuca

text: Fred DeLuca was born in Brooklyn, New York, on October 3, 1947 to Italian American parents Carmela and Salvatore DeLuca. At the age of 10, DeLuca moved to Amsterdam, New York, where he and his family became friends with Peter Buck. Once in his teens, he moved with his family to Bridgeport, Connecticut, where he graduated from Central High School in 1965. DeLuca realized a dream of his to go to college and graduated from the University of Bridgeport.