title: Pogaru

text: JB decide to grab the colony, but is opposed by Ramakrishna. JB's son Daali takes Shiva's help. Shiva agrees and gets Ramakrishna arrested and also takes his sister to Daali's hideout, but thrashes Daali and his henchmen as he realized his sister's affection, but Shiva's sister is injured in the battle and is taken to the hospital. Lakshmi berates Shiva and tells him to never show her face again. Shiva talks about his difficulties to Lord Hanuman where Geetha also realizes her mistake and reconciles with Shiva. Daali goes into coma which makes JB enraged and kidnaps the colony's kids to burn them alive. Shiva saves them and defeats JB's bodyguards and burns JB alive, Thus Shiva reunites with his family and changes his ways.


title: Pogaru

text: Chandan Shetty compose the songs. Movie audio released on 14 February 2021 in Davangere with ex-CM Siddaramaiah as Chief guest.


title: Pogaru

text: The film was scheduled to be released on 24 March 2020, but was postponed amid the COVID-19 lockdown in India. It was released on 19 February 2021,in Kannada, along with dubbed versions in Telugu and Tamil(titled "Semma Thimiru"). The film was also dubbed in Hindi by RKD Studios on YouTube on 25 April 2021.


title: Pogaru

text: The film opened with 100% occupancy and collect from 2 days. On success meet producer announced movie collected in 6 days. The film was a failure in Tamil and Telugu versions but a commercial success in Kannada version.


title: Pogaru

text: The video of the song titled "Karabuu", in which the protagonist and scores of his other side kick goons appear to be harassing the leading lady (Rashmika Mandanna), came under controversy. The character played by Dhruva Sarja was touching her inappropriately, visibly unconsented, throughout the video. There were violent scenes like setting bikes ablaze to get her attention, and threatening her with a knife on streets while his sidekicks keep cheering him to do more of this to the terrified woman, who ironically is his love interest. The video appears to be glorifying the harassment and eve-teasing, and was panned for the same by women right activists in media. The actress, who has earlier done a Telugu film "Dear Comrade" with 'women harassment' as a major plot point, was also called out for signing such a movie, was alleged that she did so just for the money. A police complaint was registered against the director about the brutal eve teasing. "In the song, hero Dhruva Sarja is trying to win Rashmika Mandanna’s heart by showing her knives, getting his henchmen to destroy vehicles as she walks, doing pull-ups with her holding onto him" stated the article.


title: Pogaru

text: An additional controversy arose shortly after the film's release, where the film was accused of demeaning Brahmin priests. After the controversy arose, director Kishore stated that these scenes would be removed and the film would be edited accordingly for re-release. 14 scenes were removed which leads to controversy and add 8 minutes new footage to movie for re-releasing on 26 February 2021.


title: Jake Abel

text: Jacob Allen Abel (born November 18, 1987) is an American actor. He has appeared in the film adaptations of the young adult novels "Percy Jackson" (2010–2013), "I Am Number Four" (2011), and "The Host" (2013), along with portraying musician Mike Love in the biographical drama "Love & Mercy" (2014). Outside of film, he appeared in the recurring role of Adam Milligan on the CW series "Supernatural" (2009–2010; 2019–2020). Abel was also a series regular in the first season of the Netflix science fiction drama "Another Life" (2019).


title: Jake Abel

text: Abel married Allie Wood, a writer, on November 9, 2013. They released an album together, "Black Magic", in March 2013.


title: Jake Abel

text: On June 15, 2019, the couple announced on Instagram that they were expecting their first child. They suffered a stillbirth in November 2019.


title: Jake Abel

text: His first credited role was in the Disney Channel Original Movie "Go Figure", playing Spencer. He later had a recurring guest role on CBS's short lived science fiction series, "Threshold". He had numerous guest starring roles including "Cold Case" and "ER". He was honored with a Rising Star award at the 16th Hamptons International Film Festival in October 2008 for his work in the film "Flash of Genius". In 2009, Abel shortly appeared in the Peter Jackson film "The Lovely Bones" based on Alice Sebold's novel. He also had a regular role in the web series "Angel of Death" which ran for 10 episodes.


title: Jake Abel

text: In February 2009, Abel was cast in The CW hit series "Supernatural" playing Adam Milligan, half-brother to series protagonists Dean and Sam Winchester; and appearing in three episodes as both Adam and the Archangel Michael possessing Adam. In 2010, Abel had a role in the film adaptation of "" playing Luke Castellan which released on February 12, 2010 (later returning in the sequel, "", which was released on August 7, 2013). Afterward in 2011, Abel starred in the live-action film "I Am Number Four" playing Mark James. Abel starred on the social thriller film "Inside" co-starred by Emmy Rossum which release on July 25, 2011. He also appeared on ABC's medical drama "Grey's Anatomy" in the episode "Poker Face", playing Tyler Moser.


title: Jake Abel

text: In 2012, Abel was chosen to play Ian O'Shea in the film adaptation of "The Host" (2013), based on Stephenie Meyer's eponymous novel.


title: Jake Abel

text: Abel reprised his role on "Supernatural" on the eighth and nineteenth episodes of the fifteenth and final season.


title: Jake Abel

text: Abel was cast as the audiobook voice narrator for "Midnight Sun", published by Stephenie Meyer on August 4, 2020.


title: Tambourine

text: The tambourine is a musical instrument in the percussion family consisting of a frame, often of wood or plastic, with pairs of small metal jingles, called "zills". Classically the term tambourine denotes an instrument with a drumhead, though some variants may not have a head. Tambourines are often used with regular percussion sets. They can be mounted, for example on a stand as part of a drum kit (and played with drum sticks), or they can be held in the hand and played by tapping or hitting the instrument.


title: Tambourine

text: Tambourines come in many shapes with the most common being circular. It is found in many forms of music: Turkish folk music, Greek folk music, Italian folk music, French folk music, classical music, Persian music, samba, gospel music, pop music, country music, and rock music.


title: Tambourine

text: The origin of the tambourine is unknown, but it appears in historical writings as early as 1700 BC and was used by ancient musicians in West Africa, the Middle East, Greece and India. The tambourine passed to Europe by way of merchants or musicians. Tambourines were used in ancient Egypt, where they were known as the tof to the Hebrews, in which the instrument was mainly used in religious contexts. The word "tambourine" finds its origins in French "tambourin", which referred to a long narrow drum used in Provence, the word being a diminutive of "tambour" "drum," altered by influence of Arabic "tunbur" "drum". from the Middle Persian word "tambūr" "lute, drum".


title: Tambourine

text: The tambourine can be held in the hand or mounted on a stand, and can be played in numerous ways, from stroking or shaking the jingles to striking it sharply with the hand or a stick or using the tambourine to strike the leg or hip.


title: Tambourine

text: There are several ways to achieve a tambourine roll. The easiest method is to rapidly rotate the hand holding the tambourine back and forth, pivoting at the wrist.


title: Tambourine

text: An advanced playing technique is known as the thumb or finger roll. The middle finger or thumb is moved over the skin or rim of the tambourine, producing a fast roll from the jingles on the instrument. The thumb or middle finger of the hand not holding the tambourine is run around the head of the instrument approximately one centimeter from the rim with some pressure applied. If performed correctly, the finger should bounce along the head rapidly, producing the roll. Usually, the end of the roll is articulated using the heel of the hand or another finger. Beeswax or rosin is commonly smeared around the edges of the head to assist in the technique. These materials increase friction making it easier to execute. A continuous roll can be achieved by moving the thumb in a "figure of 8" pattern around the head.


title: Tambourine

text: Various European folk traditions include the tambourine. The Romani people used the tambourine as a percussion instrument, and it was often passed around the audience to collect money after a performance. In the late 1700s, the tambourine had a surge in popularity in England, with some composers of salon music writing parts for tambourine, indicating as many as 30 different playing strokes or moves. The tambourines of this era often had a circular hole in the frame for the thumb, as one of the moves was to spin the tambourine on the upright thumb. In the late 19th century, The Salvation Army codified the tambourine as one of their important rhythm instruments. They preferred the term "timbrel" which was taken from the Bible. By 1945, Salvation Army performances often entailed elaborate tambourine choreography performed by squads in para-military style, more for visual appeal than for musicality.


title: Tambourine

text: African American slaves were denied drums which might be used for long-distance communication. To supply rhythm in music, they turned to smaller percussion instruments such as the bones and the tambourine, as well as clapping and body percussion. The tambourine could accompany the singing of spirituals, and it was used for celebrations and dancing. The tambourine became one of the main instruments of the American minstrel show in the early 1800s, often performed by whites in blackface such as Ned Christy, or sometimes by actual black performers. On stage, the tambourine and bones players in minstrelsy stood to the far left and far right of the Interlocutor (master of ceremonies) and were titled Brother Tambo and Brother Bones: because of their position they were called the end men. The tambourine was also used in some vaudeville acts, including the 1840s dance and musical performances of Master Juba who was able to elicit a wide range of sounds from the instrument including the chugging of a steam train. Used for Pentecostal praise in revival meetings in the early 20th century, by the 1920s the tambourine was firmly established as the primary percussion instrument of gospel music. The tambourine was played by gospel groups and choirs, and carried prominently by singers who did not otherwise play an instrument, notably by Bessie Jones and Luther Magby.


title: Tambourine

text: At the same time, the tambourine expanded from gospel music to various forms of African American popular music including blues and jazz. For instance, singer and guitarist Blind Roosevelt Graves was accompanied by his brother Uaroy on tambourine and voice, singing both sacred and secular songs. Singer-songwriter Josh White got his start as a child performing for handouts in the street with an exuberant tambourine performance, beating the instrument's drumhead on his elbows, knees, and head.


title: Tambourine

text: In the 1950s as gospel elements were incorporated into rhythm and blues by African American singers such as Ray Charles, the tambourine often accompanied the changes. It continued its foray into popular music within the music of Motown. Motown singers and musicians often grew up with gospel music, and they carried the tambourine into pop performance. The Supremes performed with two tambourines – more for choreography than percussion – played by Florence Ballard and Mary Wilson standing apart from Diana Ross. Jack Ashford's distinctive tambourine playing was a dominant part of the rhythm section on many Motown records, for instance on the Miracles tune "Going to a Go-Go", and Marvin Gaye's "How Sweet It Is".


title: Tambourine

text: Inspired by African American examples, musicians of all races have used the tambourine in modern pop music. It was featured in "Green Tambourine", a busking-oriented song from the Lemon Pipers, a 1960s white American band. Similarly, the Byrds released a hit version of "Mr. Tambourine Man" in 1965, a folk rock and psychedelic rock recording of a song written by Bob Dylan. The tambourine part of the song serves to drive the beat forward.


title: Tambourine

text: Singers who rarely play an instrument are likely to play the tambourine at concerts: among the most well-known examples are Mick Jagger of the Rolling Stones, Jim Morrison of the Doors, Janis Joplin leading Big Brother and the Holding Company, and Stevie Nicks as part of Fleetwood Mac and as a solo performer. Very often, the instrument used in pop music is the headless tambourine or "jingle ring", lacking a drum head. The singer should, however, play the tambourine with the overall song arrangement in mind; in some cases, band members have purposely hidden the tambourine from an irresponsible lead singer who disregards the interplay of rhythm. On the other hand, skilled performers such as Jagger have brought a fine sense of timing to their tambourine playing. In the Rolling Stones' 1964 U.S. single of "Time Is on My Side", the less-known version, Jagger lays the tambourine on the front of the beat while Charlie Watts holds the snare to the back of the beat, which allows the longer decay time of the tambourine to synchronise with the snare at the end. The result is an intentional feeling of running to catch up.


title: Tambourine

text: In jazz, the tambourine was used prominently but non-traditionally by percussionist Joe Texidor who backed Rahsaan Roland Kirk in 1969 on "Volunteered Slavery". In 1960 when Nina Simone wanted to play the old minstrel song "Li'l Liza Jane" at the Newport Jazz Festival, she said "Where's my tambourine?", as heard on the album "Nina Simone at Newport". Jazz drummer Herlin Riley often takes the stage while beating and shaking a tambourine, and he is featured on the tambourine in Wynton Marsalis's jazz oratorio "Blood on the Fields", which tells the story of slavery in the US.


title: Tambourine

text: Jazz, pop and rock drummers sometimes mount a headless tambourine in the drum kit. Some position the tambourine above the toms in the same manner as a cymbal, for instance, Nathan Followill of Kings of Leon, and Larry Mullen Jr of U2. Bill Ward of Black Sabbath connected a tambourine to a foot pedal, for his left foot to operate like a hi-hat. John Bonham of Led Zeppelin simply mounted a tambourine above the hi-hat for extra sonic colour. The Subdudes, a roots rock group from New Orleans, opted for a tambourine player, Steve Amedée, instead of a drummer.


title: Tambourine

text: Wolfgang Amadeus Mozart was among the earliest western composers to include the tambourine in his compositions. Since the late eighteenth century it has become more common in western orchestral music, as exemplified in some of Pyotr Ilyich Tchaikovsky's dance pieces from the "Nutcracker Suite". Gustav Holst's seven-movement orchestral suite "The Planets" also features the tambourine in several places, especially in the "Jupiter" movement. Georges Bizet's "Carmen" opera includes the famous "Habanera" aria which has a series of tambourine strikes in each chorus.


title: Tambourine

text: Buben ( in Russian, in Ukrainian, in Slovenian, in Czech, in Polish) is a musical instrument of the percussion family similar to a tambourine. A buben consists of a wooden or metal hoop with a tight membrane stretched over one of its sides (some bubens have no membrane at all). Certain kinds of bubens are equipped with clanking metal rings, plates, cymbals, or little bells. It is held in the hand and can be played in numerous ways, from stroking or shaking the jingles to striking it sharply with hand. It is used for rhythmical accompaniment during dances, soloist or choral singing. Buben is often used by some folk and professional bands, as well as orchestras.


title: Tambourine

text: The name is related to Greek language ('low and hollow sound') and ('a breed of bees') and related to Indo-Aryan ('bee') and English "bee". Buben is known to have existed in many countries since time immemorial, especially in the East. There are many kinds of bubens, including , "daf", or (Azerbaijan), or (Armenia), (Georgia), (Uzbekistan and Tajikistan), or (Iran), (Arab countries), (Spain). In Kievan Rus, drums and military timpani were referred to as "buben".


title: Tambourine

text: A daf () is a large-sized tambourine or Perso-Arabic frame drum used to accompany both popular and classical music in Iran, Azerbaijan, the Arab world, Turkey (where it is called ), Uzbekistan (where it is called ), the Indian subcontinent (where it is known as the ) and Turkmenistan. Daf typically indicates the beat and tempo of the music being played, thus acts like the conductor in the monophonic oriental music. The Persian poet Rudaki, who widely used names of the musical instruments in his poems, mentions the daf and the tambourine () in a Ruba'i: A common use of tambourine (Daf) is by Albanians. They are often played by women and bridesmaids in wedding cases to lead the ceremony when bride walks down the aisle.


title: Tambourine

text: Originated in Galicia or Portugal, the pandeiro was brought to Brazil by the Portuguese settlers. It is a hand percussion instrument consisting of a single tension-headed drum with jingles in the frame. It is very typical of more traditional Brazilian music.


title: Tambourine

text: The Basque pandero is a folk instrument currently played along with the trikitixa (basque diatonic accordion) in a duo most of the times. Sometimes the players, who play in festivities to enliven the atmosphere or less frequently at onstage performances, sing along. At times the pandero accompanies the alboka or txistu too. Yet these kinds of duos have not always been the case. As attested in 1923, the youth gathered to dance to the rhythm of the bare pandero, with no other music instrument implicated but the player's (a woman's) voice.


title: Tambourine

text: The riq (also spelled riqq or rik) is a type of tambourine used as a traditional instrument in Arabic music. It is an important instrument in both folk and classical music throughout the Arabic-speaking world. The instruments are widely known as "shakers".


title: Tambourine

text: A dayereh (or doyra, dojra, dajre, doira, daire) is a medium-sized frame drum with jingles used to accompany both popular and classical music in Iran (Persia), the Balkans, and many central Asian countries such as Tajikistan and Uzbekistan. It is a percussion instrument, and is something intermediate between a drum and a tambourine.


title: Tambourine

text: The kanjira or ganjira is a South Indian frame drum of the tambourine family. It is mostly used in Carnatic music concerts (South Indian classical music) as a supporting instrument for the "mridangam". The instrument is called ( in the northern Hindi-speaking parts of India and is a common instrument in orchestras and solos. Nepal also has a variety of tambourines, going by the names , "damphu" (), , and ().


title: Tambourine

text: Tar () is a single-headed frame drum of Turkish origin, but is commonly played in North Africa and the Middle East.


title: Tambourine

text: Timbrel or tabret (the of the ancient Hebrews, the "deff" of Islam, the "adufe" of the Moors of Spain), the principal musical instrument of percussion of the Israelites, similar to the modern tambourine.


title: Tambourine

text: A rabana (plural "raban") is a one-sided traditional tambourine played with the hands, used in Sri Lanka.


title: Tambourine

text: Rebana is a Malay tambourine that is used in Islamic devotional music in Southeast Asia, particularly in Indonesia, Malaysia, Brunei, and Singapore.


title: Tony Orlando and Dawn

text: Tony Orlando and Dawn is an American pop music group that was popular in the 1970s, composed of singer Tony Orlando and the backing vocal group Dawn (Telma Hopkins and Joyce Vincent Wilson). Their signature hits include "Candida", "Knock Three Times", "Tie a Yellow Ribbon Round the Ole Oak Tree", "Say, Has Anybody Seen My Sweet Gypsy Rose", and "He Don't Love You (Like I Love You)".


title: Tony Orlando and Dawn

text: Tony Orlando was born Michael Anthony Orlando Cassavitis on April 3, 1944. Orlando recorded through the 1960s with only moderate chart success. He had three Top 40 hits, two in 1961 and another in 1969 as the lead singer for the studio group Wind. While recording through the 1960s, he also became a producer and a successful music executive with Columbia Records and April/Blackwood music.


title: Tony Orlando and Dawn

text: While working as a music executive, Orlando received "Candida", a song other producers and singers had turned down. Originally, Orlando could not lend his name to the song, as he was working for April-Blackwood and recording under his name would be a professional conflict of interest. After producer Hank Medress insisted Orlando dub his voice over the male vocals on the original track, Bell Records released the single as being performed by the band "Dawn" to protect Orlando's position. On the American Top 40 radio episode for the week ending October 3, 1970, host Casey Kasem stated that the lead singer of Dawn was Frankie Spinelli; obviously this alias was used to further obscure Tony Orlando's true identity as the lead singer on Candida.


title: Tony Orlando and Dawn

text: The background singers on the track were Cynthia Weil, Linda November, Jay Siegel, and Toni Wine, who co-wrote the song. Phil Margo played drums on the original session, and the arranger was Norman Bergen. After the single hit No. 3 on the "Billboard" Hot 100 (No.1 on the Cashbox Top 100), Orlando wanted to perform again. The ensemble recorded the 1970 album "Candida", which included the namesake song and the No. 1 hit song "Knock Three Times".


title: Tony Orlando and Dawn

text: Bell Records was desperate to have a real-life act to promote Dawn's records. Orlando asked former Motown/Stax backing vocalists Telma Hopkins and Joyce Vincent Wilson, whom he had hired to work as background vocalists while producing Barry Manilow in the late 1960s, to become Dawn. The threesome then went on the road in 1971, on the success of "Candida" and "Knock Three Times". After a tour of Europe, Hopkins and Vincent assumed background vocal duties in the studio, first recording on the late 1971 album "Dawn Featuring Tony Orlando". The first single with their voices in the background was "Runaway/Happy Together" in 1972.


title: Tony Orlando and Dawn

text: The group (now billed as 'Dawn featuring Tony Orlando') released another single in 1973, and it became their next No. 1 single — "Tie a Yellow Ribbon 'Round the Ole Oak Tree." In terms of sales, this single was the most successful in the group's career, starting a string of eleven consecutive Hot 100 appearances by the group.


title: Tony Orlando and Dawn

text: On "The Carol Burnett Show" in 1975, Harvey Korman, Carol Burnett, and Vicki Lawrence did a spoof of Tony Orlando and Dawn, as Tony Tallahassee and Dusk, singing "Wrap Your Jammies Round the Old White Pine". At the end of the number, they were kicked off the stage by the real Tony Orlando and Dawn. Earlier, Lawrence's "The Night the Lights Went Out in Georgia" had immediately preceded Dawn's "Tie a Yellow Ribbon Round the Ole Oak Tree" at the top position of the Hot 100 in April 1973.


title: Tony Orlando and Dawn

text: The group's next single, "Say, Has Anybody Seen My Sweet Gypsy Rose" (from their concept album "Dawn's New Ragtime Follies"), went to No. 3 on the Hot 100, followed by Top 40 hits "Who's In The Strawberry Patch With Sally" (the first single with recording credit "Tony Orlando & Dawn") (No. 27), "Steppin' Out (Gonna Boogie Tonight)" (No.7), and, with some disco influence, Dennis Lambert and Brian Potter's "Look in My Eyes Pretty Woman" (from the trio's 1974 album "Prime Time") (No.11).


title: Tony Orlando and Dawn

text: CBS gave the group a television variety show (entitled "Tony Orlando and Dawn") from the summer of 1974, after "The Sonny & Cher Comedy Hour" ended its run, until December 1976. The show was in the same vein as its predecessor (with sketches featuring sarcastic back-and-forth banter between Orlando, Hopkins and Vincent, similar to the sarcastic dialogue between Sonny and Cher) and became a Top 20 hit.


title: Tony Orlando and Dawn

text: With a new record label (Elektra), the group continued their string of hit singles during the show's run, hitting #1 on both the Hot 100 and the adult contemporary charts with "He Don't Love You (Like I Love You)" (a reworking of Jerry Butler's "He Will Break Your Heart"), from the album of the same name, and "Mornin' Beautiful" (#14). In 1975 "You're All I Need to Get By", followed in 1976 by "Cupid", both from their final original album "To Be with You", became the group's last two Top 40 singles on the Hot 100. "Sing" reached No. 7 on the Adult Contemporary Chart in 1977. The group went their separate ways later that year and would have only one more single, 1991's "With Ev'ry Yellow Ribbon (That's Why We Tie 'Em)".


title: Tony Orlando and Dawn

text: They re-formed in 1988 for a five-week tour that wound up lasting into 1993, with Pamela Vincent stepping in whenever Hopkins was fulfilling her acting/television obligations.


title: Tony Orlando and Dawn

text: Orlando is still a popular appearance performer on tour regularly with the Lefty Brothers and Toni Wine. Hopkins made a very successful acting career for herself in series such as "Bosom Buddies", "Gimme a Break", "Family Matters", "Half and Half", and "Are We There Yet". The Vincent Sisters continue a prolific career as session singers. A DVD compilation from the variety series was released in 2005 along with the group's catalog of albums on CD. Tony Orlando & Dawn released "A Christmas Reunion" that same year. Publicity events for those releases marked the first time Hopkins, and both Vincent Sisters appeared onstage together. Toni Wine also participated in those shows. The group was inducted into the Vocal Group Hall of Fame in 2008.


title: Tony Orlando and Dawn

text: Tony Orlando and Dawn occasionally reunites for television and benefit performances. In 2009, Joyce Vincent joined Scherrie Payne and Lynda Laurence's Former Ladies of the Supremes' group. She continues to tour and perform to audiences all over the world. Tony Orlando, Telma Hopkins, and Joyce Vincent reunited again in 2015 for the sold-out "Tony Orlando and Dawn: To Be with You Again" tour and appeared at Chiller Theatre in Parsippany, NJ, and again for a successful Christmas tour in late-2018.


title: Clifton Webb

text: Webb Parmelee Hollenbeck (November 19, 1889 – October 13, 1966), known professionally as Clifton Webb, was an American actor, singer, and dancer. He worked extensively and was known for his stage appearances in the plays of Noël Coward, including "Blithe Spirit", as well as appearances on Broadway in a number of successful musical revues. As a film actor, he was nominated for three Academy Awards - Best Supporting Actor for "Laura" (1944) and "The Razor's Edge" (1946), and Best Actor in a Leading Role for "Sitting Pretty" (1948).


title: Clifton Webb

text: Webb was born Webb Parmelee Hollenbeck in Indianapolis, Indiana. He was the only child of Jacob Grant Hollenbeck (1867 – May 2, 1939), the ticket-clerk son of a grocer from an Indiana farming family, and his wife, the former Mabel A. Parmelee (Parmalee or Parmallee; March 24, 1869 – October 17, 1960), the daughter of David Parmelee, a railroad conductor. The couple married in Kankakee, Illinois, on January 18, 1888, and separated in 1891, shortly after their son's birth. According to Marion County, Indiana records, the marriage took place in Indianapolis.


title: Clifton Webb

text: In 1892, Webb's mother, now styling herself "Mabelle", moved to New York City with her beloved "little Webb", as she called him for the remainder of her life. She dismissed questions about her husband, Jacob, who like her father, worked for the Indianapolis-St. Louis Railroad, by saying, "We never speak of him. He didn't care for the theatre." The couple apparently divorced, since, by 1900, Mabelle was married to Green B. Raum, Jr. New York City's 1900 U.S. census indicates Mabelle and her son were using the surname Raum and living on West 77th Street with Green Berry Raum, Jr., a copper-foundry worker, who gave his position in the household as Mabel's husband. Raum was the son of General Green Berry Raum, former U.S. Commissioner of Internal Revenue and former U.S. Commissioner of Pensions. Webb's father, Jacob, married his second wife, Ethel Brown, and he died in 1939.


title: Clifton Webb

text: In 1909, using his new stage name, 19-year-old Clifton Webb had become a professional ballroom dancer, often partnering with "exceedingly decorative" star dancer Bonnie Glass (she would eventually replace him with Rudolph Valentino); they would perform in about two dozen operettas. His debut on Broadway began when "The Purple Road" opened at the Liberty Theatre on April 7, 1913; he played the role of Bosco for the 136 performances before closing in August. His mother (billed as Mabel Parmalee) was listed in the program as a member of the opening-night cast. His next musical was an Al Jolson vehicle, Sigmund Romberg's "Dancing Around", which opened at the Winter Garden Theatre on October 10, 1914, ran for 145 performances, and closed in the following February. Later in 1915, Webb was cast in the all-star revue "Ned Wayburn's Town Topics", which boasted 117 famous performers, including Will Rogers, as listed in the Century Theatre opening-night program for September 23, 1915. It closed 68 performances later on November 20, 1915. In 1916, he had another short run with Cole Porter's comic opera "See America First", which opened at the Maxine Elliott Theatre on March 28, 1916, and closed after 15 performances on April 8, 1916.


title: Clifton Webb

text: The year 1917 proved to be better, with a 233-performance run of Jerome Kern's "Love O' Mike", opening on January 15 at the Shubert Theatre. After moving to Maxine Elliott's Theatre, and then the Casino Theatre, it closed on September 29, 1917. Webb also appeared that year with other Broadway stars in the "National Red Cross Pageant" a 50-minute film of a stage production held to benefit the American Red Cross. Webb's final show of the 1910s, the musical "Listen Lester", had the longest run, 272 performances. It opened at the Knickerbocker Theatre on December 23, 1918, and closed in August 1919.


title: Clifton Webb

text: In the 1920s, Webb played in eight Broadway shows and made numerous other stage appearances, including vaudeville, and a handful of silent films. The revue "As You Were", with additional songs by Cole Porter, opened at the Central Theatre on January 29, 1920, running 143 performances until May 29, 1920. Webb was busy with films, tours, and an appearance at the London Pavilion in 1921 as Mr. St. Louis in "Fun of the Fayre" and in 1922 in "Phi-Phi" – he did not return to Broadway until 1923. He then played in the musical "Jack and Jill" at the Globe Theatre for 92 performances between March 22 and June 9 of 1923, followed by Lynn Starling's comic play "Meet the Wife", which opened on November 26, 1923, and ran through the summer of 1924. One of the play's leads was 24-year-old Humphrey Bogart.


title: Clifton Webb

text: In 1925, Webb appeared on stage in a dance act with vaudeville star and silent film actress Mary Hay. Later that year, when her husband, "Tol'able David" star Richard Barthelmess and she decided to produce and star the film "New Toys", they chose Webb to be second lead. The film proved to be financially successful, but 19 more years would pass before Webb appeared in another feature film.


title: Clifton Webb

text: Webb's mainstay was clearly Broadway theatre. Between 1913 and 1947, the tall, slender performer with the clear, gentle tenor appeared in 23 Broadway shows, starting with major supporting roles and quickly progressing to leads. He introduced Irving Berlin's "Easter Parade" and George and Ira Gershwin's "I've Got a Crush on You" in "Treasure Girl" in 1928; Arthur Schwartz and Howard Dietz's "I Guess I'll Have to Change My Plan" in "The Little Show" in 1929; "Louisiana Hayride" in "Flying Colors" in 1932; and Irving Berlin's "Not for All the Rice in China" in the very successful revue "As Thousands Cheer". His steamy duet with Libby Holman of Moanin' Low stunned the crowd nightly. in 1933. One of his stage sketches, performed with co-star Fred Allen, was filmed by Vitaphone as a short subject entitled "The Still Alarm" in 1930. Allen's experiences while working with Webb in the film appear in Allen's memoirs.


title: Clifton Webb

text: Most of Webb's Broadway shows were musicals, but he also starred in Oscar Wilde's "The Importance of Being Earnest", and his longtime friend Noël Coward's plays "Blithe Spirit" and "Present Laughter".


title: Clifton Webb

text: Webb was in his mid-fifties when actor/director Otto Preminger chose him over the objections of 20th Century Fox chief Darryl F. Zanuck to play the elegant but evil radio columnist Waldo Lydecker, who is obsessed with Gene Tierney's character in the 1944 film noir "Laura". Zanuck reportedly found Webb too effeminate as a person and an actor; he wanted Laird Cregar to play the role; but Cregar by then was well established as an on-screen villain and Preminger wanted someone who would surprise the audience.


title: Clifton Webb

text: Webb's performance won him wide acclaim, and he received an Academy Award nomination for Best Actor in a Supporting Role. Despite Zanuck's original objection, Webb was signed to a long-term contract with Fox. He worked for them solely for the rest of his career. His first film under the contract was "The Dark Corner" (1946), a film noir directed by Henry Hathaway; as in "Laura", Webb played a suave villain. He was then reunited with Tierney in another highly praised role as the elitist Elliott Templeton in "The Razor's Edge" (1946). He received another Academy Award nomination for Best Actor in a Supporting Role.


title: Clifton Webb

text: Webb was billed in a starring role in "Sitting Pretty", playing Mr. Belvedere, a snide, know-it-all babysitter. It was a huge hit and Webb received an Oscar nomination for Best Actor in a Leading Role


title: Clifton Webb

text: Fox promptly put Webb in a sequel, "Mr. Belvedere Goes to College" (1949) where Belvedere has to complete his college degree and acts as matchmaker. It was another box office success.


title: Clifton Webb

text: In the film "Cheaper by the Dozen" (1950), Webb and Myrna Loy played Frank and Lillian Gilbreth, real-life efficiency experts of the 1910s and 1920s, and the parents of 12 children. It resulted in Webb's third hit in a row and led to exhibitors voting him the seventh biggest star in the United States.


title: Clifton Webb

text: Less successful at the box-office was "For Heaven's Sake" (1950) in which Webb played an angel trying to help a couple on earth. He made "Mr. Belvedere Rings the Bell" (1951), with Belvedere causing trouble in an old-folks home, but the film was not as successful at the box-office as the first two, resulting in the end of the series.


title: Clifton Webb

text: Webb played a father trying to cancel his daughter Anne Francis' marriage in "Elopement" (1952), a minor hit. He made a brief appearance in "Belles on Their Toes" (1952), a sequel to "Cheaper by the Dozen", which covered the family's life after the death of the father.


title: Clifton Webb

text: Webb then starred as college professor Thornton Sayre, who in his younger days was known as silent-film idol Bruce "Dreamboat" Blair. Now a distinguished academic who wants no part of his past fame, he sets out to stop the showing of his old films on television in "Dreamboat" (1952), which concludes with Webb's alter ego Sayre watching himself star in "Sitting Pretty".


title: Clifton Webb

text: Around the same time, he starred in the Technicolor film biography of bandmaster John Philip Sousa, "Stars and Stripes Forever" (also 1952). He was a Belvedere-like scoutmaster in "Mister Scoutmaster" (1953). Webb had his most dramatic role as the doomed but brave husband of unfaithful Barbara Stanwyck in "Titanic" (also 1953). Writer Walter Reisch says this movie was created in part as a vehicle for Webb by Fox, who wanted to push Webb into more serious roles.


title: Clifton Webb

text: Soon afterwards, he played the (fictional) novelist John Frederick Shadwell in "Three Coins in the Fountain" (1954), romancing Dorothy McGuire. It was a huge hit. He was top billed as a company owner in "Woman's World" (1954), a corporate drama.


title: Clifton Webb

text: The British film "The Man Who Never Was" (1956) featured Webb playing the part of Royal Navy Lt. Cmdr. Ewen Montagu in the true story of Operation Mincemeat, the elaborate plan to deceive the Axis powers about the Allied invasion of Sicily during World War II. In "Boy on a Dolphin" (1957), second-billed to Alan Ladd, with third-billed Sophia Loren, he portrayed a wealthy sophisticate who enjoyed collecting illegally obtained Greek antiquities. In a nod to his own identity, the character's name was Victor Parmalee.


title: Clifton Webb

text: He starred in "The Remarkable Mr. Pennypacker" (1959), a "Cheaper By the Dozen" comedy as a man with two families, and "Holiday for Lovers" (1959), a family comedy set in South America. Neither was particularly successful. Fox was developing "Journey to the Center of the Earth" (1959) as a vehicle for Webb, but when he fell ill and was unable to work, James Mason stepped into the role.


title: Clifton Webb

text: Webb's final film role was an initially sarcastic, but ultimately self-sacrificing Catholic priest in Leo McCarey's "Satan Never Sleeps" (1962). The film showed the victory of Mao Tse-tung's armies in the Chinese Civil War, which ended with his ascension to power in 1949, but was actually filmed in Britain during the summer of 1961, using sets left from the film "The Inn of the Sixth Happiness" (1958), which was also set in China.


title: Clifton Webb

text: Webb was honored with a star on the Hollywood Walk of Fame at 6850 Hollywood Boulevard for his contributions to the motion picture industry.


title: Clifton Webb

text: Webb's portrayal of Lynn Belvedere was the model for the "Mr. Peabody" character in the "Peabody's Improbable History" segment of the animated cartoon series "The Adventures of Rocky and Bullwinkle and Friends".


title: Clifton Webb

text: Throughout his career Clifton Webb remained a confirmed bachelor, and had no children. He lived with his mother until her death at age 91 in 1960, leading Noël Coward to remark, "It must be terrible to be orphaned at 71."


title: Clifton Webb

text: Actor Robert Wagner, who co-starred with Webb in the films "Stars and Stripes Forever" and "Titanic" and considered the actor one of his mentors, stated in his memoirs, "Pieces of My Heart: A Life", that "Clifton Webb was gay, of course, but he never made a pass at me, not that he would have." According to a journal article published more than 40 years after Webb's death, his sexual orientation was frequently alluded to through many veiled references in entertainment newspaper columns, though the article does not provide digital scans of any of them.


title: Clifton Webb

text: On the Kraft Music Hall network radio broadcast of March 25, 1948, Webb exchanged banter with singer/actor Al Jolson and pianist/comedian Oscar Levant, with Webb, then near 60 himself, charging Jolson with "having aged". "You're not exactly a boy," responded Jolson, to which Levant added, "He's not exactly a girl, either."


title: Clifton Webb

text: Due to health problems, Webb spent the last five years of his life as a recluse at his home in Beverly Hills, California. On October 13, 1966, Webb suffered a fatal heart attack at his home at the age of 76. He is interred in crypt 2350, corridor G-6, Abbey of the Psalms in Hollywood Forever Cemetery, alongside his mother.


title: Clifton Webb

text: UCLA School of Theater, Film and Television's Clifton Webb Scholarship, which was established in 1969, was named in honor of Webb.


title: Lee Joo-myung

text: Lee Joo-myung (; born December 1, 1993) is a South Korean actress and model. She debuted in the television and film industry with "My Fellow Citizens!" (2019) and is best known for her roles in "Kairos" (2020) and "Twenty-Five Twenty-One" (2022).


title: Lee Joo-myung

text: In 2016, Lee began her career as a model and first acted in the music video entitled "Don't Leave" (떠나지마; "tteonajima") by Yang Da-il. This prompted her desire to further act with dialogues, and so, debuted as an actress with the KBS2 television series "My Fellow Citizens!" (2019).


title: Lee Joo-myung

text: In October 2020, Lee was selected as an endorsement model for South Korean make-up brand, Hince. A representative from the brand stated: "We believe the sensuous and sophisticated atmosphere of Lee Joo-myung fits the image of the brand well. We look forward to the future activities."


title: Lee Joo-myung

text: In September 2022, the global fashion brand Mango Tail selected Lee as the first Korean model. A brand official said, "Actress Lee Ju-myeong's unique and fashionable charm and dignified attitude matched the image pursued by the brand, so I was selected as the first Korean model. I look forward to it.”


title: Midnight Sun (Meyer novel)

text: Midnight Sun is a 2020 companion novel to the 2005 book "Twilight" by author Stephenie Meyer. The work retells the events of "Twilight" from the perspective of Edward Cullen instead of that of the series' usual narrating character Bella Swan. Meyer stated that "Twilight" was to be the only book from the series that she planned to rewrite from Edward's perspective. To give them a better feel of Edward's character, Meyer allowed Catherine Hardwicke, the director of the film adaptation of "Twilight", and Robert Pattinson, the actor playing Edward, to read some completed chapters of the novel while they shot the film. It was released on August 4, 2020.


title: Midnight Sun (Meyer novel)

text: On August 28, 2008, Meyer halted the writing of "Midnight Sun" in response to the leak of twelve chapters of the unfinished manuscript on the Internet. She stated, "If I tried to write "Midnight Sun" now, in my current frame of mind, James would probably win and all the Cullens would die, which wouldn't dovetail too well with the original story. In any case, I feel too sad about what has happened to continue working on "Midnight Sun", and so it is on hold indefinitely." She made the twelve-chaptered draft available on her website in fairness to her readers, since the novel was compromised before its intended publication date. Meyer also stated that she does not believe the manuscript was leaked with any malicious intent, and would not give any names.


title: Midnight Sun (Meyer novel)

text: In a November 2008 interview, Meyer said that, "It's really complicated, because everyone now is in the driver's seat, where they can make judgment calls. ... I do not feel alone with the manuscript. And I cannot write when I don't feel alone." She said that her goal was to go for around two years without hearing about "Midnight Sun", and she thought that she would begin working on the novel again once she was sure that "everyone's forgotten about it".


title: Midnight Sun (Meyer novel)

text: In 2015, following the release of "", the first Twilight novel gender-bent, Meyer felt comfortable to pick up writing again, but as she said to a comic-con panel in 2015: "What do you think was the top story on Yahoo the next morning? "Grey"." She was referring to "" which, as the subtitle says, is a retelling of the first "Fifty Shades of Grey" book through the eyes of Christian Grey. "It was a literal flip the table moment for me", Meyer reportedly said. The book remained on hold. However, in May 2020, Meyer announced that the book would be released on August 4, 2020.


title: Midnight Sun (Meyer novel)

text: Critics panned the novel, with review aggregator Book Marks reporting one positive and two mixed reviews out of a total of nine reviews. Elle Hunt at "The Guardian" wrote that the book was "chronically overwritten" and under-edited. She lamented the lack of new lore and how the strict adherence to scenes in the original "Twilight" made the book boring. At "The Independent", Annie Lord also noted the large overlap with "Twilight", and called the writing "laughably bad", but noted that fans would enjoy gaining new insights into Edward's relationship with his sister. "Kirkus Reviews" posited that the "glacial pace" of the book allowed for a focus on characterization, and predicted that fans would forgive, or even enjoy, its "excesses and indulgences". At "The Washington Post", Karin Tanabe criticized the lack of diversity in the characters, describing the Quileute characters as "stereotypical B-list characters". She also noted that the sexual tension between the two main characters was hindered by having to adhere to the original storyline.


title: Midnight Sun (Meyer novel)

text: At Books-A-Million's virtual live event in August 2020, Meyer announced that she has plans for two more "Twilight" books.


title: Hunter × Hunter (1999 TV series)

text: Hunter × Hunter is an anime television series based on the manga series of the same name written and illustrated by Yoshihiro Togashi which aired from 1999 to 2001. The story focuses on a young boy named Gon Freecss, who one day discovers that the father he had always been told was dead is in fact alive and well. He learns that his father, Ging, is a famous "Hunter": an individual who has proven themself an elite member of humanity. Despite the fact that Ging left his son with his relatives in order to pursue his own dreams, Gon becomes determined to follow in his father's footsteps, pass the rigorous "Hunter Examination", and eventually find his father to become a Hunter in his own right.


title: Hunter × Hunter (1999 TV series)

text: "Hunter × Hunter" was produced by Nippon Animation and directed by Kazuhiro Furuhashi. A total of 62 episodes were broadcast on Fuji Television from October 16, 1999 to March 31, 2001. The series has additionally aired on the satellite television station Animax. Marvelous Entertainment released all episodes of the series in Japan on DVD in 13 separate volumes between September 20, 2000 and September 19, 2001.


title: Hunter × Hunter (1999 TV series)

text: Viz Media licensed the "Hunter × Hunter" anime for distribution in the Region 1 market, where it was released across four DVD box-sets. The first set was released on December 9, 2008 and the final was released on December 1, 2009. Starting with the second volume, Viz partnered with Warner Home Video in distributing the DVDs. "Hunter × Hunter" began airing in the United States on the Funimation Channel in the spring of 2009.


title: Hunter × Hunter (1999 TV series)

text: The background music for the "Hunter × Hunter" anime and the three OVA series was composed by Toshihiko Sahashi. The anime series features two opening themes, [01–48] by Keno and [49–62] by Wino, and three closing themes: [01–31] by Minako Honda, and , [32–50] and , [51–62] both by Nagai Masato.


title: Schist

text: Schist ( ) is a medium-grained metamorphic rock showing pronounced schistosity. This means that the rock is composed of mineral grains easily seen with a low-power hand lens, oriented in such a way that the rock is easily split into thin flakes or plates. This texture reflects a high content of platy minerals, such as micas, talc, chlorite, or graphite. These are often interleaved with more granular minerals, such as feldspar or quartz.


title: Schist

text: Schist typically forms during regional metamorphism accompanying the process of mountain building (orogeny) and usually reflects a medium grade of metamorphism. Schist can form from many different kinds of rocks, including sedimentary rocks such as mudstones and igneous rocks such as tuffs. Schist metamorphosed from mudstone is particularly common and is often very rich in mica (a "mica schist"). Where the type of the original rock (the protolith) is discernible, the schist is usually given a name reflecting its protolith, such as "schistose metasandstone". Otherwise, the names of the constituent minerals will be included in the rock name, such as "quartz-felspar-biotite schist".


title: Schist

text: Schist bedrock can pose a challenge for civil engineering because of its pronounced planes of weakness.


title: Schist

text: The word "schist" is derived ultimately from the Greek word σχίζειν ("schízein"), meaning "to split", which refers to the ease with which schists can be split along the plane in which the platy minerals lie.


title: Schist

text: Geologists define schist as medium-grained metamorphic rock that shows well-developed schistosity. Schistosity is a thin layering of the rock produced by metamorphism (a "foliation") that permits the rock to easily be split into flakes or slabs less than thick. The mineral grains in a schist are typically from in size and so are easily seen with a 10× hand lens. Typically, over half the mineral grains in a schist show a preferred orientation. Schists make up one of the three divisions of metamorphic rock by texture, with the other two divisions being gneiss, which has poorly developed schistosity and thicker layering, and granofels, which has no discernible schistosity.


title: Schist

text: Schists are defined by their texture, without reference to their composition, and while most are a result of medium-grade metamorphism, they can vary greatly in mineral makeup. However, schistosity normally develops only when the rock contains abundant platy minerals, such as micas or chlorite. Grains of these minerals are strongly oriented in a preferred direction in schist, often also forming very thin parallel layers. The ease with which the rock splits along the aligned grains accounts for the schistosity. Though not a defining characteristic, schists very often contain "porphyroblasts" (individual crystals of unusual size) of distinctive minerals, such as garnet, staurolite, kyanite, sillimanite, or cordierite.


title: Schist

text: Because schists are a very large class of metamorphic rock, geologists will formally describe a rock as a schist only when the original type of the rock prior to metamorphism (the protolith) is unknown and its mineral content is not yet determined. Otherwise, the modifier "schistose" will be applied to a more precise type name, such as "schistose semipelite" (when the rock is known to contain moderate amounts of mica) or a "schistose metasandstone" (if the protolith is known to have been a sandstone). If all that is known is that the protolith was a sedimentary rock, the schist will be described as a paraschist, while if the protolith was an igneous rock, the schist will be described as an orthoschist. Mineral qualifiers are important when naming a schist. For example, a quartz-feldspar-biotite schist is a schist of uncertain protolith that contains biotite mica, feldspar, and quartz in order of apparent decreasing abundance.


title: Schist

text: "Lineated schist" has a strong linear fabric in a rock which otherwise has well-developed schistosity.


title: Schist

text: Before the mid-19th century, the terms slate, shale and schist were not sharply differentiated by those involved with mining.


title: Schist

text: Schistosity is developed at elevated temperature when the rock is more strongly compressed in one direction than in other directions ("nonhydrostatic stress"). Nonhydrostatic stress is characteristic of regional metamorphism where mountain building is taking place (an orogenic belt). The schistosity develops perpendicular to the direction of greatest compression, also called the shortening direction, as platy minerals are rotated or recrystallized into parallel layers. While platy or elongated minerals are most obviously reoriented, even quartz or calcite may take up preferred orientations.


title: Schist

text: At the microscopic level, schistosity is divided into "internal schistosity", in which inclusions within porphyroblasts take a preferred orientation, and "external schistosity", which is the orientation of grains in the surrounding medium-grained rock.


title: Schist

text: The composition of the rock must permit formation of abundant platy minerals. For example, the clay minerals in mudstone are metamorphosed to mica, producing a mica schist. Early stages of metamorphism convert mudstone to a very fine-grained metamorphic rock called "slate", which with further metamorphism becomes fine-grained "phyllite". Further recrystallization produces medium-grained mica schist. If the metamorphism proceeds further, the mica schist experiences dehydration reactions that convert platy minerals to granular minerals such as feldspars, decreasing schistosity and turning the rock into a gneiss.


title: Schist

text: Other platy minerals found in schists include chlorite, talc, and graphite. Chlorite schist is typically formed by metamorphism of ultramafic igneous rocks, as is talc schist. Talc schist also forms from metamorphosis of talc-bearing carbonate rocks formed by hydrothermal alteration. Graphite schist is uncommon, but can form from metamorphosis of sedimentary beds containing abundant organic carbon. This may be of algal origin.


title: Schist

text: In geotechnical engineering a schistosity plane often forms a discontinuity that may have a large influence on the mechanical behavior (strength, deformation, etc.) of rock masses in, for example, tunnel, foundation, or slope construction. A hazard may exist even in undisturbed terrain. On August 17, 1959, a magnitude 7.2 earthquake destabilized a mountain slope near Hebgen Lake, Montana, composed of schist. This caused a massive landslide that killed 26 people camping in the area.


title: Right whale

text: Right whales are three species of large baleen whales of the genus Eubalaena: the North Atlantic right whale ("E. glacialis"), the North Pacific right whale ("E. japonica") and the Southern right whale ("E. australis"). They are classified in the family Balaenidae with the bowhead whale. Right whales have rotund bodies with arching rostrums, V-shaped blowholes and dark gray or black skin. The most distinguishing feature of a right whale is the rough patches of skin on its head, which appear white due to parasitism by whale lice. Right whales are typically long and weigh up to or more.


title: Right whale

text: All three species are migratory, moving seasonally to feed or give birth. The warm equatorial waters form a barrier that isolates the northern and southern species from one another although the southern species, at least, has been known to cross the equator. In the Northern Hemisphere, right whales tend to avoid open waters and stay close to peninsulas and bays and on continental shelves, as these areas offer greater shelter and an abundance of their preferred foods. In the Southern Hemisphere, right whales feed far offshore in summer, but a large portion of the population occur in near-shore waters in winter. Right whales feed mainly on copepods but also consume krill and pteropods. They may forage the surface, underwater or even the ocean bottom. During courtship, males gather into large groups to compete for a single female, suggesting that sperm competition is an important factor in mating behavior. Gestation tends to last a year, and calves are weaned at eight months old.


title: Right whale

text: Right whales were a preferred target for whalers because of their docile nature, their slow surface-skimming feeding behaviors, their tendency to stay close to the coast, and their high blubber content (which makes them float when they are killed, and which produced high yields of whale oil). Although the whales no longer face pressure from commercial whaling, mankind remains by far the greatest threat to these species: the two leading causes of death are being struck by ships and entanglement in fishing gear. Today, the North Atlantic and North Pacific right whales are among the most endangered whales in the world.


title: Right whale

text: A common explanation for the name "right whales" is that they were regarded as the ones to hunt, as they float when killed and often swim within sight of shore. They are quite docile and do not tend to shy away from approaching boats. As a result, they were hunted nearly to extinction during the active years of the whaling industry. However, this origin is questionable: in his history of American whaling, Eric Jay Dolin writes:


title: Right whale

text: The right whales were first classified in the genus "Balaena" in 1758 by Carl Linnaeus, who at the time considered all of the right whales (including the bowhead) as a single species. Through the 1800s and 1900s, in fact, the family Balaenidae has been the subject of great taxonometric debate. Authorities have repeatedly recategorized the three populations of right whale plus the bowhead whale, as one, two, three or four species, either in a single genus or in two separate genera. In the early whaling days, they were all thought to be a single species, "Balaena mysticetus". Eventually, it was recognized that bowheads and right whales were in fact different, and John Edward Gray proposed the genus "Eubalaena" for the right whale in 1864. Later, morphological factors such as differences in the skull shape of northern and southern right whales indicated at least two species of right whale—one in the Northern Hemisphere, the other in the Southern Ocean. As recently as 1998, Rice, in his comprehensive and otherwise authoritative classification, "Marine mammals of the world: systematics and distribution", listed just two species: "Balaena glacialis" (the right whales) and "Balaena mysticetus" (the bowheads).


title: Right whale

text: In 2000, two studies of DNA samples from each of the whale populations concluded the northern and southern populations of right whale should be considered separate species. What some scientists found more surprising was the discovery that the North Pacific and North Atlantic populations are also distinct, and that the North Pacific species is more closely related to the southern right whale than to the North Atlantic right whale. The authors of one of these studies concluded that these species have not interbred for between 3 million and 12 million years.


title: Right whale

text: In 2001, Brownell et al. reevaluated the conservation status of the North Pacific right whale as a distinct species, and in 2002, the Scientific Committee of the International Whaling Commission (IWC) accepted Rosenbaum's findings, and recommended that the "Eubalaena" nomenclature be retained for this genus. A 2007 study by Churchill provided further evidence to conclude that the three different living right whale species constitute a distinct phylogenetic lineage from the bowhead, and properly belong to a separate genus.


title: Right whale

text: The cladogram is a tool for visualizing and comparing the evolutionary relationships between taxa; the point where each node branches is analogous to an evolutionary branching – the diagram can be read left-to-right, much like a timeline. The following cladogram of the family Balaenidae serves to illustrate the current scientific consensus as to the relationships between the three right whales and the bowhead whale.


title: Right whale

text: Whale lice, parasitic cyamid crustaceans that live off skin debris, offer further information through their own genetics. Because these lice reproduce much more quickly than whales, their genetic diversity is greater. Marine biologists at the University of Utah examined these louse genes and determined their hosts split into three species 5–6 million years ago, and these species were all equally abundant before whaling began in the 11th century. The communities first split because of the joining of North and South America. The rising temperatures of the equator then created a second split, into northern and southern groups, preventing them from interbreeding. "This puts an end to the long debate about whether there are three "Eubalaena" species of right whale. They really are separate beyond a doubt", Jon Seger, the project's leader, told BBC News.


title: Right whale

text: The pygmy right whale ("Caperea marginata"), a much smaller whale of the Southern Hemisphere, was until recently considered a member of the Family Balaenidae. However, they are not right whales at all, and their taxonomy is presently in doubt. Most recent authors place this species into the monotypic Family Neobalaenidae, but a 2012 study suggests that it is instead the last living member of the Family Cetotheriidae, a family previously considered extinct.


title: Right whale

text: Yet another species of right whale was proposed by Emanuel Swedenborg in the 18th century—the so-called "Swedenborg whale". The description of this species was based on a collection of fossil bones unearthed at Norra Vånga, Sweden, in 1705 and believed to be those of giants. The bones were examined by Swedenborg, who realized they belong to a species of whale. The existence of this species has been debated, and further evidence for this species was discovered during the construction of a motorway in Strömstad, Sweden in 2009. To date, however, scientific consensus still considers "Hunterius swedenborgii" to be a North Atlantic right whale. According to a DNA analysis conducted, it was later confirmed that the fossil bones are actually from a bowhead whale.


title: Right whale

text: Adult right whales are typically long. They have extremely thick bodies with a girth as much as 60% of total body length in some cases. They have large, broad and blunt pectoral flippers and the deeply notched, smoothly tipped tail flukes make up to 40% of their body length. The North Pacific species is on average the largest of the three species. weigh . The upper jaw of a right whale is a bit arched, and the lower lip is strongly curved. On each side of the upper jaw are 200–270 baleen plates. These are narrow and approximately long, and are covered in very thin hairs. Right whales have a distinctive wide V-shaped blow, caused by the widely spaced blowholes on the top of the head. The blow rises above the surface.


title: Right whale

text: The skin is generally black with occasional white blotches on the body, while some individuals have mottled patterns. Unlike other whales, a right whale has distinctive callosities (roughened patches of skin) on its head. The callosities appear white due to large colonies of cyamids (whale lice).


title: Right whale

text: Each individual has a unique callosities pattern. In 2016, a competitive effort resulted in the use of facial recognition software to derive a process to uniquely identify right whales with about 87% accuracy based on their callosities. The primary role of callosities has been considered to be protection against predators. Right whale declines might have also reduced barnacles.


title: Right whale

text: An unusually large 40% of their body weight is blubber, which is of relatively low density. Consequently, unlike many other species of whale, dead right whales tend to float. Many of southern right whales are seen with rolls of fats behind blowholes that northern species often lack, and these are regarded as a sign of better health condition due to sufficient nutrition supply, and could have contributed in vast differences in recovery status between right whales in the southern and northern hemisphere, other than direct impacts by humankind.


title: Right whale

text: The penis on a right whale can be up to – the testes, at up to in length, in diameter, and weighing up to 525 kg (1157 lbs), are also by far the largest of any animal on Earth. The blue whale may be the largest animal on the planet, yet the testicles of the right whale are ten times the size of those of the blue whale. They also exceed predictions in terms of relative size, as well – they are six times larger than would be expected on the basis of body mass. Together, the testicles make up nearly 1% of the right whale's total body weight. This strongly suggests sperm competition is important in mating, which correlates to the fact that right whales are highly promiscuous.


title: Right whale

text: The three "Eubalaena" species inhabit three distinct areas of the globe: the North Atlantic in the western Atlantic Ocean, the North Pacific in a band from Japan to Alaska and all areas of the Southern Ocean. The whales can only cope with the moderate temperatures found between 20 and 60 degrees in latitude. The warm equatorial waters form a barrier that prevents mixing between the northern and southern groups with minor exclusions. Although the southern species in particular must travel across open ocean to reach its feeding grounds, the species is not considered to be pelagic. In general, they prefer to stay close to peninsulas and bays and on continental shelves, as these areas offer greater shelter and an abundance of their preferred foods.


title: Right whale

text: Because the oceans are so large, it is very difficult to accurately gauge whale population sizes. Approximate figures:


title: Right whale

text: Almost all of the 400 North Atlantic right whales live in the western North Atlantic Ocean. In northern spring, summer and autumn, they feed in areas off the Canadian and northeast U.S. coasts in a range stretching from New York to Newfoundland. Particularly popular feeding areas are the Bay of Fundy and Cape Cod Bay. In winter, they head south towards Georgia and Florida to give birth. There have been a smattering of sightings further east over the past few decades; several sightings were made close to Iceland in 2003. These are possibly the remains of a virtually extinct eastern Atlantic stock, but examination of old whalers' records suggests they are more likely to be strays. However, a few sightings have happened between Norway, Ireland, Spain, Portugal, the Canary Islands and Italy; at least the Norway individuals come from the Western stock.


title: Right whale

text: The North Pacific right whale appears to occur in two populations. The population in the eastern North Pacific/Bering Sea is extremely low, numbering about 30 individuals. A larger western population of 100–200 appears to be surviving in the Sea of Okhotsk, but very little is known about this population. Thus, the two northern right whale species are the most endangered of all large whales and two of the most endangered animal species in the world. Based on current population density trends, both species are predicted to become extinct within 200 years. The Pacific species was historically found in summer from the Sea of Okhotsk in the west to the Gulf of Alaska in the east, generally north of 50°N. Today, sightings are very rare and generally occur in the mouth of the Sea of Okhotsk and in the eastern Bering Sea. Although this species is very likely to be migratory like the other two species, its movement patterns are not known.


title: Right whale

text: The last major population review of southern right whales by the International Whaling Commission was in 1998. Researchers used data about adult female populations from three surveys (one in each of Argentina, South Africa and Australia) and extrapolated to include unsurveyed areas and estimated counts of males and calves (using available male:female and adult:calf ratios), giving an estimated 1997 population of 7,500 animals. More recent data from 2007 indicate those survey areas have shown evidence of strong recovery, with a population approaching twice that of a decade earlier. However, other breeding populations are still very small, and data are insufficient to determine whether they, too, are recovering.


title: Right whale

text: The southern right whale spends the summer months in the far Southern Ocean feeding, probably close to Antarctica. It migrates north in winter for breeding, and can be seen around the coasts of Argentina, Australia, Brazil, Chile, Mozambique, New Zealand, South Africa and Uruguay. The South American, South African and Australasian groups apparently intermix very little, if at all, because of the strong fidelity of mothers to their feeding and calving grounds. The mother passes these instincts to her calves.


title: Right whale

text: Right whales swim slowly, reaching only at top speed. However, they are highly acrobatic and frequently breach (jump clear of the sea surface), tail-slap and lobtail.


title: Right whale

text: The right whales' diets consist primarily of zooplankton, primarily the tiny crustaceans called copepods, as well as krill, and pteropods, although they are occasionally opportunistic feeders. As with other baleens, they feed by filtering prey from the water. They swim with an open mouth, filling it with water and prey. The whale then expels the water, using its baleen plates to retain the prey. Prey must occur in sufficient numbers to trigger the whale's interest, be large enough that the baleen plates can filter it, and be slow enough that it cannot escape. The "skimming" may take place on the surface, underwater, or even at the seabed, indicated by mud occasionally observed on right whales' bodies.


title: Right whale

text: The right whales' two known predators are humans and orcas. When danger lurks, a group of right whales may cluster into a circle, and thrash their outwards-pointing tails. They may also head for shallow water, which sometimes proves to be an ineffective defense. Aside from the strong tails and massive heads equipped with callosities, the sheer size of this animal is its best defense, making young calves the most vulnerable to orca and shark attacks.


title: Right whale

text: Vocalizations made by right whales are not elaborate compared to those made by other whale species. The whales make groans, pops and belches typically at frequencies around 500 Hz. The purpose of the sounds is not known but may be a form of communication between whales within the same group. Northern right whales responded to sounds similar to police sirens—sounds of much higher frequency than their own. On hearing the sounds, they moved rapidly to the surface. The research was of particular interest because northern rights ignore most sounds, including those of approaching boats. Researchers speculate this information may be useful in attempts to reduce the number of ship-whale collisions or to encourage the whales to surface for ease of harvesting.


title: Right whale

text: During the mating season, which can occur at any time in the North Atlantic, right whales gather into "surface-active groups" made up of as many as 20 males consorting a single female. The female has her belly to the surface while the males stroke her with their flippers or keep her underwater. The males do not compete as aggressively against each other as male humpbacks. The female may not become pregnant but she is still able to assess the condition of potential mates. The mean age of first parturition in North Atlantic right whales is estimated at between 7.5 and 9 years. Females breed every 3–5 years; the most commonly seen calving intervals are 3 years and may vary from 2 up to 21 years due to multiple factors.


title: Right whale

text: Both reproduction and calving take place during the winter months. Calves are approximately in weight and in length at birth following a gestation period of 1 year. The right whale grows rapidly in its first year, typically doubling in length. Weaning occurs after eight months to one year and the growth rate in later years is not well understood—it may be highly dependent on whether a calf stays with its mother for a second year.


title: Right whale

text: Respective congregation areas in the same region may function as for different objectives for whales.


title: Right whale

text: Very little is known about the life span of right whales. One of the few well-documented cases is of a female North Atlantic right whale that was photographed with a baby in 1935, then photographed again in 1959, 1980, 1985, and 1992. Consistent callosity patterns ensured it was the same animal. She was last photographed in 1995 with a seemingly fatal head wound, presumably from a ship strike. By conservative estimates (e.g. she was a new mother who had just reached sexual maturity in 1935), she was nearly 70 years to more than 100 years of age, if not older. Research on the closely related bowhead whale exceeding 210 years suggests this lifespan is not uncommon and may even be exceeded.


title: Right whale

text: In the early centuries of shore-based whaling before 1712, right whales were virtually the only catchable large whales, for three reasons:


title: Right whale

text: Basque people were the first to hunt right whales commercially, beginning as early as the 11th century in the Bay of Biscay. They initially sought oil, but as meat preservation technology improved, the animal was also used for food. Basque whalers reached eastern Canada by 1530 and the shores of Todos os Santos Bay (in Bahia, Brazil) by 1602. The last Basque voyages were made before the Seven Years' War (1756–1763). All attempts to revive the trade after the war failed. Basque shore whaling continued sporadically into the 19th century.


title: Right whale

text: "Yankee whalers" from the new American colonies replaced the Basques. Setting out from Nantucket, Massachusetts, and Long Island, New York, they took up to a hundred animals in good years. By 1750, the commercial hunt of the North Atlantic right whale was essentially over. The Yankee whalers moved into the South Atlantic before the end of the 18th century. The southernmost Brazilian whaling station was established in 1796, in Imbituba. Over the next hundred years, Yankee whaling spread into the Southern and Pacific Oceans, where the Americans were joined by fleets from several European nations. The beginning of the 20th century saw much greater industrialization of whaling, and the harvest grew rapidly. According to whalers' records, by 1937 there had been 38,000 takes in the South Atlantic, 39,000 in the South Pacific, 1,300 in the Indian Ocean, and 15,000 in the North Pacific. The incompleteness of these records means the actual take was somewhat higher.


title: Right whale

text: As it became clear the stocks were nearly depleted, the world banned right whaling in 1937. The ban was largely successful, although violations continued for several decades. Madeira took its last two right whales in 1968. Japan took twenty-three Pacific right whales in the 1940s and more under scientific permit in the 1960s. Illegal whaling continued off the coast of Brazil for many years, and the Imbituba land station processed right whales until 1973. The Soviet Union illegally took at least 3,212 southern right whales during the 1950s and '60s, although it reported taking only four.


title: Right whale

text: The southern right whale has made Hermanus, South Africa one of the world centers for whale watching. During the winter months (July–October), southern right whales come so close to the shoreline, visitors can watch whales from strategically placed hotels. The town employs a "whale crier" (cf. town crier) to walk through the town announcing where whales have been seen. In Brazil, Imbituba in Santa Catarina has been recognized as the National Right Whale Capital and holds annual Right Whale Week celebrations in September when mothers and calves are more often seen. The old whaling station there has been converted to a museum dedicated to the whales. In winter in Argentina, Península Valdés in Patagonia hosts the largest breeding population of the species, with more than 2,000 animals catalogued by the Whale Conservation Institute and Ocean Alliance.


title: Right whale

text: Both the North Atlantic and North Pacific species are listed as a "species threatened with extinction which [is] or may be affected by trade" (Appendix I) by CITES, and as "endangered" by the IUCN Red List. In the United States, the National Marine Fisheries Service (NMFS), a subagency of the National Oceanic and Atmospheric Administration (NOAA) has classified all three species as "endangered" under the Endangered Species Act. Under the Marine Mammal Protection Act, they are listed as "depleted".


title: Right whale

text: The southern right whale is listed as "endangered" under the Australian Environment Protection and Biodiversity Conservation Act, as "nationally endangered" under the New Zealand Threat Classification System, as a "natural monument" by the Argentine National Congress, and as a "State Natural Monument" under the Brazilian National Endangered Species List.


title: Right whale

text: The US and Brazil added new protections for right whales in the 2000s to address the two primary hazards. While environmental campaigners were, as reported in 2001, pleased about the plan's positive effects, they attempted to force the US government to do more. In particular, they advocated speed limits for ships within of US ports in times of high right whale presence. Citing concerns about excessive trade disruption, it did not institute greater protections. The Defenders of Wildlife, the Humane Society of the United States and the Ocean Conservancy sued the NMFS in September 2005 for "failing to protect the critically endangered North Atlantic Right Whale, which the agency acknowledges is 'the rarest of all large whale species' and which federal agencies are required to protect by both the Marine Mammal Protection Act and the Endangered Species Act", demanding emergency protection measures.


title: Right whale

text: The southern right whale, listed as "endangered" by CITES and "lower risk - conservation dependent" by the IUCN, is protected in the jurisdictional waters of all countries with known breeding populations (Argentina, Australia, Brazil, Chile, New Zealand, South Africa and Uruguay). In Brazil, a federal Environmental Protection Area encompassing some and of coastline in Santa Catarina State was established in 2000 to protect the species' main breeding grounds in Brazil and promote whale watching.


title: Right whale

text: On February 6, 2006, NOAA proposed its Strategy to Reduce Ship Strikes to North Atlantic Right Whales. The proposal, opposed by some shipping interests, limited ship speeds during calving season. The proposal was made official when on December 8, 2008, NOAA issued a press release that included the following:


title: Right whale

text: In 2020, NOAA published its assessment and found that since the speed rule was adopted, the total number of documented deaths from vessel strike decreased but serious and non-serious injuries have increased. A report by the organization Oceana found that between 2017 and 2020, disobedience of the rule reached close to 90% in mandatory speed zones while in voluntary areas, disobedience neared 85%.


title: Right whale

text: The leading cause of death among the North Atlantic right whale, which migrates through some of the world's busiest shipping lanes while journeying off the east coast of the United States and Canada, is being struck by ships. At least sixteen ship-strike deaths were reported between 1970 and 1999, and probably more remain unreported. According to NOAA, twenty-five of the seventy-one right whale deaths reported since 1970 resulted from ship strikes.


title: Right whale

text: A second major cause of morbidity and mortality in the North Atlantic right whale is entanglement in plastic fishing gear. Right whales ingest plankton with wide-open mouths, risking entanglement in any rope or net fixed in the water column. Rope wraps around their upper jaws, flippers and tails. Some are able to escape, but others remain tangled. Whales can be successfully disentangled, if observed and aided. In July 1997, the U.S. NOAA introduced the Atlantic Large Whale Take Reduction Plan, which seeks to minimize whale entanglement in fishing gear and record large whale sightings in an attempt to estimate numbers and distribution.


title: Right whale

text: In 2012, the U.S. Navy proposed to create a new undersea naval training range immediately adjacent to northern right whale calving grounds in shallow waters off the Florida/Georgia border. Legal challenges by leading environmental groups including the Natural Resources Defense Council were denied in federal court, allowing the Navy to proceed. These rulings were made despite the extremely low numbers (as low as 313 by some estimates) of right whales in existence at this time, and a very poor calving season.


title: The Newsreader

text: The Newsreader is an Australian television drama series created by Michael Lucas, broadcast on ABC. The six-part series, exploring the personal and professional lives of journalists and crew within a 1980s Australian newsroom, premiered on 15 August 2021. It was ABC's most-watched drama programme of 2021, received positive reactions from critics, and achieved the most nominations of any show or film at the 11th AACTA Awards. In March 2022, it was renewed for a second series for broadcast in 2023.


title: The Newsreader

text: Set across 1987 and 1988, the series will revolve around Dale and Helen "contending with rising public profiles, intensifying office politics, and a ruthless new CEO [of the network]." The series will premiere in 2023, and will consist of six episodes. News events covered in the series include the 1987 federal election, the stock market crash, the separation of Prince Charles and Diana Spencer, the heroin crisis, and the Hoddle Street shootings. A trailer was released on 24 November 2022.


title: The Newsreader

text: The series was created by Michael Lucas and Joanna Werner and was directed by Emma Freeman. Filmed in Melbourne, the series was written by Michael Lucas, Jonathan Gavin, Niki Aken and Kim Ho. Joanna Werner and Stuart Menzies, along with Brett Sleigh and Sally Riley on behalf of the ABC, executive produced the series. The series was supported through "major investments" from Screen Australia and Film Victoria.


title: The Newsreader

text: The inception of what would become "The Newsreader" was worked on by Michael Lucas following his six-part series "Party Tricks" in 2014/2015 - and had a "long gestation" period. Initial writing for the series - which took place "immediately after" Lucas finished working on the fifth series of "Offspring" in 2015 - was not centred around a newsroom setting, and was simply based on a plan to "write a story with a male lead who felt like there was this particular version of masculinity that he was trying to fulfil, and it wasn't an actual fit but he was just desperate to live up to it," which Lucas describes as "a theme that was close to [his] heart," and "felt like a personal story" to him. This became the character of Dale, before Lucas realised he "needed to be matched with female character, who was possessed of those traditional masculine qualities: ambitious, risk-taking, volatile", as well as "uncompromising and determined, but she's punished for them, whereas he struggles to fit into that masculine ideal." Lucas talked of how he "liked that they occupied a slight flip on gender stereotypes", and was what he "found really compelling about them." Their relationship formed the basis of the series, with the additional layer of a 1980s setting decided upon due to the fact it would impose "more pressure on [the characters] to fulfil certain roles". Lucas then embarked on a year-and-a-half development timeframe, considering what "image of masculinity" the character of Dale would "want [to] achieve", and chose newsreader for him - and a newsroom as the setting for the series - "a few drafts in", Lucas calling them "lions" and "voice-of-God men".


title: The Newsreader

text: Over the course of 2015 and 2016, Lucas began researching newsrooms of the 1980s, interviewing those who worked in them at the time and hearing "eyepopping stories about the culture". Lucas claimed that the relatively nascent arrival of female newsreaders in the 1980s was something that "caught his attention" in his research; “it was just such an era of change. I was particularly obsessed with female newsreaders because they were a new development in the 80s, prior to that people just liked hearing the news read by very masculine voices of God. There was so much pressure on them. They had to find a way to define how a woman should look in a workplace, and they had such a strong, striking look."


title: The Newsreader

text: Lucas noted the significance of most of his research into the culture of newsrooms of the time being conducted prior to the #MeToo movement, recollecting, in an interview in 2021, how "I started working on this prior to #MeToo. Then of course, when that happened, there was a part of me that felt like, 'will this be a profound change?', and all of the problems that are part of this world...will we have moved on and turned a corner by the time this show airs? Then of course we made it to this year when there's all these stories about the culture in Canberra, and you realise we might have progressed in some ways, but there's still a lot of structural problems and a culture of bullying and misogyny linked to that."


title: The Newsreader

text: Lucas described the depth of research he undertook, potentially exaggerating as he mentioned that he "read nearly every newspaper from 1986" and emphasised the significance of "letters to the editor – they give you the full picture of what people were making of things [then]."


title: The Newsreader

text: The first iteration of "The Newsreader" was written on spec, and a pilot was scripted, which Lucas approached ABC with, having worked with the network on sitcom "Rosehaven" and "wanted to gauge interest". Lucas also considered taking the series to Foxtel, but "felt the story was better for a non-commercial broadcaster"; ABC responded positively "really quickly", and "had the advantage of the expansive news library archive that could be used." Brett Sleigh at ABC - who would become an executive producer on the series - suggested using actual, "famous" events as the structure of the series, as it was previously just set around "generic stories" like the more expansive rollout of ATMs; Sleigh was enthusiastic about "making the most of ABC archives", and recommended Joanna Werner, to whom Lucas gave the draft pilot script and was "really connected with it", had "really clear vision about where it would go", was "really passionate about it". Lucas said he "instantly knew wanted to begin with the Challenger explosion" as that was the first major news event he remembered from childhood. Elsewhere, Lucas picked events "just by looking at the first half of 1986", explicating that covering Chernobyl was unavoidable, but also that the series also covers less "date-specific" stories such as the HIV/AIDS epidemic.


title: The Newsreader

text: From this, the decision was made to "tightly stick to a real-life timeframe", with episodes taking place over the course of only a few days at most. The crew received "playouts of actual news bulletins on those days" in order to judge the importance and prioritisation of certain news stories on the days episodes take place on. Freeman "made the artistic choice to really use the dates and markers"; dates on which the episodes are set feature at the start of each. Lucas spoke of the challenges that came with weaving in real-life events into the series - being only experienced in writing "pure fiction" - that "the addition of following real events is what makes "The Newsreader" special", and "[i]t was a really fun puzzle to take those real life events and keep to the real dates, the real timeline," being aware of the "markers [you] have to hit", and at the same time weave fictional characters around them." Despite this "plotting puzzle", Lucas explained it was "a really fun, enjoyable, compelling challenge to see how I can take these real-life events that have their ebbs and flows that I can't change, and how that can provoke different relationships and turning points for the characters,", and how to link them to elements of characters' personalities. He said that this "engages both sides of your brain, although at times it is a bit maddening." He also claimed that the show does not entirely depend on those events being depicted as "if you remember those events or even if you don't, hopefully the show gives you a really interesting window into what those events were like and how newsrooms navigated them."


title: The Newsreader

text: Discussing the process of writing the third episode, Lucas revealed that "at the plotting stage, [he would] go into the ABC archives, and take footage of the dates [he wanted]", watching """ or Mary Delahunty's news report, which would all feed back into the story." He also commented that he "took inspiration from James Cameron's "Titanic" as to how he placed his characters within the history of real events"; "[w]hen it comes to something like Lindy Chamberlain, they found the matinee jacket on this day, then on another day she was released from jail, then another she was back in Mt. Isa. So how do I manoeuvre my fictional characters around all of that to build a story? That was sort of the approach that I took." He explained that the lack of date specificity, relative to the other events depicted in the show, meant he had the "capacity" to place the (fifth) episode focusing on the AIDS crisis anywhere, and was "deliberately positioned" as such "to get maximum emotional impact for the characters". Writing the show meant dealing with the balance between how to convey facts and emotions; Lucas said that the news story could be "really prominent, a famous one" with set dates to operate in and around, and he "would have to think about what to do with the characters," whereas "other times [he would] want to take characters to an emotional place".


title: The Newsreader

text: Lucas wrote the series alone for "a long time" while it was on spec, until he was able to form a writers' room around 2017. When he did, he hired those he knew would provide valuable roles to develop the programme, such as Niki Aken - "from a research background", whose invitation came in the form of being asked "to join a brainstorm" for the series, for which she "wrote an outline"; Aken remarked that her contributions to the programme were impacted by the pandemic; she "wrote across the big yuk Melbourne lockdown, whilst holed away in hotel quarantine in Sydney". Lucas also carried on a practice he engaged with during his roles on various programmes as a script co-ordinator, in finding and hiring an emerging writer, Kim Ho; Lucas was impressed by his writing, Ho was asked to "script coordinate and note take", and the two co-wrote the fifth episode together. Debra Oswald also acted as script consultant for the series. The pandemic also afforded Lucas an extended period for development, with the start of pre-production delayed by four months, and spoke of him and production designer Melinda Doring taking advantage of that time for further collaboration; "an extra four months that we filled with Zoom meetings where we filled up Dropbox folders with inspiration," sourcing additional material - what Lucas called "absolute gems" - from museums and online forums, with Lucas in awe of her dedication to the work, lamenting that he "incorporated what [he] could in the script". The delay also worked in Lucas' favour with his writing; his style is to "work intensely, go away and come back", attempting to "arrange [it] so [he] can step away" and "pick it up fresh" after potentially "months away from it".


title: The Newsreader

text: Lucas said the writing team were "bouncing back and forth", looking at the timeline and the characters, specifically where character arcs fit into the way in which the real-life events are depicted in the show. Before the writing of each episode, the research and archive footage "would be locked in", and only then would the writing progress onto working on the character arcs, so "that by the time a writer was assigned to write a particular episode, a comprehensive outline of the factual events involved would already be in place". Lucas spoke of how the "emotional arcs and storylines" were less set in stone in the run up to filming, and that they "tend[ed] to evolve a lot even within the timeline structure we had set" and that "was always an ongoing discussion up to and including being on set, and then even to a certain extent in the edit suite", that they "were still honing those emotional beats and moments."


title: The Newsreader

text: Lucas claimed that many of the negative aspects of newsrooms of the era "were pare[d] back" in his writing, being told in his interviews by those who worked there at the time the extent to which "[t]hey were pretty sexist, racist, homophobic workplaces [with] a lot of casual harassment", and that if he "had directly translated some of those stories, ... a contemporary audience would be like, 'Are you kidding?'". Lucas expanded on this, saying that "with these things, you walk the line of wanting to be frank about the reality of it, but at the same time you don't want to traumatise viewers" - for instance, depiction of racism was less explicit, choosing not to use racial epithets and "dramatis[ing] it without forging that pathway", using the example of the character of Noelene being assumed to know how to translate Japanese in spite of being Korean and that the other characters "have put in no effort to find out where her family have come from" - and concluding that "[o]ur attempt is to show the full spectrum of that world and to depict the parts that were loaded with bullying and misogyny, and the parts that were exhilarating."


title: The Newsreader

text: Securing international distribution for the series proved troublesome at first. While prospective distributors were "keen" when shown scripts for the series, the "Australian specificity" of the series, as well as the era chosen for the period setting, made them hesitant. As a result, Lucas "became conscious of picking stories that have some international resonance"; for example, the Azaria Chamberlain case - covered in the third episode - is a "quintessential Australian story, but means something overseas as well". Despite this, Werner spoke of how the accuracy with which they aimed to recreate the period setting was significant to "partners involved" in the series, describing how they took reference from movies in the late 1980s such as "Tootsie" and "Working Girl" to implement a neutral palette of "biege[s] and browns" in the show - what she deemed a "grounded approach", in contrast to the brash and bold colours in many depictions of the 1980s, invoking MTV music videos as one example, as "we wanted to look like [it was] made in the '80s - not a show made about the '80s". To accentuate this, cameras for filming were fitted with vintage lenses.


title: The Newsreader

text: The series' commission was announced in April 2020, entered pre-production by October, with the casting announced that November; six episodes were ordered by ABC, despite the series being originally developed for eight.


title: The Newsreader

text: The series was filmed over 54 shoot days during late 2020 and early 2021, under COVID-19 restrictions. As a result, plans for expansive location filming could not take place, such as being unable to film in Darwin, in the Northern Territory, for the third episode, which is partly set there, and instead restricted to the state of Victoria. Scenes in the episode, where Dale and Helen, among other journalists, are camped outside a house they believe Lindy Chamberlain is staying at, were filmed in Mildura, with many local residents having been chosen to portray extras and offered up the exterior of their homes to use for filming, which took place in March 2021. The scenes in the episode where Dale, Helen, Tim, Ross, and other assorted journalists and cameramen, are waiting outside Berrimah Prison for Lindy Chamberlain's release were also filmed in Mildura, with stills during the filming shot by Adrian Chiarella, husband to Lucas. Scenes in the fourth episode depicting the Russell Street bombing were filmed at the site of the bombing itself, Lucas commenting that the filming "shut down an entire city block"; Niki Aken, writer of the fourth episode, played an extra during the scenes in the aftermath of the bombing. Creator Lucas himself cameoed during the second episode, portraying a DJ at Geoff's birthday party; scenes for that were shot over three days, and the experience of cameoing - of which Lucas commented "I swear the director pushed me into that" - allowed Lucas the chance to become more accustomed with the cast. Filming of the News at Six studio was done at the NEP Studios in Southbank, South Melbourne, with the newsroom offices set in a disused chemical warehouse/factory in Brooklyn, west of Melbourne.


title: The Newsreader

text: Creator Lucas and director Freeman worked closely and collaboratively on- and off-set, with clear roles set out for the two; during the writing process, Freeman provides Lucas with notes on the script from cast and other crew, and during her directing, he acts as "a support" for her on set. Lucas described Freeman as the "prime storyteller" on set, his presence to "help with speedbumps with the script or to troubleshoot". He later said that, the way in which he engages in constant communication with other cast members, with their input, during the process of writing and filming, that the series was a "mutual creation".


title: The Newsreader

text: Actress Marg Downey reported "[s]he won the role after submitting an audition tape from home", and that the first scene she shot was with William McInnes and filmed out-of-order, featuring early in the sixth episode. For Robert Taylor, a vocal coach "from the era" was hired, due to the need to "sharply define his vocal style, versus the more relaxed style ... he has". Chum Ehelopa claimed that when the show was pitched to him, he was unaware the show was "using actual events" and "just thought it was an '80s newsroom show".