title: Lara Jill Miller

text: In 1999, Miller resumed her on-camera acting career with recurring roles on the Nickelodeon series "The Amanda Show" and "All That" and on "General Hospital." She also began working in animated series, lending her voice to various characters, including Kari in "Digimon" (both the series and the feature film), Koko in "Zatch Bell!", Alejo in "Astro Boy", and Scheris Adjani in "s-CRY-ed." Miller also provided the singing voice of Dorothy Gale in the National Public Radio adaptation of L. Frank Baum's "The Wonderful Wizard of Oz", and the voices of the title characters on Cartoon Network's "The Life and Times of Juniper Lee", Disney Junior's "Henry Hugglemonster", and the PBS Kids "Clifford's Puppy Days" (prequel to "Clifford the Big Red Dog").


title: Lara Jill Miller

text: Miller appears in the recurring roles of Pookie, Wiki, and Tini on Disney Channel's "Higglytown Heroes", Haruka of "Daigunder", and the Nick Jr. series "Wow! Wow! Wubbzy!" as Widget, the show's problem-solving pink creature resembling a rabbit, both PBS series "Curious George" as Allie and "SciGirls" as Izzie, and regular guest-starring roles on several other animated series.


title: Lara Jill Miller

text: For six seasons, she performed voice work on the Disney Channel/Disney Junior television series "Doc McStuffins" as the voice of Lambie and on the Nickelodeon television series "The Loud House" in which she voices Lisa Loud, Liam, Becky, Persephone, and Nurse Patti.


title: Lara Jill Miller

text: In 2020, she voice acted for two cartoons, the episode "All About Zee" in "DC Super Hero Girls" and the English dub for "Beastars" as Haru. She continues to perform the role of Libby in the Disney production, "The Ghost and Molly McGee".


title: Lara Jill Miller

text: In 2006, Miller's mother was diagnosed with frontotemporal dementia, a progressive brain disease, which forced her to close her talent agency; Miller has since helped spread awareness of the disease.


title: Frozen (soundtrack)

text: Frozen: Original Motion Picture Soundtrack is the soundtrack album to Disney's 2013 film of the same name with 8 songs written by Robert Lopez and Kristen Anderson-Lopez, and 22 score pieces composed by Christophe Beck. The soundtrack includes the critically acclaimed song "Let It Go"—film version performed by Idina Menzel: single version performed by Demi Lovato—which won the Academy Award for Best Original Song, the Grammy Award for Best Song Written for Visual Media, and the Critics' Choice Award for Best Song, and was nominated for the Golden Globe Award for Best Original Song.


title: Frozen (soundtrack)

text: Two editions of the soundtrack were released by Walt Disney Records on November 25, 2013: a single-disc regular edition, and a two-disc digipak deluxe edition, containing original demo recordings of songs and score compositions, unused outtake recordings, and instrumental versions of the film's main songs. On October 21, 2013, the soundtrack's lead single, Lovato's cover of "Let It Go" was released. Subsequent releases have been accompanied by foreign language translations of "Let It Go".


title: Frozen (soundtrack)

text: The album debuted at number 18 on the "Billboard" 200 chart. The soundtrack has topped the "Billboard" album chart for thirteen non-consecutive weeks, and has sold 4 million copies in the U.S. The album has been certified triple-Platinum by the Recording Industry Association of America, and peaked at number one on the aforementioned chart, becoming the fourth soundtrack album from an animated film to reach that milestone.


title: Frozen (soundtrack)

text: As of December 11, 2014, the soundtrack for "Frozen" had had forty-three nonconsecutive weeks on top of "Billboard" Top Soundtracks. On the US "Billboard" 200, the album debuted at No. 18, the highest chart position for the soundtrack in an animated film since the 2006 film "Cars". It later moved up to No. 10, becoming the tenth soundtrack from an animated film to reach top 10. The soundtrack subsequently moved to No. 4, which is the highest position for an animated film soundtrack since Disney's "Pocahontas" in 1995. In the week ending January 5, 2014, "Frozen" reached No. 1, surpassing Beyoncé's self-titled album (which had previously held the No. 1 position for three weeks after its unannounced release in December 2013) to become the fourth animated film soundtrack in history to reach this position. It remained at number one for a second consecutive week, becoming the first theatrical film soundtrack to stay at No. 1 for multiple weeks since "" (also featuring Beyoncé) in early 2007, and the first animated film to spend more than one week at No. 1 since Disney's "The Lion King" in 1994 and 1995. With thirteen non-consecutive weeks at number one, "Frozen" earned the most weeks at No. 1 for an album since Adele's "21" (24 weeks) and the most weeks at No. 1 for a soundtrack since "" in 1998.


title: Frozen (soundtrack)

text: "Frozen" was the fifth best-selling soundtrack album in the US in 2013 with 338,000 copies sold for the year. "Frozen" continued to be the best-selling album in the US and the only album to sell more than a million units in the first half of 2014 with nearly 2.7 million units. The song "Let It Go" performed by Idina Menzel also finished at No. 15 on the digital song chart with 2.8 million copies sold in the first six months of 2014. The soundtrack reached its 3 million sales mark in the US in July 2014. Nearly half these were digital sales, making the album the best-selling soundtrack in digital history. "Frozen" was "Billboard" Year-End number one album of 2014, becoming the sixth soundtrack in history and the first soundtrack to earn this position since "", as well as the second Disney album to reach this position (the first one is the soundtrack to "Mary Poppins"). It became the second best-selling album of 2014 with 3,527,000 sold for the year. As of April 2015, it had sold 4 million copies in the US. In Canada, the album has sold 202,000 copies in 2014 as of November 26, 2014. The album sold a total of 226,000 copies in Canada in 2014.


title: Frozen (soundtrack)

text: Worldwide, "Frozen" sold over 10 million copies in 2014 alone. It was the year's best-selling album globally. An exclusive vinyl LP edition of the soundtrack was released in March 2014. A version of the soundtrack featuring only the first ten tracks was released under the name "Frozen: The Songs".


title: Frozen (soundtrack)

text: At the 57th Annual Grammy Awards, the "Frozen" soundtrack was nominated in two categories – Best Compilation Soundtrack for Visual Media and Best Score Soundtrack for Visual Media (with credits going to Christophe Beck as composer) – and won the former; the song "Let It Go" won the award for Best Song Written for Visual Media, with credits going to Kristen Anderson-Lopez and Robert Lopez as songwriters and Idina Menzel as performer. The Academy Award for "Let It Go" led Robert Lopez to become the youngest person to have achieved an EGOT.


title: Frozen (soundtrack)

text: All songs are written by Kristen Anderson-Lopez and Robert Lopez. All scores are composed by Christophe Beck, with tracks 11 and 31 co-composed by Frode Fjellheim


title: Phoenix (Breaking Bad)

text: "Phoenix" is the twelfth episode of the second season of the American television crime drama series "Breaking Bad".


title: Phoenix (Breaking Bad)

text: Walter White barely delivers the inventory of drugs to Gus Fring in time, but misses his daughter Holly's birth. He arrives at the hospital, where he finds that Ted Beneke drove Skyler White there. At Jesse Pinkman's apartment, Jane Margolis wakes up when she is phoned by her father, Donald, because she is late for a Narcotics Anonymous meeting. At lunch afterward, she does not mention that she has started using heroin again, and acts as though she does not know Jesse when her father asks about him. Jesse, seeing the aftermath of Walt's search, initially believes he was robbed, but then listens to the phone messages Walt left. Walt, unable to tell anyone else in his family about the money, privately shows Holly the stacks of cash hidden in the garage walls. Later, Jesse shows up at Walt's classroom to ask for his share of the money, which Walt refuses because he believes it will further Jesse's addiction. He promises to pay Jesse when he knows that Jesse and Jane are clean.


title: Phoenix (Breaking Bad)

text: Later, Jesse and Jane inject heroin in his apartment. As he passes out, Jesse complains about Walt holding out on him, telling Jane that he is owed $480,000. Donald calls Jane again when she is late for another rehab meeting; unbeknownst to Jane, he is waiting directly outside. Seeing her emerging from Jesse's door, he barges in and finds evidence of them both using heroin. He is furious that she has relapsed and calls the police, but doesn't finish it to make an official report when Jane promises she will enter rehab the next day. He relents and gives her another chance. Meanwhile, Walter Jr. has put up a website so that people can donate to Walt's cancer surgery utilizing PayPal. Walt does not want to accept charity, especially because he earned the money to pay for his treatment, but cannot reveal its source to his family. Saul Goodman tells him that he will contact a hacker to launder the money, making it look like it is coming from computers all over the world and averting suspicions by putting in small amounts.


title: Phoenix (Breaking Bad)

text: Jane calls Walt to blackmail him into giving Jesse his share. Walt delivers the money to Jesse and Jane, who are ecstatic and talk of getting clean, but still feel a strong pull to use their remaining heroin. Walt goes to a bar to unwind, where he unknowingly sits next to Donald. The two start talking about the "Phoenix" probe's discovery of water on Mars and about Donald's daughter and Walt's "nephew" (Jesse), voicing their frustrations over trying to help people who will not do what is good for them. Donald opines that one can never give up on one's family. Motivated by Donald's words, Walt goes back to Jesse's house to talk to him but finds Jesse and Jane passed out from heroin use. While Walt is trying to wake Jesse, he inadvertently and unknowingly knocks Jane onto her back; she starts to choke on her own vomit. Walt rushes to help, but then after hesitating for a moment, lets her die in order to protect Jesse from their eventual overdose, and for self-preservation since she threatened to expose him. Walt begins to cry before looking on resolutely.


title: Phoenix (Breaking Bad)

text: The episode was written by John Shiban, and directed by Colin Bucksey. It aired on AMC in the United States and Canada on May 24, 2009.


title: Phoenix (Breaking Bad)

text: The episode was widely acclaimed by critics and is generally considered to be an important entry in the series given its plot developments. Emily St. James, recapping the episode for "Slant", noted that it was "a beautifully rich and layered work about the various ways parents and children disappoint each other." Donna Bowman, writing for "The A.V. Club", gave the episode an A rating, commenting: "it is perhaps the single best episode to date in one of the best shows television has ever produced."


title: Phoenix (Breaking Bad)

text: Alan Sepinwall praised Bryan Cranston's performance in the episode's climactic scene and drew comparisons to "Kennedy and Heidi," an episode of "The Sopranos".


title: Phoenix (Breaking Bad)

text: Seth Amitin at IGN gave the episode an 8.9/10 and opined that the episode was effective at increasing the dramatic stakes leading into the season's finale, stating that "everything about this episode was used to push tension one step further for the finale."


title: Phoenix (Breaking Bad)

text: For his performance, Cranston won his second of three consecutive Outstanding Lead Actor in a Drama Series at the 61st Primetime Emmy Awards. Shiban was nominated for a Writers Guild of America Award for episodic drama for the episode "Phoenix" in 2010.


title: Phoenix (Breaking Bad)

text: In Cranston's own 2016 memoir "A Life in Parts", he begins the book by recounting the process of filming the final scene in the episode. He recalls how he imagined his own daughter Taylor Dearden as Jane, and describes the scene as "the most harrowing I did on "Breaking Bad"".


title: Margo Stilley

text: Stilley was born in Conway, South Carolina, and grew up between there and Swansboro, North Carolina. She was raised in a strict Baptist household in America's Bible Belt. After her 16th birthday, she moved out of her family home and lived on her own. She put herself through high school working as a telemarketer and a lifeguard until she graduated a year early from Conway High School with Honors in Art and History. She was voted "The Funniest" in the class of 2000. Stilley has been a long time supporter of hands-on charitable acts. In high school, she volunteered at local nursing homes feeding and reading to the elderly. She was offered a full scholarship to Savannah College of Art and Design, which she declined.


title: Margo Stilley

text: She left the rural South as a teenager to begin working briefly as a model in Milan with Elite Model Management in February 2001, before moving to London by the end of the year, at the age of 18, to pursue her acting career.


title: Margo Stilley

text: Her first acting job was to star as Lisa, the lead actress in the controversial 2004 British film "9 Songs", directed by Michael Winterbottom. Her interest in art as a platform led to her decision to accept the role. According to the "Guardian", "9 Songs" was the most sexually explicit mainstream film to date, largely because it includes several scenes of real sexual acts between Stilley and her co-star, actor Kieran O'Brien. Her role is highly unusual in that she had unsimulated and very graphic sex with O'Brien, including genital fondling, female masturbation, with and without a vibrator, penetrative vaginal sex, cunnilingus, footjob and fellatio. During a scene in which Stilley stimulates his penis with her hand after performing fellatio on him, he became the only mainstream British actor who has been shown ejaculating in a mainstream UK-produced feature. The film screened in Cannes Film Festival and Sundance Film Festival and had a worldwide theatrical release. Stilley asked that director Michael Winterbottom refer to her simply by her character's name in interviews about the film at the beginning to protect the artistic integrity of the film.


title: Margo Stilley

text: Her second credit solidified her standing in Great Britain's indie film scene, when she starred in the satirical comedy "Nathan Barley" directed by Chris Morris for British television.


title: Margo Stilley

text: Stilley has since appeared in 19 American and British productions, including "How to Lose Friends & Alienate People", with Simon Pegg and Jeff Bridges, and "Agatha Christie's Marple" ("Murder Is Easy"), with Benedict Cumberbatch, and has worked again with Winterbottom on a BBC Two comedy "The Trip", with Steve Coogan and Rob Brydon.


title: Margo Stilley

text: She appeared as a model in feature articles in "Vogue", "In Style UK", "The Face", "Harper's Bazaar", "Black Book Magazine" and "Elle". She has been a presenter at award shows, handing a Fashion Awards to Giles Deacon at the 2006 Elle Style Awards and presenting the New Designer Award to Christopher Kane at the 2007 British Fashion Awards.


title: Margo Stilley

text: In 2010, she signed on to play Lady Furness in Madonna's film "WE", but renounced the role because of artistic differences.


title: Margo Stilley

text: Stilley officially converted to Judaism in 2015 "because of its strong sense of family and of history, and its belief that humans were formed in the image of God and are inherently divine". She was first published in the "News Review" section of "The Sunday Times" in an article titled "It's a Strange Time to Become a Jew", defending her choice to explore the Jewish faith. She was then commissioned by "Esquire" to write a series of articles based on her life. One is about a band of gypsies she came across and befriended, who breed white lions in Hanover, Germany. Another is about a biker bar in South Carolina in which she once worked named Suck Bang Blow, which is now the subject of a reality TV show she is producing under the same name.


title: Margo Stilley

text: Stilley had strong ties to the Children's Charity Dramatic Need. In 2009, she travelled on her own to Johannesburg and the greater Gauteng province in South Africa to teach drama in some of the country's most challenged communities for three months. She has never publicized her charitable contributions.


title: Cristina Ferrare

text: Cynthia Cristina Ferrare (born 1950) is an American former fashion model, actress, author and talk-show host. She had lead roles in several films in the late-1960s and early-1970s, including the comedy "The Impossible Years" and the Western film "J. W. Coop" (both 1968), as well as portraying the titular character in Juan López Moctezuma's horror film "Mary, Mary, Bloody Mary" (1972).


title: Cristina Ferrare

text: In the 1980s, Ferrare transitioned from acting to hosting several television series, including "The Home Show", "Home & Family", and "Big Bowl of Love" on the Oprah Winfrey Network. She has also authored several non-fiction cooking and self-help books.


title: Cristina Ferrare

text: Ferrare was born in 1950 in Cleveland, Ohio, the daughter of Renata and Tavio Ferrare, a butcher. Her family is of Italian descent. She was 14 years old when her family moved to Los Angeles, California, where her beauty landed her a contract with Nina Blanchard's modeling agency. When she was 16, she signed with 20th Century Fox film studios.


title: Cristina Ferrare

text: Ferrare made her feature film debut in "The Impossible Years" (1968) opposite David Niven, playing the daughter of a university psychology professor. This was followed by a main role in the Western drama "J. W. Coop" (also 1968), directed by and starring Cliff Robertson and Geraldine Page. She subsequently starred as the titular character in Juan López Moctezuma's horror film "Mary, Mary, Bloody Mary" (1972), portraying a vampire roving a Mexican village.


title: Cristina Ferrare

text: Ferrare was co-host of "A.M. Los Angeles" on KABC-TV in 1985. She co-hosted the television series "The Home Show" for several months in early 1989. In 1990, Ferrare was featured in print advertising for Ultra Slim-Fast. In 1993, she was guest host for two episodes of "Vicki!".


title: Cristina Ferrare

text: She and her mother created the Cristina Ferrare Collection, producing jewelry that in 2002 was sold in seven Neiman Marcus stores and was "beginning to pop up in specialty shops throughout the country."


title: Cristina Ferrare

text: Ferrare premiered in her new show "Big Bowl of Love" on Oprah Winfrey's network (OWN) on January 3, 2011 with "Iron Chef" Cat Cora as the show's first guest. "Big Bowl of Love" follows Ferrare cooking recipes alongside her friends, family, and other guests.


title: Cristina Ferrare

text: From November 1996 – 1998, Ferrare co-hosted "Home & Family" on The Family Channel; the show ended on August 14, 1998, just one day before the channel became Fox Family Channel, which included a major restructuring of the network's programing. She later co-hosted a revived version of the show from 2012-2016 with Mark Steines on its new network Hallmark Channel.


title: Cristina Ferrare

text: Ferrare's departure was abrupt and the audience was not given any explanation nor any notice prior to her departure. On June 21, 2016, Hallmark Channel confirmed that Ferrare would no longer co-host the show with Steines; former co-host of "The View" Debbie Matenopoulos was named as her replacement. In a statement via Facebook, Ferrare addressed her exit: "It's really very simple, "Home and Family" will have a season 5 which I am so happy for and the Network decided that they want a new co-host and that will be Debbie. She will do a great job!"


title: Cristina Ferrare

text: According to Ferrare, in her book "Realistically Ever After", she married a man in 1969 and annulled it six weeks later. In 1973, she married automobile executive John DeLorean. He had earlier adopted a son Zachary while single, and she also adopted him. Later they had a daughter, Kathryn. After DeLorean lost his fortune and was accused, then exonerated, of cocaine trafficking charges, Ferrare divorced him in 1985. Two weeks later, on April 21, 1985, she married entertainment industry executive Anthony Thomopoulos.


title: Cristina Ferrare

text: Ferrare was portrayed by Isabel Arraiza in the 2018 film "Driven" and by Morena Baccarin in the 2019 documentary "Framing John DeLorean".


title: The Magnetic Fields

text: The Magnetic Fields (named after the André Breton/Philippe Soupault novel "Les Champs Magnétiques") are an American band founded and led by Stephin Merritt. Merritt is the group's primary songwriter, producer, and vocalist, as well as frequent multi-instrumentalist. Merritt's lyrics are often about love and feature atypical or neutral gender roles, and are by turns ironic, tongue-in-cheek, bitter, and humorous.


title: The Magnetic Fields

text: The band released their debut single "100,000 Fireflies" in 1991. The single was typical of the band's earlier career, characterized by synthesized instrumentation by Merritt, with lead vocals provided by Susan Anway (and then by Stephin Merritt himself, from the "House of Tomorrow" EP onwards). A more traditional band later materialized; it is now composed of Merritt, Claudia Gonson, Sam Davol, and John Woo, with occasional guest vocals by Shirley Simms. The band's best-known work is the 1999 three-volume concept album "69 Love Songs". It was followed in the succeeding years by a "no-synth" trilogy: "i" (2004), "Distortion" (2008), and "Realism" (2010). The band's latest album, "Quickies", was released on May 29, 2020.


title: The Magnetic Fields

text: The band began as Merritt's studio project under the name Buffalo Rome. With the help of friend Claudia Gonson, who had played in Merritt's band the Zinnias during high school, a live band was assembled in Boston, where Merritt and Gonson lived, to play Merritt's compositions. The band's first live performance was in 1991 at T.T. the Bear's Place in Cambridge, Massachusetts, where they were mistakenly billed as Magnetophone, an alias used briefly in that year by Damon Krukowski and Naomi Yang of Galaxie 500.


title: The Magnetic Fields

text: The 1999 triple album "69 Love Songs" showcased Merritt's songwriting and lyrical abilities and the group's musicianship, demonstrated by the use of such varied instruments as the ukulele, banjo, accordion, cello, mandolin, flute, xylophone, and the Marxophone, in addition to their usual setting of synthesizers, guitars, and effects. The album features vocalists Shirley Simms, Dudley Klute, L.D. Beghtol, and Gonson, each of whom sings lead on six songs as well as various backing vocals, plus Daniel Handler (who has written under the pseudonym Lemony Snicket) on accordion, and longtime collaborator Christopher Ewen (of Future Bible Heroes) as guest arranger/synthesist. Violinist Ida Pearle makes a brief cameo on "Luckiest Guy on the Lower East Side".


title: The Magnetic Fields

text: The band's albums "i" (2004) and "Distortion" (2008) both followed the album theme structure of "69 Love Songs": the song titles on "i" begin with the letter (or, in the case of half the songs' titles, the pronoun) "I", whilst "Distortion" was an experiment in combining noise music with their typically unconventional musical approach. The liner notes claim the album was made without synthesizers. According to an article, "To celebrate the release of "Distortion", Merritt and the Magnetic Fields played mini-residencies in cities around the country, culminating with six shows at Chicago's Old Town School of Folk Music."


title: The Magnetic Fields

text: "Realism" was released in January 2010, concluding what Merritt termed the "no-synth" trilogy (following "i" and "Distortion"). The next album produced would feature synthesizers "almost exclusively".


title: The Magnetic Fields

text: In 2010, the documentary film "Strange Powers: Stephin Merritt and the Magnetic Fields" made its debut in film festivals around the world. It was directed by Kerthy Fix and Gail O'Hara. Shot over a period of 10 years, it discusses the formation of the band, Stephin's friendship with Claudia Gonson, the production of various albums, and Stephin's move to California from New York. It won the Outfest 2010 Grand Jury Prize for Feature Documentary.


title: The Magnetic Fields

text: The band was chosen by Jeff Mangum of Neutral Milk Hotel to perform a rare festival performance at the All Tomorrow's Parties event that he curated in March 2012 in Minehead, England.


title: The Magnetic Fields

text: The band released its tenth full-length album, "Love at the Bottom of the Sea", on March 6, 2012. This album, compared by Dan Raby to "69 Love Songs", brought back the use of synthesizers. Merritt told fans on his website, "I was very happy to be using synthesizers in ways that I had not done before. Most of the synthesizers on the record didn't exist when we were last using synthesizers." The song "Andrew in Drag" garnered much attention, receiving play from entities such as CBS News and NPR's "All Songs Considered". In 2012, the Magnetic Fields celebrated its new album by launching a North American and European tour. It began on March 6, the release date of "Love at the Bottom of the Sea", and continued for two months.


title: The Magnetic Fields

text: In 2016, it was announced that the band's eleventh studio album, "50 Song Memoir", would contain fifty songs, akin to the "69 Love Songs" concept, one to commemorate each year since Stephin Merritt was born. It was released in March 2017.


title: The Magnetic Fields

text: On May 15, 2020, the band digitally released the album "Quickies"—twenty-eight songs under three minutes long—through Nonesuch Records. The first single, "The Day the Politicians Died", was released on February 25, followed by "Kraftwerk in a Blackout" on April 1, "I Want to Join a Biker Gang" on April 16, and "I've Got a Date With Jesus" on May 8. The band released a vinyl box set of the album on May 29, followed by the CD on June 16. Former lead singer Susan Anway died in September 2021.


title: The Magnetic Fields

text: Current and former contributors include singers Susan Anway, Dudley Klute, Nell Beram, and LD Beghtol, as well as instrumentalists Anthony Kaczynski, Johny Blood, Quince Marcum, Daniel Handler, Chris Ewen and engineer/producer Charles Newman and instrumentalist and singer Pinky Weitzman.


title: Last Seen Alive

text: Last Seen Alive is a 2022 American action thriller film directed by Brian Goodman and written by Marc Frydman. It stars Gerard Butler, who also produced the film, Jaimie Alexander and Russell Hornsby. Formerly known as "Chase", the film follows a man who takes the law into his own hands after he begins searching for his missing wife. It was released in the US on June 3, 2022 and was panned by critics.


title: Last Seen Alive

text: The movie opens with a brief scene of Detective Paterson accusing Knuckles of kidnapping and threatening him with life in prison. As the Detective squeezes his throat, Knuckles finally reveals, "she's dead."


title: Last Seen Alive

text: Estranged husband and wife, Will and Lisa Spann, are driving to Lisa’s parents’ house, as she’s requested some time apart. Before reaching the house, they stop for gas and Lisa heads inside. As Lisa walks out of the gas station, she’s stopped by an unknown man and a large white truck pulls up, blocking the rest of their interaction from view. Will finishes gassing up and looks for Lisa, but cannot find her in the store or bathrooms. He starts to panic, frantically looking around the entire area, calling her phone, and asking if anyone’s seen her. He finally calls the local police department to report her disappearance and heads to her parents’ house.


title: Last Seen Alive

text: Lisa’s parents, Barry and Anna Adams, get into a small argument with Will as he tries to tell them what happened and ask for their help in locating her. A flashback reveals the tension between the couple, where Lisa initially suggests they have some time apart and can’t explain why she’s no longer invested in their marriage. Will heads back to the gas station and meets Detective Paterson, who asks the gas station clerk, Oscar, questions and for security footage, to which Oscar claims the cameras are broken. Finding no leads, the detective returns to the station and Will questions Oscar once more. Noticing the cameras are recording, he starts to suspect Oscar, and gets into a fight with him until he’s able to rip the CCTV box from the wall. He shows the footage to Paterson at the station immediately. They watch the start of Lisa’s interaction with the man until the white truck cuts off view.


title: Last Seen Alive

text: Detective Paterson then takes Will to be interrogated, implying his involvement in her disappearance due to their broken marriage. Will leaves angrily and shows Barry and Anna the picture of the man and his car in the security footage, and Anna and Barry identify the man as Knuckles, their handyman. Will pulls up to Knuckles’ trailer and questions him about Lisa. They get into a violent fight in which Will finally subdues Knuckles and takes his gun. Knuckles says he didn’t have a choice and was forced to leave Lisa with someone named Frank. Will duct tapes Knuckles and stuffs him in his trunk as he speeds off to find Frank, but gets pulled over for speeding. The cop forces Will to step out of his car to search it. Just before he finds Knuckles in the trunk, Will bolts for the nearby woods on the side of the road. The cop then finds Knuckles whimpering in the trunk. At the same time, Detective Paterson visits Barry and Anna, revealing her affair with “Clint,” but cut off all contact with him afterwards despite his attempts to reach out to her. Another flashback indicates Anna was distrustful of Will.


title: Last Seen Alive

text: Will fast-talks a guard into letting him pass into Frank’s drug lab in the woods full of addicts and sees Oscar arrive, confirming his earlier suspicions. Will sneaks around the camp in search of Lisa and Detective Paterson questions Knuckles about Lisa’s kidnapping. A flashback reveals the moment Knuckles takes Lisa, threatening her into his car. Will quietly stalks Frank into a building, momentarily reminiscing on good times with his wife, before pulling a gun on Frank and begging him to tell him where his wife is. He ends up shooting dead Frank and one of his men as the building catches fire with all the drug chemicals and flammable tanks.


title: Last Seen Alive

text: The beginning scene with Detective Paterson and Knuckles replays as Paterson pushes Knuckles to confess. Finally, Knuckles reveals Lisa is dead and how he had kidnapped her to ransom her off to Will, describing how he’d been forced by Frank to fix his “mistake” and dig a hole to bury her. Will, now free to search the camp, encounters Oscar, who reveals he has Lisa’s phone and that he knows where she is, demanding $20,000 for information. The building suddenly explodes, killing Oscar, and Detective Paterson arrives on-scene. He tells Will to stay and goes to investigate the hole, finding it not filled and empty. At the same time, Will hears banging from a nearby shed and finds a terrified but alive Lisa tied up. They embrace and he carries her out.


title: Last Seen Alive

text: At the Adams’ house, Detective Paterson briefly stops by to inform Will that Knuckles confessed and implies that he knows not everyone at the drug lab died in the explosion due to gunshot wounds being found on some bodies. He smiles and drives off. Lisa tells Will she wants to show him something and they walk off, smiling and holding hands.


title: Last Seen Alive

text: The film was shot under the title of "Chase" and was acquired for distribution by Voltage Pictures in July 2021.


title: Last Seen Alive

text: On Rotten Tomatoes, the film holds an approval rating of 15% based on 13 reviews, with an average rating of 3.9/10. Common Sense Media gave the film 2 stars out of 5, claiming the film failed to "manage to create a sense of intrigue about any of its characters".


title: Last Seen Alive

text: Opening scene is eerily similar to that of "The Vanishing" (1993) where Kiefer Sutherland's character loses his fiancé (played by Sandra Bullock) at a gas station/convenience store on their way to a vacation.


title: Mid central vowel

text: The mid central vowel (also known as schwa) is a type of vowel sound, used in some spoken languages. The symbol in the International Phonetic Alphabet that represents this sound is , a rotated lowercase letter e.


title: Mid central vowel

text: While the "Handbook of the International Phonetic Association" does not define the roundedness of , it is more often unrounded than rounded. The phonetician Jane Setter describes the pronunciation of the unrounded variant as follows: "a sound which can be produced by basically relaxing the articulators in the oral cavity and vocalising." To produce the rounded variant, all that needs to be done in addition to that is to round the lips.


title: Mid central vowel

text: Afrikaans contrasts unrounded and rounded mid central vowels; the latter is usually transcribed with . The contrast is not very stable, and many speakers use an unrounded vowel in both cases.


title: Mid central vowel

text: Danish and Luxembourgish have a mid central vowel that is variably rounded. In other languages, the change in rounding is accompanied with the change in height and/or backness. For instance, in Dutch, the unrounded allophone of is mid central unrounded , but its word-final rounded allophone is close-mid front rounded , close to the main allophone of .


title: Mid central vowel

text: The symbol is often used for any unstressed obscure vowel, regardless of its precise quality. For instance, the English vowel transcribed is a central unrounded vowel that can be close-mid , mid or open-mid , depending on the environment.


title: Mid central vowel

text: The mid central unrounded vowel is frequently written with the symbol . If greater precision is desired, the symbol for the close-mid central unrounded vowel may be used with a lowering diacritic, . Another possibility is using the symbol for the open-mid central unrounded vowel with a raising diacritic, .


title: Mid central vowel

text: Languages may have a mid central rounded vowel (a rounded ), distinct from both the close-mid and open-mid vowels. However, since no language is known to distinguish all three, there is no separate IPA symbol for the mid vowel, and the symbol for the close-mid central rounded vowel is generally used instead. If precision is desired, the lowering diacritic can be used: . This vowel can also be represented by adding the more rounded diacritic to the schwa symbol, or by combining the raising diacritic with the open-mid central rounded vowel symbol, although it is rare to use such symbols.


title: Dual space

text: In mathematics, any vector space "formula_1" has a corresponding dual vector space (or just dual space for short) consisting of all linear forms on "formula_1", together with the vector space structure of pointwise addition and scalar multiplication by constants.


title: Dual space

text: The dual space as defined above is defined for all vector spaces, and to avoid ambiguity may also be called the .


title: Dual space

text: When defined for a topological vector space, there is a subspace of the dual space, corresponding to continuous linear functionals, called the "continuous dual space".


title: Dual space

text: Dual vector spaces find application in many branches of mathematics that use vector spaces, such as in tensor analysis with finite-dimensional vector spaces.


title: Dual space

text: When applied to vector spaces of functions (which are typically infinite-dimensional), dual spaces are used to describe measures, distributions, and Hilbert spaces. Consequently, the dual space is an important concept in functional analysis.


title: Dual space

text: Early terms for "dual" include "polarer Raum" [Hahn 1927], "espace conjugué", "adjoint space" [Alaoglu 1940], and "transponierter Raum" [Schauder 1930] and [Banach 1932]. The term "dual" is due to Bourbaki 1938.


title: Dual space

text: Given any vector space formula_1 over a field formula_4, the (algebraic) dual space formula_5 (alternatively denoted by formula_6 or formula_7) is defined as the set of all linear maps "formula_8" (linear functionals). Since linear maps are vector space homomorphisms, the dual space may be denoted formula_9.


title: Dual space

text: The dual space formula_10 itself becomes a vector space over "formula_4" when equipped with an addition and scalar multiplication satisfying:


title: Dual space

text: The pairing of a functional "formula_17" in the dual space formula_10 and an element "formula_19" of "formula_1" is sometimes denoted by a bracket: "formula_21"


title: Dual space

text: or "formula_22". This pairing defines a nondegenerate bilinear mapping formula_23 called the natural pairing.


title: Dual space

text: If "V" is finite-dimensional, then "V" has the same dimension as "V". Given a basis in "V", it is possible to construct a specific basis in "V", called the dual basis. This dual basis is a set of linear functionals on "V", defined by the relation


title: Dual space

text: for any choice of coefficients . In particular, letting in turn each one of those coefficients be equal to one and the other coefficients zero, gives the system of equations


title: Dual space

text: where formula_26 is the Kronecker delta symbol. This property is referred to as "bi-orthogonality property".


title: Dual space

text: For example, if "V" is R, let its basis be chosen as . The basis vectors are not orthogonal to each other. Then, e and e are one-forms (functions that map a vector to a scalar) such that , , , and . (Note: The superscript here is the index, not an exponent.) This system of equations can be expressed using matrix notation as


title: Dual space

text: Solving this equation shows the dual basis to be . Because e and e are functionals, they can be rewritten as e("x", "y") = 2"x" and e("x", "y") = −"x" + "y". In general, when "V" is R, if E = (e, ..., e) is a matrix whose columns are the basis vectors and Ê = (e, ..., e) is a matrix whose columns are the dual basis vectors, then


title: Dual space

text: where "I" is an identity matrix of order . The biorthogonality property of these two basis sets allows any point x ∈ "V" to be represented as


title: Dual space

text: even when the basis vectors are not orthogonal to each other. Strictly speaking, the above statement only makes sense once the inner product formula_51 and the corresponding duality pairing are introduced, as described below in "".


title: Dual space

text: In particular, R can be interpreted as the space of columns of real numbers, its dual space is typically written as the space of "rows" of real numbers. Such a row acts on R as a linear functional by ordinary matrix multiplication. This is because a functional maps every -vector "x" into a real number "y". Then, seeing this functional as a matrix "M", and "x", "y" as a matrix and a matrix (trivially, a real number) respectively, if then, by dimension reasons, "M" must be a matrix; that is, "M" must be a row vector.


title: Dual space

text: If "V" consists of the space of geometrical vectors in the plane, then the level curves of an element of "V" form a family of parallel lines in "V", because the range is 1-dimensional, so that every point in the range is a multiple of any one nonzero element.


title: Dual space

text: So an element of "V" can be intuitively thought of as a particular family of parallel lines covering the plane. To compute the value of a functional on a given vector, it suffices to determine which of the lines the vector lies on. Informally, this "counts" how many lines the vector crosses.


title: Dual space

text: More generally, if "V" is a vector space of any dimension, then the level sets of a linear functional in "V" are parallel hyperplanes in "V", and the action of a linear functional on a vector can be visualized in terms of these hyperplanes.


title: Dual space

text: If "V" is not finite-dimensional but has a basis e indexed by an infinite set "A", then the same construction as in the finite-dimensional case yields linearly independent elements e () of the dual space, but they will not form a basis.


title: Dual space

text: For instance, the space R, whose elements are those sequences of real numbers that contain only finitely many non-zero entries, which has a basis indexed by the natural numbers N: for , e is the sequence consisting of all zeroes except in the "i"-th position, which is "1".


title: Dual space

text: The dual space of R is (isomorphic to) R, the space of "all" sequences of real numbers: each real sequence ("a") defines a function where the element ("x") of R is sent to the number


title: Dual space

text: which is a finite sum because there are only finitely many nonzero "x". The dimension of R is countably infinite, whereas R does not have a countable basis.


title: Dual space

text: This observation generalizes to any infinite-dimensional vector space "V" over any field "F": a choice of basis identifies "V" with the space ("F") of functions such that is nonzero for only finitely many , where such a function "f" is identified with the vector


title: Dual space

text: in "V" (the sum is finite by the assumption on "f", and any may be written in this way by the definition of the basis).


title: Dual space

text: The dual space of "V" may then be identified with the space "F" of "all" functions from "A" to "F": a linear functional "T" on "V" is uniquely determined by the values it takes on the basis of "V", and any function (with ) defines a linear functional "T" on "V" by


title: Dual space

text: The set ("F") may be identified (essentially by definition) with the direct sum of infinitely many copies of "F" (viewed as a 1-dimensional vector space over itself) indexed by "A", i.e. there are linear isomorphisms


title: Dual space

text: On the other hand, "F" is (again by definition), the direct product of infinitely many copies of "F" indexed by "A", and so the identification


title: Dual space

text: Considering cardinal numbers, denoted here as absolute values, one has thus for a -vector space that has an infinite basis


title: Dual space

text: It follows that, if a vector space is not finite-dimensional, then the axiom of choice implies that the algebraic dual space is "always" of larger dimension (as a cardinal number) than the original vector space (since, if two bases have the same cardinality, the spanned vector spaces have the same cardinality). This is in contrast to the case of the continuous dual space, discussed below, which may be isomorphic to the original vector space even if the latter is infinite-dimensional.


title: Dual space

text: If "V" is finite-dimensional, then "V" is isomorphic to "V". But there is in general no natural isomorphism between these two spaces. Any bilinear form on "V" gives a mapping of "V" into its dual space via


title: Dual space

text: where the right hand side is defined as the functional on "V" taking each to . In other words, the bilinear form determines a linear mapping


title: Dual space

text: If "V" is finite-dimensional, then this is an isomorphism onto all of "V". Conversely, any isomorphism formula_61 from "V" to a subspace of "V" (resp., all of "V" if "V" is finite dimensional) defines a unique nondegenerate bilinear form on "V" by


title: Dual space

text: Thus there is a one-to-one correspondence between isomorphisms of "V" to a subspace of (resp., all of) "V" and nondegenerate bilinear forms on "V".


title: Dual space

text: If the vector space "V" is over the complex field, then sometimes it is more natural to consider sesquilinear forms instead of bilinear forms.


title: Dual space

text: In that case, a given sesquilinear form determines an isomorphism of "V" with the complex conjugate of the dual space


title: Dual space

text: The conjugate of the dual space formula_64 can be identified with the set of all additive complex-valued functionals such that


title: Dual space

text: There is a natural homomorphism formula_66 from formula_1 into the double dual formula_68, defined by formula_69 for all formula_70. In other words, if formula_71 is the evaluation map defined by formula_72, then formula_73 is defined as the map formula_74. This map formula_66 is always injective; it is an isomorphism if and only if formula_1 is finite-dimensional.


title: Dual space

text: Indeed, the isomorphism of a finite-dimensional vector space with its double dual is an archetypal example of a natural isomorphism.


title: Dual space

text: Infinite-dimensional Hilbert spaces are not isomorphic to their algebraic double duals, but instead to their continuous double duals.


title: Dual space

text: for every "formula_78". The resulting functional "formula_79" in "formula_10" is called the "pullback" of "formula_17" along "formula_82".


title: Dual space

text: where the bracket [·,·] on the left is the natural pairing of "V" with its dual space, and that on the right is the natural pairing of "W" with its dual. This identity characterizes the transpose, and is formally similar to the definition of the adjoint.


title: Dual space

text: The assignment produces an injective linear map between the space of linear operators from "V" to "W" and the space of linear operators from "W" to "V"; this homomorphism is an isomorphism if and only if "W" is finite-dimensional.


title: Dual space

text: If then the space of linear maps is actually an algebra under composition of maps, and the assignment is then an antihomomorphism of algebras, meaning that .


title: Dual space

text: In the language of category theory, taking the dual of vector spaces and the transpose of linear maps is therefore a contravariant functor from the category of vector spaces over "F" to itself.


title: Dual space

text: If the linear map "f" is represented by the matrix "A" with respect to two bases of "V" and "W", then "f" is represented by the transpose matrix "A" with respect to the dual bases of "W" and "V", hence the name.


title: Dual space

text: Alternatively, as "f" is represented by "A" acting on the left on column vectors, "f" is represented by the same matrix acting on the right on row vectors.


title: Dual space

text: These points of view are related by the canonical inner product on R, which identifies the space of column vectors with the dual space of row vectors.


title: Dual space

text: The annihilator of "S" in "V", denoted here "S", is the collection of linear functionals such that for all .


title: Dual space

text: Within finite dimensional vector spaces, the annihilator is dual to (isomorphic to) the orthogonal complement.


title: Dual space

text: The annihilator of the zero vector is the whole dual space: formula_86, and the annihilator of the whole space is just the zero covector: formula_87.


title: Dual space

text: Furthermore, the assignment of an annihilator to a subset of "V" reverses inclusions, so that if , then


title: Dual space

text: and equality holds provided "V" is finite-dimensional. If "A" is any family of subsets of "V" indexed by "i" belonging to some index set "I", then


title: Dual space

text: after identifying "W" with its image in the second dual space under the double duality isomorphism . In particular, forming the annihilator is a Galois connection on the lattice of subsets of a finite-dimensional vector space.


title: Dual space

text: If "W" is a subspace of "V" then the quotient space "V"/"W" is a vector space in its own right, and so has a dual. By the first isomorphism theorem, a functional factors through "V"/"W" if and only if "W" is in the kernel of "f". There is thus an isomorphism


title: Dual space

text: As a particular consequence, if "V" is a direct sum of two subspaces "A" and "B", then "V" is a direct sum of "A" and "B".


title: Dual space

text: The dual space is analogous to a "negative"-dimensional space. Most simply, since a vector formula_84 can be paired with a covector formula_95 by the natural pairing


title: Dual space

text: formula_96 to obtain a scalar, a covector can "cancel" the dimension of a vector, similar to reducing a fraction. Thus while the direct sum formula_97 is an -dimensional space (if is -dimensional), behaves as an -dimensional space, in the sense that its dimensions can be canceled against the dimensions of . This is formalized by tensor contraction.


title: Dual space

text: This arises in physics via dimensional analysis, where the dual space has inverse units. Under the natural pairing, these units cancel, and the resulting scalar value is dimensionless, as expected. For example in (continuous) Fourier analysis, or more broadly time–frequency analysis: given a one-dimensional vector space with a unit of time , the dual space has units of frequency: occurrences "per" unit of time (units of ). For example, if time is measured in seconds, the corresponding dual unit is the inverse second: over the course of 3 seconds, an event that occurs 2 times per second occurs a total of 6 times, corresponding to formula_98. Similarly, if the primal space measures length, the dual space measures inverse length.


title: Dual space

text: When dealing with topological vector spaces, the continuous linear functionals from the space into the base field formula_99 (or formula_100) are particularly important.


title: Dual space

text: This gives rise to the notion of the "continuous dual space" or "topological dual" which is a linear subspace of the algebraic dual space formula_10, denoted by formula_7.


title: Dual space

text: For any "finite-dimensional" normed vector space or topological vector space, such as Euclidean "n-"space, the continuous dual and the algebraic dual coincide.


title: Dual space

text: This is however false for any infinite-dimensional normed space, as shown by the example of discontinuous linear maps.


title: Dual space

text: Nevertheless, in the theory of topological vector spaces the terms "continuous dual space" and "topological dual space" are often replaced by "dual space".


title: Dual space

text: For a topological vector space formula_1 its "continuous dual space", or "topological dual space", or just "dual space" (in the sense of the theory of topological vector spaces) formula_7 is defined as the space of all continuous linear functionals formula_105.


title: Dual space

text: Important examples for continuous dual spaces are the space of compactly supported test functions formula_106 and its dual formula_107 the space of arbitrary distributions (generalized functions); the space of arbitrary test functions formula_108 and its dual formula_109 the space of compactly supported distributions; and the space of rapidly decreasing test functions formula_110 the Schwartz space, and its dual formula_111 the space of tempered distributions (slowly growing distributions) in the theory of generalized functions.


title: Dual space

text: If is a Hausdorff topological vector space (TVS), then the continuous dual space of is identical to the continuous dual space of the completion of .


title: Dual space

text: There is a standard construction for introducing a topology on the continuous dual formula_7 of a topological vector space formula_1. Fix a collection formula_114 of bounded subsets of formula_1.


title: Dual space

text: This gives the topology on formula_1 of uniform convergence on sets from formula_117 or what is the same thing, the topology generated by seminorms of the form


title: Dual space

text: where formula_17 is a continuous linear functional on formula_1, and formula_121 runs over the class formula_122


title: Dual space

text: This means that a net of functionals formula_123 tends to a functional formula_17 in formula_7 if and only if


title: Dual space

text: If these requirements are fulfilled then the corresponding topology on formula_7 is Hausdorff and the sets


title: Dual space

text: If formula_1 is a normed vector space (for example, a Banach space or a Hilbert space) then the strong topology on formula_7 is normed (in fact a Banach space if the field of scalars is complete), with the norm


title: Dual space

text: Each of these three choices of topology on formula_7 leads to a variant of reflexivity property for topological vector spaces:


title: Dual space

text: Define the number "q" by . Then the continuous dual of "ℓ" is naturally identified with "ℓ": given an element formula_160, the corresponding element of is the sequence formula_161 where formula_162 denotes the sequence whose -th term is 1 and all others are zero. Conversely, given an element , the corresponding continuous linear functional "formula_17" on is defined by


title: Dual space

text: In a similar manner, the continuous dual of is naturally identified with (the space of bounded sequences).


title: Dual space

text: Furthermore, the continuous duals of the Banach spaces "c" (consisting of all convergent sequences, with the supremum norm) and "c" (the sequences converging to zero) are both naturally identified with .


title: Dual space

text: By the Riesz representation theorem, the continuous dual of a Hilbert space is again a Hilbert space which is anti-isomorphic to the original space.


title: Dual space

text: This gives rise to the bra–ket notation used by physicists in the mathematical formulation of quantum mechanics.


title: Dual space

text: By the Riesz–Markov–Kakutani representation theorem, the continuous dual of certain spaces of continuous functions can be described using measures.


title: Dual space

text: If is a continuous linear map between two topological vector spaces, then the (continuous) transpose is defined by the same formula as before:


title: Dual space

text: The resulting functional is in . The assignment produces a linear map between the space of continuous linear maps from "V" to "W" and the space of linear maps from to .


title: Dual space

text: When "T" is a compact linear map between two Banach spaces "V" and "W", then the transpose is compact.


title: Dual space

text: When "V" is a Hilbert space, there is an antilinear isomorphism "i" from "V" onto its continuous dual .


title: Dual space

text: When "T" is a continuous linear map between two topological vector spaces "V" and "W", then the transpose is continuous when and are equipped with "compatible" topologies: for example, when for and , both duals have the strong topology of uniform convergence on bounded sets of "X", or both have the weak-∗ topology of pointwise convergence on "X".


title: Dual space

text: Assume that "W" is a closed linear subspace of a normed space "V", and consider the annihilator of "W" in ,


title: Dual space

text: Then, the dual of the quotient can be identified with "W", and the dual of "W" can be identified with the quotient .


title: Dual space

text: Indeed, let "P" denote the canonical surjection from "V" onto the quotient ; then, the transpose is an isometric isomorphism from into , with range equal to "W".


title: Dual space

text: If "j" denotes the injection map from "W" into "V", then the kernel of the transpose is the annihilator of "W":


title: Dual space

text: In analogy with the case of the algebraic double dual, there is always a naturally defined continuous linear operator from a normed space "V" into its continuous double dual , defined by


title: Dual space

text: When "V" is a topological vector space then Ψ("x") can still be defined by the same formula, for every , however several difficulties arise.


title: Dual space

text: First, when "V" is not locally convex, the continuous dual may be equal to { 0 } and the map Ψ trivial.


title: Dual space

text: However, if "V" is Hausdorff and locally convex, the map Ψ is injective from "V" to the algebraic dual of the continuous dual, again as a consequence of the Hahn–Banach theorem.


title: Dual space

text: Second, even in the locally convex setting, several natural vector space topologies can be defined on the continuous dual , so that the continuous double dual is not uniquely defined as a set. Saying that Ψ maps from "V" to , or in other words, that Ψ("x") is continuous on for every , is a reasonable minimal requirement on the topology of , namely that the evaluation mappings


title: Dual space

text: be continuous for the chosen topology on . Further, there is still a choice of a topology on , and continuity of Ψ depends upon this choice.


title: FIFA Futsal World Cup

text: The FIFA Futsal World Cup is an international futsal competition contested by the senior men's national teams of the member associations of FIFA, the sport's global governing body. Since the first edition that took place in 1989 in the Netherlands, the tournament has been held every four years since 1992 in the even year between two 11-a-side World Cups.


title: FIFA Futsal World Cup

text: The current champions are Portugal, who won their first world title after beating the 2016 defending champions Argentina in the final of the 2021 tournament in Lithuania.


title: FIFA Futsal World Cup

text: All events prior to 2008 were 16-team events. The first event featured 6 teams from Europe, 3 from South America, 2 from Africa, 2 from Asia, 2 from North and Central America and 1 from Oceania. Since 2012, it includes 24 teams split to a six group round-robin tournament with four teams in each group. The top two teams in each group, together with the 4 highest-ranked third-place finishers, advanced to a sixteen-team knockout stage.


title: FIFA Futsal World Cup

text: In this ranking 3 points are awarded for a win, 1 for a draw and 0 for a loss. As per statistical convention in football, matches decided in extra time are counted as wins and losses, while matches decided by penalty shoot-outs are counted as draws. Teams are ranked by total points, then by goal difference, then by goals scored.


title: FIFA Futsal World Cup

text: The "adidas Golden Ball" award is awarded to the player who plays the most outstanding football during the tournament. It is selected by the media poll.


title: FIFA Futsal World Cup

text: The "adidas Golden Shoe" is awarded to the top scorer of the tournament. If more than one players are equal by same goals, the players will be selected based by the most assists during the tournament.


title: FIFA Futsal World Cup

text: "FIFA Fair Play Award" is given to the team who has the best fair play record during the tournament with the criteria set by FIFA Fair Play Committee.


title: FIFA Futsal World Cup

text: In 2012, FIFA extended the FIFA Champions Badge to the winners of the competition, where it was first won by Brazil.


title: Nebula (streaming service)

text: Nebula is a global independent video-on-demand streaming service provider. Nebula was started by founder Dave Wiskus and the creators within the Standard creator community and is meant to complement creators' other distribution channels, namely YouTube and podcast platforms. It is owned as a joint venture between Standard and the creators with a minority holding by Curiosity Stream, and profit is divided 50/50 between the creators and Standard, with the creator pool paid out based on watch time.


title: Nebula (streaming service)

text: The idea for Nebula was started and discussed as part of the Standard creator community discussions online and at VidCon, and Nebula launched on 23 May 2019, with about 75 creators. Nebula has grown substantially since starting, with over 140 creators who together have over 120 million collective YouTube subscribers and reaching over 500,000 subscribers making it one of the most successful YouTube rival platforms. The service was nominated for best Influencer Campaign in the 10th Annual Streamy Awards. and Best Creator Product in the 11th Annual Streamy Awards. They have had a long-standing promotion with Curiosity Stream to promote a bundle subscription for both services; it was announced in September 2021 that Curiosity Stream bought a minority share of Nebula, valuing the company at over $50 million. In May 2022, Nebula Classes began hosting content creators' paid online courses.


title: Nebula (streaming service)

text: Nebula has over 160 creators and channels, with most of the content also on YouTube or podcast platforms, but there are also Nebula Originals that are made by one or more creators and only available on the platform. Most creators have some original content only on the platform, and most of the content on the platform is sponsorship free, unlike the same videos on YouTube, and there are no ads on the platform. Nebula's parent company Standard also launched an in-house production company Standard Studios to help its creators with production, editing, and graphics for both Nebula Originals and videos that are also hosted both on Nebula and elsewhere. The streaming service is mostly promoted through content creators promoting the site on their other platforms, as it does not pay to advertise elsewhere or have any publicists on staff.


title: Nebula (streaming service)

text: Nebula's video content library is categorized in these categories: Animation, Explainers, Film & TV, Gaming, History, Music, Originals, Science & Engineering, Technology, and Writing. Some of its notable creators include Jordan Harrod, Hbomberguy, Lindsay Ellis, LegalEagle, MinuteEarth, Tom Scott, Extra Credits, Adam Neely, Rene Ritchie and Sam Denby. Many of these creators are also some of the top Patreon earners, and have been called the "Smart Youtuber Mafia". Nebula also doubles as a podcast platform with various audio podcasts, mostly by the same creators as its video content. Nebula is accessible through multiple platforms, including computers, smartphones, tablets, or other smart devices via a modern web browser, or their iOS, Apple TV, Roku, Fire TV, Android TV and Android apps. Other device apps are being actively developed but not yet available.


title: Constitution of Canada

text: The Constitution of Canada () is the supreme law in Canada. It outlines Canada's system of government and the civil and human rights of those who are citizens of Canada and non-citizens in Canada. Its contents are an amalgamation of various codified acts, treaties between the Crown and Indigenous Peoples (both historical and modern), uncodified traditions and conventions. Canada is one of the oldest constitutional monarchies in the world.


title: Constitution of Canada

text: According to subsection 52(2) of the "Constitution Act, 1982", the Canadian Constitution consists of the "Canada Act 1982" (which includes the "Constitution Act, 1982"), acts and orders referred to in its schedule (including in particular the "Constitution Act, 1867", formerly the "British North America Act, 1867"), and any amendments to these documents. The Supreme Court of Canada has held that the list is not exhaustive and also includes a number of pre-confederation acts and unwritten components as well. See list of Canadian constitutional documents for details.


title: Constitution of Canada

text: The first semblance of a constitution for Canada was the Royal Proclamation of 1763. The act renamed the northeasterly portion of the former French province of New France as Province of Quebec, roughly coextensive with the southern third of contemporary Quebec. The proclamation, which established an appointed colonial government, was the constitution of Quebec until 1774 when the British parliament passed the Quebec Act, which expanded the province's boundaries to the Ohio and Mississippi Rivers (one of the grievances listed in the United States Declaration of Independence). Significantly, the Quebec Act also replaced French criminal law with the English common law system; but the French civil law system was retained for non-criminal matters.


title: Constitution of Canada

text: The Treaty of Paris of 1783 ended the American War of Independence and sent a wave of British loyalist refugees northward to Quebec and Nova Scotia. In 1784, the two provinces were divided: Nova Scotia was split into Nova Scotia, Cape Breton Island (rejoined to Nova Scotia in 1820), Prince Edward Island, and New Brunswick, while Quebec was split into Lower Canada (southern Quebec) and Upper Canada (southern through lower northern Ontario). The winter of 1837–38 saw rebellion in both Canadas, contributing to their re-union as the Province of Canada in 1841.


title: Constitution of Canada

text: The "British North America Act, 1867" established the Dominion of Canada as a federation of provinces. Initially, on 1 July 1867, four provinces entered into confederation as "One dominion under the name of Canada": Canada West (former Upper Canada, now Ontario), Canada East (former Lower Canada, now Quebec), Nova Scotia, and New Brunswick. Title to the Northwest Territories was transferred by the Hudson's Bay Company in 1870, out of which the province of Manitoba (the first to be established by the Parliament of Canada) was created. British Columbia joined Confederation in 1871, followed by Prince Edward Island in 1873. The Yukon Territory was created by Parliament in 1898, followed by Alberta and Saskatchewan in 1905 (all out of parts of the Northwest Territories). Newfoundland, Britain's oldest colony in the Americas and by then also a Dominion, joined Confederation in 1949. Nunavut was created in 1999 from the Northwest Territories.


title: Constitution of Canada

text: An Imperial Conference in 1926 that included the leaders of all Dominions and representatives from India (which then included Burma, Bangladesh, and Pakistan), led to the eventual enactment of the Statute of Westminster 1931. The statute, an essential transitory step from the British Empire to the Commonwealth of Nations, provided that existing Dominions became fully sovereign of the United Kingdom and any new Dominions would be fully sovereign upon the grant of Dominion status. Although listed, Newfoundland never ratified the statute so was still subject to imperial authority when its entire system of government and economy collapsed in the mid-1930s. Canada did ratify the statute but with a requested exception—the Canadian federal and provincial governments could not agree on an amending formula for the Canadian constitution. It would be another 50 years before this was achieved. In the interim, the British parliament periodically passed constitutional amendments when requested by the government of Canada. This was never anything but a rubber stamp.


title: Constitution of Canada

text: The patriation of the Canadian constitution was achieved in 1982 when the British parliament, with the request and assent of the Canadian parliament, passed the "Canada Act 1982", which included in its schedules the "Constitution Act, 1982". The United Kingdom thus renounced any remaining responsibility for, or jurisdiction over, Canada. In a formal ceremony on Parliament Hill in Ottawa, Queen Elizabeth II proclaimed the "Constitution Act, 1982" into law on 17 April 1982.


title: Constitution of Canada

text: The "Constitution Act, 1982", includes the "Canadian Charter of Rights and Freedoms". Before the Charter, various statutes protected an assortment of civil rights and obligations but nothing was enshrined in the constitution until 1982. The Charter has thus placed a strong focus upon individual and collective rights of the people of Canada. The enactment of the Charter of Rights and Freedoms has fundamentally changed much of Canadian constitutional law. The act also codified many previously oral constitutional conventions and made amendment of the constitution in general significantly more difficult. Previously, the Canadian constitution could be formally amended by an act of the British parliament, or by informal agreement between the federal and provincial governments, or even simply by adoption as the custom of an oral convention or performance that shows precedential but unwritten tradition. Since the act, textual amendments must now conform to certain specified provisions in the written portion of the Canadian constitution.


title: Constitution of Canada

text: This was an Act of the British parliament, originally called the "British North America Act, 1867". It outlined Canada's system of government, which combines Britain's Westminster model of parliamentary government with the division of sovereignty (federalism). Although it is the first of 20 "British North America Acts", it is the most famous as the primary document of Canadian Confederation. With the patriation of the Constitution in 1982, this Act was renamed "Constitution Act, 1867". In recent years, the 1867 document has mainly served as the basis on which the division of powers between the provinces and the federal government is analyzed.


title: Constitution of Canada

text: Endorsed by all provincial governments except that of Quebec, this was the formal Act of Parliament that effected Canada's full legislative independence from the United Kingdom. Part V of this act established an amending formula for the Canadian constitution, the lack of which (due to more than 50 years of disagreement between the federal and provincial governments) meant Canada's constitutional amendments still required enactment by the British parliament after Statute of Westminster in 1931.


title: Constitution of Canada

text: The "Constitution Act, 1982" was enacted as a schedule to the "Canada Act 1982", a British Act of Parliament which was introduced at the request of a joint address to Queen Elizabeth II by the Senate and House of Commons of Canada. The version of the "Canada Act 1982" which is in force in Britain is in English only, but the version of the Act in force in Canada is bilingual, English and French. In addition to enacting the "Constitution Act, 1982", the "Canada Act 1982" provides that no further British acts of Parliament will apply to Canada as part of its law, finalizing Canada's legislative independence.


title: Constitution of Canada

text: As noted above, this is Part I of the "Constitution Act, 1982". The Charter is the constitutional guarantee of the civil rights and liberties of every citizen in Canada, such as freedom of expression, of religion, and of mobility. Part II addresses the rights of Aboriginal peoples in Canada.


title: Constitution of Canada

text: It is written in plain language to ensure accessibility to the average citizen. It applies only to government and government actions to prevent the government from creating unconstitutional laws.


title: Constitution of Canada

text: Instead of the usual parliamentary procedure, which includes the monarch's formal royal assent for enacting legislation, amendments to the Constitution Act, 1982, must be done in accordance with Part V of the "Constitution Act, 1982", which provides for five different amending formulae. Amendments can be brought forward under section 46(1) by any province or the federal legislature. The general formula set out in section 38(1), known as the "7/50 formula", requires: (a) assent from both the House of Commons and the Senate; (b) the approval of two-thirds of the provincial legislatures (at least seven provinces) representing at least 50 per cent of the population (effectively, this would include at least Quebec or Ontario, as they are the most populous provinces). This formula specifically applies to amendments related to the proportionate representation in Parliament, powers, selection, and composition of the Senate, the Supreme Court and the addition of provinces or territories.


title: Constitution of Canada

text: The other amendment formulae are for particular cases as provided by the act. An amendment related to the Office of the King, the use of either official language (subject to section 43), the amending formula itself, or the composition of the Supreme Court, must be adopted by unanimous consent of all the provinces in accordance with section 41. In the case of an amendment related to provincial boundaries or the use of an official language within a province alone, the amendment must be passed by the legislatures affected by the amendment (section 43). In the case of an amendment that affects the federal government only, the amendment does not need the approval of the provinces (section 44). The same applies to amendments affecting the provincial government alone (section 45).


title: Constitution of Canada

text: Canada's constitution has roots going back to the thirteenth century, including England's Magna Carta and the first English Parliament of 1275. Canada's constitution is composed of several individual statutes. There are three general methods by which a statute becomes entrenched in the Constitution:


title: Constitution of Canada

text: The existence of unwritten constitutional components was reaffirmed in 1998 by the Supreme Court in "Reference re Secession of Quebec".


title: Constitution of Canada

text: The Constitution is more than a written text. It embraces the entire global system of rules and principles which govern the exercise of constitutional authority. A superficial reading of selected provisions of the written constitutional enactment, without more, may be misleading.


title: Constitution of Canada

text: Unlike in most federations, Canadian provinces do not have written provincial constitutions. Provincial constitutions are instead a combination of uncodified constitution, provisions of the Constitution of Canada, and provincial statutes.


title: Constitution of Canada

text: Overall structures of provincial governments (like the legislature and cabinet) are described in parts of the Constitution of Canada. Governmental structure of the original four provinces are described in Part V of the "Constitution Act, 1867". The three colonies that joined Canada after Confederation had existing UK legislation which described their governmental structure, and this was affirmed in each colony's "Terms of Union", which now form part of Canada's Constitution. The remaining three provinces were created by federal statute. Their constitutional structures are described in those statutes, which now form part of Canada's Constitution.


title: Constitution of Canada

text: Section 45 of the "Constitution Act, 1982" allows each province to amend its own constitution. However, if the desired change would require an amendment to any documents that form part of the Constitution of Canada, it would require the consent of the federal government under section 43. This was done, for example, by the "Constitution Amendment, 1998", when Newfoundland asked the federal government to amend the "Terms of Union of Newfoundland" to allow it to end denominational quotas for religion classes.


title: Constitution of Canada

text: All provinces have enacted legislation that establishes other rules for the structure of government. For example, every province (and territory) has an act governing elections to the legislature, and another governing procedure in the legislature. Two provinces have explicitly listed such acts as being part of their provincial constitution; see "Constitution of Quebec" and "Constitution Act" (British Columbia). However, these acts do not, generally, supersede other legislation and do not require special procedures to amend, and so they function as regular statutes rather than constitutional statutes.


title: Constitution of Canada

text: There is, however, some provincial legislation that does supersede all other provincial legislation, as a constitution would. This is referred to as quasi-constitutionality. Quasi-constitutionality is often applied to human rights laws, allowing those laws to act as a "de facto" constitutional charter of rights. There are also a small number of statutes that cannot be amended by a simple majority of the legislative assembly. For example, section 7 of the "Constitution of Alberta Amendment Act, 1990" requires plebiscites of Metis settlement members before that Act can be amended. Courts have not yet ruled about whether this kind of language really would bind future legislatures, but it might do so if the higher bar was met when creating the law.


title: Constitution of Canada

text: In 1983, Peter Greyson, an art student, entered Ottawa's National Archives (known today as Library and Archives Canada) and poured red paint mixed with glue over a copy of the proclamation of the 1982 constitutional amendment. He said he was displeased with the federal government's decision to allow United States missile testing in Canada and had wanted to "graphically illustrate to Canadians" how wrong he believed the government to be. Greyson was charged with public mischief and sentenced to 89 days in jail, 100 hours of community work, and two years of probation. A grapefruit-sized stain remains on the original document; restoration specialists opted to leave most of the paint intact, fearing that removal attempts would only cause further damage.


title: Peeping Tom (1960 film)

text: Peeping Tom is a 1960 British psychological horror-thriller film directed by Michael Powell, written by Leo Marks, and starring Carl Boehm, Anna Massey, and Moira Shearer. The film revolves around a serial killer who murders women while using a portable film camera to record their dying expressions of terror. Its title derives from the expression "peeping Tom", which describes a voyeur.


title: Peeping Tom (1960 film)

text: The film's controversial subject matter and its extremely harsh reception by critics had a severely negative impact on Powell's career as a director in the United Kingdom. However, it attracted a cult following, and in later years, it has been re-evaluated and is now widely considered a masterpiece, and a progenitor of the contemporary slasher film. The British Film Institute named it the 78th greatest British film of all time, and in 2017 a poll of 150 actors, directors, writers, producers and critics for "Time Out" magazine saw it ranked the 27th best British film ever.


title: Peeping Tom (1960 film)

text: In London, Mark Lewis (Carl Boehm) meets Dora (Brenda Bruce), a prostitute, covertly filming her with a camera hidden under his coat. Shown from the point of view of the camera viewfinder, he follows the woman into her flat, murders her, and later watches the film in his den. The following morning, Lewis films the police's removal of Dora's corpse from her home, posing as a reporter.


title: Peeping Tom (1960 film)

text: Lewis is a member of a film crew who aspires to become a filmmaker himself. He also works part-time photographing soft-porn pin-up pictures of women, sold under the counter. He is a shy, reclusive young man who hardly socializes outside of his workplace. He lives in the house of his late father, renting most of it via an agent while posing as a tenant himself. Helen Stephens (Anna Massey), a sweet-natured young woman who lives with her blind mother in the flat below his, befriends him out of curiosity after he has been discovered spying on her 21st birthday party.


title: Peeping Tom (1960 film)

text: Mark reveals to Helen through home films taken by his father that, as a child, he was used as a guinea pig for his father's psychological experiments on fear and the nervous system. Mark's father would study his son's reaction to various stimuli, such as lizards he put on his bed and would film the boy in all sorts of situations, even going as far as recording his son's reactions as he sat with his mother on her deathbed. He kept his son under constant watch and even wired all the rooms so that he could spy on him. Mark's father's studies enhanced his reputation as a renowned psychologist.


title: Peeping Tom (1960 film)

text: Mark arranges with Vivian (Moira Shearer), a stand-in at the studio, to make a film after the set is closed; he then kills her and stuffs her into a prop trunk. The body is discovered later during shooting by Diane, a female cast member who has already antagonized the director by fainting for real at points which are not in the script. The police link the two murders and notice that each victim died with a look of utter terror on her face. They interview everyone on the set, including Mark, who always keeps his camera running, claiming that he is making a documentary.


title: Peeping Tom (1960 film)

text: Helen goes out to dinner with Mark, even persuading him to leave his camera behind for once, and briefly kisses him once they return. Her mother, Mrs. Stephens, finds his behavior peculiar; aware, despite her blindness, how often Mark looks through Helen's window. Mrs. Stephens is waiting inside Mark's flat after his evening out with her daughter. Unable to wait until she leaves due to his compulsion, he begins screening his latest snuff film with her still in the room. She senses how emotionally disturbed he is and threatens to move, but Mark reassures her that he will never photograph or film Helen.


title: Peeping Tom (1960 film)

text: A psychiatrist is called to the set to console Diane. He chats with Mark and is familiar with his father's work. The psychiatrist relates the details of the conversation to the police, noting that Mark has "his father's eyes". Mark is tailed by the police to the newsagents, where he takes photographs of the pin-up model Milly (Pamela Green). Slightly later, it emerges that Mark has killed Milly before returning home.


title: Peeping Tom (1960 film)

text: Helen, who is curious about Mark's films, finally runs one of them. She becomes visibly upset and then frightened when he catches her. Mark reveals that he makes the films so that he can capture the fear of his victims. He has mounted a round mirror atop his camera so that he can capture the reactions of his victims as they see their impending deaths. He points the tripod's knife towards Helen's throat but refuses to kill her.


title: Peeping Tom (1960 film)

text: The police arrive and Mark realizes he is cornered. As he planned from the very beginning, he impales himself on the knife with the camera running, providing the finale for his documentary. The last shot shows Helen crying over Mark's dead body as the police enter the room.


title: Peeping Tom (1960 film)

text: "Peeping Tom" has been praised for its psychological complexity, which incorporates the "self-reflexive camera" as a plot device, as well as the themes of child abuse, sadomasochism, and scopophilic fetishism. On the surface, the film is about the Freudian relationships between the protagonist and, respectively, his father, and his victims. However, several critics argue that the film is as much about the voyeurism of the audience as they watch the protagonist's actions. Roger Ebert, in his 1999 review of the film for his "Great Films" series, states that "the movies make us into voyeurs. We sit in the dark, watching other people's lives. It is the bargain the cinema strikes with us, although most films are too well-behaved to mention it".


title: Peeping Tom (1960 film)

text: Martin Scorsese, who has long been an admirer of Powell's works, has stated that this film, along with Federico Fellini's "8½", contains all that can be said about directing:


title: Peeping Tom (1960 film)

text: According to Paul Wells, the film deals with the anxieties of British culture in regarding sexual repression, patriarchal obsession, voyeuristic pleasure and perverse violence. The impossible task in the film is the quest to photograph fear itself.


title: Peeping Tom (1960 film)

text: In the opinion of Peter Keough, the death scenes of the film would provide a field day to Freudian psychoanalysis and deconstructionists. Cinema here is equated to sexual aggression and a death wish, the camera to the phallus, photography to violation, and film to ritualized voyeurism. The emphasis of the film lies on morbidity, not on eroticism. In a memorable sequence, an attractive, semi-nude female character turns to the camera and reveals a disfiguring facial scar. This peeping tom is turned on not by naked bodies, but naked fear. And as Mark laments, whatever he photographs is lost to him. Mark is a loner whose only companion is his film camera. He is also the victim of his father's studies in the phenomenon of fear in children, a human guinea pig subjected to sadistic experiments. His love interest Helen has her own fascination with a morbid gaze. She is a children's writer whose book concerns a magic camera and what it photographs.


title: Peeping Tom (1960 film)

text: The themes of voyeurism in "Peeping Tom" are also explored in several films by Alfred Hitchcock. In his book on Hitchcock's 1958 film "Vertigo", film historian Charles Barr points out that the film's title sequence and several shots seem to have inspired moments in "Peeping Tom".


title: Peeping Tom (1960 film)

text: Chris Rodley's documentary "A Very British Psycho" (1997) draws comparisons between "Peeping Tom" and Hitchcock's "Psycho"; the latter film was given its New York premiere in June 1960, two months after "Peeping Tom"s premiere in London. Both films feature as protagonists atypically mild-mannered serial killers who are obsessed with their parents. However, despite containing material similar to "Peeping Tom", "Psycho" became a box-office success and only increased the popularity and fame of its director (although the film was widely criticized in the English press). One reason suggested in the documentary is that Hitchcock, seeing the negative press reaction to "Peeping Tom", decided to release "Psycho" without a press screening.


title: Peeping Tom (1960 film)

text: In his early career, Powell worked as a stills photographer and in other positions on Hitchcock's films, and the two were friends throughout their careers. A variant of "Peeping Tom"s main conceit, "The Blind Man", was one of Hitchcock's unproduced films around this time. Here, a blind pianist receives the eyes of a murder victim, but their retinas retain the image of the murder.


title: Peeping Tom (1960 film)

text: According to Isabelle McNeill, the film fits well within the slasher film subgenre, which was influenced by "Psycho". She lists a number of elements which it shares with both "Psycho" and the genre in general:


title: Peeping Tom (1960 film)

text: She finds that the film actually goes further than "Psycho" into slasher territory through introducing a series of female victims, and with Helen Stephens functioning as the bright and sympathetic final girl.


title: Peeping Tom (1960 film)

text: Screenwriter Leo Marks based portions of the film on his experience growing up as the son of Benjamin Marks, who owned the Marks & Co book store in London; elements of "Peeping Tom" is based on his observations of inner-city residents who frequented his father's store. The prostitute, Dora, who is murdered in the film's opening scene, was based on a real-life prostitute who was a regular patron of the Marks & Co book store. Additionally, Marks stated he was inspired to write a horror story and to become a codebreaker after reading "The Gold-Bug" by American writer Edgar Allan Poe. While writing the script, Marks believed the motivations behind Lewis' murder to be entirely sexual, though he would state in retrospect that he felt the psychological compulsion of the character was less sexual than it was unconscious. Prior to writing the screenplay for "Peeping Tom", Marks, a polymath, had worked as cryptographer during World War II.


title: Peeping Tom (1960 film)

text: Cohen originally wanted a star to play the lead role and suggested Dirk Bogarde but the Rank Organisation, who had him under contract, refused to loan him out. Laurence Harvey was attached for a while but pulled out during pre-production and Powell ended up casting German-Austrian actor Karlheinz Böhm (billed as "Carl Boehm"). Böhm, who was a friend of Powell's, noted that their prior acquaintance helped him psychoanalyze and "go into very, very special details" of the character. Böhm saw Lewis as a sympathetic character, whom he felt "great pity" for. In a 2008 interview, Böhm stated that he could identify with the character because he also stood for a long time in the shadow of his famous father, conductor Karl Böhm, and had a difficult relationship with him. Böhm also stated that he interpreted his character as being traumatized by growing up under the Nazi Regime.


title: Peeping Tom (1960 film)

text: Pamela Green, then a well-known glamour model in London, was cast in the role of Milly, one of Lewis's victims, who appears nude onscreen in the moments leading up to her murder scene. Her appearance marked the first scene in British cinema to feature frontal nudity.


title: Peeping Tom (1960 film)

text: Filming took six weeks beginning in October 1959. The film was financed by Nat Cohen at Anglo-Amalgamated with other funds from the National Film Finance Corporation.


title: Peeping Tom (1960 film)

text: "Peeping Tom" was first released in the United Kingdom by Anglo-Amalgamated, premiering in London on 7 April 1960. It is often considered part of a Sadean trilogy with "Horrors of the Black Museum" (1959) and "Circus of Horrors" (1960). The three films had different production companies but the same distributor. They are connected through their themes of voyeurism, disfigurement, and sadistic figures. Anglo-Amalgamated films were typically released in the United States by American International Pictures through a deal between the two companies. But AIP was not interested in releasing "Peeping Tom", apparently skeptical of its ability to satisfy audiences.


title: Peeping Tom (1960 film)

text: In the United States, the film was released by importer and distributor Astor Pictures in 1962. It was released simultaneously to the markets for genre horror films, art films, and exploitation films. It failed to find an audience and was one of the least successful releases by Astor. The film received a B rating from the National Legion of Decency, signifying "morally objectionable in part" content. The organization identified voyeurism and sadism as key elements of the film in its rating.


title: Peeping Tom (1960 film)

text: When "Peeping Tom" was first released in Italy in 1960 the Committee for the Theatrical Review of the Italian Ministry of Cultural Heritage and Activities rated it as VM16: not suitable for children under 16. The reason for the age restriction, cited in the official documents, is: the storyline is shocking and several scenes are not suitable for minors. In order for the film to be screened publicly, the Committee imposed the removal of the following scenes: 1) two scenes taking place in the photographer's studio, in particular, those in which Milly is shown alone, fully dressed and half-undressed, in front of the mirror because she is indecent; 2) two other scenes showing a woman lying on the bed excessively half-undressed, because she is indecent.


title: Peeping Tom (1960 film)

text: The official document number is: 32987, it was signed on 21 October 1960 by Minister . It was banned in Finland until 1981.


title: Peeping Tom (1960 film)

text: "Peeping Tom" has received several DVD releases. In the United Kingdom, it was released by Studio Canal and Warner Bros., and later in a six-DVD box set which also includes the films "I Know Where I'm Going!" and "A Canterbury Tale". In 2007, it received a new DVD release from Optimum Releasing in the United Kingdom, followed by a 50th Anniversary Blu-ray release in 2010.


title: Peeping Tom (1960 film)

text: The film was released in the United States by The Criterion Collection on LaserDisc on 23 March 1994 and on DVD on 16 November 1999. The Criterion release of the film has been out of print since at least 2010.


title: Peeping Tom (1960 film)

text: "Peeping Tom"s depiction of violence and its lurid sexual content made it a controversial film on initial release and the critical backlash heaped on the film was a major factor in finishing Powell's career as a director in the United Kingdom. Karlheinz Böhm later remembered that after the film's premiere, nobody from the audience went to shake the hand of him or Michael Powell. A contemporary assessment of the film published in "The Telegraph" noted that the film effectively "killed" Powell's career. British reviews tended towards the hyperbolic in negativity, an example being a review published in "The Monthly Film Bulletin" which likened Powell to the Marquis de Sade.


title: Peeping Tom (1960 film)

text: Derek Hill, reviewer of the "Tribune" suggested that "the only really satisfactory way to dispose of "Peeping Tom" would be to shovel it up and flush it swiftly down the nearest sewer". Len Mosley writing for the "Daily Express" said that the film was more nauseating and depressing than the leper colonies of East Pakistan, the back streets of Bombay, and the gutters of Calcutta. Caroline Lejeune of "The Observer" wrote: "It's a long time since a film disgusted me as much as "Peeping Tom"", ultimately deeming it a "beastly film".


title: Peeping Tom (1960 film)

text: "Peeping Tom" earned a cult following in the years after its initial release, and since the 1970s has received a critical reappraisal. Powell noted ruefully in his autobiography: "I make a film that nobody wants to see and then, thirty years later, everybody has either seen it or wants to see it". An account of the film's steady reappraisal can be found in "Scorsese on Scorsese", edited by Ian Christie and David Thompson. Martin Scorsese mentions that he first heard of the film as a film student in the early 1960s, when "Peeping Tom" opened in only one theatre in Alphabet City, which, Scorsese notes, was a seedy district of New York. The film was released in a cut black-and-white print but immediately became a cult fascination among Scorsese's generation. Scorsese states that the film, in this mutilated form, influenced Jim McBride's "David Holzman's Diary". Scorsese himself first saw the film in 1970 through a friend who owned an uncut 35mm colour print. In 1978, Scorsese was approached by a New York distributor, Corinth Films, which asked for $5,000 for a wider re-release. Scorsese gladly complied with their request, which allowed the film to reach a wider audience than its initial cult following. Vincent Canby wrote of the film in "The New York Times" in 1979:


title: Peeping Tom (1960 film)

text: Film theorist Laura Mulvey echoed a similar sentiment, writing: ""Peeping Tom" is a film of many layers and masks; its first reviewers were unable even to see it at face value. Entrenched in the traditions of English realism, these early critics saw an immoral film set in real life whose ironic comment on the mechanics of film spectatorship and identification confused them as viewers. But "Peeping Tom" offers realistic cinematic images that relate to the cinema and nothing more. It creates a magic space for its fiction somewhere between the camera’s lens and the projector’s beam of light on the screen".


title: Peeping Tom (1960 film)

text: Before his death in 1990, Powell saw the reputation of "Peeping Tom" rise and rise. Contemporarily, the film is considered a masterpiece and among the best horror films of all time. In 2004, the magazine "Total Film" named "Peeping Tom" the 24th greatest British film of all time, and in 2005, the same magazine listed it as the 18th greatest horror film of all time. The film contains the 38th of Bravo Channel's 100 Scariest Movie Moments. "The Guardian" named it the 10th best horror film of all time in 2010, and a 2017 review in "The Telegraph" of the best British films ever made, states, "contemporary critics in 1960 may have overlooked that voyeurism was its central theme. But who is the voyeur?"


title: Peeping Tom (1960 film)

text: Film aggregate Rotten Tomatoes has awarded the film a 95% rating, based on 56 reviews and an average score of 8.7/10. The website's consensus is: ""Peeping Tom" is a chilling, methodical look at the psychology of a killer, and a classic work of voyeuristic cinema".


title: R. Balki

text: R. Balakrishnan, popularly known as R. Balki, (born 16 April 1964) is an Indian filmmaker, screenwriter and former Group Chairman of the advertising agency Lowe Lintas (India). He is best known for directing "Cheeni Kum" (2007), "Paa" (2009) and "Pad Man" (2018).


title: R. Balki

text: He started, his career with Mudra at the age of 23. His passion had always been filmmaking. After college, he even applied to the Chennai Film Institute to do a course in direction. However, he did not like the panel that interviewed him, so he walked out. Not knowing what to do and having always been interested in Computers, he joined the newly begun Masters in Computer Application course at the Guindy College of Engineering, close to the film institute. After studying there for three years, he didn't complete the course due to lack of attendance. According to him, this was mainly because he spent his time playing cricket and watching films.


title: R. Balki

text: One day, he saw an advertisement in the papers by Mudra Communications. He had no idea about the company except the fact that their logo appeared after every episode of Buniyaad. And so he thought it was Ramesh Sippy's (the maker of Buniyaad) company. The advert asked people to send in 100 words describing who they were. He was selected for the first creative training programme by the agency. A programme that was like testing model for the agency for the creation of MICA years later.


title: R. Balki

text: Balki was soon addicted to advertising. Balki's ideas have included ""Daag Achche Hain"" for Surf Excel, ""Jaago re"" ads for Tata Tea, ""What an idea sirji"" Idea Cellular advertising campaign, Havells, Tanishq, ICICI Prudential, Saint-Gobain glass, Hamara Bajaj, Britannia, Pepsodent and many more.