title: Temple of Caesar

text: The temple functioned as a cult center for the cult of the deified Julius Caesar. Augustus used to dedicate the spoils of war in this temple. The altar and the shrine conveyed the rare right of asylum . After Augustus' death, a festival was held every four years in front of the "Rostra ad Divi Iuli" in honour of Augustus. The decorations included a famous painting by Apelles depicting Venus emerging from the sea, a nod to the claim of the Julian "gens" to descent from the goddess -- the plan of the temple overall recalled the plan of Caesar's Temple of Venus Genetrix, reinforcing the "family" connection.


title: Temple of Caesar

text: It seems that in that very place there was a "tribunal praetoris sub divo" with "gradus" known as the "tribunal Aurelium", a structure built by C. Aurelius Cotta around 80 BC near the so-called "Puteal Libonis", a "bidental" used for sacred oaths before trials. After the funeral of Caesar and the building of the temple, this tribunal was then moved in front of the Temple of Caesar, probably to the location of the so-called "Rostra Diocletiani".


title: Temple of Caesar

text: Some month's after Caesars' death, a comet appeared in the skies over Rome. The comet was bright enough to be visible in daylight, appearing an hour before sunset for seven consecutive days. The comet's appearance coincided with funeral games sponsored by Octavian on behalf of the assassinated dictator; popular opinion (helped along, it is usually believed, by Octavian and the Caesarian party) saw this apparition as proof that Caesar had ascended into the heavens alongside the gods. Inevitably, the comet became known as the "sidus Iulium" or, in English, "Caesar's Comet".


title: Temple of Caesar

text: The comet quickly became a key part of the iconography of the deified Caesar. Pliny, in his "Natural History," quotes Augustus as


title: Temple of Caesar

text: During the very time of these games of mine, a hairy star [= a comet] was seen during seven days, in the part of the heavens which is under the Great Bear. It rose about the eleventh hour of the day, was very bright, and was conspicuous in all parts of the earth. The common people supposed the star to indicate, that the soul of Cæsar was admitted among the immortal Gods; under which designation it was that the star was placed on the bust which was lately consecrated in the forum


title: Temple of Caesar

text: Octavian added a star to the statue of Caesar which he was in the process of erecting on the site of the future temple, and from then on a star became a common graphic motif in allusions to Caesar's divinity. The star was typically shown as an eight-pointed radiate star, sometimes with an additional "flame" marking it as a comet. Coins with this image were quite common under Augustus, but the image continued in use at least until the first century: the last known example is a solitary issue by the Rhine Legions during the confusion of the Year of the Four Emperors.


title: Temple of Caesar

text: It was sufficiently important to the visual identity of the "Aedes Divi Iulii" that Pliny described the building as "a temple dedicated to a comet" A coin issued in 36 BC (seven years before the dedication of the temple, presumably representing an early design) showed a tetrastyle temple with a start in its pediment and the inscription "DIVO IUL" on its tympanum. The final version of the temple included a statue of Caesar accompanied by a star: this may have been the statue first erected in 44 or a new one reflecting a similar iconographic program. The position of the temple on its high pedestal, looking down onto the forum and symbolically proclaiming the presence of the deified Julius, was a pointed reminder to the crowds in the forum of the connection between the new imperial order and Caesar's legacy.


title: Temple of Caesar

text: The temple remained largely intact until the late 15th century, when its marble and stones were reused to construct new churches and palaces. Only parts of the cement core of the platform have been preserved.


title: Temple of Caesar

text: The plan of this temple is missing in the Imperial Forma Urbis. The remaining fragments for this area of the Roman Forum are on slabs V-11, VII-11, VI-6 and show plans of the "Regia", the Temple of Castor and Pollux, the "Fons and Lacus Iuturnae", the "Basilica Iulia" and the "Basilica Aemilia". Vitruvius wrote that the temple was an example of a "pycnostyle" front porch, with six closely spaced columns on the front. However, the arrangement of the columns is uncertain, as it could be either "prostyle" or "peripteral".


title: Temple of Caesar

text: The column order originally used for this temple is uncertain. Ancient coins with representations of the Temple of Divus Iulius suggest the columns were either Ionic or composite, but fragments of Corinthian pilastre capitals have been found on the site by archaeologists. Some scholars hypothesize that the temple had an Ionic pronaos combined with Corinthian pilasters on the cella walls, i.e., at the corners of the cella; other scholars consider the temple to have been entirely Corinthian and the coin evidence as bad representations of Corinthian columns. The distinction between Corinthian and composite columns is a Renaissance one and not an Ancient Roman one. In Ancient Rome Corinthian and composite were part of the same order. It seems that the composite style was common on civil buildings and Triumphal arch exteriors and less common on temple exteriors. Many temples and religious buildings of the Augustan Age were Corinthian, such as the Temple of Mars Ultor, the "Maison Carrée" in Nîmes, and others.


title: Temple of Caesar

text: The temple was destroyed by fire during the reign of Septimius Severus and then restored. Comparisons with coins from the times of Augustus and Hadrian suggest the possibility that the order of the temple was changed during the restoration by Septimius Severus. The entablature and the cornice found on the site have a modillions and roses structure typical of the Corinthian order.


title: Temple of Caesar

text: The original position of the staircase of the podium remains uncertain. It may have been at the front and sides of the podium, or at the rear and sides of the podium . The position at the rear is a reconstruction model based on a hypothesized similarity between this temple and the Temple of Venus Genetrix in the Forum of Caesar. This similarity is not proved and merely based on the fact that during the public funeral and Mark Antony's speech the body of Julius Caesar was set on an ivory couch and in a gilded shrine modelled on the Temple of Venus Genetrix. The front position is based on some evidence from 19th century excavations and on an overall impression of the actual site, and on the depictions on ancient coins.


title: Temple of Caesar

text: Dio Cassius reports the attachment of a rostra from the battle of Actium to the podium. The so-called "Rostra ad Divi Iuli" was a podium used by orators for official and civil speeches and especially for Imperial funeral orations.


title: Temple of Caesar

text: The podium is clearly visible on coins from the Hadrian period and in the "Anaglypha Traiani", but the connection between the rostra podium and the temple structure is not evident.


title: Temple of Caesar

text: Also in this case there are many different hypothetical reconstructions of the general arrangement of the buildings of this part of the Roman Forum. According to one, the Rostra podium was attached to the Temple of Divus Iulius and is actually the podium of the Temple of Divus Iulius with the rostra (the prow of a warship) attached in a frontal position. According to other reconstructions, the Rostra podium was a separate platform built west of the temple of Divus Iulius and directly in front of it, so the podium of the "Temple of Divus Iulius" is not the platform used by the orators for their speeches and not the platform used to attach the prows of ships taken at Actium. This separate and independent podium or platform, known as "Rostra ad Divi Iuli", is also called "Rostra Diocletiani", due to the final arrangement of the building.


title: Temple of Caesar

text: From an analysis of ancient coins it is possible to determine two different series of decorations for the upper part of the frontal pediment of the temple. Fire tongues (their identification is uncertain) decorated the pediment, as in Etruscan decorated antefixes, similar to the decoration of the Temple of Jupiter on the Capitoline Hill. The fire tongues perhaps recalled the flames of the comet (star) on Augustan period coins. With a star as the main decoration of the tympanum, as can be seen on the Augustan coins, the whole temple had the function to represent the comet (star) that announced the deification of Julius Caesar and the reign of Augustus, as reported by Pliny the Elder.


title: Temple of Caesar

text: A statue at the vertex of the frontal pediment and two statues at the end corners of the pediment, the classical decoration for the pediments of the Roman temples, date to Hadrian's reign.


title: Temple of Caesar

text: Other Augustan era buildings with that particular type of Etruscan-style decoration appear on coins, as well as on representation of the frontal section of the Curia.


title: Temple of Caesar

text: The niche and the altar in front of the temple podium are also a problem of interpretation based on scarce data. They were visible in 29 BC when the temple was dedicated and when Augustus' coin series with the temple of Divus Iulius was struck from 37 BC to 34 BC. For the period after the coinage of that series there is no clear evidence. It is known that at some time the altar was removed and the niche filled in and closed with stones to create a continuous wall at the podium of the temple. According to various hypotheses this was done either in 14 BC, or probably before the 4th century AD, or after Constantine I or Theodosius I, due to religious concerns about the pagan cult of the emperor.


title: Temple of Caesar

text: Richardson and other scholars hypothesize that the filled in niche may have not been the altar of Julius Caesar, but the "Puteal Libonis", the old "bidental" used during trials at the "Tribunal Aurelium" for public oaths. According to C. Hülsen the circular structure visible under the Arch of Augustus is not the "Puteal Libonis", and other circular elements covered in travertine near the Temple of Caesar and the Arcus Augusti are too recent to belong to the Augustan era.


title: Temple of Caesar

text: The temple measured in width and in length, corresponding to 91 by 102 Roman feet. The podium or platform area was at least 5.5 m high (18 Roman feet) but only 3.5 m at the front. The columns, if Corinthian, were probably 11.8 to 12.4 m high, corresponding to 40 or 42 Roman feet.


title: Temple of Caesar

text: The frieze was a repetitive scroll pattern with female heads, gorgons and winged figures. The tympanum, at least during the first years, probably showed a colossal star, as can be seen on the Augustan coins.


title: Temple of Caesar

text: The cornice had dentils and beam type modillions (one of the first examples ever in Roman temple architecture) and undersides decorated with narrow rectangular panels carrying flowers, roses, disks, laurel crowns and pine-cones. Remnants of the decorations, including elements of a Victory representation and floral ornaments, are visible on site or in the Forum Museum ("Antiquarium Forense").


title: Temple of Caesar

text: a colossal statue of Julius Caesar, veiled as "Pontifex Maximus", with a star on his head and bearing the "lituus" augural staff in his right hand. When the doors of the temple were left open, it was possible to see the statue from the Roman Forum's main square. In the cella of the temple there was a famous painting by Apelles of "Venus Anadyomene". During the reign of Nero Apelles' painting deteriorated and could not be restored, so the emperor substituted for it another one by Dorotheus. There is also another painting by Apelles, depicting the Dioscuri with Victoria.


title: Bark (sound)

text: A bark is a sound most commonly produced from dogs. Other animals that make this noise include, but are not limited to, wolves, coyotes, foxes, seals and barking owls. Woof is the most common onomatopoeia in the English language for this sound. "Bark" is also a verb that describes the sound of many canids. University of Massachusetts Amherst researchers define a bark as a short vocalization.


title: Bark (sound)

text: While there is not a precise, consistent and functional acoustic definition for barking, researchers may classify barks according to several criteria. University of Massachusetts Amherst researchers define a bark as a short, abrupt vocalization that is relatively loud and high-pitched, changes in frequency and often repeats rapidly in succession.


title: Bark (sound)

text: Dog barking is distinct from wolf barking. Wolf barks represent only 2.4% of all wolf vocalizations and are described as "rare" occurrences. According to Schassburger, wolves bark only in warning, defense, and protest. In contrast, dogs bark in a wide variety of social situations, with acoustic communication in dogs being described as hypertrophic. Additionally, while wolf barks tend to be brief and isolated, dog barking is often repetitive. Dogs have been known to bark for hours on end.


title: Bark (sound)

text: While a distinct reason for the difference is unknown, a strong hypothesis is that the vocal communication of dogs developed due to their domestication. As evidenced by the farm-fox experiment, the process of domestication alters a breed in more ways than just tameness. Domesticated breeds show vast physical differences from their wild counterparts, notably an evolution that suggests neoteny, or the retention of juvenile characteristics in adults. Adult dogs have, for example, large heads, floppy ears, and shortened snouts – all characteristics seen in wolf puppies. The behavior, too, of adult dogs shows puppy-like characteristics: dogs are submissive, they whine, and they frequently bark. The experiment illustrates how selecting for one trait (in this case, tameness) can create profound by-products, both physical and behavioral.


title: Bark (sound)

text: The frequency of barking in dogs in relation to wolves could also be the product of the very different social environment of dogs. Dogs live in extraordinarily close range with humans, in many societies kept solely as companion animals. From a very young age, humans tend to be one of a dog's primary social contacts. This captive environment presents very different stimuli than would be found by wolves in the wild. While wolves have vast territories, dogs do not. The boundaries of a captive dog's territory will be visited frequently by intruders, thus triggering the bark response as a warning. Additionally, dogs densely populate urban areas, allowing more opportunity to meet new dogs and be social. For example, it is possible that kenneled dogs may have increased barking due to a desire to facilitate social behavior. Dogs' close relationship with humans also renders dogs reliant on humans, even for basic needs. Barking is a way to attract attention, and the behavior is continued by the positive response exhibited by the owners (e.g., if a dog barks to get food and the owner feeds it, the dog is being conditioned to continue said behavior).


title: Bark (sound)

text: Barking in domestic dogs is a controversial topic. While barking is suggested to be "non-communicative," data suggests that it may well be a means of expression that became increasingly sophisticated during domestication. Due to the lack of consensus over whether or not dogs actually communicate using their barks, not much work has been done on categorizing the different types of barking in dogs. That which has been done has been criticized by Feddersen-Petersen as "lack[ing] objectivity." Using sonographic methods, Feddersen-Petersen identified several distinct types of barks, then analyzed them for meanings, functions, and emotions. He separated dog barks into subgroups based on said sonographic data:


title: Bark (sound)

text: Not all breeds demonstrated every subgroup of barking. Instead, significant variance in vocalization was found between different breeds. Poodles showed the least of all barking subunits. Additionally, barking in wolves was observed as notably less diverse. For example, wolf barks are rarely harmonic, tending instead to be noisy.


title: Bark (sound)

text: There is some evidence that humans can determine the suspected emotions of dogs while listening to barks emitted during specific situations. Humans scored the emotions of dogs performing these barks very similarly and in ways that made sense according to the situation at hand. In one example, when subjects were played a recording of a dog tied alone to a tree, a situation in which one could reasonably infer that the dog would be distressed, the human listeners tended to rank the bark as having a high level of despair. It has been suggested that this may be evidence for the idea that dog barks have evolved to be a form of communication with humans specifically, since humans can so readily determine a dog's needs by simply listening to their vocalizations. Further studies have found that the acoustic structure of a bark "[varies] considerably with context." These studies suggest that barks are more than just random sounds, and indeed hold some sort of communicative purpose.


title: Bark (sound)

text: Nuisance-barking dogs sound off for no particular reason. "Many dogs bark when they hear other dogs barking," says Katherine A. Houpt, V.M.D., PhD, director of the Cornell Animal Behavior Clinic. Nuisance, inappropriate, or excessive barking comprises between 13 and 35 percent of behavior-problem complaints by dog owners, Houpt noted. The electric collars deliver an irritating shock of adjustable intensity when a vibration sensor in the collar detects barking. The citronella collar releases a spray of citronella when a microphone in the collar senses barking. For the eight dogs that wore both types of collars (one shepherd mix did not complete the study), all owners found the citronella collar to be effective in reducing or stopping nuisance barking and most preferred the fragrance spray. Four out of eight owners said electric shocks had no effect on their dogs—they kept on barking. The citronella collars had problems, Juarbe-D'az noted. One dog owner complained that citronella oil stained the upholstery when the dog, fond of lying about on upholstery, barked. "One owner thought the scent was preferable to her dog's body odor."


title: Bark (sound)

text: Dog barking can be a nuisance and is a common problem that dog owners or their neighbours may face. Different kinds of barking often require different kinds of approach to reduction.


title: Bark (sound)

text: The controversial surgical procedure known as 'debarking' or 'bark softening' is a veterinary procedure for modifying the voice box so that a barking dog will make a significantly reduced noise. It is considered a last resort by some owners, on the basis that it is better than euthanasia, seizure, or legal problems if the matter has proven incapable of being reliably corrected any other way.


title: Bark (sound)

text: "Woof" is the conventional representation in the English language of the barking of a dog. As with other examples of onomatopoeia or imitative sounds, other cultures "hear" the dog's barks differently and represent them in their own ways. Some of the equivalents of "woof" in other languages are as follows:


title: Bark (sound)

text: The Huntaway is a working dog that has been selectively bred to drive stock (usually sheep) by using its voice. It was bred in New Zealand, and is still bred based on ability rather than appearance or lineage.


title: Bark (sound)

text: Compared to most domestic dogs, the bark of a dingo is short and monosyllabic. During observations, the barking of Australian dingoes was shown to have a relatively small variability; sub-groups of bark types, common among domestic dogs, could not be found. Furthermore, only 5% of the observed vocalizations were made up of barking. Australian dingoes bark only in swooshing noises or in a mixture atonal/tonal. Also, barking is almost exclusively used for giving warnings. Warn-barking in a homotypical sequence and a kind of "warn-howling" in a heterotypical sequence has also been observed. The bark-howling starts with several barks and then fades into a rising and ebbing howl and is probably, similarly to coughing, used to warn the puppies and members of the pack. Additionally, dingoes emit a sort of "wailing" sound, which they mostly use when approaching a water hole, probably to warn already present dingoes. According to the present state of knowledge, it is not possible to get Australian dingoes to bark more frequently by making them associate with other domestic dogs. However, Alfred Brehm reported a dingo that completely learned the more "typical" form of barking and knew how to use it, while its brother did not. Whether dingoes bark or bark-howl less frequently in general is not sure.


title: Bark (sound)

text: The now extinct Hare Indian dog of northern Canada was not known to bark in its native homeland, though puppies born in Europe learned how to imitate the barking of other dogs. When hurt or afraid, it howled like a wolf, and when curious, it made a sound described as a growl building up to a howl.


title: Bark (sound)

text: The Basenji of central Africa produces an unusual yodel-like sound, due to its unusually shaped larynx. This trait also gives the Basenji the nickname "Barkless Dog."


title: Bark (sound)

text: Besides dogs and wolves, other canines like coyotes and jackals can bark. Their barks are quite similar to those of wolves and dogs. The bark of a dingo is short and monosyllabic.


title: Bark (sound)

text: There are non-canine species with vocalizations that are sometimes described as barking. Because the alarm call of the muntjac resembles a dog's bark, they are sometimes known as "barking deer". Eared seals are also known to bark. Prairie dogs employ a complex form of communication that involves barks and rhythmic chirps. A wide variety of bird species produce vocalizations that include the canonical features of barking, especially when avoiding predators. Some primate species, notably gorillas, can and do vocalize in short barks.


title: 2022 Atlanta Falcons season

text: The 2022 season is the Atlanta Falcons' 57th in the National Football League (NFL), their sixth playing their home games at Mercedes-Benz Stadium and their second under head coach Arthur Smith.


title: 2022 Atlanta Falcons season

text: For the first time since 2007, long-time quarterback Matt Ryan is not on the roster as the Falcons shipped him off to play for the Indianapolis Colts on March 21, 2022. The team signed former Tennessee Titans and Las Vegas Raiders quarterback Marcus Mariota as their new quarterback on the same day. Mariota was reunited with Falcons head coach Arthur Smith, whom served as the tight ends coach and offensive coordinator during Mariota's tenure with the Titans (2015–2019).


title: 2022 Atlanta Falcons season

text: Despite holding a 16-point lead with 12 minutes left in the fourth quarter, the Falcons were unable to hold on, as the Saints scored 17 points in a row to go ahead 27–26. The Falcons attempted a 63-yard game-winning field goal on the final play, but it was blocked by Saints' defensive tackle Payton Turner. With the loss, Atlanta started the season 0–1.


title: 2022 Atlanta Falcons season

text: Hoping to avoid a 0–2 start, the Falcons traveled to Inglewood to play against the Los Angeles Rams. For the first three quarters, it was all Rams as Matthew Stafford clocked in three touchdowns passes on the day to put the Rams up 28–3. Atlanta would then attempt a rally, and cut the deficit to just 31–25 with only minutes remaining in the game. The Falcons forced a Rams punt and had a chance to go ahead, but Jalen Ramsey picked off Marcus Mariota close to the end zone to end the threat. An intentional safety with seconds left in the game cut the score to 31–27, and the score held for the last six seconds of the game. The Falcons lost their second straight game to the defending Super Bowl champions, falling to 0–2 on the year.


title: 2022 Atlanta Falcons season

text: Just as the Falcons appeared likely to start the season 0–3, they beat the Seahawks on a 14-yard touchdown pass by Marcus Mariota to Drake London with 35 seconds left, by a 27–23 tally.


title: 2022 Atlanta Falcons season

text: The Falcons opened a 10–0 lead in the first quarter, only to let the Browns score 13 unanswered points afterwards. The two teams traded touchdowns, giving the Browns a 20–17 lead after three quarters, albeit that was the last time the Browns would lead the game. Younghoe Koo booted a pair of field goals in the 4th quarter to give the Falcons a 23–20 win.


title: 2022 Atlanta Falcons season

text: With their second win in a row, the Falcons improved to 2–2, and were at the .500 mark for the first time on the season.


title: 2022 Atlanta Falcons season

text: The Falcons opened a 14–0 lead in the first quarter, albeit they did let the 49ers score 14 unanswered points to tie the game afterwards. That was all the 49ers could do, as the Falcons ripped off two more touchdowns to win it, 28–14.


title: 2022 Atlanta Falcons season

text: The Bengals opened a 21–0 lead not even 10 seconds into the 2nd quarter and the Falcons could not recover.


title: 2022 Atlanta Falcons season

text: The Falcons blew a 10–0 lead and lost to Justin Herbert and the Chargers, 20–17, on a 37-yard field goal by Cameron Dicker.


title: Indian Council of Agricultural Research

text: The Indian Council of Agricultural Research (ICAR) is an autonomous body responsible for co-ordinating agricultural education and research in India. It reports to the Department of Agricultural Research and Education, Ministry of Agriculture. The Union Minister of Agriculture serves as its president. It is the largest network of agricultural research and education institutes in the world.


title: Indian Council of Agricultural Research

text: The committee to Advise on Renovation and Rejuvenation of Higher Education (Yashpal Committee, 2009) has recommended setting up of a constitutional body – the National Commission for Higher Education and Research – which would be a unified supreme body to regulate all branches of higher education including agricultural education. Presently, regulation of agricultural education is the mandate of ICAR, Veterinary Council of India (Veterinary sub-discipline) and Indian Council of Forestry Research and Education (Forestry sub-discipline).


title: Indian Council of Agricultural Research

text: ICAR provides accreditation to agriculture universities, colleges and programmes, through its accreditation unit, National Agricultural Education Accreditation Board (NAEAB). The board was established in 1996 and given its current name in 2017. The accreditation serves only as a badge of quality assurance. It is not mandatory, is not a form of affiliation or recognition and does not give approval to open an institute or a program. , NAEAB lists only 39 accredited institutes.


title: Indian Council of Agricultural Research

text: While ICAR accreditation is voluntary, since 2016-17 it is linked with the release of grants for education quality assurance for State Agricultural Universities. It is also used by some institutes as an affiliation or admission requirements. In September 2021, Goa University has reinstated affiliation to a college, after previously cancelling the affiliation because the college was not accredited by NAEAB. In 2022, students were not accepted to master's degree at Rajiv Gandhi University because their B.Sc. in Agriculture degree was from an unaccredited private university.


title: Indian Council of Agricultural Research

text: All India Entrance Exam for Agriculture (AIEEA) conducted by National Testing Agency (NTA) is an entrance exam for admission into the agricultural universities recognized by ICAR.


title: Indian Council of Agricultural Research

text: The Agricultural Scientists Recruitment Board (ASRB) conducts all India competitive examination Agricultural Research Service (ARS), to recruit posts in the ARS of Indian Council of Agricultural Research.


title: Playmobil: The Movie

text: Playmobil: The Movie is a 2019 English-language French computer-animated adventure comedy film based on the German building toy Playmobil. The film is directed and conceived by Disney veteran Lino DiSalvo, in his directorial debut, written by Blaise Hemingway, Greg Erb, and Jason Oremland, and produced by On Animation Studios. The film stars the voices of Anya Taylor-Joy, Jim Gaffigan, Gabriel Bateman, Adam Lambert, Kenan Thompson, Meghan Trainor and Daniel Radcliffe. The film follows a girl named Marla who tries to save her brother from a Playmobil world that the two are sucked into and becomes involved in the midst of a population-capturing scheme by Emperor Maximus.


title: Playmobil: The Movie

text: Premiering as the opener of the June 2019 Annecy International Animated Film Festival, "Playmobil: The Movie" began theatrical runs in France on 7 August 2019 by Pathé. The film was panned by critics for being a perceived feature-length advertisement; most criticisms were directed to its poor storytelling, musical numbers, characters, tone, and worldbuilding problems, with several unfavourable comparisons to "The Lego Movie". It was also a box-office bomb, grossing $16.3 million on a $40–75 million budget, and in the United States had the worst opening weekend ever for a film playing in over 2,300 theaters.


title: Playmobil: The Movie

text: Marla is a formerly free-spirited girl who has grown up to be responsible yet overprotective in order to care for her brother Charlie, who has grown lonely and disconnected from her after the death of their parents. One night, Charlie sneaks out to visit a toy museum with a Playmobil exhibit. After Marla arrives and tells Charlie off for running away, a lighthouse illuminates them and transports them to the Playmobil world.


title: Playmobil: The Movie

text: Marla and Charlie –who has been transformed into a viking warrior– find themselves in the middle of a viking battle, and Charlie helps them until he is kidnapped by a group of pirates. Frantic to find her brother, Marla goes to the nearest town hoping to ask for help, and runs into Del, the driver of a food truck whose client refuses to pay him over pink hay that causes the town's horses to sprout wings. As Marla tries to form a posse to find Charlie, Del gets her out of trouble when she shows viking gold to the whole town, and agrees to help Marla find her brother in exchange for the gold.


title: Playmobil: The Movie

text: Marla and Del run into Rex Dasher, a secret agent and an old friend of Del. Rex explains that several characters have disappeared, and the group sneaks into a villainous spy headquarters to find information about the disappearances. Despite some issues, they successfully gather the data and escape, but Rex is later captured by the pirates. He is taken away to Constantinopolis and finds Charlie, who had been locked up with other characters by Emperor Maximus, who intends to have the prisoners fight to their deaths. Rex tells Charlie that Marla had been looking for him, which encourages Charlie to break away. However, he later allows himself to be recaptured so the other characters could escape.


title: Playmobil: The Movie

text: Del recognizes that a device used by the pirates belongs to Glinara, an alien crime lord. After meeting with her in exchange for information, Del offers to pay twice as much as he owes her. Glinara agrees and reveals that she sold the device to Maximus. However, Del is unable to uphold his end of the bargain, as Marla only had two pieces of gold left. Angered, Glinara captures them and attempts to drop them into a portal, but they are spared by Glinara's robot servant Robotitron, who hacks the portal and drops the group into a forest. Del leaves the group, upset by Marla's deception. Marla and Robotitron get lost in the forest until Marla accidentally hits a fairy godmother, who encourages her to continue her search and sends her to Constantinopolis.


title: Playmobil: The Movie

text: Arriving in the city, Marla reaches a coliseum where Charlie is about to fight a "Tyrannosaurus rex". Charlie and Marla work together to fight off the T-Rex but to no avail. Del soon arrives with his food truck, and Marla uses the last of Del's pink hay to turn the T-Rex harmless. An enraged Maximus orders his guards to arrest them, but the guards reveal themselves to be Rex and the missing warriors, who then lock Maximus inside a cage. As everyone celebrates their victory, Marla and Charlie use the T-Rex to fly back to the lighthouse and return to the real world, where it is revealed that they were missing for only five minutes. On good terms, Marla promises Charlie that their relationship will be mended.


title: Playmobil: The Movie

text: An animated feature film based on Playmobil figurines, produced by On Entertainment, Wild Bunch and Pathé, was announced in November 2014 and originally expected to be released at the end of 2017.


title: Playmobil: The Movie

text: The film originally involved Bob Persichetti as director and screenwriter. The film would be the first in a trilogy of theatrical animated films based on Playmobil. Persichetti initially pitched the film to Sony Pictures Animation. Although Sony tried to buy the pitch, it fell through. He was eventually offered instead to direct the 2018 superhero film "."


title: Playmobil: The Movie

text: The film was animated in On Animation's Canadian facilities. The film was also originally supposed to be distributed by Cross Creek Pictures.


title: Playmobil: The Movie

text: ON Animation's producers acquired the rights for the film circa January 2016. On 9 February 2016, Lino DiSalvo came on board to direct the $75 million budgeted film, replacing Persichetti. Dimitri Rassam and Aton Soumache of On Animation Studios produced the film.


title: Playmobil: The Movie

text: On 12 May 2016, Open Road Films acquired the US rights to the film, whose screenplay was written by Blaise Hemingway. It marks DiSalvo's directorial debut after spending 17 years at Walt Disney Animation Studios. Alexis Vonarb, Axel Von Maydell, and Moritz Borman also produced the film. Maydell was first associated with the Playmobil brand fifteen years before the film's release, when he was involved in producing interactive games for the company. Heitor Pereira's involvement was announced on 21 June 2017.


title: Playmobil: The Movie

text: On 17 November 2017, it was reported that Wendi McLendon-Covey would star in the film. In June 2018, the film's production was underway and some details of the film were revealed, during a session at Annecy International Animated Film Festival. In October 2018, lead voice cast was announced which included Anya Taylor-Joy, Gabriel Bateman, Daniel Radcliffe, Jim Gaffigan, Meghan Trainor, and Adam Lambert, while Trainor and Lambert would also write and sing original songs for the film.


title: Playmobil: The Movie

text: DiSalvo instantly got to work on animatics following Open Road's acquisition, completing five animatics in Los Angeles and Montreal before work on the assets began. The first 15 months of the film's production was spent in Los Angeles, with a crew of ten people. When the project moved to Montreal, 300 people ("more than half of the animation crew at a typical Disney movie") were involved. Both DiSalvo and Hemingway, long-time friends, re-watched their favorite 1980s films like "E.T. the Extra-Terrestrial" (1982) in writing "Playmobil"; Hemingway explained that both the movie and the old-school films they referenced knew "how to find what is magical in the most mundane situations."


title: Playmobil: The Movie

text: The producers wanted to capture a child's emotion of playing with toys with "Playmobil", which meant DiSalvo had to research. He interviewed more than 200 fans of Playmobil from across the globe, finding that the toy series was mostly enjoyed for its role play element, where "they don’t tell you who the hero is — the player defines who the hero is." Thus, he went for a role-playing vibe in writing the film's story. DiSalvo also revisited his childhood home to look at the toys he played with as a kid. The German Playmobil company also sent every Playmobil set ever released to the Los Angeles development location, and the writers used them to conceive characters. A food truck and a figure wearing a Hawaiian shirt, for instance, led to the creation of Del.


title: Playmobil: The Movie

text: Initially, the writers planned "Playmobil: The Movie" to start with either a shot of an opening storybook or a narration, similar to most fairy tale movies. These ideas were rejected due to not being "organic" enough for the overall product. They finally chose to have opening and closing live-action sequences: "Marla, has lost touch with the child’s point of view that she used to have. It felt right to show her in a live-action world where there is no magic. When she finds herself in a very magical situation — which is the entrance to the world of Playmobil, it becomes the catalyst for the whole movie."


title: Playmobil: The Movie

text: "Playmobil: The Movie" was animated with Autodesk Maya. Julien Bocabeille supervised the film's animation team, which consisted of 56 animators. Being that "Playmobil: the Movie" was a story about wish fulfillment, the scale was one of the biggest priorities. According to production designer Rémi Salmon: "We see those toys from a kid's eyes, not what he has in front of him but what he imagines. The pirate in his hand has a stiff plastic cape, but when he plays, he sees the cape floating in the wind." The animators' biggest challenges came in the set designs and character animation. While each Playmobil universe varied in tone and lighting due to their differing styles, they had to have some consistencies with the Playmobil world. "The Fifth Element" and the works of J. J. Abrams were influences in designing the city of Glinara.


title: Playmobil: The Movie

text: Having "a touch of richness and life" in the film's Playmobil world depended on not just the lighting being "pushed pretty far in a very cinematographic way"; but also the characters, particularly their movements and textures. While having plastic hair and skin, the toys were given "a 20 percent freedom to bend and stretch". The animators had to work with limits that came with moving the Playmobil figures, especially when it came to animating faces. The faces are 2D shapes mapped onto 3D heads, meaning that big parts of how human faces are expressed (cheekbones, nose, and jaws) are not present.


title: Playmobil: The Movie

text: Coming up with a convenient workflow for animating 2D faces on 3D objects was another challenge, which Jeremy Ringard and Claude Levastre were responsible for. They first came up with the idea of modeling and rigging the features as 3D shapes, but this led to problems of Z-fighting, intersection, and "floating" appearances in close-up shots. They then thought of a "texture flipbook", where the animators chose from a set of facial features in order to keep the look of the movie consistent; however, they figured that it would disallow any variations to the expressions and be very expensive due to the amount of storage, texture resolution, and file management involved. Finally, they came up with a system where the animators used 3D-rig-controlled 2D shapes that were converted as a dynamic texture applied on the 3D head in the viewport, and the animation would be rendered in real-time through a shader free of resolution or sampling restrictions.


title: Playmobil: The Movie

text: The car Dasher drives is a Porsche Mission E, the 2015 concept version of the Porsche Taycan; "Playmobil" is the Porsche's first appearance in a major film, and a remote-controlled Mission E toy was released as a movie tie-in.


title: Playmobil: The Movie

text: According to DiSolvo, the moral of "Playmobil: The Movie" is, "The only rules that matter are the ones you set." As Nick Hasted of "The Arts Desk" categorized "Playmobil", "it’s a breezy B-movie in a genre aspiring to "Mad" comic satire and grand opera;" with a "unpretentious good nature" a la 1980s and 1990s after-school specials. Due to "Playmobil" being set in a world filled with different universes, the film caricaturizes and plays with the tropes of several genres, including western films, fantasy, science fiction, and musicals. In acknowledging inevitable comparisons to "The Lego Movie", DiSalvo claimed, "The movie "Lego" relied a lot on comedy and wasn't so much driven by characters, while our film will follow more the Disney tradition of storytelling and is meant to appeal to girls as much as boys." According to Tito Ortiz, "Playmobil" is about the importance of forgiveness, tolerance, and unity in broken families.


title: Playmobil: The Movie

text: DiSalvo also described "Playmobil: The Movie" as similar to the Tom Hanks film "Big" (1988), in that the main character has to think like a child to achieve her goal. Its premise of two siblings being sucked into a fantastical setting also garnered comparisons by journalists to "The Pagemaster" (1994), the "Jumanji" films, and "Pleasantville" (1998); while the use of a live-action opening and a brother-and-sister relationship was also in "" (2019). Some reviewers noted the shedding of gender roles in "Playmobil", including Hasted: "When DiSalvo detours to Playmobil’s girl-focused range with the arrival of Meghan Trainor’s tattooed fairy godmother and pink flying horses, Marla’s brisk bravery muddles gender stereotypes with similar irreverence." Caroline Siede honored the film's "Be anything you want to be" message for allowing Marla to be any type of character regardless of her gender, and Charlotte O'Sullivan of the "Evening Standard" called her a better Susan Pevensie: "Though interested in lipstick, and keen on being grown-up, she is never dismissed as silly or vain." One "NBC News" review noted Dasher's "pointed jabs about sexist archetypes."


title: Playmobil: The Movie

text: "Run Like the River" (sung by Meghan Trainor) was released as a promotional single from the film's soundtrack album on 26 July 2019; the album was released on 2 August 2019.


title: Playmobil: The Movie

text: "Playmobil: The Movie" premiered as the opener of the 2019 Annecy festival, which ran from 10 to 15 June 2019. As reported by "Cartoon Brew", it "was widely criticized by festival attendees and caused large numbers of the audience to leave in the middle of the film." On 17 June, CineEurope presented a trailer and a clip of "Playmobil".


title: Playmobil: The Movie

text: "Playmobil: The Movie" had its first trailer released on 16 December 2018, with a release date set for 16 August 2019. The second trailer was released on 23 July 2019 with the release date changed to 22 November. Each trailer present a different premise: the first presented the film as focusing on Marla trying to save her brother in a Playmobil. while the second revealed the live-action segments and depicted it as being about Rex Dasher saving the Playmobil population from a secret organization. Ben Pearson of /Film noted that the marketing strategy "trie[d] to shield its actual plot." He also called the film's animation promising: "While the characters are clearly simplified to match the Playmobil toys that inspired them, the animation looks pretty slick and there's some interesting lighting going on in a few of the shots on display here."


title: Playmobil: The Movie

text: Chris Evangelista of /Film wrote upon the first trailer's release, "It's pretty clear that "Playmobil: The Movie" is skewing to a young audience [...] And while this may seem like a cynical cash-grab, many people felt the same way before the first "LEGO Movie" came out until the final results proved to be surprisingly enjoyable. Maybe "Playmobil" will manage to do the same." CNET, also responding to the trailer, opined that "It looks fun and hopefully will boast the same universal appeal as "the Lego Movie"." Commenting on the second trailer, "Screen Rant" writer Mike Jones felt the humor had its "own charm and feel" despite being comparable to "The Lego Movie": "there does appear to be a decent amount of fun, laughs and adventure on display." However, he also questioned the scheduling of "such a small scale" production being scheduled in a season having to compete with "" and "". "Collider"<nowiki>'</nowiki>s coverage of the second trailer was ecstatic, noting its "fun" factor and opining it had the same meta humor style as "The Lego Movie". Sarah El-Mahmoud of "Cinema Blend" summarized, "the trailer showcases tons of fun action sequences with fast car chases, dinosaurs, and scared squirrels. [...] One has to wonder if a connection to human kids will also be present in this movie as "The LEGO Movie" and "Toy Story" do." However, with the awareness that the film was trying to capitalize on the fame of "The Lego Movie", she also had skepticism toward its success due to the weak box office of "". A "PopSugar" journalist claimed, "damn, it looks good," also showing enthusiasm for Radcliffe's appearance. According to "Geekspin", "a few people already have a hunch that the Playmobil movie will flop at the box office," due to the superior popularity of LEGO over Playmobil, and the film's lack of intellectual properties, and star power.


title: Playmobil: The Movie

text: "Playmobil: The Movie" was released in France by Pathé on 7 August 2019, on 610 screens, and was released in the US by STX Entertainment on 6 December 2019. It was originally scheduled to be released in the United States by Open Road Films on 18 January 2019, which was later delayed to 19 April 2019, Due to the bankruptcy of Global Road, STX bought the U.S. distribution rights to the film in early April 2019, and set the U.S. release date to 30 August 2019. On 5 August 2019, STX pushed the U.S. release date back once more to 6 December 2019, among other schedule changes of other films from STX that reportedly happened due to STX having limited cash flow, and wanting to pull their resources in to supporting "Hustlers", although STX has denied that this was the case. Upon its release in the United States on 6 December, STX reportedly encouraged theaters to offer tickets to all showings of the film for just US$5, a significantly lower cost than most American movie tickets. The film news site "Moviehole" also gave away ten family passes of "Playmobil".


title: Playmobil: The Movie

text: In other territories, "Playmobil" was released to theaters in Belgium, the Netherlands, and Switzerland on 7 August 2019; Bolivia and Israel on 8 August 2019; the United Kingdom on 9 August 2019, Mexico and South Africa on 16 August 2019; Costa Rica, Nicaragua, Panama, Honduras, and Slovakia on 22 August 2019; Germany, Singapore, and Thailand on 29 August 2019; Poland on 23 August 2019; Austria, Indonesia, Spain, and Venezuela on 30 August 2019; Egypt and the Philippines on 4 September 2019; Bahrain, Jordan, Kuwait, Lebanon, Oman, Qatar, the Dominican Republic, and the United Arab Emirates on 5 September 2019; South Korea on 11 September 2019; Czech Republic, Malaysia, Paraguay, and Uruguay on 12 September 2019; Iceland on 13 September 2019; Bulgaria and Sweden on 20 September 2019; Hungary on 26 September 2019; Finland and Romania on 27 September 2019; Portugal on 3 October 2019; Ecuador on 4 October 2019; Argentina on 10 October 2019; Estonia, Lithuania and Latvia on 25 October 2019; Colombia on 7 November 2019; and Australia on 12 December 2019. In Australia, Seven Network's show "Sunrise" promoted it with a giveaway where two winners received a "Playmobil Prize Pack" for both tickets to the film and toy sets. "The Sunday Times" ran a contest where five people could enter to win tickets, with one of them winning an Instax mini-camera in addition.


title: Playmobil: The Movie

text: On 4 February 2020, "Playmobil: The Movie VR Adventures", a virtual reality video game, was released on Steam.


title: Playmobil: The Movie

text: "Playmobil: The Movie" grossed $1.1 million in the United States and Canada, and $14.3 million in other territories, totaling $15.4 million worldwide.


title: Playmobil: The Movie

text: In France, "Playmobil" opened to 604 theaters before playing at a maximum of 683 in its third week; it opened at number five with an opening weekend gross of $963,910. By the end of its seven-week run, it grossed a total of $2,627,246.


title: Playmobil: The Movie

text: In the United States, "Playmobil: The Movie" opened in 2,300 theaters; industry experts predicted the film would have a three-day opening gross of around $905,000 and would likely become a box office bomb. Preview screenings on 4 December and 5 December were very low, with 4 December totaling around $40,000 and 5 December $230,000. As "The A.V. Club" summarized, "STX is dropping it into U.S. theaters the weekend after Thanksgiving without press screenings, giving it the authentic discount-bin appearance of a toy store going out of business."


title: Playmobil: The Movie

text: The US marketing budget was limited to roughly $3 million, and RelishMix reported a lack of social promotion of any of its stars except for one tweet from Trainor. STX set the marketing money this low due to the film's poor international box office. "Boxoffice Pro" analyzed the film "would open just two weeks after "Frozen II", one week before "Jumanji: The Next Level", two weeks before "Star Wars: The Rise of the Skywalker", and less than three weeks before "Spies in Disguise" — all of which are shoe-ins to attract young audiences and dwarf potential interest in "Playmobil"." According to STX president Kevin Grayson, "STX is a 52-week-a-year business and we were looking for an opportunity to utilize the early December play date."


title: Playmobil: The Movie

text: According to "Deadline Hollywood", "Playmobil" was released only weeks after "Frozen II" and used a variable pricing strategy where STX and many theater chains offered $5 tickets. Originally projected to gross $600,000–$800,000 on its opening day, "Playmobil" grossed just $167,000, making it the third-worst opening day of all time for a 2,000-plus theatre production, behind "Delgo" (2008) and "The Oogieloves in the Big Balloon Adventure" (2012); fourth if counting the 2014 re-release of "Saw" (2004) and 24th if also including films with between 1,000 and 1,999 theaters. It went on to gross $660,000 in its opening weekend (an average of $287 per-venue), the fourth-worst of all-time.


title: Playmobil: The Movie

text: Shortly after the weekend, Grayson responded that STX would use variable pricing in their future projects: "we have already learned from this experiment. And we will continue to learn more and will tweak it for the future so it can be the benefit to the industry that we know it can be." While the film's several worldwide distributors recouped TV sale money, they also financed it via pre-sales and thus face losses. Rebecca Rubin, a "Variety" writer, attributed the low box office to the Playmobil brand being far less popular than Lego.


title: Playmobil: The Movie

text: On Rotten Tomatoes, the film has an approval rating of based on reviews, with an average rating of . The site's critical consensus reads: "Much like the toys it advertises, "Playmobil: The Movie" seems sadly destined to be regarded as a superficially similar yet less desirable alternative to the competition." On Metacritic, the film has a weighted average score of 25 out of 100, based on 13 critics, indicating "generally unfavorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale, while those at PostTrak gave it an average 1.5 out of 5 stars, with 36% saying they would definitely recommend it. In the PostTrak grade, adult audiences made up 31% of poll, children under 12 69%; the adult gave the film an average 2.5 stars, the kids under 12 around 3.5 to four stars.


title: Playmobil: The Movie

text: The New Zealand online publication "Stuff" named it "a strong contender for the worst film of 2019." Reviewers primarily criticized "Playmobil: The Movie" for being more of an advertisement than a compelling story that practiced its moral about being bold and adventurous. In a Rotten Tomatoes editorial, the site said critics generally called it "a regrettably mediocre outing that offers little aside from a barrage of colorful images and a brisk but ultimately generic and uninspired story." As "Entertainment.ie", calling it "the worst animation of the year so far," put it, "the story is boring, the characters are utterly unlikeable [...] one is increasingly struck by the lack of anything new or interesting in the film whatsoever. Its lack of imagination or creativity is painful." A couple of reviews viewed it as part of a major problem of poorly-done toy films from Hollywood. Several reviews made negative comparisons to "The Lego Movie", such as a "Variety" review by Day Lodge that summarized "Playmobil: The Movie" as "The Lego Movie" "but without that blockbuster's dizzy, self-aware wit and visual invention."


title: Playmobil: The Movie

text: Nell Minow wrote that "it does not even work as a commercial, never showing us why these toys could be especially fun to play with," and called the settings and toys "bland and generic." Some critics found it way too safe for a film about imagination, including Katherine McLaughlin of "The List": "The references are simply too familiar to excite, as it coasts along on nostalgia and a well-worn formula." According to "The Observer", ""Playmobil" shamelessly steals ideas. This eyesore of a cash-in lifts plot elements from "Thor" and "Jumanji", then thinly threads them together with a few songs and shrill mantra about the need for adventure."


title: Playmobil: The Movie

text: Multiple errors in worldbuilding were spotted by critics, such as its odd mixture of replications of historical and fictional settings; and the overly-realistic textures and movements of the Playmobil figures. As Minow explained, "After a whole scene establishing the limited mobility of the Playmobil characters, they suddenly switch to being able to have human-like joints and range of motion." Clariss Loughrey asked, "Shouldn’t everything be plastic? Then why do the horses have fur?" Yolanda Machado noted, "Marla can’t figure out how to walk without the use of knees and yet, a minute later, she’s running." Maryann Johanson noticed even more issues with the figure movements: "A big joke is made out of how Marla, in her Playmobil body, can't walk because she has no knees... and then knees inexplicably appear and she can walk fine. Everyone has elbows, too, which the toy figures also don't have. And everyone is stuck with those clamshell hands, yet are still able to manipulate chopsticks." As Paul Whitington felt, "the themed kingdoms they visit only seem to have been chosen because Playmobil do toys based on these scenarios: sometimes, as in the wild west sequence, they are passed through virtually without comment." The live-action sequences also garnered some derision; one reviewer opined it felt "like something out of an ‘80s movie," while another panned the sequence's stiff direction.


title: Playmobil: The Movie

text: "Salt Lake City Weekly" called all of the film's concepts "all pointlessly random and head-smackingly dumb, even when it sounds on paper like it might be funny." According to Machado, "Playmobil: The Movie" suffered from storytelling "whiplash," using the "mishmash of odd characters" and the sudden death of the main characters' parents as examples. "The A.V. Club" criticized the choppy plot and erratic pace, reasoning it made "Playmobil: The Movie" "poorly conceived at every story turn, unable to even stick to a particular generic message to make up for its extremely basic humor." The film's hurried speed also came up in a "Radio Times" review that stated it "never stops long enough to make its story memorable." Lodge wrote the film had so little amusement it was absent of sight gags, while Minow bashed the inclusion of parental death as too dark for a kid's film. An "RTÉ.ie" review called its emotional moments "heavy-handed and forced," and criticized the parents' death as "solely a plot device for the sake of plot device." The songs were also called forgettable, generic, and "terrible" by several journalists; one wrote that they "have remarkably little melodic staying power," and another analyzed, "there’s no chorus and the characters simply just say things to a tune." However, some reviewers did highlight Taylor-Joy's singing on the opening number.


title: Playmobil: The Movie

text: "Playmobil: The Movie" wasn't without supporting reviewers. Siede was appreciative towards the "low-key, non-judgmental" writing of the film, praising it for being more "heartfelt and earnest" than other "crass and cheap" offerings usual for children's flicks. O'Sullivan summarized, "for a movie so clearly doubling as product placement, it’s also fun, a cartoon (bookended by live-action sequences) which allows talented actors to riff on unexpected themes." She called the characters of Del and Rex "properly funny." Most admirations came towards the characters and performances, especially Radcliffe's voice-acting, the campy villain Emperor Maximus, and Taylor-Joy's acting. Hasted opined, "Taylor-Joy’s tendency towards introverted, perhaps dangerous outsiders [...] finds little outlet in mostly mild Marla, but still makes her harassed heroine warmly sympathetic."


title: Playmobil: The Movie

text: "Playmobil: The Movie" was released to Blu-ray in the United Kingdom on 2 December 2019, France on 7 December 2019, Germany on 27 December 2019, Australia on 25 March 2020, and Canada on 30 June 2020. DVDs were released in the United Kingdom on 2 December 2019 and the United States on 3 March 2020. The film was released digitally in France on 7 December 2019, Denmark on 6 January 2020, and the United States on 3 March 2020.


title: The Quintessential Quintuplets Movie

text: A continuation of the anime series was announced in March 2021, followed by the confirmation of the project as a film in April. The cast and staff for the film were revealed in October and December 2021, respectively.


title: The Quintessential Quintuplets Movie

text: "The Quintessential Quintuplets Movie" was released in Japan on May 20, 2022. The film has grossed over million worldwide and received nominations at the Newtype Anime Awards.


title: The Quintessential Quintuplets Movie

text: Following their summer vacation, Futaro Uesugi and the Nakano quintuplets Ichika, Nino, Miku, Yotsuba, and Itsuki, now third-year high school students, prepare for the upcoming school festival. On the day of the festival, Futaro invites the quintuplets to a room and confesses his love to them, but he tells them to wait until the end of the festival to know whom he has chosen among them. During her acting work on the second day of the festival, Ichika learns that one of her sisters has collapsed and rushes to a hospital, where she sees Futaro and Nino visiting. Ichika strolls outside with Futaro, during which she kisses him at a park. On the second day of the festival, Nino is expecting the quintuplets' father Maruo to visit the school but is unable to find him among the crowd. She is approached by Futaro with a video confirming her father's attendance. Nino and Futaro visit her father in the hospital, where she cooks a pancake for him. After the successful meeting, Nino kisses Futaro and thanks her father for choosing him as the quintuplets' tutor.


title: The Quintessential Quintuplets Movie

text: On the first day of the festival, Miku is accompanied by Futaro in approaching the boys' takoyaki stand, where she promises that the girls supporting the pancake stand are going to enjoy their food. Later, Miku returns to the stand with the girls but finds the place on fire. On the third day of the festival, Miku invites Futaro to a rooftop, where they find two of their classmates arguing about the takoyaki stand incident. After reprimanding her classmates, Miku confronts Futaro out of jealousy from his meeting with an unknown girl yesterday and kisses him. Since the start of the festival, Yotsuba is overworking in helping different clubs. On the second day of the festival, she collapses due to exhaustion. While in a hospital, Yotsuba learns from Futaro that some of the students she has helped before offered their assistance during her absence. On the third day of the festival, Yotsuba kisses a resting Futaro. Itsuki is studying on the first day of the festival when her teacher Mudō reveals his history with her mother. The following day, she learns that Mudō is the quintuplets' biological father and gets angry at him for leaving her mother alone when she was pregnant. On the third day of the festival, Futaro visits Itsuki in the house and motivates her to keep on following her dream as a teacher. Later, Maruo, Futaro's father Isanari, and Miku dressing as Itsuki meet with Mudō. Itsuki then tells Mudō that he is not suitable to be the quintuplets' father after failing to see through Miku's disguise.


title: The Quintessential Quintuplets Movie

text: At the end of the festival, the quintuplets advise Futaro to approach one of them, currently separated from each other in a building, as his way of confession. Futaro meets with Yotsuba and confesses his love, but she rejects him as she sees herself as unfit for him. As she runs away from him, Yotsuba recalls her first meeting with Futaro and the promise they made to each other. In the end, Futaro catches up to her and manages to convince her to confess her true feelings toward him. Yotsuba decides to address the feelings of her sisters first before dating Futaro. After reconciling with her sisters, Yotsuba begins dating Futaro, during which he suddenly proposes to her for marriage at the park with a swing they visited before. Five years later, Nino and Miku, now owners of a cafeteria, reunite with Ichika, an actress, Itsuki, a teacher, and Yotsuba, who is about to get married. As a wedding gift, Yotsuba's ears get pierced to wear her mother's earrings. On the day of the wedding, the quintuplets play their final game to Futaro, in which he needs to guess who is the bride among them, but he instead identifies them one by one. After the success of the wedding, the quintuplets discuss the best country for the newlywed's honeymoon.


title: The Quintessential Quintuplets Movie

text: The staff of the second season of "The Quintessential Quintuplets" revealed in March 2021 that the production on a sequel had begun. The sequel was confirmed to be a film in April 2021. It would serve as the finale for the whole anime series. Pony Canyon was revealed as the film's distributor in October 2021. That month, Yoshitsugu Matsuoka, Kana Hanazawa, Ayana Taketatsu, Miku Itō, Ayane Sakura, and Inori Minase were set to be reprising their respective voice roles as Futaro Uesugi and the Nakano quintuplets Ichika, Nino, Miku, Yotsuba, and Itsuki from the anime series. In December 2021, Masato Jinbo was revealed as the director, Keiichirō Ōchi as the screenwriter, Masato Katsumata as the character designer, Akihito Ougiyama as the art director, Aiko Matsuyama as the color designer, Daisuke Chiba as the cinematographer, and Mutsumi Takemiya as the editor of the film at Bibury Animation Studios. In October 2022, Crunchyroll revealed the English dub cast for the film.


title: The Quintessential Quintuplets Movie

text: Hanae Nakamura and Miki Sakurai were confirmed to be composing "The Quintessential Quintuplets Movie" in December 2021. The Nakano Family Quintuplets, comprising the voice actresses of the quintuplets, performed the film's theme music and the ending theme music . The original soundtrack and the CD , which features the two theme music and the insert song , were released in Japan by Anchor Records and Pony Canyon, respectively, on May 25, 2022.


title: The Quintessential Quintuplets Movie

text: A trailer announcing the production for the sequel of "The Quintessential Quintuplets" anime series and a teaser visual were released in March 2021. The first key visual for "The Quintessential Quintuplets Movie" was published in October 2021. The film received its first trailer and the second key visual in December 2021. In February 2022, Mages announced a video game based on the film titled , which was released in Japan on PlayStation 4 and Nintendo Switch on June 2. In March 2022, "Weiß Schwarz" announced a new set of collectible cards based on the film for a September 9 release in Japan, but it was moved to September 16. The third key visual and the second trailer for the film were released in March 2022. Volume 14.5 of the manga series, which includes a bonus chapter taking place after the events of the original ending, was announced in April 2022 as a gift for moviegoers on the film's premiere.


title: The Quintessential Quintuplets Movie

text: "The Quintessential Quintuplets Movie" was released in 108 theaters in Japan on May 20, 2022, with 91 theaters added on July 29. At the Odex Film Festival, Odex screened the film in Singapore on September 2–4, 2022, and in Malaysia on September 3–4 and 10–11. Crunchyroll began screening the film internationally (excluding Asia and the Middle East) on October 31, 2022, first releasing at Lucca Comics and Games in Lucca, Italy. They released it in Australia and New Zealand on December 1, 2022, and in the United States and Canada on December 2, while Sony Pictures Releasing handled its distribution in the United Kingdom and Ireland beginning December 7.


title: The Quintessential Quintuplets Movie

text: "The Quintessential Quintuplets Movie" became available for rent through streaming services in Japan on October 21, 2022. The film is set to be released on Blu-ray and DVD in Japan on December 21, 2022, which include the colorized version of "Volume 0" of "The Quintessential Quintuplets" manga series.


title: The Quintessential Quintuplets Movie

text: , "The Quintessential Quintuplets Movie" grossed million in Japan and million in other territories, for a worldwide total of million.


title: The Quintessential Quintuplets Movie

text: The film grossed million (million) in its opening weekend in Japan, ranking second at the box office. In its second weekend, the film earned million (million) and ranked down to the third place at the box office. The film reached the one-billion-yen mark at the box office after earning million (million) in its third weekend and ranked down to the fourth place. In the 26 days since the film's release, one million tickets were reported to have been sold. The film reached the two-billion-yen box office in its ninth weekend, becoming the fifth Japanese animated film of 2022 to do so.


title: The Quintessential Quintuplets Movie

text: Outside Japan, the film grossed in its opening weekend in the United States and Canada. "Deadline Hollywood" noted the film was "not a crowd pleaser to its demo like previous titles from [Crunchyroll]", with its opening day earning from 910 theaters. In the United Kingdom and Ireland, the film earned () from 108 theaters in its opening weekend.


title: The Quintessential Quintuplets Movie

text: The review aggregator website Rotten Tomatoes reported an 88% approval rating, with an average score of 7.60/10, based on 8 reviews. The Japanese review and survey firm Filmarks reported the film had an approval rating of 4.15 out of 5, based on 520 reviews, placing it first in their first-day satisfaction ranking.


title: The Quintessential Quintuplets Movie

text: Phil Hoad at "The Guardian" gave "The Quintessential Quintuplets Movie" 4 out of 5 stars, stating that the film was "a fairly charming, if stridently sentimental and moralistic romantic fantasy that, with its clever structure, even manages to pick at the mysteries of identity." Hoad lauded how director Masato Jinbo depicted each of the quintuplets' individuality over the story's three-day school festival. Simon Abrams of "TheWrap" felt the film had "all of the melodramatic revelations and puppy-love intrigue of the preceding anime series", stating that "[i]f you like unabashedly corny teen romances, there's a fair chance that the sheer too-much-ness of "The Quintessential Quintuplets Movie" will appeal to you." Courtney Lanning of "Northwest Arkansas Democrat Gazette" felt the film was "cute, heartfelt and funny at times" and praised the "bouncy and colorful" art handled by Bibury Animation Studios. Daryl Harding of Crunchyroll praised the film for its animation, sound music, and production. Kim Morrissy of Anime News Network graded the film 'B', feeling that the film did "an impressive job with the leadup, dangling the five options in a way that makes them all seem plausible without cheapening the eventual resolution." Richard Whittaker of "The Austin Chronicle" gave the film 3 out of 5 stars, feeling that it did "what it needs to do in not just making a choice, or making a choice that will please the biggest section of the audience and infuriate too many shippers, but in making a choice that makes sense."


title: The Quintessential Quintuplets Movie

text: Critics criticized the film's runtime and ending: Abrams felt that it "crams too much of everything into an oversized 136-minute special that mainly serves to wrap up the anime series' loose narrative threads"; Lanning believed that it "would have benefited from a little bit of trimming" and noted how the story at its conclusion "starts to drag"; Harding felt the ending was "rushed"; and Morrissy found the ending focusing on the quintuplets "ends up taking too much time."


title: The Quintessential Quintuplets Movie

text: In December 2022, "The Quintessential Quintuplets Movie" placed eleventh among the top 20 Japanese animated films voted by fans to win the Anime of the Year at Tokyo Anime Award Festival 2023.


title: Hansel Enmanuel

text: Hansel Enmanuel Donato Domínguez, known as Hansel Enmanuel, (born 24 October 2003) is a Dominican college basketball player who plays for the Northwestern State Demons of the Southland Conference. He played high school basketball at Life Christian Academy in Kissimmee, Florida.


title: Hansel Enmanuel

text: He went viral in early 2021 for his flashy dunks, passes, three-pointers and athleticism against top high school talent despite having only one arm due to a childhood incident.


title: Hansel Enmanuel

text: Hansel was born in the Santo Domingo, Dominican Republic to Hansel Salvador Donato and Katia "Katy" Domínguez Pérez, and grew up in Los Mina, one of the poorest "barrios" in the city.


title: Hansel Enmanuel

text: Hansel gained recognition in 2020 after posting videos on social media of him playing streetball in his hometown of Santo Domingo. In October, he appeared on national television when he was interviewed on "El Show Del Mediodia" (The Noon Show) on Color Visión. Hansel moved to the United States in January 2021 after receiving a scholarship to play at Life Christian Academy in Kissimmee, Florida. The team's head coach, Moisés Micael, was an old teammate of his father's who saw his videos online and convinced him to make the move. Within weeks of his arrival his highlight videos went viral on social media again. His performance at the Orlando Winter Showdown further elevated his profile after he averaged 25 points and 11 rebounds per game throughout the tournament. He also began playing on the Amateur Athletic Union (AAU) circuit for SOH Elite. As a senior, Hansel averaged 25.9 points, 11 rebounds, 6.9 assists and 3.4 blocks per game while helping his team win a Central Florida Christian Academy state title.


title: Hansel Enmanuel

text: Hansel was rated a three-star recruit by 247Sports. He received his first Division I offer from Tennessee State in August 2021. That offer was followed by an offer from Memphis in February 2022.


title: Hansel Enmanuel

text: In June 2022, he announced that he was considering Memphis, Northwestern State and Bethune–Cookman, as well as the Overtime Elite professional league. He committed to Northwestern State on July 23.


title: Hansel Enmanuel

text: Hansel made his collegiate debut with Northwestern State on November 12, 2022, recording one steal and committing two fouls in eight minutes of play.


title: Hansel Enmanuel

text: At the age of six, Enmanuel lost his left arm when a cinderblock wall came down on him and trapped him for two hours, requiring amputation below the shoulder. Despite his life-altering injuries, he said he saw the experience as a "blessing." Forced to give up his preferred sport of baseball, he switched his focus to basketball thereafter. His father, himself a former professional basketball player, was initially against the idea because he thought he would get hurt, but later served as one of his biggest supporters.


title: Hansel Enmanuel

text: Enmanuel is nicknamed "Kikimita" after his father, who was called "Kikima" in his playing days. Aside from his dad he cites LeBron James and Kevin Durant as his idols.


title: Hansel Enmanuel

text: Enmanuel has established a large social media following since moving to the United States. In April 2022, he signed a name, image, and likeness (NIL) deal with Banreservas, one of the largest financial institutions in his native Dominican Republic. He signed a deal with Gatorade, starring in a national commercial spot that aired in June as part of the brand's Fuel Tomorrow campaign.


title: Auricularia auricula-judae

text: Auricularia auricula-judae, which has the recommended English name jelly ear, also known as Judas’s ear or Jew’s ear, is a species of fungus in the order Auriculariales. Basidiocarps (fruit bodies) are brown, gelatinous, and have a noticeably ear-like shape. They grow on wood, especially elder. The specific epithet is derived from the belief that Judas Iscariot hanged himself from an elder tree; the common name "Judas's ear" was largely eclipsed by the corruption "Jew's ear".


title: Auricularia auricula-judae

text: The fungus can be found throughout the year in Europe, where it normally grows on wood of broadleaf trees and shrubs. It was formerly thought to be a variable species with a worldwide distribution, but molecular research, based on cladistic analysis of DNA sequences, has shown that non-European species are distinct. The cultivated "A. auricula-judae" of China and East Asia is "Auricularia heimuer" and, to a lesser extent, "A. villosula". The North American "A. auricula-judae" on broadleaf trees is "Auricularia angiospermarum", with "Auricularia americana" on conifers.


title: Auricularia auricula-judae

text: "Auricularia auricula-judae" was used in folk medicine as recently as the 19th century for complaints including sore throats, sore eyes and jaundice, and as an astringent. It is edible, but not widely consumed.


title: Auricularia auricula-judae

text: The species was first described as "Tremella auricula" by Carl Linnaeus in his 1753 "Species Plantarum" and later (1789) redescribed by Bulliard as "Tremella auricula-judae". In 1822, Swedish mycologist Elias Magnus Fries accepted Bulliard's epithet and transferred the species to "Exidia" as "Exidia auricula-judae". In so doing, Fries sanctioned the name, meaning that the species epithet ""auricula-judae"" takes priority over Linnaeus's earlier ""auricula"".


title: Auricularia auricula-judae

text: The species was given the name "Auricularia auricula-judae" in 1888 by Joseph Schröter. The specific epithet of "A. auricula-judae" comprises "auricula", the Latin word meaning "ear", and "Judae", meaning "of Judas". The name was criticised by American mycologist Curtis Gates Lloyd, who said ""Auricularia auricula-Judae" is cumbersome and in addition is a slander on the Jews". Though critical of Lucien Marcus Underwood, saying he "would probably not have known the Jew's ear from the calves' liver", he followed him in using "Auricularia auricula", which was in turn used by American mycologist Bernard Lowy in his monograph on the genus. Despite this, "Auricularia auricula-judae" is the valid name for the species.


title: Auricularia auricula-judae

text: The species was long thought to be somewhat variable in colour, habitat, and microscopic features but cosmopolitan in distribution, though Lowy considered it a temperate species and doubted that it occurred in the tropics. Molecular research, based on cladistic analysis of DNA sequences, has, however, shown that "Auricularia auricula-judae" as previously understood comprises at least seven different species worldwide. Since "A. auricula-judae" was originally described from Europe, the name is now restricted to the European species. The commercially cultivated Chinese and East Asian species, still frequently marketed and described as "A. auricula-judae" or "A. auricula", is "Auricularia heimuer" (black wood ear).


title: Auricularia auricula-judae

text: The medieval Latin name "auricula Judae" (Judas's Ear) matches the vernacular name in most European languages (c.f. French "oreille de Judas", German "Judasohr"). The mistranslation "Jew's Ear" appeared in English by 1544.


title: Auricularia auricula-judae

text: The fungus is associated with Judas Iscariot because of the belief that he hanged himself on an elder tree after his betrayal of Jesus Christ. Folklore suggests that the ears are Judas's returned spirit, and are all that are left to remind us of his suicide. The common name of the fungus was originally "Judas's ear", but this was later shortened to "Judas ear" and then "Jew's ear". Common names for the fungus which refer to Judas can be traced back to at least the end of the 16th century; for instance, in the 17th century, Thomas Browne wrote of the species:


title: Auricularia auricula-judae

text: In "Jews' ears" something is conceived extraordinary from the name, which is in propriety but "fungus sambucinus", or an excrescence about the roots of elder, and concerneth not the nation of the Jews, but Judas Iscariot, upon a conceit he hanged on this tree; and is become a famous medicine in quinsies, sore throats, and strangulations, ever since.


title: Auricularia auricula-judae

text: While the term "Jew's meat" was a deprecatory term used for all fungi in the Middle Ages, the term is unrelated to the name "Jew's ear". A further change of name to "jelly ear" was recommended in the "List of Recommended Names for Fungi". The idea was criticised by the author Patrick Harding, who considered it "to be the result of political correctness where it is not necessary", and who "will continue to call [the species] Jew's ear", explaining that, while anti-Semitism was commonplace in Britain, the name "Jew's ear" is in reference to Judas, who was a Jew.


title: Auricularia auricula-judae

text: Unrelated common names include the "ear fungus" and the "common ear fungus". The species was known as "fungus sambuca" among herbalists, in reference to "Sambucus", the generic name for elder.


title: Auricularia auricula-judae

text: The fruit body of "A. auricula-judae" is normally up to across and up to thick. It is often reminiscent of a floppy ear, but can also be cup-shaped. It is attached to the substrate laterally and sometimes by a very short stalk. Fruit bodies have a tough, gelatinous, elastic texture when fresh, but dry hard and brittle. The upper surface is a reddish-tan-brown with a purplish tint and finely pilose (covered in tiny, grey, downy hairs). It can be smooth, as is typical of younger specimens, or undulating with folds and wrinkles. The colour becomes darker with age. The under surface is a lighter grey-brown and smooth, sometimes folded or wrinkled, and may have "veins", making it appear even more ear-like.


title: Auricularia auricula-judae

text: Entirely white fruit bodies are occasionally encountered and were once given the name "Auricularia lactea", but they are merely unpigmented forms and often occur in company with ordinary, pigmented fruit bodies.


title: Auricularia auricula-judae

text: The spores of "A. auricula-judae" are allantoid (sausage-shaped), 15-22 x 5-7 μm; the basidia are cylindrical, 65–85 × 4–5.5 μm, with three transverse septa (internal cross-walls). Hairs on the upper surface are 100-150 μm in length and 5-7.5 μm in diameter. They are hyaline, thick-walled, and have acute to rounded tips.


title: Auricularia auricula-judae

text: in Europe, the only similar species is "Auricularia cerrina", recently described on oak ("Quercus") from the Czech Republic, but probably more widespread in southern Europe. It can be distinguished by its dark grey to almost black fruit bodies. The Asian "Auricularia heimuer" is very similar and has long been confused with "A. auricula-judae". It can be distinguished microscopically by its shorter basidia and shorter spores (11–13 × 4–5 μm). The American "Auricularia angiospermarum" is also similar, but also has shorter basidia and spores (13–15 × 4.8–5.5 μm).


title: Auricularia auricula-judae

text: "Auricularia auricula-judae" grows on the wood of deciduous trees and shrubs, particularly "Sambucus nigra" (elder). It is also common on "Acer pseudoplatanus" (sycamore), "Fagus sylvatica" (beech), "Fraxinus excelsior" (ash), "Euonymus europaeus" (spindle), and in one particular case, the sycamore draining board of an old sink in Hatton Garden. It very rarely grows on conifers. It favours older branches, where it feeds as a saprotroph (on dead wood) or a weak parasite (on living wood), and it causes a white rot.


title: Auricularia auricula-judae

text: Commonly growing solitarily, it can also be gregarious (in a group) or caespitose (in a tuft). Spores are ejected from the underside of the fruit bodies with as many as several hundred thousand an hour, and the high rate continues when the bodies have been significantly dried. Even when they have lost some 90% of their weight through dehydration, the bodies continue to release a small number of spores. It is found all year, but is most common in autumn.


title: Auricularia auricula-judae

text: "Auricularia auricula-judae" has a soft, jelly-like texture. Though edible, it is not held in high culinary regard. It has been likened to "eating an Indian rubber with bones in it", while in 19th-century Britain, it was said that "it has never been regarded here as an edible fungus". The species is said to be commonly consumed in Poland.


title: Auricularia auricula-judae

text: It has a mild flavour, which may be considered bland. It can be dried and rehydrated, sometimes swelling to 3 – 4 times in size. The species is not edible when raw, needing to be cooked thoroughly. A reference serving of dried fungus provides of food energy, 10.6 g of protein, 0.2 g of fat, 65 g of carbohydrate, 5.8 g ash, and 0.03% mg of carotene. Fresh mushrooms contain about 90% moisture. Dried specimens may be ground up into a powder and used to absorb excess liquid in soups and stews, as it rehydrates into tiny fragments.


title: Auricularia auricula-judae

text: "Auricularia auricula-judae" has been used as a medicinal fungus by many herbalists. It was used as a poultice to treat inflammations of the eye, as well as a palliative for throat problems. The 16th-century herbalist John Gerard, writing in 1597, recommended "A. auricula-judae" for a very specific use; other fungi were used more generally. He recommends the preparation of a liquid extract by boiling the fruit bodies in milk, or else leaving them steeped in beer, which would then be sipped slowly in order to cure a sore throat. The resultant broth was probably not dissimilar to the Chinese soups that use "Auricularia cornea". Carolus Clusius, writing in 1601, also said that the species could be gargled to cure a sore throat, and John Parkinson, writing in 1640, reported that boiling in milk or steeping in vinegar was "the onely use the are put unto that I know".


title: Auricularia auricula-judae

text: Writing in 1694, herbalist John Pechey described "A. auricula-judae" by saying "It grows to the Trunk of the Elder-Tree. Being dried it will keep a good year. Boyl'd in Milk, or infus'd in Vinegarm 'tis good to gargle the Mouth or Throat in Quinsies, and other inflammations of the Mouth and Throat. And being infus'd in some proper Water, it is good in Diseases of the Eyes." The species also saw use as an astringent due to its ability to absorb water. There are recorded medicinal usages from Scotland, where it was again used as a gargle for sore throats, and from Ireland, where, in an attempt to cure jaundice, it was boiled in milk. The medicinal use of "A. auricula-judae" continued until at least 1860, when it was still sold at Covent Garden; at the time, it was not considered edible in the United Kingdom.


title: Auricularia auricula-judae

text: Numerous research papers have been published on possible medicinal applications of a fungus said to be "Auricularia auricula-judae" or "Auricularia auricula", but it is not always clear which species was used for research. At least some papers published from Asia have used locally-sourced material and probably refer to "Auricularia heimuer" or other regional species known to have potential pharmaceutical applications.


title: Auricularia auricula-judae

text: The species is referred to in Christopher Marlowe's play "The Jew of Malta". Iathamore proclaims: "The hat he wears, Judas left under the elder when he hanged himself". Later, the species was probably partially the inspiration for Emily Dickinson's poem beginning "The Mushroom is the Elf of Plants", which depicts a mushroom as the "ultimate betrayer". Dickinson had both a religious and naturalistic background, and so it is more than likely that she knew of the common name of "A. auricula-judae", and of the folklore surrounding Judas's suicide.


title: Anu Hasan

text: Anu Haasan (born Anuradha Chandrahaasan on 16 July 1970) is an Indian actress and TV anchor. She made her film debut in the critically acclaimed "Indira" (1995) and has since appeared in many Tamil films, playing minor roles. She hosted the celebrity talk show "Koffee with Anu" on the Tamil channel Vijay for three seasons.


title: Anu Hasan

text: Anu Hasan was born on 15 July 1970 to Chandrahasan, the brother of actors Kamal Haasan and Charuhasan. Anu is the cousin of film actresses Suhasini Maniratnam, Shruti Haasan and Akshara Haasan.


title: Anu Hasan

text: Anu did her schooling at St.Joseph's Anglo Indian Girls Higher Secondary School, Trichy and RSK Higher Secondary School and earned a MSc degree in Physics and Management from Birla Institute of Technology and Science (BITS), Pilani, Rajasthan.


title: Anu Hasan

text: Anu Hasan married Shri Vikas in 1995 and the couple divorced in 1999. After living alone for around 11 years, she married her long-time British friend Graham Jay in 2010 in a private wedding ceremony. Anu and Graham met on a music website, and their friendship eventually ended up in love, and then marriage. They divorced in 2014


title: Anu Hasan

text: By 2000, she ventured into television, acting first in the series "Anbulla Snehgidhiye", which was adapted from Chitra Banerjee Divakaruni's award-winning novel "Sister of My Heart". She then starred in a number of TV series like "Avan Aval Avargal", "Ammaavukku Rendula Raagu" and "Vivahita" (Malayalam), following which she turned anchor for the celebrity talk show "Koffee with Anu" (named after herself), aired on STAR Vijay. The show, which she hosted for over four years, soon became very popular and made her ultimately a household name in Tamil Nadu.


title: Anu Hasan

text: In 2014 she joined the "Ask How India" social movement and made a series of videos pertaining to social issues.


title: Anu Hasan

text: In addition, Anu has worked as a dubbing artiste, lending her voice for many non-Tamil-speaking actresses, including Raveena Tandon, Preity Zinta and Geetu Mohandas.


title: Package manager

text: A package manager or package-management system is a collection of software tools that automates the process of installing, upgrading, configuring, and removing computer programs for a computer in a consistent manner.


title: Package manager

text: A package manager deals with "packages", distributions of software and data in archive files. Packages contain metadata, such as the software's name, description of its purpose, version number, vendor, checksum (preferably a cryptographic hash function), and a list of dependencies necessary for the software to run properly. Upon installation, metadata is stored in a local package database. Package managers typically maintain a database of software dependencies and version information to prevent software mismatches and missing prerequisites. They work closely with software repositories, binary repository managers, and app stores.


title: Package manager

text: Package managers are designed to eliminate the need for manual installs and updates. This can be particularly useful for large enterprises whose operating systems typically consist of hundreds or even tens of thousands of distinct software packages.


title: Package manager

text: Early package managers, from around 1994, had no automatic dependency resolution but could already drastically simplify the process of adding and removing software from a running system.


title: Package manager

text: By around 1995, beginning with CPAN, package managers began doing the work of downloading packages from a repository, automatically resolving its dependencies and installing them as needed, making it much easier to install, uninstall and update software from a system.


title: Package manager

text: A software package is an archive file containing a computer program as well as necessary metadata for its deployment. The computer program can be in source code that has to be compiled and built first. Package metadata include package description, package version, and dependencies (other packages that need to be installed beforehand).


title: Package manager

text: Package managers are charged with the task of finding, installing, maintaining or uninstalling software packages upon the user's command. Typical functions of a package management system include:


title: Package manager

text: Computer systems that rely on dynamic library linking, instead of static library linking, share executable libraries of machine instructions across packages and applications. In these systems, conflicting relationships between different packages requiring different versions of libraries results in a challenge colloquially known as "dependency hell". On Microsoft Windows systems, this is also called "DLL hell" when working with dynamically linked libraries.


title: Package manager

text: Modern package managers have mostly solved these problems, by allowing parallel installation of multiple versions of a library (e.g. OPENSTEP's "Framework" system), a dependency of any kind (e.g. "slots" in Gentoo Portage), and even of packages compiled with different compiler versions (e.g. dynamic libraries built by the Glasgow Haskell Compiler, where a stable ABI does not exist), in order to enable other packages to specify which version they were linked or even installed against.


title: Package manager

text: System administrators may install and maintain software using tools other than package management software. For example, a local administrator may download unpackaged source code, compile it, and install it. This may cause the state of the local system to fall out of synchronization with the state of the package manager's database. The local administrator will be required to take additional measures, such as manually managing some dependencies or integrating the changes into the package manager.


title: Package manager

text: There are tools available to ensure that locally compiled packages are integrated with the package management. For distributions based on .deb and .rpm files as well as Slackware Linux, there is CheckInstall, and for recipe-based systems such as Gentoo Linux and hybrid systems such as Arch Linux, it is possible to write a recipe first, which then ensures that the package fits into the local package database.


title: Package manager

text: Particularly troublesome with software upgrades are upgrades of configuration files. Since package managers, at least on Unix systems, originated as extensions of file archiving utilities, they can usually only either overwrite or retain configuration files, rather than applying rules to them. There are exceptions to this that usually apply to kernel configuration (which, if broken, will render the computer unusable after a restart). Problems can be caused if the format of configuration files changes; for instance, if the old configuration file does not explicitly disable new options that should be disabled. Some package managers, such as Debian's dpkg, allow configuration during installation. In other situations, it is desirable to install packages with the default configuration and then overwrite this configuration, for instance, in headless installations to a large number of computers. This kind of pre-configured installation is also supported by dpkg.


title: Package manager

text: To give users more control over the kinds of software that they are allowing to be installed on their system (and sometimes due to legal or convenience reasons on the distributors' side), software is often downloaded from a number of software repositories.


title: Package manager

text: When a user interacts with the package management software to bring about an upgrade, it is customary to present the user with the list of actions to be executed (usually the list of packages to be upgraded, and possibly giving the old and new version numbers), and allow the user to either accept the upgrade in bulk, or select individual packages for upgrades. Many package managers can be configured to never upgrade certain packages, or to upgrade them only when critical vulnerabilities or instabilities are found in the previous version, as defined by the packager of the software. This process is sometimes called "version pinning".


title: Package manager

text: Some of the more advanced package management features offer "cascading package removal", in which all packages that depend on the target package and all packages that only the target package depends on, are also removed.


title: Package manager

text: Although the commands are specific for every particular package manager, they are to a large extent translatable, as most package managers offer similar functions.


title: Package manager

text: Linux distributions oriented to binary packages rely heavily on package management systems as their primary means of managing and maintaining software. Mobile operating systems such as Android (Linux-based), iOS (Unix-based), and Windows Phone rely almost exclusively on their respective vendors' app stores and thus use their own dedicated package management systems.


title: Package manager

text: A package manager is often called an "install manager", which can lead to a confusion between package managers and installers. The differences include:


title: Package manager

text: Most software configuration management systems treat building software and deploying software as separate, independent steps.


title: Package manager

text: A build automation utility typically takes human-readable source code files already on a computer, and automates the process of converting them into a binary executable package on the same or remote computer.


title: Package manager

text: Later a package manager typically running on some other computer downloads those pre-built binary executable packages over the internet and installs them.


title: Package manager

text: A few tools, such as Maak and A-A-P, are designed to handle both building and deployment, and can be used as either a build automation utility or as a package manager or both.


title: Package manager

text: "App stores" can also be considered application-level package managers. Unlike traditional package managers, app stores are designed to enable payment for the software itself (instead of for software development), and may only offer monolithic packages with no dependencies or dependency resolution. They are usually extremely limited in their management functionality, due to a strong focus on simplification over power or emergence, and common in commercial operating systems and locked-down “smart” devices.


title: Package manager

text: Also known as binary repository manager, it is a software tool designed to optimize the download and storage of binary files, artifacts and packages used and produced in the software development process. These package managers aim to standardize the way enterprises treat all package types. They give users the ability to apply security and compliance metrics across all artifact types. Universal package managers have been referred to as being at the center of a DevOps toolchain.


title: Package manager

text: Each package manager relies on the format and metadata of the packages it can manage. That is, package managers need groups of files to be bundled for the specific package manager along with appropriate metadata, such as dependencies. Often, a core set of utilities manages the basic installation from these packages and multiple package managers use these utilities to provide additional functionality.


title: Package manager

text: For example, yum relies on rpm as a backend. Yum extends the functionality of the backend by adding features such as simple configuration for maintaining a network of systems. As another example, the Synaptic Package Manager provides a graphical user interface by using the Advanced Packaging Tool (apt) library, which, in turn, relies on dpkg for core functionality.


title: Package manager

text: Alien is a program that converts between different Linux package formats, supporting conversion between Linux Standard Base (LSB) compliant .rpm packages, .deb, Stampede (.slp), Solaris (.pkg) and Slackware (.tgz, .txz, .tbz, .tlz) packages.


title: Package manager

text: In mobile operating systems, Google Play consumes Android application package (APK) package format while Microsoft Store uses APPX and XAP formats. (Both Google Play and Microsoft Store have eponymous package managers.)