title: Ë

text: "Ë" is a phonetic symbol also used in the transcription of Abruzzese dialects and in the Province of Ascoli Piceno (the Ascolano dialect). It is called "mute E" and sounds like a hummed "é". It is important for the prosody of the dialect itself.


title: Ë

text: In Dutch, "ë" appears in the plural form of most words that end in "-ie" or "-ee", like "kolonie" -> "koloniën", "zee" -> "zeeën", and "knie" -> "knieën" (Dutch-language rules stipulate an extra "e" before the "ë" in plurals if the accent falls on the syllable containing the "ë"). This so-called trema indicates that the vowel should not be monophthongized. For example, "koloniën" is pronounced , but "kolonien" would be pronounced .


title: Ë

text: Ë is used in Romagnol to represent [ɛː~ɛə], e.g. "fradël" [fraˈdɛəl~fraˈdɛːl] "brother". In some peripheral Emilian dialects, ë is used to represent [ə], e.g. "strëtt" [strətː] "narrow".


title: Ë

text: Use of the character "Ë" in the English language is relatively rare. Some publications, such as the American magazine "The New Yorker", use it more often than others. It is used to indicate that the "e" is to be pronounced separately from the preceding vowel (e.g. in the word "reëntry", the feminine name "Chloë" or in the masculine name "Raphaël"), or at all - like in the name of the Brontë sisters, where without diaeresis the final "e" would be mute.


title: Ë

text: Ë represents the schwa sound in loanwords from Maranao, Pangasinan, Ilocano, and other Cordillera languages in the Philippines.


title: Ë

text: "Ë" is used in the orthography of Proto-Finnic to denote an unrounded (mid?) back vowel [ɤ~ɤ̞~ʌ] the back counterpart to [e] for Proto-Finnic's system of vowel harmony. It is also used in the allophonic diphthong [ɤu] - "ëu".


title: Ë

text: "Ë" appears in words like French "Noël". Like in Dutch, it is used to indicate that the vowel should not be monophthonged. For example, "Noël" is pronounced , whilst "Noel" would be pronounced .


title: Ë

text: "Ë" does not occur in the "official" German alphabet. However, a diaeresis above e in German occurs in a few proper names and ethnonyms, such as Ferdinand Piëch, Bernhard Hoëcker, Alëuten, Niuë. Occasionally, a diaeresis may be used in some well-known names, such as Italiën, which is usually written as "Italien". Without a diaeresis, "ie" would be [iː] instead of [iə]; "eu" would be [ɔʏ] instead of [eu] and "ae", "oe", "ue" would be alternative representations of respectively ä, ö, ü.


title: Ë

text: "Ë" does not belong to the "official" Hungarian alphabet, but is usually applied in folklore notations and sometimes also in stylistic writing, e.g. is extensively used in the vocal oeuvre of Kodály. The reason is that open "e" (close to English hat, cat, cap) and closed "ë" (close to Spanish e) are distinguished in most spoken dialects, but is not indicated in writing because of the history of writing and due to little but observable areal variation.


title: Ë

text: In many editions of Latin texts, the diaeresis is used to indicate that "ae" and "oe" form a hiatus, not a diphthong (in the Classical pronunciation) or a monophthong (in traditional English pronunciations). Examples: "aër" "air", "poëta" "poet", "coërcere" "to coerce".


title: Ë

text: In the Lenape language, the letter ë is used to represent the schwa vowel. An example of its use is the word "mikwën", which means "feather". It can also be found in more complex words, such as "ntëmpëm", which means "my brain".


title: Ë

text: In Luxembourgish, is used for stressed schwa like in the word "ëmmer" ("always"). It is also used to indicate a morphological plural ending after two such as in "Eeër" ("eggs") or "leeën" ("lay").


title: Ë

text: In constructed language Quenya diaeresis indicates that a vowel is not part of a diphthong, for example in "ëa" or "ëo", while final "ë" is marked with a diaeresis to remind English-speakers that it is not silent.


title: Ë

text: In some Latin transliterations of Russian such as ISO 9, "ë" is used for its homoglyph "ё", representing a , as in "Potëmkin" to render the Cyrillic "Потёмкин". Other translations use "yo", "jo" or (ambiguously) simply "e".


title: Ë

text: In the romanization of Syriac, the letter "Ë" gives a schwa. In some grammatical constructions, it is a replacement for the other, original vowels (a, o, e, i, u). Example words that have "Ë": "knoṭër" ("he is waiting"), "krëhṭi" ("they are running"), "krëqdo" ("she is dancing"), "ŝërla" ("she has closed"), "gfolëḥ" ("he will work"), "madënḥo" ("east"), "mën" ("what"), "ašër" ("believe"). Turoyo and Assyrian languages may utilize this diacritic, albeit rarely.


title: Ë

text: In Tagalog and its standardized form Filipino, "Ë" is used to represent the schwa, particularly in words originating from other Philippine languages, for instance Maranao (Mëranaw), Pangasinan, Ilocano, and Ibaloi. Before introduction of this letter, schwa was ambiguously represented by "A" or "E".


title: Margaret Lockwood

text: Margaret Mary Day Lockwood, CBE (15 September 1916 – 15 July 1990), was an English actress. One of Britain's most popular film stars of the 1930s and 1940s, her film appearances included "The Lady Vanishes" (1938), "Night Train to Munich" (1940), "The Man in Grey" (1943), and "The Wicked Lady" (1945). She was nominated for the BAFTA Award for Best British Actress for the 1955 film "Cast a Dark Shadow". She also starred in the television series "Justice" (1971–74).


title: Margaret Lockwood

text: Lockwood was born on 15 September 1916 in Karachi, British India, to Henry Francis Lockwood, an English administrator of a railway company, and his third wife, Scottish-born Margaret Eveline Waugh. She returned to England in 1920 with her mother, brother 'Lyn' and half-brother Frank, and a further half-sister 'Fay' joined them the following year, but her father remained in Karachi, visiting them infrequently. She also had another half-brother, John, from her father's first marriage, brought up by his mother in Britain. Lockwood attended Sydenham High School for girls, and a ladies' school in Kensington, London.


title: Margaret Lockwood

text: She began studying for the stage at an early age at the Italia Conti Academy of Theatre Arts, and made her debut in 1928, at the age of 12, at the Holborn Empire where she played a fairy in "A Midsummer Night's Dream". In December of the following year, she appeared at the Scala Theatre in the pantomime "The Babes in the Wood". In 1932 she appeared at the Theatre Royal, Drury Lane in "Cavalcade".


title: Margaret Lockwood

text: In 1933, Lockwood enrolled at the Royal Academy of Dramatic Art in London, where she was seen by a talent scout and signed to a contract. In June 1934 she played Myrtle in "House on Fire" at the Queen's Theatre, and on 22 August 1934 appeared as Margaret Hamilton in Gertrude Jenning's play "Family Affairs" when it premiered at the Ambassadors Theatre; Helene Ferber in "Repayment" at the Arts Theatre in January 1936; Trixie Drew in Henry Bernard's play "Miss Smith" at the Duke of York's Theatre in July 1936; and back at the Queen's in July 1937 as Ann Harlow in "Ann's Lapse".


title: Margaret Lockwood

text: Lockwood entered films in 1934, and in 1935 she appeared in the film version of "Lorna Doone". For this, British Lion put her under contract for £500 a year for the first year, going up to £750 a year for the second year.


title: Margaret Lockwood

text: For British Lion she was in "The Case of Gabriel Perry" (1935), then was in "Honours Easy" (1935) with Greta Nissen and "Man of the Moment" (1935) with Douglas Fairbanks Jnr. These were standard ingénue roles. She was the female love interest in "Midshipman Easy" (1935), directed by Carol Reed, who would become crucial to Lockwood's career. She had the lead in "Someday" (1935), a quota quickie directed by Michael Powell and in "Jury's Evidence" (1936), directed by Ralph Ince.


title: Margaret Lockwood

text: Lockwood had a small role in "The Amateur Gentleman" (1936), another with Fairbanks. Her profile rose when she appeared opposite Maurice Chevalier in "The Beloved Vagabond" (1936)


title: Margaret Lockwood

text: She followed it with "Irish for Luck" (1936) and "The Street Singer" (1937). She had a small role in "Who's Your Lady Friend?" (1937), again for Carol Reed and was in "Melody and Romance" (1937).


title: Margaret Lockwood

text: Gaumont British were making a film version of the novel "Doctor Syn", starring George Arliss and Anna Lee with director Roy William Neill and producer Edward Black. Lee dropped out and was replaced by Lockwood. Lockwood so impressed the studio with her performance – particularly Black, who became a champion of hers – she signed a three-year contract with Gainsborough Pictures in June 1937. This was at £4,000 a year.


title: Margaret Lockwood

text: For Black and director Robert Stevenson she supported Will Fyffe in "Owd Bob" (1938), opposite John Loder.


title: Margaret Lockwood

text: Lockwood then had her best chance to-date, being given the lead in "Bank Holiday", directed by Carol Reed and produced by Black. This movie was a hit and launched Lockwood as a star. She called it "my first really big picture... with a beautifully written script and a wonderful part for me." Gaumont increased her contract from three years to six.


title: Margaret Lockwood

text: Even more popular was her next movie, "The Lady Vanishes", directed by Alfred Hitchcock, produced by Black and co-starring Michael Redgrave. Lockwood called it "one of the films I have enjoyed most in all my career." Hitchcock was greatly impressed by Lockwood, telling the press:


title: Margaret Lockwood

text: She has an undoubted gift in expressing her beauty in terms of emotion, which is exceptionally well suited to the camera. Allied to this is the fact that she photographs more than normally easily, and has an extraordinary insight in getting the feel of her lines, to live within them, so to speak, as long as the duration of the picture lasts. It is not too much to expect that, in Margaret Lockwood, the British picture industry has a possibility of developing a star of hitherto un-anticipated possibilities.


title: Margaret Lockwood

text: She followed this with "A Girl Must Live", a musical comedy about chorus girls for Black and Reed. It was one of a series of films made by Gaumont aimed at the US market. According to "Filmink" Lockwood's "speciality [now] was playing a bright young thing who got up to mischief, usually by accident rather than design, and she often got to drive the action."


title: Margaret Lockwood

text: Gaumont British had distribution agreements with 20th Century Fox in the US and they expressed an interest in borrowing Lockwood for some films. She travelled to Los Angeles and was put to work supporting Shirley Temple in "Susannah of the Mounties" (1939), set in Canada, opposite Randolph Scott. She was borrowed by Paramount for "Rulers of the Sea" (1939), with Will Fyffe and Douglas Fairbanks Jr. Paramount indicated a desire to use Lockwood in more films but she decided to go home.


title: Margaret Lockwood

text: Lockwood returned to Britain in June 1939. She was meant to make film versions of "Rob Roy" and "The Blue Lagoon" but both projects were cancelled with the advent of war. Instead, she played the role of Jenny Sunley, the self-centred, frivolous wife of Michael Redgrave's character in "The Stars Look Down" for Carol Reed. Lockwood later admitted "I was far from being reconciled to my role of the unpleasant girl and everyone treated me warily. But as the film progressed I found myself working with Carol Reed and Michael Redgrave again and gradually I was fascinated to see what I could put into the part."


title: Margaret Lockwood

text: She did another with Reed, "Night Train to Munich" (1940), an attempt to repeat the success of "The Lady Vanishes" with the same screenwriters (Launder and Gilliat) and characters of Charters and Caldicott. Rex Harrison was the male star. This started filming in November 1939.


title: Margaret Lockwood

text: She was meant to be reunited with Reed and Redgrave in "The Girl in the News" (1940) but Redgrave dropped out and was replaced by Barry K. Barnes: Black produced and Sidney Gilliat wrote the script. "Quiet Wedding" (1941) was a comedy directed by Anthony Asquith. She was meant to appear in "Hatter's Castle" but fell pregnant and had to drop out. Her return to acting was "Alibi" (1942), a thriller which she called "anything but a success... a bad film."


title: Margaret Lockwood

text: Lockwood was well established as a middle-tier name. What made her a front rank star was "The Man in Grey" (1943), the first of what would be known as the Gainsborough melodramas. Lockwood wanted to play the part of Clarissa, but producer Edward Black cast her as the villainous Hesther. She was featured alongside Phyllis Calvert, James Mason and Stewart Granger for director Leslie Arliss. The film was a massive hit, one of the biggest in 1943 Britain, and made all four lead actors into top stars – at the end of the year, exhibitors voted Lockwood the seventh most popular British star at the box office.


title: Margaret Lockwood

text: She appeared in two comedies for Black: "Dear Octopus" (1943) with Michael Wilding from a play by Dodie Smith, which Lockwood felt was a backward step and "Give Us the Moon" (1944), with Vic Oliver directed by Val Guest. Much more popular than either of these was another melodrama with Arliss and Granger, "Love Story" (1944), where she played a terminally ill pianist.


title: Margaret Lockwood

text: Lockwood was reunited with James Mason in "A Place of One's Own" (1945), playing a housekeeper possessed by the spirit of a dead girl, but the film was not a success. "I'll Be Your Sweetheart" (1945) was a musical with Guest and Vic Oliver.


title: Margaret Lockwood

text: Lockwood had the biggest success of her career to-date with the title role in "The Wicked Lady" (1945), opposite Mason and Michael Rennie for director Arliss. The film was the most popular movie at the British box office in 1946. In 1946, Lockwood gained the Daily Mail National Film Awards First Prize for most popular British film actress. However she was soon to suffer what has been called "a cold streak of poor films which few other stars have endured."


title: Margaret Lockwood

text: She was offered the role of Bianca in "The Magic Bow" but disliked the part and turned it down. Instead she was a murderess in "Bedelia" (1946), which did not perform as well, although it was popular in Britain.


title: Margaret Lockwood

text: In July 1946, Lockwood signed a six-year contract with Rank to make two movies a year. The first of these was "Hungry Hill" (1947), an expensive adaptation of the novel by Daphne du Maurier which was not the expected success at the box office.


title: Margaret Lockwood

text: More popular was "Jassy" (1947), the seventh biggest hit at the British box office in 1947. It was the last of "official" Gainsborough melodramas – the studio had come under the control of J. Arthur Rank who disliked the genre.


title: Margaret Lockwood

text: She was a warden in "The White Unicorn" (1947), a melodrama from the team of Harold Huth and John Corfield. Rank wanted to star her in a film about Mary Magdalene but Lockwood was unhappy with the script. She refused to appear in "Roses for Her Pillow" (which became "Once Upon a Dream") and was put on suspension. "I was sick of getting mediocre parts and poor scripts," she later wrote. "Since 1945 I had been sick of it... there had been little or no improvement to me in the films I was being offered." She later said "I was having fun being a rebel."


title: Margaret Lockwood

text: During her suspension she went on a publicity tour for Rank. She also appeared in an acclaimed TV production of "Pygmalion" (1948). then went off suspension when she made a comedy for Corfield and Huth, "Look Before You Love" (1948).


title: Margaret Lockwood

text: Lockwood had a change of pace with the comedy "Cardboard Cavalier" (1949), with Lockwood playing Nell Gwyn opposite Sid Field. The film was a critical and box-office disappointment. "I was terribly distressed when I read the press notices of the film", wrote Lockwood.


title: Margaret Lockwood

text: That same year, Lockwood was announced to play Becky Sharp in a film adaptation of "Vanity Fair" but it was not made.


title: Margaret Lockwood

text: Lockwood was in the melodrama "Madness of the Heart" (1949), but the film was not a particular success. When a proposed film about Elisabeth of Austria was cancelled, she returned to the stage in a record-breaking national tour of Noël Coward's "Private Lives" (1949) and then played the title role in productions of J. M. Barrie's "Peter Pan" in 1949 and 1950. She also performed in a pantomime of "Cinderella" for the Royal Film performance with Jean Simmons; Lockwood called this "the jolliest show in which I have ever taken part."


title: Margaret Lockwood

text: She returned to film-making after an 18-month absence to star in "Highly Dangerous" (1950), a comic thriller in the vein of "Lady Vanishes" written expressly for her by Eric Ambler and directed by Roy Ward Baker. It was not popular. Rank was to put her in an adaptation of "Ann Veronica" by H. G. Wells but the film was postponed. She turned down the female lead in "The Browning Version", and a proposed sequel to "The Wicked Lady", "The Wicked Lady's Daughter", was never made.


title: Margaret Lockwood

text: Eventually her contract with Rank ended and she played Eliza Doolittle in George Bernard Shaw's "Pygmalion" at the Edinburgh Festival of 1951.


title: Margaret Lockwood

text: In 1952, Lockwood signed a two picture a year contract with Herbert Wilcox at $112,000 a year, making her the best paid actress in British films. Lockwood said Wilcox and his wife Anna Neagle promised from signing the contract "I was never allowed to forget that I was a really bright and dazzling star on their horizon. They were going to look after me as no one else had done before. They did. And I loved it."


title: Margaret Lockwood

text: The association began well with "Trent's Last Case" (1952) with Michael Wilding and Orson Welles which was popular. She appeared on TV in "Ann Veronica" and another TV adaptation of the Shaw play "Captain Brassbound's Conversion" (1953).


title: Margaret Lockwood

text: Her next two films for Wilcox were commercial disappointments: "Laughing Anne" (1953) and "Trouble in the Glen" (1954). She made no more films with Wilcox who called her "a director's joy who can shade a performance or a character with computer accuracy" but admitted their collaboration "did not come off."


title: Margaret Lockwood

text: Lockwood returned to the stage in "Spider's Web" (1954) by Agatha Christie, expressly written for her.


title: Margaret Lockwood

text: She then appeared in a thriller, "Cast a Dark Shadow" (1955) with Dirk Bogarde for director Lewis Gilbert. Gilbert later said "It was reasonably successful, but, by then, Margaret had been in several really bad films and her name on a picture was rather counter-productive."


title: Margaret Lockwood

text: As her popularity waned in the post war years, she returned to occasional performances on the West End stage and appeared on television; her television debut was in 1948 when she played Eliza Doolittle.


title: Margaret Lockwood

text: She was in a BBC adaptation of Christie's "Spider's Web" (1955), Janet Green's "Murder Mistaken" (1956), Dodie Smith's "Call It a Day" (1956) and Arnold Bennett's "The Great Adventure" (1958).


title: Margaret Lockwood

text: She had the lead in a TV series "The Royalty" (1957–1958) and appeared regularly on TV anthology series. She played an aging West End star attempting a comeback in "The Human Jungle" with Herbert Lom (1965). She starred in another series "The Flying Swan" (1965).


title: Margaret Lockwood

text: Her subsequent long-running West End hits include an all-star production of Oscar Wilde's "An Ideal Husband" (1965–66, in which she played the villainous Mrs Cheveley), W. Somerset Maugham's "Lady Frederick" (1970), "Relative Values" (Noël Coward revival, 1973) and the thrillers "Signpost to Murder" (1962) and "Double Edge" (1975).


title: Margaret Lockwood

text: In 1969 she starred as barrister Julia Stanford in the TV play "Justice is a Woman". This inspired the Yorkshire Television series "Justice", which ran for three seasons (39 episodes) from 1971 to 1974, and featured her real-life partner, John Stone, as fictional boyfriend Dr Ian Moody. Lockwood's role as the feisty Harriet Peterson won her Best Actress Awards from the "TV Times" (1971) and "The Sun" (1973). In 1975, film director Bryan Forbes persuaded her out of an apparent retirement from feature films to play the role of the Stepmother in her last feature film "The Slipper and the Rose". This film also included the final appearance of Edith Evans and one of the later appearances of Kenneth More.


title: Margaret Lockwood

text: Her last professional appearance was as Queen Alexandra in Royce Ryton's stage play "Motherdear" (Ambassadors Theatre, 1980).


title: Margaret Lockwood

text: Margaret Lockwood was appointed a Commander of the Order of the British Empire (CBE) in the 1981 New Year Honours.


title: Margaret Lockwood

text: A Margaret Lockwood performance was apparently the inspiration for Sean Pertwee""'s death scene in the 2002 film "Dog Soldiers". When asked about this, he referred to the foul grimace her character Julia Stanford readily expressed in the TV play "Justice Is a Woman".


title: Margaret Lockwood

text: She was the subject on an episode of "This Is Your Life" in December 1963. She was a guest on the BBC radio show "Desert Island Discs" on 25 April 1951.


title: Margaret Lockwood

text: Lockwood married Rupert Leon in 1937 (divorced in 1950). She lived her final years in seclusion in Kingston upon Thames, dying on 15 July 1990 at the Cromwell Hospital, Kensington, London, from cirrhosis of the liver, aged 73. Her body was cremated at Putney Vale Crematorium. She was survived by her daughter, the actress Julia Lockwood (née Margaret Julia Leon, 1941–2019).


title: Joe Cornish

text: Joseph Murray Cornish (born 20 December 1968) is an English comedian and filmmaker. With his long-time comedy partner, Adam Buxton, he forms the comedy duo Adam and Joe. In 2011, Cornish released his directorial debut "Attack the Block". He also co-wrote "The Adventures of Tintin" with Steven Moffat and Edgar Wright, and "Ant-Man", with Wright, Adam McKay and Paul Rudd.


title: Joe Cornish

text: Cornish was educated at the independent Westminster School in central London, where he became friends with both Adam Buxton and Louis Theroux. At age 18, he went on to study at the Bournemouth Film School.


title: Joe Cornish

text: "The Adam and Joe Show" was an ironic pop culture sketch show written, presented and directed by the duo. The show found cult success during its four series between 1996 and 2001. The best-known segments featured hit feature films recreated with stuffed toys, British television shows parodied using "Star Wars" action figures, and Vinyl Justice, in which the pair invaded rock stars' homes and searched their record collections for embarrassing records.


title: Joe Cornish

text: Since the end of "The Adam and Joe Show", Cornish has continued to work in British television and radio as a presenter, writer and director, both with and without Buxton. He wrote and presented the BBC Radio 4 film programme "Back Row" between 2002 and 2003.


title: Joe Cornish

text: In 2001, he fronted the topical discussion show "This Week Only", alongside Nick Frost and Lauren Laverne.


title: Joe Cornish

text: In 2007, he and Buxton began presenting "Adam and Joe", a radio show on BBC Radio 6 Music. This was put on hold during 2010 while Cornish directed "Attack the Block"; a new series began on Saturday 2 April 2011.


title: Joe Cornish

text: Cornish has made a number of behind the scenes documentaries/video diaries. They include Cornish following the making of "Little Britain" series 2, which was screened on BBC Three and is included on the "Little Britain" Series 2 DVD; a video diary of his brief cameo as a zombie, which appears on the UK "Shaun of the Dead" DVD; and "Hot Fuzz: The Fuzzball Rally", where he followed his friends and collaborators, Edgar Wright, Nick Frost and Simon Pegg on the US press tour for their film "Hot Fuzz". There have been two cuts of the "Fuzzball Rally": a 28-minute version was included on the "Hot Fuzz" HD DVD (UK/US) and a 71-minute version was included on both the 3-Disc Collectors Edition DVD (US) and the Blu-ray Disc (US/UK) of "Fuzz". The documentary caused the latter's certification to be changed from a 15 certificate to an 18 certificate, due to the very strong language the documentary contains.


title: Joe Cornish

text: He made a brief appearance in "Hot Fuzz" as a white suited and bemasked Scenes-of-Crime Officer named "Bob". In 2017, he made a cameo in "" alongside Wright, where both played Resistance fighters.


title: Joe Cornish

text: In 2006, he was announced as co-writer on a feature film adaptation of the Marvel Comics comic book character "Ant-Man", with "Shaun of the Dead" director Edgar Wright. Both Wright and Cornish received story by and screenplay credit on the finished film, after Wright's departure from the project in 2014. Wright and Cornish also rewrote Steven Moffat's script for "The Adventures of Tintin" co-starring Simon Pegg, for Steven Spielberg and Peter Jackson. In November 2013, Cornish was tipped to be J. J. Abrams' lead choice for director of the upcoming "Star Trek Beyond". However, Roberto Orci was ultimately chosen to direct, before leaving the project in late 2014.


title: Joe Cornish

text: In December 2020, the popular middle grade thriller series "Lockwood & Co." was announced to be going to Netflix, adapted by Cornish.


title: Joe Cornish

text: Cornish has continued his work in television comedy, directing parts of the pilot of "Modern Toss", and the pilot to Channel 4's "Blunder". According to an interview in "Word Magazine", he pulled out of directing the series of "Blunder" due to creative differences with Channel 4 and the production company. In early 2007, he directed the video for Charlotte Hatherley's single "I Want You to Know".


title: Joe Cornish

text: On 13 May 2011, Optimum Releasing released "Attack the Block", Cornish's directorial debut, which was executive produced by his friend and collaborator, Edgar Wright, and produced by Film4, Big Talk Pictures, the UK Film Council and Optimum's French parent company StudioCanal (which would later rebrand Optimum under their name four months after the film's British release). The film is a science fiction action horror comedy set in South London that pitches a gang of youths against an alien invasion. The film initially had no US distributor, but after the reaction of the press and attendees at the SXSW premiere, the US rights were purchased by Screen Gems for theatrical release on 29 July 2011.


title: Joe Cornish

text: Cornish's second film was the fantasy adventure "The Kid Who Would Be King", starring Louis Ashbourne Serkis. Filming took place in Tintagel. The film, also featuring Patrick Stewart and Rebecca Ferguson, was released on 25 January 2019.


title: Joe Cornish

text: In June 2012, it was announced that Cornish had been signed as director of a future film adaptation of Neal Stephenson's classic 1992 novel "Snow Crash" for Paramount Pictures. In May 2020, it was announced that Cornish would direct and write the TV series adaptation of "Lockwood & Co." for Netflix. In April 2021, it was announced that Cornish would direct and write an adaptation of "Starlight" for 20th Century Studios. In May 2021, it was announced that Cornish would write, direct, and produce the sequel to "Attack the Block".


title: Avinash Tiwary

text: Avinash Tiwary is an Indian actor who works in Hindi films and series. He began his career with the television series "Yudh" in 2014 and had his first film role in the coming-of-age film "Tu Hai Mera Sunday" (2016). He received praise for his lead roles in the romance "Laila Majnu" (2018) and supernatural thriller "Bulbbul" (2020). In 2022, Tiwary starred in the Netflix crime series "".


title: Avinash Tiwary

text: He completed school and engineering in Mumbai. In order to pursue acting, he quit engineering studies in the fourth semester and joined theater. He joined Barry John's acting studio and later went to New York Film Academy. He started appearing in short films since 2005.


title: Avinash Tiwary

text: In theater, he worked with Om Katare, an established artist. After his stint at the New York Film Academy, he started his career with the documentary, "Anamika: Her Glorious Past", in 2006. In 2014, he worked alongside Amitabh Bachchan in the TV series Yudh, where he played the role of the villain, Ajat Shatru.


title: Avinash Tiwary

text: Avinash made his Bollywood debut with Milind Dhaimade's directorial debut, "Tu Hai Mera Sunday" (2016) co-starring Barun Sobti and Shahana Goswami, which revolves around the lives of five friends. The film had its world premiere at the 60th BFI London Film Festival and received positive critical acclaim.


title: Avinash Tiwary

text: In 2017, Avinash signed Imtiaz Ali's romantic movie, Laila Majnu, after auditioning for it in December 2015. He took on the lead role of Qais/Majnu in the movie which tells the classic love story of Laila and Majnu but set in contemporary times. It is directed by Sajid Ali and bankrolled by Ekta kapoor. He underwent major physical transformation for the role and received critical acclaim for his natural performance as "Majnu".


title: Avinash Tiwary

text: He signed a three-film deal with Balaji Motion Pictures in 2019. He will be next seen in web series based on , which will be produced by Excel Entertainment.


title: Close (2022 film)

text: Close is a 2022 coming-of-age drama film directed by Lukas Dhont, and written by Dhont and Angelo Tijssens, reteaming after their first feature film "Girl" (2018). The film stars Eden Dambrine, Gustav de Waele, Emilie Dequenne and Léa Drucker.


title: Close (2022 film)

text: "Close" premiered at the Cannes Film Festival on 26 May 2022 to critical acclaim and the Grand Prix. The film was released by Diaphana Distribution in France on 1 November 2022 and by Lumière in Benelux on 2 November. On 16 September 2022, the film was announced as Belgium's submission for the Academy Award for Best International Feature Film at the 95th Academy Awards. It also won the award for Best Foreign Language Film from the National Board of Review.


title: Close (2022 film)

text: Thirteen year olds Léo and Rémi spend the long summer holidays in innocent intimacy, but come the school year, their close friendship is thrown into disarray as their relationship is noticed and commented on by their contemporaries. In reaction to their sometimes insulting or intrusive comments, Léo attempts to distance himself from Rémi.


title: Close (2022 film)

text: On 19 December 2018, it was announced that Lukas Dhont was developing a follow-up feature film to his 2018 Cannes Film Festival award-winning directorial debut "Girl". Co-writer Angelo Tijssens and producer Dirk Impens were attached to re-team with Dhont for the then-untitled film, with Dhont stating that "It's going to be different but also in the style of "Girl"", and that "At the centre of it is a queer character." In writing the film, Dhont was inspired by psychologist Niobe Way's book "Deep Secrets", which documents her study of intimacy among teenage boys. Dhont named the film after "close friendship", a recurring term in the book.


title: Close (2022 film)

text: There were no further developments until 23 July 2020, when it was announced that Dhont had set up an open casting call for the two male lead roles, set to be played by amateur actors, with casting scheduled to take place at the end of August. In addition, filming was scheduled to start the following summer. The casting call was open to speakers of both French and Flemish, and Dhont decided to film it in French after casting. On 20 October 2020, it was announced that the film would be titled "Close" and that international sales agent The Match Factory had joined the project. Dhont's brother Michael Dhont was also attached to produce. On 29 June 2021, the film featured on Eurimages' annual list of co-production financing, with the fund supporting the film with €300,000.


title: Close (2022 film)

text: Principal photography began on 9 July 2021. Alongside the start of production, it was also announced that Emilie Dequenne and Léa Drucker were cast in main roles. Speaking about the film, Dhont said: "Three years after the overwhelming trip of "Girl", it's incredibly good to be back on the set, with this hugely talented cast and crew, especially as this story is close to my heart."


title: Close (2022 film)

text: "Close" had its world premiere in competition for the Palme d'Or at the Cannes Film Festival on 26 May 2022, where it was later awarded the Grand Prix. It also played in the Official Competition at the 2022 Sydney Film Festival, where it also won the Sydney Film Prize.


title: Close (2022 film)

text: The film was released by Diaphana Distribution in France on 1 November 2022 and by Lumière in Benelux on 2 November. It is set to be released by A24 in the United States on 27 January 2023, following a limited one-week theatrical run in New York City and Los Angeles on 2 December 2022.


title: Close (2022 film)

text: At Cannes, streaming service Mubi acquired distribution rights for the United Kingdom, Ireland, Latin America, Turkey and India.


title: Close (2022 film)

text: On the review aggregation website Rotten Tomatoes, "Close" holds an approval rating of 91% based on 46 reviews from critics, with an average rating of 8.2/10. The website's consensus reads, "So moving for a majority of its runtime that not even a manipulative ending can ruin the experience, "Close" is a tender and powerfully acted look at childhood innocence lost." On Metacritic, which uses a weighted average, the film holds a score of 83 out of 100 based on 13 reviews, indicating "universal acclaim".


title: Close (2022 film)

text: In a poll by IndieWire of 75 critics at Cannes, "Close" was named the best film of the festival. Dhont shared the Grand Prix with Claire Denis' "Stars at Noon". The film also won the Film Prize in June 2022 at the Sydney Film Festival.


title: Sonya Cassidy

text: Cassidy is known for her roles as Clara in the BBC period drama "The Paradise", as Celine Ashworth in the police detective series "Vera", as the Oracle in Syfy fantasy series "Olympus", and as Hester in the Channel 4 science fiction series "Humans". Cassidy starred in the AMC television series "Lodge 49". She also has some film appearances and has also done theatre work.


title: Sonya Cassidy

text: In 2022, she starred in the science fiction series "The Man Who Fell to Earth", a television adaptation of the Walter Tevis novel.


title: Carrie (musical)

text: Carrie is a musical with a book by Lawrence D. Cohen, lyrics by Dean Pitchford, and music by Michael Gore. Adapted from Stephen King's 1974 novel "Carrie", it focuses on an awkward teenage girl with telekinetic powers whose lonely life is dominated by an oppressive religious fanatic mother. When she is humiliated by her classmates at the high school prom, she unleashes chaos on everyone and everything in her path.


title: Carrie (musical)

text: Originally premiering in the U.K. in 1988, "Carrie" opened on Broadway at the Virginia Theatre the same year, but closed after 16 previews and five regular performances. Due to the passionate response from both its critics and its fans, the show is considered one of the most notable failures in Broadway theatre history; a 1991 book written by Ken Mandelbaum, which chronicled the history of flop Broadway musicals, was partially entitled "Not Since Carrie", and a 2021 podcast, "Out for Blood", documented its creation and development.


title: Carrie (musical)

text: Inspired by a 1981 performance of Alban Berg's opera "Lulu" at the Metropolitan Opera House, Lawrence D. Cohen, who wrote the script for the 1976 film version of "Carrie", and Michael Gore began work on a musical based on the Stephen King novel. Gore's "Fame" collaborator, Dean Pitchford, was brought in to work on the project, which underwent numerous rewrites. In August 1984, a workshop of the first act was staged at 890 Broadway in New York City, with Annie Golden as Carrie, Maureen McGovern as Mrs. White, Laurie Beechman as Mrs. Gardner, and Liz Callaway as Chris. It was soon announced that "Carrie" would be produced on Broadway in 1986. Funding was not raised until late 1987.


title: Carrie (musical)

text: The show was produced by Friedrich Kurz and the Royal Shakespeare Company and had its first four-week run beginning on February 13, 1988 in Stratford-upon-Avon, England, where it received mixed reviews. Directed by Terry Hands and choreographed by Debbie Allen, the cast included Broadway veteran and cabaret singer Barbara Cook, Charlotte d'Amboise, Gene Anthony Ray, Darlene Love, and Linzi Hateley, in her stage debut, as Carrie. The massive, technically complex production, which was made with the help of designer Ralph Koltai, featured pyrotechnics, lasers, automated scenery, and a gigantic white staircase that would lower from the ceiling for the final scene of the show (with a completely automated lighting rig underneath, which would lower for the final scene to make room for the staircase).


title: Carrie (musical)

text: The production was plagued with script and technical problems. The crew was unable to douse Hateley with fake blood without causing her microphone to malfunction. Rewrites continued following each show, and the program cited a song, "Once I Loved a Boy", which had been rewritten and retitled "When There's No One" prior to the first performance. Cook resigned when she was nearly decapitated by an elaborate set piece — the Whites' Living Room, during "Open Your Heart" — on opening night, but she agreed to stay on until a replacement could be cast, which turned out to be the remainder of the show's Stratford run. A musical section of the "Locker Room Scene" (which has come to be known as "Her Mother Should Have Told Her") was removed during the run, then re-added and dropped partway through the Broadway previews. Another song, "White Star", was excised after the Stratford run.


title: Carrie (musical)

text: The show transferred to Broadway at an expense of $8 million (at the time an exorbitant amount). Hateley (who ultimately won a Theatre World Award) and other members of the UK cast remained with the show, but Cook was replaced by Betty Buckley (who had played the teacher Miss Collins in the 1976 film version).


title: Carrie (musical)

text: The show started previews on April 28 at the Virginia Theatre. After the final song, boos were heard mixed in with applause. Ken Mandelbaum is quoted by Wollman, MacDermot, and Trask: "Ken Mandelbaum writes of an audience divided during early previews, the curtain calls of which were greeted with a raucous mix of cheers and boos. However, in an instant, when Linzi Hateley and Betty Buckley rose to take their bows, the entire theatre turned to a standing ovation". According to "The New York Times", "the show had received standing ovations at some previews, as well as on opening night..."


title: Carrie (musical)

text: The show officially opened on May 12. Hampered by mostly negative reviews, and despite the fact that the theatre was sold out every night, the financial backers pulled their money out of the show, and it closed on May 15 after only 16 previews and 5 performances, guaranteeing its place in Broadway history as one of the most expensive disasters ever. According to "The New York Times", the "more-than-$7 million show...was the most expensive quick flop in Broadway history".


title: Carrie (musical)

text: A reading was held on November 20, 2009, in New York City. The score and book were revised by original composers Michael Gore and Dean Pitchford, and writer Lawrence D. Cohen. The songs "Dream On", "It Hurts to Be Strong", "Don't Waste the Moon", "Heaven", "I'm Not Alone", "Wotta Night" and "Out for Blood" were removed and replaced with new songs. The reading was directed by Stafford Arima and starred Sutton Foster, Marin Mazzie and Molly Ranson.


title: Carrie (musical)

text: In October 2010, "Carrie" was confirmed to be produced Off-Broadway at the Lucille Lortel Theatre by MCC Theater. The director is Stafford Arima with the original creators working on revisions of the show. From May 25 through June 7, a developmental lab was held at MCC, directed by Arima and choreographed by Matt Williams. The initial cast for the revival was announced in May 2011. From the reading held in 2009, Marin Mazzie starred as Margaret White and Molly Ranson as Carrie. Additional cast was announced on November 21. On August 1, a benefit preview of the revival was presented at the Lucille Lortel Theatre. Titled "Revisiting Carrie", the event gave a behind-the-scenes look at the upcoming production with Cohen, Gore and Pitchford. Arima was also present as well. Throughout the evening, Mazzie, Ranson and other cast members, performed song selections from the show.


title: Carrie (musical)

text: In early 2015, Paul Taylor-Mills (producer) and Gary Lloyd (director) announced that they were bringing the revamped "Carrie" to London's Off-West End theatre, the Southwark Playhouse running for a limited season from 1 to 30 May. Casting for this production included Evelyn Hoskins in the title role, Kim Criswell as Margaret White, Sarah McNicholas as Sue Snell, Gabriella Williams as Chris Hargensen, Jodie Jacobs as Miss Gardner, Greg Miller-Burns as Tommy Ross and Dex Lee as Billy Nolan. The production opened to mostly positive reviews, mostly congratulating Hoskins on her performance as Carrie and Criswell as her terrifying mother.


title: Carrie (musical)

text: On March 18, a new environmental-immersive version of "Carrie" received its Los Angeles premiere at the La Mirada Theatre for the Performing Arts. Directed by Brady Schwind and Choreographed by Lee Martino, the cast for the Los Angeles premiere included Emily Lopez as Carrie White, Misty Cotton as Margaret White, Kayla Parker as Sue Snell, Jon Robert Hall as Tommy Ross, Valerie Rose Curiel as Chris Hargensen, Garrett Marshall as Billy Nolan and Jenelle Lynn Randall as Miss Gardner. The production also featured Tiana Okoye as an alternate for Carrie. She is the first African-American actress to play the part in a mainstream production.


title: Carrie (musical)

text: The immersive production, featuring a further revised book and score, and renamed "Carrie the Killer Musical Experience", received largely positive reviews, especially for its cast and unique staging concept. Producers Jack W. Batman and Bruce Robert Harris planned a future productions of the staging for additional cities nationwide and internationally. The La Mirada production of "Carrie" received five Ovation Award nominations from the L.A. Stage Alliance: Best Production of a Musical, Best Actress: Emily Lopez, Best Actress: Misty Cotton, Best Director: Brady Schwind and Best Scenic Design: Stephen Gifford.


title: Carrie (musical)

text: The immersive production of "Carrie" would return to Los Angeles in October for a limited six-week engagement. The show began performances at the historic Los Angeles Theatre in Downtown Los Angeles on October 1 in advance of an October 8 opening. The majority of the La Mirada cast returned, including all leading and supporting actors.


title: Carrie (musical)

text: The Broadway show was a flop and even inspired the title of Ken Mandelbaum's 1992 book "Not Since Carrie: Forty Years of Broadway Musical Flops". However, it eventually grew in popularity.


title: Carrie (musical)

text: Following the original production, there were three unauthorized productions at Stagedoor Manor, Emerson College and at Gammel Hellerup Gymnasium in Copenhagen, Denmark in 2001.


title: Carrie (musical)

text: Although there is no official cast recording of the original 1988 production, several bootleg audio tapes were surreptitiously made during live performances in both Stratford and New York, along with video footage shot from the audience, in addition to the professionally made review tape sent to various journalists to promote the show. These recordings began to circulate soon after the show closed, and it was rumored in the early 1990s that there were plans to record an official cast album, though it never happened. However, a cast album of the 2012 Off-Broadway revival was released on September 25.


title: Carrie (musical)

text: "Carrie" received its first licensed US high school production at Albuquerque, Sandia Preparatory School in New Mexico in February 2013. Following this, it received its licensed US collegiate premiere with Macabre Theatre Ensemble in Ithaca, NY in March 2013 directed by Sean Pollock.


title: Carrie (musical)

text: Buckley recorded the song "When There's No One" for her 1993 album "Children Will Listen" (the song also appeared on her 1999 album "Betty Buckley's Broadway"), and Hateley released the title song on her album "Sooner Or Later". In 1999, "Unsuspecting Hearts" was recorded by Emily Skinner and Alice Ripley and released on their album of the same name.


title: Carrie (musical)

text: Early in the 21st century, playwright Erik Jackson attempted to secure the rights to stage another production of the musical, but his request was denied. Jackson eventually earned the consent of Stephen King to mount a new, officially sanctioned, non-musical production of "Carrie", which debuted Off-Broadway in 2006 with drag queen Sherry Vine in the lead role.


title: Carrie (musical)

text: Similarly, other unofficial spoofs have been staged over the years, most notably "Scarrie! The Musical", "Carrie White the Musical" and "Carrie's Facts of Life", which was a hybrid of "Carrie" and the American sitcom "The Facts of Life".


title: Carrie (musical)

text: In 2018, a high school production of the musical is the focus of "" episode of "Riverdale". The "Riverdale" cast album of the musical was produced via WaterTower Music.


title: Carrie (musical)

text: Opening in a high school gym, the gym teacher, Miss Gardner, is leading her girls' gym class in a strenuous workout ("In"). After class, the girls head to the locker room and have fun teasing a less attractive, plump girl named Carrie White.


title: Carrie (musical)

text: The girls start to shower while talking about boys and their plans for the upcoming prom ("Dream On"). Carrie has her first period in the shower and, not understanding what is happening, thinks she is bleeding to death. The other girls taunt her mercilessly until Miss Gardner hears the commotion, and slaps Carrie to end the frenzy, causing her to break a lightbulb overhead with telekinesis. The girls look on with amazed curiosity and pitiful disregard. Miss Gardner sends the girls away, and explains menstruation to Carrie.


title: Carrie (musical)

text: On the way out of the gym, Sue and Chris talk about what just happened in the locker room. Sue is already feeling remorseful for her part in the incident, but Chris calls Carrie "Scary White". Carrie is hurt by their name-calling and teasing, but dreams of being vindicated and gaining respect from her peers ("Carrie").


title: Carrie (musical)

text: Carrie's mother Margaret is praying ("Open Your Heart") when Carrie arrives home. Carrie joins her mother in prayer for a few minutes and then explains what happened in the locker room. Margaret tells Carrie in a twisted display of her corrupted religious psyche that the blood is a sign of her sin, and the materialization of her mysterious power ("And Eve Was Weak") and forces her into the cellar to pray for forgiveness.


title: Carrie (musical)

text: That night, many of the high school students are at the drive-in theater, including Sue and her boyfriend Tommy and Chris and her boyfriend Billy. Sue tells Tommy that she is still upset about what she and the other girls did to Carrie in the locker room, while Chris complains about Carrie to Billy ("Don't Waste the Moon"). While the other teenagers are at the drive-in, Carrie and Margaret are home praying ("Evening Prayers"). Margaret prays for the strength to help her daughter while Carrie, depressed, questions God's love for her. Margaret apologizes for hurting Carrie and assures her that she loves her unconditionally.


title: Carrie (musical)

text: At school the following day, Miss Gardner tells the girls they must all apologize to Carrie. Sue and the other girls comply, but Chris refuses. Upset, Miss Gardner tells Chris that she will not be allowed to go to the prom, and Chris vows revenge. Miss Gardner encourages Carrie to dream about her Prince Charming ("Unsuspecting Hearts").


title: Carrie (musical)

text: Still upset over the way Carrie has been treated, Sue asks Tommy to take Carrie to the prom instead of her ("Do Me a Favor"), and he reluctantly agrees. At the same time, Chris asks Billy to help her get revenge on Carrie.


title: Carrie (musical)

text: Tommy surprises Carrie by knocking on her door and asking her to go to prom. Though at first confused and uneasy, Carrie eventually agrees to go with him. When she tells her mother the news ("Invited"), Margaret forbids her to go, insisting that all boys just want to take advantage of girls, including her own father ("I Remember How Those Boys Could Dance"), and the prom would be an occasion of sin. Carrie reveals her supernatural powers, telling her mother that she is determined to attend the prom and will not be stopped.


title: Carrie (musical)

text: The act opens at a pig farm while a storm rages, where Chris, Billy, and several of his friends are on a mission to collect the blood of a pig for the prom night revenge. Billy warns Chris to look inside herself and consider the consequences ("Out for Blood"). Back at the high school, preparations are underway for prom night. Sue is confronted by girls who are upset that Carrie is going to the prom. Sue, having been abandoned by her friends, steps into Carrie’s shoes. She believes she is doing the right thing but realizes that doing the right thing is not always easy ("It Hurts to be Strong").


title: Carrie (musical)

text: Getting ready for the prom, Carrie dreams about her date and, in a positive display of her special powers, she sends her dress, shoes, and hairbrush dancing through the air ("I'm Not Alone"). Margaret tries one more time to convince Carrie not to go to the prom ("Carrie (Reprise)"), but Carrie doesn't listen. She leaves for the prom with Tommy. Alone, Margaret laments her past and plans to save Carrie from damnation the only way she can ("When There's No One").


title: Carrie (musical)

text: Tommy and Carrie arrive at the prom ("Wotta Night") and everyone is surprised at how beautiful Carrie is and begin to slowly accept her. Miss Gardner is there as a chaperone and talks to Carrie about how it feels to be in love ("Unsuspecting Hearts (Reprise)"). Carrie is nervous about dancing with Tommy, but he finally convinces her to go out on the dance floor with him ("Heaven"). As the votes for prom king and queen are cast, Tommy, Carrie, Sue, Chris, Billy, Margaret, and Miss Gardner soliloquize about the events unfolding in a spectacular full cast septet ("Heaven (Reprise)"). At the height of the nights rapture, Tommy and Carrie are declared king and queen of the prom, and they are crowned as the students applaud and sing the "Alma Mater".


title: Carrie (musical)

text: Suddenly, Billy and Chris appear and dump a bucket of pig blood on Carrie. In a flash, the nights joy is turned into horror. Carrie, Humiliated and incensed, realizes in fiery rage her full powers. She closes off the gym exit, sparing a horrified Sue, and kills everyone present ("The Destruction"). After this, Carrie exits the prom where she is met by her mother on the steps of the school. Margaret lures Carrie in and sings her to sleep ("Carrie (Lullaby)"). But in a final display of her corruption and confused love, Margaret stabs her fatally, believing her daughter will be saved from God's wrath. Carrie retaliates, killing Margaret with her powers, expressing immediate remorse as her mother dies. Sue, the sole survivor and only witness to this final scene, goes to Carrie and comforts her as she dies. As the show comes to a spellbinding conclusion, Carrie reaches her hand out to the audience, as the lights fade to dark.


title: Carrie (musical)

text: Sue Snell, haunted witness and tour guide to our story, struggles to recount the incidents leading up to the tragic night of May 28. As she's questioned about the past, figures from her life in high school appear. Whatever their differences – be they good girl Sue, her varsity-athlete boyfriend Tommy Ross, her spoiled-rotten best friend Chris Hargensen, Chris' trouble-maker boyfriend Billy Nolan, or perennial misfit Carrie White – they are all wrestling with the same insecurities and united in their desire to belong ("In").


title: Carrie (musical)

text: After gym class, Carrie experiences her first period in the shower. Her terrified screams for help and seeming ignorance about what's happening to her amuse and inflame the girls. With Chris as ringleader, Sue and the others encircle Carrie, gleefully chanting names and savagely taunting her. As gym teacher Miss Gardner races in at the height of Carrie's hysteria, an overhead light bulb inexplicably explodes. When the girls are reprimanded, they dismissively rationalize, "It's just Carrie", the butt of their jokes since childhood.


title: Carrie (musical)

text: Miss Gardner and guidance counselor/English teacher Mr. Stephens send Carrie home for the rest of the day. But even as she leaves, her classmates' hurtful insults and name-calling ricochet in Carrie's mind until she cracks in fury ("Carrie"). Tommy and his pals discuss the upcoming senior prom as Billy roars in on his skateboard, clowning around. Carrie passes by and he jeeringly ridicules her. When she turns a furious glance in his direction, he goes sprawling. Angry and embarrassed, Billy tries to blame his seeming clumsiness on Carrie, but the other guys just laugh.


title: Carrie (musical)

text: At the White bungalow, Carrie's mother Margaret works at her sewing machine and sings along to her favorite evangelical radio program ("Open Your Heart"). When the still-troubled Carrie arrives home, she reluctantly joins in the hymn. Carrie summons the courage to tell her mother about the day's traumatic event. The realization that her child is now a woman throws Margaret into a God-fearing panic. When Carrie resists, Margaret locks her in a closet to beg for repentance ("And Eve Was Weak").


title: Carrie (musical)

text: With her parents out of town, Chris throws a party at which she recounts to the kids the details of that day's incident with Carrie in the locker room. When Sue – confused and upset about her role in the hazing – protests that it wasn't funny, Chris perversely instructs her in the natural order of things ("The World According to Chris"). Upset by Chris' toxic message, Sue turns her back on her best friend and leaves with Tommy.


title: Carrie (musical)

text: Back at the White household, Carrie is still locked in her prayer closet surrounded by religious icons. Margaret, meanwhile, pleads for her own divine guidance. As Carrie puzzles over this new sensation she's been feeling, she grows more agitated. Suddenly, a little figurine of Jesus levitates, leaving Carrie to wonder if this strange power might possibly be coming from within her. Margaret releases her from the closet and tearfully apologizes for her actions, prompting Carrie to beg for forgiveness as well. The two find solace in each other's goodnight embrace ("Evening Prayers").


title: Carrie (musical)

text: In English class, Mr. Stephens praises a poem Tommy has written, and has him recite his work ("Dreamer in Disguise"). When the teacher asks the unruly students for reactions, Carrie volunteers. Her heartfelt emotion only provokes the other kids' mockery. After class, Sue acts on Tommy's advice and tries to apologize to Carrie but, thinking it's some kind of trick, Carrie explodes at her and storms off. Shaken and shocked into awareness, Sue muses on their encounter ("Once You See"). Miss Gardner rebukes the girls for their reckless mistreatment of Carrie and demands that they apologize to her – or else they will be sent to detention for one week. They all do, except for Chris, who instead hurls a vicious invective at Carrie, causing Miss Gardner to change Chris's charge from detention to suspension, thus kicking her out of the prom. Frantic, Chris tries to rally the girls to join her in defying their teacher until Sue shouts at Chris to shut up and that everything does not revolve around her. Battle lines are drawn as the best friends are now enemies. When Miss Gardner apologizes to the sobbing Carrie for what just happened, Carrie surprises her by insisting that she's got to let Chris go to Prom. Carrie points out that for girls like Chris, Prom is like a dream. When pressed, Carrie admits that she herself is not going. Moved by Carrie's lack of self-esteem and her need for support, Miss Gardner assures her that things can change ("Unsuspecting Hearts").


title: Carrie (musical)

text: Determined to do right by Carrie, Sue asks Tommy for help with a plan she's devised. Similarly, Chris, blaming Carrie for her humiliation, interrupts a make-out session with Billy to get his help in her plot for revenge ("Do Me A Favor"). Alone in the library, Carrie reads about telekinesis from a book. Concentrating intensely, she succeeds in moving chairs across the room without touching them, startling herself with this newfound power. In retrospect, the exploding light bulb in the shower and Billy's tumble from his skateboard start to make sense.


title: Carrie (musical)

text: Nervous but honoring Sue's request, Tommy arrives at Carrie's front door and asks her to Prom. Wary, she repeatedly refuses, until Margaret calls her in for dinner. Worried that her mother will find her with Tommy, Carrie hurriedly accepts the offer to be his date. As he leaves, she calls out a joyous "thank you" as it begins to rain. While the storm outside intensifies, Carrie excitedly tells Margaret of her Prom invitation, triggering Margaret's own tortured reverie ("I Remember How Those Boys Could Dance"). When she orders Carrie to tell Tommy that she can't go, they battle and, as rain starts to blow in, Margaret walks away to close the windows. "I'll get them!" Carrie shouts and uses her mind to slam them shut. Horrified by this display of power that she's certain is the work of the devil, Margaret cowers in fear as Carrie calmly finishes her dessert.


title: Carrie (musical)

text: Preparations for Prom and the news that Tommy's taking Carrie preoccupy everyone at school, including Chris and Billy, who sneak into the gymnasium with a bucket of pig's blood and set their own nasty prank in place ("A Night We'll Never Forget"). Miss Gardner, suspicious of Sue's motives in having Tommy invite Carrie, warns them both that if they hurt Carrie in any way, they'll have to answer to her. Sue worries that Tommy is mad at her too, but insists he's merely disappointed, wanting to take his girlfriend to Prom. To make up for the event they're going to miss, he takes her into the half-decorated gym to share a private romantic moment ("You Shine").


title: Carrie (musical)

text: It's finally Prom Night. The kids are electric with nervous excitement, and Carrie, no less anxious, resolves to make the most of the evening ("Why Not Me?"). Frantic with worry, Margaret tries to undermine Carrie's confidence ("Stay Here Instead"). Just then, Tommy arrives, and Carrie, looking ravishing in the gown she's made herself, departs with him. Alone, Margaret struggles with fundamentalist scriptures: "She must be sacrificed. Thou shalt not suffer a witch to live". Her duty – however horrific and tragic – is clear ("When There's No One").


title: Carrie (musical)

text: At the gym, the psyched kids show off their Prom finery and pose for yearbook photos. Tommy enters with Carrie, and the crowd's reaction to her stunning transformation turns from initially hostile to unexpectedly welcoming ("Prom Arrival"). Miss Gardner, surprised and delighted by Carrie's new self-assurance, shares her own recollection of Prom, and teacher and student trade notes on this timeless high school ritual ("Unsuspecting Hearts – Reprise"). After much coaxing, Tommy leads a hesitant Carrie onto the dance floor where they're observed – first by Sue, who's felt compelled to sneak in and see how her plan has worked out, and then by Chris' partner-in-crime, Norma ("Dreamer in Disguise – Reprise"). Chris and Billy, hidden high in the rafters above, prepare to unleash their prank, as Sue comes upon Norma switching real Prom ballots for fake ones, arousing her suspicions ("Prom Climax").


title: Carrie (musical)

text: Votes tabulated, Mr. Stephens and Miss Gardner announce Tommy and Carrie as Prom King and Queen. While the assembled salute them with the school song ("Alma Mater"), Sue spots the bucket dangling above the coronation area, confirming her worst suspicions. Frantic, she tries to warn Miss Gardner, but the teacher, who's been wary of Sue's motives in forgoing her Prom in favor of Carrie, pushes her out of the gym. Chris cues Billy, who yanks the bucket and drenches Carrie in blood. As the Prom-goers' stunned silence turns to derisive laughter, her unimaginable humiliation turns to fury – and then madness. Lashing out with her power, she exacts a terrible revenge on friend and foe alike, killing everyone present ("The Destruction"). Powerless, Sue watches her classmates perish. As emergency whistles sound and sirens wail, Sue follows the path of destruction that leads through the street to Carrie's house.


title: Carrie (musical)

text: Carrie arrives home in her bloody prom dress and finds momentary solace in her mother's arms ("Carrie – Reprise"). Just as she's lulled into a sense of safety, Margaret – fulfilling what she believes to be her biblical duty – plunges a knife into her daughter. Wounded and trying to defend herself from further assault, Carrie uses her powers to stop her mother's heart. Sue stumbles into this horrific scene and, hearing Carrie's anguished cries, rushes to her side to comfort her, but she's too late. As Carrie dies in her arms, the figures from Sue's memory provide a final, haunting testimony of redemption ("Epilogue").


title: Proto-Slavic language

text: Proto-Slavic (abbreviated PSl., PS.; also called Common Slavic or Common Slavonic) is the unattested, reconstructed proto-language of all Slavic languages. It represents Slavic speech approximately from the 2nd millennium B.C. through the 6th century A.D. As with most other proto-languages, no attested writings have been found; scholars have reconstructed the language by applying the comparative method to all the attested Slavic languages and by taking into account other Indo-European languages.


title: Proto-Slavic language

text: Rapid development of Slavic speech occurred during the Proto-Slavic period, coinciding with the massive expansion of the Slavic-speaking area. Dialectal differentiation occurred early on during this period, but overall linguistic unity and mutual intelligibility continued for several centuries, into the 10th century or later. During this period, many sound changes diffused across the entire area, often uniformly. This makes it inconvenient to maintain the traditional definition of a proto-language as the "latest reconstructable common ancestor" of a language group, with no dialectal differentiation. (This would necessitate treating all pan-Slavic changes after the 6th century or so as part of the separate histories of the various daughter languages.) Instead, Slavicists typically handle the entire period of dialectally differentiated linguistic unity as Common Slavic.


title: Proto-Slavic language

text: Authorities differ as to which periods should be included in Proto-Slavic and in Common Slavic. The language described in this article generally reflects the middle period, usually termed "Late Proto-Slavic" (sometimes "Middle Common Slavic") and often dated to around the 7th to 8th centuries. This language remains largely unattested, but a late-period variant, representing the late 9th-century dialect spoken around Thessaloniki (Solun) in Macedonia, is attested in Old Church Slavonic manuscripts.


title: Proto-Slavic language

text: The ancestor of Proto-Slavic is Proto-Balto-Slavic, which is also the ancestor of the Baltic languages, e.g. Lithuanian and Latvian. This language in turn is descended from Proto-Indo-European, the parent language of the vast majority of European languages (including English, Irish, Spanish, Greek, etc.). Proto-Slavic gradually evolved into the various Slavic languages during the latter half of the first millennium AD, concurrent with the explosive growth of the Slavic-speaking area.


title: Proto-Slavic language

text: There is no scholarly consensus concerning either the number of stages involved in the development of the language (its periodization) or the terms used to describe them.


title: Proto-Slavic language

text: This article considers primarily Middle Common Slavic, noting when there is slight dialectal variation. It also covers Late Common Slavic when there are significant developments that are shared (more or less) identically among all Slavic languages.


title: Proto-Slavic language

text: Two different and conflicting systems for denoting vowels are commonly in use in Indo-European and Balto-Slavic linguistics on the one hand, and Slavic linguistics on the other. In the first, vowel length is consistently distinguished with a macron above the letter, while in the latter it is not clearly indicated. The following table explains these differences:


title: Proto-Slavic language

text: For consistency, all discussions of words in Early Slavic and before (the boundary corresponding roughly to the monophthongization of diphthongs, and the Slavic second palatalization) use the common Balto-Slavic notation of vowels. Discussions of Middle and Late Common Slavic, as well as later dialects, use the Slavic notation.


title: Proto-Slavic language

text: For Middle and Late Common Slavic, the following marks are used to indicate tone and length distinctions on vowels, based on the standard notation in Serbo-Croatian:


title: Proto-Slavic language

text: There are unfortunately multiple competing systems used to indicate prosody in different Balto-Slavic languages (see Proto-Balto-Slavic language#Notation for more details). The most important for this article are:


title: Proto-Slavic language

text: The columns marked "central" and "back" may alternatively be interpreted as "back unrounded" and "back rounded" respectively, but rounding of back vowels was distinctive only between the vowels *y and *u. The other back vowels had optional non-distinctive rounding. Thus:


title: Proto-Slavic language

text: The vowels described as "short" and "long" were simultaneously distinguished by length and quality in Middle Common Slavic. Vowel length evolved as follows:


title: Proto-Slavic language

text: The phonetic value (IPA symbol) of most consonants is the same as their traditional spelling. Some notes and exceptions:


title: Proto-Slavic language

text: In most dialects, non-distinctive palatalization was probably present on all consonants that occurred before front vowels. When the high front yer *ь/ĭ was lost in many words, it left this palatalization as a "residue", which then became distinctive, producing a phonemic distinction between palatalized and non-palatalized alveolars and labials. In the process, the palatal sonorants *ľ *ň *ř merged with alveolar *l *n *r before front vowels, with both becoming *lʲ *nʲ *rʲ. Subsequently, some palatalized consonants lost their palatalization in some environments, merging with their non-palatal counterparts. This happened the least in Russian and the most in Czech. Palatalized consonants never developed in Southwest Slavic (modern Croatian, Serbian, and Slovenian), and the merger of *ľ *ň *ř with *l *n *r did not happen before front vowels (although Serbian and Croatian later merged *ř with *r).


title: Proto-Slavic language

text: As in its ancestors, Proto-Balto-Slavic and Proto-Indo-European, one syllable of each Common Slavic word was accented (carried more prominence). The placement of the accent was free and thus phonemic; it could occur on any syllable and its placement was inherently part of the word. The accent could also be either mobile or fixed, meaning that inflected forms of a word could have the accent on different syllables depending on the ending, or always on the same syllable.


title: Proto-Slavic language

text: Common Slavic vowels also had a pitch accent. In Middle Common Slavic, all accented long vowels, nasal vowels and liquid diphthongs had a distinction between two pitch accents, traditionally called "acute" and "circumflex" accent. The acute accent was pronounced with rising intonation, while the circumflex accent had a falling intonation. Short vowels (*e *o *ь *ъ) had no pitch distinction, and were always pronounced with falling intonation. Unaccented (unstressed) vowels never had tonal distinctions, but could still have length distinctions. These rules are similar to the restrictions that apply to the pitch accent in Slovene.


title: Proto-Slavic language

text: In the Late Common Slavic period, several sound changes occurred. Long vowels bearing the acute (long rising) accent were usually shortened, resulting in a short rising intonation. Some short vowels were lengthened, creating new long falling vowels. A third type of pitch accent developed, known as the "neoacute", as a result of sound laws that retracted the accent (moved it to the preceding syllable). This occurred at a time when the Slavic-speaking area was already dialectally differentiated, and usually syllables with the acute and/or circumflex accent were shortened around the same time. Hence it is unclear whether there was ever a period in any dialect when there were three phonemically distinct pitch accents on long vowels. Nevertheless, taken together, these changes significantly altered the distribution of the pitch accents and vowel length, to the point that by the end of the Late Common Slavic period almost any vowel could be short or long, and almost any accented vowel could have falling or rising pitch.


title: Proto-Slavic language

text: Most syllables in Middle Common Slavic were open. The only closed syllables were those that ended in a liquid (*l or *r), forming liquid diphthongs, and in such syllables, the preceding vowel had to be short. Consonant clusters were permitted, but only at the beginning of a syllable. Such a cluster was syllabified with the cluster entirely in the following syllable, contrary to the syllabification rules that are known to apply to most languages. For example, "wealth" was divided into syllables as , with the whole cluster at the beginning of the syllable.


title: Proto-Slavic language

text: By the beginning of the Late Common Slavic period, all or nearly all syllables had become open as a result of developments in the liquid diphthongs. Syllables with liquid diphthongs beginning with *o or *e had been converted into open syllables, for example *TorT became *TroT, *TraT or *ToroT in the various daughter languages. The main exception are the Northern Lechitic languages (Kashubian, extinct Slovincian and Polabian) only with lengthening of the syllable and no metathesis (*TarT, e.g. PSl. > Kashubian ; > Polabian > ). In West Slavic and South Slavic, liquid diphthongs beginning with *ь or *ъ had likewise been converted into open syllables by converting the following liquid into a syllabic sonorant (palatal or non-palatal according to whether *ь or *ъ preceded respectively). This left no closed syllables at all in these languages. Most of the South Slavic languages, as well as Czech and Slovak, tended to preserve the syllabic sonorants, but in the Lechitic languages (such as Polish) and Bulgarian, they fell apart again into vowel-consonant or consonant-vowel combinations. In East Slavic, the liquid diphthongs in *ь or *ъ may have likewise become syllabic sonorants, but if so, the change was soon reversed, suggesting that it may never have happened in the first place.


title: Proto-Slavic language

text: Proto-Slavic retained several of the grammatical categories inherited from Proto-Indo-European, especially in nominals (nouns and adjectives). Seven of the eight Indo-European cases had been retained (nominative, accusative, locative, genitive, dative, instrumental, vocative). The ablative had merged with the genitive. It also retained full use of the singular, dual and plural numbers, and still maintained a distinction between masculine, feminine and neuter gender. However, verbs had become much more simplified, but displayed their own unique innovations.


title: Proto-Slavic language

text: As a result of the three palatalizations and the fronting of vowels before palatal consonants, both consonant and vowel alternations were frequent in paradigms, as well as in word derivation.


title: Proto-Slavic language

text: The following table lists various consonant alternations that occurred in Proto-Slavic, as a result of various suffixes or endings being attached to stems:


title: Proto-Slavic language

text: Vowels were fronted when following a palatal or "soft" consonant (*j, any iotated consonant, or a consonant that had been affected by the progressive palatalization). Because of this, most vowels occurred in pairs, depending on the preceding consonant.


title: Proto-Slavic language

text: Most word stems therefore became classed as either "soft" or "hard", depending on whether their endings used soft (fronted) vowels or the original hard vowels. Hard stems displayed consonant alternations before endings with front vowels as a result of the two regressive palatalizations and iotation.


title: Proto-Slavic language

text: As part of its Indo-European heritage, Proto-Slavic also retained ablaut alternations, although these had been reduced to unproductive relics. The following table lists the combinations (vowel softening may alter the outcomes).


title: Proto-Slavic language

text: Although qualitative alternations (e-grade versus o-grade versus zero grade) were no longer productive, the Balto-Slavic languages had innovated a new kind of ablaut, in which length was the primary distinction. This created two new alternation patterns, which did not exist in PIE: short *e, *o, *ь, *ъ versus long *ě, *a, *i, *y. This type of alternation may have still been productive in Proto-Slavic, as a way to form imperfective verbs from perfective ones.


title: Proto-Slavic language

text: Originally in Balto-Slavic, there were only two accent classes, "fixed" (with fixed stem accent) and "mobile" (with accent alternating between stem and ending). There was no class with fixed accent on the ending. Both classes originally had both acute and circumflex stems in them. Two sound changes acted to modify this basic system:


title: Proto-Slavic language

text: For this purpose, the "stem" includes any morphological suffixes (e.g. a diminutive suffix), but not generally on the inflectional suffix that indicates the word class (e.g. the "-ā-" of feminine "ā"-stem nouns), which is considered part of the ending. Verbs also had three accent paradigms, with similar characteristics to the corresponding noun classes. However, the situation is somewhat more complicated due to the large number of verb stem classes and the numerous forms in verbal paradigms.


title: Proto-Slavic language

text: Some nouns (especially "jā"-stem nouns) fit into the AP "a" pattern but have neoacute accent on the stem, which can have either a short or a long syllable. A standard example is "will", with neoacute accent on a short syllable. These nouns earlier belonged to AP "b"; as a result, grammars may treat them as belonging either to AP "a" or "b".


title: Proto-Slavic language

text: During the Late Common Slavic period, the AP "b" paradigm became mobile as a result of a complex series of changes that moved the accent leftward in certain circumstances, producing a neoacute accent on the newly stressed syllable. The paradigms below reflect these changes. All languages subsequently simplified the AP "b" paradigms to varying degrees; the older situation can often only be seen in certain nouns in certain languages, or indirectly by way of features such as the Slovene neo-circumflex tone that carry echoes of the time when this tone developed. See History of Proto-Slavic#Accentual developments for more details.


title: Proto-Slavic language

text: Most of the Proto-Indo-European declensional classes were retained. Some, such as u-stems and masculine i-stems, were gradually falling out of use and being replaced by other, more productive classes.


title: Proto-Slavic language

text: The following tables are examples of Proto-Slavic noun-class paradigms, based on . There were many changes in accentuation during the Common Slavic period, and there are significant differences in the views of different scholars on how these changes proceeded. As a result, these paradigms do not necessarily reflect a consensus. The view expressed below is that of the Leiden school, following Frederik Kortlandt, whose views are somewhat controversial and not accepted by all scholars.


title: Proto-Slavic language

text: All single-syllable AP "a" stems are long. This is because all such stems had Balto-Slavic acute register in the root, which can only occur on long syllables. Single-syllable short and non-acute long syllables became AP "b" nouns in Common Slavic through the operation of Dybo's law. In stems of multiple syllables, there are also cases of short or neoacute accents in accent AP "a", such as "*osnòvā". These arose through advancement of the accent by Dybo's law onto a non-acute stem syllable (as opposed to onto an ending). When the accent was advanced onto a long non-acute syllable, it was retracted again by Ivšić's law to give a neoacute accent, in the same position as the inherited Balto-Slavic short or circumflex accent.


title: Proto-Slavic language

text: The distribution of short and long vowels in the stems without /j/ reflects the original vowel lengths, prior to the operation of Van Wijk's law, Dybo's law and Stang's law, which led to AP "b" nouns and the differing lengths in /j/ stems.


title: Proto-Slavic language

text: AP "b" "jā"-stem nouns are not listed here. The combination of Van Wijk's law and Stang's law would have originally produced a complex mobile paradigm in these nouns, different from the mobile paradigm of "ā"-stem and other nouns, but this was apparently simplified in Common Slavic times with a consistent neoacute accent on the stem, as if they were AP "a" nouns. The AP "b" "jo"-stem nouns were also simplified, but less dramatically, with consistent ending stress in the singular but consistent root stress in the plural, as shown. AP "b" "s"-stem noun are not listed here, because there may not have been any.


title: Proto-Slavic language

text: The accent pattern for the strong singular cases (nominative and accusative) and all plural cases is straightforward:


title: Proto-Slavic language

text: The long-rising versus short-rising accent on ending-accented forms with Middle Common Slavic long vowels reflects original circumflex versus acute register, respectively.


title: Proto-Slavic language

text: Adjective inflection had become more simplified compared to Proto-Indo-European. Only a single paradigm (in both hard and soft form) existed, descending from the PIE o- and a-stem inflection. I-stem and u-stem adjectives no longer existed. The present participle (from PIE *-nt-) still retained consonant stem endings.


title: Proto-Slavic language

text: Proto-Slavic had developed a distinction between "indefinite" and "definite" adjective inflection, much like Germanic strong and weak inflection. The definite inflection was used to refer to specific or known entities, similar to the use of the definite article "the" in English, while the indefinite inflection was unspecific or referred to unknown or arbitrary entities, like the English indefinite article "a". The indefinite inflection was identical to the inflection of o- and a-stem nouns, while the definite inflection was formed by suffixing the relative/anaphoric pronoun to the end of the normal inflectional endings. Both the adjective and the suffixed pronoun were presumably declined as separate words originally, but already within Proto-Slavic they had become contracted and fused to some extent.


title: Proto-Slavic language

text: The Proto-Slavic system of verbal inflection was somewhat simplified from the verbal system of Proto-Indo-European (PIE), although it was still rich in tenses, conjugations and verb-forming suffixes.


title: Proto-Slavic language

text: The PIE mediopassive voice disappeared entirely except for the isolated form "vědě" "I know" in Old Church Slavonic (< Late PIE *woid-ai, a perfect mediopassive formation). However, a new analytic mediopassive was formed using the reflexive particle , much as in the Romance languages. The imperative and subjunctive moods disappeared, while the old optative came to be used as the imperative instead.


title: Proto-Slavic language

text: In terms of PIE tense/aspect forms, the PIE imperfect was lost or merged with the PIE thematic aorist, and the PIE perfect was lost other than in the stem of the irregular verb "to know" (from PIE ). The aorist was retained, preserving the PIE thematic and sigmatic aorist types (the former is generally termed the "root aorist" in Slavic studies), and a new "productive aorist" arose from the sigmatic aorist by various analogical changes, e.g. replacing some of the original endings with thematic endings. (A similar development is observed in Greek and Sanskrit. In all three cases, the likely trigger was the phonological reduction of clusters like *-ss-, *-st- that arose when the original athematic endings were attached to the sigmatic *-s- affix.) A new synthetic imperfect was created by attaching a combination of the root and productive aorist endings to a stem suffix *-ěa- or *-aa-, of disputed origin. Various compound tenses were created, e.g. to express the future, conditional, perfect and pluperfect.


title: Proto-Slavic language

text: The three numbers (singular, dual and plural) were all maintained, as were the different athematic and thematic endings. Only five athematic verbs exist: "to know", "to be", "to give", "to eat" and "to have". (*dati has a finite stem *dad-, suggesting derivation by some sort of reduplication.) A new set of "semi-thematic" endings were formed by analogy (corresponding to modern conjugation class II), combining the thematic first singular ending with otherwise athematic endings. Proto-Slavic also maintained a large number of non-finite formations, including the infinitive, the supine, a verbal noun, and five participles (present active, present passive, past active, past passive and resultative). In large measure these directly continue PIE formations.


title: Proto-Slavic language

text: Proto-Indo-European had an extensive system of aspectual distinctions ("present" vs. "aorist" vs. "perfect" in traditional terminology), found throughout the system. Proto-Slavic maintained part of this, distinguishing between aorist and imperfect in the past tense. In addition, Proto-Slavic evolved a means of forming lexical aspect (verbs inherently marked with a particular aspect) using various prefixes and suffixes, which was eventually extended into a systematic means of specifying grammatical aspect using pairs of related lexical verbs, each with the same meaning as the other but inherently marked as either imperfective (denoting an ongoing action) or perfective (denoting a completed action). The two sets of verbs interrelate in three primary ways:


title: Proto-Slavic language

text: In Proto-Slavic and Old Church Slavonic, the old and new aspect systems coexisted, but the new aspect has gradually displaced the old one, and as a result most modern Slavic languages have lost the old imperfect, aorist, and most participles. A major exception, however, is Bulgarian (and also Macedonian to a fair extent), which has maintained both old and new systems and combined them to express fine shades of aspectual meaning. For example, in addition to imperfective imperfect forms and perfective aorist forms, Bulgarian can form a perfective imperfect (usually expressing a repeated series of completed actions considered subordinate to the "major" past actions) and an imperfective aorist (for "major" past events whose completion is not relevant to the narration).


title: Proto-Slavic language

text: Proto-Slavic also had paired motion verbs (e.g. "run", "walk", "swim", "fly", but also "ride", "carry", "lead", "chase", etc.). One of the pair expresses "determinate" action (motion to a specified place, e.g. "I walked to my friend's house") and the other expressing "indeterminate" action (motion to and then back, and motion without a specified goal). These pairs are generally related using either the suffixing or suppletive strategies of forming aspectual verbs. Each of the pair is also in fact a pair of perfective vs. imperfective verbs, where the perfective variant often uses a prefix "*po-".


title: Proto-Slavic language

text: Many different PIE verb classes were retained in Proto-Slavic, including (among others) simple thematic presents, presents in *-n- and *-y-, stative verbs in *-ē- (cf. similar verbs in the Latin "-ēre" conjugation), factitive verbs in *-ā- (cf. the Latin "-āre" conjugation), and o-grade causatives in *-éye-.


title: Proto-Slavic language

text: The forms of each verb were based on two basic stems, one for the present and one for the infinitive/past. The present stem was used before endings beginning in a vowel, the infinitive/past stem before endings beginning in a consonant. In Old Church Slavonic grammars, verbs are traditionally divided into four (or five) conjugation classes, depending on the present stem, known as Leskien's verb classes. However, this division ignores the formation of the infinitive stem. The following table shows the main classes of verbs in Proto-Slavic, along with their traditional OCS conjugation classes. The "present" column shows the ending of the third person singular present.


title: Proto-Slavic language

text: The same three classes occurred in verbs as well. However, different parts of a verb's conjugation could have different accent classes, due to differences in syllable structure and sometimes also due to historical anomalies. Generally, when verbs as a whole are classified according to accent paradigm, the present tense paradigm is taken as the base.


title: Proto-Slavic language

text: Verbs in accent paradigm "a" are the most straightforward, with acute accent on the stem throughout the paradigm.


title: Proto-Slavic language

text: Verbs with a present stem in "*-e-" have short "*-è-" in the present tense and acute "*-ě̀-" or "*-ì-" in the imperative. Verbs with a present stem in "*-i-" have acute "*-ì-" in the imperative, but a historical long circumflex in the present tense, and therefore retract it into a neoacute on the stem in all forms with a multisyllabic ending. The infinitive is normally accented on the first syllable of the ending, which may be a suffixal vowel ("*-àti", "*-ìti") or the infinitive ending itself ("*-tì").


title: Proto-Slavic language

text: In a subset of verbs with the basic "*-ti" ending, known as AP "a/b" verbs, the infinitive has a stem acute accent instead, "*mèlti", present "*meľètь". Such verbs historically had acute stems ending in a long vowel or diphthong, and should have belonged to AP "a". However, the stem was followed by a consonant in some forms (e.g. the infinitive) and by a vowel in others (the present tense). The forms with a following vowel were resyllabified into a short vowel + sonorant, which also caused the loss of the acute in these forms, because the short vowel could not be acuted. The short vowel in turn was subject to Dybo's law, while the original long vowel/diphthong remained acuted and thus resisted the change.


title: Proto-Slavic language

text: Verbs in accent paradigm "c" have the accent on the final syllable in the present tense, except in the first-person singular, which has a short or long falling accent on the stem. Where the final syllable contains a yer, the accent is retracted onto the thematic vowel and becomes neoacute (short on "*e", long on "*i"). In the imperative, the accent is on the syllable after the stem, with acute "*-ě̀-" or "*-ì-".


title: Proto-Slavic language

text: In verbs with a vowel suffix between stem and ending, the accent in the infinitive falls on the vowel suffix ("*-àti", "*-ě̀ti", "*-ìti"). In verbs with the basic ending "*-ti", the accentuation is unpredictable. Most verbs have the accent on the "*-tì", but if the infinitive was historically affected by Hirt's law, the accent is acute on the stem instead. Meillet's law did not apply in these cases.


title: Proto-Slavic language

text: Article 1 of the "Universal Declaration of Human Rights" in reconstructed Proto-Slavic language, written in Latin alphabet:


title: Bandage

text: A bandage is a piece of material used either to support a medical device such as a dressing or splint, or on its own to provide support to or to restrict the movement of a part of the body. When used with a dressing, the dressing is applied directly on a wound, and a bandage used to hold the dressing in place. Other bandages are used without dressings, such as elastic bandages that are used to reduce swelling or provide support to a sprained ankle. Tight bandages can be used to slow blood flow to an extremity, such as when a leg or arm is bleeding heavily.


title: Bandage

text: Bandages are available in a wide range of types, from generic cloth strips to specialized shaped bandages designed for a specific limb or part of the body. Bandages can often be improvised as the situation demands, using clothing, blankets or other material. In American English, the word "bandage" is often used to indicate a small gauze dressing attached to an adhesive bandage.


title: Bandage

text: The most common type of bandage is the gauze bandage, a woven strip of material with a Telfa absorbent barrier to prevent adhering to wounds. A gauze bandage can come in any number of widths and lengths and can be used for almost any bandage application, including holding a dressing in place.


title: Bandage

text: The term 'compression bandage' describes a wide variety of bandages with many different applications.


title: Bandage

text: Short stretch compression bandages are applied to a limb (usually for treatment of lymphedema or venous ulcers). This type of bandage is capable of shortening around the limb after application and is therefore not exerting ever-increasing pressure during inactivity. This dynamic is called resting pressure and is considered safe and comfortable for long-term treatment. Conversely, the stability of the bandage creates a very high resistance to stretch when pressure is applied through internal muscle contraction and joint movement. This force is called working pressure.


title: Bandage

text: Long stretch compression bandages have long stretch properties, meaning their high compressive power can be easily adjusted. However, they also have a very high resting pressure and must be removed at night or if the patient is in a resting position.


title: Bandage

text: Also known as a cravat bandage, a triangular bandage is a piece of cloth put into a right-angled triangle, and often provided with safety pins to secure it in place. It can be used fully unrolled as a sling, folded as a normal bandage, or for specialized applications, as on the head. One advantage of this type of bandage is that it can be makeshift and made from a fabric scrap or a piece of clothing. The Boy Scouts popularized use of this bandage in many of their first aid lessons, as a part of the uniform is a "neckerchief" that can easily be folded to form a cravat.


title: Bandage

text: A tube bandage is applied using an applicator, and is woven in a continuous circle. It is used to hold dressings or splints on to limbs, or to provide support to sprains and strains, so that it stops bleeding.


title: Bandage

text: A new type of bandage was invented in 2016; inspired by the art of kirigami, it uses parallel slits to better fit areas of the body that bend. The bandages have been produced with 3D-printed molds.


title: Still Open All Hours

text: Still Open All Hours is a British sitcom created for the BBC by Roy Clarke, and starring David Jason and James Baxter. It is the sequel to the sitcom "Open All Hours", which both Clarke and Jason worked on throughout its 26-episode run from 1976 to 1985, following a 40th Anniversary Special in December 2013 commemorating the original series. The sitcom's premise focuses on the life of a much older Granville, who now runs his late uncle's grocery shop with the assistance of his son, continuing to sell products at higher prices alongside seeking to be with his love interest.


title: Still Open All Hours

text: Unlike the original series, the cast for "Still Open All Hours" includes a more regular group of characters and additional side-plots. It has featured the return of Lynda Baron, Stephanie Cole, and Maggie Ollerenshaw as their characters from "Open All Hours". Although the special received poor reviews, it attracted positive viewing figures, with the sitcom airing a total of 41 episodes across six series to date.


title: Still Open All Hours

text: Like "Open All Hours", the sitcom is set within a small grocer's shop in the suburb of Balby, within Doncaster, South Yorkshire, and focuses on the life of Granville (David Jason) – now much older and the shop's owner, having grown into the same sort of person as his late uncle Arkwright was by learning from him his many ways of selling to customers. Assisting him in running the shop is Leroy (James Baxter), Granville's son by one of his previous girlfriends, who maintains a rather robust love life with several girls but struggles to cope with the work and sales approach of his father, much as Granville did with Arkwright.


title: Still Open All Hours

text: Like his late uncle, Granville maintains a love life with the sweet but absent-minded Mavis (Maggie Ollerenshaw) who loves him in return, but finds his path to her often blocked by her sister Madge (Brigit Forsyth), a miserable woman who does not like men and chooses to keep Mavis from following a relationship with Granville. Both are regular customers of the shop, alongside others from the neighbourhood onto whom Granville tries to offload products which he has bought and had little success selling on under their original identity and price.


title: Still Open All Hours

text: Since "Open All Hours", having lived his youth as a nice but shy and awkward man who struggled with shop life, Granville has changed into a more toned-down version of his uncle Arkwright. Thanks to his uncle's training, he now exhibits a similar habit of selling goods at inflated prices, fabricating stories to sell useless and/or unsaleable items to hapless customers, and keeping a close watch on the money he spends – often through employing the use of a special money belt that causes slight issues and embarrassment at times. During his uncle's training, Granville engaged in relationships with several girlfriends, in which a fling in Blackpool resulted in the procreation of his son Leroy, whom he was left in charge of by the boy's mother. Following his uncle's death, Granville inherited the shop, which he runs alongside Leroy, often teasing his son over the identity of his mother – secretly concealing the fact that he knows who she is – while subjecting him to practical jokes and teaching him some of the tricks that Arkwright taught him. In "Still Open All Hours" he maintains a belief that his uncle lives on through the shop's till, often referring to it as Arkwright in later episodes, because of its propensity to open or close suddenly at times for various reasons (such as when there is mention of spending considerable money on something). Arkwright's framed portrait on the wall sometimes tilts when spoken to. Two episodes featured Arkwright's ghost turning lights on and off (Series 1, Episode 6, and the 2015 Christmas Special).


title: Still Open All Hours

text: Like his uncle, Granville has a love interest of his own in Mavis, a woman he met during his youth and whom he still fondly loves. Unlike his uncle, Granville must struggle to be with Mavis since the end of her previous marriage, due to her sister Madge desiring to keep them apart. To try to distract Madge and hopefully remove her as an obstacle, Granville spends his time grooming one of his regulars, Gastric, into becoming Madge's love interest. In later episodes, he also finds himself trying to stop the advances of widow Delphine Featherstone, one of his uncle's customers (to whom he accidentally sent a love note that was meant for Mavis), by persuading fellow widower, Wilburn Newbold, to enter a relationship with her and maintain it, despite Mrs Featherstone's presence unnerving him.


title: Still Open All Hours

text: Leroy was born to a mother who his father met during a fling in Blackpool, but who he does not know about, despite Granville secretly knowing who she is; although his mother is talked about during the first series, including a visit by her to see Leroy, references about her become rare and non-existent in later episodes. Left in his father's care by his mother at a young age, Leroy suffers similar issues to those that Granville faced in his youth, such as having to be up early to open the shop, being on the receiving end of his father's practical jokes, and handling the deliveries of purchases to customers. Unlike his father, Leroy maintains an active social life with many young women, most having boyfriends that they do not mind ignoring to spend time with him (much to his father's dismay), while displaying a firm dislike of his father's penchant for unloading products he buys cheaply but cannot sell. By the fourth series, Leroy becomes committed to winning the affection of a local librarian, despite her values and vegan lifestyle.