title: Klein–Gordon equation

text: Applying the formula for the stress–energy tensor to the Lagrangian density (the quantity inside the integral), we can derive the stress–energy tensor of the scalar field. It is


title: Klein–Gordon equation

text: By integration of the time–time component over all space, one may show that both the positive- and negative-frequency plane-wave solutions can be physically associated with particles with "positive" energy. This is not the case for the Dirac equation and its energy–momentum tensor.


title: Klein–Gordon equation

text: The stress energy tensor is the set of conserved currents corresponding to the invariance of the Klein–Gordon equation under space-time translations formula_80. Therefore each component is conserved, that is, formula_81 (this holds only on-shell, that is, when the Klein–Gordon equations are satisfied). It follows that the integral of formula_82 over space is a conserved quantity for each formula_83. These have the physical interpretation of total energy for formula_84 and total momentum for formula_85 with formula_86.


title: Klein–Gordon equation

text: Taking the non-relativistic limit () of a classical Klein–Gordon field begins with the ansatz factoring the oscillatory rest mass energy term,


title: Klein–Gordon equation

text: Defining the kinetic energy formula_88, formula_89 in the non-relativistic limit formula_90, and hence


title: Klein–Gordon equation

text: The analogous limit of a quantum Klein–Gordon field is complicated by the non-commutativity of the field operator. In the limit , the creation and annihilation operators decouple and behave as independent quantum Schrödinger fields.


title: Klein–Gordon equation

text: There is a way to make the complex Klein–Gordon field formula_53 interact with electromagnetism in a gauge-invariant way. We can replace the (partial) derivative with the gauge-covariant derivative. Under a local formula_54 gauge transformation, the fields transform as


title: Klein–Gordon equation

text: where formula_102 is a function of spacetime, thus making it a local transformation, as opposed to a constant over all of spacetime, which would be a global formula_54 transformation. A subtle point is that global transformations can arise as local ones, when the function formula_104 is taken to be a constant function.


title: Klein–Gordon equation

text: A well-formulated theory should be invariant under such transformations. Precisely, this means that the equations of motion and action (see below) are invariant. To achieve this, ordinary derivatives formula_105 must be replaced by gauge-covariant derivatives formula_106, defined as


title: Klein–Gordon equation

text: where the 4-potential or gauge field formula_109 transforms under a gauge transformation formula_110 as


title: Klein–Gordon equation

text: Since an "ungauged" formula_54 symmetry is only present in complex Klein–Gordon theory, this coupling and promotion to a "gauged" formula_54 symmetry is compatible only with complex Klein–Gordon theory and not real Klein–Gordon theory.


title: Klein–Gordon equation

text: where formula_116 is known as the Maxwell tensor, field strength or curvature depending on viewpoint.


title: Klein–Gordon equation

text: This theory is often known as scalar quantum electrodynamics or scalar QED, although all aspects we've discussed here are classical.


title: Klein–Gordon equation

text: It is possible to extend this to a non-abelian gauge theory with a gauge group formula_117, where we couple the scalar Klein–Gordon action to a Yang–Mills Lagrangian. Here, the field is actually vector-valued, but is still described as a scalar field: the scalar describes its transformation under space-time transformations, but not its transformation under the action of the gauge group.


title: Klein–Gordon equation

text: For concreteness we fix formula_117 to be formula_119, the special unitary group for some formula_120. Under a gauge transformation formula_121, which can be described as a function formula_122 the scalar field formula_53 transforms as a formula_124 vector


title: Klein–Gordon equation

text: In general relativity, we include the effect of gravity by replacing partial derivatives with covariant derivatives, and the Klein–Gordon equation becomes (in the mostly pluses signature)


title: Klein–Gordon equation

text: where is the inverse of the metric tensor that is the gravitational potential field, "g" is the determinant of the metric tensor, is the covariant derivative, and is the Christoffel symbol that is the gravitational force field.


title: Klein–Gordon equation

text: This also admits an action formulation on a spacetime (Lorentzian) manifold formula_62. Using abstract index notation and in "mostly plus" signature this is


title: Imploding the Mirage

text: Imploding the Mirage is the sixth studio album by American rock band the Killers. It was released on August 21, 2020, by Island Records in the United States and internationally by EMI. To date, it is the band's only album without lead guitarist Dave Keuning, who took an indefinite hiatus (ending in 2021) from the band in 2017. Guitar parts are covered by Killers bassist Mark Stoermer, producer Jonathan Rado, and a variety of guest musicians including Lindsey Buckingham (Fleetwood Mac) and Adam Granduciel (The War on Drugs).


title: Imploding the Mirage

text: The album was preceded by the lead single "Caution" released on March 12, 2020, the second single "My Own Soul's Warning" released on June 17, 2020, and the promo singles "Fire in Bone" released on April 24, 2020 and "Dying Breed", released on August 14, 2020.


title: Imploding the Mirage

text: The band embarked on a world tour in support of the album starting in April 2022 and which will run until December of the same year.


title: Imploding the Mirage

text: The band formally announced the album on social media on November 15, 2019. Frontman Brandon Flowers told "NME" that the band went to Utah to record part of the album as it was where Flowers "fell in love with music for the first time", also saying that it was "interesting to be there again and hear some of that music with the geography matching the sensation. Some of that stuff is starting to resurface and a lot of that had to do with synthesizer music. It's always been part of our DNA but it's definitely creeping up."


title: Imploding the Mirage

text: "Imploding the Mirage" was recorded in various locations, including in Los Angeles, Las Vegas and Park City, Utah, and produced by Canadian producer Shawn Everett, and Jonathan Rado of the band Foxygen. The duo pushed The Killers to think beyond what people might expect of them. Drummer Ronnie Vannucci noted: "It kind of felt uncomfortable in a really special way, I remember thinking, 'I don't know what's going to happen and I like it.'"


title: Imploding the Mirage

text: The album is the band's first not to feature founding guitarist Dave Keuning, who took a step back from the band in a touring and recording capacity following the release of their previous studio album, "Wonderful Wonderful" (2017). Flowers and Vannucci reached out to Keuning to rejoin them in the studio to record "Imploding the Mirage": "When we started working the schedule out, we asked [Dave] if it worked for him and he was like, 'Maybe, I don't know'. Well, we're going to go ahead and do this because we feel good and we feel creative. Let's strike. We didn't really hear from him, except when it came to making a video. He was like, 'If you guys want me in the video…' Well, I'm not sure that makes any sense either! Video? How about some guitar?" Flowers elaborated: "He's just happy to be in San Diego and doesn't really want to venture out of there. If he comes for a week and we don't tap into the universe, that frustrates him a lot. He's kind of just spending time with his family and I think he's content doing that right now." The following year, Keuning discussed his own reasons for not taking part in the recording sessions: "I just needed a break from everything. ["Imploding the Mirage"] was probably just as busy of a schedule as touring for ten or eleven months. That record took a long time to record. I feel like it took a year and a half. Only they would know, but I feel like it took a while. I just... we were kind of at a stalemate. [...] If it was recorded in San Diego, I probably could have been a part of it. I wasn’t ready to work out of Vegas or Utah for a year and a half."


title: Imploding the Mirage

text: Bass guitarist Mark Stoermer, who has been on touring hiatus from the band since 2016, contributed both bass and guitar to the album. Regarding Stoermer's involvement, Vannucci noted: "Mark's awesome in so many ways. We'd tell [Dave and Mark], 'This is the schedule, we're renting a house for six months, come out, whenever you want, we're there every day'. Mark came out to the house one time and to Los Angeles and it was great. It was on his own terms and was very productive. He played bass on some songs, played guitar on some songs, and even though he wasn't in the room we'd send him mixes and he'd be involved."


title: Imploding the Mirage

text: The album features contributions from Lindsey Buckingham ("Caution"), k.d. lang ("Lightning Fields"), Weyes Blood ("My God"), Adam Granduciel from the War on Drugs ("Blowback"), Blake Mills ("Caution") and Lucius ("Caution" and "My God").


title: Imploding the Mirage

text: Musically, "Imploding the Mirage" has been described as heartland rock, pop rock, alternative rock, synth-pop, pop, arena rock, new wave, and synth-rock.


title: Imploding the Mirage

text: After contributing to five songs on the band's fifth studio album, "Wonderful Wonderful", Australian musician and songwriter Alex Cameron returned to co-write three tracks on "Imploding the Mirage".


title: Imploding the Mirage

text: The album cover is "Dance of the Wind and Storm" by American artist Thomas Blackshear. The album's artwork was decided upon during the recording process and became a source of visual inspiration in the studio, with Flowers noting: "They just look like gods. I just started to see a path open up in what these two people could represent for me. We blew up terrible lo-res versions of them and stuck them up in the studio. I would go to them when I needed help with lyrics and when we needed help with sonics, or [to decide] which songs were making the record. [The artwork] became a member of the band. There are direct lines that will just take you to the painting."


title: Imploding the Mirage

text: The Killers performed tracks from the album live for "CBS This Morning", "The Ellen DeGeneres Show", "Jimmy Kimmel Live!", "The Tonight Show Starring Jimmy Fallon", "The Late Show with Stephen Colbert", and "Good Morning America".


title: Imploding the Mirage

text: The lead single, "Caution", was released on March 12, 2020, and reached number one on "Billboard"s Alternative Airplay and Rock Airplay charts. The second single, "Fire in Bone", was released on April 24, 2020. The third single, "My Own Soul's Warning", was released on June 17, 2020 and reached the top ten on "Billlboard"'s Alternative Airplay and Rock Airplay charts and the fourth single, "Dying Breed", was released on August 14, 2020.


title: Imploding the Mirage

text: "Imploding the Mirage" received generally positive reviews from critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album has a score of 76 out of 100, which indicates "generally favorable reviews" based on 22 reviews. AllMusic's Neil Z. Yeung stated that "the Killers strike gold" on the album, writing that it is "more than just one of their best albums, but a triumphant and invigorated rut-reversal that shines with a hard-won confidence." "DIY"s Sarah Jamieson called the album "rich and invigorating" and stated that it "proves they're still one of our most treasured bands for a reason". Writing for "NME", Mark Beaumont called the album "a raised fist to the future" and "another dazzling statement of ultra-modern pomp, and one arguably even more in step with new generations of alt-rock" in a five-star review.


title: Imploding the Mirage

text: "Uproxx" listed "My Own Soul's Warning" as the 5th best song of 2020. "NME" listed it as the 14th best song of 2020.


title: Imploding the Mirage

text: "Imploding the Mirage" debuted at number eight on the US "Billboard" 200 (and number one on the US "Billboard" Rock Albums chart), earning 37,000 album-equivalent units (including 30,000 pure album sales) in its first week. In the United Kingdom, it debuted atop the UK Albums Chart with first-week sales of 50,391 copies, becoming the third fastest-selling album of the year so far (behind Lady Gaga's "Chromatica" and Kylie Minogue's "Disco"). It also marks the Killers' sixth consecutive UK chart-topper and Flowers' eighth. The album also topped the ARIA Albums Chart in Australia.


title: Money (That's What I Want)

text: "Money (That's What I Want)" is a rhythm and blues song written by Tamla founder Berry Gordy and Janie Bradford, which was the first hit record for Gordy's Motown enterprise. Barrett Strong recorded it in 1959 as a single for the Tamla label, distributed nationally on Anna Records. Many artists later recorded the tune, including the Beatles in 1963, the Rolling Stones in 1964, and the Flying Lizards in 1979.


title: Money (That's What I Want)

text: The song developed out of a spontaneous recording session at the Hitsville studio A in Detroit. Gordy and Strong began by improvising on piano and vocals and were joined by Benny Benjamin on drums and Brian Holland on tambourine. Authors Jim Cogan and William Clark only identify the guitarist and bass guitarist as "two white kids walking home from high school [who] heard the music out on the street and wandered in to Hitsville [and] asked if they could play along." They add "Strong claimed he never saw the two boys who played bass and guitar again." However, the guitarist has also been identified as Eugene Grew, who claimed that Barrett showed him what to play.


title: Money (That's What I Want)

text: Barrett begins with a bluesy piano riff, with the rest of the instruments gradually falling in. The figure is a key element of the song and is repeated throughout the piece by the piano, bass guitar and guitar, with background vocals by the Rayber Voices. Author Nick Talevski calls the song an "R&B classic" and it is identified as having a "Detroit R&B sound" by Mark Lewisohn. Music journalist Charles Shaar Murray describes "Money" as "one of the earliest Motown classics from the days when the label left some of R&B's rough edges in place."


title: Money (That's What I Want)

text: The song was originally recorded by Barrett Strong and released on Tamla in August 1959. Anna Records was operated by Gwen Gordy, Anna Gordy and Roquel "Billy" Davis. Gwen and Anna's brother Berry Gordy had just established his Tamla label (soon Motown would follow) and licensed the song to the Anna label in 1960, which was distributed nationwide by Chicago-based Chess Records in order to meet demand; the Tamla record was a resounding success in the Midwestern United States.


title: Money (That's What I Want)

text: In the US, the single became Motown's first hit in June 1960, making it to number two on the Hot R&B Sides chart and number 23 on the "Billboard" Hot 100. The song was listed as number 288 on "Rolling Stone"s "The 500 Greatest Songs of All Time". Greil Marcus has pointed out that "Money" was the only song that brought Strong's name near the top of the national music charts, "but that one time has kept him on the radio all his life."


title: Money (That's What I Want)

text: Singer Barrett Strong claims that he co-wrote the song with Berry Gordy and Janie Bradford. His name was removed from the copyright registration three years after the song was written, restored in 1987 when the copyright was renewed, and then excised again the following year. Gordy has stated that Strong's name was only included because of a clerical error.


title: Money (That's What I Want)

text: The Beatles recorded "Money" in seven takes on July 18, 1963. A series of piano overdubs was later added by producer George Martin. The song was released in November 1963 as the final track on their second UK album, "With the Beatles".


title: Money (That's What I Want)

text: According to George Harrison, the group discovered Strong's version in Brian Epstein's NEMS record store (though not a hit in the UK, it had been issued on London Records in 1960). They had previously performed it during their audition at Decca Records on January 1, 1962, with Pete Best still on drums at the time. They also recorded it six times for BBC radio. A live version, taped at a concert date in Stockholm, Sweden, in October 1963, was included on "Anthology 1".


title: Money (That's What I Want)

text: In 2018, the music staff of "Time Out London" ranked "Money (That's What I Want)" at number 24 on their list of the best Beatles songs.


title: Money (That's What I Want)

text: In July 1979, the British band the Flying Lizards released a new wave version of the song, as a single and on their first album "The Flying Lizards". An unexpected hit, this version peaked at number 5 in the UK chart and at number 50 on the "Billboard" Hot 100. It also peaked at number 22 on the US dance charts.


title: Money (That's What I Want)

text: The song has been covered by many artists, with several of the versions appearing in a variety of charts. In 1964, a single by the Kingsmen reached no. 16 on the "Billboard" Hot 100 and No. 6 on the US R&B charts in 1964, A version by Jennell Hawkins reached No. 17 in the R&B charts in 1962. Jr. Walker & the All Stars reached No. 52 on the Hot 100 and number 35 on the R&B charts in 1966 and Bern Elliott and the Fenmen reached No. 14 on the UK Singles Chart in November 1963. The song was also a staple for British beat bands.


title: Thomas Cocquerel

text: Thomas Cocquerel (born 5 September 1989) is an Australian actor who starred as Tom Raikes in Julian Fellowes’ acclaimed series "The Gilded Age" on HBO Max. His film credits include "Kidnapping Mr. Heineken", "", "OtherLife", "Table 19", "The Tribes of Palos Verdes", "The Divorce Party", and "Billionaire Boys Club".


title: Thomas Cocquerel

text: Cocqueral was also cast in an attempted reboot of American crime drama "Get Christie Love!" but the pilot did not proceed to series.


title: Thomas Cocquerel

text: In 2018, Cocquerel played the title role in a biographical film about Errol Flynn's life called "In Like Flynn".


title: Thomas Cocquerel

text: Cocquerel also starred alongside Radha Mitchell in "Celeste", directed by Ben Hackworth and filmed in Far North Queensland, Australia, with scenes shot on location at Paronella Park. The film screened in competition at the Adelaide Film Festival with positive reception and was nominated for an International Feature Award. The film had its international premiere at BFI London International Film Festival.


title: Thomas Cocquerel

text: On October 18, 2019, Cocquerel had been cast in "", the sequel to the 2019 psychological thriller film "Escape Room" which was released on July 16, 2021.


title: Stateless nation

text: A stateless nation is an ethnic group or nation that does not possess its own state and is not the majority population in any nation state. The term "stateless" implies that the group "should have" such a state (country). Members of stateless nations may be citizens of the country in which they live, or they may be denied citizenship by that country. Stateless nations are usually not represented in international sports or in international organisations such as the United Nations. Nations without state are classified as fourth-world nations. Some of the stateless nations have a history of statehood, some were always a stateless nation, dominated by another nation.


title: Stateless nation

text: The term was coined in 1983 by political scientist Jacques Leruez in his book "L'Écosse, une nation sans État" about the peculiar position of Scotland within the British state. It was later adopted and popularized by Scottish scholars such as David McCrone, Michael Keating and T. M. Devine.


title: Stateless nation

text: Stateless nations either are dispersed across a number of states (for example, the Yakthung Limbu People residing in east of Nepal, includes (Sikkim and Darjeeling) India and north-western part of Bangladesh as the Yakthung Limbuwan nation and Yoruba people are found in the African states of Nigeria, Benin and Togo) or form the native population of a province within a larger state (such as the Uyghur people in the Xinjiang Uyghur Autonomous Region within the People's Republic of China). Some stateless nations historically had a state, which was absorbed by another; for example, Tibet's declaration of independence in 1913 was not recognized, and it was reunited in 1951 by the People's Republic of China which claims that Tibet is an integral part of China, while the Tibetan government-in-exile maintains that Tibet is an independent state under an unlawful occupation. Some ethnic groups were once a stateless nation that later became a nation state (for example, the nations of the Balkans such as the Croats, Serbs, Bosniaks, Slovenes, Montenegrins and Macedonians were once part of a multinational state of Yugoslavia; since the breakup of Yugoslavia many nation states were formed).


title: Stateless nation

text: Stateless nations can have large populations; for example the Kurds have an estimated population of over 30 million people, which make them one of the largest stateless nations. Multiple stateless nations can reside in the same geographical region or country; for example, the Assamese, Brahui, Maithils, Kashmiri, Sikhs, Tamils and Santhals in South Asia, or Chin, Kachin, Karen, Mon, Rakhine, Rohingya and Shan in Myanmar, and Amazighs within Algeria in North Africa. However, not all peoples within multi-cultural states have the same awareness of being a stateless nation.


title: Stateless nation

text: As not all states are nation states, there are ethnic groups who live in multinational states without being considered "stateless nations".


title: Stateless nation

text: The symbiotic relationship between nations and states arose in early modern Western Europe (18th century) and it was exported to the rest of the world through colonial rule. Whereas the Western European nation-states are at present relinquishing some of their powers to the European Union, many of the former colonies are now the zealous defenders of the concept of national-statehood.


title: Stateless nation

text: Only a small fraction of the world's national groups have associated nation-states. The proportion was estimated to be 3 percent by Minahan. The rest are distributed in one or more states. While there are over 3000 estimated nations in the world, there were only 193 member states of the United Nations as of 2011, of which fewer than 20 are considered to be ethnically homogeneous nation-states. Thus nation-states are not as common as often assumed, and stateless nations are the overwhelming majority of nations in the world.


title: Stateless nation

text: During the imperial and colonial era, powerful nations extended their influence outside their homeland and this resulted in many colonized nations ceasing to be self-governing and have since been described as stateless nations. Some nations have been victims of "carve out" and their homeland was divided among several countries. Even today the colonial boundaries form modern national boundaries. These often differ from cultural boundaries. This results in situations where people of the same language or culture are divided by national borders, for example New Guinea splits as West Papua (former Dutch colony) and Papua New Guinea (former British colony). During decolonization, the colonial powers imposed a unified state structure irrespective of the ethnic differences and granted independence to their colonies as a multinational state. This led to successor states with many minority ethnic groups in them, which increased the potential for ethnic conflicts. Some of these minority groups campaigned for self-determination. Stateless nations were not protected in all countries and become victims of atrocities such as discrimination, ethnic cleansing, genocide, forced assimilation, Exploitation of labour and natural resources.


title: Stateless nation

text: People with a common origin, history, language, culture, customs or religion can turn into a nation by awakening of national consciousness. A nation can exist without a state, as is exemplified by the stateless nations. Citizenship is not always the nationality of a person. In a multinational state different national identities can coexist or compete: for example, in Britain English nationalism, Scottish nationalism and Welsh nationalism exist and are held together by British nationalism. Nationalism is often connected to separatism, because a nation achieves completeness through its independence.


title: Stateless nation

text: Throughout history, numerous nations declared their independence, but not all succeeded in establishing a state. Even today, there are active autonomy and independence movements around the world. The claim of the stateless nations to self-determination is often denied due to geopolitical interests and increasing globalization of the world. Stateless nations sometimes show solidarity with other stateless nations and maintain diplomatic relations.


title: Stateless nation

text: Not all ethnic group claim to be a nation or aspire to be a separate state. Some of them see themselves as part of the multinational state and they believe that their interests are well represented in it. The favoring of a united single state is also associated with unionism (Indian nationalism, Chinese nationalism, British nationalism, Spanish nationalism, Russian nationalism). In many countries, unionism is also encouraged by governments and separatism is considered illegal.


title: Stateless nation

text: The following is a list of ethnic and national groups that has been described as "stateless nations" in reliable sources . States made bold under the "homeland" column are countries of the respective ethnic groups which are native to them and still host the majority (more than half) of their population.


title: Stateless nation

text: Some stateless nations have achieved their own independent state. Examples include Greeks before the Greek War of Independence and Irish people before the Irish War of Independence and Bengalis before the Bangladesh Liberation War.


title: Stateless nation

text: Some would include the Jews until the 1948 Israeli declaration of independence, however others would point out that different groups of Jews have very different characteristics such as languages, cultures, and territories, rendering the idea that all Jews constitute a single nation questionable.


title: Stateless nation

text: During the dissolution of the Soviet Union and the breakup of Yugoslavia, several ethnic groups gained their own sovereign state.


title: Flight Compensation Regulation

text: The Flight Compensation Regulation (EC No 261/2004) is a regulation in EU law establishing common rules on compensation and assistance to passengers in the event of denied boarding, flight cancellations, or long delays of flights. It requires compensation of €250 to €600 depending on the flight distance for delays over of at least three hours, cancellations, or being denied boarding from overbooking. Delays shorter than three hours means no entitlement to any compensation of any kind even if the delay was classified as non-extraordinary. Airlines must provide refreshments and accommodation where appropriate. The Court of Justice of the European Union has interpreted passenger rights strictly, so that there are virtually no exceptions for airlines to evade their obligations for breach of contract.


title: Flight Compensation Regulation

text: It does not apply to helicopter flights, to any flight not operated by a fixed-wing aircraft, nor to flights from Gibraltar Airport. While Switzerland and Norway are not members of the EU, the regulation does apply to flights to and from these countries as if they were member states under bilateral agreements.


title: Flight Compensation Regulation

text: Before denying passengers boarding involuntarily, the airline is required to first seek volunteers to give up their reservation in return for whatever benefit is negotiated between the airline and the volunteers. Irrespective of such negotiation, such volunteers are also entitled to reimbursement or rerouting.


title: Flight Compensation Regulation

text: If insufficient volunteers are obtained, the airline may then proceed to involuntarily deny passengers the right to board their flight. All passengers so denied must be offered all three types of compensation and assistance.


title: Flight Compensation Regulation

text: If the passenger is denied boarding for reasons of health, safety and security, or inadequate documentation, the passenger is not entitled to compensation or assistance.


title: Flight Compensation Regulation

text: Any ticket refund is the price paid for the flight(s) not used, plus the cost of flights already flown in cases where the cancellation has made those flights of no purpose. Where applicable, passengers are also entitled to refreshments, communication and accommodation as described below. Where re-routing is to another airport serving the same destination, the airline must pay for onward transport to the original airport or to a close by destination agreed with the passenger. These choices, and the entitlement to refreshments, etc., apply to all cancellations, regardless of whether the circumstances are extraordinary or not.


title: Flight Compensation Regulation

text: It is unclear whether "the earliest opportunity" requires airlines to endorse a ticket onto another carrier.


title: Flight Compensation Regulation

text: The airline is also required to pay cash compensation as described below, unless one of the following conditions applies:


title: Flight Compensation Regulation

text: The requirements for an entitlement to compensation and the specific amount owed depend on the length of a flight, whereas the relevant distance is determined according to the great circle method. The Flight Compensation Regulation differentiates between three types of flights:


title: Flight Compensation Regulation

text: Passengers are entitled to refreshments and communication if the expected delay of the arrival exceeds:


title: Flight Compensation Regulation

text: Furthermore, if the flight is expected to depart on the day after the original scheduled departure time, passengers are entitled to accommodation.


title: Flight Compensation Regulation

text: If a flight is delayed by five hours, passengers are additionally entitled to abandon their journey and receive a refund for all unused tickets. They may also ask for a refund on tickets used already if the flight no longer serves any purpose in relation to their original travel plan, and, if relevant, a flight back to their original point of departure at the earliest opportunity.


title: Flight Compensation Regulation

text: Flight delay is based on the scheduled arrival time. This is defined as when the doors are opened on the plane and not when it lands (as some airlines may claim).


title: Flight Compensation Regulation

text: Although not set out in the text of the regulation, a series of court cases created a rule that in case of an arrival delay of more than 3 hours, passengers are entitled to cash compensation, unless the delay is caused by extraordinary circumstances. Unlike the entitlements to refreshments, communication, or accommodation, this 3-hour threshold does not scale with the distance of the flight.


title: Flight Compensation Regulation

text: In October 2017, an EU Court of Appeal confirmed the UK CAA's interpretation that the final destination must be included in the total delay. This means that, if the passenger misses a connection outside the EU and ends up with a delay longer than the times indicated above, even if the delay on the flight leaving the EU was less than the aforementioned times, the total delay will be used and not only the delay on leaving the EU.


title: Flight Compensation Regulation

text: There are three broad categories where airlines may be required to make payments or otherwise assist passengers, in cases of delays, flight changes/cancellations or denied boarding.


title: Flight Compensation Regulation

text: If the requirements for a compensation are met, Article 7 of Regulation (EC) No 261/2004 obligates the operating carrier to offer each passenger a lump-sum payment of:


title: Flight Compensation Regulation

text: Where a passenger has been rerouted due to cancellation or denied boarding, the above amounts are payable if the passenger's actual arrival time is delayed beyond the scheduled arrival of their originally booked flights, by two/three/four hours for type 1/2/3 flights respectively. But if rerouting only delays the passenger by less than these thresholds, half of the specified amounts are payable as compensation.


title: Flight Compensation Regulation

text: Said cash payments merely serve to compensate a traveller's inconvenience and do not replace or form a part of any potential reimbursements for unused tickets, trips in vain, additional transport costs, meals and accommodation.


title: Flight Compensation Regulation

text: Airlines are not obliged to provide cash compensation in the case of extraordinary circumstances which could not have been avoided even if the airline took all reasonable precautions, according to Article 5, Paragraph 3.


title: Flight Compensation Regulation

text: If a passenger's destination is an airport at a city with multiple airports and rerouting results in the passenger being taken to another of those airports, the airline must also pay for transport for the passenger to the original intended airport or an agreed nearby destination.


title: Flight Compensation Regulation

text: In the case of a delay, the airline may withdraw or abrogate these entitlements if offering them would delay the flight further.


title: Flight Compensation Regulation

text: If a passenger is placed in a higher class than that for which a ticket was purchased, the airline may not request any additional payment.


title: Flight Compensation Regulation

text: If a passenger is placed in a lower class than that for which a ticket was purchased, the airline must refund 30/50/75% of the cost of the ticket for type 1/2/3 flights. For the purpose of this condition, flights to the French overseas departments are not considered to be within the European Union. It is unclear whether the refund relates to the price of the entire ticket, or the segment on which the passenger was downgraded.


title: Flight Compensation Regulation

text: Refunds and compensations payable under this regulation may be paid in cash, by electronic bank transfer, bank draft, or cheque. With the signed agreement of a passenger, they may also be paid in travel vouchers or other services.


title: Flight Compensation Regulation

text: Additionally, when an airline cancels a flight, denies a person boarding, or incurs a delay exceeding two hours to a flight, it is obliged to provide each passenger affected with a written notice setting out their rights under the regulation, and the contact details of the national body tasked with enforcing the regulation.


title: Flight Compensation Regulation

text: In the case "Wallentin-Hermann v Alitalia—Linee Aeree Italiane SpA" (Case C-549/07) of 22 December 2008, the European Court of Justice in Luxembourg ruled on the interpretation of Article 5 of the regulation relating to cancellations, specifically paragraph 3 which states:


title: Flight Compensation Regulation

text: The Court agreed with Wallentin-Hermann that any technical issues during aircraft maintenance don't constitute "extraordinary circumstances" that would allow airlines to avoid paying passengers compensation for canceled flights.


title: Flight Compensation Regulation

text: This case therefore closed the loophole which had allowed the airlines to abuse passengers by frivolous interpretation of "technical or extraordinary circumstances"; it further defined the phrase and limited its exploitation. The definition of "technical and/or extraordinary circumstances" by the Court now stands firm and solid: any carrier must prove that the alleged mechanical problem leading to the cancellation was "beyond its actual control", the court affirmed in a statement. In its judgment, the Fourth Chamber of the Court of Justice held:


title: Flight Compensation Regulation

text: However, what actually lies within the concept of defining what is inside or outside of the "actual control of the air carrier" is not clear and is subject to litigation in many EU-states.


title: Flight Compensation Regulation

text: Furthermore, in the joined cases of "Sturgeon v Condor", and Bock v Air France (C-402/07 and C-432/07), the Fourth Chamber of the European Court of Justice held on 19 November 2009 that despite no express provision in the Regulation to compensate passengers for delay, passengers are now entitled to the compensation as set out in Article 7 for any delay in excess of three hours providing the air carrier cannot raise a defence of "extraordinary circumstances".


title: Flight Compensation Regulation

text: "Articles 5, 6 and 7 of Regulation EC 261/2004 must be interpreted as meaning that passengers whose flights are delayed may be treated, for the purposes of the application of the right to compensation, as passengers whose flights are cancelled and they may thus rely on the right to compensation laid down in Article 7 of the regulation where they suffer, on account of a flight delay, a loss of time equal to or in excess of three hours, that is, where they reach their final destination three hours or more after the arrival time originally scheduled by the air carrier."


title: Flight Compensation Regulation

text: The fourth Chamber also ruled that under the definition of "extraordinary circumstances", technical faults within an aircraft should not be included and therefore an air carrier cannot rely on a technical fault within an aircraft as a defence from a valid claim under the Regulation, "unless that problem stems from events which, by their nature or origin, are not inherent in the normal exercise of the activity of the air carrier concerned and are beyond its actual control". Various passenger rights groups reported the case and encouraged passengers to bring claims against airlines in the event of a delay of over three hours.


title: Flight Compensation Regulation

text: The Sturgeon ruling was reconfirmed in a ruling of the European Court of Justice on 23 October 2012 in "Nelson v Deutsche Lufthansa AG" and "R (TUI Travel, British Airways, easyjet and IATA) v Civil Aviation Authority".


title: Flight Compensation Regulation

text: In the case of "Denise McDonagh v Ryanair Ltd" (C-12/11), the Third Chamber of the European Court of Justice ruled that natural disasters such as the eruption of the Icelandic volcano Eyjafjallajökull and the subsequent cloud of volcanic ash in 2010, which shut down most European air traffic, do constitute "extraordinary circumstances" that release air carriers from the obligation to pay compensation, but that there is no such category as "super-extraordinary circumstances" that would release them from the obligation to provide care. According to the court's ruling, air carriers continued to have an obligation of care towards passengers under Art. 5 and 8 of the regulation during the week-long shutdown of European airspace, and this obligation does not have a temporal or monetary limit.


title: Flight Compensation Regulation

text: In the case of "Jet2 vs. Huzar", the English Court of Appeal ruled on 11 June 2014 that "ordinary technical problems that cause flight disruption, such as component failure and general wear and tear, should not be considered “extraordinary circumstances”". Therefore, general technical faults found during routine maintenance checks before departure will generally not be considered "extraordinary circumstances".


title: Flight Compensation Regulation

text: On 4 September 2014, in the case of "Germanwings GmbH v. Ronny Henning" (C-452/13), the Ninth Chamber of the European Court of Justice ruled that


title: Flight Compensation Regulation

text: Germanwings initially refused to pay the passenger compensation, arguing the delay was 2 hours and 58 minutes when the plane touched the ground.


title: Flight Compensation Regulation

text: affecting the safety of flights or acts of sabotage or terrorism may exempt air carriers from their obligation to pay compensation.


title: Flight Compensation Regulation

text: SAS pilots went on strike in April 2019 after wage talks broke down. Reuters have reported more than 1,200 flights have been canceled. SAS consistently denied paying compensation to passengers who have been affected claiming the strike was beyond their control. Technically, SAS claimed extraordinary circumstances (art. 5 (3) Reg. (EC) No 261/2004)). “The EuCJ turned down that argument and swiftly so. Strikes "fall within the normal management of carrier's activities"; also, "the employer retains control over events to a certain extent". However, this does not apply to strikes from third-party staff (e.g. strike of air traffic control).” In conclusion, passengers are entitled to compensation if their flight has been disrupted due to a strike by the airline's staff.


title: Flight Compensation Regulation

text: The general difficulties claiming from airlines directly has led to the rise of online intermediaries that operate on a "no-win, no fee" basis contingency fee. All help filing claims against airlines, including going to court if necessary.


title: Flight Compensation Regulation

text: In response, airlines have repeatedly criticised such intermediaries for forcing more costs on the airline industry, which then passes extra costs on to passengers in the form of increased ticket prices. For example, in response to the added pressure caused by the increase in EU 261 claims in recent years, in 2011 Ryanair put in place a €2.00 surcharge per ticket to compensate for its additional costs. In 2013 it then increased this levy to €2.50.


title: Flight Compensation Regulation

text: In preparing for Brexit, the UK Government announced it would convert directly applicable EU laws into UK law in its Great Repeal Bill White Paper as early as 2018. Consequently, the European Union (Withdrawal) Act 2018, which took effect on 30 December 2020, retained European statutes such as Regulation (EC) No 261/2004 that applied in the UK prior to its exit. As a result, the Flight Compensation Regulation was ported over to the UK's domestic law before the end of the transition period. Thus, while Regulation (EC) No 261/2004 itself no longer applies to flights departing in the UK as of 1 January 2021, its new equivalent in British law ("UK261") subjects British carriers and other airlines not headquartered in Europe to similar provisions on those routes.


title: Flight Compensation Regulation

text: However, the Repeal Bill does state that the regulation will continue to apply ‘until legislators in the UK decide otherwise’. Effectively, this allows the British parliament to amend the regulation or to drop it from UK law entirely at a later date — though flights to the EU on EU airlines will still be covered by the original regulation regardless. Likewise, while the European Union (Withdrawal) Act 2018 has converted the ECJ's jurisdiction up until the end of 2020 into British case law, British courts may deviate from these previous rulings under the same principles that guide their treatment of earlier decisions by domestic judges.


title: Flight Compensation Regulation

text: In 2013 the European Commission proposed a number of revisions to the regulation, which have not yet been adopted as of 2021:


title: Conel Hugh O'Donel Alexander

text: Conel Hugh O'Donel Alexander (19 April 1909 – 15 February 1974), known as Hugh Alexander and C. H. O'D. Alexander, was an Irish-born British cryptanalyst, chess player, and chess writer. He worked on the German Enigma machine at Bletchley Park during the Second World War, and was later the head of the cryptanalysis division at GCHQ for 25 years. He was twice British chess champion and earned the title of International Master.


title: Conel Hugh O'Donel Alexander

text: Hugh Alexander was born into an Anglo-Irish family on 19 April 1909 in Cork, Ireland, the eldest child of Conel William Long Alexander, an engineering professor at University College, Cork (UCC), and Hilda Barbara Bennett. His father died in 1920 (during the Irish War of Independence), and the family moved to Birmingham, England, where he attended King Edward's School. Alexander won a scholarship to study mathematics at King's College, Cambridge, in 1928, graduating with a first in 1931. He represented Cambridge in chess.


title: Conel Hugh O'Donel Alexander

text: From 1932, Alexander taught mathematics at Winchester, and married Enid Constance Crichton Neate (1900–1982) on 22 December 1934. Their elder son was Sir Michael O'Donel Bjarne Alexander (1936–2002), a diplomat. The Alexanders' other son was Patrick Macgillicuddy Alexander (20 March 1940 – 21 September 2005), a poet who settled in Australia in 1960. In 1938, Hugh Alexander left teaching and became head of research at the John Lewis Partnership.


title: Conel Hugh O'Donel Alexander

text: World War II began while Alexander was competing in the 8th Chess Olympiad in Buenos Aires, Argentina, prompting him and the rest of the English team to abandon the competition and return to the UK.


title: Conel Hugh O'Donel Alexander

text: In February 1940, Alexander arrived at Bletchley Park, the British codebreaking centre during the Second World War. He joined Hut 6, the section tasked with breaking German Army and Air Force Enigma messages. In 1941, Alexander transferred to Hut 8, the corresponding hut working on Naval Enigma.


title: Conel Hugh O'Donel Alexander

text: He became deputy head of Hut 8 under Alan Turing. Alexander was more involved with the day-to-day operations of the hut than Turing, and, while Turing was visiting the United States, Alexander formally became the head of Hut 8 "circa" November 1942. Other senior colleagues included Stuart Milner-Barry, Gordon Welchman, and Harry Golombek. In October 1944, Alexander was transferred to work on the Japanese JN-25 code.


title: Conel Hugh O'Donel Alexander

text: In mid-1946, Alexander joined GCHQ (under the control of the Foreign Office), which was the post-war successor organisation to the Government Code and Cypher School (GC&CS) at Bletchley Park. By 1949, he had been promoted to the head of "Section H" (cryptanalysis), a post he retained until his retirement in 1971.


title: Conel Hugh O'Donel Alexander

text: MI5's Peter Wright, in his 1987 best-selling book "Spycatcher: The Candid Autobiography of a Senior Intelligence Officer", wrote about Alexander's assistance to MI5 in the ongoing Venona project, as well as other important mutual cooperation between the two organizations, which broke down previous barriers to progress. "Any help is gratefully received in this department", Alexander told Wright, and that proved the case from then on. Wright also lauded Alexander's professionalism, and opined that the exceptional mental demands of his cryptanalytical career and chess hobby likely contributed to Alexander's early death at age 64, despite his healthy lifestyle.


title: Conel Hugh O'Donel Alexander

text: Alexander represented Cambridge University in the Varsity chess matches of 1929, 1930, 1931 and 1932 (he studied at King's College, Cambridge). He was twice a winner of the British Chess Championship, in 1938 and 1956. Alexander represented England in the Chess Olympiad six times, in 1933, 1935, 1937, 1939, 1954 and 1958. At the 1939 Olympiad in Buenos Aires, Argentina, Alexander had to leave part-way through the event, along with the rest of the English team, because of the declaration of World War II, since he was required at home for codebreaking duties. He was also the non-playing captain of England from 1964 to 1970. Alexander was awarded the International Master title in 1950 and the International Master for Correspondence Chess title in 1970. He won Hastings 1946/47 with the score 7½/9, a point ahead of Savielly Tartakower. Alexander's best tournament result may have been first equal (with David Bronstein) at Hastings 1953/54, where he went undefeated and beat Soviet grandmasters David Bronstein and Alexander Tolush in individual games. Alexander's opportunities to appear abroad were limited as he was not allowed to play chess in the Soviet bloc because of his secret work in cryptography. He was also the chess columnist of "The Sunday Times" in the 1960s and 1970s.


title: Conel Hugh O'Donel Alexander

text: Many knowledgeable chess people believe that Alexander had Grandmaster potential, had he been able to develop his chess abilities further. Many top players peak in their late twenties and early thirties, but for Alexander this stretch coincided with World War II, when high-level competitive opportunities were unavailable. After this, his professional responsibilities as a senior cryptanalyst limited his top-class appearances. He defeated Mikhail Botvinnik in one game of a team radio match against the Soviet Union in 1946, at a time when Botvinnik was probably the world's top player. Alexander made important theoretical contributions to the Dutch Defence and Petroff Defence.


title: Conel Hugh O'Donel Alexander

text: Alexander is portrayed by actor Matthew Goode in the 2014 film "The Imitation Game", which depicts the British attempts to crack the Enigma machine at Bletchley Park.


title: Produce X 101

text: Produce X 101 () is a 2019 South Korean boy group survival reality show on Mnet and the fourth season of the "Produce 101" franchise. The public, referred to as "national producers", "produces" a boy band by choosing 11 members among the 101 trainees from 47 different entertainment companies and independent trainees through online voting and live voting with multiple elimination rounds. The public will also choose the group's concept, debut song, and group name. The show aired from May 3 to July 19, 2019. The group from this show was named X1, but after extensive voting manipulation was proven, the group was disbanded on January 6, 2020.


title: Produce X 101

text: On February 28, 2019, Mnet announced that the debuting group under the show will promote for five years, with a -year exclusive contract and another two-and-a-half year non-exclusive contract, meaning that the eventual members can return to co-promote with their original agencies after the first half.


title: Produce X 101

text: Filming for the show began on March 4, 2019. On the same day, the trainers were announced, as well as Lee Dong-wook announced as MC role. The trainees were first revealed through a runway show on March 20, 2019. On March 21, their first performance of their title track, "X1-MA" () was revealed on M Countdown later that day, revealing Son Dong-pyo of DSP Media as the center.


title: Produce X 101

text: The show premiered on May 3, 2019, on Mnet in South Korea, Mnet Japan and AbemaTV in Japan, JOOX in Thailand, Hong Kong, Malaysia, Myanmar and Indonesia, YouTube and Vlive in Other international location. The series will be broadcast on tvN Asia in Hong Kong, Singapore, Taiwan, Malaysia, Indonesia, the Philippines, Thailand, Myanmar and Sri Lanka, 18 hours after the original South Korean broadcast from May 4, 2019, with English, Chinese, Malay, Thai and Indonesian subtitles.


title: Produce X 101

text: New to this series is the X rank, the lowest rank where the contestants are at their most vulnerable to be eliminated. It is similar to the F rank used in the previous three seasons. Furthermore, the 11th member of the final group will be decided by the total number of votes they have accumulated throughout the whole season, meaning that the trainee who places 11th in the finale does not necessarily become the 11th member of the final group.


title: Produce X 101

text: Each contestant enters the studio chooses his preferred seat among chairs numbered 1 to 101, before being informed about several changes that will be applied in this season. Contestants then perform according to their company for evaluation. The mentors grade and assign them into temporary groups for training: A, B, C, D, and X, with A being the highest and X the lowest. At the ending, the popularity ranking is shown with Jellyfish Entertainment's Kim Min-kyu taking 1st place.


title: Produce X 101

text: The trainees react to the first episode along with Lee Dong-wook. The evaluation from Episode 1 continues until all the trainees are evaluated. The trainees in groups A, B, C, and D are taken to the dormitories and are given roommates and uniforms. They are told that they will be training and performing the theme song, "X1-MA", on "M! Countdown". Instead of being sent home, the X trainees were secretly taken to a different training center to receive specialized training. Each contestant records video evaluations for the song. The episode ends with the popularity ranking showing Oui Entertainment's Kim Yo-han in 1st place.


title: Produce X 101

text: The trainees film themselves individually performing "X1-MA." Each video is watched by the mentors, who then reevaluate the trainees. Afterwards, the trainees are given their new grade and move into their new rooms corresponding to their rank. Following the reorganization, they are told that the center position of the "X1-MA" performance will be instead chosen by audience vote instead of trainee vote. DSP Media's Son Dong-pyo, Brand New Music's Kim Si-hun, and TOP Media's Kim Woo-seok are shown to be the Top 3, with Son Dong-pyo winning. Trainees who are reevaluated as X will not be able to appear in the performances.


title: Produce X 101

text: The trainees begin the Group X Battle, where they compete with a group's debut song and their hit song. The teams are: EXO's "MAMA" v. "Love Shot", BTS's "No More Dream" v. "Blood Sweat and Tears", Monsta X's "Trespass" v. "Dramarama", Seventeen's "Adore U" v. "Clap", NU'EST W's "Dejavu" v. "Where U At", Wanna One's "Energetic" v. "Light", NCT U's "The 7th Sense" v. "Boss", and Got7's "Girls, Girls Girls" v. "Lullaby". All songs are performed live and each member is voted on by the audience individually. The group with the highest score among the two wins and gains a benefit of 3000 bonus votes for each of its members, with the highest-ranked member, will gain an extra benefit of having his score multiplied by 10 in addition of the 3000 bonus votes. The group with the highest votes will later perform on "M! Countdown". Rehearsals and performances of "MAMA," "Love Shot," and "No More Dream" are shown. The episode ends with the current rankings, with Oui Entertainment's Kim Yo-han maintaining his 1st-place position.


title: Produce X 101

text: The rehearsals and performances of the remaining teams are shown. Monsta X's Jooheon appears as a special trainer. After the last performance, trainees are shown their rankings based on the audience and bonus votes. Source Music's Kim Hyunbin places 1st in individual votes. His team, BTS's "No More Dream" (composed of Kim Hyunbin, Kim Sungyeon, Hong Sunghyun, Steven Kim, Won Hyunsik, and Lee Sangho) also earned the most points in the group battle competition, earning the opportunity to perform a special "M! Countdown" stage.


title: Produce X 101

text: The first elimination round begins with the remaining 99 contestants entering the main studio by company. In between announcements of each trainee's ranking, events leading up to the elimination are shown, such as their dorm life and a hidden camera prank. A poll for 'Top Visual' was also conducted, in which Jellyfish Entertainment's Kim Mingyu was ranked 1st. During the ceremony, trainees from rank 1 to 60 will move on to the next round while trainees from rank 61 to 99 will be eliminated from the competition. Oui Entertainment's Kim Yohan takes 1st place in the first elimination round. Jung Jae-hun finishes 60th place, narrowly escaping elimination. The episode ends with the contestants comforting the eliminated trainees.


title: Produce X 101

text: Lee Dong-wook meets with the trainees once again to announce the next challenge. The trainees are tasked to perform live in groups based on positions they want to debut in: vocal, dance, rap, or "X". "X" is a new position that requires trainees to perform two of the three aforementioned positions simultaneously. There are four songs for vocals (Paul Kim's "Me After You", Hwasa's "Twit", Bolbbalgan4's "To My Youth", and Wanna One's "Day by Day"), three songs for dance (Imagine Dragons's "Believer", Bruno Mars's "Finesse", and Jason Derulo's "Swalla"), two songs for rap (Zico's "Tell Me Yes or No" and Haon, Vinxen's "Barcode"), and two songs for "X" (Charlie Puth's "Attention", for vocal x dance, and SMTM4's "Turtle Ship", for rap x dance). Each song has a member limit and would be picked by each trainee based on their ranks: Kim Yohan who ranked 1st from the first elimination round would have the privilege of choosing the song he wants to perform first. The winner from each performance in the vocal, dance, and rap positions will receive 100 times their votes while the winner among all songs of each category will receive 100,000 votes. For the "X" position, the winner from each performance will receive 200 times their votes while the overall winner will receive 200,000 votes. After each performance, they are ranked in their groups first and then overall in the category. Lee Dong-wook also announces that only the top 30 trainees will remain in the next round. Only five groups are covered this week.


title: Produce X 101

text: The remaining teams perform their respective stages and rehearsals for the groups are shown. After the last performance, the contestants are shown their overall ranking based on their positions. Kim Woo-seok, Kang Hyeon-su, and Won Hyuk emerged as the overall winners of the vocal, dance, and rap positions, respectively, each of them earning 100,000 votes along with their audience votes times 100. Lee Jin-hyuk emerged as the overall winner of the "X" position, earning 200,000 votes along with his audience votes times 200.


title: Produce X 101

text: Lee Dongwook announces the beginning of the next evaluation prior to the second round of eliminations, meaning that all 60 boys that have survived so far will continue to practice for the performances, but not all of them may get to perform. The evaluation is revealed to be a concept evaluation where viewers chose group formations from a poll online. Lee Dongwook introduces the six songs: Funky Retro Dance "Pretty Girl" (KZ, Nthonious & The-Private), Future Funk "Super Special Girl" (Kwon Deun Guk), Mainstream Pop "MOVE" (Zico), R&B, Dance House "Monday To Sunday" (PrimeBoi) and Future EDM Dance "U Got It" (Noheul & Kiggen). The second round of eliminations takes place during the second half of the episode with the remaining 60 contestants from each company are seen entering the main studio. Names of the top 30 trainees are called by Lee Dongwook one by one starting from rank 29. The contenders for 1st place were Kim Yo-Han, Song Hyeong-jun, Lee Jin-hyuk & Kim Woo-Seok. It is then announced that Kim Woo-Seok ranked at 1st place. Meanwhile, the contenders for 30th place were Joo Chang-Uk, Kim Dong-Yoon, Moon Hyun-bin & Won Hyuk. It is announced that Joo Chang-Uk ranked on the 30th. Lee Dongwook says that the trainees can have a second chance by recording a video of their dance of "X1-MA" and a 1-minute introduction video appealing to the National Producers to give them another chance. The National Producers can vote for 1 eliminated trainee, and voting ends within 24 hours after the end of this episode.


title: Produce X 101

text: After the Second Elimination, the 30 trainees move to Concept Evaluation Performance, and then Representative MC Lee Dong-wook announces that only 6 trainees are needed in each group and the trainees have to vote on who is staying.


title: Produce X 101

text: After heading to the new groups, the teams head to the recording studio to meet with their Producers to record their song. After that, Lee Dong-wook then reveals the X trainee (in which one trainee can go back after recording a video for the National Producers to vote) before revealing, Lee Dong-wook calls four candidates for the X trainee, He calls: Kwon Taeun (A.CONIC), Moon Hyunbin (Starship Entertainment), Kim Dong-yun (Woolim Entertainment) and Baek Jin (VINE Entertainment). It is then revealed that Kim Dong-yun was chosen as the X trainee. Then Lee Dong-wook gives each team 30 minutes whether they want to recruit Dong-yun. If no one recruits Dong-yun, he will have to choose a team randomly. In the end, Team Monday to Sunday recruits Dong-yun to their team. They now practice in order to prepare for the stage.


title: Produce X 101

text: Each concept stage was shown along with behind the scenes practices, training, and recording for each group. After each group performed, Lee Dong-wook gathered the trainees and announced the rankings for each group and for each trainee among the groups. "U Got It" was announced to be the first place team, with trainee Kim Yo-han taking the overall first rank spot, gaining the most benefit votes.


title: Produce X 101

text: Lee Dong-wook then announces the start of the 3rd elimination. He mentions Plan A's Choi Byung-chan, who was absent during filming, has left the show and will not be advancing to the finals. He also reveals that only 20 trainees will survive. The episode continues with the makeup tips segment headed by the YouTuber Ssinnim, and the trainees' Sports Games segment, with "Pretty Girl" team winning overall. Afterwards, the elimination announcement starts, starting from 19th place going up. The four candidates for 1st place are revealed, who are Han Seung-woo, Lee Jin-hyuk, Kim Woo-seok, and Kim Yo-han. The segment for trainees choosing their fixed pick starts, and Hwang Yun-seong takes first place for the most votes and wins a brand new Samsung phone. The announcement continues, and the ones battling for 1st place are Kim Woo-seok and Kim Yo-han, with 1st place ultimately going to Kim Yo-han.


title: Produce X 101

text: The candidates for 20th place are revealed, Kim Kook-heon, Lee Se-jin, Lee Jin-woo, and Kim Dong-yun. In 23rd and 22nd place is Kim Dong-yun and Lee Jin-woo, respectively. The two remaining trainees are called up to the stage and give their last speeches. The 20th place ends up going to Lee Se-jin.


title: Produce X 101

text: Afterwards, the remaining 20 trainees choose their debut evaluation song, "To My World" (Drew Ryan Scott, Sean Alexander, Phil Schwan) or "Boyness" (Hui from Pentagon, Flow Blow) and choose their positions during as well. Higher ranked trainees have the advantage of kicking off other trainees in the position they want and move them to a lower position. The episode ends with the trainee's individual cards being flashed on screen and the official time of the final, which was changed to 8PM KST from 11PM to accommodate the younger trainees.


title: Produce X 101

text: The episode started off with the final trainees doing a final journal in a practice room. They talked about their adventure and progress on the show. Once voting was opened, the trainees perform the show's title song "X1_MA". Lee Dongwook then revealed the name of the group, as was voted on by the public, "X1". "X1" is meant to represent the show's title song "X1_MA", the 11 trainees in roman numerals, and the 10+X theme of the show. They then showed some behind the scenes recording and practices for "Boyness" and "To My World", even teasing who the group centers would be. During the live performance following these clips, it was revealed that Song Yuvin was chosen as the center for "Boyness" and Hwang Yunseong was chosen as the center for "To My World". After the performances of each debut song all 20 trainees then performed the song "Dream For You" with some behind the scenes clips played beforehand. The ranking announcement started from the contestant who ranked at 10th place which was Starship's Kang Min-hee followed by Woolim's Cha Jun-ho at 9th, MBK's Nam Do-hyon at 8th, MBK's Lee Han-gyul at 7th, DSP's Son Dong-pyo at 6th, Yuehua's Cho Seung-youn at 5th, Starship's Song Hyung-jun at 4th, and Plan A's Han Seung-woo at 3rd, confirming them for debut. Then, TOP's Kim Woo-seok and OUI's Kim Yo-han are called up as contenders for 1st, with Kim Yo-han taking the first place, confirming his position as X1's center. The contenders for the X place were Jellyfish's Kim Min-gyu, Starship's Koo Jung-mo, Brand New Music's Lee Eun-sang and TOP's Lee Jin-hyuk. It was then announced that the X and final spot for X1 went to Lee Eun-sang.


title: Produce X 101

text: The top 10 contestants will be determined by online and onsite voting, the results of which are announced at the end of each episode. The top 10 contestants during the final voting will determine the final group, while the 11th member of the final group will be decided by the total number of votes he has accumulated throughout the whole season.


title: Produce X 101

text: The finale was held on July 19, 2019 and was broadcast live. Lee Dong-wook announced the unit boy group name, X1 (Hangul:


title: Produce X 101

text: Several viewers suspected that Mnet had tampered with the total votes after noticing numerical patterns in the final episode. In response to the allegations, Mnet admitted that there were errors in calculating, but they also maintained that final rankings were correct and had no intention of changing X1's member line-up. 14 representatives from entertainment agencies of the 20 finalists held a meeting on July 29, 2019, and agreed to support "Produce X 101"'s outcome and X1's debut.


title: Produce X 101

text: On August 1, 2019, 272 viewers filed a lawsuit against Mnet for electoral fraud, as their on-site text voting service charged per vote. Politician Ha Tae-kyung also condemned Mnet, stating that some of the numbers had a low probability of naturally occurring. On August 20, 2019, a search warrant was issued on CJ E&M offices and a text voting company by the Seoul Metropolitan Police Agency. During their first search, the police uncovered voice recordings of the staff members discussing vote manipulation on the previous seasons of the show, resulting in them extending their investigation to all four seasons of the "Produce 101" series, "Idol School", "Show Me the Money", and "Superstar K". Several brands cancelled their endorsement deals with X1 or put them on hold. In spite of this, X1's debut proceeded as planned.


title: Produce X 101

text: On October 1, 2019, the Seoul Metropolitan Police Agency confirmed that votes from the eliminated trainees were added to the total votes of the members who debuted in X1, a process that affected 2-3 trainees who were originally in the top 11. The police issued a search and seizure warrant on the offices of Starship Entertainment, Woollim Entertainment, and MBK Entertainment. The police also investigated several agencies involved in "Produce 48". Reportedly, per contract signed with CJ E&M, the entertainment agencies were paid for every episode their talent appeared in. An anonymous trainee alleged only was given to their talent agencies for participating in a song, while each participant would only get a small percentage, and CJ E&M would keep additional profits if the song performed well. Some entertainment agencies who disagreed would request their talents to be eliminated at the last minute to withdraw them.


title: Produce X 101

text: On October 15, 2019, MBC broadcast a feature on the vote rigging controversy on "PD Note". Participants of "Produce X 101" and "Idol School" and agency officials alleged anonymously that the production teams were biased to trainees they preferred, such as forcing song producers to give certain trainees more lines and providing them with more screen time. An anonymous trainee alleged that one trainee, under pressure from Starship Entertainment, was secretly informed about a mission in advance by one of the choreographers. He also alleged that some trainees knew the final rankings before the results were announced, and that a trainee from Woollim Entertainment was told by a team leader that only one person from their company would debut in X1.


title: Produce X 101

text: Two trainees alleged that the center position for the theme song, "X1-MA", was originally assigned to a different contestant chosen by trainee vote before the producers changed it to audience vote it at the last minute. A fourth trainee claimed that many participants felt the show was biased towards trainees from Starship Entertainment. Staff members anonymously alleged that, for the final ranking results, only one off-site producer had counted the votes in a separate room and sent them the results via text message. Following the report, on October 16, 2019, the police began investigating whether the producers had accepted money for manipulating the votes. On October 17, 2019, Korea Communications Standards Commission revealed that they may fine Mnet up to for violating the Enforcement Decree of the Broadcasting Act.


title: Produce X 101

text: On November 5, 2019, after approval from the Seoul National District Court, the police issued arrest warrants and travel bans for director Ahn Joon-young, chief producer Kim Yong-bum, a producer with the surname Lee, and Starship Entertainment's vice president Kim Kang-hyo, after they had attempted to destroy evidence. By evening, Ahn and Kim Yong-bum were arrested. During questioning, Ahn admitted to having manipulated the rankings for "Produce 48" and "Produce X 101". Police also found that Ahn had been using services from adult entertainment establishments in Gangnam paid for by various talent agencies approximately 40 times beginning from the second half of 2018, estimating to .


title: Produce X 101

text: On May 29, 2020, director Ahn Joon-young and chief producer Kim Yong-bum have been sentenced to 2-year and 20 months of jail time respectively. On November 18, 2020, The 1st Criminal Division of the Seoul High Court sentenced CJ ENM's general producer Kim Yong-beom, who was charged with obstruction and fraud, to 1 year and 8 months in prison. On the same day, the judiciary also directly disclosed the names of the trainees who were unjustly eliminated, which included Anzardi Timothee (61st), whose first voting results were manipulated, Kim Kookheon (21st) and Lee Jinwoo (22nd), who were eliminated due to the manipulation of the third voting, and Koo Jung-mo (13th), Lee Jinhyuk (14th), and Keum Donghyun (17th), who were supposed to be in the 6th to 8th places of the final rankings.


title: Recapitulation theory

text: The theory of recapitulation, also called the biogenetic law or embryological parallelism—often expressed using Ernst Haeckel's phrase "ontogeny recapitulates phylogeny"—is a historical hypothesis that the development of the embryo of an animal, from fertilization to gestation or hatching (ontogeny), goes through stages resembling or representing successive adult stages in the evolution of the animal's remote ancestors (phylogeny). It was formulated in the 1820s by Étienne Serres based on the work of Johann Friedrich Meckel, after whom it is also known as Meckel–Serres law.


title: Recapitulation theory

text: Since embryos also evolve in different ways, the shortcomings of the theory had been recognized by the early 20th century, and it had been relegated to "biological mythology" by the mid-20th century.


title: Recapitulation theory

text: Analogies to recapitulation theory have been formulated in other fields, including cognitive development and music criticism.


title: Recapitulation theory

text: The idea of recapitulation was first formulated in biology from the 1790s onwards by the German natural philosophers Johann Friedrich Meckel and Carl Friedrich Kielmeyer, and by Étienne Serres after which, Marcel Danesi states, it soon gained the status of a supposed biogenetic law.


title: Recapitulation theory

text: The embryological theory was formalised by Serres in 1824–1826, based on Meckel's work, in what became known as the "Meckel-Serres Law". This attempted to link comparative embryology with a "pattern of unification" in the organic world. It was supported by Étienne Geoffroy Saint-Hilaire, and became a prominent part of his ideas. It suggested that past transformations of life could have been through environmental causes working on the embryo, rather than on the adult as in Lamarckism. These naturalistic ideas led to disagreements with Georges Cuvier. The theory was widely supported in the Edinburgh and London schools of higher anatomy around 1830, notably by Robert Edmond Grant, but was opposed by Karl Ernst von Baer's ideas of divergence, and attacked by Richard Owen in the 1830s.


title: Recapitulation theory

text: Ernst Haeckel (1834–1919) attempted to synthesize the ideas of Lamarckism and Goethe's "Naturphilosophie" with Charles Darwin's concepts. While often seen as rejecting Darwin's theory of branching evolution for a more linear Lamarckian view of progressive evolution, this is not accurate: Haeckel used the Lamarckian picture to describe the ontogenetic and phylogenetic history of individual species, but agreed with Darwin about the branching of all species from one, or a few, original ancestors. Since early in the twentieth century, Haeckel's "biogenetic law" has been refuted on many fronts.


title: Recapitulation theory

text: Haeckel formulated his theory as "Ontogeny recapitulates phylogeny". The notion later became simply known as the recapitulation theory. Ontogeny is the growth (size change) and development (structure change) of an individual organism; phylogeny is the evolutionary history of a species. Haeckel claimed that the development of advanced species passes through stages represented by adult organisms of more primitive species. Otherwise put, each successive stage in the development of an individual represents one of the adult forms that appeared in its evolutionary history.


title: Recapitulation theory

text: For example, Haeckel proposed that the pharyngeal grooves between the pharyngeal arches in the neck of the human embryo not only roughly resembled gill slits of fish, but directly represented an adult "fishlike" developmental stage, signifying a fishlike ancestor. Embryonic pharyngeal slits, which form in many animals when the thin branchial plates separating pharyngeal pouches and pharyngeal grooves perforate, open the pharynx to the outside. Pharyngeal arches appear in all tetrapod embryos: in mammals, the first pharyngeal arch develops into the lower jaw (Meckel's cartilage), the malleus and the stapes.


title: Recapitulation theory

text: Haeckel produced several embryo drawings that often overemphasized similarities between embryos of related species. Modern biology rejects the literal and universal form of Haeckel's theory, such as its possible application to behavioural ontogeny, i.e. the psychomotor development of young animals and human children.


title: Recapitulation theory

text: Haeckel's theory and drawings were criticised by his contemporary, the anatomist Wilhelm His Sr. (1831–1904), who had developed a rival "causal-mechanical theory" of human embryonic development. His's work specifically criticised Haeckel's methodology, arguing that the shapes of embryos were caused most immediately by mechanical pressures resulting from local differences in growth. These differences were, in turn, caused by "heredity". His compared the shapes of embryonic structures to those of rubber tubes that could be slit and bent, illustrating these comparisons with accurate drawings. Stephen Jay Gould noted in his 1977 book "Ontogeny and Phylogeny" that His's attack on Haeckel's recapitulation theory was far more fundamental than that of any empirical critic, as it effectively stated that Haeckel's "biogenetic law" was irrelevant.


title: Recapitulation theory

text: Darwin proposed that embryos resembled each other since they shared a common ancestor, which presumably had a similar embryo, but that development did not necessarily recapitulate phylogeny: he saw no reason to suppose that an embryo at any stage resembled an adult of any ancestor. Darwin supposed further that embryos were subject to less intense selection pressure than adults, and had therefore changed less.


title: Recapitulation theory

text: Modern evolutionary developmental biology (evo-devo) follows von Baer, rather than Darwin, in pointing to active evolution of embryonic development as a significant means of changing the morphology of adult bodies. Two of the key principles of evo-devo, namely that changes in the timing (heterochrony) and positioning (heterotopy) within the body of aspects of embryonic development would change the shape of a descendant's body compared to an ancestor's, were however first formulated by Haeckel in the 1870s. These elements of his thinking about development have thus survived, whereas his theory of recapitulation has not.


title: Recapitulation theory

text: The Haeckelian form of recapitulation theory is considered defunct. Embryos do undergo a period or phylotypic stage where their morphology is strongly shaped by their phylogenetic position, rather than selective pressures, but that means only that they resemble other embryos at that stage, not ancestral adults as Haeckel had claimed. The modern view is summarised by the University of California Museum of Paleontology:


title: Recapitulation theory

text: English philosopher Herbert Spencer was one of the most energetic proponents of evolutionary ideas to explain many phenomena. In 1861, five years before Haeckel first published on the subject, Spencer proposed a possible basis for a cultural recapitulation theory of education with the following claim:


title: Recapitulation theory

text: G. Stanley Hall used Haeckel's theories as the basis for his theories of child development. His most influential work, "Adolescence: Its Psychology and Its Relations to Physiology, Anthropology, Sociology, Sex, Crime, Religion and Education" in 1904 suggested that each individual's life course recapitulated humanity's evolution from "savagery" to "civilization". Though he has influenced later childhood development theories, Hall's conception is now generally considered racist.


title: Recapitulation theory

text: Developmental psychologist Jean Piaget favored a weaker version of the formula, according to which ontogeny "parallels" phylogeny because the two are subject to similar external constraints.


title: Recapitulation theory

text: The Austrian pioneer of psychoanalysis, Sigmund Freud, also favored Haeckel's doctrine. He was trained as a biologist under the influence of recapitulation theory during its heyday, and retained a Lamarckian outlook with justification from the recapitulation theory. Freud also distinguished between physical and mental recapitulation, in which the differences would become an essential argument for his .


title: Recapitulation theory

text: In the late 20th century, studies of symbolism and learning in the field of cultural anthropology suggested that "both biological evolution and the stages in the child's cognitive development follow much the same progression of evolutionary stages as that suggested in the archaeological record".


title: Recapitulation theory

text: The musicologist Richard Taruskin in 2005 applied the phrase "ontogeny becomes phylogeny" to the process of creating and recasting music history, often to assert a perspective or argument. For example, the peculiar development of the works by modernist composer Arnold Schoenberg (here an "ontogeny") is generalized in many histories into a "phylogeny" – a historical development ("evolution") of Western music toward atonal styles of which Schoenberg is a representative. Such historiographies of the "collapse of traditional tonality" are faulted by music historians as asserting a rhetorical rather than historical point about tonality's "collapse".


title: Recapitulation theory

text: Taruskin also developed a variation of the motto into the pun "ontogeny recapitulates ontology" to refute the concept of "absolute music" advancing the socio-artistic theories of the musicologist Carl Dahlhaus. Ontology is the investigation of what exactly something is, and Taruskin asserts that an art object becomes that which society and succeeding generations made of it. For example, Johann Sebastian Bach's "St. John Passion", composed in the 1720s, was appropriated by the Nazi regime in the 1930s for propaganda. Taruskin claims the historical development of the "St John Passion" (its ontogeny) as a work with an anti-Semitic message does, in fact, inform the work's identity (its ontology), even though that was an unlikely concern of the composer. Music or even an abstract visual artwork can not be truly autonomous ("absolute") because it is defined by its historical and social reception.


title: John L. Hennessy

text: John Leroy Hennessy (born September 22, 1952) is an American computer scientist, academician and businessman who serves as Chairman of Alphabet Inc. Hennessy is one of the founders of MIPS Computer Systems Inc. as well as Atheros and served as the tenth President of Stanford University. Hennessy announced that he would step down in the summer of 2016. He was succeeded as President by Marc Tessier-Lavigne. Marc Andreessen called him "the godfather of Silicon Valley."


title: John L. Hennessy

text: Along with David Patterson, Hennessy was a recipient of the 2017 Turing Award for their work in developing the reduced instruction set computer (RISC) architecture, which is now used in 99% of new computer chips.


title: John L. Hennessy

text: Hennessy was raised in Huntington, New York, as one of six children. His father was an aerospace engineer and his mother was a teacher before raising her children.


title: John L. Hennessy

text: He earned his bachelor's degree in electrical engineering from Villanova University, and his master's degree and Doctor of Philosophy in computer science from Stony Brook University.


title: John L. Hennessy

text: Hennessy became a Stanford faculty member in 1977. In 1981, he began the MIPS project to investigate RISC processors, and in 1984, he used his sabbatical year to found MIPS Computer Systems Inc. to commercialize the technology developed by his research. In 1987, he became the Willard and Inez Kerr Bell Endowed Professor of Electrical Engineering and Computer Science.


title: John L. Hennessy

text: Hennessy served as director of Stanford's Computer System Laboratory (1989–93), a research center run by Stanford's Electrical Engineering and Computer Science departments. He was chair of the Department of Computer Science (1994–96) and Dean of the School of Engineering (1996–99).


title: John L. Hennessy

text: In 1999, Stanford President Gerhard Casper appointed Hennessy to succeed Condoleezza Rice as Provost of Stanford University. When Casper stepped down to focus on teaching in 2000, the Stanford Board of Trustees named Hennessy to succeed Casper as president. In 2008, Hennessy earned a salary of $1,091,589 ($702,771 base salary, $259,592 deferred benefits, $129,226 non-tax benefits), the 23rd highest among all American university presidents.


title: John L. Hennessy

text: Hennessy has served as a board member of Google (later Alphabet Inc.), Cisco Systems, Atheros Communications, and the Gordon and Betty Moore Foundation. He was elected to the American Philosophical Society in 2008.


title: John L. Hennessy

text: On October 14, 2010, Hennessy was presented a khata by the 14th Dalai Lama before the latter addressed Maples Pavilion.


title: John L. Hennessy

text: In December 2010, Hennessy coauthored an editorial with Harvard University President Drew Gilpin Faust urging the passage of the DREAM Act; the legislation did not pass the 111th United States Congress.


title: John L. Hennessy

text: In 2013, Hennessy became a judge for the inaugural Queen Elizabeth Prize for Engineering. He has remained on the judging panel for the subsequent awards in 2015 and 2017.


title: John L. Hennessy

text: In 2016, Hennessy co-founded the Knight-Hennessy Scholars program; he serves as its inaugural director. The program has a $750 million endowment to fully fund graduate students at Stanford for up to three years. The inaugural class of 51 scholars from 21 countries arrived at Stanford in the fall of 2018.


title: John L. Hennessy

text: In February 2018, Hennessy was announced as the new Chairman of Alphabet Inc., Google's parent company.


title: John L. Hennessy

text: Hennessy has a history of strong interest and involvement in college-level computer education. He co-authored, with David Patterson, two well-known books on computer architecture, "Computer Organization and Design: the Hardware/Software Interface" and "Computer Architecture: A Quantitative Approach", which introduced the DLX RISC architecture. They have been widely used as textbooks for graduate and undergraduate courses since 1990.


title: John L. Hennessy

text: Hennessy also contributed to updating Donald Knuth's MIX processor to the MMIX. Both are model computers used in Knuth's classic series, "The Art of Computer Programming". MMIX is Knuth's DLX equivalent.


title: Gregory van der Wiel

text: Gregory Kurtley van der Wiel (born 3 February 1988) is a Dutch former footballer who played as a right-back.


title: Gregory van der Wiel

text: Born in Amsterdam, Van der Wiel is a product of the AFC Ajax youth system. In 2010, he was awarded the Johan Cruyff Award for "Young Player of the Year" in the Netherlands. He has also played for Paris Saint-Germain, Fenerbahçe, Cagliari and Toronto FC.


title: Gregory van der Wiel

text: Van der Wiel made his debut for the Netherlands national team in February 2009 and participated in the Netherlands' runners-up performance at the 2010 FIFA World Cup in South Africa. Dutch teammate John Heitinga has labelled him the spiritual successor of Michael Reiziger for the Netherlands.


title: Gregory van der Wiel

text: Van der Wiel started his playing career at RKSV DCG in Amsterdam. At age seven, the young defender was scouted by AFC Ajax and brought to the Ajax Academy at "De Toekomst". In 2002, Ajax sent the player away to HFC Haarlem due to the player having a "mentality problem". Talking about his period at Haarlem, Van der Wiel has said, "When I was there I realized how spoiled I was. At Ajax everything was always well organized. We received a new kit every season and were picked up with minivans and brought to the club. At Haarlem I arrived in a totally different world. The accommodation was much worse, we played in five-year-old outfits, and had to find our own way to the trainings. The atmosphere was better though, much more relaxed than at Ajax. The period at Haarlem was good for my social development. It was a wake-up call for me." In 2005, Ajax approached him once again and brought him back to the Academy. His second stint at the club proved to be a much more successful experience, resulting in him signing his first professional contract, effectively starting from July 2006. Following the departure of youth captain Donovan Slijngard, Van der Wiel was made captain of Jong Ajax.


title: Gregory van der Wiel

text: Van der Wiel made his professional debut for Ajax on 11 March 2007 in a 4–1 away win against Twente, coming on as a substitute for Jaap Stam. He would play three more matches that season. At the end of the 2006–07 season, Van der Wiel signed a four–year contract with the club, keeping him until 2011.


title: Gregory van der Wiel

text: At the start of the 2007–08 season, Van der Wiel participated in the 1–0 victory over PSV in the battle for the Johan Cruyff Shield, resulting in winning his first career trophy. In a 1–0 win over Dinamo Zagreb in the first round of the UEFA Cup on 20 September 2007, his performance was praised by manager Henk ten Cate. A knee injury kept him out for the most of the 2007–08 season.


title: Gregory van der Wiel

text: In the 2008–09 season, Van der Wiel managed to recovered from the knee injury ahead of the new season and hoped to succeed John Heitinga, who departed for La Liga side Atlético Madrid over the summer. After returning from injury, Van der Wiel regained his first place at the club, playing in the right-back position. At one point, he played in the midfield position due to midfielder crisis. His performances resulted in him signing a contract extension with the club on 28 January 2009, lasting until 2013. He then scored his first goal for the club on 1 March 2009 in a 2–0 win over Utrecht. For his performance in the 2008–09 season, he was awarded AFC Ajax's Talent of the Year.


title: Gregory van der Wiel

text: Ahead of the 2009–10 season, Van der Wiel switched shirt number from 15 to 2. His performance attracted interests from Premier League side Manchester City. On 24 January 2010, he scored his fourth goal of the season in a 1–0 win over AZ. He, once again, helped the club keep six clean sheets between 3 February 2010 and 7 March 2010. Van der Wiel played as a right–back in both legs of the 2009–10 KNVBCup final, as the club beat Feyenoord 4–2 to win the tournament. For his performances during the season, he was awarded the Johan Cruijff Award for "Young Player of the Year."


title: Gregory van der Wiel

text: Following the 2010 World Cup, Van der Wiel was in talks to transfer to Louis van Gaal's Bayern Munich. However, Ajax was not able to agree to a deal. The 2010–11 season was another successful season for Van der Wiel, as he maintained his first-team position under new manager Frank de Boer. Despite some setbacks, Van der Wiel continued to regain his first team place at right-back. After being linked with a move to Manchester City and Barcelona in the January transfer window, he ended the transfer speculation by declaring his intention to stay at the club. In the final of the KNVB Cup against FC Twente, he started the match in the right–back and played 91 minutes before being substituted, as the club lost 3–2.


title: Gregory van der Wiel

text: During the 2011–12 season, Van der Wiel suffered a groin injury on two occasions, which affected his season. He returned to training after two months sidelined.


title: Gregory van der Wiel

text: Ahead of the 2012–13 season, Van der Wiel continued to be linked a move away from Ajax, and he made it clear he was not keen on signing a new contract with Ajax in January 2012. He missed the Johan Cruyff Shield, After a 5–0 win over NAC Breda on 25 August 2012, in what was his last appearance for Ajax, Van der Wiel hinted at his departure from the club. His departure became imminent after Ajax agreed to sell Van der Wiel to French Ligue 1 club Paris Saint-Germain.


title: Gregory van der Wiel

text: Van der Wiel moved to Paris Saint-Germain on 1 September 2012 for a reported €6 million transfer fee. The move was confirmed two days later, when he was issued the number 23 shirt and signed a four-year contract lasting until 2016.


title: Gregory van der Wiel

text: Van der Wiel made his PSG debut on 22 September 2012 in an away match against Bastia, a 0–4 victory; Van der Wiel played the full 90 minutes at right-back. For the most part of his debut season in France, Van der Wiel would come off the substitutes' bench for PSG captain Christophe Jallet, the team's first-choice right-back. Van der Wiel made his European debut for Paris in the 2012–13 UEFA Champions League match against Porto, a 1–0 away loss, with Van der Wiel being substituted off for Jallet in the 66th minute. Van der Wiel scored his first PSG goal in the 0–4 away win against Toulouse, the final goal of the match. On 12 May 2013, PSG became champions of France, winning the 2013–14 Ligue 1 title in a 1–0 victory against Lyon at home, marking the club's third ever national championship. Van der Wiel remained on the substitutes' bench for the duration of the title-winning fixture.


title: Gregory van der Wiel

text: At the start of the 2013–14 season, Van der Wiel was linked a move away from the club, as Italian Serie A club Internazionale were interested in signing him. Although a transfer never materialized, he remained at the club and found himself in competition with Christophe Jallet at right-back. As a result, Van der Wiel and Jallet often rotated in the position. Towards the end of the season, he suffered injuries on two occasions. He earned first-team status at PSG and saw him included in the "L'Equipe" Team of the Year for 2013.


title: Gregory van der Wiel

text: At the start of the 2014–15 season, Van der Wiel played the entire match in the Trophée des Champions, a 2–0 PSG win over Guingamp. After Christophe Jallet's transfer to Lyon, Van der Wiel continued to feature at right-back, although he faced a new competition from new signings Serge Aurier and Jordan Ikoko, which often forced him to the substitutes' bench. By season's end, Van der Wiel helped PSG win the domestic treble: Ligue 1, Coupe de France and the Coupe de la Ligue.


title: Gregory van der Wiel

text: In the 2015–16 season, Van der Wiel regularly found himself on the substitutes' bench, behind Serge Aurier and Marquinhos at right-back. He also faced with his own injury concerns in the first half of the season. For the third time, he helped the club win the domestic Treble: Ligue 1, Coupe de France and the Coupe de la Ligue.


title: Gregory van der Wiel

text: On 15 May 2016, it was officially announced Van der Wiel would be leaving PSG at the end season after his contract expired. This was announced after he acknowledged it would be difficult to stay at the club.


title: Gregory van der Wiel

text: After leaving Paris Saint-Germain, Van der Wiel signed for Turkish giants Fenerbahçe, signing a three-year contract with an option to extend for an additional year. Upon joining the club, he was joined up by compatriot Robin van Persie.


title: Gregory van der Wiel

text: Van der Wiel made his official debut for Fenerbahçe on 27 July 2016 in the third qualifying round of UEFA Champions League, where he set up a goal for Emmanuel Emenike in a 2–1 home win over Monaco. However, in the second-leg, the club was eliminated from the competition following a 3–1 away defeat. He then made his Fenerbahçe debut on 21 August 2016 in the opening match of the 2016–17 Süper Lig season, where he started the entire match in a 1–0 loss to İstanbul Başakşehir. His lack of first-team opportunities at the club led manager Dick Advocaat to be keen on selling him in January, although a transfer was never agreed and he remained at the club until the end of the season. For Fenerbahçe, Van der Wiel made 12 league appearances and 17 across all competitions. This was due to injuries and suspension throughout the 2016–17 season.


title: Gregory van der Wiel

text: After only one season with Fenerbahçe, on 25 August 2017, Van der Wiel joined Italian club Cagliari. In so doing, he became the first Dutchman to ever sign for the club. He was issued the number 2 shirt by the Sardinian side. He made his debut in a 3–2 home loss to Genoa on 15 October, having missed the first six matches of the season through injury. However, after returning from injury, he still struggled to earn playing time during the first half of the season, making only six appearances across all competitions.


title: Gregory van der Wiel

text: On 1 February 2018, Van der Wiel signed with Major League Soccer (MLS) club Toronto FC. Upon joining the club, he was issued the number 9 shirt during an introductory press conference.


title: Gregory van der Wiel

text: He made his club debut on 3 March in the opening match of the MLS season, a 2–0 home defeat to Columbus Crew. Despite suffering from setbacks that saw him on the sidelines, Van der Wiel established himself in the starting eleven for the side. He then played in both legs of 2018 CONCACAF Champions League Final against Chivas Guadalajara, as Toronto eventually lost the final 4–2 in a penalty shoot-out after the series was tied 3–3 on aggregate. During the season, Van der Wiel played in several different positions for the side, such as centre-back, left-back, and right-midfield. But most of the season, he played in the right-back position. During a preseason training session in Los Angeles on 23 January 2019, Van der Wiel was dismissed after an altercation with coach Greg Vanney. On 22 March 2019, he was released by the club by mutual consent.


title: Gregory van der Wiel

text: On 6 August 2020, Van der Wiel began training with Eredivisie club RKC Waalwijk. Shortly after, he reiterated that he wanted to continue playing football, having been a free agent for a year. As a result, Van der Wiel spent months on a trial with the club.


title: Gregory van der Wiel

text: After previously representing the Netherlands under-19 national team, Van der Wiel has been capped at the under-21 level and participated at the 2007 Toulon Tournament.


title: Gregory van der Wiel

text: Although he recovered from the knee injury, Van der Wiel did not make the final Dutch squad for the Olympic Games in Beijing, following which he was disappointed and critical of manager Foppe de Haan's decision. Later in 2008, Van der Wiel featured two more times for the under-21 side.


title: Gregory van der Wiel

text: In November 2008, Van der Wiel was initially included in the Netherlands' B-team squad for their match against the Sweden national under-21 team. However, he was replaced by Rens van Eijden due to a groin injury sustained during training.


title: Gregory van der Wiel

text: On 6 February 2009, Van der Wiel was called up by the senior Dutch team for the first time. He then made his senior debut on 11 February as a substitute for former Ajax teammate John Heitinga in the friendly match against Tunisia. He made his first competitive debut on 28 March 2009 as a starter in a 3–0 2010 FIFA World Cup qualification victory over Scotland. He again played the entire match for the 4–0 World Cup qualification victory over Macedonia on 1 April 2009.