title: The Two Gentlemen of Verona

text: From the middle of the eighteenth century, even if staging Shakespeare's original (as opposed to Victor's rewrite) it was common to cut the lines in the final scene where Valentine seems to offer Silvia to Proteus. This practice prevailed until William Macready reintroduced the lines in 1841 in a production at Drury Lane, although they were still being removed as late as 1952, in Denis Carey's production at the Bristol Old Vic. Notable nineteenth-century performances include Charles Kean's 1848 production at the Haymarket Theatre, Samuel Phelps' 1857 production at Sadler's Wells Theatre and William Poel's 1892 and 1896 productions.


title: The Two Gentlemen of Verona

text: During the twentieth century, the play has been produced sporadically in the English-speaking world, although it has proved more popular in Europe. Indeed, there have been only a few significant English speaking productions. Little is known, for example, about Harley Granville-Barker's 1904 production at the Court Theatre, F.R. Benson's 1910 production at the Shakespeare Memorial Theatre, Robert Atkins' 1923 production at the Apollo Theatre, or Ben Iden Payne's 1938 production at Stratford-upon-Avon. The earliest production about which we have significant information is Michael Langham's 1957 production at The Old Vic, starring Richard Gale as Valentine, Keith Michell as Proteus, Barbara Jefford as Julia and Ingrid Hafner as Silvia. In this production, set in late nineteenth-century Italy and grounded very much in high Romanticism, Proteus threatens to kill himself with a pistol at the end of the play, prompting Valentine's hasty offer of Silvia.


title: The Two Gentlemen of Verona

text: Perhaps the most notable 20th-century production was Peter Hall's 1960 production at the Royal Shakespeare Theatre. Set in a late medieval "milieu", the play starred Denholm Elliott as Valentine, Derek Godfrey as Proteus, Susan Maryott as Silvia, Frances Cuka as Julia, and featured a much lauded performance by Patrick Wymark as Launce. Hall had only recently been appointed as Artistic Director of the RSC, and, somewhat unexpectedly, he chose "Two Gentlemen" as his inaugural production, billed as the opening show in a re-examination of the development of Shakespearean comedy.


title: The Two Gentlemen of Verona

text: Ten years later, in 1970, Robin Phillips' RSC production starred Peter Egan as Valentine, Ian Richardson as Proteus, Helen Mirren as Julia, Estelle Kohler as Silvia, and Patrick Stewart as Launce. This production concentrated on the issues of friendship and treachery, and set the play in a decadent world of social elitism. Valentine and Proteus were presented as aristocratic students, the Duke was a Don, and Eglamour an old scout master. On the other hand, the poverty-stricken outlaws were dressed in animal skins.


title: The Two Gentlemen of Verona

text: The RSC again staged the play at the Royal Shakespeare Theatre in 1981, as a double bill with "Titus Andronicus", with both plays heavily edited. Directed by John Barton, the production starred Peter Chelsom as Valentine, Peter Land as Proteus, Julia Swift as Julia and Diana Hardcastle as Silvia. This production saw the actors not involved in the current on-stage scene sit at the front of the stage and watch the performance. Leon Rubin directed a performance at the Stratford Shakespeare Festival in 1984, where the actors were dressed in modern clothes and contemporary pop music was featured within the play (for example, the outlaws are portrayed as an anarchic rock group).


title: The Two Gentlemen of Verona

text: A 1991 RSC production at the Swan Theatre saw director David Thacker use an on-stage band for the duration of the play, playing music from the 1930s, such as Cole Porter and George Gershwin. Thacker's production featured Richard Bonneville as Valentine, Finbar Lynch as Proteus, Clare Holman as Julia and Saskia Reeves as Silvia. In 1992, Thacker's production moved to the Barbican Centre, and in 1993 went on regional tour. In 1996, Jack Shepherd directed a modern dress version at the Royal National Theatre as part of Shakespeare's Globe's "Prologue Season". The production starred Lenny James as Valentine, Mark Rylance as Proteus, Stephanie Roth Haberle as Julia and Anastasia Hille as Silvia. Another RSC production took place at the Swan in 1998, under the direction of Edward Hall, and starring Tom Goodman-Hill as Valentine, Dominic Rowan as Proteus, Lesley Vickerage as Julia and Poppy Miller as Silvia. This production set the play in a grimy unnamed contemporary city where material obsession was all-encompassing.


title: The Two Gentlemen of Verona

text: In 2004, Fiona Buffini directed a touring production for the RSC. Premiering at the Swan, the production starred Alex Avery as Valentine, Laurence Mitchell as Proteus, Vanessa Ackerman as Julia and Rachel Pickup as Silvia. Buffini set the play in a swinging 1930s "milieu", and featuring numerous dance numbers. Additionally, London and New York replaced Verona and Milan; initially, Valentine and Proteus are shown as living in the English countryside, in a rural paradise devoid of any real vitality, the sons of wealthy families who have retired from the city. When Valentine leaves, he heads to New York to pursue the American Dream and falls in love with Silvia, the famous actress daughter of a powerful media magnate. Another change to the play was that the roles of the outlaws (represented here as a group of paparazzi) were increased considerably. Scenes added to the play show them arriving in New York and going about their daily business, although none of the new scenes featured any dialogue. Another performance worth noting occurred at the Courtyard Theatre in Stratford in 2006. A non-professional acting company from Brazil, named Nós do Morro, in collaboration with a Gallery 37 group from Birmingham, gave a single performance of the play during the RSC's presentation of the Complete Works, directed by Guti Fraga. The production was spoken in Portuguese, with the original English text projected as surtitles onto the back of the stage. It also featured two 17-year-olds in the roles of Valentine and Proteus (usually, actors in their 20s are cast), and Crab was played not by a dog, but by a human actor in a dog costume. In 2009, Joe Dowling directed the play at the Guthrie Theater, starring Sam Bardwell as Valentine, Jonas Goslow as Proteus, Sun Mee Chomet as Julia and Valeri Mudek as Silvia. Staged as a 1950s live television production, large black-and-white monitors were set on either side of the stage, with cameras feeding the action to them. Additionally, period advertisements appeared both before the show and during the intermission. The actors spoke the original dialogue, but wore 1950s clothing. Rock and roll music and dance sequences were occasionally mixed with the action.


title: The Two Gentlemen of Verona

text: In 2011, Laura Cole directed a production at the Shakespeare Tavern. Presented as an "in repertory" production, alongside "The Taming of the Shrew" and "The Comedy of Errors", it starred Kenneth Wigley as Valentine, Jonathan Horne as Proteus, Amee Vyas as Julia and Kati Grace Morton as Silvia. In 2012, P.J. Paparelli directed a Shakespeare Theatre Company production at the Lansburgh Theatre, starring Andrew Veenstra as Valentine, Nick Dillenburg as Proteus, Natalie Mitchell as Silvia and Miriam Silverman as Julia. Set in the 1990s, and featuring a contemporary soundtrack, mobile phones and guns, the production downplayed the comedy, and instead presented the play as a semi-tragic coming-of-age story. Reviews were mixed, with most critics impressed with the attempts to do something new with the play, but not universally sure the new ideas worked. Also in 2012, a touring production was staged at various venues throughout the UK, including a performance at the Globe Theatre as part of the Globe to Globe Festival, under the name "Vakomana Vaviri Ve Zimbabwe" ("The Two Gentlemen from Zimbabwe"). Directed by Arne Pohlmeier, and spoken in Shona, the entire play was performed with a cast of two; Denton Chikura and Tonderai Munyevu. In 2014, for the first time since Robin Phillips' 1970 production, the RSC performed the play in a full production at the Royal Shakespeare Theatre. Directed by Simon Godwin, the production starred Michael Marcus as Valentine, Mark Arends as Proteus, Pearl Chanda as Julia and Sarah MacRae as Silvia. On 3 September, the play was broadcast live to cinemas around the world as part of the "Live from Stratford-upon-Avon" series. The production received generally positive reviews, with most critics happy to see it back on the RSC stage.


title: The Two Gentlemen of Verona

text: In 2022, the comedy was performed by members of Mary Baldwin University's MFA company model for Treehouse Shakespeare Ensemble's 2022-2023 season. The production was a small-scale show, in which only five actors portrayed all of the characters. Directed by Beth Somerville and Kelsey Harrison, the shows concept set the play in tumultuous 1970's Italy.


title: The Two Gentlemen of Verona

text: Benjamin Victor rewrote the play for performance in 1762 (the earliest recorded performance we have of the play), at the Theatre Royal in Drury Lane. Starring Richard Yates as Launce, his wife, Mary Ann Yates as Julia and Elizabeth Pope as Silvia, Victor brought all of the Verona scenes together, removed Valentine's 'gift' of Silvia to Proteus and increased the roles of Launce and Crab (especially during the outlaw scenes, where both characters are intimately involved in the action). He also switched the emphasis of the play away from the love-friendship dichotomy and instead focused on the issues of fidelity, with the last line of the play altered to, "Lovers must be faithful to be bless'd." This necessitated rewriting Valentine as a near flawless protagonist who represents such faithfulness, and Proteus as a traditional villain, who doesn't care for such notions. The two are not presented as old friends, but simply as acquaintances. Thurio was also rewritten as a harmless, but lovable fool, not unlike Launce and Speed. Although not a major success (the play initially ran for only six performances), it was still being staged as late as 1895.


title: The Two Gentlemen of Verona

text: In 1790, John Philip Kemble staged his own production of the play at Drury Lane, maintaining many of Victor's alterations whilst also adding many of his own. The production starred Richard Wroughton as Proteus and Elizabeth Satchell as Silvia. The play was again staged at Covent Garden in 1808, with Kemble, who was fifty years old at the time, playing Valentine.


title: The Two Gentlemen of Verona

text: Frederic Reynolds staged an operatic version in 1821 at Covent Garden as part of his series of adaptations of the works of Shakespeare. Reynolds wrote the lyrics, with Henry Bishop writing the music. The production ran for twenty-nine performances, and included some of Shakespeare's sonnets set to music. Augustin Daly revived the opera in 1895 at Daly's Theatre, in an elaborate production starring Ada Rehan as Julia.


title: The Two Gentlemen of Verona

text: In 1826, Franz Schubert set a German translation by Eduard von Bauernfeld of Proteus' serenade to Silvia ("Who is Silvia? What is she,/That all our swains commend her?") to music. This song is usually known in English as "Who is Sylvia?," but in German it is known as "An Sylvia" ("Vier Lieder", opus 106, number 4, D. 891). In 1909, Eric Coates's "Four Old English Songs" included a setting of "Who is Sylvia". In 1942, Gerald Finzi included a setting of "Who Is Silvia?" in his song cycle on Shakespearean texts "Let Us Garlands Bring"; the title of the work is the last line of the song.


title: The Two Gentlemen of Verona

text: In 1971, Galt MacDermot, John Guare and Mel Shapiro adapted the show into a rock musical under the same name as the play. Guare and Shapiro wrote the book, Guare the lyrics, and MacDermot the music. Opening at the St. James Theatre on 1 December 1971, with Shapiro directing and Jean Erdman as choreographer, it ran for 614 performances, closing on 20 May 1973. During its initial run, the play won two Tony Awards; Best Musical and Best Book. The original cast included Clifton Davis as Valentine, Raúl Juliá as Proteus, Jonelle Allen as Silvia and Diana Dávila as Julia. The play moved to the West End in 1973, playing at the Phoenix Theatre from 26 April, and running for 237 performances. It was revived in 1996 at the New Jersey Shakespeare Festival, directed by Robert Duke, and again in 2005, directed and choreographed by Kathleen Marshall as part of the Shakespeare in the Park festival. Marshall's production was performed at the Delacorte Theater in Central Park, and starred Norm Lewis as Valentine, Oscar Isaac as Proteus, Renée Elise Goldsberry as Silvia and Rosario Dawson as Julia.


title: The Two Gentlemen of Verona

text: The only cinematic adaptation of the play is "Yī jiǎn méi" (more commonly known by its English title "A Spray of Plum Blossoms"), a 1931 silent film from China, directed by Bu Wancang and written by Huang Yicuo. A loose adaptation of the play, the film tells the story of Bai Lede (Wang Chilong) and Hu Luting (Jin Yan), two military cadets who have been friends since they were children. After graduating, Hu, a playboy uninterested in love, is appointed as a captain in Guangdong and leaves his home town in Shanghai. Bai however, deeply in love with Hu's sister, Hu Zhuli (Ruan Lingyu) stays behind. At Guangdong, Hu falls in love with the local general's daughter, Shi Luohua (Lim Cho Cho), although the general, Shi (Wang Guilin), is unaware of the relationship, and instead wants his daughter to marry the foolish Liao Di'ao (Kao Chien Fei). Meanwhile, Bai's father uses his influence to get Bai posted to Guangdong, and after a sorrowful farewell between himself and Zhuli, he arrives at his new post and instantly falls in love with Luohua. In an effort to have her for himself, Bai betrays his friend, by informing General Shi of his daughter's plans to elope with Hu, leading to Shi dishonourably discharging Hu. Bai tries to win Luohua over, but she is uninterested, only concerned with lamenting the loss of Hu. In the meantime, Hu encounters a group of bandits who ask him to be their leader, to which he agrees, planning on returning for Luohua at some point in the future. Some time passes, and one day, as Luohua, Bai and Liao are passing through the forest, they are attacked. Luohua manages to flee, and Bai pursues her into the forest. They engage in an argument, but just as Bai seems about to lose his temper, Hu intervenes, and he and Luohua are reunited. General Shi arrives in time to see Liao flee the scene, and he now realises that he was wrong to get in the way of the relationship between Hu and his daughter. Hu then forgives Bai his betrayal, and Bai reveals that he has discovered that his only true love is in fact Zhuli back in Shanghai. The film is notable for being one of many Chinese films of the period which, although performed in Mandarin when filming, used English intertitles upon its original release. In the English intertitles and credits, the characters are named after their counterparts in the play; Hu is Valentine, Bai is Proteus, Zhuli is Julia and Luohua is Silvia. Liao is named Tiburio rather than Thurio.


title: The Two Gentlemen of Verona

text: "Two Gentlemen" is also featured in "Shakespeare in Love" (1998). Directed by John Philip Madden and written by Marc Norman and Tom Stoppard, the film tells the fictional story of William Shakespeare's (Joseph Fiennes) composition of "Romeo and Juliet". Early in the film, Queen Elizabeth (Judi Dench) attends a production of "Two Gentlemen", greatly enjoying William Kempe (Patrick Barlow) being thoroughly outperformed by Crab, and then falling asleep during Henry Condell's (Nicholas Boulton) recitation of Proteus' soliloquy from Act 2, Scene 1. Later, after reading the first draft of "Romeo and Ethel", theatre manager Philip Henslowe (Geoffrey Rush) suggests that Shakespeare add a dog to liven the play up.


title: The Two Gentlemen of Verona

text: The first television adaptation was in 1952, when BBC Television Service broadcast Act 1 of the play live from the Bristol Old Vic. Directed by Denis Carey, the production starred John Neville as Valentine, Laurence Payne as Proteus, Gudrun Ure as Silvia and Pamela Ann as Julia.


title: The Two Gentlemen of Verona

text: In 1956, the entire play was broadcast on West German TV channel Das Erste from a performance at the Munich Kammerspiele, under the title "Zwei Herren aus Verona". The theatrical production was directed by Hans Schalla, with the TV adaptation directed by Ernst Markwardt. The cast included Rolf Schult as Valentine, Hannes Riesenberger as Proteus, Helga Siemers as Julia and Isolde Chlapek as Silvia. In 1964, the play was made into a TV movie in West Germany, again using the title "Zwei Herren aus Verona". Screened on ZDF, it was directed by Hans Dieter Schwarze and starred Norbert Hansing as Valentine, Rolf Becker as Proteus, Katinka Hoffman as Julia and Heidelinde Weis as Silvia. Another West German TV movie, under the title "Die zwei Herren aus Verona", was screened on Das Erste in 1966. Directed by Harald Benesch, it starred Jürgen Kloth as Valentine, Lothar Berg as Proteus, Anne-Marie Lermon as Julia and Carola Regnier as Silvia. In 1969, the entire play was broadcast on Austrian TV channel ORF eins from a performance at the Theater in der Josefstadt, under the title "Zwei aus Verona". The theatrical production was directed by Edwin Zbonek, with the TV adaptation directed by Wolfgang Lesowsky. The cast included Klaus Maria Brandauer as Valentine, Albert Rueprecht as Proteus, Kitty Speiser as Julia and Brigitte Neumeister as Silvia.


title: The Two Gentlemen of Verona

text: In 1983, the play was adapted for the "BBC Television Shakespeare" series, as the fourth episode of the sixth season. Directed by Don Taylor, it starred Tyler Butterworth as Proteus, John Hudson as Valentine, Tessa Peake-Jones as Julia and Joanne Pearce as Silvia. For the most part, the adaptation is taken "verbatim" from the "First Folio", with some very minor differences. For example, omitted lines include the Duke's "Knowing that tender youth is soon suggested" (3.1.34), and Julia's "Her eyes are grey as glass, and so are mine" (4.4.189). Other differences include a slightly different opening scene to that indicated in the text. Whereas the play seems to open with Valentine and Proteus in mid-conversation, the adaptation begins with Mercatio and Eglamour attempting to formally woo Julia; Mercatio by showing her a coffer overflowing with gold coins, Eglamour by displaying a parchment detailing his ancestry. Neither Eglamour nor Mercatio appear in the text. However, there is no dialogue in this scene, and the first words spoken are the same as in the text ("Cease to persuade my loving Proteus"). Eglamour is also present in the final scene, albeit once again without any dialogue, and, additionally, the capture of Silvia and the flight of Eglamour is seen, as opposed to merely being described. The music for the episode was created by Anthony Rooley, who wrote new arrangements of works from Shakespeare's own time, such as John Dowland's "Lachrimae". Performed by The Consort of Musicke, other musicians whose music was used include William Byrd, Thomas Campion, Anthony Holborne, John Johnson, Thomas Morley and Orazio Vecchi.


title: The Two Gentlemen of Verona

text: Taylor initially planned a representational setting for the film; Verona, Milan and the forest were all to be realistic. However, he changed his mind early in preproduction and had production designer Barbara Gosnold go in the opposite direction – a stylised setting. To this end, the forest is composed of metal poles with bits of green tinsel and brown sticks stuck to them (the cast and crew referred to the set as "Christmas at Selfridges"). Whilst the set for Verona remained relatively realistic, that for Milan featured young actors dressed like cherubs as extras. This was to convey the idea that the characters lived in a 'Garden of Courtly Love', which was slightly divorced from the everyday reality represented by Verona. Working in tandem with this idea, upon Proteus' arrival in Milan, after meeting Silvia, he is left alone on screen, and the weather suddenly changes from calm and sunny to cloudy and windy, accompanied by a thunderclap. The implication being that Proteus has brought a darkness within him into the garden of courtly delights previously experienced by Silvia. Although the production is edited in a fairly conventional manner, much of it was shot in extremely long takes, and then edited into sections, rather than actually shooting in sections. Director Don Taylor would shoot most of the scenes in single takes, as he felt this enhanced performances and allowed actors to discover aspects which they never would were everything broken up into pieces.


title: The Two Gentlemen of Verona

text: In 1995, a production of the play aired on Polish TV channel TVP1 under the title "Dwaj panowie z Werony", directed by Roland Rowiński and starring Rafal Krolikowski as Proteus, Marek Bukowski as Valentine, Agnieszka Krukówna as Julia and Edyta Jungowska as Sylvia.


title: The Two Gentlemen of Verona

text: In 2000, episode three of season four of "Dawson's Creek", "Two Gentlemen of Capeside" loosely adapted the plot of the play. Written by Chris Levinson and Jeffrey Stepakoff, and directed by Sandy Smolan, the episode depicts how Dawson Leery (James Van Der Beek) and Pacey Witter (Joshua Jackson), formerly best friends, have been driven apart over their love for the same woman. The play is referenced early in the episode as the characters are reading it for their English class.


title: The Two Gentlemen of Verona

text: In 1923, extracts from the play were broadcast on BBC Radio, performed by the Cardiff Station Repertory Company as the first episode of a series of programs showcasing Shakespeare's plays, entitled "Shakespeare Night". In 1924, the entire play was broadcast by 2BD, directed by Joyce Tremayne and R.E. Jeffrey, with Treymane playing Silvia and Jeffrey playing Valentine, alongside G.R. Harvey as Proteus and Daisy Moncur as Julia. In 1927, the scenes between Julia and Lucetta were broadcast on BBC Radio as part of the "Echoes from Greenwich Theatre" series. Betty Rayner played Julia and Joan Rayner played Lucetta. BBC National Programme broadcast the full play in 1934, adapted for radio by Barbara Burnham and produced by Lance Sieveking. Ion Swinley played Valentine, Robert Craven was Proteus, Helen Horsey was Silvia and Lydia Sherwood played Julia.


title: The Two Gentlemen of Verona

text: In 1958, the entire play was broadcast on BBC Third Programme. Produced and directed by Raymond Raikes, it starred John Westbrook as Valentine, Charles Hodgson as Proteus, Caroline Leigh as Silvia, Perlita Neilson as Julia, and Frankie Howerd as Launce. BBC Third Programme aired another full production of the play in 1968, produced and directed by R.D. Smith and starring Denys Hawthorne as Valentine, Michael N. Harbour as Proteus, Judi Dench as Julia and Kate Coleridge as Silvia.


title: The Two Gentlemen of Verona

text: In 2007, producer Roger Elsgood and director Willi Richards adapted the play into a radio drama called "The Two Gentlemen of Valasna". Set in two petty Indian princely states called Malpur and Valasna in the weeks leading up to the Indian Rebellion of 1857, the play was first broadcast on BBC Radio 3 on 29 July 2007. It was recorded on location in Maharashtra, India earlier in 2007 with a cast drawn from Bollywood, Indian television and the Mumbai English-speaking theatre traditions; actors included Nadir Khan as Vishvadev (i.e. Valentine), Arghya Lahiri as Parminder (Proteus), Anuradha Menon as Syoni (Silvia), Avantika Akerkar as Jumaana/Servi (Julia/Sebastian), Sohrab Ardishir as The Maharaja (Duke of Milan) and Zafar Karachiwala as Thaqib (Thurio).


title: The Two Gentlemen of Verona

text: All references to "The Two Gentlemen of Verona", unless otherwise specified, are taken from the Oxford Shakespeare (Warren), based on the First Folio text of 1623. Under its referencing system, 2.3.14 means act 2, scene 3, line 14.


title: Modular programming

text: Modular programming is a software design technique that emphasizes separating the functionality of a program into independent, interchangeable modules, such that each contains everything necessary to execute only one aspect of the desired functionality.


title: Modular programming

text: A module interface expresses the elements that are provided and required by the module. The elements defined in the interface are detectable by other modules. The implementation contains the working code that corresponds to the elements declared in the interface. Modular programming is closely related to structured programming and object-oriented programming, all having the same goal of facilitating construction of large software programs and systems by decomposition into smaller pieces, and all originating around the 1960s. While the historical usage of these terms has been inconsistent, "modular programming" now refers to the high-level decomposition of the code of an entire program into pieces: structured programming to the low-level code use of structured control flow, and object-oriented programming to the "data" use of objects, a kind of data structure.


title: Modular programming

text: In object-oriented programming, the use of interfaces as an architectural pattern to construct modules is known as interface-based programming.


title: Modular programming

text: Modular programming, in the form of subsystems (particularly for I/O) and software libraries, dates to early software systems, where it was used for code reuse. Modular programming per se, with a goal of modularity, developed in the late 1960s and 1970s, as a larger-scale analog of the concept of structured programming (1960s). The term "modular programming" dates at least to the National Symposium on Modular Programming, organized at the Information and Systems Institute in July 1968 by Larry Constantine; other key concepts were information hiding (1972) and separation of concerns (SoC, 1974).


title: Modular programming

text: Modules were not included in the original specification for ALGOL 68 (1968), but were included as extensions in early implementations, ALGOL 68-R (1970) and ALGOL 68C (1970), and later formalized. One of the first languages designed from the start for modular programming was the short-lived Modula (1975), by Niklaus Wirth. Another early modular language was Mesa (1970s), by Xerox PARC, and Wirth drew on Mesa as well as the original Modula in its successor, Modula-2 (1978), which influenced later languages, particularly through its successor, Modula-3 (1980s). Modula's use of dot-qualified names, like codice_1 to refer to object codice_2 from module codice_3, coincides with notation to access a field of a record (and similarly for attributes or methods of objects), and is now widespread, seen in C#, Dart, Go, Java, OCaml, and Python, among others. Modular programming became widespread from the 1980s: the original Pascal language (1970) did not include modules, but later versions, notably UCSD Pascal (1978) and Turbo Pascal (1983) included them in the form of "units", as did the Pascal-influenced Ada (1980). The Extended Pascal ISO 10206:1990 standard kept closer to Modula2 in its modular support. Standard ML (1984) has one of the most complete module systems, including functors (parameterized modules) to map between modules.


title: Modular programming

text: In the 1980s and 1990s, modular programming was overshadowed by and often conflated with object-oriented programming, particularly due to the popularity of C++ and Java. For example, the C family of languages had support for objects and classes in C++ (originally C with Classes, 1980) and Objective-C (1983), only supporting modules 30 years or more later. Java (1995) supports modules in the form of packages, though the primary unit of code organization is a class. However, Python (1991) prominently used both modules and objects from the start, using modules as the primary unit of code organization and "packages" as a larger-scale unit; and Perl 5 (1994) includes support for both modules and objects, with a vast array of modules being available from CPAN (1993). OCaml (1996) followed ML by supporting modules and functors.


title: Modular programming

text: Modular programming is now widespread, and found in virtually all major languages developed since the 1990s. The relative importance of modules varies between languages, and in class-based object-oriented languages there is still overlap and confusion with classes as a unit of organization and encapsulation, but these are both well-established as distinct concepts.


title: Modular programming

text: The term assembly (as in .NET languages like C#, F# or Visual Basic .NET) or package (as in Dart, Go or Java) is sometimes used instead of module. In other implementations, these are distinct concepts; in Python a package is a collection of modules, while in Java 9 the introduction of the new module concept (a collection of packages with enhanced access control) was implemented.


title: Modular programming

text: Furthermore, the term "package" has other uses in software (for example .NET NuGet packages). A component is a similar concept, but typically refers to a higher level; a component is a piece of a whole system, while a module is a piece of an individual program. The scale of the term "module" varies significantly between languages; in Python it is very small-scale and each file is a module, while in Java 9 it is planned to be large-scale, where a module is a collection of packages, which are in turn collections of files.


title: Modular programming

text: Languages that formally support the module concept include Ada, Algol, BlitzMax, C++, C#, Clojure, COBOL, Common_Lisp, D, Dart, eC, Erlang, Elixir, Elm, F, F#, Fortran, Go, Haskell, IBM/360 Assembler, Control Language (CL), IBM RPG, Java, Julia, MATLAB, ML, Modula, Modula-2, Modula-3, Morpho, NEWP, Oberon, Oberon-2, Objective-C, OCaml, several derivatives of Pascal (Component Pascal, Object Pascal, Turbo Pascal, UCSD Pascal), Perl, PHP, PL/I, PureBasic, Python, R, Ruby, Rust, JavaScript, Visual Basic .NET and WebDNA.


title: Modular programming

text: Conspicuous examples of languages that lack support for modules are C and have been C++ and Pascal in their original form, C and C++ do, however, allow separate compilation and declarative interfaces to be specified using header files. Modules were added to Objective-C in iOS 7 (2013); to C++ with C++20, and Pascal was superseded by Modula and Oberon, which included modules from the start, and various derivatives that included modules. JavaScript has had native modules since ECMAScript 2015.


title: Modular programming

text: Modular programming can be performed even where the programming language lacks explicit syntactic features to support named modules, like, for example, in C. This is done by using existing language features, together with, for example, coding conventions, programming idioms and the physical code structure. IBM i also uses modules when programming in the Integrated Language Environment (ILE).


title: Modular programming

text: With modular programming, concerns are separated such that modules perform logically discrete functions, interacting through well-defined interfaces. Often modules form a directed acyclic graph (DAG); in this case a cyclic dependency between modules is seen as indicating that these should be a single module. In the case where modules do form a DAG they can be arranged as a hierarchy, where the lowest-level modules are independent, depending on no other modules, and higher-level modules depend on lower-level ones. A particular program or library is a top-level module of its own hierarchy, but can in turn be seen as a lower-level module of a higher-level program, library, or system.


title: Modular programming

text: When creating a modular system, instead of creating a monolithic application (where the smallest component is the whole), several smaller modules are written separately so when they are composed together, they construct the executable application program. Typically these are also compiled separately, via separate compilation, and then linked by a linker. A just-in-time compiler may perform some of this construction "on-the-fly" at run time.


title: Modular programming

text: These independent functions are commonly classified as either program control functions or specific task functions. Program control functions are designed to work for one program. Specific task functions are closely prepared to be applicable for various programs.


title: Modular programming

text: This makes modular designed systems, if built correctly, far more reusable than a traditional monolithic design, since all (or many) of these modules may then be reused (without change) in other projects. This also facilitates the "breaking down" of projects into several smaller projects. Theoretically, a modularized software project will be more easily assembled by large teams, since no team members are creating the whole system, or even need to know about the system as a whole. They can focus just on the assigned smaller task.


title: Grimpoteuthis

text: Grimpoteuthis is a genus of pelagic umbrella octopuses known as the dumbo octopuses. The name "dumbo" originates from their resemblance to the title character of Disney's 1941 film "Dumbo", having a prominent ear-like fin which extends from the mantle above each eye. There are 17 species recognized in the genus. Prey include crustaceans, bivalves, worms and copepods. The average life span of various "Grimpoteuthis" species is 3 to 5 years.


title: Grimpoteuthis

text: As noted above, many species collected on the "Challenger" expedition were initially classified in the genera "Cirroteuthis" and "Stauroteuthis." Several species formerly classified as "Grimpoteuthis" were moved to genera "Cirroctopus" and "Opisthoteuthis". A new family, Grimpoteuthididae (alternatively spelled Grimpoteuthidae), has been proposed to accommodate "Grimpoteuthis" and those of genera "Enigmatiteuthis", "Cryptoteuthis", and "Luteuthis". The persistent confusion and disparity about the taxonomy of these species has been attributed to the poor quality and limited number of specimens available for study.


title: Grimpoteuthis

text: Species of "Grimpoteuthis" are assumed to have a worldwide distribution, living in the cold, abyssal depths ranging from 1,000 to 7,000 metres. Specimens have been found off the coast of Oregon, the Philippines, Martha's Vineyard, the Azores, New Zealand, Australia, California, Gulf of Mexico, Papua, and New Guinea. Last observation was 21.06.2022 at 1250 meters by the vessel Normand Ocean that uses underwater drones to inspect platforms. This time they were to examine chains and risers at the Aasta Hansteen platform outside Trøndelag in Norway.


title: Grimpoteuthis

text: Dumbo octopuses are the deepest living octopuses known, with some specimens captured or observed in hadal depths. One "Grimpoteuthis" sp. specimen was captured 60 km southeast of Grand Cayman at 7,279 m, but this depth is uncertain (as the specimen may have been captured while the net was descending to depth). However, in 2020, "Grimpoteuthis" was spotted 6,957 m deep in the Java Trench, confirming the hadal distribution of this genus.


title: Grimpoteuthis

text: Species of "Grimpoteuthis" face few direct threats from humans, living at depths of and below. Natural predators of cirrate octopuses include large teleost fish and sharks, and even marine mammals such as Sperm Whales and Seals, but these are mostly predators of other cirrate genera and "Grimpoteuthis" has only been recorded in the stomach contents of a shark.


title: Grimpoteuthis

text: The "Grimpoteuthis" do not have an ink sac (as is the case with all cirrate octopuses). Furthermore, the cirrate octopuses lack innervated chromatophores and are therefore not capable of changing color (despite some unreferenced statements to the contrary). How cirrate octopuses escape or avoid predators is largely unknown.


title: Grimpoteuthis

text: Observations of animals in the Atlantic reveal that "Grimpoteuthis" often rest on the seafloor with the arms and web spread out and uses its arms to slowly crawl along the seafloor, when disturbed the webbing and arms are contracted to push the animal off the seafloor with it then transitioning to movement using the mantle fins for rapid locomotion. Although it has been suggested that species of "Grimpoteuthis" are capable of jet-propulsion (while swimming using the fins), this has since been deemed unlikely.


title: Grimpoteuthis

text: Feeding behavior has not been directly observed in "Grimpoteuthis", but presumably is similar to "Opisthoteuthis" that trap small prey items in the webbing (either by enclosing the prey in the arm webbing or between the webbing and the seafloor) and then use the cirri (fingerlike projections along the arms) to move food to the mouth. Known prey items (from dissected animals) include benthic polychaetes, benthopelagic copepods, amphipods and isopods.


title: Grimpoteuthis

text: The cirrate octopuses are classified as 'continuous spawners', females carry multiple eggs in various stages of maturation and only lay one-or-two eggs at a time, with no seasonality in spawning (however most of these aspects of reproductive biology have only been confirmed in "Opisthoteuthis", not "Grimpoteuthis"). Mating in cirrate octopuses has never been observed, and unlike other octopuses, members of Cirrata lack a hectocotylus for the transfer of sperm packets. Cirrate octopus eggs are large and have a tough casing surrounding the chorion (not found in other octopuses), and "Grimpoteuthis" in particular attach their eggs to deep sea corals (octocorals). The female cirrate octopus does not guard or incubate the eggs (again unlike other octopuses). "Grimpoteuthis" hatchlings emerge as "fully competent" juveniles with all of the sensory and motor features to survive on their own.


title: Grimpoteuthis

text: Sexual dimorphism between males and females are less noticeable and consistent in "Grimpoteuthis" compared to other cirrate octopuses (such as "Opisthoteuthis"). In some species (e.g., "G. bathynectes" and "G. discoveryi" ) the males have enlarged suckers relative to the females, but no such enlargement is found in other "Grimpoteuthis" species.


title: Panga (film)

text: Panga () is a 2020 Indian Hindi-language sports drama film written and directed by Ashwiny Iyer Tiwari from a screenplay by Nitesh Tiwari. Produced and distributed by Fox Star Studios, the film stars Kangana Ranaut as the main protagonist with Jassie Gill, Yagya Bhasin, Neena Gupta and Richa Chadha in pivotal roles.


title: Panga (film)

text: Shot largely in Panaji, Bhopal, Mumbai and Kolkata, the film was released in India on 24 January 2020.


title: Panga (film)

text: The film and Ranaut's performance received widespread critical acclaim. Several publications like "Paste", "Cosmopolitan", and "Times of India" cited "Panga" as one of the best films of the year 2020. "Marie Claire" named it as one of the best Bollywood films of all-time. In its theatrical run, "Panga" grossed 41.71 crore globally, emerging as the tenth highest-grossing film of the year. For her performance in "Panga", Ranaut won the National Film Award for Best Actress at the 67th National Film Awards. This was Ranaut's third win in this best actress category and overall her fourth National Film Award.


title: Panga (film)

text: Rooted in the subculture of societal facts, Panga is an emotional roller coaster tale of a middle-class Indian woman, where a forgotten Kabaddi world champion catalyzes an inner desire to give a new meaning to her existing role as a wife and mother and takes an ingenious decision to come back to the sport despite the challenges of age stereotypes and new generation complexities which creates an upheaval in her life as she is torn between societal pressures of family responsibility and love for the sport.


title: Panga (film)

text: Jaya Nigam is a middle-class railway reservation counter clerk and former Kabaddi champion living with her husband Prashant Sachdeva, a railway section engineer, and 7-year-old son Aditya "Adi" Sachdeva, in Bhopal. Despite the support of both Prashant and Adi, she regrets having to quit the sport after Adi's birth. Learning of her achievements through Prashant, Adi pushes her to return to the sport despite facing challenges of physical fitness and newer, more experienced players, while her friend, former teammate, and Kabaddi coach Meenal "Meenu" Singh, helps her with the training. Initially unable to deal with the pressures of a hectic job and the exercise routines that Adi's enthusiasm pushes her through, she finally regains composure and, with support from Prashant and Adi, goes on to mark her comeback to the sport as a mother of a 7-year-old after her story gets noticed again.


title: Panga (film)

text: "Panga" was announced on 21 August 2018 with Ashwiny Iyer Tiwari sharing an emotional Instagram video montage of herself, Kangana Ranaut, Jassi Gill, Neena Gupta and their families, indicating that "when your kin stands behind you, no one in the world can take ‘panga’ with you". Ranaut told the Mumbai Mirror in an interview: “When Ashwiny narrated the film's story, I was completely moved. My family has been my pillar of strength and has always stood by me through thick and thin. I could really relate to the emotions of the film. Plus, Ashwiny is known for her slice-of-life films and I loved her recent work in Bareilly Ki Barfi. Panga is even more special for me as, for the first time, I will be playing the role of a national-level kabaddi player. That's going to be challenging for sure! I am looking forward to some exciting times with Ashwiny and the Fox Star team.”


title: Panga (film)

text: Gil,l who is playing the role of Ranaut's husband in this film told the Mumbai Mirror: “I loved the script, especially the inspiring family angle. The film is a roller-coaster of emotions but to me the real Indian family feeling was the most heart-warming part of the subject. Since I come from a very close-knit family, I could identify with the story.”


title: Panga (film)

text: The actors appearing in the film as kabaddi players, including Ranaut, underwent training in kabaddi for over two months.


title: Panga (film)

text: Filming began on 23 March 2017 in Panaji. The first schedule of the film was wrapped up on 7 December 2018. The second schedule of the film was wrapped up on 22 June 2019. The director planned next schedule in a Delhi stadium in April. The third schedule of shooting began in April 2019 in Delhi. The Delhi schedule of the film was completed in mid April and next schedule of shooting to begin in Kolkata. The filming was completed in mid July 2019. Ashwiny Iyer Tiwari, the director of the film wrote on her Instagram account, "My dearest Panga Humans are the sun. The sun that spread a ray of hope when things seem really impossible to achieve."


title: Panga (film)

text: First look of the film was shared by the director of the film Ashwiny Iyer Tiwari on 7 March 2019, a still photo in which leading pair is laughing while looking at the sunset.


title: Panga (film)

text: "Panga" earned only 2.70 crore at the domestic box office on its opening day. On the second day, the film collected 5.61 crore. On the third day, the film collected 6.60 crore, taking total opening weekend collection to 14.91 crore.


title: Panga (film)

text: , with a gross of 4.43 crore in India and 7.28 crore overseas, the film has a worldwide gross collection of 11.71 crore. In its complete theatrical run, "Panga" grossed a total of 41.71 crore globally, emerging as the tenth highest-grossing film of the year 2020.


title: Panga (film)

text: Upon release, "Panga" received widespread critical acclaim from the film critics, who praised Ranaut's performance and the message of the film. On review aggregator website Rotten Tomatoes, the film holds an approval rating of based on reviews, with an average rating of .


title: Panga (film)

text: Anupama Chopra of "Film Companion" wrote, ‘‘"Panga" works on the strength of its performances and its writing’’. Praising Ranaut's performance she further wrote, ‘‘Kangana Ranaut plays Jaya with skill, sensitivity and nuance, this is a terrific actor at the top of her game’’. Namrata Joshi of "The Hindu" wrote, ‘‘"Panga" is about how love, marriage and children need not come in the way of a sportswoman’s success, but what sets it refreshingly apart is a wonderful sense of humour’’. Praising Ranaut's performance she further wrote, ‘‘Ranaut brings in the right amount of vulnerability, lack of sureness, yet a determination and cussedness to the character; Ranaut even works on a distinct body language for each of the phases, transforming without making it obvious’’. Rajeev Masand of "CNN-IBN" gave the film a rating of 3.5/5 and wrote, ‘‘"Panga" is an endlessly optimistic film which fills you with hope and warmth’’. Praising Ranaut's performance he further wrote, ‘‘Kangana Ranaut is extraordinary as Jaya. There isn't one false note in her beautiful, lived-in portrayal of a selfless wife and mother ’’. Saibal Chatterjee of "NDTV" gave the film a rating of 3.5/5. Calling it a ‘‘not-to-be-missed gem’’ he stated, ‘‘"Panga" is a tale that does not sacrifice authenticity for flashy plot sleights or thrills of a superficial nature’’. Praising Ranaut's performance he further stated, ‘‘The role fits Kangana Ranaut to absolute perfection and there isn't a single false note in her performance’’. Shubhra Gupta of "The Indian Express" gave the film a rating of 3/5 and wrote, ‘‘Jaya Nigam, played with absolute conviction by Kangana Ranuat, dares to dream of a past life where she was in the spotlight, is a straight-off win, subject-wise’’. "The Economic Times" gave the film a rating of 4/5 and called it an ode to ‘‘motherhood’’ and ‘‘dreams’’. Praising Ranaut's performance they wrote, ‘‘Ranaut is the star of the show; She breathes vulnerability and power in equal measure’’.


title: Panga (film)

text: Sreeparna Sengupta of "The Times of India" gave the film a rating of 4/5 and wrote, ‘‘"Panga" is an exhilarating ode to motherhood and chasing dreams’’. Calling Ranaut the ‘‘"tour de force"’’ of the film she further stated, ‘‘Kangana Ranaut as Jaya is terrific and the tour de force of the film – at home she is the gentle, dutiful Jaya who is simmering with this latent desire to break out and catch up with her dreams. And when she is on the court Kangana thrills with an absolutely throbbing, pulsating performance. She breathes in vulnerability and power – switching between the two facets of her character so swiftly and seamlessly that it is totally fascinating’’. Stutee Ghosh of "The Quint" gave the film a rating of 4/5. Calling Ranaut's performance ‘‘terrific’’ and ‘‘nuanced’’ she stated, ‘‘"Panga" isn't limited to a tussle in a kabaddi match, though those sequences are brilliantly shot, it's about not letting life get the better of you; even at the end it isn't a carefully curated victory lap that the film offers’’. Pramit Chatterjee of "Mashable India" gave the film a rating of 4/5 and wrote, ‘‘"Panga" is more than just a sports film about female empowerment; it is an intimate look into why women should follow their dream, even if they had to adhere to social norms, and how everyone else around them should look beyond their selfish needs and whole-heartedly support them’’. Calling Ranaut's performance in "Panga" her career-best he further wrote, ‘‘Every time the camera is on her, you can see how many thoughts and emotions that are running through her mind and she does it so effortlessly; neither does she overdoes [sic] and nor does she underdoes [sic] it, she is perfect as Jaya Nigam, thereby making one of the best fictional characters’’.


title: Panga (film)

text: Nairita Mukherjee of "India Today" gave the film a rating of 3.5/5 and wrote, ‘‘"Panga" is a good reminder that we all matter, individually, in our own way, in our own stories. It's a reminder to hold on to that little ball of confidence in you. And it's a reminder that Kangana doesn't need to actually take panga, she can simply make one’’. Nandini Ramnath of "Scroll" gave the film a rating of 3.5/5 and praised the performances of Ranaut, Gill and supporting cast by writing, ‘‘Kangana Ranaut imbues her character with tenderness and sweetness. Though it's hard to steal the show from Ranaut, Jassie Gill stages his own little personal coup in "Panga". He is marvellous as the supportive, if one-note, spouse, and is especially sharp in the scenes with his son and mother-in-law’’. Monika Rawal Kukreja of "Hindustan Times" described "Panga" as a ‘‘emotional roller-coaster’’ and wrote, ‘‘"Panga" is an honest, relatable film that will stay with you long after you leave the theatre’’ and ‘‘A sincere ode to motherhood and those countless sacrifices that a woman – as a mother and a wife -- makes for her family’’. Praising Ranaut's performance she further wrote, ‘‘Kangana is in her element and once again proves why she's a star who doesn't belong to any league of actors, but has a niche of her own; she lets you connect with Jaya in whatever she does, the way she speaks, dresses, cries, laughs, goes to work, takes care of her family and amid all this, wants to be happy for herself’’. Subhash K Jha of "The National Herald" wrote, ‘‘"Panga" really needs no prompting to be loved, you surrender to its affectionate homage to the housewife’s revived dreams wholeheartedly’’. Praising Ranaut's performance he further wrote, ‘‘Standing tall in her role of smothered aspirations is Kangana Ranaut expressing so much of her character’s yearnings, fears and insecurities through her eyes, you wish she would just stop talking’’.


title: Panga (film)

text: Ruchita of "International Business Times" gave the film a rating of 4/5 and called it a ‘‘inspiring’’ and ‘‘impactful’’ film. She wrote, ‘‘This film is a must-watch for every child with their mothers; This film can be called a movement and as they say there is never too late to achieve your dreams’’. Praising Ranaut's performance she further wrote,


title: Panga (film)

text: ‘‘Kangana Ranaut is simply flawless in Panga and this is indeed one of her best performance till date; From playing kabaddi to being a perfect homemaker, she stands out as a powerful woman’’. Rachel Saltz from "The New York Times" wrote, ‘‘"Panga" has an understated realism — about the tempos of family life and the Indian middle class, the drama, too, is understated: bumps in a road paved with good will rather than a clash of values and goals’’. Praising Ranaut's performance she further wrote, ‘‘Ranaut as Jaya elevates the movie, putting the story across better than the script can. Ranaut makes Jaya credible and specific; she’s not an every woman or every mom or every athlete. She’s this one, Jaya, and Ranaut makes you care about what kind of place she can find for herself in the world’’. Aparita Bhandari from "The Globe and Mail" gave the film a rating of 3/4 and wrote, ‘‘"Panga"'s strength lies in its capable cast, which brings heart to a largely contrived script that tells more than it shows’’. Praising Ranaut's performance she further wrote, ‘‘As Jaya, Ranaut brings a vulnerability to a character who is filled with self-doubt, understands the ways in which society characterizes a mother chasing her own ambitions as selfish and cruel, and knows her limits’’. Ambica Sachin of "Khaleej Times" gave the film a rating of 3.5/5 and wrote, ‘‘"Panga" is an endearing and inspiring tale of a woman's attempt to reclaim her identity in a world that is content to relegate her as simply a wife and a mother; Watch "Panga" if you enjoy slice-of-life movies with a dash of everyday humour thrown in’’. Praising Ranaut's performance she further wrote, ‘‘Kangana is as usual a delight to watch; She inhabits her character so thoroughly that the actress in her totally disappears and it's as if we are watching Jaya on screen’’. Ankur Pathak of "HuffPost" wrote, ‘‘"Panga" is a quiet triumph, a film that gently explores the guilt women feel and are made to feel for pursuing their dreams and why they should do it nonetheless’’. Praising Ranaut's performance he further wrote, ‘‘Ranaut delivers a measured, restrained performance with occasional bursts of joy and anger, she anchors the film with a solid turn’’.


title: Panga (film)

text: Several publications like "Paste", "Cosmopolitan", "The Times of India", "The National", and "Forbes India" (Kunal Purandare's picks) named "Panga" as one of the best movies of 2020. Ananya Ghosh of "CNN-IBN" listed Ranaut's character in the film, Jaya Nigam, as one of the seven best women characters in Hindi films of 2020. Ineye Komonibo of "Marie Claire" named "Panga" as one of the 38 best Bollywood movies of all-time.


title: Nampalys Mendy

text: Nampalys Mendy (born 23 June 1992) is a professional footballer who plays as a defensive midfielder for Premier League club Leicester City. Born and raised in France, he represents Senegal at international level.


title: Nampalys Mendy

text: Due to his small stature, simple distribution, and reliable style of play, Mendy has been compared to former French international, Claude Makélélé. Monaco club scout Didier Christophe, for example, referred to Mendy as a "carbon copy" of Makélélé. Mendy featured in Senegal's 2021 Africa Cup of Nations Final victory against Egypt.


title: Nampalys Mendy

text: After leaving Sporting Toulon in June 2007, Mendy went on trial with the football section of RC Toulon. According to Monaco scout Didier Christophe, the Toulon coaches stated that Mendy was there to "make up the numbers". However, while observing Mendy in training, Christophe noticed the player's intelligence and understanding of the game and recommended him to Dominique Bijotat, who was serving as head of the Monaco youth academy.


title: Nampalys Mendy

text: On 27 April 2010, Mendy signed his first professional contract, agreeing to a three-year deal with Monaco until June 2013. In July 2010, he was called up to the first team by manager Guy Lacombe for pre-season training, again to make up the numbers with Lacombe missing several players such as Diego Pérez, Nicolas Nkoulou, Park Chu-young, and Lukman Haruna, who had all participated in the 2010 FIFA World Cup.


title: Nampalys Mendy

text: On 7 August 2010, Mendy made his professional debut in the club's opening league match against Lyon. He played the entire 90 minutes, receiving a yellow card in the second half. Mendy picked up his first ever red card on 19 August 2011 against Amiens SC, sent off at the 70th minute mark in a 1–1 draw.


title: Nampalys Mendy

text: During the 2012–13 season, Mendy played a key role in Monaco's promotion back to Ligue 1. Despite the successful season, Mendy decided to leave Monaco at the end of the season after his contract expired.


title: Nampalys Mendy

text: Mendy was linked to teams such as Manchester United and Arsenal. Despite calling Manchester United his "dream club", Mendy rejected the move to the English side because he wanted to stay in France. After some positive talks with Nice's manager, Claude Puel, Mendy decided to join OGC Nice on a free transfer.


title: Nampalys Mendy

text: Mendy made his debut on 17 August 2013, in a 2–1 win against Stade Rennais. After club captain Didier Digard left for Real Betis on a free transfer at the end of 2014–15 season, and new captain Mathieu Bodmer was injured, Mendy was named captain.


title: Nampalys Mendy

text: Mendy made 110 appearances in three seasons for Nice and helped them to a fourth-place finish in Ligue 1 in 2015–16. He had the second highest number of passes behind Thiago Motta (2950), the most passes per game (78), and a passing accuracy of (92%), best of any player not a member of Paris Saint-Germain.


title: Nampalys Mendy

text: On 3 July 2016, Mendy moved to English Premier League champions Leicester City, managed by his former boss at Monaco, Claudio Ranieri, signing a four-year deal for £13 million, a club record at the time. The transfer record was broken again when Ahmed Musa joined Leicester for £16 million five days later, and yet again less than two months later when Islam Slimani joined Leicester for £29 million.


title: Nampalys Mendy

text: Mendy played his first competitive game for Leicester in a 2–1 defeat to Manchester United in the 2016 FA Community Shield on 7 August, coming on as a 63rd-minute substitute for Andy King. He suffered an ankle injury on his league debut at home against Arsenal on 20 August 2016 and was substituted in the 53rd minute. Mendy was sidelined for more than three months, and did not make his return until 7 December 2016 in a Champions League group stage match away to Porto, playing the entire game in a 5–0 defeat. He ultimately made only four league appearances for the season.


title: Nampalys Mendy

text: On 10 September 2021, Mendy was left out of Leicester's final 25-man Premier League squad for the 2021–22 season. However he was then included again when the squad was updated after the January 2022 transfer window.


title: Nampalys Mendy

text: Mendy was born in France, and is of Senegalese descent. Mendy is a former French youth international having earned caps at the under-17, under-18, and under-19 levels. With the under-17 team, he went unnoticed by coach Philippe Bergeroo until the 2009 UEFA European Under-17 Championship when he was finally called up to the team. Mendy appeared in all three group stage matches as France were eliminated without winning a match. With the under-18 team, he made his debut on 29 October 2009 in a friendly match against the Denmark.


title: Nampalys Mendy

text: Mendy was initially called up to the under-19 team in August 2010 only to play in the Sendai Cup in Japan, but due to his consistent performances domestically, Monaco coach Guy Lacombe convinced Bergeroo to make him a permanent part of the squad. He was officially called up to the under-19 team for qualification matches for the 2011 UEFA European Under-19 Championship. Mendy made his debut with the team in a 3–0 victory over San Marino and appeared as a starter in the next two qualification matches against Montenegro and Austria, as France won both matches to finish the round undefeated.


title: Nampalys Mendy

text: On 9 November 2010, while still eligible to represent the under-19 and under-20 teams, Mendy was called up to the under-21 team for a friendly match against Russia.


title: Nampalys Mendy

text: In March 2021, Mendy received a first call-up to the Senegal national team, making his debut in a goalless draw with Congo.


title: Nampalys Mendy

text: Mendy is a defensive midfielder known for his resilience, intelligence, and good distribution of the ball. Despite his age and size, Mendy has been praised for his mature and robust play, inviting comparison with former France international Claude Makélélé.


title: Anatomical terms of motion

text: Motion, the process of movement, is described using specific anatomical terms. Motion includes movement of organs, joints, limbs, and specific sections of the body. The terminology used describes this motion according to its direction relative to the anatomical position of the body parts involved. Anatomists and others use a unified set of terms to describe most of the movements, although other, more specialized terms are necessary for describing unique movements such as those of the hands, feet, and eyes.


title: Anatomical terms of motion

text: In general, motion is classified according to the anatomical plane it occurs in. "Flexion" and "extension" are examples of "angular" motions, in which two axes of a joint are brought closer together or moved further apart. "Rotational" motion may occur at other joints, for example the shoulder, and are described as "internal" or "external". Other terms, such as "elevation" and "depression", describe movement above or below the horizontal plane. Many anatomical terms derive from Latin terms with the same meaning.


title: Anatomical terms of motion

text: Motions are classified after the anatomical planes they occur in, although movement is more often than not a combination of different motions occurring simultaneously in several planes. Motions can be split into categories relating to the nature of the joints involved:


title: Anatomical terms of motion

text: The study of movement in the human body is known as kinesiology. A categoric list of movements and the muscles involved can be found at list of movements of the human body.


title: Anatomical terms of motion

text: The prefix "hyper-" is sometimes added to describe movement beyond the normal limits, such as in "hypermobility", "hyperflexion" or "hyperextension". The range of motion describes the total range of motion that a joint is able to do. For example, if a part of the body such as a joint is overstretched or "bent backwards" because of exaggerated extension motion, then it can be described as "hyperextended". Hyperextension increases the stress on the ligaments of a joint, and is not always because of a voluntary movement. It may be a result of accidents, falls, or other causes of trauma. It may also be used in surgery, such as in temporarily dislocating joints for surgical procedures. Or it may be used as a pain compliance method to force a person to take a certain action, such as allowing a police officer to take him into custody.


title: Anatomical terms of motion

text: These are general terms that can be used to describe most movements the body makes. Most terms have a clear opposite, and so are treated in pairs.


title: Anatomical terms of motion

text: Flexion and extension describe movements that affect the angle between two parts of the body. These terms come from the Latin words with the same meaning.


title: Anatomical terms of motion

text: Flexion describes a bending movement that "decreases" the angle between a segment and its proximal segment. For example, bending the elbow, or clenching a hand into a fist, are examples of flexion. When a person is sitting down, the knees are flexed. When a joint can move forward and backward, such as the neck and trunk, flexion is movement in the anterior direction. When the chin is against the chest, the neck is flexed, and the trunk is flexed when a person leans forward. Flexion of the shoulder or hip is movement of the arm or leg forward.


title: Anatomical terms of motion

text: Extension is the opposite of flexion, describing a straightening movement that "increases" the angle between body parts. For example, when standing up, the knees are extended. When a joint can move forward and backward, such as the neck and trunk, extension is movement in the posterior direction. Extension of the hip or shoulder moves the arm or leg backward. Even for other upper extremity joints - elbow and wrist, movement behind results in extension. Except for knee, ankle, and wrist, where the distal end has to move in the anterior direction for it to be called extension.


title: Anatomical terms of motion

text: With regard to the toes, flexion means curling them downward whereas extension means uncurling them or raising them upward.


title: Anatomical terms of motion

text: Abduction is the motion of a structure away from the midline while adduction refers to motion towards the center of the body. The center of the body is defined as the midsagittal or longitudinal plane. These terms come from Latin words with similar meanings, "ab-" being the Latin prefix indicating "away," "ad-" indicating "toward," and "ducere" meaning "to draw or pull".


title: Anatomical terms of motion

text: Abduction is a motion that pulls a structure or part "away from" the midline of the body, carried out by one or more abductor muscles. In the case of fingers and toes, it is spreading the digits apart, away from the centerline of the hand or foot. For example, raising the arms up, such as when tightrope-walking, is an example of abduction at the shoulder. When the legs are splayed at the hip, such as when doing a star jump or doing a split, the legs are abducted at the hip.


title: Anatomical terms of motion

text: Adduction is a motion that pulls a structure or part "towards" the midline of the body, or towards the midline of a limb, carried out by one or more adductor muscles. In the case of fingers and toes, it is bringing the digits together, towards the centerline of the hand or foot. Dropping the arms to the sides, and bringing the knees together, are examples of adduction.


title: Anatomical terms of motion

text: Adduction of the wrist is also known as ulnar deviation which moves the hand towards the ulnar styloid (or, towards the little finger). Abduction of the wrist is also called radial deviation which moves the hand moving towards the radial styloid (or, towards the thumb).


title: Anatomical terms of motion

text: The terms elevation and depression refer to movement above and below the horizontal. They derive from the Latin terms with similar meanings


title: Anatomical terms of motion

text: Elevation is movement in a superior direction. For example, shrugging is an example of elevation of the scapula.


title: Anatomical terms of motion

text: Rotation of body parts is referred to as internal or external, referring to rotation towards or away from the center of the body.


title: Anatomical terms of motion

text: Internal rotation ("medial rotation" or "intorsion") is rotation towards the axis of the body, carried out by internal rotators.


title: Anatomical terms of motion

text: External rotation ("lateral rotation" or "extorsion") is rotation away from the center of the body, carried out by external rotators.


title: Anatomical terms of motion

text: Internal and external rotators make up the rotator cuff, a group of muscles that help to stabilize the shoulder joint.


title: Anatomical terms of motion

text: "Dorsiflexion" and "plantar flexion" refer to extension or flexion of the foot at the ankle. These terms refer to flexion in direction of the "back" of the foot, which is the upper surface of the foot when standing, and flexion in direction of the sole of the foot. These terms are used to resolve confusion, as technically "extension" of the joint is dorsiflexion, which could be considered counter-intuitive as the motion reduces the angle between the foot and the leg.


title: Anatomical terms of motion

text: Dorsiflexion is where the toes are brought closer to the shin. This decreases the angle between the dorsum of the foot and the leg. For example, when walking on the heels the ankle is described as being in dorsiflexion.


title: Anatomical terms of motion

text: Plantar flexion or plantarflexion is the movement which decreases the angle between the sole of the foot and the back of the leg; for example, the movement when depressing a car pedal or standing on tiptoes.


title: Anatomical terms of motion

text: Palmarflexion and dorsiflexion refer to movement of the flexion (palmarflexion) or extension (dorsiflexion) of the hand at the wrist. These terms refer to flexion between the hand and the body's "dorsal" surface, which in anatomical position is considered the back of the arm; and flexion between the hand and the body's "palmar" surface, which in anatomical position is considered the anterior side of the arm. The direction of terms are opposite to those in the foot because of embryological rotation of the limbs in opposite directions.


title: Anatomical terms of motion

text: Pronation and supination refer generally to the prone (facing down) or supine (facing up) positions. In the extremities, they refer to rotation of the forearm or foot so that in the standard anatomical position the palm or sole is facing anteriorly when in supination and posteriorly when in pronation. As an example, when a person is typing on a computer keyboard, their hands are pronated; when washing their face, they are supinated.


title: Anatomical terms of motion

text: "Pronation" at the forearm is a rotational movement where the hand and upper arm are turned so the thumbs point towards the body. When the forearm and hand are supinated, the thumbs point away from the body. Pronation of the foot is turning of the sole outwards, so that weight is borne on the medial part of the foot.


title: Anatomical terms of motion

text: "Supination" of the forearm occurs when the forearm or palm are rotated outwards. Supination of the foot is turning of the sole of the foot inwards, shifting weight to the lateral edge.


title: Anatomical terms of motion

text: Inversion and eversion refer to movements that tilt the sole of the foot away from (eversion) or towards (inversion) the midline of the body.


title: Anatomical terms of motion

text: "Inversion" is the movement of the sole towards the median plane. For example, inversion describes the motion when an ankle is twisted.


title: Jolyon Palmer

text: Jolyon Carlyle Palmer (born 20 January 1991) is a British motorsport commentator and columnist, covering the Formula One World Championship on BBC Radio 5 and F1TV. Prior to his media career, Palmer was a racing driver and the 2014 GP2 Series champion. Palmer drove for Renault Sport F1 Team in Formula One. He made his Formula One debut with the team at the start of the season, during which he scored his first World Championship points at the . Palmer stayed with Renault for through to the .


title: Jolyon Palmer

text: Palmer, the son of former F1 driver and major UK race circuit owner Jonathan Palmer, was educated at Dorset House School, after which he attended Cranleigh School and the University of Nottingham (from which he graduated with a bachelor's degree in Management Studies in 2012). He drove for the Lotus Formula One team as a test driver in 2015, stepping up to a full-time race seat the following season when the team received manufacturer backing from Renault.


title: Jolyon Palmer

text: After ending his driving career, Palmer became an F1 analyst for BBC and the F1 app alongside Jack Nicholls. He is a regular columnist on the BBC Sport website and is also a special contributor to the official F1 website, offering detailed analysis on racing incidents following each Grand Prix.


title: Jolyon Palmer

text: Having spent 2004 racing in MiniMax karts, Palmer moved up to cars in 2005 and specifically the T Cars championship's Autumn Trophy – a racing series for drivers between the ages of 14 and 17. Palmer finished fifth in that championship, with a grand total of 92 points, 46 behind championship winner Adrian Quaife-Hobbs. He moved up to the main championship in 2006, earning one pole position and four podiums, and again finished fifth in the championship with 101 points, 69 behind champion Luciano Bacheta. Palmer also took part in a second Autumn Trophy, winning four of the six races. He took part in two races of the 2007 season, winning both but decided to concentrate on Formula Palmer Audi.


title: Jolyon Palmer

text: In 2007, Palmer moved to the series which his father, Jonathan, created nine years before. He finished 12th on debut at Silverstone, and his results gradually improved with him taking two wins (one at Brands Hatch and one at Oulton Park) and two pole positions at Brands, on his way to tenth in the championship. He missed the final two rounds of the championship, due to an abdominal injury suffered in a quad bike accident at his home in West Sussex, in which he nearly died as he lost a kidney, punctured a lung, suffered liver damage and lost a lot of blood.


title: Jolyon Palmer

text: He recovered in time for the start of the 2008 season, in which he was a championship challenger right up until the last few races of the season. Palmer secured one win (at the overseas race at Spa) and 11 podiums along with three pole positions and ended up just 22 points behind Jason Moore, in third place. The Autumn Trophy and the FPA Shootout also brought third places for Palmer, taking three podiums from the six races.


title: Jolyon Palmer

text: 2009 saw Palmer move up to the FIA Formula Two Championship, driving car number three. His best result was a sixth-place finish at Imola. He returned to the series in 2010, winning the opening race of the season at Silverstone, taking the first F2 win by a British driver since his father did so at Mugello in . Palmer picked up one fifth-place finish in the next round at Marrakech, but bounced back to take both wins and the championship lead in the third round at Monza. He eventually finished 2nd behind fellow Briton Dean Stoneman.


title: Jolyon Palmer

text: Palmer made a one-off return to F2 during the 2011 season at the Nürburgring, but was a non-starter in both races.


title: Jolyon Palmer

text: Palmer made his GP2 Series main season debut in 2011, driving for the Arden International team alongside Josef Král. He scored a top ten finish on his debut weekend at Abu Dhabi and more top ten finishes followed at Istanbul and Valencia. A move to the Barwa Addax team for the non-championship GP2 Finals saw a breakthrough on his return to Abu Dhabi, with third and fourth places to end his debut year in the category on a high.


title: Jolyon Palmer

text: For the 2012 season, Palmer switched to the iSport International team, alongside Marcus Ericsson. Despite topping the first practice session of the year in Malaysia, persistent electrical problems blighted the early part of his season, precipitating a change of chassis. Results immediately improved and a sixth place at Monaco was followed by his maiden GP2 victory in the sprint race there. Next came a podium position at Silverstone, putting Palmer into the top ten of the leaderboard as the season entered its second half, although he ultimately slipped to 11th despite another podium finish at Monza.


title: Jolyon Palmer

text: For the 2013 GP2 Series Palmer drove for Carlin, partnering Brazilian 2011 British F3 Champion Felipe Nasr. He scored his first win of the year in the Feature Race at the Hungaroring and took pole, fastest lap and the Feature Race win on the streets of Singapore, ending 13 seconds ahead of team-mate Nasr. Palmer qualified in the top three in each of the final three events and finished 7th overall in the points table.


title: Jolyon Palmer

text: Palmer switched to DAMS for the 2014 GP2 Series and topped the opening day of pre-season testing at Abu Dhabi. He qualified on pole for the first race of the season in Bahrain and finished on the podium. He won the Sprint Race the following day to lead the championship, a lead he held for the rest of the year and added another win in the feature race at Monaco.


title: Jolyon Palmer

text: At Hungary he prevailed in wheel-to-wheel contests with Felipe Nasr in both races, and tensions boiled over during the Sprint Race podium ceremony.


title: Jolyon Palmer

text: At Monza, Palmer was forced to start at the back of the grid for the Feature Race, after his DAMS car was found to have less than the mandatory one litre of fuel remaining, having originally qualified fourth. Despite this, he finished eighth in the Feature Race, securing reverse grid pole for the Sprint Race, which he won to further extend his championship lead.


title: Jolyon Palmer

text: Palmer clinched the championship at the first possible attempt, with a fourth win of the year at the new Sochi circuit in Russia. He won the title with three races to spare, and achieved an all-time points record in the series.


title: Jolyon Palmer

text: Speaking just after clinching the title he said:It wasn't going to be easy to win the championship this weekend, especially today after missing out on pole yesterday. I can't thank the team enough, they've done an incredible job all year, we've been fighting for pretty much every Feature Race win and every pole with almost no mistakes. It feels amazing to be champion!The pressure is off us now and we've got another race tomorrow and another round at Abu Dhabi. We can go out now, enjoy it and have some fun!Looking through the list of previous GP2 Champions, they're all unbelievable drivers, and to be on that list is something which can't be taken away from me, it's an incredible feeling.


title: Jolyon Palmer

text: On 19 November it was announced that Palmer would drive for the Sahara Force India F1 team at the Abu Dhabi post-season test on 25 November.


title: Jolyon Palmer

text: Palmer test drove a Force India car at the end of season test at Abu Dhabi's Yas Marina Circuit on 25 November 2014.


title: Jolyon Palmer

text: On 20 January 2015 it was announced that Palmer had signed as test and reserve driver for the Lotus F1 Formula One team for 2015. With 2010 GP2 champion Pastor Maldonado and 2011 GP2 champion Romain Grosjean as their official drivers.


title: Jolyon Palmer

text: Palmer made his debut in the team's 2015 challenger, the E23 Hybrid, on day two of the official pre-season test in Barcelona. Completing 77 laps, he ran a programme focused on data gathering and development work. He finished the day in eighth place. Lotus F1 Team's Trackside Operations Director Alan Permane said: "Today was about data accumulation and Jolyon did a great job in his first time in the car, especially with the particularly cold conditions to start the session in the morning."


title: Jolyon Palmer

text: He went on to make his Formula One debut on a Grand Prix weekend as he took to the track in Free Practice One at the third round of the 2015 season in China. Palmer completed a packed schedule of aerodynamic and set-up work to finish in 15th place overall on his first visit to the Shanghai circuit.


title: Jolyon Palmer

text: In his next outing at the Bahrain International Circuit, Palmer ended the session in 14th position, 0.441s shy of teammate Pastor Maldonado. He drove in Free Practice One at the Spanish Grand Prix, recording the 13th fastest time and finishing ahead of Maldonado, before topping the timesheets on the second day of the in-season test in Barcelona on Wednesday 13 May. On 11 June 2015 it was announced that he would drive in Free Practice 1 for the rest of the European season, a total of 5 Grands Prix, which would take him from Austria to Italy, replacing Frenchman Romain Grosjean.


title: Jolyon Palmer

text: He continued in FP1 in both Austria and Britain, his home Grand Prix, to finish in 14th position before suffering from limited running in Hungary. Palmer tested a new front-wing for Lotus F1 Team in the next Free Practice One session at Spa-Francorchamps, as Romain Grosjean came home third in the Belgian Grand Prix that weekend. Palmer took part in several further sessions, his final appearance in the Lotus E23 coming at the Abu Dhabi season closer, where technical issues limited him to just 10 minutes' running.


title: Jolyon Palmer

text: On 23 October 2015 it was announced that Palmer would be promoted to full Race Driver for the Renault Sport F1 Team in 2016, and became first driver from FIA Formula Two Championship alumni to progress to the Formula One team. He was joined by ex-McLaren driver Kevin Magnussen for Renault's return to the sport as a constructor, having bought the Lotus F1 Team over the winter. At his debut event in the Australian Grand Prix Palmer outqualified Magnussen to the 14th grid position, and after a good start finished the race 11th ahead of his teammate, just outside the point scoring positions.


title: Jolyon Palmer

text: Palmer remained with Renault Sport F1 Team for the start of the 2017 F1 season, where he was accompanied by a new team-mate in Nico Hülkenberg, replacing the departing Kevin Magnussen.


title: Jolyon Palmer

text: Renault unveiled its brand new R.S.17 at a special launch event in London on 22 January, in a yellow and black livery, adorned with Jolyon's signature race number, 30.


title: Jolyon Palmer

text: Palmer made his first public appearance behind the wheel of the R.S.17 at the Circuit de Barcelona-Catalunya in Spain in late February, ending the week with the third fastest time on the final day, behind only the Ferrari of Kimi Räikkönen and the Red Bull of Max Verstappen. On the day after he learned that he would be losing his seat for 2018, he survived a race of attrition at the 2017 Singapore Grand Prix to gain a career best finish of sixth, securing his first points of the season.


title: Jolyon Palmer

text: On 7 October 2017, it was announced that Palmer would leave Renault after the end of the Japanese Grand Prix, to be replaced by Toro Rosso driver Carlos Sainz Jr., taking his seat from the United States Grand Prix onwards.


title: Jolyon Palmer

text: On 22 February 2018, it was announced that Palmer would complete the BBC Radio 5's Formula One staff alongside Jack Nicholls and Jennie Gow, as an expert. Jolyon has earned considerable praise for his knowledge and delivery, offering strong opinions and a unique insight into modern Formula One.


title: Jolyon Palmer

text: Palmer offers further insight and analysis from the point of view of the competitor with his regular post-Grand Prix column on the BBC website. He is also a Special Contributor to www.formula1.com, analysing racing incidents using all available camera angles. Palmer has appeared as a guest presenter alongside Will Buxton on F1 Live, Liberty Media's post-race paddock show that is available free across the world on social media.


title: Jolyon Palmer

text: Palmer has also written for Sky Sports F1, with a GP2 Diary posted after each event during his time in the series. He was the regular co-commentator for the GP2 Series on Sky Sports F1 in 2015, and previously commentated alongside future BBC partner Jack Nicholls on the FIA Formula Two Championship.


title: Jolyon Palmer

text: It was revealed in February 2020 that Palmer would provide expert analysis on the pre-season testing in Barcelona, ahead of the 2020 F1 season.


title: Jolyon Palmer

text: Following his GP2 success, Palmer was invited to take part in the 2014 Race of Champions held at the Bushy Park circuit in Barbados. Palmer competed in the Race of Champions Nations Cup event for Team Young Stars, with DTM race-winner Pascal Wehrlein as his team-mate. The pair narrowly missed out on progressing from the group stages, with Palmer losing in close races to Robby Gordon and nine-time Le Mans winner Tom Kristensen but defeating European F3 Champion Esteban Ocon.


title: Jolyon Palmer

text: In the actual Race of Champions event, Palmer lost to Tom Kristensen, Pascal Wehrlein and Indianapolis 500 winner Ryan Hunter-Reay.


title: Jolyon Palmer

text: Palmer returned to compete in the 2015 Race of Champions on home soil at the Olympic Stadium in London as part of the Young Stars pairing, once again racing alongside Pascal Wehrlein. The duo were beaten in the quarter finals by England's touring car drivers Andy Priaulx and Jason Plato, before Palmer was edged out by GT racer Alex Buncombe in the individual competition.


title: Jolyon Palmer

text: On 4 December 2014, Palmer was announced as the winner of the Guild of Motoring Writers Driver of the Year Award at a prize gala in London. Each year, the trophy is awarded to the leading driver as chosen by a panel of leading motorsport journalists. Previous winners have included Juan Manuel Fangio, Jim Clark and Michael Schumacher.


title: Jolyon Palmer

text: Palmer was nominated for the Autosport Awards British Competition Driver of the Year in 2014, losing out to Formula One World Champion Lewis Hamilton.


title: Jolyon Palmer

text: He collected the British Racing Drivers' Club's Fairfield Trophy in 2014, which is awarded to a BRDC member for outstanding performance throughout the year. The ceremony was attended by Lewis Hamilton, 1996 World Champion Damon Hill and BRDC president Derek Warwick.


title: Jolyon Palmer

text: Palmer is the son of former F1 driver and major UK race circuit owner Jonathan Palmer. His younger brother, Will, won the 2015 British BRDC Formula 4 Championship and the prestigious 2015 McLaren Autosport BRDC Award.


title: Lindt Cafe siege

text: The Lindt Cafe siege was a terrorist attack that occurred on 15–16 December 2014 when a lone gunman, Man Haron Monis, held hostage ten customers and eight employees of a Lindt chocolate café in the APA Building in Martin Place, Sydney, Australia.


title: Lindt Cafe siege

text: The Sydney siege led to a 16-hour standoff, after which a gunshot was heard from inside and police officers from the Tactical Operations Unit stormed the café. Hostage Tori Johnson was killed by Monis and hostage Katrina Dawson was killed by a police bullet ricochet in the subsequent raid. Monis was also killed. Three other hostages and a police officer were injured by police gunfire during the raid.


title: Lindt Cafe siege

text: Police have been criticised over their handling of the siege for not taking proactive action earlier, for the deaths of hostages at the end of the siege, and for the lack of negotiation during the siege. Hostage Marcia Mikhael called radio station 2GB during the siege and said, "They have not negotiated, they've done nothing. They have left us here to die."


title: Lindt Cafe siege

text: Early on, hostages were seen holding a Jihadist flag against the window of the café, featuring the "shahādah" creed. Initially, many media organisations mistook it for the flag used by the Islamic State (IS); Monis later demanded that an IS flag be brought to him. Monis also unsuccessfully demanded to speak to the Prime Minister of Australia, Tony Abbott, live on radio. Monis was described by Abbott as having indicated a "political motivation," but the eventual assessment was that the gunman was "a very unusual case—a rare mix of extremism, mental health problems and plain criminality."


title: Lindt Cafe siege

text: In the aftermath of the siege, Muslim groups issued a joint statement in which they condemned the incident, and memorial services were held in the city at the nearby St Mary's Cathedral and St James' Church. Condolence books were set up in other Lindt cafés and the community turned Martin Place into a "field of flowers." The Martin Place Lindt café was severely damaged during the police raid, closed afterwards, then renovated for reopening in March 2015.


title: Lindt Cafe siege

text: An anonymous call was made to Australia's anti-terrorism hotline 48 hours before the siege, raising concerns about the content of Monis's website. On his website, Monis had pledged allegiance to "the caliph of the Muslims", believed to be referring to Islamic State leader Abu Bakr al-Baghdadi, and denounced moderate Islam. It has been reported that the Australian Security Intelligence Organisation followed up on the call by reviewing the website and Monis's posts on social media but found nothing to indicate that he was likely to commit an act of violence.


title: Lindt Cafe siege

text: A man believed to be Monis was seen wandering near the cafe at 8:30am, over an hour before the siege. It is unclear whether he had any plan to create a hostage situation at that stage.


title: Lindt Cafe siege

text: Monis entered the Lindt Chocolate Café at 53 Martin Place, Sydney, at 8:33am Sydney local time (AEDT) on 15 December 2014 (UTC+11). The café is located directly across from the Seven News television studios, and near the Reserve Bank of Australia, the headquarters of the Commonwealth Bank, Westpac bank, and Martin Place underground train station.


title: Lindt Cafe siege

text: The situation began at 9:44am, when Monis forced Tori Johnson, the manager of the café, to phone 000.


title: Lindt Cafe siege

text: Monis was bearded, wearing a black cap and wearing a black headband with the inscription, in Arabic: "We are ready to sacrifice for you, O Mohammad." He was carrying a blue sports bag, and armed with a sawed-off pump-action shotgun.


title: Lindt Cafe siege

text: Monis claimed there were four "devices" located around Sydney. However, New South Wales Police Commissioner Andrew Scipione said that none of the alleged devices were found during investigations. Monis also demanded that a hostage ask all media to broadcast that "this is an attack on Australia by the Islamic State". In addition, he demanded that an Islamic State flag be delivered to him, although the request was never fulfilled.


title: Lindt Cafe siege

text: Hostages were ordered to hold up a Black Standard flag, with the "shahādah" in white Arabic letters (an Islamic creed declaring: "There is no God but Allah, and Muhammad is the messenger of God"), against the window of the café. Some news reports initially mistook it for the flag used by the Islamic State of Iraq and the Levant (ISIL).


title: Lindt Cafe siege

text: Monis demanded to speak to the Australian Prime Minister live on radio, but this demand was rejected. This was relayed by hostage Marcia Mikhael, who said that she "lost it" when told that the Prime Minister was too busy, saying, "I don't care what [Abbott] is doing right now...I'm sure there's nothing more important happening in Australia...than the lives of the people in this café..."


title: Lindt Cafe siege

text: Mamdouh Habib said he knew Monis well and offered to help police negotiate with him. He believed that Monis was "sick and disturbed" over his failure to gain access to his children, and said Monis could trust him to get his message out. Lawyer Manny Conditsis had represented Monis and had also offered help because he said that Monis respected what he had to say to him. Barrister Michael Klooster who had met Monis in the cafe before the siege called the police at 2:17pm. Other Muslim leaders also offered to help, including the Grand Mufti of Australia, Ibrahim Abu Mohamed.


title: Lindt Cafe siege

text: All such offers were rejected by police because they had no control over what the untrained negotiators might say or do. However, Mikhael said that after the request to speak to the Prime Minister was refused: "It was then that I knew that there was not going to be any negotiation and we were just left there. ...They were waiting for him to kill someone or shoot something so they [could] come in. ...There was nothing proactive about that operation, nothing."


title: Lindt Cafe siege

text: Belinda Neil, who was a negotiator for the NSW police, said that in negotiations, "[W]e want to try and talk to the hostage-taker. ...[W]e want to find out why he's there, why is he doing this, and we don't just go into this situation hoping to resolve it in half an hour." This approach would be consistent with the Behavioral Change Stairway Model. However, Mikhael stated that no such negotiation took place. Habib said that he called both the police and the Attorney General twice during the raid, but they did not return his calls. Police Commissioner Andrew Scipione confirmed during the siege that "we're not dealing directly with him ... we do not have direct contact with the offender."


title: Lindt Cafe siege

text: Several hostages made contact with media outlets and relayed Monis's demands to them. At the request of the New South Wales Police Force, they were not published during the siege. The social media profiles of the hostages were also used to relay demands.


title: Lindt Cafe siege

text: At 1:43am Tori Johnson texted his family "He's [Monis] increasingly agitated, walks around when he hears a noise outside with a hostage in front of him. Wants to release one person in good faith, tell police." This was conveyed to the police 10 minutes later.


title: Lindt Cafe siege

text: During the early stages of the siege, the Australian government and NSW authorities did not label the event as a terrorist attack; however, as the siege continued, NSW police authorised the engagement of the state's counter-terrorism task force, treating the incident as an act of terrorism.


title: Lindt Cafe siege

text: At around 3:37pm, two hostages, John O'Brien and barrister Stefan Balafoutis, escaped from the front entrance of the building, followed by a third hostage, café employee Paolo Vassallo, who ran out from a fire exit at the side of the building. At around 4:58pm, two female hostages, both employees, Jieun Bae and Elly Chen, escaped by running from another entrance of the building and were met by Tactical Operations Unit officers.


title: Lindt Cafe siege

text: Monis was unaware that Jieun Bae and Elly Chen had escaped. Jarrod Morton-Hoffman made noise to cover their exit and persuaded Monis that media reports of five hostages escaping were wrong. After the escape, Monis threatened to kill hostages.


title: Lindt Cafe siege

text: Police planted a covert listening device in the café during the night. At one point, the device picked up Monis saying that he wanted to kill any escaping hostages.


title: Lindt Cafe siege

text: At 2:03am on 16 December, a "very loud bang" was heard as Monis shot towards six hostages fleeing from the building. At 2:11am Monis fired a shot towards the kitchen, and was heard on the police listening device reloading his shotgun. The hostage Fiona Ma then escaped through the front door, and two police Tactical Operations Unit teams were ordered to move very slowly towards the two entrances.


title: Lindt Cafe siege

text: At 2:14am, four minutes after the Tactical operations teams were ordered in, Monis shot Tori Johnson in the back of the head, killing him. The shooting was witnessed by a police sniper, who reported a hostage down. Police armed with M4A1 carbines threw eleven stun grenades as they stormed the café.


title: Lindt Cafe siege

text: Monis was shot in the head. An officer reported that "I watched the (gun's) laser ... from the centre of his chest go to his head and his head exploded and he fell". One officer then fired a total of 17 rounds, and another officer fired 5 additional rounds. Some fragments of those rounds killed hostage Katrina Dawson.


title: Lindt Cafe siege

text: Police declared the siege over soon after, later confirming that Monis was killed in the raid. Two hostages had died, and another three were injured by police bullets. One police officer, whose face was grazed by a police bullet, was discharged from hospital later in the day.


title: Lindt Cafe siege

text: At the inquest, Counsel assisting the coroner, Jeremy Gormley SC, said, "No shot fired by Mr Monis, other than the one that struck and killed Mr Johnson, struck anyone." Mitchell McAlister, who was a tactical assaulter with 2nd Commando Tactical Assault Group questioned the police use of M4A1 carbines with 5.56mm NATO rounds that could have "dangerous effects in a dense and enclosed environment." It was also unclear why 22 shots were fired by police, of which 13 hit Monis.


title: Lindt Cafe siege

text: At around 2:00pm on 15 December, police contacted Rebecca Kay, a member of the Muslim community, and asked her to help source an ISIS flag for Monis. Kay contacted many people in the Muslim community but ultimately the police sourced their own flag. However, the flag was never given to Monis.


title: Lindt Cafe siege

text: The following day, NSW and federal police raided three homes of people who had been contacted in the attempt to source the flag. Kay assumes that her conversations had been monitored. Kay said she would help police in another crisis, but "with this incident they have not built trust at all. You don't understand...the fear that [the AFP and ASIO] create, and how they stalk...members of our community..." Lawyer Zali Burrows questioned the purpose of the police contacting Kay in the first place, stating, "Why didn't they just print [a flag]?"


title: Lindt Cafe siege

text: The police followed a "contain and negotiate" strategy which was to avoid any direct action unless a hostage was killed or injured. They decided that this strategy could deliver a "peaceful negotiated outcome" because Monis had not harmed any hostages, despite having threatened to do so. Monis had also not reacted violently to the escape of five hostages on two separate occasions, or due to none of his demands being met. Further, Monis claimed to have a bomb, and "if the bomb was triggered, all of those inside the cafe and those attempting a rescue were not likely to survive". At 8:20pm and again at 11:35pm, the head of the tactical operations unit attempted to persuade the other commanders to take a "deliberate action" plan and storm the cafe but this was overruled by other commanders and Assistant Commissioner Mark Jenkins due to the danger to the hostages and police.


title: Lindt Cafe siege

text: Police snipers could not be used due to "the narrow windows, the moving around of Monis, the risk to hostages if there was a missed shot, (and) the position of the snipers behind glass".


title: Lindt Cafe siege

text: At 11am, Operational Commander Mick Fuller approved negotiations for the release of half of the 18 hostages in return for Monis being allowed to talk on ABC radio. However, the negotiation commander decided not to do so because it conflicted with a standing policy to not negotiate with terrorists.


title: Lindt Cafe siege

text: The first negotiator was not told that the Grand Mufti of Australia and a barrister who represented Monis had offered to help negotiate with Monis. He only found out about Monis's demand for the ABC to broadcast that Australia was under attack after a Facebook post from one of the hostages was read out on radio 2GB. Monis had also demanded that the Christmas lights be turned off. The first negotiator thought that doing this would have provided an opportunity to bargain with Monis, but did not hear back from commanders as to whether it was possible so "discarded" the option.


title: Lindt Cafe siege

text: He was then relieved by a second negotiator, but did not tell him about the demand that the Christmas lights be turned off. Hostage Selina Win Pe told the second negotiator Monis wanted to know why it hadn't happened. It was later revealed an Ausgrid team had assembled to switch off the lights, but was sent home.


title: Lindt Cafe siege

text: A third negotiator later said that he did not have the Christmas lights turned off because he had some reason to know that Monis would not carry through his threat to kill Win Pe. He said there was some "step-by-step" process to have the hostages released (after nineteen hours). Jenkins says he would have liked the Christmas lights turned off quickly, and was unaware that this had been found to be possible. Jenkins was also not told about the Johnson text near the end of the siege that Monis wanted to release a hostage.