title: Cut the Crap

text: "This Is England" opens side two, and is widely regarded as the album's stand-out track. It was released as the band's last single and Strummer himself called it the "last great Clash song". Co-written by Strummer and Rhodes, the song retains some of the reggae influences of their earlier albums. Like "We Are the Clash", its chorus is sung in a football chant, but here it is higher in the mix. The guitars are also prominent, but the percussion is again supplied by a drum machine. Lennox described it as a "tuneful, beautifully crafted overview of social decay in England, where political philosophies joust for hegemony while the country sinks into ignominious decline and millions of youths turn to the dole." The lyrics convey societal alienation, lamenting the national mood in 1985; the line "South Atlantic wind blows" refers to the Falklands War. Writing for "Vulture" in 2017, writer Bill Wyman described the song as the only successful track on "Cut the Crap", writing that "the sound collage and the gentle, troubled synth lines undergird the song unerringly, and for once the group-shouted chorus, though still over-loud, conveys some wan meaning. This can't have been a good time for Strummer, and you can hear it in his voice, as he sings the fuck out of this."


title: Cut the Crap

text: The production of the live favourite "Three Card Trick" has been praised as relatively uncluttered, although it does contain programmed hand-claps. Jucha said that the live version was good enough to have appeared on any Clash album, and that Strummer had developed a real skill for writing mid-tempo songs. The track begins as a straightforward punk song with a simple ska bassline.


title: Cut the Crap

text: Writer Mark Andersen described "Fingerpoppin'" and "Play to Win" as essentially B-side-quality songs that should have been excluded from the track listing. The latter is a sound collage which Popoff views as incoherent and basically "noise, bongos, and nonsensical fragmented conversations between Joe and Vince". Although the drums are considered too low in the mix, and the shouted choruses have been described as resembling Adam and the Ants, its demo version is considered superior.


title: Cut the Crap

text: The penultimate track "North and South" was written and sung by Sheppard. It features a simple guitar line and uncluttered production, and has often been highlighted as one of the album's strongest tracks. The album closer, "Life Is Wild", is the only track which had not been played live before. Its chorus, stylistically akin to the punk subgenre Oi!, was described by Popoff as a "curious thumping party rocker that makes little sense" and begged the question why a songwriter of Strummer's ability would write "such banalities".


title: Cut the Crap

text: The album cover was conceived by Rhodes, who contracted Mike Laye to shoot the pictures. The artwork was sub-contracted to Eddie King and Jules Balme, the art director for Stiff Records, who had earlier overseen the covers for "Sandinista!" (1980) and "Combat Rock" (1982). It shows a punk, apparently King's brother, wearing a mohawk, black leather jacket and sunglasses—all markers of 1980s punk fashion. The image is rendered so that the portrait looks like a poster glued to a wall. A similar image appears on the 7-inch release of "This Is England". A lithograph of the cover is held by the Museum of Modern Art in New York, who attribute an "unknown designer".


title: Cut the Crap

text: Rhodes titled the album, taking the words "cut the crap" from a scene in the 1981 post-apocalyptic film "Mad Max 2", when Mel Gibson's character, Max Rockatansky, insists on driving the oil tanker on which the settlers' survival depends: "Come on, cut the crap. I'm the best chance you've got." According to Jucha, the sentiment reflected the band's view of themselves in the mid-1980s: "the back-to-basics Clash, Round two—like the initial band of UK punk rockers—were going to eradicate the meaningless New Romantic bands dominating the British pop world. They were 'the best chance [the world's] got'." Nevertheless, the title is widely disliked; Jucha described it as "awful".


title: Cut the Crap

text: By the time the new "Mark II" line-up released "Cut the Crap" on 4 November 1985, they were an accomplished live band, and had written and performed several songs that would appear on the final studio album; a few had been live favourites. On the strength of their recent gigs, the UK press were optimistically waiting for the album's release. Epic Records anticipated that both the three-year gap since "Combat Rock" (1982) along with their updated sound, would result in critical acclaim and high sales. In the promotional lead up, Strummer told journalist Richard Cook that he was not going to release any new material until he knew it could "last ten years". Most critics and fans were disappointed on its release—especially with its sound and production values, and the omission of stand-out live tracks "In the Pouring Rain" and "Ammunition" (usually titled "Jericho" in contemporary bootleg recordings).


title: Cut the Crap

text: "Cut the Crap" sold poorly compared to earlier Clash releases, reaching just number 16 in the UK charts and number 88 in the US. On release, British and American critics alike generally viewed the album in an unfavourable light. "Melody Maker" and "NME" both published sharply negative reviews, the latter of which was titled "No Way, Jose" in sarcastic reference to the "Jose Unidos" production credit. Reflecting the critical consensus at the time, Mike Laye—a writer, photographer and Clash insider—said the band should "just drop the 'Cut' from the title, because to me this [is] crap." Robert Christgau, a longtime champion of the Clash in the US, offered only restrained praise in a "Village Voice" review that alluded to the negative word-of-mouth and summarised most of the album as "stubborn and jolly and elegiac and together". Music journalist Richard Cromelin found the album's uptempo songs less effective than those on earlier Clash records, but concluded that Strummer's singing is compelling and "This Is England" and "North and South" make the record "more than passable".


title: Cut the Crap

text: The absence of Jones and Headon led many to regard it as a Joe Strummer solo album—an impression further solidified by Simonon's involvement being limited only to the pre-production stage. Its shortcomings were often attributed to Strummer's evident disillusionment with the group and the fact that he was grieving over the recent deaths of his parents. Joe Sasfy of "The Washington Post" wrote that the "revised version of the Clash sounds like a pale and ghostly facsimile of this once-great band"; he disliked the garbled choruses" and he found that "Strummer's attempt to enliven them with horn charts creates an ungainly mess of a sound." Similarly, Richard Defendorf of the "Orlando Sentinel" described the record as a "sometimes embarrassingly anachronistic... attempt to rekindle the Clash's punkish, militant energy." Music critic Liam Lacey was more favourable and concluded that, given the strength of "This Is England", "in its cheesily self-aggrandizing way, the new Clash may be on to something."


title: Cut the Crap

text: "Cut the Crap" has been favourably reevaluated in some retrospective reviews, many praising Strummer's songwriting and vocal performance. The writer Jon Savage praised the album in his influential 1991 book on the history of punk, "England's Dreaming", highlighting the "innovative use of rap rhythm and atmosphere". Yet its reputation as a failure, or at least as a lost opportunity, has endured. In 2002, Stephen Thomas Erlewine described "This Is England" as "surprisingly nervy" on a record that, in his view, is otherwise "formulaic, tired punk rock that doesn't have the aggression or purpose of early Clash records".


title: Cut the Crap

text: Strummer was depressed by both the album's sound and critical appraisal. Asked in 1986 how the reviews affected him, he replied: "Sure I read [them] but I didn't need them to tell me. It was like when you're younger and you're trying to make a date with a girl but she won't have any of it. You keep going back, trying to fool yourself that this time will be better." He was particularly upset that people had thought the "Jose Unidos" pseudonym credited as a producer was him rather than Rhodes, and said "it wouldn't have been so bad if Bernie had just got the blame but that was unbearable." The album was cited by several contemporary reviewers as symptomatic of why punk rock had failed. Strummer said in 1988: "To someone who says I was... 'the spokesman for your generation and you fucked it up', I say yeah, but we tried." He admitted that he had undertaken the project in part to prove that Jones hadn't been the Clash's only songwriter.


title: Cut the Crap

text: Epic Records intended a tour shortly after the release, but there were practical issues that made this impossible. Foremost, Strummer was in exile in Spain and refusing to partake in promoting the record; he had even threatened to take legal action to prevent its release. After their treatment during the album's recording, White and Howard were reluctant to engage with the material. Finally, given that Rhodes had so heavily revised the original songs and utilised so many samples and studio effects, he and Strummer disagreed on how the tracks should be played live. Strummer dissolved the band that October, giving each of the remaining members a thousand pounds each as severance payments. Howard told him, somewhat bitterly, that "this is where it got you" for following Bernie's lead—a statement to which he agreed.


title: Cut the Crap

text: Under pressure from Epic to get the band out on tour to promote the album, Rhodes asked the three remaining members to consider hiring a new singer, rationalising that "The Clash has always been an idea... Now, how to take that idea to the next level!" They briefly considered the possibility; Rhodes made the suggestion to Simonon, a position the bassist resolutely refused until Strummer officially disbanded the group. Strummer then reunited with Jones for Big Audio Dynamite's second studio album "No. 10, Upping St." (1986), co-producing the album with him and writing five songs together.


title: Cut the Crap

text: "Cut the Crap" was remastered and re-released in Europe in the mid-2000s, with the bonus track "Do It Now". The reissue was unannounced and not promoted. It came after the rest of the band's catalogue had been reissued between December 1999 and January 2000 in the US. The album was not mentioned in the Clash documentary "" (2000) and was acknowledged only briefly in the official illustrated biography "The Clash" (2008), not receiving an overview as the first five studio albums had. The album has been omitted from many Clash compilations, box sets and reissues, including "The Story of the Clash" (1988), "Clash on Broadway" (1991), "The Singles" (1991), "Sound System" (2013) and "5 Album Studio Set" (2013). According to Simonon, "Cut the Crap" was excluded because it was not seen as a real Clash album, as neither Jones nor Headon were involved.


title: Cut the Crap

text: Director Shane Meadows in 2006 used the title "This Is England" for his film and TV show centering on young skinheads and Oi! punks in England in the 1980s, in reference to the "Cut the Crap" song.


title: Foodie

text: A foodie is a person who has an ardent or refined interest in food, and who eats food not only out of hunger but also as a hobby. The related terms "gastronome" and "gourmet" define roughly the same thing, i.e. a person who enjoys food for pleasure. But the connotation of "foodie" differs slightly—a sort of everyman with a love for food culture and different foods, but some, like Paul Levy, say the foodie can still be a "foodist".


title: Foodie

text: Foodie is a relatively new word in our language, having only been adopted in the early 1980s, yet it comes from the much older word food, which has existed in our language for as long as there has been anything that could be considered English.


title: Foodie

text: The "foodie"—not as elitist as a gourmet, more discriminating than a glutton—was first named in print in the early 1980s. The term came into use almost simultaneously in the United States and Britain. Priority goes to Gael Greene, who, in June 1980, wrote in "New York Magazine" of a character who "slips into the small Art Deco dining room of Restaurant d'Olympe ... to graze cheeks with her devotees, serious foodies." Immediately afterwards the foodie was defined in the British press. Ann Barr, features editor of the London magazine "Harper's & Queen", had asked readers to comment on a then-new obsession with food. Several readers' responses named Paul Levy, food writer on the same magazine, as the perfect example. Levy played along, contributing an anonymous article in August 1982, defining the term ("Foodies are foodist. They dislike and despise all non-foodies") and characterizing himself as the "ghastly, his-stomach-is-bigger-than-his-eyes, original, appetite-unsuppressed, lip-smacking 'king foodie'". The word gained currency rapidly, partly because Barr and Levy followed up with a book, "The Official Foodie Handbook", published in 1984.


title: Foodie

text: Foodies are a distinct hobbyist group. Typical foodie interests and activities include the food industry, wineries and wine tasting, breweries and beer sampling, food science, following restaurant openings and closings and occasionally reopenings, food distribution, food fads, health and nutrition, cooking classes, culinary tourism, and restaurant management. A foodie might develop a particular interest in a specific item, such as the best egg cream or burrito. Many publications have food columns that cater to foodies and many of the websites carrying the name foodie have become popular amongst the foodies. Interest by foodies in the 1980s and 1990s gave rise to the Food Network and other specialized food programming, popular films and television shows about food such as "Top Chef" and "Iron Chef", a renaissance in specialized cookbooks, specialized periodicals such as "Gourmet" Magazine and "Cook's Illustrated", growing popularity of farmers' markets, food-oriented websites like Zagat's and Yelp, publishing and reading food blogs like Foodbeast and foodieworld, specialized kitchenware stores like Williams Sonoma and Sur La Table, and the institution of the celebrity chef.


title: Foodie

text: Foodies have a significant social media presence; food lovers have created their own YouTube channels where they show what they cook and where they eat around the world. It has also become a common practice to take photos of food and beverages consumed at home or outside and share them on Facebook, Twitter, Instagram, or other media in a form of food porn.


title: Foodie

text: Chris Onstad, author of the webcomic "Achewood" and the author of "The Achewood Cookbook", stated a dislike for the term. Onstad said "There are so many words that already describe the concept of people who like food, or enjoy cooking, or enjoy knowing about cooking. "Foodie": It's like the infantile diminutive—you put a "y" on the end of everything to make it childlike. We don't need it. It's embarrassing. 'Girl, I'm a foodie.' Like oh my God."


title: Foodie

text: Many journalists, like Roberto A. Ferdman, author of "Stop Calling Yourself a 'Foodie'" in the "Washington Post", also criticize the word saying, "There is a great irony in describing yourself as a food insider in a way no actual food insider ever would." Ferdman claims that people who associate themselves with being a "foodie" are in fact distancing themselves from the group they wish to be associated with. The author then states that there is nothing wrong with having an interest in food, in fact this popular trend is helping the food movement thrive. Ferdman's main argument is that since the word is so widely used, its meaning has become ubiquitous and some meaning is lost upon the need to constantly announce how much someone likes to eat.


title: School's Out (album)

text: School's Out is the fifth studio album by American rock band Alice Cooper, released in 1972. Following on from the success of "Killer", "School's Out" reached No. 2 on the US "Billboard" 200 chart and No. 1 on the Canadian "RPM 100" Top Albums chart, holding the top position for four weeks. The single "School's Out" reached No. 7 on the "Billboard" Hot 100, No. 3 on the Canadian "RPM" Top Singles Chart and went to No. 1 in the UK Singles Chart.


title: School's Out (album)

text: The original album cover (designed by Craig Braun) had the sleeve opening in the manner of a wooden school desk, similar to "", by Hotlegs, released two years earlier. The vinyl record inside was wrapped in a pair of panties, though this was later discontinued as the paper panties were found to be flammable. The desk photographed for the album cover is on display in the Hard Rock Cafe in Las Vegas.


title: School's Out (album)

text: Ian Chapman has put forward a theory that it was a concept album about youth lost when leaving school.


title: School's Out (album)

text: Although the title track remains the most-performed song in Alice Cooper’s live shows, in accordance with the conceptual nature of "School’s Out", the album has overall a smaller representation in his live setlist than "Love It to Death", "Killer", "Billion Dollar Babies", or "Welcome to My Nightmare", accounting for only 6.8 percent of the songs Cooper has played live. “Gutter Cat Vs. The Jets” and “Public Animal #9” were the only other "School’s Out" songs played on the supporting "School’s Out For Summer ‘72" tour, but neither became a permanent part of setlist and “Gutter Cat” was last performed in 2004 on the "Eyes of Alice Cooper" tour. Short instrumental “Street Fight” was never performed until the 1980 "Flush the Fashion" tour, and was last played on the "School’s Out for Summer ‘97" tour, whilst “My Stars” was a regular part of setlists on the 1973-74 "Billion Dollar Babies Tour" but never played again until 2019 when it became a regular on the "Ol' Black Eyes Is Back Tour". “Blue Turk”, “Alma Mater” and “Grand Finale” have never been performed live, and “Luney Tune” only once, during the "Psychodrama Tour" at Grand Canyon University on May 9, 2009 with Cooper tribute band Halo of Flies.


title: Chennai district

text: Chennai district, formerly known as Madras district, is one of the 38 districts in the state of Tamil Nadu, India. It is the smallest and the most densely populated district in the state. The district is coterminous with the city of Chennai, which is administered by the Greater Chennai Corporation. It is surrounded by Tiruvallur district in the north and the west, Kanchipuram district in the south-west, Chenglpattu district in the south, and the Bay of Bengal in the east.


title: Chennai district

text: As of 2011, the district had a population of 4,646,732 with a sex-ratio of 989 females for every 1,000 males. Much of the district's population descended from its settlements in the 1st century CE to the Middle Ages, but the diversity has grown much since then. The district consists of only one civic body, the megacity of Chennai, which forms the core and the most notable portion of the much bigger Chennai metropolis, or officially, the Chennai Metropolitan Area. In 2018, the district's limits were expanded, aligning with that of the newly expanded Greater Chennai Corporation, which had annexed adjacent municipalities. It resulted in the area being increased from to . The district is divided into three revenue divisions and ten taluks.


title: Chennai district

text: The name "Chennai" was derived from Damarla Chennappa Nayak, the father of a general of the Vijayanagar Empire.


title: Chennai district

text: Chennai district covers an area of 426 km located on the Eastern Coastal Plains of India. It is situated on the northeastern corner of Tamil Nadu along the Coramandel coast, a region bounded by the Bay of Bengal and is surrounded inland by the districts of Tiruvallur, Kanchipuram and Chengalpattu. It lies between 12°59' and 13°9' of the northern latitude and 80°12' and 80°19' of the eastern longitude at an average altitude of 6 metres above sea level on a 'sandy shelving breaker swept' beach. Terrain slope varies from 1:5000 to 1:10,000. The terrain is very flat with contours ranging from 2 m to 10 m above mean sea level with a few isolated hillocks in the southwest beyond the district limits at St. Thomas Mount, Pallavaram and Tambaram.


title: Chennai district

text: The district runs inland in a rugged semi-circular fashion and its coastline is about 25.60 km (2.5% of the total coastline of Tamil Nadu). Because of its strategic location and economic importance, it is referred to as the "Gateway of South India." The drainage system includes two rivers, namely, Cooum (flowing in the northern part) and Adyar (flowing in the southern part), a canal (the Buckingham), and a stream (the Otteri Nullah) slicing the district into several islands.


title: Chennai district

text: The district falls under Seismic Zone III indicating a moderate risk of earthquake. Geologically the district is divided into three regions, namely, sandy, clayey and hard-rock regions. The soil comprises clay, shale and sandstone.


title: Chennai district

text: Of the total land area, reserved forests cover 2.71 km and is concentrated in and around the Guindy National Park region, one of the few national parks in the world located within a city. The forest cover of the district is as follows:


title: Chennai district

text: According to 2011 census, Chennai district had a population of 4,646,732 with a sex-ratio of 989 females for every 1,000 males, much above the national average of 929. Scheduled Castes and Scheduled Tribes accounted for 16.78% and 0.22% of the population respectively. The average literacy of the district was 81.27%, compared to the national average of 72.99%. With the expanded limits Chennai district had a population of 6,748,026.


title: Chennai district

text: The district had a total of 1,154,982 households. There were a total of 1,817,297 workers, comprising 10,210 cultivators, 10,251 main agricultural labourers, 29,143 in house hold industries, 1,569,950 other workers, 197,743 marginal workers, 4,244 marginal cultivators, 3,423 marginal agricultural labourers, 8,202 marginal workers in household industries and 181,874 other marginal workers.


title: Chennai district

text: In 2013, five taluks on the district were split to create five new ones: Velachery, Purasawalkam, Ayanavaram, Aminjikarai and Guindy.


title: Chennai district

text: In January 2018, the state government announced that the district will be expanded to match the boundaries of the Greater Chennai Corporation. This will integrate six additional taluks from Tiruvallur and Kanchipuram districts into the Chennai district. The new divisions and taluks of the district will be:


title: Do It Again (Steely Dan song)

text: "Do It Again" is a 1972 song composed and performed by American rock group Steely Dan, who released it as a single from their debut album "Can't Buy a Thrill". The single version differed from the album version, shortening the intro and outro and omitting the organ solo.


title: Do It Again (Steely Dan song)

text: Released in 1972, the song debuted on the "Billboard" Hot 100 on November 18, 1972, and reached number 6 on the US charts in 1973, making it Steely Dan's second highest-charting single.


title: Do It Again (Steely Dan song)

text: "Do It Again" features an electric sitar solo by Denny Dias. The "plastic organ" solo by Donald Fagen was performed on a Yamaha YC-30 with a sliding pitch-bending control. The song is written in the key of G minor and has a tempo of 125 beats per minute. It follows a chord progression of Cm-Dm-Eb-Dm7-Gm-Cm-Dm-Eb-Dm.


title: Do It Again (Steely Dan song)

text: David Palmer fronted the band during their live show, and sang "Do It Again" when the group played "The Midnight Special" in February 1973. Donald Fagen sang the vocal on the album version.


title: Do It Again (Steely Dan song)

text: "Cash Box" described it as a "fine commercial effort with plenty of potential as a hit record," going on to say that it "is highlighted by some fine vocal harmony and superb arrangement."


title: Agent Carter (film)

text: Agent Carter is a 2013 American direct-to-video short film featuring the Marvel Comics character Peggy Carter, produced by Marvel Studios and distributed by Walt Disney Studios Home Entertainment. It is the fourth Marvel One-Shot short film set in the Marvel Cinematic Universe (MCU), sharing continuity with the films of the franchise and taking place after "" (2011). The film is directed by Louis D'Esposito from a screenplay by Eric Pearson, and stars Hayley Atwell as Peggy Carter, along with Bradley Whitford and Dominic Cooper. In "Agent Carter", Peggy Carter sets out on a solo mission to acquire the mysterious Zodiac while facing sexism post-World War II at the SSR, a precursor to S.H.I.E.L.D.


title: Agent Carter (film)

text: A Marvel One-Shot featuring Peggy Carter was in the works for some time before Atwell signed on to star in it, reprising her role from the "Captain America" films. D'Esposito, co-president of Marvel Studios and an executive producer on the feature films, aimed to replicate the period setting of "Captain America: The First Avenger", while also giving the short a more modern, superhero feel. The film was a more ambitious production than previous One-Shots, with more action scenes and visual effects required than previously. Several other characters from Marvel Cinematic Universe films also appear, including Cooper reprising his role of Howard Stark.


title: Agent Carter (film)

text: The short was released on the home media release of "Iron Man 3", and was received positively by critics and the audience from an earlier screening at San Diego Comic-Con. It won a Golden Reel Award. This response led to ABC ordering a television series expansion of the short, "Agent Carter", which aired from January 2015 to March 2016, over two seasons.


title: Agent Carter (film)

text: One year after the events of "", Agent Peggy Carter is now a member of the Strategic Scientific Reserve (SSR). She faces sexism from her boss, Agent John Flynn, who treats her condescendingly and keeps her compiling data and code breaking while assigning field cases to the male agents. The SSR's main concern is the mysterious Zodiac, which they have been unable to recover for some time.


title: Agent Carter (film)

text: One night alone in the office while the men are out together, Carter answers the case line to hear of the location of the Zodiac. Though three to five agents are recommended, Carter decides to go to the location herself. Fighting off multiple guards, Carter is able to retrieve the Zodiac, a mysterious serum, herself. The next day, Flynn reprimands her for not going through the proper procedures to complete the mission, and dismisses the indignant Carter as just an "old flame" of Captain America's who was given her current job out of pity for her bereavement. However, before he can officially punish her, the case line rings again, this time with Howard Stark on the other end, who informs Flynn that Carter will co-head the newly created S.H.I.E.L.D.


title: Agent Carter (film)

text: In a mid-credits scene, Dum Dum Dugan is seen poolside with Stark, marveling at two women wearing the newly created bikinis.


title: Agent Carter (film)

text: Neal McDonough reprises his role of Timothy "Dum Dum" Dugan from previous Marvel Cinematic Universe films, and Chris Evans appears as Steve Rogers / Captain America via archive footage from "The First Avenger". Shane Black, director and co-writer of "Iron Man 3", voices the "Disembodied Voice", the caller on the other end of the case line.


title: Agent Carter (film)

text: In August 2011, Marvel Studios announced that a couple of short films would be released direct-to-video, which were designed to be self-contained stories and known as Marvel One-Shots. Co-producer Brad Winderbaum said "It's a fun way to experiment with new characters and ideas, but more importantly it's a way for us to expand the Marvel Cinematic Universe and tell stories that live outside the plot of our features." One of the ideas developed as a potential One-Shot was a spin-off from "", following the story of Peggy Carter after the events of that film. The idea was looked at again when Marvel was deciding on a short film to produce for the home media release of "Iron Man 3" in 2013, and it was chosen for the spot, dependent on actress Hayley Atwell's availability.


title: Agent Carter (film)

text: Marvel Studios co-president Louis D'Esposito, who directed the previous One-Shot, "Item 47", returned as director, while writer Eric Pearson also returned from the previous One-Shots. D'Esposito noted that the short had twice the budget of "Item 47", but the same amount of shooting time so "the scope of it is much bigger. It's set in a period, there are more actors involved, the scale's bigger, there are three fight scenes—we've never had that in any of [the previous One-Shots]." Atwell agreed to the project after watching "Item 47", and due to her love for the character and potential "to show off some of her skill sets" that were not seen in the film. Atwell worked for three days with the stunt team to rehearse the pre-choreographed fight sequences for the short. D'Esposito elaborated on the decision to focus on Carter, saying, "It's telling the best story, and finding that story we want to tell—whether it's connectivity to the Marvel Universe, or it's highlighting a character. In the case of Hayley, it's a little bit of both. We wanted to tell Peggy Carter's story—she's been left back in the '40s. Announcing to the world that she was running S.H.I.E.L.D. with Howard Stark is a great connectivity."


title: Agent Carter (film)

text: "Agent Carter" was filmed over five days, with Gabriel Beristain serving as cinematographer. The budget did not allow for a storyboard artist to be hired, so D'Esposito, Winderbaum, and Beristain worked together to plan a shot list for the production using stand-in actors. The stunts were also pre-filmed to show the actors. D'Esposito explained that having the shots planned helped with planning the visual effects for the film. The mid-credits scene with Neal McDonough as Dum Dum Dugan was planned to show the character in a pool, but had to be changed on set to taking place beside the pool when it was found that the muscle suit McDonough wears to portray the character could not get wet.


title: Agent Carter (film)

text: D'Esposito chose to differentiate the short from "The First Avenger" by avoiding the sepia tone used for that film by director Joe Johnston, instead using a cooler blue color. The production used two old lenses (for both night and day) that gave the short some "better" lens flares that D'Esposito felt gave the period setting a more modern feel. D'Esposito used a Steadicam or a camera dolly for the action sequences, to avoid a "quick cutty or blurry or shaky" feel. D'Esposito said that the crew was ultimately "pushing our limit" to get the planned shots on schedule, and he eventually realized that he "wasn't going to get every shot and I wasn't going to get every punch and kick, so what we do is get the optimum".


title: Agent Carter (film)

text: Visual effects shots of 1940s New York from "Captain America: The First Avenger" were reused in the short for budgetary reasons. D'Esposito noted the sequence where Carter comes "flying with the gun into the door" and the last fight, when Carter is "being attacked by the big guy", were both created with visual effects elements after they ran out of time to complete filming on them on set. In early 2013, Marvel approached visual effects company Perception to create the main-on-end title sequence for the short. Visual effects supervisor Sheena Duggal was told to retell the story of the short in 90 seconds, so she decided to use stylized versions of imagery from the period and the short itself. A mixture of 2D and 3D animation was used to achieve a final 2D look.


title: Agent Carter (film)

text: Composer Christopher Lennertz, who previously collaborated with D'Esposito on the One-Shot "Item 47", composed the music for "Agent Carter". Like the rest of the short, D'Esposito wanted the music to reflect the period setting, but to have a modern feel to it as well, so he sent Lennertz Johnny Rivers' "Secret Agent Man" as a reference track, despite it having been released in the 1960s, since it had the feel and sentiment D'Esposito was looking for.


title: Agent Carter (film)

text: "Agent Carter" was first shown in full at the 2013 San Diego Comic-Con International. It was then released on the "Iron Man 3" home media, first on September 3, 2013, in digital download form, and then on Blu-ray and 3D Blu-ray on September 24, 2013. D'Esposito said that it was decided to release the short along with "Iron Man 3" because "the time was right", with "" being released in theaters several months later. The short is also included on the bonus disc of the "Marvel Cinematic Universe: Phase Two Collection" box set, which includes all of the films in the Marvel Cinematic Universe as well as the other Marvel One-Shots. The collection features audio commentary from D'Esposito and Atwell, and was released on December 8, 2015. After being available on Disney+ under the "Extras" tab of "Iron Man 3", the short was given its own listing on the streaming service for the last two weeks of September 2021, and then was removed for unspecified reasons. It returned to Disney+ on January 21, 2022, along with the other One-Shots and the "Team Thor" films.


title: Agent Carter (film)

text: Rosie Fletcher of "Total Film" noted that the short was well received by the audience at Comic Con, and praised Atwell's performance. She said the short "looks great and packs some euphoric action moments". Andy Hunsaker at Crave Online gave the short a score of 8.5 out of 10, calling it a fun treat that "gives its title character the send-off she deserves", and hoping that it would lead to further female-focused properties from Marvel. IGN's Scott Collura called Atwell "the big-screen female superhero we've all been waiting for. She kicks so much ass in this short story with such aplomb, using not just brawn but also brains, and it's all very clever and fun." He felt the short seemed more of a proof-of-concept that female-based superhero projects could work, but that "Atwell never loses touch with her feminine side" either.


title: Agent Carter (film)

text: The Movie Ramblings review of the short highlighted its "short, sharp and witty script mixed with some equally sharp action" and D'Esposito's direction, naming it the best Marvel One-Shot at that point. Flickering Myth called the short "a great effort. A nice, compact story that gives us a lot of great moments with the character." The reviewer felt Flynn made a "great foil" to Carter, and also noted the "great cameos and a post credit scene that should put a smile on everybody's face..."Agent Carter" is another great Marvel offering that shows how committed they are to the idea of an expanded universe where these great characters get time to shine."


title: Agent Carter (film)

text: "Marvel's Agent Carter", a television series inspired by the short film also starring Hayley Atwell as Peggy Carter, was ordered by ABC on May 8, 2014, and began its first season of eight episodes on January 6, 2015. Dominic Cooper and Neal McDonough also reprised their role of Stark and Dugan in the series, while D'Esposito directed the first episode, and Christopher Lennertz returned to compose the music. The series was created by Christopher Markus & Stephen McFeely, writers on the "Captain America" films, with Tara Butters, Michele Fazekas, and Chris Dingess serving as showrunners. The series takes place in the middle of the short, before Carter learns that she will be co-head of S.H.I.E.L.D., where she secretly assists Stark with a mission, unbeknownst to the SSR. The series was renewed for a second season on May 7, 2015, consisting of 10 episodes. ABC canceled "Agent Carter" on May 12, 2016.


title: Mictlāntēcutli

text: Mictlāntēcutli () or Mictlantecuhtli (, meaning "Lord of Mictlan"), in Aztec mythology, is a god of the dead and the king of Mictlan (Chicunauhmictlan), the lowest and northernmost section of the underworld. He is one of the principal gods of the Aztecs and is the most prominent of several gods and goddesses of death and the underworld. The worship of Mictlantecuhtli sometimes involved ritual cannibalism, with human flesh being consumed in and around the temple. Other names given to Mictlantecuhtli include Ixpuztec (“Broken Face”), Nextepehua (“Scatterer of Ashes”), and Tzontemoc (“He Who Lowers His Head”).


title: Mictlāntēcutli

text: Two life-size clay statues of Mictlantecuhtli were found marking the entrances to the House of Eagles to the north of the Great Temple of Tenochtitlan.


title: Mictlāntēcutli

text: Mictlantecuhtli was considered tall and was depicted as a blood-spattered skeleton or a person wearing a toothy skull. Although his head was typically a skull, his eye sockets did contain eyeballs. His headdress was shown decorated with owl feathers and paper banners and he wore a necklace of human eyeballs, while his earspools were made from human bones.


title: Mictlāntēcutli

text: He was not the only Aztec god to be depicted in this fashion, as numerous other deities had skulls for heads or else wore clothing or decorations that incorporated bones and skulls. In the Aztec world, skeletal imagery was a symbol of fertility, health and abundance, alluding to the close symbolic links between life and death. He was often depicted wearing sandals as a symbol of his high rank as Lord of Mictlan. His arms were frequently depicted raised in an aggressive gesture, showing that he was ready to tear apart the dead as they entered his presence. In the Aztec codices, Mictlantecuhtli is often depicted with his skeletal jaw open to receive the stars that descend into him during the daytime.


title: Mictlāntēcutli

text: His wife was Mictecacihuatl, and together they were said to dwell in a windowless house in Mictlan. Mictlantecuhtli was associated with spiders, owls, bats, the 11th hour, and the northern compass direction, known as Mictlampa, the region of death. He was one of only a few deities held to govern over all three types of souls identified by the Aztecs, who distinguished between the souls of people who died normal deaths (of old age, disease, etc.), heroic deaths (e.g. in battle, sacrifice or during childbirth), or non-heroic deaths. Mictlantecuhtli and his wife were the opposites and complements of Ometecuhtli and Omecihuatl, the givers of life.


title: Mictlāntēcutli

text: Mictlanteculhtli was the god of the day sign "Itzcuintli" (dog), one of the 20 such signs recognised in the Aztec calendar, and was regarded as supplying the souls of those who were born on that day. He was seen as the source of souls for those born on the sixth day of the 13-day week and was the fifth of the nine Night Gods of the Aztecs. He was also the secondary Week God for the 10th week of the 20-week cycle of the calendar, joining the sun god Tonatiuh to symbolise the dichotomy of light and darkness.


title: Mictlāntēcutli

text: In the Colonial Codex Vaticanus 3738, Mictlantecuhtli is labelled in Spanish as "the lord of the underworld, Tzitzimitl, the same as Lucifer".


title: Mictlāntēcutli

text: In Aztec mythology, after Quetzalcoatl and Tezcatlipoca created the world, they put their creation in order and placed Mictlantecuhtli and his wife, Mictecacihuatl, in the underworld.


title: Mictlāntēcutli

text: According to Aztec legend, the twin gods Quetzalcoatl and Xolotl were sent by the other gods to steal the bones of the previous generation of gods from Mictlantecuhtli. The god of the underworld sought to block Quetzalcoatl's escape with the bones and, although he failed, he forced Quetzalcoatl to drop the bones, which were scattered and broken by the fall. The shattered bones were collected by Quetzalcoatl and carried back to the land of the living, where the gods transformed them into the various races of mortals.


title: Mictlāntēcutli

text: When a person died, they were interred with grave goods, which they carried with them on the long and dangerous journey to the underworld. Upon arrival in Mictlan these goods were offered to Mictlantecuhtli and his wife.


title: Mictlāntēcutli

text: In another myth, the shrewd god of death agrees to give the bones to Quetzalcóatl if he can completely finish what would appear to be a simple test. The god informs Quetzalcóatl that he has to travel through his kingdom four times, while a shell sounds out like a trumpet. However, in place of giving Quetzalcóatl the shell from Mictlantecuhtl he gives him a normal shell, without holes in it. In order to not be mocked, Quetzalcóatl beckons the worms to come out and perforate the shell, thus creating holes. He then calls the bees to enter the shell and to make it sound out like a trumpet. (As an emblem of his power over wind and life, Quetzalcóatl is commonly depicted wearing a cut shell over his chest, this shell represents the same shell that Ehécatl, the god of the wind, wears).


title: Mictlāntēcutli

text: Whilst listening to the roar of the trumpet, Mictlantecuhtl, at first, decides to allow Quetzalcóatl to take all of the bones from the last creation, but then quickly changes his mind. Nevertheless, Quetzalcóatl is more astute than Mictlantecuhtl and his minions and escapes with the bones. Mictlantecuhtli, now very angry, orders his followers to create a very deep pit. While Quetzalcóatl is running away with the bones he is startled by a quail, which causes him to fall into the pit. He falls into the pit and dies (or so it would appear), and is subsequently tormented by the animal (the quail), and the bones he is carrying are scattered. The quail then begins to gnaw on the bones.


title: Mictlāntēcutli

text: Despite the fall Quetzalcóatl is eventually revived and gathers all of the broken bones. It is for this reason that people today come in all different sizes. Once he has escaped from the underworld, Quetzalcóatl carries the precious cargo to Tamoanchan, a place of miraculous origin.


title: Mictlāntēcutli

text: Leeming, David Adams (2005)."The Oxford companion to world mythology". New York: Oxford U Press. Print.


title: Mictlāntēcutli

text: Austin, Alfredo López, Guilhem Olivier, and Russ Davidson (2015)."The Myth of Quetzalcoatl: Religion, Rulership, and History in the Nahua World". Boulder: U Press of Colorado. Print.


title: Bengal Tiger (2015 film)

text: Bengal Tiger is a 2015 Indian Telugu-language action comedy film written and directed by Sampath Nandi. It was produced by K. K. Radha Mohan Sri Satya Sai Arts and features Ravi Teja, Tamannaah, and Raashi Khanna. Boman Irani, Nassar, Nagineedu, Rao Ramesh, and Sayaji Shinde play supporting roles. "Bengal Tiger" focuses on the conflict between two intelligent people: Akash Narayan, an unemployed graduate and Ashok Gajapati, the chief minister of the state. It also focuses on the roles played by agricultural minister Samba, home minister Nagappa, his daughter Shraddha, and Gajapati's daughter Meera in Akash's pursuit for revenge on Gajapati who killed his father.


title: Bengal Tiger (2015 film)

text: Nandi was initially supposed to direct Pawan Kalyan in "Sardaar Gabbar Singh", the sequel of "Gabbar Singh". The film was delayed and Nandi walked out, after which the pre-production of "Bengal Tiger" began. Nandi's protégé Bheems Ceciroleo composed the film's music. The film, whose cinematography was provided by Soundararajan, was edited by Gautham Raju. The film was officially launched on 30 January 2015 at Ramanaidu Studios. Principal photography commenced in March 2015 and lasted for 100 days until September 2015. Filming locations include Hyderabad, Rajahmundry, Pollachi and few locales of Europe, where a couple of songs were filmed.


title: Bengal Tiger (2015 film)

text: Produced on a budget of 250 million, "Bengal Tiger" was released globally on 10 December 2015 in 1000 screens. It received mixed reviews from the critics but was a commercial success, grossing nearly 405 million globally. The film was also dubbed into Hindi under the same name in 2016.The movie was being remade in Odia as Tiger , Bengali Bangladesh as "Bidrohi".


title: Bengal Tiger (2015 film)

text: Akash Narayan is an unemployed simpleton living in Atreyapuram, who spends his time hanging out with friends. He is rejected by a girl who aspires to marry someone famous. This hurts Akash, and in an attempt to become famous, hits Agriculture Minister Samba with a stone. Initially angry, Samba is impressed with Akash's wit and employs him to escort home minister Nagappa's daughter Shraddha safely from the airport as her life is in danger. Upon Shraddha's suggestion, Nagappa appoints Akash as his OSD. Shraddha gets engaged to Karan, the son of politician Subba Rayudu. She, however, falls in love with Akash after a series of incidents.


title: Bengal Tiger (2015 film)

text: Shraddha rejects Karan and convinces Nagappa for the same. She adds that she would prefer to a like Akash to already financially settled person, as she finds the potential of making it big in Akash. On Shraddha's birthday, Nagappa hosts a big party and announces Akash as Shraddha's potential lover in the presence of many politicians, including the Chief Minister Ashok Gajapathi. Akash, however, rejects Nagappa's presence and says that he loves Meera, Gajapathi's daughter, much to everyone's shock.


title: Bengal Tiger (2015 film)

text: When Shraddha confronts Akash, he says that their relationship is that of an employer and an employee and lies that he loved Meera, who rejected his love. Meera meets him shortly and proposes to him after being impressed with his eccentricity and spontaneity. When Gajapathi and Shraddha object, Meera defends her decision by saying that his logical thinking made her prefer Akash to others. Gajapathi then discovers that Akash is his rival Jayanarayan's son and predicts that he is seeking revenge. Akash and Gajapathi have a formal meet where they have a deal; if Gajapathi fails to kill Akash within 24 hours using any means, he has to give his consent for Akash's marriage with Meera.


title: Bengal Tiger (2015 film)

text: Akash manages to survive in that 24 hours and meets Gajapathi again after the completion of the duration. When Gajapathi offers 5 billion to forego Meera, Akash accepts it happily and shifts the entire money to his house in Atreyapuram. When Meera and Shraddha probe into this, they find out that Jayanarayan was befriended by Gajapathi, a struggling politician then, and poisoned the priceless medicines supplied by Jayanarayan with the help of a company. The blame falls on Jayanarayan, who was killed by Gajapathi for political gain. Akash learned this when he met the paternal uncle of the girl who rejected him initially and decides to seek revenge.


title: Bengal Tiger (2015 film)

text: Akash plans to use the money he received for development programmes in Atreyapuram on his father's death anniversary. Gajapathi is dethroned from the ministry, and his political career comes to an end after Akash provides the proofs for Gajapathi's illegal activities to the political party's executive committee, which he acquired from Gajapathi's secretary after bribing him. Gajapathi tries to kill Akash in Atreyapuram, after killing the uncle of the girl who rejected Akash, only to be attacked fatally by the local people, who are aware of his betrayal towards Jayanarayan.


title: Bengal Tiger (2015 film)

text: The film ends with Akash's marriage with Meera and the pandit, "Celebrity" Shastri, saying that the bride will have only two children but the groom would have four, which confuses everyone. Meera shows Shraddha, who is also dressed as the bride. Shastri asks if they will share everything if they are both friends, to which Shraddha replies that he played with them before marriage, and now it's their turn to play with him.


title: Bengal Tiger (2015 film)

text: Sampath Nandi was supposed to direct Pawan Kalyan in the sequel of "Gabbar Singh" (2012). The film was delayed for years, and later, Sampath chose to direct Ravi Teja after walking out of that project. Ravi Teja confirmed the news and said that he would start working on this film after completing "Kick 2" (2015). Previously, Nandi wrote the script keeping Ravi Teja in mind as the lead but had wanted to prove his abilities before working together. He chose to narrate the story of a man from Athreyapuram in Godavari district who comes on a mission to Hyderabad and his conflict with an intelligent chief minister. In an interview with "The Hindu", Nandi specified it as a screenplay based film with a notable flashback episode.


title: Bengal Tiger (2015 film)

text: For this film, he adapted two fight sequences from the script written for the sequel of "Gabbar Singh". The film was titled as "Bengal Tiger" and K. K. Radha Mohan announced that he would bankroll the film under his banner Sri Satya Sai Arts. At the same time, Sampath Nandi confirmed that the script work is in its final stages. Nandi's protégé Bheems Ceciroleo was selected as the music director after Ravi Teja's approval. Soundararajan was selected as the cinematographer who stated that the film is a mass action film. The film was officially launched on 30 January 2015 at Ramanaidu Studios.


title: Bengal Tiger (2015 film)

text: Ravi Teja played the role of Akash Narayan, an aimless youth with a master's degree in computers, whose reckless life changes after facing an insult. Tamannaah, the female lead of Nandi's "Racha" (2012), was signed as one of the two female leads as Ravi Teja was keen on working with her. Impressed with her performance in "Jil", Nandi approached Rashi Khanna to play the role of the other female lead. Khanna stated that she and Tamannaah have roles of equal importance in the film. Regarding her role, Khanna said that she would play an "intelligent girl" and shed weight for the same. She added that her subplot in the film, which explores the relationship she shares with her father (played by Rao Ramesh), has its "own importance in the overall scheme of things". Boman Irani was cast for a crucial supporting role.


title: Bengal Tiger (2015 film)

text: Posani Krishna Murali and Sayaji Shinde were cast for key supporting roles. Nassar was signed in on for a key supporting role as well. Brahmanandam was chosen to play an important role. Ramaprabha, Tanikella Bharani, Nagineedu, and Prabhu joined the film's cast in its first schedule. Harshvardhan Rane made a cameo appearance in the film as Khanna's lover and stated that there is a love triangle between him, Ravi Teja and Khanna. Aksha Pardasany too made a cameo appearance in the film and all her scenes in the film were with Ravi Teja.


title: Bengal Tiger (2015 film)

text: Brahmaji inclusion in the film's cast was confirmed in late June 2015. Prabhakar and Prudhviraj confirmed their inclusion in the film's cast in early August 2015. Hamsa Nandini was signed in mid August 2015 to make a special appearance in a song. Nandini said in an interview that she would sport three looks in the song which she called a "high-fashion with a desi twist" and added that the song is a mix of massy dance beats and EDM grooves.


title: Bengal Tiger (2015 film)

text: The principal photography began on 4 March 2015 at Ramoji Film City where scenes focusing Irani, Khanna, Shinde and others were shot until 14 March 2015. On its completion, the next schedule began from 10 April 2015 and Ravi Teja joined the film's sets along with Tamannaah and other supporting cast. The schedule was announced to be shot in Ramoji Film City, Chilkur and other areas around Hyderabad until 6 May 2015. Harshvardhan Rane joined the film's sets on 13 April 2015. Filming continued in Shamshabad from 22 April 2015, after which scenes on Ravi Teja, Tamannaah and Khanna were shot in a railway station backdrop at Ramoji Film City. The third schedule began on 13 May 2015 at Ramoji Film City where Brahmanandam and Ravi Teja joined the film's sets. Along with few scenes featuring both of them, a couple of songs were planned to be shot in the schedule.


title: Bengal Tiger (2015 film)

text: Filming of a song featuring Ravi Teja, Tamannaah, and Khanna commenced on 23 May 2015. On its completion, 40% of the principal photography was wrapped up. The next schedule was planned from 6 June 2015 in Hyderabad to film action sequences before shifting to Pollachi for more filming. From 19 June 2015, few action sequences choreographed by Ram-Lakshman were shot on Ravi Teja and others at Ramoji Film City using Phantom Cam. Irani joined the film's sets on the next day. By then, 60% of the film's shoot was completed. Within a month, 80% of the film's shoot was wrapped up and few action sequences were being shot in and around Hyderabad. The hero introduction song choreographed by A. Harsha was shot on Ravi Teja, Hamsa Nandini and 120 dancers at Hyderabad in mid August 2015. The final schedule commenced at Europe from 8 September 2015 where the film's unit planned to complete the shoot of a few songs.


title: Bengal Tiger (2015 film)

text: Two songsone on Ravi Teja and Tamannaah and another on Ravi Teja and Khannawere shot in the schedule. Upon their completion, the principal photography was almost wrapped up and post-production works were progressing in tandem. Few scenes were filmed in Rajahmundry, Andhra Pradesh. Initially planned to be completed in 110 working days, the filming of "Bengal Tiger" was wrapped up in around 100 days and the runtime stood at around 145 minutes.


title: Bengal Tiger (2015 film)

text: The official soundtrack of "Bengal Tiger" consisting of five songs was composed by Bheems Ceciroleo, the lyrics of which were written by Ramajogayya Sastry, Sri Mani, Bhaskarabhatla, and Suddala Ashok Teja along with Nandi. P. Nutana, one of the finalists of the 2011 season of Padutha Theeyaga, was selected to provide vocals for the song "Aasia" whose lyrics were penned by Nandi. Junglee Music acquired the soundtrack's marketing rights. The soundtrack was released on 18 October 2015 at Shilpakala Vedika, Hyderabad with the film's cast and crew in attendance. The soundtrack cover features a still of Ravi Teja from the song "Bengal Tiger".


title: Bengal Tiger (2015 film)

text: The soundtrack opened to positive reception. "The Times of India" rated the soundtrack 3.5 out of 5 stars and called it a "winner considering it keeps in line with Ravi Teja's vibrant on screen persona". Behindwoods rated the soundtrack 2.5 out of 5 stars and called it a "powerful masala album which stays true to the Ravi Teja's formulaic entertainers!". The reviewer chose "Chupulatho" and "Banchan" as the picks of the soundtrack.


title: Bengal Tiger (2015 film)

text: Initially planned for a global release on 18 September 2015 (coinciding with Ganesh Chaturthi), the film's release date was announced as 5 November 2015 by Ravi Teja, making it one of the Diwali releases of the year, after plans to release during the Navratri festive season were called off to avoid clash with "Bruce Lee - The Fighter" and "Akhil". The film's release was postponed twiceonce on mutual consent with the makers of "Akhil" from 5 to 27 November 2015, and again to 10 December 2015 to avoid clash with "Size Zero" and "Shankaraabharanam" after holding discussions with Prasad V Potluri and Kona Venkat.


title: Bengal Tiger (2015 film)

text: Global Cinemas acquired the film's theatrical distribution rights for the Nizam region. Tata DoCoMo entered into a co-branding partnership with this film in late October 2015 and announced itself as the "exclusive telecom partner" of the film. In India, "Bengal Tiger" was released in 750 screens, out of which 600 screens were from Andhra Pradesh and Nizam region. The global screen count stood at approximately 1000 screens.


title: Bengal Tiger (2015 film)

text: The Hindi dubbing rights were sold for 26 million to a Mumbai-based distributor which is the highest ever amount for a Ravi Teja's film. A limited release was planned in Maharashtra and the distributors made an agreement with a leading Hindi film channel to screen it on the national network after 60 days of the release of the original Telugu version. The global satellite rights of the film were sold for 78 million.


title: Bengal Tiger (2015 film)

text: "Bengal Tiger" received mixed reviews from the critics. Y. Sunita Chowdary of "The Hindu" stated that Nandi "shines as a dialogue writer" and called the film "almost an epic" compared to "Kick 2". Chowdary added, "Those seeking variety can stay away but those who go expecting their share of fun will not be disappointed". Sify gave 3 out of 5 stars and called "Bengal Tiger" a "regular mass entertainer with severe stress on comedy and glamour", adding, "Compared to recent Ravi Teja's movie, "Bengal Tiger" is more entertaining. The first half of the movie, Ravi Teja's antics, and Prudhvi are its strength" and pointed out that the second half "should have been better". "The Hans India" too gave the film 3 out of 5 stars and stated that Nandi "has come out with a full treat to mass audience", adding that the twist in the interval scene "takes the film to a new level". Suresh Kavirayani of "Deccan Chronicle" too gave the film 3 out of 5 stars and called the film a "regular paisa vasool film with the right dose of masala and glamour", adding that it is "far more entertaining" compared to "Kick 2" and a "good comeback" for Ravi Teja. Pravallika Anjuri of Oneindia gave the film 3 out of 5 stars as well and stated, "Though "Bengal Tiger" is a formulaic film, it is surely a complete 'Paisa Vasool' for masses, which makes it a perfect Mass Maharaj Ravi Teja's trademark film", adding that the cinematography and production values make "Bengal Tiger" a "technically good film too". IndiaGlitz also gave the film 3 out of 5 stars and called "Bengal Tiger" a "Ravi Teja-style power-packed performance, complete with comedy doses from Prithvi Raj and Posani, not to speak of punch lines of a different shade".


title: Bengal Tiger (2015 film)

text: Pranita Jonnalagedda of "The Times of India" gave the film 2.5 out of 5 stars and stated, "Sampath Nandi fails on many counts — he failed to shape the characters on screen, underused performers with amazing potential — Ravi Teja especially; and there is absolutely nothing to take home". S. S. Kamal of "Bangalore Mirror" too gave the film 2.5 out of 5 stars and stated, "Ravi Teja's charisma eventually prevents the film from being a complete disaster, making the first half in particular quite entertaining. If only Sampath Nandi had maintained the momentum right till the end, the result could have been so much better". Behindwoods gave 2.25 out of 5 stars and called the film a "worn-out no-brainer", adding that it is another "erratically fun outing" from Ravi Teja for whom there is "hardly a replacement" for "such weird, carefree yet lovable action hero roles". Karthik Keramalu of CNN-IBN gave the film 2 out of 5 stars and stated, "I found a giggling amount of comedy in ‘"Bengal Tiger". Focus on the funny bits. It won't matter if you doze off for the rest of the film though", adding that the film is a "mixture of good comedy and dull narration". Suhas Yellapantula of "The New Indian Express" gave the film 1.5 out of 5 stars and stated, "The film irritates you with its banality and angers you with its loudness. It seems as if every dialogue in the film is amplified ten-fold. The humour is colourless and makes you cringe".


title: Bengal Tiger (2015 film)

text: "Bengal Tiger" which is regarded as a "hattrick hit" for director Sampath Nandi in the industry debuted with an average occupancy of 85% across Andhra Pradesh and Telangana and grossed around 70 million with a distributor share of 53.6 million. The global gross figure stood at approximately 100 million. It became the second best opening figures for a Ravi Teja film after "Kick 2". It collected US33,850 from 74 locations at the United States box office from the premiere shows. By the end of its four-day first weekend, "Bengal Tiger" grossed 196 million at the AP/Nizam box office with a distributor share of 136.5 million, breaking the records set by Ravi Teja's previous films "Kick 2" and "Power" (2014). It grossed 255.5 million in four days at the global box office with a distributor share of 166 million. The four-day United States box office total stood at US$290,000 (194 million). The film grossed nearly ₹40.5 million globally and also became the eighth highest grossing Telugu film of the year.


title: Didier Pironi

text: Didier Joseph Louis Pironi (26 March 1952 – 23 August 1987) was a French racing driver. During his career, he competed in 72 Formula One World Championship Grands Prix, driving for Tyrrell (1978–1979), Ligier (1980) and Ferrari (1981–1982), his F1 career ending after a practice crash at the 1982 German Grand Prix. He won the 24 Hours of Le Mans in 1978 driving a Renault Alpine A442B.


title: Didier Pironi

text: Pironi was born in Villecresnes, Val-de-Marne. He is the half brother and first cousin of José Dolhem (they had the same father and their mothers were sisters). He began studying as an engineer and earned a degree in science, but entering the family construction business fell by the wayside following his enrollment at the Paul Ricard driving school.


title: Didier Pironi

text: He was awarded Pilot Elf sponsorship in 1972, a program designed to promote young French motorsport talent, that also led Alain Prost, René Arnoux and Patrick Tambay into Formula One. After becoming Formula Renault champion in France in 1974, taking the Super Renault championship title in 1976 and winning the prestigious Monaco Grand Prix Formula Three support race in 1977, Pironi made his F1 debut at the Argentine GP on 15 January 1978. This was with Ken Tyrrell's team which, despite being British, had a strong working relationship with Elf, dating back to the late 1960s. In the same year, Pironi was part of the massive Renault squad tasked with winning the 24 Hours of Le Mans. Partnering Jean-Pierre Jaussaud in the team's second car, the unusual ""bubble roof"" A442B, he won the race by four laps from the rival Porsche 936s.


title: Didier Pironi

text: Two seasons with the underfinanced Tyrrell team demonstrated enough promise for Guy Ligier to sign Pironi to his eponymous French team in 1980, a season in which Pironi recorded his first victory, in the Belgian Grand Prix at Zolder, as well as several podium finishes. The Ligier JS11/15 was an excellent car but was unable to reach its maximum potential. A combination of the team's incompetence and Laffite being in firm political control meant that Pironi was not going to win the championship with Ligier. Pironi's performance piqued Enzo Ferrari's interest in the Frenchman's services, which he secured for 1981. Ferrari later recalled, "As soon as Pironi arrived at Maranello, he won everyone's admiration and affection, not only for his gifts as an athlete, but also for his way of doing things - he was reserved while at the same time outgoing."


title: Didier Pironi

text: Teamed and compared with Gilles Villeneuve, who welcomed the Frenchman and treated him as an equal, Pironi was slower in qualifying but steadier in races during his first season with Ferrari. Establishing a fine rapport with the senior members of the team, Pironi arguably exploited this good relationship in the aftermath of the controversial 1982 San Marino race, where Pironi is widely thought to have duped Villeneuve into conceding victory by giving the impression that he would finish behind his teammate, only to unexpectedly power past him into the Tosa hairpin, despite the team having signaled both drivers to slow down. Villeneuve was furious with Pironi and vowed never to say another word to him. The Canadian was killed in qualifying two weeks later at the following Belgian Grand Prix at Zolder trying to better Pironi's lap time. Many believe that this was foremost on Villeneuve's mind at the time of his fatal accident.


title: Didier Pironi

text: Harvey Postlethwaite (the co-designer of the 126C2) believed that the "drama" following San Marino was blown out of proportion by the press, "Villeneuve was really upset because he felt he should have been handed the race on a plate ... They were competitive and either of them could win."


title: Didier Pironi

text: He also mentioned a technical reason as to why the two Ferraris were swapping places so often during the San Marino race. "The (Ferrari 126C) turbo pressure was very, very difficult to control. Most of the reason that they were able to pass one another so evenly was that one would go through a sticky patch and sort of only be giving 4-bar of boost or 4.2, and the other would be getting a burst of 4.5, so it would have the legs of the other guy. It wasn't quite as spectacular as it appeared at the time."


title: Didier Pironi

text: According to Ferrari's chief mechanic Paolo Scaramelli, the team had agreed before the race that if the two Renaults were out, the drivers should have maintained position. Pironi did say a deal took place but the terms were more complex, "We had a meeting before the race; Arnoux, Prost, Gilles and me, in my motorhome. We agreed to make a spectacle for the first half of the race so long as our positions on the lap after half-distance were the same as on the grid. We started the real race at half-distance and so had plenty of fuel. The team (Ferrari) didn't know that, Marco Piccinini and Gérard Larrousse (Renault F1's team manager) didn't know, only the mechanics knew, but Prost and Arnoux - they will tell you the same." Pironi went on to add, "When I passed Villeneuve the first time, this was because he had made a mistake and had gone off the circuit. The first slow sign we got was a few laps after that, and by then we knew we had a lot of fuel left because of the way we drove the first half of the race."


title: Didier Pironi

text: In a 2002 interview with "Motor Sport", Marco Piccinini supported Pironi's view, "It was a genuine misunderstanding triggered by Gilles making a mistake. He went off the circuit slightly and Didier passed. The sign was hung out because we were 1-2, not because we favored one driver over the other. We didn't favor either because it was at an early stage of the championship. We just wanted to maintain 1-2."


title: Didier Pironi

text: In 2007, former Marlboro marketing executive John Hogan (whose company sponsored Pironi in his time as a Ferrari driver) disputed the claim that Pironi had gone back on a prior arrangement with Villeneuve. He said: "I think Gilles was stunned somebody had out-driven him and that it just caught him so much by surprise."


title: Didier Pironi

text: With a fast, reliable car, Pironi appeared to be on course for being 1982 World Champion, but the Frenchman's own state of mind underwent severe stress due to several factors. Widespread antipathy by many in the F1 fraternity was directed toward him in the wake of the Zolder tragedy. There was also the rapid breakdown of his marriage to longtime girlfriend Catherine Beynie within weeks of the ceremony taking place. He observed first hand the death of Riccardo Paletti in the 1982 Canadian Grand Prix, the young Italian rookie ploughing into Pironi's stalled Ferrari on the starting grid.


title: Didier Pironi

text: Ferrari team members are reported to have observed changes in Pironi's behaviour throughout that summer following Villeneuve's death. Shortly before the 1982 British Grand Prix, Pironi remarked "I feel I am beginning to touch the World Championship."


title: Didier Pironi

text: After claiming pole position for the German Grand Prix, Pironi was also busy testing a new-composition Goodyear rain tyre (under the guidance of Mauro Forghieri) in untimed practice. The "new-spec" Goodyear rain tyres proved to be very successful, with Pironi lapping up to 2.5 seconds faster than newly recruited teammate Patrick Tambay driving the sister Ferrari. (Pironi: 2 min 10.9 sec, Tambay: 2 min 13.4 sec)


title: Didier Pironi

text: Racing journalists at the circuit were quick to say Pironi was driving "like a madman." In defense of Pironi, Forghieri said that the substantial differences in the lap times between the two sets of Goodyears were no surprise to the team. The weather conditions at Hockenheim that weekend were highly uncertain; quickly alternating back and forth between wet and dry.


title: Didier Pironi

text: In the rain, one of the many problems caused by "ground effect" F1 cars was that the spray was forced out from under the side pods as a fine mist and virtually created a fog. To those behind, this made cars in front close to invisible.


title: Didier Pironi

text: When Pironi tried passing Derek Daly's Williams, the Ferrari 126C2 smashed into the back of Alain Prost's invisible Renault: a violent accident which bore some similarity to that suffered by Villeneuve. Pironi survived, but multiple fractures to both of his legs meant he never raced again in Formula 1. In the immediate aftermath of the accident, he said he felt no pain. "It was just like my accidents before, when I had no injuries. All I could think about was the car, that the spare one didn't work as well as this one, and that I would have to use it (the spare) for the race. Then I saw my legs and I thought maybe I wouldn't be doing this race, after all. In the helicopter, they began to hurt very seriously. But if I was to have this accident, it was lucky for me that it was in Germany and not in a more primitive place." The extent of Pironi's leg fractures was severe; however, contrary to Pironi's account of the accident, medics under the guidance of Professor Sid Watkins did not consider amputation in order to extricate him from the car.


title: Didier Pironi

text: At this point, he was leading with 39 points in the championship, ahead of Watson (30) and Keke Rosberg (27), but Pironi was relegated to runner-up as Rosberg passed him to become World Champion. Despite missing four races of that year's fourteen, Pironi lost the title to Rosberg by just 5 points.


title: Didier Pironi

text: In his Formula One career Didier Pironi won three races, achieved 13 podiums, and scored a total of 101 championship points. He also secured four pole positions.


title: Didier Pironi

text: In 1986, after he was able to walk with both legs unaided, it looked as if Pironi would make a comeback when he tested for the French AGS team at Circuit Paul Ricard, and subsequently the Ligier JS27 at Dijon-Prenois. He proved that he was still fast enough to be competitive, but coming back to F1 was not truly practical due to the extent of his injuries. A return to F1 was further complicated by his insurance payout being based on the premise of sustaining career-ending injuries; Pironi would be required to pay the money back to his insurer should he return to the sport.


title: Didier Pironi

text: Pironi decided to turn to offshore powerboat racing instead. On 23 August 1987, Pironi was killed in an accident in the Needles Trophy Race near the Isle of Wight, that also took the life of his two crew members: journalist Bernard Giroux and his old friend Jean-Claude Guénard. Their boat, "Colibri 4", rode over a rough wave caused by an oil tanker, causing the boat to flip over.


title: Didier Pironi

text: After Pironi's death, his girlfriend Catherine Goux gave birth to twins. In honour of Pironi and Gilles Villeneuve, she named them Didier and Gilles. In 2014, one of the twins, Gilles Pironi, joined Mercedes AMG Petronas as an engineer.


title: Surface area

text: The surface area of a solid object is a measure of the total area that the surface of the object occupies. The mathematical definition of surface area in the presence of curved surfaces is considerably more involved than the definition of arc length of one-dimensional curves, or of the surface area for polyhedra (i.e., objects with flat polygonal faces), for which the surface area is the sum of the areas of its faces. Smooth surfaces, such as a sphere, are assigned surface area using their representation as parametric surfaces. This definition of surface area is based on methods of infinitesimal calculus and involves partial derivatives and double integration.


title: Surface area

text: A general definition of surface area was sought by Henri Lebesgue and Hermann Minkowski at the turn of the twentieth century. Their work led to the development of geometric measure theory, which studies various notions of surface area for irregular objects of any dimension. An important example is the Minkowski content of a surface.


title: Surface area

text: While the areas of many simple surfaces have been known since antiquity, a rigorous mathematical "definition" of area requires a great deal of care.


title: Surface area

text: which assigns a positive real number to a certain class of surfaces that satisfies several natural requirements. The most fundamental property of the surface area is its additivity: "the area of the whole is the sum of the areas of the parts". More rigorously, if a surface "S" is a union of finitely many pieces "S", …, "S" which do not overlap except at their boundaries, then


title: Surface area

text: Surface areas of flat polygonal shapes must agree with their geometrically defined area. Since surface area is a geometric notion, areas of congruent surfaces must be the same and the area must depend only on the shape of the surface, but not on its position and orientation in space. This means that surface area is invariant under the group of Euclidean motions. These properties uniquely characterize surface area for a wide class of geometric surfaces called "piecewise smooth". Such surfaces consist of finitely many pieces that can be represented in the parametric form


title: Surface area

text: with a continuously differentiable function formula_4 The area of an individual piece is defined by the formula


title: Surface area

text: Thus the area of "S" is obtained by integrating the length of the normal vector formula_6 to the surface over the appropriate region "D" in the parametric "uv" plane. The area of the whole surface is then obtained by adding together the areas of the pieces, using additivity of surface area. The main formula can be specialized to different classes of surfaces, giving, in particular, formulas for areas of graphs "z" = "f"("x","y") and surfaces of revolution.


title: Surface area

text: One of the subtleties of surface area, as compared to arc length of curves, is that surface area cannot be defined simply as the limit of areas of polyhedral shapes approximating a given smooth surface. It was demonstrated by Hermann Schwarz that already for the cylinder, different choices of approximating flat surfaces can lead to different limiting values of the area; this example is known as the Schwarz lantern.


title: Surface area

text: Various approaches to a general definition of surface area were developed in the late nineteenth and the early twentieth century by Henri Lebesgue and Hermann Minkowski. While for piecewise smooth surfaces there is a unique natural notion of surface area, if a surface is very irregular, or rough, then it may not be possible to assign an area to it at all. A typical example is given by a surface with spikes spread throughout in a dense fashion. Many surfaces of this type occur in the study of fractals. Extensions of the notion of area which partially fulfill its function and may be defined even for very badly irregular surfaces are studied in geometric measure theory. A specific example of such an extension is the Minkowski content of the surface.


title: Surface area

text: The below given formulas can be used to show that the surface area of a sphere and cylinder of the same radius and height are in the ratio 2 : 3, as follows.


title: Surface area

text: Surface area is important in chemical kinetics. Increasing the surface area of a substance generally increases the rate of a chemical reaction. For example, iron in a fine powder will combust, while in solid blocks it is stable enough to use in structures. For different applications a minimal or maximal surface area may be desired.


title: Surface area

text: The surface area of an organism is important in several considerations, such as regulation of body temperature and digestion. Animals use their teeth to grind food down into smaller particles, increasing the surface area available for digestion. The epithelial tissue lining the digestive tract contains microvilli, greatly increasing the area available for absorption. Elephants have large ears, allowing them to regulate their own body temperature. In other instances, animals will need to minimize surface area; for example, people will fold their arms over their chest when cold to minimize heat loss.


title: Surface area

text: The surface area to volume ratio (SA:V) of a cell imposes upper limits on size, as the volume increases much faster than does the surface area, thus limiting the rate at which substances diffuse from the interior across the cell membrane to interstitial spaces or to other cells. Indeed, representing a cell as an idealized sphere of radius , the volume and surface area are, respectively, and . The resulting surface area to volume ratio is therefore . Thus, if a cell has a radius of 1 μm, the SA:V ratio is 3; whereas if the radius of the cell is instead 10 μm, then the SA:V ratio becomes 0.3. With a cell radius of 100, SA:V ratio is 0.03. Thus, the surface area falls off steeply with increasing volume.


title: 1997 Canadian federal election

text: The 1997 Canadian federal election was held on June 2, 1997, to elect members to the House of Commons of the 36th Parliament of Canada. Prime Minister Jean Chrétien's Liberal Party won a second majority government. The Reform Party replaced the Bloc Québécois as the Official Opposition.


title: 1997 Canadian federal election

text: The election results closely followed the pattern of the 1993 election. The Liberals swept Ontario, while the Bloc won a majority in Quebec. Reform made sufficient gains in the West to allow Preston Manning to become leader of the Official Opposition, but lost its only seat east of Manitoba. The most significant change was major gains in Atlantic Canada by the New Democratic Party (NDP) and the rump Progressive Conservative Party. The Liberal victory was not in doubt, though some commentators on election night were predicting that the party would be cut down to a minority government and that Chrétien might lose his seat. Chrétien narrowly won his riding, and the Liberals maintained a nine-seat majority thanks to gains in Quebec at the expense of the Bloc. Jean Charest's Tories and Alexa McDonough's NDP both regained official party status in the House of Commons.


title: 1997 Canadian federal election

text: This was the first time that five political parties held official party status in a single session of Canada's Parliament, and the only time to date that five different parties have won the popular vote in at least one of the provinces and territories of Canada.


title: 1997 Canadian federal election

text: Prime Minister Jean Chrétien announced his approved request by Governor General Roméo LeBlanc to dissolve Parliament on April 26, 1997, with an election to be held on June 2 of that year. Chrétien's election call came three years and five months into Parliament's life, short of both the maximum five year duration and the typical four years between elections. This represented the earliest election call in a majority Parliament since the 1911 election. Opinion polls at the time predicted that the Liberal Party was expected to win a landslide victory capturing at least 180 to 220 of the 301 seats in the House of Commons, with the fragmentation of the opposition meaning that one party was not expected to be able to defeat the government.


title: 1997 Canadian federal election

text: The election call was controversial both for being early and for occurring during Manitoba's recovery from the Red River Flood earlier in the year. Reg Alcock and several others inside the Liberal Party had opposed the timing of the vote, and the poor results prompted Paul Martin's supporters to organize against Chrétien.


title: 1997 Canadian federal election

text: The election was the first to be held with staggered polling hours across the country. Until 1993, polling hours were 9 a.m. to 8 p.m. in each time zone, with a 4.5-hour difference between closing of polls in Newfoundland and those in British Columbia and Yukon, or a three-hour difference between Quebec-Ontario and B.C.-Yukon. With the new staggered hours, it would be three hours between Newfoundland and B.C.-Yukon, but just 30 minutes between Quebec-Ontario and B.C.-Yukon.


title: 1997 Canadian federal election

text: The Liberal Party under Jean Chrétien campaigned on promising to continue to cut the federal deficit to allow for a budget surplus, and then to spend one half of the surplus on repaying Canada's national debt and cutting taxes while the other half of the surplus would be used to increase funding to health care, assistance for Canadian children in poverty, and job creation. The platform was called "Securing Our Future Together". The Liberal Party was attacked by the opposition parties for failing to keep many of the promises that the party campaigned on in the 1993 federal election. The Liberals attacked the Progressive Conservatives and the Reform Party for prematurely calling for tax cuts while a deficit still remained while attacking the New Democratic Party for proposing to increase government spending while Canada faced a deficit.


title: 1997 Canadian federal election

text: The Liberals suffered from a number of gaffes in their campaign. In one incident, when Jean Chrétien was questioned by reporters over the cost of the Liberals' election proposal of a national pharmacare program, reporters claimed that Chrétien was unsure of what the cost would be. Chrétien also turned down invitations for interviews by Canada's national media outlets, the Canadian Broadcasting Corporation (CBC) and MuchMusic. In the televised debates between the five major political parties, Chrétien apologized to Canadians for his government having cut funding for social programs to reduce the deficit.


title: 1997 Canadian federal election

text: On election day, the Liberals won with a significantly reduced majority. While they lost much of their support in Atlantic Canada, they won all but two seats in Ontario and improved on their numbers in Quebec. They were only assured of a majority when the final numbers came in from Western Canada.


title: 1997 Canadian federal election

text: The Reform Party under Preston Manning campaigned on preserving national unity through decentralization of multiple federal government powers to all of the provinces, cutting taxes, reducing the size of government, reducing spending, and strongly opposing distinct society status for Quebec. Feeling that the general acceptance of deficit reduction at the federal and provincial level had been encouraged by their party, Reform saw a chance to finally make the party a national in scope by making political inroads outside of the west, particularly in Ontario. Their platform was titled the "Fresh Start for all Canadians". The Reformers ran a full slate of candidates in Quebec, making this the first and last election in which it would run candidates in every region of Canada.


title: 1997 Canadian federal election

text: Reform's campaign ran into multiple problems. The party was repeatedly accused by other parties and the media of holding intolerant views due to comments made by a number of Reform MPs during the writ period. Critics had accused the party's performance during the 1993-1997 parliament of being disorganized. Tension between the party's democratic nature and the leader-centric model of modern campaigning led to Manning's leadership abilities being questioned by a number of former members, including Stephen Harper, who accused Manning of inappropriately using a Can$31,000 personal expense allowance as leader. Some Reform supporters were frustrated by the party's decision to expand its political base into Quebec, as they continued to believe that the party should represent English-speaking Canada, and others from the right-wing and populist faction of the party were angry that Manning punished MPs Bob Ringma and David Chatters for outbursts. During the campaign the Reform Party released a controversial television advertisement where the faces of four Quebecers, Prime Minister Jean Chrétien, Bloc Québécois leader Gilles Duceppe, Progressive Conservative leader Jean Charest, and Premier of Quebec Lucien Bouchard, were crossed out, followed by a message saying that Quebec politicians had dominated the federal government for too long and that the Reform Party would end this favoritism towards Quebec. The advertisement was harshly criticized by the other party leaders including accusations that Manning was "intolerant" and a "bigot" for having permitted the advertisement to be aired.


title: 1997 Canadian federal election

text: Reform began the campaign with Can$1.5 million in cash on hand, and had raised a total of Can$8 million. In contrast to the other parties, the vast majority of the money came from donations by individuals or small businesses.


title: 1997 Canadian federal election

text: The results for Reform were a generally considered a minor tactical success. The party won 60 seats to displace the Bloc as Official Opposition, largely by building on its already heavy concentration of support in Western Canada. Strategically, Reform failed to make inroads into eastern Canada and lost its one seat in Ontario, leaving it effectively perceived as a Western regional party, despite making their first significant inroads into rural Ontario.


title: 1997 Canadian federal election

text: The Bloc Québécois, under the leadership of Gilles Duceppe, lost its position of Official Opposition, falling to third place. The party's founding leader, Lucien Bouchard, had resigned in the aftermath of the 1995 Quebec referendum in order to become Premier of Quebec. Bouchard had been replaced by Michel Gauthier, but a lack of direction and party infighting caused their poll numbers to plummet, leaving them in danger of being overhauled by both the Liberals and the resurgent Progressive Conservatives. Duceppe, who took over as leader after Gauthier resigned, nonetheless made progress by emphasizing the lack of possibility of constitutional reform. While the party only finished 1.2 percentage points ahead of the Liberals in the province's popular vote, a more efficiently-distributed vote (the Liberal vote was too concentrated in and around Montreal; elsewhere, they split the vote with the Progressive Conservatives) still allowed them capture a comfortable majority of 44 out of Quebec's 75 seats.


title: 1997 Canadian federal election

text: The New Democratic Party under the leadership of Alexa McDonough regained official party status that the party lost in the 1993 Canadian federal election. The party won the fourth largest share of total votes and won 21 seats. Notably, the party made a substantial showing in Atlantic Canada, a region where it had only elected three MPs in its entire history prior to the election.


title: 1997 Canadian federal election

text: The Progressive Conservative Party under Jean Charest campaigned on securing national unity in Canada by recognizing Quebec as being a distinct society within Canada, along with the proposal of a "New Covenant" for Canadian confederation to be negotiated between the Federal and Provincial governments. The party's platform included the novelty of being publicly distributed on CD-ROM. Charest and the PCs benefited from rapidly rising in popularity amongst all language groups in Quebec, where voters were found to have preferred Charest over Gilles Duceppe, the leader of the Bloc Québécois.


title: 1997 Canadian federal election

text: The Progressive Conservatives faced multiple difficulties, as the party was not able to apply for federal financial assistance due to it not being an official party. The party's results in their previous bastion of Western Canada remained anemic, and the Reformers remained the dominant conservative political force in the west. Reform also made inroads into rural central and southern Ontario — traditionally the heartland of the Tories' provincial counterparts.


title: 1997 Canadian federal election

text: The Progressive Conservatives won the third largest number of the total votes and improved their situation in the House of Commons, regaining official party status after winning 20 seats. Despite finishing about half a point behind Reform in the nationwide popular vote, their only heavy concentrations of support was in Atlantic Canada and Quebec. Elsewhere, like in 1993, their support was too spread out to translate into victories in individual ridings. They only won one seat each in Ontario and Manitoba. The result, a disappointment for Charest, would lead to his eventual resignation and assumption of leadership of the Liberal Party of Quebec.


title: 1997 Canadian federal election

text: Support for the Green Party of Canada was 79% higher than at the previous election, with its greatest success in British Columbia, where it received 2% of the vote. The Green Party remained almost entirely off the national media's radar. At 0.43% of the vote, and 1.64% of the vote in the ridings it contested, the Green Party remained a small but growing movement.


title: Beauty and the Beast (1946 film)

text: Beauty and the Beast ( – also the UK title) is a 1946 French romantic fantasy film directed by French poet and filmmaker Jean Cocteau. Starring Josette Day as Belle and Jean Marais as the Beast, it is an adaptation of the 1757 story "Beauty and the Beast", written by Jeanne-Marie Leprince de Beaumont and published as part of a fairy tale anthology.


title: Beauty and the Beast (1946 film)

text: The plot of Cocteau's film revolves around Belle's father who is sentenced to death for picking a rose from Beast's garden. Belle offers to go back to the Beast in her father's place. Beast falls in love with her and proposes marriage on a nightly basis which she refuses. Belle eventually becomes more drawn to Beast, who tests her by letting her return home to her family and telling her that if she doesn't return to him within a week, he will die of grief.


title: Beauty and the Beast (1946 film)

text: While scrubbing the floor at home, Belle (Josette Day) is interrupted by her brother's friend Avenant (Jean Marais) who tells her she deserves better and suggests they get married. Belle rejects Avenant, as she wishes to stay home and take care of her father, who has suffered much since his ships were lost at sea and the family fortune along with them. Belle's father (Marcel André) arrives home announcing he has come into a great fortune that he will pick up the next day, along with gifts for his daughters, Belle and her shrewish sisters Adelaide and Felicie. Belle's roguish brother Ludovic (Michel Auclair), believing they will soon be wealthy, signs a contract from a moneylender (Raoul Marco) allowing him the ability to sue Ludovic's father if he can't pay. Belle's sisters ask for a monkey and a parrot as gifts, but Belle asks only for a rose.


title: Beauty and the Beast (1946 film)

text: However, the next day, Belle's father finds on his arrival that his fortune has been seized to clear his debts and he is as penniless as before. He has no money for lodging and is forced to return home through a forest at night. He gets lost in the forest and finds himself at a large castle whose gates and doors magically open themselves. On entering the castle, he is guided by an enchanted candelabra that leads him to a laden dinner table where he falls asleep. Awakened by a loud roar, he wanders the castle's grounds. Remembering that Belle asked for a rose, he plucks a rose from a tree which makes the Beast (Jean Marais) appear. The Beast threatens to kill him for theft but suggests that one of his daughters can take his place. The Beast offers his horse Magnificent to guide him through the forest and to his home.


title: Beauty and the Beast (1946 film)

text: Belle's father explains the situation to his family and Avenant. Belle agrees to take her father's place and rides Magnificent to the castle. Upon meeting the Beast, Belle faints at his monstrous appearance and is carried to her room in the castle. Belle awakens to find a magic mirror which allows her to see anything. The Beast invites Belle to dinner, where he tells her that she's in equal command to him and that she will be asked every day to marry him. Days pass as Belle grows more accustomed to and fond of the Beast, but she continues to refuse marriage. Using the magic mirror, Belle sees that her father has become deathly ill. Belle begs for permission to visit her family, and the Beast reluctantly grants her permission to leave for a week. He gives Belle two magical items: a glove that can transport her wherever she wishes and a golden key that unlocks Diana's Pavilion, the source of the Beast's true riches. He tells Belle that he gives her these precious items to show his trust in her, and says that if she does not return at the end of the week, he will die of grief.


title: Beauty and the Beast (1946 film)

text: Belle uses the glove to appear in her bedridden father's room, where her visit restores him to health. Belle finds her family living in poverty, having never recovered from Ludovic's deal with the moneylender. Jealous of Belle's rich life at the castle, Adelaide and Felicie steal her golden key and devise a plan to turn Ludovic and Avenant against the Beast. Avenant and Ludovic devise a plan of their own to kill the Beast, and agree to aid Belle's sisters. To stall Belle, her sisters trick her into staying past her seven-day limit by pretending to love her. Belle reluctantly agrees to stay.


title: Beauty and the Beast (1946 film)

text: The Beast sends Magnificent with the magic mirror to retrieve Belle but Ludovic and Avenant find Magnificent first, and ride him to the castle. Belle later finds the mirror which reveals the Beast's sorrowful face in its reflection. Belle realizes she is missing the golden key as the mirror breaks. Distraught, Belle returns to the castle using the magic glove and finds the Beast in the courtyard, near death from a broken heart.


title: Beauty and the Beast (1946 film)

text: Meanwhile, Avenant and Ludovic stumble upon Diana's Pavilion. Thinking that their stolen key may trigger a trap, they scale the wall of the Pavilion. As the Beast dies in Belle's arms, Avenant breaks into the Pavilion through its glass roof, whereupon he is shot with an arrow by an animated statue of the Roman goddess Diana and is himself turned into a Beast. As this happens, arising from where the Beast lay dead is Prince Ardent (Jean Marais) who is cured of being the Beast. He explains that because his parents did not believe in spirits, in revenge the spirits turned him into the Beast. Prince Ardent and Belle embrace, then fly away to his kingdom where she will be his Queen. He promises that her father will stay with them and Belle's sisters will carry the train of her gown.


title: Beauty and the Beast (1946 film)

text: The set designs and cinematography were intended to evoke the illustrations and engravings of Gustave Doré and, in the farmhouse scenes, the paintings of Jan Vermeer. The cinematography was performed by Henri Alekan. Christian Bérard and Lucien Carré covered production design.


title: Beauty and the Beast (1946 film)

text: At first, Jean Marais wanted to use a deer head, but decided against it because in "La Chatte blanche," the magical castle has a deer head as its door knocker. He also thought it would be linked to the myth of the Celtic god Cernunnos, the horned god. Also, Jean Cocteau thought that the audience would think that the head of a deer would be ridiculous for a dangerous, ferocious beast. They got Jean Marais' Alaskan Husky, Moulouk, to be the model of the beast's face.


title: Beauty and the Beast (1946 film)

text: The beast's makeup and prostheses took a long time to apply, taking about three hours to attach the beast's mask and one hour for each claw. The teeth would be hooked into the actor's mouth, which was not very practical for eating. This caused the actor to eat mainly soup.


title: Beauty and the Beast (1946 film)

text: In Vincent Pinel's "Century of Cinema," he writes (page 207), "With the complexity of the set designer Christian Bérard, the cinematographer Henri Alekan, and his "technical director" René Clément, Jean Cocteau filmed "Beauty and the Beast" (1946). The impressive makeup of Jean Marais, including both hands and claws, took long hours to apply." Cocteau says, in his film journal, how the close up shots of the beast resembles a deer. "Clément, hiding behind the beast, moves the beast's ears with a stick to make them stand up. The effect is amazing."


title: Beauty and the Beast (1946 film)

text: Upon the film's December 1947 New York City release, critic Bosley Crowther called the film a "priceless fabric of subtle images...a fabric of gorgeous visual metaphors, of undulating movements and rhythmic pace, of hypnotic sounds and music, of casually congealing ideas"; according to Crowther, "the dialogue, in French, is spare and simple, with the story largely told in pantomime, and the music of Georges Auric accompanies the dreamy, fitful moods. The settings are likewise expressive, many of the exteriors having been filmed for rare architectural vignettes at Raray, one of the most beautiful palaces and parks in all France. And the costumes, too, by Christian Bérard and Escoffier, are exquisite affairs, glittering and imaginative." According to "Time" magazine, the film is a "wondrous spectacle for children of any language, and quite a treat for their parents, too"; but the magazine concludes "Cocteau makes about a half-hour too much of a good thing—and few things pall like a dream that cannot be shaken off."