title: Bourgeoisie

text: These families attempt to be perceived as nobles, taking on such affectations, for example, as avoiding certain marriages or occupations. They differ from nobility only in that because of circumstances, the lack of opportunity, and/or political regime, they have not been ennobled. These people nevertheless live lavishly, enjoying the company of the great artists of the time. In France, the families of the "haute bourgeoisie" are also referred to as "les 200 familles", a term coined in the first half of the 20th century. Michel Pinçon and Monique Pinçon-Charlot studied the lifestyle of the French bourgeoisie, and how they boldly guard their world from the "nouveau riche", or newly rich.


title: Bourgeoisie

text: In the French language, the term "bourgeoisie" almost designates a caste by itself, even though social mobility into this socio-economic group is possible. Nevertheless, the "bourgeoisie" is differentiated from "la classe moyenne", or the middle class, which consists mostly of white-collar employees, by holding a profession referred to as a "profession libérale", which "la classe moyenne", in its definition does not hold. Yet, in English the definition of a white-collar job encompasses the "profession libérale".


title: Bourgeoisie

text: The "ancienne bourgeoisie" is a relatively recent sociological term coined by René Rémond and an additional subcategory in the French language to the "bourgeoisie" caste.


title: Bourgeoisie

text: In Rémond's preface of "L’ancienne bourgeoisie en France : émergence et permanence d'un groupe social du xvie siècle au xxe siècle“ published by Xavier de Montclos in 2013, he defines "l’ancienne bourgeoisie" as follows:


title: Bourgeoisie

text: "An intermediary social group between the aristocracy and what we would call the middle classes ("les classes moyennes" in French, which does not have the same sociological implications as in English) and which was established between 15th and 16th centuries...These families are for the most part provincial dynasties whose social ascension was accomplished in their region of origin and to which they generally remain attached to, and in which their descendants are still present...These families are deeply rooted in the "Ancien Régime"...They have insured the transmission of their material legacy, as well their convictions and set of values for over 400 and 500 years".


title: Bourgeoisie

text: Xavier de Montclos goes further by saying that these families acquired their status during the "Ancien Régime", and that they belonged to the town's elite and the upper-crust of the "bourgeoisie" caste.


title: Bourgeoisie

text: They usually acquired high and important administrative and judicial functions, and distinguished themselves through their success, particularly in business and industry. It was through this distinction that some of these families were able to acquire titles typically associated with the nobility, a caste from which they remained nonetheless excluded.


title: Bourgeoisie

text: Nazism rejected the Marxist concept of internationalist class struggle, but supported the "class struggle between nations", and sought to resolve internal class struggle in the nation while it identified Germany as a proletariat nation fighting against plutocratic nations.


title: Bourgeoisie

text: The Nazi Party had many working-class supporters and members, and a strong appeal to the middle class. The financial collapse of the white collar middle-class of the 1920s figures much in their strong support of Nazism. In the poor country that was the Weimar Republic of the early 1930s, the Nazi Party realised their social policies with food and shelter for the unemployed and the homeless—who were later recruited into the Brownshirt "Sturmabteilung" (SA – Storm Detachments).


title: Bourgeoisie

text: Hitler was impressed by the populist antisemitism and the anti-liberal bourgeois agitation of Karl Lueger, who as the mayor of Vienna during Hitler's time in the city, used a rabble-rousing style of oratory that appealed to the wider masses. When asked whether he supported the "bourgeois right-wing", Adolf Hitler claimed that Nazism was not exclusively for any class, and he also indicated that it favoured neither the left nor the right, but preserved "pure" elements from both "camps", stating: "From the camp of bourgeois tradition, it takes national resolve, and from the materialism of the Marxist dogma, living, creative Socialism".


title: Bourgeoisie

text: Hitler distrusted capitalism for being unreliable due to its egotism, and he preferred a state-directed economy that is subordinated to the interests of the "Volk".


title: Bourgeoisie

text: Hitler told a party leader in 1934, "The economic system of our day is the creation of the Jews". Hitler said to Benito Mussolini that capitalism had "run its course". Hitler also said that the business bourgeoisie "know nothing except their profit. 'Fatherland' is only a word for them." Hitler was personally disgusted with the ruling bourgeois elites of Germany during the period of the Weimar Republic, whom he referred to as "cowardly shits".


title: Bourgeoisie

text: Because of their ascribed cultural excellence as a social class, the Italian fascist régime (1922–45) of Prime Minister Benito Mussolini regarded the bourgeoisie as an obstacle to Modernism. Nonetheless, the Fascist State ideologically exploited the Italian bourgeoisie and their materialistic, middle-class spirit, for the more efficient cultural manipulation of the upper (aristocratic) and the lower (working) classes of Italy.


title: Bourgeoisie

text: In 1938, Prime Minister Mussolini gave a speech wherein he established a clear ideological distinction between capitalism (the social function of the bourgeoisie) and the bourgeoisie (as a social class), whom he dehumanised by reducing them into high-level abstractions: a moral category and a state of mind. Culturally and philosophically, Mussolini isolated the bourgeoisie from Italian society by portraying them as social parasites upon the fascist Italian state and "The People"; as a social class who drained the human potential of Italian society, in general, and of the working class, in particular; as exploiters who victimised the Italian nation with an approach to life characterised by hedonism and materialism. Nevertheless, despite the slogan "The Fascist Man Disdains the ″Comfortable″ Life", which epitomised the anti-bourgeois principle, in its final years of power, for mutual benefit and profit, the Mussolini fascist régime transcended ideology to merge the political and financial interests of Prime Minister Benito Mussolini with the political and financial interests of the bourgeoisie, the Catholic social circles who constituted the ruling class of Italy.


title: Bourgeoisie

text: Philosophically, as a materialist creature, the bourgeois man was stereotyped as irreligious; thus, to establish an existential distinction between the supernatural faith of the Roman Catholic Church and the materialist faith of temporal religion; in "The Autarchy of Culture: Intellectuals and Fascism in the 1930s", the priest Giuseppe Marino said that:


title: Bourgeoisie

text: Culturally, the bourgeois man may be considered effeminate, infantile, or acting in a pretentious manner; describing his philistinism in "Bonifica antiborghese" (1939), Roberto Paravese comments on the:


title: Bourgeoisie

text: The economic security, financial freedom, and social mobility of the bourgeoisie threatened the philosophic integrity of Italian Fascism, the ideological monolith that was the régime of Prime Minister Benito Mussolini. Any assumption of legitimate political power (government and rule) by the bourgeoisie represented a fascist loss of totalitarian state power for social control through political unity—one people, one nation, and one leader. Sociologically, to the fascist man, to become a bourgeois was a character flaw inherent to the masculine mystique; therefore, the ideology of Italian fascism scornfully defined the bourgeois man as "spiritually castrated".


title: Bourgeoisie

text: Karl Marx said that the culture of a society is dominated by the mores of the ruling-class, wherein their superimposed value system is abided by each social class (the upper, the middle, the lower) regardless of the socio-economic results it yields to them. In that sense, contemporary societies are bourgeois to the degree that they practice the mores of the small-business "shop culture" of early modern France; which the writer Émile Zola (1840–1902) naturalistically presented, analysed, and ridiculed in the twenty-two-novel series (1871–1893) about "Les Rougon-Macquart" family; the thematic thrust is the necessity for social progress, by subordinating the economic sphere to the social sphere of life.


title: Bourgeoisie

text: The critical analyses of the bourgeois mentality by the German intellectual Walter Benjamin (1892–1940) indicated that the shop culture of the petite bourgeoisie established the sitting room as the centre of personal and family life; as such, the English bourgeois culture is, he alleges, a sitting-room culture of prestige through conspicuous consumption. The material culture of the bourgeoisie concentrated on mass-produced luxury goods of high quality; between generations, the only variance was the materials with which the goods were manufactured.


title: Bourgeoisie

text: In the early part of the 19th century, the bourgeois house contained a home that first was stocked and decorated with hand-painted porcelain, machine-printed cotton fabrics, machine-printed wallpaper, and Sheffield steel (crucible and stainless). The utility of these things was inherent in their practical functions. By the latter part of the 19th century, the bourgeois house contained a home that had been remodelled by conspicuous consumption. Here, Benjamin argues, the goods were bought to display wealth (discretionary income), rather than for their practical utility. The bourgeoisie had transposed the wares of the shop window to the sitting room, where the clutter of display signalled bourgeois success. (See: "Culture and Anarchy", 1869.)


title: Bourgeoisie

text: Two spatial constructs manifest the bourgeois mentality: (i) the shop-window display, and (ii) the sitting room. In English, the term "sitting-room culture" is synonymous for "bourgeois mentality", a "philistine" cultural perspective from the Victorian Era (1837–1901), especially characterised by the repression of emotion and of sexual desire; and by the construction of a regulated social-space where "propriety" is the key personality trait desired in men and women.


title: Bourgeoisie

text: Nonetheless, from such a psychologically constricted worldview, regarding the rearing of children, contemporary sociologists claim to have identified "progressive" middle-class values, such as respect for non-conformity, self-direction, autonomy, gender equality and the encouragement of innovation; as in the Victorian Era, the transposition to the US of the bourgeois system of social values has been identified as a requisite for employment success in the professions.


title: Bourgeoisie

text: Bourgeois values are dependent on rationalism, which began with the economic sphere and moves into every sphere of life which is formulated by Max Weber. The beginning of rationalism is commonly called the Age of Reason. Much like the Marxist critics of that period, Weber was concerned with the growing ability of large corporations and nations to increase their power and reach throughout the world.


title: Bourgeoisie

text: Beyond the intellectual realms of political economy, history, and political science that discuss, describe, and analyse the "bourgeoisie" as a social class, the colloquial usage of the sociological terms "bourgeois" and "bourgeoise" describe the social stereotypes of the old money and of the "nouveau riche", who is a politically timid conformist satisfied with a wealthy, consumerist style of life characterised by conspicuous consumption and the continual striving for prestige. This being the case, the cultures of the world describe the philistinism of the middle-class personality, produced by the excessively rich life of the bourgeoisie, is examined and analysed in comedic and dramatic plays, novels, and films. (See: Authenticity.)


title: Bourgeoisie

text: The term bourgeoisie has been used as a pejorative and a term of abuse since the 19th century, particularly by intellectuals and artists.


title: Bourgeoisie

text: "Le Bourgeois gentilhomme" (The Would-be Gentleman, 1670) by Molière (Jean-Baptiste Poquelin), is a comedy-ballet that satirises Monsieur Jourdain, the prototypical nouveau riche man who buys his way up the social-class scale, to realise his aspirations of becoming a gentleman, to which end he studies dancing, fencing, and philosophy, the trappings and accomplishments of a gentleman, to be able to pose as a man of noble birth, someone who, in 17th-century France, was a man to the manor born; Jourdain's self-transformation also requires managing the private life of his daughter, so that her marriage can also assist his social ascent.


title: Bourgeoisie

text: "Buddenbrooks" (1901), by Thomas Mann (1875–1955), chronicles the moral, intellectual, and physical decay of a rich family through its declines, material and spiritual, in the course of four generations, beginning with the patriarch Johann Buddenbrook Sr. and his son, Johann Buddenbrook Jr., who are typically successful German businessmen; each is a reasonable man of solid character.


title: Bourgeoisie

text: Yet, in the children of Buddenbrook Jr., the materially comfortable style of life provided by the dedication to solid, middle-class values elicits decadence: The fickle daughter, Toni, lacks and does not seek a purpose in life; son Christian is honestly decadent, and lives the life of a ne'er-do-well; and the businessman son, Thomas, who assumes command of the Buddenbrook family fortune, occasionally falters from middle-class solidity by being interested in art and philosophy, the impractical life of the mind, which, to the bourgeoisie, is the epitome of social, moral, and material decadence.


title: Bourgeoisie

text: "Babbitt" (1922), by Sinclair Lewis (1885–1951), satirizes the American bourgeois George Follansbee Babbitt, a middle-aged realtor, booster, and joiner in the Midwestern city of Zenith, who – despite being unimaginative, self-important, and hopelessly conformist and middle-class – is aware that there must be more to life than money and the consumption of the best things that money can buy. Nevertheless, he fears being excluded from the mainstream of society more than he does living for himself, by being true to himself – his heart-felt flirtations with independence (dabbling in liberal politics and a love affair with a pretty widow) come to naught because he is existentially afraid.


title: Bourgeoisie

text: Yet, George F. Babbitt sublimates his desire for self-respect, and encourages his son to rebel against the conformity that results from bourgeois prosperity, by recommending that he be true to himself:


title: Bourgeoisie

text: Many of the satirical films by the Spanish film director Luis Buñuel (1900–1983) examine the mental and moral effects of the bourgeois mentality, its culture, and the stylish way of life it provides for its practitioners.


title: Homo

text: Homo () is the genus that emerged in the (otherwise extinct) genus "Australopithecus" that encompasses the extant species "Homo sapiens" (modern humans), plus several extinct species classified as either ancestral to or closely related to modern humans (depending on the species), most notably "Homo erectus" and "Homo neanderthalensis". The genus emerged with the appearance of "Homo habilis" just over 2 million years ago. "Homo", together with the genus "Paranthropus", is probably sister to "Australopithecus africanus", which itself had previously split from the lineage of "Pan", the chimpanzees.


title: Homo

text: "Homo erectus" appeared about 2 million years ago and, in several early migrations, spread throughout Africa (where it is dubbed "Homo ergaster") and Eurasia. It was likely that the first human species lived in a hunter-gatherer society and was able to control fire. An adaptive and successful species, "Homo erectus" persisted for more than a million years and gradually diverged into new species by around 500,000 years ago.


title: Homo

text: Anatomically modern humans ("Homo sapiens") emerged close to 300,000 to 200,000 years ago, in Africa, and "Homo neanderthalensis" emerged around the same time in Europe and Western Asia. "Homo sapiens" dispersed from Africa in several waves, from possibly as early as 250,000 years ago, and certainly by 130,000 years ago, the so-called Southern Dispersal beginning about 70–50,000 years ago leading to the lasting colonisation of Eurasia and Oceania by 50,000 years ago. Both in Africa and Eurasia, "Homo sapiens" met with and interbred with archaic humans. Separate archaic (non-"sapiens") human species are thought to have survived until around 40,000 years ago (Neanderthal extinction).


title: Homo

text: The Latin noun "homō" (genitive "hominis") means "human being" or "man" in the generic sense of "human being, mankind". The binomial name "Homo sapiens" was coined by Carl Linnaeus (1758). Names for other species of the genus were introduced beginning in the second half of the 19th century ("H. neanderthalensis" 1864, "H. erectus" 1892).


title: Homo

text: Even today, the genus "Homo" has not been strictly defined. Since the early human fossil record began to slowly emerge from the earth, the boundaries and definitions of the genus "Homo" have been poorly defined and constantly in flux. Because there was no reason to think it would ever have any additional members, Carl Linnaeus did not even bother to define "Homo" when he first created it for humans in the 18th century. The discovery of Neanderthal brought the first addition.


title: Homo

text: The genus "Homo" was given its taxonomic name to suggest that its member species can be classified as human. And, over the decades of the 20th century, fossil finds of pre-human and early human species from late Miocene and early Pliocene times produced a rich mix for debating classifications. There is continuing debate on delineating "Homo" from "Australopithecus"—or, indeed, delineating "Homo" from "Pan." Even so, classifying the fossils of "Homo" coincides with evidence of: (1) competent human bipedalism in "Homo habilis" inherited from the earlier "Australopithecus" of more than four million years ago, as demonstrated by the Laetoli footprints; and (2) human tool culture having begun by 2.5 million years ago.


title: Homo

text: From the late-19th to mid-20th centuries, a number of new taxonomic names including new generic names were proposed for early human fossils; most have since been merged with "Homo" in recognition that "Homo erectus" was a single species with a large geographic spread of early migrations. Many such names are now dubbed as "synonyms" with "Homo", including "Pithecanthropus", "Protanthropus", "Sinanthropus", "Cyphanthropus", "Africanthropus", "Telanthropus", "Atlanthropus", and "Tchadanthropus".


title: Homo

text: Classifying the genus "Homo" into species and subspecies is subject to incomplete information and remains poorly done. This has led to using common names ("Neanderthal" and "Denisovan"), even in scientific papers, to avoid trinomial names or the ambiguity of classifying groups as "incertae sedis" (uncertain placement)—for example, "H. neanderthalensis" vs. "H. sapiens neanderthalensis", or "H. georgicus" vs. "H. erectus georgicus". Some recently extinct species in the genus "Homo" have only recently been discovered and do not as yet have consensus binomial names (see Denisova hominin). Since the beginning of the Holocene, it is likely that "Homo sapiens" (anatomically modern humans) has been the only extant species of "Homo".


title: Homo

text: John Edward Gray (1825) was an early advocate of classifying taxa by designating tribes and families. Wood and Richmond (2000) proposed that Hominini ("hominins") be designated as a tribe that comprised all species of early humans and pre-humans ancestral to humans back to "after" the chimpanzee-human last common ancestor; and that Hominina be designated a subtribe of Hominini to include "only" the genus "Homo" — that is, "not" including the earlier upright walking hominins of the Pliocene such as "Australopithecus", "Orrorin tugenensis", "Ardipithecus", or "Sahelanthropus". Designations alternative to Hominina existed, or were offered: "Australopithecinae" (Gregory & Hellman 1939) and "Preanthropinae" (Cela-Conde & Altaba 2002); and later, Cela-Conde and Ayala (2003) proposed that the four genera "Australopithecus", "Ardipithecus", "Praeanthropus", and "Sahelanthropus" be grouped with "Homo" within Hominini (sans "Pan").


title: Homo

text: Several species, including "Australopithecus garhi", "Australopithecus sediba", "Australopithecus africanus", and "Australopithecus afarensis", have been proposed as the ancestor or sister of the "Homo" lineage. These species have morphological features that align them with "Homo", but there is no consensus as to which gave rise to "Homo".


title: Homo

text: Especially since the 2010s, the delineation of "Homo" in "Australopithecus" has become more contentious. Traditionally, the advent of "Homo" has been taken to coincide with the first use of stone tools (the Oldowan industry), and thus by definition with the beginning of the Lower Palaeolithic. But in 2010, evidence was presented that seems to attribute the use of stone tools to "Australopithecus afarensis" around 3.3 million years ago, close to a million years before the first appearance of "Homo". LD 350-1, a fossil mandible fragment dated to 2.8 Mya, discovered in 2013 in Afar, Ethiopia, was described as combining "primitive traits seen in early "Australopithecus" with derived morphology observed in later "Homo". Some authors would push the development of "Homo" close to or even past 3 Mya. Others have voiced doubt as to whether "Homo habilis" should be included in "Homo", proposing an origin of "Homo" with "Homo erectus" at roughly 1.9 Mya instead.


title: Homo

text: The most salient physiological development between the earlier australopithecine species and "Homo" is the increase in endocranial volume (ECV), from about in "A. garhi" to in "H. habilis" and further to in "H. erectus", in "H. heidelbergensis" and up to in "H. neanderthalensis". However, a steady rise in cranial capacity is observed already in "Autralopithecina" and does not terminate after the emergence of "Homo", so that it does not serve as an objective criterion to define the emergence of the genus.


title: Homo

text: "Homo habilis" emerged about 2.1 Mya. Already before 2010, there were suggestions that "H. habilis" should not be placed in genus "Homo" but rather in "Australopithecus". The main reason to include "H. habilis" in "Homo", its undisputed tool use, has become obsolete with the discovery of "Australopithecus" tool use at least a million years before "H. habilis". Furthermore, "H. habilis" was long thought to be the ancestor of the more gracile "Homo ergaster" ("Homo erectus"). In 2007, it was discovered that "H. habilis" and "H. erectus" coexisted for a considerable time, suggesting that "H. erectus" is not immediately derived from "H. habilis" but instead from a common ancestor. With the publication of Dmanisi skull 5 in 2013, it has become less certain that Asian "H. erectus" is a descendant of African "H. ergaster" which was in turn derived from "H. habilis". Instead, "H. ergaster" and "H. erectus" appear to be variants of the same species, which may have originated in either Africa or Asia and widely dispersed throughout Eurasia (including Europe, Indonesia, China) by 0.5 Mya.


title: Homo

text: "Homo erectus" has often been assumed to have developed anagenetically from "Homo habilis" from about 2 million years ago. This scenario was strengthened with the discovery of "Homo erectus georgicus", early specimens of "H. erectus" found in the Caucasus, which seemed to exhibit transitional traits with "H. habilis". As the earliest evidence for "H. erectus" was found outside of Africa, it was considered plausible that "H. erectus" developed in Eurasia and then migrated back to Africa. Based on fossils from the Koobi Fora Formation, east of Lake Turkana in Kenya, Spoor et al. (2007) argued that "H. habilis" may have survived beyond the emergence of "H. erectus", so that the evolution of "H. erectus" would not have been anagenetically, and "H. erectus" would have existed alongside "H. habilis" for about half a million years (), during the early Calabrian.


title: Homo

text: A separate South African species "Homo gautengensis" has been postulated as contemporary with "Homo erectus" in 2010.


title: Homo

text: A taxonomy of "Homo" within the great apes is assessed as follows, with "Paranthropus" and "Homo" emerging within "Australopithecus" (shown here cladistically granting "Paranthropus", "Kenyanthropus", and "Homo"). The exact phylogeny within "Australopithecus" is still highly controversial. Approximate radiation dates of daughter clades are shown in millions of years ago (Mya). "Graecopithecus," "Sahelanthropus", "Orrorin", possibly sisters to "Australopithecus", are not shown here. Note that the naming of groupings is sometimes muddled as often certain groupings are presumed before any cladistic analysis is performed.


title: Homo

text: Several of the "Homo" lineages appear to have surviving progeny through introgression into other lines. Genetic evidence indicates an archaic lineage separating from the other human lineages 1.5 million years ago, perhaps "H. erectus", may have interbred into the Denisovans about 55,000 years ago. Fossil evidence shows "Homo erectus" s.s. survived at least until 117,000 yrs ago, and the even more basal "Homo floresiensis" survived until 50,000 years ago. A 1.5 million years Homo erectus-like lineage appears to have made its way into modern humans through the Denisovans and specifically into the Papuans and aboriginal Australians. The genomes of non-sub-Saharan African humans show what appear to be numerous independent introgression events involving Neanderthal and in some cases also Denisovans around 45,000 years ago. The genetic structure of some sub-Saharan African groups seems to be indicative of introgression from a west Eurasian population some 3,000 years ago.


title: Homo

text: Some evidence suggests that "Australopithecus sediba" could be moved to the genus "Homo", or placed in its own genus, due to its position with respect to e.g. "Homo habilis" and "Homo floresiensis".


title: Homo

text: By about 1.8 million years ago, "Homo erectus" is present in both East Africa ("Homo ergaster") and in Western Asia ("Homo georgicus"). The ancestors of Indonesian "Homo floresiensis" may have left Africa even earlier.


title: Homo

text: "Homo erectus" and related or derived archaic human species over the next 1.5 million years spread throughout Africa and Eurasia (see: Recent African origin of modern humans). Europe is reached by about 0.5 Mya by "Homo heidelbergensis".


title: Homo

text: "Homo neanderthalensis" and "Homo sapiens" develop after about 300 kya. "Homo naledi" is present in Southern Africa by 300 kya.


title: Homo

text: "H. sapiens" soon after its first emergence spread throughout Africa, and to Western Asia in several waves, possibly as early as 250 kya, and certainly by 130 kya. In July 2019, anthropologists reported the discovery of 210,000 year old remains of a "H. sapiens" and 170,000 year old remains of a "H. neanderthalensis" in Apidima Cave, Peloponnese, Greece, more than 150,000 years older than previous "H. sapiens" finds in Europe.


title: Homo

text: Most notable is the Southern Dispersal of "H. sapiens" around 60 kya, which led to the lasting peopling of Oceania and Eurasia by anatomically modern humans. "H. sapiens" interbred with archaic humans both in Africa and in Eurasia, in Eurasia notably with Neanderthals and Denisovans.


title: Homo

text: Among extant populations of "Homo sapiens", the deepest temporal division is found in the San people of Southern Africa, estimated at close to 130,000 years, or possibly more than 300,000 years ago. Temporal division among non-Africans is of the order of 60,000 years in the case of Australo-Melanesians. Division of Europeans and East Asians is of the order of 50,000 years, with repeated and significant admixture events throughout Eurasia during the Holocene.


title: Homo

text: Archaic human species may have survived until the beginning of the Holocene, although they were mostly extinct or absorbed by the expanding "H. sapiens" populations by 40 kya (Neanderthal extinction).


title: Homo

text: The species status of "H. rudolfensis", "H. ergaster", "H. georgicus", "H. antecessor", "H. cepranensis", "H. rhodesiensis", "H. neanderthalensis", Denisova hominin, and "H. floresiensis" remain under debate. "H. heidelbergensis" and "H. neanderthalensis" are closely related to each other and have been considered to be subspecies of "H. sapiens".


title: Homo

text: There has historically been a trend to postulate new human species based on as little as an individual fossil. A "minimalist" approach to human taxonomy recognizes at most three species, "Homo habilis" (2.1–1.5 Mya, membership in "Homo" questionable), "Homo erectus" (1.8–0.1 Mya, including the majority of the age of the genus, and the majority of archaic varieties as subspecies, including "H. heidelbergensis" as a late or transitional variety) and "Homo sapiens" (300 kya to present, including "H. neanderthalensis" and other varieties as subspecies). "Species" does in this context not necessarily mean that hybridization and introgression were impossible at the time. However, it is often used as a convenient term, but it should be taken to mean to be a generic lineage at best, and clusters at worst. In general definitions and methodology of "species" delineation criteria are not generally agreed upon in anthropology or paleontology. Indeed, mammals can typically interbreed for 2 to 3 million years or longer, so all contemporary "species" in the genus "Homo" would potentially have been able to interbreed at the time, and introgression from beyond the genus "Homo" can not "a priori" be ruled out. It has been suggested that "H. naledi" may have been a hybrid with a late surviving "Australipith" (taken to mean beyond "Homo", ed.), despite the fact that these lineages generally are regarded as long extinct. As discussed above, many introgressions have occurred between lineages, with evidence of introgression after separation of 1.5 million years.


title: Miss Universe

text: Miss Universe is an annual international beauty pageant that is run by a Thailand–based Miss Universe Organization. It is one of the most watched pageants in the world with an estimated audience of over 500 million viewers in over 190 territories. Along with Miss World, Miss International, and Miss Earth, Miss Universe is one of the Big Four international beauty pageants.


title: Miss Universe

text: The Miss Universe Organization is currently owned by JKN Global Group. Telemundo has the licensing rights to air the pageant through 2023. The pageant's advocacy is "humanitarian issues and is a voice to affect positive change in the world."


title: Miss Universe

text: The current Miss Universe is Harnaaz Sandhu of India who was crowned on December 13, 2021 in Eilat, Israel.


title: Miss Universe

text: The title "Miss Universe" was first used by the International Pageant of Pulchritude in 1926. This contest was held annually until 1935, when the Great Depression and other events preceding World War II led to its demise.


title: Miss Universe

text: The current Miss Universe pageant was founded in 1952 by Pacific Knitting Mills, a California-based clothing company and manufacturer of Catalina Swimwear, and has since been headquartered in the United States. The company was the sponsor of the Miss America pageant until 1951, when the winner, Yolande Betbeze, refused to pose for publicity pictures wearing one of their swimsuits. In 1952, Pacific Knitting Mills organized the Miss USA and Miss Universe pageants, co-sponsoring them for decades to follow.


title: Miss Universe

text: The first Miss Universe Pageant was held in Long Beach, California in 1952. It was won by Armi Kuusela from Finland, who gave up her title, though not officially, to get married shortly before her year was completed. Until 1958, the Miss Universe title, like that of Miss America, was dated by the year following the contest, so at the time Ms. Kuusela's title was Miss Universe 1953. Since its founding by Pacific Mills, the pageant has been organized and conducted by the Miss Universe Organization. Eventually, Pacific Mills and its subsidiaries were acquired by the Kayser-Roth Corporation, which was in turn acquired by Gulf and Western Industries.


title: Miss Universe

text: The pageant was first televised in 1955. CBS began broadcasting the combined Miss USA and Miss Universe pageants in 1960, and as separate contests in 1965. More than 30 years later, Donald Trump bought the pageant in 1996 from ITT Corp, with a broadcasting arrangement with CBS until 2002. During this time, in 1998, Miss Universe, Inc. changed its name to the Miss Universe Organization, and moved its headquarters from Los Angeles to New York City. By late 2002, Trump entered into a joint venture with NBC, which in 2003 outbid the other markets for the TV rights. From 2003 to 2014, the pageant was broadcast in the United States on NBC.


title: Miss Universe

text: In June 2015, NBC cancelled all business relationships with Trump and the Miss Universe Organization in response to controversial statements about illegal immigrants who crossed the border from Mexico. As part of the legal settlement, in September 2015, Trump bought out NBC's 50% stake in the company, making him the company's sole owner. Three days later, he sold the whole company to WME/IMG. Following the change of ownership, in October 2015, Fox and Azteca became the official broadcasters of the Miss Universe and Miss USA pageants. The current president of the Miss Universe Organization is Paula Shugart, who has held this position since 1997.


title: Miss Universe

text: During the CBS telecast era, John Charles Daly hosted the Miss Universe Pageant from 1955 to 1966, Bob Barker from 1967 to 1987, Alan Thicke in 1988, John Forsythe in 1989, Dick Clark from 1990 to 1993, Bob Goen from 1994 to 1996, and Jack Wagner in 1998 and 1999. During the NBC telecast era, multiple hosts shared the duties—Billy Bush hosted the Miss Universe Pageant from 2003 to 2005 and 2009, Mario Lopez in 2007, Andy Cohen in 2011 and 2012, and Thomas Roberts in 2013 and 2014. Daisy Fuentes, Nancy O'Dell, Mel B and Natalie Morales are currently the only females to have hosted the event multiple times (from 2002 to 2004, 2005 and 2006, 2008 and 2013, and from 2010 to 2011 and 2014, respectively).


title: Miss Universe

text: Between 2015 and 2019, Miss Universe is televised live by Fox and hosted annually by Steve Harvey. The backstage correspondents include Roselyn Sanchez in 2015, Ashley Graham from 2016 to 2018, and Olivia Culpo in 2019. In 2020, the Miss USA and Miss Teen USA brands were split from the Miss Universe Organization into their independent organization, run by Crystle Stewart, while the broadcast rights to the Miss Universe Pageant was temporarily split between Telemundo and FYI. Lopez and Culpo then teamed up for co-hosting duties for the 2020 pageant after Harvey temporarily withdrew from the competition amidst COVID-19 pandemic restrictions at the time. The contract with Fox and Harvey was resumed for the 2021 edition, with Cheslie Kryst as the main correspondent.


title: Miss Universe

text: On October 26, 2022, Thailand-based JKN Global Group acquired Miss Universe Organization (MUO) from Endeavor Group Holdings-owned IMG Worldwide at $14 million, making Anne Jakapong Jakrajutatip the first transgender woman to own the organization and marking the first time the organization expands its headquarters outside the U.S. From the 2022 edition onwards, NBC has re-acquired broadcast rights for the competition as a result of the ownership changes.


title: Miss Universe

text: To gain participation in Miss Universe, a country needs a local company or person to buy the local rights of the competition through a franchise fee. The fee includes the rights of image, brand and everything related to the pageant. Often the owner of the franchise returns the franchise to the Miss Universe Organization, which resells it to a new stakeholder. The reselling of the franchise from one owner to the next is recurrently common in the history of the event, sometimes for contractual breaches or financial reasons. The number of participants fluctuates annually because of the franchising of the pageant paired with conflicting schedules to the regular calendar, but has steadied above 70 countries since 1989.


title: Miss Universe

text: Usually a country's candidate selection involves pageants in the nation's local subdivisions, where local winners compete in a national pageant, but there are some countries who opt for an internal selection. For example, from 2000 to 2004, Australian delegates were chosen by a modeling agency. Although such "castings" are generally discouraged by the Miss Universe Organization, Jennifer Hawkins was chosen to represent the country in Miss Universe in 2004 (where she would eventually win the crown). Australia would eventually reinstate its national pageant for Miss Universe from 2005 onwards.


title: Miss Universe

text: Recent countries that debuted in the pageant include Cameroon (2020), Bahrain (2021) and Bhutan (2022). Nepal is the latest newcomer to place in the semifinals in Miss Universe after debuting in 2017 and completing its first ever semifinal placement in the Top 10 in 2018. The Bahamas is the most recent country to obtain its first ever semifinal placement at Miss Universe, entering the Top 10 in 2021. Meanwhile, Botswana remains the most recent first-time entry to ever win Miss Universe on its debut year (in Mpule Kwelagobe in 1999), and Angola is the most recent country to obtain its first ever national win in Miss Universe (in Leila Lopes in 2011).


title: Miss Universe

text: Cultural barriers, particularly with the swimsuit competition, have prevented some countries from participating, while others like Mozambique have not participated because of the prohibitive cost of the event. The Miss Universe has historically proven popular in regions like the Americas, Africa and Asia, especially in countries like USA, Philippines, Colombia, Brazil, Venezuela, South Africa, Thailand and Indonesia, given their successful track record of multiple semifinal appearances in the last decade and combined multiple titles in the competition's history. As of , only two countries have been present at every Miss Universe since its inception in 1952: Canada and France. Two countries have been present at all but one: United States (1957) and Germany (2020).


title: Miss Universe

text: Since its inception, contestants have also been forbidden to be married or pregnant during the competition, and, in the case of winners, during their reign. Beginning in 2023, however, the Miss Universe Organization will allow married or pregnant women to compete in the pageant. Accepting married contestants reinvigorates tension between the American-based Miss Universe pageant and the European-based Mrs. Universe pageant, which was previously the only avenue for married women to compete for the Universe title. However, distinction between the two pageants still exists based on upper age limits, where Mrs. Universe allows contestants up to 45 years of age, while Miss Universe remains restricted to women under 28 even if they are married.


title: Miss Universe

text: Miss Universe has always strictly prohibited age fabrication. While the pageant's minimum age limit has been set at 18 years old, this presents a problem for several European countries that allow 17-year-old contestants to compete in their pageants. National titleholders under 18 years of age must be replaced by their runner-up or another candidate in the main pageant. In recent years, all Miss Universe candidates have been required to be at least university degree holders or working professionals from the onset of their national pageants.


title: Miss Universe

text: Since 2012, openly transgender women have been allowed to compete as long as they won their national pageants. Six years after this rule went into effect, Angela Ponce of Spain became the first openly transgender candidate to compete in the contest, in the 2018 edition. In 2019, Myanmar's Swe Zin Htet became the first openly lesbian woman to compete in Miss Universe. Spain's Patricia Yurena Rodríguez is currently the highest-placed LGBT member at Miss Universe, placing second to Venezuela's Gabriela Isler in 2013, but did not come out until years after the competition. In 2021, the Philippines' Beatrice Gomez became the first openly bisexual (and LGBT) contestant to enter the Miss Universe semifinals, after finishing in the Top 5 that year.


title: Miss Universe

text: Throughout the history of Miss Universe, the main pageant has varied widely in terms of annual scheduling. In the last decade, the Miss Universe competition has been consistently held over a two-week period between early November and late January. Because of television schedule demands (largely as a result of international timezone differences) or conflicting national events happening during the organizing process (such as the ongoing COVID-19 pandemic, the Olympics, FIFA World Cup and national elections depending on the hosting country), four editions have been postponed to next year (as with the 2014, 2016, 2020, and 2022 editions). The most recent edition held during the regular calendar year was in 2021, held in Eilat, Israel on 13 December 2021. The next edition 2022 pageant is scheduled for January 14, 2023 in New Orleans, United States. Between the early 1970s through the late 2000s, the pageant spans a full month (typically between March and June) to allow time for rehearsals, appearances, and the preliminary competition, with the winner being crowned by the previous year's titleholder during the final competition.


title: Miss Universe

text: According to the organizers, the Miss Universe contest is more than a beauty pageant, though they are expected to participate in swimsuit and evening gown competitions. Women aspiring to become Miss Universe must be intelligent, well-mannered, and cultured. If a candidate is unable to perform well during each round, she is often eliminated. Normally, the placements of the candidates are determined by a ranked vote, where each judge ranks each of the candidates individually and within the stipulated rules. Commencing at the first pageant until 2016, the pageant semifinalists were chosen on a round robin system. Between 2017 and 2019, the semifinalists were selected based on highest scores per continental group followed by the judging panel's wildcard list along a extra candidate chosen in popular choice. In the past, all preliminary results were reset and a new competition starts with the highest placed positions at the semifinals. From 2020 onwards, the round robin system was reinstated where in each round of the grand final, the group of candidates with the lowest rates are progressively eliminated. However, this criterion has been modified to use weighted averages or with points accumulated by stages from the preliminary competition to coronation night, with the assessment in ascending or descending order. Since the pageant's inception, all semifinalists are announced at the beginning of the live telecast regardless of the edition's format and if ties occur in the final rounds, the preliminary results are used.


title: Miss Universe

text: The winner then signs a contract with the Miss Universe Organization that can last from seven to eighteen months (the period of its duration is variable, as it follows the demands of the Miss Universe Organization). The new Miss Universe takes office immediately after the coronation and takes on a public cause in which she becomes the ambassador for a year to spread messages about the control of diseases, peace, and public awareness of AIDS (though the organization's more recent humanitarian works have included various causes such as women's and ethnic minority rights, along with contemporary racial issues, public health issues and the consequences of global warming). Aside from the job, the winner also receives a cash allowance for her entire reign, a New York Film Academy scholarship, a modeling portfolio, beauty products, clothes, shoes, as well as styling, healthcare, and fitness services by different sponsors of the pageant. She also gains exclusive access to events such as fashion shows and opening galas, as well as access to casting calls and modeling opportunities throughout New York City. Between 1996 and 2015, the winner is given the use of a Trump Place apartment in New York City during her reign, which she shares with the Miss USA and Miss Teen USA titleholders. Starting in 2022, the winner and the two runners-up in the Top 3 will shuffle between residences in New York, United States and Bangkok, Thailand.


title: Miss Universe

text: If the winner, for any reason, cannot fulfill her duties as Miss Universe, the first runner-up takes over. This protocol has happened only once as of , when Panama's Justine Pasek succeeded Russia's Oxana Fedorova as Miss Universe in 2002 after the latter's dethronement later that same year. Aside from the main winner and her runners-up, special awards are also given to the winners of the Best National Costume, Miss Photogenic, and Miss Congeniality. The Miss Congeniality award is chosen by the delegates themselves. In recent years, Miss Photogenic has been chosen by popular internet vote (the winner used to be chosen by media personnel covering the event), and the winning country for Best National Costume is announced live after the naming of the semifinalists during the coronation night.


title: Miss Universe

text: The Miss Universe Organization is the organization that currently owns and runs the Miss Universe pageant. Between 2020 to 2022, ceased to organize Miss USA and Miss Teen USA, when the franchise was in the hands of Crystle Stewart.


title: Miss Universe

text: Based in New York and Bangkok, the organization is currently owned by the Thai holding and conglomerate JKN Global Group since 20 October 2022, when the former owners WME/IMG sold the pageant. The current president is Paula Shugart. The organization sells television rights to the pageants in other countries.


title: Miss Universe

text: The following is a list of all Miss Universe Organization titleholders from the founding of each pageant until the separation of Miss USA and Miss Teen USA into a separate organization between 2020 to 2022.


title: Miss Universe

text: Electronic Arts was reportedly developing a video game based on the pageant, but development status is currently uncertain due to the closure of EA Black Box, the studio allegedly developing the game.


title: Pom Klementieff

text: Pom Alexandra Klementieff (; born 3 May 1986) is a French actress and model. She was trained at the Cours Florent drama school in Paris and appeared in such French films as "The Easy Way" (2008) and "Sleepless Night" (2011), before making her American film debut in "Oldboy" (2013).


title: Pom Klementieff

text: Klementieff received worldwide recognition for her role as Mantis in the Marvel Cinematic Universe films "Guardians of the Galaxy Vol. 2" (2017), "" (2018), "" (2019), "" (2022) and the television film "The Guardians of the Galaxy Holiday Special" (2022). She will also reprise the role in the upcoming film "Guardians of the Galaxy Vol. 3" (2023).


title: Pom Klementieff

text: Pom Klementieff was born in Quebec City, Quebec, Canada, to a Korean mother and Russian-French father Alexis Klementieff, who was working there as a consul with the government of France. She is a French citizen, but does not have Canadian citizenship because "jus soli" does not apply to children of diplomats. Her grandfather was the Russian painter Eugene Klementieff (1901-c.1985). Her parents chose the name "Pom" because it is similar in pronunciation to the Korean words for both "spring" () and "tiger" (). Klementieff lived in Canada for one year before her family began travelling extensively due to her father's job. They lived in Japan and Ivory Coast, before settling in France.


title: Pom Klementieff

text: Klementieff's father died of cancer when she was five, and her mother had schizophrenia and was unable to care for children, so Klementieff was raised by her paternal uncle and aunt. Her uncle, whom she described as "like [her] second father", died on her 18th birthday, and her older brother Namou died by suicide seven years later, on her 25th birthday. Klementieff briefly studied law in an undergraduate capacity after her uncle's death to appease her aunt but did not find the career path appealing. She also worked as a waitress and saleswoman in France. She started acting at age 19 at the Cours Florent drama school in Paris. A few months into her education, she won a theatre competition that awarded her free classes for two years with the school's top teachers.


title: Pom Klementieff

text: Klementieff's first professional acting job was the French independent film "Après lui" (2007), portraying the stepdaughter of the protagonist played by Catherine Deneuve. Filming for her scenes took three days. During one scene, Klementieff was supposed to push someone down a set of stairs but accidentally fell down the stairs herself, and director Gaël Morel kept that shot in the final film.


title: Pom Klementieff

text: Her first leading role was in "Loup" (2009), a French film about a tribe of reindeer herders in the Siberian mountains. During filming, Klementieff stayed in a camp, hours from the nearest village, where temperatures dropped well below zero. During filming she befriended nomads who lived there, worked with real wolves, rode reindeer, and swam with a horse in a lake.


title: Pom Klementieff

text: Klementieff made her Hollywood debut in Spike Lee's "Oldboy" (2013), a remake of the South Korean film of the same name. She portrayed Haeng-bok, the bodyguard of the antagonist played by Sharlto Copley. A fan of the original film, Klementieff heard about the part through Roy Lee, a producer with the remake, and took boxing lessons after learning the role involved martial arts. After showcasing her boxing skills during her audition, Lee asked her to go home and come back wearing a more feminine outfit and make-up, like her character in the film. She contributed some of her own clothes to the character's wardrobe, and trained three hours a day for two months for an on-screen fight with star Josh Brolin. Klementieff came up with the name Haeng-bok, Korean for "happiness", herself after Lee asked her to research possible names for the character.


title: Pom Klementieff

text: Klementieff moved to Los Angeles after "Oldboy" was filmed and began pursuing more Hollywood auditions. She continued taekwondo after the film, and has a purple belt as of the summer of 2014. Her next acting role was the film "Hacker's Game" (2015), in which she plays a hacker she compared to Lisbeth Salander from the novel "The Girl with the Dragon Tattoo". Klementieff used her boxing skills again in the film, and due to the movie's low budget, she had to do her own make-up and choose her own wardrobe. It was her idea to dye her hair purple for the role, to which the directors first objected but later acquiesced. In 2017, she appeared in the romance drama "Newness" and the black comedy-drama "Ingrid Goes West".


title: Pom Klementieff

text: Klementieff received worldwide recognition when she joined the Marvel Cinematic Universe as Mantis, appearing in the films "Guardians of the Galaxy Vol. 2" (2017), "" (2018), and "" (2019). In 2019, she appeared in an episode of the Netflix science fiction anthology series "Black Mirror", the thriller film "Uncut Gems", and had voice roles in the animated supernatural comedy film "The Addams Family". In 2020, she had a recurring role as Martel in the HBO science fiction series "Westworld".


title: Jean Harlow

text: Jean Harlow (born Harlean Harlow Carpenter; March 3, 1911 – June 7, 1937) was an American actress. Known for her portrayal of "bad girl" characters, she was the leading sex symbol of the early 1930s and one of the defining figures of the pre-Code era of American cinema. Often nicknamed the "Blonde Bombshell" and the "Platinum Blonde", Harlow was popular for her "Laughing Vamp" screen persona. Harlow was in the film industry for only nine years, but she became one of Hollywood's biggest movie stars, whose image in the public eye has endured. In 1999, the American Film Institute ranked Harlow 22 on their greatest female screen legends of classical Hollywood cinema list.


title: Jean Harlow

text: Harlow was first signed by business magnate Howard Hughes, who directed her first major role in "Hell's Angels" (1930). After a series of critically failed films, and Hughes' loss of interest in her career, Metro-Goldwyn-Mayer bought out Harlow's contract in 1932 and cast her in leading roles in a string of hits built on her comedic talent: "Red-Headed Woman" (1932), "Red Dust" (1932), "Dinner at Eight" (1933), "Reckless" (1935) and "Suzy" (1936). Harlow's popularity rivaled and then surpassed that of MGM's top leading ladies Joan Crawford, Greta Garbo and Norma Shearer. She died at the age of 26 of kidney failure while filming "Saratoga". MGM completed the film with the use of body doubles and released it less than two months after her death; it became MGM's most successful film of 1937, as well as the highest-grossing film of her career.


title: Jean Harlow

text: Harlow was born as Harlean Harlow Carpenter in a house located at 3344 Olive Street in Kansas City, Missouri.


title: Jean Harlow

text: Her father, Mont Clair Carpenter (1877–1974), son of Abraham L. Carpenter and Dianna ("née" Beal), was a dentist who attended dental school in Kansas City. He was from a working-class background. Her mother, Jean Poe Carpenter ("née" Harlow; 1891–1958), was the daughter of wealthy real estate broker Skip Harlow and his wife, Ella Harlow ("née" Williams). In 1908, Skip Harlow arranged his daughter's marriage to Mont Clair Carpenter. She was underage at the time and grew resentful and unhappy in the marriage, but the Carpenters remained together living in a Kansas City house owned by her father.


title: Jean Harlow

text: Harlean was called "The Baby", a nickname to which she was accustomed and which endured for the rest of her life. It was not until she was five years old that she learned her real name was Harlean, when staff and students at Miss Barstow's Finishing School for Girls used the name. Harlean was always very close to her mother, who was extremely protective. Her mother was reported to have instilled a sense in her daughter that she owed everything she had to her; "She was always all mine!", Mama Jean said of her daughter in interviews. Jean Carpenter was later known by "Mama Jean" when Harlean achieved star status as Jean Harlow.


title: Jean Harlow

text: When Harlean was at finishing school, her mother filed for a divorce. On September 29, 1922, the uncontested divorce was finalized, giving sole custody of Harlean to her mother. Although Harlean loved her father, she did not see him often after the divorce.


title: Jean Harlow

text: In 1923, the 32-year-old Jean Carpenter took her daughter and moved to Hollywood in hopes of becoming an actress, but was told that she was too old to begin a film career. Harlean was enrolled at the Hollywood School for Girls, where she met Douglas Fairbanks, Jr., Joel McCrea, and Irene Mayer Selznick, but dropped out at the age of 14, in the spring of 1925.


title: Jean Harlow

text: With their finances dwindling, Jean and Harlean moved back to Kansas City after Skip Harlow issued an ultimatum that he would disinherit his daughter if they did not return. Several weeks later, Skip sent his granddaughter to summer camp at Camp Cha-Ton-Ka, in Michigamme, Michigan, where she became ill with scarlet fever. Jean Carpenter traveled to Michigan to care for Harlean, rowing herself across the lake to the camp, but was told that she could not see her daughter.


title: Jean Harlow

text: Harlean next attended the Ferry Hall School (now Lake Forest Academy) in Lake Forest, Illinois. Jean Carpenter had an ulterior motive for her daughter's attendance at this particular school: It was close to the Chicago home of her boyfriend, Marino Bello.


title: Jean Harlow

text: During Harlow’s freshman year at the school, she was paired with a "big sister" from the senior class who introduced her to 19-year-old Charles "Chuck" Fremont McGrew III, an heir to a large fortune. By the fall of 1926, Harlean and Chuck were dating seriously, and they were married in 1927. Jean Carpenter was also married that same year to Marino Bello, on January 18. However, Harlow did not attend her mother's wedding.


title: Jean Harlow

text: In 1928, two months after the wedding, Chuck McGrew turned 21 and received part of his inheritance. The couple left Chicago and moved to Los Angeles, settling into a home in Beverly Hills, where Harlow thrived as a wealthy socialite. McGrew hoped to distance Harlow from her mother with the move. Neither Chuck nor Harlow worked during this time, and both were considered heavy drinkers.


title: Jean Harlow

text: While living in Los Angeles, Harlean befriended a young aspiring actress named Rosalie Roy. Not owning a car herself, Rosalie asked Harlean to drive her to Fox Studios for an appointment. While waiting for Rosalie, Harlean was noticed and approached by Fox executives, whom she told she was not interested. Nevertheless, she was given letters of introduction to Central Casting. A few days later, Rosalie Roy bet Harlean that she did not have the nerve to go in for an audition. Unwilling to lose a wager and pressed by her enthusiastic mother who had followed her daughter to Los Angeles by this time, Harlean went to Central Casting and signed in under her mother's maiden name, Jean Harlow.


title: Jean Harlow

text: After several calls from casting and a number of rejected job offers by Harlean, Mother Jean finally pressed her into accepting work at the studio. Harlean appeared in her first film, "Honor Bound" (1928), as an unbilled "extra" for $7 a day and a box lunch, common pay for such work. This led to a wage increase to $10 per day and small parts in feature films such as "Moran of the Marines" (1928) and the Charley Chase lost film "Chasing Husbands" (1928). In December 1928, Harlean as Jean Harlow signed a five-year contract with Hal Roach Studios for $100 per week. She had small roles in the 1929 Laurel and Hardy shorts: "Double Whoopee", "Liberty" and "Bacon Grabbers", the last giving her a costarring credit.


title: Jean Harlow

text: In March 1929, she parted with Hal Roach, who tore up her contract after Harlow told him, "It's breaking up my marriage, what can I do?" In June 1929, Harlow separated from her husband and moved in with Mother Jean and Bello. After her separation from McGrew, Harlow continued working as an "extra" in such films as "This Thing Called Love", "Close Harmony", and "The Love Parade" (all 1929), until she landed her first speaking role in the Clara Bow film "The Saturday Night Kid". Harlow and her husband divorced in 1929.


title: Jean Harlow

text: In late 1929, Harlow was spotted by Ben Lyon, an actor filming Howard Hughes' "Hell's Angels"; another account gives "Angels" head cameraman Arthur Landau as the man that spotted and suggested her to Hughes. Hughes was reshooting most of his originally silent film with sound and needed an actress to replace Greta Nissen, whose Norwegian accent was undesirable for her character. Harlow screen-tested for Hughes, who gave her the part and signed her to a five-year, $100-per-week contract on October 24, 1929. During filming, Harlow met MGM executive Paul Bern.


title: Jean Harlow

text: "Hell's Angels" premiered in Hollywood at Grauman's Chinese Theatre on May 27, 1930, and became the highest-grossing film of that year, besting even Greta Garbo's talkie debut in "Anna Christie". "Hell's Angels" made Harlow an international star. Though she was popular with audiences, the critics were less than enthusiastic. "The New Yorker" called her performance "plain awful", though "Variety" magazine conceded, "It doesn't matter what degree of talent she possesses ... nobody ever starved possessing what she's got."


title: Jean Harlow

text: In spite of her relative success with "Hell's Angels", Harlow again found herself in the role of "uncredited extra" in the Charlie Chaplin film "City Lights" (1931), though her appearance did not make the final cut. With no other projects planned for Harlow at the time, Hughes decided to send her to New York, Seattle, and Kansas City for "Hell's Angels" premieres. In 1931, his Caddo Company loaned her out to other studios, where she gained more attention by appearing in "The Secret Six", with Wallace Beery and Clark Gable; "Iron Man", with Lew Ayres and Robert Armstrong; and "The Public Enemy", with James Cagney. Even though the successes of these films ranged from moderate to hit, Harlow's acting ability was mocked by critics. Hughes sent her on a brief publicity tour in order to bolster her career, but this was not a success as Harlow dreaded making personal appearances.


title: Jean Harlow

text: Harlow briefly dated Abner Zwillman, who bought her a jeweled bracelet and a red Cadillac, and made a large cash loan to studio head Harry Cohn to obtain a two-picture deal for her at Columbia Pictures. The relationship ended when he reportedly referred to her in derogatory and vulgar terms when speaking to other associated crime figures, as revealed in secret surveillance recordings.


title: Jean Harlow

text: Columbia Pictures' first cast Harlow in a Frank Capra film with Loretta Young, originally titled "Gallagher" for Young's lead character but renamed "Platinum Blonde" to capitalize on Hughes' publicity of Harlow's "platinum" hair color. Though Harlow denied her hair was bleached, the platinum blonde color was reportedly achieved with a weekly application of ammonia, Clorox bleach, and Lux soap flakes. This process weakened and damaged Harlow's naturally ash-blonde hair. Many female fans began dyeing their hair to match hers and Hughes' team organized a series of "Platinum Blonde" clubs across the nation offering a prize of $10,000 to any beautician who could match Harlow's shade. No one could, and the prize went unclaimed, but the publicity scheme worked and the "Platinum Blonde" nickname stuck with Harlow. Her second film for that studio was "Three Wise Girls" (1932), with Mae Clarke and Walter Byron.


title: Jean Harlow

text: Paul Bern then arranged with Hughes to borrow her for MGM's "The Beast of the City" (1932), co-starring Walter Huston. After filming, Bern booked a 10-week personal-appearance tour on the East Coast. To the surprise of many, especially Harlow herself, she packed every theater in which she appeared, often appearing in a single venue for several nights. Despite critical disparagement and poor roles, Harlow's popularity and following were large and growing, and in February 1932, the tour was extended by six weeks.


title: Jean Harlow

text: According to Fay Wray, who played Ann Darrow in RKO Pictures's "King Kong" (1933), Harlow was the original choice to play the screaming blonde heroine, but was under an exclusive contract with MGM during the film's pre-production phase—and the part went to Wray, a brunette who had to wear a blonde wig.


title: Jean Harlow

text: When mobster Benjamin "Bugsy" Siegel came to Hollywood to expand casino operations, Harlow became the informal godmother of Siegel's eldest daughter, Millicent, when the family lived in Beverly Hills.


title: Jean Harlow

text: Paul Bern was now romantically involved with Harlow and spoke to Louis B. Mayer about buying her contract with Hughes and signing her to MGM, but Mayer declined. MGM's leading ladies were presented as elegant, and Harlow's screen persona was not so to Mayer. Bern then began urging close friend Irving Thalberg, production head of MGM, to sign Harlow, noting her popularity and established image. After initial reluctance Thalberg agreed, and on March 3, 1932, Harlow's 21st birthday, Bern called her with the news that MGM had purchased her contract from Hughes for $30,000. Harlow officially joined the studio on April 20, 1932.


title: Jean Harlow

text: At MGM, Harlow was given superior movie roles to show off her looks and nascent comedic talent. Though her screen persona changed dramatically during her career, one constant was her sense of humor. In 1932, she starred in the comedy "Red-Headed Woman" for which she received $1,250 a week. It was the first film in which she "resembles something of an actress", portraying a woman who is successful at being amoral in a film that does not moralize or punish the character for her behavior. The film is often noted as being one of the few films in which Harlow did not appear with platinum blonde hair; she wore a red wig for the role. While Harlow was filming "Red-Headed Woman", actress Anita Page passed her on the studio lot without acknowledging her. She later told Page that the snub had caused her to cry until she saw herself, noticed the red wig, and burst out laughing when she realized Page had not recognized her. "That shows you how sensitive she was", Page said. "She was a lovely person in so many ways."


title: Jean Harlow

text: She next starred in "Red Dust", her second film with Clark Gable. Harlow and Gable worked well together and co-starred in a total of six films. She was also paired multiple times with Spencer Tracy and William Powell. MGM began trying to distinguish Harlow's public persona from her screen characters by putting out press releases that her childhood surname was not the common 'Carpenter' but the chic 'Carpentiér', claiming that writer Edgar Allan Poe was one of her ancestors and publishing photographs of her doing charity work to change her image to that of an all-American woman. This transformation proved difficult; once, Harlow was heard muttering, "My God, must I always wear a low-cut dress to be important?"


title: Jean Harlow

text: During the making of "Red Dust", Bern—her husband of two months—was found dead at their home; this created a lasting scandal. Initially, Harlow was suspected of killing Bern, but his death was officially ruled a suicide by self-inflicted gunshot wound. Louis B. Mayer feared negative publicity from the incident and intended to replace Harlow in the film, offering the role to Tallulah Bankhead. Bankhead was appalled by the offer and wrote in her autobiography, "To damn the radiant Jean for the misfortune of another would be one of the shabbiest acts of all time. I told Mr. Mayer as much." Harlow kept silent, survived the ordeal, and became more popular than ever. A 2009 biography of Bern asserted that Bern was, in fact, murdered by a former lover and the crime scene re-arranged by MGM executives to make it appear Bern had killed himself.


title: Jean Harlow

text: After Bern's death, Harlow began an indiscreet affair with boxer Max Baer who, though separated from his wife Dorothy Dunbar, was threatened with divorce proceedings naming Harlow as a co-respondent for alienation of affection, a legal term for adultery. After Bern's death, the studio did not want another scandal and defused the situation by arranging a marriage between Harlow and cinematographer Harold Rosson. Rosson and Harlow were friends, and Rosson went along with the plan. They quietly divorced eight months later.


title: Jean Harlow

text: By 1933, MGM realized the value of the Harlow-Gable team with "Red Dust" and paired them again in "Hold Your Man" (1933), which was also a box-office success. In the same year, she played the adulterous wife of Wallace Beery in the all-star comedy-drama "Dinner at Eight", and played a pressured Hollywood film star in the screwball comedy "Bombshell" with Lee Tracy and Franchot Tone. The film has been said to be based on Harlow's own life or that of 1920s "It girl" Clara Bow.


title: Jean Harlow

text: The following year, she was teamed with Lionel Barrymore and Tone in "The Girl from Missouri" (1934). The film was the studio's attempt to soften Harlow's image, but suffered from censorship problems, so much so that its original title, "Born to Be Kissed", had to be changed.


title: Jean Harlow

text: After the hit "Hold Your Man", MGM cast the Harlow-Gable team in two more successful films: "China Seas" (1935), with Wallace Beery and Rosalind Russell; and "Wife vs. Secretary" (1936), with Myrna Loy and James Stewart. Stewart later spoke of a scene in a car with Harlow in "Wife vs. Secretary", saying, "Clarence Brown, the director, wasn't too pleased by the way I did the smooching. He made us repeat the scene about half a dozen times ... I botched it up on purpose. That Jean Harlow sure was a good kisser. I realized that until then, I had never been really kissed."


title: Jean Harlow

text: Harlow was consistently voted one of the strongest box office draws in the United States from 1933 onward, often outranking her female colleagues at MGM in audience popularity polls. By the mid-1930s, she was one of the biggest stars in the US, and, it was hoped, MGM's next Greta Garbo. Still young, her star continued to rise while the popularity of other female stars at MGM, such as Garbo, Joan Crawford and Norma Shearer, waned. Harlow's movies continued to make huge profits at the box office even during the middle of the Depression.


title: Jean Harlow

text: After her third marriage ended in 1934, Harlow met William Powell, another MGM star, and quickly fell in love. The couple were reportedly engaged for two years, but differences that ranged from past marriages to Powell's uncertainty about the future, kept them from publicly formalizing their relationship. The two co-starred in her next film "Reckless" (1935), her first movie musical; her voice was dubbed with that of skilled vocalist Virginia Verrill.


title: Jean Harlow

text: "Suzy" (1936), in which she played the title role, gave her top billing over four time co-star Tone and Cary Grant. While critics noted that Harlow dominated the film, it was a reasonable box-office success. She then starred in "Riffraff" (1936) a financial disappointment that co-starred Spencer Tracy and Una Merkel. Afterwards the release of worldwide hit "Libeled Lady" (1936), in which she was top-billed over Powell, Loy, and Tracy, brought good reviews for Harlow's comedic performance. She then filmed W.S. Van Dyke's comedy "Personal Property" (1937), co-starring Robert Taylor. It was Harlow's final completed motion picture appearance.


title: Jean Harlow

text: In January 1937, Harlow and Robert Taylor traveled to Washington, D.C., to take part in fundraising activities associated with President Franklin D. Roosevelt's birthday, for the organization later known as the March of Dimes. The trip was physically taxing for Harlow, and she contracted influenza. She recovered in time to attend the Academy Awards ceremony with William Powell.


title: Jean Harlow

text: Filming for Harlow's final film, "Saratoga", co-starring Clark Gable, was scheduled to begin in March 1937. However, production was delayed when she developed sepsis after a multiple wisdom tooth extraction, and had to be hospitalized. Almost two months later, Harlow recovered, and shooting began on April 22, 1937. She also appeared on the May 3 cover of "Life" magazine in photographs by Martin Munkácsi.


title: Jean Harlow

text: On May 20, 1937, while filming "Saratoga", Harlow began to complain of illness. Her symptoms—fatigue, nausea, fluid retention and abdominal pain—did not seem very serious to the studio doctor, who believed that she was suffering from cholecystitis and influenza. The doctor was not aware that Harlow had been ill during the previous year with a severe sunburn and influenza. Friend and co-star Una Merkel noticed Harlow's on-set weight gain, gray pallor and fatigue.


title: Jean Harlow

text: On May 29, while Harlow filmed a scene in which her character had a fever, she was clearly sicker than her character and leaned against her co-star Gable between takes and said, "I feel terrible! Get me back to my dressing room." She requested that the assistant director telephone William Powell, who immediately left his own movie set, in order to escort her back home.


title: Jean Harlow

text: The next day, Powell checked on Harlow and discovered that her condition had not improved. He contacted her mother and insisted that she cut her holiday short to be at her daughter's side. Powell also summoned a doctor. Because Harlow's previous illnesses had delayed the shooting of three movies ("Wife vs. Secretary", "Suzy", and "Libeled Lady"), initially there was no great concern regarding this latest bout with a recurring illness. On June 2, it was announced she was again suffering from influenza. Dr. Ernest Fishbaugh, who had been called to Harlow's home to treat her, diagnosed her with an inflamed gallbladder. Mother Jean told MGM Harlow was feeling better on June 3, and co-workers expected her back on the set by Monday, June 7, 1937. Press reports were contradictory, with headlines reading "Jean Harlow seriously ill" and "Harlow recovers from illness crisis". When she did not return to set, a concerned Gable visited her and later remarked that she was severely bloated and that he smelled urine on her breath when he kissed her—both signs of kidney failure.


title: Jean Harlow

text: Dr. Leland Chapman, a colleague of Fishbaugh, was called in to give a second opinion on Harlow's condition. Chapman recognized that she was not suffering from an inflamed gallbladder, but was in the final stages of kidney failure. On June 6, 1937, Harlow said that she could not see Powell clearly and could not tell how many fingers he was holding up.


title: Jean Harlow

text: That evening, she was taken to Good Samaritan Hospital in Los Angeles, where she slipped into a coma. The next day at 11:37 a.m., Harlow died in the hospital at the age of 26. In the doctor's press releases, the cause of death was given as cerebral edema, a complication of kidney failure. Hospital records mention uremia.


title: Jean Harlow

text: For years, rumors circulated about Harlow's death. Some claimed that her mother had refused to call a doctor because she was a Christian Scientist or that Harlow had declined hospital treatment or surgery. From the onset of her illness, Harlow had been attended by a doctor while she was resting at home. Two nurses also visited her house, and various equipment was brought from a nearby hospital. Harlow's grayish complexion, recurring illnesses, and severe sunburn were signs of the disease. Toxins also adversely affected her brain and central nervous system.


title: Jean Harlow

text: Harlow suffered from scarlet fever when she was 15, and speculation that she suffered a poststreptococcal glomerulonephritis following the incident, which may have caused high blood pressure and ultimately kidney failure, has been suggested. Her death certificate lists the cause of death as "acute respiratory infection", "acute nephritis", and "uremia".


title: Jean Harlow

text: One MGM writer later said, "The day Baby died...there wasn't one sound in the commissary for three hours." Frequent costar Spencer Tracy wrote in his diary, "Jean Harlow died. Grand girl."


title: Jean Harlow

text: Harlow was interred in the Great Mausoleum at Forest Lawn Memorial Park in Glendale in a private room of multicolored marble, which William Powell bought for $25,000 ($ today). She was laid to rest in the gown she wore in "Libeled Lady" and in her hands she had a white gardenia along with a note that Powell had written: "Goodnight, my dearest darling." Harlow's inscription on her crypt reads, "Our Baby".


title: Jean Harlow

text: Spaces in the same room were reserved for Harlow's mother and Powell. Harlow's mother was buried there in 1958, but Powell married actress Diana Lewis in 1940. After his death in 1984, he was cremated and his ashes buried in Desert Memorial Park in Cathedral City, California.


title: Jean Harlow

text: MGM planned to replace Harlow in "Saratoga" with either Jean Arthur or Virginia Bruce, but because of public objections the film was finished using three doubles (Mary Dees for close-ups, Geraldine Dvorak for long shots, and Paula Winslowe for dubbing Harlow's lines) and rewriting some scenes without her. The film was released on July 23, 1937, less than two months after Harlow's death, and was a hit with audiences, grossing $3.3 million in worldwide rentals and becoming MGM's most successful film of the year, as well as the highest-grossing film of her career.


title: Jean Harlow

text: Her name was given to a cocktail, the "Jean Harlow", which is equal parts light rum and sweet vermouth.


title: Jean Harlow

text: Legendary blues musician Lead Belly wrote the song "Jean Harlow" while in prison upon hearing about her death.


title: Jean Harlow

text: The French composer Charles Koechlin composed the piece "Épitaphe de Jean Harlow" (opus 164) in 1937.


title: Jean Harlow

text: On February 8, 1960, Jean Harlow was given a star on the Hollywood Walk of Fame located at 6910 Hollywood Boulevard on the south part of the Hollywood Boulevard in Los Angeles, California.


title: Jean Harlow

text: Harlow's signature, hands and footprints were imprinted in cement on September 29, 1933, in the 24th ceremony at Grauman's Chinese Theater and are located near the forecourt on the west side of the box office at 6925 Hollywood Boulevard, Hollywood, California.


title: Jean Harlow

text: Harlow wrote a novel titled "Today Is Tonight". In Arthur Landau's introduction to the 1965 paperback edition, Harlow stated in around 1933–1934 her intention to write the book, but it was not published during her lifetime. During her life, Harlow's stepfather Marino Bello shopped the unpublished manuscript around to a few studios. Louis B. Mayer, head of MGM, had prevented the book from being sold by putting an injunction on it using a clause in Harlow's contract: her services as an artist can't be used without MGM's permission. After her death, Landau writes, her mother sold the film rights to MGM, though no film was made. The publication rights were passed from Harlow's mother to a family friend, and the book was finally published in 1965.


title: Jean Harlow

text: Film adaptations of Harlow's life were considered at different times during the 1950s. Twentieth Century-Fox had slated Jayne Mansfield for the role, and ideas for Columbia Pictures actress Cleo Moore to play Harlow were also tabled. These projects never materialized. Marilyn Monroe was given a role for Harlow in 1953, but she declined it, feeling it was under-developed.


title: Jean Harlow

text: In 1965, two films about Jean Harlow were released, both titled "Harlow". The first film was released by Magna Corporation in May 1965, and starred Carol Lynley. The second film was released in June 1965 by Paramount Pictures, and starred Carroll Baker. Both were poorly received, and did not perform well at the box office.


title: Jean Harlow

text: In August 1993, Sharon Stone hosted a documentary about Harlow titled "Harlow: The Blonde Bombshell", which aired on Turner Classic Movies.


title: Jean Harlow

text: In 2004, Gwen Stefani briefly appeared as Harlow at the red carpet premiere for "Hell's Angels" in Martin Scorsese's Howard Hughes biopic "The Aviator".


title: Meagan Good

text: Meagan Monique Good is an American actress. She first gained critical attention for her role in the film "Eve's Bayou" (1997), prior to landing the role of Nina in the Nickelodeon sitcom "Cousin Skeeter" (1998–2001). Good received further prominence after starring in the films "Deliver Us from Eva" (2003), "Roll Bounce" (2005), and "Stomp the Yard" (2007).


title: Meagan Good

text: In 2012, Good featured in an ensemble cast of the film "Think Like a Man". The following year, she played Joanna Locasto, the lead character on the NBC drama series "Deception"; and starred in the comedy "." Furthermore, Good has had supporting roles in the films "One Missed Call" (2008), "Saw V" (2008), "The Unborn" (2009) and DC Comics' "Shazam!" (2019).


title: Meagan Good

text: Good was born in the Panorama City neighborhood of Los Angeles. Her mother, Tyra Wardlow-Doyle, worked as Good's manager into her teens, and her father, Leondis "Leon" Good, is an LAPD police officer. Good has claimed that her maternal grandmother is "Jewish and African. My mother's father was Cherokee and something else. My dad's mother's Puerto Rican and black, and his father was from Barbados." Good was raised in Canyon Country (now known as Santa Clarita), California. She has three siblings, including older sister and fellow actress La'Myia Good. She began her acting career around the age of four.


title: Meagan Good

text: According to Good, she grew up "super nerdy, super skinny, buckteeth, big ole afro and yet I had a sense of confidence about myself, like, 'they just don't get it yet'. She was a fan of Justin Timberlake and Usher in her teens. Good did not have any role models until early adulthood, when she began admiring actress Charlize Theron.


title: Meagan Good

text: In the early stages of her career, Good worked as an extra on television shows such as "Doogie Howser, M.D." and "Amen". When she was 13, she was cast in her first film, the 1995 comedy "Friday". She first gained critical recognition for her performance as the troubled teen Cisely Batiste in Kasi Lemmons' 1997 film "Eve's Bayou"; she received two award nominations, including her first NAACP Image Award nomination.


title: Meagan Good

text: After taking on small film and television roles for the next few years, Good began to transition into more mature roles in the early 2000s. Good believes she was able to move into adult roles due to playing characters several years younger than her. From 1998 to 2001, she appeared as Nina on Nickelodeon's TV show "Cousin Skeeter". Good landed small roles in the films "3 Strikes" and "".


title: Meagan Good

text: In 2003, a major year for Good, she landed roles in the action-drama "Biker Boyz" and the romantic-comedy "Deliver Us from Eva", which helped her transition from child to adult actress. She also appeared as the character Vanessa for one season of "My Wife and Kids", before being replaced by another actor. In 2004, Good starred alongside Jordana Brewster, Sara Foster, and Jill Ritchie in the action film "D.E.B.S.", and received a Best Actress nomination at the 2005 Black Movie Awards. She also had small roles in "The Cookout", Lance "Un" Rivera's directorial debut, and the teen dance film "You Got Served".


title: Meagan Good

text: In 2005, Good co-starred in the horror film "Venom", as well as the well-received neo noir film "Brick". She played opposite rapper/actor Bow Wow in Malcolm D. Lee's "Roll Bounce". In 2006, Good played the role of Coco, which she felt was her first true lead actress role, in the urban action-drama "Waist Deep". Good also voiced a character for the video game "" that same year. The following year, Good landed a role in the dance movie "Stomp the Yard", starring with Ne-Yo and childhood and personal


title: Meagan Good

text: friend Columbus Short. In 2008, Good appeared in the horror film "One Missed Call" as an ill-fated college student, Shelley Baum. She appeared as an angry trophy wife in the Mike Myers comedy "The Love Guru", and in the latter half of the year, she was one of the victims/gameplayers in "Saw V". She starred in 2009's "The Unborn" with Gary Oldman and Odette Yustman.


title: Meagan Good

text: She was part of the ensemble cast in 2012's "Think Like a Man", a movie based on Steve Harvey's 2009 book "Act like a Lady, Think like a Man". In 2013, Good starred in . Good returned to television from January to March 2013, starring in "Deception". Good was contacted by her agents about the series while leaving a hair salon. She sat in her car "and cried for 30-minutes like a nerd, by myself." In 2014, Good reprised her role for "Think Like a Man Too", the sequel to "Think Like a Man". Good stated she "had a really good time" while filming the sequel after initially being nervous "because there's so much energy that only Vegas can give." Filming "Think Like a Man Too" was Good's first time in Las Vegas shortly before she got married.


title: Meagan Good

text: Good has also appeared in many music videos, by artists such as 50 Cent, (21 Questions), Imajin, Isyss (of which Good's sister La'Myia Good is a member), Lil' Johnny, Memphis Bleek, Tyrese, and Will Smith.


title: Meagan Good

text: She has started her own production company, Freedom Bridge Entertainment, with Marlon Olivera and fellow actors Tamara Bass and Ty Hodges.


title: Meagan Good

text: Good wore a royal blue dress designed by Michael Costello to the June 30, 2013 BET Awards ceremony. The dress featured a plunging neckline down to her midriff and a front slit that rose to midthigh, It was sometimes compared to the Green Versace dress worn by Jennifer Lopez to the 42nd Annual Grammy Awards in 2000. "Fashion & Style" editors selected Good as "worst dressed" at the ceremony.


title: Meagan Good

text: The dress was controversial also because Good was presenting the BET Award for Best Gospel Artist. According to Christine Thomasos of "The Christian Post", Good has a history of defending her stylistic choices of presenting herself as a "sexy Christian". She had said earlier that year:


title: Meagan Good

text: there is a classy way to do everything and there is nothing wrong with being sexy or having sex appeal and I think that I am definitely going to be someone who is boldly going to go out to the masses and be someone who say, 'Look! Women its okay' ...


title: Meagan Good

text: Good responded on Instagram, expressing sadness that judgment had been passed on her, her character and her husband over what she wore to the ceremony. She said she picked the dress because she liked it and tried to express her individuality in her dress.


title: Meagan Good

text: Although she was not raised in the church, Good is a Christian, considers herself a spiritual person and has said in numerous interviews that she declines roles that she feels might "disappoint God." She explained in an interview that Jesus tops her list of heroes, and the last book she read was the Bible.


title: Meagan Good

text: At age 22, Good chose to focus on her career rather than dating, as she explained in a 2004 interview. In 2011, Good began dating DeVon Franklin, an executive for Columbia Pictures and Seventh-day Adventist preacher. They became engaged in early April 2012, and were married on June 16, 2012, at Triunfo Creek Winery in Malibu, California. The pair stated that they remained chaste in their relationship prior to their marriage. In December 2021, it was announced Good and Franklin were divorcing after 9 years of marriage. Their divorce was finalized in June 2022.


title: Gremlins

text: Gremlins is a 1984 American black comedy horror film directed by Joe Dante, written by Chris Columbus, and starring Zach Galligan, Phoebe Cates, Hoyt Axton, Polly Holliday, and Frances Lee McCain, with Howie Mandel providing the voice of Gizmo, the main "mogwai" character. It draws on legends of folkloric mischievous creatures that cause malfunctions—"gremlins"—in the British Royal Air Force going back to World War II. The story follows a young man who receives a strange creature as a pet, which then spawns other creatures who transform into small, destructive, aggressive monsters that all wreak havoc on a whole town on Christmas Eve.


title: Gremlins

text: The film was the center of large merchandising campaigns and opts for black comedy, balanced against a Christmastime setting. Steven Spielberg was the film's executive producer, with the film being produced by Michael Finnell.


title: Gremlins

text: "Gremlins" was theatrically released on June 8, 1984 by Warner Bros. to critical and commercial success. However, it was heavily criticized for some of its more violent sequences. In response to this and to similar complaints about "Indiana Jones and the Temple of Doom", Spielberg suggested that the Motion Picture Association of America (MPAA) alter its rating system, which it did within two months of the film's release, creating a new PG-13 rating. It was followed by a sequel, "", in 1990, which has a more satirical tone and parodies Hollywood sequels, to generally positive reviews from critics, but was a box-office bomb.


title: Gremlins

text: Struggling inventor Randall Peltzer visits a Chinatown antique store, hoping to find a Christmas present for his son Billy. Inside, Randall encounters a small, furry creature called a (Cantonese: , 'devil'). The owner, Mr. Wing, refuses to sell Randall the creature, but his grandson secretly does, warning Randall to remember three important rules: do not expose the "mogwai" to light, especially sunlight, which will kill it; do not let it come in contact with water; and above all, never feed it after midnight.


title: Gremlins

text: Randall returns home to Kingston Falls, where he gives the "mogwai" to Billy as a pet. Billy works in the local bank, but fears that his dog Barney will be put down by widowed miser Mrs. Deagle. Randall names the "mogwai" "Gizmo" and explains the three rules. When Billy's young friend Pete accidentally spills water over Gizmo, five more "mogwai" spawn from his back, a more troublemaking sort led by the aggressive Stripe, named for the tuft of fur on his head. Billy shows one of the "mogwai" to his former elementary school science teacher, Mr. Hanson, spawning another "mogwai", on whom Hanson experiments. Back at home, Stripe and his fellow "mogwai" trick Billy into feeding them after midnight by severing the power cord on his alarm clock. They form cocoons, as does Hanson's "mogwai", which soon hatch, emerging as mischievous, dark green, reptilian monsters, who then torture Gizmo and attack Billy's mother, Lynn. Hanson is killed by his gremlin.


title: Gremlins

text: Lynn and Billy are able to kill off the gremlins, except for Stripe, who escapes to a local YMCA. There, Stripe jumps into the swimming pool, spawning an army of gremlins who wreak havoc in Kingston Falls. Many people are injured or outright killed by the gremlins' rampage, including Mrs. Deagle. Billy reports this to the police, but they prove to be no help as they don't believe his story, even after he shows them Gizmo.


title: Gremlins

text: As Billy rescues his girlfriend, Kate Beringer, they hide in the now-abandoned bank where Kate reveals to Billy and Gizmo why she hates Christmas: when she was nine years old, her father went missing on Christmas Eve and did not come home on Christmas Day either; several days later, he was found dead in their chimney while dressed as Santa Claus. Planning to surprise her and her mother, he had accidentally slipped and broken his neck while climbing down the chimney. Still suffering from post-traumatic stress disorder because of the event, Kate confesses this is how she discovered the truth about Santa Claus.


title: Gremlins

text: Billy and Kate discover that the town has fallen silent and the gremlins are watching "Snow White and the Seven Dwarfs" in the local theater. They set off a natural gas explosion, incinerating all the gremlins except for Stripe, who left to commandeer more candy at a Montgomery Ward store across the street. As morning approaches, they follow Stripe into the department store, where Stripe attempts to use a water fountain to spawn more gremlins. Gizmo opens a skylight, exposing Stripe to sunlight, killing him.


title: Gremlins

text: As the local news reports on the day's mysterious tragedies, Mr. Wing reclaims Gizmo at the Peltzer home. He criticizes both the Peltzers' and Western society for their carelessness with nature. However, as he turns to leave, Gizmo, having bonded with Billy, bids the young man goodbye. A touched Mr. Wing then concedes that Billy may be ready one day, and until then, Gizmo will be waiting.


title: Gremlins

text: "Mogwai" and Gremlin vocal effects provided by Brad Kesten (uncredited), Michael Winslow, Bob Bergen, Fred Newman, Peter Cullen, Jim Cummings (uncredited), Sonny Melendrez (uncredited), Mark Dodson, Bob Holt, and Michael Sheehan.


title: Gremlins

text: "Gremlins" was produced at a time when combining horror and comedy was becoming increasingly popular. According to Professor Noël Carroll, "Ghostbusters", released the same weekend as "Gremlins", and the comic strip "The Far Side" also followed this trend. Carroll argued that there was now a new genre emphasizing sudden shifts between humorous and horrific scenes, drawing laughs with plot elements that have been traditionally used to scare.


title: Gremlins

text: The notion of gremlins was first conceived during the 1920s when mechanical failures in RAF aircraft were jokingly blamed on the small monsters. The term "gremlins" also entered popular culture as children's author and RAF pilot Roald Dahl published a book called "The Gremlins" in 1943, based on the mischievous creatures. Walt Disney considered making a film of it. A Bugs Bunny cartoon of the era, "Falling Hare", has him battling a gremlin on an airplane. Joe Dante had read "The Gremlins" and said that the book was of some influence on his film. In 1983, Dante publicly distanced his work from earlier films, explaining, "Our gremlins are somewhat different—they're sort of green and they have big mouths and they smile a lot and they do incredibly, really nasty things to people and enjoy it all the while".


title: Gremlins

text: The story of "Gremlins" was conceived by Chris Columbus. As Columbus explained, his inspiration came from his loft, when at night "what sounded like a platoon of mice would come out and to hear them skittering around in the blackness was really creepy". He then wrote the original screenplay as a spec script to show potential employers that he had writing abilities. The story was not actually intended to be filmed until Steven Spielberg took an interest in turning it into a film. As Spielberg explained, "It's one of the most original things I've come across in many years, which is why I bought it."


title: Gremlins

text: After deciding to executive produce the film, Spielberg chose Dante as his director because of his experience with horror-comedy; Dante had previously directed "The Howling (1981)"; however, in the time between "The Howling" and the offer to film "Gremlins", he had experienced a lull in his career. Dante began doing storyboard work on the film while also working as a director on "" (1983), a film which Spielberg also served as a director on. The film's producer was Michael Finnell, who had also worked on "The Howling" with Dante. Spielberg took the project to Warner Bros. and co-produced it through his own company, Amblin Entertainment.


title: Gremlins

text: The film's script went through a few drafts before a shooting script was finalized. The first version was much darker than the final film. Various scenes were cut, including one which portrayed Billy's mother dying in her struggle with the gremlins, with her head thrown down the stairs when Billy arrives. Dante later explained the scene made the film darker than the filmmakers wanted. There was also a scene where the gremlins ate Billy's dog and a scene where the gremlins attacked a McDonald's, eating customers instead of burgers. Also, instead of Stripe being a "mogwai" who becomes a gremlin, there was originally no "mogwai" named Stripe; rather, Gizmo was supposed to transform into Stripe the gremlin. Spielberg overruled this plot element as he felt Gizmo was cute and that audiences would want him to be present throughout the film.


title: Gremlins

text: The film mentions an urban legend in which Kate reveals in a speech that her father died at Christmas when he dressed as Santa Claus and broke his neck while climbing down the family's chimney. After the film was completed, studio executives insisted upon its removal, because they felt it was too ambiguous as to whether it was supposed to be funny or sad. Dante refused to take the scene out, saying it represented the film as a whole, which had a combination of horrific and comedic elements. Spielberg did not like the scene but, despite his creative control, he viewed "Gremlins" as Dante's project and allowed him to leave it in. A parody of this scene is featured in "".


title: Gremlins

text: Phoebe Cates was cast as Kate, Billy's girlfriend, despite concerns that she was known for playing more risqué parts, such as Linda Barrett in "Fast Times at Ridgemont High" (1982). Spielberg urged the casting of the relatively unknown Zach Galligan as Billy because he saw chemistry between Galligan and Cates during auditions. Galligan later compared himself to Billy, saying he was a "geeky kid", and that being in the film "was really kind of a dream" given "what I get to do, what my character gets to do, blow up movie theatres", adding that he "got to work with great people". Spielberg commented when Galligan was testing with Cates that "he's in love with her already" and that was how Galligan won the part.