title: Captain Marvel (DC Comics)

text: Filmation revisited the character three years later for an animated "Shazam!" cartoon program, which ran on NBC from 1981 to 1982 as part of "The Kid Super Power Hour with Shazam!" accompanied by "Hero High". Captain Marvel and Billy Batson were both voiced by Burr Middleton. The rest of the Marvel Family joined Captain Marvel on his adventures in this series, which were more similar to his comic-book adventures than the 1970s TV show. Dr. Sivana, Mr. Mind, Black Adam, and other familiar Captain Marvel foes appeared as enemies.


title: Captain Marvel (DC Comics)

text: Captain Marvel and/or Billy Batson made brief "cameo" appearances in two 1990s TV series. Billy has a non-speaking cameo in the "" episode "Obsession", while live actors portraying Captain Marvel make "cameo" appearances in both a dream-sequence within an episode of "The Drew Carey Show", and in the Beastie Boys' music video for "Alive".


title: Captain Marvel (DC Comics)

text: In about 1943, a radio serial of Captain Marvel was briefly broadcast (possibly by either Mutual or NBC) initially with Burt Boyar as Billy Batson. According to Boyar's faint memories in a 2011 interview, the show was initially produced in New York but after about a month relocated to Chicago; no further details about the show or transcripts of it survived. Existence of the show was confirmed by historian Jim Harmon via recollections of old-time radio fans who recalled hearing it during original broadcasts, plus locating period program listings.


title: Captain Marvel (DC Comics)

text: In 1943, C. C. Beck and writer Rod Reed prepared seven sample installments of a comic strip, but syndicates expressed no interest in it. Reed suspected that the DC lawsuit was the syndicates' reason, for fear of becoming parties in the ongoing litigation.


title: Captain Marvel (DC Comics)

text: Captain Marvel's adventures have contributed a number of elements to both comic book culture and pop culture in general. The most notable contribution is the regular use of Superman and Captain Marvel as adversaries in Modern Age comic book stories. The two are often portrayed as equally matched and, while Marvel does not possess Superman's heat vision, X-ray vision or superhuman breath powers, the magic-based nature of his own powers are a weakness for Superman.


title: Captain Marvel (DC Comics)

text: The National Comics/Fawcett Comics rivalry was parodied in "Superduperman", a satirical comic book story by Harvey Kurtzman and Wally Wood in the fourth issue of "Mad" (April/May 1953). Superduperman, endowed with muscles on muscles, does battle with Captain Marbles, a Captain Marvel caricature. Marbles' magic word is "SHAZOOM", which stands for Strength, Health, Aptitude, Zeal, Ox (power of), Ox (power of another), and Money. In contrast to Captain Marvel's perceived innocence and goodness, Marbles is greedy and money-grubbing, and a master criminal. Superduperman defeats Marbles by tricking him into hitting himself.


title: Captain Marvel (DC Comics)

text: While publishing its "Shazam!" revival in the 1970s, DC Comics published a story in "Superman" #276 (June 1974) featuring a battle between the Man of Steel and a thinly disguised version of Captain Marvel called Captain Thunder, a reference to the character's original name. He apparently battles against a Monster League, who cast a spell to make him evil, but Superman helps him break free. Two years later, "Justice League of America" #135–137 presented a story arc which featured the heroes of Earth-1, Earth-2, and Earth-S teaming together against their enemies. It is in this story that Superman and Captain Marvel first meet, albeit briefly. King Kull has caused Superman to go mad using red kryptonite, compelling Marvel to battle him at first and subsequently restore Superman's mind with the help of lightning.


title: Captain Marvel (DC Comics)

text: In "Shazam!" #30 (1977), Dr. Sivana creates several steel creatures to destroy Pittsburgh's steel mills, after getting the idea from reading an issue of "Action Comics". He finally creates a Superman robot made of a super-steel to destroy Captain Marvel. They both hit each other at the same moment, and the robot is destroyed.


title: Captain Marvel (DC Comics)

text: Notable later Superman/Captain Marvel battles in DC Comics include "All-New Collectors' Edition" #C-58 (1978), "All-Star Squadron" #36–37 (1984), and "Superman" vol. 2, #102 (1995). The Superman/Captain Marvel battle depicted in "Kingdom Come" #4 (1996) serves as the climax of that miniseries, with Marvel having been brainwashed by Lex Luthor and Mister Mind to turn against the other heroes. The "Clash" episode of the DC-based animated TV series "Justice League Unlimited", which includes Captain Marvel as a guest character, features a Superman/Captain Marvel fight as its centerpiece, Lex Luthor manipulating events so that Captain Marvel will perceive Superman as being prejudiced against Luthor's criminal past and attacking him without provokation or evidence that Luthor has actually done anything wrong. By contrast, the depiction of the pair's first meeting in the "Superman/Shazam!: First Thunder" miniseries establishes them as firm friends and allies to the point of Superman volunteering to be Billy's mentor when he learns the boy's true age.


title: Captain Marvel (DC Comics)

text: The television character Gomer Pyle is known for uttering the catchphrase "Shazam!" on "The Andy Griffith Show" and "Gomer Pyle, U.S.M.C.".


title: Captain Marvel (DC Comics)

text: Al McCoy, longtime radio and TV voice of the NBA's Phoenix Suns, would shout "Shazam!" every time the Suns made a three-point shot.


title: Quetiapine

text: Quetiapine, sold under the brand name Seroquel among others, is an atypical antipsychotic medication used for the treatment of schizophrenia, bipolar disorder, and major depressive disorder. Despite being widely used as a sleep aid due to its sedating effect, the benefits of such use do not appear to generally outweigh the side effects. It is taken orally.


title: Quetiapine

text: Common side effects include sleepiness, constipation, weight gain, and dry mouth. Other side effects include low blood pressure with standing, seizures, a prolonged erection, high blood sugar, tardive dyskinesia, and neuroleptic malignant syndrome. In older people with dementia, its use increases the risk of death. Use in the third trimester of pregnancy may result in a movement disorder in the baby for some time after birth. Quetiapine is believed to work by blocking a number of receptors including serotonin and dopamine.


title: Quetiapine

text: Quetiapine was developed in 1985 and approved for medical use in the United States in 1997. It is available as a generic medication. In 2020, it was the 64th most commonly prescribed medication in the United States, with more than 10million prescriptions.


title: Quetiapine

text: Quetiapine is primarily used to treat schizophrenia or bipolar disorder. Quetiapine targets both positive and secondary negative symptoms of schizophrenia.


title: Quetiapine

text: In a 2013 comparison of 15 antipsychotics in effectiveness in treating schizophrenia, quetiapine demonstrated standard effectiveness. It was 13–16% more effective than ziprasidone, chlorpromazine, and asenapine and approximately as effective as haloperidol and aripiprazole.


title: Quetiapine

text: There is tentative evidence of the benefit of quetiapine versus placebo in schizophrenia; however, definitive conclusions are not possible due to the high rate of attrition in trials (greater than 50%) and the lack of data on economic outcomes, social functioning, or quality of life.


title: Quetiapine

text: It is debatable whether, as a class, typical or atypical antipsychotics are more effective. Both have equal drop-out and symptom relapse rates when typicals are used at low to moderate dosages. While quetiapine has lower rates of extrapyramidal side effects, there is greater sleepiness and rates of dry mouth.


title: Quetiapine

text: A Cochrane review comparing quetiapine to other atypical antipsychotic agents tentatively concluded that it may be less efficacious than olanzapine and risperidone; produce fewer movement related side effects than paliperidone, aripiprazole, ziprasidone, risperidone and olanzapine; and produce weight gain similar to risperidone, clozapine and aripiprazole. They concluded that it produces suicide attempt, suicide; death; QTc prolongation, low blood pressure; tachycardia; sedation; gynaecomastia; galactorrhoea, menstrual irregularity and white blood cell count at a rate similar to first generation antipsychotics.


title: Quetiapine

text: In those with bipolar disorder, quetiapine is used to treat depressive episodes; acute manic episodes associated with bipolar I disorder (as either monotherapy or adjunct therapy to lithium; valproate or lamotrigine); acute mixed episodes; and maintenance treatment of bipolar I disorder (as adjunct therapy to lithium or divalproex).


title: Quetiapine

text: Quetiapine is effective when used by itself and when used along with other medications in major depressive disorder (MDD). However, sedation is often an undesirable side effect.


title: Quetiapine

text: In the United States, the United Kingdom and Australia (while not subsidised by the Australian Pharmaceutical Benefits Scheme for treatment of MDD), quetiapine is licensed for use as an add-on treatment in MDD.


title: Quetiapine

text: Quetiapine does not decrease agitation among people with Alzheimer's. Quetiapine worsens intellectual functioning in the elderly with dementia and therefore is not recommended.


title: Quetiapine

text: The use of low doses of quetiapine for insomnia, while common, is not recommended; there is little evidence of benefit and concerns regarding adverse effects. A 2022 network meta-analysis of 154 double-blind, randomized controlled trials of drug therapies vs. placebo for insomnia in adults found that quetiapine did not demonstrate any short-term benefits in sleep quality. Quetiapine, specifically, had an effect size (standardized mean difference) against placebo for treatment of insomnia of 0.05 (95% –1.21 to 1.11) at 4weeks of treatment, with the certainty of evidence rated as very low. Doses of quetiapine used for insomnia have ranged from 12.5 to 800mg, with low doses of 25 to 200mg being the most typical. Regardless of the dose used, some of the more serious adverse effects may still possibly occur at the lower dosing ranges, such as dyslipidemia and neutropenia. These safety concerns at low doses are corroborated by Danish observational studies that showed use of specifically low-dose quetiapine (prescriptions filled for tablet strengths >50 mg were excluded) was associated with an increased risk of major cardiovascular events as compared to use of Z-drugs, with most of the risk being driven by cardiovascular death. Laboratory data from an unpublished analysis of the same cohort also support the lack of dose-dependency of metabolic side effects, as new use of low-dose quetiapine was associated with a risk of increased fasting triglycerides at 1-year follow-up.


title: Quetiapine

text: It is sometimes used off-label, often as an augmentation agent, to treat conditions such as Tourette syndrome, musical hallucinations and anxiety disorders.


title: Quetiapine

text: Quetiapine and clozapine are the most widely used medications for the treatment of Parkinson's disease psychosis due to their very low extrapyramidal side-effect liability. Owing to the risks associated with clozapine (e.g. agranulocytosis, diabetes mellitus, etc.), clinicians often attempt treatment with quetiapine first, although the evidence to support quetiapine's use for this indication is significantly weaker than that of clozapine.


title: Quetiapine

text: Both typical and atypical antipsychotics can cause tardive dyskinesia. According to one study, rates are lower with the atypicals at 3.9% as opposed to the typicals at 5.5%. Although quetiapine and clozapine are atypical antipsychotics, switching to these atypicals is an option to minimize symptoms of tardive dyskinesia caused by other atypicals.


title: Quetiapine

text: Weight gain can be a problem for some, with quetiapine causing more weight gain than fluphenazine, haloperidol, loxapine, molindone, olanzapine, pimozide, risperidone, thioridazine, thiothixene, trifluoperazine, and ziprasidone, but less than chlorpromazine, clozapine, perphenazine, and sertindole.


title: Quetiapine

text: As with some other anti-psychotics, quetiapine may lower the seizure threshold, and should be taken with caution in combination with drugs such as bupropion.


title: Quetiapine

text: The British National Formulary recommends a gradual withdrawal when discontinuing antipsychotics to avoid acute withdrawal syndrome or rapid relapse. Symptoms of withdrawal commonly include nausea, vomiting, and loss of appetite. Other symptoms may include restlessness, increased sweating, and trouble sleeping. Less commonly there may be a feeling of the world spinning, numbness, or muscle pains. Symptoms generally resolve after a short period of time.


title: Quetiapine

text: There is tentative evidence that discontinuation of antipsychotics can result in psychosis. It may also result in reoccurrence of the condition that is being treated. Rarely tardive dyskinesia can occur when the medication is stopped.


title: Quetiapine

text: Placental exposure is least for quetiapine compared to other atypical antipsychotics. The evidence is insufficient to rule out any risk to the foetus but available data suggests it is unlikely to result in any major foetal malformations. It is secreted in breast milk and hence quetiapine-treated mothers are advised not to breastfeed.


title: Quetiapine

text: In contrast to most other antipsychotic drugs, which tend to be somewhat aversive and often show problems with patient compliance with prescribed medication regimes, quetiapine is sometimes associated with drug misuse and abuse potential, for its hypnotic and sedative effects. It has a limited potential for misuse, usually only in individuals with a history of polysubstance abuse and/or mental illness, and especially in those incarcerated in prisons or secure psychiatric facilities where access to alternative intoxicants is more limited. To a significantly greater extent than other atypical antipsychotic drugs, quetiapine was found to be associated with drug-seeking behaviors, and to have standardised street prices and slang terms associated with it, either by itself or in combination with other drugs (such as "Q-ball" for the intravenous injection of quetiapine mixed with cocaine). The pharmacological basis for this distinction from other second generation antipsychotic drugs is unclear, though it has been suggested that quetiapine's comparatively lower dopamine receptor affinity and strong antihistamine activity might mean it could be regarded as more similar to sedating antihistamines in this context. While these issues have not been regarded as sufficient cause for placing quetiapine under increased legal controls, prescribers have been urged to show caution when prescribing quetiapine to individuals with characteristics that might place them at increased risk for drug misuse.


title: Quetiapine

text: Most instances of acute overdosage result in only sedation, hypotension and tachycardia, but cardiac arrhythmia, coma and death have occurred in adults. Serum or plasma quetiapine concentrations are usually in the 1–10 mg/L range in overdose survivors, while postmortem blood levels of 10–25 mg/L are generally observed in fatal cases. Non-toxic levels in postmortem blood extend to around 0.8 mg/kg, but toxic levels in postmortem blood can begin at 0.35 mg/kg.


title: Quetiapine

text: This means quetiapine is a dopamine, serotonin, and adrenergic antagonist, and a potent antihistamine with some anticholinergic properties. Quetiapine binds strongly to serotonin receptors; the drug acts as partial agonist at 5-HT receptors. Serial PET scans evaluating the D receptor occupancy of quetiapine have demonstrated that quetiapine very rapidly disassociates from the D receptor. Theoretically, this allows for normal physiological surges of dopamine to elicit normal effects in areas such as the nigrostriatal and tuberoinfundibular pathways, thus minimizing the risk of side-effects such as pseudo-parkinsonism as well as elevations in prolactin. Some of the antagonized receptors (serotonin, norepinephrine) are actually autoreceptors whose blockade tends to increase the release of neurotransmitters.


title: Quetiapine

text: At very low doses, quetiapine acts primarily as a histamine receptor blocker (antihistamine) and α-adrenergic blocker. When the dose is increased, quetiapine activates the adrenergic system and binds strongly to serotonin receptors and autoreceptors. At high doses, quetiapine starts blocking significant amounts of dopamine receptors. Due to the drug's sedating H activity, it is often prescribed at low doses for insomnia. While some feel that low doses of drugs with antihistamine effects like quetiapine and mirtazapine are safer than drugs associated with physical dependancy or other risk factors, concern has been raised by some professionals that off-label prescribing has become too widespread due to underappreciated hazards.


title: Quetiapine

text: When treating schizophrenia, antagonism of D2 receptor by quetiapine in the mesolimbic pathway relieves positive symptoms and antagonism of the 5HT2A receptor in the frontal cortex of the brain may relieve negative symptoms and reduce severity of psychotic episodes. Quetiapine has fewer extrapyramidal side effects and is less likely to cause hyperprolactinemia when compared to other drugs used to treat schizophrenia, so is used as a first line treatment.


title: Quetiapine

text: Peak levels of quetiapine occur 1.5 hours after a dose. The plasma protein binding of quetiapine is 83%. The major active metabolite of quetiapine is norquetiapine ("N"-desalkylquetiapine). Quetiapine has an elimination half-life of 6 or 7 hours. Its metabolite, norquetiapine, has a half-life of 9 to 12 hours. Quetiapine is excreted primarily via the kidneys (73%) and in feces (20%) after hepatic metabolism, the remainder (1%) is excreted as the drug in its unmetabolized form.


title: Quetiapine

text: Quetiapine is a tetracyclic compound and is closely related structurally to clozapine, olanzapine, loxapine, and other tetracyclic antipsychotics.


title: Quetiapine

text: The synthesis of quetiapine begins with a dibenzothiazepinone. The lactam is first treated with phosphoryl chloride to produce a dibenzothiazepine. A nucleophilic substitution is used to introduce the sidechain.


title: Quetiapine

text: AstraZeneca submitted a new drug application for a sustained-release version of quetiapine in the United States, Canada, and the European Union in the second half of 2006 for treatment of schizophrenia. AstraZeneca was to retain the exclusive right to market sustained-release quetiapine until 2017. The sustained-release quetiapine is marketed mainly as Seroquel XR. Other marketing names are Seroquel Prolong, Seroquel Depot and Seroquel XL


title: Quetiapine

text: On 18 May 2007, AstraZeneca announced that the U.S. FDA approved Seroquel XR for acute treatment of schizophrenia. During its 2007 Q2 earnings conference, AstraZeneca announced plans to launch Seroquel XR in the U.S. during August 2007. However, Seroquel XR has become available in U.S. pharmacies only after the FDA approved Seroquel XR for use as maintenance treatment for schizophrenia, in addition to acute treatment of the illness, on 16 November 2007. The company has not provided a reason for the delay of Seroquel XR's launch.


title: Quetiapine

text: In early October 2008, the FDA approved Seroquel XR for the treatment of bipolar depression and bipolar mania. According to AstraZeneca, Seroquel XR is "the first medication approved by the FDA for the once-daily acute treatment of both depressive and manic episodes associated with bipolar."


title: Quetiapine

text: On 31 July 2008, Handa Pharmaceuticals, based in Fremont, California, announced that its abbreviated new drug application ("ANDA") for quetiapine fumarate extended-release tablets, the generic version of AstraZeneca's SEROQUEL XR, has been accepted by the FDA.


title: Quetiapine

text: On 1 December 2008, Biovail announced that the FDA had accepted the company's ANDA to market its own version of sustained-release quetiapine. Biovail's sustained-release tablets will compete with AstraZeneca's Seroquel XR.


title: Quetiapine

text: On 24 December 2008, AstraZeneca notified shareholders that the FDA had asked for additional information on the company's application to expand the use of sustained-release quetiapine for treatment of depression.


title: Quetiapine

text: In the United States, the Food and Drug Administration (FDA) has approved quetiapine for the treatment of schizophrenia and of acute manic episodes associated with bipolar disorder (bipolar mania) and for treatment of bipolar depression. In 2009, quetiapine XR was approved as adjunctive treatment of major depressive disorder.


title: Quetiapine

text: Quetiapine received its initial indication from U.S. FDA for treatment of schizophrenia in 1997. In 2004, it received its second indication for the treatment of mania-associated bipolar disorder. In 2007 and 2008, studies were conducted on quetiapine's efficacy in treating generalized anxiety disorder and major depression.


title: Quetiapine

text: Patent protection for the product ended in 2012; however, in a number of regions, the long-acting version remained under patent until 2017.


title: Quetiapine

text: In April 2010, the U. S. Department of Justice fined Astra-Zeneca $520 million for the company's aggressive marketing of Seroquel for off-label uses. According to the Department of Justice, "the company recruited doctors to serve as authors of articles that were ghostwritten by medical literature companies and about studies the doctors in question did not conduct. AstraZeneca then used those studies and articles as the basis for promotional messages about unapproved uses of Seroquel."


title: Quetiapine

text: Approximately 10,000 lawsuits have been filed against AstraZeneca, alleging that quetiapine caused problems ranging from slurred speech and chronic insomnia to deaths.


title: Quetiapine

text: In 2004, a young man named Dan Markingson committed suicide in a controversial Seroquel clinical trial at the University of Minnesota while under an involuntary commitment order. A group of University of Minnesota bioethicists charged that the trial involved an alarming number of ethical violations.


title: Quetiapine

text: In August 2011, the UK's Medicines and Healthcare products Regulatory Agency (MHRA) issued a class-4 drug alert following reports that some batches of Nurofen plus contained Seroquel XL tablets instead.


title: Quetiapine

text: Following the issue of the Class-4 Drug Alert, Reckitt Benckiser (UK) Ltd received further reports of rogue blister strips in cartons of two additional batches of Nurofen Plus tablets. One of the new batches contained Seroquel XL 50 mg tablets and one contained the Pfizer product Neurontin 100 mg capsules.


title: Quetiapine

text: Following discussions with the MHRA's Defective Medicines Report Centre (DMRC), Reckitt Benckiser (UK) Ltd decided to recall all remaining unexpired stock of Nurofen Plus tablets in any pack size, leading to a Class-1 Drug Alert. The contamination was later traced to in-store tampering by a customer.


title: We Need to Talk About Kevin (film)

text: We Need to Talk About Kevin is a 2011 psychological thriller drama film directed by Lynne Ramsay from a screenplay she co-wrote with Rory Stewart Kinnear, based on the 2003 novel of the same name by Lionel Shriver. A long process of development and financing began in 2005, with filming commencing in April 2010.


title: We Need to Talk About Kevin (film)

text: Tilda Swinton stars as the mother of Kevin, struggling to come to terms with her psychopathic son and the horrors he has committed. The film premiered at the 2011 Cannes Film Festival and was released in the United Kingdom on 21 October 2011.


title: We Need to Talk About Kevin (film)

text: Swinton was nominated for the Golden Globe Award, Screen Actors Guild Award, and the BAFTA for Best Actress in a Leading Role. It received generally positive reviews from critics.


title: We Need to Talk About Kevin (film)

text: Eva Khatchadourian, once a successful travel writer, lives alone in a rundown house and works in a travel agency near a prison, where she visits Kevin, her son. She looks back at her memories of his growing up as she tries to cope with the hostility of her neighbors.


title: We Need to Talk About Kevin (film)

text: Eva, a reluctant mother, views Kevin as detached and difficult from childhood. He appears to loathe and deliberately antagonize Eva, and she has trouble bonding with him. As a baby, he cries incessantly, but only around her; as a child, he resists toilet training, rebuffs Eva's attempts at affection, and shows no interest in anything. He behaves like a happy, loving son when his father, Franklin, is present. One day, Kevin’s cruel behavior drives Eva to throw him against the wall, breaking his arm. Kevin tells Franklin he fell, using the incident to manipulate Eva into doing what he wants.


title: We Need to Talk About Kevin (film)

text: Franklin dismisses Eva's concerns and makes excuses for Kevin's behavior. When Kevin is confined to bed with a fever, Eva reads him Robin Hood, and Kevin shows Eva affection for the first time; however, he resumes his spiteful demeanor the moment he gets better. Franklin gives him a bow and arrow and teaches him archery.


title: We Need to Talk About Kevin (film)

text: Eva and Franklin have a second child, Celia, who is lively and cheerful; however, Kevin is disdainful towards her. A few years later, Celia's pet guinea pig mysteriously goes missing. Eva finds its remains in the garbage disposal the next day. She uses drain cleaner to unclog the disposal and Celia is later blinded in one eye after being exposed to the cleaner while Kevin was supposed to be watching her. Eva suspects Kevin is to blame, but Franklin defends him. Eva's suspicions strain the couple's marriage and they discuss divorce, which Kevin overhears.


title: We Need to Talk About Kevin (film)

text: Kevin orders several bike locks off the internet. Three days before his 16th birthday, he uses them to lock several students in the school gymnasium and murder them with his bow. After witnessing Kevin’s arrest and the bodies of his victims being carried away, Eva drives home, where she discovers that Kevin has murdered Franklin and Celia as well.


title: We Need to Talk About Kevin (film)

text: On the second anniversary of the massacre, Eva visits Kevin in prison; his demeanor has changed to demure and frightened in his anticipation of being transferred to an adult prison. Eva finally asks him why he committed the murders. Kevin responds that he used to think he knew but is no longer sure. Eva gives Kevin a warm embrace before leaving.


title: We Need to Talk About Kevin (film)

text: In 2005 BBC Films acquired the rights to adapt the book as a film. Executive producers Paula Jalfon and Christine Langan took it through the development stage, and were joined by executive producer Steven Soderbergh.


title: We Need to Talk About Kevin (film)

text: Lynne Ramsay, who became available after her involvement in the film adaptation of "The Lovely Bones" came to an end, signed on to direct, and was working on a script with "In the Bedroom" writer Robert Festinger by 2006. Shriver was offered a consultative role in the production process but declined, stating she had "had it up to [her] eyeballs with that book," though she did express concern for how the film would capture Eva's role as the unreliable narrator. Production had not begun by 2007, though BBC Films renewed the adaptation rights early in the year. In an interview with "The Herald" in September 2007, Shriver stated that she had not been in contact with Ramsay about the film for over two years. Ramsay's spokesperson told the newspaper that a new script draft was being prepared and, at the time the interview was published, had not been submitted to the producers. "Michael Clayton" producer Jennifer Fox joined the production team in 2008; the film was expected to begin shooting that year. The script appeared on the 2008 Brit List, a film-industry-compiled list of the best unproduced screenplays in British film. Ramsay's partner Rory Stewart Kinnear also contributed to the final shooting script.


title: We Need to Talk About Kevin (film)

text: Christine Langan told the London "Evening Standard" in February 2010 that the long delay in production had been caused by BBC Films having difficulty funding the high budget; Ramsay rewrote the script so the film could be made for a lower cost. The UK Film Council awarded £18,510 to the production from its development fund in the same month. Financial backing was also provided by Footprint Investments LLP, Caemhan Partnership LLP and Lipsync Productions, and production is in association with Artina Films and Forward Films.


title: We Need to Talk About Kevin (film)

text: Filming commenced on 19 April 2010 on location in Stamford, Connecticut, and concluded on 28 May 2010. A key filming location was J.M. Wright Technical High School in Stamford.


title: We Need to Talk About Kevin (film)

text: In October 2009, Independent Film Company picked up the rights to international sales, and made pre-sales at the American Film Market. The film premiered In Competition at the 2011 Cannes Film Festival, where it was met with praise from film critics.


title: We Need to Talk About Kevin (film)

text: Artificial Eye distributed the film in the United Kingdom from 21 October 2011 and Oscilloscope Laboratories distributed the film theatrically in North America in the winter of 2011. "We Need to Talk About Kevin" opened in a limited release in North America in a single theater and grossed $24,587, ranking 53rd at the box office. The film ended up earning $1,738,692 in America, and $5,754,934 internationally, for a total of $7,493,626.


title: We Need to Talk About Kevin (film)

text: "We Need to Talk About Kevin" received positive reviews. On review aggregator Rotten Tomatoes, the film has an approval rating of based on reviews, with an average rating of . The website's critical consensus reads, ""We Need to Talk About Kevin" is a masterful blend of drama and horror, with fantastic performances across the board (Tilda Swinton especially, delivering one of her very best)." On Metacritic, the film has a score of 68 out of 100 based on reviews from 37 critics, indicating "generally favorable reviews."


title: We Need to Talk About Kevin (film)

text: "Chicago Sun-Times" critic Roger Ebert gave the film 4 out of 4 stars and wrote, "As a portrait of a deteriorating state of mind, "We Need to Talk About Kevin" is a masterful film." British film critic Mark Kermode of BBC Radio 5 Live named "We Need to Talk About Kevin" as the Best Film of 2011 and as the second best film of the 2010s. Richard Brody wrote in "The New Yorker" that "We Need to Talk About Kevin" "masquerades as a psychological puzzle but is essentially a horror film full of decorous sensationalism." He opined that the film exploited but did not explore the fascination that "bad seed" children exert. Jake Martin, a Jesuit priest and movie critic, wrote in his review in "Busted Halo" that the film is "[not] yet another installment in the pantheon of post-modern films intent upon assaulting the human desire to give meaning to the world." Instead, he says, ""We Need to Talk About Kevin" in fact needs to be talked about, as what it is attempting to do by marrying the darkest, most nihilistic components of contemporary cinema with a redemptive message is groundbreaking."


title: We Need to Talk About Kevin (film)

text: Tilda Swinton was nominated for a number of acting awards, including a Golden Globe Award, Screen Actors Guild and BAFTA for Best Actress in a leading role.'


title: Arc de Triomphe

text: The Arc de Triomphe de l'Étoile (, , ; ) is one of the most famous monuments in Paris, France, standing at the western end of the Champs-Élysées at the centre of Place Charles de Gaulle, formerly named Place de l'Étoile—the "étoile" or "star" of the juncture formed by its twelve radiating avenues. The location of the arc and the plaza is shared between three arrondissements, 16th (south and west), 17th (north), and 8th (east). The Arc de Triomphe honours those who fought and died for France in the French Revolutionary and Napoleonic Wars, with the names of all French victories and generals inscribed on its inner and outer surfaces. Beneath its vault lies the Tomb of the Unknown Soldier from World War I.


title: Arc de Triomphe

text: The central cohesive element of the "Axe historique" (historic axis, a sequence of monuments and grand thoroughfares on a route running from the courtyard of the Louvre to the Grande Arche de la Défense), the Arc de Triomphe was designed by Jean Chalgrin in 1806; its iconographic programme pits heroically nude French youths against bearded Germanic warriors in chain mail. It set the tone for public monuments with triumphant patriotic messages. Inspired by the Arch of Titus in Rome, Italy, the Arc de Triomphe has an overall height of , the width of and depth of , while its large vault is high and wide. The smaller transverse vaults are high and wide. Three weeks after the Paris victory parade in 1919 (marking the end of hostilities in World War I), Charles Godefroy flew his Nieuport biplane under the arch's primary vault, with the event captured on newsreel.


title: Arc de Triomphe

text: Paris's Arc de Triomphe was the tallest triumphal arch until the completion of the Monumento a la Revolución in Mexico City in 1938, which is high. The Arch of Triumph in Pyongyang, completed in 1982, is modeled on the Arc de Triomphe and is slightly taller at . The Grande Arche in La Défense near Paris is 110 metres high. Although it is not named an Arc de Triomphe, it has been designed on the same model and from the perspective of the Arc de Triomphe. It qualifies as the world's tallest arch.


title: Arc de Triomphe

text: The Arc de Triomphe is located on the right bank of the Seine at the centre of a dodecagonal configuration of twelve radiating avenues. It was commissioned in 1806, after the victory at Austerlitz by Emperor Napoleon at the peak of his fortunes. Laying the foundations alone took two years and, in 1810, when Napoleon entered Paris from the west with his new bride, Archduchess Marie-Louise of Austria, he had a wooden mock-up of the completed arch constructed. The architect, Jean Chalgrin, died in 1811 and the work was taken over by Jean-Nicolas Huyot.


title: Arc de Triomphe

text: During the Bourbon Restoration, construction was halted, and it would not be completed until the reign of King Louis-Philippe, between 1833 and 1836, by the architects Goust, then Huyot, under the direction of Héricart de Thury. The final cost was reported at about 10,000,000 francs (equivalent to an estimated €65 million or $75 million in 2020).


title: Arc de Triomphe

text: On 15 December 1840, brought back to France from Saint Helena, Napoleon's remains passed under it on their way to the Emperor's final resting place at Les Invalides. Before burial in the Panthéon, the body of Victor Hugo was displayed under the Arc on the night of 22 May 1885.


title: Arc de Triomphe

text: The sword carried by the "Republic" in the "Marseillaise" relief broke off on the day, it is said, that the Battle of Verdun began in 1916. The relief was immediately hidden by tarpaulins to conceal the accident and avoid any undesired ominous interpretations. On 7 August 1919, Charles Godefroy successfully flew his biplane under the Arc. Jean Navarre was the pilot who was tasked to make the flight, but he died on 10 July 1919 when he crashed near Villacoublay while training for the flight.


title: Arc de Triomphe

text: Following its construction, the Arc de Triomphe became the rallying point of French troops parading after successful military campaigns and for the annual Bastille Day military parade. Famous victory marches around or under the Arc have included the Germans in 1871, the French in 1919, the Germans in 1940, and the French and Allies in 1944 and 1945. A United States postage stamp of 1945 shows the "Arc de Triomphe" in the background as victorious American troops march down the Champs-Élysées and U.S. airplanes fly overhead on 29 August 1944. After the interment of the Unknown Soldier, however, all military parades (including the aforementioned post-1919) have avoided marching through the actual arch. The route taken is up to the arch and then around its side, out of respect for the tomb and its symbolism. Both Hitler in 1940 and de Gaulle in 1944 observed this custom.


title: Arc de Triomphe

text: By the early 1960s, the monument had grown very blackened from coal soot and automobile exhaust, and during 1965–1966 it was cleaned through bleaching. In the prolongation of the Avenue des Champs-Élysées, a new arch, the Grande Arche de la Défense, was built in 1982, completing the line of monuments that forms Paris's "Axe historique". After the "Arc de Triomphe du Carrousel" and the "Arc de Triomphe de l'Étoile", the "Grande Arche" is the third arch built on the same perspective.


title: Arc de Triomphe

text: In 1995, the Armed Islamic Group of Algeria placed a bomb near the Arc de Triomphe which wounded 17 people as part of a campaign of bombings.


title: Arc de Triomphe

text: In late 2018, the Arc de Triomphe suffered acts of vandalism as part of the Yellow vests protests. The vandals sprayed the monument with graffiti and ransacked its small museum.


title: Arc de Triomphe

text: In September 2021, the arc was wrapped in a silvery blue fabric and red rope, a posthumous project planned by artists Christo and Jeanne-Claude since the early 1960s.


title: Arc de Triomphe

text: The astylar design is by Jean Chalgrin (1739–1811), in the Neoclassical version of ancient Roman architecture. Major academic sculptors of France are represented in the sculpture of the "Arc de Triomphe": Jean-Pierre Cortot; François Rude; Antoine Étex; James Pradier and Philippe Joseph Henri Lemaire. The main sculptures are not integral friezes but are treated as independent trophies applied to the vast ashlar masonry masses, not unlike the gilt-bronze appliqués on Empire furniture. The four sculptural groups at the base of the Arc are "The Triumph of 1810" (Cortot), "Resistance" and "Peace" (both by Antoine Étex), and the most renowned of them all, "Departure of the Volunteers of 1792" commonly called "La Marseillaise" (François Rude). The face of the allegorical representation of France calling forth her people on this last was used as the belt buckle for the honorary rank of Marshal of France. Since the fall of Napoleon (1815), the sculpture representing "Peace" is interpreted as commemorating the Peace of 1815.


title: Arc de Triomphe

text: In the attic above the richly sculptured frieze of soldiers are 30 shields engraved with the names of major French victories in the French Revolution and Napoleonic wars. The inside walls of the monument list the names of 660 people, among which are 558 French generals of the First French Empire; The names of those generals killed in battle are underlined. Also inscribed, on the shorter sides of the four supporting columns, are the names of the major French victories in the Napoleonic Wars. The battles that took place in the period between the departure of Napoleon from Elba to his final defeat at Waterloo are not included.


title: Arc de Triomphe

text: For four years from 1882 to 1886, a monumental sculpture by Alexandre Falguière topped the arch. Titled "Le triomphe de la Révolution" ("The Triumph of the Revolution"), it depicted a chariot drawn by horses preparing "to crush Anarchy and Despotism".


title: Arc de Triomphe

text: Inside the monument, a permanent exhibition, conceived by artist Maurice Benayoun and architect Christophe Girault, opened in February 2007.


title: Arc de Triomphe

text: Beneath the Arc is the Tomb of the Unknown Soldier from World War I. Interred on Armistice Day 1920, an eternal flame burns in memory of the dead who were never identified (now in both world wars).


title: Arc de Triomphe

text: A ceremony is held at the Tomb of the Unknown Soldier every 11 November on the anniversary of the Armistice of 11 November 1918 signed by the Entente Powers and Germany in 1918. It was originally decided on 12 November 1919 to bury the unknown soldier's remains in the Panthéon, but a public letter-writing campaign led to the decision to bury him beneath the Arc de Triomphe. The coffin was put in the chapel on the first floor of the Arc on 10 November 1920, and put in its final resting place on 28 January 1921. The slab on top bears the inscription ("Here lies a French soldier who died for the fatherland 1914–1918").


title: Arc de Triomphe

text: In 1961, U.S. President John F. Kennedy and First Lady Jacqueline Kennedy paid their respects at the Tomb of the Unknown Soldier, accompanied by President Charles de Gaulle. After the 1963 assassination of President Kennedy, Mrs. Kennedy remembered the eternal flame at the Arc de Triomphe and requested that an eternal flame be placed next to her husband's grave at Arlington National Cemetery in Virginia.


title: Arc de Triomphe

text: The "Arc de Triomphe" is accessible by the RER and Métro, with exit at the Charles de Gaulle–Étoile station. Because of heavy traffic on the roundabout of which the Arc is the centre, it is recommended that pedestrians use one of two underpasses located at the "Champs Élysées" and the "Avenue de la Grande Armée". A lift will take visitors almost to the top – to the attic, where a small museum contains large models of the Arc and tells its story from the time of its construction. Another 40 steps remain to climb to reach the top, the "terrasse", from where one can enjoy a panoramic view of Paris.


title: Arc de Triomphe

text: The location of the arc, as well as the Place de l'Étoile, is shared between three arrondissements, 16th (south and west), 17th (north), and 8th (east).


title: Milli Vanilli

text: Milli Vanilli were a German-French R&B duo from Munich. The group was founded by Frank Farian in 1988 and consisted of Fab Morvan and Rob Pilatus. Their debut album, "All or Nothing" in Europe, reconfigured as "Girl You Know It's True" in the United States, achieved international success and brought them a Grammy Award for Best New Artist on 21 February 1990.


title: Milli Vanilli

text: They became one of the most popular pop acts in the late 1980s and early 1990s, with millions of records sold. However, their success turned to infamy when it was discovered that Morvan and Pilatus did not sing any of the vocals on their music releases. They ended up returning their Grammy Award for Best New Artist. They recorded a comeback album in 1998 titled "Back and in Attack", but its release was cancelled after Pilatus died at the age of 32.


title: Milli Vanilli

text: Rob Pilatus met Fabrice Morvan during a dance seminar at a club in Munich. The two bonded over their similar experiences growing up in European cities, Paris (Morvan) and Munich (Pilatus). "Something clicked between us," Pilatus said. "Maybe it's because we're both black people who grew up in foreign cities that don't have too many blacks."


title: Milli Vanilli

text: They reunited in Munich, where they attempted to find work as backing singers, then formed their own act and recorded an album for a small German label that sold a few thousand records.


title: Milli Vanilli

text: Although they were focused on becoming famous, they struggled with poverty. "We lived in a project. We had no money. We wanted to be stars," explained Pilatus.


title: Milli Vanilli

text: Music producer Frank Farian learned of the duo and invited them to his Frankfurt studio to listen to a demo. "We got a call to come to his studio and we said, 'All right that's it,'" Pilatus recalled. "We were just dumb little kids, so we said, 'Let's go.' When we got to the studio, "Girl You Know It's True" was just a demo and he asked us our opinion of it and if we could sing it and we said, 'Yeah, we could sing it.' And he said, 'Oh beautiful, I believe it, but next week we have shows to do, so don't worry, I'll make you into a millionaire.'"


title: Milli Vanilli

text: Farian signed the duo to a contract (which they both signed without either of them having really read it) on 1 January 1988, obligating him to record 10 songs a year. But the group's singing in the recording studio did not impress Farian. "These two guys came into the studio, they recorded, but they didn't have enough quality," Farian said.


title: Milli Vanilli

text: The final mix of "Girl You Know It's True" was finished by studio performers—including Charles Shaw, John Davis, Brad Howell, Jodie Rocco and Linda Rocco—in March and April.


title: Milli Vanilli

text: Farian gave his new project the name "Milli Vanilli," with "Milli" taken from the nickname of Farian's then-girlfriend Ingrid Segieth, and "Vanilli" added to sound like the British band Scritti Politti.


title: Milli Vanilli

text: By May, Pilatus and Morvan were touring Spain, France and Italy, lip-syncing to the pre-recorded tracks and thrilling crowds with their distinct style — spandex shorts, thigh-high boots and cornrow hair extensions. According to Pilatus, "We would ask Frank, 'When are we going to be allowed to give some (artistic) input?' And he would say, 'Yeah, yeah, but right now we need you to go out and do promotion. Of course, you'll get to do it, just work with us.' That's how he strung us along." After "Girl You Know It's True" took off in Germany in the summer of 1988, Farian produced and wrote most of the material on the album "All or Nothing," which was released in Europe in November 1988.


title: Milli Vanilli

text: "After Frank released the album, he told us that it was too late to stop now," Pilatus said. "Because the single was such a big success, he said, 'Now you have to go through with it. I'll cover you guys. Nobody will find out.' He said, 'Here, I'll give you $20,000 advance money.' We never had a hit before, so we went along with it. We played with fire and now we know, but it's too late." By December 1988, Pilatus and Morvan had both come to the realization that neither of their actual voices would ever be heard on any Milli Vanilli tracks.


title: Milli Vanilli

text: "All or Nothing" was repackaged as "Girl You Know It's True" for audiences in the United States and released in March 1989. It was a major success, producing five singles, including the title track of the American version, that all entered the top five of the "Billboard" Hot 100. Three of these five singles, "Baby Don't Forget My Number," "Blame It on the Rain," and "Girl I'm Gonna Miss You," went to number one. In January 1990, the album "Girl You Know It's True" was certified 6× platinum by the RIAA after spending seven weeks atop the "Billboard" Top 200. It spent 41 weeks in the top 10 of the "Billboard" Top 200 and 78 weeks on the charts overall. It was also certified Diamond in Canada, denoting sales of over a million units there. The duo won the Best New Artist award at the 32nd Grammy Awards, as well as three awards at the 17th American Music Awards. The duo was not without their detractors, as "Rolling Stone" Magazine named them "worst act of 1989" and "Girl You Know It's True" "worst album of 1989."


title: Milli Vanilli

text: Beth McCarthy-Miller, then an executive with MTV, says the duo's English language skills, when they came in for their first interview with the channel, stirred doubts among those present as to whether they had sung on their records. The first public sign that the group was lip-syncing came on 21 July 1989, during a live performance on MTV at the Lake Compounce theme park in Bristol, Connecticut. As they performed, a hard drive issue caused the recording of the song "Girl You Know It's True" to jam and skip, repeatedly playing the partial line "Girl, you know it's..." through the speakers. "I knew right then and there, it was the beginning of the end for Milli Vanilli," recalled Pilatus of the incident. "When my voice got stuck in the computer, and it just kept repeating and repeating, I panicked. I didn't know what to do. I just ran off the stage." Downtown Julie Brown ran after Pilatus and convinced him to finish the set. "With a bit of pushing and screaming, and a couple of F-words I think as well, I got them back out there," Brown explained on VH1's "Behind the Music". Despite the mishap, the concert audience seemed neither to care, nor even to notice, and the concert continued as if nothing unusual had happened.


title: Milli Vanilli

text: In a March 1990 issue of "Time" magazine, Pilatus was quoted proclaiming himself to be "the new Elvis," reasoning that by the duo's success they were more talented musically than Bob Dylan, Paul McCartney and Mick Jagger. This was denied by Fab Morvan in 2017, saying that Pilatus had never used those words and that the quote was taken out of context, likely due to Pilatus still not having a full grasp of the English language.


title: Milli Vanilli

text: Unlike the international release of "All or Nothing," the inserts for the American version of the album explicitly attributed the vocals to Morvan and Pilatus. This prompted singer Charles Shaw to reveal in December 1989 that he was one of the three actual vocalists on the album and that Pilatus and Morvan were impostors. Farian reportedly paid Shaw $150,000 to retract his statements, though this did not stem the tide of public criticism.


title: Milli Vanilli

text: On the 21 April 1990 episode of "In Living Color," Keenan Ivory Wayans and Damon Wayans parodied Milli Vanilli in a sketch, mocking the duo's accents, fashion sense, and dance moves. This led to further jokes on the duo, such as David Letterman's top-10 list describing 10 jobs they could do other than music.


title: Milli Vanilli

text: Because of growing public questions as to who sang in the group, as well as Morvan's and Pilatus's demand to Farian that they be allowed to sing on the next album, on 14 November 1990, Farian announced that he had fired them and confessed they did not sing on the records. Confronted by "Los Angeles Times" reporter Chuck Philips, Pilatus confirmed the deception. "It’s True: Milli Vanilli Didn’t Sing" read the newspaper's headline. "I feel like a mosquito being squeezed," Pilatus said. "The last two years of our lives have been a total nightmare. We've had to lie to everybody. We are true singers, but that maniac Frank Farian would never allow us to express ourselves." The next week, the National Academy of Recording Arts and Sciences revoked Milli Vanilli's 1990 Grammy for Best New Artist. Pilatus and Morvan gave a press conference for more than 100 journalists in Los Angeles where they stated their willingness to return their Grammy Award. The duo said they had "made a deal with the devil," and they sang and rapped for the room in order to prove that, although they had not sung on their records, they could, in fact, sing.


title: Milli Vanilli

text: After these details emerged, lawsuits were filed under various U.S. consumer fraud protection laws against Arista Records, Pilatus and Morvan. One such filing occurred on 22 November 1990, in Ohio, where lawyers filed a class-action lawsuit asking for refunds on behalf of a local woman in Cuyahoga County who had bought "Girl You Know It's True." When the suit was filed, it was estimated at least 1,000 Ohio residents had bought the album. On 12 August 1991, a proposed settlement of a refund lawsuit in Chicago, Illinois, was rejected. This settlement would have refunded buyers of Milli Vanilli CDs, cassettes, records and singles. However, the refunds would only be given as credits for future Arista releases. On 28 August, a new settlement was approved; it refunded those who attended concerts as well as those who bought Milli Vanilli recordings. An estimated 10 million buyers were eligible to claim a refund, and they could keep the refunded recordings. The refund deadline passed on 8 March 1992.


title: Milli Vanilli

text: Adding to the controversy, in December 1990, singer-songwriter David Clayton-Thomas sued Milli Vanilli for copyright infringement, alleging that the title song of "All or Nothing" used the melody from his 1968 composition "Spinning Wheel," a hit for his group Blood, Sweat & Tears.


title: Milli Vanilli

text: The resulting album, released in Europe in early 1991, was renamed "The Moment of Truth" and spawned three singles, "Keep On Running", "Nice 'n Easy", and "Too Late (True Love)". A Morvan/Pilatus lookalike named Ray Horton was depicted on the cover along with the real singers: Brad Howell and John Davis. In addition, the album featured rappers Icy Bro on "Hard as Hell" and Tammy T on "Too Late (True Love)". Original members and vocalists Jodie Rocco and Linda Rocco remained on 95% of the tracks. One of four Diane Warren-penned songs that are included on "The Moment of Truth", "When I Die", has been covered by several other artists, including Farian's No Mercy. For the American market, Farian chose to avoid any association with Milli Vanilli and had the tracks re-recorded with Ray Horton on the majority of lead vocals. However, "The Moment of Truth" was never released in that format in the USA.


title: Milli Vanilli

text: In 1992, RCA signed on to release the album as the debut of the newly created group Try 'N' B. The self-titled release included three additional tracks not on the Real Milli Vanilli release: "Ding Dong", "Who Do You Love", and a remake of Dr. Hook's "Sexy Eyes", and featured original Milli Vanilli vocalists Jodie Rocco and Linda Rocco. Because of significantly better sales under the name Try 'N' B in America, a slightly modified Try 'N' B debut album was released internationally. It featured guest singer Tracy Ganser, a Ray Horton lookalike named Kevin Weatherspoon, as well as Jodie Rocco and Linda Rocco.


title: Milli Vanilli

text: In 1991, Pilatus and Morvan appeared in a commercial for Carefree Sugarless Gum that parodied the lip-syncing scandal. They portrayed animated versions of themselves in an episode of "The Adventures of Super Mario Bros. 3" and even signed with a PR firm in hopes of breaking into acting. As they told the "L.A. Times", "We think we have the potential to become actors. After all, we got a lot of practice while we were in Milli Vanilli. But the most important thing to us now is the new album."


title: Milli Vanilli

text: Morvan and Pilatus moved to Los Angeles, California, and signed with the Joss Entertainment Group. Sandy Gallin was their manager. They recorded the album "Rob & Fab", which was financed by Taj Records in 1992 and released by Joss Entertainment in 1993. Almost all the album's songs were written by Kenny Taylor and Fab Morvan, while Morvan and Pilatus provided the lead vocals. Werner Schüler, a German bassist and songwriter, was the producer. Due to financial constraints, Joss Entertainment Group was able to release the album only in the United States, the priority market to Milli Vanilli. A single, "We Can Get It On", was made available for radio play shortly before the album's release. However, the lack of publicity, poor distribution, and their steep fall from the height of pop-culture visibility after the lip-syncing scandal contributed to its failure. It sold only around 2,000 copies.


title: Milli Vanilli

text: The duo were featured and interviewed for the premiere episode of VH1 "Behind the Music" in 1997. To restore their careers, Farian agreed to produce a new Milli Vanilli album with Morvan and Pilatus on lead vocals in 1997, leading to the recording of the 1998 Milli Vanilli comeback album "Back and In Attack". Some of the original studio singers even backed the duo in their attempt to recover some of the fame that had been lost so quickly. However, Pilatus encountered a number of personal problems during the album's production. He turned to drugs and crime, committing a series of assaults and robberies, and was sentenced to three months in jail and six months in a drug rehabilitation facility in California.


title: Milli Vanilli

text: On the eve of the new album's promotional tour on 2 April 1998, Pilatus was found dead of a suspected alcohol and prescription drug overdose in a hotel room in Frankfurt, Germany. His death was ruled accidental.


title: Milli Vanilli

text: Morvan spent the following years as a session musician and public speaker while working on writing and performing his new music. In 1998, he was a DJ at famed L.A. radio station KIIS-FM. During this period he also performed at the station's sold-out 1999 Wango Tango festival concert before 50,000 people at Dodger Stadium. He then spent 2001 on tour before performing in 2002 as the inaugural performer at the brand-new Velvet Lounge at the Hard Rock Hotel in Orlando, Florida. In 2003, Morvan released his first solo album, "Love Revolution".


title: Milli Vanilli

text: In 2015 TMZ reported that Morvan was working on an album with John Davis, one of the original Milli Vanilli singers, called "Face Meets Voice". In 2016, he appeared in a documentary-style KFC commercial that focuses on his life and music career after Milli Vanilli. John Davis died on 24 May 2021 from complications of a COVID-19 infection.


title: Milli Vanilli

text: In 2000, Fab Morvan was featured in the BBC documentary "It Takes Two: The Story of the Pop Duo" about musical duos.


title: Milli Vanilli

text: In January 2014, the actual Milli Vanilli singers—Jodie Rocco, Linda Rocco, John Davis and Brad Howell—filmed an in-depth interview with the producers of "Oprah: Where Are They Now" for OWN TV.


title: Milli Vanilli

text: The documentary "Milli Vanilli: From Fame to Shame", directed by German Oliver Schwehm and produced by Hannah Lenitzki from Bremedia Produktion, was released in 2016.


title: Milli Vanilli

text: Between 2021 and 2022, Simon Verhoeven directed and wrote the Milli-Vanilli biopic "Girl You Know It's True", which was filmed in Munich, Berlin, Cape Town, and Los Angeles. The film was produced by Wiedemann & Berg Film, with Leonine as the theatrical distributor, due to be released in cinemas 2023. The movie stars and Elan Ben Ali as Pilatus and Morvan as well as Matthias Schweighöfer as Farian. One of the executive producers is R&B music producer and performer Kevin Liles who composed the original version of "Girl You Know It's True" by his Baltimore DJ crew Numarx in 1986. Associate producers are Jasmin Davis, daughter of the late John Davis, and Brad Howell. Carmen Pilatus, sister of the late Rob Pilatus, Milli Vanilli’s former assistant Todd Headlee, and Ingrid Segieth a.k.a. Milli, are also attached as associate producers.


title: Milli Vanilli

text: On his facebook fanpage, Fab Morvan announced on 4 July 2022 that there's also a new documentary film about Milli Vanilli in the works, which he is involved in.


title: Alice in Borderland (TV series)

text: First announced in July 2019, each episode of the series was written by Sato, Yoshiki Watabe, and Yasuko Kuramitsu. Filming began in August and concluded that same year in December, with locations including various districts of Shibuya, and a green screen studio serving as a replica of the popular Shibuya Crossing, where a large portion of the series takes place. In an international collaboration, Japan's Digital Frontier worked with teams from Singapore, the United States, and India to add post-credit visual effects, with the music featured in the series being composed by Yutaka Yamada, a frequent collaborator with Sato.


title: Alice in Borderland (TV series)

text: "Alice in Borderland" premiered on Netflix on December 10, 2020. It received positive reviews for its action, cinematography, and performances and comparisons to the films "Battle Royale" (2000) and "Cube" (1997). Two weeks after the first season was released, Netflix renewed the series for a second season, which is set to premiere on December 22, 2022.


title: Alice in Borderland (TV series)

text: On July 16, 2019, Netflix announced that they were creating a live-action adaptation of the manga "Alice in Borderland", with Yoshiki Watabe, Yasuko Kuramitsu, and Shinsuke Sato writing the scripts for each episode, and Sato directing in an attempt of making the show appear as "one very, very long film." A few months later, on August 4, Kento Yamazaki and Tao Tsuchiya were cast as the main characters of the series, with the pair appearing as Ryōhei Arisu and Yuzuha Usagi, respectively.


title: Alice in Borderland (TV series)

text: Filming for the series began as early as August 2019, when Yamazaki was spotted during filming in Dōgenzaka, a district of Shibuya on August 8. The following day, crew members were spotted near a store in Fukutomi-cho, located in the city of Yokohama. From September 17 to September 20, Yamazaki and Tsuchiya were seen filming in an apartment complex in front of Kita-Suzurandai Station, on the Shintetsu Arima Line, in the city of Kobe. According to the production company Robot Communications, the show's script was revised to "match the building layout." A scene from the premiere episode featuring Yamazaki's character, Arisu, meeting his friends Chōta and Karube near Tokyo's busy Shibuya Crossing, was originally supposed to be filmed inside a Starbucks. However, due to the complexity of a glass-covered set, the scene took place in front of a sign outside Shibuya Station. Furthermore, a scene taking place inside the Shibuya Station, in which the main characters enter a bathroom and reemerge to an empty Tokyo, was shot in a four-minute continuous take. Extras were recruited for the series from August 9 to December 11, in various cities. The creator of the original manga the series is based on, Haro Aso, was also allowed to visit various sets. Filming took place in several cities and concluded in December 2019.


title: Alice in Borderland (TV series)

text: During filming, scenes focusing on the empty city of Tokyo were primarily shot using special effects and extensive uses of green screens, with Sato explaining that with the help of his assistant director, he would run into the middle of the intersection of Shibuya Crossing with a small camera "to figure out which parts to actually build and which parts to CGI." Using the Ashikaga Scramble City Studio, a large set 100 kilometers from Tokyo constructed for the series and the film "Detective Chinatown 3" (which was filmed during the same period), scenes featuring Shibuya Crossing were filmed using mainly green screens, with "everything but the road and the ticket gate at the east entrance [being] produced with computer graphics." To keep the scenes "authentic," visual effects director Atsushi Doi recreated the shadows of the Tokyu Building where they would normally fall. A scene in episode 4, which showed an underpass being flooded with water, was created with the help of previsualizations, which allowed the show's crew to "experiment with different elements before the actual shoot." The panther that appears in that same episode was created using visual effects developed after the crew visited multiple zoos. Additionally, Academy Award winner Erik-Jan de Boer supervised the production of the tiger featured in episode 5, which was created by Anibrain, an animation studio in India. Post-credit visual effects were added in with the help of Japan's Digital Frontier, who worked alongside teams from Singapore, the United States, and India in an international collaboration.


title: Alice in Borderland (TV series)

text: The score for "Alice in Borderland" was composed entirely by Yutaka Yamada, who had previously worked with Sato on "Bleach" (2018) and "Kingdom" (2019). Produced by Kohei Chida, the music was performed by the FILMharmonic Orchestra of Prague. The song "Good Times" by Jan Erik Nilsson, was featured various times throughout the show.


title: Alice in Borderland (TV series)

text: On September 18, 2020, Netflix released a teaser video revealing that "Alice in Borderland" would debut in 190 countries on the platform on December 10, 2020. On October 24, 2020, six set images were released to promote the series. Four days later, an official trailer was released, along with a poster and a list of the main cast. According to various critics, the first season of "Alice in Borderland" covered 31 chapters of the original manga, leaving 33 untouched. The first season was released on December 10, and in its first few weeks, the series "ranked in the top ten most-watched shows" on the platform in nearly 40 territories, including in Malaysia, Hong Kong, the Philippines, Singapore, Taiwan, Thailand, and Vietnam. Overall, the series did better in countries located in Asia and Europe, rather than in countries located in North America. On December 24, 2020, Netflix renewed the series for a second season, two weeks after the first season had been released.


title: Alice in Borderland (TV series)

text: On October 7, 2020, Haro Aso, the creator of the original manga the series is based on, announced plans to "celebrate" and promote the Netflix series by introducing a new manga titled "Alice in Borderland Retry" on "Weekly Shōnen Sunday". Launched on October 14 (#46, 2020 of "Weekly Shōnen Sunday"), the first volume of the manga "tankobon" was shipped out on December 11, one day after "Alice in Borderland" premiered. The manga series ended on January 20, 2021 (#8, 2021 of the magazine). The second and final volume of "tankobon" was released on February 18, 2021. The second season is set to premiere on December 22, 2022.


title: Alice in Borderland (TV series)

text: Following its release, "Alice in Borderland" received mostly positive reviews from critics, who applauded its cinematography, editing, use of graphic violence, visuals, and the performances of Kento Yamazaki and Tao Tsuchiya, but left mixed opinions on its advancement without special focus on character development and its story in general, particularly in the second half. On review aggregator Rotten Tomatoes, the first season of "Alice in Borderland" holds an approval rating of 75% based on eight reviews, with an average rating of 6.8/10. A month after the first season had been released, "Variety" revealed that the series had been viewed in 18 million households.


title: Alice in Borderland (TV series)

text: From "The Japan Times", James Hadfield gave praise to Sato's directing but criticized the characters, stating that "few of the cast leave much impression, though Tsuchiya makes for an effective action heroine, and Nijirô Murakami has some fun as a smirking loner." Writing for "Ready Steady Cut", Jonathon Wilson gave a generally positive review, lauding the series for skipping over "exposition and careful backstory-building," and "just getting straight to it." Wilson also compared the series positively to the Japanese film "Battle Royale", and the American horror film "Saw". "Ars Technica" journalist Jennifer Ouellette called the show "emotionally intense," and compared the show's games to those found in the books "Ready Player One" and "Lord of the Flies", and in the 1997 film "Cube". "Salon"'s Melanie McFarland compared the series to the CBS All Access miniseries "The Stand", stating that "Alice in Borderland" "handles the mechanics of introducing its characters more effectively and it doesn't throw off the audience by leaning heavily on flashbacks [...] but unlike "The Stand," the "before" profiles aren't extensive to the point of dragging on the story's progress." From Yahoo! News, Lim Yian Lu highly praised the series for its "suspenseful plot," stating that it "will keep you entertained and yearning for more despite its grisly and gory scenes." Writing for the Anime News Network, Theron Martin gave the series a C+ and mixed feedback to the show's production, score, general storyline and acting, while stating that it gives a "modest amount of entertainment" for its runtime. After watching the first episode of the series, and praising it for its tone, soundtrack, and ability to "shift gears so fast," the crew at "Decider" recommended viewers to stream the show.


title: Elephant's Foot (Chernobyl)

text: The Elephant's Foot is the nickname given to a large mass of corium and other materials formed underneath the Chernobyl Nuclear Power Plant, near Pripyat, Ukraine, during the Chernobyl disaster of April 1986, notable for its extreme radioactivity. Discovered in December of that year, it is located in a maintenance corridor near the remains of Reactor No. 4. It is still an extremely radioactive object, though the danger has decreased over time due to the decay of its radioactive components.


title: Elephant's Foot (Chernobyl)

text: The Elephant's Foot is a mass of black corium with many layers, externally resembling tree bark and glass. It was formed during the Chernobyl disaster in April 1986 and discovered in December 1986. It is named for its wrinkly appearance, suggestive of the foot of an elephant. It is one small part of a much larger mass that lies beneath Reactor No. 4 of the Chernobyl Nuclear Power Plant. The Elephant's Foot is located in Room 217/2, to the southeast of the ruined reactor and above ground level. The material making up the Elephant's Foot had burnt through at least of reinforced concrete, then flowed through pipes and fissures and down a hallway to reach its current location.


title: Elephant's Foot (Chernobyl)

text: The Elephant's Foot is composed primarily of silicon dioxide, with traces of uranium, titanium, zirconium, magnesium and graphite. The mass is largely homogeneous, though the depolymerized silicate glass contains occasional crystalline grains of zircon. These grains of zircon are not elongated, suggesting a moderate crystallization rate. While uranium dioxide dendrites grew quickly at high temperatures within the lava, the zircon began crystallization during slow cooling of the lava. Despite the distribution of uranium-bearing particles not being uniform, the radioactivity of the mass is evenly distributed. The mass was quite dense and unyielding to a drill mounted on a remote-controlled trolley, but able to be damaged by armor-piercing rounds fired from an AK-47 Kalashnikov rifle. By June 1998, the outer layers had started turning to dust and the mass had started to crack. In 2021, the mass was described as having a consistency similar to sand.


title: Elephant's Foot (Chernobyl)

text: At the time of its discovery, about eight months after formation, radioactivity near the Elephant's Foot was approximately 8,000 to 10,000 roentgens, or 80 to 100 grays per hour, delivering a 50/50 lethal dose of radiation (4.5 grays) within five minutes. Since that time the radiation intensity has declined enough that, in 1996, the Elephant's Foot was visited by the deputy director of the New Safe Confinement Project, Artur Korneyev, who took photographs using an automatic camera and a flashlight to illuminate the otherwise dark room.


title: Werewolf

text: In folklore, a werewolf (), or occasionally lycanthrope (; ; ), is an individual that can shapeshift into a wolf (or, especially in modern film, a therianthropic hybrid wolf-like creature), either purposely or after being placed under a curse or affliction (often a bite or the occasional scratch from another werewolf) with the transformations occurring on the night of a full moon. Early sources for belief in this ability or affliction, called lycanthropy (), are Petronius (27–66) and Gervase of Tilbury (1150–1228).


title: Werewolf

text: The werewolf is a widespread concept in European folklore, existing in many variants, which are related by a common development of a Christian interpretation of underlying European folklore developed during the medieval period. From the early modern period, werewolf beliefs also spread to the New World with colonialism. Belief in werewolves developed in parallel to the belief in witches, in the course of the Late Middle Ages and the Early Modern period. Like the witchcraft trials as a whole, the trial of supposed werewolves emerged in what is now Switzerland (especially the Valais and Vaud) in the early 15th century and spread throughout Europe in the 16th, peaking in the 17th and subsiding by the 18th century.


title: Werewolf

text: The persecution of werewolves and the associated folklore is an integral part of the "witch-hunt" phenomenon, albeit a marginal one, accusations of lycanthropy being involved in only a small fraction of witchcraft trials. During the early period, accusations of lycanthropy (transformation into a wolf) were mixed with accusations of wolf-riding or wolf-charming. The case of Peter Stumpp (1589) led to a significant peak in both interest in and persecution of supposed werewolves, primarily in French-speaking and German-speaking Europe. The phenomenon persisted longest in Bavaria and Austria, with persecution of wolf-charmers recorded until well after 1650, the final cases taking place in the early 18th century in Carinthia and Styria.


title: Werewolf

text: After the end of the witch-trials, the werewolf became of interest in folklore studies and in the emerging Gothic horror genre; werewolf fiction as a genre has pre-modern precedents in medieval romances (e.g. "Bisclavret" and "Guillaume de Palerme") and developed in the 18th century out of the "semi-fictional" chap book tradition. The trappings of horror literature in the 20th century became part of the horror and fantasy genre of modern popular culture.


title: Werewolf

text: The Modern English "werewolf" descends from the Old English "werewulf", which is a cognate (linguistic sibling of the same origin) of Middle Dutch "weerwolf", Middle Low German "werwulf", Middle High German "werwolf", and West Frisian "waer-ûl(e)". These terms are generally derived from a Proto-Germanic form reconstructed as "*wira-wulfaz" ('man-wolf'), itself from an earlier Pre-Germanic form *"wiro-wulpos". An alternative reconstruction, *"wazi-wulfaz" ('wolf-clothed'), would bring the Germanic compound closer to the Slavic meaning, with other semantic parallels in Old Norse "úlfheðnar" ('wolf-skinned') and "úlfheðinn" ('wolf-coat'), Old Irish "luchthonn" ('wolf-skin'), and Sanskrit "Vṛkājina" ('Wolf-skin').


title: Werewolf

text: The Norse branch underwent taboo modifications, with Old Norse "vargúlfr" (only attested as a translation of Old French "garwaf" ~ "garwal(f)" from Marie's lay of Bisclavret) replacing *"wiraz" ('man') with "vargr" ('wolf, outlaw'), perhaps under the influence of the Old French expression "leus warous ~ lous garous" (modern "loup-garou"), which literally means 'wolf-werewolf'. The modern Norse forms "varulv" (Danish, Norwegian) and "varulf" (Swedish) were either borrowed from Middle Low German "werwulf", or else derived from an unattested Old Norse "*varulfr", posited as the regular descendant of Proto-Germanic *"wira-wulfaz". An Old Frankish form "*werwolf" is inferred from the Middle Low German variant and was most likely borrowed into Old Norman "garwa(l)f" ~ "garo(u)l", with regular Germanic–Romance correspondance "w-" / "g-" (cf. "William" / "Guillaume", "Wales" / "Galles", etc.).


title: Werewolf

text: The Proto-Slavic noun *"vьlko-dlakь", meaning 'wolf-haired' (cf. *"dlaka", 'animal hair, fur'), can be reconstructed from Serbian "vukòdlak", Slovenian "vołkodlȃk", and Czech "vlkodlak", although formal variations in Slavic languages (*"vьrdl(j)ak", *"vьlkdolk", *"vьlklak") and the late attestation of some forms pose difficulties in tracing the origin of the term. The Greek "Vrykolakas" and Romanian "Vîrcolac", designating vampire-like creatures in Balkan folklores, were borrowed from Slavic languages. The same form is also found in other non-Slavic languages of the region, such as Albanian "vurvolak" and Turkish "vurkolak." Bulgarian "vьrkolak" and Church Slavonic "vurkolak" may be interpreted as back-borrowings from Greek. The name "vurdalak" (вурдалак; 'ghoul, revenant') first appeared in Russian poet Alexander Pushkin's work "Pesni", published in 1835. The source of Pushkin's distinctive form remains debated in scholarship.


title: Werewolf

text: A Proto-Celtic noun *"wiro-kū", meaning 'man-dog', has been reconstructed from Celtiberian "uiroku", the Old Brittonic place-name "Viroconium" (< *"wiroconion", 'place of man-dogs, i.e. werewolves'), the Old Irish noun "ferchu" ('male dog, fierce dog'), and the medieval personal names "Guurci" (Old Welsh) and "Gurki" (Old Breton). Wolves were metaphorically designated as 'dogs' in Celtic cultures.


title: Werewolf

text: The modern term "lycanthropy" comes from Ancient Greek "lukanthrōpía" (λυκανθρωπία), itself from "lukánthrōpos" (λυκάνθρωπος), meaning 'wolf-man'. Ancient writers used the term solely in the context of clinical lycanthropy, a condition in which the patient imagined himself to be a wolf. Modern writers later used "lycanthrope" as a synonym of "werewolf", referring to a person who, according to medieval superstition, could assum the form of wolves.


title: Werewolf

text: The European motif of the devilish werewolf devouring human flesh harks back to a common development during the Middle Ages in the context of Christianity, although stories of humans turning into wolves take their roots in earlier pre-Christian beliefs.


title: Werewolf

text: Their underlying common origin can be traced back to Proto-Indo-European mythology, where "lycanthropy" is reconstructed as an aspect of the initiation of the "kóryos" warrior class, which may have included a cult focused on dogs and wolves identified with an age grade of young, unmarried warriors. The standard comparative overview of this aspect of Indo-European mythology is McCone (1987).


title: Werewolf

text: A few references to men changing into wolves are found in Ancient Greek literature and mythology. Herodotus, in his "Histories", wrote that the Neuri, a tribe he places to the north-east of Scythia, were all transformed into wolves once every year for several days, and then changed back to their human shape. This tale was also mentioned by Pomponius Mela.


title: Werewolf

text: In the second century BC, the Greek geographer Pausanias related the story of King Lycaon of Arcadia, who was transformed into a wolf because he had sacrificed a child in the altar of Zeus Lycaeus. In the version of the legend told by Ovid in his "Metamorphoses", when Zeus visits Lycaon disguised as a common man, Lycaon wants to test if he is really a god. To that end, he kills a Molossian hostage and serve his entrails to Zeus. Disgusted, the god turns Lycaon into a wolf. However, in other accounts of the legend, like that of Apollodorus' "Bibliotheca", Zeus blasts him and his sons with thunderbolts as punishment.


title: Werewolf

text: Pausanias also relates the story of an Arcadian man called Damarchus of Parrhasia, who was turned into a wolf after tasting the entrails of a human child sacrificed to Zeus Lycaeus. He was restored to human form 10 years later and went on to become an Olympic champion. This tale is also recounted by Pliny the Elder, who calls the man Demaenetus quoting Agriopas. According to Pausanias, this was not a one-off event, but that men have been transformed into wolves during the sacrifices to Zeus Lycaeus since the time of Lycaon. If they abstain of tasting human flesh while being wolves, they would be restored to human form nine years later, but if they do they will remain wolves forever.


title: Werewolf

text: Lykos (Λύκος) of Athens was a wolf-shaped herο, whose shrine stood by the jurycourt, and the first jurors were named after him.


title: Werewolf

text: Pliny the Elder likewise recounts another tale of lycanthropy. Quoting Euanthes, he mentions that in Arcadia, once a year a man was chosen by lot from the Anthus' clan. The chosen man was escorted to a marsh in the area, where he hung his clothes into an oak tree, swam across the marsh and transformed into a wolf, joining a pack for nine years. If during these nine years he refrained from tasting human flesh, he returned to the same marsh, swam back and recovered his previous human form, with nine years added to his appearance. Ovid also relates stories of men who roamed the woods of Arcadia in the form of wolves.


title: Werewolf

text: Virgil, in his poetic work "Eclogues", wrote about a man called Moeris, who used herbs and poisons picked in his native Pontus to turn himself into a wolf. In prose, the "Satyricon", written circa AD 60 by Gaius Petronius Arbiter, one of the characters, Niceros, tells a story at a banquet about a friend who turned into a wolf (chs. 61–62). He describes the incident as follows, "When I look for my buddy I see he'd stripped and piled his clothes by the roadside... He pees in a circle round his clothes and then, just like that, turns into a wolf!... after he turned into a wolf he started howling and then ran off into the woods."


title: Werewolf

text: Early Christian authors also mentioned werewolves. In "The City of God", Augustine of Hippo gives an account similar to that found in Pliny the Elder. Augustine explains that "It is very generally believed that by certain witches spells men may be turned into wolves..." Physical metamorphosis was also mentioned in the "Capitulatum Episcopi", attributed to the Council of Ancyra in the 4th century, which became the Church's doctrinal text in relation to magic, witches, and transformations such as those of werewolves. The "Capitulatum Episcopi" states that "Whoever believes that anything can be...transformed into another species or likeness, except by God Himself...is beyond doubt an infidel.'


title: Werewolf

text: In these works of Roman writers, werewolves often receive the name "versipellis" ("turnskin"). Augustine instead uses the phrase "in lupum fuisse mutatum" (changed into the form of a wolf) to describe the physical metamorphosis of werewolves, which is similar to phrases used in the medieval period.


title: Werewolf

text: There is evidence of widespread belief in werewolves in medieval Europe. This evidence spans much of the Continent, as well as the British Isles. Werewolves were mentioned in Medieval law codes, such as that of King Cnut, whose "Ecclesiastical Ordinances" inform us that the codes aim to ensure that "…the madly audacious werewolf do not too widely devastate, nor bite too many of the spiritual flock." Liutprand of Cremona reports a rumor that Bajan, son of Simeon I of Bulgaria, could use magic to turn himself into a wolf. The works of Augustine of Hippo had a large influence on the development of Western Christianity, and were widely read by churchmen of the medieval period; and these churchmen occasionally discussed werewolves in their works. Famous examples include Gerald of Wales's "Werewolves of Ossory", found in his "Topographica Hibernica", and in Gervase of Tilbury's "Otia Imperiala," both written for royal audiences.


title: Werewolf

text: Gervase reveals to the reader that belief in such transformations (he also mentions women turning into cats and into snakes) was widespread across Europe; he uses the phrase "que ita dinoscuntur" when discussing these metamorphoses, which translates to "it is known". Gervase, who was writing in Germany, also tells the reader that the transformation of men into wolves cannot be easily dismissed, for "...in England we have often seen men change into wolves" ("Vidimus enim frequenter in Anglia per lunationes homines in lupos mutari…"). Further evidence of the widespread belief in werewolves and other human-animal transformations can be seen in theological attacks made against such beliefs. Conrad of Hirsau, writing in the 11th century, forbids the reading of stories in which a person's reason is obscured following such a transformation. Conrad specifically refers to the tales of Ovid in his tract. Pseudo-Augustine, writing in the 12th century, follows Augustine of Hippo's argument that no physical transformation can be made by any but God, stating that "...the body corporeally [cannot], be changed into the material limbs of any animal.'


title: Werewolf

text: Marie de France's poem "Bisclavret" (c. 1200) is another example, in which the eponymous nobleman Bisclavret, for reasons not described, had to transform into a wolf every week. When his treacherous wife stole his clothing needed to restore his human form, he escaped the king's wolf hunt by imploring the king for mercy and accompanied the king thereafter. His behavior at court was gentle, until his wife and her new husband appeared at court, so much so that his hateful attack on the couple was deemed justly motivated, and the truth was revealed. This "lai" (a type of Breton sung-poem) follows many themes found within other werewolf tales - the removal of clothing and attempting to refrain from the consumption of human flesh can be found in Pliny the Elder, as well as in the second of Gervase of Tilbury's werewolf stories, about a werewolf by the name of Chaucevaire. Marie also reveals to us the existence of werewolf belief in Breton and Norman France, by telling us the Franco-Norman word for werewolf: "garwulf," which, she explains, are common in that part of France, where "...many men turned into werewolves". Gervase also supports this terminology when he tells us that the French use the term ""gerulfi"" to describe what the English call "werewolves". "Melion" and "Biclarel" are two anonymous lais that share the theme of a werewolf knight being betrayed by his wife.


title: Werewolf

text: The German word "werwolf" is recorded by Burchard von Worms in the 11th century, and by Bertold of Regensburg in the 13th, but is not recorded in all of medieval German poetry or fiction. While Baring-Gould argues that references to werewolves were also rare in England, presumably because whatever significance the "wolf-men" of Germanic paganism had carried, the associated beliefs and practices had been successfully repressed after Christianization (or if they persisted, they did so outside of the sphere of literacy available to us), we have sources other than those mentioned above. Such examples of werewolves in Ireland and the British Isles can be found in the work of the 9th century Welsh monk Nennius; female werewolves appear in the Irish work "Tales of the Elders", from the 12th century; and Welsh werewolves in the 12th to 13th century work, "Mabinogion."


title: Werewolf

text: Germanic pagan traditions associated with wolf-men persisted longest in the Scandinavian Viking Age. Harald I of Norway is known to have had a body of "Úlfhednar" (wolf-coated [men]), which are mentioned in the Vatnsdœla, Haraldskvæði, and the Völsunga saga, and resemble some werewolf legends. The Úlfhednar were fighters similar to the berserkers, though they dressed in wolf hides rather than those of bears and were reputed to channel the spirits of these animals to enhance effectiveness in battle. These warriors were resistant to pain and killed viciously in battle, much like wild animals. Úlfhednar and berserkers are closely associated with the Norse god Odin.


title: Werewolf

text: The Scandinavian traditions of this period may have spread to Kievan Rus', giving rise to the Slavic "werewolf" tales. The 11th-century Belarusian Prince Vseslav of Polotsk was considered to have been a werewolf, capable of moving at superhuman speeds, as recounted in "The Tale of Igor's Campaign":


title: Werewolf

text: Vseslav the prince judged men; as prince, he ruled towns; but at night he prowled in the guise of a wolf. From Kiev, prowling, he reached, before the cocks crew, Tmutorokan. The path of Great Sun, as a wolf, prowling, he crossed. For him in Polotsk they rang for matins early at St. Sophia the bells; but he heard the ringing in Kiev.


title: Werewolf

text: The situation as described during the medieval period gives rise to the dual form of werewolf folklore in Early Modern Europe. On one hand the "Germanic" werewolf, which becomes associated with the witchcraft panic, and on the other hand the "Slavic" werewolf or "vlkolak", which becomes associated with the concept of the revenant or "vampire". The "eastern" werewolf-vampire is found in the folklore of Central and Eastern Europe, including Hungary, Romania and the Balkans, while the "western" werewolf-sorcerer is found in France, German-speaking Europe and in the Baltic.


title: Werewolf

text: Being a werewolf was a common accusation in witch trials throughout their history, and it featured even in the Valais witch trials, one of the earliest such trials altogether, in the first half of the 15th century. Likewise, in the Vaud (Switzerland), child-eating werewolves were reported as early as 1448.


title: Werewolf

text: In 1539, Martin Luther used the form "beerwolf" to describe a hypothetical ruler worse than a tyrant who must be resisted.


title: Werewolf

text: There were numerous reports of werewolf attacks – and consequent court trials – in 16th-century France. In some of the cases there was clear evidence against the accused of murder and cannibalism, but no association with wolves. In other cases people have been terrified by such creatures, such as that of Gilles Garnier in Dole in 1573, who was convicted of being a werewolf.


title: Werewolf

text: A peak of attention to lycanthropy came in the late 16th to early 17th century, as part of the European witch-hunts.


title: Werewolf

text: A number of treatises on werewolves were written in France during 1595 and 1615. Werewolves were sighted in 1598 in Anjou, and a teenage werewolf was sentenced to life imprisonment in Bordeaux in 1603. Henry Boguet wrote a lengthy chapter about werewolves in 1602. In the Vaud, werewolves were convicted in 1602 and in 1624. A treatise by a Vaud pastor in 1653, however, argued that lycanthropy was purely an illusion. After this, the only further record from the Vaud dates to 1670: it is that of a boy who claimed he and his mother could change themselves into wolves, which was, however, not taken seriously. At the beginning of the 17th century witchcraft was prosecuted by James I of England, who regarded "warwoolfes" as victims of delusion induced by "a natural superabundance of melancholic".


title: Werewolf

text: After 1650, belief in Lycanthropy had mostly disappeared from French-speaking Europe, as evidenced in Diderot's Encyclopedia, which attributed reports of lycanthropy to a "disorder of the brain, although there were continuing reports of extraordinary wolflike beasts but they were not considered to be werewolves. One such report concerned the Beast of Gévaudan which terrorized the general area of the former province of Gévaudan, now called Lozère, in south-central France; from the years 1764 to 1767, it killed upwards of 80 men, women, and children.


title: Werewolf

text: The part of Europe which showed more vigorous interest in werewolves after 1650 was the Holy Roman Empire. At least nine works on lycanthropy were printed in Germany between 1649 and 1679. In the Austrian and Bavarian Alps, belief in werewolves persisted well into the 18th century. In any case, as late as in 1853, in Galicia, northwestern Spain, Manuel Blanco Romasanta was judged and condemned as the author of a number of murders, but he claimed to be not guilty because of his condition of "lobishome", werewolf.


title: Werewolf

text: Until the 20th century, wolf attacks on humans were an occasional, but still widespread, feature of life in Europe.


title: Werewolf

text: Some scholars have suggested that it was inevitable that wolves, being the most feared predators in Europe, were projected into the folklore of evil shapeshifters. This is said to be corroborated by the fact that areas devoid of wolves typically use different kinds of predator to fill the niche; "werehyenas" in Africa, "weretigers" in India, as well as "werepumas" (""runa uturuncu"") and "werejaguars" (""yaguaraté-abá"" or ""tigre-capiango"") in southern South America.


title: Werewolf

text: An idea is explored in Sabine Baring-Gould's work "The Book of Werewolves" is that werewolf legends may have been used to explain serial killings. Perhaps the most infamous example is the case of Peter Stumpp (executed in 1589), the German farmer, and alleged serial killer and cannibal, also known as the Werewolf of Bedburg.


title: Werewolf

text: Common Turkic folklore holds a different, reverential light to the werewolf legends in that Turkic Central Asian shamans after performing long and arduous rites would voluntarily be able to transform into the humanoid "Kurtadam" (literally meaning Wolfman). Since the wolf was the totemic ancestor animal of the Turkic peoples, they would be respectful of any shaman who was in such a form.


title: Werewolf

text: Some modern researchers have tried to explain the reports of werewolf behaviour with recognised medical conditions. Dr Lee Illis of Guy's Hospital in London wrote a paper in 1963 entitled "On Porphyria and the Aetiology of Werewolves", in which he argues that historical accounts on werewolves could have in fact been referring to victims of congenital porphyria, stating how the symptoms of photosensitivity, reddish teeth and psychosis could have been grounds for accusing a sufferer of being a werewolf. This is however argued against by Woodward, who points out how mythological werewolves were almost invariably portrayed as resembling true wolves, and that their human forms were rarely physically conspicuous as porphyria victims. Others have pointed out the possibility of historical werewolves having been sufferers of hypertrichosis, a hereditary condition manifesting itself in excessive hair growth. However, Woodward dismissed the possibility, as the rarity of the disease ruled it out from happening on a large scale, as werewolf cases were in medieval Europe.


title: Werewolf

text: People suffering from Down syndrome have been suggested by some scholars to have been possible originators of werewolf myths. Woodward suggested rabies as the origin of werewolf beliefs, claiming remarkable similarities between the symptoms of that disease and some of the legends. Woodward focused on the idea that being bitten by a werewolf could result in the victim turning into one, which suggested the idea of a transmittable disease like rabies. However, the idea that lycanthropy could be transmitted in this way is not part of the original myths and legends and only appears in relatively recent beliefs. Lycanthropy can also be met with as the main content of a delusion, for example, the case of a woman has been reported who during episodes of acute psychosis complained of becoming four different species of animals.


title: Werewolf

text: The beliefs classed together under lycanthropy are far from uniform, and the term is somewhat capriciously applied. The transformation may be temporary or permanent; the were-animal may be the man himself metamorphosed; may be his double whose activity leaves the real man to all appearance unchanged; may be his soul, which goes forth seeking whomever it may devour, leaving its body in a state of trance; or it may be no more than the messenger of the human being, a real animal or a familiar spirit, whose intimate connection with its owner is shown by the fact that any injury to it is believed, by a phenomenon known as repercussion, to cause a corresponding injury to the human being.


title: Werewolf

text: Werewolves were said in European folklore to bear tell-tale physical traits even in their human form. These included the meeting of both eyebrows at the bridge of the nose, curved fingernails, low-set ears and a swinging stride. One method of identifying a werewolf in its human form was to cut the flesh of the accused, under the pretense that fur would be seen within the wound. A Russian superstition recalls a werewolf can be recognized by bristles under the tongue.


title: Werewolf

text: The appearance of a werewolf in its animal form varies from culture to culture, though it is most commonly portrayed as being indistinguishable from ordinary wolves save for the fact that it has no tail (a trait thought characteristic of witches in animal form), is often larger, and retains human eyes and a voice. According to some Swedish accounts, the werewolf could be distinguished from a regular wolf by the fact that it would run on three legs, stretching the fourth one backwards to look like a tail. After returning to their human forms, werewolves are usually documented as becoming weak, debilitated and undergoing painful nervous depression.


title: Werewolf

text: One universally reviled trait in medieval Europe was the werewolf's habit of devouring recently buried corpses, a trait that is documented extensively, particularly in the "Annales Medico-psychologiques" in the 19th century.


title: Werewolf

text: Various methods for becoming a werewolf have been reported, one of the simplest being the removal of clothing and putting on a belt made of wolfskin, probably as a substitute for the assumption of an entire animal skin (which also is frequently described). In other cases, the body is rubbed with a magic salve. Drinking rainwater out of the footprint of the animal in question or from certain enchanted streams were also considered effectual modes of accomplishing metamorphosis.


title: Werewolf

text: The 16th-century Swedish writer Olaus Magnus says that the Livonian werewolves were initiated by draining a cup of specially prepared beer and repeating a set formula. Ralston in his "Songs of the Russian People" gives the form of incantation still familiar in Russia. In Italy, France and Germany, it was said that a man or woman could turn into a werewolf if he or she, on a certain "Wednesday" or "Friday", slept outside on a summer night with the full moon shining directly on his or her face.


title: Werewolf

text: In other cases, the transformation was supposedly accomplished by Satanic allegiance for the most loathsome ends, often for the sake of sating a craving for human flesh. "The werewolves", writes Richard Verstegan ("Restitution of Decayed Intelligence", 1628), are certayne sorcerers, who having annoynted their bodies with an ointment which they make by the instinct of the devil, and putting on a certayne inchaunted girdle, does not only unto the view of others seem as wolves, but to their own thinking have both the shape and nature of wolves, so long as they wear the said girdle. And they do dispose themselves as very wolves, in worrying and killing, and most of humane creatures.