title: Delphi

text: Perhaps Delphi is best known for its oracle, the Pythia, or sibyl, the priestess prophesying from the tripod in the sunken adyton of the Temple of Apollo. The Pythia was known as a spokesperson for Apollo. She was a woman of blameless life chosen from the peasants of the area. Alone in an enclosed inner sanctum (Ancient Greek "adyton" – "do not enter") she sat on a tripod seat over an opening in the earth (the "chasm"). According to legend, when Apollo slew Python its body fell into this fissure and fumes arose from its decomposing body. Intoxicated by the vapors, the sibyl would fall into a trance, allowing Apollo to possess her spirit. In this state she prophesied. The oracle could not be consulted during the winter months, for this was traditionally the time when Apollo would live among the Hyperboreans. Dionysus would inhabit the temple during his absence. Of note, release of fumes is limited in colder weather.


title: Delphi

text: The time to consult Pythia for an oracle during the year was determined from astronomical and geological grounds related to the constellations of Lyra and Cygnus. Similar practice was followed in other Apollo oracles too.


title: Delphi

text: Hydrocarbon vapors emitted from the chasm. While in a trance the Pythia "raved" – probably a form of ecstatic speech – and her ravings were "translated" by the priests of the temple into elegant hexameters. It has been speculated that the ancient writers, including Plutarch who had worked as a priest at Delphi, were correct in attributing the oracular effects to the sweet-smelling "pneuma" (Ancient Greek for breath, wind, or vapor) escaping from the chasm in the rock. That exhalation could have been high in the known anaesthetic and sweet-smelling ethylene or other hydrocarbons such as ethane known to produce violent trances. Although, given the limestone geology, this theory remains debatable, the authors put up a detailed answer to their critics.


title: Delphi

text: Ancient sources describe the priestess using “laurel” to inspire her prophecies. Several alternative plant candidates have been suggested including Cannabis, Hyoscyamus, Rhododendron, and Oleander. Harissis claims that a review of contemporary toxicological literature indicates that oleander causes symptoms similar to those shown by the Pythia, and his study of ancient texts shows that oleander was often included under the term "laurel". The Pythia may have chewed oleander leaves and inhaled their smoke prior to her oracular pronouncements and sometimes dying from the toxicity. The toxic substances of oleander resulted in symptoms similar to those of epilepsy, the “sacred disease”, which may have been seen as the possession of the Pythia by the spirit of Apollo.


title: Delphi

text: The Delphic oracle exerted considerable influence throughout the Greek world, and she was consulted before all major undertakings including wars and the founding of colonies. She also was respected by the Greek-influenced countries around the periphery of the Greek world, such as Lydia, Caria, and even Egypt.


title: Delphi

text: The oracle was also known to the early Romans. Rome's seventh and last king, Lucius Tarquinius Superbus, after witnessing a snake near his palace, sent a delegation including two of his sons to consult the oracle.


title: Delphi

text: In 278 BC, a Thracian (Celtic) tribe raided Delphi, burned the temple, plundered the sanctuary and stole the "unquenchable fire" from the altar. During the raid, part of the temple roof collapsed. The same year, the temple was severely damaged by an earthquake, thus it fell into decay and the surrounding area became impoverished. The sparse local population led to difficulties in filling the posts required. The oracle's credibility waned due to doubtful predictions.


title: Delphi

text: The oracle flourished again in the second century AD, during the rule of emperor Hadrian, who is believed to have visited the oracle twice and offered complete autonomy to the city.


title: Delphi

text: Constantine the Great looted several monuments in Eastern Mediterranean, including Delphi, to decorate his new capital, Constantinople. One of those famous items was the bronze column of Plataea (The Serpent Column; Ancient Greek: Τρικάρηνος Ὄφις, Three-headed Serpent; Turkish: Yılanlı Sütun, Serpentine Column) from the sanctuary (dated 479 BC), relocated there from Delphi in AD 324, which can still be seen today standing destroyed at a square of Istanbul (where once upon a time was the Hippodrome of Constantinople, built by Constantine; Ottoman Turkish: Atmeydanı "Horse Square") with part of one of its heads kept in the Istanbul Archaeology Museums (İstanbul Arkeoloji Müzeleri).


title: Delphi

text: Despite the rise of Christianity across the Roman Empire, the oracle remained a religious center throughout the fourth century, and the Pythian Games continued to be held at least until 424 AD; however, the decline continued. The attempt of Emperor Julian to revive polytheism did not survive his reign. Excavations have revealed a large three-aisled basilica in the city, as well as traces of a church building in the sanctuary's gymnasium. The site was abandoned in the sixth or seventh centuries, although a single bishop of Delphi is attested in an episcopal list of the late eighth and early ninth centuries.


title: Delphi

text: Delphi became the site of a major temple to Phoebus Apollo, as well as the Pythian Games and the prehistoric oracle. Even in Roman times, hundreds of votive statues remained, described by Pliny the Younger and seen by Pausanias. Carved into the temple were three phrases: ("gnōthi seautón" = "know thyself") and ("mēdén ágan" = "nothing in excess"), and ("engýa pára d'atē" = "make a pledge and mischief is nigh"), In antiquity, the origin of these phrases was attributed to one or more of the Seven Sages of Greece by authors such as Plato and Pausanias. Additionally, according to Plutarch's essay on the meaning of the ""E at Delphi""—the only literary source for the inscription—there was also inscribed at the temple a large letter E. Among other things epsilon signifies the number 5. However, ancient as well as modern scholars have doubted the legitimacy of such inscriptions. According to one pair of scholars, "The actual authorship of the three maxims set up on the Delphian temple may be left uncertain. Most likely they were popular proverbs, which tended later to be attributed to particular sages."


title: Delphi

text: According to the Homeric hymn to the Pythian Apollo, Apollo shot his first arrow as an infant that effectively slew the serpent Pytho, the son of Gaia, who guarded the spot. To atone the murder of Gaia's son, Apollo was forced to fly and spend eight years in menial service before he could return forgiven. A festival, the Septeria, was held every year, at which the whole story was represented: the slaying of the serpent, and the flight, atonement, and return of the god.


title: Delphi

text: The Pythian Games took place every four years to commemorate Apollo's victory. Another regular Delphi festival was the "Theophania" (Θεοφάνεια), an annual festival in spring celebrating the return of Apollo from his winter quarters in Hyperborea. The culmination of the festival was a display of an image of the deities, usually hidden in the sanctuary, to worshippers.


title: Delphi

text: The "theoxenia" was held each summer, centred on a feast for "gods and ambassadors from other states". Myths indicate that Apollo killed the chthonic serpent Python guarding the Castalian Spring and named his priestess Pythia after her. Python, who had been sent by Hera, had attempted to prevent Leto, while she was pregnant with Apollo and Artemis, from giving birth.


title: Delphi

text: The spring at the site flowed toward the temple but disappeared beneath, creating a cleft which emitted chemical vapors that purportedly caused the oracle at Delphi to reveal her prophecies. Apollo killed Python, but had to be punished for it, since he was a child of Gaia. The shrine dedicated to Apollo was originally dedicated to Gaia and shared with Poseidon. The name Pythia remained as the title of the Delphic oracle.


title: Delphi

text: Erwin Rohde wrote that the Python was an earth spirit, who was conquered by Apollo, and buried under the omphalos, and that it is a case of one deity setting up a temple on the grave of another. Another view holds that Apollo was a fairly recent addition to the Greek pantheon coming originally from Lydia. The Etruscans coming from northern Anatolia also worshipped Apollo, and it may be that he was originally identical with Mesopotamian Aplu, an Akkadian title meaning "son", originally given to the plague God Nergal, son of Enlil. Apollo Smintheus (Greek ), the mouse killer who eliminates mice, a primary cause of disease, hence he promotes preventive medicine.


title: Delphi

text: Occupation of the site at Delphi can be traced back to the Neolithic period with extensive occupation and use beginning in the Mycenaean period (1600–1100 BC). In Mycenaean times Krissa was a major Greek land and sea power, perhaps one of the first in Greece, if the Early Helladic date of Kirra is to be believed. The ancient sources indicate that the previous name of the Gulf of Corinth was the "Krisaean Gulf." Like Krisa, Corinth was a Dorian state, and Gulf of Corinth was a Dorian lake, so to speak, especially since the migration of Dorians into the Peloponnesus starting about 1000 BC. Krisa's power was broken finally by the recovered Aeolic and Attic-Ionic speaking states of southern Greece over the issue of access to Delphi. Control of it was assumed by the Amphictyonic League, an organization of states with an interest in Delphi, in the early Classical period. Krisa was destroyed for its arrogance. The gulf was given Corinth's name. Corinth by then was similar to the Ionic states: ornate and innovative, not resembling the spartan style of the Doric.


title: Delphi

text: Earlier myths include traditions that Pythia, or the Delphic oracle, already was the site of an important oracle in the pre-classical Greek world (as early as 1400 BC) and, rededicated from about 800 BC, when it served as the major site during classical times for the worship of the god Apollo.


title: Delphi

text: Delphi was since ancient times a place of worship for Gaia, the mother goddess connected with fertility. The town started to gain pan-Hellenic relevance as both a shrine and an oracle in the seventh century BC. Initially under the control of Phocaean settlers based in nearby Kirra (currently Itea), Delphi was reclaimed by the Athenians during the First Sacred War (597–585 BC). The conflict resulted in the consolidation of the Amphictyonic League, which had both a military and a religious function revolving around the protection of the Temple of Apollo. This shrine was destroyed by fire in 548 BC and then fell under the control of the Alcmaeonids who were banned from Athens. In 449–448 BC, the Second Sacred War (fought in the wider context of the First Peloponnesian War between the Peloponnesian League led by Sparta and the Delian-Attic League led by Athens) resulted in the Phocians gaining control of Delphi and the management of the Pythian Games.


title: Delphi

text: In 356 BC, the Phocians under Philomelos captured and sacked Delphi, leading to the Third Sacred War (356–346 BC), which ended with the defeat of the former and the rise of Macedon under the reign of Philip II. This led to the Fourth Sacred War (339 BC), which culminated in the Battle of Chaeronea (338 BC) and the establishment of Macedonian rule over Greece.


title: Delphi

text: In Delphi, Macedonian rule was superseded by the Aetolians in 279 BC, when a Gallic invasion was repelled, and by the Romans in 191 BC. The site was sacked by Lucius Cornelius Sulla in 86 BC, during the Mithridatic Wars, and by Nero in 66 AD. Although subsequent Roman emperors of the Flavian dynasty contributed toward to the restoration of the site, it gradually lost importance. In the course of the third century mystery cults became more popular than the traditional Greek pantheon.


title: Delphi

text: Christianity, which started as yet one more mystery cult, soon gained ground, and this eventually resulted in the persecution of pagans in the late Roman Empire. The anti-pagan legislation of the Flavian dynasty deprived ancient sanctuaries of their assets. The emperor Julian attempted to reverse this religious climate, yet his "pagan revival" was particularly short-lived. When the doctor Oreibasius visited the oracle of Delphi, in order to question the fate of paganism, he received a pessimistic answer:


title: Delphi

text: [Tell the king that the flute has fallen to the ground. Phoebus does not have a home any more, neither an oracular laurel, nor a speaking fountain, because the talking water has dried out.]


title: Delphi

text: It was shut down during the persecution of pagans in the late Roman Empire by Theodosius I in 381 AD.


title: Delphi

text: The Amphictyonic Council was a council of representatives from six Greek tribes who controlled Delphi and also the quadrennial Pythian Games. They met biannually and came from Thessaly and central Greece. Over time, the town of Delphi gained more control of itself and the council lost much of its influence.


title: Delphi

text: Excavation at Delphi, which was a post-Mycenaean settlement of the late ninth century, has uncovered artifacts increasing steadily in volume beginning with the last quarter of the eighth century BC. Pottery and bronze as well as tripod dedications continue in a steady stream, in contrast to Olympia. Neither the range of objects nor the presence of prestigious dedications proves that Delphi was a focus of attention for a wide range of worshippers, but the large quantity of valuable goods, found in no other mainland sanctuary, encourages that view.


title: Delphi

text: Apollo's sacred precinct in Delphi was a Panhellenic Sanctuary, where every four years, starting in 586 BC athletes from all over the Greek world competed in the Pythian Games, one of the four Panhellenic Games, precursors of the Modern Olympics. The victors at Delphi were presented with a laurel crown ("stephanos") that was ceremonially cut from a tree by a boy who re-enacted the slaying of the Python. (These competitions are also called stephantic games, after the crown.) Delphi was set apart from the other games sites because it hosted the mousikos agon, musical competitions.


title: Delphi

text: These Pythian Games rank second among the four stephantic games chronologically and in importance. These games, however, were different from the games at Olympia in that they were not of such vast importance to the city of Delphi as the games at Olympia were to the area surrounding Olympia. Delphi would have been a renowned city regardless of whether it hosted these games; it had other attractions that led to it being labeled the "omphalos" (navel) of the earth, in other words, the centre of the world.


title: Delphi

text: In the inner "hestia" (hearth) of the Temple of Apollo, an eternal flame burned. After the battle of Plataea, the Greek cities extinguished their fires and brought new fire from the hearth of Greece, at Delphi; in the foundation stories of several Greek colonies, the founding colonists were first dedicated at Delphi.


title: Delphi

text: The Ottomans finalized their domination over Phocis and Delphi in about 1410 AD. Delphi itself remained almost uninhabited for centuries. It seems that one of the first buildings of the early modern era was the monastery of the Dormition of Mary or of Panagia (the Mother of God) built above the ancient gymnasium at Delphi. It must have been toward the end of the fifteenth or in the sixteenth century that a settlement started forming there, which eventually ended up forming the village of Kastri.


title: Delphi

text: Ottoman Delphi gradually began to be investigated. The first Westerner to describe the remains in Delphi was Cyriacus of Ancona, a fifteenth-century merchant turned diplomat and antiquarian, considered the founding father of modern classical archeology. He visited Delphi in March 1436 and remained there for six days. He recorded all the visible archaeological remains based on Pausanias for identification. He described the stadium and the theatre at that date as well as some freestanding pieces of sculpture. He also recorded several inscriptions, most of which are now lost. His identifications, however, were not always correct: for example he described a round building he saw as the temple of Apollo while this was simply the base of the Argives' ex-voto. A severe earthquake in 1500 caused much damage.


title: Delphi

text: In 1766, an English expedition funded by the Society of Dilettanti included the Oxford epigraphist Richard Chandler, the architect Nicholas Revett, and the painter William Pars. Their studies were published in 1769 under the title "Ionian Antiquities", followed by a collection of inscriptions, and two travel books, one about Asia Minor (1775), and one about Greece (1776). Apart from the antiquities, they also related some vivid descriptions of daily life in Kastri, such as the crude behaviour of the Turco-Albanians who guarded the mountain passes.


title: Delphi

text: In 1805 Edward Dodwell visited Delphi, accompanied by the painter Simone Pomardi. Lord Byron visited in 1809, accompanied by his friend John Cam Hobhouse:


title: Delphi

text: He carved his name on the same column in the gymnasium as Lord Aberdeen, later Prime Minister, who had visited a few years before. Proper excavation did not start until the late nineteenth century (see "Excavations" section) after the village had moved.


title: Delphi

text: From the sixteenth century onward, woodcuts of Delphi began to appear in printed maps and books. The earliest depictions of Delphi were totally imaginary; for example, those created by Nikolaus Gerbel, who published in 1545 a text based on the map of Greece by N. Sofianos. The ancient sanctuary was depicted as a fortified city.


title: Delphi

text: The first travelers with archaeological interests, apart from the precursor Cyriacus of Ancona, were the British George Wheler and the French Jacob Spon, who visited Greece in a joint expedition in 1675–1676. They published their impressions separately. In Wheler's "Journey into Greece", published in 1682, a sketch of the region of Delphi appeared, where the settlement of Kastri and some ruins were depicted. The illustrations in Spon's publication "Voyage d'Italie, de Dalmatie, de Grèce et du Levant, 1678" are considered original and groundbreaking.


title: Delphi

text: Travelers continued to visit Delphi throughout the nineteenth century and published their books which contained diaries, sketches, and views of the site, as well as pictures of coins. The illustrations often reflected the spirit of romanticism, as evident by the works of Otto Magnus von Stackelberg, where, apart from the landscapes ("La Grèce. Vues pittoresques et topographiques", Paris 1834) are depicted also human types ("Costumes et usages des peuples de la Grèce moderne dessinés sur les lieux", Paris 1828). The philhellene painter W. Williams has comprised the landscape of Delphi in his themes (1829). Influential personalities such as F.Ch.-H.-L. Pouqueville, W.M. Leake, Chr. Wordsworth and Lord Byron are amongst the most important visitors of Delphi.


title: Delphi

text: After the foundation of the modern Greek state, the press became also interested in these travelers. Thus "Ephemeris" writes (17 March 1889):


title: Delphi

text: In the "Revues des Deux Mondes" Paul Lefaivre published his memoirs from an excursion to Delphi. The French author relates in a charming style his adventures on the road, praising particularly the ability of an old woman to put back in place the dislocated arm of one of his foreign traveling companions, who had fallen off the horse. "In Arachova the Greek type is preserved intact. The men are rather athletes than farmers, built for running and wrestling, particularly elegant and slender under their mountain gear." Only briefly does he refer to the antiquities of Delphi, but he refers to a pelasgian wall 80 meters long, "on which innumerable inscriptions are carved, decrees, conventions, manumissions."


title: Delphi

text: Gradually the first travelling guides appeared. The revolutionary "pocket" books invented by Karl Baedeker, accompanied by maps useful for visiting archaeological sites such as Delphi (1894) and the informed plans, the guides became practical and popular. The photographic lens revolutionized the way of depicting the landscape and the antiquities, particularly from 1893 onward, when the systematic excavations of the French Archaeological School started. However, artists such as Vera Willoughby, continued to be inspired by the landscape.


title: Delphi

text: Delphic themes inspired several graphic artists. Besides the landscape, Pythia and Sibylla become illustration subjects even on Tarot cards. A famous example constitutes Michelangelo's Delphic Sibyl (1509), the nineteenth-century German engraving, Oracle of Apollo at Delphi, as well as the recent ink on paper drawing, "The Oracle of Delphi" (2013) by M. Lind.


title: Delphi

text: Modern artists are inspired also by the Delphic Maxims. Examples of such works are displayed in the "Sculpture park of the European Cultural Center of Delphi" and in exhibitions taking place at the Archaeological Museum of Delphi.


title: Delphi

text: Delphi inspired literature as well. In 1814 W. Haygarth, friend of Lord Byron, refers to Delphi in his work "Greece, a Poem". In 1888 Charles Marie René Leconte de Lisle published his lyric drama L’Apollonide, accompanied by music by Franz Servais. More recent French authors used Delphi as a source of inspiration such as Yves Bonnefoy (Delphes du second jour) or Jean Sullivan (nickname of Joseph Lemarchand) in L'Obsession de Delphes (1967), but also Rob MacGregor's Indiana Jones and the Peril at Delphi (1991).


title: Delphi

text: The presence of Delphi in Greek literature is very intense. Poets such as Kostis Palamas (The Delphic Hymn, 1894), Kostas Karyotakis (Delphic festival, 1927), Nikephoros Vrettakos (return from Delphi, 1957), Yannis Ritsos (Delphi, 1961–62) and Kiki Dimoula (Gas omphalos and Appropriate terrain 1988), to mention only the most renowned ones. Angelos Sikelianos wrote The Dedication (of the Delphic speech) (1927), the Delphic Hymn (1927) and the tragedy Sibylla (1940), whereas in the context of the Delphic idea and the Delphic festivals he published an essay entitled "The Delphic union" (1930). The nobelist George Seferis wrote an essay under the title "Delphi", in the book "Dokimes".


title: Delphi

text: The importance of Delphi for the Greeks is significant. The site has been recorded on the collective memory and have been expressed through tradition. Nikolaos Politis, the famous Greek ethnographer, in his Studies on the life and language of the Greek people - part A, offers two examples from Delphi:


title: Delphi

text: When Christ was born a priest of Apollo was sacrificing below the monastery of Panayia, on the road of Livadeia, on a site called Logari. Suddenly he abandoned the sacrifice and says to the people: "in this moment was born the son of God, who will be very powerful, like Apollo, but then Apollo will beat him". He didn't have time to finish his speech and a thunder came down and burnt him, opening the rock nearby into two. [p. 99]


title: Delphi

text: The Mylords are not Christians, because nobody ever saw them cross themselves. They originate from the old pagan inhabitants of Delphi who kept their property in castle called Adelphi, named after the two brother princes who built it. When Christ and his mother came to the site, and all people around converted to Christianity they thought that they should better leave; thus the Mylords left for the West and took all their belongings with them. The Mylords come here now and worship these stones. [p. 59]


title: Type 26 frigate

text: The Type 26 frigate or City-class frigate is a class of frigate being built for the United Kingdom's Royal Navy, with variants also being built for the Australian and Canadian navies. The programme, known as the Global Combat Ship, was launched by the UK Ministry of Defence to partially replace the navy's thirteen Type 23 frigates, and for export. Its primary role is to conduct advanced anti-submarine warfare missions while supporting air defence and general purpose operations. The type is the first naval platform shared between Australia, Canada and the United Kingdom since the Tribal-class destroyer.


title: Type 26 frigate

text: The programme began in 1998, under what was then known as the Future Surface Combatant (FSC). However, by March 2010, this procurement programme had evolved to become the Global Combat Ship, following the announcement of a four-year, £127 million design contract being awarded to BAE Systems Maritime – Naval Ships. The design passed Main Gate 1 in early 2015, with the Demonstration Phase starting 1 April 2015. In August 2015 the first long lead items for Type 26 were ordered, with manufacturing then expected to begin in 2016 and the first Type 26 to be delivered in 2023. Subsequently, the commissioning date for the first ship of the class slipped to late 2026, with initial operating capability now only anticipated from 2028. In November 2016 it was announced that first steel would be cut for the eight Royal Navy ships in summer 2017. They will be built at BAE Systems' Govan and Scotstoun yards on the River Clyde in Glasgow.


title: Type 26 frigate

text: The contract award to manufacture the Type 26 was announced by BAE Systems on 2 July 2017, with steel cut for the first of class, HMS "Glasgow" on 20 July 2017 by the then Secretary of State for Defence, Sir Michael Fallon.


title: Type 26 frigate

text: In June 2018, the Australian Government announced that it had selected a modified version of the Type 26 platform as the planned replacement for its . This will see the Royal Australian Navy procure up to nine s, which will be constructed by BAE Systems Australia at ASC's shipyard in Osborne, South Australia.


title: Type 26 frigate

text: On 8 February 2019, Procurement Minister Carla Qualtrough announced that the Canadian government had awarded Lockheed Martin Canada a C$185 million contract to design a fleet of up to 15 warships based on the Type 26 (the Canadian Surface Combatant), with a total program cost of $60 billion. The amount of the contract will increase as the design work increases. The initial design contract is with Irving Shipbuilding of Halifax.


title: Type 26 frigate

text: The Global Combat Ship started development under the original Future Surface Combatant (FSC) programme intended to replace the Royal Navy's Type 22 and Type 23 frigates. Planning for a replacement escort vessel started in 1998 with the ordering of a research vessel, , to study whether a trimaran design was practical for such a large and complex vessel. However, more conventional designs were ultimately preferred. In March 2005, plans were released for a two-class solution, a cheaper "Medium Sized Vessel Derivative" entering service in 2016–19 and a more capable "Versatile Surface Combatant" entering service around 2023.


title: Type 26 frigate

text: In early 2006 the MoD started a Sustained Surface Combatant Capability (S2C2) programme which explored synergies between the FSC and other needs, for minesweepers, patrol ships and survey ships. By early 2007 this had crystallised into the three requirements; C1, C2 and C3. The C1 was to be an anti-submarine warfare task group-enabled platform and would displace around 6,000 tonnes. C2 was to be a more general purpose platform displacing somewhere in the region of 4–5,000 tonnes, and C3 was to be a Global Corvette to replace a larger number of smaller vessels in service, such as minesweepers, patrol and survey ships. The Global Corvette was to displace around 2–3,000 tonnes.


title: Type 26 frigate

text: The C3 concept began in early 2004 when the MoD issued a Request for Information (RFI) for a smaller class of ship known as the Global Corvette. Low running costs and the ability to operate forward in shallow, coastal areas where larger ships cannot were both important. BAE Systems, VT Group, Thales and Rolls-Royce responded in the autumn of 2004 with concepts ranging from a well-equipped Offshore Patrol Vessel (OPV) of 1,500 tonnes to an advanced and very capable "corvette" of 3,000 tonnes, along the lines of the USN's Littoral Combat Ship programme (LCS).


title: Type 26 frigate

text: The FSC concept was brought forward in the 2008 budget, at the expense of options for two Type 45 destroyers not being taken up (ships 7 and 8). In 2009 BAE Systems received a contract to design the C1 and C2 frigates with a planned 25-year life. A total of 18 vessels (10 C1 and 8 C2) were planned to enter service from 2020, at a pace of roughly one per year. In early 2010 the C3 variant was dropped in favour of the Mine Countermeasures, Hydrography and Patrol Capability (MHPC) programme.


title: Type 26 frigate

text: Official mention of the Future Surface Combatant had all but disappeared by 2010, and on 25 March of that year, BAE Systems were given a four-year, £127 million contract by the Ministry of Defence to fully design a new class of warship, the "Global Combat Ship", previously C1 of the FSC. Expectations at the time were for the first ship to be "in service" by 2021. The October 2010 Strategic Defence and Security Review (SDSR) reaffirmed the government's commitment to the Global Combat Ship, saying; "As soon as possible after 2020 the Type 23 will be replaced by Type 26 frigates, designed to be easily adapted to change roles and capabilities depending on the strategic circumstances". As part of the defence review it was also announced that the remaining Type 22 frigates would be decommissioned without replacement, reducing the Royal Navy's escort fleet from 23 destroyers and frigates to 19 (6 Type 45 destroyers and 13 Type 23 frigates).


title: Type 26 frigate

text: BAE Systems' original working baseline for the Global Combat Ship design was a vessel 141 metres long with a displacement of 6,850 tonnes and a range of 7,000 nautical miles at 18 knots. However, on 30 November 2010 it was reported that the specifications had been pared down, in effort to reduce the cost from £500M to £250–350M per ship. Subsequently, new specification details began to emerge of a smaller 5,400 tonne ship emphasising flexibility and modularity.


title: Type 26 frigate

text: Unlike the FSC, the Global Combat Ship has only one hull design. However like the Franco-Italian family of FREMM multipurpose frigates, three versions are proposed for export: a design optimised for anti-submarine warfare (ASW), an anti-aircraft warfare (AAW) variant and a general purpose (GP) variant.


title: Type 26 frigate

text: Although a decision was made in November 2010 to reduce the specifications and capability requirements of the Global Combat Ship design, BAE Systems' design concepts by 2014 had returned to their original working baseline of a large 6,900 tonne warship. In February 2015, the MoD and BAE Systems signed a £859 million contract to continue development and progress towards manufacturing. A 12-month demonstration phase began on 1 April 2015 and, after a 12-month extension in March 2016, was scheduled to be completed in June 2017.


title: Type 26 frigate

text: Primarily due to the costs of the ship, the 2015 Strategic Defence and Security Review reduced the planned procurement of Type 26 vessels from 13 ships to 8. The resulting gap would now be filled by a new class of cheaper frigate designated Type 31.


title: Type 26 frigate

text: On 2 July 2017, BAE Systems announced it had been awarded a c£3.7 billion contract by the UK MoD to manufacture the first three Type 26 ships. The statement said that steel would be cut for the first ship in Glasgow "in the coming weeks."


title: Type 26 frigate

text: In September 2015, the programme cost was estimated at £11.5 billion, for what was then assumed to be for 13 Global Combat Ships. The cost for the current eight ships was quoted as £8 billion in 2016. Three ships were ordered in 2017 for £3.7 billion.


title: Type 26 frigate

text: In July 2021 it was revealed in response to a Parliamentary question that it was intended that the Type 26 frigate would be equipped with a new Future Cruise/Anti-ship Weapon from 2028.


title: Type 26 frigate

text: The Global Combat Ship has been designed from the outset with export in mind. During a House of Commons debate on 31 January 2011, it was revealed that Australia, Malaysia, New Zealand, and Turkey had all expressed interest in collaborating on the Global Combat Ship.


title: Type 26 frigate

text: The governments of the United Kingdom and Australia had previously been exploring the potential for cooperation on the C1 and C3 designs of the Future Surface Combatant, which corresponded closely to the Royal Australian Navy's requirements in replacing its s with a new class of frigate. The two countries signed a defence cooperation treaty in January 2013 and Australia pledged cooperation on the Global Combat Ship design in order to investigate its suitability for their own procurement programme. In April 2016, Prime Minister Malcolm Turnbull confirmed that the Global Combat Ship was one of three designs shortlisted for the replacement of Anzac-class frigates.


title: Type 26 frigate

text: In September 2016 the Australian government awarded BAE Systems a contract to further refine the design of the Type 26 Global Combat Ship for the Royal Australian Navy under the SEA 5000 (Future Frigate) programme. Australia issued a request for tenders (RFT) in support of the programme in late March 2017. The programme is valued at AUD35 billion (US$26.25 billion). On 10 August 2017 BAE Systems announced it had submitted its bid for the SEA 5000 programme. Prime Minister Malcolm Turnbull announced in June 2018, that BAE had won the contract and Australia will build nine units of a modified version of the Type 26 concept vessel in Adelaide.


title: Type 26 frigate

text: During the House of Commons debate of 31 January 2011, it was also disclosed that the Canadian government was interested in collaborating on the Global Combat Ship and that the UK and Canada were in "close discussion". However, a Canadian union campaigned that the Global Combat Ship threatened Canadian shipbuilders, and in the run-up to the May 2011 election a spokesman for Peter MacKay, at the time Canadian Defence Minister, ruled out involvement with the British programme. Turkey also later rejected the design in 2012 as not meeting its requirements.


title: Type 26 frigate

text: Although Canada had previously ruled out partnership with the British programme, in May 2016 IHS Janes reported that the Global Combat Ship was still one of the contenders for the Canadian Surface Combatant requirement. Indeed, in November 2017, a Lockheed Martin-led consortium put forward their "CSC Proposal", based on the Type 26 design by BAE Systems, for the Royal Canadian Navy's future frigate project.


title: Type 26 frigate

text: On 19 October 2018 it was announced that BAE-Lockheed Martin was selected as the 'preferred' bidder in the Canadian Surface Combatant programme and that the Canadian government would begin negotiations to award a contract for 15 ships worth CAD$60 billion with BAE and Lockheed Martin Canada, the primary contractors. The preferred bid beat out offers from Alion Science and Technology and their proposal based on the Dutch "De Zeven Provinciën" Air Defence and Command (LCF) frigate and Navantia/Saab/CEA Technologies with their proposal based on the Spanish Navy F-105 frigate.


title: Type 26 frigate

text: On 21 November 2018 Alion Science and Technology asked the Federal Court for a judicial review of the decision, claiming the winning bid was "incapable of meeting three critical mandatory requirements" of the design tender, including the mandatory speed requirements set by the Royal Canadian Navy.


title: Type 26 frigate

text: On 27 November 2018, the Canadian International Trade Tribunal (CITT) ordered the Government to postpone the finalising of the deal to purchase the ships, while the complaint from Alion was investigated. On 11 December 2018, the CITT gave the government a green light to proceed with the Lockheed contract, but its inquiry into the compliance of the Type 26 with Canada's requirements continued. The Tribunal dismissed the case entirely in February 2019.


title: Type 26 frigate

text: The Canadian Surface Combatant design contract was signed on 7 February 2019 by the Liberal government. The design contract with Irving and the Lockheed Martin-BAE consortium was negotiated in near record time, taking only three months.


title: Type 26 frigate

text: In September 2010, the British and Brazilian governments reached a defence agreement, including the potential sale of five or six Global Combat Ships to the Brazilian Navy. The following month, BAE Systems formally made a detailed proposal to the Brazilian Navy, for a package including the Global Combat Ship as well as variants of the Wave-class tanker and River-class patrol vessel.


title: Type 26 frigate

text: The Global Combat Ship is designed with modularity and flexibility in mind to enhance versatility across the full range of operations, including maritime security, counter-piracy, counter-terrorist and humanitarian and disaster relief operations. The adaptable design will facilitate through-life support, ensuring upgrades can easily be undertaken as technology develops.


title: Type 26 frigate

text: As of 2017, BAE Systems' website suggests a displacement of 6,900 tonnes, a length of a beam of and a top speed in excess of . The Global Combat Ship will have a core crew of 157 with room for a total of 208.


title: Type 26 frigate

text: The Global Combat Ship is designed for up to 60 days' endurance and a range of approximately . Located at the stern are facilities allowing for the deployment of rigid-hulled inflatable boats, unmanned surface vehicles or a towed array sonar. A large Integrated Mission Bay and hangar is located amidship, enabling a variety of missions and associated equipment. Aircraft similar in size to the Boeing Chinook can be flown off the large flight deck, and the hangar can accommodate up to two helicopters the size of an AgustaWestland AW159 Wildcat or AgustaWestland Merlin. The hangar also has space to accommodate unmanned aerial vehicles.


title: Type 26 frigate

text: The Royal Navy's version of the Global Combat Ship is referred to as the Type 26 frigate. This will be equipped with the Type 997 Artisan 3D search radar and Sea Ceptor (CAMM) air-defence missiles launched via 48 vertical launching system (VLS) canisters. Additionally, 24 Mark 41 "strike-length VLS" cells are positioned forward of the bridge. On 8 July 2021, it was confirmed that the Anglo-French FC/ASW anti-ship missile would be brought into service on the Type 26, which is likely to be launched from the Mark 41 VLS. The Mark 41 is also capable of firing missiles such as the Tomahawk land-attack cruise missile, anti-submarine rockets, or quad-packed ESSMs.


title: Type 26 frigate

text: Like the Type 23 frigate it will replace, the Global Combat Ship will have an acoustically quiet hull for anti-submarine warfare and fitted with an Ultra Electronics Type 2150 next-generation bow sonar and a powerful Sonar 2087 towed array. The Global Combat Ship will also be fitted with guns of various calibres. Instead of the RN's current 4.5 inch Mark 8 naval gun, the Global Combat Ship will be equipped with a NATO-standard BAE 5 inch, 62-calibre Mark 45 naval gun. Smaller guns include two Phalanx CIWS, two 30mm DS30M Mark 2 Automated Small Calibre Guns and a number of miniguns and general-purpose machine guns.


title: Type 26 frigate

text: The propulsion system of the RN ships will have a gas turbine direct drive and four high speed diesel generators driving two electric motors in a combined diesel-electric or gas (CODLOG) configuration. In 2012 Rolls Royce repackaged the MT30 used in the s so that it would fit into smaller ships. The MT30 will be used in the Type 26. BAE Systems have suggested that some customers will install gas turbine engines and others will prefer to sacrifice 2–3 knots of speed by choosing cheaper diesel engines. The CODLOG configuration for propulsion is a simpler version of the Combined diesel-electric and gas (CODLAG) propulsion used on the Type 23 which this ship is to replace, and both of the Global Combat Ship's design contemporaries – the "Queen Elizabeth"-class aircraft carrier and the Type 45 destroyer – use integrated electric propulsion (IEP).


title: Type 26 frigate

text: The first steel for the first three of eight Royal Navy ships was cut on 20 July 2017. BAE Systems announced the award of the Type 26's first seven equipment manufacturing contracts in July 2015, these worth in excess of £170 million. Contracts were awarded to Babcock International for the ship's air weapons handling system; David Brown Gear Systems Ltd for the propulsion gearbox and the test facility; GE Power Conversion for the electric propulsion motor and drive system and testing facility; Raytheon Anschütz for the integrated navigation and bridge system including customer-specific design and development, a land-based integration facility, and a wide range of services; Rolls Royce Power Engineering for the gas turbine; Rohde & Schwarz UK Ltd for the communications systems; WR Davis of Canada for the uptakes and downtakes of the ship's funnel and exhaust system.


title: Type 26 frigate

text: In December 2016, BAE Systems announced the award of six additional Type 26 equipment manufacturing contracts with Detegase of Spain for sewage and water treatment, Salt Separation Services for desalination equipment, Johnson Controls for chilled water plants, Marine Systems Technology Ltd for gas-, weather-, and water-tight doors, hatches, and Rolls Royce for stabilisers and steering components. Also awarded a contract was Pellegrini Marine Equipments of Italy. These awards brought to £380 million the total investment in the supply chain for the Type 26.


title: Type 26 frigate

text: According to Gary McCloskey, head of Type 26 supply chain at BAE Systems, by March 2017 between 40 and 50 suppliers were engaged in the Type 26 programme, and about 33 had full contracts.


title: Type 26 frigate

text: On 5 April 2017 Raytheon Anschütz announced successful integration of Warship Electronic Chart Display Information System (WECDIS) into their Integrated Navigation and Bridge Systems (INBS) for the Type 26.


title: Type 26 frigate

text: In July 2017 BAE Systems stated that the Type 26 programme currently employs more than 1,200 people in the UK supply chain, and in the future, the programme would secure more than 3,400 jobs across BAE Systems and the wider UK maritime supply chain. It was also stated in July 2017, coinciding with the announcement of additional contracts, total investment in the Type 26 supply chain had reached £500 million. The 14 companies awarded contracts in the July announcement include Babcock for the helicopter landing grid, MSI Defence Systems for the small calibre gun, and Thales for the towed array system. The largest of the July-announced contracts are for the procurement of structural steel for the first three ships from UK and European steel mills by Dent Steel Services Ltd.


title: Type 26 frigate

text: The original planning assumption for the Royal Navy was for thirteen Global Combat Ships (eight ASW and five GP), replacing the Type 23 frigate fleet like-for-like. However, as a result of the November 2015 Strategic Defence and Security Review it was decided that only the eight anti-submarine warfare Type 26 frigates would be ordered. The funding for the remaining five general purpose Type 26 frigates is instead to be spent on developing a new class of lighter and more affordable general purpose frigates (GPFF).


title: Type 26 frigate

text: Due to an expected lower cost, the government suggested it may allow an eventual increase in the total number of frigates in the Royal Navy. This general purpose frigate will be designated as the Type 31e frigate. In July 2016, BAE revealed two general purpose frigate designs to meet the requirement; the Avenger class and the Cutlass class. On 12 September 2019 it was announced that Babcock's Arrowhead 140 design, based on the Danish Iver Huitfeldt-class frigate, had been selected for the Type 31 frigate program.


title: Type 26 frigate

text: During 2014, a campaign emerged to name one of the ships , although Royal Navy ship names are formed via the Ships' Names and Badges Committee. In July 2017, construction of the first ship began in Govan; at the same time as work on the ship was started, it was announced that it would be named . The second named unit (although planned as the third ship of Batch 1) was announced as HMS "Belfast" in September 2017. The Second World War era light cruiser , a museum ship, will be named "HMS "Belfast" (1938)" by the Imperial War Museum to avoid "any possibility of confusion".


title: Type 26 frigate

text: In March 2018 the First Sea Lord, Admiral Philip Jones, announced that the second ship of the class would be . In September 2018 it was announced that the first of the planned five Batch 2 ships would be . In November 2018, subsequent Batch 2 ships were announced as HMS "Sheffield", , and . Of the eight names, six were previously used as names of Type 42 destroyers, while the previous HMS "London" and HMS "Sheffield" were Type 22 frigates. An order for the final five ships in the class was formally placed in November 2022.


title: Carol (film)

text: Carol is a 2015 romantic drama period film directed by Todd Haynes. The screenplay by Phyllis Nagy is based on the 1952 romance novel "The Price of Salt" by Patricia Highsmith (republished as "Carol" in 1990). The film stars Cate Blanchett, Rooney Mara, Sarah Paulson, Jake Lacy, and Kyle Chandler. Set in New York City during the early 1950s, "Carol" tells the story of a forbidden affair between an aspiring female photographer and an older woman going through a difficult divorce.


title: Carol (film)

text: "Carol" had been in development since 1997, when Nagy wrote the first draft of the screenplay. British company Film4 Productions and its then-chief executive Tessa Ross financed development. The film had a troubled development period, facing problems with financing, rights, scheduling conflicts, and accessibility. Number 9 Films came on board as a producer in 2011, when Elizabeth Karlsen secured the rights to the novel. The film is co-produced by New York-based Killer Films, which joined the project in 2013 after Haynes's collaborator Christine Vachon approached him to direct. Principal photography on the British-American production began in March 2014, in Cincinnati, Ohio, and lasted 34 days. Cinematographer Edward Lachman shot "Carol" on Super 16 mm film.


title: Carol (film)

text: "Carol" premiered at the Cannes Film Festival on May 17, 2015 and was released in the United States on November 20 and in the United Kingdom on November 27. Grossing over $42 million on an $11 million budget, the film was praised for Haynes's direction and the performances of Blanchett and Mara and was the best-reviewed film of 2015. "Carol" competed for the Palme d'Or at Cannes, where Mara tied with Emmanuelle Bercot for the Best Actress award. The film received many accolades, including five Golden Globe Award nominations, six Oscar nominations, and nine BAFTA Award nominations; as well as five Dorian Awards and awards from the New York Film Critics Circle, Los Angeles Film Critics Association, and National Society of Film Critics. It was featured in several "best of" film lists, and was ranked by the British Film Institute as the best LGBT film of all time. It was named one of the greatest films of the 21st Century by the BBC.


title: Carol (film)

text: During the Christmas season of 1952, aspiring photographer Therese Belivet is working in Frankenberg's department store in Manhattan. She meets a glamorous woman, Carol Aird, who is searching for a doll for her daughter, Rindy. At Therese's recommendation, Carol purchases a model train set instead. When Carol departs, she leaves her gloves on the counter. Therese mails them to her using Frankenberg's sales slip with Carol's name and address.


title: Carol (film)

text: Therese's boyfriend, Richard, wants her to go to France with him, hoping they will marry, but she is ambivalent about their relationship. A common friend, Dannie, invites Therese to his workplace, "The New York Times", and offers to introduce her to a photo editor friend. Meanwhile, Carol is going through a difficult divorce from her husband, Harge. Carol calls Frankenberg's to thank the clerk who returned the gloves and invites Therese to lunch. Therese visits Dannie and he kisses her, but she becomes uncomfortable and leaves.


title: Carol (film)

text: Carol invites Therese to her home in New Jersey. She stops to purchase a Christmas tree, and Therese takes candid photographs of her. Harge arrives unexpectedly to take Rindy to Florida for Christmas; he becomes suspicious of Therese, as Carol had an affair years before with her friend Abby. Therese witnesses their argument. After Rindy leaves, a distressed Carol takes Therese to the train station so she can return home.


title: Carol (film)

text: Carol calls to apologize to Therese and they meet at her apartment, where Carol surprises her with a suitcase containing a gift of a Canon camera and film. Carol has learned that Harge is petitioning the judge to consider a "morality clause" against her, threatening to expose her homosexuality and give him full custody of Rindy. She decides to take a road trip to escape the stress of the divorce proceedings and invites Therese to join her. Richard accuses Therese of being infatuated with Carol and predicts Carol will soon tire of her. The two argue and their relationship comes to an end. On the second night of the trip, Therese meets a traveling salesman, Tommy Tucker.


title: Carol (film)

text: On New Year's Eve, Carol and Therese kiss for the first time and have sex. The next morning, they discover that Tucker is actually a private investigator Harge hired to obtain evidence against Carol. Carol confronts Tucker, threatening him at gunpoint, but he claims to have already sent tape recordings to Harge. Carol and Therese turn back. The next day, in Chicago, Therese learns that Carol has flown home to fight for custody of her daughter, having asked Abby to drive Therese home. Abby gives her a letter from Carol. Back at home, Therese telephones Carol, but knowing that she risks losing custody of Rindy if she continues her relationship with Therese, Carol hangs up.


title: Carol (film)

text: Therese creates a portfolio of her photographs and gets a job at "The New York Times". In the meantime, Carol has been seeing a psychotherapist as a condition of the divorce settlement. During a confrontational meeting in mid-April with divorce lawyers, Carol suddenly admits to the truth of what the tapes contain and refuses to deny her sexuality. To avoid going to court and the likelihood of a public scandal, she tells Harge that he can have custody of Rindy if he allows her regular visits.


title: Carol (film)

text: Carol writes to Therese, and they meet in the lounge of the Ritz Tower Hotel. Carol reveals she is going to work for a furniture house and has taken an apartment on Madison Avenue. Therese declines Carol's invitation to live with her. Carol tells Therese that she is meeting associates in the Oak Room, and that if she changes her mind, they can have dinner. Therese remains still and Carol says, "I love you." They are interrupted by Jack, a colleague who has not seen Therese in months, and Carol departs.


title: Carol (film)

text: Therese accepts Jack's ride to a party, but finds she cannot connect with anyone. She leaves for the Oak Room. She scans the diners and sees Carol at a table. Therese hesitates, then walks toward Carol. Their eyes meet. Carol gazes at Therese with a smile that slowly grows.


title: Carol (film)

text: "Carol" is based on Patricia Highsmith's 1952 semi-autobiographical romantic novel "The Price of Salt". The book was originally published under the pseudonym "Claire Morgan" by Coward-McCann after Highsmith's publisher Harper & Brothers rejected it. In 1990, Highsmith agreed to republish with Bloomsbury Publishing under her own name, and retitled it "Carol". It had been inspired by an encounter in 1948 between Highsmith and a blonde woman wearing a mink coat, Kathleen Wiggins Senn, whilst she was working as a Christmas season salesgirl at the toy department of Bloomingdale's in New York. That evening she wrote an eight-page outline, which she developed some weeks later and had completed by 1951. The character of Therese Belivet was based on Highsmith herself. Senn inspired the character of Carol Aird, but its template was inspired by Highsmith's relationships with two former lovers, Philadelphia socialite Virginia Kent Catherwood and psychoanalyst Kathryn Hamill Cohen. Catherwood lost custody of her daughter in a high-profile divorce that involved secret tape recordings of her and her female lover.


title: Carol (film)

text: London-born, New York-based producer Dorothy Berwin was initially attached to the project in 1996, owning the rights to the novel. She enlisted then-playwright Phyllis Nagy to write the screenplay on the recommendation of her London agent. Nagy, who was a friend of Highsmith, wrote the first draft of the script in 1997. Highsmith had suggested to Nagy that she adapt one of her novels. According to Nagy, Highsmith was not confident that the novel could be made into a "satisfying" film because of its "intense, subjective point of view". Nagy decided to adapt the script to ensure its fidelity to the source material, remarking, "I felt a strange responsibility to take it, and to make sure that it wasn't screwed up in some fundamental way, because she so disliked many of the screen adaptations of her work."


title: Carol (film)

text: While searching for investors, Nagy and Berwin learned that the characters' homosexuality was not as much of an obstacle as that they were women. "Having two women leads was the issue", Nagy noted. In 2015, Berwin said that, in those days, it was a risky idea to play the role of Carol. "As a project it came together with Cate Blanchett. You needed to always start with her role". Film4 Productions and Tessa Ross financed the development of the film and kept it alive through the years, as it "underwent a decade-plus of revision under various directors and investors"—including Hettie MacDonald, Kenneth Branagh, Kimberly Peirce, John Maybury, and Stephen Frears—until the project completely stalled. The long delay was a result of struggles with funding, rights, and trepidations about a film with a gay theme and two female leads. "During its development, there was a very different kind of lesbian or gay movie that got financed", Nagy said. "They were very agenda or issue driven, and this was not. In fact it insists on not being that in order to make the point. I would talk about that with financiers, and I could see them glaze over."


title: Carol (film)

text: Nagy said it was important that the screenplay be authentic to the early 1950s. "There was a different protocol then, a different etiquette, a different way people related to each other physically", she said. "It does you no service to spoonfeed a contemporary audience their own emotional codes and value systems." While various directors and investors had input to the script during its long gestation period, Nagy rejected suggestions that Carol or Therese "should feel guilty about being gay and suffer some kind of breakdown scene about it." "What I knew going in to the adaptation", Nagy said, "was that Pat's lack of psychologizing about Carol and Therese's sexual attraction, and ultimately their love, had to be maintained. It could not be corrupted by an impulse to indulge in any number of dramatic narrative clichés about guilt concerning one's sexuality or the like."


title: Carol (film)

text: Nagy set the adaptation several years later than the novel is set, so that "the dawn of the Eisenhower administration and the rise of HUAC could be front and center". One of the challenges was translating the subjective and limited third-person viewpoint, where the narrator "sits on the shoulder of Therese and makes regular advances into (and retreats from) her head"; Carol is thus largely seen through Therese's fanatical prism. Nagy was initially apprehensive about the narrative structure, considering "there's no character of Carol. She's a ghost appropriately, as she should be, in the novel", adding that she was "overwhelmed by the task of trying to come up with the visual equivalent for it structurally." She decided to split the point of view and shift perspectives from Therese to Carol, as "the point of view is always with the more vulnerable party". She made Therese a photographer instead of a set designer, allowing her "to be seen moving from objects to people", which she likened to Highsmith as Therese is a "clear stand-in" for the author. Nagy drew from her personal knowledge of Highsmith for Therese, describing one of Therese's lines, "I started taking pictures of people because my friend says I have to be more interested in humans", as the epitome of Highsmith: "that ability to step outside of life and comment on it before participating in it". For Carol, she took inspiration from Grace Kelly's character in "Rear Window" (1954). Nagy had freedom in "inventing a life for [Carol], for whom, basically, we knew the outline of what was going on." Once she was able to understand the inner life of Carol, and her motivations, the character became easy to write. Nagy aimed to "focus on the nature of what it's like to fall in love from two points of view", and show the characters "just behaving ... not inhabiting positions."


title: Carol (film)

text: Nagy realized she would "pass time in a different way" than the novel, eliminating unnecessary elements. She had "great freedom" developing the screenplay in England, while no studio or director was attached. Over the years, five "proper" drafts materialized. Nagy said that after all the previous collaborations, "working for Todd was easy and quick. We both have an interest in restraint." Haynes and Nagy collaborated on honing the screenplay. When Haynes came on board they had discussions about "what became the framing device"; the story reminded Haynes of the 1945 classic film "Brief Encounter", and he proposed using a similar technique, which Nagy "then ran with in a certain way". "He was interested in the same things, tonally, that the script was interested in", she noted. "We were able to keep that restraint going". Nagy made the story more enigmatic, pruning some of the backstory in light of a significant early line that Carol says to Therese: "What a strange girl you are, flung out of space." Nagy and Haynes were determined not to make "an agenda film" or a "look how far we've come" film.


title: Carol (film)

text: At the London Film Festival, Nagy said she had titled the film "Carol" and not "The Price of Salt" because Highsmith herself had changed the title to "Carol" when the novel was republished, and also because she "liked the sort of strange, obsessive nature of calling it by someone's name." Haynes said the film is called "Carol" because the novel "is locked into the subjectivity of the younger woman" and Carol is "really the object of desire in the story." "There's an element of, something aloof ... something unsettled about [her], that puts Therese and these new feelings ... on edge throughout much of the film". Of the story's universal theme, Haynes said, "the real determining question is not whether society will accept [Therese's] feelings or not; it's, will this person return her love or not? ... That is what transcends the class of love, or the period in which it's occurring, and makes it something that just humbles us all and levels us all."


title: Carol (film)

text: British producer Elizabeth Karlsen of Number 9 Films came across Nagy's script around 2004, when she was co-producing "Mrs. Harris" with Christine Vachon of New York-based Killer Films. Berwin's rights to "The Price of Salt" expired in 2010, and Karlsen thereafter acquired the script. Berwin remained an executive producer on the film. Karlsen managed to convince Highsmith's estate to sign over the rights, closing the deal with Tessa Ross in late 2011. She then persuaded a disillusioned and reluctant Nagy to come back on board. The producers hired a UK director, who then dropped out because of scheduling conflicts. They later recruited Irish director John Crowley, who was announced in May 2012 along with the lead cast, Cate Blanchett and Mia Wasikowska, and the involved producers, Karlsen and Stephen Woolley of Number 9 Films and Tessa Ross of Film4, who received executive producer credit. "Carol" was scheduled to commence filming in early 2013, until Crowley withdrew due to a scheduling conflict. Karlsen called Vachon to discuss losing another director, and Vachon told her that Haynes's new film was not going to happen because its star had also backed out. They then decided to approach Haynes. Vachon, Haynes's frequent collaborator, asked if he would be interested, and he received a copy of the screenplay. Two days later he committed to direct, and Vachon joined as a producer. Haynes was announced as director on May 22, 2013. Three days later, The Weinstein Company acquired U.S. distribution rights at the Cannes Film Festival from HanWay Films.


title: Carol (film)

text: Haynes had first heard about the film in 2012 from costume designer Sandy Powell, who informed him that Blanchett was attached and Karlsen was producing. Blanchett, who served as an executive producer through her company Dirty Films, had been involved with the project for "a long time". Haynes learned that they were looking for a director when Vachon approached him in 2013. He regarded the story, its historical and social context, and collaborating again with Blanchett, as motivations to get involved. "What was so interesting to me when I first read this script", he said, "is how it basically links that hothouse mentality of the desiring subject ... to that of the criminal subject, in that both are these over-productive minds that are conjuring narratives constantly ... this crazy state of this furtive hyperactivity in the mind." Haynes collaborated with Blanchett on a dramaturgical level.


title: Carol (film)

text: Another complication emerged when Wasikowska had to drop out because of a scheduling conflict. Haynes then approached Rooney Mara, who had been offered the role of Therese after completing the 2011 film "The Girl With the Dragon Tattoo". She said that although she loved the script and wanted to work with Blanchett, she turned it down because she was exhausted and unconfident. By the time Haynes came on board she was "in a much different head space" and signing on was then "a no-brainer". In August 2013, it was reported that Mara had replaced Wasikowska. Sarah Paulson was cast as Abby and Kyle Chandler as Harge in January 2014. The next month, Cory Michael Smith was cast as Tommy and Jake Lacy as Richard. In April 2014, John Magaro was cast as Dannie. Carrie Brownstein then joined the cast as Genevieve Cantrell. Carter Burwell was hired to compose the music, and Edward Lachman, who had previously collaborated with Haynes, served as director of photography.


title: Carol (film)

text: In rehearsal, Haynes, Blanchett and Mara realized that certain lines should be cut, which Haynes deemed the "stylistic practice that we all took throughout the creative departments. I feel there was an understanding with them that words and dialogue were never carrying the weight of the story." Costume designer Sandy Powell said of working with Haynes, "Todd is super visual, super prepared and he provides his own visuals at the beginning of the film. He starts with a look book of images that he's compiled over the months and months. He's almost OCD about it. In a good way." The film's look was influenced by the postwar color photography of Ruth Orkin, Esther Bubley, Helen Levitt, and Vivian Maier, as well as the abstract photography of Saul Leiter. Haynes used their work as a visual reference for depicting a "dirty and sagging" New York.


title: Carol (film)

text: In preparing for filming, the producers found that the cost of production in the New York City area would be prohibitive, and it was also going to be difficult to find locations there that resembled the early 1950s. Part of the financing plan hinged upon a co-production deal with Canada, with filming taking place in Montreal, but Haynes joining the production led to a rethink. Karlsen recalled making a film 27 years earlier in Cincinnati, Ohio, that was set in 1950s New York. After researching the city, she found that it had not changed much in decades, with Ohio also having one of the best film tax incentives in the U.S. The city of Cincinnati was very accommodating to the production, which employed many locals as crew.


title: Carol (film)

text: The production offices in Cincinnati opened in early January 2014, with filming expected between mid-March and May. In February 2014, the Greater Cincinnati & Northern Kentucky Film Commission released the solicitation from producers for extras and vintage vehicles. Principal photography began on March 12, 2014, at Eden Park in Cincinnati. Various locations around Cincinnati were used during production, including Downtown Cincinnati, Hyde Park, Over-the-Rhine, Wyoming, Cheviot, and Hamilton, as well as Alexandria, Kentucky. Except for the Waterloo, Iowa, motel room, which was a private set built for the love scene, locations were used for interior and exterior settings. The second floor of a now-defunct department store served as the setting for the toy department of the fictional Frankenberg's. Filming was completed after 34 days on May 2, 2014. Lachman shot "Carol" on Super 16 mm film using 35 mm format lenses.


title: Carol (film)

text: Post-production in New York took seven months to complete. Haynes was involved in the editing process alongside editor Affonso Gonçalves. Visual effects (VFX) were used to remove modern components from backgrounds, with six "key shots" needing extensive VFX. Moving shots were particularly complicated when they were filtered through windows, rain, dust, and other elements, said Haynes, and the CGI details "had to fit exactly into the vernacular itself, with the grain element and level of distress." The digital intermediate process was used to achieve a "very specific, slightly spoiled palette". Haynes spent five and a half weeks making detailed notes on Gonçalves's assembly edit, and produced his director's cut within four weeks. The producers gave notes on the director's cut and held some test screenings with friends and acquaintances. They decided to show the cut to Harvey Weinstein, who was impressed and endorsed it.


title: Carol (film)

text: Haynes confirmed the completion of deliverables on December 15, 2014. Brownstein said the first cut was extensive and most of her scenes were left out. In November 2015, Paulson said that a key scene between Abby and Therese, and some conversation in a scene with Carol, had been cut. In January 2016, Mara said that an intimate scene between Therese and Richard had also been deleted. Gonçalves said that the initial cut was two and a half hours, and the final cut ended at 118 minutes. Haynes explained in an October 2015 interview: "We cut a lot of scenes; it was too long, and they were all well-performed and nicely shot—we never, in my opinion, cut things because they were poorly executed. It was just a paring-down process, which all movies do."


title: Carol (film)

text: The soundtrack was released in both digital download and CD album format by Varèse Sarabande on November 20, 2015, followed by a double album vinyl release on June 24, 2016. It includes the original score by Carter Burwell and additional music by The Clovers, Billie Holiday, Georgia Gibbs, Les Paul and Mary Ford, and Jo Stafford. Songs not featured on the CD include "Willow Weep for Me" performed by Vince Giordano & the Nighthawks Orchestra, "Perdido" by Woody Herman, and "That's the Chance You Take" by Eddie Fisher. "A Garden in the Rain" by The Four Aces, "Slow Poke" by Pee Wee King, and "Why Don't You Believe Me" by Patti Page are also not included, but appear in the vinyl version.


title: Carol (film)

text: The first official image from "Carol", released by Film4, appeared in the "London Evening Standard" in May 2014. Despite being completed in late 2014, producers withheld the film until 2015, to benefit from a film festival launch. In October 2014, Haynes and Vachon announced that it would premiere in the spring of 2015 and be released in the fall.


title: Carol (film)

text: "Carol" had its world premiere at the 2015 Cannes Film Festival. It made its North American debut at the Telluride Film Festival on September 4, and screened at the New York Film Festival on October 9, 2015. The film premiered in the United Kingdom at the BFI London Film Festival's Gala event on October 14, 2015.


title: Carol (film)

text: Originally scheduled for a December 18 release in the United States, "Carol" opened in limited release on November 20, 2015. It received a platform release in the country, expanding from four to 16 locations on December 11, and then to 180 theaters on December 25, reaching over 520 locations by the weekend of January 8, 2016. The film went into wide release on January 15, 2016. "Carol" was released nationwide in the UK on November 27, 2015.


title: Carol (film)

text: In December 2015, "The Hollywood Reporter" said that Russian distributor Arthouse had acquired rights to release the film in Russia in March 2016. Its CEO stated that it was "a huge challenge because of the federal 'gay propaganda' law that victimizes the Russian LGBT community", which would "prevent "Carol" [being] sold to major TV channels or even being advertised on federal networks". He noted that "some cinemas will refuse to book the film", but "the controversy ... will help us market "Carol" to the right audience", adding that he believed it would "appeal to the public way beyond the LGBT community." It was released in Russia on March 10, 2016.


title: Carol (film)

text: In March 2016, a 35 mm film screening was held at the . The Metrograph independent cinema in New York hosted a special 35 mm screening event, followed by a Q&A with Haynes, Vachon and Lachman. The event was sold out, and a second and third screening were added.


title: Carol (film)

text: "Carol" received a ten-minute standing ovation at its Cannes Film Festival international press screening and premiere. Critics praised Haynes's direction, Blanchett's and Mara's performances, the cinematography, costumes and musical score, and deemed it a strong contender for a Cannes award. On review aggregator Rotten Tomatoes, the film has a 94% rating based on reviews from 318 critics, and an average rating of 8.60/10. The website's critical consensus states: "Shaped by Todd Haynes' deft direction and powered by a strong cast led by Cate Blanchett and Rooney Mara, "Carol" lives up to its groundbreaking source material." "Carol" was named the best-reviewed romance film of 2015 in Rotten Tomatoes' annual Golden Tomato Awards. On Metacritic, the film holds a score of 94 out of 100, based on 45 reviews, indicating "universal acclaim", and has been designated a Metacritic "Must-See" movie. It is the best-reviewed film of 2015.


title: Carol (film)

text: Kate Stables wrote in "Sight & Sound": "Elegant restraint is the film's watchword ... In this enjoyably deliberate film, each shot and scene is carefully composed to pay homage to 50s cinema, yet infused with an emotional ambiguity which feels decidedly contemporary." Kenneth Turan of the "Los Angeles Times" wrote that it is "a serious melodrama about the geometry of desire, a dreamy example of heightened reality that fully engages emotions despite the exact calculations with which it's been made... 'Carol's' lush but controlled visual look is completely intoxicating. This is filmmaking done by masters, an experience to savor." A. O. Scott wrote in "The New York Times": "At once ardent and analytical, cerebral and swooning, 'Carol' is a study in human magnetism, in the physics and optics of eros. With sparse dialogue and restrained drama, the film is a symphony of angles and glances, of colors and shadows." Amy Taubin from "Film Comment" wrote: "The narrative, precisely chiseled by Phyllis Nagy from the ungainly novel, is deceptively simple ... What's remarkable about "Carol" is that it seems to exist entirely in the present moment—to be precise, in that electric, elastic, heart-stopping/heart-racing present of romantic desire. It is a film composed of gestures and glances, its delicacy a veiled promise of abandon. And it could not exist without the extraordinary performances of Blanchett and Mara." David Stratton of "The Australian" wrote: "The meeting of these two women is an electrifying scene; their eyes make contact, and nothing of significance is said, apart from the usual interaction between shopper and shop assistant, but Haynes and his wonderful actors make it very clear that something momentous has occurred—love at first sight."


title: Carol (film)

text: Geoffrey Macnab of "The Independent" said: "Todd Haynes's latest feature is a subtle, moving and deceptive story of two women (brilliantly played in very contrasting styles by Cate Blanchett and Rooney Mara) who refuse to live against 'their own grain' ... Phyllis Nagy's screenplay emphasises their steeliness and self-reliance. In sly and subversive fashion, Haynes is laying bare the tensions in a society that refuses to acknowledge 'difference' of any sort." Andrew O'Hehir of "Salon" wrote: "From its opening shots of the autumnal, rain-swept streets of New York sometime in the middle of the last century, director Todd Haynes' magnificent new film "Carol" establishes a mood of mournful romance, half nostalgic and half ominous, that never lets go." Peter Howell of the "Toronto Star" wrote: "Everything clicks into place for this gorgeous achievement. Cinematographer Ed Lachman shot on Super 16 mm film to achieve era-specific muted colours and softer textures. Precise production design and a palette steeped in shades of green and red (appropriate to the Yuletide setting) make watching it seem like stepping inside an Edward Hopper painting." Mark Kermode wrote in "The Guardian": "This superb adaptation of Patricia Highsmith's 1952 novel "The Price of Salt" doesn't put a foot wrong. From Phyllis Nagy's alluringly uncluttered script to Cate Blanchett's sturdily tremulous performance as a society woman with everything to lose, this brilliantly captures the thrills, tears and fears of forbidden love."


title: Carol (film)

text: In "Variety", Justin Chang wrote: "despite their obvious differences in class and background, Therese and Carol seem to ease themselves (and the audience) so quickly and naturally into a bond that they have no interest in defining, or even really discussing—a choice that works not only for an era when their love dared not speak its name, but also for Haynes' faith in the power of the medium to achieve an eloquence beyond words." Francine Prose in "The New York Review of Books" commented on "the delicacy, the patience, and the sheer amount of screen time that it lavishes on the experience of falling in love: the hesitations and doubts, the seemingly casual exchanges freighted with meaning and suppressed emotion, the simple happiness of being together." Anita Katz from the "San Francisco Examiner" said: "Haynes triumphs in his quest to make a sweeping romantic melodrama with social substance at the core. As a period piece, the movie immerses us in 1950s styles and attitudes. As a sensory experience, it dazzles with everything from rain-streaked windows to Therese's plaid tam-o-shanter ... Haynes powerfully addresses the consequences of ignorance and intolerance. Impressively textured, the drama is filled with secret glances and other subtle aspects of forbidden love." Ann Hornaday of "The Washington Post" wrote: ""Carol" is a performance of a performance, whereby codes and signals convey the most essential stuff of life, while the kabuki of being 'normal' plays out with the carefully cultivated—and patently false—perfection of the toy train village Carol buys from Therese at their first meeting. Working from a carefully crafted script by Phyllis Nagy, Haynes portrays two people thirstily drinking each other in, while on the outside, they sip tea and cocktails with prim decorum." Naming it "one of the year's very best films", Peter Travers of "Rolling Stone" said: "Camera virtuoso Edward Lachman finds visual poetry in the hothouse eroticism that envelops Carol and Therese, an amateur photographer who keeps framing Carol in her lens. Blanchett, a dream walking in Sandy Powell's frocks, delivers a master class in acting. And Mara is flawless ... [it's] a romantic spellbinder that cuts deep." Stephen Whitty in the "Daily News" praised "Carol" as a "lesbian romance where nobody says the word 'lesbian'... because this isn't just a lesbian story. It's a human one."


title: Carol (film)

text: In a series of articles about the best of the 2010s in film, "IndieWire" ranked "Carol" the seventh-best film of the decade; Blanchett's performance the second-best acting performance; the opening scene the sixth-best film scene; and Burwell's score the second-best film score. The screenplay was named the 19th-best American screenplay of the century.


title: Carol (film)

text: The admiration of "Carol" resulted in a fandom community that has been referred to as the "Cult of Carol". In June 2017, the tribute comedy short film "Carol Support Group" premiered at the San Francisco International LGBTQ Film Festival. Directed by Allison Tate, the film tells the story of mayhem in "a support group for people addicted to the movie "Carol"." The tagline of the film's poster, "Some people are addicts forever", is a parody of the "Some people change your life forever" tagline of StudioCanal's original "Carol" film poster.


title: Carol (film)

text: , "Carol" had grossed $12.7 million in the U.S. and Canada, and , $30.1 million in other countries, for a worldwide total of $42.8 million against a budget of $11.8 million. In the United Kingdom, the film earned £540,632 ($812,000) in its opening weekend from 206 screens, ranking Number seven of the top ten films for the weekend. "Carol" had grossed $4.0 million in the UK .


title: Carol (film)

text: In the United States, the film began its limited run on November 20 at four theaters—the Paris and Angelika Theater in New York and the ArcLight Hollywood and Landmark Theatre in Los Angeles—and was projected to earn around $50,000 per theater. It grossed $253,510 in its opening weekend at the four locations, the best opening of Haynes's films. Its per-theater average of $63,378 was the third-largest of 2015. In its second weekend, the film grossed $203,076, with a "robust" average of $50,769 per location, the best of the week, bringing its nine-day cumulative to $588,355. In its third weekend at the four locations, "Carol" earned $147,241, averaging $36,810, the highest for the third week in a row.


title: Carol (film)

text: The film expanded from four to 16 theaters in its fourth week, and was projected to average an estimated $10,000 over the weekend. In its fourth weekend, it grossed $338,000, averaging $21,105 per screen, and bringing its U.S. cumulative total to $1.2 million. The film was projected to earn an estimated $218,000 from 16 theaters in its fifth weekend. It grossed $231,137, averaging $14,446 per theater. "Carol" then expanded to 180 theaters. In it sixth weekend, the film made $1.1 million, with a $6,075 average across 180 locations; its U.S. gross was $2.9 million, with $7.8 million worldwide from seven other countries. "Carol" reached $5 million in the United States in its seventh weekend.


title: Carol (film)

text: "Carol" has received over 290 industry and critic nominations, and over 100 awards and honours. The film was selected to compete for the Palme d'Or at the 2015 Cannes Film Festival, where it won the Queer Palm and Mara tied for the Best Actress award. It won the Audience Award at the Whistler Film Festival, and the Chicago International Film Festival's Gold Q Hugo Award for exhibiting "new artistic perspectives on sexuality and identity". "Carol" was the "overall favorite" on "IndieWire"s critics' poll of the best films and performances from the New York Film Festival, topping the Best Narrative Feature, Best Director, Best Lead Performance (Blanchett and Mara), Best Screenplay, and Best Cinematography categories. Lachman was awarded the grand prize for Best Cinematography by the Camerimage International Film Festival. The jury stated:


title: Carol (film)

text: In September 2015, The Weinstein Company confirmed that it would campaign for Blanchett as Lead Actress and Mara as Supporting Actress for the 88th Academy Awards. The film received six Oscar nominations, including Best Actress, and garnered five Golden Globe Award nominations, including Best Motion Picture – Drama. It received nine BAFTA Award nominations, including Best Film. The film was nominated for six Independent Spirit Awards and won for Best Cinematography. It also received nine Critics' Choice Movie Award nominations, including Best Film. Blanchett and Mara received Screen Actors Guild Award nominations for Outstanding Performance by a Female Actor in a Leading Role and Outstanding Performance by a Female Actor in a Supporting Role, respectively.


title: Carol (film)

text: The New York Film Critics Circle awarded "Carol" Best Film, Best Director, Best Cinematography, and Best Screenplay. The film won Best Music from the Los Angeles Film Critics Association and was runner-up for Best Director, Best Cinematography, and Best Production Design. The National Society of Film Critics awarded Haynes Best Director and Lachman Best Cinematography. Haynes and Lachman also received the Boston Society of Film Critics Award for Best Director and Best Cinematography. Lachman won the London Film Critics' Circle Technical Achievement Award. "Carol" won five Dorian Awards, including Film of the Year, Director of the Year, Performance of the Year – Actress (Blanchett), LGBTQ Film of the Year and Screenplay of the Year. It was awarded the GLAAD Media Award for Outstanding Film – Wide Release. The Frankfurt Book Fair named "Carol" the Best International Literary Adaptation. The American Film Institute selected "Carol" as one of its ten Movies of the Year. The AFI Awards jury rationale read:


title: Carol (film)

text: In March 2016, the British Film Institute named "Carol" the best LGBT film of all time, according to over one hundred film experts in a poll encompassing over 80 years of cinema. In a 2016 BBC poll of 177 critics from 36 countries, "Carol" was voted the 69th-best film of the 21st century. In November 2019, "The New York Times" named it one of the favorite films of the 2010s, with critic A. O. Scott remarking, "It keeps taking me by surprise."


title: Carol (film)

text: "Carol" was made available for digital download on March 4, 2016. The film was released on DVD, Blu-ray and video on demand on March 15, 2016, in the United States by Anchor Bay Entertainment, and on March 21, 2016, in the United Kingdom by StudioCanal. Disc format bonus features include a behind-the-scenes gallery, a Q&A interview with the cast and filmmakers, and (for the UK version) limited-edition art cards. , both the DVD and Blu-ray were no. 7 in pre-order sales in the United States; followed by ranking no. 18 in retail sales the week of commercial release. In the United Kingdom, the DVD debut charted at no. 7 and the Blu-ray at no. 12 of "Top 100" sales for both formats. , sales of the DVD and Blu-ray in the U.S. and Canada totaled $1,223,818 million and $780,891, respectively, for a combined total of $2,004,709 million.


title: Carol (film)

text: In the United States, "Carol" premiered on premium cable channel Showtime on October 8, 2016, and on Showtime on Demand service and Showtime Anytime streaming app on October 9, 2016. The film became available for streaming on Netflix on September 20, 2017.


title: Carol (film)

text: The omission of "Carol" from Best Picture and Best Director categories prompted speculation from journalists about the perceived indifference of the Academy of Motion Picture Arts and Sciences to female- and LGBT-centred films. Nate Scott of "USA Today" called it "the standout snub" of the ceremony, "one made all the more ridiculous because of the bloated Best Picture field". Nico Lang of "The A.V. Club" said that though the film had been considered a "lock" for a Best Picture nomination, the omission "shouldn't have been a major shock" given the controversy over "Brokeback Mountain" loss a decade earlier. Jason Bailey of "Flavorwire" said that most Best Picture nominees that include gay themes "put them firmly in the realm of subplots". ""Carol" most transgressive quality", he declared, "is its refusal to engage in such shenanigans; this is a film about full-blooded gay lives, not tragic gay deaths."


title: Carol (film)

text: At HitFix, Louis Virtel suggested that Academy members' reception of "Carol" was hurt by its focus on self-determined women. Matthew Jacobs of "The Huffington Post" expressed similar sentiments and felt that the academy's artistic tastes were "too conventional to recognize its brilliance". Richard Lawson of "Vanity Fair" said that though its "themes of passion and heartache may be universal", the film may be "too gay", speaking "in a vernacular that, I'd guess, only queer people are fully fluent in." He added that the lack of "gushing melodrama" put the film at a disadvantage. Dorothy Snarker of "IndieWire" attributed the omissions to the academy's demographics, and agreed that "Carol" may be too gay and too female "for the largely old white male voting base" to connect with. She also considered that the successes of the LGBT rights movement in the U.S. may have partly been responsible for the lack of "political urgency" around the film.


title: Carol (film)

text: In "The Advocate", Rebekah Allen argued that "there are those who simply do not want to see a lesbian love story on screen." Trish Bendix of AfterEllen said the Best Picture snub was a "reminder of the patriarchal society we continue to live in, where films that create a space for women to live happily without men and without punishment will not be rewarded." Marcie Bianco of "Quartz" described the film as "centered around women's desire" and structured in a way that "elevates the power of women's gaze". The omission from Best Picture, she concluded, illustrates "yet again how sexism operates in the world, and in the Academy specifically, as the refusal to see women as protagonists and agents of desire." In "Paper" magazine, Carey O'Donnell wrote that gay romances are only "Oscar surefires" when they use the tragedy-desolation-demise "equation", and that "a depiction of two strong women in love with each other ... seems to still be troubling to many". David Ehrlich of "Rolling Stone" wrote that the film's "patience and precision" did not conform to Academy tastes, but its legacy "will doubtlessly survive this year's most egregious snub". Haynes said that he thought having two female leads was "a factor" in the omission.


title: Carol (film)

text: Despite winning Best Actress at the Cannes Film Festival (shared with Emmanuelle Bercot) and receiving a Golden Globe nomination for Best Actress in a Motion Picture – Drama alongside Blanchett, Mara was nominated for the Academy Award as Best Supporting Actress. The Weinstein Company decided on the category placement to avoid the co-leads competing in the same category. In an interview with "The New York Times", Mara seemed displeased by the decision.


title: Carol (film)

text: In January 2016, ABC rejected a prime-time commercial featuring a snippet of the nude scene between Carol and Therese, which caused The Weinstein Company to reedit the television trailer. In August 2016, Delta Air Lines was criticized on social media for airing an in-flight entertainment version of "Carol" in which the love scenes had been deleted. Nagy replied on Twitter that, in contrast to Delta, American and United Airlines had provided the full theatrical release. Comedian Cameron Esposito discovered during her flight that even the kissing scenes were cut from Delta's version.


title: Russian Far East

text: The Russian Far East () is a region in Northeast Asia. It is the easternmost part of Russia and the Asian continent; and is administered as part of the Far Eastern Federal District, which is located between Lake Baikal in eastern Siberia and the Pacific Ocean. The area's largest city is Khabarovsk, followed by Vladivostok. The region shares land borders with the countries of Mongolia, China, and North Korea to its south, as well as maritime boundaries with Japan to its southeast, and with the United States along the Bering Strait to its northeast. The Russian Far East is often considered as a part of Siberia (previously during the Soviet era when it was called the Soviet Far East).


title: Russian Far East

text: In Russia, the region is usually referred to as just "Far East" (). What is known in English as the Far East is usually referred to as "the Asia-Pacific Region" (, abbreviated to ), or "East Asia" (), depending on the context.


title: Russian Far East

text: Russians reached the Pacific coast in 1647 with the establishment of Okhotsk, and the Russian Empire consolidated its control over the Russian Far East in the 19th century, after the annexation of part of Chinese Manchuria (1858-1860). Primorskaya Oblast was established as a separate administrative division of the Russian Empire in 1856, with its administrative center at Khabarovsk.


title: Russian Far East

text: Several entities with the name "Far East" existed in the first half of the 20th century, all with rather different boundaries:


title: Russian Far East

text: Until 2000 the Russian Far East lacked officially-defined boundaries. A single term "Siberia and the Far East" () often referred to Russia's regions east of the Urals without drawing a clear distinction between "Siberia" and "the Far East".


title: Russian Far East

text: In 2000 Russia's federal subjects were grouped into larger federal districts, one of which, the Far Eastern Federal District, comprised Amur Oblast, the Chukotka Autonomous Okrug, the Jewish Autonomous Oblast, Kamchatka Oblast with the Koryak Autonomous Okrug, Khabarovsk Krai, Magadan Oblast, Primorsky Krai, the Sakha (Yakutia) Republic, and Sakhalin Oblast. In November 2018 Zabaykalsky Krai and the Republic of Buryatia were added they had previously formed part of the Siberian Federal District. Since 2000, Russians have increasingly used the term "Far East" to refer to the federal district, though the term is often also used more loosely.


title: Russian Far East

text: Defined by the boundaries of the federal district, the Far East has an area of —over one-third of Russia's total area.


title: Russian Far East

text: Russia in the early 1900s persistently sought a warm-water port on the Pacific Ocean for the Imperial Russian Navy as well as to facilitate maritime trade. The recently-established Pacific seaport of Vladivostok (founded in 1860) was operational only during the summer season, but Port Arthur (leased by Russia from China from 1896 onwards) in Manchuria could operate all year. After the First Sino-Japanese War (1894-1895) and the failure of the 1903 negotiations between Japan and the Tsar's government, Japan chose war to protect its domination of Korea and adjacent territories. Russia, meanwhile, saw war as a means of distracting its populace from government repression and of rallying patriotism in the aftermath of several general strikes. Japan issued a declaration of war on 8 February 1904. However, three hours before Japan's declaration of war was received by the Russian government, the Imperial Japanese Navy attacked the Russian 1st Pacific Squadron at Port Arthur. Eight days later Russia declared war on Japan.


title: Russian Far East

text: The war ended in September 1905 with a Japanese victory following the fall of Port Arthur and the failed Russian invasion of Japan through the Korean Peninsula and Northeast China; also, Japan had threatened to invade Primorsky Krai via Korea. The warring parties signed the Treaty of Portsmouth on 5 September 1905, and both Japan and Russia agreed to evacuate Manchuria and to return its sovereignty to China, but Japan was allowed to lease the Liaodong Peninsula (containing Port Arthur and Talien, aka Kwantung Leased Territory), and the Russian rail system in southern Manchuria with its access to strategic resources. Japan also received the southern half of the island of Sakhalin from Russia. In 1907 Japan forced Russia to confiscate land from Korean settlers (who formed the majority of Primorsky Krai's population) due to a fear of an invasion of Korea and of the ousting of Japanese troops by Korean guerrillas.


title: Russian Far East

text: Between 1937 and 1939, the Soviet Union under Joseph Stalin deported over 200,000 Koreans to Uzbekistan and Kazakhstan, fearing that the Koreans might act as spies for Japan. Many Koreans died on the way in cattle trains due to starvation, illness, or freezing conditions. Soviet authorities purged and executed many community leaders; Koryo-saram were not allowed to travel outside of Central Asia for the next 15 years. Koreans were also not allowed to use the Korean language and its use began to become lost with the involvement of the Koryo-mar dialect and the use of Russian.


title: Russian Far East

text: Development of numerous remote locations in the Soviet Far East relied on Gulag labour camps during Stalin's rule, especially in the region's northern half. After the death of Stalin in 1953 the large-scale use of forced labour waned and was superseded by volunteer employees attracted by relatively high wages.


title: Russian Far East

text: During the Japanese invasion of Manchuria in 1931, the Soviets occupied Bolshoy Ussuriysky Island, Yinlong Island, and several adjacent islets to separate the city of Khabarovsk from the territory controlled by a possibly hostile power.


title: Russian Far East

text: Indeed, Japan turned its military attention to Soviet territories. Conflicts between the Japanese and the Soviets frequently happened on the border of Manchuria between 1938 and 1945. The first confrontation occurred in Primorsky Krai, the Battle of Lake Khasan (July–August 1938) involved an attempted military incursion of Japanese-controlled Manchukuo into territory claimed by the Soviet Union. This incursion was founded in the beliefs of the Japanese side that the Soviet Union had misinterpreted the demarcation of the boundary based on the 1860 Treaty of Peking between Imperial Russia and Manchu China. Primorsky Krai was always threatened by a Japanese invasion despite the fact that most of the remaining clashes occurred in Manchukuo.


title: Russian Far East

text: The clashes ended shortly before and after the conclusion of World War II (see Soviet–Japanese War) when a war-weakened Japan found its territories of Manchukuo, Mengjiang, Korea, and South Sakhalin invaded by Soviet and Mongolian troops (August 1945).


title: Russian Far East

text: Both the Soviet Union and Japan regarded the Primorsky Krai as a strategic location in World War II, and clashes over the territory were common. The Soviets and the other Allies considered it a key location for the planned invasion of Japan through Korea; Japan viewed it as a key location to begin a mass invasion of Eastern Russia. The Primorsky Krai served as the Soviet Union's Pacific headquarters in the war to plan an invasion for allied troops of Korea in order to reach Japan.


title: Russian Far East

text: After the Soviet invasion, the USSR returned Manchukuo and Mengjiang to China; Korea became liberated. The Soviet Union also occupied and annexed the Kuril Islands and southern Sakhalin. The planned Soviet invasion of Japan proper never happened.


title: Russian Far East

text: During the Korean War, Primorsky Krai became the site of extreme security concern for the Soviet Union.


title: Russian Far East

text: Vladivostok became the site of the Strategic Arms Limitation Talks in 1974. At the time, the Soviet Union and the United States decided quantitative limits on various nuclear weapons systems and banned the construction of new land-based ICBM launchers. Vladivostok and other cities in Primorsky Krai soon became closed cities because of the bases of the Soviet Pacific Fleet.


title: Russian Far East

text: Incursions of American reconnaissance aircraft from Alaska sometimes happened. Concerns of the Soviet military caused the infamous Korean Air Lines Flight 007 incident in 1983.


title: Russian Far East

text: In 2016, President Vladimir Putin proposed the Russian Homestead Act to populate the Russian Far East.


title: Russian Far East

text: Most of it is concentrated in the southern parts. Given the vast territory of the Russian Far East, 6.3 million people translates to slightly less than one person per square kilometer, making the Russian Far East one of the most sparsely populated areas in the world. The population of the Russian Far East has been rapidly declining since the dissolution of the Soviet Union (even more so than for Russia in general), dropping by 14% in the last fifteen years. The Russian government had been discussing a range of re-population programs to avoid the forecast drop to 4.5 million people by 2015, hoping to attract in particular the remaining Russian population of the near abroad but eventually agreeing on a program to resettle Ukrainian Illegal immigrants.


title: Russian Far East

text: In 2016, a program was approved which hoped to resettle at least 500,000 Ukrainians in the Far East. This included giving free land to attract voluntary immigrants from Ukraine and the settlement of refugees from East Ukraine.


title: Russian Far East

text: The region was not connected with the rest of Russia via domestic highways until the M58 highway was completed in 2010.