title: Silent Hill (video game)

text: A "reimagining" of "Silent Hill", titled "", was developed by Climax Studios and published by Konami Digital Entertainment. The game was released on December 8, 2009, for the Wii and on January 19, 2010, for the PlayStation 2 and the PlayStation Portable, to mostly positive reviews.<ref name="WII/PS2/PSP"></ref> Although it retains the premise of a man's search for his missing daughter, "Shattered Memories" branches off into a different plot with altered characters. It features psychological profiling which alters various in-game elements depending on the player's response to questions in therapy, lacks the combat of "Silent Hill", and replaces the "Otherworld" with a series of chase sequences through an alternate frozen version of the town.


title: Silent Hill (video game)

text: In January 2022, a fan shot-for-shot remake developed by independent developer Codeless Games with Unreal Engine 5 was announced.


title: Silent Hill (video game)

text: "Silent Hill" received "generally favorable reviews" at the review aggregate website Metacritic. The game sold over two million copies, which gained "Silent Hill" a place in the American PlayStation Greatest Hits budget releases. In November 1999, the Verband der Unterhaltungssoftware Deutschland (VUD) gave "Silent Hill" a "Gold" award, indicating sales of at least 100,000 units across Germany, Austria and Switzerland.


title: Silent Hill (video game)

text: "Silent Hill" has been compared to the "Resident Evil" series of survival horror video games. Bobba Fatt of "GamePro" labeled "Silent Hill" a "shameless but slick "Resident Evil" clone", while "Edge" described it as "a near-perfect sim nightmare". Others felt that "Silent Hill" was Konami's answer to the "Resident Evil" series in that, while they noted a similarity, "Silent Hill" utilized a different form of horror to induce fear, attempting to form a disturbing atmosphere for the player, in contrast to the visceral scares and action-oriented approach of "Resident Evil". Adding to the atmosphere was the audio, which was well-received; Billy Matjiunis of "TVG" described the ambient music as "engrossing"; a reviewer for "Game Revolution" also praised the audio, commenting that the sound and music will set players on edge. AllGame editor Michael L. House praised "Silent Hill", describing it as "a truly magnificent work of art" and "a genuinely terrifying experience combined with a unique, gripping story and immersive atmosphere". Less well-received was the voice acting which, although some reviewers remarked it was better than that found in the "Resident Evil" series, was found poor overall by reviewers, and accompanied by pauses between lines that served to spoil the atmosphere.


title: Silent Hill (video game)

text: Reviewers noted that "Silent Hill" used real-time 3D environments, in contrast to the pre-rendered environments found in "Resident Evil". Fog and darkness were heavily used to disguise the limitations of the hardware. Along with the grainy textures—also from hardware limitations—most reviewers felt that these factors actually worked in the game's favor; Francesca Reyes of "IGN" described it as "adding to the atmosphere of dilapidation and decay". In using 3D environments, however, controls became an issue, and in "tougher" areas, maneuverability became "an exercise in frustration".


title: Silent Hill (video game)

text: "Edge" selected it as runner-up for the Gameplay Innovation award. They stated that, whereas other games attempted to hide the PlayStation's visual inadequecies, Konami used its draw-distance deficiency to chilling effect by draping atmospheric fog about the place.


title: Silent Hill (video game)

text: The game's popularity as the first in the series was further recognized long after its release; a list of the best PS games of all time by "IGN" in 2000 listed it as the 14th-best PS game, while a 2005 article by "GameSpy" detailing the best PS games listed "Silent Hill" as the 15th-best game produced for the console. A "GameTrailers" video feature in 2006 ranked "Silent Hill" as number one in its list of the top ten scariest games of all time. In 2005, the game was credited for moving the survival horror genre away from B movie horror elements to the psychological style seen in art house or Japanese horror films, due to the game's emphasis on a disturbing atmosphere rather than visceral horror. In November 2012, "Time" named it one of the 100 greatest video games of all time.


title: Eddie Howe

text: Edward John Frank Howe (born 29 November 1977) is an English professional football manager and former player, who is the head coach of Premier League club Newcastle United.


title: Eddie Howe

text: A defender during his playing career, Howe spent most of his playing career with AFC Bournemouth, coming up through the youth system and spending eight years with the club, before returning for a second three-year spell to end his career, and retiring from the professional game in 2007. He entered management the following year, taking charge of a Bournemouth side facing relegation to the Conference National in January 2009 as the youngest manager in the Football League. Under his guidance, Bournemouth were able to survive relegation during his first season in charge, having started the season on minus 17 points, and were promoted to League One the following campaign.


title: Eddie Howe

text: After a brief spell as manager at Burnley, Howe returned to Bournemouth and led them to two further promotions in three seasons, taking them to the top division of English football. He was subsequently named Football League Manager of the Decade in 2015 following three promotions in a seven-year period. Bournemouth survived in the Premier League for five seasons under Howe, before suffering relegation to the Championship in 2020. He resigned as manager of Bournemouth after the club's relegation. At the time of his departure, Howe was the longest serving manager in the Premier League. After a year away from the game, Howe returned to management in 2021 when he was appointed as head coach of Newcastle United following the takeover of the club in 2021.


title: Eddie Howe

text: Howe was born in Amersham, Buckinghamshire. When very young, he moved to Verwood in Dorset, and later began his footballing career with local youth teams Rossgarth and Parley Sports before starting his professional career at AFC Bournemouth. He made his first-team debut in December 1995 against Hull City. Howe established himself as an important player in AFC Bournemouth's defence and in 1998 he was selected for the England Under-21 team in the Toulon Tournament.


title: Eddie Howe

text: In March 2002, Portsmouth signed Howe for £400,000, making him new manager Harry Redknapp's first signing. Shortly after signing, a knee injury on his debut against Preston North End ended his season.


title: Eddie Howe

text: He returned for the opening game of the 2002–03 season against Nottingham Forest, but he injured his knee again after only nine minutes and was ruled out for the entire campaign. He did not return to full fitness until January 2004 after 18 months out. He was loaned to Swindon Town on transfer deadline day in March, although he did not feature for the club.


title: Eddie Howe

text: Portsmouth loaned Howe back to AFC Bournemouth for the first three months of the 2004–05. He proved to be successful on his return to his first club after two injury-ravaged seasons with Portsmouth. With the club in a very poor financial state, supporters joined together to create "Eddieshare" to fund a transfer fee. Within days of creation, £21,000 was raised which funded the required permanent transfer fee. After a further three seasons and over 270 appearances, injuries forced his retirement as a player in 2007 and he then moved into coaching with the reserve squad.


title: Eddie Howe

text: In December 2006, at the age of 29, Howe was promoted to the position of player-coach by manager Kevin Bond, and handed the task of coaching AFC Bournemouth's reserve team, though he continued to play in the first team. He retired from football in summer 2007, after he was unable to recover from a knee injury. In September 2008, Howe lost his job when Bond was sacked as manager.


title: Eddie Howe

text: Howe returned to AFC Bournemouth as a youth coach under Jimmy Quinn and took over as caretaker manager when Quinn was sacked on 31 December 2008. Even though his two games in charge as caretaker manager were away defeats, he was hired as the permanent manager of the club on 19 January 2009 and brought the club out of the relegation zone despite a 17-point deficit.


title: Eddie Howe

text: In the start of the 2009–10 season, Howe won eight out of the nine games, a club record. In November 2009, Championship club Peterborough United approached Howe to replace Darren Ferguson as their manager but Howe rejected their approach.


title: Eddie Howe

text: Despite the club's transfer embargo remaining in place for the rest of the season, AFC Bournemouth secured promotion to League One after two years in the fourth tier of English football thanks to a 2–0 away win at Burton Albion on 24 April 2010.


title: Eddie Howe

text: In early 2011, Howe was approached by several other clubs but on 11 January announced that he was staying at AFC Bournemouth. However, on 14 January 2011, Howe became the new Burnley manager after the club agreed a compensation deal with AFC Bournemouth. He took charge of his 100th and final AFC Bournemouth match of his first managerial spell with the club, later that day in a 2–1 defeat away to Colchester United.


title: Eddie Howe

text: On 16 January 2011, Howe was announced as the new manager of Burnley after signing a three-and-a-half-year contract at the Championship club. His first game in charge of Burnley was away to Scunthorpe on 22 January 2011, which ended in a 0–0 draw. Burnley finished 8th in the Championship in season 2010–11 and 13th in season 2011–12 under Howe. He left Burnley in October 2012 citing "personal reasons" for his departure.


title: Eddie Howe

text: In October 2012, he re-joined his former club AFC Bournemouth as manager. He won the League One Manager of the Month for November after guiding the club to three league wins and two draws, as well as an FA Cup victory. On 20 April 2013, he secured promotion to the Championship with AFC Bournemouth finishing runners-up and one point behind champions Doncaster Rovers. In the 2013–14 season, Howe's AFC Bournemouth finished 10th in the Championship, six points outside of the play-off positions.


title: Eddie Howe

text: On 27 April 2015, he secured AFC Bournemouth's promotion to the Premier League. AFC Bournemouth beat Bolton Wanderers 3–0 at the Goldsands Stadium, a win which while not guaranteeing Premier League football for the 2015–16 season, required third placed side Middlesbrough to overcome a 19-goal goal difference with one game left in the season. Howe said of the promotion and of AFC Bournemouth supporters, "It shouldn't be them thanking me, it should be me thanking them. It is a family club and deserves its moment in the sun." AFC Bournemouth confirmed their promotion on the last day of the season, 2 May 2015, with a 3–0 victory at Charlton Athletic and, due to already-promoted Watford's failure to win their last match, were crowned champions of the league.


title: Eddie Howe

text: Howe guided AFC Bournemouth to Premier League survival in their first season in the top flight football, with a 16th-place finish seeing them five points clear of the relegation zone. An even better campaign in 2016–17 saw AFC Bournemouth finish ninth. A year later, he took them to 12th place in the Premier League to secure a fourth consecutive campaign at this level.


title: Eddie Howe

text: Howe's side finished in 14th in the 2018–19 Premier League, but the club's 5-year stay in the Premier League ended in 2019–20 after AFC Bournemouth finished in 18th place.


title: Eddie Howe

text: On 1 August 2020, AFC Bournemouth announced that Howe had left the club by mutual consent, after eight years in charge. He became noted at Bournemouth for bringing in young players, improving them, and selling them on at a financial profit.


title: Eddie Howe

text: In May 2021, Howe rejected an offer to become the manager of Celtic. A club statement blamed factors "outwith both his and our control" for the breakdown in their negotiations.


title: Eddie Howe

text: Howe was appointed to replace Steve Bruce as the manager of Premier League club Newcastle United on 8 November 2021, signing a contract until the summer of 2024. Howe watched from the stands as the club drew 1–1 with Brighton & Hove Albion, in a game in which Graeme Jones was acting as caretaker manager. Jones was retained as first team assistant coach as part of Howe's new coaching staff, which also included Jason Tindall, Stephen Purches and Simon Weatherstone, whom he worked with at AFC Bournemouth, as well as retained Newcastle goalkeeping coach Simon Smith.


title: Eddie Howe

text: His appointment at Newcastle also reunited him with former players at AFC Bournemouth, such as Callum Wilson, Matt Ritchie and Ryan Fraser. On 19 November 2021, Newcastle announced that Howe had tested positive for COVID-19 and would miss the first game in charge. He watched his first game as manager from a hotel room as Newcastle drew 3–3 with Brentford on 20 November.


title: Eddie Howe

text: On 20 April 2022, following a 1–0 victory against Crystal Palace, Howe guided Newcastle to a 6th successive home win, the first time the club had done such a feat since 2004 under Sir Bobby Robson. He guided Newcastle to an 11th place finish in the Premier League after winning 12 in the last 18 games of the season, and made sure Newcastle became the first team in Premier League history to avoid relegation after not winning any of the first 14 games they played. On 5 August 2022, Howe was rewarded with a long-term contract at the club.


title: Eddie Howe

text: Howe and his wife Vicki have three sons. On 5 March 2019 Howe was awarded the Freedom of the Borough of Bournemouth by Bournemouth Borough Council. His childhood club was Everton. During the 2020 coronavirus pandemic, Howe became the first Premier League manager to take a pay cut.


title: Boys Don't Cry (1999 film)

text: Boys Don't Cry is a 1999 American biographical film directed by Kimberly Peirce, and co-written by Peirce and Andy Bienen. The film is a dramatization of the real-life story of Brandon Teena (played in the film by Hilary Swank), an American trans man who attempts to find himself and love in Nebraska but falls victim to a brutal hate crime perpetrated by two male acquaintances. The film co-stars Chloë Sevigny as Teena's girlfriend, Lana Tisdel.


title: Boys Don't Cry (1999 film)

text: After reading about the case while in college, Peirce conducted extensive research for a screenplay, which she worked on for almost five years. The film focuses on the relationship between Brandon and Lana. The script took dialogue directly from archive footage in the 1998 documentary "The Brandon Teena Story". Many actors sought the lead role during a three-year casting process before Swank was cast. Swank was chosen because her personality seemed similar to Brandon's. Most of the film's characters were based on real-life people; others were composites.


title: Boys Don't Cry (1999 film)

text: Filming occurred during October and November 1998 in the Dallas, Texas area. The producers initially wanted to film in Falls City, Nebraska, where the real-life events had taken place; however, budget constraints meant that principal photography had to occur in Texas. The film's cinematography uses dim and artificial lighting throughout and was influenced by a variety of styles, including neorealism and the films of Martin Scorsese, while the soundtrack consisted primarily of country, blues, and rock music. The film's themes include the nature of romantic and platonic relationships, the causes of violence against LGBT people, especially transgender people, and the relationship among social class, race, and gender.


title: Boys Don't Cry (1999 film)

text: The film premiered at the New York Film Festival on October 8, 1999, before appearing at various other film festivals. Distributed by Fox Searchlight Pictures, the film received a limited release in the United States on October 22, 1999, and it performed well at the North American box office, gaining three times its production budget by May 2000. The film was acclaimed by critics, with many ranking it as one of the best films of the year; praise focused on the lead performances by Swank and Sevigny as well as the film's depiction of its subject matter. However, some people who had been involved with Brandon in real life criticized the film for not portraying the events accurately.


title: Boys Don't Cry (1999 film)

text: "Boys Don't Cry" was nominated for multiple awards; at the 72nd Academy Awards in 2000, Swank was awarded the Academy Award for Best Actress and Sevigny was nominated for Best Supporting Actress. The pair were also nominated at the 57th Golden Globe Awards, with Swank winning the Best Actress – Drama award. "Boys Don't Cry", which dealt with controversial issues, was initially assigned an NC-17 rating but was later reclassified to an R rating. It was released on home video in September 2000.


title: Boys Don't Cry (1999 film)

text: In 2019, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".


title: Boys Don't Cry (1999 film)

text: Brandon Teena is a young trans man whose birth name was Teena Renae Brandon. When Brandon is discovered to be transgender by a former girlfriend's brother, he receives death threats. Soon after, he is involved in a bar fight and is evicted from his cousin's trailer. Brandon moves to Falls City, Nebraska, where he befriends ex-convicts John Lotter and Tom Nissen, and their friends Candace and Lana Tisdel. Brandon becomes romantically involved with Lana, who is initially unaware both of his anatomy and his troubled past. The two make plans to move to Memphis, where Brandon will manage Lana's karaoke singing career. Eventually, they kiss during a date night which ends with them having sex.


title: Boys Don't Cry (1999 film)

text: The police detain Brandon on charges that arose prior to his relocation; they place him in the women's section of the Falls City jail. Lana bails Brandon out and asks why he was placed in a women's jail. Brandon attempts to lie to her, saying he was born a hermaphrodite and will soon receive genital reconstruction surgery, but Lana stops him, declaring her love for Brandon regardless of his gender. However, while Brandon is in jail, Candace finds a number of documents listing Brandon's birth name, Teena Brandon, and she and her friends react to this news with shock and disgust. They enter Brandon's room, search among Brandon's things, and discover some transgender literature that confirms their suspicions. Tom and John violently confront Brandon, forcing him to remove his pants and reveal his genitals. They try to make Lana look, but she shields her eyes and turns away. After this confrontation, Tom and John drag Brandon into John's car and drive to an isolated location, where they brutally beat and gang rape him.


title: Boys Don't Cry (1999 film)

text: Afterwards, they take Brandon to Tom's house. Though injured, Brandon escapes through a bathroom window. Although his assailants threaten Brandon and warn him not to report the attack to the police, Lana persuades him to do so. However, the police chief proves to be less concerned with the crime than with Brandon's "sexual identity crisis."


title: Boys Don't Cry (1999 film)

text: Later, John and Tom get drunk and drive to Candace's house. Lana attempts to stop them, but they find Brandon, who has been hiding in a nearby shed. John shoots Brandon under the chin, killing him instantly. While Candace is crying out to them to spare her baby, Tom shoots her in the head and kills her as Lana fights with them, begging them to stop. Tom stabs Brandon's lifeless body. John and Tom flee the scene while a crying Lana lies with Brandon's body and the baby toddles through the open door to the outside, crying. The next morning, Lana awakens next to Brandon's corpse. Her mother arrives and takes her away from the scene. As Lana leaves Falls City, a letter to her from Brandon that she found on his body, saying that in Memphis "I'll be waiting for you, love always and forever", is heard in a voiceover.


title: Boys Don't Cry (1999 film)

text: Brandon Teena was a trans man who was gang raped and murdered by a group of male acquaintances in December 1993, when he was 21. Kimberly Peirce, at the time a Columbia University film student, became interested in the case after reading a 1994 "Village Voice" article by Donna Minkowitz. Peirce became engrossed in Brandon's life and death; she said, "the minute I read about Brandon, I fell in love. With the intensity of his desire to turn himself into a boy, the fact that he did it with no role models. The leap of imagination that this person took was completely overwhelming to me." The sensationalist news coverage of the case prolonged her interest. Peirce said she looked beyond the brutality of the case and instead viewed the positive aspects of Brandon's life as part of what eventually causes his death. She admired Brandon's audacity, ability to solve complicated problems, and what she perceived as the sense of fantasy invoked by his personality.


title: Boys Don't Cry (1999 film)

text: Peirce wanted to tell the story from Brandon's perspective. She was familiar with Brandon's desire to wear men's clothing: "I started looking at all the other coverage and a great deal of it was sensational. People were focusing on the spectacle of a girl who had passed as a boy because that is so unfamiliar to so many people. Where to me, I knew girls who had passed as boys, so Brandon was not some weird person to me. Brandon was a very familiar person." Peirce was influenced by the public perception of the case, believing the American public were generally misinformed: she said, "People were also focusing on the crime without giving it much emotional understanding and I think that's really dangerous, especially with this culture of violence that we live in". Peirce began working on a concept for the film and gave it the working title "Take It Like a Man".


title: Boys Don't Cry (1999 film)

text: The project drew interest from various production companies. Diane Keaton's production company, Blue Relief, showed interest in the screenplay in the mid-1990s. Initially, the film was to be largely based on Aphrodite Jones' 1996 true crime book "All She Wanted", which told the story of Brandon's final few weeks. Earlier drafts of the script incorporated scenes featuring Brandon's family background, including his sister Tammy and mother Joann, as well as some of Teena's ex-girlfriends. However, Peirce modified the script to fit her vision to focus on the relationship between Brandon and his 19-year-old girlfriend Lana Tisdel, which Peirce termed a "great love story", in contrast to "All She Wanted", which did not place an emphasis on the relationship.


title: Boys Don't Cry (1999 film)

text: To fund the writing and development of the project, Peirce worked as a paralegal on a midnight shift and as a 35mm film projectionist; she also received a grant from the New York Foundation for the Arts. The project attracted the attention of producer Christine Vachon, who had seen a short film Peirce had made for her thesis in 1995 about the case. IFC Films, Hart Sharp Entertainment, and Killer Films, Vachon and Eva Kolodner's production company, provided financing for the project. IFC contributed roughly $1 million, but the film's eventual budget remained under $2 million. Peirce co-wrote the screenplay with Andy Bienen. They worked together for 18 months on the final drafts and were careful not to "mythologize" Brandon; the aim was to keep him as human as possible. In the editing stage of the script, Peirce sent the draft to Fox Searchlight Pictures, which agreed to produce and distribute the film while giving Peirce artistic license.


title: Boys Don't Cry (1999 film)

text: Prior to filming, Peirce researched the facts by interviewing the people surrounding the case. She immersed herself in the information available about the murder, including trial transcripts. She met Lana Tisdel at a convenience store and interviewed her at Tisdel's home. Tisdel, who began dating Brandon just two weeks before he was murdered, was 19 years old at the time of the murders and lived in Falls City with her mother. Peirce also interviewed Tisdel's mother and Brandon's acquaintances. However, she was unable to interview Brandon's mother or any of his biological family. Much factual information, including Nissen being a convicted arsonist, was incorporated into "Boys Don't Cry".


title: Boys Don't Cry (1999 film)

text: The filmmakers retained the names of most of the case's real-life protagonists, but the names of several supporting characters were altered. For example, the character of Candace was named Lisa Lambert in real life. The casting process for "Boys Don't Cry" lasted almost four years. Drew Barrymore was an early candidate to star in the film. Peirce scouted the LGBT community, looking mainly for masculine, lesbian women for the role of Brandon Teena. Peirce said the LGBT community was very interested in the project because of the publicity surrounding the murder. High-profile actors avoided Peirce's auditions at the request of their agents because of the stigma associated with the role.


title: Boys Don't Cry (1999 film)

text: At one point, the project was nearly abandoned because Peirce was not satisfied with most of the people who auditioned. In 1996, after a hundred female actors had been considered and rejected, the relatively unknown actor Hilary Swank sent a videotape to Peirce and was signed on to the project. Swank successfully passed as a boy to the doorman at her audition. During her audition, Swank, who was 22, lied to Peirce about her age. Swank said that like Brandon she was 21 years of age. When Peirce later confronted her about her lie, Swank responded, "But that's what Brandon would do". Swank's anonymity as an actor persuaded Peirce to cast her; Peirce said she did not want a "known actor" to portray Teena. In addition, Peirce felt that Swank's audition was "the first time I saw someone who not only blurred the gender lines, but who was this beautiful, androgynous person with this cowboy hat and a sock in her pants, who smiled and loved being Brandon."


title: Boys Don't Cry (1999 film)

text: Peirce required that Swank "make a full transformation" into a male. Immediately after being cast, Peirce took Swank to a hairdresser, where her lower-back length hair was cut and dyed chestnut brown. When she saw her then-husband, Chad Lowe, again, he barely recognized her. Swank prepared for the role by dressing and living as a man for at least a month, including wrapping her chest in tension bandages and putting socks down the front of her trousers as Brandon Teena had done. Her masquerade was convincing; Swank's neighbors believed the "young man" coming and going from her home was Swank's visiting brother. She reduced her body fat to seven percent to accentuate her facial structure and refused to let the cast and crew see her out of costume. Swank earned $75 per day for her work on "Boys Don't Cry", totaling $3,000. Her earnings were so low that she did not qualify for health insurance.


title: Boys Don't Cry (1999 film)

text: For the role of Brandon's girlfriend, Lana Tisdel, Peirce had envisioned a teenage Jodie Foster. The role was also offered to Reese Witherspoon and Sarah Polley. Peirce ultimately decided to cast Chloë Sevigny based on her performance in "The Last Days of Disco" (1998). Sevigny had auditioned for the role of Brandon, but Peirce decided Sevigny would be more suited to playing Lana because she could not picture Sevigny as a man.


title: Boys Don't Cry (1999 film)

text: Sevigny dyed her hair red for the role to match Lana's strawberry blonde hair. Peirce later said, "Chloë just surrendered to the part. She watched videos of Lana. She just became her very naturally."


title: Boys Don't Cry (1999 film)

text: Peter Sarsgaard played John Lotter, Lana's former boyfriend, who raped and murdered Teena. Sarsgaard was one of the first choices for the role. He later said he wanted his character to be "likable, sympathetic even", because he wanted the audience "to understand why they would hang out with me. If my character wasn't necessarily likable, I wanted him to be charismatic enough that you weren't going to have a dull time if you were with him." In another interview, Sarsgaard said he felt "empowered" by playing Lotter. In an interview with "The Independent", Sarsgaard said, "I felt very sexy, weirdly, playing John Lotter. I felt like I was just like the sheriff, y'know, and that everyone loved me." Sarsgaard recalled watching footage of and reading about Lotter to prepare for the role. Peirce cast Alicia Goranson, known for playing Becky on the sitcom "Roseanne", as Candace because of her likeness to Lisa Lambert. Like Sevigny, Goranson had also initially auditioned for the lead role.


title: Boys Don't Cry (1999 film)

text: Initially, "Boys Don't Cry" was scheduled to film for thirty days. However, principal photography for the film lasted from October 19 to November 24, 1998. The small budget dictated some of the filming decisions, including the omission of some incidents to speed up the overall pacing. Timing constraints and Peirce's visions relating to the plot limited what could be achieved with the narrative. For example, the film portrays a double murder when in actuality a third person, Phillip DeVine—a black disabled man—was also killed at the scene. At the time, he had been dating Lana Tisdel's sister, Leslie, who was omitted from the story. "Boys Don't Cry" was primarily filmed in Greenville, Texas, a small town about northeast of Dallas. Most of the incidents in the case took place in Falls City, Nebraska, but budget constraints led the filmmakers to choose locations in Texas.


title: Boys Don't Cry (1999 film)

text: Peirce initially wanted to shoot in Falls City, but Vachon told her that filming there would not be possible. Afterwards, the film was going to be shot in Omaha, Nebraska, but Peirce felt that "none of [the places] looked right." In addition, Peirce also scouted filming locations in Kansas and Florida before deciding on Texas. One of Peirce's main goals was for the audience to sympathize with Brandon. On the film's DVD commentary track, Peirce said, "The work was informing me about how I wanted to represent it. I wanted the audience to enter deeply into this place, this character, so they could entertain these contradictions in Brandon's own mind and would not think he was crazy, would not think he was lying, but would see him as more deeply human".


title: Boys Don't Cry (1999 film)

text: Some scenes in "Boys Don't Cry" required emotional and physical intensity; these were allocated extended periods of filming. The scene in which Brandon, at the wishes of his friends, bumper-skis on the back of a pickup truck, was delayed when a police officer, just arriving at a shift change, required a large lighting crane to be moved from one side of the road to the other. The scenes took six hours to shoot and were filmed at sunrise, resulting in a blue sky being seen in the background. There were some technical complications: some of the filming equipment got stuck in mud, and radio wires in some of the scenes conflicted with the sound production. Swank required a stunt double for a scene in which she falls off the back of a truck. Teena's rape scene was given an extended filming time; Sexton, who portrayed one of the attackers, walked away in tears afterward. Swank found portraying her character daunting and felt the need to "keep a distance" from the reality of the actual event. When scenes became difficult, Swank requested the company of her husband on set. At times, Peirce worked for seventeen hours a day in order to complete more work, but the other crew members told her that this was taking up potential nighttime filming hours.


title: Boys Don't Cry (1999 film)

text: Peirce, who had originally sought a career in photography before moving into filmmaking, applied techniques she had learned into the film. She described the film's mood as "artificial night". Director of Photography Jim Denault showed her the work of photographer Jan Staller, whose long-exposure night photography under artificial lighting inspired Denault to avoid using "moonlight" effects for most of the film. As a way to further incorporate the sense of artificial night, John Pirozzi, who had been experimenting with time-lapse photography using a non-motion-controlled moving camera, was invited to create the transition shots seen throughout the film.


title: Boys Don't Cry (1999 film)

text: The film's visual style depicts the Midwestern United States in a "withdrawn", dark and understated light to give a "surreal" effect. Denault shot "Boys Don't Cry" in flat, spherical format on 35mm film using Kodak Vision film stock. The film was shot with a Moviecam Compact camera fitted with Carl Zeiss super speed lenses. For the scene in which Brandon is stripped, a hand-held camera was used to give a sense of subjectivity and intimacy.


title: Boys Don't Cry (1999 film)

text: The use of low natural light and heavy artificial light is illustrated early in the film in the opening roller rink scene in which Brandon pursues his first relationship with a young woman. For this scene, Peirce used a three-shot method similar to that used in a scene in "The Wizard of Oz" (1939) in which Dorothy leaves her house and enters Oz. The scene consists of a three-shot sequence meant to symbolize Brandon's metaphorical "entrance to manhood", or Brandon's social transition from a woman to a man. Some scenes were given a prolonged shooting sequence to induce a feeling of hallucination. An example is the sequence in which Brandon and Lana first have sex, followed by a shot of her, Brandon, Candace, and Kate driving in a car against a city skyline backdrop. The scene in which John and Tom strip Brandon was filmed with three cameras due to time constraints, even though Peirce wanted six cameras to film it. The scene took an hour and a half to film in total.


title: Boys Don't Cry (1999 film)

text: Peirce drew inspiration from the filming style of John Cassavetes and the early work of Martin Scorsese, and she incorporated neo-realist techniques into the film. She was also influenced by a second style of work—the "magical" films of Michael Powell and Kenji Mizoguchi. The former style is used when Brandon joins the social circle of John, Tom, Lana and her mother, while the latter is used when Brandon and Lana begin to depart from that life. The film was also influenced by "Bonnie and Clyde" (1967). Peirce incorporated influences from "Raging Bull" (1980) by opening the film with a shot of Brandon traveling along a highway, as seen from the character's imaginative or dream perspective, similar to the beginning of "Raging Bull". When a character expresses a dream or hopeful assertion, Peirce cuts to an "eerily lit" dream landscape. "The Pawnbroker" (1964) inspired the cinematography and editing of Brandon's rape scene, particularly in its use of fast cutting.


title: Boys Don't Cry (1999 film)

text: Because the film is set in the rural Midwestern United States, the "Boys Don't Cry" soundtrack album features a compilation of country, blues and rock music. Nathan Larson and Nina Persson of The Cardigans composed an instrumental version of Restless Heart's 1988 country-pop song "The Bluest Eyes in Texas", a variation of which was used as the film's love theme and score. The song itself is heard during a karaoke scene, sung by Sevigny's character, and at the end of the film. The title of the film is taken from the song of the same name by British rock band The Cure. An American cover of the song, sung by Nathan Larson, plays in the background in the scene in which Lana bails Brandon out of jail and during one of their sex scenes. However, the song is not included on the released soundtrack. Songs by Lynyrd Skynyrd ("Tuesday's Gone"), Paisley Underground band Opal ("She's a Diamond") and The Charlatans ("Codine Blues") also appear in the film, as do cover versions of other songs. The soundtrack was released on November 23, 1999, by Koch Records. "The Bluest Eyes in Texas" was played when Hilary Swank went onstage to receive her Academy Award for Best Actress in 2000. The song also plays over the film's end credits.


title: Boys Don't Cry (1999 film)

text: "Boys Don't Cry" has been widely discussed and analyzed by scholars and others. Roger Ebert described the film as a "romantic tragedy" embedded in a working class American setting, calling it ""Romeo and Juliet" set in a Nebraska trailer park". Philosopher Rebecca Hanrahan argued that the question of identity—particularly Brandon's—is alluded to frequently in "Boys Don't Cry" and that Peirce poses the nature of identification and self as the film's main question. Journalist Janet Maslin said the film is about accepting identity, which in turn means accepting the fate predisposed for that identity. Paula Nechak called the film a "bold cautionary tale"; she regarded the film as a negative, dismal depiction of Midwestern America, writing that "[Peirce's film has] captured the mystique and eerie loneliness" and "isolation of the Midwest, with its dusty desolation and nowhere-to-go frustration that propels people to violence and despair".


title: Boys Don't Cry (1999 film)

text: Christine Vachon, the film's executive producer, said, "It's not just about two stupid thugs who killed somebody. It's about these guys whose world is so tenuous and so fragile that they can't stand to have any of their beliefs shattered", referring to John and Tom's views of their lives, Brandon's aspirations and his biological sex. Along with other turn-of-the-millennium films such as "In the Company of Men" (1997), "American Beauty" (1999), "Fight Club" (1999), and "American Psycho" (2000), Vincent Hausmann said "Boys Don't Cry" "raises the broader, widely explored issue of masculinity in crisis". Jason Wood said the film, together with Patty Jenkins's "Monster" (2003), is an exploration of "social problems".


title: Boys Don't Cry (1999 film)

text: Several scholars commented on the relationship between Brandon and Lana as well as Brandon's relationship to John and Tom. Carol Siegel regarded the film as a thematically rich love story between two ill-fated lovers, similar to "Romeo and Juliet". Jack Halberstam attributed "Boys Don't Cry"'s success to its ostensible argument for tolerance of sexual diversity by depicting a relationship between two unlikely people.


title: Boys Don't Cry (1999 film)

text: This tragic aspect of the love story led Halberstam to compare Brandon and Lana's relationship and subsequent drama to classic and modern romances including "Romeo and Juliet", often using the term star-crossed lovers. In the "Journal for Creativity in Mental Health", Jinnelle Veronique Aguilar discussed Brandon's ability to create interpersonal relationships in the film. She opined that Brandon wanted to create close relationships, but he could not due to his transgender status until he became close with Lana. "Although Brandon is able to make a brief but authentic connection with Lana, he continues to experience a sense of aloneness in the world. He consistently faces a sense of fear related to the power-over dynamics that he and others who are transsexual face…Brandon experiences the central relational paradox, in which he yearns for connection; however, due to the real threat he faces, he is unable to make that connection."


title: Boys Don't Cry (1999 film)

text: Myra Hird, in the "International Feminist Journal of Politics", argued that John and Brandon exemplify two different and contrasting types of masculinity, and that Brandon's version is preferred by the film's female characters, comparing them to Arnold Schwarzenegger and Jimmy Stewart, respectively. "Throughout the film, John offers the viewer a typified narrative of heteronormative masculinity. […] Against this hegemonic masculinity, Brandon offers a masculinity reminiscent of a by-gone era of chivalry." Furthermore, she contended that John was threatened by Brandon's version of masculinity. "Gender boundaries are taken extremely seriously in Western society, and "Boys Don't Cry" depicts how intensely threatened John and Tom are by Brandon's superior portrayal of a masculinity 'schedule'. John cannot abide Brandon's desire, and clear ability, to access male privilege, and his reaction is to force Brandon to "be" female through the act of rape."


title: Boys Don't Cry (1999 film)

text: Other commentators discussed the more complex psychological causes of Brandon's murder. Halberstam commented on the complicated causes of the murder, and whether it was due to transphobia or homophobia: "Ultimately in "Boys" ["Don't Cry"], the double vision of the transgender subject gives way to the universal vision of humanism, the transgender man and his lover become lesbians and the murder seems instead to be the outcome of vicious homophobic rage." Ebert called the film a "sad song about a free spirit who tried to fly a little too close to the flame".


title: Boys Don't Cry (1999 film)

text: In the same journal, Julianne Pidduck commented on the film's rape and murder scenes, "Effectively, the viewer is asked to experience the rape from the victim's point of view. The film invites political, emotional and corporeal allegiances linked to known and imagined risk, especially for female and/or queer viewers. An allegiance with Brandon's outsider status aligns the viewer with Brandon's initial exhilaration at his transgressive success as a boy, drawing us through to the film's disturbing finale."


title: Boys Don't Cry (1999 film)

text: Many scholars addressed the various performances of gender by the characters in the film; Moss and Lynne Zeavin offered a psychoanalytic analysis, calling the film a "case report" that "presents [Brandon's] transsexual inclinations as a series of euphoric conquests" and "focuses on a range of anxious reactions to her transsexuality. […] or a case not for what they might reveal about female hysteria, but for what they might reveal about misogyny". Elaborating on the themes of the film, they wrote:


title: Boys Don't Cry (1999 film)

text: In her film, Pierce ["sic"] inserts the unconventional problems of transsexuality into a conventional narrative structure. Throughout the film Brandon is presented as a doomed, though beguiling and beautiful rascal, recognizably located in the lineage of well-known cinematic bad-boys like James Dean, Steve McQueen, and Paul Newman. Like these predecessors, Brandon's heroic stature derives from her ["sic"] unwillingness to compromise her ["sic"] identity … Pierce ["sic"] presents Brandon's struggles against biological determinism as the struggles of a dignified renegade.


title: Boys Don't Cry (1999 film)

text: Brenda Cooper, in "Critical Studies in Media Communication", argued that the film "can be read as a liberatory narrative that queers the centers of heteronormativity and hegemonic masculinity by privileging female masculinity and celebrating its differences from heterosexual norms." She argued that the film challenged heteronormativity by criticizing the concept of the American Heartland, by presenting problems with heterosexual masculinity and its internalised aggression, by "centering female masculinity", and blurring gender boundaries.


title: Boys Don't Cry (1999 film)

text: Later on in the same essay, she commented that Brandon both embodied and rejected traditional masculinity, providing a new outlook on what it means to be a man which excited and thrilled the women in the film: "Brandon’s performance of masculinity, however, can be interpreted as operating on two levels in the narratives: When Brandon tries to establish his male identity with his new buddies, he imitates the kind of overly aggressive macho machismo that John and Tom represent. But Lana falls for Brandon because of his version of masculinity, which contradicts and challenges traditional assumptions about what it takes to be a man and to please a woman. Brandon’s articulation of manhood effectively mocks sexist masculine ideals and appropriates the codes of normative masculinity." Michele Aaron, in "Screen", claimed that the film was primarily centered on "the spectacle of transvestism" and that the film as a whole was "a tale of passing".


title: Boys Don't Cry (1999 film)

text: Jennifer Esposito wrote that "We watch onscreen as Brandon binds his breasts, packs a dildo, fixes his hair in a mirror. His masculinity is carefully scripted. John and Tom…are never shown preparing for masculinity. They are already masculine." Melissa Rigney argued that the film defied traditional portrayals of transgender characters by not confining Brandon to certain stereotypes. "On the surface, "Boys Don't Cry" appears to hold the potential of rendering gender in excess: the figure of Brandon Teena can be read variously as butch, male, lesbian, transgender, transsexual, and heterosexual. […] Although female masculinity comes to the forefront in this film, I argue that the film attempts to subsume the transgressive potential of the gender outlaw within a lesbian framework and narrative, one that reduces and, ultimately, nullifies Brandon's gender and sexual excess."


title: Boys Don't Cry (1999 film)

text: In contrast, Annabelle Wilcox opined that the film primarily reinforced the gender binary by showing that "Brandon's body is branded by such rhetoric and representation, and is assumed to be a site of 'truth' that closes the question that being transgender poses for subjectivity, gender, and sexuality." She also went on to note that many film critics either disregarded Brandon's male identity or used female pronouns when referring to him. Rachel Swan, writing for "Film Quarterly", wrote that Brandon's masculinity was often contrasted with Lana's femininity as a means of illustrating the two sides of the gender binary. In addition, she regarded John and Tom's rape of Brandon as an attempt to psychologically castrate him.


title: Boys Don't Cry (1999 film)

text: In another piece, Halberstam compared the media portrayal of Brandon to that of Billy Tipton, a jazz musician who no one knew was transgender until the post-mortem discovery that he was assigned female at birth. She wrote, "On some level Brandon's story, while cleaving to its own specificity, needs to remain an open narrative—not a stable narrative of FTM transsexual identity nor a singular tale of queer bashing, not a cautionary fable about the violence of rural America nor an advertisement for urban organizations of queer community; like the narrative of Billy Tipton, Brandon's story permits a dream of transformation." Christine Dando argued that "masculinity is associated with outside and femininity with interior spaces."


title: Boys Don't Cry (1999 film)

text: Lisa Henderson commented on the intersection between social class and gender in the film, particularly Brandon's working-class status: "My reading of "Boys" ["Don't Cry"] through the lens of class representation is not born of a univocal search for so-called positive images, but I do recoil at what appears to me to be a new instalment in a long history of popular images of working-class pathology. […] But that is not the whole story. Within this universe of feeling and reaction structured by lack and tinted blue by country lyrics and a protective and threatening night-time light, characters imbricate gender and class through their longings for love, acceptance and a better life."


title: Boys Don't Cry (1999 film)

text: Jennifer Devere Brody commented on the film's exclusion of Philip DeVine, a disabled African-American man who was another victim of the shooting. "Perhaps one can only speculate about the motivations behind this decision. But the effects are familiar ones in the history of racist representations. The erasure of DeVine from the narrative places the white female bodies as the only true victims of crime; and the film's inability to show DeVine as violated rather than violator perpetuates the myth of the black man as always already a perpetrator of crime." Regarding DeVine, Halberstam wrote, "Peirce perhaps thought that her film, already running close to two hours, could not handle another subplot, but the story of Philip DeVine is important and it is a crucial part of the drama of gender, race, sexuality, and class that was enacted in the heartland. Race is not incidental to this narrative of mostly white, Midwestern small towns and by omitting DeVine's story from "Boys Don't Cry", Peirce contributes to the detachment of transgender narratives from narratives about race, consigning the memory of DeVine to oblivion."


title: Boys Don't Cry (1999 film)

text: Several authors commented on the possible impact that the film's setting of Falls City, Nebraska, located in the Midwestern United States, could have had on the film's plot. Maslin called "Boys Don't Cry" a tale of a trapped, small town character's search for life beyond the rural existence and the high price he pays for his view of the American Dream. Regarding the film's portrayal of Nebraska, Halberstam wrote, "The landscape of Nebraska then serves as a contested site upon which multiple narratives unfold, narratives indeed which refuse to collapse into simply one story. Some of these narratives are narratives of hate, some of desire; others tell of ignorance and brutality; still others of isolation and fear; some allow violence and ignorant prejudices to become the essence of white poor rural identity; still others provoke questions about the deployment of whiteness and the regulation of violence."


title: Boys Don't Cry (1999 film)

text: Christina Dando wrote that the typical portrayal of the Midwest as a "frontier" area did not come through in the film until the setting switched from Lincoln to Falls City: "The flat landscape, the spacious sky, the home, evoke two different Plains time periods familiar to many Americans through historic photographs: the early settlement process…and 1930s Farm Security Administration photographs. It is virtually timeless. There is also a sense of both place and placelessness. While the landscape is distinctively Plains, it could be described as nowhere."


title: Boys Don't Cry (1999 film)

text: She went on to argue that the setting is not only conveyed visually, but also through the characters' homes. "While there is no trailer park in Falls City, Brandon's community there occupies the margin: Candace and Lana's homes appear to be on the outskirts of town, or even outside of town. There are no complete families, only the family that that has been created. The men appear to have no homes, relationally or physically: none are shown to have family. Speaking about the film's cinematography and the relation to its themes:


title: Boys Don't Cry (1999 film)

text: Dando compared the film to other tragic books and films that have been set on the Great Plains, including "My Ántonia", "Giants in the Earth", "The Grapes of Wrath", "In Cold Blood", and "Badlands", writing that unlike the other works, "Brandon is [a] character who truly crosses frontiers."


title: Boys Don't Cry (1999 film)

text: "Boys Don't Cry" aired in Canada at the Toronto International Film Festival (TIFF) in September 1999. It premiered in the U.S. at the New York Film Festival on October 8, 1999, to critical acclaim. It was shown at the Reel Affirmations International Gay and Lesbian Film Festival in early October, where it won further praise and appeared at the Venice International Film Festival. "Boys Don't Cry" was given a special screening in snippets at the Sundance Film Festival. At that time, the film was still called "Take It Like a Man". The film received a limited release theatrically on October 22, 1999, in the U.S., where it was distributed by Fox Searchlight Pictures, a subsidiary of Twentieth Century Fox that specializes in independent films. Initially, many viewers complained via email to Peirce that the film was not being shown near them, as the film was only being shown on 25 screens across the country. However, this number increased to nearly 200 by March 2000. The film grossed $73,720 in its opening week. By December 5, the film had grossed in excess of $2 million. By May 2000, it had a U.S. total gross of $11,540,607—more than three times its production budget. Internationally, the film was released on March 2, 2000, in Australia and on April 9, 2000, in the United Kingdom.


title: Boys Don't Cry (1999 film)

text: Critics lauded "Boys Don't Cry" upon its release, with many calling it one of the best films of the year. Review aggregator Rotten Tomatoes reports 90% of 82 professional critics gave the film a positive review, with an average rating of 7.90/10; the site's consensus states, "Harrowing yet stirring, "Boys Don't Cry" powerfully commemorates the life -- and brutally unjust death -- of transgender teen Brandon Teena". Another review aggregator, Metacritic, gave the film an 86 of 100 based on 33 reviews, indicating "universal acclaim". One reviewer said the film was a "critical knockout".


title: Boys Don't Cry (1999 film)

text: Critics often praised the performances by Swank and Sevigny; Peter Travers said the pair "give performances that burn in the memory", and The Film Stage termed Swank's performance "one of the greatest" Best Actress Oscar-winning performances. Peter Stack of the "San Francisco Chronicle" lauded the lead acting performances of Swank, Sevigny, Saarsgard, and Sexton III, writing, "It may be the best-acted film of the year". Online film reviewer James Berardinelli gave the film three and a half stars out of four; he highlighted the performances of Swank and Sevigny as the film's greatest success and likened the film's intensity to that of a train wreck. Berardinelli wrote that Swank "gives the performance of her career" and that "Sevigny's performance is more conventional than Swank's, but no less effective. She provides the counterbalance to the tide of hatred that drowns the last act of the film." Emanuel Levy of "Variety" called the acting "flawless" and concluded that the "stunningly accomplished" and "candid" film could be "seen as a "Rebel Without a Cause" for these culturally diverse and complex times, with the two misfits enacting a version of the James Dean—Natalie Wood romance with utmost conviction, searching, like their '50s counterparts, for love, self-worth and a place to call home". Stephen Hunter of "The Washington Post" said the performances are of such "luminous humanity that they break your heart". "Premiere" listed Swank's performance as one of the "100 Greatest Performances of All Time". Owen Gleiberman of "Entertainment Weekly" called Swank a "revelation" and wrote, "by the end, her Brandon/Teena is beyond male or female. It's as if we were simply glimpsing the character's soul, in all its yearning and conflicted beauty."


title: Boys Don't Cry (1999 film)

text: Other reviewers were positive towards the way "Boys Don't Cry" portrayed its subject matter. and Roger Ebert of the "Chicago Sun-Times" listed "Boys Don't Cry" as one of the five best films of 1999, saying, "this could have been a clinical movie of the week, but instead it's a sad song about a free spirit who tried to fly a little too close to the flame". Janet Maslin of "The New York Times" said the film was "stunning" and gave it four stars out of four stars. Maslin said, "unlike most films about mind-numbing tragedy, this one manages to be full of hope". Kenneth Turan of the "Los Angeles Times" praised the lack of romanticization and dramatization of the characters, and wrote, "Peirce and Bienen and the expert cast engage us in the actuality of these rootless, hopeless, stoned-out lives without sentimentalizing or romanticizing them" and that ""Boys Don't Cry" is an exceptional—and exceptionally disturbing film". Mike Clarke of "USA Today" commended Peirce's depth of knowledge of the case and the subject matter, writing, "Peirce seems to have researched her subject with grad-school-thesis intensity".


title: Boys Don't Cry (1999 film)

text: Jay Carr of "The Boston Globe" wrote, ""Boys Don't Cry" not only revisits the crime, but convinces us we're being taken inside it". Stephanie Zacharek of "Salon" gave a positive review, singling out the directing and acting. She wrote, "Peirce ... covers an extraordinary amount of territory, not just in terms of dealing with Brandon’s sexual-identity and self-fulfillment issues, but also in trying to understand the lives of those around him". Zacharek described Swank's performance as "a continual revelation" and Sevigny's performance as "transformative". She said, "When Brandon dies, "Boys Don’t Cry" reaches an emotional intensity that’s almost operatic. The saddest thing, though, is seeing Sevigny’s Lana crumpled over his corpse—the way she plays it, you know that when Brandon went, he took a part of her with him, too". David Edelstein of "Slate" was also very positive towards the film, calling it "a meditation on the irrelevance of gender." He went on to praise Swank, Sevigny, and Sarsgaard in their roles, especially Sevigny, writing that she "keeps the movie tantalizing".


title: Boys Don't Cry (1999 film)

text: The film was not without detractors, who focused on the film's portrayal of Brandon and his actions. Richard Corliss of "Time" magazine was one of the film's negative reviewers; he wrote, "the film lets down the material. It's too cool: all attitude, no sizzle". Peter Rainer of "New York Magazine" compared the film unfavorably with "Rebel Without a Cause" (1954), calling it a "transgendered " version, elaborating that the film "could have used a tougher and more exploratory spirit; for Peirce, there was no cruelty, no derangement in Brandon's impostures toward the unsuspecting." In 2007, "Premiere" ranked the film on its list of "The 25 Most Dangerous Movies".


title: Boys Don't Cry (1999 film)

text: The film was generally well-received by the LGBT community. "Boys Don't Cry"s release came a year after the murder of a homosexual teenager, Matthew Shepard, which occurred October 12, 1998. The murder sparked additional public interest in hate crime legislation in America and in Brandon Teena, and increased public interest in "Boys Don't Cry". Cooper wrote that "Boys Don't Cry" "is perhaps the only film addressing the issue of female masculinity by a self-described queer filmmaker to reach mainstream audiences and to receive critical acclaim and prestigious awards." However, Noelle Howey, writing for "Mother Jones", wrote that despite the critical acclaim, relatively few critics understood what she perceived as the main point of the film—Brandon being a victim of trans bashing. Howey said, "Even a cursory glance at reviews of "Boys Don't Cry" reveals that while most critics admired the film, few absorbed its main point: that Brandon Teena was a biological girl who felt innately that she was a man. Most of the media instead cast Teena as a Yentl for the new millennium, rather than a victim of anti-transgender bigotry."


title: Boys Don't Cry (1999 film)

text: The accuracy of "Boys Don't Cry" was disputed by real-life people involved in the murder. The real Lana Tisdel declared her dislike for the film; she said Brandon never proposed to her and that when she discovered Brandon was transgender, she ended the relationship. Tisdel disliked the way she was portrayed in the film, and called the film the "second murder of Brandon Teena". Before the film's theatrical release, Lana Tisdel sued the film's producers, claiming that the film depicted her as "lazy, white trash and a skanky snake" and that her family and friends had come to see her as "a lesbian who did nothing to stop a murder". Tisdel settled her lawsuit against Fox Searchlight for an undisclosed sum. Sarah Nissen, cousin of murderer Marvin Nissen, was also critical of the film, saying, "There's none of it that's right. It was just weird." Leslie Tisdel, Lana's sister, called the film "a lie of a movie".


title: Boys Don't Cry (1999 film)

text: Lana Tisdel's potential involvement in the rape and murder of Brandon Teena was also highlighted. Various people involved in the case, particularly Brandon's family, have alleged that Tisdel was somehow involved with the murders, or had at least set them up in an act of vengeance. Perhaps the most notable admission about Tisdel's motives came from Tom Nissen, who infamously confessed that Tisdel was present at the time of the murders in the car and had even tried knocking on the door of the farmhouse where Brandon, Lambert and DeVine were staying.


title: Boys Don't Cry (1999 film)

text: The film won a variety of awards, most of which went to Swank for her performance. Swank won a Best Actress Oscar while Sevigny received a nomination in the category of Best Supporting Actress. From the Hollywood Foreign Press, the film received two Golden Globe nominations in the same two categories (Best Actress, Best Supporting Actress) for Swank and Sevigny, winning Best Actress. Swank and Sevigny both received Best Actress Awards from the New York Film Critics Circle, the Chicago Film Critics Association Awards and an Independent Spirit Award. The film won three awards at the Boston Society of Film Critics Awards: Best Actress (Swank), Best Supporting Actress (Sevigny) and Best Director (Peirce). Swank and Sevigny won Satellite Awards for their performances, and the film was nominated in two categories; Best Picture (Drama) and Best Director. It was named one of the best films of the year by the National Board of Review of Motion Pictures.


title: Boys Don't Cry (1999 film)

text: The family of Brandon Teena criticized Swank for her repeated use of the male gender pronoun "he" in her Oscar acceptance speech. Teena's mother JoAnn Brandon said her child's transgenderism was a defense mechanism that was developed in response to childhood sexual abuse, rather than being an expression of Teena's gendered sense of self. She said, "She pretended she was a man so no other man could touch her". Despite the criticism, Kevin Okeefe, writing for "Out", defended Swank's acceptance speech; he said, "Swank deserves a place in the great acceptance speech canon for being bold, not only as an actress, but as an award winner".


title: Boys Don't Cry (1999 film)

text: "Boys Don't Cry" garnered significant attention for its graphic rape scene. The film was initially assigned an NC-17 rating from the Motion Picture Association of America (MPAA); the content was toned down for the U.S. release, where it was rated R. Peirce was interviewed for a 2005 documentary titled "This Film Is Not Yet Rated", which discussed the film's problems with the MPAA, particularly the censoring of the sex scenes. The portrayal of a double rape caused significant problems with the MPAA and had to be trimmed to avoid the NC-17 rating. Both the Australian and European version are more explicit, particularly the first rape. Peirce was angry because the MPAA wanted the sex scene between Brandon and Lana removed but was satisfied with the level of brutality in the murder scene. She also claimed that one objection from the MPAA was that one scene featured an orgasm that was "too long", and rhetorically asked if anyone had ever been hurt by an orgasm that was too long. The film is rated 18 by the British Board of Film Classification.


title: Boys Don't Cry (1999 film)

text: "Boys Don't Cry" was first released on home video by Fox Searchlight Pictures in September 2000 apart of a "Premiere Series", preceded by a DVD release in April 2000 in the United States and Canada. The DVD's special features included a commentary by Kimberly Peirce and a behind-the-scenes featurette containing interviews with Peirce, Swank and Sevigny; there was also a theatrical trailer and three television trailers. This same edition was re-released in 2009 with different cover art. The film was released on Blu-ray on February 16, 2011, by 20th Century Fox Entertainment in conjunction with Fox Pathé Europa.


title: United States one-dollar bill

text: The United States one-dollar bill ($1), sometimes referred to as a single, has been the lowest value denomination of United States paper currency since the discontinuation of U.S. fractional currency notes in 1876. An image of the first U.S. president (1789–1797), George Washington, based on the "Athenaeum Portrait", a 1796 painting by Gilbert Stuart, is currently featured on the obverse, and the Great Seal of the United States is featured on the reverse. The one-dollar bill has the oldest overall design of all U.S. currency currently being produced (The current two-dollar bill obverse design dates from 1928, while the reverse appeared in 1976). The obverse design of the dollar bill seen today debuted in 1963 (the reverse in 1935) when it was first issued as a Federal Reserve Note (previously, one dollar bills were Silver Certificates).


title: United States one-dollar bill

text: A dollar bill is composed of 25% linen and 75% cotton. That blend makes the notes more difficult to counterfeit compared to paper as well as increasing its durability. As of December 2018, the average life of a $1 bill in circulation is 6.6 years before it is replaced due to wear. Approximately 42% of all U.S. currency produced in 2009 were one-dollar bills. , there were 12.7 billion one-dollar bills in circulation worldwide.


title: United States one-dollar bill

text: In 1928, all currency was changed to the size which is familiar today. The first one-dollar bills were issued as silver certificates under Series of 1928. The Treasury seal and serial numbers were dark blue. The obverse was nearly identical to the Series of 1923 silver certificate, but the Treasury seal featured spikes around it and a large gray replaced the blue "." The reverse, too, had the same border design as the Series of 1923 bill, but the center featured a large ornate superimposed by . These are commonly known as "Funnybacks" due to the rather odd-looking "ONE" on the reverse. These silver certificates were issued until 1934.


title: United States one-dollar bill

text: In 1933, Series of 1928 United States Notes were issued to supplement the supply of Silver Certificates. Its Treasury seal and serial numbers were red and there was different wording on the obverse of the note. However, a month after their production, it was realized that there would be no real need for these notes and production was stopped. A small number of these bills entered circulation and the rest were kept in Treasury vaults until 1949 when they were issued in Puerto Rico.


title: United States one-dollar bill

text: In 1934, the design of the silver certificate was changed. This occurred with that year's passage of the Silver Purchase Act, which led to a large increase in dollar bills backed by that metal. Under Washington's portrait, was changed to . The Treasury seal was moved to the right and superimposed over , and a blue numeral 1 was added to the left. The reverse remained the same.


title: United States one-dollar bill

text: A year later, in 1935, the design of the one-dollar bill was changed again. On the obverse, the blue numeral 1 was changed to gray and made smaller, the gray to the right was removed, the Treasury seal was made smaller and superimposed by , and a stylized was added over the treasury seal. The reverse was also changed to its current design, except for the absence of .


title: United States one-dollar bill

text: Special Silver Certificates were issued for Hawaii in case of a Japanese invasion. was printed vertically on the left and right side of the obverse and also horizontally across the reverse. The seal and serial numbers were changed to brown. Special Silver Certificates were also issued as payment for Allied troops in North Africa about to begin their assault into Europe. The only difference on these one-dollar bills was a yellow instead of blue seal. Both of these types of notes could be declared worthless if they fell into enemy hands.


title: United States one-dollar bill

text: The next change came in 1957 when the bill became the first piece of paper U.S. currency to bear the motto . The inclusion of the motto, "In God We Trust," on all currency was required by law in 1955, It was added over the word on the reverse. Thus all series 1957 and later notes include the motto. Initially the BEP began printing the motto on notes printed with the new 32 note press, but soon Series of 1935G bills printed on an 18 note press featured the motto too. Later the 1935H series was printed only with the motto. The reason these 1935 series notes were produced into the 1960s was that older printing plates were used as long as possible. There is no particular difference in value if a bill does or does not have the motto.


title: United States one-dollar bill

text: The final production of Silver Certificates occurred in late 1963. In 1964, the redemption of Silver Certificates for silver coin ended and in 1968 the redemption of Silver Certificates for silver bullion ended.


title: United States one-dollar bill

text: Production of one-dollar Federal Reserve Notes was undertaken in late 1963 to replace the soon-to-be obsolete Silver Certificate. The design on the reverse remained the same, but the border design on the obverse underwent considerable modification, as the mostly abstract filigrees were replaced with designs that were mostly botanical in nature. In addition, the word "one," which appeared eight times around the border in small type, was eliminated. The serial numbers and treasury seal were printed in green ink. This was the first time the one-dollar bill was printed as a Federal Reserve Note.


title: United States one-dollar bill

text: The first change since then came in 1969, when the was among all denominations of Federal Reserve Notes to feature the new Treasury seal, with English wording instead of Latin.


title: United States one-dollar bill

text: The bill became the first denomination printed at the new Western Currency Facility in February 1991, when a shipment of 3.2 million star notes from the Dallas FRB was produced.


title: United States one-dollar bill

text: Though bill denominations of and higher have been redesigned twice since 1995 as part of ongoing anti-counterfeiting efforts, there are currently no plans to redesign the or bills.


title: United States one-dollar bill

text: Since 1933, the one-dollar bill has been the exclusive experimental denomination among circulating US currency (except for the Natick experiment in 1981, see below). The first experiment was conducted in January and February of that year to assess the effects of using different ratios of cotton to linen in the make-up of the bills. Series 1928A and 1928B silver certificates with serial number block letters X-B and Y-B were used as the experimental group; the Z-B block was used as the control group. The results of the experiment were inconclusive.


title: United States one-dollar bill

text: In 1937, another test was conducted, similar in style to the 1933 experiment. This test used Series 1935 one-dollar bills. The particular notes used in this experiment can be identified by their serial numbers. Notes ranging from A00000001B to A06180000B and B00000001B–B03300000B were the experimental group and notes ranging from C00000001B to C03300000B were part of the control group. No conclusive results were found.


title: United States one-dollar bill

text: A better known test was done in 1942 during World War II to test alternative types of paper. This was a precautionary measure in case the current type of paper supply could not be maintained. Series 1935A notes made of the special paper and were printed with a red "S" to the right of the treasury seal, while notes of the control group were printed with a red "R". Because they have some collector value, fake red S's and R's have been applied to regular Series 1935A notes to try to pass them at a higher value; checking a note's serial numbers can prevent this. Serial numbers of the R group range from S70884001C to S72068000C and serial numbers of the S group range from S73884001C to S75068000C.


title: United States one-dollar bill

text: Sometime in the early to mid-1960s, the BEP experimented with a new firm, the Gilbert Paper Company, to see if they could duplicate the usual paper production. The BEP selected a series of notes printed by the Philadelphia FRB as the test subjects. Serial numbers for this group range from C60800001A to C61440000A.


title: United States one-dollar bill

text: In August 1981, a similar experiment occurred during production of Series 1977A, when the BEP printed a few print runs on Natick paper. They included a regular run and a star note run from the Richmond FRB, with serial numbers ranging from E76800001H through E80640000H and E07052001* through E07680000* (note that many sources incorrectly identify the star range as Philadelphia instead of Richmond). One print run of star notes, also from Richmond, was included in this paper test, making it so far the only experimental printing not exclusive to the .


title: United States one-dollar bill

text: One-dollar bills were again the subject of experimentation in May 1992, when the BEP began to test a web-fed Intaglio printing press. Because of a need for greater quantities of FRNs, the BEP sent out REQUEST FOR PROPOSALS (RFP) (year 1985) NO. BEP-85-73 to procure a web-fed intaglio printing press to dramatically increase the production of currency notes within the confines of their current (1985) 14th & C street facility. Instead of printing one side of a square sheet of 32 notes at a time, the web-fed press used 96 engraved images or plate-cylinder to print the back of the note, then another 96 image engraved plate-cylinder to print the front of the note. Both sides of notes were printed from a continuous roll of paper. The Alexander-Hamilton intaglio Web press printed both sides of intaglio at the same time. The web-press was designed as a full-blown production press as opposed to an experimental press. The notes were issued in Series 1988A, 1993, and 1995. Because of mechanical problems and operator error, as well as the sometimes poor quality of the notes, production was ended in July 1996. Web notes can be identified by the back plate number next to and the removal of face check letters and quadrant numbers.


title: United States one-dollar bill

text: The portrait of George Washington is displayed in the center of the obverse of the one-dollar bill, as it has been since the 1869 design. The oval containing George Washington is propped up by bunches of bay laurel leaves.


title: United States one-dollar bill

text: To the left of George Washington is the Federal Reserve District seal. The name of the Federal Reserve Bank that issued the note encircles a capital letter (A–L), identifying it among the twelve Federal Reserve Banks. The sequential number of the bank (1: A, 2: B, etc.) is also displayed in the four corners of the open space on the bill. Until the redesign of the higher denominations of currency beginning in 1996, this seal was found on all denominations of Federal Reserve notes. Since then it is only present on the $1 and $2 notes, with the higher denominations only displaying a universal Federal Reserve System seal, and the bank letter and number beneath the upper left serial number.


title: United States one-dollar bill

text: The scales represent justice. The chevron with thirteen stars represents the original thirteen colonies. The key below the chevron represents authority and trust; 1789 is the year that the Department of the Treasury was established. The series 1969 dollar bills were the first to use a simplified Treasury seal, with the wording in English instead of Latin.


title: United States one-dollar bill

text: Below the FRB seal (to the left of George Washington) is the signature of the Treasurer of the United States, and below the USDT Seal (right side) is the Secretary of the Treasury's signature. To the left of the Secretary's signature is the series date. A new series date, or addition or change of a sequential letter under a date, results from a change in the Secretary of the Treasury, the Treasurer of the United States, and/or a change to the note's appearance such as a new currency design.


title: United States one-dollar bill

text: On the edges are olive branches entwined around the 1s. A small plate serial number-letter combination is on the lower right, and a small plate position (check) letter is on the upper left corner of the note. If "FW" appears before the lower right plate number it indicates that the bill was produced at the satellite Bureau of Engraving and Printing facility in Fort Worth, Texas. Currency has been printed here since Series 1988A. The absence of "FW" indicates the bill was printed at the main facility in Washington, D.C.


title: United States one-dollar bill

text: The reverse of the one-dollar bill has an ornate design that incorporates both sides of the Great Seal of the United States to the left and right of the word "ONE". This word appears prominently in the white space at the center of the bill in a capitalized, shadowed, and seriffed typeface. A smaller image of the word "ONE" is superimposed over the numeral "1" in each of the four corners of the bill.


title: United States one-dollar bill

text: "THE UNITED STATES OF AMERICA" spans the top of the bill, "ONE DOLLAR" is emblazoned along the bottom, and above the central "ONE" are the words "IN GOD WE TRUST," which became the official motto of the United States in 1956 by an Act of Congress. Below the reverse of the Great Seal on the left side of the bill are the words "THE GREAT SEAL," and below the obverse on the right side are the words "OF THE UNITED STATES."


title: United States one-dollar bill

text: The Great Seal, originally designed in 1782 and added to the dollar bill's design in 1935, is surrounded by an elaborate floral design. The renderings used were the typical official government versions used since the 1880s.


title: United States one-dollar bill

text: The reverse of the seal on the left features a barren landscape dominated by an unfinished pyramid of 13 steps, topped by the Eye of Providence within a triangle. At the base of the pyramid are engraved the Roman numerals MDCCLXXVI (1776), the date of American independence from Britain. At the top of the seal stands a Latin phrase, "ANNUIT COEPTIS," meaning "He favors our undertaking." At the bottom of the seal is a semicircular banner proclaiming "NOVUS ORDO SECLORUM" meaning "New Order of the Ages" that is a reference to the new American era. To the left of this seal, a string of 13 pearls extends toward the edge of the bill.


title: United States one-dollar bill

text: The obverse of the seal on the right features a bald eagle, the national bird and symbol of the United States. Above the eagle is a radiant cluster of 13 stars arranged in a six-pointed star. The eagle's breast is covered by a heraldic shield with 13 stripes that resemble those on the American flag. As on the first US flag, the stars and stripes stand for the 13 original states of the union. The eagle holds a ribbon in its beak reading "E PLURIBUS UNUM", a Latin phrase meaning "Out of many [states], one [nation]", a "de facto" motto of the United States (and the only one until 1956). Both the phrases "E Pluribus Unum" and "Annuit coeptis" contain 13 letters. In its left talons the eagle holds 13 arrows, and in its right talons it holds an olive branch with 13 leaves and 13 olives, representing, respectively, the powers of war and peace. To the right of this seal, a string of 13 pearls extends toward the edge of the bill. A plate position (check) number is normally found to the left of the eagle.


title: United States one-dollar bill

text: Except for significant errors, and series 1988A web notes printed in small batches for some of the Federal Reserve districts (web notes from other series are more common), green seal dollars are of little collector value. However, two notes have generated public interest, although neither is scarce.


title: United States one-dollar bill

text: In 1963 dollar bills were produced for the Eleventh Federal Reserve District, headquartered in Dallas. Since the FRD jurisdictions are sequentially numbered, notes received the corresponding letter "K", for the 11th letter of the alphabet. Some people noticed that the 1963 Dallas note, with the number "11" and a "K" surrounded by a black seal, appeared about the time President John F. Kennedy was shot in Dallas in November 1963. The bill was not a commemorative issue and there was no connection between it and the shooting.


title: United States one-dollar bill

text: In 1968–69 Joseph W. Barr was Secretary of the Treasury for only 31 days and his signature appeared solely on the 1963B dollar bill. Some collectors thought that his brief tenure might make these notes valuable, but use of their plates continued for some time after his term in office and 458,880,000 were printed. Thus they are very common.


title: United States one-dollar bill

text: Dollar Bills with interesting serial numbers can also be collected. One example of this is radar or “palindrome“ notes, where the numbers in the serial number are the same read from left to right or right to left. Very low serial numbers, or a long block of the same or repeating digits may also be of interest to specialists. Another example is replacement notes, which have a star to the right of the serial number. The star designates that there was a printing error on one or more of the bills, and it has been replaced by one from a run specifically printed and numbered to be replacements. Star notes may have some additional value depending on their condition, their year series or if they have an unusual serial number sequence. To determine the rarity of modern star notes, production tables are maintained.


title: United States one-dollar bill

text: In modern times, the one dollar bill is used much more than the dollar coin, despite the U.S. Government's repeated efforts to promote the latter. There are organizations specifically aimed at either preventing (Save the Greenback) or advocating (Coin Coalition) the complete elimination of the one-dollar bill in favor of the dollar coin.


title: United States one-dollar bill

text: On November 29, 2012, a House subcommittee met to consider replacing the dollar bill. This action took place after the seventh Government Accountability Office report on the subject. The latest report claimed that switching to dollar coins would save $4.4 billion over thirty years. However, according to polls, few Americans want to give up dollar bills.


title: United States one-dollar bill

text: In response to various requests to redesign the $1 bill to include (among others) the Preamble, Bill of Rights, and list of Articles of the United States Constitution, recent budgets passed by Congress have included provisions to prevent the Treasury Department from spending any of its funds to redesign the $1 bill, since the potential cost impact of this change on the vending machine industry would greatly exceed its benefits.


title: Psycho-Pass

text: Psycho-Pass (stylized as PSYCHO-PASS) is a Japanese cyberpunk psychological thriller anime television series produced by Production I.G. It was co-directed by Naoyoshi Shiotani and Katsuyuki Motohiro and written by Gen Urobuchi, with character designs by Akira Amano and featuring music by Yugo Kanno. The series aired on Fuji TV's Noitamina programming block between October 2012 and March 2013. Set in a dystopia of Sibyl System's governance of Japan, the plot follows the young woman Akane Tsunemori. She is introduced as a novice Inspector assigned to Division One of the Public Safety Bureau's Criminal Investigation Division, in charge of solving crimes with latent criminals, Enforcers.


title: Psycho-Pass

text: "Psycho-Pass" originated from Production I.G.'s interest in making a successor to Mamoru Oshii's achievements. The series was inspired by several live-action films. Chief director Katsuyuki Motohiro aimed to explore psychological themes in society's youth using dystopian storylines. Multiple books and movies influenced "Psycho-Pass," the most notable being the 1982 American science fiction film "Blade Runner". The series was licensed by Funimation in North America. Several manga and novels, including an adaptation and prequels to the original story, have been published. An episodic video game adaptation called "Chimi Chara Psycho-Pass" was developed by Nitroplus staffers in collaboration with Production I.G. New novels and another manga were serialized in 2014.


title: Psycho-Pass

text: The first season of the anime garnered critical acclaim in both Japan and the West from critics praising the characters' roles and interactions set within the dystopian environment. The animation has also been praised despite issues in latter episodes which required fixing in the DVD volumes of the series.


title: Psycho-Pass

text: A second season aired between October and December 2014, with a feature film titled, "" released in January 2015. In 2019, "" premiered between January and March. A third season aired between October and December 2019, with a sequel film, "", released in March 2020. A new anime film titled "Psycho-Pass: Providence" has been announced. All of the stories take place in an authoritarian future dystopia where omnipresent public sensors continuously scan the mental states of every passing citizen in order to determine their criminal propensity.


title: Psycho-Pass

text: "Psycho-Pass" is set in a futuristic Japan governed by the , a powerful biomechatronic computer network which endlessly measures the biometrics of Japanese citizens' brains and mentalities using a "cymatic scan." The resulting assessment is called a , which includes a numeric index, revealing the citizen's criminality potential, and a color-coded Hue, alerting law enforcement to other data, as well as the improvement (clearing) or decline (clouding) of said Psycho-Pass. When a targeted individual's Crime Coefficient index exceeds the accepted threshold (100), they are pursued, apprehended, and either arrested or killed by the field officers of the Crime Investigation Department of the Ministry of Welfare's Public Safety Bureau. Elite officers known as Inspectors research and evaluate crime scenes, including all personnel involved, with the assistance of Enforcers. Enforcers are latent criminals charged with protecting the Inspectors, adding their expertise and carrying out Inspectors' instructions. Both are equipped with personally activated hand-held weapons called "Dominators" whose integrated scanners provide the target's immediate Psycho-Pass. The gun-like weapon can only fire when approved by the Sibyl System and triggered by its owner. Inspectors and Enforcers work as a team, though Inspectors have jurisdiction to fire their Dominators on the Enforcers should they pose a danger to the public or the Inspectors themselves.


title: Psycho-Pass

text: "Psycho-Pass" is seen through the eyes of Akane Tsunemori, a rookie Inspector within Unit One (aka Division One) of the Ministry of Welfare Public Safety Bureau's Criminal Investigation Department. Shinya Kogami is an Enforcer under her watch during her first mission. When she judges him a threat to an apprehended criminal's life, she uses her Dominator to prevent him from decomposing the criminal. Initially ashamed of her action, Kogami thanks her for preventing what could be perceived as murder, an opinion which influences Tsunemori to stay on the force. The unit uncovers the crimes of Shogo Makishima, a prolific criminal mastermind. Makishima is – a person persistently assessed by the Sibyl System as having a low crime coefficient despite all actions and attitudes, thus protecting him from Dominator harm. Tsunemori is accompanied by veteran Inspector Nobuchika Ginoza, a strict man who looks down on Enforcers; Tomomi Masaoka, a middle-aged Enforcer who used to be a detective; Shusei Kagari, a carefree young man who was marked as a latent criminal in childhood; and Yayoi Kunizuka, a former musician turned into a latent criminal stemming from a relationship with a terrorist.


title: Psycho-Pass

text: The unit starts hunting Makishima, but it is Kogami who is most invested, having lost a friend at the hands of the villain. Meanwhile, Makishima is invited by Joshu Kasei, the android form of Sibyl, to join their ranks. He refuses and flees. Realizing this, Kogami leaves Unit One to find and kill him. The Sibyl System orders Tsunemori to capture Makishima and execute Kogami, but she agrees only on the condition that they withdraw the execution order for Kogami. Unit One now searches for both men with Kogami learning that Makishima plans to make biologic terrorism and sends the data to his data. Upon finding him, Makishima attacks Masaoka and kills him when attempting to murder his son, Ginoza, with dynamite. Kogami spots and wounds Makishima but he is stopped by Tsunemori. He agrees to work together but when Makishima attempts to kill Tsunemori, Kogami uses Masaoka's gun to kill Makishima. In the epilogue, Ginoza has become a Enforcer after experiencing his father's death with Tsunemori becoming the new leader as she welcomes Inspector Mika Shimotsuki. Meanwhile, Kogami is last seen on a ship.


title: Psycho-Pass

text: The series was directed by Naoyoshi Shiotani, written by Gen Urobuchi and features character designs by "Reborn!" manga artist Akira Amano. It stars Tomokazu Seki as Shinya Kogami, Kana Hanazawa as Akane Tsunemori, and Takahiro Sakurai as Shogo Makishima. "Psycho-Pass" originated from Production I.G.'s interest in making a successor to Mamoru Oshii's "Ghost in the Shell" and "Patlabor", hiring Katsuyuki Motohirowho became the series' chief directorand veteran I.G. animator Naoyoshi Shiotani to supervise direction.


title: Psycho-Pass

text: Motohiro wanted to return to making anime after a long hiatus but he needed a charismatic script writer. Motohiro and his staff were surprised with Gen Urobuchi's contribution to the highly acclaimed anime series, "Puella Magi Madoka Magica". Motohiro was fascinated by "Madoka Magica" and he had read other works by Urobuchi, which persuaded him to talk to Urobuchi. In early 2011, Motohiro proposed to Urobuchi that the pair should work together. Early in the making of the series, Motohiro told Naoyoshi Shiotani not to make anything that could not be adapted into a live-action film.


title: Psycho-Pass

text: Before work on "Psycho-Pass" started, Shiotani was busy working on the film, "". As soon as his work with the film ended, Shiotani focused on the series' quality. After episode 16, which proved to be the most challenging and popular of the series, the team found themselves "out of stamina." The next two episodes were made by an outside team, which is reflected in several problems with the animation. In response to this, the producer of the episode said that while he expected problems, he worked to make it the best he could. Shiotani also apologized for the episode's quality. The original team continued working from episode 19 on until the finale, deciding to remake episodes 17 and 18 for their retail release. The anime series was first announced in late March 2012 by Fuji TV at its Noitamina press conference.


title: Psycho-Pass

text: When hearing the comments from Atsuko Ishizuka, director of "The Pet Girl of Sakurasou", about the way the characters were first designed, Shiotani realized it was the opposite for his team, who had to create the setting first, then the characters because they "are almost being played by the world." As a result, the characters were designed by manga artist Akira Amano to balance the dark atmosphere by having them "palatable and very relatable." The staff avoided using bright colors that would stand out. Akane Tsunemori was created as the most relatable character, who would question the setting from the audience's point of view and as the heroine who would come between the main character, Shinya Kogami, and his main rival, and enemy, Shogo Makishima. Akane's progression from an innocent newcomer to a mature and haunted person was one of the staff's main objectives.


title: Psycho-Pass

text: Motohiro allowed his team to use very graphic elements, even though they could reduce female viewership. He acknowledged that the series may be too violent for a younger demographic and said that he would not want his son to watch it because of its psychological brutality. He added that the team did not want to make a violent series but an "artistic series that just happened to have some violence included in it". About the amount of violence, Shiotani told Urobuchi, "just let us deal with it." Some of these violent scenes occur off-camera but whenever a protagonist was involved, the moment was developed to be memorable. The team twice had to remake scenes because the television station complained that they went "overboard."


title: Psycho-Pass

text: Motohiro wanted the series to counter concurrent anime trends. The use of "moe" (slang) was banned at staff meetings because they appreciated dramas like "Mobile Suit Gundam" and "Patlabor" that focused on conflicts between male characters. As the series was "anti-moe," the team decided to avoid having Tsunemori remove her clothes and instead had Kogami do it. Nevertheless, the show attracted a female viewership because the conflict between the male characters appeared to attract the "shonen ai" genre fans. Although Shiotani also wanted the series to avoid romance between male characters, he believed the fight scenes between male characters unintentionally attracted female fans. The staff decided to focus on friendships rather than romantic relationships.


title: Psycho-Pass

text: The series was inspired by several Western films, most notably "L.A. Confidential". Director Naoyoshi Shiotani cited several other influences, including "Minority Report", "Gattaca", "Brazil" and "Blade Runner"; the latter of which he compared very closely to "Psycho-Pass". Before the making of the series, Urobuchi insisted on using a Philip K. Dick-inspired, dystopian narrative. The psychological themes were based on the time Shiotani watched "Lupin III" during his childhood because he thought about adding "today's youth trauma" to the series. The rivalry between the main characters was based on the several dramas the staff liked. Other voice actors have been credited in the making of the series because of the ways they added traits to the characters.


title: Psycho-Pass

text: The staff had problems composing an opening theme for the series until someone provided some music by Ling tosite Sigure, who was engaged to compose the opening theme. Egoist, who composed the ending theme, had debuted on Noitamina with "Guilty Crown". Shiotani said they asked Egoist to record three versions of the ending theme so they could alternate them to match the episode's ending. Across the series, time limits resulted in the ending songs being removed or replaced with instrumental versions to avoid cutting scenes from the episode. When there were concerns from the producers of the songs, Tomohiro and Shiotani discussed this with them. Following the first series, Yugo Kanno made remixes of the original background themes as the staff found them enjoyable and might come across as appealing in the process.


title: Psycho-Pass

text: Two "Psycho-Pass" CDs were included in the second and fifth Japanese home media release of the series. The "Psycho Pass" original soundtrack was released by Sony Music Entertainment on May 29, 2013. It features fifty-five tracks composed by Kanno. The second original soundtrack was released on March 18, 2015. A two-volume drama CD called based on the prequel novel was released between September 25 and November 27, 2013.


title: Psycho-Pass

text: As some critics have noted, "Psycho-Pass" explores societal and psychological themes, such as the price of living without stress or fear of crime. Indeed, the Sibyl System targets individuals who are considering performing actions that might cause stress to others. This raises the question of whether it is morally and socially acceptable to charge individuals with crimes they have not yet committed. An example of this occurs in the first episode when a woman is kidnapped and the resultant trauma causes her Psycho-Pass to become clouded. According to Sibyl's rules, the police can decompose her, but Tsunemori delays action, choosing to bring the woman's Psycho-Pass level back to the acceptable range by speaking gently to her. This challenges the notion that the potential to commit a crime correlates with actually committing a crime. According to Anime News Network, "We are all capable of doing bad things at timesshould we be punished because we thought of hurting someone before we act on it? Or because we were victims? It really all comes back to that first episode and Akane's reaction to the victim who presented as a violent criminal".


title: Psycho-Pass

text: "Psycho-Pass" further questions the notion of overriding the individual's needs in favor of general social value by asking the audience to consider if it is morally and socially acceptable to kill individuals who may potentially commit crimes so long as we accept that the harm caused to society outweighs the harm caused to an individual who is falsely charged. In other words, the Sibyl System operates on the principles of opportunity cost and acceptable risk. Relying on the Sibyl System paradoxically creates a society which fears no crime as a whole, but individuals who personally fear the consequences of the Sibyl System's verdicts. Urobuchi himself has said that one of the series' central thematic ideas is "fear." Shogo Makishima's actions stem from feeling out of place because the Sibyl System cannot accept him as he is, labeling him a deviant within the structure of society itself.