title: Mount Elbrus

text: During the Battle of the Caucasus in World War II, the Wehrmacht occupied the area, surrounding the mountain from August 1942 to February 1943 with Gebirgsjäger from the 1st Mountain Division. The Nazi swastika was placed on the summit of Mount Elbrus on 21 August 1942. A possibly apocryphal story tells of a Soviet pilot being given a medal for bombing the main mountaineering hut, "Priyut" 11 (, "Refuge of the 11"), while it was occupied. He was later nominated for a medal for not hitting the hut, but instead, the German fuel supply, leaving the hut standing for future generations. When news reached Adolf Hitler that a detachment of mountaineers was sent by the general officer commanding the German division to climb to the summit of Elbrus and plant the swastika flag at its top, he reportedly flew into a rage, called the achievement a "stunt" and threatened to court martial the general. Nazi swastikas were removed by USSR army mountaineers on 13 and 17 February 1943.


title: Mount Elbrus

text: The Soviet Union encouraged ascents of Elbrus, and in 1956 it was climbed "en masse" by 400 mountaineers to mark the 400th anniversary of the incorporation of Kabardino-Balkaria, the Autonomous Soviet Socialist Republic where Elbrus was located.


title: Mount Elbrus

text: Since 1986, Elbrus has been incorporated into Prielbrusye National Park, one of the Protected areas of Russia.


title: Mount Elbrus

text: In October 2021, Kazakh scientist Aida Tabelinova climbed Mount Elbrus as part of an international expedition led by Youth Club of the Russian Geographical Society and Rossotrudnichestvo to promote humanitarian cooperation. A year earlier, a charity climb for the Global Relief Trust by British Muslim climber Akke Rahman was completed in one day, without acclimatisation or using oxygen, and only days after Rahman recovered from COVID-19 infection.


title: Mount Elbrus

text: In 1997 a team led by the Russian mountaineer Alexander Abramov took a Land Rover Defender to the summit of the East Peak, entering the Guinness Book of Records. The project took 45 days in total. They were able to drive the vehicle as high as the mountain huts at The Barrels (), but above this they used a pulley system to raise it most of the way. On the way down, a driver lost control of the vehicle and had to jump out. Although he survived the accident, the vehicle crashed onto the rocks and remains below the summit to this day.


title: Mount Elbrus

text: In 2016, the Russian climbers Artyom Kuimov and Sergey Baranov entered the Guinness Book of World Records by reaching the summit of Elbrus on ATVs.


title: Mount Elbrus

text: In August 1998 a group of climbers from the Karachai-Cherkess Republic were the first in history to climb Mount Elbrus with horses. The horses were Imbir, Daur and Khurzuk, of the Karachai breed, fitted with special horseshoes with removable steel spikes. The organiser of the climb was Klych-Gery Urusov. Six people reached the eastern summit: three Karachai horsemen (Dahir Kappushev, Mohammed Bidzhiev, Murat Dzhatdoev) and three mountaineers (Boris Begeulov, Umar Bairamukov, Leila Albogachieva (Ingush nationality)), with two of the three horses (Daur and Khurzuk).


title: Mount Elbrus

text: A second equestrian climb was made in August 1999 by the same Karachai riders, with a Karachai horse (Igilik), reaching the higher western summit.


title: Mount Elbrus

text: A third equestrian ascent took place in 2019, by the Karachai horseman Aslan Khubiev with the Karachai horses Boz and Damly, helped by the Balkar guides Aslan Altuev and Askhat Guzoev.


title: Mount Elbrus

text: A fourth equestrian ascent took place on 4 September 2020 (see photo below). Two Karachai horsemen, Ramazan Alchakov and Abrek Ediev, and their Russian friend Ivan Kulaga, together with the two Karachai horses Almaz and Dzhigit, reached the western summit.


title: Mount Elbrus

text: A fifth equestrian ascent took place on 23 September 2020 by the Karachai horseman Taulan Achabaev and his cousin Rustam Achabaev, together with the stallion Bahr, reaching the higher western summit accompanied by the Balkar guide Aslan Altuev.


title: Mount Elbrus

text: After the collapse of the USSR and until the early 2010s, travel to Mount Elbrus became increasingly dangerous due to economic problems, armed conflicts in various republics of Caucasus, and later due to the North Caucasus insurgency. Currently, Mount Elbrus is steadily becoming an important destination of domestic Russian tourism, with 424,000 visitors to the area in 2020.


title: Mount Elbrus

text: As of 2019, the United States Department of State has issued a travel advisory against climbing the mountain, as well as travel to the North Caucasian Federal District in general, due to the risk of terrorism and political instability.


title: Mount Elbrus

text: In June 2022, the US State Department advised citizens not to travel to Mount Elbrus, due to terrorism, kidnapping, and risk of civil unrest.


title: Mount Elbrus

text: In 1929, eleven scientists erected a small hut at 4,160 metres and called it "Priyut 11" ("Refuge of the 11"). At the same site, a larger hut for 40 people was built in 1932.


title: Mount Elbrus

text: A wilderness hut was built in 1933 in the saddle between the two summits but collapsed after only a few years. Its remains can still be seen.


title: Mount Elbrus

text: In 1939, the Soviet Intourist travel agency built yet another structure a little above the "Priyut 11" site at 4,200 metres, covered in aluminium siding. It was meant to accommodate western tourists, who were encouraged to climb Mount Elbrus in commercial, guided tours to bring in foreign currency.


title: Mount Elbrus

text: Not much later, this hut was converted into a mountain barracks, serving as a base, first for Soviet and later German troops in the Battle of the Caucasus of World War II.


title: Mount Elbrus

text: On 16 August 1998, this hut burned down after a cooking stove fell over. After that, the new "Diesel hut" was built in the summer of 2001 a few metres below its ruins, so called because it is located at the site of the former diesel generator station.


title: Mount Elbrus

text: In addition, there is accommodation for six people each at the end of the short chairlift above the second cableway section. Painted red and white, these horizontal steel cylinders (called "barrels", Russian "bochki"), are used as a base and for acclimatization by many mountaineers on their way to the summit. Besides the "barrels", there are several container-bases accommodation between about 3,800 and 4,200 metres.


title: Mount Elbrus

text: Mount Elbrus is said to be home to the 'world's nastiest' outhouse which is close to being the highest toilet in Europe, at , next to the old, burnt-out Pruitt Hut. The title was conferred by "Outside" magazine following a 1993 search and article. The "outhouse" is surrounded by and covered in ice, perched on the end of a rock.


title: Mount Elbrus

text: The Terskol Observatory, an astronomical observatory with the IAU code B18, is located 2.5 km north-west of Terskol village at an altitude of .


title: Mount Elbrus

text: Until the mid-2000s, the first section was provided by the Elbrouz-1 cable car, construction of which began in 1959. Starting from the Azaou road at 2,180 metres above sea level in the valley, it leads to the old viewpoint (Stari Krougozor) at an altitude of 2,970 metres; at the foot of the terminal tongue of the Mali glacier Azaou, which has retreated since the construction of the facility. Its length is 1,740 metres, with a drop of 650 meters. The second section, built in 1976, leads to the Mir station at an altitude of 3,470 metres. Its length is 1,800 metres, with a drop of 500 metres. Finally, the last stretch is a chairlift single-seater which then makes it possible to avoid an hour's walk for hikers to the Garabachi huts, at an altitude of 3,847 metres. Built in the late 1970s, it is 1,000 metres long, with a drop of 250 metres.


title: Mount Elbrus

text: In December 2006, the first section of the cable car is modernized to meet safety requirements, thanks to the construction of a new cable car in parallel with the existing one. In August 2009, a new cable car was built to reach the second section. On 27 December 2015, the gondola to go up the third section was put into service, thus becoming the second-highest gondola in Europe after that of Zermatt in Switzerland; which is 3,883 m high. Its capacity is 750 people per hour.


title: Mount Elbrus

text: There are a wide variety of routes up the mountain, but the normal route, which is free of crevasses, continues more or less straight up the slope from the end of the cable car system, which takes passengers up to . During the summer, it is not uncommon for 100 people to attempt the summit via this route each day. Winter ascents are rare, and are usually undertaken only by very experienced climbers. Elbrus is notorious for its brutal winter weather, and summit attempts are few and far between. The climb is not technically difficult, but it is physically arduous because of the altitude and the frequent strong winds. The average annual death toll on Elbrus is 15–30, primarily due to "many unorganized and poorly equipped" attempts to reach the mountain's summit.


title: Mount Elbrus

text: The normal route, on the southern slope, is the easiest, the safest and the fastest, by using the ski lifts to the Garabachi 36 refuges offering 11 cylindrical cabins (the "barrels") of 6 beds each and a total of 80 berths, with water from the melting glacier in summer, and electric heating. At an hour and a half walk, at an altitude of 4,157 metres, is the Diesel refuge, offering 50 places and built in 2001 on the site of the former refuge of the 11 accidentally burned down on Aug 16, 1998. After an additional two hours of walking, the normal route passes close to the Pastoukhov rocks, which can be reached by a snowmobile. The rest of the ascent to the two main peaks can only be done on foot in about ten hours. The route is well signposted; but it can be risky to go more than fifty meters from it because of the few crevasses or in the event of under-equipment. A variant allows you to reach the Diesel refuge from the Ice camp, at an altitude of 3,680 metres.


title: Mount Elbrus

text: Another route leads to the summit from Kioukiourtliou-Kolbachi (4,639 m) via the Dome of Koupol at 4,912 meters, on the western side of the mountain. This route, much longer, is accessible either from the first section of the cable car by crossing the moraines in a north-west direction via the Khoti Outaou pass then obliquely towards the summit, or from the Khourzouk valley. There is no refuge but the terrain is more suitable for camping.


title: Mount Elbrus

text: Other routes by the east from the valley, the glacier and the Iryk pass (3,667 m), or by the north are possible but are more hazardous due to the absence or obsolescence of the installations.


title: Mount Elbrus

text: During Soviet times, Mount Elbrus was home to climbing speed competitions and was training for national Himalayan expeditions (1982 and 1989). The best mountaineers tested their endurance during this prestigious event. In September 1987, Vladimir Balyberdine organized the first official race between the refuge and the pass. In 1990, Anatoli Boukreev set a record by climbing from the refuge to the eastern summit in a time of 1 hour and 47 minutes. In 2005, with the growing enthusiasm for extreme sports and the increase in the number of mountaineers in Russia, this tradition was relaunched and a new race was organized between Bochki and the western summit. In 2006, the best mountaineers from the former Soviet republics participated in the competition: Denis Urubko from Kazakhstan, Sergei Seliverstov and Alexander Kerimov from Kyrgyzstan, and Sergei Sourmonin from Russia. For the first time, one of the routes offers a height difference of over 3,000 metres, starting at the Azaou glades at an altitude of 2,400 metres and arriving at the western summit. Denis Ouroubko sets a time of 3 hours 55 minutes and 58 seconds on this course. On the route starting from the Garabachi huts, Svetlana Sharipova is the best female with a time of 3 hours 21 minutes and 29 seconds.


title: Mount Elbrus

text: It is possible to go around Mount Elbrus. The easiest route takes between eight and ten days of hiking, with the crossing of several glaciers and the crossing of many passes. It starts from the village of Baksan in the Kirtyk valley, then passes through the Kirtykaouch pass (3,242 m), descends to the Malka river where it is possible to discover the Sultan Falls from a height of forty metres near the sources. the Jilasu, then connects Khourzouk after the Bourountach pass (3,072 m), and finally crosses the Oullou-Kam river, the Khoti Outaou pass (3,456 m), the Azaou glacier to descend to Terskol and finally return to the point of departure.


title: Mount Elbrus

text: In September 2012, an emergency shelter is installed on the "saddle" of Elbrus, between the eastern summit and the western summit, station EG 5300. It was then the highest mountain refuge in Europe. However, the shelter was destroyed by winds in December of the same year. In 2013, a new, more modest emergency shelter, capable of accommodating four to six people, was built 300 metres from the EG 5300 station, by the Russian Mountaineering Federation.


title: Mount Elbrus

text: The first race on Elbrus took place in 1990, with Soviet and American climbers competing. The race was won by Anatoli Boukreev, with Kevin Cooney in second, followed by Patrick Healy. Route Priut 11 () – East (lower) was summited in 1 hour and 47 minutes.


title: Mount Elbrus

text: Regular competitions began to take place in 2005, with a choice of two routes: the "classic" climb from "Barrels" at to the western summit () and a long climb, from the Azau Meadow at to the same summit. In 2006, Denis Urubko won the long ascent in 3 hours, 55 minutes, 59 seconds.


title: Mount Elbrus

text: On 24 September 2010, under the Artur Hajzer program "Polish Winter Himalayism 2010–2015", the Polish Mountaineering Association sent a 13-person team for training purposes. Andrzej Bargiel set a new long course record of 3 hours, 23 minutes, 37 seconds.


title: Mount Elbrus

text: The record time for the full race, ascent and descent, of the long route is 4:20:45, set on 7 May 2017 by the Swiss-Ecuadorian mountain guide Karl Egloff. Egloff broke the previous record set in September 2014 by Vitaliy Shkel by more than 18 minutes. He reached the summit in 3:24:14, missing Bergiel's record ascent-only time by 37 seconds; the race organisation and the International Skyrunning Federation nevertheless consider Egloff's ascent a record as well.


title: Mount Elbrus

text: The fastest times by a woman on the long route were set by Diana Zelenova (4:30:12 for the ascent in 2017) and Oksana Stefanishina (6:25:23 for the full race in 2015).


title: 5S (methodology)

text: 5S is a workplace organization method that uses a list of five Japanese words: , , , , and . These have been translated as "sort", "set in order", "shine", "standardize", and "sustain". The list describes how to organize a work space for efficiency and effectiveness by identifying and storing the items used, maintaining the area and items, and sustaining the new organizational system. The decision-making process usually comes from a dialogue about standardization, which builds understanding among employees of how they should do the work.


title: 5S (methodology)

text: Other than a specific stand-alone methodology, 5S is frequently viewed as an element of a broader construct known as "visual control", "visual workplace", or "visual factory". Under those (and similar) terminologies, Western companies were applying underlying concepts of 5S before publication, in English, of the formal 5S methodology. For example, a workplace-organization photo from Tennant Company (a Minneapolis-based manufacturer) quite similar to the one accompanying this article appeared in a manufacturing-management book in 1986.


title: 5S (methodology)

text: 5S was developed in Japan and was identified as one of the techniques that enabled Just in Time manufacturing.


title: 5S (methodology)

text: Two major frameworks for understanding and applying 5S to business environments have arisen, one proposed by Takashi Osada, the other by Hiroyuki Hirano.


title: 5S (methodology)

text: Hirano provided a structure to improve programs with a series of identifiable steps, each building on its predecessor.


title: 5S (methodology)

text: Before this Japanese management framework, a similar "scientific management" was proposed by Alexey Gastev and the USSR Central Institute of Labour (CIT) in Moscow.


title: 5S (methodology)

text: There are five 5S phases. They can be translated to English as "sort", "set in order", "shine", "standardize", and "sustain". Other translations are possible.


title: 5S (methodology)

text: Seiri is sorting through all items in a location and removing all unnecessary items from the location.


title: 5S (methodology)

text: Seiton is putting all necessary items in the optimal place for fulfilling their function in the workplace.


title: 5S (methodology)

text: Shitsuke or sustain is the developed processes by self-discipline of the workers. Also translates as "do without being told".


title: 5S (methodology)

text: 5S methodology has expanded from manufacturing and is now being applied to a wide variety of industries including health care, education, and government. Visual management and 5S can be particularly beneficial in health care because a frantic search for supplies to treat an in-trouble patient (a chronic problem in health care) can have dire consequences.


title: 5S (methodology)

text: Although the origins of the 5S methodology are in manufacturing, it can also be applied to knowledge economy work, with information, software, or media in the place of physical product.


title: 5S (methodology)

text: The output of engineering and design in a lean enterprise is information, the theory behind using 5S here is "Dirty, cluttered, or damaged surfaces attract the eye, which spends a fraction of a second trying to pull useful information from them every time we glance past. Old equipment hides the new equipment from the eye and forces people to ask which to use".


title: Hornet

text: Hornets (insects in the genus Vespa) are the largest of the eusocial wasps, and are similar in appearance to their close relatives yellowjackets. Some species can reach up to in length. They are distinguished from other vespine wasps by the relatively large top margin of the head. Worldwide, 22 species of "Vespa" are recognized. Most species only occur in the tropics of Asia, though the European hornet ("V. crabro"), is widely distributed throughout Europe, Russia, North America, and north-eastern Asia. Wasps native to North America in the genus "Dolichovespula" are commonly referred to as hornets (e.g., baldfaced hornets), but are actually yellowjackets.


title: Hornet

text: Like other social wasps, hornets build communal nests by chewing wood to make a papery pulp. Each nest has one queen, which lays eggs and is attended by workers that, while genetically female, cannot lay fertile eggs. Most species make exposed nests in trees and shrubs, but some (such as "Vespa orientalis") build their nests underground or in other cavities. In the tropics, these nests may last year-round, but in temperate areas, the nest dies over the winter, with lone queens hibernating in leaf litter or other insulative material until the spring. Male hornets are docile and do not have stingers.


title: Hornet

text: Hornets are often considered pests, as they aggressively guard their nesting sites when threatened and their stings can be more dangerous than those of bees.


title: Hornet

text: While taxonomically well defined, some confusion may remain about the differences between hornets and other wasps of the family Vespidae, specifically the yellowjackets, which are members of the same subfamily. Also, a related genus of Asian nocturnal vespines, "Provespa", is referred to as "night wasps" or "night hornets", though they are not true hornets.


title: Hornet

text: Some other large wasps are sometimes referred to as hornets, most notably the bald-faced hornet ("Dolichovespula maculata") found in North America. It is set apart by its black and ivory coloration. The name "hornet" is used for this species primarily because of its habit of making aerial nests (similar to some of the true hornets) rather than subterranean nests. Another example is the Australian hornet ("Abispa ephippium"), which is actually a species of potter wasp.


title: Hornet

text: Hornets are found mainly in the Northern Hemisphere. The common European hornet ("V. crabro") is the best-known species, widely distributed in Europe (but is never found north of the 63rd parallel), Ukraine, and European Russia (except in extreme northern areas). In the east, the species' distribution area stretches over the Ural Mountains to western Siberia (found in the vicinity of Khanty-Mansiysk). In Asia, the common European hornet is found in southern Siberia, as well as in eastern China. The common European hornet was accidentally introduced to eastern North America about the middle of the 19th century and has lived there since at about the same latitudes as in Europe. However, it has never been found in western North America.


title: Hornet

text: The Asian giant hornet ("V. mandarinia") lives in the Primorsky Krai, Khabarovsky Krai (southern part), and Jewish AO regions of Russia, and China, Korea, Taiwan, Cambodia, Laos, Vietnam, Indochina, India, Nepal, Sri Lanka, and Thailand, but is most commonly found in the mountains of Japan, where they are commonly known as the giant sparrow bee.


title: Hornet

text: The Oriental hornet ("V. orientalis") occurs in semidry, subtropical areas of central Asia (Armenia, Dagestan in Russia, Iran, Afghanistan, Oman, Pakistan, Turkmenistan, Uzbekistan, Tajikistan, Kyrghyzstan, southern Kazakhstan), and southern Europe (Italy, Malta, Albania, Romania, Turkey, Greece, Bulgaria, Cyprus).


title: Hornet

text: Hornets have stingers used to kill prey and defend nests. Hornet stings are more painful to humans than typical wasp stings because hornet venom contains a large amount (5%) of acetylcholine. Individual hornets can sting repeatedly; unlike honey bees, hornets do not die after stinging because their stingers are very finely barbed (only visible under high magnification) and can easily be withdrawn, so are not pulled out of their bodies when disengaging.


title: Hornet

text: The toxicity of hornet stings varies according to hornet species; some deliver just a typical insect sting, while others are among the most venomous known insects. Single hornet stings are not in themselves fatal, except sometimes to allergic victims. Multiple stings by hornets (other than "V. crabro") may be fatal because of highly toxic species-specific components of their venom.


title: Hornet

text: The stings of the Asian giant hornet ("V. mandarinia") are among the most venomous known, and are thought to cause 30–50 human deaths annually in Japan. Between July and September 2013, hornet stings caused the death of 42 people in China. Asian giant hornet's venom can cause allergic reactions and multiple organ failure leading to death, though dialysis can be used to remove the toxins from the bloodstream.


title: Hornet

text: People who are allergic to wasp venom may also be allergic to hornet stings. Allergic reactions are commonly treated with epinephrine (adrenaline) injection using a device such as an epinephrine autoinjector, with prompt follow-up treatment in a hospital. In severe cases, allergic individuals may go into anaphylactic shock and die unless treated promptly. In general, "Vespa" stings induce the release of histamine due to the various mastoparans that they contain. However "V. orientalis" mastoparan is the interesting exception because it does not induce histamine increase in victim tissue - because it does not cause mast cell degranulation - and is not immunogenic.


title: Hornet

text: Hornets, like many social wasps, can mobilize the entire nest to sting in defense, which is highly dangerous to humans and other animals. The attack pheromone is released in case of threat to the nest. In the case of the Asian giant hornet ("V. mandarinia"), this is also used to mobilize many workers at once when attacking colonies of their prey, honey bees and other "Vespa" species. Three biologically active chemicals, 2-pentanol, 3-methyl-1-butanol, and 1-methylbutyl 3-methylbutanoate, have been identified for this species. In field tests, 2-pentanol alone triggered mild alarm and defensive behavior, but adding the other two compounds increased aggressiveness in a synergistic effect. In the European hornet ("V. crabro") the major compound of the alarm pheromone is 2-methyl-3-butene-2-ol.


title: Hornet

text: If a hornet is killed near a nest, it may release pheromones that can cause the other hornets to attack. Materials that come into contact with these pheromones, such as clothes, skin, and dead prey or hornets, can also trigger an attack, as can certain food flavorings, such as banana and apple flavorings, and fragrances that contain C alcohols and C esters.


title: Hornet

text: In "V. crabro", the nest is founded in spring by a fertilized female known as the queen. She generally selects sheltered places such as dark, hollow tree trunks. She first builds a series of cells (up to 50) out of chewed tree bark. The cells are arranged in horizontal layers named combs, each cell being vertical and closed at the top. An egg is then laid in each cell. After 5–8 days, the egg hatches. Over the following two weeks, the larva progresses through five stages of development. During this time, the queen feeds it a protein-rich diet of insects. Then, the larva spins a silk cap over the cell's opening, and during the next two weeks, transforms into an adult, a process called metamorphosis. The adult then eats its way through the silk cap. This first generation of workers, invariably females, now gradually undertakes all the tasks formerly carried out by the queen (foraging, nest building, taking care of the brood, etc.) with the exception of egg-laying, which remains exclusive to the queen.


title: Hornet

text: As the colony size grows, new combs are added, and an envelope is built around the cell layers until the nest is entirely covered, with the exception of an entry hole. To be able to build cells in total darkness, they apparently use gravity to aid them. At the peak of its population, which occurs in late summer, the colony can reach a size of 700 workers.


title: Hornet

text: At this time, the queen starts producing the first reproductive individuals. Fertilized eggs develop into females (called "gynes" by entomologists), and unfertilized ones develop into males (sometimes called "drones" as with honeybee drones). Adult males do not participate in nest maintenance, foraging, or caretaking of the larvae. In early to mid-autumn, they leave the nest and mate during "nuptial flights".


title: Hornet

text: Other temperate species (e.g., the yellow hornet, "V. simillima", or the Oriental hornet, "V. orientalis") have similar cycles. In the case of tropical species (e.g., "V. tropica"), life histories may well differ, and in species with both tropical and temperate distributions (such as the Asian giant hornet, "V. mandarinia"), the cycle likely depends on latitude.


title: Hornet

text: Adult hornets and their relatives (e.g., yellowjackets) feed themselves with nectar and sugar-rich plant foods. Thus, they can often be found feeding on the sap of oak trees, rotting sweet fruits, honey, and any sugar-containing foodstuffs. Hornets frequently fly into orchards to feed on overripe fruit, and tend to gnaw a hole in fruit to become totally immersed in its pulp. A person who accidentally picks fruit with a feeding hornet can be attacked by the disturbed insect.


title: Hornet

text: The adults also attack various insects, which they kill with stings and jaws. Due to their size and the power of their venom, hornets are able to kill large insects such as honey bees, grasshoppers, locusts, and katydids without difficulty. The victim is fully masticated and then fed to the larvae developing in the nest, rather than consumed by the adult hornets. Given that some of their prey are considered pests, hornets may be considered beneficial under some circumstances.


title: Hornet

text: The larvae of hornets produce a sweet secretion containing sugars and amino acids that is consumed by the workers and queens.


title: Hornet

text: Hornets' ability to prey upon honey bees is favored by a number of adaptations. "Vespa" have a larger body size compared to their prey, a heavy exoskeleton to resist bee attacks, and strong mandibles and venomous sting. As concerns hornet hunting strategies, it has been demonstrated that some species such as "V. tropica" and "V. velutina," can use both visual and olfactory cues for the long-range detection of honey bee colonies. Foragers of "V. tropica" can readily associate color and shape with potential food sources and exhibit color generalization. "V. velutina" foragers visually distinguish between bee dummy bait and cotton ball dummy bait, both treated with bee odors, preferring bee dummies. Foraging hornets are also selectively attracted to honey bee colony odors, in particular honey and pollen, as well as honey bee pheromones, which may signal a high prey density. In laboratory assays, workers of "V. velutina" oriented especially towards geraniol, a component of the honey bee worker aggregation pheromone, that could therefore represent an honest signal for hornets. Behavioral, chemical and electrophysiological analyses have also demonstrated that "Vespa bicolor" is attracted to (Z)-11-eicosen-1-ol, which is major compound in the alarm pheromones of both Asian ("Apis cerana") and European ("Apis mellifera") honey bees, and its antennae respond to this compound. Intriguingly, this hornet attraction to honey bee pheromone is also exploited by the orchid "Dendrobium christyanum", which mimics the honey bee alarm pheromone in its flowers' scent to attract hornets that visit and pollinate the flowers. It is therefore likely that bee-hunting hornets visit the non-rewarding flowers in search of prey.


title: Hornet

text: While a history of recognizing subspecies exists within many of the "Vespa" species, the most recent taxonomic revision of the genus treats all subspecific names in the genus "Vespa" as synonyms, effectively relegating them to no more than informal names for regional color forms.


title: Hornet

text: Hornet larvae are widely accepted as food in mountainous regions in China. Hornets and their nests are treated as medicine in traditional Chinese medicine.


title: Len Wiseman

text: Len Ryan Wiseman (born March 4, 1973) is an American filmmaker. He is best known for his work on the "Underworld" series, "Live Free or Die Hard", and the 2012 film "Total Recall". Wiseman runs the production company Sketch Films.


title: Len Wiseman

text: Wiseman was born and raised in Fremont, California. He attended American High School and later studied film at De Anza College in Cupertino, California.


title: Len Wiseman

text: Wiseman began his career in film as a property assistant on a number of Roland Emmerich films: "Stargate" (1994); "Independence Day" (1996); and "Godzilla" (1998). After creating advertisements for clients including Sony, he directed music videos for artists such as Megadeth, En Vogue and, Static-X. He received a Best Art Direction nomination for Quarashi's "Stick 'Em Up" at the 2002 MTV Video Music Awards and a Best Director nomination for Rufus Wainwright's "Across the Universe" at the Music Video Production Association (MVPA) Awards.


title: Len Wiseman

text: In 2003, Wiseman co-created and directed the film "Underworld". Despite receiving generally negative reviews from critics, the film did well at the box office. He directed the 2006 sequel "", and produced the follow-ups "", "", and "".


title: Len Wiseman

text: In 2007, he directed the fourth installment of the "Die Hard" series, "Live Free or Die Hard", starring Bruce Willis, which opened to generally favorable reviews and box office success. He directed the 2012 release "Total Recall", which starred Colin Farrell, Jessica Biel, and his wife Kate Beckinsale. In 2013, it was announced that Wiseman would direct a live action film version of the comic book series "The Darkness" (though no updates have been announced as of March 2016).


title: Len Wiseman

text: Wiseman has also directed the pilot episodes of three television series—the 2010 launch of CBS's "Hawaii Five-0", the 2013 pilot of Fox's "Sleepy Hollow", and the 2016 pilot of Fox series "Lucifer". All three series were picked up for ongoing production, though Wiseman was not involved in further episodes.


title: Len Wiseman

text: It was announced on October 8, 2019 that Wiseman will direct the "John Wick" female-centric spinoff film titled "Ballerina".


title: Len Wiseman

text: Wiseman's first marriage was to a kindergarten teacher named Dana. They divorced in 2003 after Wiseman met actor Kate Beckinsale on the set of his 2003 release "Underworld". Beckinsale also ended a relationship with her partner Michael Sheen.


title: Len Wiseman

text: Wiseman and Beckinsale were married on May 9, 2004, in Bel-Air, Los Angeles, California. On November 20, 2015, it was announced that they were separating and in 2016, he filed for divorce, citing "irreconcilable differences". As of November 2019, their divorce was finalized.


title: Oyo Rooms

text: OYO Rooms (stylised as OYO), also known as OYO Hotels & Homes, is an Indian multinational hospitality chain of leased and franchised hotels, homes and living spaces. Founded in 2012 by Ritesh Agarwal, OYO initially consisted mainly of budget hotels. As of January 2020, it has more than 43,000 properties and 1 million rooms across 800 cities in 80 countries, including India, Malaysia, UAE, Nepal, China, Brazil, Mexico, UK, Philippines, Japan, Saudi Arabia, Sri Lanka, Indonesia, Vietnam, and the United States.


title: Oyo Rooms

text: The company's investors include SoftBank Group, Didi Chuxing, Greenoaks Capital, Sequoia India, Lightspeed India, Hero Enterprise, Airbnb and China Lodging Group.


title: Oyo Rooms

text: In 2012, Ritesh Agarwal launched Oravel Stays to enable listing and booking of budget accommodations; he renamed the firm to OYO in 2013. OYO partnered with hotels to give similar guest experience across cities. Shortly after launching Oravel Stays, Ritesh Agarwal received a grant of $100,000 as part of the Thiel Fellowship, a two-year program from PayPal co-founder Peter Thiel.


title: Oyo Rooms

text: In 2019, OYO had over 17,000 employees globally, of which approximately 8000 are in India and South Asia. OYO Hotels & Homes is a full-fledged hotel chain that leases and franchises assets. The company invests in capex, hires general managers to oversee operations and customer experience, and generates around a million job opportunities in India and South Asia alone. OYO set up 26 training institutes for hospitality enthusiasts across India in 2019.


title: Oyo Rooms

text: In April 2019, the company announced the launch of OPEN programme, an initiative for its partner hotels to help them reach their business goals. It further Introduced an upgraded Co-OYO app for hotel partners to provide complete visibility on all business & customer metrics.


title: Oyo Rooms

text: In June 2021, Oyo Rooms collaborated with Yatra, Airbnb, and EaseMyTrip to form the Confederation of Hospitality, Technology and Tourism Industry (CHATT), an industry body for the tourism sector of India.


title: Oyo Rooms

text: In October 2021, OYO appointed paralympian Deepa Malik as an independent director on the company’s board of directors. In December 2021, OYO onboarded former State Bank of India (SBI) Chairman Rajnish Kumar as its strategic group advisor.


title: Oyo Rooms

text: In September 2018, OYO raised $1 billion, of which the RoC filing for the amount of $100 million raised from Star Virtue Investment Ltd. was made on 13 February 2019.


title: Oyo Rooms

text: In February 2019, OYO received $100 million funding from the Chinese vehicle-for-hire company, Didi Chuxing.


title: Oyo Rooms

text: In July 2019, Ritesh Agarwal, through RA Hospitality Holdings in Cayman Islands, signed a $2 billion deal to buy back shares from existing investors, Lightspeed Venture Partners and Sequoia India, to increase his stake in the company to 30%. The company was valued at $10 billion with this deal.


title: Oyo Rooms

text: In October 2019, OYO raised Series F funding of $1.5 billion led by SoftBank Group, Lightspeed Venture Partners and Sequoia India.


title: Oyo Rooms

text: In July 2021, OYO closed a debt financing round of $660 million from global institutional investors to service existing loans.


title: Oyo Rooms

text: In July 2021, Microsoft expressed interest to invest in OYO before its IPO and a multi-year strategic deal was signed in September 2021.


title: Oyo Rooms

text: In October 2021, Oyo filed its draft red herring prospectus with the Securities and Exchange Board of India (SEBI) to raise 1.2 billion through an initial public offering.


title: Oyo Rooms

text: In January 2022, more than 500 current and former employees of OYO, purchased around 3 crore shares in the company. The total value of these shares can be approximated to about , as per the last valuation of OYO of $9.6 billion.


title: Oyo Rooms

text: In March 2016, OYO acquired the team of Qlik Pass, founded by Rahul Gupta and Rishi Swami, to setup and lead its data science department.


title: Oyo Rooms

text: In March 2018, OYO acquired Chennai-based service apartment operator, Novascotia Boutique Homes, to establish its presence in the service apartment and corporate executive stay segment. It further acquired Weddingz.in, a Mumbai-based online marketplace for wedding venues and vendors, marking its entry into the fragmented $40-billion wedding industry.


title: Oyo Rooms

text: In 2019, OYO and Airbnb announced a strategic partnership where OYO would list their properties in the Airbnb platform. In March 2019, OYO announced a 1400 crore investment in its India and South Asia businesses to increase infrastructure, strengthen technology and internal capability. In April 2019, OYO announced a strategic global distribution partnership with Hotelbeds.


title: Oyo Rooms

text: In May 2019, OYO announced the acquisition of Amsterdam-based @Leisure Group, Europe's largest vacation rental company. In July 2019, OYO announced the acquisition of Innov8, a co-working space in New Delhi. In August 2019, Oyo made its first major investment in the United States by purchasing the Hooters Casino Hotel, near the Las Vegas Strip, in partnership with US-based real estate company Highgate, for $135 million. In May 2022 OYO announced the acquisition of Europe-based company 'Direct Booker' with the transaction valuing the latter at around USD 5.5 million (over Rs 40 crore). Direct Booker has over 3,200 homes and serviced 20 lakh customers so far, OYO said in a statement.


title: Oyo Rooms

text: In 2019, OYO planned to implement a digital register mechanism which will allow it to share customer data in real-time with the government. This was described as a threat to privacy.


title: Oyo Rooms

text: OYO has been accused of using predatory pricing and not following its own agreements including threatening hotels to unilaterally change some of the clauses or not be paid.


title: Oyo Rooms

text: In 2018, the company sent mass unsolicited job offer emails targeting senior- and mid-level employees of competitors.


title: Oyo Rooms

text: In November 2015, Oyo signed a term sheet to acquire Zostel's Zo Rooms in an all-stock deal which would give Zostel's founders and investors a combined 7% stake in Oyo. In February 2016, Oyo's biggest stakeholder SoftBank announced in its earnings report that the acquisition was completed. However, in October 2017, Oyo stated that the deal was called-off and the "non-binding term sheet" for the deal had expired in September 2016. Zostel claimed that the term sheet was binding and it had transferred its business to Oyo which in turn failed to transfer the 7% stake. In 2018, Zostel approached the Supreme Court of India, which appointed former Chief Justice of India, A. M. Ahmadi as the sole arbitrator to resolve the dispute. In March 2021, Ahmadi ruled that the term sheet was binding and Zostel was entitled to execute the definitive agreements in the contract. In October 2021, Zostel wrote to the Securities and Exchange Board of India, seeking a stay on Oyo's IPO and claiming that Oyo's "capital structure is not final." In February 2022, the Delhi High Court rejected Zostel's appeal for a 7% stake in Oyo.


title: Oyo Rooms

text: In April 2021, the National Company Law Appellate Tribunal (NCLAT) initiated an insolvency resolution process on OYO on the basis of a hotelier's petition over a monetary dispute with the company.


title: Alexander (2004 film)

text: Alexander is a 2004 historical drama epic film based on the life of the ancient Macedonian general and king Alexander the Great. It was directed by Oliver Stone and starred Colin Farrell. The film's original screenplay derived in part from the book "Alexander the Great", published in 1973 by the University of Oxford historian Robin Lane Fox. After release, while it performed well in Europe, the American critical reaction was negative. It grossed $167 million worldwide against a $155 million budget, thus making it a commercial failure.


title: Alexander (2004 film)

text: Four versions of the film exist, the initial theatrical cut and three home video director's cuts: the "Director's Cut" in 2005, the "Final Cut" in 2007, and the "Ultimate Cut" in 2014. The two earlier DVD versions of "Alexander" ("director's cut" version and the theatrical version) sold over 3.5 million copies in the United States. Oliver Stone's third version, "Alexander Revisited: The Final Cut" (2007), sold nearly a million copies and became one of the highest-selling catalog items from Warner Bros ().


title: Alexander (2004 film)

text: The story begins around 285 BC, with Ptolemy I Soter, who narrates throughout the film. Alexander grows up with his mother Olympias and his tutor Aristotle, where he finds interest in love, honor, music, exploration, poetry and military combat. His relationship with his father, Philip II of Macedon, is destroyed when Philip marries Attalus's niece, Eurydice. Alexander insults Philip after disowning Attalus as his kinsman, which results in Alexander's banishment from Philip's palace.


title: Alexander (2004 film)

text: After Philip is assassinated, Alexander becomes King of Macedonia. Ptolemy mentions Alexander's punitive campaign in which he razes Thebes, also referring to the later burning of Persepolis, then gives an overview of Alexander's west-Persian campaign, including his declaration as the son of Zeus by the Oracle of Amun at Siwa Oasis, his great battle against the Persian Emperor Darius III in the Battle of Gaugamela, and his eight-year campaign across Asia.


title: Alexander (2004 film)

text: Also seen are Alexander's private relationships with his childhood friend Hephaestion, Bagoas, and later his wife, Roxana. Hephaestion compares Alexander to Achilles, to which Alexander replies that Hephaestion must be his Patroclus (Achilles' lover). When Hephaestion mentions that Patroclus died first, Alexander pledges that, if Hephaestion should die first, he will follow him into the afterlife (as Achilles had done for Patroclus). Hephaestion shows extensive jealousy when he sees Alexander with Roxana, and deep sadness when he marries her, going so far as to attempt to keep her away from him after Alexander murders Cleitus the Black in India.


title: Alexander (2004 film)

text: After initial objection from his soldiers, Alexander convinces them to join him in his final and bloodiest battle, the Battle of Hydaspes. He is severely injured with an arrow but survives and is celebrated. Later on, Hephaestion succumbs to an unknown illness either by chance or perhaps poison, speculated in the film to be typhus carried with him from India. Alexander, full of grief and anger, distances himself from his wife, despite her pregnancy, believing that she has killed Hephaestion. He dies less than three months after Hephaestion, in the same manner, keeping his promise that he would follow him. On his deathbed, Bagoas grieves as Alexander's generals begin to split up his kingdom and fight over the ownership of his body.


title: Alexander (2004 film)

text: The story then returns to 285 BC, where Ptolemy admits to his scribe that he, along with all the other officers, had indeed poisoned Alexander just to spare themselves from any future conquests or consequences. However, he has it recorded that Alexander died due to illness compounding his overall weakened condition. He then goes on to end his memoirs with praise to Alexander.


title: Alexander (2004 film)

text: The movie then ends with the note that Ptolemy's memoirs of Alexander were eventually burned, lost forever with the Library of Alexandria.


title: Alexander (2004 film)

text: A group of 25 Greek lawyers initially threatened to file a lawsuit against both Stone and the Warner Bros film studio for what they claimed was an inaccurate portrayal of history. "We are not saying that we are against gays," said Yannis Varnakos, "but we are saying that the production company should make it clear to the audience that this film is pure fiction and not a true depiction of the life of Alexander". After an advance screening of the film, the lawyers announced that they would not pursue such a course of action.


title: Alexander (2004 film)

text: At the British premiere of the film, Stone blamed "raging fundamentalism in morality" for the film's US box-office failure. He argued that American critics and audiences had blown the issue of Alexander's sexuality out of proportion. The criticism prompted him to make significant changes to the film for its DVD release, whose cover characterizes them as making it "faster paced, more action-packed".


title: Alexander (2004 film)

text: According to Lloyd Llewellyn-Jones, Professor of Ancient History at Cardiff University: "Oliver Stone's movie "Alexander" (2004) displays all the familiar Orientalist notions about the inferiority and picturesqueness of Eastern societies. So much so, indeed, that in terms of its portrayal of East–West relationships, "Alexander" has to be seen as a stale cultural statement and a worn-out reflection of the continuing Western preoccupation with an imaginary exotic Orient."


title: Alexander (2004 film)

text: Persian history expert Kaveh Farrokh questioned the omission of the burning of Persepolis by Alexander and observed that, in the film, "Greek forces are typically shown as very organised, disciplined, and so on, and what's very disturbing is, when the so-called Persians are shown confronting the Macedonians, you see them turbaned. Turbans are not even a Persian item [...] Their armies are totally disorganized. What is not known is that the Persians actually had uniforms. They marched in discipline [sic], and music was actually used..."


title: Alexander (2004 film)

text: Oliver Stone has, in his various commentaries in the film's DVD, defended many of the most glaring historical issues in regard to Persian and Indian history by claiming that he had no time or resources to portray accurately a multitude of battles at the expense of storytelling. He goes into great detail explaining how he merged all the major aspects of the Battle of the Granicus and the Battle of Issus into the Battle of Gaugamela, as well as heavily simplifying the Battle of Hydaspes into a straightforward clash, while merging the near-death of Alexander with the siege of Malli. In a taped discussion at the Oxford Union, Oliver Stone stated regarding his presentation of the Battle of Gaugamela: "I've been told by many historians that the battle is as accurate as they've ever seen in any movie, ever, to what they think happened at the battle".


title: Alexander (2004 film)

text: However, early-Greek-history ethnographer/analyst Angelos Chaniotis, of Princeton's Institute for Advanced Study—in summarizing the first three versions of the film as "a dramatisation, [rather than] a documentary"—nevertheless insists that, despite its imperfections, historians and history students "have a lot to learn" by "studying and reflecting upon" Stone's film. He concludes that, as a motion picture that "captures the Zeitgeist" (spirit of the times) of the "ancient Greek" era, "no film... can rival Oliver Stone's "Alexander.""


title: Alexander (2004 film)

text: "Alexander" was released in 2,445 venues on 24 November 2004 and earned $13.7 million in its opening weekend, ranking sixth in the North American box office and second among the week's new releases. Upon closing on 1 February 2005, the film grossed $34.3 million domestically and $133 million overseas for a worldwide total of $167.3 million. Based on a $155 million production budget, as well as additional marketing costs, the film was a box-office bomb, with projected losses of as much as $71 million.


title: Alexander (2004 film)

text: On Rotten Tomatoes the film holds an approval rating of 16% based on 206 reviews, with an average rating of 4.00/10. The website's critical consensus states: "Even at nearly three hours long, this ponderous, talky, and emotionally distant biopic fails to illuminate Alexander's life." On Metacritic, the film has a weighted average score of 39 out of 100, based on 42 critics, indicating "generally unfavorable reviews".


title: Alexander (2004 film)

text: One of the principal complaints among American film critics was that "Alexander" resembled less an action-drama film than a history documentary. Roger Ebert of the "Chicago Sun-Times", giving the film 2 out of 4 stars, wrote in his review, "[W]e welcome the scenes of battle, pomp and circumstance because at least for a time we are free of the endless narration of Ptolemy the historian."


title: Alexander (2004 film)

text: Faint praise came from Todd McCarthy of "Variety" who wrote, "Oliver Stone's "Alexander" is at best an honorable failure, an intelligent and ambitious picture that crucially lacks dramatic flair and emotional involvement. Dry and academic where "Troy" (2004) was vulgar and willfully ahistorical".


title: Alexander (2004 film)

text: The film was nominated in six categories at the Golden Raspberry Awards in 2005: Worst Picture, Worst Actor (Colin Farrell), Worst Actress (Angelina Jolie) and Worst Director (Oliver Stone), Worst Supporting Actor (Val Kilmer) and Worst Screenplay, thereby becoming the second-most-nominated potential "Razzie" film of 2004; however, it won no awards. At the 2004 Stinkers Bad Movie Awards, it received nine nominations: Worst Picture, Worst Director (Stone), Worst Actor (Farrell), Worst Supporting Actress (both Jolie and Dawson), Worst Screenplay, Most Intrusive Musical Score, Worst Female Fake Accent (Dawson and Jolie, lumped into one nomination), and Least "Special" Special Effects. Its only wins were for Most Intrusive Musical Score and Worst Female Fake Accent.


title: Alexander (2004 film)

text: Several versions of the film have been released, and these have generally been seen as improvements on the initial release version. Critic Peter Sobczynski said "The various expansions and rejiggerings have improved it immeasurably, and what was once a head-scratching mess has reformed into an undeniably fascinating example of epic cinema."


title: Alexander (2004 film)

text: This is the film as it was originally released in theaters, with a running time of 175 minutes. It was released on DVD and is also available on Blu-ray in some territories.


title: Alexander (2004 film)

text: Stone's director's cut was re-edited before the DVD release later in 2005. Stone removed seventeen minutes of footage and added nine back. This shortened the running time from 175 minutes to 167.


title: Alexander (2004 film)

text: Stone also made an extended version of "Alexander". "I'm doing a third version on DVD, not theatrical", he said, in an interview with Rope of Silicon. "I'm going to do a Cecil B. DeMille three-hour-45-minute thing; I'm going to go all out, put everything I like in the movie. He [Alexander] was a complicated man, it was a complicated story, and it doesn't hurt to make it longer and let people who loved the film [...] see it more and understand it more."


title: Alexander (2004 film)

text: The extended version was released under the title of "Alexander Revisited: The Final Unrated Cut" on 27 February 2007. The two-disc set featured a new introduction by Stone. "Over the last two years," he said, "I have been able to sort out some of the unanswered questions about this highly complicated and passionate monarch – questions I failed to answer dramatically enough. This film represents my complete and last version, as it will contain all the essential footage we shot. I don't know how many film-makers have managed to make three versions of the same film, but I have been fortunate to have the opportunity because of the success of video and DVD sales in the world, and I felt, if I didn't do it now, with the energy and memory I still have for the subject, it would never quite be the same again. For me, this is the complete "Alexander", the clearest interpretation I can offer."


title: Alexander (2004 film)

text: The film is restructured into two acts with an intermission. "Alexander: Revisited" takes a more in-depth look at Alexander's life and his relationships with Olympias, Philip, Hephaestion, Roxana, and Ptolemy. The film has a running time of three hours and 34 minutes (214 minutes, about 40 minutes longer than the theatrical cut and almost 50 minutes longer than the first director's cut) and is presented in 2.40:1 anamorphic widescreen with English Dolby Digital 5.1 Surround audio. Beyond the new introduction with Stone, there are no other extras on the DVD except for a free coupon to the movie "300". The Blu-ray and HD-DVD releases both feature a variety of special features however, including two audio commentaries and a new featurette.


title: Alexander (2004 film)

text: For seven years, it was the only version of the film available on Blu-ray, until the release of the Ultimate Cut, which also includes the Theatrical Cut.


title: Alexander (2004 film)

text: In November 2012, Stone revealed that he was working on a fourth cut of the film at Warner's request, and that this time around he would remove material, as he felt he had added in too much in the "Final Cut". The version, which is 206 minutes long, premiered on 3 July 2013 at the Karlovy Vary International Film Festival and Stone swears that no more versions will follow. 'Alexander: The Ultimate Cut (Tenth Anniversary Edition)' was released in the United States on 3 June 2014.


title: When They See Us

text: When They See Us is a 2019 American crime drama television miniseries created, co-written, and directed by Ava DuVernay for Netflix, that premiered in four parts on May 31, 2019. It is based on events of the 1989 Central Park jogger case and explores the lives and families of the five Black and Latino male suspects who were falsely accused then prosecuted on charges related to the rape and assault of a white woman in Central Park, New York City. The series features an ensemble cast, including Jharrel Jerome, Asante Blackk, Jovan Adepo, Michael K. Williams, Logan Marshall-Green, Joshua Jackson, Blair Underwood, Vera Farmiga, John Leguizamo, Felicity Huffman, Niecy Nash, Aunjanue Ellis, Marsha Stephanie Blake, and Kylie Bunbury.


title: When They See Us

text: "When They See Us" received critical acclaim, with particular praise for its cast. At the 71st Primetime Emmy Awards, it received 11 nominations; Jerome won for Outstanding Lead Actor in a Limited Series or Movie while it was nominated for Outstanding Limited Series and Ellis, Nash, Blackk, Leguizamo, Williams, Blake, and Farmiga all received acting nominations. The series also won the Critics' Choice Television Award for Best Limited Series.


title: When They See Us

text: A companion special, titled "Oprah Winfrey Presents When They See Us Now," in which the cast, the creator, and the exonerated five are interviewed, premiered on June 12, 2019, on Netflix and the Oprah Winfrey Network.


title: When They See Us

text: "When They See Us" is based on events of the April 19, 1989, Central Park jogger case and explores the lives of the five suspects who were prosecuted on charges related to the sexual assault of a female victim, and of their families. The five juvenile males of color, the protagonists of the series: Kevin Richardson (Asante Blackk), Antron McCray (Caleel Harris), Yusef Salaam (Ethan Herisse), Korey Wise (Jharrel Jerome), and Raymond Santana (Marquis Rodriguez), were divided by the prosecutor into two groups for trial. Each youth was convicted by juries of various charges related to the assault; four were convicted of rape. They were sentenced to maximum terms for juveniles except for Korey Wise. He had been held in facilities and served his time in prison.


title: When They See Us

text: They filed a suit against the city in 2003 for wrongful conviction and were awarded a settlement in 2014.


title: When They See Us

text: On July 6, 2017, it was announced that Netflix had given the production "Central Park Five" a series order consisting of five episodes. The series was created by Ava DuVernay who was also set to write and direct. Executive producers were expected to include DuVernay, Jeff Skoll, Jonathan King, Oprah Winfrey, Jane Rosenthal and Berry Welsh. Production companies involved with the series were set to include Participant Media, Harpo Films, and Tribeca Productions. On July 9, 2018, it was reported that the series would consist of four episodes, Bradford Young would serve as the series' cinematographer, and Robin Swicord, Attica Locke, and Michael Starrbury would cowrite each episode with DuVernay.


title: When They See Us

text: On March 1, 2019, DuVernay announced the series had been retitled "When They See Us" and would be released on May 31, 2019. The announcement was accompanied by the release of a teaser.


title: When They See Us

text: In July 2018, it was announced that Michael K. Williams, Vera Farmiga, John Leguizamo, Felicity Huffman, Jharrel Jerome, and Jovan Adepo had joined the series' main cast. On August 3, 2018, it was reported that Niecy Nash, Aunjanue Ellis, Kylie Bunbury, Marsha Stephanie Blake, and Storm Reid had been cast in supporting roles. A week later, it was announced that Chris Chalk, Ethan Herisse, Marquis Rodriguez, Caleel Harris, Freddy Miyares, Justin Cunningham and Asante Blackk had filled out the main cast, both as adults and as teenagers. By the end of the month, it was reported that Joshua Jackson, Christopher Jackson, Adepero Oduye, Omar Dorsey, Blair Underwood, Famke Janssen, William Sadler, and Aurora Perrineau had also joined the cast.


title: When They See Us

text: Principal photography for the series began during the week of August 6, 2018, in New York City, with cinematography by Bradford Young. On August 10, 2018, filming took place on Madison Avenue in the East Harlem area of Manhattan.


title: When They See Us

text: On June 25, 2019, Netflix announced that the miniseries had been streamed by over 23 million viewers within its first month of release.


title: When They See Us

text: "When They See Us" received widespread critical acclaim. On review aggregator Rotten Tomatoes, the miniseries has an approval rating of 97% based on 86 reviews, with an average rating of 8.4/10. The website's critics consensus reads: "Ava DuVernay pulls no punches in "When They See Us", laying out the harrowing events endured by the Central Park Five while adding a necessary layer of humanity to their story that challenges viewers to reconsider what it means to find justice in America." On Metacritic, it has a weighted average score of 86 out of 100, based on 27 critics, indicating "universal acclaim".


title: When They See Us

text: Daniel D'Addario from "Variety" mentioned in a glowing review of the miniseries, that ""When They See Us" immerses viewers in a tale with none of the gaudy fun that true crime often offers. It's an achievement and, given its pride of place on a streaming service despite its difficult subject matter, a worthy use of its director’s star power." "Roger Ebert"s Odie Henderson awarded the series a rating of 3 and 1/2 out of four stars, noting that "there’s a lot to recommend "When They See Us". It does as much as it can to recast the gaze on Black and brown people, eliciting empathy and the desire for justice. It demonizes the right people and demands your fury over the events presented." Daniel Fienberg from "The Hollywood Reporter" recommended the miniseries in his review by highlighting that ""When They See Us" is a rigorous attempt to chronicle an epic legal failure and to help restore a sense of the men as individuals, rather than faceless members of a wrongfully accused collective." Commending DuVernay's thematic and thoughtful approach to the subject matter and content, he adds that the series avoids the "typical triumph-over-adversity narrative tropes".


title: When They See Us

text: Matt Goldberg of "Collider" gave it a very positive review, writing: "The emotional impact of "When They See Us" cannot be understated." He said further, "I watched "The Central Park Five" earlier this month, and it's a good way to understand the case and its basic facts, but even though [it] has interviews with all five men, it doesn't come close to what DuVernay does here with this cast, her craftsmanship, and Bradford Young's stunning cinematography." Lucy Mangan from "The Guardian" complimented the miniseries, saying it is


title: When They See Us

text: In a positive review of the miniseries, Jen Chaney from "Vulture" wrote that, ""When They See Us", Ava DuVernay's sensitively wrought Netflix miniseries about what happened to those boys, strips away the dehumanizing tendency to bunch them together and instead shows what each of them dealt with individually when they were coerced into giving false confessions, forced to do time for a crime they did not commit, and, eventually, exonerated when their convictions were vacated in 2002."


title: When They See Us

text: Willa Paskin of "Slate" gave the series a positive recommendation, writing that ""When They See Us" may be making an appeal to our duty to attend to this not-at-all-ancient history—but is not, itself, dutiful. In one aspect, in particular, DuVernay's approach is refreshingly unencumbered." Robert Lloyd from "Los Angeles Times" praised the series, stating that it is "a story about parents and children as much as it is about justice and race — the series has plenty of contemporary resonance on the latter account — and there is strong work from Niecy Nash, John Leguizamo, Aunjanue Ellis and Michael Kenneth Williams among the older generation."


title: When They See Us

text: Armond White from "National Review" criticized the series in his review, unfavorably contrasting its portrayal of racial tension and violence to period films like "Boyz n the Hood" and "Do the Right Thing".


title: When They See Us

text: Linda Fairstein, the original New York prosecutor of the case, wrote of the Netflix series in an op-ed for the "Wall Street Journal" that it was "so full of distortions and falsehoods as to be an outright fabrication." The lawyer-turned-"New York Times" bestselling author said she agreed with exonerations of the rape charges against the five — but said "the other charges, for crimes against other victims, should not have been vacated."


title: When They See Us

text: John E. Reid & Associates took DuVernay, ARRA, and Netflix to court in October 2019 because the series called the company's once widely used trademark controversial interrogation technique as "universally rejected." A federal judge dismissed the lawsuit "Because the First Amendment protects non-factual assertions". In March 2020, Fairstein filed suit in the U.S. District Court for the Middle District of Florida against Netflix, DuVernay, and Locke for defamation based on her portrayal in the series. In August 2021, the District Court ruled that some of Farstein's claims of defamation and civil conspiracy may proceed to trial.


title: Star Trek: The Motion Picture

text: Star Trek: The Motion Picture is a 1979 American science fiction film directed by Robert Wise and based on the television series "" created by Gene Roddenberry, who also served as its producer. It is the first installment in the "Star Trek" film series, and stars the cast of the original television series. In the film, set in the 2270s, a mysterious and immensely powerful alien cloud known as V'Ger approaches Earth, destroying everything in its path. Admiral James T. Kirk (William Shatner) assumes command of the recently refitted Starship USS "Enterprise", to lead it on a mission to save the planet and determine VGers origins.


title: Star Trek: The Motion Picture

text: When the original television series was canceled in 1969, Roddenberry lobbied Paramount Pictures to continue the franchise through a feature film. The success of the series in syndication convinced the studio to begin work on the film in 1975. A series of writers attempted to craft a "suitably epic" script, but the attempts did not satisfy Paramount, and in 1977, the project was scrapped. Instead, Paramount planned on returning the franchise to its roots, with a new television series titled "". The box office success of "Close Encounters of the Third Kind", however, convinced Paramount that science fiction films other than "Star Wars" could do well, so the studio canceled production of "Phase II" and resumed its attempts at making a "Star Trek" film.


title: Star Trek: The Motion Picture

text: In March 1978, Paramount assembled the largest press conference held at the studio since the 1950s to announce that Wise would direct a $15 million film adaptation of the original television series. Filming began that August and concluded the following January. With the cancellation of "Phase II", writers rushed to adapt its planned pilot episode, "In Thy Image", into a film script. Constant revisions to the story and the shooting script continued to the extent of hourly script updates on shooting dates. The "Enterprise" was modified inside and out, costume designer Robert Fletcher provided new uniforms, and production designer Harold Michelson fabricated new sets. Jerry Goldsmith composed the film's score, beginning an association with "Star Trek" that would continue until 2002. When the original contractors for the optical effects proved unable to complete their tasks in time, effects supervisor Douglas Trumbull was asked to meet the film's December 1979 release date. Wise took the just-completed film to its Washington, D.C., opening, but always felt that the final theatrical version was a rough cut of the film he wanted to make.


title: Star Trek: The Motion Picture

text: Released in North America on December 7, 1979, "Star Trek: The Motion Picture" received mixed reviews, many of which faulted it for a lack of action scenes and over-reliance on special effects. Its final production cost ballooned to approximately $44 million, and it earned $139 million worldwide, short of studio expectations but enough for Paramount to propose a less expensive sequel. Roddenberry was forced out of creative control for the sequel, "" (1982). In 2001, Wise oversaw a director's cut for a special DVD release of the film, with remastered audio, tightened and added scenes, and new computer-generated effects.


title: Star Trek: The Motion Picture

text: In the 23rd century, a Starfleet monitoring station, "Epsilon Nine", detects an alien entity, hidden in a massive cloud of energy, moving through space toward Earth. The cloud easily destroys three Klingon warships and "Epsilon Nine" on its course. On Earth, the starship "Enterprise" is undergoing a major refit; its former commanding officer, James T. Kirk, has been promoted to Admiral. Starfleet Command assigns "Enterprise" to intercept the cloud entity, as the ship is the only one within range, requiring its new systems to be tested in transit.


title: Star Trek: The Motion Picture

text: Citing his experience, Kirk uses his authority to take command of the ship, angering Captain Willard Decker, who has been overseeing the refit as its new commanding officer. Testing of "Enterprise"s new systems goes poorly; two officers, including the ship's Vulcan science officer Sonak, are killed by a malfunctioning transporter, and improperly calibrated engines nearly destroy the ship. Kirk's unfamiliarity with the ship's new systems increases the tension between him and Decker, who has been temporarily demoted to commander and first officer. Commander Spock arrives as a replacement science officer, explaining that while on his home world undergoing a ritual to purge himself of emotion, he felt a consciousness that he believes emanates from the cloud, making him unable to complete the ritual because his human half felt an emotional connection to it.


title: Star Trek: The Motion Picture

text: "Enterprise" intercepts the energy cloud and is attacked by an alien vessel within. A probe appears on the bridge, attacks Spock, and abducts the navigator, Ilia. She is replaced by a robotic replica, sent by the entity, which calls itself "V'Ger", to study the "carbon units" on the ship. Decker is distraught over the loss of Ilia, with whom he had a romantic history, and becomes troubled as he attempts to extract information from the doppelgänger, which has Ilia's memories and feelings buried inside. Spock takes an unauthorized spacewalk to the vessel's interior and attempts a telepathic mind meld with it. In doing so, he learns that the entire vessel is V'Ger, a non-biological living machine.


title: Star Trek: The Motion Picture

text: At the center of the massive ship, V'Ger is revealed to be "Voyager 6", a 20th-century Earth space probe believed lost in a black hole. The damaged probe was found by an alien race of living machines that interpreted its programming as instructions to learn all that can be learned and return that information to its creator. The machines upgraded the probe to fulfill its mission, and on its journey, the probe gathered so much knowledge that it achieved sentience. Spock discovers that V'Ger lacks the ability to give itself a purpose other than its original mission; having learned everything it could on its journey home, it finds its existence meaningless. Before transmitting all its information, V'Ger insists that the "Creator" come in person to finish the sequence. Everyone realizes humans are the Creator. Decker offers himself to V'Ger; he merges with the Ilia probe and V'Ger, creating a new life form that disappears into space. With Earth saved, Kirk directs "Enterprise" out to space for future missions.


title: Star Trek: The Motion Picture

text: Other actors from the television series who returned included Majel Barrett as Christine Chapel, a doctor aboard the "Enterprise", and Grace Lee Whitney as Janice Rand, formerly one of Kirk's yeomen. David Gautreaux, who had been cast as Xon in the aborted second television series, appears as Branch, the commander of the Epsilon 9 communications station. Mark Lenard portrays the Klingon commander in the film's opening sequence; the actor also played Spock's father, Sarek, in the television series and in later feature films.


title: Star Trek: The Motion Picture

text: The original "" television series ran for three seasons from 1966 to 1969 on NBC. The show was never a hit with network executives, and due to low Nielsen ratings, the show was cancelled after the third season. After the show's cancellation, owner Paramount Pictures hoped to recoup their production losses by selling the syndication rights. The series went into reruns in the autumn (September/October) of 1969, and by the late 1970s had been sold in over 150 domestic and 60 international markets. The show developed a cult following, and rumors of reviving the franchise began.


title: Star Trek: The Motion Picture

text: The series’ creator Gene Roddenberry had first proposed a "Star Trek" feature at the 1968 World Science Fiction Convention. The movie was to have been set before the television series, showing how the crew of the "Enterprise" met. The popularity of the syndicated "Star Trek" caused Paramount and Roddenberry to begin developing the film in May 1975. Roddenberry was allocated $3 to $5 million to develop a script. By June 30, he had produced what he considered an acceptable script, but studio executives disagreed. This first draft, "", featured a grounded Admiral Kirk assembling the old crew on the refitted "Enterprise" to clash with a godlike entity many miles across, hurtling towards Earth. The object turns out to be a super-advanced computer, the remains of a scheming race who were cast out of their dimension. Kirk wins out, the entity returns to its dimension, and the "Enterprise" crew resumes their voyages. The basic premise and scenes such as a transporter accident and Spock's Vulcan ritual were discarded, but later returned to the script. The film was postponed until spring (March/April) 1976 while Paramount fielded new scripts for "Star Trek II" (the working title) from acclaimed writers such as Ray Bradbury, Theodore Sturgeon, and Harlan Ellison. Ellison's story had a snake-like alien race tampering with Earth's history to create a kindred race; Kirk reunites with his old crew, but they are faced with the dilemma of killing off the reptilian race in Earth's prehistory just to maintain humanity's dominance. When Ellison presented his idea, an executive suggested that Ellison read "Chariots of the Gods?" and include the Maya civilization into his story, which enraged the writer because he knew Maya did not exist at the dawn of time. By October 1976, Robert Silverberg had been signed to work on the screenplay along with a second writer, John D. F. Black, whose treatment featured a black hole that threatened to consume all of existence. Roddenberry teamed up with Jon Povill to write a new story that featured the "Enterprise" crew setting an altered universe right by time travel; like Black's idea, Paramount did not consider it epic enough.


title: Star Trek: The Motion Picture

text: The film was the first major Hollywood adaptation of a television series that had been off the air for nearly a decade to retain its original principal cast. The actors—who had agreed to appear in the new movie, with contracts as-yet unsigned pending script approval—grew anxious about the constant delays, and pragmatically accepted other acting offers while Roddenberry worked with Paramount. The studio decided to turn the project over to the television division, reasoning that since the roots of the franchise lay in television, the writers would be able to develop the right script. A number of screenwriters offered up ideas that were summarily rejected. As Paramount executives' interest in the film waned, Roddenberry, backed by fan letters, applied pressure to the studio. In June 1976, Paramount assigned Jerry Isenberg, a young and active producer, to be executive producer of the project, with the budget expanded to $8 million. Povill was tasked with finding more writers to develop a script. His list included Edward Anhalt, James Goldman, Francis Ford Coppola, George Lucas, Ernest Lehman, and Robert Bloch. To cap off his list, Povill put as his last recommendation "Jon Povill—almost credit: "Star Trek II" story (with Roddenberry). Will be a big shot some day. Should be hired now while he is cheap and humble." The result was a list of 34 names, none of whom were chosen to pen the script. Finally, British screenwriters Chris Bryant and Allan Scott, who had penned the Donald Sutherland thriller "Don't Look Now", were hired to write a script. Bryant believed he earned the screenwriting assignment because his view of Kirk resembled what Roddenberry modeled him on; "one of Horatio Nelson's captains in the South Pacific, six months away from home and three months away by communication". Povill also wrote up a list of possible directors, including Coppola, Steven Spielberg, Lucas, and Robert Wise, but all were busy at the time (or unwilling to work on the small budget). Philip Kaufman signed on to direct and was given a crash course in the series. Roddenberry screened ten episodes from the original series for him, including the most representative of the show and those he considered most popular: "The City on the Edge of Forever", "The Devil in the Dark", "Amok Time", "Journey to Babel", "", "The Trouble with Tribbles", "", "The Corbomite Maneuver", "", and "". Early work was promising, and by the fall of 1976, the project was building momentum. During this time, fans organized a mail campaign that flooded the White House with letters, influencing Gerald Ford to rechristen the Space Shuttle "Constitution" the "Enterprise", and Roddenberry and most of the "Star Trek" cast were present for its rollout.


title: Star Trek: The Motion Picture

text: On October 8, 1976, Bryant and Scott delivered a 20-page treatment, "", which executives Barry Diller, Jeffrey Katzenberg and Michael Eisner liked. In it, Kirk and his crew encounter beings they believe to be the mythical Titans and travel back millions of years in time, accidentally teaching early man to make fire. "Planet of the Titans" also explored the concept of the third eye. With the studio's acceptance of this treatment, Roddenberry immediately stopped work on other projects to refocus on "Star Trek", and the screenwriters and Isenberg were deluged with grateful fan mail. Isenberg began scouting filming locations and hired designers and illustrators. Key among these were famed production designer Ken Adam, who said, "I was approached by Gene Roddenberry and we got on like a house on fire"; he was employed to design the film. Adam hired artist Ralph McQuarrie, fresh off the yet to be released "Star Wars". They worked on designs for planets, planetary and asteroid bases, a black hole "shroud", a crystalline "super brain", and new concepts for the "Enterprise", including interiors that Adam later revisited for the film "Moonraker" and a flat-hulled starship design (frequently credited to McQuarrie, but which McQuarrie's own book identifies as an Adam design). McQuarrie wrote that "there was no script" and that much of the work was "winging it". When that film folded after three months for Adam and "a month and a half" for McQuarrie, their concepts were shelved, although a handful of them were revisited in later productions.


title: Star Trek: The Motion Picture

text: The first draft of the completed script was not finished until March 1, 1977, and it was described as "a script by committee" and rejected by the studio a few weeks later. Bryant and Scott had been caught between Roddenberry and Kaufman's conflicting ideas of what the film should be and Paramount's indecision. Feeling it was "physically impossible" to produce a script that satisfied all parties, they left the project by mutual consent on March 18, 1977. "We begged to be fired." Kaufman reconceived the story with Spock as the captain of his own ship and featuring Toshiro Mifune as Spock's Klingon nemesis, but on May 8 Katzenberg informed the director that the film was canceled, less than three weeks before "Star Wars" was released.


title: Star Trek: The Motion Picture

text: Barry Diller had grown concerned by the direction "Star Trek" had taken in "Planet of the Titans", and suggested to Roddenberry that it was time to take the franchise back to its roots as a television series. Diller planned on a new "Star Trek" series forming the cornerstone for a new television network. Though Paramount was reluctant to abandon its work on the film, Roddenberry wanted to bring many of the production staff from the original series to work on the new show, titled "".


title: Star Trek: The Motion Picture

text: Producer Harold Livingston was assigned to find writers for new episodes, while Roddenberry prepared a writers' guide briefing the uninitiated on the franchise canon. Of the original cast, only Leonard Nimoy stated he would not return. To replace Spock, Roddenberry created a logical Vulcan prodigy named Xon. Since Xon was too young to fill the role of first officer, Roddenberry developed Commander William Decker, and later added Ilia. The new series' pilot episode "In Thy Image" was based on a two-page outline by Roddenberry about a NASA probe returning to Earth, having gained sentience. Alan Dean Foster wrote a treatment for the pilot, which Livingston turned into a teleplay. When the script was presented to Michael Eisner, he declared it worthy of a feature film. At the same time, the success of "Close Encounters of the Third Kind" showed Paramount that the box office success of "Star Wars" could be repeated. On November 11, just two and a half weeks before production on "Phase II" was due to start, the studio announced that the television series had been canceled in favor of a new feature film. Cast and crew who had been hired that Monday were laid off by Friday, and construction came to a halt. Production was moved to April 1978 so that the necessary scripts, sets, and wardrobe could be upgraded.


title: Star Trek: The Motion Picture

text: On March 28, 1978, Paramount assembled the largest press conference held at the studio since Cecil B. DeMille announced he was making "The Ten Commandments". Eisner announced that Academy Award-winning director Robert Wise would direct a film adaptation of the television series titled "Star Trek—The Motion Picture". Wise had seen only a few "Star Trek" episodes, so Paramount gave him about a dozen to watch. The budget was projected at $15 million. Dennis Clark ("Comes a Horseman") was invited to rewrite the script and to include Spock, but he disliked Roddenberry, who demanded sole credit. Livingston returned as writer, and though he also found Roddenberry unreasonable, Wise and Katzenberg convinced him to continue rewriting the script throughout production.


title: Star Trek: The Motion Picture

text: The writers began to adapt "In Thy Image" into a film script, but it was not completed until four months after production commenced. Wise felt that the story was sound, but the action and visuals could be made more exciting. As the intended start of filming in late spring 1978 approached, it was clear a new start date was needed. Time was of the essence; Paramount was worried that their science fiction film would appear at the tail end of a cycle, now that every major studio had such a film in the works. Livingston described the writers' issue with the story, calling it "unworkable":


title: Star Trek: The Motion Picture

text: We had a marvelous antagonist, so omnipotent that for us to defeat it or even communicate with it, or have any kind of relationship with it, made the initial concept of the story false. Here's this gigantic machine that's a million years further advanced than we are. Now, how the hell can we possibly deal with this? On what level? As the story developed, everything worked until the very end. How do you resolve this thing? If humans can defeat this marvelous machine, it's really not so great, is it? Or if it really "is" great, will we like those humans who do defeat it? "Should" they defeat it? Who is the story's hero anyway? That was the problem. We experimented with all kinds of approaches...we didn't know what to do with the ending. We always ended up against a blank wall.


title: Star Trek: The Motion Picture

text: Koenig described the state of the script at the start of filming as a three-act screenplay without a third act. Because of likely changes, actors were at first told to not memorize the last third of the script, which received constant input from actors and producers. Shatner noted, for example, that Kirk would say "Mr. Sulu, take the conn", while Nimoy visited Livingston's home each night to discuss the next day's script. Scenes were rewritten so often it became necessary to note on script pages the hour of the revision. Povill credited Nimoy with the single tear scene, and the discussion of V'Ger's need to evolve.


title: Star Trek: The Motion Picture

text: Much of the rewriting had to do with the relationships of Kirk and Spock, Decker and Ilia, and the "Enterprise" and Vger. Though changes were constant, the most difficult part of the script was what Shatner described as the "jigsaw puzzle" of the ending. A final draft of the third act was approved in late September 1978, but had it not been for a "Penthouse" interview where NASA scientist Robert Jastrow said that mechanical forms of life were likely, the ending might not have been approved at all. By March 1979, fewer than 20 pages from the original 150 in the screenplay had been retained.


title: Star Trek: The Motion Picture

text: The first new sets (intended for "Phase II") were constructed beginning July 25, 1977. The fabrication was supervised by Joseph Jennings, an art director involved in the original television series, special effects expert Jim Rugg, and former "Trek" designer Matt Jefferies, on loan as consultant from "Little House on the Prairie". When the television series was canceled and plans for a film put into place, new sets were needed for the large 70 mm film format.


title: Star Trek: The Motion Picture

text: Wise asked Harold Michelson to be the film's production designer, and Michelson was put to work on finishing the incomplete "Phase II" sets. He began with the bridge, which had nearly been completed. Michelson first removed Chekov's new weapons station, a semicircular plastic bubble grafted onto one side of the bridge wall. The idea for "Phase II" was that Chekov would have looked out toward space while cross-hairs in the bubble tracked targets. Wise instead wanted Chekov's station to face the "Enterprise"s main viewer, a difficult request as the set was primarily circular. Production illustrator Michael Minor created a new look for the station using a flat edge in the corner of the set.


title: Star Trek: The Motion Picture

text: The bridge ceiling was redesigned, with Michelson taking structural inspiration from a jet engine fan. Minor built a central bubble for the ceiling to give the bridge a human touch. Ostensibly, the bubble functioned as a piece of sophisticated equipment designed to inform the captain of the ship's attitude. Most of the bridge consoles, designed by Lee Cole, remained from the scrapped television series. Cole remained on the motion picture production and was responsible for much of the visual artwork created. To inform actors and series writers, Lee prepared an "Enterprise Flight Manual" as a continuity guide to control functions. It was necessary for all the main cast to be familiar with control sequences at their stations as each panel was activated by touch via heat-sensitive plates. The wattage of the light bulbs beneath the plastic console buttons was reduced from 25 watts to 6 watts after the generated heat began melting the controls. The seats were covered in girdle material, used because of its stretching capacity and ability to be easily dyed. For the science station, two consoles were rigged for hydraulic operation so that they could be rolled into the walls when not in use, but the system was disconnected when the crew discovered it would be easier to move them by hand.


title: Star Trek: The Motion Picture

text: Aside from control interfaces, the bridge set was populated with monitors looping animations. Each oval monitor was a rear-projection screen on which super 8 mm and 16 mm film sequences looped for each special effect. The production acquired 42 films for this purpose from an Arlington, Virginia-based company, Stowmar Enterprises. Stowmar's footage was exhausted only a few weeks into filming, and it became clear that new monitor films would be needed faster than an outside supplier could deliver them. Cole, Minor, and another production designer, Rick Sternbach, worked together with Povill to devise faster ways of shooting new footage. Cole and Povill rented an oscilloscope for a day and filmed its distortions. Other loops came from Long Beach Hospital, the University of California at San Diego, and experimental computer labs in New Mexico. In all, over 200 pieces of monitor footage were created and cataloged into a seven-page listing.


title: Star Trek: The Motion Picture

text: The "Enterprise" engine room was redesigned while keeping consistent with the theory that the interior appearance had to match the corresponding area visible in exterior views of the starship. Michelson wanted the engine room to seem vast, a difficult effect to achieve on a small sound stage. To create the illusion of depth and long visible distances, the art department staff worked on designs that would utilize forced perspective; set designer Lewis Splittgerber considered the engine room the most difficult set to realize. On film the engine room appeared hundreds of feet long, but the set was actually only in length. To achieve the proper look, the floor slanted upward and narrowed, while small actors three, four, and five feet in height were used as extras to give the appearance of being far from the camera. For "down shots" of the engineering complex, floor paintings extended the length of the warp core several stories. J.C. Backings Company created these paintings; similar backings were used to extend the length of ship hallways and the rec room set.


title: Star Trek: The Motion Picture

text: Redesigning the "Enterprise" corridors was also Michelson's responsibility. Originally the corridors were of straight plywood construction reminiscent of the original series, which Roddenberry called "Des Moines Holiday Inn Style". To move away from that look, Michelson created a new, bent and angular design. Roddenberry and Wise agreed with Michelson that in 300 years, lighting did not need to be overhead, so they had the lighting radiate upward from the floor. Different lighting schemes were used to simulate different decks of the ship with the same length of corridor. Aluminum panels on the walls outside Kirk's and Ilia's quarters were covered with an orange ultrasuede to represent the living area of the ship.


title: Star Trek: The Motion Picture

text: The transporter had originally been developed for the television series as a matter of convenience; it would have been prohibitively expensive to show the "Enterprise" land on every new planet. For the redesign Michelson felt that the transporter should look and feel more powerful. He added a sealed control room that would protect operators from the powerful forces at work. The space between the transporter platform and the operators was filled with complex machinery, and cinematographer Richard Kline added eerie lighting for atmosphere.


title: Star Trek: The Motion Picture

text: After the redesign of the "Enterprise" sets was complete, Michelson turned his attention to creating the original sets needed for the film. The recreation deck occupied an entire sound-stage, dwarfing the small room built for the planned television series; this was the largest interior in the film. The set was high, decorated with 107 pieces of custom-designed furniture, and packed with 300 people for filming. Below a large viewing screen on one end of the set was a series of art panels containing illustrations of previous ships bearing the name "Enterprise". One of the ships was NASA's own "Enterprise", added per Roddenberry's request:


title: Star Trek: The Motion Picture

text: Some fans have suggested that our new "Enterprise" should carry a plaque somewhere which commemorates the fact it was named after the first space shuttle launched from Earth in 1970s. This is an intriguing idea. It also has publicity advantages if properly released at the right time. It won't hurt NASA's feelings either. I'll leave it to you where you want it on the vessel.


title: Star Trek: The Motion Picture

text: Another large construction task was the "Vger" set, referred to by the production staff as "the Coliseum" or "the microwave wok". The set was designed and fabricated in four and a half weeks, and was filmable from all angles; parts of the set were designed to pull away for better camera access at the center. During production, "Star Trek" used 11 of Paramount's 32 sound stages, more than any other film done there at the time. To save money, construction coordinator Gene Kelley struck sets with his own crew immediately after filming, lest Paramount charge the production to have the sets dismantled. The final cost for constructing the sets ran at approximately $1.99 million (equivalent to $ million in ), not counting additional costs for "Phase II" fabrication.


title: Star Trek: The Motion Picture

text: The first "Star Trek" movie models constructed were small study models for "Planet of the Titans" based on designs by Adam and McQuarrie, but these flat-hulled "Enterprise" concepts were abandoned when that film was cancelled (although one was later used in the space-dock in the movie "", and another later appeared in the "" episode "").


title: Star Trek: The Motion Picture

text: When the "Phase II" series was in development, original series designer Matt Jefferies updated the "Enterprise" design to feature a larger saucer with twin elevators (turbo-lifts) to the bridge, a wider secondary hull, docking ports, a dedicated photon torpedo weapon assembly at the base of the ship's neck, and angled struts supporting the nacelles. The nacelles themselves were completely changed to less cylindrical shapes and designed to feature glowing grilles on the sides. Likewise, an orbiting dry-dock, space office complex, and V'Ger had been designed by artist Mike Minor. At the time "Phase II" was cancelled a roughly five foot long model of the "Enterprise" was under construction by Don Loos of Brick Price Movie Miniatures, and models of the dry-dock and V'Ger were under construction as well. All of these models were abandoned, unfinished (although a Brick Price "Enterprise" was re-purposed as the exploded "Enterprise" wreck in "Star Trek III: The Search for Spock").


title: Star Trek: The Motion Picture

text: When the project became "The Motion Picture", Robert Abel and Associates art director Richard Taylor wanted to completely redesign the ship, but Roddenberry insisted on the same shape as designed by Jefferies for "Phase II". Taylor focused on the details, giving it a stylization he considered "almost Art Deco". Concept artist Andrew Probert helped refine the redesign. The general shape and proportions of the "Phase II" ship were retained, but the angles, curves and details refined. Taylor took on the nacelles, and Probert the rest of the ship. Changes included "radiator grill" nacelle caps, a glowing deflector dish, a new impulse engine, new shapes for the aft end and hangar doors of the secondary hull, more docking ports, rounder windows, hatches, and windows for an observation lounge, recreation deck, and arboretum. Probert also replaced the "Phase II" ship weapons tube with a twin launcher torpedo deck and added elements such as features for a separating saucer and landing pads that were never utilized on any film featuring the model.


title: Star Trek: The Motion Picture

text: Most of the models in "The Motion Picture" were created by Magicam, a Paramount subsidiary. The main "Enterprise" model was eight feet long, to a scale of 1/120th scale size, or to . It took 14 months and $150,000 to build. Instead of standard fiberglass used for older models, the new "Enterprise" was constructed with lightweight plastics, weighing . The biggest design issue was making sure that the connective dorsal neck and twin warp nacelle struts were strong enough so that no part of the ship model would sag, bend, or quiver when the model was being moved, which was accomplished via an arc-welded aluminum skeleton. The completed model could be supported at one of five possible points as each photographic angle required. A second, model of the ship was used for long shots. While the hull surface was kept smooth, it was treated with a special paint finish that made its surface appear iridescent in certain light. Transparencies of the film's sets were inserted behind some windows, and as jokes, some featured Probert, other production staff members, and Mickey Mouse. The "Enterprise" was revised again after Abel & Associates were dismissed.


title: Star Trek: The Motion Picture

text: Magicam also produced the orbital dry dock seen during the "Enterprise"s first appearance in the film. Measuring , its 56 neon panels required 168,000 volts of electricity to operate, with a separate table to support the transformers; the final price for the dock setup was $200,000.


title: Star Trek: The Motion Picture

text: The creation of V'Ger caused problems for the entire production. The crew was dissatisfied with the original four-foot clay model created by the Abel group, which looked like a modernized Nemo's "Nautilus" submarine. Industrial designer Syd Mead was hired to visualize a new version of the mammoth craft. Mead created a machine that contained organic elements based on input from Wise, Roddenberry, and the effects leads. The final model was long, built from the rear forward so that the camera crews could shoot footage while the next sections were still being fabricated. The model was built out of a plethora of materials—wood, foam, macramé, Styrofoam cups, incandescent, neon and strobe lights.