title: Friday the 13th (2009 film)

text: Unlike both horror remakes, "The Texas Chainsaw Massacre" (2003) and "The Amityville Horror" (2005)which were also produced by Bay, Form, and Fullerit was decided that "Friday the 13th" would not be a period piece. Form and Fuller said the film was not strictly a remake so there was no reason they could not set the story in the 2000s. In October 2007, Damian Shannon and Mark Swift, the writers of "Freddy vs. Jason", were hired to write a script for "Friday the 13th".<ref name="Shan/Swif"></ref> Jonathan Liebesman was in negotiations to direct the film, but scheduling conflicts meant he was unavailable and Fuller and Form chose Marcus Nispel. Nispel was apprehensive about taking the job, mainly because he would be taking over another film franchise, but Fuller eventually persuaded him to direct the project. Principal photography began on April 21, 2008, in Austin, Texas and ended on June 13, 2008. Additional scenes were shot on location at Camp Fern near Marshall, Texas.


title: Friday the 13th (2009 film)

text: Stuntman Derek Mears was hired to portray Jason Voorhees at the recommendation of special make-up effects supervisor Scott Stoddard. Before the producers contacted him, Mears had already heard about the production of a new "Friday the 13th" and had decided to start physical training so he could pursue the role. He was unaware that Stoddard and other industry professionals were suggesting him to the producers. The studio worried that Mears' pleasant demeanor might affect his ability to portray a menacing character, but Mears assured them he was suitable for the role. According to Mears, "They were like, 'You're really nice  ...  are you going to be able to switch over, right?' I was like, 'I cage fight... and I've got a lot of dad issues. So yeah.'". Mears said he related to "Jason the victim" when he was growing up, and he wanted to portray Jason as a victim in the film. To Mears, Jason represents people who were bullied in high schoolspecifically those with physical deformitiesfor being outcasts. Jason is unusual because he exacts his revenge on those trying to take over his territory at Crystal Lake.


title: Friday the 13th (2009 film)

text: When Mears went to audition for the role, he was asked, "Why do we need an actor as opposed to just a guy in a mask?" Mears said portraying Jason is similar to Greek Mask Work, in which the mask and the actor are separate entities, and depending on the scene, there will be various combinations of mask and actor in the performance. Mears said the energy from the actor's thoughts will be picked up by the camera. He compared his experience behind the camera to a stock car race: he is the driver and the effects team is his pit crew. As he performs, the effects team subtly suggest ways he can give the character more life on camera.


title: Friday the 13th (2009 film)

text: Amanda Righetti had not read the script when she was offered the role of Whitney Miller. She wanted to be part of the "Friday the 13th" franchise from the start. Righetti said she wanted to act in the film to be a part of the franchise and was convinced by the script. Jared Padalecki describes Clay Miller as a real hero because he sets out "to do the right thing" when his sister goes missing, and goes about it as a "lone wolf" who wants to take on the responsibility alone. Adjustments were made to the filming schedule to accommodate Aaron Yoo, who portrays Chewie. Yoo had his appendix removed shortly before filming began, and could not film his scenes immediately. As soon as Yoo was ready for filming, Nispel immediately hung him upside down from some rafters, exposing the staples over his surgical wound for the character's post-death shot.


title: Friday the 13th (2009 film)

text: Fuller and Form said the casting process for "Friday the 13th" was more difficult than that for "The Texas Chainsaw Massacre" because thirteen young actors were involved in "Friday the 13th", as opposed to five in "The Texas Chainsaw Massacre". The pair continually recast roles to find which actors worked best together. This recasting process lasted until the start of filming. ""'s Richard Burgi, who was cast as Sheriff Bracke, did not sign his contract until twelve hours before he was due to start filming his scenes.


title: Friday the 13th (2009 film)

text: When Shannon and Swift began writing the script for "Friday the 13th", they imposed some rules based on their experiences of writing "Freddy vs. Jason" on themselves. They wanted their teenage characters to "sound normal". Shannon and Swift said they did not want the characters to know Jason's name or to become what they considered "the "Scooby-Doo" cliché where it's a bunch of kids trying to figure something out".<ref name="Shan/Swift"></ref> The writers also wanted to distance themselves from self-referential slasher films such as "Scream" and to give the film a gritty, more 1980s feel that had been lost in recent films. They wanted to create a quick, loose Jason. The writing team decided to create a version of Jason "who was actually in the woods surviving off the land", and whose killings are presented as a way of defending his territory rather than randomly murdering whoever came along.


title: Friday the 13th (2009 film)

text: The writers did not want to spend a lot of time covering Jason's childhood experiences, which they felt would remove the sense of mystery from the character. They tried to write scenes that would add verisimilitude, like the audience finding a deer carcass lying on the ground as they follow Jason through his tunnels. Fuller told the writers they would have to do without it because it would cost $100,000. Because of budget constraints, certain character deaths and the ending of the film were also scaled back from what Shannon and Swift originally envisioned.


title: Friday the 13th (2009 film)

text: The writers had written a scene in which Willa Ford's character Chelsea is stranded on the lake for hours after she sees Jason standing on the shore. Eventually, the girl would tire and drown. Shannon and Swift felt this was something they had not seen in slasher films, but later decided to make the death quicker and more visceral. A similar incident occurred with Danielle Panabaker's character Jenna. Panabaker said Jenna was scripted to survive longer than she did in the final version of the film; Jenna was supposed to escape Jason's lair and recite a "cute line" about a second date with Clay before an elaborate fight sequence that ends in her death. The writers wanted to strike a balance between finding new and interesting ways to kill characters and paying homage to popular death scenes that appeared in installments of the previous series. To accomplish this, Shannon and Swift included the presence of a wheelchair and a sweater in Jason's tunnels; the character Mark (Tom McBride) was a paraplegic who was killed by Jason in "Friday the 13th Part 2" and Mrs. Voorhees wore the sweater in the original version of "Friday the 13th".


title: Friday the 13th (2009 film)

text: The writers altered Jason's character. Mears describes him as a combination of John Rambo, Tarzan, and the Abominable Snowman from "Looney Tunes". To Mears, Jason is similar to Rambo because the audience sees him setting up the other characters to fall into his traps. Like Rambo, he is calculating because he feels he has been wronged and he is fighting back; he is supposed to be more sympathetic in this film. However, Fuller and Form said they learned from their experience with "" not to make Jason too sympathetic to the audience. They decided against an origin story because they did not want to focus on Jason's tormented childhood because the producers felt that would "demystify" the character in an unhelpful manner. Fuller said, "We do not want him to be sympathetic. Jason is not a comedic character, he is not sympathetic. He's a killing machine. Plain and simple."


title: Friday the 13th (2009 film)

text: The producers used Asylum Visual Effects to create digital effects for "Friday the 13th". Although director Marcus Nispel is a proponent of practical effects, Asylum had to digitally create some shots to protect the actors and to allow the director to achieve a specific look. Visual effects supervisor Mitchell Drain assigned ten crew members to work on the visual effects; they first analyzed the script in pre-production to decide which shots would need digital effects. Asylum worked on 25 shots for the film.


title: Friday the 13th (2009 film)

text: One of the first scenes Asylum was given was the scene depicting the death of Amanda, in which Jason ties her into her sleeping bag and hangs her over a campfire. The risk to the actor and the surrounding woodland was deemed too great to physically perform the scene. Asylum created a composite of two shots to show Amanda burning to death in her sleeping bag. Instead of creating a computer generated (CGI) model of the campfire, a real campfire was filmed. Asylum compositor John Stewart blended that footage with shots of the hanging sleeping bag into a single shot. Stewart digitally altered the flames to keep continuity between frames. Another composite shot is used in the scene in which Chelsea is hit by a speedboat. Because the scene would be too dangerous for even a stuntperson to perform, Asylum digitally combined footage of Willa Ford reacting to an imaginary boat that runs over her with shots of the actual boat to create the effect.


title: Friday the 13th (2009 film)

text: Asylum also enhanced some of Jason's signature machete kills. In several scenes, the company used a computer-generated machete because Nispel wanted to show multiple characters' deaths in one shot instead of cutting from the acts of murder to the aftermath of their deaths. In one scene, Jason kills Richie by slamming a machete into his head. Instead of using a real machete with a fake head, Nispel had Feldman act dead as Mears pulled a handlewith only a portion of the blade attachedaway from Feldman's head. Then, Asylum digitally created the rest of the machete blade to complete the effect. For this scene, Asylum adjusted the actor's facial expressions to create a "post mortem" look. The special effects team digitally drooped half of the actor's face to appear as though the nerves had been severed by Jason's machete.


title: Friday the 13th (2009 film)

text: Asylum digitally created weapons for various scenes. In the scene in which Nolan is killed suddenly by a shot in the head from Jason's arrow, Asylum created the arrow in post-production. Another scene involved Jason hurling a hatchet at Lawrence as he runs away, striking him in the back. The shot of a hatchet flying through the airin one instance appearing in the same frame as the actorwould be too difficult to achieve practically. Asylum rendered a complete 3D model of the hatchet then inserted the model into the frames leading up to the frame in which it hits the character in the back. One of the final images added by Asylum was for Trent's death scene. Here, Asylum digitally created a metal spike that bursts through Trent's chest as Jason slams him onto the back of a tow truck.


title: Friday the 13th (2009 film)

text: Effects artist Scott Stoddard described his look for Jason's face as a combination of Carl Fullerton's design for "Friday the 13th Part 2" and Tom Savini's design for "Friday the 13th: The Final Chapter". Stoddard's vision of Jason included hair loss, skin rashes, and the traditional deformities in his face. Stoddard tried to craft Jason's look so it would allow more human side of the character to be seen. Mears was required to wear full body make-up from the chest upwards while performing as Jason. The actor wore a chest plate with fake skin that would adjust to his muscle movements. He wore a hump on his back to give the impression that Jason had scoliosis. A prosthetic eye was glued to Mears' face to show realistic eye movements. Stoddard initially spent three-and-a-half hours applying the make-up to Mears' head and torso. He was eventually able to reduce the required time to just over an hour for scenes in which Mears wore the hockey mask. For scenes in which Jason's face is revealed, it took approximately four hours to apply the make-up.


title: Friday the 13th (2009 film)

text: For Jason's wardrobe, Mears was given a pair of combat boots and a "high-priced t-shirt" that allowed the special effects make-up to be seen through holes in the shirt. The jacket Jason wears in the film was created by combining a hunting jacket and a military jacket. Mears wanted to use the hunting jacket, but the creative team liked the way the military jacket billowed as he was making his "kill movements", so the top of the hunting jacket was removed and placed over the top of the military jacket to create what Mears called a "giant Frankenstein jacket." He describes Jason as leaner in this film because the character does not eat much. A leaner Jason was deemed more functional and allowed more emphasis to be placed on the hump on his back. Stoddard was inspired by the third and fourth films when designing Jason's hockey mask. Using an original mold, Stoddard made six new versions of the mask. He said, "Because I didn't want to take something that already existed. There were things I thought were great, but there were things I wanted to change a bit. Make it custom, but keep all the fundamental designs. Especially the markings on the forehead and cheeks. Age them down a bit. Break them up."


title: Friday the 13th (2009 film)

text: Form and Fuller recognized the iconic status of the music used in the first four "Friday the 13th" films. For their 2009 film, they immediately had the studio attain the licensing rights to the music, which was composed and originally performed by Harry Manfredini. They did not plan to use the score in its entirety, but they had Steve Jablonsky compose a score that was reminiscent of Manfredini's and created the atmosphere for the 2009 film. Nispel contacted Jablonsky to score "Friday the 13th" after having worked with him on the remake of "The Texas Chainsaw Massacre". Nispel told Jablonsky he wanted him to create something that Nispel could "whistle when [he] left the theater", but was subtle enough that it would not immediately register while watching the film. Nispel said, "I don't believe that, when you watch a "Friday the 13th" film, you want to feel like John Williams is sitting next to you with the London Symphony Orchestra".


title: Friday the 13th (2009 film)

text: A teaser trailer of the film debuted at the 2008 Scream Awards held in October and was later released online. In December, the film's theatrical trailer was released along with the theatrical poster. On Friday, February 13, 2009, "Friday the 13th" was released in 3,105 theaters in North America. The 2009 film was given the widest release of any "Friday the 13th" film, including the crossover film with "A Nightmare on Elm Street". It was released in nearly three times as many theaters as the original 1980 film and exceeded "Freddy vs. Jason" by 91 theaters. "Friday the 13th" was also released in 2,100 theaters in 28 markets outside North America.


title: Friday the 13th (2009 film)

text: The film was released on DVD, Blu-ray, and Apple TV on June 16, 2009. The DVD and Blu-ray releases contain the theatrical release and an extended cut of the film. The film was re-released on September 13, 2013 for "Friday the 13th: The Complete Collection", a box set featuring all twelve films in the franchise, then again on October 13, 2020, for Shout! Factory's "Special Edition" collection.


title: Friday the 13th (2009 film)

text: On its opening day, "Friday the 13th" grossed $19,293,446, and immediately exceeded the individual box office grosses for "" (1988), "" (1989), "" (1993), and "Jason X" (2002), which earned $19,170,001, $14,343,976, $15,935,068, and $13,121,555, respectively. From February 14–16, "Friday the 13th" earned an additional $24,292,003, making its four-day President's Day weekend total $43,585,449. By the end of its three-day opening weekend, it was already the second highest-grossing film in the franchise, having earned $40,570,365, slightly exceeding "The Grudge" (2004) for the best 3-day weekend opening of any horror film. When comparing the 2009 film's opening weekend to that of its 1980 counterpart in adjusted 2009 US dollars, the original "Friday the 13th" film earned $17,251,975. Although the 2009 film made more money, when factoring in the number of theaters each film was released in, the 1980 film earned an average of $15,683 per theater, compared to the 2009 film's average of $13,066.


title: Friday the 13th (2009 film)

text: "Friday the 13th" saw a significant drop in attendance in its second weekend at the box office. On its second Friday, the film earned $2,802,977a decrease of 85.5% from its opening Friday. By the end of its second weekend, the film had earned $7,942,472a decrease of 80.4% from the previous weekend. As a result, the film went from first place to sixth in the weekend box office chart. By its third weekend, "Friday the 13th" had left the top ten, earning $3,689,156a 53.6% decrease from its second weekend. By the end of its box office run, "Friday the 13th" earned an estimated $65 million at the United States box office, but failed to regain a top ten spot after its third weekend.


title: Friday the 13th (2009 film)

text: , the 2009 film is the fifth-highest earning President's Day weekend with $45,033,454. It is the eighth-highest grossing weekend in the month of February, and the eighth- highest-grossing weekend for the winter seasonthe period from the first day after the New Year weekend until the first Thursday of March. "Friday the 13th" finished as the fourth-highest-grossing film of any February with $59.8 million, just behind "Taken" with $84.3 million, "He's Just Not That Into You" with $77.2 million, and "Madea Goes to Jail", with $60.9 million.


title: Friday the 13th (2009 film)

text: "Friday the 13th" was the fifteenth-highest grossing R-rated film of 2009. Because of the significant decrease in box office revenues in its second weekend, the film had the sixth-largest second-weekend drop. It is the seventh-largest drop for a film that opened as the top-earning film in the United States. With its $65 million revenue at the North American box office, "Friday the 13th" is the highest-grossing film among slasher film remakes from the 2000s, which comprise "When a Stranger Calls" (2006), "Black Christmas" (2006), "Halloween" (2007), "Prom Night" (2008), and "My Bloody Valentine 3D" (2009). The film is ranked seventh-highest earning of all horror remakes, and is the seventh-highest earning slasher film in unadjusted dollars.


title: Friday the 13th (2009 film)

text: In addition to its North American box office gross, "Friday the 13th" earned over $9.5 million in foreign markets on its opening weekend. The film's biggest markets were the United Kingdom, Russia, Italy, Spain, and Germany. "Friday the 13th" took in approximately $1.7 million in both the United Kingdom and Russia, an estimated $1.1 million in Spain, and $1 million in both Italy and Germany. According to Paramount, this was the largest opening outside North America of any of the "Friday the 13th" films. The film finished its North American box office run with $65,002,019; coupled with its earnings of $27,688,218 outside North America, the film has accumulated $92,670,237 worldwide. The film earned $10,344,904 in domestic video sales.


title: Friday the 13th (2009 film)

text: Based on 175 reviews collected by review aggregator website Rotten Tomatoes, "Friday the 13th" has a 26% approval rating from critics with an average score of 4.30/10. The consensus reads: "Though technically well-constructed, "Friday the 13th" is a series rehash that features little to distinguish it from its predecessors." Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, calculated an average score of 34 based on 29 reviews. CinemaScore polls reported that average grade cinemagoers gave the film a "B−" on a scale of A+ to F. Exit polls showed that 51% of the audience was male and 59% were at least 25 years old.


title: Friday the 13th (2009 film)

text: Alonso Duralde wrote that the film should please slasher fans, but that it added nothing new to the genre or the franchise and would not appeal to people who did not like slasher films. He also said the prospect of another "Friday the 13th"crafted by the film's "sequel-friendly" endingdid not leave him with a feeling of dread. Bill Goodykoontz of "The Arizona Republic" said the film accepts the "ridiculousness" of what it is trying to accomplishmainly the "death and dismemberment" of "party-hungry kids", and that audiences would enjoy it if they also recognized that. Although Goodykoontz acknowledges the unique touches the film brings to certain characters' deaths, he was unimpressed with the acting and said Padalecki's presence gave the film a "less-good episode of "Supernatural"" vibe.


title: Friday the 13th (2009 film)

text: "The Washington Post"'s Dan Zak wrote that the film fails to provide laughs, scares, suspense, or gore. Zak also said it fails to provide the exhibition of nudity expected of horror films that cannot deliver on the previously listed criteria. Mark Olsen of the "Los Angeles Times" said Nispel captured the despair he created with his "Texas Chainsaw Massacre" remake. Olsen also said the film failed to provide the "giddiness", "teenage lust", and "rambunctiousness" that made the previous "Friday the 13th" films work. Wesley Morris said "Friday the 13th" did have humor; he said the characters continually act the clichéd role of would-be-victim, making it hard to fear for their safety. In his opinion, the 2009 film lacked the "psycho-social" aspecta mother killing out of revenge for her son's deathcrafted by its 1980 predecessor, and ultimately the film is "more hilarious than terrifying".


title: Friday the 13th (2009 film)

text: The "New York Post's" Kyle Smith said Nispel made no attempt to create a movie beyond blood and guts, and even those attempts were "forgettable". Smith said that apart from Clay and Trent, the rest of the cast were merely "faces in the crowd" with no attempt to give them any sort of backstory. "USA Today"'s Claudia Puig said that the film keeps to the same formula as its predecessors, with a story that adds little to nothing to the franchise. She also said Padalecki and Panabaker filled their lead roles well, and that Aaron Yoo's comic relief made him one of the most likable characters on screen. Rob Nelson of "Variety" also praised Panabaker and Yoo's performances.


title: Friday the 13th (2009 film)

text: In contrast to the film's detractors, "The New York Times's" Nathan Lee said "Friday the 13th" managed to "reboot the concept" of the original films with style. Lee said the film takes pleasure in killing off each of its characters, that there is a desire among cinemagoers for this type of material, and that "Friday the 13th" satisfies that desire. Adam Graham from "The Detroit News" said that it is the most effective and scary film in the "Friday the 13th" franchise; he praised its choice of allowing Jason to run after his victimsas opposed to slowly walking behind them, as became prominent in later sequelsbecause it made him more menacing. Graham also said the film does not "soften" Jason's scariness by providing a sympathetic backstory. Roger Ebert of the "Chicago Sun-Times" explained his review of the film, he stated: "It will come as little surprise that Jason still lives in the woods around Crystal Lake and is still sore about the death of his mom. Jason must be sore in general". "Entertainment Weekly"'s Clark Collis said director Nispel made a competent film that performs better as a whole than the previously released remakes of "Prom Night" (2008) and "My Bloody Valentine 3D" (2009), although it does provide a few too many unbelievable character moments.


title: Friday the 13th (2009 film)

text: Jason Anderson of the "Toronto Star" said the film added freshness to the standard formula of the previous films by focusing on the chasing and killing aspects instead of lingering on the prolonged suffering of victims like the "Saw" films. IGN's Chris Carle said Aaron Yoo stole the film with his comic timing and with his "memorable death". Carle said Derek Mears' portrayal of Jason adds more to the character than being simply a stuntman; Mears's subtle movements, athleticism, and physicality created an imposing image of Jason.


title: Friday the 13th (2009 film)

text: In October 2009, Warner Bros. Pictures set a release date for a sequel to "Friday the 13th" as August 13, 2010. On December 10, however, the sequel was pulled from its release date and was delayed indefinitely. In April 2010, producer Brad Fuller announced that a sequel to the film was not happening. In February 2011, Fuller announced that Damian Shannon and Mark Swift had finished a script for the sequel. In June 2013, Warner Bros. relinquished their film rights to the "Friday the 13th" franchise to Paramount Pictures. During the same month, however, Derek Mears (who portrayed Jason Voorhees in the 2009 film) revealed that Paramount was working with Platinum Dunes to produce a sequel to the remake. However, the sequel was later developed into a separate installment of the franchise.


title: Thomas Silverstein

text: Thomas Edward Silverstein (February 4, 1952 – May 11, 2019) was an American criminal who spent the last 42 years of his life in prison after being convicted of four separate murders while imprisoned for armed robbery, one of which was overturned. Silverstein spent the last 36 years of his life in solitary confinement for killing Corrections Officer Merle Clutts at the Marion Penitentiary in Illinois. Prison authorities described him as a brutal killer and a former leader of the Aryan Brotherhood prison gang. Silverstein maintained that the dehumanizing conditions inside the prison system contributed to the three murders he committed. He was held "in a specially designed cell" in what is called "Range 13" at ADX Florence federal penitentiary in Colorado. He was the longest-held prisoner in solitary confinement within the Bureau of Prisons at the time of his death. Many prison guards refused to talk to Silverstein out of respect for Clutts.


title: Thomas Silverstein

text: Silverstein was born in Long Beach, California, to Virginia Conway. Conway had divorced her first husband in 1952 while pregnant with Silverstein and married Thomas Conway, whom Silverstein claimed was his biological father. Four years later, Virginia divorced Conway and married Sid Silverstein, who legally adopted her son.


title: Thomas Silverstein

text: Silverstein was timid, awkward, shy, and frequently bullied as a child in the middle-class neighborhood where the family lived, in part because his peers mistakenly believed he was Jewish. Virginia Silverstein demanded that her son fight back, telling the boy that if he ever came home again crying because he had been beaten up by a bully, she would be waiting to give him another beating. Silverstein states, "That's how my mom was. She stood her mud. If someone came at you with a bat, you got your bat and you both went at it." At age fourteen, Silverstein was sentenced to a California Youth Authority reformatory where, he said, his attitudes about violence were reinforced. "Anyone not willing to fight was abused."


title: Thomas Silverstein

text: In 1971, at age nineteen, Silverstein was sent to San Quentin Prison in California for armed robbery. Four years later, he was paroled, but he was arrested soon after along with his father, Thomas Conway, and his cousin, Gerald Hoff, for three armed robberies. Their take was less than $11,000 (~$53,000 when adjusted for inflation in 2022). In 1977, Silverstein was sentenced to fifteen years for armed robbery, to be served at United States Penitentiary in Leavenworth, Kansas.


title: Thomas Silverstein

text: While at Leavenworth, Silverstein developed ties with the Aryan Brotherhood. In 1980, Silverstein was convicted of the murder of inmate Danny Atwell, who reportedly refused to serve as a mule for heroin being moved through the prison. He was sentenced to life and transferred to the United States Penitentiary in Marion, Illinois (USP Marion), which was then a high security facility. The conviction was overturned in 1985 after it emerged that the jailhouse informants who testified at his trial had perjured themselves on the stand.


title: Thomas Silverstein

text: At Marion, Silverstein was housed in the "Control Unit", a virtual solitary confinement regime reserved for extreme "management problems" (prisoners prone to assaultive and disruptive behavior) in the prison.


title: Thomas Silverstein

text: In 1981, Silverstein was accused of the murder of Robert Chappelle, a member of the D.C. Blacks prison gang. Silverstein and another inmate, Clayton Fountain, were convicted and Silverstein received an additional life sentence. He avoided a possible death sentence since capital punishment on the federal level hadn't been reinstated yet. Silverstein maintained his innocence. While Silverstein was on trial for Chappelle's murder, the Bureau of Prisons transferred Raymond Lee "Cadillac" Smith, the national leader of the D.C. Blacks prison gang, from another prison into the control unit in Marion. From the moment Smith arrived in the control unit, prison logs show that he began trying to kill Silverstein.


title: Thomas Silverstein

text: "I tried to tell Cadillac that I didn't kill Chappelle, but he didn't believe me and he bragged that he was going to kill me", Silverstein recalled. "Everyone knew what was going on and no one did anything to keep us apart. The guards wanted one of us to kill the other." Silverstein and Clayton Fountain killed Smith with improvised weapons, stabbing him 67 times. After Smith was dead, they dragged his body up and down the catwalk in front of the cells, displaying it to other prisoners. Silverstein received another life sentence.


title: Thomas Silverstein

text: On October 22, 1983, Silverstein killed Correction Officer Merle Clutts at USP Marion. After being let out of his cell for a shower, Silverstein used a ruse to get Clutts to walk ahead of him and positioned himself between Clutts and other officers. He stopped outside the cell of another inmate, Randy Gometz. Gometz passed a homemade prison knife to Silverstein and unlocked Silverstein's handcuffs with a homemade key. Silverstein then attacked Clutts, stabbing him multiple times. Silverstein later claimed that he murdered Clutts in retaliation for Clutts' deliberately harassing him. Among other things, Clutts was accused of destroying paintings by Silverstein. BOP (Bureau Of Prisons) confiscates art work when it depicts murder.


title: Thomas Silverstein

text: A few hours later, Clayton Fountain (also an Aryan Brotherhood member) used the same strategy to kill Correctional Officer Robert Hoffmann.


title: Thomas Silverstein

text: USP Marion was subsequently placed on an indefinite lockdown, which ultimately lasted for 23 years. Following the murder of Clutts, Silverstein was transferred to the United States Penitentiary, Atlanta, where he was placed in solitary confinement. His security status was recorded as "no human contact". The events surrounding the murders of Correctional Officers Clutts and Hoffmann inspired the design of the federal supermax prison, the United States Penitentiary, Florence: Administrative Maximum Facility (USP Florence ADMAX) in Colorado, which opened in 1994 and was built to house the most dangerous inmates in the federal prison system. Silverstein and Gometz were both held at ADX Florence. Fountain died at the United States Medical Center for Federal Prisoners in Springfield, Missouri in 2004.


title: Thomas Silverstein

text: During the 1987 Atlanta Prison Riots, Cuban detainees at the Atlanta federal penitentiary released Silverstein from his isolation cell. They handed Silverstein over to the Federal Bureau of Investigation's Hostage Rescue Team one week later. Bureau of Prisons officials were reportedly afraid that Silverstein would begin killing correctional officers held hostage by the Cubans. Before the Cubans released Silverstein to Bureau of Prisons, the Cubans let Silverstein out of his isolation cell and Silverstein was able to roam freely about the prison. One of the prison guards being held hostage had a history of being kind to Silverstein. (When the guard would handcuff Silverstein he would make it a point to ask Silverstein if his handcuffs were too tight.) He was confronted by Silverstein and was ultimately spared by him. Bureau of Prisons negotiators were able to convince the Cuban riot leaders to hand over Silverstein as a gesture of good faith, a relatively easy decision for them, given that Silverstein's status was peripheral to the aims of the Cuban leaders during the riot.


title: Thomas Silverstein

text: In 2005, when USP Leavenworth was downgraded to a medium-security facility, Silverstein was moved to ADX Florence, a supermax facility in Colorado. His earliest theoretical date of release was November 2, 2095.


title: Thomas Silverstein

text: Silverstein claimed that the "no human contact" status is essentially a form of torture reserved for those who kill correctional officers. "When an inmate kills a guard, he must be punished", a Bureau of Prisons official told author Pete Earley. "We can't execute Silverstein, so we have no choice but to make his life a living hell. Otherwise other inmates will kill guards too. There has to be some supreme punishment. Every convict knows what Silverstein is going through. We want them to realize that if they cross the same line that he did, they will pay a heavy price." Ted Sellers, a former convict who met Silverstein during 25 years spent in prison, said he became a "legend" at Leavenworth. Sellers told BBC News Online, "He is not as bad as they portray. Sure he is dangerous if they push him to the wall. But there were some dirty rotten guards at Marion… They would purposely screw you around. You are dealing with a person locked up 23 hours a day. Of course he's got a short fuse."


title: Thomas Silverstein

text: Silverstein died on May 11, 2019, aged 67, at St. Anthony Hospital in Lakewood, Colorado, after spending 36 years in solitary confinement; he died from complications from heart surgery.


title: Ukulele

text: The ukulele ( ; from , ), also called Uke, is a member of the lute family of instruments of Portuguese origin and popularized in Hawaii. It generally employs four nylon strings.


title: Ukulele

text: The tone and volume of the instrument vary with size and construction. Ukuleles commonly come in four sizes: soprano, concert, tenor, and baritone.


title: Ukulele

text: Developed in the 1880s, the ukulele is based on several small, guitar-like instruments of Portuguese origin, the "machete", "cavaquinho", "timple", and "rajão", introduced to the Hawaiian Islands by Portuguese immigrants from Madeira, the Azores and Cape Verde. Three immigrants in particular, Madeiran cabinet makers Manuel Nunes, José do Espírito Santo, and Augusto Dias, are generally credited as the first ukulele makers. Two weeks after they disembarked from the SS "Ravenscrag" in late August 1879, the "Hawaiian Gazette" reported that "Madeira Islanders recently arrived here, have been delighting the people with nightly street concerts."


title: Ukulele

text: One of the most important factors in establishing the ukulele in Hawaiian music and culture was the ardent support and promotion of the instrument by King Kalākaua. A patron of the arts, he incorporated it into performances at royal gatherings.


title: Ukulele

text: In the Hawaiian language the word ukulele roughly translates as "jumping flea", perhaps because of the movement of the player's fingers. Legend attributes it to the nickname of Englishman Edward William Purvis, one of King Kalākaua's officers, because of his small size, fidgety manner, and playing expertise. One of the earliest appearances of the word "ukulele" in print (in the sense of a stringed instrument) is in the Metropolitan Museum of Art's "Catalogue of the Crosby Brown Collection of Musical Instruments of All Nations" published in 1907. The catalog describes two ukuleles from Hawaii - one that is similar in size to a modern soprano ukulele, and one that is similar to a tenor (see ).


title: Ukulele

text: In the 1960s, educator J. Chalmers Doane dramatically changed school music programs across Canada, using the ukulele as an inexpensive and practical teaching instrument to foster musical literacy in the classroom. 50,000 schoolchildren and adults learned ukulele through the Doane program at its peak. "Ukulele in the Classroom", a revised program created by James Hill and Doane in 2008 is a staple of music education in Canada.


title: Ukulele

text: The ukulele arrived in Japan in 1929 after Hawaiian-born Yukihiko Haida returned to the country upon his father's death, and introduced the instrument. Haida and his brother Katsuhiko formed the Moana Glee Club, enjoying rapid success in an environment of growing enthusiasm for Western popular music, particularly Hawaiian and jazz. During World War II, authorities banned most music from the West, but fans and players kept it alive in secret, and it resumed popularity after the war. In 1959, Haida founded the Nihon Ukulele Association. Today, Japan is considered a second home for Hawaiian musicians and ukulele virtuosos.


title: Ukulele

text: British singer and comedian George Formby was a ukulele player, though he often played a banjolele, a hybrid instrument consisting of an extended ukulele neck with a banjo resonator body. Demand surged in the new century because of its relative simplicity and portability. Another British ukulele player was Tony Award-winner Tessie O'Shea, who appeared in numerous movies and stage shows, and was twice on "The Ed Sullivan Show", including the night The Beatles debuted in 1964.


title: Ukulele

text: The Ukulele Orchestra of Great Britain tours globally, and the George Formby Society, established in 1961, continues to hold regular conventions.


title: Ukulele

text: The ukulele was popularized for a stateside audience during the Panama–Pacific International Exposition, held from spring to autumn of 1915 in San Francisco. The Hawaiian Pavilion featured a guitar and ukulele ensemble, George E. K. Awai and his Royal Hawaiian Quartet, along with ukulele maker and player Jonah Kumalae. The popularity of the ensemble with visitors launched a fad for Hawaiian-themed songs among Tin Pan Alley songwriters. The ensemble also introduced both the lap steel guitar and the ukulele into U.S. mainland popular music, where it was taken up by vaudeville performers such as Roy Smeck and Cliff "Ukulele Ike" Edwards. On April 15, 1923, at the Rivoli Theater in New York City, Smeck appeared, playing the ukulele, in "Stringed Harmony", a short film made in the DeForest Phonofilm sound-on-film process. On August 6, 1926, Smeck appeared playing the ukulele in a short film "His Pastimes", made in the Vitaphone sound-on-disc process, shown with the feature film "Don Juan" starring John Barrymore.


title: Ukulele

text: The ukulele soon became an icon of the Jazz Age. Like guitar, basic ukulele skills can be learned fairly easily, and this highly portable, relatively inexpensive instrument was popular with amateur players throughout the 1920s, as evidenced by the introduction of uke chord tablature into the published sheet music for popular songs of the time (a role that was supplanted by the guitar in the early years of rock and roll). A number of mainland-based stringed-instrument manufacturers, among them Regal, Harmony, and especially Martin, added ukulele, banjolele, and tiple lines to their production to take advantage of the demand.


title: Ukulele

text: The ukulele also made inroads into early country music or old-time music parallel to the then-popular mandolin. It was played by Jimmie Rodgers and Ernest V. Stoneman, as well as by early string bands, including Cowan Powers and his Family Band, Da Costa Woltz's Southern Broadcasters, Walter Smith and Friends, The Blankenship Family, The Hillbillies, and The Hilltop Singers.


title: Ukulele

text: From the late 1940s to the late 1960s, plastics manufacturer Mario Maccaferri turned out about 9 million inexpensive ukuleles. The ukulele remained popular, appearing on many jazz songs throughout the 1950s, '60s, and '70s. Much of the instrument's popularity (particularly the baritone size) was cultivated by Arthur Godfrey on "The Arthur Godfrey Show" on television. Singer-musician Tiny Tim became closely associated with the instrument after playing it on his 1968 hit "Tiptoe Through the Tulips".


title: Ukulele

text: After the 1960s, the ukulele declined in popularity until the late 1990s, when interest in the instrument reawakened. During the 1990s, new manufacturers began producing ukuleles and a new generation of musicians took up the instrument. Jim Beloff set out to promote the instrument in the early 1990s and created over two dozen ukulele music books featuring modern music and classic ukulele pieces.


title: Ukulele

text: All-time best-selling Hawaiian musician Israel Kamakawiwo'ole helped repopularize the instrument, in particular with his 1993 reggae-rhythmed medley of "Over the Rainbow" and "What a Wonderful World," used in films, television programs, and commercials. The song reached number 12 on "Billboard"'s Hot Digital Tracks chart the week of January 31, 2004.


title: Ukulele

text: The creation of YouTube helped revive the popularity of the ukulele. One of the first videos to go viral was Jake Shimabukuro's ukulele rendition of George Harrison's "While My Guitar Gently Weeps" on YouTube. The video quickly went viral, and as of September 2020, had received over 17 million views.


title: Ukulele

text: The ukulele is generally made of wood, though variants have been composed partially or entirely of plastic or other materials. Cheaper ukuleles are generally made from plywood or laminated woods, in some cases with a soundboard of a tonewood such as spruce. More expensive ukuleles are made of solid hardwoods such as mahogany. The traditionally preferred wood for ukuleles is a type of acacia endemic to Hawaii, called "koa".


title: Ukulele

text: Typically, ukuleles have a figure-eight body shape similar to that of a small acoustic guitar. They are also often seen in nonstandard shapes, such as cutaway and oval, usually called a "pineapple" ukulele (see image below), invented by the Kamaka Ukulele company, or a boat-paddle shape, and occasionally a square shape, often made out of an old wooden cigar box.


title: Ukulele

text: These instruments usually have four strings; some strings may be paired in courses, giving the instrument a total of six or eight strings (primarily for greater strumming volume.) The strings themselves were originally made of catgut. Modern ukuleles use nylon polymer strings, with many variations in the material, such as fluorocarbon, aluminium (as winding on lower-pitched strings), wound metal strings (similar to wound nylon strings, but with a metal core) and Nylgut.


title: Ukulele

text: Instruments with six or eight strings in four courses are often called taropatches, or taropatch ukuleles. They were once common in a concert size, but now the tenor size is more common for six-string taropatch ukuleles. The six-string, four-course version, has two single and two double courses, and is sometimes called a "lili'u", though this name also applies to the eight-string version. Eight-string baritone taropatches exist, and, 5-string tenors have also been made.


title: Ukulele

text: Common types of ukuleles include soprano (standard ukulele), concert, tenor, and baritone. Less common are the sopranino (also called piccolo, bambino, or "pocket uke"), bass, and contrabass ukuleles. Other types of ukuleles include banjo ukuleles and electric ukuleles. Of the standard ukuleles, the soprano, often called "standard" in Hawaii, is the second-smallest and was the original size. The concert size was developed in the 1920s as an enhanced soprano, slightly larger and louder with a deeper tone. Shortly thereafter, the tenor was created, having more volume and deeper bass tone. The baritone (resembling a smaller tenor guitar) was created in the 1940s, and the contrabass and bass are recent innovations (2010 and 2014, respectively).


title: Ukulele

text: The following chart shows the range of notes of standard ukulele types. Note that range varies with the tuning and size of the instruments. The examples shown in the chart reflect the range of each instrument from the lowest standard tuning, to the highest fret in the highest standard tuning. Additionally, the contrabass below aligns with the bass in the above table.


title: Ukulele

text: One of the most common tunings for the standard or soprano ukulele is C tuning: G–C–E–A, which is often remembered by the notes in the "My dog has fleas" jingle (see sidebar). The G string is tuned an octave higher than might be expected, so this is often called "high G" tuning. This is known as a "reentrant tuning"; it enables uniquely close-harmony chording.


title: Ukulele

text: More rarely used with the soprano ukulele is C linear tuning, or "low G" tuning, which has the G in sequence an octave lower: G–C–E–A, which is equivalent to playing the top four strings (DGBE) of a guitar with a capo on the fifth fret.


title: Ukulele

text: Another common tuning for the soprano ukulele is the higher string-tension D tuning (or simply D tuning), A–D–F–B, one step higher than the G–C–E–A tuning. Once considered standard, this tuning was commonly used during the Hawaiian music boom of the early 20th century, and is often seen in sheet music from this period, as well as in many method books through the 1980s. D tuning is said by some to bring out a sweeter tone in some ukuleles, generally smaller ones. D tuning with a low fourth string, A–D–F–B, is sometimes called "Canadian tuning" after its use in the Canadian school system, mostly on concert or tenor ukuleles, and extensive use by James Hill and J. Chalmers Doane.


title: Ukulele

text: Whether C or D tuning should be the "standard" tuning is a matter of long and ongoing debate. There are historic and popular ukulele methods that have used each.


title: Ukulele

text: For the concert and tenor ukuleles, both reentrant and linear C tunings are standard; linear tuning in particular is widely used for the tenor ukulele, more so than for the soprano and concert instruments.


title: Ukulele

text: The baritone ukulele usually uses linear G tuning: D–G–B–E, the same as the highest four strings of a standard 6-string guitar.


title: Ukulele

text: Bass ukuleles are tuned similarly to the bass guitar and double bass: E–A–D–G for U-Bass style instruments (sometimes called contrabass), or an octave higher, E–A–D–G, for Ohana type metal-string basses.


title: Ukulele

text: Sopranino ukulele tuning is less standardized. They are usually tuned re-entrantly, but frequently at a higher pitch than C; for example, re-entrant G tuning: D–G–B–E.


title: Ukulele

text: As is commonly the case with string instruments, other tunings may be preferred by individual players. For example, special string sets are available to tune the baritone ukulele in linear C. Some players tune ukuleles like other four-string instruments such as the mandolin, Venezuelan cuatro, or dotara. Ukuleles may also be tuned to open tunings, similar to the Hawaiian slack key style.


title: Ukulele

text: Ukulele varieties include hybrid instruments such as the guitalele (also called guitarlele), banjo ukulele (also called banjolele), harp ukulele, lap steel ukulele, and the ukelin. It is very common to find ukuleles mixed with other stringed instruments because of the amount of strings and the easy playing ability. There is also an electrically amplified variant of the ukulele. The resonator ukulele produces sound by one or more spun aluminum cones (resonators) instead of the wooden soundboard, giving it a distinct and louder tone. The Tahitian ukulele, another variant, is usually carved from a single piece of wood, and does not have a hollow soundbox, although the back is open. The Tahitian ukulele generally has eight strings made from fishing line, tuned the same as a Hawaiian ukulele in four courses, although the middle two courses are an octave higher than its Hawaiian cousin. Inspired by the Tahitian ukulele, there is the Motu Nui variant, from France, which has just four strings made from fishing line and the hole in the back is designed to produce a wah-wah effect. Mario Maccaferri invented an automatic chording device for the ukulele, called Chord Master.


title: Ukulele

text: Close cousins of the ukulele include the Portuguese forerunners, the "cavaquinho" (also commonly known as "machete" or "braguinha") and the slightly larger "rajão". Other relatives include the Venezuelan cuatro, the Colombian "tiple", the "timple" of the Canary Islands, the Spanish "vihuela", the Mexican requinto jarocho, and the Andean "charango" traditionally made of an armadillo shell. In Indonesia, a similar Portuguese-inspired instrument is the kroncong.


title: My Best Friend's Wedding

text: My Best Friend's Wedding is a 1997 American romantic comedy film directed by P.J. Hogan from a screenplay by Ronald Bass. The film stars Julia Roberts, Dermot Mulroney, Cameron Diaz, and Rupert Everett.


title: My Best Friend's Wedding

text: The film received generally positive reviews from critics and was a global box-office hit. The soundtrack song "I Say a Little Prayer" was covered by singer Diana King and featured heavily in the film, making it a U.S. "Billboard" Hot 100 hit. The soundtrack featured a number of Burt Bacharach/Hal David songs.


title: My Best Friend's Wedding

text: Three weeks before her 28th birthday, New York City food critic Julianne "Jules" Potter receives a call from her lifelong friend Michael O'Neal, a Chicago sportswriter. Years earlier, the two agreed that if they were both unmarried by age 28, they would marry each other. Michael tells her that in four days, he will marry beautiful Kimmy Wallace, a college student eight years his junior whose father owns the Chicago White Sox. Realizing that Michael is the love of her life, Jules resolves to sabotage his wedding. Arriving in Chicago, she reunites with Michael and meets Kimmy, who asks her to be the maid of honor. Jules schemes to break up the couple, but her attempt to humiliate Kimmy at a karaoke bar backfires. She manipulates Kimmy into asking her father to offer Michael a job, which Jules knows will anger Michael, but this fails as well.


title: My Best Friend's Wedding

text: Frustrated, Jules begs her friend George Downes for help, and he flies to Chicago. On George's advice, Jules prepares to tell Michael how much she loves him, but instead tells him that she is engaged to George, hoping to make Michael jealous. George, who is gay, plays along but embarrasses Jules at lunch with the wedding party, singing "I Say a Little Prayer" as the whole restaurant joins in. George flies home, and Jules tells Michael that her "relationship" with George is over. Michael admits to feeling jealous and gives her the chance to confess her own feelings, but she lets the moment pass. They share a dance as Michael sings their song, "The Way You Look Tonight".


title: My Best Friend's Wedding

text: The day before the wedding, at Kimmy's father's office, Jules uses his email account to forge a message from him to Michael's boss, asking that Michael be fired to allow Kimmy's father to hire him at Kimmy's insistence. She saves the message rather than send it, but later realizes that Kimmy's father has unknowingly sent the email. Jules lies to enlist Michael's help, but they find the office locked. Returning to Jules' hotel, Michael receives a message from his boss notifying him of the email. Furious, he calls Kimmy, calling off the wedding.


title: My Best Friend's Wedding

text: The next morning, Jules discovers that neither Michael nor Kimmy have told anyone else that the wedding is off. She tries to manipulate the couple into breaking up for good, but Michael and Kimmy decide to get married after all. Jules finally confesses her love to Michael and passionately kisses him. Kimmy witnesses this and drives away, pursued by Michael, who is followed by Jules in a caterer's truck. Jules calls George, who assures her that Michael loves Kimmy. Finding Michael at Chicago Union Station, Jules confesses to everything. He forgives her and tells her that here at the station is where he proposed to Kimmy and she accepted, and they split up to look for Kimmy.


title: My Best Friend's Wedding

text: Jules finds Kimmy in the bathroom of Comiskey Park. Amid a crowd of onlookers, Kimmy confronts Jules for interfering with Michael. Jules apologizes, assuring Kimmy that Michael truly loves her, and they reconcile. The wedding proceeds, and at the reception, Jules gives a heartfelt speech as Kimmy's maid of honor. Jules allows the newlyweds to temporarily have "The Way You Look Tonight" as their song until they find their own song. Jules and Michael share their goodbyes, both finally moving on. On the phone with George, Jules is surprised to see him at the reception, and they dance together.


title: My Best Friend's Wedding

text: In addition, Christopher Masterson plays Michael's younger brother Scotty, while Paul Giamatti briefly appears as a bellman who encounters Julianne in a hotel hallway.


title: My Best Friend's Wedding

text: The film opened at No. 2 at the North American box office, making $21,678,377 USD in its opening weekend, behind "Batman & Robin". It stayed in the top 10 weekly U.S. box-office for six consecutive weeks, and eventually earned $127,120,029. The worldwide gross total stands at $299,288,605 (listed as one of the 10 biggest films of 1997 both domestically and worldwide).


title: My Best Friend's Wedding

text: On review aggregator Rotten Tomatoes the film holds an approval rating of 73% based on 59 reviews, with an average rating of 6.4/10. The website's critical consensus reads, "Thanks to a charming performance from Julia Roberts and a subversive spin on the genre, "My Best Friend's Wedding" is a refreshingly entertaining romantic comedy." On Metacritic, the film has a weighted average score of 50 out of 100 based on 23 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.


title: My Best Friend's Wedding

text: "Total Film" praised the film, giving it four stars out of five and stating "[h]ere [Roberts] banishes all memories of "Mary Reilly" and "I Love Trouble" with a lively, nay sparkling, performance. Smiling that killer smile, shedding those winning tears, delivering great lines with effortless charm, Roberts is back where she rightly belongs - not in grey period costume, but as the sexy queen of laughs." The review also called the film "a perfect date movie" that "proves Roberts isn't as crap as we all thought she was."


title: My Best Friend's Wedding

text: Peter Travers of "Rolling Stone" called it "the summer-date-film supreme for pretty women and the gay men they love," despite criticisms of the script. He praises Roberts as "riper, more dexterous with a comic line, slyer with modulation," concluding that "Roberts puts her heart into this one." Joanna Berry of "Radio Times" gave it four stars out of five, observing that this "sparkling comedy" proved to be a career-resurrecting movie for Julia Roberts.


title: My Best Friend's Wedding

text: Roger Ebert of "Chicago Sun-Times" said, "One of the pleasures of Ronald Bass' screenplay is the way it subverts the usual comic formulas that would fuel a plot like this." CNN movie reviewer Carol Buckland said Roberts "lights up the screen", calling the film "fluffy fun".


title: My Best Friend's Wedding

text: Andrew Johnston, writing in "Time Out New York", observed, "The best scene occurs when Julianne's gay editor and confidant George (Everett) turns up in Chicago and poses as her fiancé, seizing control of the film for five delicious minutes. His devilish impersonation of a straight guy is priceless, and things only get better when he leads a sing-along at the rehearsal dinner. At times like this, when the film spins into pop culture overdrive that it stops being a star vehicle and flirts with genuine comic brilliance."


title: My Best Friend's Wedding

text: The soundtrack was released on June 17, 1997, and contains covers of familiar songs. It was praised by AllMusic for working "better than it should, since most of the vocalists... concentrate on the songs".


title: My Best Friend's Wedding

text: In addition, the 2002 Indian film "Mere Yaar Ki Shaadi Hai" ("It's My Friend's Wedding") was partially inspired by the film.


title: My Best Friend's Wedding

text: A stage musical adaptation of the film featuring songs by Burt Bacharach and Hal David and a book by screenplay writer Ronald Bass and Jonathan Harvey was announced to open in September 2021 (originally due to open September 2020 but postponed due to the COVID-19 pandemic) on a UK and Ireland tour, and was due to be directed by Rachel Kavanaugh and star Alexandra Burke as Julianne Potter. However on 30 June 2021, it was announced that the production was cancelled due to the impact of the COVID-19 pandemic, with the producers revealing they hope to revisit the show at a later date.


title: Patrick Bouvier Kennedy

text: Patrick Bouvier Kennedy (August 7–9, 1963) was the infant child of President John F. Kennedy and First Lady Jacqueline Kennedy and the younger brother of Caroline, John Jr., and Arabella.


title: Patrick Bouvier Kennedy

text: Born prematurely, Kennedy lived just over 39 hours before dying from complications of hyaline membrane disease (HMD), after desperate attempts to save him failed. His infant death left the First Family and nation in mourning. However, it also brought HMD, now known as infantile respiratory distress syndrome, into the public consciousness, inspiring further research.


title: Patrick Bouvier Kennedy

text: In August 1963, the 34-year-old Jacqueline Kennedy was in her third year as First Lady and in the third trimester of her fifth pregnancy. She had suffered a miscarriage in 1955, followed the next year by a stillborn baby girl that the Kennedys planned to name Arabella after a ship with that name. Two healthy children followed: Caroline in 1957 and John Jr. in 1960. As John had also been premature, she asked her obstetrician, John W. Walsh, to accompany her when she and her children spent the summer in Hyannis Port, Massachusetts. The nearby Otis Air Force Base Hospital had also prepared a suite for her in case it was necessary.


title: Patrick Bouvier Kennedy

text: On the morning of Wednesday, August 7, Jackie took Caroline and John Jr. for a pony ride in Osterville, Massachusetts. While the children were riding, Kennedy felt labor pains. Walsh was summoned, and they were taken by helicopter to Otis Air Force Base.


title: Patrick Bouvier Kennedy

text: President Kennedy was at the White House at the time. August 7 was the 20th anniversary of the day that the US Navy had rescued him in World War II after he had spent five days marooned on an island in the Pacific. Kennedy had been in command of Motor Torpedo Boat "PT-109" when it was rammed by a Japanese destroyer, killing two of his crew. His heroics had helped launch his political career. "PT-109" and August 7 were never far from his mind, and he kept a scale model of the boat on a shelf in the Oval Office and each day used a metal tie clasp shaped like a torpedo boat, with "PT 109" stamped across its bow.


title: Patrick Bouvier Kennedy

text: While his father was aboard Air Force One, the infant Kennedy was born by emergency caesarean section at 12:52 p.m. on August 7, 1963, at the Otis Air Force Base Hospital in Bourne, Massachusetts, five-and-a-half weeks prematurely. The caesarean section was performed by Dr. Walsh, who had also delivered Mrs. Kennedy of John Jr. in 1960. The infant's birth weight was . He was the first baby to be born to a serving US president and First Lady since the 19th century.


title: Patrick Bouvier Kennedy

text: Shortly after birth, Kennedy developed symptoms of hyaline membrane disease (HMD), now called infant respiratory distress syndrome (IRDS). It was detected by breathing difficulties within minutes. The president arrived, saw his son in distress, and sent for a chaplain. The infant was quickly baptized, named Patrick after his great-grandfather Patrick Joseph Kennedy (1858–1929). He was given the middle name of Bouvier after his mother's maiden name.


title: Patrick Bouvier Kennedy

text: The president was allowed to wheel the baby in an incubator to the First Lady's bedside. James E. Drorbaught, the pediatric specialist at Boston Children's Hospital, was flown by helicopter from Boston to consult on his case, and he recommended transfer to Boston. Five hours after birth, the infant, accompanied by Dr. Drorbaught, was rushed by ambulance to Boston Children's Hospital, away, in under 90 minutes. The transfer to the hospital in Boston was initially reported as a "precautionary measure," the White House said. The baby's condition was accurately reported as HMD, but it was also reported that it would take at least four days to assess his condition and that he was being given medication to assist his condition.


title: Patrick Bouvier Kennedy

text: At the time, all that could be done for a baby with hyaline membrane disease was to keep the patient's blood chemistry as close to normal as possible. Led by Dr. Drorbaught, who stayed awake the entire time, the hospital tried everything possible to save the infant's life. The baby was given hyperbaric oxygen therapy (HBOT) in which he was placed in a hyperbaric chamber filled with 100% oxygen and pressurized to greater than one atmosphere. At the time, the treatment was revolutionary; the "New York Times" described it as "one of the newest interests of medical researchers."


title: Patrick Bouvier Kennedy

text: Kennedy died at 4:04 a.m. on August 9 "despite a desperate medical effort to save him" and had lived 39 hours and 12 minutes. At the time of the infant's death, the president was outside the room with the hyperbaric chamber with his brother, Attorney General Robert F. Kennedy. The First Lady, then 34, remained at Otis Air Force Base Hospital recovering from the caesarean section. She was told of her son's death by Dr. Walsh. (He would console her again after her husband's assassination and was aboard Air Force One with her as she returned from Dallas with the president's body.) She was given a sedative and slept until the president flew from Boston. Very little was said about the family's reaction. White House Press Secretary Pierre Salinger stated of the First Lady's condition: "Given the circumstances, her condition is satisfactory." The president, who had reportedly slept only four hours since the birth, was photographed arriving at Otis Air Force Base looking "grave and appearing tired."


title: Patrick Bouvier Kennedy

text: A small funeral mass was held on August 10, 1963 in the private chapel of Cardinal Richard Cushing in Boston. The president's mother was in Paris and was told not to return for the funeral, but the First Lady's sister Lee Radziwill had already flown in from Greece before the baby died.


title: Patrick Bouvier Kennedy

text: Cushing, the Archbishop of Boston, performed the funeral mass, as he would for John F. Kennedy, assassinated 104 days later. Siblings Caroline, then five years old, and John Jr., two and a half, did not attend.


title: Patrick Bouvier Kennedy

text: The child was initially buried at Holyhood Cemetery in Brookline, Massachusetts, the president's hometown. His body and that of his stillborn sister Arabella were reinterred on December 5, 1963, alongside their father, at Arlington National Cemetery and later moved to their permanent graves in Section 45, Grid U-35.


title: Patrick Bouvier Kennedy

text: Kennedy's death made 1963 a "pivotal year" for neonatology, then still a relatively-new field, according to an examination of its history in the journal "Neonatology". The increased public awareness of HMD led to a corresponding increase in research of the disease, spurring development of new medical ventilators, blood gas tests and newborn intensive-care practices in both the United States and Europe. The first trials of a potential treatment for HMD, dipalmitoylphosphatidylcholine, were published within a few years but were not considered a clinical success. According to Dr. Suhas M. Nafday, director of Newborn Services at the Children's Hospital at Montefiore Medical Center in New York, the child's death "energized the neonatal researchers into action to look for an effective management of respiratory distress syndrome." In a review of advances in clinical medicine, researcher Thor Hansen observed that the "medical profession did not have the tools to help" Kennedy, "the newborn son of arguably the most powerful man in the world," but 50 years later, treatment of his condition would be considered routine, with survival expected.


title: Patrick Bouvier Kennedy

text: The parents were deeply affected by the death of their child. Secret Service agent Clint Hill recalled the couple having "a distinctly closer relationship" that was visible after the child's death. Press Secretary Pierre Salinger believed that the couple had been brought closer by the presidency but even more so by the child's death.


title: Aarne–Thompson–Uther Index

text: The Aarne–Thompson–Uther Index (ATU Index) is a catalogue of folktale types used in folklore studies. The ATU Index is the product of a series of revisions and expansions by an international group of scholars: originally composed in German by Finnish folklorist Antti Aarne (1910), the index was translated into English, revised, and expanded by American folklorist Stith Thompson (1928, 1961), and later further revised and expanded by German folklorist Hans-Jörg Uther (2004). The ATU Index, along with Thompson's "Motif-Index of Folk-Literature" (1932) - with which it is used in tandem -, is an essential tool for folklorists.


title: Aarne–Thompson–Uther Index

text: Austrian consul Johann Georg von Hahn devised a preliminary analysis of some 44 tale "formulae" as introduction to his book of Greek and Albanian folktales, published in 1864.


title: Aarne–Thompson–Uther Index

text: Reverend Sabine Baring-Gould, in 1866, translated von Hahn's list and expanded to 52 tale types, which he called "Story Radicals". Folklorist Joseph Jacobs expanded the list to seventy tale types and published it as "Appendix C" in Charlotte Sophia Burne and Laurence Gomme's "Handbook of Folk-Lore".


title: Aarne–Thompson–Uther Index

text: Before the edition of Antti Aarne's first folktale classification, Astrid Lunding translated Svend Grundtvig's system of folktale classification. This catalogue consisted of 134 types, mostly based on Danish folktale compilations in comparison to international collections available at the time by other folklorists, such as the Brothers Grimm's and Emmanuel Cosquin's.


title: Aarne–Thompson–Uther Index

text: Antti Aarne was a student of Julius Krohn and his son Kaarle Krohn. Aarne developed the historic-geographic method of comparative folkloristics, and developed the initial version of what became the Aarne–Thompson tale type index for classifying folktales, first published in 1910 as "Verzeichnis der Märchentypen" ("List of Fairy Tale Types"). The system was based on identifying motifs and the repeated narrative ideas that can be seen as the building-blocks of traditional narrative; its scope was European.


title: Aarne–Thompson–Uther Index

text: The American folklorist Stith Thompson revised Aarne's classification system in 1928, enlarging its scope, while also translating it from German into English. In doing so, he created the "AT number system" (also referred to as "AaTh system") which remained in use through the second half of the century. Another edition with further revisions by Thompson followed in 1961. According to American folklorist D. L. Ashliman, "The Aarne–Thompson system catalogues some 2500 basic plots from which, for countless generations, European and Near Eastern storytellers have built their tales".


title: Aarne–Thompson–Uther Index

text: The AT-number system was updated and expanded in 2004 with the publication of "The Types of International Folktales: A Classification and Bibliography" by German folklorist Hans-Jörg Uther. Uther noted that many of the earlier descriptions were cursory and often imprecise, that many "irregular types" are in fact old and widespread, and that "emphasis on oral tradition" often obscured "older, written versions of the tale types". To remedy these shortcomings Uther developed the Aarne–Thompson–Uther classification (ATU) system and included more tales from eastern and southern Europe as well as "smaller narrative forms" in this expanded listing. He also put the emphasis of the collection more explicitly on international folktales, removing examples whose attestation was limited to one ethnic group.


title: Aarne–Thompson–Uther Index

text: The Aarne–Thompson Tale Type Index divides tales into sections with an AT number for each entry. The names given are typical, but usage varies; the same tale type number may be referred to by its central motif or by one of the variant folktales of that type, which can also vary, especially when used in different countries and cultures. The name does not have to be strictly literal for every folktale. For example, "The Cat as Helper" (545B) also includes tales where a fox helps the hero. Closely related folktales are often grouped within a type. For example, tale types 400–424 all feature brides or wives as the primary protagonist, for instance "The Quest for a Lost Bride" (400) or the "Animal Bride" (402). Subtypes within a tale type are designated by the addition of a letter to the AT number, for instance: tale 510, "Persecuted Heroine" (renamed in Uther's revision as "Cinderella and Peau d'Âne" ["Cinderella and Donkey Skin"]), has subtypes 510A, "Cinderella", and 510B, "Catskin" (renamed in Uther's revision as "Peau d'Asne" [also "Donkey Skin"]).


title: Aarne–Thompson–Uther Index

text: As an example, the entry for 510A in the ATU index (with cross-references to motifs in Thompson's "Motif-Index of Folk Literature" in square brackets, and variants in parentheses) reads:


title: Aarne–Thompson–Uther Index

text: 510A "Cinderella". (Cenerentola, Cendrillon, Aschenputtel.) A young woman is mistreated by her stepmother and stepsisters [S31, L55] and has to live in the ashes as a servant. When the sisters and the stepmother go to a ball (church), they give Cinderella an impossible task (e.g. sorting peas from ashes), which she accomplishes with the help of birds [B450]. She obtains beautiful clothing from a supernatural being [D1050.1, N815] or a tree that grows on the grave of her deceased mother [D815.1, D842.1, E323.2] and goes unknown to the ball. A prince falls in love with her [N711.6, N711.4], but she has to leave the ball early [C761.3]. The same thing happens on the next evening, but on the third evening, she loses one of her shoes [R221, F823.2].


title: Aarne–Thompson–Uther Index

text: The prince will marry only the woman whom the shoe fits [H36.1]. The stepsisters cut pieces off their feet in order to make them fit into the shoe [K1911.3.3.1], but a bird calls attention to this deceit. Cinderella, who had first been hidden from the prince, tries on the shoe and it fits her. The prince marries her.


title: Aarne–Thompson–Uther Index

text: Combinations: This type is usually combined with episodes of one or more other types, esp. 327A, 403, 480, 510B, and also 408, 409, 431, 450, 511, 511A, 707, and 923.


title: Aarne–Thompson–Uther Index

text: The entry concludes, like others in the catalogue, with a long list of references to secondary literature on the tale, and variants of it.


title: Aarne–Thompson–Uther Index

text: In his essay "The Motif-Index and the Tale Type Index: A Critique", American folklorist Alan Dundes explains that the Aarne–Thompson indexes are some of the "most valuable tools in the professional folklorist's arsenal of aids for analysis".


title: Aarne–Thompson–Uther Index

text: The tale type index was criticized by Vladimir Propp of the Russian Formalist school of the 1920s for ignoring the of the motifs by which they are classified. Furthermore, Propp contended that using a "macro-level" analysis means that the stories that share motifs might not be classified together, while stories with wide divergences may be grouped under one tale type because the index must select some features as salient. He also observed that while the distinction between animal tales and tales of the fantastic was basically correct — no one would classify "Tsarevitch Ivan, the Fire Bird and the Gray Wolf" as an animal tale just because of the wolf — it did raise questions because animal tales often contained fantastic elements, and tales of the fantastic often contained animals; indeed a tale could shift categories if a peasant deceived a bear rather than a devil.


title: Aarne–Thompson–Uther Index

text: In describing the motivation for his work, Uther presents several criticisms of the original index. He points out that Thompson's focus on oral tradition sometimes neglects older versions of stories, even when written records exist, that the distribution of stories is uneven (with Eastern and Southern European as well as many other regions' folktale types being under-represented), and that some included folktale types have dubious importance. Similarly, Thompson had noted that the tale type index might well be called "The Types of the Folk-Tales of Europe, West Asia, and the Lands Settled by these Peoples". However, Alan Dundes notes that in spite of the flaws of tale type indexes (e. g., typos, redundancies, censorship, etc.; p. 198), "they represent the keystones for the comparative method in folkloristics, a method which despite postmodern naysayers ... continues to be the hallmark of international folkloristics" (p. 200).


title: Aarne–Thompson–Uther Index

text: Author Pete Jordi Wood claims that topics related to homosexuality have been excluded intentionally from the type index. Similarly, folklorist Joseph P. Goodwin states that Thompson omitted "much of the extensive body of sexual and 'obscene' material", and that - as of 1995 - "topics like homosexuality are still largely excluded from the type and motif indexes."


title: Aarne–Thompson–Uther Index

text: In regards to the geographical criticism, it has been said that the ATU folktype index seems to concentrate on Europe and North Africa, or overrepresent Eurasia and North America. The catalogue appears to ignore or underrepresent, for example, Central Asia, a region from where, some scholars propose, may emerge new folktale types, previously not contemplated by the original catalogue, such as 's "The Captive Khan and the Clever Daughter-in-Law" (and variants) and "The travelling girl and her helpful siblings", or "Woman's Magical Horse", as named by researcher Veronica Muskheli of the University of Washington.


title: Aarne–Thompson–Uther Index

text: In regards to the typological classification, some folklorists and tale comparativists have acknowledged singular tale types that, due to their own characteristics, would merit their own type. However, such tales have not been listed in the international folktale system, yet they exist in regional or national classifications.


title: Aarne–Thompson–Uther Index

text: A quantitative study, published by folklorist Sara Graça da Silva and anthropologist Jamshid J. Tehrani in 2016, tried to evaluate the time of emergence for the "Tales of Magic" (ATU 300–ATU 749), based on a phylogenetic model. They found four of them to belong to the Proto-Indo-European (PIE) stratum of magic tales:


title: Aarne–Thompson–Uther Index

text: Ten more magic tales were found to be current throughout the Western branch of the Indo-European languages, comprising the main European language families derived from PIE (i. e. Balto-Slavic, Germanic, Italic and Celtic):


title: Call My Agent!

text: Call My Agent! () is a French comedy-drama television series that premiered on France 2 on 14 October 2015. The series depicts talent agents at the fictional agency ASK ("Agence Samuel Kerr") and their relationships with their actor clients, who are real, mainly French, celebrities playing themselves.


title: Call My Agent!

text: It was initially planned that the show would end after its fourth season in 2020, but in April 2021 it was announced that the show would return with a 90-minute TV film followed by a fifth season. "Call My Agent!" has been broadcast by ICI ARTV in Canada, RTS Un in Switzerland and is available worldwide on Netflix, except in Austria, Spain, Germany and Portugal.


title: Call My Agent!

text: The series follows four agents who jointly take control of a fictional talent agency (ASK, ) after the death of its founder and head. The agents attempt to manage film production crises arising from their stars' egos, financial and legal difficulties, and other complications, while also maintaining rivalries with one another for power and prestige. Most episodes focus on a single actor, their agent, and the production of a film in which they are starring. The series also depicts the agents' private lives, and how they are affected and often harmed by their busy and stressful professional lives.


title: Call My Agent!

text:
Season 1 (2015)
"Episode 1": Cécile de France
"Episode 2": Line Renaud & Françoise Fabian
"Episode 3": Nathalie Baye, Laura Smet, Gilles Lellouche & Zinedine Soualem
"Episode 4": Audrey Fleurot
"Episode 5": Julie Gayet, JoeyStarr & Zinedine Soualem
"Episode 6": François Berléand


title: Call My Agent!

text:
Season 2 (2017)
"Episode 1": Michel Drucker, Virginie Efira, Ramzy Bedia
"Episode 2": Fabrice Luchini & Christophe Lambert
"Episode 3": Julien Doré, Norman Thavaud & Aymeline Valade
"Episode 4": Isabelle Adjani & Julien Doré
"Episode 5": Guy Marchand
"Episode 6": Juliette Binoche


title: Call My Agent!

text:
Season 3 (2018)
"Episode 1": Jean Dujardin
"Episode 2": Monica Bellucci
"Episode 3": Gérard Lanvin & Guy Marchand
"Episode 4": Isabelle Huppert
"Episode 5": Béatrice Dalle
"Episode 6": Jean Dujardin, Monica Bellucci, Gérard Lanvin, Audrey Fleurot, Claude Lelouch, JoeyStarr, Françoise Fabian & Line Renaud


title: Call My Agent!

text:
Season 4 (2020)
"Episode 1:" Charlotte Gainsbourg & Mimie Mathy
"Episode 2:" Franck Dubosc
"Episode 3:" José Garcia
"Episode 4:" Sandrine Kiberlain
"Episode 5:" Sigourney Weaver
"Episode 6": Jean Reno


title: Call My Agent!

text: Laurent Tirard directed two episodes, Antoine Garceau and Jeanne Herry directed one episode of the second season.


title: Call My Agent!

text: Dominique Besnehard, Fanny Herrero, Julien Messemackers, Michel Vereecken, Sabrina B. Karine, Anais Carpita, Quoc Dang Tran, Nicolas Mercier, Camille Chamoux, Camille de Castelnau, Cécile Ducrocq, Benjamin Dupas and Eliane Montane wrote the first season.


title: Call My Agent!

text: Dominique Besnehard, Cédric Klapisch, Michel Feller, Aurelien Larger and Harold Valentin produced the series.


title: Call My Agent!

text: The first season was filmed from November 2014 to February 2015. The second season was shot from September to December 2016.


title: Mad Max 2

text: Mad Max 2 (released as The Road Warrior in the United States) is a 1981 Australian post-apocalyptic action film directed by George Miller. It is the second installment in the "Mad Max" franchise, with Mel Gibson reprising his role as "Mad" Max Rockatansky. The film's tale of a community of settlers moved to defend themselves against a roving band of marauders follows an archetypical "Western" frontier movie motif, as does Max's role as a hardened man whose decision to assist the settlers helps him rediscover his humanity. Filming took place in locations around Broken Hill, in the Outback of New South Wales.


title: Mad Max 2

text: The film was released on 24 December 1981 to widespread critical acclaim, with particular praise given to Gibson's performance, the musical score, cinematography, action sequences, costume design and sparing use of dialogue. It was also a box office success, and the film's post-apocalyptic and punk aesthetics helped popularise the genre in film and fiction writing. At the 10th Saturn Awards, the film won Best International Film and was nominated for five more awards: Best Director, Best Actor for Gibson, Best Supporting Actor for Bruce Spence, Best Writing, and Best Costumes for Norma Moriceau. "Mad Max 2" is widely hailed as both one of the greatest action movies of all time and one of the greatest sequels ever made, and fan clubs for the film and "road warrior"-themed activities continue into the 21st century.


title: Mad Max 2

text: Preceded by "Mad Max" in 1979, the film was followed by "Mad Max Beyond Thunderdome" in 1985 and "" in 2015.


title: Mad Max 2

text: After a global war resulted in widespread oil shortages, civilization collapsed, and the world descended into barbarism. Now, former policeman Max Rockatansky, haunted by the death of his family, drives his supercharged black V-8 Pursuit Special around the desert wilderness of Australia, scavenging for food and petrol with his Australian Cattle Dog. He outmaneuvers a small group of marauders led by the unhinged biker Wez using his driving skills and a sawed-off shotgun and gets some petrol from a wrecked semi-truck.


title: Mad Max 2

text: Later, Max tries collecting an apparently abandoned gyrocopter's fuel, but is ambushed by the pilot. Max overpowers the man with his dog's help, sparing his life in return for being led to a working oil refinery the pilot has discovered. They arrive during the daily attack on the facility by a motley motorised gang, whose members include Wez.


title: Mad Max 2

text: The next day, Max witnesses several cars leave the besieged compound and get chased down by marauders. He rescues the sole survivor of one car and strikes a deal to return him to the complex in exchange for fuel, but the man dies shortly after Max gets him back, and the leader of the settlers, Papagallo, reneges on the deal. The settlers are about to confiscate Max's car and cast him out of their compound when the marauders return to parley. A feral child who lives in the wasteland near the refinery kills Wez's partner with a metal boomerang and Wez wants revenge, but the gang's leader, a muscular masked man called "Lord Humungus", offers to spare the settlers' lives in exchange for their fuel supply and leaves for the day.


title: Mad Max 2

text: With the settlers split about what to do, Max offers his own deal: he will bring them the semi-truck he saw earlier so they can try to haul away their tanker full of oil, if they return his car and give him as much fuel as he can carry. The settlers agree to let him try, and that night Max sneaks past the marauders on foot carrying fuel for the truck. He encounters the Gyro Captain and forces the man to fly him to the truck, which he is able to get started. It is somewhat damaged as Max passes through the marauders' encampment on the way back to the refinery, but he makes it, followed by the gyrocopter.


title: Mad Max 2

text: Max refuses Papagallo's entreaty to accompany the settlers to a fabled northern paradise, opting instead to collect his fuel and leave. Wez catches him using Humungus's nitrous oxide-equipped vehicle and causes him to crash. A Marauder kills Max's dog and is about to kill the seriously-injured Max when a Marauder named Toadie attempts to siphon the fuel from the Pursuit Special's tanks, triggering the car to self-destruct. Left for dead, Max is rescued by the Gyro Captain and returned to the compound.


title: Mad Max 2

text: Despite his injuries, Max insists on driving the repaired truck during the escape. His support consists of the Gyro Captain, Papagallo in a separate vehicle, three of the settlers on the outside of the armoured tanker, and the Feral Kid, who jumps on the truck as it is leaving. The marauders pursue the tanker, allowing the remaining settlers to flee their compound in a caravan of smaller vehicles after rigging the refinery to explode.


title: Mad Max 2

text: Papagallo and the three settlers are killed and the Gyro Captain is shot down. Max turns the truck around and, as he is fighting with Wez, Humungus collides with the truck head on, killing Wez and himself. The truck rolls off the road and the surviving marauders survey the scene and leave. As Max carries the Feral Kid from the wrecked tanker, he sees sand, not oil, leaking from the tank. The Gyro Captain drives up and takes Max and the Feral Kid to rendezvous with the settlers, who transported the fuel in oil drums inside their vehicles.


title: Mad Max 2

text: The Gyro Captain succeeds Papagallo as leader of the settlers and takes them north. The Feral Kid, revealing himself as the film's narrator, relates that he became "Chief of the Great Northern Tribe" when he grew up. He concludes by saying that he never saw the Road Warrior again.


title: Mad Max 2

text: Following the release of "Mad Max", director George Miller received a number of offers from Hollywood, including one to direct "First Blood", but he instead decided to develop a rock and roll movie, the working title of which was "Roxanne". After working together on the novelization of "Mad Max", Miller and Terry Hayes teamed up in Los Angeles to write "Roxanne", but the script was ultimately shelved. Miller then became intrigued with the idea of returning to the world of "Mad Max", as a larger budget would allow him to be more ambitious. He said: "Making "Mad Max" was a very unhappy experience for me. I had absolutely no control over the final product," but "There was strong pressure to make a sequel, and I felt we could do a better job with a second movie." Inspired by Joseph Campbell's "The Hero with a Thousand Faces" and the work of Carl Jung, as well as the films of Akira Kurosawa, Miller recruited Hayes to join the production as a scriptwriter. Brian Hannant also came on board as co-writer, first assistant director, and second unit director.


title: Mad Max 2

text: Principal photography took place over the course of twelve weeks in the winter of 1981 near Broken Hill, New South Wales. The scene where the Pursuit Special rolls over and explodes was shot at Wilangee Road near the Mundi Mundi Plains lookout, just outside of Silverton. Filming also took place at the Pinnacles, which is where the set of the oil refinery compound was constructed.


title: Mad Max 2

text: The musical score for "Mad Max 2" was composed and conducted by Australian composer Brian May, who had also composed the music for Mad Max. A soundtrack album was released by Varèse Sarabande in 1982.


title: Mad Max 2

text: The original cut of the film was more bloody and violent, but it was cut down heavily to receive an "M" rating from Australian censors. Entire scenes and sequences were deleted completely, and others were edited. When the film was submitted to the MPAA in the United States, two additional scenes were shortened (the scene in which Wez pulls an arrow out of his arm and the one in which he pulls the boomerang out of the Golden Youth's head). Although the version of the film that includes the scenes trimmed down for the MPAA survives, no version without the previous deletions exists.


title: Mad Max 2

text: "Mad Max 2" was a commercial success, grossing A$10.8 million in Australia alone, which was double what "Mad Max" had earned in the country to become the highest-grossing Australian film at the Australian box office. Despite making more than its predecessor, however, "Mad Max 2" never held that record, because "Gallipoli" was released earlier in 1981 and grossed A$11.7 million in Australia.


title: Mad Max 2

text: In the United States, with a gross of US$23.6 million and theatrical rentals of $11 million, the film also outperformed "Mad Max". When that film was released in the U.S. in 1980, it did not receive a proper release from its distributor, American International Pictures, as AIP was in the final stages of a change of ownership after being bought by Filmways, Inc. a year earlier, and its box office was affected. Warner Bros. decided to release "Mad Max 2" in the United States, but, recognising the first film was not well-known in North America (although it was becoming more popular through cable channel showings), they decided to change the name of the sequel to "The Road Warrior". The advertising for the film, including print ads, trailers, and TV commercials, did not refer to the Max character at all and shied away from the fact that the film was a sequel. For the majority of American viewers, their first inkling of "The Road Warrior" being a sequel to "Mad Max" was when they saw the black and white, archival footage from the first film during the prologue of the second. When Vestron Video later released "Mad Max" on home video, they capitalized by labeling it "the thrilling predecessor to "The Road Warrior"".


title: Mad Max 2

text: Outside of the U.S., the film earned rentals of $25 million (including Australia), for a worldwide total of $36 million, making it the highest-grossing Australian film worldwide.


title: Mad Max 2

text: The film received positive reviews and is regarded by many critics as one of the best films of 1981. On review aggregator website Rotten Tomatoes, the film holds an approval rating of 95% based on reviews from 55 critics, with an average rating of 8.40/10; the site's "critics consensus" reads: ""The Road Warrior" is everything a bigger-budgeted "Mad Max" sequel should be: bigger, faster, louder, but definitely not dumber." On Metacritic, the film has a rating of 77 out of 100 based on 15 reviews, indicating "generally favourable reviews".


title: Mad Max 2

text: Film critic Roger Ebert of the "Chicago Sun-Times" gave the film three-and-a-half stars out of four, praised its "skillful filmmaking," and called it "a film of pure action, of kinetic energy", which is "one of the most relentlessly aggressive movies ever made". While Ebert pointed out the film does not develop its "vision of a violent future world ... with characters and dialogue", and uses only the "barest possible bones of a plot", he praised its action sequences. Ebert called the climactic chase sequence "unbelievably well-sustained" and stated that the "special effects and stunts ... are spectacular", creating a "frightening, sometimes disgusting, and (if the truth be told) exhilarating" effect.


title: Mad Max 2

text: In his review for "The New York Times", Vincent Canby wrote: "Never has a film's vision of the post-nuclear-holocaust world seemed quite as desolate and as brutal, or as action-packed and sometimes as funny as in George Miller's apocalyptic "The Road Warrior", an extravagant film fantasy that looks like a sadomasochistic comic book come to life". Writing for "Newsweek", Charles Michener praised Mel Gibson's "easy, unswaggering masculinity", saying that "[his] hint of Down Under humor may be quintessentially Australian but is also the stuff of an international male star".


title: Mad Max 2

text: Gary Arnold, in his review for "The Washington Post", wrote: "While he seems to let triumph slip out of his grasp, Miller is still a prodigious talent, capable of a scenic and emotional amplitude that recalls the most stirring attributes in great action directors like Kurosawa, Peckinpah and Leone". Pauline Kael called "Mad Max 2" a "mutant" film that was "sprung from virtually all action genres", creating "one continuous spurt of energy" by using "jangly, fast editing", but criticized Miller's "attempt to tap into the universal concept of the hero", stating that this attempt "makes the film joyless", "sappy", and "sentimental".


title: Mad Max 2

text: Richard Scheib called "Mad Max 2" "one of the few occasions where a sequel makes a dramatic improvement in quality over its predecessor." He called it a "kinetic comic-book of a film" and an "exhilarating non-stop rollercoaster ride of a film that contains some of the most exciting stunts and car crashes ever put on screen." Scheib stated that the film transforms the "post-holocaust landscape into the equivalent of a Western frontier," such that "Mel Gibson's Max could just as easily be Clint Eastwood's tight-lipped Man With No Name" helping protect "decent frightened folk" from the "marauding Redskins".


title: Mad Max 2

text: Christopher John reviewed "The Road Warrior" in "Ares Magazine" #13 and commented that "Its taut scripting, exceptional performances, and pulse-pounding pacing, which leaves an audience breathless, combined to make it one of the best SF films of the year. It also has the courage to show what the face of death "really" looks like. Mel Gibson's portrayal of Max is hard, bitter and realistic; he is neither hero nor coward, but a man caught up in a mad future which he confronts unafraid." "The Encyclopedia of Science Fiction" says "Mad Max 2", "with all its comic-strip energy and vividness ... is exploitation cinema at its most inventive."


title: Mad Max 2

text: At the 24th Australian Film Institute Awards, the film won Best Direction, Best Editing, Best Production Design, Best Sound, and Best Costume Design, and it was nominated for Best Cinematography and Best Original Music Score; it received the most nominations and wins of any film at the ceremony, but it was not nominated for Best Film. At the Academy of Science Fiction, Fantasy and Horror Films' 10th Saturn Awards, the film won the award for Best International Film and generated nominations for Best Director, Best Actor (Mel Gibson), Best Supporting Actor (Bruce Spence), Best Writing, and Best Costumes. Additionally, the film won the Los Angeles Film Critics Association Award for Best Foreign Film and was nominated for the Hugo Award for Best Dramatic Presentation, and George Miller won the Grand Prize at the Avoriaz Fantastic Film Festival for his work on the film.


title: Mad Max 2

text: The film's depiction of a post-apocalyptic future has so widely influenced other filmmakers and science fiction writers that its gritty "junkyard society of the future look ... is almost taken for granted in the modern science-fiction action film." The dystopian, apocalyptic, and post-apocalyptic themes and imagery in the "Mad Max" series of films have inspired some artists to recreate the look and feel of some aspects of the series in their work, and fan clubs and "road warrior"-themed activities continue into the 21st century.


title: Mad Max 2

text: In 2008, "Mad Max 2" was selected by "Empire" magazine as one of "The 500 Greatest Movies of All Time". Similarly, "The New York Times" placed the film on its "Best 1000 Movies Ever" list. "Entertainment Weekly" ranked "Mad Max 2" 93rd on its list of the "100 Greatest Movies of All Time" in 1999 and 41st on its updated list of the "All-Time 100 Greatest Films" in 2013, and the publication ranked the character of Mad Max 11th on its list of "The All Time Coolest Heroes in Pop Culture". In 2016, James Charisma of "Playboy" ranked the film 11th on a list of "15 Sequels That Are Way Better Than the Originals".


title: Mad Max 2

text: A museum dedicated to "Mad Max 2" was established in 2010 in the small town of Silverton (which is 25 kilometres from Broken Hill in New South Wales) by Adrian and Linda Bennett, who had built a collection of "Mad Max" props and memorabilia after moving to Silverton.


title: Starship Troopers

text: Starship Troopers is a military science fiction novel by American writer Robert A. Heinlein. Written in a few weeks in reaction to the US suspending nuclear tests, the story was first published as a two-part serial in "The Magazine of Fantasy & Science Fiction" as Starship Soldier, and published as a book by G. P. Putnam's Sons in December 1959.


title: Starship Troopers

text: The story is set in a future society ruled by a human interstellar government dominated by a military elite, referred to as the "Terran Federation". Under this system, only veterans of the military enjoy full citizenship, including the right to vote. The first-person narrative follows Juan "Johnny” Rico, a young man of Filipino descent, through his military service in the Mobile Infantry. Rico progresses from recruit to officer against the backdrop of an interstellar war between humans and an alien species known as "Arachnids" or "Bugs". Interspersed with the primary plot are classroom scenes in which Rico and others discuss philosophical and moral issues, including aspects of suffrage, civic virtue, juvenile delinquency, and war; these discussions have been described as expounding Heinlein's own political views. "Starship Troopers" has been identified with a tradition of militarism in US science fiction, and draws parallels between the conflict between humans and the Bugs, and the Cold War. A coming-of-age novel, "Starship Troopers" also critiques the US society of the 1950s, arguing that a lack of discipline had led to a moral decline, and advocates corporal and capital punishment.


title: Starship Troopers

text: "Starship Troopers" brought to an end Heinlein's series of juvenile novels. It became one of his best-selling books, and is considered his most widely known work. It won the Hugo Award for Best Novel in 1960, and garnered praise from reviewers for its scenes of training and combat and its visualization of a future military. It also became enormously controversial because of the political views it seemed to support. Reviewers were strongly critical of the book's intentional glorification of the military, an aspect described as propaganda and likened to recruitment. The novel's militarism, and the fact that government service — most often military service — was a prerequisite to the right to vote in the novel's fictional society, led to it being frequently described as fascist. Others disagree, arguing that Heinlein was only exploring the idea of limiting the right to vote to a certain group of people. Heinlein's depiction of gender has also been questioned, while reviewers have said that the terms used to describe the aliens were akin to racial epithets.