title: Ancient Olympic Games

text: Another myth of the origin of the games is the story of Pelops, a local Olympian hero. Oenomaus, the king of Pisa, had a daughter named Hippodamia, and according to an oracle, the king would be killed by her husband. Therefore, he decreed that any young man who wanted to marry his daughter was required to drive away with her in his chariot, and Oenomaus would follow in another chariot, and spear the suitor if he caught up with them. Now, the king's chariot horses were a present from the god Poseidon and therefore supernaturally fast. The king's daughter fell in love with a man called Pelops. Before the race however, Pelops persuaded Oenomaus' charioteer Myrtilus to replace the bronze axle pins of the king's chariot with wax ones. Naturally, during the race, the wax melted and the king fell from his chariot and was killed. After his victory, Pelops organized chariot races as a thanksgiving to the gods and as funeral games in honor of King Oenomaus, in order to be purified of his death. It was from this funeral race held at Olympia that the beginnings of the Olympic Games were inspired. Pelops became a great king, a local hero, and he gave his name to the Peloponnese.


title: Ancient Olympic Games

text: One (later) myth, attributed to Pindar, states that the festival at Olympia involved Heracles, the son of Zeus: According to Pindar, Heracles established an athletic festival to honor his father, Zeus, after he had completed his labors.


title: Ancient Olympic Games

text: The patterns that emerge from these myths are that the Greeks believed the games had their roots in religion, that athletic competition was tied to worship of the gods, and the revival of the ancient games was intended to bring peace, harmony and a return to the origins of Greek life.


title: Ancient Olympic Games

text: The Olympic games were held to be one of the two central rituals in ancient Greece, the other being the much older religious festival, the Eleusinian Mysteries.


title: Ancient Olympic Games

text: Areas around the Mediterranean had a long tradition of athletic events. Ancient Egyptians and Mesopotamians depicted athletic scenes in tombs of kings and their nobles. They did not, however, hold regular competitions, and those events that occurred were probably the preserve of kings and upper classes. Minoans culture held gymnastics in high esteem, with bull-leaping, tumbling, running, wrestling and boxing shown on their frescoes. The Mycenaeans adopted Minoan games and also raced chariots in religious or funerary ceremonies. Homer's heroes participate in athletic competitions to honor the dead. In the "Iliad" there are chariot races, boxing, wrestling, a foot race, as well as fencing, archery, and spear throwing. The "Odyssey" adds to these a long jump and discus throw.


title: Ancient Olympic Games

text: Aristotle reckoned the date of the first Olympics to be 776 BC, a date largely accepted by most, though not all, subsequent ancient historians. It is still the traditionally given date and archaeological finds confirm, approximately, the Olympics starting at or soon after this time.


title: Ancient Olympic Games

text: Archaeology suggests that major games at Olympia arose not in 776 but probably around 700. Christesen's important work on the Olympic victor lists shows that victors' names and details were unreliable until the sixth century. Moreover, scholars have demythologized ancient Olympia (and other famous games) by noting excessive violence, ethnic and gender chauvinism, corruption, commercialization, and political propaganda. Olympia was a sanctuary, but it was within. Elis's independent state administered it, and while the Eleans managed the games well, there sometimes was bias and interference. Also, despite modern illusions, the famous Olympic truce only mandated safe passage for visitors; it did not stop all wars in Greece or even at Olympia.


title: Ancient Olympic Games

text: The historian Ephorus, who lived in the fourth century BC, is one potential candidate for establishing the use of Olympiads to count years, although credit for codifying this particular epoch usually falls to Hippias of Elis, to Eratosthenes, or even to Timaeus, whom Eratosthenes may have imitated. The Olympic Games were held at four-year intervals, and later, the ancient historians' method of counting the years even referred to these games, using "Olympiad" for the period between two games. Previously, the local dating systems of the Greek states were used (they continued to be used by everyone except the historians), which led to confusion when trying to determine dates. For example, Diodorus states that there was a solar eclipse in the third year of the 113th Olympiad, which must be the eclipse of 316 BC. This gives a date of (mid-summer) 765 BC for the first year of the first Olympiad. Nevertheless, there is disagreement among scholars as to when the games began.


title: Ancient Olympic Games

text: According to the later Greek traveller Pausanias, who wrote in 175 AD, the only competition held at first was the "stadion", a race over about . The word "stadium" is derived from this event.


title: Ancient Olympic Games

text: Several groups fought over control of the sanctuary at Olympia, and hence the games, for prestige and political advantage. Pausanias later writes that in 668 BC, Pheidon of Argos was commissioned by the town of Pisa to capture the sanctuary from the town of Elis, which he did and then personally controlled the games for that year. The next year, Elis regained control.


title: Ancient Olympic Games

text: In the first 200 years of the games' existence, they only had regional religious importance. Only Greeks in proximity to Olympia competed in these early games. This is evidenced by the dominance of Peloponnesian athletes in the victors' roles.


title: Ancient Olympic Games

text: Greek sports also derived its origins from the concept that physical energy was being expended in a ritualistic manner, in which Paleolithic age hunting practices were turned into a more socially and glamorized function, thus becoming sport. The Greeks in particular were unique in the regard that their competitions were often held in grand facilities, with prizes and nudity that stressed the Greek idealisms of training one's body to be as fit as their mind. It is this ideology and athletic exceptionalism that resulted in theories claiming the Greeks were the inventors of sport


title: Ancient Olympic Games

text: Over time, the Olympic Games gained increasing recognition and became part of the Panhellenic Games, four separate games held at two- or four-year intervals, but arranged so that there was at least one set of games every year. The other Panhellenic Games were the Pythian, Nemean, and Isthmian Games, though the Olympic Games were considered the most prestigious.


title: Ancient Olympic Games

text: After the Roman conquest of Greece the Olympics continued but the event declined in popularity throughout the pre-Augustan era. During this period, Romans largely concentrated on domestic problems, and paid less attention to their provinces. The fact that all equestrian victors were from the immediate locality and that there is a "paucity of victor statues in the Altis" from this period suggests the games were somewhat neglected.


title: Ancient Olympic Games

text: In 86 BC the Roman general Sulla robbed Olympia and other Greek treasuries to finance a war. He was the only Roman to commit violence against Olympia. Sulla hosted the games in 80 BC as a celebration of his victories over Mithridates. Supposedly the only contest held was the stadion race because all the athletes had been called to Rome.


title: Ancient Olympic Games

text: Under the rule of emperor Augustus the Olympics underwent a revival. Before he came to full power, Augustus' right-hand man Marcus Agrippa restored the damaged temple of Zeus and in 12 BC Augustus asked King Herod of Judea to subsidize the games.


title: Ancient Olympic Games

text: After Augustus was declared a god by the Senate after his death, a statue of his likeness was commissioned at Olympia. Subsequent divine emperors also had statues erected within the sacred Altis. The stadium was renovated at his command and Greek athletics in general were subsidized.


title: Ancient Olympic Games

text: One of the most infamous events of Olympic history occurred under the rule of Nero. He desired victory in all chariot races of the Panhellenic Games in a single year, so he ordered the four main hosts to hold their games in 67 and therefore the scheduled Olympics of 65 were postponed. At Olympia he was thrown from his chariot, but still claimed victory. Nero also considered himself a talented musician, so he added contests in music and singing to those festivals that lacked them, including the Olympics. Nero won all of those contests, no doubt because judges were afraid to award victory to anyone else. After his assassination, the Olympic judges had to repay the bribes he had bestowed and declared the "Neronian Olympiad" to be void.


title: Ancient Olympic Games

text: In the first half of the second century, the Philhellenic emperors, Hadrian and Antoninus Pius oversaw a new and successful phase in the history of the games. The Olympics attracted a great number of spectators and competitors and the victors' fame spread across the Roman Empire. The renaissance endured for most of the second century. Once again, "philosophers, orators, artists, religious proselytizers, singers, and all kinds of performers went to the festival of Zeus."


title: Ancient Olympic Games

text: The 3rd century saw a decline in the popularity of the games. The victory list of Africanus ends at the Olympiad of 217 and no surviving text of subsequent authors mention any new Olympic victors. Excavated inscriptions show the games continued, however. Until recently the last securely datable winner was Publius Asclepiades of Corinth who won the pentathlon in 241. In 1994 a bronze plaque was found inscribed with victors of the combative events hailing from the mainland and Asia Minor; proof that an international Olympic Games continued until at least 385.


title: Ancient Olympic Games

text: The games continued past 385, by which time flooding and earthquakes had damaged the buildings and invasions by barbarians had reached Olympia. The last recorded games were held under Theodosius I in 393, but archeological evidence indicates that some games were still held.


title: Ancient Olympic Games

text: Olympia lies in the valley of the Alfeiós River (Romanized as Alpheus) in the western part of the Peloponnese, today around 18 km away from the Ionian Sea but perhaps, in antiquity, half that distance. The Altis, as the sanctuary as was originally known, was an irregular quadrangular area more than 180 meters on each side and walled except to the North where it was bounded by the Mount Kronos. It consisted of a somewhat disordered arrangement of buildings, the most important of which are the Temple of Hera, the Temple of Zeus, the Pelopion and the area of the great altar of Zeus, where the largest sacrifices were made. The name Altis was derived from a corruption of the Elean word also meaning "the grove" because the area was wooded, olive and plane trees in particular.


title: Ancient Olympic Games

text: Uninhabited throughout the year, when the games were held the site became over congested. There were no permanent living structures for spectators, who, rich or poor, made do with tents. Ancient visitors recall being plagued by summer heat and flies; such a problem that sacrifices were made to Zeus Averter of Flies. The site's water supply and sanitation were finally improved after nearly a thousand years, by the mid-second century AD.


title: Ancient Olympic Games

text: The ancient Olympics were as much a religious festival as an athletic event. The games were held in honor of the Greek god Zeus, and on the middle day of the games, 100 oxen would be sacrificed to him. Over time, Olympia, the site of the games, became a central spot for the worship of the head of the Greek pantheon and a temple, built by the Greek architect Libon, was erected on the mountaintop. The temple was one of the largest Doric temples in Greece. The sculptor Pheidias created a statue of Zeus made of gold and ivory. It stood tall. It was placed on a throne in the temple. The statue became one of the seven wonders of the ancient world. As the historian Strabo put it,


title: Ancient Olympic Games

text: Artistic expression was a major part of the games. Sculptors, poets, painters and other artisans would come to the games to display their works in what became an artistic competition. Poets would be commissioned to write poems in praise of the Olympic victors. Such victory songs or epinicians, were passed on from generation to generation and many of them have lasted far longer than any other honor made for the same purpose. Pierre de Coubertin, one of the founders of the modern Olympic Games, wanted to fully imitate the ancient Olympics in every way. Included in his vision was an artistic competition modeled on the ancient Olympics and held every four years, during the celebration of the Olympic Games. His desire came to fruition at the Olympics held in Athens in 1896.


title: Ancient Olympic Games

text: Power in ancient Greece became centered around the city-state in the 8th century BC. The city-state was a population center organized into a self-contained political entity. These city-states often lived in close proximity to each other, which created competition for limited resources. Though conflict between the city-states was ubiquitous, it was also in their self-interest to engage in trade, military alliances and cultural interaction. The city-states had a dichotomous relationship with each other: on one hand, they relied on their neighbors for political and military alliances, while on the other they competed fiercely with those same neighbors for vital resources. The Olympic Games were established in this political context and served as a venue for representatives of the city-states to peacefully compete against each other.


title: Ancient Olympic Games

text: The spread of Greek colonies in the 5th and 6th centuries BC is repeatedly linked to successful Olympic athletes. For example, Pausanias recounts that Cyrene was founded c. 630 BC by settlers from Thera with Spartan support. The support Sparta gave was primarily the loan of three-time Olympic champion Chionis. The appeal of settling with an Olympic champion helped to populate the colonies and maintain cultural and political ties with the city-states near Olympia. Thus, Hellenic culture and the games spread while the primacy of Olympia persisted.


title: Ancient Olympic Games

text: The games faced a serious challenge during the Peloponnesian War, which primarily pitted Athens against Sparta, but, in reality, touched nearly every Hellenic city-state. The Olympics were used during this time to announce alliances and offer sacrifices to the gods for victory.


title: Ancient Olympic Games

text: During the Olympic Games, a truce, or "ekecheiria" was observed. Three runners, known as "spondophoroi", were sent from Elis to the participant cities at each set of games to announce the beginning of the truce. During this period, armies were forbidden from entering Olympia. Legal disputes and the use of the death penalty were forbidden. The truce — primarily designed to allow athletes and visitors to travel safely to the games — was, for the most part, observed. Thucydides wrote of a situation when the Spartans were forbidden from attending the games, and the violators of the truce were fined 2,000 minae for assaulting the city of Lepreum during the period of the "ekecheiria". The Spartans disputed the fine and claimed that the truce had not yet taken hold.


title: Ancient Olympic Games

text: While a martial truce was observed by all participating city-states, no such reprieve from conflict existed in the political arena. The Olympic Games evolved the most influential athletic and cultural stage in ancient Greece, and arguably in the ancient world. As such the games became a vehicle for city-states to promote themselves. The result was political intrigue and controversy. For example, Pausanias, a Greek historian, explains the situation of the athlete Sotades,


title: Ancient Olympic Games

text: Apparently starting with just a single foot race, the program gradually increased to twenty-three contests, although no more than twenty featured at any one Olympiad. Participation in most events was limited to male athletes, except for women who were allowed to take part by entering horses in the equestrian events. Youth events are recorded as starting in 632 BC. Our knowledge of how the events were performed primarily derives from the paintings of athletes found on many vases, particularly those of the Archaic and Classical periods.


title: Ancient Olympic Games

text: Competitors had access to two gymnasiums for training purposes: the Xystos for the runners and pentathletes, and the Tetragono for wrestlers and boxers.


title: Ancient Olympic Games

text: For most of its history, Olympic events were performed in the nude. Pausanias says that the first naked runner was Orsippus, winner of the "stadion" race in 720 BC, who simply lost his garment on purpose because running without it was easier. The 5th-century BC historian Thucydides credits the Spartans with introducing the custom of "publicly stripping and anointing themselves with oil in their gymnastic exercises. Formerly, even in the Olympic contests, the athletes who contended wore belts across their middles; and it is but a few years since that the practice ceased."


title: Ancient Olympic Games

text: The only event recorded at the first thirteen games was the "stade", a straight-line sprint of just over 192 metres.


title: Ancient Olympic Games

text: The "diaulos" (lit. "double pipe"), or two-stade race, is recorded as being introduced at the 14th Olympiad in 724 BC. It is thought that competitors ran in lanes marked out with lime or gypsum for the length of a stade then turned around separate posts ("kampteres"), before returning to the start line. Xenophanes wrote that "Victory by speed of foot is honored above all."


title: Ancient Olympic Games

text: A third foot race, the "dolichos" ("long race"), was introduced in the next Olympiad. Accounts of the race's distance differ; it seems to have been from twenty to twenty-four laps of the track, around 7.5 km to 9 km, although it may have been lengths rather than laps and thus half as far.


title: Ancient Olympic Games

text: The last running event added to the Olympic program was the "hoplitodromos", or "hoplite race", introduced in 520 BC and traditionally run as the last race of the games. Competitors ran either a single or double "diaulos" (approximately 400 or 800 metres) in full military armour. The hoplitodromos was based on a war tactic of soldiers running in full armor to surprise the enemy.


title: Ancient Olympic Games

text: Wrestling ("pale") is recorded as being introduced at the 18th Olympiad. Three throws were necessary for a win. A throw was counted if the body, hip, back or shoulder (and possibly knee) touched the ground. If both competitors fell nothing was counted. Unlike its modern counterpart Greco-Roman wrestling, it is likely that tripping was allowed.


title: Ancient Olympic Games

text: Boxing ("pygmachia") was first listed in 688 BC, the boys' event sixty years later. The laws of boxing were ascribed to the first Olympic champion Onomastus of Smyrna. It appears that body-blows were either not permitted or not practised. The Spartans, who claimed to have invented boxing, quickly abandoned it and did not take part in boxing competitions. At first the boxers wore "himantes" (sing. "himas"), long leather strips which were wrapped around their hands.


title: Ancient Olympic Games

text: The pankration was introduced in the 33rd Olympiad (648 BC). Boys' pankration became an Olympic event in 200 BC, in the 145th Olympiad.


title: Ancient Olympic Games

text: As well as techniques from boxing and wrestling, athletes used kicks, locks, and chokes on the ground. Although the only prohibitions were against biting and gouging, the pankration was regarded as less dangerous than boxing.


title: Ancient Olympic Games

text: It was one of the most popular events: Pindar wrote eight odes praising victors of the pankration. A famous event in the sport was the posthumous victory of Arrhichion of Phigalia who "expired at the very moment when his opponent acknowledged himself beaten".


title: Ancient Olympic Games

text: The discus ("diskos") event was similar to the modern competition. Stone and iron "diskoi" have been found, although the most commonly used material appears to be bronze. To what extent the diskos was standardized is unclear, but the most common weight seems to be 2 kg size with a diameter of approximately 21 cm, roughly equivalent to the modern discus.


title: Ancient Olympic Games

text: In the long jump ("halma") competitors swung a pair of weights called "halteres". There was no set design; jumpers tended to use either spherical weights made of stone carved to fit the hand or longer lead weights. It is debated whether the jump was performed from a standing start or after a run-up. In his analysis of the event based on vase paintings, Hugh Lee concluded that there was probably a short run-up.


title: Ancient Olympic Games

text: The pentathlon was a competition made up of five events: running, long jump, discus throw, javelin throw, and wrestling. The pentathlon is said to have first appeared at the 18th Olympiad in 708 BC. The competition was held on a single day, but it is not known how the victor was decided, or in what order the events occurred, except that it finished with the wrestling.


title: Ancient Olympic Games

text: Horse racing and chariot racing were the most prestigious competitions in the games, due to only the wealthy being able to afford the maintenance and transportation of horses. These races consisted of different events: the four-horse chariot race, the two-horse chariot race, and the horse with rider race, the rider being hand picked by the owner. The four-horse chariot race was the first equestrian event to feature in the Olympics, being introduced in 680 BC. It consisted of two horses that were harnessed under a yoke in the middle, and two outer horses that were attached with a rope. The two-horse chariot was introduced in 408 BC. The horse with rider competition, on the other hand, was introduced in 648 BC. In this race, Greeks did not use saddles or stirrups (the latter was unknown in Europe until about the 6th century AD), so they required good grip and balance.


title: Ancient Olympic Games

text: Pausanias reports that a race for carts drawn by a pair of mules, and a trotting race, were instituted respectively at the seventieth Festival and the seventy-first, but were both abolished by proclamation at the eighty-fourth. The trotting race was for mares, and in the last part of the course the riders jumped off and ran beside the mares.


title: Ancient Olympic Games

text: The chariot races also saw the first woman to win an Olympic event, as the winner was deemed to be the wealthy benefactor or trainer that funded the team rather than those controlling the chariot (who could only be male). This allowed for horse trainer and spartan princess Cynisca to be the first female Olympic victor.


title: Ancient Olympic Games

text: In 67, the Roman Emperor Nero competed in the chariot race at Olympia. He was thrown from his chariot and was thus unable to finish the race. Nevertheless, he was declared the winner on the basis that he would have won if he had finished the race.


title: Ancient Olympic Games

text: Athletic festivals under the name of "Olympic games", named in imitation of the original festival at Olympia, were established over time in various places all over the Greek world. Some of these are only known to us by inscriptions and coins; but others, as the Olympic festival at Antioch, obtained great celebrity. After these Olympic festivals had been established in several places, the great Olympic festival itself was sometimes designated in inscriptions by the addition of Pisa.


title: Hinduism by country

text: Hinduism has approximately 1.2 billion adherents worldwide (15-16% of the world's population). Hinduism is the third largest religion in the world behind Christianity (31.5%) and Islam (23.3%).


title: Hinduism by country

text: Most Hindus are found in Asian countries, and the majority of India and Nepal are Hindus. Countries with more than 500,000 Hindu residents and citizens are (in decreasing order) India, Nepal, Bangladesh, Indonesia (with Bali being 87% Hindu), Pakistan, Sri Lanka, the United States, Malaysia, United Kingdom, Myanmar, Australia, Mauritius, South Africa, Canada, and the United Arab Emirates.


title: Hinduism by country

text: There are significant numbers of Hindu enclaves around the world, with many in Canada, Australia and New Zealand. Hinduism is also practiced by the non-Indic people including the Balinese of Bali island (Indonesia), Tengger and Osing of Java (Indonesia), the Balamon Chams of Vietnam, and Ghanaian Hindus in Ghana.


title: Hinduism by country

text: Hinduism is a heterogeneous religion and consists of many schools of thought. Hinduism has no traditional religious order, centralized authority, governing body, or prophets; Hindus can be polytheistic, monotheistic, pantheistic, monistic, agnostic, humanist, or atheistic. Estimates of Hinduism by country reflect this diversity of thought and way of life.


title: Hinduism by country

text: Demographic estimates of Hindu populations by country have been published by the Pew Research Center in 2012, as well as US State Department's "International Religious Freedom Report 2006.


title: Hinduism by country

text: By total number, India has the most Hindus. As a percentage, Nepal has the largest percentage of Hindus in the world followed by India and Mauritius. The Hindu population around the world as of 2020 is about 1.2 billion (making it the world's third-largest religion after Christianity and Islam), of which nearly around 1.1 billion Hindus live in India. As per a statistical study, there are an estimated 100 million Hindus who live outside of India. In 2010, only two countries in the world had a majority of its population as Hindus – Nepal and India. On Mauritius, 48.14 percent of the population were Hindu, according to the 2015 census. Bangladesh, Indonesia, Fiji, Bhutan, Guyana, Suriname, Trinidad and Tobago, and Sri Lanka have very large and influential Hindu minorities.


title: Hinduism by country

text: Sources used for the table below include the US State Department, the CIA World Factbook, adherents.com, Pew Research Center. and as identified.


title: Hinduism by country

text: These percentages were calculated by using the above numbers. The first percentage, in the 4th column, is the percentage of the population that is Hindu in a specific region (Hindus in the region * 100/total population of the region). The last column shows the Hindu percentage compared to the total Hindu population of the world (Hindus in the region * 100/total Hindu population of the world).


title: Hinduism by country

text: "(Note: Egypt, Sudan, and other Arab Maghreb countries are counted as part of North Africa, not the Middle East)."


title: Shin Ultraman

text: In the summer of 2017, Anno was tasked with writing a proposal for a trilogy of "Ultraman" productions by Takayuki Tsukagoshi, the future chairman of Tsuburaya Productions. A year after completing the plan for the trilogy on January 17, 2018, Anno wrote the first draft of "Shin Ultraman"'s screenplay on February 5, 2019. However, his participation in the film had to be deferred until the completion of "". Tsuburaya Productions officially announced the film had begun production on August 1, 2019. Principal photography took place during fall 2019 in Ibaraki Prefecture, Hiratsuka and Yokohama in Kanagawa Prefecture, Kōfu and Minobu in Yamanashi Prefecture, and Ichihara in Chiba Prefecture, and wrapped in November. Post-production was decelerated by the COVID-19 pandemic, resulting in editing taking roughly two-and-a-half years.


title: Shin Ultraman

text: After being delayed from an early summer 2021 release date due to the COVID-19 pandemic, "Shin Ultraman" was theatrically released in Japan on May 13, 2022, to mixed reviews. The film has grossed worldwide and was the second highest-grossing Japanese live-action film of 2022 and became the most commercially successful "Ultraman" film. Tsuburaya Productions launched "Shin Ultra Fight", a spin-off web miniseries featuring stock footage from the film as well as entirely new footage on May 14, 2022. "Shin Ultraman" premiered in the United States at the 21st New York Asian Film Festival on July 23, 2022, and will be released to theaters nationwide on January 11 and 12, 2023. The film has received generally positive reviews from critics internationally, with praise for its ambition, direction, characters, editing, cinematography, visual effects, musical score, and action sequences, but criticism towards its structure and themes.


title: Shin Ultraman

text: Following the invasion of several giant lifeforms, known as the Japanese government establish the S-Class Species Suppression Protocol to eliminate further threats. When the SSSP address the "kaiju" Neronga's attack on Hatsukaichi, a giant extraterrestrial dubbed "Ultraman" appears and annihilates the "kaiju" with his Spacium Beam. The explosion caused by the impact of Ultraman's arrival kills SSSP member Shinji Kaminaga. Thus, Ultraman takes his appearance and place, leaving the real Kaminaga's body in the forest where he died. Ultraman in the form of Kaminaga then bonds a friendship with SSSP analyst Hiroko Asami, but she is unaware of the original Kaminaga's fate.


title: Shin Ultraman

text: The subterranean "kaiju" Gabora emerges in Kamikita. After U.S. B-2 bombers unsuccessfully ambush Gabora, Ultraman confronts the "kaiju" at a construction site. In order to prevent the "kaiju"'s radioactivity from causing harm, Ultraman kills it and flies off with its radioactive corpse. Shortly after the SSSP return to Tokyo, Alien Zarab reveals himself, claiming to be friendly. However, after meeting the country's prime minister, Zarab kidnaps Kaminaga and impersonates Ultraman to ruin his reputation. Videos of Kaminaga's transformation into Ultraman surface online, revealing his secret identity. Asami then finds Kaminaga's "Beta Capsule" device, which allows him to transform into Ultraman, ascertaining his true identity. Asami frees Kaminaga from Zarab but is captured by Zarab herself. Kaminaga transforms into Ultraman, saving Asami, exposing Zarab's disguise, and cutting the alien in two with the "Ultra Slash".


title: Shin Ultraman

text: In order to demonstrate to humanity that they can become gigantic like Ultraman, Asami is kidnapped and transformed into a mind-controlled giant by Alien Mefilas. Mefilas turns her back to her original size, demonstrating good faith, and presents the SSSP with a Beta Box. Mefilas meets Ultraman to discuss symbiosis, but the latter declines after learning that Mefilas' machine can alter humanity's DNA, turning them into monsters; he also reveals to Ultraman that the government signed him up for affiliation, mocking his concern for humanity.


title: Shin Ultraman

text: The SSSP assemble in a factory and decide to take Mefilas' Beta Box. Ultraman uses Asami's scent, due to her gigantification earlier, to track Mefilas' energy signature. He finds Mefilas at a meeting with government officials, and snatches his Beta Box, throwing it into the SSSP's aircraft. An angry Mefilas transforms into his true form to combat Ultraman. After noticing Ultraman's superior, Zōffy, observing his battle with Ultraman, Mefilas takes his Beta Box and leaves Earth.


title: Shin Ultraman

text: Ultraman is teleported to the forest where Kaminaga's body is located. Zōffy tells him he must be punished for sharing his life force with a human because such an act is forbidden under the law of his home planet, the Star of Light. Zōffy, believing that humanity would pose a threat if they could evolve into giants, employs the ultimate weapon of mass destruction, Zetton, to eradicate them. Kaminaga leaves behind data for the SSSP on how to destroy Zetton in case he doesn't survive.


title: Shin Ultraman

text: Ultraman is defeated by Zetton's artillery, after being hit by a fireball which sends him plummeting to Earth. Because Zetton used powerful attacks to counter Ultraman, it overheats and must cool down before recharging, giving the SSSP time to study the information left behind by Kaminaga. Later, they find Kaminaga unconscious and nursed him back to health. SSSP physicist Akihisa Taki and the "greatest minds in the world" determine for Ultraman to defeat Zetton, he must activate his Beta Capsule while in a transformed state. Thus, Kaminaga transforms into Ultraman one last time, flying into space as Zetton resumes its attack. He activates his Beta Capsule, creating a black hole that engulfs both him and Zetton. Zōffy rescues Ultraman, insisting that he must return to the Star of Light with him. Ultraman, on the other hand, wishes to stay on Earth and protect it. Zōffy refuses to compromise, thus Ultraman decides to sacrifice himself to resurrect Kaminaga. Zōffy questions Ultraman's decision to sacrifice himself to save an inferior race, but after witnessing their teamwork to defeat Zetton, he is forced to admire their tenacity in the face of death.


title: Shin Ultraman

text: On December 28, 2013, nine years prior to "Shin Ultraman"<nowiki>'</nowiki>s release, Hideaki Anno completed the draft for a reboot of the "Ultraman" franchise entitled and submitted it to Tsuburaya Productions on March 19 of the following year. Anno later reflected, "I wrote [the script] to some friends and their reactions were positive ... but at the time I was not able to finalize the content of the project in a way that satisfied me, so it was abandoned." A life-long "Ultraman" fan, Anno had made his directorial debut with his own fan film of "Return of Ultraman" for Daicon Film when he was a film student at Osaka University of Arts.


title: Shin Ultraman

text: In the summer of 2017, Takayuki Tsukagoshi —who would later be appointed chairman of Tsuburaya Productions on November 16, 2017, after Hidetoshi Yamamoto, the chairman of Fields Corporation, failed to organize production— commissioned Anno to direct an "Ultraman" production and its two sequels, set to be released in 2020. A few months later, Anno submitted a recreation of "Return of Ultraman Plot Memo", to Tsukagoshi. On January 17, 2018, Anno finished the trilogy proposal for "Ultraman" productions in which he wrote:


title: Shin Ultraman

text: "Our goal is to create a world of Ultraman that is not for children, but for the generation that watched Ultraman back then, and that they want to watch now that they are adults. We aim to create entertainment for adults that is consistent with the modern age, a coexistence of dreams and reality that can be depicted only with special effects images. To achieve this goal, we will draw an interesting work that emphasizes quality and sensitivity (even in terms of reality), glistening with the theme of invasion rather than a catastrophe. We will depict a realistic and hard-line, worldview depicted on a beautiful screen with a quality and a sense of externalities. The film depicts the current state of the Japanese people, who are vaguely anxious about an invasion that they do not really feel. It also aims to experience a world where Ultraman exists, a world that everyone desires and no one has ever seen before. However, this seems to be a difficult task."


title: Shin Ultraman

text: A first draft of the script for the film was completed by Anno on February 5, 2019, however, his involvement in the film was put on hold for another year while he worked on "". In "Shin Ultraman Design Works", Anno stated that he wrote the script with the intention that the film would be connected to his previous "tokusatsu" film, "Shin Godzilla": "The overall worldview of the film may be somewhat connected to that of "Shin Godzilla"". However, he noted that "copyright management", obviated the film from being accredited as a sequel to "Shin Godzilla" and made it "hard to make a clear connection". Nevertheless, Anno still made some clear connections to its predecessor; the katakana for "Shin" being used film's title, "Shin Godzilla"'s logo being displayed onscreen in the title sequence, Yutaka Takenouchi returning to portray a government official, and the subtitle "Giant Unidentified Lifeform" used to refer to the "kaiju".


title: Shin Ultraman

text: Higuchi said that the crew "immediately ran into a practical problem" during development, because the film "didn't have as big a budget as those American MonsterVerse films. Thus, they "couldn't really destroy the world like they did" and instead "tried to compensate by coming up with a uniquely appealing screenplay and really interesting characters."


title: Shin Ultraman

text: The project was unofficially announced by "" on March 6, 2019, followed by an official announcement by Tsuburaya Productions on August 1, 2019, with the latter revealing Higuchi as the director and Anno as the screenwriter. Masami Nagasawa, Hidetoshi Nishijima and Takumi Saitoh were named to star in the film. The film would be co-produced between Toho Pictures and Cine Bazar and presented by Tsuburaya, Toho and Khara, with an aim for a 2021 release. Higuchi commented, "A baton has been entrusted to me that has been shining ever since I was a small child. I will solemnly strive to fulfill my responsibility to pass on that heavy, radiant baton created by my seniors." The rest of the supporting cast members were announced in September of that same year.


title: Shin Ultraman

text: Ultraman, the titular hero of the film, had his design unveiled at the 2019 Tsuburaya Convention. The concept is based on the 1983 oil painting by the late Tohl Narita. The first concept art was made by Hideaki Anno on October 3, 2018, under the likeness of Bin Furuya, the hero's original suit actor in the 1966 series. This redesign of the original hero was based on Anno's desire to revisit Tohl Narita's original design, going as far as to seek permission from Narita's son, . The design in question has the mask modeled after Akira Sasaki, the body frame of Furuya, and eliminating elements such as the three-minute warning light called the "Color Timer", and the back fin and peepholes that were part of the actor's costume. Furuya returned to portray the character with Anno via motion capture. Director Higuchi stated, "Without Furuya's physical features, such as his tall stature, long chin and arms, and large palms, it wouldn't have been possible to reproduce Ultraman's silhouette, appearance, behavior, etc. even with the latest technology available today." Likewise, Anno had experienced playing the titular hero in "Daicon Film's Return of Ultraman".


title: Shin Ultraman

text: The crew struggled to reproduce Ultraman's silver skin color virtually. Higuchi explained in an interview, "Ultraman can't be sprayed with silver paint like in the old days. But if you use mirror-like silver and seriously calculate and depict the rays of light, there would be weird streaks on his arms and face... and his arms and face would look like mirrors that would be reflecting in each other." VFX supervisor Atsuki Sato added "when it comes to color, there are things you can't understand until you actually place the object on the stage, such as the reflection of the silver color on the body and its glittering effect. The hardest part was finding the right balance between reality and image."


title: Shin Ultraman

text: Since the beginning of production, Anno and Higuchi had intended to utilize the 3DCG model of Godzilla from their 2016 film "Shin Godzilla" to depict the "kaiju" Gomess, who first appeared in episode 1 of Tsuburaya Productions' 1966 TV series "Ultra Q". Anno stated that "since Toho was a member of the ["Shin Ultraman"] production committee we [were allowed to use] the original Godzilla model for Gomess." The concept art for Gomess was also customized from the original concept art for Godzilla's fourth form in "Shin Godzilla". Similarly, the digital set for Tokyo Station, where the second giant unidentified lifeform dubbed the "Mamouth Flower" appeared, was reused from "Shin Godzilla" in order to reduce the film's budget.


title: Shin Ultraman

text: The third giant unidentified lifeform to appear in the film, Peguila, who served as the antagonist of episodes 5 and 14 in Tsuburaya Productions' "Ultra Q", was based upon an illustration by Yūji Kaida, which depicted "cold air flowing from the surface of its body". The fifth giant unidentified lifeform to appear in the film, Kaigel, who debuted in episode 24 of "Ultra Q", was also based on an illustration by Kaida, as well as the "kaiju"'s original concept art by Narita. Anno drew the CG model of the fourth "kaiju" to make an appearance in the film, Larugeus, who debuted in episode 12 of "Ultra Q". In "Shin Ultraman Design Works", Anno stated that he "tried to make it look like a real bird". The monsters Pagos, Neronga, Gabora were modified from the same computer-generated model to reduce the film's budget. The same method was also used for their first appearance in 1966, when they were adapted from the suit of Baragon featured in Toho's 1965 film "Frankenstein Conquers the World".


title: Shin Ultraman

text: Tohl Narita's original concept art for episode 18 of "Ultraman" inspired Alien Zarab's design. Anno stated that Zarab's expressions could not be achieved in a costume, but only with 3DCG, with the body part being transparent. A model of Zarab's head was created but it did not appear in the final cut and was used instead to design his CG depiction. The crew considered altering the body surface of the CG model for Ultraman to recreate Zarab's impersonation of the titular hero, however, only the eye shape was changed, inspired by Narita's hexagonal-eyed Ultraman illustration.


title: Shin Ultraman

text: A 3D scan of Ultraman Jack's mask worn by Eiichi Kikuchi in "Return of Ultraman" was used to design the face of Ultraman's superior, Zōffy. Thus, Zōffy's face inherits Jack's slightly asymmetrical eye angle. The character's design was heavily inspired by Narita's 1989 concept art for Ultraman in "", entitled . As part of the design process, the crew examined Zōffy's design in episode 39 of "Ultraman", specifically the black line in the center of his head and a pattern near the surface line of his body. Zōffy's ultimate biological weapon, Zetton, was based upon Narita's original concept art created for its first appearance in episode 39 of "Ultraman". However, the geometric features were emphasized in the final design.


title: Shin Ultraman

text: On August 20, 2019, it was announced that Higuchi was looking for extras to take part in filming in the Autumn of 2019. On November 23, 2019, Higuchi made a surprise appearance at the 2nd Atami Monster Film Festival to announce that principal photography had wrapped. Location shooting took place at the Prefectural Assembly Building in Ibaraki Prefecture, Hiratsuka and Yokohama in Kanagawa Prefecture, Kōfu and Minobu in Yamanashi Prefecture, and Ichihara in Chiba Prefecture.


title: Shin Ultraman

text: Ultraman and Mefilas' first conversation in their human disguises was filmed at Asakusa Ichimon, an "Izakaya" restaurant in the Asakusa district of Taitō, Tokyo, Japan. After the film's release, the restaurant was inundated with reservations. Anno cut a scene filmed by Higuchi, in which, Asami kisses Ultraman farewell in his human disguise, Shinji, before he departed Earth to defeat Zetton, in consideration of the overall balance of the moment.


title: Shin Ultraman

text: Visual effects for the film were created by Shirogumi. The visual effects crew used previsualization to create the storyboards for the computer-generated imagery (CGI). Post-production supervisor Linto Ueda explained that "This time we also used it [previsualization] to verify the angle that people would stare at a giant object when it was in front of them." According to Ueda, the crew also used photogrammetry to scan locations that would be used as computer-generated backdrops in the film's fight scenes, stating that "we [the visual effects crew] visited power plants in the provinces, walked around Tokyo, and went with the director [Shinji Higuchi] and film crew on location scouting trips to find image sources for the background." VFX supervisor Atsuki Sato added that "we took a lot of photographs from numerous angles using a drone and constructed 3DCG based on the differentiation in the data we captured to create the background."


title: Shin Ultraman

text: Numerous visual effects sequences in the film are combined with original "tokusatsu" practical effects, such as extensive miniature effect shots. Ultraman's iconic Spacium Beam was created by optical artist using the same technique he used for the original 1966 series, where he would draw a series of rays on paper and change their length and position slightly each time.


title: Shin Ultraman

text: Yōhei Kurihara edited the film primarily using Adobe Premiere Pro. Director Higuchi edited a battle scene between Ultraman and one of the monsters. In the wake of the COVID-19 pandemic, post-production was decelerated, resulting in a roughly two-and-a-half-year editing process.


title: Shin Ultraman

text: Shirō Sagisu scored the film. The score features several of Sagisu's unused songs which he composed for "Shin Godzilla" and "Neon Genesis Evangelion", as well as several recycled tracks by . King Records released the film's soundtrack album entitled in Japan on June 22, 2022.


title: Shin Ultraman

text: On April 8, 2022, it was announced that Kenshi Yonezu would sing the film's theme song "M87". According to Anno, Yonezu originally titled the song "M78" after Ultraman's fictional home galaxy in the original 1966 series, but Anno requested that the title be changed to M87 because he felt it was "more appealing in terms of setting." On May 25, 2022, "Oricon News" reported that the single had sold approximately 228,881 physical copies. On May 31, 2022, "M87" became No. 1 on the "Billboard Japan" Hot 100. However, it was surpassed by Hey! Say! JUMP's "a r e a" on June 2, 2022. According to "Natalie", Hiroshi Itsuki's song "Little Bird" from the 1974 TV series, "Submersion of Japan", plays in the film during Kaminaga and Mefilas' conversation in an "izakaya".


title: Shin Ultraman

text: Noah Oskow of "Unseen Japan" felt that the film criticizes Japan's weak government bureaucracy like its predecessor, "Shin Godzilla", which was a "meditation on ruinous government inaction and gridlock, specifically serving as a harrowing metaphor for the devastating 2011 Great East Japan Earthquake and subsequent disaster at the Fukushima Daiichi Nuclear Power Plant." In his review for "Screen Daily", Tim Grierson wrote that the film contains "a little commentary on humanity's place in the universe, and whether we’ve proven ourselves worthy of continuing as a species", adding: "this messaging isn't always elegantly executed but, like so much of the film, it's presented with such enthusiastic sincerity that it's hard to resist. The world may sometimes be a terrible, frightening place, but "Shin Ultraman" argues that a little decency can still go a long way".


title: Shin Ultraman

text: Director Shinji Higuchi stated to Nerdist in 2022 that the film does not include the same "emphasis on the bureaucracy, politics, etc." as its predecessor, because "if we just did the same thing, it's kind of pointless." Rather, Higuchi explained that the crew intended the film to delineate how humanity and the Japanese government would deal with aliens and monsters as depicted in "Ultraman".


title: Shin Ultraman

text: The project was first officially publicized on August 1, 2019, by Tsuburaya Productions and Khara, with the directors of "Shin Godzilla" proclaimed to be in charge of the film. On December 14, 2019, Tsuburaya unveiled a miniature model of Ultraman's new design as well as a new logo for the film, during the opening ceremony of the 2019 Tsuburaya Convention. On November 2, 2020, a human-sized Ultraman statue was unveiled outside the Tokusatsu Archive Center in Sukagawa, the home of "Ultraman" creator Eiji Tsuburaya, and a summer 2021 release date was announced. The Ultraman statue was later displayed alongside a statue of the 2016 incarnation of Godzilla and a statue of the 2023 incarnation of Kamen Rider as part of the Hideaki Anno Exhibition at the Abeno Harukas Art Museum, located in Abeno-ku, Osaka. Its first teaser trailer was released on January 29, 2021, and received high praise from filmmakers Guillermo del Toro, Jordan Vogt-Roberts, and James Gunn. Two days later, Bandai's official website confirmed that the two monsters that appear in the trailer were Neronga and Gabora of "Ultraman". During the 2021 Tsuburaya Convention, Tsuburaya Productions announced the new release date in Japan to be May 13, 2022, along with a new teaser trailer and a new poster.


title: Shin Ultraman

text: On February 13, 2022, Toho, Khara, Toei, and Tsuburaya Productions announced a collaborative project titled "Shin Japan Heroes Universe" for merchandise, special events, and tie-ins. The project unites properties that Anno had worked on bearing the title "Shin", such as "Shin Godzilla", "", "Shin Ultraman" and "Shin Kamen Rider". On March 17, 2022, the final theatrical release poster and a new theatrical banner for the film were released. As part of the Hideaki Anno Exhibition at the Abeno Harukas Art Museum in Abeno-ku, Osaka, a longer trailer was shown exclusively in theaters and a third teaser trailer was released on April 15. On April 18, 2022, an 82-second trailer for the film was released. To promote the film in Japan, McDonald's released a new version of their Chicken tatsuta fried chicken burger called the "Shin Tatsuta Miyazaki Specialty Chicken Nanban Tartar" on April 20, 2022.


title: Shin Ultraman

text: The film was marketed in Japan under the tagline , which was a question Zōffy asked Ultraman in the series finale of "Ultraman" and reused in the film.


title: Shin Ultraman

text: "Shin Ultraman" was previously scheduled for an early 2021 summer release, but was delayed due to the COVID-19 pandemic. On May 2, 2022, the Film Classification and Rating Organization gave the film a rating of "G" (suitable for all ages) for its Japanese release. It had its red carpet premiere on May 9, 2022. The premiere took place in Kabukichō, Shinjuku, Tokyo along Godzilla Street, and the red carpet dubbed the "Shin Ultra Red Carpet", was 60 meters in length the fictitious height of Ultraman in the film. The film was released in Japan by Toho on May 13, 2022, and later to MX4D, 4DX, and Dolby Cinema theaters on June 10, 2022. Due to the film's success Takumi Saitoh, Masami Nagasawa, Hidetoshi Nishijima, Daiki Arioka, Akari Hayami, Koji Yamamoto, and Shinji Higuchi made a "thank you stage greeting" at a theater in Tokyo on May 25. From July 8 to 21, the film was screened alongside episode 33 of "Ultraman", "The Forbidden Words", and was screened alongside episode 39, "Farewell, Ultraman", from July 22 to August 4.


title: Shin Ultraman

text: "Shin Ultraman" had its festival premiere at the 2022 Neuchâtel International Fantastic Film Festival on July 2, 2022. It had its North America premiere at the 26th Fantasia International Film Festival on July 21, where it was packed to the 700-seat capacity, and in the United States two days later at the 21st New York Asian Film Festival, where it was also very successful. Higuchi attending both screenings. It has also screened at festivals in Malaysia, Singapore, Indonesia, the Philippines, Austin, Valdivia, Vienna, Sitges, Italy, Amsterdam, Chicago, Nantes, Tokyo, Hawaii (with Saitoh in attendance), and Paris.


title: Shin Ultraman

text: On August 5, Tsuburaya announced that the film would be released in 37 territories worldwide (including Asia, the Middle East, and Africa). On September 12, "Variety" exclusively announced that The Exchange had obtained the sales rights for North America, Europe, Latin America, Australia, New Zealand, and other remaining countries and was introducing the film to buyers at the 2022 Toronto International Film Festival.


title: Shin Ultraman

text: The film was theatrically released in the United Arab Emirates on September 15, 2022, opening in several cities, including Dubai, Sharjah, Al Ain, Ras Al-Khaimah, and Fujairah. In Thailand, the film was screened at the Paragon Cineplex in Siam Paragon, Bangkok on September 22. PVR Pictures distributed the film theatrically in India on September 23. In Vietnam, the film was released on September 30, in Indonesia, on October 5, and in Malaysia the following day. In Hong Kong, it was released theatrically on October 13, with Traditional Chinese subtitles. It has also been released in Azerbaijan, Bahrain, Bangladesh, Brunei, Cambodia, Mongolia, Oman, Saudi Arabia, South Africa, and Turkey.


title: Shin Ultraman

text: Around November 17, 2022, AMC Theatres revealed the film would be released in their theaters on January 11, 2023. At the 2022 Anime NYC Ultraman Connection Panel, it was announced that Fathom Events will give it a two-day limited release in the United States from January 11–12, 2023. Fathom Events subsequently confirmed they will screen both subtitled and dubbed versions of the film. To celebrate its upcoming nationwide release, a screening of the film was held at Crunchyroll's Anime Frontier on December 4. Event director Peter Tatara stated that the staff are "beyond excited to host this incredible opportunity for our Anime Frontier family – giving them the chance to see this iconic character on the big screen before it hits theaters nationwide."


title: Shin Ultraman

text: The first 10 minutes of the film were uploaded to Toho's YouTube channel on June 24, 2022, but were removed after 48 hours. In Japan, the film began exclusive distribution on Amazon Prime Video on November 18, 2022.


title: Shin Ultraman

text: Prior to the film's release, Tsuburaya Productions estimated that the film would gross . On its opening day in Japan (May 13, 2022) "Shin Ultraman" was 32nd at the box office in Japan having sold 191,302 tickets and earned . By its third day the film had been screened in 401 buildings nationwide, sold 641,802 tickets and grossed (), becoming the most commercially successful film in the "Ultraman" franchise, surpassing the 2008 film "Superior Ultraman 8 Brothers", and breaking the record that Shinji Higuchi's previous "kaiju" film, "Shin Godzilla" had on its third day. In IMAX theaters, the film grossed $1.13 million, making it the highest IMAX live-action film opening in Japan. On May 21, 2022, it was reported that the film had sold 1.032 million tickets and grossed (). On May 23, 2022, it was reported that the film had sold 1.34 million tickets and grossed (). The film was #1 at the Japanese box office, until it was overtaken by "" during its third weekend. During its fifth weekend, the film dropped to #3, behind "" and "Top Gun: Maverick", and fell to #4 the following weekend with a gross of (). By its 45th day (June 27) the film had sold 2.69 million tickets and exceeded (). By July 3, the film had earned an accumulative total of (). On September 5, Crunchyroll reported that the film was the highest-grossing Japanese live-action film of 2022 until it was overtaken by Shinsuke Sato's "Kingdom 2: To Distant Lands." According to "FILMAGA", "Shin Ultraman" was the tenth highest-grossing film in the country in 2022, having grossed a total of , with "Variety" reporting it to be equivalent to .


title: Shin Ultraman

text: In the United Arab Emirates, it grossed ; in Vietnam it grossed ; in Hong Kong it has grossed ; and in Turkey it has grossed . Overall, the film has grossed worldwide.


title: Shin Ultraman

text: "Shin Ultraman" received mixed reviews in Japan, and positive reviews from foreign critics. On May 16, 2022, the online magazine "FILMAGA" ranked it fourth out of all Japanese films currently being screened in Japan, with an average rating of 3.81/5 based upon 11,244 reviews from review aggregator . It has a score of 3.5/5 on "", based on 1185 reviews, with 46% of reviewers giving it a 4/5. The film is Higuchi's highest-rated film on review aggregator Rotten Tomatoes, holding a 100% approval rating based on 15 reviews, with an average rating of 8.30/10.


title: Shin Ultraman

text: Crunchyroll's Alicia Haddick felt it should pose as a model for American cinema on how to recreate a character for a new generation of moviegoers. of "The Nikkei" recognized the "kaiju", Asami's gigantification, and Ultraman's battle with Zarab as its central intriguing aspects. "The Asahi Shimbun" film critic regarded it as one of the best "Ultraman" productions because of its "distinctive perspective to the mysteries and contradictions that weren't depicted [in "Ultraman"]". In his review for Nerdist, Kyle Anderson praised Higuchi's direction, especially his scenes that featured SSSP members and government officials. Both Noah Oskow from "Unseen Japan" and Screen Anarchy's Peter Martin considered the "likable" characters to be one of the reasons that the film is overall enjoyable. "The Times of India" acclaimed its direction, editing, and cinematography and "IGN India" praised the score.


title: Shin Ultraman

text: Some critics also found fault with the film. A few reviews cited the episodic structure as the film's principal flaw due to its lack of themes; Tsunehira Furuya commented that while the film does not have the scripting and acting flaws of Higuchi's "Attack on Titan", it struggles to appeal to theatergoers unaware of "Ultraman" because it pays several homages to the series. "The Japan Times" critic Matt Schley and "ComicBook.com"'s Perry Spencer concurred the film is inferior to "Shin Godzilla" because it lacks several themes featured in its predecessor such as criticizing Japan's government.


title: Shin Ultraman

text: Nagoya Railroad hosted a collaborative event from April 22, 2022, to June 26, 2022, that allowed participants to collect "Ultra admission tickets" at 8 stations with the word "Shin" in their titles. There were also collaboration events from April 29 to June 30, 2022, at the Yokohama Landmark Tower with a 10-meter balloon depicting Ultraman on display and merchandise on the 1st floor of Landmark Plaza, as well as novelties at shops and restaurants inside the building. On June 30, 2022, Toho added Neronga and the titular hero of the film to their mobile game "Godzilla Battle Line" as part of the "Shin Japan Heroes Universe" collaborative project. In addition, Zetton and Alien Mefilas were introduced to the game on August 31, 2022, and were be available as level-enhancing battle pieces until September 30, 2022. From July 7 to August 21, 2022, the Bandai Namco Cross Store at Yokohama World Porters in Naka-ku, Yokohama, hosted another "Shin Japan Heroes Universe" collaboration event called the "Shin Japan Heroes Amusement World". As part of a limited-time collaboration with Tsuburaya Productions' "Ultraman" franchise, GungHo Online Entertainment added the film's incarnations of Ultraman, Neronga, Gabora, Zarab, Mefilas, and Zetton to their mobile puzzle video game "Puzzle & Dragons" on July 18, 2022.


title: Shin Ultraman

text: The art book, , became available to purchase at theaters in Japan on May 13, 2022, distributed by Khara and was released to bookstores by Ground Works on June 24, 2022. Hideaki Anno authored the book, which contains over 500 artworks, including concept art, CG models, and 3D objects. In June 2022, released , a 32-page book celebrating the film's release and the 55th anniversary of the "Ultraman" franchise. On June 28, 2022, Kodansha released , a mook detailing every entry in the "Ultraman" series for adult fans of the franchise.


title: Shin Ultraman

text: A spin-off miniseries entitled , was streamed on Tsuburaya Productions' streaming service Tsuburaya Imagination from May 14 to July 4, 2022. "Shin Ultraman" director Shinji Higuchi partially directed and supervised the series while Hideaki Anno, the film's screenwriter, organizer, and producer, was in charge of planning. Cine Bazar, Tsuburaya Productions, Toho, and Khara co-produced the series; utterly consisting of 3D computer graphics, with 3 episodes repurposing footage from "Shin Ultraman" and 7 episodes featuring computer graphics by Studio Bros, Modeling Bros, and Shirogumi. Inspired by the 1970 TV series "Ultra Fight", the series attempted to duplicate the low production values of the original program by filming unscripted episodes, using motion capture performances without correction, and setting the fights in computer-generated environments situated in regular filming locations.


title: Shin Ultraman

text: In "Shin Ultraman Design Works," Hideaki Anno revealed that he initially wrote a proposal for Tsuburaya Productions on January 17, 2018, proposing a trilogy of films, starting with "Shin Ultraman" and continuing with an untitled sequel and a remake of "Ultraseven" from 1967, titled . Ultraman's motion capture actor, Bin Furuya, expressed interest in making a cameo appearance in "Shin Ultraseven" because he played Ultra Guard member Amagi in "Ultraseven", and noted: "If the public watches [the film] 5 or 6 times, there will likely be a story like "Shin Ultraseven"."


title: Tuple

text: In mathematics, a tuple is a finite ordered list (sequence) of elements. An -tuple is a sequence (or ordered list) of elements, where is a non-negative integer. There is only one 0-tuple, referred to as "the empty tuple". An -tuple is defined inductively using the construction of an ordered pair.


title: Tuple

text: Mathematicians usually write tuples by listing the elements within parentheses "" and separated by a comma and a space; for example, denotes a 5-tuple. Sometimes other symbols are used to surround the elements, such as square brackets "[ ]" or angle brackets "⟨ ⟩". Braces "{ }" are used to specify arrays in some programming languages but not in mathematical expressions, as they are the standard notation for sets. The term "tuple" can often occur when discussing other mathematical objects, such as vectors.


title: Tuple

text: In computer science, tuples come in many forms. Most typed functional programming languages implement tuples directly as product types, tightly associated with algebraic data types, pattern matching, and destructuring assignment. Many programming languages offer an alternative to tuples, known as record types, featuring unordered elements accessed by label. A few programming languages combine ordered tuple product types and unordered record types into a single construct, as in C structs and Haskell records. Relational databases may formally identify their rows (records) as "tuples".


title: Tuple

text: Tuples also occur in relational algebra; when programming the semantic web with the Resource Description Framework (RDF); in linguistics; and in philosophy.


title: Tuple

text: The term originated as an abstraction of the sequence: single, couple/double, triple, quadruple, quintuple, sextuple, septuple, octuple, ..., ‑tuple, ..., where the prefixes are taken from the Latin names of the numerals. The unique 0-tuple is called the "null tuple" or "empty tuple". A 1‑tuple is called a "single" (or "singleton"), a 2‑tuple is called an "ordered pair" or "couple", and a 3‑tuple is called a "triple" (or "triplet"). The number can be any nonnegative integer. For example, a complex number can be represented as a 2‑tuple of reals, a quaternion can be represented as a 4‑tuple, an octonion can be represented as an 8‑tuple, and a sedenion can be represented as a 16‑tuple.


title: Tuple

text: Although these uses treat "‑uple" as the suffix, the original suffix was "‑ple" as in "triple" (three-fold) or "decuple" (ten‑fold). This originates from medieval Latin "plus" (meaning "more") related to Greek ‑πλοῦς, which replaced the classical and late antique "‑plex" (meaning "folded"), as in "duplex".


title: Tuple

text: Note that for formula_1, the tuple name in the table above can also function as a verb meaning "to multiply [the direct object] by formula_2"; for example, "to quintuple" means "to multiply by 5". If formula_3, then the associated verb is "to double". There is also a verb "sesquiple", meaning "to multiply by 3/2". Theoretically, "monuple" could be used in this way too.


title: Tuple

text: There are several definitions of tuples that give them the properties described in the previous section.


title: Tuple

text: The formula_10-tuple may be identified as the empty function. For formula_11 the formula_2-tuple formula_13 may be identified with the (surjective) function


title: Tuple

text: Another way of modeling tuples in Set Theory is as nested ordered pairs. This approach assumes that the notion of ordered pair has already been defined.


title: Tuple

text: Using Kuratowski's representation for an ordered pair, the second definition above can be reformulated in terms of pure set theory:


title: Tuple

text: In discrete mathematics, especially combinatorics and finite probability theory, -tuples arise in the context of various counting problems and are treated more informally as ordered lists of length . -tuples whose entries come from a set of elements are also called "arrangements with repetition", "permutations of a multiset" and, in some non-English literature, "variations with repetition". The number of -tuples of an -set is . This follows from the combinatorial rule of product. If is a finite set of cardinality , this number is the cardinality of the -fold Cartesian power . Tuples are elements of this product set.


title: Tuple

text: In type theory, commonly used in programming languages, a tuple has a product type; this fixes not only the length, but also the underlying types of each component. Formally:


title: Tuple

text: The tuple with labeled elements used in the relational model has a record type. Both of these types can be defined as simple extensions of the simply typed lambda calculus.


title: Tuple

text: The notion of a tuple in type theory and that in set theory are related in the following way: If we consider the natural model of a type theory, and use the Scott brackets to indicate the semantic interpretation, then the model consists of some sets formula_41 (note: the use of italics here that distinguishes sets from types) such that:


title: Valac

text: Valac is a demon described in the goetic grimoires "The Lesser Key of Solomon" (in some versions as Ualac or Valak and in Thomas Rudd's variant as Valu), Johann Weyer's "Pseudomonarchia Daemonum" (as Volac), the "Liber Officiorum Spirituum" (as Coolor or Doolas), and in the "Munich Manual of Demonic Magic" (as Volach) as an angelically winged boy riding a two-headed dragon, attributed with the power of finding treasures.


title: Valac

text: The "Lesser Key", the "Munich Burnich", Rudd, and Weyer further agree in ranking Valac as a president and attributing him with the power to locate, summon, and control serpents. The "Officium Spirituum" similarly attributes Doolas with the power to give the summoner command of serpents as well as "household spirits," but it ranks Coolor and Doolas as princes instead of presidents.


title: Valac

text: Valac is listed 62nd in the "Lesser Key" (even by Rudd) and the 50th by Weyer, with either version claiming he leads 30 legions of demons (though some manuscripts say 38). The "Munich Burnich" describes Volach as controlling 27 legions of spirits. The "Officium Spirituum" (depending on the manuscript) ranks Coolor as either 21st (with no note of how many spirits he commands) or (in the copy found in the Folger Shakespeare Library) 22nd and commanding 13 legions of spirits. All extant and complete versions of the "Officium Spirituum" list Doolas as 25th demon, commanding 20 legions of spirits.


title: The Forest (video game)

text: The Forest is a survival horror video game developed and published by Endnight Games. The game takes place on a remote heavily forested peninsula, where the player character Eric LeBlanc must fight off cannibalistic monsters while searching for his son Timmy after a plane crash. The game features nonlinear gameplay in an open world environment played from a first-person perspective, with no set missions or quests, empowering the player to make their own decisions for survival. Following a four-year long early access beta phase, the game was released for Windows in April 2018, and for the PlayStation 4 in November 2018. The game was a commercial success, selling over five million copies by the end of 2018. A sequel game, "Sons of the Forest", is under development, and is set to be released for Windows on February 23, 2023.


title: The Forest (video game)

text: In "The Forest", players control Eric LeBlanc and must survive on a forested peninsula in search of his son Timmy after a devastating plane crash. Players must survive by creating shelter, weapons, and other survival tools. Inhabiting the peninsula, along with various woodland creatures, are a tribe of cannibalistic mutants, who dwell in villages on the surface and in deep caves beneath the peninsula. While they are not necessarily always hostile to the player, their usual behavior is aggressive, especially during the night.


title: The Forest (video game)

text: However, the developers wanted players to question whether the peninsula's cannibalistic tribe is the enemy of the player or vice versa. For example, when first encountering the player, the cannibals may hesitate to attack and instead observe the player from a distance, attempt to communicate with the player through effigies, and send patrols around the player's base camp. In combat, they regularly attempt to protect one another from injury, remove torches, surround the player, hide behind cover, drag wounded tribesmen to safety, keep their distance, use tactical decisions, not overextend into unknown territory, and occasionally surrender out of fear. They are also afraid of fire, and will sometimes refrain from approaching the player if there is a campfire or torch nearby. Though there are no set missions, there is an optional conclusion to the game.


title: The Forest (video game)

text: As the player progresses through the game and explores the caves underneath the forest surface, they will encounter increasingly bizarre mutations, including deformed babies and mutants with several extra appendages. The game also features a day and night cycle, with the player able to build a shelter and traps, hunt animals and collect supplies during the day, and defend themselves against the mutants by night.


title: The Forest (video game)

text: The player is given a survival guide book, with notes about discovered wildlife on the peninsula, and a basic to-do list to help guide players. The guidebook also allows players to place blueprints for the various structures (such as bonfires, walls, and tree-houses) in the game. Simply select a blueprint, then place it in the open-world. Once placed, gather the necessary resources (like rocks and logs) in order to complete the structure. Most shelters feature an option for saving the game, since there is no autosave in the game.


title: The Forest (video game)

text: Items that the player gathers in the world (like herbs, animals furs, or tools) can be stored in the inventory. The inventory includes a crafting system, based on the player's knowledge and experimentation with creating items. To craft a basic axe, the player needs to collect then combine a stick, rock, and rope, once all items are placed on the crafting space a gear icon indicates the player can combine them. Here, the player may also choose two items for quick-select.


title: The Forest (video game)

text: The HUD displays the player's total health, energy, stamina, hunger, and thirst levels. Water can be obtained from lakes and rivers, but most are contaminated causing side effects to the player. Polluted water can be boiled to purify it, or a water collector built to collect clean rainwater. Food has to be obtained from animals, plants, and other humans in the world.


title: The Forest (video game)

text: The game begins with Eric LeBlanc sitting in an airplane with his son, Timmy, before it suddenly crashes on a remote heavily forested peninsula. Despite being the sole survivors of the crash, a disoriented Eric watches helplessly as Timmy is kidnapped by a man covered in red paint before falling unconscious. Upon awakening in the wreckage, Eric goes out in search of his son but discovers that the peninsula is occupied by feral cannibalistic mutants, and is forced to defend himself while surviving off the land. In his search, Eric finds clues of Timmy’s whereabouts in the form of crayon drawings in several caverns. Eric may also spot the man in red from a distance, who will flee if approached.


title: The Forest (video game)

text: Timmy’s drawings eventually lead Eric to an abandoned underground lab complex owned by Sahara Therapeutics, a large research company responsible for experimenting with creatures on the peninsula. Upon entering the lab, Eric finds the lab's personnel dead and discovers that they were studying an artifact called the Resurrection Obelisk. Created by a mysterious group called the Ancient Ones, the artifact has the power to resurrect the dead but requires a child sacrifice. Eric also learns that his son's kidnapper, Dr. Matthew Cross, was a chief researcher at the facility before losing his daughter Megan to an escaped mutant. Driven insane by his daughter’s death, Cross resorted to using the artifact and kidnapped Timmy as a sacrifice to revive Megan.


title: The Forest (video game)

text: Eric soon finds Cross dead and then the artifact, only to find Timmy’s corpse inside; having already been sacrificed to revive Megan. Despite being too late to save his son, Eric realizes that the machine connected to the artifact can still be used to resurrect Timmy and goes deeper into the facility in search of a sacrifice. Eric eventually encounters the revived Megan but discovers that the machine has turned her into a cannibalistic mutant and is forced to kill her when she mutates further. He then attempts to use her dead body as a sacrifice to bring back Timmy, though it ultimately ends in failure as a life sacrifice is needed. He then reaches the facility's observatory and discovers a second artifact known as the Power Obelisk, which functions as a type of EMP device capable of bringing down planes when activated, implying that Cross used it to cause the plane crash. Eric is then faced with either activating the artifact as a passenger flight passes overhead or shutting it down.


title: The Forest (video game)

text: "The Forest" was inspired by cult films such as "The Descent" and "Cannibal Holocaust" and video games like "Don't Starve", and was accepted as part of Steam Greenlight in 2013. Canadian-based developers Endnight Games have said that Disney was an inspiration for the game, commenting that they do not want the whole game to be entirely "dark and depressing." The game is being developed to be compatible with the Oculus Rift virtual reality headset. After adding a co-op mode option during development, the team stated that they wished for the game to stay away from the massive multiplayer feel of other games, such as "DayZ" and "Rust".


title: The Forest (video game)

text: The development team has a background in film visual effects, having worked on films such as "The Amazing Spider-Man 2" and "". The initial budget for the game was $125,000. The game was first released for Windows via early access on 30 May 2014 before it officially released on 30 April 2018. It was later released for the PlayStation 4 on 6 November 2018. The game was built using the Unity engine.


title: The Forest (video game)

text: The game received positive reception during its early access period. The game sold over 5.3 million copies on Windows by November 2018. IGN called the game a "memorable survival horror experience", praising the game for its enemy AI and multi-layered story but criticized its display settings, mentioning that the game can get too dark at times. The game's success spawned a sequel, titled "Sons of the Forest", which is under development. Sons of the Forest will release on February 23, 2023.


title: Cool Hand Luke

text: Cool Hand Luke is a 1967 American prison drama film directed by Stuart Rosenberg, starring Paul Newman and featuring George Kennedy in an Oscar-winning performance. Newman stars in the title role as Luke, a prisoner in a Florida prison camp who refuses to submit to the system. Set in the early 1950s, it is based on Donn Pearce's 1965 novel "Cool Hand Luke".


title: Cool Hand Luke

text: Roger Ebert called "Cool Hand Luke" an anti-establishment film shot during emerging popular opposition to the Vietnam War. Filming took place within California's San Joaquin River Delta region; the set, imitating a prison farm in the Deep South, was based on photographs and measurements made by a crew the filmmakers sent to a Road Prison in Gainesville, Florida. The film uses Christian imagery.


title: Cool Hand Luke

text: Upon its release, "Cool Hand Luke" received favorable reviews and was a box-office success. It cemented Newman's status as one of the era's top actors, and was called the "touchstone of an era". Newman was nominated for the Academy Award for Best Actor, Kennedy won the Academy Award for Best Supporting Actor, Pearce and Pierson were nominated for the Academy Award for Best Adapted Screenplay, and Lalo Schifrin was nominated for the Academy Award for Best Original Score. In 2005, the United States Library of Congress selected the film for preservation in the National Film Registry, considering it "culturally, historically, or aesthetically significant". The film has a 100% rating on the review aggregator website Rotten Tomatoes, and the prison warden's (Strother Martin) line in the film, which begins with "What we've got here is failure to communicate", was listed at number 11 on the American Film Institute's 100 Years... 100 Movie Quotes list.


title: Cool Hand Luke

text: In early 1950s Florida, decorated World War II veteran Lucas "Luke" Jackson is arrested for cutting parking meters off their poles one drunken night. He is sentenced to two years on a chain gang in a prison camp run by a stern warden known as the Captain, along with Walking Boss Godfrey, a taciturn rifleman nicknamed "the man with no eyes" because he always wears mirrored sunglasses. Carr, the floorwalker, tells the new prisoners the rules. Even minor violations are punished by "a night in the box", a small wooden booth in the prison yard with limited air and very little room to move.


title: Cool Hand Luke

text: Luke refuses to observe the established pecking order among the prisoners and quickly runs afoul of the prisoners' leader, Dragline (George Kennedy). When the two have a boxing match, the prisoners and guards watch with interest. Luke is severely outmatched by his larger opponent but refuses to acquiesce. Eventually, Dragline refuses to continue the fight, but Luke's tenacity earns the prisoners' respect and draws the guards' attention. He later wins a poker game by bluffing with a hand worth nothing. Luke says, "sometimes, nothing can be a real cool hand", prompting Dragline to nickname him "Cool Hand Luke".


title: Cool Hand Luke

text: After a visit from his sick mother, Arletta, Luke becomes more optimistic about his situation. He continually confronts the Captain and the guards, and his sense of humor and independence prove both contagious and inspiring to the other prisoners. Luke's struggle for supremacy peaks when he leads a work crew in a seemingly impossible but successful effort to complete a road-paving job in less than a day. The other prisoners start to idolize him after he makes and wins a spur-of-the-moment bet that he can eat 50 hard-boiled eggs in an hour.


title: Cool Hand Luke

text: One day, Luke picks up a rattlesnake from the grassy ditch and holds it up for Godfrey to shoot with his rifle, killing it. Luke tosses the dead snake to the boss as a joke before he hands him his walking cane. Luke tells Godfrey, "Man, you sure can shoot." Dragline advises Luke to be more careful with the "man with no eyes". A rainstorm ends the day's work prematurely. Before he joins the other prisoners in the truck, Luke shouts to God, testing Him. That evening, Luke receives notice that his mother has died.


title: Cool Hand Luke

text: The Captain anticipates that Luke might attempt to escape to attend his mother's funeral and has him locked in the box. After being released, Luke is told to forget about his mother now that her burial is completed, but he becomes determined to escape. Under cover of a Fourth of July celebration, he makes his initial escape attempt. He is recaptured by local police and returned to the chain gang, but one of the bloodhounds sent after him dies of heat and overexertion. The Captain has Luke fitted with leg irons and delivers a warning speech to the other inmates, saying, "What we've got here is failure to communicate. Some men you just can't reach. So you get what we had here last week, which is the way he wants it. Well, he gets it. And I don't like it any more than you men."


title: Cool Hand Luke

text: A short time later, Luke escapes again by deceiving the guards while taking a break to urinate and removes his shackles with an axe at a nearby house. He spreads curry powder and chili powder across the ground to keep the guard dogs from following his scent, causing them to sneeze. While free, Luke mails Dragline a magazine that includes a photograph of himself with two beautiful women. He is soon recaptured, beaten, returned to the prison camp, and fitted with two sets of leg irons. The Captain warns Luke that he will be killed on the spot if he ever attempts to escape again.


title: Cool Hand Luke

text: Luke becomes annoyed by the other prisoners fawning over the magazine photo and says he faked it. At first, the other prisoners are angry, but when Luke returns after a long stay in the box and is punished by being forced to eat a massive serving of rice, the others help him finish it.


title: Cool Hand Luke

text: As further punishment for his escape, he is forced to repeatedly dig a grave-sized hole in the prison camp yard, fill it back in, and is then beaten. The prisoners observe his persecution, singing spirituals. Finally, as the other prisoners watch from the windows of the bunkhouse, an exhausted Luke collapses in the hole, begging God for mercy and pleading with the bosses not to hit him again. Believing Luke is finally broken, the Captain stops the punishment. Boss Paul warns Luke that he will be killed if he runs away again, which Luke tearfully promises not to do. The prisoners begin to lose their idealized image of Luke, and one tears up Luke's photograph with the women.


title: Cool Hand Luke

text: Working on the chain gang again, seemingly broken, Luke stops working to give water to a prisoner. Watched by the disappointed prisoners, he runs to one of the trucks to fetch Godfrey's rifle for him. After Godfrey shoots a snapping turtle, Luke retrieves it from a slough for him, complimenting him on his shot. Luke is ordered to take the turtle to the truck but steals the truck and the other trucks' keys. In the excitement of the moment, Dragline jumps in the truck and joins Luke in his escape. After abandoning the truck, Luke tells Dragline that they should part ways. Dragline reluctantly agrees and leaves. Luke enters a church, where he talks to God, whom Luke blames for sabotaging him so he cannot win in life. Moments later, police cars arrive. Dragline tells Luke that the police and bosses have found them but promised not to hurt Luke if he surrenders peacefully.


title: Cool Hand Luke

text: Instead, Luke opens a window door, facing the police, and mocks the Captain by repeating his earlier speech: "What we've got here is a failure to communicate". Godfrey shoots him in the neck. Dragline carries Luke outside and surrenders, but charges at Godfrey and strangles him until he is beaten and subdued by the guards. While Luke is loaded into the Captain's car, Dragline tearfully implores him to live.


title: Cool Hand Luke

text: Against the local police's protests, the Captain decides to take Luke to the distant prison infirmary instead of the local hospital, ensuring Luke will not survive the trip. As the car drives away, a semi-conscious Luke weakly smiles while the tires crush Godfrey's sunglasses. After Luke's implied death, Dragline and the other prisoners fondly reminisce about him.


title: Cool Hand Luke

text: Some time later, the prison crew works near a rural intersection close to where Luke was shot, with Dragline now wearing leg irons, and a new Walking Boss supervising. As the camera zooms out, the torn photograph of Luke grinning with the two women has been taped back together and is superimposed on a bird's-eye view of the cross-shaped road junction.


title: Cool Hand Luke

text: Pearce, a merchant seaman who later became a counterfeiter and safe cracker, wrote the novel "Cool Hand Luke" about his experiences working on a chain gang while serving in a Florida prison. He sold the story to Warner Bros. for $80,000 and received another $15,000 to write the screenplay. After working in television for over a decade, Rosenberg chose it to make it his directorial debut in cinema. He took the idea to Jalem Productions, owned by Jack Lemmon. Since Pearce had no experience writing screenplays, his draft was reworked by Frank Pierson. Conrad Hall was hired as the cinematographer, while Paul Newman's brother, Arthur, was hired as the unit production manager. Newman's biographer Marie Edelman Borden wrote that the "tough, honest" script drew together threads from earlier movies, especially "Hombre", Newman's earlier film of 1967. Rosenberg altered the script's original ending, adding "an upbeat ending that would reprise Luke's (and Newman's) trademark smile."


title: Cool Hand Luke

text: Paul Newman's character, Luke, is a decorated war veteran who is sentenced to serve two years in a Florida rural prison. He constantly defies the prison authorities, becoming a leader among the prisoners, as well as escaping multiple times. While the script was being developed, the leading role was initially considered for Jack Lemmon or Telly Savalas. Newman asked to play the leading role after hearing about the project. To develop his character, he traveled to West Virginia, where he recorded local accents and surveyed people's behavior. George Kennedy turned in an Academy Award-winning performance as Dragline, who fights Luke and comes to respect him. During the nomination process, worried about the box-office success of "Camelot" and "Bonnie and Clyde", Kennedy spent $5,000 on trade advertising to promote himself. He later said that thanks to the award, his salary was "multiplied by ten the minute [he] won", adding, "the happiest part was that I didn't have to play only villains anymore".


title: Cool Hand Luke

text: Strother Martin, known for his appearances in westerns, was cast as the Captain, a prison warden depicted as a cruel and insensitive leader, severely punishing Luke for his escapes. The role of Luke's dying mother, Arletta, who visits him in prison, was passed to Jo Van Fleet after it was rejected by Bette Davis. Morgan Woodward was cast as Boss Godfrey, a laconic, cruel and remorseless prison officer Woodward described as a "walking Mephistopheles." He was dubbed "the man with no eyes" by the inmates for his mirrored sunglasses. The blonde Joy Harmon was cast for the scene where she teases the prisoners by washing her car after her manager, Leon Lance, contacted the producers. She auditioned in front of Rosenberg and Newman wearing a bikini, without speaking.


title: Cool Hand Luke

text: Filming began on October 3, 1966, on the San Joaquin River Delta. The set, imitating a southern prison farm, was built in Stockton, California. The filmmakers sent a crew to Tavares Road Prison in Tavares, Florida, where Pearce had served his time, to take photographs and measurements. The structures built in Stockton included barracks, a mess hall, the warden's quarters, a guard shack and dog kennels. The trees on the set were decorated with spanish moss that the producers took to the area. The construction soon attracted the attention of a county building inspector who confused it with migrant worker housing and ordered it "condemned for code violations". The opening scene where Newman cuts the parking meters was filmed in Lodi, California. The scene in which Luke is chased by bloodhounds and other exteriors were shot in Jacksonville, Florida, at Callahan Road Prison. Luke was played by a stunt actor, using dogs from the Florida Department of Corrections.


title: Cool Hand Luke

text: Rosenberg wanted the cast to internalize life on a chain gang and banned the presence of wives on set. After Harmon arrived on location, she remained for two days in her hotel room, and wasn't seen by the rest of the cast until shooting commenced. Despite Rosenberg's intentions, the scene was ultimately filmed separately. Rosenberg instructed an unaware Harmon of the different movements and expressions he wanted. Originally planned to be shot in half a day, Harmon's scene took three. For the part of the scene featuring the chain gang, Rosenberg substituted a teenage cheerleader, who wore an overcoat.


title: Cool Hand Luke

text: The Academy Award-nominated original score was by Lalo Schifrin, who wrote tunes with a background in popular music and jazz. Some tracks include guitars, banjos and harmonicas; others include trumpets, violins, flutes and piano.


title: Cool Hand Luke

text: An edited version of the musical cue from the "Tar Sequence" (where the inmates are energetically paving the road) has been used for years as the theme music for local television stations' news programs around the world, mostly those owned and operated by ABC in the United States. Although the music was written for the film, it became more familiar for its association with TV news, in part because its staccato melody resembles the sound of a telegraph.


title: Cool Hand Luke

text: Pierson included in his draft explicit religious symbolism. The film contains several elements based on Christian themes, including the concept of Luke as a saint who wins over the crowds and is ultimately sacrificed. Luke is portrayed as a "Jesus-like redeemer figure". After winning the egg-eating bet, he lies exhausted on the table in the position of Jesus as depicted in his crucifixion, hands outstretched, feet folded over each other. After learning of his mother's death, Luke sings "Plastic Jesus". Greg Garrett also compares Luke to Jesus, in that like Jesus, he was not physically threatening to society because of his actions, and like Jesus' crucifixion, his punishment was "out of all proportion".


title: Cool Hand Luke

text: Luke challenges God during the rainstorm on the road, telling Him to do anything to him. Later, while he is digging and filling trenches and confronted by the guards, Tramp (Harry Dean Stanton) performs the spiritual "No Grave Gonna Keep my Body Down". Toward the end of the film, Luke speaks to God, evoking the conversation between God and Jesus at the Garden of Gethsemane, depicted in the Gospel of Luke. After Luke's talk, Dragline functions as a Judas, who delivers Luke to the authorities, trying to convince him to surrender. In the final scene, Dragline eulogizes Luke. He explains that despite Luke's death, his actions succeeded in defeating the system. The closing shot shows inmates working on crossroads from far above, such that the intersection is in the shape of the cross. Superimposed on this is the repaired photo Luke sent during his second escape, the creases of which also form a cross.


title: Cool Hand Luke

text: Different traffic signs are used throughout the film, complementing the characters' actions. At the beginning, while Luke cuts the heads off the parking meters, the word "Violation" appears. Stop signs are also seen. Instances include the road-paving scene and the last scene, where the road meets at a cross section. Traffic lights turn from green to red in the background at the time Luke is arrested, while at the end, when he is fatally wounded, a green light in the background turns red.


title: Cool Hand Luke

text: After writing the line, Pierson worried that the phrase was too complex for the warden. To explain its origin, he created a backstory that was included in the stage directions. Pierson explained that in order to advance in the Florida prison system, officers had to take criminology and penology courses at the state university, showing how the warden might know such words. Strother Martin later clarified that he felt the line was the kind that his character would very likely have heard or read from some "pointy-headed intellectuals" who had begun to infiltrate his character's world under the general rubric of a new, enlightened approach to incarceration. Some authors believe that the quotation was a metaphor for the ongoing Vietnam War, which was taking place during the filming; others have applied it to corporations and even teenagers. The quotation was listed at number 11 on the American Film Institute's list of the 100 most memorable movie lines.


title: Cool Hand Luke

text: A sample of the line is included in the Guns N' Roses songs "Civil War" and "Madagascar". Zero Mostel paraphrases the line in "The Great Bank Robbery" (1969). When Strother Martin hosted "Saturday Night Live" on April 19, 1980, he played the strict owner of a language camp for children, parodying his "Cool Hand Luke" role. He paraphrased his line from the movie as, "What we have here is failure to communicate BILINGUALLY!"


title: Cool Hand Luke

text: "Cool Hand Luke" opened on October 31, 1967, at Loew's State Theatre in New York City. The proceeds of the premiere went to charities. The film was a box-office success, grossing $16,217,773 in domestic screenings.


title: Cool Hand Luke

text: "Variety" called Newman's performance "excellent" and the supporting cast "versatile and competent." "The New York Times" praised the film, remarking Pearce and Pierson's "sharp script", Rosenberg's "ruthlessly realistic and plausible" staging and direction and Newman's "splendid" performance with an "unfaultable" cast that "elevates" it among other prison films. Kennedy's portrayal was considered "powerfully obsessive" and the actors's playing the prison staff, "blood-chilling". The "New York Daily News" gave "Cool Hand Luke" three-and-a-half stars. Reviewer Ann Guarino noted that the film was based on Pearce's experience working with a chain gang and added, "if the cruelties depicted are true, the film should encourage reforms". Guarino called Newman's acting "excellent" and "charming and likeable", and wrote that "humor is supplied" by Kennedy. She wrote that Arletta was "played outstandingly" by van Fleet, that Martin was "effective" as the warden and that the rest of the cast "do well in their roles". For "The Boston Globe", Marjory Adams noted that "Cool Hand Luke" "hits hard, spares no punches, deals with rough, sadistic and unhappy men". The review deemed Newman "tremendously effective", and his portrayal "played with perceptiveness, honesty and compassion". Adams pointed out that "Kennedy stands out as unofficial leader of the convicts", she called van Fleet's role "short but poignant" and Harmon's appearance "a masterpiece of woman's inhumanity to men". According to Adams, the direction by Rosenberg was "sharp, discerning and realistic".


title: Cool Hand Luke

text: For the "Chicago Tribune", Clifford Terry wrote that the film "works beautifully", adding that it is "sharp, absorbing, extremely entertaining". Terry remarked on Newman's "usual competent performance" and the "strong support of the cast", and praised Kennedy, Martin, Askew and Woodward. Van Fleet's acting was deemed "masterfully played". Rosenberg's direction was called "diverse" in its "exploration of moods". Terry opined that the "believable, tuned-in dialog" by Pierson and Person and Conrad Hall's "sun-centered photography" created a "great feeling of the southern discomfort". He felt that "the final 10 minutes" that featured Luke's monologue "almost destroy the preceding 110", with the "unlikely" monologue and the "artsy camera shot" of the breaking of the "hating overseer's sunglasses" contributing to the scene's "awkward artificiality". But "everything else works", Terry wrote.


title: Cool Hand Luke

text: For the "Los Angeles Times", reviewer Charles Champlin called the film "remarkably interesting and impressive". He wrote that "Cool Hand Luke" "has its flaws" that "mar an otherwise special achievement", but that "it still remains an achievement". He felt that the film was a "triumph" for Newman. Champlin deemed the scene featuring van Fleet a "stunning piece of writing and acting". He called the roles of the prison staff "triumphantly hateable" and Kennedy "superb". He called the sequence with Harmon "a scene of cruel sexuality" and Schifrin's music "lonely and hunting". Champlin felt that Newman's end monologue was "stagey, sentimental and redundant". He added that "Cool Hand Luke" "played at the level of observable reality" and that "the intrusion of cinematic artifice seems wholly wrong". He wrote that the filmmakers "had not reckoned their own strength at making their symbolic points" but that the result was "a picture with riveting impact".