text: The survey used the same question employed in the 2004 and 2010 University of Leeds studies: MPs were asked how successful or unsuccessful they considered each prime minister to have been using a 0 to 10 scale, where 0 meant highly unsuccessful and 10 meant highly successful.


title: Historical rankings of prime ministers of the United Kingdom

text: Overall, MPs rated Margaret Thatcher as the most successful post-war prime minister, just ahead of Clement Attlee. With the exception of Edward Heath, who was judged more favourably by Labour MPs than by Conservatives, evaluations were split along party lines: Conservative MPs tended to consider Conservative prime ministers to be more successful than did Labour MPs, and Labour MPs generally gave Labour prime ministers higher scores than did Conservative MPs.


text: The BBC television programme "The Daily Politics" asked viewers in 2007 to select their favourite Prime Minister out of a list of ten who served between 1945 and 2007 (excluding Churchill). In 2008, BBC "Newsnight" held a poll of 27,000 people, to decide the UK's greatest and worst post-war prime minister.


text: While the poll indicated that respondents should only consider the period from 1945 onwards, whether or not respondents opted to separate Churchill's first term (1940-45) from his second in their evaluation should be weighed in this evaluation versus other polls (e.g. of academics), who generally rate Churchill's second term as being substantially worse than his first by comparison. Additionally, In a BBC poll to find the 100 Greatest Britons in 2002, five prime ministers were ranked in the top 100. Winston Churchill was voted greatest Briton, the Duke of Wellington was in 15th place, Margaret Thatcher was in 16th place, Tony Blair was 67th and David Lloyd George was 79th.


text: Both "The Times" and Iain Dale have specifically ranked all (or almost all) prime ministers of the United Kingdom and prime ministers of Great Britain.


title: Intimate relationship

text: An intimate relationship is an interpersonal relationship that involves physical or emotional intimacy. Although an intimate relationship is commonly a sexual relationship, it may also be a non-sexual relationship involving family, friends, or acquaintances.


title: Intimate relationship

text: Emotional intimacy involves feelings of closeness, relatedness, and vulnerability. This concept has been proven to be an essential aspect for a healthy relationship. Once deeper feelings of liking or loving one or more people arise, it may result in physical intimacy. However, emotional intimacy may or may not be present in physical intimacy depending on the depth of the relationship. Physical intimacy is characterized by romantic love, sexual activity, or other passionate attachment. These relationships play a central role in the overall human experience. Humans have a general desire to belong and to love, which is usually satisfied within an intimate relationship. Such relationships allow a social network for people to form strong emotional attachments.


title: Intimate relationship

text: Intimacy involves the feeling of being in a close, personal association and belonging together. It is a familiar and very close affective connection with another as a result of a bond that is formed through knowledge and experience of the other. Genuine intimacy in human relationships requires dialogue, transparency, vulnerability, and reciprocity. Dalton (1959) discussed how anthropologists and ethnographic researchers access "inside information" from within a particular cultural setting by establishing networks of intimates capable (and willing) to provide information unobtainable through formal channels.


title: Intimate relationship

text: In human relationships, the meaning and level of intimacy varies within and between relationships. In anthropological research, intimacy is considered the product of a successful seduction, a process of rapport building that enables parties to confidently disclose previously hidden thoughts and feelings. Intimate conversations become the basis for "confidences" (secret knowledge) that bind people together.


title: Intimate relationship

text: Sexual relations and moments of intimacy decline significantly after delivering a newborn. Extreme sleep deprivation was the most common response from women on why they are less sexually active with their spouse.  Due to the lack of sleep and obligations of taking care of the baby, sexual intimacy becomes a less significant priority. Women viewed themselves as being unattractive, not because their spouse expressed this, but they are uncomfortable with their appearance of their changed body. Only 5% of partners stated that their sexual relations were more frequent post childbirth. Some women viewed it as important for their marriage regardless of their level of desire. A breast-feeding mother forms a strong emotional bond between her and baby. Many times, the mother’s emotional needs are met through this experience. This can cause the husband to feel less connected to his wife.


title: Intimate relationship

text: Sustaining intimacy for a length of time involves well-developed emotional and interpersonal awareness. Intimacy involves the ability to be both separate and together as participants in an intimate relationship. Murray Bowen called this "self-differentiation", which results in a connection in which there is an emotional range involving both robust conflict and intense loyalty. Lacking the ability to differentiate oneself from the other is a form of symbiosis, a state that is different from intimacy, even if feelings of closeness are similar.


title: Intimate relationship

text: Intimate behavior joins family members and close friends, as well as those in love. It evolves through reciprocal self-disclosure and candor. Poor skills in developing intimacy can lead to getting too close too quickly; struggling to find the boundary and to sustain connection; being poorly skilled as a friend, rejecting self-disclosure or even rejecting friendships and those who have them. Psychological consequences of intimacy problems are found in adults who have difficulty in forming and maintaining intimate relationships. Individuals often experience the human limitations of their partners, and develop a fear of adverse consequences of disrupted intimate relationships. Studies show that fear of intimacy is negatively related to comfort with emotional closeness and with relationship satisfaction, and positively related to loneliness and trait anxiety.


title: Intimate relationship

text: The interdependence model of Levinger and Snoek divides the development of an intimate relationship into four stages: the first one is the zero contact stage, in which is no contact between the two parties in the relationship; The second stage is awareness, which means the parties don't have any superficial or deep contact with each other, but only know each other; The third stage is surface contact, in which both parties know each other and have had superficial contact; The fourth stage of coexistence phase (mutuality), refers to mutual dependence having greatly increased, as well as deep contact existing.


title: Intimate relationship

text: Scholars distinguish between different forms of intimacy, including physical, emotional, cognitive, or spiritual intimacy:


title: Intimate relationship

text: The use of empirical investigations in 1898 was a major revolution in social analysis. A study conducted by Monroe examined the traits and habits of children in selecting a friend. Some of the attributes included in the study were kindness, cheerfulness and honesty. Monroe asked 2336 children aged 7 to 16 to identify "what kind of chum do you like best?" The results of the study indicated that children preferred a friend that was their own age, of the same sex, of the same physical size, a friend with light features (hair and eyes), friends that did not engage in conflict, someone that was kind to animals and humans, and finally friends that were honest. Two characteristics that children reported as least important included wealth and religion.


title: Intimate relationship

text: The study by Monroe was the first to mark the significant shift in the study of intimate relationships from analysis that was primarily philosophical to those with empirical validity. This study is said to have finally marked the beginning of relationship science. In the years following Monroe's study, very few similar studies were done. There were limited studies done on children's friendships, courtship and marriages, and families in the 1930s but few relationship studies were conducted before or during World War II. Intimate relationships did not become a broad focus of research again until the 1960s and 1970s when there was a vast number of relationship studies being published.


title: Intimate relationship

text: The study of intimate relationships uses participants from diverse groups and examines a wide variety of topics that include family relations, friendships, and romantic relationships, usually over a long period. Current study includes both positive and negative or unpleasant aspects of relationships.


title: Intimate relationship

text: Research being conducted by John Gottman (2010) and his colleagues involves inviting married couples into a pleasant setting, in which they revisit the disagreement that caused their last argument. Although the participants are aware that they are being videotaped, they soon become so absorbed in their own interaction that they forgot they were being recorded. With the second-by-second analysis of observable reactions as well as emotional ones, Gottman is able to predict with 93% accuracy the fate of the couples' relationship.


title: Intimate relationship

text: Terri Orbuch and Joseph Veroff (2002) monitored newlywed couples using self-reports over a long period (a longitudinal study). Participants are required to provide extensive reports about the natures and the statuses of their relationships. Although many of the marriages have ended since the beginning of the study, this type of relationship study allows researchers to track marriages from start to finish by conducting follow-up interviews with the participants in order to determine which factors are associated with marriages that last and which with those that do not. Though the field of relationship science is still relatively young, research conducted by researchers from many different disciplines continues to broaden the field.


title: Intimate relationship

text: Evidence also points to the role of a number of contextual factors that can impact intimate relationships. In a recent study on the impact of Hurricane Katrina on marital and partner relationships, researchers found that while many reported negative changes in their relationships, a number also experienced positive changes. More specifically, the advent of Hurricane Katrina led to a number of environmental stressors (for example, unemployment, prolonged separation) that negatively impacted intimate relationships for many couples, though other couples' relationships grew stronger as a result of new employment opportunities, a greater sense of perspective, and higher levels of communication and support. As a result, environmental factors are also understood to contribute heavily to the strength of intimate relationships.


title: Intimate relationship

text: A Northwestern University research team summarized the literature in 2013, finding that "negative-affect reciprocity" – retaliatory negativity between partners during a conflict – is arguably the most robust predictor of poor marital quality. However, this degradation can be softened (according to their 120 heterosexual couple Chicago sample) by undertaking a reappraisal writing task every four months.


title: Intimate relationship

text: One study suggests that married straight couples and cohabiting gay and lesbian couples in long-term intimate relationships may pick up each other's unhealthy habits. The study reports three distinct findings showing how unhealthy habits are promoted in long-term intimate relationships: through the direct bad influence of one partner, through synchronicity of health habits, and through the notion of personal responsibility.


title: Intimate relationship

text: Some research indicates that pornography is a possible source of education about sex and relationships. In the absence of inclusive same-sex relationship education in traditional sources (i.e., schools, parents, friends, and mainstream media), gay pornography may be used by men who have sex with men as a source of information about intimacy, while serving its main purpose as a masturbatory aid. A 2020 study indicated that gay pornography depicts both physical (kissing, cuddling, affectionate touch, and genital touch before and after sex) and verbal intimacy (compliments, personal disclosure, and expressions of care). Most forms of physical and verbal intimacy occurred before or during sex, with intimacy being least evident post-sex.


title: Intimate relationship

text: Over 2,300 years ago, interpersonal relationships were being contemplated by Aristotle. He wrote: "One person is a friend to another if he is friendly to the other and the other is friendly to him in return" (Aristotle, 330 BC, trans. 1991, pp. 72–73). Aristotle believed that by nature humans are social beings. Aristotle also suggested that relationships were based on three different ideas: utility, pleasure, and virtue. People are attracted to relationships that provide utility because of the assistance and sense of belonging that they provide. In relationships based on pleasure, people are attracted to the feelings of pleasantness when the parties engage. However, relationships based on utility and pleasure were said to be short-lived if the benefits provided by one of the partners were not reciprocated. Relationships based on virtue are built on an attraction to the others' virtuous character.


title: Intimate relationship

text: Aristotle also suggested that relationships based on virtue would be the longest lasting and that virtue-based relationships were the only type of relationship in which each partner was liked for themselves. The philosophical analysis used by Aristotle dominated the analysis of intimate relationships until the late 1880s.


title: Intimate relationship

text: Modern psychology and sociology began to emerge in the late 19th century. During this time theorists often included relationships into their current areas of research and began to develop new foundations which had implications in regards to the analysis of intimate relationships. Freud wrote about parent–child relationships and their effect on personality development. Freud's analysis proposed that people's childhood experiences are transferred or passed on into adult relationships by means of feelings and expectations. Freud also founded the idea that individuals usually seek out marital partners who are similar to that of their opposite-sex parent.


title: Intimate relationship

text: In 1891, William James wrote that a person's self-concept is defined by the relationships endured with others. In 1897, Émile Durkheim's interest in social organization led to the examination of social isolation and alienation. This was an influential discovery of intimate relationships in that Durkheim argued that being socially isolated was a key antecedent of suicide. This focus on the darker side of relationships and the negative consequences associated to social isolation were what Durkheim labeled as anomie. Georg Simmel wrote about dyads, or partnerships with two people. Simmel suggested that dyads require consent and engagement of both partners to maintain the relationship but noted that the relationship can be ended by the initiation of only one partner. Although the theorists mentioned above sought support for their theories, their primary contributions to the study of intimate relationships were conceptual and not empirically grounded.


title: Intimate relationship

text: An important shift was taking place in the field of social psychology that influenced the research of intimate relationships. Until the late 1950s, the majority of studies were non-experimental. By the end of the 1960s more than half of the articles published involved some sort of experimental study. The 1960s was also a time when there was a shift in methodology within the psychological discipline itself. Participants consisted mostly of college students, experimental methods and research were being conducted in laboratories and the experimental method was the dominant methodology in social psychology. Experimental manipulation within the research of intimate relationships demonstrated that relationships could be studied scientifically. This shift brought relationship science to the attention of scholars in other disciplines and has resulted in the study of intimate relationships being an international multidiscipline.


title: Intimate relationship

text: In the early 1980s the first conference of the International Network of Personal Relationships (INPR) was held. Approximately 300 researchers from all over the world attended the conference. In March 1984, the first journal of Social and Personal Relationships was published. In the early 1990s the INPR split off into two groups; in April 2004 the two organizations rejoined and became the International Association for Relationship Research (IARR).


title: Intimate relationship

text: Donald Nathanson, a psychiatrist who built his study of human interactions off of the work of Silvan Tomkins, argues that an intimate relationship between two individuals is best when the couple agrees to maximize positive affect, minimize negative affect and allow for the free expression of affect. These findings were based on Tomkin's blueprint for emotional health, which also emphasizes doing as much of the maximizing, minimizing and expressing as possible.


title: Intimate relationship

text: In the year 1993, dating as society knew it was going to change forever. An online company called Match.com was the first dating site to launch. A high correlation exists for those that are computer literate and their tendency to attempt online dating due to the new development of the internet. In 2004, Guinness World Records rewarded Match.com with being the largest dating site in the world by having over 42 million people sign up for their services.


title: Intimate relationship

text: In the year 2016, there were an estimated 240 million dating app users, but as of 2021 that number has risen to around 323 million users worldwide due to the Covid 19 pandemic. Even though there has been rapid growth of users, there have been many reports of the negative effects regarding dating app usage. The intention of dating app usage varies between each individual. For example, a study of Grindr users was done to detect their reasonings for using that dating site. The final report concluded that 67.2% of users were interested in finding a dating companion while 62.1% of users were desiring casual sex. The risk for sexually transmitted disease increases significantly for individuals who participate in casual sex. A sexual assault researcher from the Associate Dean of Brigham Young University College of Nursing notes that there were around 2,000 cases of reported sexual assaults from dating apps alone over the course of three years. Many of those cases were due to catfishing, which is when one portrays to be someone else. Studies have also been done to determine the effects of online dating on mental health. They found that there is an increase of depression, anxiety, and low self-esteem for users. Regardless of the negative outcomes, the convenience of dating apps makes it so that they are here to stay in society.


title: Monster Musume

text: An anime adaptation aired from July to September 2015, and is licensed by Sentai Filmworks under the title Monster Musume: Everyday Life with Monster Girls.


title: Monster Musume

text: A light novel based on the series, titled Monster Musume – Monster Girls on the Job!, with Yoshino Origuchi, author of "Monster Girl Doctor", as the writer, was published by Seven Seas Entertainment (ISBN 978-1-64827-559-3) on August 29, 2020.


title: Monster Musume

text: For years, the Japanese government had kept a secret: mythical creatures such as centaurs, mermaids, harpies, and lamaias are real. Three years before the start of the story, the government revealed the existence of these creatures and passed the "Interspecies Cultural Exchange Act". Since then, these creatures, known as "liminals", have become a part of human society, living with ordinary families like foreign exchange students and au-pair visitors, but with other duties and restrictions (the primary restrictions being that liminals and humans are forbidden from harming each other or procreating).


title: Monster Musume

text: In Asaka, Saitama, Kimihito Kurusu is a normal student who initially has no connection to the exchange program. However, when coordinator Kuroko Smith delivers the very scared and embarrassed Miia to his door by mistake, he cannot bring himself to send her away and allows her to live at his home, taking advantage of his parents' extended absence. As the story continues, Kimihito meets and gives shelter to other female liminals, each of a different species. Some arrive more or less by accident, while others are forced upon him by Smith or simply insinuate themselves into the house. Before long, Kimihito finds himself in a hectic environment, struggling to live in harmony with his new housemates while dealing with both their constant affectionate/romantic advances and the dramas of helping them get along in the human world. The situation takes on a new twist after he is told that because of expected changes in the law dealing with human-liminal relationships, he is expected to marry one of the girls as a test case, thus increasing their competition for his attention. However, as time passes, other liminal girls become attracted to him and begin to vie for his attention, much to Kimihito's embarrassment and the annoyance of his housemates.


title: Monster Musume

text: Okayado, a pen name of Takemaru Inui, published the prototype for "Monster Musume" in "Comic Ryu"'s Anthology Comic "Kemomo 02", published by Tokuma Shoten, in 2011. He then reworked the story into a serialized publication, and the first chapter was published in Tokuma Shoten's "seinen" manga magazine "Monthly Comic Ryū" on 19 March 2012. The first collected "tankōbon" volume was released on 13 September 2012. The series moved to online-only serialization when "Comic Ryū" changed formats on 19 June 2018. The series has been licensed in English by Seven Seas Entertainment and in German by Kazé.


title: Monster Musume

text: A four volume anthology of four-panel spin-offs with stories by Shake-O ("Nurse Hitomi's Monster Infirmary"), SaQ Tottori ("Kyōkai Senjō no Limbo"), and Cool-Kyou-Sinnjya ("I Can't Understand What My Husband Is Saying", "Komori-san Can't Decline"), titled was published by Tokuma Shoten between 12 August 2015 and February 2016. Seven Seas Entertainment also licensed the spinoff.


title: Monster Musume

text: The series has been collected into seventeen volumes, all but the most recent of which have been republished in English.


title: Monster Musume

text: In September 2014, the "Monster Musume" website ran a series of polls asking what readers would want to see in an anime adaptation. This was followed in March by the announcement that a television series would begin airing in July 2015. The series, directed by Tatsuya Yoshihara and scripted by Kazuyuki Fudeyasu, was animated by the animation studio Lerche. It stars Junji Majima as the voice of Kurusu Kimihito, Sora Amamiya as Miia, Ari Ozawa as Papi, Natsuki Aikawa as Centorea, Mayuka Nomura as Suu, Haruka Yamazaki as Mero, Sakura Nakamura as Rachnera, Ai Kakuma as Lala, Yū Kobayashi as Ms. Smith, Momo Asakura as Manako, Rei Mochizuki as Zombina, Yurika Kubo as Tionisia, and Saori Ōnishi as Doppel. The opening theme song, titled , is performed by the voice actresses for Miia, Papi, Centorea, Suu, Mero, and Rachnera; and the closing song, , is performed by the voice actresses for Ms. Smith, Manako, Tionishia, Zombina, and Doppel.


title: Monster Musume

text: The series aired in Japan on Tokyo MX, Sun TV, KBS, BS11, and AT-X. It is accompanied by a series of anime shorts, titled "Hobo Mainichi OO! Namappoi Dōga" (Almost Daily __! Sort of Live Video), which were streamed semi-daily on the Japanese video sharing site Niconico, the service that also streamed the series regular. The shorts were available for a period of 24 hours, with compilation episodes being streamed on the weekends. The series is streamed by Daisuki in Central and Latin America, Indonesia, Singapore, Thailand, and the Philippines. The series is also streamed by Crunchyroll in the United States, Canada, the United Kingdom, Ireland, South Africa, Australia, New Zealand, Latin America, the Netherlands, Scandinavia, and Turkey. The series is licensed by Sentai Filmworks in North America.


title: Monster Musume

text: An original anime DVD was released with the manga's eleventh volume on 11 November 2016. It was directed by Tatsuya Yoshihara and written by Kazuyuki Fudeyasu, with animation by Lerche. The OAD adapts chapter 17 of the manga, which was included in the fourth "tankōbon" volume. A second original anime DVD was released with the manga's twelfth volume on 13 April 2017. An English version was released on 25 July 2017.


title: Monster Musume

text: Coinciding with the release of the first anime episode, it was announced that an online PC game adapted from the series would be released by DMM Games in 2015. The game was released on 21 December 2015. At the height of its popularity, it had around 200,000 players. The game was shut down on 22 November 2016.


title: Monster Musume

text: As of 1 September 2014, over a million copies of the "tankōbon" volumes had been sold. The series reached 2.3 million copies in print on 13 February 2016.


title: Monster Musume

text: The first ten volumes of the English translation have appeared on the "New York Times" Manga Best Sellers list, prior to the list's discontinuation:


title: Monster Musume

text: Two volumes of the English translation of "Monster Musume: I Heart Monster Girls" have appeared on the "New York Times" Manga Best Sellers list:


title: Hiro Murai

text: Hiro Murai (born 1983) is a Japanese-American filmmaker based in Los Angeles. His most notable works include internationally successful music videos for artists such as Childish Gambino, Earl Sweatshirt, Chet Faker, Flying Lotus, David Guetta, St. Vincent, The Shins, The Fray, Bloc Party, Queens of the Stone Age, and FKA Twigs.


title: Hiro Murai

text: He received a Grammy Award in 2019 for Best Music Video for "This is America" with Childish Gambino. He also received five Primetime Emmy Award nominations for the FX series "Atlanta" (2016–present), and the HBO limited series "Station Eleven" (2022). He is a frequent director of Bill Hader's HBO series "Barry" (2018-present) and executive produces the Hulu series "The Bear" (2022-present).


title: Hiro Murai

text: Murai was born to Japanese popular music composer Kunihiko Murai. He moved to Los Angeles when he was nine years old. He graduated with a degree from the USC School of Cinematic Arts.


title: Hiro Murai

text: After graduation, Murai turned to freelance work as the director of photography for numerous music videos, as well as VFX and storyboarding, most notably for Ace Norton. After some time Murai began to direct low budget films.


title: Hiro Murai

text: In 2013, he directed the short film "Clapping for the Wrong Reasons", a companion piece for Childish Gambino's second studio album, "Because the Internet", and its attached screenplay. In the same year, he created a multi-panel video set for Frank Ocean's performance at the Grammys.


title: Hiro Murai

text: Since 2016, Murai has directed several episodes of the comedy-drama "Atlanta", collaborating again with Donald Glover (aka Childish Gambino). For his work on the show, he has received three nominations for the Emmy Award for Outstanding Comedy Series and Outstanding Directing for a Comedy Series.


title: Hiro Murai

text: He directed the music video for Childish Gambino's "This Is America", released on May 5, 2018, which was described as "the most talked-about music video of recent memory", and which "Billboard" critics ranked 10th among the "greatest music videos of the 21st century." In 2019, Murai won the Grammy Award for Best Music Video for directing the video.


title: Hiro Murai

text: In November 2018, the trailer for his debut feature film "Guava Island", starring Donald Glover and Rihanna, premiered at the Pharos Festival in New Zealand. "Guava Island" was released on April 13, 2019, by Amazon Studios through Amazon Prime Video. On Rotten Tomatoes, the film has an approval rating of 74% based on reviews from 43 critics, with an average rating of 6.60/10. On Metacritic, it has a weighted average score of 64 out of 100, based on 8 reviews, indicating "generally favorable" reviews.


title: Hiro Murai

text: In 2021, Murai directed the first and third episode the science fiction miniseries "Station Eleven" for HBO Max.


title: Hiro Murai

text: In June 2018, it was announced that he would direct a science fiction feature film, "Man Alive", written by David Robert Mitchell.


title: White Bear (Black Mirror)

text: "White Bear" is the second episode of the second series of the British science fiction anthology series "Black Mirror". It was written by the series creator and showrunner Charlie Brooker and directed by Carl Tibbetts. The episode follows Victoria (Lenora Crichlow), a woman who does not remember who she is, and wakes up in a place where almost everybody is controlled by a television signal. Along with some of the few other unaffected people (Michael Smiley and Tuppence Middleton), she must stop the "White Bear" transmitter while surviving merciless pursuers.


title: White Bear (Black Mirror)

text: Brooker originally wrote the episode in an apocalyptic setting, but when the script was about to be filmed at a former Royal Air Force base, he changed it because of a fence he saw there. He rewrote the story in two days, removing some details he considered useful for a sequel story. The main change was the addition of a plot twist at the end of the script, which was noted as the most impressive aspect of the episode by several reviewers.


title: White Bear (Black Mirror)

text: The episode, first aired on Channel 4 on 18 February 2013, was watched by 1.2 million viewers and was very well received by critics, particularly for its writing and Middleton's performance. The story draws parallels with real murder cases, primarily the 1960s Moors murders, in which five children were killed. Its horror aspects have been said to be reminiscent of the 1970s film "The Wicker Man" and the video game "Manhunt", while some similarities with "The Twilight Zone" have also been noted. This dystopian episode reflects upon several aspects of contemporary society, such as media coverage of murders, technology's effects on people's empathy, desensitisation, violence as entertainment, vigilantism, the concept of justice and punishment, and the nature of reality.


title: White Bear (Black Mirror)

text: A woman (Lenora Crichlow) wakes up with amnesia, in a house where television screens are showing an unknown symbol. Turning the screens off, she finds photos of herself and a man (Nick Ofield), along with one of a small girl (Imani Jackman) which she takes with her. She leaves the house and pleads for help, but people ignore her while recording her on their phones. When a masked man opens fire at her with a shotgun, she flees and meets Jem (Tuppence Middleton). Jem explains that the symbol began appearing on television and mobile phone screens, turning most people into passive voyeurs. The woman and Jem are unaffected, but they are also a target for the "hunters", unaffected humans who act sadistically. Jem plans to reach a transmitter at "White Bear" to destroy it.


title: White Bear (Black Mirror)

text: As they travel, Baxter (Michael Smiley), a man who also seems unaffected, picks them up. He turns out to be another hunter, and holds them at gunpoint in a forest, where he tries to torture the woman, but Jem kills Baxter first. They continue travelling to the transmitter; when they reach it, two hunters attack them. The woman wrestles a shotgun away from a hunter and fires at her attacker, but the gun only sprays confetti. Walls open to reveal a seated audience; and that everything was staged, and Baxter is not only alive, but the event's master of ceremonies.


title: White Bear (Black Mirror)

text: The woman is strapped to a chair and informed that her name is Victoria Skillane, and that the girl in the photograph is Jemima Sykes, whom Victoria and her fiancé, Iain Rannoch, had abducted and murdered, filming the crime. After the pair were arrested, Iain committed suicide in his cell, while Victoria was sentenced to undergo daily psychological punishment at the present facility, which is called White Bear Justice Park after a white teddy bear that Jemima owned.


title: White Bear (Black Mirror)

text: Victoria is driven back to the compound past an outraged crowd and returned to where she awoke. As she is shown her own videotaped footage of Jemima prior to her murder, Baxter places electrodes on her head, simultaneously torturing her and wiping her memory of the day's events so that she will live the same day repeatedly as part of her punishment. Interspersed between the end credits, the next day's events are seen from the point of view of the park's staff, and its visitors who play the voyeurs.


title: White Bear (Black Mirror)

text: Series creator Charlie Brooker came up with the idea while working on the 2008 zombie horror serial "Dead Set". During filming, Riz Ahmed's character was being chased by zombies; some schoolchildren noticed the production and began watching, taking pictures on their phones. Brooker considered it to be "an interesting and frightening image, because they're standing there, not intervening". Brooker converted it to a script for "Dead Set", in which a photograph goes viral on social media and "unlock[s] this primal urge for people to be voyeurs of agony". Although the idea was given the green light, they did not have the budget to do it.


title: White Bear (Black Mirror)

text: The first conception of the episode was as "a straightforward apocalypse story", featuring a female journalist and taking inspiration from the 1967 science fiction horror film "Quatermass and the Pit". The signal would have affected people all over the world, turning 90% of them into voyeurs and the rest into mad people who attacked each other; its source was never explained. It was to end with a public crucifixion.


title: White Bear (Black Mirror)

text: The second version opened with a patient speaking to their psychiatrist about their nightmares and a recent urge to commit violence. The patient draws a glyph from their dreams, and the psychiatrist files it along with identical symbols drawn by her other patients. This glyph resembles an upside-down "Y" and was created by Brooker after much experimentation; it is the one used in the final episode. This draft had the character Baxter in it and resembled the 1973 horror film "The Wicker Man". Executive producer Annabel Jones noted that the theme had shifted more towards voyeurism. By this point, director Carl Tibbetts was involved with the project.


title: White Bear (Black Mirror)

text: After working on the other series two episodes "Be Right Back" and "The Waldo Moment", the latter of which was in production, there was little of the budget remaining for "White Bear". Filming was limited to a military base at RAF Daws Hill in southeast England, which was formerly a United States Air Force base. The base contained an abandoned housing estate and buildings that could be repurposed to look like shops and garages. The base was surrounded by chicken wire and Brooker considered that the fence could be there because the events of the episode were not real. Brooker believed that the public would watch certain people be tortured for such as Jimmy Savile, against whom hundreds of sexual abuse allegations have been made, or Myra Hindley, a serial killer who committed the Moors murders with her boyfriend, Ian Brady.


title: White Bear (Black Mirror)

text: Brooker then rewrote the script in two days "in a bit of a fever dream". He noted that he had never changed a script so dramatically so late in the production process, and that this is the first major plot twist in a "Black Mirror" episode. Brooker considered making Victoria innocent, but settled on making her unknowingly guilty. Lenora Crichlow had already been cast as Victoria prior to the rewrite.


title: White Bear (Black Mirror)

text: Prior to the twist, the episode is shown from Victoria's perspective. According to Tibbetts, handheld cameras were used to make the episode "very intense and personal" and to make the viewer identify with Victoria. Contrastingly, in the end credits scenes filming is "still and static" to resemble an observer's perspective. Flashback scenes were balanced to avoid giving away too much information before the twist. The scene in which Victoria is driven through the crowd was cut shorter in the final edit and many of the crowd members were added digitally. Brooker had the idea during editing of displaying Victoria's next day at the park during the credits. The episode is 42 minutes long, slightly shorter than Channel 4's standard of 45–48 minutes for an hour-long episode.


title: White Bear (Black Mirror)

text: The episode's soundtrack was composed by Jon Opstad. The score is mostly electronic. To give a different character to the music played as Victoria lives her next day in the theme park, Opstad added acoustic elements, but feeling that this did not fit with the universe he used pizzicato cello music and overlaid "spidery" atonal lines.


title: White Bear (Black Mirror)

text: Brooker had other ideas that were removed from the original script because they would be complicated to do. He said he could use these ideas in a sequel story which would involve the main character finding messages that she had left for herself on previous days as the process of erasing her mind starts not to function. However, as the location for the episode no longer exists, he felt it would be more practical to create a graphic novel instead of recreating the scenario.


title: White Bear (Black Mirror)

text: Many reviewers identified an allusion to the Moors murders, committed by Ian Brady and Myra Hindley, a British couple who killed children in the 1960s. "The A.V. Club" David Sims emphasised the similarities between Victoria's video recording and the fact that Hindley audio-taped the torture of one of her and Brady's victims.


title: White Bear (Black Mirror)

text: The influence of horror works was highlighted by critics and Brooker himself. Lambie found aspects of the forest scene reminiscent of 1970s exploitation films. He also felt there are several visual and thematic parallels to "The Wicker Man" and "Kill List". Morgan Jeffery of "Digital Spy" agreed it is reminiscent of zombies and slasher films "and even has that unsettling "Wicker Man" feel with its notion of 'society gone wrong'." Brooker commented it is indeed "a "Wicker Man"–style horror", and Tibbetts commented that the film was "a big touchstone" for him. Because they have similar concepts, "28 Days Later" and "The Texas Chain Saw Massacre" were also mentioned by reviewers as possible influences. Paul Brian McCoy of Comics Bulletin stated it "recalls any number of zombie apocalypse dramas, including Brooker's own "Dead Set" at times" and "The Signal". While Brooker said the hunters' design was inspired by the horror video game "Manhunt", McCoy felt its opening echoed another game, "Resident Evil".


title: White Bear (Black Mirror)

text: "The Twilight Zone" has been seen as an influence by some reviewers. Jeffery commented that "Black Mirror"s "roots in" the American anthology series "have never been more visible", while Sims noted that "White Bear" is "the most "Twilight Zone"-y episode of the show", and James Hibberd of "Entertainment Weekly" said it could even have been an episode of that series. Lyndsey Weber of "Vulture" made a "post-viewing guide" to "Black Mirror", where she included "The Twilight Zone" episode "Five Characters in Search of an Exit" as "bonus watching" to "White Bear".


title: White Bear (Black Mirror)

text: Despite the similarities to real murder cases, David Sims noted the focus is not any single case, arguing that when an "abhorrent crime" occurs people create "totem[s] of hatred and evil" from the figures involved in the crime. He said Brooker examines what he calls the "lurid media frenzy" trend. Lambie, as well as Aubrey Page of Collider, considered it was mainly directed towards tabloids' coverage of criminal cases that turns them into "witch hunts". Simon Cocks of Screen Anarchy agreed it is an allegory of the Internet, but also a discussion on how society processes information and treats shocking news stories. "Paste" Roxanne Sancto wrote it is aimed at media's tendency "to turn horrific news stories into national spectacles, riling people up to the point of mass panic and violence in the process". Alfred Joyner of "International Business Times" stated "the argument is that in the media notorious criminals must be demonised to appease the public's insatiable appetite to see that 'justice' is served".


title: White Bear (Black Mirror)

text: James Poniewozik of "The New York Times" identified vigilantism as a central concept in the story. Writing for "Esquire", Corey Atad commented it is about the societal "appetite for punishment", while Sam Parker of "The Huffington Post" and Andrew Liptak of "The Verge" considered it represents "a cruel society's fantasy of 'real justice and a "perverted justice" respectively. More specifically, it deals with the remote punishment done via the anonymity of the Internet, according to some of "TheWrap" staff members and Page. While Sims stated there are parallels between Victoria's suffering and the crime she committed, Joyner considered these parallels to be central to the episode's critique. When her crime is revealed, Joyner wrote, "the construction of the White Bear centre becomes apparent now, as a real-life karmic experience for the general public who wish to see biblical retribution". Mark Monahan of "The Telegraph" wrote that the episode "mocked, above all, our insatiable, voyeuristic, neo-Medieval thirst for supposedly 'real-life' pain and humiliation repackaged as entertainment". Jeffery stated it depicted how society turns horror into entertainment, and Parker concluded, "The fact Victoria was a murderer allows them to accept her suffering, but it's the mobile phones that allow them to enjoy it—after all, she's just a character on their screens."


title: White Bear (Black Mirror)

text: Liptak said it portrays people as victims of technology, while Joyner commented it denotes that "the way in which we are spoon-fed an almost constant stream of information through technology has turned us into passive consumers". Joyner believes that Brooker implicates the viewer with the story's credits scene, noting "we're the ones with the smartphones, passively absorbing abuses to human rights and decency, and yet revelling in the image from the safety of the screen". Jeffery and Parker theorised it contains the idea that people are preferring to document life rather than living it, as exemplified by "people who see violence break out ... and decide to film it rather than intervene." Leigh Alexander of "Boing Boing" said the episode reflects how violence is easily accessed on the Internet and quickly arouses people's attention. She noted, "you can view the episode as a critique of all kinds of themes: Mob mentality, reality television, even the complicated treatment of women in the justice system ... Primarily, though, this episode is a critique of our deep, often-unexamined mass desensitisation, or at least a dread portent of its potential to grow. It aims to ask: To what extent can you stand by and watch horror before you are complicit, punishable?"


title: White Bear (Black Mirror)

text: Brooker commented that after watching the episode, the viewer feels "sympathetic towards [Victoria] but also repulsed by what [she] did". Tibbetts opined that the episode is "about not torturing people" and Victoria's guilt is irrelevant to whether one should take pleasure from her torture. Sims said Victoria's suffering was shown to make the viewer sympathise with her, but noted it is difficult to do so because she committed an unforgivable crime, although her mental state is not entirely clear because of the fact "her mind has been erased so many times that the crime is barely a memory". Lambie stated it was done to explore "how human empathy breaks down when individuals are reduced to an image on a screen", and concluded, "whether it's directed at the innocent or the guilty, cruelty is still cruelty". Atad asserted it ultimately leads viewers to choose between their "so-called justice and the competing value of empathy". Writing for "Sabotage Times", Gareth Dimelow concluded it leaves the viewer to ponder: "If someone has no recollection of their crimes, can they be effectively punished? Does our societal bloodlust for vengeance make us just as dangerous as the criminals we seek to discipline?" GamesRadar's Richard Edwards found that Brooker was able to present a "morally complex idea" without taking a side on the discussion. Sancto felt the episode "plays with the viewer's emotions ... making it all the more difficult to find a moral stance on her story in the end".


title: White Bear (Black Mirror)

text: Jones interpreted that Victoria is "incredibly remorseful" once she learns who she is, saying that Victoria's knowledge of what she did to the young girl is "obviously destroying her". In contrast, Brooker believes Victoria to only be feeling "confusion and animal fear" as her life is like "a nightmare in which society tells you're a child killer".


title: White Bear (Black Mirror)

text: Joyner stated the episode uses "the idea of having what the viewers are led to believe as reality exposed as a sham". Alexander suggested this could be interpreted as questioning "the assumptions we bring to the things we see – we can capture nearly any issue from all angles and pin it to virtual glass forever, but still only own a piece of the story, the unknowable remainder filled in by our own preconceptions". Alasdair Stuart of Bleeding Cool commented it "builds on this idea of the reflection that you know is fake but can't look away from and internalizes it". With the plot twist, Stuart said, "we're shown exactly what's been a reflection of the truth all along; everything". He also stated it questions "our own fundamental need to be the hero or heroine of our own story".


title: White Bear (Black Mirror)

text: "White Bear" was first broadcast in the United Kingdom on Channel 4 at 10pm on 18 February 2013. According to the Broadcasters' Audience Research Board, the episode was viewed by an estimated 1.2 million viewers, which was 7.2% of the British audience. This was lower than the second series premiere, "Be Right Back", which was watched by 1.6 million people (9%). Brooker opined that "White Bear" is definitely the episode that provides "the most visceral, holy shit reaction from viewers", while Hibberd deemed it a "fan-favorite".


title: White Bear (Black Mirror)

text: The episode was very well received and appeared on several lists of the series' best episodes. On the review aggregator website Rotten Tomatoes, it holds an approval rating of 88% based on 17 reviews, with an average rating of 8.20/10. The website's critics consensus reads: "'White Bear' makes up for its blunt social criticism with its intense scare factor and final twist." Sancto deemed it the best episode among the first seven because its theme was presented "in a chilling manner". Page rated it the fourth-best among the thirteen episodes, asserting that it has an "ability to truly disturb" and "has put off many a viewer as spinning on a cheap twist, but despite the fact that the episode's impact "does" turn on a reveal, there's little in the episode that even feels remotely done before." Mat Elfring of "GameSpot" placed it fifth out of thirteen, labelling it "the most successful horror episode [of the series] to date". Atad ranked it seven out of thirteen, saying it "begins a dystopian horror reminiscent of "28 Days Later", but where it ends up is far more disturbing". Out of the thirteen, Hibberd ranked it eighth, highlighting its plot twist and noting that "most [would] rank this episode much higher; I just happened to like the rest of the episodes better". Moreover, Stuart said it "may be one of the best hours of TV produced [in 2013]". He emphasised how it transits from "John Wyndham stuff" to horror and then action, and commended its final twist. He concluded: "The last fifteen minutes of White Bear are amongst the most blisteringly angry pieces of television I've ever seen."


title: White Bear (Black Mirror)

text: It is considered to have "one of the most shocking twists on "Black Mirror"", as Jenelle Riley of "Variety" puts it, some time before the third series started. Writing before the third series, Margaret Lyons of "The New York Times" said it is "the most outright disturbing" episode of "Black Mirror". Right after it aired, Cocks deemed it "the single darkest episode of "Black Mirror" so far" and considered its twist to be "nothing short of genius". Sims stated that it "is, by a significant margin, the most disturbing episode "Black Mirror" has produced". Although he praised the twist as "a smart one, brilliantly concealed and smartly revealed", he criticised it because "once the point is made, it is made over and over again." Lambie praised its "fearsome pace" and highlighted "its subtle approach", with sparse dialogue, that gives "the events and performances greater impact". He concluded: "its horror-infused drama leaves us unsure whom we can trust or what will happen next, and its last act is truly gut-wrenching". Monahan wrote that the twist was unpredictable and the episode "was an exciting and efficient piece of narrative rug-pulling".


title: White Bear (Black Mirror)

text: Regarding the acting and the characters, Sims and Monahan praised Middleton's performance. By contrast, Crichlow's role was considered to be repetitive. Monahan stated she just wailed, and Parker called it "a harrowing performance with no arc or resolutions, just sheer fear and distress". Lambie said: "If there's a criticism to be levelled at the first two-thirds of White Bear, it's that Victoria's carried helplessly along by events." Simon said Crichlow's potential was wasted because of the script. Jeffery criticised the fact "Victoria maintains one emotional level across the episode ... she's tearful, panicked and terrified throughout", but he remarked it was not Crichlow's fault, while praising Middleton and Smiley as "uniformly excellent". Cocks was more favorable, praising Crichlow's commitment to her performance. He also attributed to her performance "one of the episode's greatest accomplishments ... how much it makes audience members feel as though they are in the position of [Victoria]". Edwards asserted she gave a ""tour de force" performance" that is "an excellent, convincing portrayal of a frightened, confused woman".


title: White Bear (Black Mirror)

text: Some reviewers had mixed feelings about the episode. Jane Simon of the "Daily Mirror" said that "White Bear" lacked the "instant emotional tug" of the series opener. She commented that, a third of the way through the episode, she had lost hope that it would conclude effectively, "[...] the acting was unbelievable, the script was riddled with horror-film cliches, the violence was a bit over the top [...]", but that by the end she was positively surprised. Joyner praised it as "stylistically ... breath-taking" with "intense action", but felt "the themes come across as particularly flat" and "hardly original". He was disappointed until the twist, and concludes that Brooker has "crafted an hour of television more bold and daring than I've seen in a long time". Jeffery said "this is "Black Mirror" as full-blooded horror" and that it never gets boring, while criticising the characters and the final sequence as "a little overlong and obvious". "TheWrap" staff was divided; while some found it has a good social critique, others considered it to be "least effective when it goes for horror". Although Parker compared the first 45 minutes to "a low-budget, low-quality version of "28 Days Later"", full of "horror movie clichés", he realised that was "the whole point". He was positive to its societal criticism and wrote: "So the reason it all felt like a rubbish horror movie for 45 minutes is because that's what it was, just with a real person in the centre of it." It was ranked eleventh out of the thirteen episodes by Charles Bramesco of "Vulture", who said its message is "lost beneath a simplistic twist that pulls a switcheroo and [it] fails to do much else".


title: Faker (gamer)

text: Lee Sang-hyeok (; born May 7, 1996), better known as Faker (), is a South Korean professional "League of Legends" player for T1. Formerly known as GoJeonPa () on the Korean server, he was picked up by T1, then called SK Telecom T1, in 2013 and has played as the team's mid laner since. He is widely considered to be the best "League of Legends" player of all time.


title: Faker (gamer)

text: Lee is renowned for his high mechanical skill and extremely versatile champion pool. He is best known for playing LeBlanc, Zed, Syndra, Azir, Ahri, and Ryze. He is the first player to have reached both 1,000 and 2,000 kills in the LCK, as well as first to have played 600 and 700 games and to have won 500 games.


title: Faker (gamer)

text: Lee is one of the only two players to have won the "League of Legends" World Championship three times, having done so in , 2015 and 2016. He has also won the All-Star Paris 2014, the Mid-Season Invitational tournament in 2016 and 2017, and the IEM World Championship in 2016. He owns three different "League of Legends" skins as a result of winning World Championships, which include SKT T1 Zed (2013), SKT T1 Ryze (2015) and SKT T1 Syndra (2016).


title: Faker (gamer)

text: Lee was born in Seoul on May 7, 1996. He and his brother were raised by their grandparents and their father, Lee Kyung-joon, in Gangseo District, Seoul. Lee always loved puzzles and video games, often playing custom maps for "Warcraft III" and the MOBA "Chaos" during his teenage years. He discovered "League of Legends" in late 2011, and quickly became adept at the game. He attended , the same high school that Deft of DRX attended, but dropped out to join SKT T1 K and pursue a career in esports.


title: Faker (gamer)

text: Lee was picked up by SK Telecom T1 K in 2013 as their starting mid laner. SKT T1 K dominated the Korean scene, and in October 2013, Lee led them to win their first "League of Legends" World Championship. Later in the HOT6iX Champions Summer 2013, Lee cemented his status as a brilliant player due to his perfect Zed outplay against KT Rolster Bullets mid laner Yoo "Ryu" Sang-wook, which would then become one of the most iconic moments in "League of Legends" history.


title: Faker (gamer)

text: In 2014, SK Telecom T1 K followed their success through in the OGN winter season, making the entire run without dropping a single game. They would then go on to win All-Star Paris 2014. However, their Winter season success did not follow through and during the Spring and Summer seasons, SKT T1 K failed to qualify for the 2014 World Championship. In the following offseason, Riot Games changed the team regulations so that each organizations may only have one team participating in each league. This led to the merger of SKT T1 K and SKT T1 S, and the subsequent departures of Impact and Piglet for the NA LCS. The new team would compete under the name SKT T1.


title: Faker (gamer)

text: After the 2014 season, Lee reportedly declined an offer of over $1,000,000 by a Chinese team, preferring to stay in Korea on SKT. In November 2014 it was reported that Lee had declined contract offers from several Chinese companies including one offer of ₩500 million ($425,403 USD) for streaming.


title: Faker (gamer)

text: Throughout 2015, Lee shared the mid lane position with Lee "Easyhoon" Ji-hoon. Depending on the team composition SKT wanted to play, either one of the players could be substituted into the game. Lee had many notable performances in the LCK such as a pentakill against NaJin e-mFire with his LeBlanc. SKT ended the summer split in first place and advanced to the world championship.


title: Faker (gamer)

text: At the 2015 World Championship, Lee and his team won while only dropping one game in the finals for a record of 15–1 throughout the tournament.


title: Faker (gamer)

text: Lee and his team started off the 2016 Season by winning the LCK Spring Split. With this victory, SKT was guaranteed a spot in the 2016 Mid-Season Invitational. At that point in time, MSI was the only major international tournament they had yet to win. They were heavily favored coming into the tournament, but were initially unable to perform up to their usual standards, unexpectedly losing several games in the group stage. However, they managed to turn things around during the elimination round and eventually clinched the title by sweeping the North American team, Counter Logic Gaming, in the finals.


title: Faker (gamer)

text: On July 11, 2016, Lee became the first player to reach 1,000 kills in the LCK. His 1,000th kill was on MVP Beyond's Reksai, which he achieved on Malzahar.


title: Faker (gamer)

text: SKT placed third in the 2016 LCK Summer Split, but still qualified for the 2016 World Championship through circuit points. The team swept through the group stage and advanced towards the playoff round. In the semifinals they defeated the ROX Tigers in a close 3–2 series. In the finals they defeated Samsung Galaxy in another close 3–2 series, winning their third world championship title. Lee was voted as the Most Valuable Player of the tournament.


title: Faker (gamer)

text: Lee renewed his contract with SKT with an "unprecedented offer", which was rumored to be over $2.5 million USD.


title: Faker (gamer)

text: On February 6, 2017, Lee recorded his first live stream on Twitch and had a peak viewership of 245,100, setting a record at the time for the most views for a single streamer in the history of the site. However, this record was broken in early 2018 by another "League of Legends" streamer named Tyler1.


title: Faker (gamer)

text: Lee and his team later won the 2017 LCK Spring Split, clean sweeping KT Rolster 3–0 in the finals. This win qualified them for the 2017 Mid-Season Invitational.


title: Faker (gamer)

text: At the 2017 Mid-Season Invitational, SKT topped the group stage with a 8–2 record. SKT swept Flash Wolves 3–0 in the semifinals and defeated G2 Esports 3–1 in the finals to become the first team to win the Mid-Season Invitational back to back.


title: Faker (gamer)

text: At the 2017 World Championship, SKT were still considered by many to be strong favorites to lift the cup for a third consecutive time despite not winning the LCK Summer Split. After a 5–1 group stage, SKT narrowly defeated Misfits and Royal Never Give Up in the quarterfinals and semifinals respectively, before facing Samsung Galaxy in a repeat of the previous year's final. Despite being favorites going into the game, SKT were swept 3–0 by SSG, ending the SKT domination at the World Championship. Lee himself was shown to be visibly upset after the loss, and had to be consoled by his teammates to shake the Samsung Galaxy players' hands post-game. However, this caught the attention of many "League of Legends" fans throughout the world, with much support and many tributes being given to the team's legacy and Lee for his continued success.


title: Faker (gamer)

text: Lee played his 400th match in the LCK on July 17, 2018. They successfully defeated their opponent, MVP, 2–1.


title: Faker (gamer)

text: SKT finished fourth in the 2018 Korea Regional Finals, failing to qualify for the 2018 World Championship.


title: Faker (gamer)

text: In May 2019, SKT represented the LCK at the 2019 Mid-Season Invitational. They finished the group stage in second place but lost 2–3 to G2 Esports in the semifinals.


title: Faker (gamer)

text: On July 7, 2019, SKT, along with three other LCK teams, won their league's first Rift Rivals championship title after defeating LPL teams by 3–1. After winning his first Rift Rivals title, Lee became the first and only player to have won all of the "League of Legends" international tournaments (Mid-Season Invitational, World Championship, Rift Rivals, All-Star) organized by Riot Games.


title: Faker (gamer)

text: Lee played his 500th match in the LCK on August 21, 2019, during the LCK Summer Playoffs. He won his 500th game against Afreeca Freecs with Qiyana, with a KDA of 7/1/14. He won his eighth LCK title along with his team members on August 31, 2019 in the 2019 Summer LCK Final. His team qualified as the LCK's first seed for the 2019 "League of Legends" World Championship.


title: Faker (gamer)

text: On October 27, 2019, Lee achieved his 100th international win after defeating Splyce at the 2019 World Championship.


title: Faker (gamer)

text: At the 2019 World Championship, SKT was once again defeated by G2 Esports in a semifinals series, losing 1–3.


title: Faker (gamer)

text: On February 18, 2020, T1 announced that Lee had re-signed with them for three years, in which his contract will last until the year 2022. He also became a part owner of T1 Entertainment and Sports.


title: Faker (gamer)

text: On March 5, 2020, Lee became the first player to have reached 2,000 kills in the LCK. The champion used when achieving his 2,000th kill was Zoe.


title: Faker (gamer)

text: On April 25, 2020, Lee claimed his ninth LCK title after he and his team defeated Gen.G at the 2020 LCK Spring finals.


title: Faker (gamer)

text: On February 3, 2021, Lee played his 600th game in the LCK. He is the first to achieve the 600 game mark in the LCK. His 600th game was against NS RedForce, which he locked in Orianna and achieved a KDA of 2/0/6. He won the game, and was awarded as the MVP of the game. This was also his 399th win in the LCK.


title: Faker (gamer)

text: On February 6, 2021, Lee became the first player to achieve 400th win in the LCK. His 400th win was against Fredit Brion, and the champion picked was Sett.


title: Faker (gamer)

text: During the 2021 League of Legends World Championship, Lee was eliminated in the Semifinals in a 3-2 victory in a best-of-5 series against DWG KIA. His team qualified as the 3rd seed from the LCK via the LCK Regional Qualifier. His team had an overall record of 5-1 in their Group Stage, and 5-2 in the Brackets/Knockout Stage of the tournament. His team beat teams such as Edward Gaming, 100 Thieves and Hanwha Life Esports throughout the tournament to get to Semifinals.


title: Faker (gamer)

text: On February 18, 2022, Lee played his 1,000th career game against KT Rolster. He was the second player to achieve the milestone. He locked in Leblanc and won the game.


title: Faker (gamer)

text: On February 20, 2022, Lee played his 700th LCK game. He is the first to achieve the 700 game mark in the LCK. The game was against NS RedForce in which he locked in Ahri for the game.


title: Faker (gamer)

text: During the 2022 LCK Spring Split, Lee was a member of the team that went undefeated in the regular season with an 18-0 record, becoming the first team to achieve this record since the league’s inception. In the playoffs, Lee achieved his 10th LCK title, defeating Gen.G in the finals 3–1.


title: Faker (gamer)

text: On July 8, 2022, Lee became the first player to achieve 500 wins in the LCK. The match was against Gen.G.


title: Faker (gamer)

text: Lee became the first player to play 100 games in World Championship. He also surpassed Uzi and became the player with most kills in World Championship.


title: Mohenjo Daro (film)

text: Mohenjo Daro is a 2016 Indian Hindi-language period action-adventure film written and directed by Ashutosh Gowariker. Produced by Siddharth Roy Kapur for UTV Motion Pictures and The Walt Disney Company India and Sunita Gowariker for Ashutosh Gowariker Productions (AGPPL), and starring Hrithik Roshan and Pooja Hegde. It is a cinematic presentation based on the ancient Indus Valley civilization, and its city Mohenjo-daro, a UNESCO World Heritage Site.


title: Mohenjo Daro (film)

text: Set in 2016 BC at the height of Indus Valley Civilization, the story follows a farmer Sarman (Hrithik Roshan), who travels to the city of Mohenjo Daro and falls in love with a high-status woman (Pooja Hegde), and who must then challenge the city's elite, and fight against overwhelming odds to save their civilization. Gowariker took over three years to research and develop the script, working closely with archaeologists to ensure authenticity in the representation of his fictional story. The film was shot in Bhuj and Mumbai with brief schedules in Bhedaghat (Jabalpur) and Thane.


title: Mohenjo Daro (film)

text: The score and soundtrack are composed by A. R. Rahman with lyrics penned by Javed Akhtar. The film was released worldwide on 12 August 2016, and received generally mixed or negative reviews from critics, and is considered to be a major box office flop.


title: Mohenjo Daro (film)

text: "Mohenjo Daro" marks the last film production of UTV Motion Pictures, as after the film, there are only two Disney releases, "Dangal" and "Jagga Jasoos", which marked producer Kapur's final projects under Disney-UTV before his contract with the company lapsed on 1 January 2017.


title: Mohenjo Daro (film)

text: The film opens in 2016 BCE with Sarman (Hrithik Roshan), a young man from the village of Amri, who lost his parents at a young age. Sarman kills a crocodile that has been terrorizing his village's fishermen and is hailed as a hero. He asks his uncle, Durjan (Nitish Bharadwaj), to allow him to go to Mohenjo Daro to trade their family's goods, but his uncle refuses. Sarman attempts to sneak away to the city at night with his friend Hojo (Umang Vyas), but is caught by Durjan, who relents and allows both friends to go. He gives Sarman a seal that contains an inscription of a unicorn that Sarman often sees in his dreams, suggesting he use it only once in a life or death situation.


title: Mohenjo Daro (film)

text: Arriving in Mohenjo Daro, Sarman learns that the city is ruled by the tyrannical Senate Chief Maham (Kabir Bedi) and his wicked son Moonja (Arunoday Singh). He also learns that the unicorn he sees in his dreams is the symbol of the city, and feels as if the city is oddly familiar to him. While Sarman is trading, Maham proposes to impose an additional tax on the farmers so that the city may grow, but Sarman leads the farmers to oppose the taxes so that their families don't starve to death. Sarman gains access to the upper city by showing his uncle's amulet and meets Chaani (Pooja Hegde), the elegant and gorgeous daughter of the head priest (Manish Choudhary) of Mohenjo Daro. Sarman is enchanted by Chaani's heavenly beauty and charm and falls in love with her. Upon meeting, the head priest strangely appears to recognize Sarman. Chaani reveals that she has been forcibly betrothed to Moonja, Sarman's enemy, who is cruel and ruthless. Maham discovers Sarman and Chaani love each other and that Sarman is the leader of the tax revolt, and so he challenges Sarman to fight Bakar and Zokar, his two champions. Sarman proposes that if he wins, Chaani will be released from her engagement, and Maham accepts the terms.


title: Mohenjo Daro (film)

text: On the night before Sarman's clash with Bakar and Zokar, the head priest reveals to him how Maham was expelled from Harappa for illegal trade with the Sumerians. Maham entered Mohenjo Daro as a trader and quickly rose to become the trade chief. Maham had discovered that the mighty Sindhu River held vast gold deposits, so he decided to place a dam on the river and divert its course to mine the gold. The wise Senate Chief Srujan (Sharad Kelkar), who is revealed to be Sarman's father, opposed this, but Maham won the vote to build the dam. He had Srujan framed and arrested for hoarding gold. Chaani's father and Durjan – Sarman's uncle – were coerced by Maham to betray Srujan, and the latter was killed. Maham then took Srujan's place as the new Senate Chief. It is now up to Sarman to defeat the evil Maham and avenge his father.


title: Mohenjo Daro (film)

text: In the arena outside the city, Sarman faces the ferocious Tajik mountain cannibals Bakar and Zokhar. After a vicious battle, he kills one of the cannibals but spares the other, and the people of Mohenjo Daro surge even stronger behind him. Enraged, Maham urges Moonja to finish off Chaani and the priest. Moonja kills the priest, but Sarman saves Chaani and kills Moonja.


title: Mohenjo Daro (film)

text: Sarman exposes Maham's plan to use the gold from the Sindhu to enrich himself and to smuggle in weapons from the Sumerians. All the chiefs now stand against Maham. The people elect Sarman as the new chief, but Sarman suggests Mohenjo Daro needs a people's government, not a chief. With the arrival of a heavy thunderstorm, Sarman realizes that the dam will burst and the Sindhu River will flood the city. He rallies the people to lash boats together and form a floating bridge. They evacuate Mohenjo Daro and cross to the other side of the river. The dam collapses, and Maham, chained in the city square, is drowned. The once renowned Mohenjo Daro is no more. The survivors migrate to another river, where Sarman sees the unicorn of his dreams and names the river Ganga.


title: Mohenjo Daro (film)

text: Director Ashutosh Gowariker was first inspired to make a film set in the ancient Indus Valley civilization when he was in Bhuj, Gujarat, scouting locations for his then-upcoming "Lagaan" (2001), and stumbled across the massive excavations in progress at the ruins of Dholavira: "I thought, My God! This is incredible! What happened to this civilization, who were the people, how did they live?"


title: Mohenjo Daro (film)

text: Several other films projects later, Gowariker announced the film "Mohenjo Daro" officially in February 2014 with A. R. Rahman composing the film score.


title: Mohenjo Daro (film)

text: On taking up the project, in an interview, Gowariker stated that there was meagre and superficial information available about the people in that civilisation, particularly about their lifestyle, food, and feelings. The lack of information about the period troubled Gowariker, and he decided that whenever he would get a story to tell, it will be depicted circa 2500 BC at Mohenjo-daro which, despite being the largest city yet discovered from that ancient civilization, is today known only by the name—which translates as "Mound of the Dead" in English—ascribed by the Sindhi locals to the site when its ruins were discovered in 1922. "Mohenjo Daro" is not only the official name associated with that ancient city by the United Nations (as a World Heritage Site since 1980), but also the only name associated with it by archaeologists and historians around the world, as well as the general public. Thus, regardless of the literal translation of the words, "Mohenjo Daro" was the only possible title for an audience to identify with the actual reference point despite the fact that the city could have not been so named in ancient times.


title: Mohenjo Daro (film)

text: On the film's plot, he was quoted as saying, "While the plot will follow Mohenjo-daro and the culture and the vibe of the ancient civilization, it will largely centre on a love story." It took Gowariker three years to piece together a plot of the entire civilisation through various cities and weave a love story into it.


title: Mohenjo Daro (film)

text: The challenges of adapting for cinema a story based on one of the greatest ancient civilisations of the world whose written language has not yet been deciphered have proved unique. Because modern science can not yet read anything the Indus Valley peoples wrote about themselves, any aspect about their civilization has to be conjectured from what relics survive to discovery by archaeologists working at their various ruins. As "The Indian Express" pointed out, "whatever we do know about Mohenjo-daro is perhaps as much an imagination of the historian as that of a filmmaker who depicts it in visual terms."


title: Mohenjo Daro (film)

text: During Ashutosh Gowariker's research, he met as many as seven archaeologists who are closely involved in excavating sites and studying the Indus Valley Civilization. After much reading of published archaeological reports on his own, he brought in the American archaeologist Jonathan Mark Kenoyer of the University of Wisconsin–Madison, considered one of the world's leading experts on the ancient Indus Valley civilization, who has worked at the ruins of Mohenjo-Daro over 35 years. He brought together Kenoyer to round-table with five other expert archaeologists who have also been working on this topic for many years—P. Ajit Prasad, V. N. Prabakhar, K. Krishnan, Vasant Shinde, and R. S. Bisht, "who are all from the Archaeological Survey of India, Maharaja Sayajirao University of Baroda and other institutions, all with expertise in different aspects of the same civilization." Gowariker had also personally revisited the archaeological dig at Dholavira in Gujarat.


title: Mohenjo Daro (film)

text: The symbol ultimately selected for the film "Mohenjo Daro" recalls one of the earliest discovered artifacts from the initial archaeological excavations at the ruins of the ancient city itself: 'Another [seal] shows six animal heads—"unicorn", bison, antelope, tiger, the remaining two broken—radiating from a ring, and recalling a whorl on another seal from the same site with a single "unicorn" and five featureless lobes', the "unicorn" being one of the 'most frequently represented' animals portrayed among the 'over 1,200 of them [seals] [which] have been found at Mohenjo-daro alone'. The filmmaker has chosen to identify the "unicorn" with his central character.


title: Mohenjo Daro (film)

text: The broadest artistic license required in bringing the Indus Valley civilization to the cinema, inevitably, would be costuming. Because although "undisputed traces of cotton cloth have survived at Mohenjo-Daro" and the Indus culture is believed by archaeologists to have pioneered the cultivation of cotton for clothmaking in the ancient world, no actual samples of finished clothing or other organic matter have survived over these four thousand years, due to the "damp alkalkine soil" prevailing at the Indus sites. Thus, the only reference material is the relative handful (compared with the broad abundance of seals found, or commercial items such as weights and measures) of terracotta humanoid figurines or small stone statues found at various excavations, which are mostly only partially intact and of mostly unknown purpose—but male or female, are mostly naked. Some of the female figures, for instance, wear elaborate headdresses and jewellery but little else. Explained the director in an interview, "I cannot make a movie with so much nudity, obviously. So I had to create and imagine a costume which will be away from all the different styles that we have seen in other movies, and yet be special for this civilization."


title: Mohenjo Daro (film)

text: With the film being set in a certain period, the whole site had to be recreated in a film studio. He was involved in working out the logistics during June 2014. The film's stunts were choreographed by Glenn Boswell and the costumes were designed by April Ferry and Neeta Lulla. U.K. based trainer Joshua Kyle Baker was roped in to train Roshan for his character in the film. He described the three-month training so as to allow Roshan to appear 'lithe' and 'agile' rather than muscular. Relating the natural environment required for "Mohenjo Daro", Gowariker was impressed with the calamitous VFX seen in the films "The Day After Tomorrow" and "10,000 BC" that were designed by Karen Goulekas. In September 2014, as a visual effects supervisor, Goulekas was brought on board for the film. Gowariker revisited Bhuj in December 2014 to begin production.


title: Mohenjo Daro (film)

text: In August 2014, Hrithik Roshan, who had starred in Ashutosh Gowariker's critically and commercially successful "Jodhaa Akbar" in 2008, was confirmed to play the male lead role again for "Mohenjo Daro". He reportedly demanded . Said the director, "I wouldn't have made the film, without Hrithik." "[T]his is a different world, and I thought only Hrithik would blend in perfectly."


title: Mohenjo Daro (film)

text: Telugu and Tamil cinema actress Pooja Hegde was signed as the female lead, and makes her Hindi film debut with "Mohenjo Daro". "While scripting the film, I was thinking that I needed someone with innocence and someone who did not have stardom baggage [to be received by the audience only as this character]. I thus began looking for a fresh face when Sunita (Gowariker) spotted Pooja in a commercial and suggested that we call her. She called Pooja and I auditioned her. And that was it!"


title: Mohenjo Daro (film)

text: Veteran actor Kabir Bedi was signed as the primary villain, backed by Arunoday Singh as the younger villain.


title: Mohenjo Daro (film)

text: For supporting roles, casting director, Nalini Rathnam wanted to bring in newer and fresh faces, even from non-Hindi speaking regions. As the director explained this process, "All kinds of actors, including seasoned actors, never get a chance to come to Mumbai or they don't want to as they are happy in their own space. So there is a different kind of freshness there to get them on board. I did this in "Lagaan" and "Jodhaa Akbar". In this film too, I wanted to get some fresh actors, so I have Diganta Hazarika, who is a well-known Assamese actor. It is a time-consuming process but the payoff big."


title: Mohenjo Daro (film)

text: Since action, as well as romance, are key to his story, perfectionist director Ashutosh Gowariker went to great lengths in casting to ensure his vision reaches the screen.


title: Mohenjo Daro (film)

text: For example, for one specific action sequence, the director auditioned nearly 300 candidates before finally casting the two giant barbarian fighters who are more than 7 feet tall, in order to make the sequence thrilling and visually appealing when presented to the audience opposite his 6-foot-tall hero.


title: Mohenjo Daro (film)

text: To populate his recreation of the ancient city, for "Mohenjo Daro" director, Ashutosh Gowariker naturally required a huge number of non-actors as extras. With the full cooperation of the Bhuj panchayat or community council, the filmmakers hosted full-fledged auditions for all the local residents. Many of those seen on-screen in cityscapes and group scenes throughout "Mohenjo Daro" are in their real-life local citizens of Bhuj.


title: Mohenjo Daro (film)

text: Construction of the primary outdoor sets to be used in recreating the ancient city duly commenced in Bhuj, Gujarat, near where director Ashutosh Gowariker had shot his early film, "Lagaan" (2001).


title: Mohenjo Daro (film)

text: As AGPPL producer Sunita Gowariker recounted their initial dialogue when Ashutosh Gowariker decided "Mohenjo Daro" as his next project, her immediate response was that the city does not exist any more, how would they shoot the film. To which Ashutosh responded: "We put up the whole city!" The film sets ultimately built to recreate the ancient city of Mohenjo-Daro spanned more than 25 acres.


title: Mohenjo Daro (film)

text: Painstaking effort was made to ensure precise accuracy of the city's film set construction, matching its proportions and architecture to the actual archaeological ruins. The famous Great Bath, for instance, is built exactly to scale, as are the houses in the film. To quote lead actress Pooja Hegde, "The sets were so detailed that once we stepped onto them, you were enveloped by the ambience. Ashu sir's detailing is so great that if there's a "mashal", the wall behind it would be blackened to resemble soot. Whenever I stepped onto the sets, I automatically got into the mood ... Ashu sir made you feel like you were already there."


title: Mohenjo Daro (film)

text: However, construction was delayed in mid-September 2014, when workers belonging to Allied Mazdoor Union and Film Studio Setting refused to complete the pre-production work, alleging non-payment of their regular expenses and remuneration. To this stalled situation, Gowariker took a legal route and lodged a complaint with the 'Indian Film and Television Producers Council' accusing the members of stalling work that would result in losses to the company. Lawrence D'Souza, the executive producer of the film, maintained that though their payments were ready, the remote filming locations of Bhuj delayed the reception of the same.


title: Mohenjo Daro (film)

text: Ayananka Bose had originally been signed as the cinematographer. Still, when the film was delayed, he took up other projects as he was paid on a project-to-project basis. Bose failed to join the discussions prior to filming and requested Gowariker to be allowed to join the set directly after he was done with his other commitments. A displeased Gowariker replaced Bose with C. K. Muraleedharan.


title: Mohenjo Daro (film)

text: The initial outdoor schedule of principal photography had been projected to begin in November 2014. However, the further delay occurred when lead actor Hrithik Roshan ripped apart his shoulder during training in late October 2014. Because "Mohenjo Daro" was a physically demanding film with challenging action sequences that were to be shot starting with the very first schedule, and no body doubles were to be used, producer-director Ashutosh Gowariker postponed the shoot six weeks until January 2015. Confirming this delay, producer Sunita Gowariker of AGPPL stated, "Ashutosh and I want Hrithik to recuperate fully before beginning the film, since we plan to start with action sequences. Now we will start shooting in the first week of January. It is important to us that Hrithik is 100% fit, and shifting the shooting dates by a few weeks makes a lot of sense."


title: Mohenjo Daro (film)

text: Principal photography commenced in Bhuj on 27 January 2015. But the demanding action sequences needed by the film took a hard physical toll on the cast which resulted in delays due to injury, especially when an accident involved the lead actor, Hrithik Roshan, who was required for the maximum number of scenes. For instance, shooting was delayed for several days in March 2015, when Hrithik sprained his neck during a fight sequence. The first schedule of 101 days nonetheless wrapped up in Bhuj by 23 May 2015. In June 2015, Hrithik started training to fight with tigers in one of the sequences of the film. A second, shorter outdoor schedule resumed in Bhuj in late summer and was completed by October 2015.


title: Mohenjo Daro (film)

text: Another outdoor schedule of filming began in Jabalpur on 2 November 2015, where a fight sequence with crocodiles was completed on the banks of river Narmada at Bhedaghat.


title: Mohenjo Daro (film)

text: In December 2015, the next schedule began at Film City in Mumbai, where most interior sets used for the film had been constructed. Unfortunately, however, an on-set accident during an action sequence in January 2016 tore two ligaments and severely sprained the ankle of lead actor Hrithik Roshan, which kept him home on crutches and doctor-ordered bed rest for two whole months before primary photography could resume in late March.


title: Mohenjo Daro (film)

text: On 4 April 2016, the crew filmed the climax of the film at China Creek in Thane. Principal photography of "Mohenjo Daro" finally wrapped on 8 April 2016.


title: Mohenjo Daro (film)

text: Post-production of "Mohenjo Daro" was supervised by director Ashutosh Gowariker in conjunction with editor Sandeep Francis. Sound re-recording was performed at Futureworks by Justin Jose K. according to the sound design by Parikshit Lalwani and Kunal Mehta. Digital intermediate was done by Prime Focus, colorist Makarand Surte. Visual effects were completed by the firm Drishyam VFX under the guidance of VFX consultant Karen Goulekas in conjunction with VFX supervisor Govardhan Vigraham.


title: Mohenjo Daro (film)

text: On 3 August 2016, the Bombay High Court not only rejected into allegations by Akashaditya Lama that "Mohenjo Daro" (2016) film director Ashutosh Gowariker had stolen his script, but also "... imposed exemplary and punitive costs of Rs. 150,000 against Lama for putting false allegations and harassing makers of the film. The court has also slammed Lama for giving interviews, media articles and related material put on social media to harass the director and other stars of the film." Gowariker donated the entire fine received (approx. $2,246) to the Naam Foundation, a charity to benefit Maharashtra's drought-hit farmers.


title: Mohenjo Daro (film)

text: India's mandatory Central Board of Film Certification cleared "Mohenjo Daro" for release without any cuts, awarding it a "U/A" certificate.


title: Mohenjo Daro (film)

text: The music for the film was composed by A. R. Rahman while the lyrics were penned by Javed Akhtar. The music rights were acquired by T-Series. The song album of the film was released on 6 July 2016.


title: Mohenjo Daro (film)

text: "Mohenjo Daro" released in 2600–2700 screens in India. Disney India announced in September 2016, that the company would end production of Bollywood films and instead would shift focus on releasing Disney films produced in the United States. Initially this film Announced to release on 14 January 2016, 19 December 2015 and 10 March 2016.


title: Mohenjo Daro (film)

text: Even before the film's theatrical release to the public, "Mohenjo Daro" had been honoured by selection as the Closing Film of the 69th Locarno International Film Festival in Switzerland. Thus on 13 August 2016, "Mohenjo Daro" was screened at the Piazza Grande, immediately before Locarno's award ceremony.


title: Mohenjo Daro (film)

text: "Mohenjo Daro" was screened at the 45th Annual Conference on South Asia in Madison, Wisconsin (United States) on 23 October 2016. A special screening of the film was also arranged for the officials of the Information and Broadcasting Ministry in New Delhi on 18 September 2016.


title: Mohenjo Daro (film)

text: Critical response was generally mixed to negative reviews, with praise for music and Roshan's performance, but criticism for historical inaccuracies, script and screenplay. On the review aggregation website Rotten Tomatoes the film has a rating of 43%, based on 7 reviews, with an average rating of 5/10. Metacritic, which uses a normalised rating, gives the film a score of 39 out of 100, based on 4 critics, indicating "generally unfavourable reviews".


title: Mohenjo Daro (film)

text: Historians and critics mentioned inaccuracies in the portrayal of several elements in the movie. However, Gowariker defended his film by stating, "There was nothing about the Indus Valley Civilisation in a popular culture other than what was found during the excavations. And that gave me more liberty to create my characters and my story. For instance, we have seen pictures of an excavated figurine of a man playing the drums. That became the inspiration for Sarman, played by Hrithik Roshan. The figurine of a dancing girl from the site was my inspiration for Chaani, played by Pooja Hegde. I have taken plenty of artistic liberties with the looks of the characters – after all, I cannot show nudity for the sake of reality. But I did not take liberties with the architecture, the culture. You must realise that there is still a lot of speculation about the civilisation because we know so little. Scholars are still debating, trying to redevelop the era. There is a lot that is based on a hypothesis. But all this is the space for a scholarship. I have only made a film and at no point do I say that it is meant to be a part of academic discourse on the subject."


title: Mohenjo Daro (film)

text: "Mohenjo Daro" was a disaster and clashed with Akshay Kumar's Rustom. "Mohenjo Daro" grossed worldwide in its first 10 days. The film grossed worldwide in its opening weekend. Its final worldwide gross was , including in India and overseas. In addition to its box office gross, the film also earned from satellite rights (450 million) and music rights (150 million).


title: Mohenjo Daro (film)

text: "Mohenjo Daro" grossed US$3.9 million in first 10 days in overseas. The film grossed $991,239 in North America.


title: July Monarchy

text: The July Monarchy (), officially the Kingdom of France (), was a liberal constitutional monarchy in France under , starting on 26 July 1830, with the July Revolution of 1830, and ending 23 February 1848, with the Revolution of 1848. It marks the end of the Bourbon Restoration (1814–1830). It began with the overthrow of the conservative government of Charles X, the last king of the House of Bourbon.


title: July Monarchy

text: , a member of the more liberal Orléans branch of the House of Bourbon, proclaimed himself as ("King of the French") rather than "King of France", emphasizing the popular origins of his reign. The king promised to follow the "juste milieu", or the middle-of-the-road, avoiding the extremes of both the conservative supporters of Charles X and radicals on the left.


title: July Monarchy

text: The July Monarchy was dominated by wealthy bourgeoisie and numerous former Napoleonic officials. It followed conservative policies, especially under the influence (1840–48) of . The king promoted friendship with the United Kingdom and sponsored colonial expansion, notably the French conquest of Algeria. By 1848, a year in which many European states had a revolution, the king's popularity had collapsed, and he was overthrown.


title: July Monarchy

text: was pushed to the throne by an alliance between the people of Paris; the republicans, who had set up barricades in the capital; and the liberal bourgeoisie. However, at the end of his reign, the so-called "Citizen King" was overthrown by similar citizen uprisings and use of barricades during the February Revolution of 1848. This resulted in the proclamation of the Second Republic.


title: July Monarchy

text: After 's ousting and subsequent exile to Britain, the liberal Orleanist faction (opposed by the counter-revolutionary Legitimists) continued to support a return of the House of Orléans to the throne. But the July Monarchy proved to be the last Bourbon-Orleans monarchy of France (although monarchy was re-established under Napoleon Bonaparte's nephew, who reigned as Napoleon III from 1852 to 1870). The Legitimists withdrew from politics to their castles, leaving the way open for the struggle between the Orleanists and the Republicans.


title: July Monarchy

text: The July Monarchy (1830–1848) is generally seen as a period during which the haute bourgeoisie was dominant, and marked the shift from the counter-revolutionary Legitimists to the Orleanists. They were willing to make some compromises with the changes brought by the 1789 Revolution. For instance, was crowned "King of the French", instead of "King of France": this marked his acceptance of popular sovereignty.


title: July Monarchy

text: , who had flirted with liberalism in his youth, rejected much of the pomp and circumstance of the Bourbons and surrounded himself with merchants and bankers. The July Monarchy, however, ruled during a time of turmoil. A large group of Legitimists on the right demanded the restoration of the Bourbons to the throne. On the left, Republicanism and, later Socialism, remained a powerful force. Late in his reign became increasingly rigid and dogmatic and his President of the Council, , had become deeply unpopular, but the king refused to remove him. The situation gradually escalated until the Revolutions of 1848 resulted in the fall of the monarchy and the establishment of the Second Republic.


title: July Monarchy

text: However, during the first few years of his reign, was taking action to develop legitimate, broad-based reform. The government found its source of legitimacy within the Charter of 1830, written by reform-minded members of Chamber of Deputies and committed to a platform of religious equality among Catholics and Protestants; the empowerment of the citizenry through the reestablishment of the National Guard, electoral reform, and reform of the peerage system; and the lessening of royal authority. and his ministers adhered to policies that seemed to promote the central tenets of the constitution. However, the majority of these policies were veiled attempts to shore up the power and influence of the government and the bourgeoisie, rather than legitimate attempts to promote equality and empowerment for a broad constituency of the French population. Thus, though the July Monarchy seemed to move toward reform, this movement was largely illusory.


title: July Monarchy

text: During the years of the July Monarchy, enfranchisement roughly doubled, from 94,000 under Charles X to more than 200,000 men by 1848. But, this number still represented only roughly one percent of population and a small number of those men of eligible age. As the qualifications for voting was related to payment of a certain level of taxes, only the wealthiest men gained this privilege. The extended franchise tended to favor the wealthy merchant bourgeoisie more than any other group. Beyond resulting in the election of more bourgeoisie to the Chamber of Deputies, this electoral expansion meant that the bourgeoisie could politically challenge the nobility on legislative matters. Thus, while appearing to honor his pledge to increase suffrage, acted primarily to empower his supporters and increase his hold over the French Parliament. The election of only the wealthiest men tended to undermine any possibility for growth of a radical faction in Parliament, and effectively served socially conservative ends.


title: July Monarchy

text: The reformed Charter of 1830 limited the power of the king—stripping him of his ability to propose and decree legislation, as well as limiting his executive authority. However, believed in a kind of monarchy in which the king was more than a figurehead for an elected Parliament, and as such, he was deeply involved in legislative affairs. One of his first acts in creating his government was to appoint the conservative as the premier of his cabinet. , a banker, was instrumental in shutting down many of the Republican secret societies and labor unions that had formed during the early years of the regime. In addition, he oversaw the dismemberment of the National Guard after it proved too supportive of radical ideologies. He conducted these actions, of course, with royal approval. He was once quoted as saying that the source of French misery was the belief that there had been a revolution. "No ," he said to another minister, "there has not been a revolution: there is simply a change at the head of state."


title: July Monarchy

text: Though two factions always persisted in the cabinet, split between liberal conservatives such as Guizot (, the Party of Resistance) and liberal reformers such as the journalist (, the Party of Movement), the latter never gained prominence. was succeeded as premier by Count Molé, another conservative. Thiers, a reformer, succeeded but was later sacked by Louis-Philippe after attempting to pursue an aggressive foreign policy. After Thiers the conservative was selected as premier.


title: July Monarchy

text: In particular, the administration was marked by increasingly authoritarian crackdowns on republicanism and dissent, and an increasingly pro-business policy. This policy included protective tariffs that defended the status quo and enriched French businessmen. 's government granted railway and mining contracts to the bourgeois supporters of the government, and contributed some of the start-up costs of these enterprises. As workers under these policies had no legal right to assemble, unionize, or petition the government for increased pay or decreased hours, the July Monarchy under , , and generally proved detrimental to the lower classes. 's advice to those who were disenfranchised by the tax-based electoral requirements was "" (enrich yourselves).


title: July Monarchy

text: Following the ouster of in 1814, the Allies restored the Bourbon Dynasty to the French throne. The ensuing period, the Bourbon Restoration, was characterized by conservative reaction and the re-establishment of the Roman Catholic Church as a power in French politics. The relatively moderate , brother of the deposed-and-executed Louis XVI, ruled as Louis XVIII from 1814 to 1824 and was succeeded by his more conservative younger brother, the former , ruling as Charles X from 1824.


title: July Monarchy

text: Despite the return of the House of Bourbon to power, France was much changed from the era of the . The egalitarianism and liberalism of the revolutionaries remained an important force and the autocracy and hierarchy of the earlier era could not be fully restored. Economic changes, which had been underway long before the revolution, had progressed further during the years of turmoil and were firmly entrenched by 1815. These changes had seen power shift from the noble landowners to the urban merchants. The administrative reforms of Napoleon, such as the Napoleonic Code and efficient bureaucracy, also remained in place. These changes produced a unified central government that was fiscally sound and had much control over all areas of French life, a sharp difference from the complicated mix of feudal and absolutist traditions and institutions of pre-Revolutionary Bourbons.