title: Ford Capri

text: The last run limited edition Capri 280, nicknamed "Brooklands" referring to the name of the particular shade of green that all Capri 280 models were painted in, featured a limited slip differential, full leather Recaro interior and Pirelli Cinturato P7 tyres, 15 inch versions of the seven spoke 13 inch wheels fitted to the superseded Capri Injection Special. Ford originally intended to make 500 turbo charged vehicles (by Turbo Technics) complete with gold alloy wheels and name it the Capri 500 but a change of production planning meant a name change to Capri 280 as the cars were simply the last models that ran down the production line. A total of 1,038 Capri 280s were built. There was no direct successor to the Capri, as Ford felt that there was not adequate demand for a car of this type in Europe to justify a direct replacement; Capri sales had been declining since 1980, with faster versions of more practical hatchbacks and saloons becoming popular at the expense of sports cars. British Leyland, for instance, had taken the decision not to replace its MG and Triumph sports cars on their demise at the beginning of the 1980s due to falling popularity, instead concentrating on mostly MG-badged versions of hatchbacks and saloons like the Metro and Montego, while Ford had enjoyed strong sales of its faster versions of the Fiesta, Escort and Sierra in the run-up to the Capri's demise.


title: Ford Capri

text: When the last Capri was made on 19 December 1986 at the Ford factory in Cologne, 1,886,647 Capris had rolled off the production lines.


title: Ford Capri

text: The last Capri made (registered as D194 UVW) still exists today, and is owned by Ford's heritage workshop. The "Brooklands" models had a steep price tag of around £12,000 and struggled to sell. Sales continued through 1987 and 1988, with the last 280 being registered on 20 November 1989 (registration mark G749 NGP) making it also the only G-reg Capri, and the next-to-last Capri to have been registered – though it is estimated that there are 3 Capri 280s that have never been registered, one of them being a 230 HP Turbo Technics conversion, and two standard cars. Production had ended at Halewood, UK in 1976 and the Capri was made exclusively in Germany from 1976 to 1986. Most of those (more than a million) were the Mk I, because the Mk I sold well in North America and Australia, while the Mk II and Mk III were only exported outside Europe (to Asia and New Zealand) in limited numbers.


title: Ford Capri

text: From 1970 to 1978, the Capri was sold in North America through Ford's Lincoln-Mercury Division. All were German-produced. Headlamps were four round sealed-beams (shared with the Capri RS3000), and turn signal lamps were grille-mounted on all US-spec 1971–74 Capris and 1976–78 Capri IIs. Full instrumentation wasn't available on 1971–72 four-cylinder models but was made standard equipment from 1973 on. An optional interior decor package, changed by name to the "Ghia" package for the Capri II, featured deluxe interior trim and features. 1973 Ford Capris were the Mk I face-lift models featuring the new grille, larger taillights and new interior and dash. The 1973 model had the federally mandated 2.5 mph front bumper for '73. The bumper was extended, the gap closed with a silver filler panel. 1974 models had larger bumpers front and rear with wraparound urethane, body-color bumper covers to meet the revised Federal front and rear 5 mph standard. 1976–78 models were the re-designed hatchback models offered worldwide since 1974, fitted with the grille-mounted turn signal lamps and the required round sealed-beam headlamps, 5 mph body-color bumpers and catalytic converter, requiring no-lead fuel. In 1976, an 'S' (JPS) special edition featured black or white paint with gold-coloured wheels, gold pin-striping, and upgraded two-tone interior in beige and black. Due to late production of Capri IIs, there were no 1975 models sold in the US (Lincoln-Mercury dealerships had an inventory of leftover 1974 models during the 1975 model year as seen on TV advertisements). Unlike the European market where the Capri was available in several trim levels and marketed as the equivalent of a Grand Touring automobile, the US/Canada market Capris were marketed as an compact sports car.


title: Ford Capri

text: Originally, Cologne-built Capris imported to North America were fitted only with the British 1600 OHV (1.6 L), Kent engine with the four-speed manual transmission. The 1971 Capri offered the Kent-built 1600 I4 and the optional, Cologne-built OHC 2000 (2.0 L) I4 engine for improved performance with . An optional three-speed automatic transmission (a Ford Cruise-o-Matic C4, also shared with the Pinto) was made available with the 2000 I4 engine. In 1972–73, the 2000 I4 became the standard engine, and an OHV 2600 (2.6 L) Cologne V6 was optional, which produced . The 1600 I4 was dropped. For 1974, new engines were used—the OHC 2300 (2.3 L) I4 and OHV 2800 (2.8 L) Cologne V6; producing and respectively. The engines were carried over for the 1976–77 Capri ll hatchback models, although the V6's power had crept up to at 4,800 rpm. The last Capris were brought in 1977 although sales continued into 1978. Capri sales had slid considerably by the time of the introduction of the Capri II, and the high price contributed to ending sales of German-built Capris in the US.


title: Ford Capri

text: In 1979, no longer importing the Ford Capri, but capitalising on the model's positive image, Mercury dealers began selling a new Capri that was a restyled derivative of the Fox-bodied Ford Mustang and was produced until 1986. Mercury introduced yet another Capri in 1990, but this was the Australian produced, Mazda-based, 2+2 seat, front-wheel drive convertible.


title: Ford Capri

text: The Ford Motor Company of Australia assembled the European-designed Capri Mk.1 at its plant in the Sydney suburb of Homebush from March, 1969 until November, 1972. The Capri was offered in the Australian market from 3 May 1969, as the 1600 Deluxe and the 1600 GT, using the 1.6-litre Kent OHV engine. On 25 February 1970, the 3000 GT was launched, equipped with the 3.0-litre Essex V6. At the same time the 1600 GT became the 1600 XL, while the 1600 Deluxe remained unchanged.


title: Ford Capri

text: In November 1972, production of the Capri ended in Australia, with a total of 14,638 vehicles having been assembled. In June/July, 1974, Ford Australia imported fifty RS3100 models. Ford Australia also imported four examples of the Capri II (Mk.2), albeit for show purposes only. Neither the Mk.1 facelift (except the RS3100) Capri nor the subsequent Mk.2 and Mk.3 models were produced or officially sold in Australia (though they were heavily involved in Australian motorsport and many have been privately imported). Ford Australia concentrated its sales efforts on other UK sourced products, namely the Escort and Cortina sedans.


title: Ford Capri

text: From 1989 to 1994 Ford Australia reused the Capri name for an unrelated two-door convertible sports car, coded the SA30. The new model was exported to the United States, where it was marketed as the Mercury Capri. A small portion were sold in Australia.


title: Ford Capri

text: Ford of South Africa assembled the Capri from 1970 to late 1972 with a similar model range to the UK. No facelift models or RS variants were marketed in South Africa. The Essex V6 was the most common engine, as it was assembled locally – the Pinto "four" was not installed. The 1600 four and three-litre V6 were also available.


title: Ford Capri

text: About 500 Capris were converted by specialist Basil Green Motors to run the 302 Ford Windsor V8 engine. These models were known as the Capri Perana and were very successful in local touring car events, winning the 1970 South African championship and, in a different format, the 1971 championship as well.


title: Ford Capri

text: A Group 5 version of the Capri Mk III was built by Zakspeed to compete in the Deutsche Rennsport Meisterschaft motor racing series. Klaus Ludwig subsequently won the 1981 title. The car retained very little of the Capri. Only the roof, pillars and parts of the rear end remained. The body mainly consisted of aluminium profiles and 80 metres of aluminium tubing. The turbocharged Cosworth engine puts out approximately at 9200 rpm with 1.4 bar charge; 1.6 bars were available for short periods for an extra .


title: Ginger Snaps (film)

text: Ginger Snaps is a 2000 Canadian supernatural horror film directed by John Fawcett and written by Karen Walton, from a story they jointly developed. The film stars Emily Perkins and Katharine Isabelle as Brigitte and Ginger Fitzgerald, two morbid teenage sisters whose relationship is tested when Ginger (who has started her period for the first time) is attacked and bitten by a unknown animal, and then later, during the next full moon, slowly starts to transform into a lycanthrope (werewolf). The supporting cast features Kris Lemche, Jesse Moss, Danielle Hampton, John Bourgeois, Peter Keleghan, and Mimi Rogers.


title: Ginger Snaps (film)

text: After premiering at the Munich Fantasy Filmfest in August 2000 and screening at the 2000 Toronto International Film Festival, "Ginger Snaps" received a limited theatrical release in May 2001. Despite modest box office receipts, the film was a critical success. It has since amassed a cult following and has been reexamined for its feminist themes. It was followed by a sequel, "", and a prequel, "", which were filmed back-to-back and both released in 2004.


title: Ginger Snaps (film)

text: In Bailey Downs, a rash of dog killings has been occurring. Brigitte and Ginger Fitzgerald are teenage sisters who harbor a fascination with death, and as children, formed a pact to move out of the suburb or die together by the age of 16. One night, while on the way to kidnap a dog owned by school bully Trina Sinclair, Ginger begins her first period. The scent of blood results in the girls being attacked by the creature responsible for the maulings. The creature bites Ginger. As the girls flee, the creature is run over by a van belonging to Sam Miller, a local drug dealer.


title: Ginger Snaps (film)

text: Following the attack, Ginger undergoes transformations that concern Brigitte. Her wounds heal quickly, and she starts to behave aggressively, grow hair from her scars, sprout a tail, and menstruate heavily. She has unprotected sex with classmate Jason McCardy, furiously beats Trina in public, and kills a neighbor's dog. Brigitte seeks out Sam to get information on what his van struck, and they agree that Ginger was attacked by a werewolf and is transforming into one. Sam suggests infusing an extract of monkshood, a perennial plant.


title: Ginger Snaps (film)

text: Trina accuses Ginger of kidnapping her dog. She fights with Ginger and is accidentally killed. The sisters hide the body in a freezer. Brigitte accidentally breaks off two of Trina's fingers, and the fingers are misplaced. On Halloween, Brigitte brings monkshood to Sam and he creates a monkshood extract. Brigitte is attacked by Jason (who was infected by Ginger when they had sex), and defends herself by using the monkshood syringe on him. She witnesses his immediate change in behavior, which proves it is a cure. At school, she discovers Ginger's murder of a faculty member and witnesses her killing another. Ginger discloses her intent to target Sam next at the Greenhouse Bash, a Halloween party hosted by him.


title: Ginger Snaps (film)

text: The girls' mother finds the fingers and Trina's corpse. She drives Brigitte to the Greenhouse Bash, saying that she will protect them. Brigitte arrives to find Ginger hurting Sam for rejecting her sexual advances. Brigitte wounds Ginger's and her own palm and clasps their hands together, infecting herself with Ginger's blood. She convinces Ginger of her loyalty and willingness to help her. As the sisters leave, Brigitte decides to abandon her mother. Ginger feels her transformation approaching and Sam knocks her unconscious with a shovel. They take Ginger back to the Fitzgerald house to prepare more of the cure for her.


title: Ginger Snaps (film)

text: Ginger transforms into a werewolf on the way home and escapes the van. Sam and Brigitte hide in the pantry as Sam makes the cure. When he goes to find Ginger, a transformed Ginger attacks him. After finding Sam, injured and bloody, Brigitte tries to save him by drinking his blood to calm Ginger, but is unable to go through with it. Ginger senses Brigitte's insincerity, and kills Sam.


title: Ginger Snaps (film)

text: As Ginger stalks Brigitte, Brigitte returns to the room where they grew up. Brigitte defends herself while holding the syringe in one hand and a knife in the other. Ginger lunges at Brigitte and into the knife, fatally wounding herself. Brigitte lays her head upon her dying sister's chest and weeps.


title: Ginger Snaps (film)

text: Nick Nolan portrayed both the initial werewolf (nicknamed "the Beast of Bailey Downs" by the town's residents) and the "Gingerwolf", the werewolf which Ginger becomes.


title: Ginger Snaps (film)

text: Director John Fawcett has said, "I knew that I wanted to make a metamorphosis movie and a horror film. I also knew that I wanted to work with girls". In January 1995, he talked to screenwriter Karen Walton, who was initially reluctant to write the script due to the horror genre's reputation for weak characters, poor storytelling, and a negative portrayal of women. However, Fawcett convinced Walton the film would re-interpret the genre. Walton has said, "a lot of werewolf movies seemed very much the same. My favourite was of course "An American Werewolf in London", because it was at least a little punk about it, but it was still two white dudes grappling with the beast inside of them... I love stories that work on a lot of different levels, for a whole bunch of different kinds of people. That it turned out to be OK in the marketplace as just one girl's voice – and a director who really wanted to support that – is remarkable, I think, for the day."


title: Ginger Snaps (film)

text: Fawcett and Walton encountered trouble financing the film. They approached producer Steve Hoban, with whom they had worked before, and he agreed to produce the film. Hoban employed Ken Chubb to edit and polish the story, and after two years they were ready to seek financiers.


title: Ginger Snaps (film)

text: Motion International committed to co-financing and Canadian distribution, and Trimark Pictures agreed to be the co-financier, U.S. distributor, and international sales agent. The film seemed ready to go into production by fall of 1998; however, negotiations with Trimark caused the producers to miss the budgeting deadline for Telefilm Canada, the Canadian federal film funding agency. Rather than go ahead with only 60% of the funding, Hoban decided to wait a year for Telefilm's funding. During this interval, Trimark dropped the film. Lionsgate Films, who Trimark would end up merging with in 2000, took Trimark's place, and Unapix Entertainment agreed to distribute the film on DVD, along with Artisan Entertainment for the American DVD release. The film's budget was $4.5 million.


title: Ginger Snaps (film)

text: Casting the two leads met with substantial difficulty. While a casting director was easily found for Los Angeles, Canadian casting directors proved to be appalled by the horror, gore, and language. When one finally agreed to pick up the film, the Columbine shooting and another school shooting in Alberta suddenly thrust the public spotlight on violent teenagers. The "Toronto Star"s announcement that Telefilm was funding a "teen slasher movie" met with a flurry of debate and outrage in the media, which generated a significant amount of adverse publicity in proportion to the size of the project.


title: Ginger Snaps (film)

text: Casting took place in Los Angeles, New York, Toronto, Montreal, and Vancouver. Perkins and Isabelle auditioned on the same day at their agency in Vancouver, reading to one another off-camera. When their taped auditions arrived, screenwriter Karen Walton said that they were exactly as she had pictured the characters.


title: Ginger Snaps (film)

text: Coincidentally, both actresses were born in the same hospital, attended the same preschool, elementary, and private schools, and are at the same agency. Perkins was twenty-two at the time and Isabelle four years younger, but Perkins was cast as the younger sister.


title: Ginger Snaps (film)

text: Attention then turned to the next most important characters: the drug dealer and the mother roles. Mimi Rogers readily agreed to play the mother, Pamela, saying that she liked the black humour and comic relief in the role. Robin Cook, the Canadian casting director, put forward one of her favourites, Kris Lemche, for the role of drug dealer Sam. After seeing Kris's audition, Fawcett hired him.


title: Ginger Snaps (film)

text: In 2021, Fawcett revealed that Scarlett Johansson was originally offered the role of Brigitte, but her mother did not want her involved after reading a "National Post" article about a boycott of the film by casting directors in Canada.


title: Ginger Snaps (film)

text: Principal photography took place between October 25 and December 6, 1999, lasting a little over six weeks. Three of Toronto's suburbs, Etobicoke, Brampton (Kris Lemche's hometown), and Scarborough served as the suburb of Bailey Downs. Shooting outside during Toronto's winter for sixteen hours a day, six days a week meant that sicknesses would make their rounds through the cast and crew every few weeks.


title: Ginger Snaps (film)

text: On the first day of shooting in the suburbs, all the still photographs for the title sequence were created. The bloody, staged deaths drew a crowd and Fawcett worried about upsetting the neighbours. The girls were covered in fake blood for the shots, and at the time, a homeowner's basement served as their changing room. Each time they needed to change, someone had to distract the homeowner's four-year-old child.


title: Ginger Snaps (film)

text: Long shooting days pushed the earliest possible start later each day until the scenes written for day were being shot after late into the night. Director of photography Thom Best solved the problem by using diffusion gel and four eighteen kilowatt lamps which generated enough light to be seen a mile high in the sky.


title: Ginger Snaps (film)

text: The special effects proved to be a major hardship, as Fawcett eschewed CGI effects and preferred to use more traditional means of prosthetics and make-up. Consequently, Isabelle had to spend up to seven hours in the makeup chair to create Ginger's metamorphosis and a further two hours to remove them. Often covered in sticky fake blood that required Borax and household detergent to remove, she further endured wearing contacts that hindered her vision and teeth that meant she could not speak without a lisp. The most aggravating thing was the full facial prosthetic which gave her a permanently runny nose that she had to stop with cotton swabs.


title: Ginger Snaps (film)

text: Beginning in December 1999, Brett Sullivan worked with Fawcett for eight weeks to create the final cut of the film. Despite the short time for editing, the film was nominated for a Genie in editing. Despite a similarly tight schedule in the sound department, the film would also be nominated for a Genie in sound editing.


title: Ginger Snaps (film)

text: "Ginger Snaps" premiered at the Munich Fantasy Filmfest in August 2000. The following month, it played at the 2000 Toronto International Film Festival, where it briefly received media attention following the positive word-of-mouth it had built up from Munich. Although called one of the stand-outs of the Toronto festival, attention died off and the film followed an unfocused release strategy, playing at various film festivals and building up more word-of-mouth. "Ginger Snaps" was released to Canadian cinemas in May 2001. It grossed CAD $425,753 domestically, making it the fifth highest-grossing Canadian film between December 2000 and November 2001. Owing to a cult following, it has achieved significant video and DVD sales. These earnings, combined with moderate theatrical success abroad, led to the production of two further films.


title: Ginger Snaps (film)

text: The film has a 90% approval rating on review aggregator website Rotten Tomatoes, based on 58 reviews; the average rating is 7.4/10. The site's consensus reads: "The strong female cast and biting satire of teenage life makes "Ginger Snaps" far more memorable than your average werewolf movie – or teen flick". Critics' praise was centered on the quality of acting by the two leads, the horrific metamorphosis reminiscent of Cronenberg, the use of lycanthropy as a metaphor for puberty, and the dark humour. Scott Tobias of "The A.V. Club" wrote that the film was "seemingly left for dead" after playing at the 2000 Toronto International Film Festival but is now considered a cult film. It is ranked 78 on "Time Out London"'s list of 100 best horror films, Tom Huddleston calling it "the best teenage werewolf movie, period".


title: Ginger Snaps (film)

text: Critics who panned the film thought the puberty metaphor was too obvious, the characters too over-the-top (especially the mother), and the dark humour and horror elements unbalanced.


title: Ginger Snaps (film)

text: Because the film links lycanthropy to menstruation and features two sisters, "Ginger Snaps" lends itself to a feminist critique. Feminist scholar Bianca Nielsen wrote: "By simultaneously depicting female bonds as important and fraught with difficulties, "Ginger Snaps" portrays the double-binds teenage girls face. Ginger is an embodiment of these impossible binaries: she is at once sexually attractive and monstrous, 'natural' and 'supernatural,' human and animal, 'feminine' and transgressive, a sister and a rival".


title: Ginger Snaps (film)

text: Based on successful DVD sales, both a sequel, "", and a prequel, "", were filmed back-to-back in 2003. Even though "Ginger Snaps 2" had a wider release than the original, it underperformed at the box office. Consequently, "Ginger Snaps Back: The Beginning" went direct-to-video. In October 2020, a television series was announced to be in development.


title: Left Behind

text: Left Behind is a multimedia franchise that started with a series of 16 bestselling religious novels by Tim LaHaye and Jerry B. Jenkins. It focuses on a seven-year conflict between the Tribulation Force, an underground network of converts, and the New World Order-esque Global Community and its leader, Nicolae Carpathia, who is also the Antichrist. The primary element is a Christian dispensationalist view of the End Times; the pretribulation, premillennial, Christian eschatological interpretation of the Biblical apocalypse.


title: Left Behind

text: The series has been adapted into four films to date. The original series of three films are "" (2000), "" (2002), and "" (2005). A reboot starring Nicolas Cage, entitled simply "Left Behind", was released in 2014 through Cloud Ten Pictures. The series inspired an audio drama as well as the PC game "" (2006) and its several .


title: Left Behind

text: "Left Behind" tells the story of the end times (set in the contemporary era), in which true believers in Christ have been "raptured" (taken instantly to heaven), leaving the world shattered and chaotic. As people scramble for answers, an obscure Romanian politician named Nicolae Jetty Carpathia rises to become secretary-general of the United Nations, promising to restore peace and stability to all nations. What most of the world does not realize is that Carpathia is actually the Antichrist foretold in the Bible. Coming to grips with the truth and becoming born-again Christians, airline pilot Rayford Steele, his daughter Chloe, their pastor Bruce Barnes, and young journalist Cameron "Buck" Williams begin their quest as the Tribulation Force to help save the lost and prepare for the coming Tribulation, in which God will rain down judgment on the world for seven years.


title: Left Behind

text: According to James Bielo, it is based on a dispensationalist interpretation of prophecies in the Biblical books of Revelation, Daniel, Isaiah and Ezekiel.


title: Left Behind

text: LaHaye and Jenkins cite the influence of Russell Doughten, an Iowa-based filmmaker who directed the "Thief in the Night" series, a series of four low-budget but popular feature-length films in the 1970s and 1980s about the Rapture and Second Coming, starting with 1972's "A Thief in the Night". Indeed, the title "Left Behind" echoes the refrain of "Thief" early Christian rock theme song by Larry Norman, "I Wish We'd All Been Ready," in which he sings, "There's no time to change your mind, the Son has come and you've been left behind."


title: Left Behind

text: Multiple books in the series have been on the "New York Times" Bestseller List. Starting in 2000, Books 7 and 8 reached number one on the list followed by book 10, which debuted at number one.


title: Left Behind

text: In 2016, several books in the series were bestsellers and 65 million copies were sold in various languages.


title: Left Behind

text: One reason often cited for the books' popularity is the quick pacing and action, and that they reflect the public's overall concern and fascination with the Apocalypse as portrayed in the Biblical Book of Revelation. Michelle Goldberg has written that, "On one level, the attraction of the "Left Behind" books isn't that much different from that of, say, Tom Clancy or Stephen King. The plotting is brisk and the characterizations Manichaean. People disappear and things blow up." The "New York Times" also compared the series to Clancy's works. However, those views are not universally shared. Other reviewers have called the series "almost laughably tedious" and "fatuous and boring."


title: Left Behind

text: Jerry Falwell said about the first book in the series: "In terms of its impact on Christianity, it's probably greater than that of any other book in modern times, outside the Bible."


title: Left Behind

text: Laurie Goodstein, writing in 1998 for "The New York Times", placed what she called the ""Left Behind" phenomenon" in the calendrical context of the approaching year 2000. Goodstein noted a 'proliferation' of similarly apocalyptic texts appearing at that time, by authors such as Jim Bakker and John Hagee. Goodstein cited the opinion of University of Wisconsin historian Paul Boyer, who described such authors as "cashing in on the public preoccupation with the year 2000".


title: Left Behind

text: While writing that the series fulfills the norms of mass-market fiction, as mentioned above, magazine writer Michelle Goldberg characterized the books as an attack on Judaism and liberal secularism, and suggested that the near-future "end times" in which the books are set seem to reflect the actual worldview of millions of Americans, including many prominent conservative leaders.


title: Left Behind

text: The books are written from a Protestant viewpoint. As a result, some believe the books are anti-Catholic, noting that many Catholics were not raptured, concluding that no religion is free of false converts and that the new pope establishes a false religion. While the fictional Pope, John XXIV, was raptured, he is described as having embraced some of the views of the "Father of Protestantism", Martin Luther, and it is implied that he was raptured for this reason. His successor, Pope Peter II, becomes Pontifex Maximus of Enigma Babylon One World Faith, an amalgam of all remaining world faiths and religions. "Catholic Answers" describes the series as anti-Catholic.


title: Left Behind

text: The co-author of the book, Jerry B. Jenkins, as well as LaHaye, stated that their books are not anti-Catholic and that they have many faithful Catholic readers and friends. According to LaHaye, "the books don’t suggest any particular theology, but try to introduce people to a more personal relationship with Jesus".


title: Left Behind

text: Along with some other rapture fiction novels, the "Left Behind" series demonstrates a specific understanding of the Gospel and the Christian life, one with which many have taken issue theologically. The books have not sold particularly well outside of the United States. Dispensationalism remains a minority view among theologians. For instance, amillennial and postmillennial Christians do not believe in the same timeline of the Second Coming as premillennialists, while preterist Christians do not interpret much of the Book of Revelation to predict future events at all. Brian McLaren of the Emergent Church compares the "Left Behind" series to "The Da Vinci Code", and states, "What the "Left Behind" novels do, the way they twist scripture toward a certain theological and political end, I think [Dan] Brown is twisting scripture, just to other political ends." John Dart, writing in "Christian Century", characterized the works as "beam me up theology."


title: Left Behind

text: Some practicing Christians, evangelical and otherwise, along with non-Christians have shown concern that the social perspectives promoted in the "Left Behind" series unduly sensationalize the death and destruction of masses of people. Harvey Cox, a professor of divinity at Harvard, says part of the appeal of the books lies in the "lip-licking anticipation of all the blood", and Lutheran theologian Barbara Rossing, author of "The Rapture Exposed: The Message of Hope in the Book of Revelation", said the books glorify violence. Additionally, Paul Nuechterlein accused the authors of re-sacralizing violence, adding that "we human beings are the ones who put our faith in superior firepower. But in the "Left Behind" novels, the darkness of that human, satanic violence is once again attributed to God". "Time" said "the nuclear frights of, say, Tom Clancy's "The Sum of All Fears" wouldn't fill a chapter in the "Left Behind" series. (Large chunks of several U.S. cities have been bombed to smithereens by page 110 of Book 3.)"


title: Left Behind

text: David Carlson, a Professor of Religious Studies and a member of the Greek Orthodox Church, wrote that the theology underpinning the "Left Behind" series promotes a "skewed view of the Christian faith that welcomes war and disaster, while dismissing peace efforts in the Middle East and elsewhere—all in the name of Christ".


title: Left Behind

text: "Left Behind: The Kids" is a series of forty novellas written for teenagers. It has the same plot as the adult series, but the main protagonists are teenagers.


title: Left Behind

text: Williams professor Glenn Shuck has written the book "Marks of the Beast: The Left Behind Novels and the Struggle for Evangelical Identity," published by NYU Press in 2005. He followed this with a collection of original essays co-edited with Jeffrey J. Kripal of Rice University on the Esalen Institute in California, published by Indiana University Press in 2005.


title: Left Behind

text: Starting in 2003 the series was expanded upon by Mel Odom with his Apocalypse military series and Neesa Hart with her political thriller series, both taking place concurrently with the main series


title: Left Behind

text: In 2002, a series of graphic novels published by Tyndale House was launched that comprised the first two books in the series, "Left Behind" and "Tribulation Force". The original idea was to release sets of 3 to 5 novels (each about 45–50 pages) for each book in the original series. However, after the fifth and final novel for "Tribulation Force" was released, the graphic novel series was apparently discontinued, and the novels that were released are now (as of December 2006) out of print. A compilation of the graphic novels for the first book was later released as one novel.


title: Left Behind

text: The success of the "Left Behind" books has led to the release of four motion pictures based on the series so far. All four have been produced by brothers Paul & Peter LaLonde, and have been released through Cloud Ten Pictures, an independent Canadian-based Christian film studio.


title: Left Behind

text: The first, "", was based on the first book of the series and was released in 2000. In a very unusual marketing scheme, the studio released the film on home video, and then theatrically. It fared poorly in theaters. The film starred former "Growing Pains" star Kirk Cameron as Buck Williams. Cameron, who praised the book series as "inspiring", became a practicing evangelist (and co-host with Ray Comfort on the TV show "The Way of the Master").


title: Left Behind

text: The sequel, "", based on the second book, "Tribulation Force", was released in 2002. The film debuted at #2 on Nielson's video scan reports, behind "Spider-Man", and was #1 in terms of overall sales for two days on Amazon.com.


title: Left Behind

text: The second sequel, "", was released first to churches on October 21, 2005, for church theatrical viewings and was released via home media on October 25. Much of the main cast from the previous two films, excluding Clarence Gilyard, reprised their respective roles for "World at War". Gilyard, who played Bruce Barnes, was unable to return due to a scheduling conflict with a play in New York. It is based very loosely on the final 50 pages of "Tribulation Force" and features Louis Gossett Jr. as the President of the United States, Gerald Fitzhugh. The third installment was the least identifiable with events in any of the books. Recognizable events were the marriages of Buck with Chloe Steele, and of Rayford Steele with Amanda White; the death of Bruce Barnes; and President Fitzhugh's heading an attack, resulting in World War III, with Great Britain and Egypt fighting against the Global Community. Major parts, however, were taken from subsequent books; these events include the poisoning of Barnes by GC forces, instead of Nicolae Carpathia himself, and an attempt by Fitzhugh to assassinate Carpathia. Buck's meeting with the President in the books takes a different form in the film.


title: Left Behind

text: The film series have been criticized for, among other things, low production values. A "Slate" reviewer commented that in 2004, Cloud Ten Pictures made a deal with Sony Pictures Entertainment to release all of its pictures under their banner and has been doing so ever since.


title: Left Behind

text: In 2010, Cloud Ten announced that a remake of the "Left Behind" series was in development, with production set to begin in late 2012 for an October 2014 release date. The reboot, starring Nicolas Cage as Steele and Chad Michael Murray as Buck Williams, was released to theaters October 3, 2014. It focused mainly on the very beginnings of the first book and added much to the plot. The remake focuses on the experiences of the passengers on the plane and partially on Chloe Steele as she comes to terms with her missing family. It earned overwhelmingly negative reviews and flopped at the box office.


title: Left Behind

text: "", a spin-off film based on the spin-off series "" released on September 28, 2016 The film was developed by Tim LaHaye's grandson, Randy LaHaye and was well received by the book author.


title: Left Behind

text: In November 2021, LaLonde announced the beginning of production on "", with Kevin Sorbo directing and replacing Nicolas Cage as Rayford Steele. The film is set six months after the events of the 2014 film and is an adaptation of the third book, "Nicolae: The Rise of Antichrist".


title: Left Behind

text: A video game, "", (2006) and its three sequels, "Left Behind: Tribulation Forces", "Left Behind 3: Rise of the Antichrist" and "Left Behind 4: World at War", were developed by a publicly traded company, Left Behind Games. The games are real-time strategy games wherein the player controls a "Tribulation Forces" team and allows the player to "use the power of prayer to strengthen your troops in combat and wield modern military weaponry throughout the game world." The original game was released in the United States on November 14, 2006, and received mixed reviews. Distribution was initially planned to work through churches and megachurches.


title: Left Behind

text: Although the original game was accused of encouraging religious violence, not all reviewers of the game or critics of the "Left Behind" series shared that view. Representatives of the company have responded that the game's message is pacifist, because shooting nonbelievers instead of converting them costs the player "spirit points", which can be recovered by pausing to pray. The company also responded to these criticisms in an online newsletter, stating, "There is no violence, only conflict," and, "The most successful way to fight, is through the means of spiritual warfare; PRAYER and WORSHIP. Soldiers and military weaponry are available, but once anyone plays the game, they’ll see how difficult it is to succeed by using these less effective means of warfare."


title: Left Behind

text: "People Get Ready: A Musical Collection Inspired by The Left Behind Series" (1998) is "a musical collection inspired by the Left Behind series."


title: Mars Needs Moms

text: Mars Needs Moms is a 2011 American 3D computer-animated science fiction film co-written and directed by Simon Wells, produced by ImageMovers Digital and released by Walt Disney Pictures. Based on the Berkeley Breathed book of the same title, it tells the story of a nine-year-old boy named Milo who sets out to save his mother after she is kidnapped by Martians. The film was animated through the process of motion capture and stars Seth Green, Dan Fogler, Elisabeth Harnois, Mindy Sterling, and Joan Cusack. It was the second and final film produced by ImageMovers Digital before the studio was shut down and re-absorbed into ImageMovers.


title: Mars Needs Moms

text: "Mars Needs Moms" was released in theaters on March 11, 2011, in Disney Digital 3D, RealD 3D and IMAX 3D formats. The film grossed $39 million worldwide on a $150 million budget, becoming a box-office bomb.


title: Mars Needs Moms

text: Unbeknownst to humans, there is a thriving, technologically sophisticated society of Martians living below the surface of Mars. The Martians' Supervisor, while observing Earth, sees a mother persuading her son, Milo, to do his chores. The Martians decide to bring her to Mars, where her "mom-ness" will be extracted and implanted into the next-generation of nanny-bots. Meanwhile, Milo, who doesn't like to follow house rules and do chores and has been sent to his room for feeding broccoli to his cat, Cujo, sarcastically tells his mother that his life would be better without her, which hurts her deeply.


title: Mars Needs Moms

text: Later that night, Milo goes to apologize, but discovers his mom is taken away. He runs after her, but they end up in separate parts of the Martian spaceship. On Mars, Milo is taken to an underground prison cell. He escapes and is chased by the Supervisor's henchmen, but he follows a voice that tells him to jump down a chute, and lands in a lower subterranean level. There, he sees a trash-covered landscape that is inhabited by furry creatures.


title: Mars Needs Moms

text: Milo is whisked away by the creatures to meet Gribble, also known as George Ribble, the childlike adult human who had told him to jump down the chute. Gribble explains to Milo that the Martians plan to extract Milo's mom's memories at sunrise, using a process that will kill her. Gribble, who is lonely and does not want Milo to leave, pretends to help Milo find his mother. His plan goes awry, leading to Gribble being captured and Milo being chased by the Supervisor's henchmen. Milo is rescued by Ki, one of the supervisors who raise Martian babies. Milo tells her about his search for his Mom and what a human relationship with a mom is like, as Ki and her kin were mentored by only nanny-bots and supervisors and do not know of love.


title: Mars Needs Moms

text: Milo returns to Gribble's home but finds him missing. Gribble's robotic spider, Two-Cat, takes Milo to the Martian compound where Gribble is being prepared for execution. Milo is captured by his henchmen, but Ki tosses him a laser gun, allowing him to escape. Milo and Gribble retreat to an even lower uninhabited level, where Gribble describes his own mom's abduction and murder by the Martians 20 years ago. Gribble blames himself for her being chosen and regrets that he had not been able to save her. Milo convinces Gribble to actually help him just as Ki finds them. They discover an ancient mural of a Martian family and realize that Martian children were not always raised by machines. Gribble explains that Martian female babies are currently raised by nanny-bots in the technologically advanced society, while the male babies are sent down below to be raised by adult male Martians, which are the furry creatures he encountered earlier.


title: Mars Needs Moms

text: Milo, Gribble, and Ki save Milo's mom just before sunrise, causing the energy of the extraction device to short out the electronic locks to the control room. This lets the adult males and babies enter, where they run amok, attacking the guards and robots. Milo and his mom steal oxygen helmets and try to escape across the Martian surface, but the Supervisor, while attempting to kill them, causes Milo to trip and his helmet shatters. His mom gives him her own helmet, saving Milo but causing herself to suffocate in the planet's air. The Martians are awed, as this is the first time they have seen love. Gribble finds his own mother's helmet and gives it to Milo's mom, saving her. Milo apologizes to his mom for his earlier words and the two reconcile. Ki brings a ship for them to escape in, but the Supervisor intervenes. Ki argues that Martians were meant to be raised in families, with love, but the Supervisor insists that the current situation is better because, to her, it is more efficient. The henchmen realizes the Supervisor's cruel nature and arrest her, deciding that they now prefer the loving vision of family life, and the other Martians celebrate.


title: Mars Needs Moms

text: Milo, his mom, Gribble, Ki, and Two-Cat travel back to Earth. Gribble decides not to stay because he wants to pursue a relationship with Ki on Mars. Milo and his mom return home just before Milo's dad arrives.


title: Mars Needs Moms

text: Simon Wells had known Robert Zemeckis since the mid-1980s, having worked on "Who Framed Roger Rabbit" (1988), "Back to the Future Part II" (1989), "Back to the Future Part III" (1990), and "The Polar Express" (2004). The production designer was Doug Chiang, and the supervising art director was Norm Newberry. The title of the film (and to an extent, the source material) is a twist on the title of American International Pictures' 1966 film "Mars Needs Women".


title: Mars Needs Moms

text: spent a day where they recorded different interpretations of a list of words; the producers picked their favorite interpretations from that recording and put them in a book documenting the fictional language for the actors to speak.


title: Mars Needs Moms

text: Elisabeth Harnois stated in an interview that she and the cast were given scenarios by Wells to which they acted out responses in improvised Martian language.


title: Mars Needs Moms

text: Seth Green described doing the motion-capture as physically demanding work: "A lot of running, jumping, falling, hitting, spinning. I wore a harness for, like, 85 percent of the movie. It was uncomfortable." After spending six weeks outfitted in a special sensor-equipped performance capture suit while simultaneously performing Milo's lines, Seth Green's voice sounded too mature for the character and was dubbed over by that of 12-year-old newcomer Seth R. Dusky.


title: Mars Needs Moms

text: For the auditions, Kevin Cahoon performed two scenes, including the ending; he recalled the instructions saying, "create your Martian language and play the scene." He previously played Ed, another non-speaking role, in the Broadway musical version of "The Lion King" (1994): "it's almost like silent film. You have to speak with your heart and soul and face, and you have to act as if you have dialogue with everyone else. I think that's where you find the humanity, or the martiananity, of the character." Cahoon's mannerisms were also used for the other martians. "Mars Needs Moms" is Cahoon's first time collaborating with Dan Fogler since the two worked with each other in New York stage theater. As he described his opinion on the film, "I was blown away. It's beautiful. The technology is incredible and the IMAX is awesome. I was so impressed with the score, but also the heart. I got misty-eyes towards the end with the mom/Milo relationship. I thought it really connected in a wonderful way and am so honored to be a part of it."


title: Mars Needs Moms

text: In 2020, Brie Larson revealed via YouTube that she had auditioned for the character Ki, who was eventually portrayed by Elisabeth Harnois.


title: Mars Needs Moms

text: "Mars Needs Moms" was released in theaters on March 11, 2011. The film's premiere was held at the El Capitan Theatre in Los Angeles on March 6, 2011.


title: Mars Needs Moms

text: The film was released on Blu-ray, Blu-ray 3D, DVD, and movie download on August 9, 2011. The release is produced in three different physical packages: a four-disc combo pack (Blu-ray, Blu-ray 3D, DVD, and "Digital Copy"); a two-disc Blu-ray combo pack (Blu-ray and DVD); and a single-disc DVD. The "Digital Copy" included with the four-disc combo pack is a separate disc that allows users to download a copy of the film onto a computer through iTunes or Windows Media Player software. The film is also a movie download or On-Demand option. All versions of the release (except for the On-Demand option) include the "Fun with Seth" and "Martian 101" bonus features, while the Blu-ray 2D version additionally includes deleted scenes, the "Life On Mars: The Full Motion-Capture Experience" feature, and an extended opening film clip. The Blu-ray 3D version also has an alternate scene called "Mom-Napping", a finished 3D alternate scene of the Martian abduction of Milo's mom.


title: Mars Needs Moms

text: "Mars Needs Moms" was a box-office disaster, and the worst financial loss for a Disney-branded film. It grossed $1,725,000 on its first day, and its opening weekend earnings added up to $6,825,000. Overall, the film debuted in fifth place behind "", "Rango", "Red Riding Hood" and "The Adjustment Bureau". This is the 22nd-worst opening ever for a film playing in 3,000+ theaters. Adjusted for inflation, considering the total net loss of money (not the profit-to-loss ratio), it is the fourth-largest box office failure in history. In 2014, the "Los Angeles Times" listed the film as one of the most expensive box-office disasters of all time. On March 14, 2011, Brooks Barnes of "The New York Times" commented that it was rare for a Disney-branded film to do so badly, with the reason for its poor performance being the unoriginal premise, the animation style which failed to cross the uncanny valley threshold, and negative word of mouth on social networks, along with releasing it on the same week as "Battle: Los Angeles" which had more hype with the general movie goers. Barnes concluded, "Critics and audiences alike, with audiences voicing their opinions on Twitter, blogs and other social media, complained that the Zemeckis technique can result in character facial expressions that look unnatural. Another common criticism was that Mr. Zemeckis focuses so much on technological wizardry that he neglects storytelling."


title: Mars Needs Moms

text: The review aggregator website Rotten Tomatoes reported a 37% approval rating with an average rating of 5.00/10 based on 116 reviews. The website's consensus reads, "The cast is solid and it's visually well-crafted, but "Mars Needs Moms" suffers from a lack of imagination and heart." On Metacritic, the film had a score of 49 out of 100 based on 22 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.


title: Mars Needs Moms

text: "The Sydney Morning Herald" labeled the motion-capture animation superior to "Avatar" (2009), and while noting the story had "pure Disney cheese", Wells "thankfully know[s] precisely when to inject action and humour when the mush-o-meter approaches the red."


title: Mars Needs Moms

text: Some critics favorably compared the set design to "" (2010), including Tim Grierson of "Screen Daily", who opined that the motion-capture "improved significantly since the days of "The Polar Express"." He also spotlighted the film's attempt at a "tonal divide", as it has both comic sequences typical for a kids film and themes about sacrifice. However, he criticized the "chaotic" story and two "irksome" protagonists: Milo, whose voice actor "overdoes the character's whiny anxiousness to the point that it's hard to root for him;" and Gribble, a "predictably wisecracking sidekick". "Us Weekly" also panned the characters: "[Milo] makes a whiny hero, and Dan Fogler (as his buddy on Mars) fails to amuse. Plus, why is Milo's stay-at-home mom a saint and the working alien moms evil?"


title: Mars Needs Moms

text: "The Hollywood Reporter" praised "Mars Needs Moms"<nowiki>'</nowiki>s motion-capture visuals, but analogized its story as too much like a Disneyland ride and also called it "odd [...] how a movie meant to glorify moms is so riddled with anti-feminist concepts." "Time Out New York" called it not that much different from other children's science fiction movies: "After the novelty of these backgrounds and comin’-at-ya bits wears off, "Mars Needs Moms" has to rely on Fogler's obnoxious Jack Black Jr. shtick, a weak subplot involving a ’60s-obsessed Martian graffiti artist (Harnois) and rote video-game-y action sequences to carry it along—and that simply won't cut it."


title: Mars Needs Moms

text: "Entertainment Weekly" positively described the film as a children's movie version of "Avatar": "Enhanced by nimble ad-libbing from the comedy-trained cast, the screenplay is delightful, by turns funny and emotional, as befits a Disney family fable in which, through wacky adversity, Mom and kid reaffirm their love for each other while Dad is nowhere in sight. (He's not dead, just away on business.) And with its splendid use of computer-generated motion-capture animation and 3-D effects, the movie is also visually magnificent — modestly so." Mike Hale of the "New York Times" also gave the film a negative review, saying, "Mars, once again, looks to Earth to supplement its female population because, it seems, the women who run Mars think Earth mothers are skilled at child rearing."


title: Mars Needs Moms

text: Lael Loewenstein of "Variety magazine" gave the film a mixed review and called it "A modestly enjoyable performance-capture creation bearing the unmistakable imprint of producer Robert Zemeckis." In addition to acclaiming the visuals,


title: Mars Needs Moms

text: "SFX" also opined gave some praises towards the writing "there are some good laughs, it's pacy enough to whizz us on by the sometimes repetitive narrative [...] and although it's hard to see little boys admitting that they really do love their mummies – as much as the film wants them to – "Mars Needs Moms" does provoke a few lumps in older throats, for all you may decry its mawkish Stateside sensibilities."


title: Mars Needs Moms

text: Nick Schager of "The Village Voice" was very harsh; panning the "rubbery", "unreal", and "unsettling" character animation, which he called a "jarring dissonance" with the science fiction setting; and the stealing of common tropes in other well-known science fiction films. He also noted a major plot hole, specifically Supervisor's stealing of mothers' disciplinary skills for use on technological devices: "The plot thus hinges on a fundamental illogicality, since the chief differentiating characteristic between mothers and machines isn't discipline but compassion." William Thomas of "Empire Magazine" gave the film a two out of five stars, saying, "An uninvolving mo-cap adventure that's well below par. Marvin the Martian would be unhappy to share his planet with this bunch."


title: Mars Needs Moms

text: Some reviewers questioned the film's moral about well-behaved kids having their very good mothers taken by aliens.


title: Mars Needs Moms

text: "Mars Needs Moms" received a nomination for a Movieguide Award for Best Film for Family Audiences; while John Powell's work on it, "Rio" (2011), and "Kung Fu Panda 2" (2011) garnered him a nomination for the 2011 World Soundtrack Award for Film Composer of the Year.


title: Russell Poole

text: Russell Wayne Poole (November 29, 1956 – August 19, 2015) was a Los Angeles Police Department detective most noted for investigating the murder of the Notorious B.I.G., a rapper also known as Biggie Smalls, birth name Christopher Wallace. Poole also investigated the killing of LAPD Officer Kevin Gaines by LAPD Officer Frank Lyga on March 18, 1997. After retiring in 1999, he formed a private detective agency.


title: Russell Poole

text: The son of a 27-year L.A. County Sheriff, Poole would "follow in his father's footsteps" and join the LAPD in 1981. He rose quickly, becoming a detective trainee only three years after being sworn in. Before being chosen to work in the Robbery-Homicide division in 1996, he spent over nine years as a homicide investigator at the South Bureau and Wilshire Division. He served as the primary investigator (taking a case all the way through to trial) on at least 135 homicide cases, and assisted on over 500 more. A noteworthy case investigated personally by Poole before the Rampart scandal include the murder of Ennis Cosby, son of comedian Bill Cosby. He also was one of the officers involved in the investigation into the North Hollywood shootout, just days before the murder of the Notorious B.I.G. Throughout his career up to his involvement in the Rampart scandal, Poole was a highly respected and decorated LAPD detective.


title: Russell Poole

text: Poole's involvement in the Rampart scandal began less than six months before Wallace's murder and a year before Rafael Pérez was arrested. His involvement started when Poole and his Robbery/Homicide unit partner Fred Miller were assigned to investigate the March 1997 Studio City shooting death of plainclothes LAPD Officer Kevin Gaines. Gaines was killed in a road rage dispute after he brandished a gun at another motorist, who was undercover officer Frank Lyga.


title: Russell Poole

text: On March 9, 1997, at around 12:30 a.m., Wallace, Bad Boy Records CEO Sean Combs, and their entourage left the 11th Annual Soul Train Music Awards after-party, held at the Petersen Automotive Museum, in two GMC Suburbans to return to his hotel after an announcement was made that the party would finish earlier than planned. Biggie travelled in the front passenger seat of the second Suburban alongside his associates, Damion "D-Rock" Butler, Junior M.A.F.I.A. member Lil' Cease and driver, Gregory "G-Money" Young. Combs traveled in the first vehicle with three bodyguards. The two trucks were trailed by a Chevrolet Blazer carrying Bad Boy's director of security.


title: Russell Poole

text: By 12:45 a.m., the streets were crowded with cars full of people leaving the event. Wallace's truck stopped at a red light 50 yards (46 m) from the museum. While waiting for the light to change, a white Toyota Land Cruiser made a U-turn and cut in-between Wallace's vehicle and the Chevrolet Blazer behind. Simultaneously, a dark Chevrolet Impala pulled up alongside Wallace's SUV. The driver of the Impala, an African-American male, rolled down his window, drew a 9mm blue-steel pistol and fired several rounds into the GMC Suburban; four bullets hit Wallace in the chest. Wallace was rushed to Cedars-Sinai Medical Center by Combs and the rest of Wallace's entourage, but was pronounced dead by doctors at 1:15 a.m.


title: Russell Poole

text: After months of investigating, Poole accused LAPD Officer David Mack, along with Mack's friend, Amir Muhammad, of being complicit in the murder of Christopher Wallace. Poole claimed he had enough evidence to prove that Mack had ties to the CEO of Death Row Records, Marion "Suge" Knight. He suspected Mack and possibly other officers took part in the murder. Poole had sources that confirmed Mack was raised in the same Compton neighborhood, and was in the same gang as Knight (the Bloods). Mack was a frequent visitor at Knight's private parties, and frequently wore the same style and color (red) clothes as Knight and the Bloods gang. Much of Poole's investigation was used as the basis for Randall Sullivan's book, "LAbyrinth: A Detective Investigates the Murders of Tupac Shakur and Notorious B.I.G., the Implication of Death Row Records' Suge Knight, and the Origins of the Los Angeles Police Scandal." The book formed the basis for the highly anticipated 2018 film "City of Lies", starring Johnny Depp as Poole. The film was released on December 8, 2018, at the Noir film festival.


title: Russell Poole

text: Poole sent his findings to the then-chief of the Los Angeles Police Department, Bernard C. Parks, who ordered Poole to cease all investigations of Officer David Mack. In protest of Parks' and the LAPD's handling of the case, Poole reluctantly retired from the department in late 1999. Distraught from the order to end the Mack investigation early and forced retirement, Poole later stated that, "I almost took my life, but it was my kids that actually saved me." Furthermore, he filed a lawsuit against the LAPD for violating his First Amendment rights by preventing him from going to the public with his findings. Poole, as a private investigator, continued independently investigating Wallace's murder on his own. He was included in a 2001 interview with VH1 in the documentary film "Biggie & Tupac" released in 2001 by British documentary film maker Nick Broomfield.


title: Russell Poole

text: "Tupac:187", written by Richard RJ Bond, Michael Douglas Carlin, with a contribution by Russell Poole, is an alternate theory in the murder of Tupac Shakur.


title: Russell Poole

text: While discussing the Wallace and Tupac Shakur cases for an upcoming nonfiction book, "Chaos Merchants", Poole died of a heart attack at the Monterey Park office of the Los Angeles County Sheriff's Department on August 19, 2015.


title: Russell Poole

text: In 2018, Jimmi Simpson starred as Poole in "Unsolved: Tupac & Biggie," a ten-part series originating on the USA Network, also on Netflix. IndieWire praised the "elevated artistry" of Simpson's performance, while Vulture.com commented in their review: "In an ensemble this solid, it can be challenging for one performance to emerge as a standout. But Simpson's does because he so carefully calibrates Poole's intensity, dialing it up by slight degrees in each episode until he's radiating with panicky determination ... Simpson physically and emotionally illustrates [the character's] internal struggle beautifully".


title: Joey Heatherton

text: Davenie Johanna "Joey" Heatherton (born September 14, 1944) is an American actress, dancer, and singer. A sex symbol of the 1960s and 1970s, she is best known for her many television appearances during that time, particularly as a frequent variety show performer, although she also appeared in acting roles. She performed for over a decade on USO tours presented by Bob Hope, and starred in several feature films, including "My Blood Runs Cold" (1965) and "The Happy Hooker Goes to Washington" (1977).


title: Joey Heatherton

text: Davenie Johanna Heatherton was born in New York City and raised in Rockville Centre, New York, a town of Nassau County close to New York City. She was nicknamed "Joey" as a child, a combination of her first name Davenie and her middle name Johanna. Her father, Ray Heatherton, was a Broadway star ("Babes in Arms") and television pioneer. He was famous in the greater New York area as the star of the long-running children's television show "The Merry Mailman". Her mother, also named Davenie, was a dancer who met Ray Heatherton when both were performing in "Babes in Arms". Heatherton has a brother, Dick (born October 19, 1943), who later became a disc jockey.


title: Joey Heatherton

text: Heatherton attended Saint Agnes Academy, a Catholic grade and high school. At the age of six, she began studying ballet at the Dixon McAfee School of Dance and went on to four years of study under George Balanchine, and then went on to study modern jazz dance, voice, and dramatics.


title: Joey Heatherton

text: Heatherton began her career as a child actress. She first appeared on television on her father's show, "The Merry Mailman", a popular children's show in New York. In 1959, when she was 15, she became a member of the ensemble and an understudy in the original Broadway production of "The Sound of Music", and received her first sustained national exposure that same year as a semi-regular on "The Perry Como Show" (later called "Perry Como's Kraft Music Hall"), playing an exuberant teenager with a perpetual crush on Perry Como. She also released her first single that year, entitled "That's How It Goes"/"I'll Be Seeing You", but failed to have a hit with it or with the three additional singles she released over the next few years.


title: Joey Heatherton

text: Heatherton returned to Broadway in 1960, co-starring in the short lived "There Was A Little Girl" opposite Jane Fonda. Heatherton's first television role as a dramatic actress came that same year when she guest-starred as a wealthy, spoiled teen on an early episode of "Route 66". During the early 1960s, Heatherton was frequently cast as a troubled teenager owing to her "sexy-kid look".


title: Joey Heatherton

text: Beginning in the mid-1960s, Heatherton began to gain attention for her sensual dancing on television, which some viewers considered shocking and some critics derided as "sleazy eroticism". In 1964 she appeared on "The Tonight Show", where she coached Johnny Carson on the finer points of dancing "The Frug". She received major publicity following her guest appearance on the January 1965 premiere episode of the teen dance show "Hullabaloo". She was featured on several more episodes of the show and released "Hullabaloo", a song that she had performed on the show, on Coral Records. At the invitation of Dean Martin, Heatherton also appeared extensively on "The Dean Martin Show" starting with the premiere episode of September 16, 1965. She was a mystery guest on the game show "What's My Line?" on November 7, 1965, the last show on which Dorothy Kilgallen appeared.


title: Joey Heatherton

text: From June to September 1968, along with Frank Sinatra, Jr., Heatherton co-hosted Martin's summer-substitute musical comedy hour "Dean Martin Presents the Golddiggers". She also made multiple appearances on other 1960s television variety shows, such as "The Andy Williams Show", "The Hollywood Palace", "The Ed Sullivan Show", and "This Is Tom Jones".


title: Joey Heatherton

text: Between 1965 and 1977, Heatherton performed live with Bob Hope's touring USO troupe, entertaining the GIs with her singing, dancing, and provocative outfits. Excerpts from the USO tours were televised as part of Hope's long-running series of NBC monthly specials, culminating in the top-rated Christmas shows, where Heatherton's segments were regularly featured.


title: Joey Heatherton

text: Throughout the 1960s, Heatherton interspersed her variety show appearances with dramatic turns on episodes of numerous television series, including "Mr. Novak", "The Virginian", "The Nurses", "I Spy", and "It Takes a Thief".


title: Joey Heatherton

text: Heatherton also appeared in the movies "Twilight of Honor" (1963), "Where Love Has Gone" (1964), and "My Blood Runs Cold" (1965). In her film debut, "Twilight of Honor", she played the young wife of an accused murderer (Oscar-nominee Nick Adams). The only one of the three films to be made in color, 1964's "Where Love Has Gone" was a big-budget melodrama based on Harold Robbins's "roman à clef" about the scandalous Lana Turner-Cheryl Crane-Johnny Stompanato manslaughter case, with Heatherton playing the daughter of the Turner character (Susan Hayward). The William Conrad thriller "My Blood Runs Cold" marked Heatherton's first leading role in a film, opposite Troy Donahue.


title: Joey Heatherton

text: By the 1970s, Heatherton's career was slowing down, but she was still popular enough to do a series of television ads for RC Cola and Serta mattresses. She performed in Las Vegas and acted in a few television shows and films, including the 1972 thriller "Bluebeard" (with Richard Burton in the title role), wherein she did her only onscreen nude scene. In 1972, Heatherton also released her first album, "The Joey Heatherton Album". The first single, a cover of the 1957 Ferlin Husky song "Gone", spent 15 weeks on "Billboard's" Hot 100, peaking at #24. "Gone" also peaked at #38 in Australia. The second single, "I'm Sorry", peaked at #87. The album was re-released in 2004 with a nude photo of Joey on the cover taken by photographer Harry Langdon Jr. She posed for the topless image while filming "Bluebeard".


title: Joey Heatherton

text: A brief high point came in July 1975 when she headlined "Joey & Dad", a four-week Sunday night summer replacement series for Cher's 1975–76 variety show in which Heatherton performed alongside her father. Each episode involved Ray Heatherton waxing nostalgic over life with his daughter while rooting through his attic.


title: Joey Heatherton

text: In 1977, Heatherton played the starring role as Xaviera Hollander in the Watergate-inspired "The Happy Hooker Goes to Washington". In 1990, she returned to the screen with a small role as a religious fanatic in John Waters's teen musical comedy film "Cry-Baby". In 1997, Heatherton appeared nude in an issue of "Playboy".


title: Joey Heatherton

text: In April 1969, Heatherton married Lance Rentzel, a Dallas Cowboys wide receiver, in New York City. In November 1970, Rentzel was arrested for exposing himself to a 10-year-old girl. He pled guilty, promised to undergo psychiatric treatment, and was given a suspended sentence. Heatherton filed for divorce in September 1971 and her career lost its luster; some say she never recovered from the psychological shock of Rentzel’s offense. The divorce became final in 1972.


title: Joey Heatherton

text: On July 8, 1985, she was arrested and charged with interfering with a government agent's duties and disturbing the peace after she allegedly slapped and pulled the hair of a clerk at Manhattan's U.S. Passport Agency office. She was acquitted of both charges in September 1986.


title: Joey Heatherton

text: Also in July, she was arrested and charged with theft of services for refusing to pay a $4,906 bill from a hotel and spa in Long Island where she stayed in 1984. She pled not guilty.


title: Joey Heatherton

text: On August 30, 1986, Heatherton was arrested for assault in Hillcrest, Rockland County, New York, after she stabbed Jerry Fisher, her former boyfriend and ex-manager, in the hand with a steak knife during an argument. Fisher was later treated at a local hospital and released. After her arrest, Heatherton told police who she was, but they did not believe her. She then handed one of the officers her purse to verify her identity. While looking through it, the officer found a foil packet with less than a gram of cocaine. Heatherton was charged with assault and misdemeanor drug possession. In October 1987, a court ruled that the search was unconstitutional as Heatherton was not advised that she could refuse a purse search. As a result, the misdemeanor drug possession was dropped. Jerry Fisher later dropped the charge of assault against Heatherton.


title: 2021–22 EuroLeague

text: The 2021–22 Turkish Airlines EuroLeague was the 22nd season of the modern era of the EuroLeague, and the 12th under the title sponsorship of the Turkish Airlines. Including the competition's previous incarnation as the FIBA Europe Champions Cup, this was the 65th season of the premier basketball competition for European men's clubs. The season started on 30 September 2021. The three Russian teams were suspended because of the 2022 Russian invasion of Ukraine. As the Russian invasion of Ukraine did not cease, the records of all regular season matches against Russian teams were annulled, and team win-loss records adjusted accordingly, dramatically affecting league standings.


title: 2021–22 EuroLeague

text: Anadolu Efes successfully defended last year's title after defeating Real Madrid in the championship game.


title: 2021–22 EuroLeague

text: A total of 72 Euroleague Basketball officials set to work on the 2021–22 season in EuroLeague and EuroCup:


title: 2021–22 EuroLeague

text: When more than two teams are tied, the ranking will be established taking into account the victories obtained in the games played only among them. Should the tie persist among some, but not all, of the teams, the ranking of the teams still tied will be determined by again taking into account the victories in the games played only among them, and repeating this same procedure until the tie is entirely resolved.


title: 2021–22 EuroLeague

text: If a tie persists, the ranking will be determined by the goal difference in favour and against in the games played only among the teams still tied.


title: 2021–22 EuroLeague

text: Playoffs series are best-of-five. The first team to win three games wins the series. A 2–2–1 format is used – teams with home-court advantage play games 1, 2, and 5 at home, while their opponents host games 3 and 4. Games 4 and 5 are only played if necessary. The four winning teams advance to the Final Four.


title: 2021–22 EuroLeague

text: The Final Four, held over a single weekend, is the last phase of the season. The four remaining teams play a single knockout round on Thursday evening, with the two winners advancing to the championship game. Saturday starts with the third-place game, followed by the championship game. The 2022 EuroLeague Final Four will be played at the Štark Arena in Belgrade, Serbia, on 19–21 May 2022.


title: Sales

text: Sales are activities related to selling or the number of goods sold in a given targeted time period. The delivery of a service for a cost is also considered a sale.


title: Sales

text: The seller, or the provider of the goods or services, completes a sale in response to an acquisition, appropriation, requisition, or a direct interaction with the "buyer" at the point of sale. There is a passing of title (property or ownership) of the item, and the settlement of a price, in which agreement is reached on a price for which transfer of ownership of the item will occur. The "seller", not the purchaser, typically executes the sale and it may be completed prior to the obligation of payment. In the case of indirect interaction, a person who sells goods or service on behalf of the owner is known as a salesman or saleswoman or salesperson, but this often refers to someone selling goods in a store/shop, in which case other terms are also common, including "salesclerk", "shop assistant", and "retail clerk".


title: Sales

text: In common law countries, sales are governed generally by the common law and commercial codes. In the United States, the laws governing sales of goods are somewhat uniform to the extent that most jurisdictions have adopted Article 2 of the Uniform Commercial Code, albeit with some non-uniform variations.


title: Sales

text: A person or organization expressing an interest in acquiring the offered item of value is referred to as a potential buyer, prospective customer, or prospect. Buying and selling are understood to be two sides of the same "coin" or transaction. Both seller and buyer engage in a process of negotiation to consummate the exchange of values. The exchange, or selling, process has implied rules and identifiable stages. It is implied that the selling process will proceed fairly and ethically so that the parties end up nearly equally rewarded. The stages of selling, and buying, involve getting acquainted, assessing each party's need for the other's item of value, and determining if the values to be exchanged are equivalent or nearly so, or, in buyer's terms, "worth the price". Sometimes, sellers have to use their own experiences when selling products with appropriate discounts.


title: Sales

text: Although the skills required are different, from a management viewpoint, sales is a part of marketing. Sales often form a separate grouping in a corporate structure, employing separate specialist operatives known as "salespersons" (singular: "salesperson"). Selling is considered by many to be a sort of persuading "art". Contrary to popular belief, the methodological approach of selling refers to a "systematic process of repetitive and measurable milestones, by which a salesman relates his or her offering of a product or service in return enabling the buyer to achieve their goal in an economic way".


title: Sales

text: While the sales process refers to a systematic process of repetitive and measurable milestones, the definition of the selling is somewhat ambiguous due to the close nature of advertising, promotion, public relations, and direct marketing.


title: Sales

text: Selling is the profession-wide term, much like marketing defines a profession. Recently, attempts have been made to clearly understand who is in the sales profession, and who is not. There are many articles looking at marketing, advertising, promotions, and even public relations as ways to create a unique transaction.


title: Sales

text: Many believe that the focus of selling is on the human agents involved in the exchange between buyer and seller. Effective selling also requires a systems approach, at minimum involving roles that sell, enable selling, and develop sales capabilities. Selling also involves salespeople who possess a specific set of sales skills and the knowledge required to facilitate the exchange of value between buyers and sellers that is unique from marketing and advertising.


title: Sales

text: Within these three tenets, the following definition of professional selling is offered by the American Society for Training and Development (ASTD):


title: Sales

text: Team selling is one way to influence sales. Team selling is "a group of people representing the sales department and other functional areas in the firm, such as finance, production, and research and development". (Spiro) Team selling came about in the 1990s through total quality management (TQM). TQM occurs when companies work to improve their customer satisfaction by constantly improving all their operations.


title: Sales

text: Marketing and sales differ greatly, but they generally have the same goal. Selling is the final stage in marketing which puts the plan into effect. A marketing plan includes pricing, promotion, place, and product (the 4 P's). A marketing department in an organization has the goals of increasing the desirability and value of the products and services to the customer and increasing the number and engagement of successful interactions between potential customers and the organization. Achieving this goal may involve the sales team using promotional techniques such as advertising, sales promotion, publicity, and public relations, creating new sales channels, or creating new products. It can also include encouraging the potential customer to visit the organization's website, contact the organization for more information, or interact with the organization via social media channels such as Twitter, Facebook and blogs. Social values play a major role in consumer decision processes. Marketing is the whole of the work on persuasion made for the whole of the target people. Sales is the process of persuasion and effort from one person to one person (B2C), or one person to a corporation (B2B), in order to make a living resource enter the company. This may occur in person, over the phone or digitally.


title: Sales

text: The field of sales process engineering views "sales" as the output of a larger system, not just as the output of one department. The larger system includes many functional areas within an organization. From this perspective, the labels "sales" and "marketing" cover several processes whose inputs and outputs supply one another. In this context, improving an "output" (such as sales) involves studying and improving the broader sales process, since the component functional areas interact and are interdependent.


title: Sales

text: Many large corporations structure their marketing departments, so they are integrated with all areas of the business. They create multiple teams with a singular focus, and the managers of these teams must coordinate efforts to drive profits and business success. For example, an "inbound" campaign seeks to drive more customers "through the door", giving the sales department a better chance of selling their product to the consumer. A good marketing program would address any potential downsides as well.


title: Sales

text: The sales department would aim to improve the interaction between the customer and the sales channel or salesperson. As sales is the forefront of any organization, this would always need to take place before any other business process may begin. Sales management involves breaking down the selling process and increasing the effectiveness of the discrete processes, as well as improving the interactions between processes. For example, in an outbound sales environment, the typical process includes outbound calling, the sales pitch, handling objections, opportunity identification, and the close. Each step of the process has sales-related issues, skills, and training needs, as well as marketing solutions to improve each discrete step.


title: Sales

text: One further common complication of marketing is the difficulty in measuring results for some marketing initiatives. Some marketing and advertising executives focus on creativity and innovation without concern for the top or bottom lines – a fundamental pitfall of marketing for marketing's sake.


title: Sales

text: Many companies find it challenging to get their marketing and sales teams to agree. The two departments, although different in nature, handle very similar concepts and have to work together to achieve the business's goals. Building a good relationship between the two teams that encourages communication can be the key to success.


title: Sales

text: The idea that marketing can potentially eliminate the need for salespeople depends entirely on context. For example, this may be possible in some B2C situations; however, for many B2B transactions (for example, those involving industrial organizations) this is mostly impossible. Another dimension is the value of the goods being sold. Fast-moving consumer-goods (FMCG) require no salespeople at the point of sale to get them to jump off the supermarket shelf and into the customer's trolley. However, the purchase of large mining equipment worth millions of dollars will require a salesperson to manage the sales process – particularly in the face of competitors. Small and medium businesses selling such large ticket items to a geographically dispersed client base use manufacturers' representatives to provide this highly personal service while avoiding the large expense of a captive sales force.


title: Sales

text: Another area of discussion involves the need for alignment and integration of corporate sales and marketing functions. According to a report from the Chief Marketing Officer (CMO) Council, only 40 percent of companies have formal programs, systems or processes in place to align and integrate the two critical functions.


title: Sales

text: Sales, Digital Marketing and Automated Marketing campaigns. With the increase of the use of the internet today, sales functions of several enterprises are finding traditional methods of marketing quite old fashioned and less efficient. So the use of automated Marketing Applications is on the rise ranging from Customer Relationship Management (CRM) to Sales Force Management.


title: Sales

text: Traditionally, these two functions, as referred above, have operated separately, left in siloed areas of tactical responsibility. Glen Petersen's book "The Profit Maximization Paradox" sees the changes in the competitive landscape between the 1950s and the time of writing as so dramatic that the complexity of choice, price, and opportunities for the customer forced this seemingly simple and integrated relationship between sales and marketing to change forever. Petersen goes on to highlight that salespeople spend approximately 40 percent of their time preparing customer-facing deliverables while leveraging less than 50 percent of the materials created by marketing, adding to perceptions that marketing is out of touch with the customer and that sales is resistant to messaging and strategy.


title: Sales

text: In the United States, the Fair Labor Standards Act defines outside sales representatives as "employees [who] sell their employer's products, services, or facilities to customers away from their employer's place(s) of business, in general, either at the customer's place of business or by selling door-to-door at the customer's home" while defining those who work "from the employer's location" as inside sales. Inside sales generally involves attempting to close business primarily over the phone via telemarketing, while outside sales (or "field" sales) will usually involve initial phone work to book sales calls at the potential buyer's location to attempt to close the deal in person. Some companies have an inside sales department that works with outside representatives and book their appointments for them. Inside sales sometimes refers to upselling to existing customers.


title: Sales

text: Sales Coaching is a one-on-one coaching process by high-performing sales professionals and consultants with salespeople, managers, and executives. The process involves equipping them with the knowledge, abilities, and skills needed to become more effective sales professionals. Unlike sales training, sales coaching is typically an individualized, ongoing endeavor.


title: Sales

text: Sales Enablement is a term applied to a holistic training and resource methodology including training materials, sales aids, and solutions designed to modernize the sales processes. Most sales enablement platforms or services provide technology for lead management and sales reporting. Sales enablement technology platforms frequently use data driven AI. Sales enablement provides support systems needed by sales teams to close deals and exceed quotas at a higher rate than traditional sales models.


The International Covenant on Civil and Political Rights (ICCPR) is a multilateral treaty that commits nations to respect the civil and political rights of individuals, including the right to life, freedom of religion, freedom of speech, freedom of assembly, electoral rights and rights to due process and a fair trial. It was adopted by United Nations General Assembly Resolution 2200A (XXI) on 16 December 1966 and entered into force 23 March 1976 after its thirty-fifth ratification or accession. , the Covenant has 173 parties and six more signatories without ratification, most notably the People's Republic of China and Cuba; North Korea is the only state that has tried to withdraw.


title: International Covenant on Civil and Political Rights

text: The ICCPR is considered a seminal document in the history of international law and human rights, forming part of the International Bill of Human Rights, along with the International Covenant on Economic, Social and Cultural Rights (ICESCR) and the Universal Declaration of Human Rights (UDHR).


text: Compliance with the ICCPR is monitored by the United Nations Human Rights Committee, which reviews regular reports of states parties on how the rights are being implemented. States must report one year after acceding to the Covenant and then whenever the Committee requests (usually every four years). The Committee normally meets at the UN Office at Geneva, Switzerland and typically holds three sessions per year.


text: The ICCPR (International Covenant On Civil and Political Rights) has its roots in the same process that led to the Universal Declaration of Human Rights. A "Declaration on the Essential Rights of Man" had been proposed at the 1945 San Francisco Conference which led to the founding of the United Nations, and the Economic and Social Council was given the task of drafting it. Early on in the process, the document was split into a declaration setting forth general principles of human rights, and a convention or covenant containing binding commitments. The former evolved into the UDHR and was adopted on 10 December 1948.


text: Drafting continued on the convention, but there remained significant differences between UN members on the relative importance of negative Civil and Political versus positive Economic, Social and Cultural Rights. These eventually caused the convention to be split into two separate covenants, "one to contain civil and political rights and the other to contain economic, social and cultural rights". The two covenants were to contain as many similar provisions as possible, and be opened for signature simultaneously. Each would also contain an article on the right of all peoples to self-determination.


text: The first document became the International Covenant on Civil and Political Rights and the second the International Covenant on Economic, Social and Cultural Rights. The drafts were presented to the UN General Assembly for discussion in 1954 and adopted in 1966. As a result of diplomatic negotiations the International Covenant on Economic, Social and Cultural Rights was adopted shortly before the International Covenant on Civil and Political Rights.


text: Together, the UDHR and the two Covenants are considered to be the foundational human rights texts in the contemporary international system of human rights.


text: The Covenant follows the structure of the UDHR and ICESCR, with a preamble and fifty-three articles, divided into six parts.


text: Part 1 (Article 1) recognizes the right of all peoples to self-determination, including the right to "freely determine their political status", pursue their economic, social and cultural goals, and manage and dispose of their own resources. It recognises a negative right of a people not to be deprived of its means of subsistence, and imposes an obligation on those parties still responsible for non-self governing and trust territories (colonies) to encourage and respect their self-determination.


text: Part 2 (Articles 2 – 5) obliges parties to legislate where necessary to give effect to the rights recognised in the Covenant, and to provide an effective legal remedy for any violation of those rights. It also requires the rights be recognised "without distinction of any kind, such as race, colour, sex, language, religion, political or other opinion, national or social origin, property, birth or other status," and to ensure that they are enjoyed equally by women. The rights can only be limited "in time of public emergency which threatens the life of the nation," and even then no derogation is permitted from the rights to life, freedom from torture and slavery, the freedom from retrospective law, the right to personhood, and freedom of thought, conscience, religion and freedom from medical or scientific experimentation without consent.


text: Part 4 (Articles 28 – 45) governs the establishment and operation of the Human Rights Committee and the reporting and monitoring of the Covenant. It also allows parties to recognize the competence of the committee to resolve disputes between parties on the implementation of the Covenant (Articles 41 and 42).


text: Part 5 (Articles 46 – 47) clarifies that the Covenant shall not be interpreted as interfering with the operation of the United Nations or "the inherent right of all peoples to enjoy and utilize fully and freely their natural wealth and resources".


text: Article 6 of the Covenant recognises the individual's "inherent right to life" and requires it to be protected by law. It is a "supreme right" from which no derogation can be permitted, and must be interpreted widely. It therefore requires parties to take positive measures to reduce infant mortality and increase life expectancy, as well as forbidding arbitrary killings by security forces.


text: While Article 6 does not prohibit the death penalty, it restricts its application to the "most serious crimes" and forbids it to be used on children and pregnant women or in a manner contrary to the Convention on the Prevention and Punishment of the Crime of Genocide. The UN Human Rights Committee interprets the Article as "strongly suggest[ing] that abolition is desirable", and regards any progress towards abolition of the death penalty as advancing this right. The Second Optional Protocol commits its signatories to the abolition of the death penalty within their borders.


text: Article 7 prohibits torture, cruel, inhuman or degrading punishment and non-consensual medical or scientific experimentation. As with Article 6, it cannot be derogated from under any circumstances. The article is now interpreted to impose similar obligations to those required by the United Nations Convention Against Torture, including not just prohibition of torture, but active measures to prevent its use and a prohibition on refoulement. In response to Nazi human experimentation during WW2 this article explicitly includes a prohibition on medical and scientific experimentation without consent.


text: Article 8 prohibits slavery and enforced servitude in all situations. The article also prohibits forced labour, with exceptions for criminal punishment, military service and civil obligations.


text: Article 9 recognises the rights to liberty and security of the person. It prohibits arbitrary arrest and detention, requires any deprivation of liberty to be according to law, and obliges parties to allow those deprived of their liberty to challenge their imprisonment through the courts. These provisions apply not just to those imprisoned as part of the criminal process, but also to those detained due to mental illness, drug addiction, or for educational or immigration purposes.


text: Articles 9.3 and 9.4 impose procedural safeguards around arrest, requiring anyone arrested to be promptly informed of the charges against them, and to be brought promptly before a judge. It also restricts the use of pre-trial detention, requiring that it not be 'the general rule'.


text: Article 10 requires anyone deprived of liberty to be treated with dignity and humanity. This applies not just to prisoners, but also to those detained for immigration purposes or psychiatric care. The right complements the Article 7 prohibition on torture and cruel, inhuman or degrading treatment. The article also imposes specific obligations around criminal justice, requiring prisoners in pretrial detention to be separated from convicted prisoners, and children to be separated from adults. It requires prisons to be focused on reform and rehabilitation rather than punishment.


text: Article 14 recognizes and protects a right to justice and a fair trial. Article 14.1 establishes the ground rules: everyone must be equal before the courts, and any hearing must take place in open court before a competent, independent and impartial tribunal, with any judgment or ruling made public. Closed hearings are only permitted for reasons of privacy, justice, or national security, and judgments may only be suppressed in divorce cases or to protect the interests of children. These obligations apply to both criminal and civil hearings, and to all courts and tribunals. Article 14.3 mandates that litigants must be informed promptly and in detail in a language which they understand.


text: The rest of the article imposes specific and detailed obligations around the process of criminal trials in order to protect the rights of the accused and the right to a fair trial. It establishes the Presumption of innocence and forbids double jeopardy. It requires that those convicted of a crime be allowed to appeal to a higher tribunal, and requires victims of a Miscarriage of justice to be compensated. It establishes rights to a speedy trial, to counsel, against self-incrimination, and for the accused to be present and call and examine witnesses.


text: Article 15 prohibits prosecutions under Ex post facto law and the imposition of retrospective criminal penalties, and requires the imposition of the lesser penalty where criminal sentences have changed between the offence and conviction. But except the criminal according to general principles of law recognized by international community. (jus cogens)


text: Article 12 guarantees freedom of movement, including the right of persons to choose their residence, to leave and return to a country. These rights apply to legal aliens as well as citizens of a state, and can be restricted only where necessary to protect national security, public order or health, and the rights and freedoms of others. The article also recognises a right of people to enter their own country: the right of return. The Human Rights Committee interprets this right broadly as applying not just to citizens, but also to those stripped of or denied their nationality. They also regard it as near-absolute; "there are few, if any, circumstances in which deprivation of the right to enter one's own country could be reasonable".


text: Article 13 forbids the arbitrary expulsion of resident aliens and requires such decisions to be able to be appealed and reviewed.


text: Article 17 mandates the right of privacy. This provision, specifically article 17(1), protects private adult consensual sexual activity, thereby nullifying prohibitions on homosexual behaviour, however, the wording of this covenant's marriage right (Article 23) excludes the extrapolation of a same-sex marriage right from this provision.


text: Article 17 also protects people against unlawful attacks to their honor and reputation. Article 17 (2) grants the protection of the law against such attacks.


text: Article 21 mandates freedom of assembly and 22 mandates freedom of association. These provisions guarantee the right to freedom of association, the right to trade unions and also defines the International Labour Organization.


text: Article 23 mandates the right of marriage. The wording of this provision neither requires nor prohibits same-sex marriage.


text: Article 24 mandates special protection, the right to a name, and the right to a nationality for every child.


text: Article 27 mandates the rights of ethnic, religious and linguistic minority to enjoy their own culture, to profess their own religion, and to use their own language.


text: Article 3 provides an accessory non-discrimination principle. Accessory in the way that it cannot be used independently and can only be relied upon in relation to another right protected by the ICCPR.


text: In contrast, Article 26 contains a revolutionary norm by providing an autonomous equality principle which is not dependent upon another right under the convention being infringed. This has the effect of widening the scope of the non-discrimination principle beyond the scope of ICCPR.


text: There are two Optional Protocols to the Covenant. The First Optional Protocol establishes an individual complaints mechanism, allowing individuals to complain to the Human Rights Committee about violations of the Covenant. This has led to the creation of a complex jurisprudence on the interpretation and implementation of the Covenant. , the First Optional Protocol has 116 parties.


text: The Second Optional Protocol abolishes the death penalty; however, countries were permitted to make a reservation allowing for use of death penalty for the most serious crimes of a military nature, committed during wartime. , the Second Optional Protocol had 90 parties.


text: A number of parties have made reservations and interpretative declarations to their application of the Covenant.


text: Argentina will apply the fair trial rights guaranteed in its constitution to the prosecution of those accused of violating the general law of nations.


text: Australia reserves the right to progressively implement the prison standards of Article 10, to compensate for miscarriages of justice by administrative means rather than through the courts, and interprets the prohibition on racial incitement as being subject to the freedoms of expression, association and assembly. It also declares that its implementation will be effected at each level of its federal system.


text: Austria reserves the right to continue to exile members of the House of Habsburg, and limits the rights of the accused and the right to a fair trial to those already existing in its legal system.


text: Bahamas, due to problems with implementation, reserves the right not to compensate for miscarriages of justice.


text: Bahrain interprets Articles 3 (no sexual discrimination), 18 (freedom of religion) and 23 (family rights) within the context of Islamic Sharia law.


text: Bangladesh reserves the right to try people "in absentia" where they are fugitives from justice and declares that resource constraints mean that it cannot necessarily segregate prisons or provide counsel for accused persons.


text: Barbados reserves the right not to provide free counsel for accused persons due to resource constraints.


text: Belgium interprets the freedoms of speech, assembly and association in a manner consistent with the European Convention on Human Rights. It does not consider itself obliged to ban war propaganda as required by Article 20, and interprets that article in light of the freedom of expression in the UDHR.


text: Belize reserves the right not to compensate for miscarriages of justice, due to problems with implementation, and does not plan to provide free legal counsel for the same reasons as above. It also refuses to ensure the right to free travel at any time, due to a law requiring those travelling abroad to provide tax clearance certificates.


text: Congo, as per the Congolese Code of Civil, Commercial, Administrative and Financial Procedure, in matters of private law, decisions or orders emanating from conciliation proceedings may be enforced through imprisonment for debt.


text: Denmark reserves the right to exclude the press and the public from trials as per its own laws. Reservation is further made to Article 20, paragraph 1. This reservation is in accordance with the vote cast by Denmark in the XVI General Assembly of the United Nations in 1961 when the Danish Delegation, referring to the preceding article concerning freedom of expression, voted against the prohibition against propaganda for war.