title: Michael Koman

text: During his tenure at "Late Night", Koman also occasionally appeared in on-air sketches. In one sketch, he played an accountant for the show who proposed a nonsensical solution to the gay marriage debate, which made headlines in American media in 2004. In another sketch, on May 16, 2007, O'Brien confronted Koman at home after the latter had called in sick to work. Koman was ultimately dragged into the studio for the live taping and publicly humiliated (with his obviously willing participation). This segment also precipitated a rekindling of the ongoing romance between Koman and his future wife, Ellie Kemper, who had been both a writers' staff intern at the show and a regular performer in its sketches. Around the time of the release of the first-generation of Apple's iPhone in 2007, "Late Night" ran a fake advertisement purporting to show how multifunctional the new device was, with Koman and Kemper appearing together in this sketch.


title: Michael Koman

text: In 2008, Koman left "Late Night" with the approaching transition in NBC's late-night programming that would in the following year launch the short-lived and tumultuous "Tonight Show with Conan O'Brien." Koman, reluctant to relocate with the rest of the "Late Night" staff from New York City to Los Angeles, accepted the role of head writer for "Important Things with Demetri Martin". Martin was another alumnus of the "Late Night" writing staff, and Koman viewed the new role as an opportunity to challenge himself with greater responsibility and outside the familiar confines of Rockefeller Center. After a brief stint writing for "The Colbert Report" in August 2008, Koman began work on Martin's show. Among the writers soon hired there was Nathan Fielder, with whom Koman quickly formed another writing partnership.


title: Michael Koman

text: Koman's next original TV series had him reviving his former writing partnership with Weinberg and teaming up with director Jason Woliner. "Eagleheart", starring Chris Elliott as an outlandish US Marshal modeled in part on the titular hero of "Walker, Texas Ranger", ran on Adult Swim for three seasons (2011–2014) and was backed by O'Brien's production company Conaco.


title: Michael Koman

text: Toward the end of his direct involvement with "Eagleheart", which concluded with his co-writing of its third and final season, Koman turned his attention to work on "Nathan for You". Fielder had been solicited by Comedy Central to develop a pilot and had invited Koman to resume their working relationship. The concept for the show eventually coalesced around the pitching of business strategies to small companies; citing Fielder's education in business management, the show would invest heavily in unique and elaborate schemes to improve the popularity or profitability of its star's clients and would document all the consequences of such intervention. Although the show's ideas and the approaches Fielder (or his persona) took in each episode were planned by a team of writers led by Fielder and Koman (and later Carrie Kemper, Koman's sister-in-law), scripted jokes were mostly eschewed (outside of Fielder's intermittent voiceover narration). Fielder called an end to the show after its fourth season, which was broadcast in 2017.


title: Michael Koman

text: During the run of "Nathan for You", Koman helped create and write for "The Jack and Triumph Show", starring Jack McBrayer and Triumph the Insult Comic Dog, a puppet voiced and operated by Robert Smigel. The multi-camera sitcom was inspired by a remote segment filmed at Chicago's The Wieners Circle for the TBS instantiation of O'Brien's late night talk show (called simply "Conan"). The show comprised seven episodes that all aired in 2015. Koman was also involved in "Triumph's Election Watch 2016", produced by Funny or Die.


title: Michael Koman

text: Following the end of "Nathan for You", Koman returned to New York, where he began writing for "Saturday Night Live" during the summer of 2017. In so doing, he earned his ninth Emmy Award nomination for his contributions to variety show writing ensembles. He previously won the award once, as a member of the "Late Night" writing team in 2007. He has also won six Writers Guild of America awards throughout his career.


title: Michael Koman

text: Koman married actress and comedian Ellie Kemper on July 7, 2012. The two had met backstage at "Late Night with Conan O'Brien" and had even appeared together in at least one sketch. Kemper shared the story of their engagement on "The Ellen DeGeneres Show" in early 2012. While Koman is Jewish, the couple has two sons, James and Matthew, born in 2016 and 2019 respectively, whom they are raising according to Kemper's Roman Catholic faith.


title: Phil Daniels

text: Philip William Daniels (born 25 October 1958) is an English actor, musician and singer, most noted for film and television roles playing Londoners, such as the lead role of Jimmy Cooper in "Quadrophenia", Richards in "Scum", Stewart in "The Class of Miss MacMichael", Danny in "Breaking Glass", Mark in "Meantime", Billy Kid in "Billy the Kid and the Green Baize Vampire", Kevin Wicks in "EastEnders", DCS Frank Patterson in "New Tricks", and Grandad Trotter in the "Only Fools and Horses" prequel "Rock & Chips". He is also known for featuring on Blur's 1994 hit single "Parklife".


title: Phil Daniels

text: Daniels went to Rutherford Comprehensive School from 1970 to 1975, the same school as Danny John-Jules, Paul Hardcastle and footballer Tony Grealish. After training at the Anna Scher Theatre School in Islington, Daniels has made appearances in many films and television series.


title: Phil Daniels

text: He made his film debut in 1972 in "Anoop and the Elephant". He had an incidental appearance (with fellow drama students) in 1975 in Thames Television's "You Must Be Joking!" In 1976, at the age of 17, he featured as a waiter in "Bugsy Malone". Also in 1976 he had significant roles in three television series: "The Molly Wopsies", "Four Idle Hands", and "The Flockton Flyer". Over the following four years he appeared in "Quadrophenia", "Breaking Glass" and "Scum". He also appeared in the 1977 TV drama serial "Raven".


title: Phil Daniels

text: In the late 1970s and early 1980s, Daniels was a member of new wave band The Cross, along with fellow actor Peter Hugo Daly. They released an album ("Phil Daniels + The Cross") and single, "Kill Another Night" on RCA Records in 1979.


title: Phil Daniels

text: His musical inclinations were revealed when he starred in a 1985 British snooker musical "Billy the Kid and the Green Baize Vampire". He narrated tracks "Parklife" and "Me, White Noise" on the "Parklife" and "Think Tank" albums for Blur.


title: Phil Daniels

text: He contributed the voice of Fetcher, the dull-witted rat to the animated film "Chicken Run". In recent years he has turned his attention to comedy, appearing in the series "Sunnyside Farm" and alongside Al Murray in the cult sitcom "Time Gentlemen Please". Daniels also starred as Freddy Windrush in an episode of "Gimme Gimme Gimme" (Series 2, Episode 3 – ""Prison Visitor"").


title: Phil Daniels

text: Daniels has performed on stage with the Royal Shakespeare Company in plays such as "The Merchant of Venice", "The Jew of Malta" and "". In 2004 he appeared in the BBC comedy-drama "Outlaws" as a criminal solicitor.


title: Phil Daniels

text: In 2006 he joined the cast of the popular BBC soap opera "EastEnders" playing Kevin Wicks. The actor temporarily left the show in early 2007; however, he returned in March 2007. He left the show in August 2007, with his character dying in a brutal car crash in December 2007. Daniels, along with his co-stars, attended a Quadrophenia Reunion at London Film and Comic Con at Earls Court on 1 and 2 September 2007. In May 2008, Daniels ran the London Marathon on behalf of the "Sparks" Charity, and, in December 2008, starred in Sheffield Theatre and Evolution Pantomimes co-production of "Aladdin" as "Abanazar" at Lyceum Theatre, Sheffield. In late 2008, Daniels voiced a major character in the English language re-release of the cult 2006 Norwegian animated film "Free Jimmy", alongside Woody Harrelson and with dialogue written by Simon Pegg. Also in 2008, Daniels starred alongside Gary Stretch and Geoff Bell in the UK film "Freebird", directed by Jon Ivay, which followed three bikers across a drug-fuelled ride in the Welsh countryside. Daniels appeared in the 2008 series of "Strictly Come Dancing" with dancing partner Flavia Cacace; he was the first to be eliminated from the show on 21 September 2008.


title: Phil Daniels

text: He appeared on "Celebrity Mastermind: 2008/2009", finishing in second place on 24 points. On 26 June 2009, he appeared on stage with Blur at the M.E.N. Arena and then again on 28 June 2009 at Glastonbury 2009 on their song "Parklife", as well as on 2/3 July 2009 in their Hyde Park Concerts. Daniels portrayed Del Boy's grandfather in a prequel to the comedy series "Only Fools and Horses" called "Rock & Chips", which was screened in January 2010 and, on 13 September 2010 on BBC Radio Five Live, James Buckley confirmed that "Rock & Chips" would be returning for two specials, one at Christmas 2010, and the other at Easter 2011. Daniels has subsequently reprised his role as Ted Trotter in both of the "Rock & Chips" specials. 2012 (2013 in the UK) saw the release of the film "Vinyl" in which Daniels not only stars but also wrote and performs most of the film's music soundtrack. Directed by Sara Sugarman, "Vinyl" is the story of an aging rock group forced to con the music industry to gain radio play of future record releases. The film is based on true events faced by The Alarm that took place in the UK in 2004.


title: Phil Daniels

text: In September 2012, Daniels appeared in a production of "This House" at the National Theatre's Cottesloe Theatre; it transferred to the Olivier in February 2013. In 2015, it was announced that he would play the role of Thenardier in "Les Misérables". Daniels revisited his role in a revival of "This House" at Chichester's Minerva Theatre in September 2016 and appeared in the same play (November 2016 – Feb 2017) at the Garrick Theatre in London's West End. In 2017, he recorded two songs for the album "Wit & Whimsy – Songs by Alexander S. Bermange" (one solo and one featuring all of the album's 23 artists), which reached No. 1 in the iTunes comedy album chart.


title: Phil Daniels

text: In 2021, it was announced that Daniels will star alongside Jonathan Bailey, Taron Egerton and Jade Anouka in a production of Mike Bartlett’s "Cock" at the Ambassadors Theatre, London, in 2022.


title: Phil Daniels

text: Daniels had a 30-year relationship with Jan Stevens, a record industry associate whom he met in the eighties, until her death from pancreatic cancer in 2012. They had one daughter, Ella born in 1990.


title: Life Goes On (TV series)

text: Life Goes On is an American drama television series that aired on ABC from September 12, 1989, to May 23, 1993. Reruns aired on The Family Channel from 1992 until about 1995, FX from about 1995 until about 1998, and PAX (now Ion Television) from 1998 until about 1999. The show centers on the Thatcher family living in suburban Chicago: Drew, his wife Libby, and their children Paige, Rebecca and Charles, who is known as Corky. "Life Goes On" was the first television series to have a major character with Down syndrome.


title: Life Goes On (TV series)

text: Drew is the husband of Libby Thatcher and the father of Paige, Corky, and Becca Thatcher. He is a Special Olympics coach who formerly worked for a construction company before going into the restaurant business.


title: Life Goes On (TV series)

text: Drew's wife, Paige's stepmother, and Corky and Becca's mother, who has been a singer and actress. She is very supportive of Corky and proud that Corky and Becca take part in their church's drama group and that Becca is in her school's drama club. At the end of Season 2, she gives birth to her and Drew's third child, a son named Nicholas.


title: Life Goes On (TV series)

text: Drew's daughter, Libby's stepdaughter, and Corky and Becca's older half-sister. Paige frequently dates men of whom her father does not approve. She is very caring of Corky but has a love-hate relationship with Becca.


title: Life Goes On (TV series)

text: Corky is the middle child: younger brother of Paige and older brother of Becca. Despite having Down Syndrome, he takes mostly regular classes in high school. He occasionally struggles, and indicated that mathematics was his hardest subject, but he improves through tutoring sessions.


title: Life Goes On (TV series)

text: Becca is the younger sister of Corky and Paige. She is nerdy but attractive; at school she is socially awkward, especially around her crushes, such as Tyler and Jesse.


title: Life Goes On (TV series)

text: The drama featured the Thatcher family, whose son, Charles "Corky" Thatcher (played by Chris Burke), has Down syndrome, while their daughter Becca (played by Kellie Martin) did well at school but was socially awkward. Tony Award-winning stage actress Patti LuPone played the mother Elizabeth ("Libby") and Bill Smitrovich played the father Drew. Eldest sister Paige Thatcher was played by Monique Lanier during the 1989–1990 seasons and by Tracey Needham during the 1990–1993 seasons as Lanier left the series to have a child. Becca's boyfriend and Corky's buddy, Tyler Benchfield, was played by Tommy Puett. Jerry Berkson (Ray Buktenica) was Libby's quirky boss. In the last two seasons, Becca's boyfriend Jesse McKenna was played by Chad Lowe.


title: Life Goes On (TV series)

text: The show is set in the Chicago suburb Glenbrook, Illinois, which is named after the high school which one of Braverman's children attended at the time. The name itself is a blend of the real suburbs served by the school, Glenview and Northbrook.


title: Life Goes On (TV series)

text: Each episode's opening credits end with a shot of Arnold, the family dog (billed as "Arnold the Semi-Wonder Dog"). Apparently forgotten by the family in their rush to get ready for the day, he sits in the kitchen with his empty food bowl in his mouth and lets it drop to the floor. The show's producers received a constant trickle of letters each week from viewers who thought this was cruel, so in the final episode's opening credits, a bag of dog food spills out of a nearby cabinet.


title: Life Goes On (TV series)

text: During the show's first year, the main focus was on Corky. Much of the show examined the challenges of a family whose son had Down Syndrome. The Thatchers sought to have Corky interact with regular society after spending years socializing him amongst other kids with Down syndrome in "special" classes. The need to integrate Corky into normal society was Season 1's main storyline, as the Thatchers opted to enroll Corky in a regular high school despite the principal's demand that he be placed in an alternative program for those with Down syndrome.


title: Life Goes On (TV series)

text: In addition, during the first three seasons, episodes included Tyler Benchfield (Tommy Puett), Becca's high school crush, who also had a brother with Down syndrome.


title: Life Goes On (TV series)

text: Corky eventually got a job as an usher at a local movie theater. He later found a girlfriend, Amanda Swanson (Andrea Friedman), who also had Down Syndrome. They married by the series' end.


title: Life Goes On (TV series)

text: By the second season, the writers began to expand the show's scope beyond Corky, and the third and fourth seasons centered on Becca and a new character, Jesse (Chad Lowe), a junior who met Becca through the school's theatre department. As they become friends, Jesse told Becca he was HIV positive. Tyler became less prominent in Becca's life and was jealous of Becca's closeness with Jesse. His character was written out and he was given the memorable sendoff of dying in a car accident with Corky as passenger.


title: Life Goes On (TV series)

text: Much to the surprise of those around them, Becca and Jesse began a relationship despite his HIV. The writers explored life with HIV through Jesse's character, and the difficulties the disease causes with romantic relationships. The relationship between Corky and Becca, previously portrayed as close, was also explored, as Corky briefly turned his back on his sister for dumping a mutual friend to date Jesse.


title: Life Goes On (TV series)

text: The fourth season's first episode, in which a 40-something Becca (Pamela Bellwood) tours the house she grew up in while remembering the events of 25 years earlier, establishes that Jesse would ultimately die from AIDS and that Becca would move on and marry a man named David. The series itself ended ambiguously but on an upbeat note, showing Becca five years later, married with a son named Jesse. In the final episode Corky was set to graduate from high school, but he did not because the school board did not waive the math requirement.


title: Life Goes On (TV series)

text: In Canada, the show aired on Crossroads Television System. In New Zealand, the show aired Saturday afternoons on TVNZ's Channel 2.


title: Life Goes On (TV series)

text: The Family Channel reran the series on weekdays from 1992 until 1993, at which point the show was relegated to weekends. In October 1993, the weekday telecasts were replaced with "Punky Brewster".


title: Life Goes On (TV series)

text: On May 9, 2006, Warner Home Video released Season 1 of "Life Goes On" on DVD in Region 1. It is unknown if the remaining three seasons will be released. The DVD release has a replacement theme song at the beginning of each episode, with the exception of the show's pilot. The replacement was due to high licensing costs for the Beatles' song "Ob-La-Di, Ob-La-Da." The new song aptly titled "Life Goes On" was written by composer Marc Jackson of MoonLab Music and sung by singer/songwriter Tara Johnston. The song was written specifically for the DVD release.


title: Life Goes On (TV series)

text: In September 2021, it was reported that a possible sequel series with original cast member Kellie Martin, Chad Lowe and Nkechi Okoro Carroll is in the works. In January 2022, it was announced that NBC had given a pilot commitment for a sequel series with Martin set to return as star. Carroll will write and executive produce under her production company Rocky My Soul Productions banner, Lindsay Dunn will also executive produce, while Martin and Lowe will produce.


title: A Vindication of the Rights of Woman

text: A Vindication of the Rights of Woman: with Strictures on Political and Moral Subjects (1792), written by British philosopher and women's rights advocate Mary Wollstonecraft (1759–1797), is one of the earliest works of feminist philosophy. In it, Wollstonecraft responds to those educational and political theorists of the eighteenth century who did not believe women should receive a rational education. She argues that women ought to have an education commensurate with their position in society, claiming that women are essential to the nation because they educate its children and because they could be "companions" to their husbands, rather than mere wives. Instead of viewing women as ornaments to society or property to be traded in marriage, Wollstonecraft maintains that they are human beings deserving of the same fundamental rights as men.


title: A Vindication of the Rights of Woman

text: Wollstonecraft was prompted to write the "Rights of Woman" after reading Charles Maurice de Talleyrand-Périgord's 1791 report to the French National Assembly, which stated that women should only receive domestic education. From her reaction to this specific event, she launched a broad attack against double standards, indicting men for encouraging women to indulge in excessive emotion. Wollstonecraft hurried to complete the work in direct response to ongoing events; she intended to write a more thoughtful second volume but died before completing it.


title: A Vindication of the Rights of Woman

text: While Wollstonecraft does call for equality between the sexes in particular areas of life, especially morality, she does not explicitly state that men and women are equal. Her ambiguous statements regarding the equality of the sexes have made it difficult to classify Wollstonecraft as a modern feminist; the word itself did not emerge until decades after her death.


title: A Vindication of the Rights of Woman

text: Although it is commonly assumed that the "Rights of Woman" was unfavourably received, this is a modern misconception based on the belief that Wollstonecraft was as reviled during her lifetime as she became after the publication of William Godwin's "Memoirs of the Author of A Vindication of the Rights of Woman" (1798). The "Rights of Woman" was generally received well when it was first published in 1792. Biographer Emily W. Sunstein called it "perhaps the most original book of [Wollstonecraft's] century". Wollstonecraft's work had significant impact on advocates for women's rights in the nineteenth century, particularly the 1848 Seneca Falls Convention which produced the Declaration of Sentiments laying out the aims of the suffragette movement in the United States.


title: A Vindication of the Rights of Woman

text: "A Vindication of the Rights of Woman" was written against the tumultuous background of the French Revolution and the debates that it spawned in Britain. In a lively and sometimes vicious pamphlet war, now referred to as the Revolution controversy, British political commentators addressed topics ranging from representative government to human rights to the separation of church and state, many of these issues having been raised in France first. Wollstonecraft first entered this fray in 1790 with "A Vindication of the Rights of Men", a response to Edmund Burke's "Reflections on the Revolution in France" (1790). In his "Reflections", Burke criticized the view of many British thinkers and writers who had welcomed the early stages of the French revolution. While they saw the revolution as analogous to Britain's own Glorious Revolution in 1688, which had restricted the powers of the monarchy, Burke argued that the appropriate historical analogy was the English Civil War (1642–1651) in which CharlesI had been executed in 1649. He viewed the French revolution as the violent overthrow of a legitimate government. In "Reflections" he argues that citizens do not have the right to revolt against their government because civilization is the result of social and political consensus; its traditions cannot be continually challengedthe result would be anarchy. One of the key arguments of Wollstonecraft's "Rights of Men", published just six weeks after Burke's "Reflections", is that rights cannot be based on tradition; rights, she argues, should be conferred because they are reasonable and just, regardless of their basis in tradition.


title: A Vindication of the Rights of Woman

text: When Charles Maurice de Talleyrand-Périgord presented his "Rapport sur l'instruction publique" (1791) to the National Assembly in France, Wollstonecraft was galvanized to respond. In his recommendations for a national system of education, Talleyrand had written:


title: A Vindication of the Rights of Woman

text: Let us bring up women, not to aspire to advantages which the Constitution denies them, but to know and appreciate those which it guarantees them... Men are destined to live on the stage of the world. A public education suits them: it early places before their eyes all the scenes of life: only the proportions are different. The paternal home is better for the education of women; they have less need to learn to deal with the interests of others, than to accustom themselves to a calm and secluded life.


title: A Vindication of the Rights of Woman

text: Wollstonecraft dedicated the "Rights of Woman" to Talleyrand: "Having read with great pleasure a pamphlet which you have lately published, I dedicate this volume to you; to induce you to reconsider the subject, and maturely weigh what I have advanced respecting the rights of woman and national education." At the end of 1791, French feminist Olympe de Gouges had published her Declaration of the Rights of Woman and of the Female Citizen, and the question of women's rights became central to political debates in both France and Britain.


title: A Vindication of the Rights of Woman

text: The "Rights of Woman" is an extension of Wollstonecraft's arguments in the "Rights of Men". In the "Rights of Men", as the title suggests, she is concerned with the rights of particular men (eighteenth-century British men) while in the "Rights of Woman", she is concerned with the rights afforded to "woman", an abstract category. She does not isolate her argument to eighteenth-century women or British women. The first chapter of the "Rights of Woman" addresses the issue of natural rights and asks who has those inalienable rights and on what grounds. She answers that since natural rights are given by God, for one segment of society to deny them to another segment is a sin. "The Rights of Woman" thus engages not only specific events in France and in Britain but also larger questions being raised by political philosophers such as John Locke and Jean-Jacques Rousseau.


title: A Vindication of the Rights of Woman

text: The "Rights of Woman" is a long (almost 87,000 words) essay that introduces all of its major topics in the opening chapters and then repeatedly returns to them, each time from a different point of view. It also adopts a hybrid tone that combines rational argument with the fervent rhetoric of sensibility. Wollstonecraft did not employ the formal argumentation or logical prose style common to eighteenth-century philosophical writing.


title: A Vindication of the Rights of Woman

text: Hysteria was once seen as a physical phenomenonphysicians and anatomists believed that the more "sensitive" people's "nerves", the more emotionally affected they would be by their surroundings. Since women were thought to have keener nerves than men, it was believed that women were more emotional than men. The emotional excess associated with sensibility also theoretically produced an ethic of compassion: those with sensibility could easily sympathise with people in pain. Thus historians have credited the discourse of sensibility and those who promoted it with the increased humanitarian efforts, such as the movement to abolish the slave trade. But sensibility also paralysed those who had too much of it; as scholar G. J. Barker-Benfield explains, "an innate refinement of nerves was also identifiable with greater suffering, with weakness, and a susceptibility to disorder".


title: A Vindication of the Rights of Woman

text: By the time Wollstonecraft was writing the "Rights of Woman", sensibility had already been under sustained attack for a number of years. Sensibility, which had initially promised to draw individuals together through sympathy, was now viewed as "profoundly separatist"; novels, plays, and poems that employed the language of sensibility asserted individual rights, sexual freedom, and unconventional familial relationships based only upon feeling. Furthermore, as Janet Todd, another scholar of sensibility, argues, "to many in Britain the cult of sensibility seemed to have feminized the nation, given women undue prominence, and emasculated men".


title: A Vindication of the Rights of Woman

text: One of Wollstonecraft's central arguments in the "Rights of Woman" is that women should be educated in a rational manner to give them the opportunity to contribute to society. In the eighteenth century, it was often assumed by educational philosophers and conduct book writers, who wrote what one might think of as early self-help books, that women were incapable of rational or abstract thought. Women, it was believed, were too susceptible to sensibility and too fragile to be able to think clearly. Wollstonecraft, along with other female reformers such as Catharine Macaulay and Hester Chapone, maintained that women were indeed capable of rational thought and deserved to be educated. She argued this point in her own conduct book, "Thoughts on the Education of Daughters" (1787), in her children's book, "Original Stories from Real Life" (1788), as well as in the "Rights of Woman".


title: A Vindication of the Rights of Woman

text: Stating in her preface that "my main argument is built on this simple principle, that if [woman] be not prepared by education to become the companion of man, she will stop the progress of knowledge and virtue; for truth must be common to all", Wollstonecraft contends that society will degenerate without educated women, particularly because mothers are the primary educators of young children. She attributes the problem of uneducated women to men and "a false system of education, gathered from the books written on this subject by men who [consider] females rather as women than human creatures". Women are capable of rationality; it only appears that they are not, because men have refused to educate them and encouraged them to be frivolous (Wollstonecraft describes silly women as "spaniels" and "toys").


title: A Vindication of the Rights of Woman

text: Wollstonecraft attacks conduct book writers such as James Fordyce and John Gregory as well as educational philosophers such as Jean-Jacques Rousseau who argue that a woman does not need a rational education. (Rousseau argues in "" [1762] that women should be educated for the pleasure of men; Wollstonecraft, infuriated by this argument, attacks not only it but also Rousseau himself.) Intent on illustrating the limitations that contemporary educational theory placed upon women, Wollstonecraft writes, "taught from their infancy that beauty is woman's sceptre, the mind shapes itself to the body, and, roaming round its gilt cage, only seeks to adorn its prison", implying that without this damaging ideology, which encourages young women to focus their attention on beauty and outward accomplishments, they could achieve much more. Wives could be the rational "companions" of their husbands and even pursue careers should they so choose: "women might certainly study the art of healing, and be physicians as well as nurses. And midwifery, decency seems to allot to them... they might, also, study politics... Business of various kinds, they might likewise pursue."


title: A Vindication of the Rights of Woman

text: For Wollstonecraft, "the most perfect education" is "an exercise of the understanding as is best calculated to strengthen the body and form the heart. Or, in other words, to enable the individual to attach such habits of virtue as will render it independent." In addition to her broad philosophical arguments, Wollstonecraft lays out a specific plan for national education to counter Talleyrand's. In Chapter 12, "On National Education", she proposes that children be sent to free day schools as well as given some education at home "to inspire a love of home and domestic pleasures". She also maintains that schooling should be co-educational, contending that men and women, whose marriages are "the cement of society", should be "educated after the same model".


title: A Vindication of the Rights of Woman

text: It is debatable to what extent the "Rights of Woman" is a feminist text; because the definitions of "feminist" vary, different scholars have come to different conclusions. The words "feminist" and "feminism" were not coined until the 1890s, and there was no feminist movement to speak of during Wollstonecraft's lifetime. "Rights of Woman" is often considered the source or original, "the ur-document of modern liberal feminism". In the introduction to her work on Wollstonecraft's thought, Barbara Taylor writes:


title: A Vindication of the Rights of Woman

text: Describing [Wollstonecraft's philosophy] as feminist is problematic, and I do it only after much consideration. The label is of course anachronistic... Treating Wollstonecraft's thought as an anticipation of nineteenth and twentieth-century feminist argument has meant sacrificing or distorting some of its key elements. Leading examples of this... have been the widespread neglect of her religious beliefs, and the misrepresentation of her as a bourgeois liberal, which together have resulted in the displacement of a religiously inspired utopian radicalism by a secular, class-partisan reformism as alien to Wollstonecraft's political project as her dream of a divinely promised age of universal happiness is to our own. Even more important however has been the imposition on Wollstonecraft of a heroic-individualist brand of politics utterly at odds with her own ethically driven case for women's emancipation. Wollstonecraft's leading ambition for women was that they should attain virtue, and it was to this end that she sought their liberation.


title: A Vindication of the Rights of Woman

text: In the "Rights of Woman", Wollstonecraft does not make the claim for gender equality using the same arguments or the same language that late nineteenth- and twentieth-century feminists later would. For instance, rather than unequivocally stating that men and women are equal, Wollstonecraft contends that men and women are equal in the eyes of God, which means that they are both subject to the same moral law. For Wollstonecraft, men and women are equal in the most important areas of life. While such an idea may not seem revolutionary to twenty-first-century readers, its implications were revolutionary during the eighteenth century. For example, it implied that both men and womennot just womenshould be modest and respect the sanctity of marriage. Wollstonecraft's argument exposed the sexual double standard of the late eighteenth century and demanded that men adhere to the same virtues demanded of women.


title: A Vindication of the Rights of Woman

text: However, Wollstonecraft's arguments for equality stand in contrast to her statements respecting the superiority of masculine strength and valour. Wollstonecraft states:


title: A Vindication of the Rights of Woman

text: Let it not be concluded, that I wish to invert the order of things; I have already granted, that, from the constitution of their bodies, men seem to be designed by Providence to attain a greater degree of virtue. I speak collectively of the whole sex; but I see not the shadow of a reason to conclude that their virtues should differ in respect to their nature. In fact, how can they, if virtue has only one eternal standard? I must therefore, if I reason consequentially, as strenuously maintain that they have the same simple direction, as that there is a God.


title: A Vindication of the Rights of Woman

text: Wollstonecraft calls on men, rather than women, to initiate the social and political changes she outlines in the "Rights of Woman". Because women are uneducated, they cannot alter their own situationmen must come to their aid. Wollstonecraft writes at the end of her chapter "Of the Pernicious Effects Which Arise from the Unnatural Distinctions Established in Society":


title: A Vindication of the Rights of Woman

text: I then would fain convince reasonable men of the importance of some of my remarks; and prevail on them to weigh dispassionately the whole tenor of my observations... I appeal to their understandings; and, as a fellow-creature, claim, in the name of my sex, some interest in their hearts. I entreat them to assist to emancipate their companion, to make her a help meet for them! Would men but generously snap our chains, and be content with rational fellowship instead of slavish obedience, they would find us more observant daughters, more affectionate sisters, more faithful wives, more reasonable mothersin a word, better citizens.


title: A Vindication of the Rights of Woman

text: Wollstonecraft's last novel, "" (1798), the fictionalized sequel to the "Rights of Woman", is usually considered her most radical feminist work.


title: A Vindication of the Rights of Woman

text: One of Wollstonecraft's most scathing criticisms in the "Rights of Woman" is against false and excessive sensibility, particularly in women. She argues that women who succumb to sensibility are "blown about by every momentary gust of feeling"; because these women are "the prey of their senses", they cannot think rationally. Not only do they do harm to themselves but they also do harm to all of civilization: these are not women who can refine civilizationthese are women who will destroy it. But reason and feeling are not independent for Wollstonecraft; rather, she believes that they should inform each other. For Wollstonecraft the passions underpin all reason. This was a theme that she would return to throughout her career, but particularly in her novels "" (1788) and "". For the eighteenth-century Scottish philosopher David Hume, reason is dominated by the passions. He held that passions rather than reason govern human behaviour, famously proclaiming in "A Treatise of Human Nature" that "Reason is, and ought only to be the slave of the passions".


title: A Vindication of the Rights of Woman

text: As part of her argument that women should not be overly influenced by their feelings and emotions, Wollstonecraft emphasises that they should not be constrained by or made slaves to their bodies or their sexual feelings. This particular argument has led many modern feminists to suggest that Wollstonecraft intentionally avoids granting women any sexual desire. Cora Kaplan argues that the "negative and prescriptive assault on female sexuality" is a leitmotif of the "Rights of Woman". For example, Wollstonecraft advises her readers to "calmly let passion subside into friendship" in the ideal companionate marriage (that is, in the ideal of a love-based marriage that was developing at the time). It would be better, she writes, when "two virtuous young people marry . . . if some circumstances checked their passion". According to Wollstonecraft, "love and friendship cannot subsist in the same bosom". As Mary Poovey explains, "Wollstonecraft betrays her fear that female desire might in fact court man's lascivious and degrading attentions, that the subordinate position women have been given might even be deserved. Until women can transcend their fleshly desires and fleshly forms, they will be hostage to the body." If women are not interested in sexuality, they cannot be dominated by men. Wollstonecraft worries that women are consumed with "romantic wavering", that is, they are interested only in satisfying their lusts. Because the "Rights of Woman" eliminates sexuality from a woman's life, Kaplan contends, it "expresses a violent antagonism to the sexual" while at the same time "exaggerat[ing] the importance of the sensual in the everyday life of women". Wollstonecraft was so determined to wipe sexuality from her picture of the ideal woman that she ended up foregrounding it by insisting upon its absence. But as Kaplan and others have remarked, Wollstonecraft may have been forced to make this sacrifice: "it is important to remember that the notion of woman as politically enabled and independent [was] fatally linked [during the eighteenth century] to the unrestrained and vicious exercise of her sexuality."


title: A Vindication of the Rights of Woman

text: Claudia Johnson, a prominent Wollstonecraft scholar, has called the "Rights of Woman" "a republican manifesto". Johnson contends that Wollstonecraft is hearkening back to the Commonwealth tradition of the seventeenth century and attempting to reestablish a republican ethos. In Wollstonecraft's version, there would be strong, but separate, masculine and feminine roles for citizens. According to Johnson, Wollstonecraft "denounces the collapse of proper sexual distinction as the leading feature of her age, and as the grievous consequence of sentimentality itself. The problem undermining society in her view is feminized men". If men feel free to adopt both the masculine position and the sentimental feminine position, she argues, women have no position open to them in society. Johnson therefore sees Wollstonecraft as a critic, in both the "Rights of Men" and the "Rights of Woman", of the "masculinization of sensitivity" in such works as Edmund Burke's "Reflections on the Revolution in France".


title: A Vindication of the Rights of Woman

text: In the "Rights of Woman" Wollstonecraft adheres to a version of republicanism that includes a belief in the eventual overthrow of all titles, including the monarchy. She also suggests that all men and women should be represented in government. But the bulk of her "political criticism", as Chris Jones, a Wollstonecraft scholar, explains, "is couched predominantly in terms of morality". Her definition of virtue focuses on the individual's happiness rather than, for example, the good of society. This is reflected in her explanation of natural rights. Because rights ultimately proceed from God, Wollstonecraft maintains that there are duties, tied to those rights, incumbent upon each and every person. For Wollstonecraft, the individual is taught republicanism and benevolence within the family; domestic relations and familial ties are crucial to her understanding of social cohesion and patriotism.


title: A Vindication of the Rights of Woman

text: In many ways the "Rights of Woman" is inflected by a bourgeois view of the world, as is its direct predecessor the "Rights of Men". Wollstonecraft addresses her text to the middle class, which she calls the "most natural state". She also frequently praises modesty and industry, virtues which, at the time, were associated with the middle class. From her position as a middle-class writer arguing for a middle-class ethos, Wollstonecraft also attacks the wealthy, criticizing them using the same arguments she employs against women. She points out the "false-refinement, immorality, and vanity" of the rich, calling them "weak, artificial beings, raised above the common wants and affections of their race, in a premature unnatural manner [who] undermine the very foundation of virtue, and spread corruption through the whole mass of society".


title: A Vindication of the Rights of Woman

text: But Wollstonecraft's criticisms of the wealthy do not necessarily reflect a concomitant sympathy for the poor. For her, the poor are fortunate because they will never be trapped by the snares of wealth: "Happy is it when people have the cares of life to struggle with; for these struggles prevent their becoming a prey to enervating vices, merely from idleness!" She contends that charity has only negative consequences because, as Jones puts it, she "sees it as sustaining an unequal society while giving the appearance of virtue to the rich".


title: A Vindication of the Rights of Woman

text: In her national plan for education, she retains class distinctions (with an exception for the intelligent), suggesting that: "After the age of nine, girls and boys, intended for domestic employments, or mechanical trades, ought to be removed to other schools, and receive instruction, in some measure appropriated to the destination of each individual... The young people of superior abilities, or fortune, might now be taught, in another school, the dead and living languages, the elements of science, and continue the study of history and politics, on a more extensive scale, which would not exclude polite literature."


title: A Vindication of the Rights of Woman

text: In attempting to navigate the cultural expectations of female writers and the generic conventions of political and philosophical discourse, Wollstonecraft, as she does throughout her "oeuvre", constructs a unique blend of masculine and feminine styles in the "Rights of Woman". She uses the language of philosophy, referring to her work as a "treatise" with "arguments" and "principles". However, Wollstonecraft also uses a personal tone, employing "I" and "you", dashes and exclamation marks, and autobiographical references to create a distinctly feminine voice in the text. The "Rights of Woman" further hybridizes its genre by weaving together elements of the conduct book, the short essay, and the novel, genres often associated with women, while at the same time claiming that these genres could be used to discuss philosophical topics such as rights.


title: A Vindication of the Rights of Woman

text: Although Wollstonecraft argues against excessive sensibility, the rhetoric of the "Rights of Woman" is at times heated and attempts to provoke the reader. Many of the most emotional comments in the book are directed at Rousseau. For example, after excerpting a long passage from "" (1762), Wollstonecraft pithily states, "I shall make no other comments on this ingenious passage, than just to observe, that it is the philosophy of lasciviousness." A mere page later, after indicting Rousseau's plan for female education, she writes "I must relieve myself by drawing another picture." These terse exclamations are meant to draw the reader to her side of the argument (it is assumed that the reader will agree with them). While she claims to write in a plain style so that her ideas will reach the broadest possible audience, she actually combines the plain, rational language of the political treatise with the poetic, passionate language of sensibility to demonstrate that one can combine rationality and sensibility in the same self.


title: A Vindication of the Rights of Woman

text: In her efforts to vividly describe the condition of women within society, Wollstonecraft employs several different analogies. She often compares women to slaves, arguing that their ignorance and powerlessness places them in that position. But at the same time, she also compares them to "capricious tyrants" who use cunning and deceit to manipulate the men around them. At one point, she reasons that a woman can become either a slave or tyrant, which she describes as two sides of the same coin. Wollstonecraft also compares women to soldiers; like military men, they are valued only for their appearance and obedience. And like the rich, women's "softness" has "debased mankind".


title: A Vindication of the Rights of Woman

text: Wollstonecraft was forced to write the "Rights of Woman" hurriedly to respond to Talleyrand and ongoing events. Upon completing the work, she wrote to her friend William Roscoe: "I am dissatisfied with myself for not having done justice to the subject... Do not suspect me of false modestyI mean to say that had I allowed myself more time I could have written a better book, in every sense of the word... I intend to finish the next volume before I begin to print, for it is not pleasant to have the Devil coming for the conclusion of a sheet fore it is written." When Wollstonecraft revised the "Rights of Woman" for the second edition, she took the opportunity not only to fix small spelling and grammar mistakes but also to bolster the feminist claims of her argument. She changed some of her statements regarding female and male difference to reflect a greater equality between the sexes.


title: A Vindication of the Rights of Woman

text: Wollstonecraft never wrote the second part to the "Rights of Woman," although William Godwin published her "Hints", which were "chiefly designed to have been incorporated in the second part of the "Vindication of the Rights of Woman"", in the posthumous collection of her works. However, she did begin writing the novel "", which most scholars consider a fictionalized sequel to the "Rights of Woman". It was unfinished at her death and also included in the "Posthumous Works" published by Godwin.


title: A Vindication of the Rights of Woman

text: When it was first published in 1792, the "Rights of Woman" was reviewed favourably by the "Analytical Review", the "General Magazine", the "Literary Magazine", "New York Magazine", and the "Monthly Review", although the assumption persists that "Rights of Woman" received hostile reviews. It was almost immediately released in a second edition in 1792, several American editions appeared, and it was translated into French. Taylor writes that "it was an immediate success". Moreover, other writers such as Mary Hays and Mary Robinson specifically alluded to Wollstonecraft's text in their own works. Hays cited the "Rights of Woman" in her novel "Memoirs of Emma Courtney" (1796) and modelled her female characters after Wollstonecraft's ideal woman.


title: A Vindication of the Rights of Woman

text: Although female conservatives such as Hannah More excoriated Wollstonecraft personally, they actually shared many of the same values. As the scholar Anne Mellor has shown, both More and Wollstonecraft wanted a society founded on "Christian virtues of rational benevolence, honesty, personal virtue, the fulfillment of social duty, thrift, sobriety, and hard work". During the early 1790s, many writers within British society were engaged in an intense debate regarding the position of women in society. For example, the respected poet and essayist Anna Laetitia Barbauld and Wollstonecraft sparred back and forth; Barbauld published several poems responding to Wollstonecraft's work and Wollstonecraft commented on them in footnotes to the "Rights of Woman". The work also provoked outright hostility. The bluestocking Elizabeth Carter was unimpressed with the work. Thomas Taylor, the Neoplatonist translator who had been a landlord to the Wollstonecraft family in the late 1770s, swiftly wrote a satire called "A Vindication of the Rights of Brutes": if women have rights, why not animals too?


title: A Vindication of the Rights of Woman

text: After Wollstonecraft died in 1797, her husband William Godwin published his "Memoirs of the Author of A Vindication of the Rights of Woman" (1798). He revealed much about her private life that had previously not been known to the public: her illegitimate child, her love affairs, and her attempts at suicide. While Godwin believed he was portraying his wife with love, sincerity, and compassion, contemporary readers were shocked by Wollstonecraft's unorthodox lifestyle and she became a reviled figure. Richard Polwhele targeted her in particular in his anonymous long poem "The Unsex'd Females" (1798), a defensive reaction to women's literary self-assertion: Hannah More is Christ to Wollstonecraft's Satan. His poem was "well known" among the responses to "A Vindication".


title: A Vindication of the Rights of Woman

text: Wollstonecraft's ideas became associated with her life story and women writers felt that it was dangerous to mention her in their texts. Hays, who had previously been a close friend and an outspoken advocate for Wollstonecraft and her "Rights of Woman", for example, did not include her in the collection of "Illustrious and Celebrated Women" she published in 1803. Maria Edgeworth specifically distances herself from Wollstonecraft in her novel "Belinda" (1802); she caricatures Wollstonecraft as a radical feminist in the character of Harriet Freke. But, like Jane Austen, she does not reject Wollstonecraft's ideas. Both Edgeworth and Austen argue that women are crucial to the development of the nation; moreover, they portray women as rational beings who should choose companionate marriage.


title: A Vindication of the Rights of Woman

text: The negative views towards Wollstonecraft persisted for over a century. The "Rights of Woman" was not reprinted until the middle of the nineteenth century and it still retained an aura of ill-repute. George Eliot wrote "there is in some quarters a vague prejudice against the "Rights of Woman" as in some way or other a reprehensible book, but readers who go to it with this impression will be surprised to find it eminently serious, severely moral, and withal rather heavy". The suffragist (i.e. moderate reformer, as opposed to suffragette) Millicent Garrett Fawcett wrote the introduction to the centenary edition of the "Rights of Woman", cleansing the memory of Wollstonecraft and claiming her as the foremother of the struggle for the vote. While the "Rights of Woman" may have paved the way for feminist arguments, twentieth-century feminists have tended to use Wollstonecraft's life story, rather than her texts, for inspiration; her unorthodox lifestyle convinced them to try new "experiments in living", as Virginia Woolf termed it in her famous essay on Wollstonecraft. However, there is some evidence that the "Rights of Woman" may be influencing current feminists. Ayaan Hirsi Ali, a feminist who is critical of Islam's dictates regarding women, cites the "Rights of Woman" in her autobiography "Infidel", writing that she was "inspired by Mary Wollstonecraft, the pioneering feminist thinker who told women they had the same ability to reason as men did and deserved the same rights". Miriam Schneir also includes this text in her anthology "", labelling it as one of the essential feminist works. Further evidence of the enduring legacy of Wollstonecraft's "A Vindication" may be seen by direct references in recent historical fiction set: for example, in "The Silk Weaver" (1998) set in the late eighteenth century among Dublin silk weavers, author Gabrielle Warnock (1998) intervenes as narrator to hold up ‘Rights of Woman’ for the reader to reflect upon the politics, morals, and feelings of her female characters. In "Death Comes to Pemberley" (2011), set in 1803, P. D. James has one male character reference "Rights of Woman" in reproving another (Darcy) for denying voice to the woman in matters that concern her.


title: Monster-in-Law

text: Monster-in-Law is a 2005 romantic comedy film directed by Robert Luketic, written by Anya Kochoff and starring Jennifer Lopez, Jane Fonda, Michael Vartan and Wanda Sykes. It marked a return to cinema for Fonda, being her first film in 15 years since "Stanley & Iris" in 1990. The film was negatively received by critics who praised Fonda's performance but panned the screenplay, and Lopez's performance. "Monster-in-Law" was a box office success, grossing $154 million on a $43 million budget.


title: Monster-in-Law

text: Charlie Cantilini is a temp/dog walker/yoga instructor and aspiring fashion designer from Venice Beach, California, who meets doctor Kevin Fields. At first, she believes he is gay because of a lie his vindictive ex-girlfriend Fiona told her, but Kevin later asks her out and she feels she has finally found the right man.


title: Monster-in-Law

text: Things start to sour when Kevin introduces Charlie to his mother Viola, a former newscaster-turned-talk show host who was recently replaced by someone younger, leading to her having a meltdown and attacking a guest on-air. Loathing Charlie immediately, Viola becomes more distraught when Kevin proposes to her, fearing she will lose her son just as she lost her career. Determined to ruin Kevin and Charlie's relationship, she enlists the help of her loyal assistant Ruby as well as Fiona. At the engagement party, Fiona kisses Kevin as he’s dressing in his room, deeply hurting Charlie who feels out of place in Kevin’s world, exactly as Viola and Fiona planned. Viola feigns an anxiety attack and moves in with Charlie while Kevin is away for a medical conference, hoping to drive her crazy with her antics.


title: Monster-in-Law

text: Charlie soon catches onto Viola's plan and retaliates by destroying her bedroom and tampering with her anti-psychotic medication (which Viola had replaced with vitamin C tablets). Charlie eventually confronts her, forcing her to move out. Finding no way to stop the wedding, Viola tricks Charlie into eating nuts during the rehearsal dinner, causing an extreme allergic reaction, resulting in Charlie's face swelling up. Luckily, it subsides by morning.


title: Monster-in-Law

text: On the day of the wedding, Viola turns up wearing an extravagant white dress instead of the peach-colored one Charlie had specially made for her. This leads to a violent standoff between them, with Viola refusing to accept Charlie and declaring she will never be good enough for Kevin.


title: Monster-in-Law

text: Suddenly, Viola's own dreadful mother-in-law, Kevin's grandmother Gertrude, appears and they have an indignant argument, with Gertrude holding her responsible for the "terminal disappointment", from which Gertrude claims her son, Kevin's father, died many years earlier. Gertrude's resentment of Viola bears a strong resemblance to Viola's animosity towards Charlie, who decides to back down as she feels the same thing will happen to them in 30 years.


title: Monster-in-Law

text: Charlie leaves to tell Kevin the wedding is off, but before she can, Ruby finally gets through to Viola. Viola resentfully expresses disbelief over being compared to Gertrude, but Ruby points out that Viola is actually far worse, as Gertrude never tried to poison her (referring to the rehearsal dinner incident), as well as the fact that she wore black to Viola's wedding due to being "in mourning" for her son, a contrasting but still disrespectful mirror of Viola's own behavior. When Viola claims that she just wants her son to be happy, Ruby asks her what made her think he wasn’t happy with Charlie.


title: Monster-in-Law

text: Viola has an epiphany and ultimately realizes that she wants Charlie to stay and tells her that she will leave the two of them alone if that means her son is happy. Charlie, however, tells Viola that she wants her to be a part of their lives, with some boundaries and ground rules.


title: Monster-in-Law

text: Charlie and Kevin get married and, when she throws the bouquet, Viola (now wearing the peach-colored dress) catches it. As the newlyweds drive away to their honeymoon, Viola and Ruby leave to go out drinking.


title: Monster-in-Law

text: , the film holds an 18% approval rating on Rotten Tomatoes, based on 169 reviews with an average rating of 4.28/10. The website's critical consensus reads, "While Jane Fonda steals the movie in her return to the screen, a tired script and flimsy performances make this borderline comedy fall flat." On Metacritic the film has a weighted average score of 31 out of 100, based on reviews from 38 critics, indicating "generally unfavorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.


title: Monster-in-Law

text: Roger Ebert of the "Chicago Sun-Times" gave the film one out of possible four stars, saying: "You do not keep Jane Fonda offscreen for 15 years, only to bring her back as a specimen of rabid Momism. You write a role for her. It makes sense. It fits her. You like her in it. It gives her a relationship with Jennifer Lopez that could plausibly exist in our time and space. It gives her a son who has not wandered over after the "E.R." auditions. And it doesn't supply a supporting character who undercuts every scene she's in by being more on-topic than any of the leads." Joe Morgenstern of the "Wall Street Journal" also panned the movie, and used his review to deride the state of big-budget film-making, writing: "Films like this ... are emblematic of Hollywood's relentless dumbing-down and defining-down of big-screen attractions. There's an audience for such stuff, but little enthusiasm or loyalty. Adult moviegoers are being ignored almost completely during all but the last two or three months of each year, while even the kids who march off to the multiplexes each weekend know they're getting moldy servings of same-old, rather than entertainments that feed their appetite for surprise and delight." Mick LaSalle of the "San Francisco Chronicle" was one of the few critics who gave the film a positive review, writing: "It's a crude, obvious comedy, which occasionally clunks, but it's often very funny, as well as being a really shrewd bit of popular entertainment. Its appeal resides in a lot of things, not the least of which is a sophisticated awareness of what an audience brings to it."


title: Monster-in-Law

text: The film ran 849 sneak preview screenings on Mother's Day at 4pm, the Sunday before release. New Line's president of domestic distribution David Tuckerman publicly stated his doubts about this strategy but the film achieved 90% attendance and he stated "the marketing department hit a home run." The film became a box-office success debuting at number #1 at the box office during its first weekend and earning $24 million. By the end of its run, the movie earned $83 million at the domestic box office and a worldwide total of $154.7 million, against an estimated production budget of $43 million.


title: Monster-in-Law

text: Lopez earned a Golden Raspberry Award nomination for Worst Actress for her performance in the film, but lost to Jenny McCarthy for "Dirty Love".


title: Monster-in-Law

text: On October 13, 2014, it was reported that Fox was developing a television series based on the film with Amy B. Harris as creator. In 2021, "E! Entertainment" reported that the series "didn't ultimately happen".


title: Pillars of Hercules

text: The Pillars of Hercules (, , , ) was the phrase that was applied in Antiquity to the promontories that flank the entrance to the Strait of Gibraltar. The northern Pillar, Calpe Mons, is the Rock of Gibraltar. A corresponding North African peak not being predominant, the identity of the southern Pillar, Abila Mons, has been disputed throughout history, with the two most likely candidates being Monte Hacho in Ceuta and Jebel Musa in Morocco.


title: Pillars of Hercules

text: According to Greek mythology adopted by the Etruscans and Romans, when Hercules had to perform twelve labours, one of them (the tenth) was to fetch the Cattle of Geryon of the far West and bring them to Eurystheus; this marked the westward extent of his travels. A lost passage of Pindar quoted by Strabo was the earliest traceable reference in this context: "the pillars which Pindar calls the 'gates of Gades' when he asserts that they are the farthermost limits reached by Heracles". Since there has been a one-to-one association between Heracles and Melqart since Herodotus, the "Pillars of Melqart" in the temple near Gades/Gádeira (modern Cádiz) have sometimes been considered to be the true "Pillars of Hercules".


title: Pillars of Hercules

text: Plato placed the fictional island of Atlantis beyond the "Pillars of Hercules". Renaissance tradition says the pillars bore the warning "Ne plus ultra" (also "Non plus ultra", "nothing further beyond"), serving as a warning to sailors and navigators to go no further.


title: Pillars of Hercules

text: According to some Roman sources, while on his way to the garden of the Hesperides on the island of Erytheia, Hercules had to cross the mountain that was once Atlas. Instead of climbing the great mountain, Hercules used his superhuman strength to smash through it. By doing so, he connected the Atlantic Ocean to the Mediterranean Sea and formed the Strait of Gibraltar. One part of the split mountain is Gibraltar and the other is either Monte Hacho or Jebel Musa. These two mountains taken together have since then been known as the Pillars of Hercules, though other natural features have been associated with the name.


title: Pillars of Hercules

text: Diodorus Siculus, however, held that, instead of smashing through an isthmus to create the Straits of Gibraltar, Hercules "narrowed" an already existing strait to prevent monsters from the Atlantic Ocean from entering the Mediterranean Sea.


title: Pillars of Hercules

text: In some versions, Heracles instead built the two to hold the sky away from the earth, liberating Atlas from his damnation.


title: Pillars of Hercules

text: Beyond Gades, several important Mauretanian colonies (in modern-day Morocco) were founded by the Phoenicians as the Phoenician merchant fleet pushed through the Pillars of Hercules and began constructing a series of bases along the Atlantic coast starting with Lixus in the north, then Chellah and finally Mogador.


title: Pillars of Hercules

text: Near the eastern shore of the island of Gades/Gadeira (modern Cádiz, just beyond the strait) Strabo describes the westernmost temple of Tyrian Heracles, the god with whom Greeks associated the Phoenician and Punic Melqart, by "interpretatio graeca". Strabo notes that the two bronze pillars within the temple, each eight cubits high, were widely proclaimed to be the true Pillars of Hercules by many who had visited the place and had sacrificed to Heracles there. But Strabo believes the account to be fraudulent, in part noting that the inscriptions on those pillars mentioned nothing about Heracles, speaking only of the expenses incurred by the Phoenicians in their making. The columns of the Melqart temple at Tyre were also of religious significance.


title: Pillars of Hercules

text: Syriac scholars were aware of the Pillars through their efforts to translate Greek scientific works into their language as well as into Arabic. The Syriac compendium of knowledge known as "Ktaba d'ellat koll 'ellan" ("The Cause of All Causes") is unusual in asserting that there were three, not two, columns.


title: Pillars of Hercules

text: In "Inferno" XXVI Dante Alighieri mentions Ulysses in the pit of the Fraudulent Counsellors and his voyage past the Pillars of Hercules. Ulysses justifies endangering his sailors by the fact that his goal is to gain knowledge of the unknown. After five months of navigation in the ocean, Ulysses sights the mountain of Purgatory but encounters a whirlwind from it that sinks his ship and all on it for their daring to approach Purgatory while alive, by their strength and wits alone.


title: Pillars of Hercules

text: The Pillars appear prominently on the engraved title page of Sir Francis Bacon's "Instauratio Magna" ("Great Renewal"), 1620, an unfinished work of which the second part was his influential "Novum Organum". The motto along the base says "Multi pertransibunt et augebitur scientia" ("Many will pass through and knowledge will be the greater"). The image was based on the use of the pillars in Spanish and Habsburg propaganda.


title: Pillars of Hercules

text: On the Spanish coast at Los Barrios are Torres de Hercules which are twin towers that were inspired by the "Pillars of Hercules". These towers were the tallest in Andalusia until Cajasol Tower was completed in Seville in 2015.


title: Pillars of Hercules

text: In the southern wall of the National Autonomous University of Mexico's Central Library, the mural "Historical Representation of Culture", created by the artist Juan O'Gorman, portrays a depiction of the Pillars of Hercules as an allusion to the colonial past of Mexico and the house of Charles V.


title: Pillars of Hercules

text: The Pillars appear as supporters of the coat of arms of Spain, originating in the impresa of Spain's sixteenth century king Charles I, who was also the Holy Roman Emperor as Charles V. It was an idea of the Italian humanist Luigi Marliano. It bears the motto "Plus Ultra", Latin for "further beyond", implying that the pillars were a gateway. This was modified from the phrase "Nec plus ultra", "Nothing more beyond" after the discovery of the Americas, which laid to rest the idea of the Pillars of Hercules as the westernmost extremity of the inhabitable world which had prevailed since Antiquity.


title: Alexander Soros

text: Alexander Soros (born October 27, 1985) is a son of George Soros. He is Deputy Chair of the Open Society Foundations and one of the World Economic Forum's Young Global Leaders of 2018.


title: Alexander Soros

text: Alexander Soros is the son of billionaire George Soros and Susan Weber Soros. He was raised in Katonah, New York and has a younger brother, Gregory. Alex attended King Low Heywood Thomas in Stamford, Connecticut. He graduated from New York University in 2009, and in 2018 graduated with a PhD in History from the University of California, Berkeley.


title: Alexander Soros

text: Soros established himself as a philanthropist with his first major contribution to the Jewish Funds for Justice.


title: Alexander Soros

text: According to a 2011 profile in "The Wall Street Journal", Soros' focus is on "progressive causes that might not have widespread support." Since then, he has joined the board of directors of organizations including Global Witness (as an advisory board member), which campaigns against environmental and human rights abuses associated with the exploitation of natural resources; the Open Society Foundations, which works to establish government accountability and democratic processes internationally; and Bend the Arc (which was formed by the merger of the Progressive Jewish Alliance and Jewish Funds for Justice in 2012).


title: Alexander Soros

text: Soros continues to donate to political causes as well. In March 2012 he donated $200,000 to the Jewish Council for Education and Research, the organization behind 2008's "Great Schlep" in support of then-candidate Barack Obama. Alex is a recipient of the 2017 Gordon Parks Foundation Award for his philanthropic support of the Arts & Humanities.


title: Alexander Soros

text: In 2012 Soros established the Alexander Soros Foundation, which is dedicated to promoting social justice and human rights. Among the foundation's initial grantees are Bend the Arc, the National Domestic Workers Alliance, which represents the rights of 2.5 million domestic workers in the U.S., and Make the Road New York, which builds the power of Latino and working class communities to achieve dignity and justice.


title: Alexander Soros

text: Alongside the Ford Foundation and the Open Society Foundations, the Alexander Soros Foundation funded the first-ever national statistical study of domestic workers ("Home Economics: The Invisible and Unregulated World of Domestic Work," released November 26, 2012).


title: Alexander Soros

text: In 2014, Soros contributed an essay to the book "God, Faith and Identity from the Ashes: Reflections of Children and Grandchildren of Holocaust Survivors".


title: Alexander Soros

text: Soros' writing has appeared in, among others, "The Guardian", Politico, "The Miami Herald", "The Sun-Sentinel", and "The Forward".


title: Ashley Scott

text: Ashley McCall Scott (born July 13, 1977) is an American actress and model, best known for providing the voice and motion capture for Maria Miller in the video games "The Last of Us" (2013) and "The Last of Us Part II" (2020). She has also appeared in films such as "A.I. Artificial Intelligence" (2001), "Walking Tall" (2004), "Into the Blue" (2005), "The Kingdom" (2007), "12 Rounds" (2009), and "Secret Obsession" (2019), as well as a number of television movies on the Lifetime network since 2010. Her television roles include "Jericho", "Birds of Prey", "Dark Angel".


title: Ashley Scott

text: Scott was born in Metairie, Louisiana, on July 13, 1977, growing up in Charleston, South Carolina. She began her modeling career as a young girl and was a 1993 Elite Model Look finalist. As a teenager, she became a model for Elite Miami. She modeled internationally in fashion shows in Miami, Paris, and London, and has modeled for photos on the cover of numerous publications.


title: Ashley Scott

text: First screen credit was as Gigolo Jane in the 2001 feature film "A.I. Artificial Intelligence". While Scott has had supporting roles and bit parts in a number of feature films – including "Walking Tall" (2004), "Into the Blue" (2005), "The Kingdom" (2007), and "12 Rounds" (2009) – she has had a number of lead and recurring roles on television.


title: Ashley Scott

text: In 2001, she was cast as series regular Asha Barlow on the Fox science fiction series "Dark Angel". In 2002, Scott was cast as Helena Kyle / Huntress on the WB television drama series "Birds of Prey".


title: Ashley Scott

text: She starred as Emily Sullivan for both seasons of the CBS series "Jericho" (2006—2009). She was also cast as series regular Mary in the first season (2015) of the Lifetime network's comedy-drama series "UnREAL".


title: Ashley Scott

text: In 2013, she voiced the character Maria in the video game "The Last of Us". She reprised her role in the 2020 sequel "The Last of Us Part II". It was revealed during her appearance in "Retro Replay" that she had originally auditioned for the role of Tess before it went to Annie Wersching.


title: Ashley Scott

text: In 2019, Scott starred in the Netflix psychological thriller "Secret Obsession", which was digitally released worldwide on July 18, 2019. In the same year, it was reported that Scott would reprise her role as Helena Kyle/Huntress in the Arrowverse crossover "Crisis on Infinite Earths".


title: Ashley Scott

text: Scott was married to producer Anthony Rhulen from 2004 to 2008. In 2010, she married Steve Hart, lead singer of the band Worlds Apart, and they have two daughters. They divorced in 2019. She currently resides in Los Angeles with her two daughters.


title: Gartner

text: Gartner, Inc is a technological research and consulting firm based in Stamford, Connecticut that conducts research on technology and shares this research both through private consulting as well as executive programs and conferences. Its clients include large corporations, government agencies, technology companies, and investment firms.


title: Gartner

text: In 2018, the company reported that its client base consisted of over 12,000 organizations in over 100 countries. As of 2022, Gartner has over 15,000 employees located in over 100 offices worldwide. It is a member of the S&P 500.


title: Gartner

text: Gideon Gartner founded Gartner, Inc in 1979. Originally private, the company launched publicly as Gartner Group in 1986 before Saatchi & Saatchi acquired it in 1988.


title: Gartner

text: In 1990, Gartner Group was acquired by some of its executives, including Gartner himself, with funding from Bain Capital and Dun & Bradstreet. The company went public again in 1993. In 2000, the name was simplified from "Gartner Group" to Gartner.


title: Gartner

text: In 2000, Gartner coined the term Supranet. Gene Hall has been the CEO of the company since August 2004.


title: Gartner

text: In the course of its growth, Gartner has acquired numerous companies providing related services, including Real Decisions—which became Gartner Measurement, now part of Gartner's consulting division—and Gartner Dataquest, a market research firm. It has also acquired a number of direct competitors, Meta Group in 2005, AMR Research and Burton Group in early 2010, and Ideas International in 2012.


title: Gartner

text: In March 2014, Gartner announced that it had acquired the privately held company Software Advice for an undisclosed amount.


title: Gartner

text: In 2014, Gartner also coined the term "Digital BizOps" and further developed the early philosophy for digital business operations. In July 2015, Gartner acquired Nubera, the business app discovery network that owns properties like "GetApp" (a peer review site), "AppStorm", "AppAppeal", and "CloudWork". Terms of the deal were not disclosed. In September 2015, it acquired the privately held peer review site (PRS) Capterra.


title: Gartner

text: In June 2016, Gartner announced that it had acquired the privately held company "SCM World", headquartered in London, U.K. On January 5, 2017 Gartner announced it had reached an agreement to acquire CEB, Inc. in a cash and stock deal worth about US$2.6 billion. On March 7, 2017 Gartner announced that it has agreed to buy New York–based L2 Inc, which specialises in benchmarking the digital performance of brands. Terms of the deal were not disclosed.


title: Loanword

text: A loanword (also loan word or loan-word) is a word at least partly assimilated from one language (the donor language) into another language. This is in contrast to cognates, which are words in two or more languages that are similar because they share an etymological origin, and calques, which involve translation. Loanwords from languages with different scripts are usually transliterated (between scripts), but they are not translated. Additionally, loanwords may be adapted to phonology, phonotactics, orthography, and morphology of the target language. When a loanword is fully adapted to the rules of the target language, it is distinguished from native words of the target language only by its origin. However, often the adaptation is incomplete, so loanwords may conserve specific features distinguishing them from native words of the target language: loaned phonemes and sound combinations, partial or total conserving of the original spelling, foreign plural or case forms or indeclinability.


title: Loanword

text: A loanword is distinguished from a calque (or loan translation), which is a word or phrase whose meaning or idiom is adopted from another language by word-for-word translation into existing words or word-forming roots of the recipient language. Loanwords, in contrast, are translated.


title: Loanword

text: Examples of loanwords in the English language include "café" (from French "café", which means "coffee"), bazaar (from Persian "bāzār", which means "market"), and kindergarten (from German "Kindergarten", which literally means "children's garden"). The word "calque" is a loanword from the French noun "calque" ("tracing; imitation; close copy"); while the word "loanword" and the phrase "loan translation" are calques of the German nouns "Lehnwort" and "Lehnübersetzung".


title: Loanword

text: Loans of multi-word phrases, such as the English use of the French term "déjà vu", are known as adoptions, adaptations, or lexical borrowings.


title: Loanword

text: Although colloquial and informal register loanwords are typically spread by word-of-mouth, technical or academic loanwords tend to be first used in written language, often for scholarly, scientific, or literary purposes.


title: Loanword

text: The terms substrate and superstrate are often used when two languages interact. However, the meaning of these terms is reasonably well-defined only in second language acquisition or language replacement events, when the native speakers of a certain source language (the substrate) are somehow compelled to abandon it for another target language (the superstrate).


title: Loanword

text: Most of the technical vocabulary of classical music (such as concerto, allegro, tempo, aria, opera, and soprano) is borrowed from Italian, and that of ballet from French. Much of the terminology of the sport of fencing also comes from French. Many loanwords come from prepared food, drink, fruits, vegetables, seafood and more from languages around the world. In particular, many come from French cuisine (crêpe, Chantilly, crème brûlée), Italian (pasta, linguine, pizza, espresso), and Chinese (dim sum, chow mein, wonton).


title: Loanword

text: The studies by Werner Betz (1971, 1901), Einar Haugen (1958, also 1956), and Uriel Weinreich (1963) are regarded as the classical theoretical works on loan influence. The basic theoretical statements all take Betz's nomenclature as their starting point. Duckworth (1977) enlarges Betz's scheme by the type "partial substitution" and supplements the system with English terms. A schematic illustration of these classifications is given below.


title: Loanword

text: The phrase "foreign word" used in the image below is a mistranslation of the German "Fremdwort", which refers to loanwords whose pronunciation, spelling, inflection or gender have not been adapted to the new language such that they no longer seem foreign. Such a separation of loanwords into two distinct categories is not used by linguists in English in talking about any language. Basing such a separation mainly on spelling is (or, in fact, was) not common except amongst German linguists, and only when talking about German and sometimes other languages that tend to adapt foreign spellings, which is rare in English unless the word has been widely used for a long time.


title: Loanword

text: According to the linguist Suzanne Kemmer, the expression "foreign word" can be defined as follows in English: "[W]hen most speakers do not know the word and if they hear it think it is from another language, the word can be called a foreign word. There are many foreign words and phrases used in English such as bon vivant (French), mutatis mutandis (Latin), and Schadenfreude (German)." This is not how the term is used in this illustration:


title: Loanword

text: On the basis of an importation-substitution distinction, Haugen (1950: 214f.) distinguishes three basic groups of borrowings: "(1) "Loanwords" show morphemic importation without substitution... (2) "Loanblends" show morphemic substitution as well as importation... (3) "Loanshifts" show morphemic substitution without importation". Haugen later refined (1956) his model in a review of Gneuss's (1955) book on Old English loan coinages, whose classification, in turn, is the one by Betz (1949) again.


title: Loanword

text: Weinreich (1953: 47ff.) differentiates between two mechanisms of lexical interference, namely those initiated by simple words and those initiated by compound words and phrases. Weinreich (1953: 47) defines "simple words" "from the point of view of the bilinguals who perform the transfer, rather than that of the descriptive linguist. Accordingly, the category 'simple' words also includes compounds that are transferred in unanalysed form". After this general classification, Weinreich then resorts to Betz's (1949) terminology.


title: Loanword

text: The English language has borrowed many words from other cultures or languages. For examples, see Lists of English words by country or language of origin and Anglicisation.


title: Loanword

text: Some English loanwords remain relatively faithful to the original phonology even though a particular phoneme might not exist or have contrastive status in English. For example, the Hawaiian word "aā" is used by geologists to specify lava that is thick, chunky, and rough. The Hawaiian spelling indicates the two glottal stops in the word, but the English pronunciation, , contains at most one. The English spelling usually removes the ʻokina and macron diacritics.


title: Loanword

text: Most English affixes, such as "un-", "-ing", and "-ly", were used in Old English. However, a few English affixes are borrowed. For example, the verbal suffix "-ize" (American English) or "ise" (British English) comes from Greek -ιζειν ("-izein") through Latin "-izare".


title: Loanword

text: During more than 600 years of the Ottoman Empire, the literary and administrative language of the empire was Turkish, with many Persian, and Arabic loanwords, called Ottoman Turkish, considerably differing from the everyday spoken Turkish of the time. Many such words were adopted by other languages of the empire, such as Albanian, Bosnian, Bulgarian, Croatian, Greek, Hungarian, Ladino, Macedonian, Montenegrin and Serbian. After the empire fell after World War I and the Republic of Turkey was founded, the Turkish language underwent an extensive language reform led by the newly founded Turkish Language Association, during which many adopted words were replaced with new formations derived from Turkic roots. That was part of the ongoing cultural reform of the time, in turn a part in the broader framework of Atatürk's Reforms, which also included the introduction of the new Turkish alphabet.


title: Loanword

text: Turkish also has taken many words from French, such as "pantolon" for "trousers" (from French "pantalon") and "komik" for "funny" (from French "comique"), most of them pronounced very similarly. Word usage in modern Turkey has acquired a political tinge: right-wing publications tend to use more Arabic or Persian originated words, left-wing ones use more adopted from European languages, while centrist ones use more native Turkish root words.


title: Loanword

text: Almost 350 years of Dutch presence in what is now Indonesia have left significant linguistic traces. Though very few Indonesians have a fluent knowledge of Dutch, the Indonesian language inherited many words from Dutch, both in words for everyday life (e.g., "buncis" from Dutch "boontjes" for (green) beans) and as well in administrative, scientific or technological terminology (e.g., "kantor" from Dutch "kantoor" for office). The Professor of Indonesian Literature at Leiden University, and of Comparative Literature at UCR, argues that roughly 20% of Indonesian words can be traced back to Dutch words.


title: Loanword

text: In the late 17th century, the Dutch Republic had a leading position in shipbuilding. Czar Peter the Great, eager to improve his navy, studied shipbuilding in Zaandam and Amsterdam. Many Dutch naval terms have been incorporated in the Russian vocabulary, such as бра́мсель ("brámselʹ") from Dutch "bramzeil" for the topgallant sail, домкра́т ("domkrát") from Dutch "dommekracht" for jack, and матро́с ("matrós") from Dutch "matroos" for sailor.


title: Loanword

text: A large percentage of the lexicon of Romance languages, themselves descended from Vulgar Latin, consists of loanwords (later learned or scholarly borrowings) from Latin. These words can be distinguished by lack of typical sound changes and other transformations found in descended words, or by meanings taken directly from Classical or Ecclesiastical Latin that did not evolve or change over time as expected; in addition, there are also semi-learned terms which were adapted partially to the Romance language's character. Latin borrowings can be known by several names in Romance languages: in Spanish, for example, they are usually referred to as "cultismos", and in Italian as "latinismi".


title: Loanword

text: Latin is usually the most common source of loanwords in these languages, such as in Italian, Spanish, French, etc., and in some cases the total number of loans may even outnumber inherited terms (although the learned borrowings are less often used in common speech, with the most common vocabulary being of inherited, orally transmitted origin from Vulgar Latin). This has led to many cases of etymological doublets in these languages.


title: Loanword

text: For most Romance languages, these loans were initiated by scholars, clergy, or other learned people and occurred in Medieval times, peaking in the late Middle Ages and early Renaissance era- in Italian, the 14th century had the highest number of loans. In the case of Romanian, the language underwent a "re-Latinization" process later than the others (see Romanian lexis, ), in the 18th and 19th centuries, partially using French and Italian words (many of these themselves being earlier borrowings from Latin) as intermediaries, in an effort to modernize the language, often adding concepts that did not exist until then, or replacing words of other origins. These common borrowings and features also essentially serve to raise mutual intelligibility of the Romance languages, particularly in academic/scholarly, literary, technical, and scientific domains. Many of these same words are also found in English (through its numerous borrowings from Latin and French) and other European languages.


title: Loanword

text: In addition to Latin loanwords, many words of Ancient Greek origin were also borrowed into Romance languages, often in part through scholarly Latin intermediates, and these also often pertained to academic, scientific, literary, and technical topics. Furthermore, to a lesser extent, Romance languages borrowed from a variety of other languages; in particular English has become an important source in more recent times. The study of the origin of these words and their function and context within the language can illuminate some important aspects and characteristics of the language, and it can reveal insights on the phenomenon of lexical borrowing in linguistics as a method of enriching a language.


title: Loanword

text: According to Hans Henrich Hock and Brian Joseph, "languages and dialects ... do not exist in a vacuum": there is always linguistic contact between groups. The contact influences what loanwords are integrated into the lexicon and which certain words are chosen over others.


title: Loanword

text: In some cases, the original meaning shifts considerably through unexpected logical leaps. The English word "Viking" became Japanese バイキング ("baikingu"), meaning "buffet", because the first restaurant in Japan to offer buffet-style meals, inspired by the Nordic smörgåsbord, was opened in 1958 by the Imperial Hotel under the name "Viking". The German word "Kachel", meaning "tile", became the Dutch word "kachel" meaning "stove", as a shortening of "kacheloven", from German "Kachelofen", a cocklestove.


title: Jeanette Nolan

text: Jeanette Nolan (December 30, 1911 – June 5, 1998) was an American actress. Nominated for four Emmy Awards, she had roles in the television series "The Virginian" (1962–1971) and "Dirty Sally" (1974), and in films such as "Macbeth" (1948).


title: Jeanette Nolan

text: Nolan began her prolific acting career at the Pasadena Playhouse in Pasadena, California, and, while a student at Los Angeles City College, made her radio debut in 1932 in "Omar Khayyam", the first transcontinental broadcast from station KHJ. She continued acting into the 1990s.


title: Jeanette Nolan

text: She appeared regularly in several radio series, including "Young Doctor Malone", 1939–1940; "Cavalcade of America", 1940–1941; Nicolette Moore in "One Man's Family", 1947–1950; and "The Great Gildersleeve", 1949–1952. She appeared episodically in many more


title: Jeanette Nolan

text: She made her film debut as Lady Macbeth in Orson Welles' 1948 film "Macbeth", based on Shakespeare's play of the same name. Despite the fact that she and the film received withering reviews at the time, Nolan's film career flourished in largely supporting roles. Viewers of film noir may know her best as the corrupt wife of a dead (and equally corrupt) police officer in Fritz Lang's "The Big Heat".


title: Jeanette Nolan

text: Nolan made more than three hundred television appearances, including the religion anthology series, "Crossroads" and as Dr. Marion in the 1956 episode "The Healer" in Brian Keith's CBS Cold War series, "Crusader". She appeared on Rod Cameron's syndicated series, "State Trooper".


title: Jeanette Nolan

text: In 1957 she played “Ma Grilk” in S3E5's “Potato Road” on the TV Western Series "Gunsmoke". Nolan was cast as Emmy Zecker in the 1959 episode "Johnny Yuma" of the ABC western series, "The Rebel", starring Nick Adams. She appeared in two episodes of David Janssen's crime drama, "Richard Diamond, Private Detective". She starred as Maggie Bowers in the "Peter Gunn" episode "Love Me to Death" in 1959. She played Sadie Grimes in "Alfred Hitchcock Presents" episode titled "The Right Kind of House" which first aired March 9, 1958, and Mrs. Edith in "Coming Home" June 13, 1961.


title: Jeanette Nolan

text: From 1959 to 1960, she played Annette Deveraux, part-owner of the hotel in the CBS western series, "Hotel de Paree", with Earl Holliman. In 1960, she appeared in season 4, episode 7 of Richard Boone's "Have Gun – Will Travel" as a newly widowed sheriff. Also, in 1962, season 5, episode 24, as the lost mother of an Eastern school girl. She appeared in two other episodes. She was cast in other western films, including "The Wild Women of Chastity Gulch" (1982).


title: Jeanette Nolan

text: Nolan made six guest appearances on CBS's "Perry Mason", including the role of murderer Mrs. Kirby in the 1958 episode, "The Case of the Fugitive Nurse," murderer Emma Benson in the 1960 episode, "The Case of the Nine Dolls," Mama Norden in "The Case of the Hateful Hero," Martha Blair in the 1962 episode "The Case of the Counterfeit Crank," title character and murderer Nellie in the 1964 episode, "The Case of the Betrayed Bride," and defendant Emma Ritter in the 1965 episode, "The Case of the Fugitive Fraulein."


title: Jeanette Nolan

text: She guest starred as "Sister Mary Paul", a nun fooled into hiding an injured killer, in the 1961 S3Ep24 episode "The Good & The Bad" in CBS's "Bat Masterson".


title: Jeanette Nolan

text: She then portrayed Janet Picard in the episode "Woman in the River" of the ABC/Warner Brothers detective series "Bourbon Street Beat", starring Andrew Duggan. She gave an over-the-top performance as a crazed old woman in the "Parasite Mansion" episode of NBC's "Thriller".


title: Jeanette Nolan

text: On April 27, 1962, she appeared in the episode "A Book of Faces" on another ABC crime drama, "", starring Stephen McNally and Robert Harland. She guest starred as Claire Farnham in the episode "To Love Is to Live" on the psychiatric medical drama "The Eleventh Hour". She was cast as a fortune teller, Mme. Di Angelo, in the 1963 episode "The Black-Robed Ghost" of the anthology series, "GE True", hosted by Jack Webb.


title: Jeanette Nolan

text: In 1963, Nolan was cast as Mrs. Mertens in the episode "Reformation of Willie" on the ABC drama series, "Going My Way", starring Gene Kelly as a Roman Catholic priest in New York City. Coincidentally, "Going My Way" followed the western series "Wagon Train" on the ABC schedule. Nolan herself appeared three times on "Wagon Train", in which her husband, John McIntire, co-starred as wagon master Chris Hale from 1961 to 1965.


title: Jeanette Nolan

text: In 1963, Nolan also guest starred as Sister Therese in the episode "Infant of Prague" on ABC's World War II series, "Combat!".


title: Jeanette Nolan

text: Nolan guest-starred three times from 1963 to 1964 on "Dr. Kildare," and in a 1964 episode of Richard Crenna's short-lived "Slattery's People", a political drama series on CBS. Earlier, she had appeared with Crenna and Walter Brennan in their sitcom, "The Real McCoys".


title: Jeanette Nolan

text: Nolan played the role of witches in two of Rod Serling's anthology television series: "The Twilight Zone", in the episode "Jess-Belle" with Anne Francis; and the "Night Gallery" segment "Since Aunt Ada Came to Stay" opposite James Farentino and Michele Lee. Nolan also appeared in the 1962 Twilight Zone episode "The Hunt," with Arthur Hunnicutt. Nolan was cast in 1964 as a repertory cast member in the acclaimed but short-lived television anthology series "The Richard Boone Show" appearing in 13 episodes.


title: Jeanette Nolan

text: On November 4, 1965, Nolan portrayed the treacherous Ma Burns in "The Golden Trail" episode of NBC's "Laredo". Ma Burns is a supposedly refined woman trying to hijack a presumed gold shipment headed to Laredo from St. Louis. In actuality, the cargo consists of thirty-six bottles of Tennessee whisky. She was also cast on "Laredo" as Martha Tuforth in "It's the End of the Road, Stanley" (1966) and as Vita Rose in "Like One of the Family" (1967). "Laredo" was a two-season spinoff of "The Virginian", whose cast Nolan joined in 1967 as Holly Grainger, along with her husband John McIntire who headed the cast as ranch owner Clay Grainger.


title: Jeanette Nolan

text: In 1968, Nolan was cast in the episode "All in a Day's Work" on the NBC police drama "Ironside", playing a mother who has lost her only child who was shot after a robbery. That same year, she appeared on "Hawaii Five-O" in the role of Aunt Martha.


title: Jeanette Nolan

text: Nolan guest-starred on the short-lived sitcom "The Mothers-in-Law" in two separate episodes in the second and final season of the series. She first played Kaye Ballard's grandmother, Gabriela Balotta, who always fainted when she didn't get her way; and then secondly as Annie MacTaggart, a Scottish nanny hired to take care of newborn twins of the younger couple, Jerry and Suzie Buell.


title: Jeanette Nolan

text: In 1974, she starred briefly with Dack Rambo in CBS's "Dirty Sally", a spinoff of "Gunsmoke", on which she had played a recurring guest role for three episodes. She also played the titular role in the award-winning short film "Peege" (1972) because of her "Gunsmoke" connection.


title: Jeanette Nolan

text: Nolan portrayed Mrs. Peck in the 1973 episode "Double Shock" of Peter Falk's "Columbo" series. She was also in a second "Columbo" episode, as Kate O'Connell in "The Conspirators" (1978). In 1985, she played Alma Lindstrom, Rose Nylund's adoptive mother, in the ninth episode of the first season of the hit NBC sitcom "The Golden Girls".


title: Jeanette Nolan

text: Her final film appearance was in Robert Redford's "The Horse Whisperer" of 1998 as Tom Booker's mother, Ellen.


title: Jeanette Nolan

text: In 1935, Nolan married actor John McIntire; the couple remained together until his death in 1991. Nolan and McIntire had two children together: Holly, a photographer, and Tim, an actor.


title: Jeanette Nolan

text: Nolan and McIntire worked together several times from the late 1960s on, sometimes as voice actors. They appeared in a 1969 KCET television reading of Norman Corwin's 1938 radio play "The Plot to Overthrow Christmas", with McIntire as the Devil and Nolan as Lucrezia Borgia.


title: Jeanette Nolan

text: In 1977, they appeared in Disney's twenty-third animated film "The Rescuers", in which McIntire voiced the cat Rufus and Nolan the muskrat Ellie Mae. Four years later, the couple worked on the 24th Disney film, "The Fox and the Hound", with McIntire as the voice of Mr. Digger, an ill-tempered badger, and Nolan as the voice of Widow Tweed, the old kindly widow who takes in Tod after his mother was killed by an off-screen hunter.


title: Jeanette Nolan

text: They guest-starred on screen together, often portraying a married couple, as in an episode of "The Love Boat" in 1978, "Charlie's Angels" in 1979, "The Incredible Hulk" in 1980, "Goliath Awaits" in 1981, "Quincy, M.E." in 1983, and "Night Court" in 1985, playing Dan Fielding's hick Louisianan parents.


title: Jeanette Nolan

text: Nolan died of a stroke in Cedars-Sinai Medical Center on June 5, 1998. She was buried in Eureka, Montana's Tobacco Valley Cemetery.


title: Coonskin (film)

text: Coonskin is a 1975 American adult animated satirical crime film written and directed by Ralph Bakshi. The film references the "Uncle Remus" folk tales, and satirizes the blaxploitation film genre as well as Disney's racially controversial film "Song of the South", also adapted from the "Uncle Remus" folk tales. The film's narrative concerns three anthropomorphic "Uncle Remus" characters, Br'er Rabbit (referred to as Brother Rabbit), Br'er Fox (referred to as Preacher Fox), and Br'er Bear (referred to as Brother Bear). They rise to the top of the organized crime racket in Harlem, encountering corrupt law enforcement, con artists, and the Mafia, in a satire of both racism within the Hollywood film system, and America itself. The film stars Philip Thomas, Charles Gordone, Barry White, and Scatman Crothers, all of whom appear in both live-action and animated sequences.