title: Fable (2004 video game)

text: "Fable" takes place in Albion, a patchwork of city-states with lawless stretches of plains and forest between them. The entire land was once led by an ancient royal bloodline, bestowed with the title of Archon, referred to as the "Old Kingdom". The first Archon's rule was peaceful and prosperous, but the source of his power was an ancient and powerful sword (the Sword of Aeons) that gradually began to corrupt him and, eventually, his entire kingdom. By the time the events of the game take place, the world has slowly deteriorated from the days of the Old Kingdom. One of the most prominent institutions of Albion is the Heroes' Guild. The Guild is a centre of learning and training for Heroes, renowned mercenaries that are active in all parts of Albion. Heroes are hired as thieves, soldiers, guards, rescuers, and protectors; the Guild makes no moral judgement on the actions of its Heroes.


title: Fable (2004 video game)

text: On his sister's birthday, a young boy's village of Oakvale is raided by bandits; killing the boy's father and abducting his mother and sister. An old Hero, Maze, rescues the boy and recruits him to be trained as a Hero at an academy called the Heroes' Guild. Years pass; after honing his skills, Maze informs the Hero of a blind seeress living among a bandit camp near Oakvale, and advises the Hero to infiltrate the bandit camp. To the Hero's surprise, the blind seeress is actually his older sister Theresa who was taken in by Twinblade, a former Hero and the present Bandit King. After a showdown with Twinblade, the Hero is given the choice of killing or sparing the bandit.


title: Fable (2004 video game)

text: Later on in the Hero's life, after he has gained more recognition among the people of Albion, he is invited to fight in the Arena, where he meets the legendary Hero named Jack of Blades, who runs the arena battles. As a final challenge, Jack pits the Hero against his rival, which was also once his childhood friend/roommate back in the Guild—Whisper; when the Hero defeats her he may kill or spare her.


title: Fable (2004 video game)

text: The Hero learns that Jack of Blades himself destroyed Oakvale during the Hero's childhood; aided by Theresa, the Hero discovers his mother alive in Bargate Prison. The Hero is captured in the rescue attempt and spends a year or more in the prison before finally escaping. Maze is revealed to be a traitor and working with Jack, having once more kidnapped Theresa. After defeating Maze, the Hero is led into a final confrontation with Jack where his mother is killed. Jack reveals that The Sword of Aeons can only be wielded if it receives the blood of Archon. The Sword of Aeons is said to be a very powerful sword of destruction. Upon the death of their mother, the Hero and Theresa are the only two remaining descendants of Archon, and if Jack destroys them both the sword will be even more powerful. After defeating Jack, the Hero must choose whether to keep the Sword of Aeons by killing his sister, or cast it away forever into a portal created by Jack of Blades' death.


title: Fable (2004 video game)

text: Depending on the Hero's alignment and the player's choice of using or destroying the sword, there are a total of four different endings. Once the ending credits roll, players can resume their games.


title: Fable (2004 video game)

text: In "The Lost Chapters" special edition, the story continues. After the defeat of Jack, the Hero must find passage to the Northern Wastes to aid a legendary hero named Scythe in stopping an unknown great evil from returning. Should the hero have discarded the Sword of Aeons he will have the opportunity to gain the sword "Avo's Tear", a sword of similar design and equal power but that holds a light alignment rather than dark. Avo is said to be a god that represents the light side alignment. After a series of quests revolving around this new evil, it is learned that Jack of Blades has returned. He must then defeat Jack of Blades a second time, Jack having returned from the dead in the form of a dragon. Upon the death of Jack, the hero then uses Jack's mask to trap Jack's soul, with Scythe telling him that the battle is not over and that he must destroy the mask. The hero then has the final choice of putting on the mask—being consumed by Jack in the process—or destroying it, along with Jack, forever.


title: Fable (2004 video game)

text: "Fable" was the first game developed by Big Blue Box, a satellite studio of Peter Molyneux's Lionhead. Dene and Simon Carter, Big Blue Box's founders, stated that their first project would have to meet several criteria in order to be accepted by game publishers, but that they weren't interested in producing a generic title. To offset the costs of running a fledgling studio, Molyneux proposed Lionhead 'satellites', where Big Blue Box would receive the technology and support of Lionhead so that Big Blue Box could focus on making the game. After some difficulty in finding a willing publisher, Big Blue Box was offered a contract by Microsoft. According to the Carters, they wanted to create a role-playing game like no other:


title: Fable (2004 video game)

text: The world would be a breathtakingly beautiful place filled with waterfalls, mountains, dense forests, populated with compelling and convincing characters with real personality, people who actually reacted to what you did. We wanted to give the player control of a hero who would adapt to the way they played, who would age, become scarred in battle, who could get tattoos, wear dreadlocks and a dress if the player was so inclined. We wanted each and every person who played our game to have a unique experience, to have their own stories to tell. And we called it "Thingy."


title: Fable (2004 video game)

text: The game took roughly four years to create, with a team of around 70 developers working on it. The main ideas that constituted the entire development of "Fable" were that the hero visually reflects his experience and that the world reacts in a manner appropriate to the player's actions.


title: Fable (2004 video game)

text: Peter Molyneux aggressively promoted "Fable", at one point stating that "it's gonna be the best game ever".


title: Fable (2004 video game)

text: "Fable" previews noted that the somewhat absurd humour and atmosphere of the game, which "GamePro" called "Terry Pratchett or Piers Anthony fantasy" was far different from what was seen on contemporary RPGs.


title: Fable (2004 video game)

text: With the exception of the title theme, "Fable"s music was composed by Russell Shaw, who had previously worked on Molyneux games such as "Magic Carpet" and "Black & White". The job for composing "Fable"s theme music was given to Danny Elfman. Elfman noted in an interview that Hollywood composers did not typically cross over to video game work, in part because many game developers wanted a synthesised score that sounds like an orchestra, instead of the real thing. At Elfman's insistence, the developers used a small orchestra, which Shaw noted was much more of a challenge than previous projects: "There are more people involved (even without considering the orchestra), and the complexities of any music interactivity are brought to the fore."


title: Fable (2004 video game)

text: "Fable" was expanded and re-released as "Fable: The Lost Chapters" for Xbox and Windows PC platforms in September 2005. The game was later ported to Mac OS X by Robosoft Technologies and published by Feral Interactive on 31 March 2008.


title: Fable (2004 video game)

text: "The Lost Chapters" features all the content found in the original "Fable", as well as additional new content such as new monsters, weapons, alignment-based spells, items, armour, towns, buildings, and expressions, as well as the ability to give children objects. The story receives further augmentation in the form of nine new areas and sixteen additional quests. Characters such as Briar Rose and Scythe, who played only minor roles in the original game, are now given more importance and are included in certain main and side quests. Other character-based augmentations include the voice of the antagonist, Jack of Blades, sounding deeper, harsher and more demonic, and the ability to uncover (and resolve) the murder mystery of Lady Grey's sister.


title: Fable (2004 video game)

text: The updated edition of the game also applied fixes for certain glitches, such as the "dig glitch", in which the protagonist would move backward each time he used the shovel, pushing him through solid objects and sometimes trapping him.


title: Fable (2004 video game)

text: "Fable" was a commercial success upon release, selling 375,000 copies during its first week, and 600,000 copies in the first month. Sales rose to 1.4 million copies by March 2005. By July 2006, its Xbox version had sold 1.5 million copies and earned $58 million in the United States alone. "Next Generation" ranked it as the 29th highest-selling game launched for the PlayStation 2, Xbox or GameCube between January 2000 and July 2006 in that country. The game has sold around three million copies worldwide.


title: Fable (2004 video game)

text: "Fable" received positive reviews from both audiences and critics. The original Xbox version of the game has an aggregate critic score of 85% at both Metacritic and GameRankings. The game won more than fifty awards, and became the Xbox's fastest-selling game up to that time.


title: Fable (2004 video game)

text: "Fable"s combat was praised. Staff from 1UP.com complimented the multiple approaches to combat which the publication stated made the game more a mini-game of its own: "Combat becomes its own minigame, with the goal not solely to beat a foe, but to beat it with skill and get the most from every fight. Slaughter becomes irrelevant, and the fights never become tedious."


title: Fable (2004 video game)

text: Though pointing out several flaws in the game such as bland character designs, Marc Saltzman of "USAToday.com" stated that the game "should satisfy you with its incredible depth, open-ended game play, and a solid story that gets even better about half-way through the adventure". "Fable" has been praised for its concept of free will and having consequences for the Hero's actions. Other aspects of the game positively received included the game's tongue-in-cheek characters and what "The Observer" called a "very British sense of humour, in the style of Monty Python or Douglas Adams".


title: Fable (2004 video game)

text: The short length of the main plot was criticised by reviewers, but many overlooked this due to the much larger array of side quests available to the player.


title: Fable (2004 video game)

text: One of the complaints that arose upon the release of "Fable" was the fact that it failed to include features that Peter Molyneux had mentioned while the game was still in development.


title: Fable (2004 video game)

text: One of the features that were not included in the game's release was the Hero's ability to have children despite the fact that Molyneux had previously mentioned that the Hero's own children would be significant in the game. Molyneux reacted to these complaints by means of a public apology posted on the official Lionhead forums, on which he said: "If I have mentioned any feature in the past [that], for whatever reason, didn't make it as I described into "Fable", I apologise." This issue was addressed in "Fable II" and "III", both of which include the ability to have children.


title: Fable (2004 video game)

text: The PC and Xbox versions of "Fable: The Lost Chapters" were also well-received, with slightly lower Metacritic and GameRankings averages than the original title. Reviewers such as Greg Kasavin of GameSpot noted that the addition of new content helped prevent the game from becoming stale. 1UP.com previewed the game and found that the additive content didn't redefine "Fable", but helped bulk up the available quests, addressing the complaint of how short the original "Fable" was. "GamePro" and IGN judged "The Lost Chapters" on PC as surpassing its console predecessor.


title: Fable (2004 video game)

text: In 2005, a Microsoft Game Studios representative stated that "Fable" would be among the franchises that would appear on the next-generation Xbox 360. Sequels "Fable II" and "Fable III" were released in 2008 and 2010, respectively.


title: Fable (2004 video game)

text: Lionhead Studios announced "Fable Anniversary", a remastered version of "Fable: The Lost Chapters", for release on the Xbox 360 later in 2013. It features overhauled graphics and audio, a new save system and incorporates Achievements. "Fable Anniversary" was in full development for 15 months. The game featured graphical upgrades in many areas over the original most notably; native widescreen support, higher polygon count, larger textures, specular maps, normal maps, improved lighting, improved shadows, and a larger draw/detail distance.


title: Fable (2004 video game)

text: It was released on Steam on 12 September 2014 and includes mod support. Upon release, it garnered mixed reviews. Many reviewers praised the new graphics, but bemoaned that old bugs from the previous version of the game had not been fixed. It received 68% on the review aggregation website Metacritic.


title: Luigi's Mansion 3

text: Alongside a number of returning gameplay elements from the previous installments, the game incorporates new features, including additional moves for ghost catching, an ectoplasmic doppelgänger assistant known as Gooigi, and expanded multiplayer functionality that allows for players to engage in cooperative and competitive gaming both locally and online. The game received positive reviews from critics and was nominated for several awards, winning the award for "Best Family Game" at The Game Awards 2019. The game has sold 11.43 million copies as of March 31, 2022.


title: Luigi's Mansion 3

text: "Luigi's Mansion 3" is an action-adventure game, in which players control the character of Luigi from a fixed third-person perspective, as they capture ghosts across a large hotel setting. The game features two modes of gameplay – a single-player story mode, and a set of multiplayer game modes – in which ghost catching functions in the same manner as previous installments: players stun ghosts with Luigi's Strobulb, snag them with his Poltergust, and weaken their health down to 0 in order to capture them.


title: Luigi's Mansion 3

text: In the single-player story mode, players explore a large hotel with 17 floors – each floor consists of a different theme and atmosphere, and a variety of ghosts, including a boss ghost that the player must defeat. Some of the first floors, such as Floor 2, do not have a theme. Unlike the story mode of "", which focused on pre-defined mission structure of gameplay across several mansions, "Luigi's Mansion 3" is more open-ended allowing for greater exploration of the game's setting, with the only restriction being that players cannot explore floors in the hotel via the elevator until they have found the button that allows access to it; the hotel's main lobby and basement are the only floors to have a staircase between them that circumvents the need for the elevator.


title: Luigi's Mansion 3

text: Treasure can be found during exploration of the hotel's floor from various objects and solving some puzzles. Luigi can find coins (worth 1), banknotes (worth 5), gold bars (worth 10), and pearls (worth 100) as well as bags of money containing many hundreds of coins. He can also find special gems on each floor, alongside the capture of Boos, a regular enemy in the Mario series, while Luigi can find hearts to recover health lost from the attacks of ghosts and other environmental hazards. Some of the features introduced by "Dark Moon" are available in the game, including a stun charge function that can make ghost catching easier, and the Dark-Light Device, a blacklight function that can reveal objects that have become invisible (after capturing Spirit Balls, which cause the invisibility) and animate certain portraits. It can also bring possessed items, such as possessed chests or rubbish bins, back to normal. New to the series include new functions to the Poltergust – an area burst attack that can help keep multiple enemies back, as well as blow away furniture to reveal treasure; a suction cup attachment, which allows the player to fire a plunger onto obstacles and then remove them by using the Poltergust on the cup's cord; and a slam attack, which allow players to repeatedly smash ghosts they are capturing to the ground, both for greater damage as well as a weapon to hit other ghosts around them.


title: Luigi's Mansion 3

text: The most notable addition to the game is Gooigi – an ectoplasmic doppelgänger of Luigi previously introduced in the 3DS remake of the original "Luigi's Mansion". Gooigi can conduct similar moves to those of his real counterpart, and can be controlled by the player (switching between Luigi and Gooigi) or a second player in local co-op. Gooigi can be used by the player to help in battles and with solving some of the game's puzzles, some of which require the use of Gooigi and Luigi to complete. Unlike Luigi, Gooigi can squeeze through gaps in vents and grills, and walk across spiked floors, but is weaker than his real counterpart and will instantly lose his physical form if he comes into contact with water or fire.


title: Luigi's Mansion 3

text: The game's multiplayer mode allows for up to eight players to play together locally and online. In this mode, players can engage in cooperative gameplay through "ScareScraper", a returning feature from "Dark Moon", or competitive team matches in "ScreamPark". Both modes use the same style of controls in the single-player mode, with players able to control four colour variations (green, purple, orange, or blue) of Luigi or Gooigi. ScareScraper focuses on cooperative team work between players to clear out each of the 5 or 10 floors of a randomly generated high-rise building by seeking out the ghosts hiding on each floor. "ScreamPark" focuses on team-based matches - one side as Team Luigi, the other as Team Gooigi - and scoring points in three different match types: Ghost Hunt, in which teams score points by catching ghosts, with tougher ghosts worth more points; Cannon Barrage, in which teams score points by securing cannonballs, some held by ghosts, loading them into a cannon and firing them at targets, with trickier targets scoring more points; and Coin Floating, in which teams use inflatables to collect coins that drop in a pool, avoiding mines that are dropped as well or lose the coins in their possession and pop the inflatable making them need to blow another one up allowing their opponents to steal them.


title: Luigi's Mansion 3

text: Luigi, his pet ghost dog Polterpup, his brother Mario, Princess Peach and a trio of Toads have been invited to The Last Resort, a luxurious art deco high-rise hotel nestled in a mountainside area, and decide to visit it for a vacation. After arriving and settling in, Luigi wakes up during the night to find the hotel deserted, transformed into a haunted building and the others missing. He discovers that the hotel's ghostly owner, Hellen Gravely, had lured the group to the hotel as part of a trap by King Boo, whom she had freed from Professor E. Gadd's custody after his recapture in . King Boo announces his plans to exact revenge on Luigi and his friends by imprisoning them in portraits, but Luigi either narrowly escapes to the hotel's lower floors through a laundry chute or gets imprisoned in a portrait by King Boo along with the rest of his friends. With the help of Polterpup, who also avoided capture, Luigi, should he also avoid capture, explores the basement and comes across an old red car in the underground garage carrying a new Poltergust vacuum model. Using it, Luigi follows Polterpup to the lobby and finds that E. Gadd was also captured.


title: Luigi's Mansion 3

text: Searching the lobby, Luigi comes across the professor's Dark-Light Device in a safe and uses it to free him. Setting up a portable lab in the garage, E. Gadd explains how he was also tricked into visiting the hotel and captured by Hellen, who had stolen his latest ghost collection from him to staff the building. Believing that Luigi's friends are likely trapped on the upper floors, E. Gadd recommends that Luigi finds the elevator buttons for the upper floors that had been taken from the main elevator after he secures two from a ghost he had defeated earlier. While exploring the floors, each featuring a different theme to them, Luigi is aided further by E. Gadd with two new gadgets: the Virtual Boo, a communication device based on the Virtual Boy, and Gooigi, an ectoplasmic doppelgänger of Luigi. Left with no choice, Luigi begins his search for the missing elevator buttons in order to visit each of the hotel's many floors.


title: Luigi's Mansion 3

text: As Luigi makes his search, he comes across and defeats a variety of different ghosts while reclaiming the elevator buttons and rescuing the Toads from their portraits, much to Hellen's anger and frustration. After rescuing the Toads, he reaches the top floor where he confronts Hellen, who he manages to defeat before rescuing Mario. Luigi then follows him to the hotel's roof where they find Peach's portrait. Upon freeing her, the group is confronted by King Boo, having lost faith in Hellen and the ghosts earlier and prepares to imprison them, E. Gadd, and the Toads in a single giant portrait. After being inadvertently saved by Polterpup at the last second, Luigi finds himself forced to defeat King Boo once again, while aided by Gooigi. During the battle, King Boo enlarges the portrait's frame in an attempt to pull in the whole hotel with Luigi still on the roof. Luigi defeats King Boo and manages to recover the portrait moments before the hotel collapses into a ruined mess. After freeing his friends from the portrait, the ghosts Luigi had captured escape from their imprisonment and attempt to attack, but they become social when the jewel from King Boo's crown vanishes, implying that they were all brainwashed. E. Gadd, seeing the ghosts upset over their home's accidental destruction, elects for the group to build a new hotel, while the recaptured King Boo is returned to his custody along with Hellen. Depending on how much money Luigi collected throughout his adventure, the new hotel (built in E. Gadd's version) will be different in size. After the grand reopening, Luigi and his friends depart for home.


title: Luigi's Mansion 3

text: "Luigi's Mansion 3" is developed by Next Level Games, who previously developed "Luigi's Mansion: Dark Moon", and is published by Nintendo. The game was originally planned as a Wii U title, with early prototypes introducing the Slam and Burst as new abilities; however, development started for the Nintendo Switch system in earnest following the completion of Next Level Games' "". The change in setting from a mansion to a hotel was done so that players could have "three-dimensional exploration" with Kensuke Tanabe explaining that they "wanted players to be able to visualize how the hotel was set up". Despite the new setting, the team deliberately made the choice for some of the settings to "make it as unexpected and even un-hotel-like as possible". The team noted that as long as they connected the settings through a traditional hotel setup they could get away with the diverse settings. Some features that were previously present in or planned for the Nintendo 3DS remake of the original "Luigi's Mansion" were expanded on for the third installment, such as same screen local co-op play and the aforementioned new abilities. Prior to the game's formal announcement, Luigi's new gadget, the Poltergust G-00, was shown for the first time in the August 2018 "Super Smash Bros. Ultimate" Nintendo Direct as part of the trailer announcing "Castlevania" content for the game. The Poltergust G-00 was also incorporated into Luigi's moveset, now being able to grab opponents from a distance with the Suction Shot and pull opponents in with it for his Final Smash.


title: Luigi's Mansion 3

text: "Luigi's Mansion 3" was announced during a Nintendo Direct presentation on September 13, 2018, with the title at the time being listed as tentative and planned for release in 2019. The game was a part of Nintendo's E3 2019 showcase, with a new trailer highlighting the premise, gameplay mechanics, and game modes, including the return of the online multiplayer mode, ScareScraper. A demo was also made available to play on the show floor. Nintendo of America's Nate Bihldorff stated that the game's primary campaign would be longer than that of "Dark Moon". He also stated that the finalized title was changed to a simple number "3" rather than a subtitle because the time gap between the second and third installments was much shorter to the point of calling the series an established franchise, as opposed to the 12-year gap between the first and second installments. A new trailer shown during the September 4, 2019 Nintendo Direct showcased some areas of the hotel setting and debuted the ScreamPark, a new party-oriented game mode for up to eight players on a single console. "Luigi's Mansion 3" was released on October 31, 2019.


title: Luigi's Mansion 3

text: "Luigi's Mansion 3" received generally favourable reviews, according to review aggregator Metacritic. Chelsea Stark of "Polygon" praised the use of Gooigi, as well as the variety of levels throughout the game, saying that "this is our scaredy-cat hero’s best adventure yet". Ryan McCaffrey at "IGN" also praised the level design and variety, saying "Luigi's Mansion 3 is so fun, charming, and smartly designed that I hope we get more than three of these every 20 years."


title: Luigi's Mansion 3

text: By March 31, 2022, "Luigi's Mansion 3" had sold 11.43 million copies worldwide, making it one of the best-selling games for Nintendo Switch.


title: Categoría Primera A

text: The Categoría Primera A (), commonly referred to as Liga BetPlay Dimayor (between 2015 and 2019 "Liga Águila") due to sponsorship by online betting company BetPlay, is a Colombian professional league for association football clubs. It is the country's premier football tournament and sits at the top of the Colombian football league system.


title: Categoría Primera A

text: A total of twenty clubs compete in the league's regular season. "División Mayor del Fútbol Profesional Colombiano", better known as DIMAYOR, operates the league system of promotion and relegation for both Categoría Primera A and Categoría Primera B leagues. Since its founding in 1948, fifteen teams have been crowned as Colombian football champions. The most successful club is Atlético Nacional with 17 titles.


title: Categoría Primera A

text: Before 1948 there was no professional football league in Colombia. The first clubs were formed in Barranquilla and Bogotá: Barranquilla FC, Polo Club, Escuela Militar and Bartolinos, although the game took a while to develop in popularity. The 1918 Campeonato Nacional was the first tournament played between Colombian clubs, followed by the Copa Centenario Batalla de Boyacá. Independiente Medellín, founded on 15 April 1913, is the oldest club that remains as a professional club.


title: Categoría Primera A

text: The first tournament was organised by the Colombian Football Federation and DIMAYOR in 1948. Ten teams signed up for this first tournament, paying the required fee of 1,000 pesos). Two teams each signed on from Bogotá, Cali, Manizales, and Pereira, plus one from Barranquilla. 252 players were registered for that year's tournament, 182 of which were Colombians, 13 were Argentine, 8 Peruvian, 5 Uruguayan, 2 Chilean, 2 Ecuadorian, 1 Dominican, and 1 Spanish.


title: Categoría Primera A

text: Soon after the league's foundation, disputes between Adefútbol (the body governing amateur football in Colombia) and DIMAYOR (the organizing body behind the new national league) erupted. DIMAYOR broke away from Adefútbol, announcing that it would operate independently of FIFA rules and regulations. In response, FIFA sanctioned Colombian football, banning the national team and all its clubs from international competition. This period, which lasted from 1949 to 1954, is known as El Dorado.


title: Categoría Primera A

text: Far from being a dark time in Colombian football, this was its golden age. No longer required to pay transfer fees to clubs from other nations, Colombian clubs began importing stars from all over South America and Europe. The most aggressive signer of international players was Millonarios, which won consecutive championships with stars such as Alfredo di Stéfano. Attendances boomed, and the expanding appetite for club competitions resulted in the creation of the Copa Colombia in 1950. That knockout competition was played sporadically over the next 58 years and only became an annual tournament in 2008. Although the stars returned to their nations when Colombia rejoined the international fold in 1954, the era was never forgotten.


title: Categoría Primera A

text: In 1968 the league followed the pattern emerging in South America by replacing its year-long tournament with two shorter ones. From this point forward, Colombian clubs would compete in two tournaments a year; the "Apertura" from February to June and the "Finalización" from July to December, which became independent championships in 2002. Another league restructuring came in 1991, with the addition of second and third divisions. The third division had its 2002 edition cancelled for economic reasons, and stopped awarding promotion to the professional tiers in 2003 until it was finally dropped in 2010.


title: Categoría Primera A

text: The current format of Colombian football was adopted for the 2019 season. The top flight features 20 teams, all of which play through the Apertura and Finalización tournaments each year. Both tournaments are conducted according to an identical three-stage format.


title: Categoría Primera A

text: The first stage is conducted on a single round-robin basis, with each team playing the other teams once for a total of 19 matches. The top eight teams then advance to a knockout round consisting of two groups, each team playing six times in a round-robin format. The two leaders of each group advance to the final, which is played in a home and away leg fashion.


title: Categoría Primera A

text: Relegation to Categoría Primera B is determined by averaging the point totals achieved by teams over the previous three seasons. Each year, the bottom two teams drop out and are replaced by the top two from Primera B.


title: Categoría Primera A

text: This is the complete list of the clubs that have taken part in at least one "Categoría Primera A" season, founded in 1948, until the 2022 season. Teams that currently play are indicated in bold.


title: Categoría Primera A

text: The same trophy has been used to commemorate the annual champion since 1948. Made of German silver, weighing roughly 5 kilos and measuring approximately 90 centimeters tall, in its upper part it has the figure of the Winged Victory of Samothrace, which has been used to represent sporting triumph with the passing of history. The original trophy is kept at the headquarters of DIMAYOR and is engraved with all the names of the champion clubs, with the champions being awarded an exact replica. Along with the competition's official trophy, the champions are also awarded an additional trophy handed over by the league's sponsor.


title: Categoría Primera A

text: The only tournament that was not awarded to a champion occurred in 1989, after the assassination of referee Álvaro Ortega on October 1 in Medellín. All games, post-season games and international representation for the following year were cancelled.


title: History of calculus

text: Calculus, originally called infinitesimal calculus, is a mathematical discipline focused on limits, continuity, derivatives, integrals, and infinite series. Many elements of calculus appeared in ancient Greece, then in China and the Middle East, and still later again in medieval Europe and in India. Infinitesimal calculus was developed in the late 17th century by Isaac Newton and Gottfried Wilhelm Leibniz independently of each other. An argument over priority led to the Leibniz–Newton calculus controversy which continued until the death of Leibniz in 1716. The development of calculus and its uses within the sciences have continued to the present day.


title: History of calculus

text: In mathematics education, "calculus" denotes courses of elementary mathematical analysis, which are mainly devoted to the study of functions and limits. The word "calculus" is Latin for "small pebble" (the diminutive of "calx," meaning "stone"), a meaning which still persists in medicine. Because such pebbles were used for counting out distances, tallying votes, and doing abacus arithmetic, the word came to mean a method of computation. In this sense, it was used in English at least as early as 1672, several years prior to the publications of Leibniz and Newton.


title: History of calculus

text: In addition to the differential calculus and integral calculus, the term is also used widely for naming specific methods of calculation. Examples of this include propositional calculus in logic, the calculus of variations in mathematics, process calculus in computing, and the felicific calculus in philosophy.


title: History of calculus

text: The ancient period introduced some of the ideas that led to integral calculus, but does not seem to have developed these ideas in a rigorous and systematic way. Calculations of volumes and areas, one goal of integral calculus, can be found in the Egyptian Moscow papyrus (c. 1820 BC), but the formulas are only given for concrete numbers, some are only approximately true, and they are not derived by deductive reasoning. Babylonians may have discovered the trapezoidal rule while doing astronomical observations of Jupiter.


title: History of calculus

text: From the age of Greek mathematics, Eudoxus (c. 408–355 BC) used the method of exhaustion, which foreshadows the concept of the limit, to calculate areas and volumes, while Archimedes (c. 287–212 BC) developed this idea further, inventing heuristics which resemble the methods of integral calculus. Greek mathematicians are also credited with a significant use of infinitesimals. Democritus is the first person recorded to consider seriously the division of objects into an infinite number of cross-sections, but his inability to rationalize discrete cross-sections with a cone's smooth slope prevented him from accepting the idea. At approximately the same time, Zeno of Elea discredited infinitesimals further by his articulation of the paradoxes which they seemingly create.


title: History of calculus

text: Archimedes developed this method further, while also inventing heuristic methods which resemble modern day concepts somewhat in his "The Quadrature of the Parabola", "The Method", and "On the Sphere and Cylinder". It should not be thought that infinitesimals were put on a rigorous footing during this time, however. Only when it was supplemented by a proper geometric proof would Greek mathematicians accept a proposition as true. It was not until the 17th century that the method was formalized by Cavalieri as the method of Indivisibles and eventually incorporated by Newton into a general framework of integral calculus. Archimedes was the first to find the tangent to a curve other than a circle, in a method akin to differential calculus. While studying the spiral, he separated a point's motion into two components, one radial motion component and one circular motion component, and then continued to add the two component motions together, thereby finding the tangent to the curve. The pioneers of the calculus such as Isaac Barrow and Johann Bernoulli were diligent students of Archimedes; see for instance C. S. Roero (1983).


title: History of calculus

text: The method of exhaustion was independently invented in China by Liu Hui in the 4th century AD in order to find the area of a circle. In the 5th century, Zu Chongzhi established a method that would later be called Cavalieri's principle to find the volume of a sphere.


title: History of calculus

text: In the Middle East, Hasan Ibn al-Haytham, Latinized as Alhazen ( CE) derived a formula for the sum of fourth powers. He used the results to carry out what would now be called an integration, where the formulas for the sums of integral squares and fourth powers allowed him to calculate the volume of a paraboloid. Roshdi Rashed has argued that the 12th century mathematician Sharaf al-Dīn al-Tūsī must have used the derivative of cubic polynomials in his "Treatise on Equations". Rashed's conclusion has been contested by other scholars, who argue that he could have obtained his results by other methods which do not require the derivative of the function to be known.


title: History of calculus

text: Some ideas on calculus later appeared in Indian mathematics, at the Kerala school of astronomy and mathematics. Madhava of Sangamagrama in the 14th century, and later mathematicians of the Kerala school, stated components of calculus such as the Taylor series and infinite series approximations. However, they did not combine many differing ideas under the two unifying themes of the derivative and the integral, show the connection between the two, and turn calculus into the powerful problem-solving tool we have today.


title: History of calculus

text: The mathematical study of continuity was revived in the 14th century by the Oxford Calculators and French collaborators such as Nicole Oresme. They proved the "Merton mean speed theorem": that a uniformly accelerated body travels the same distance as a body with uniform speed whose speed is half the final velocity of the accelerated body.


title: History of calculus

text: Johannes Kepler's work "Stereometrica Doliorum" published in 1615 formed the basis of integral calculus. Kepler developed a method to calculate the area of an ellipse by adding up the lengths of many radii drawn from a focus of the ellipse.


title: History of calculus

text: A significant work was a treatise, the origin being Kepler's methods, published in 1635 by Bonaventura Cavalieri on his method of indivisibles. He argued that volumes and areas should be computed as the sums of the volumes and areas of infinitesimally thin cross-sections. He discovered Cavalieri's quadrature formula which gave the area under the curves "x" of higher degree. This had previously been computed in a similar way for the parabola by Archimedes in "The Method", but this treatise is believed to have been lost in the 13th century, and was only rediscovered in the early 20th century, and so would have been unknown to Cavalieri. Cavalieri's work was not well respected since his methods could lead to erroneous results, and the infinitesimal quantities he introduced were disreputable at first.


title: History of calculus

text: Torricelli extended Cavalieri's work to other curves such as the cycloid, and then the formula was generalized to fractional and negative powers by Wallis in 1656. In a 1659 treatise, Fermat is credited with an ingenious trick for evaluating the integral of any power function directly. Fermat also obtained a technique for finding the centers of gravity of various plane and solid figures, which influenced further work in quadrature.


title: History of calculus

text: In the 17th century, European mathematicians Isaac Barrow, René Descartes, Pierre de Fermat, Blaise Pascal, John Wallis and others discussed the idea of a derivative. In particular, in "Methodus ad disquirendam maximam et minima" and in "De tangentibus linearum curvarum" distributed in 1636, Fermat introduced the concept of adequality, which represented equality up to an infinitesimal error term. This method could be used to determine the maxima, minima, and tangents to various curves and was closely related to differentiation.


title: History of calculus

text: Isaac Newton would later write that his own early ideas about calculus came directly from "Fermat's way of drawing tangents."


title: History of calculus

text: The formal study of calculus brought together Cavalieri's infinitesimals with the calculus of finite differences developed in Europe at around the same time and Fermat's adequality. The combination was achieved by John Wallis, Isaac Barrow, and James Gregory, the latter two proving predecessors to the second fundamental theorem of calculus around 1670.


title: History of calculus

text: James Gregory, influenced by Fermat's contributions both to tangency and to quadrature, was then able to prove a restricted version of the second fundamental theorem of calculus, that integrals can be computed using any of a function’s antiderivatives.


title: History of calculus

text: One prerequisite to the establishment of a calculus of functions of a real variable involved finding an antiderivative for the rational function formula_1 This problem can be phrased as quadrature of the rectangular hyperbola "xy" = 1. In 1647 Gregoire de Saint-Vincent noted that the required function "F" satisfied formula_2 so that a geometric sequence became, under "F", an arithmetic sequence. A. A. de Sarasa associated this feature with contemporary algorithms called "logarithms" that economized arithmetic by rendering multiplications into additions. So "F" was first known as the hyperbolic logarithm. After Euler exploited e = 2.71828..., and "F" was identified as the inverse function of the exponential function, it became the natural logarithm, satisfying formula_3


title: History of calculus

text: The first proof of Rolle's theorem was given by Michel Rolle in 1691 using methods developed by the Dutch mathematician Johann van Waveren Hudde. The mean value theorem in its modern form was stated by Bernard Bolzano and Augustin-Louis Cauchy (1789–1857) also after the founding of modern calculus. Important contributions were also made by Barrow, Huygens, and many others.


title: History of calculus

text: Before Newton and Leibniz, the word “calculus” referred to any body of mathematics, but in the following years, "calculus" became a popular term for a field of mathematics based upon their insights. Newton and Leibniz, building on this work, independently developed the surrounding theory of infinitesimal calculus in the late 17th century. Also, Leibniz did a great deal of work with developing consistent and useful notation and concepts. Newton provided some of the most important applications to physics, especially of integral calculus.


title: History of calculus

text: By the middle of the 17th century, European mathematics had changed its primary repository of knowledge. In comparison to the last century which maintained Hellenistic mathematics as the starting point for research, Newton, Leibniz and their contemporaries increasingly looked towards the works of more modern thinkers.


title: History of calculus

text: Newton came to calculus as part of his investigations in physics and geometry. He viewed calculus as the scientific description of the generation of motion and magnitudes. In comparison, Leibniz focused on the tangent problem and came to believe that calculus was a metaphysical explanation of change. Importantly, the core of their insight was the formalization of the inverse properties between the integral and the differential of a function. This insight had been anticipated by their predecessors, but they were the first to conceive calculus as a system in which new rhetoric and descriptive terms were created.


title: History of calculus

text: Newton completed no definitive publication formalizing his fluxional calculus; rather, many of his mathematical discoveries were transmitted through correspondence, smaller papers or as embedded aspects in his other definitive compilations, such as the "Principia" and "Opticks". Newton would begin his mathematical training as the chosen heir of Isaac Barrow in Cambridge. His aptitude was recognized early and he quickly learned the current theories. By 1664 Newton had made his first important contribution by advancing the binomial theorem, which he had extended to include fractional and negative exponents. Newton succeeded in expanding the applicability of the binomial theorem by applying the algebra of finite quantities in an analysis of infinite series. He showed a willingness to view infinite series not only as approximate devices, but also as alternative forms of expressing a term.


title: History of calculus

text: Many of Newton's critical insights occurred during the plague years of 1665–1666 which he later described as, "the prime of my age for invention and minded mathematics and [natural] philosophy more than at any time since." It was during his plague-induced isolation that the first written conception of fluxionary calculus was recorded in the unpublished "De Analysi per Aequationes Numero Terminorum Infinitas". In this paper, Newton determined the area under a curve by first calculating a momentary rate of change and then extrapolating the total area. He began by reasoning about an indefinitely small triangle whose area is a function of "x" and "y". He then reasoned that the infinitesimal increase in the abscissa will create a new formula where (importantly, "o" is the letter, not the digit 0). He then recalculated the area with the aid of the binomial theorem, removed all quantities containing the letter "o" and re-formed an algebraic expression for the area. Significantly, Newton would then “blot out” the quantities containing "o" because terms "multiplied by it will be nothing in respect to the rest".


title: History of calculus

text: At this point Newton had begun to realize the central property of inversion. He had created an expression for the area under a curve by considering a momentary increase at a point. In effect, the fundamental theorem of calculus was built into his calculations. While his new formulation offered incredible potential, Newton was well aware of its logical limitations at the time. He admits that "errors are not to be disregarded in mathematics, no matter how small" and that what he had achieved was “shortly explained rather than accurately demonstrated."


title: History of calculus

text: In an effort to give calculus a more rigorous explication and framework, Newton compiled in 1671 the "Methodus Fluxionum et Serierum Infinitarum". In this book, Newton's strict empiricism shaped and defined his fluxional calculus. He exploited instantaneous motion and infinitesimals informally. He used math as a methodological tool to explain the physical world. The base of Newton’s revised calculus became continuity; as such he redefined his calculations in terms of continual flowing motion. For Newton, variable magnitudes are not aggregates of infinitesimal elements, but are generated by the indisputable fact of motion. As with many of his works, Newton delayed publication. "Methodus Fluxionum" was not published until 1736.


title: History of calculus

text: Newton attempted to avoid the use of the infinitesimal by forming calculations based on ratios of changes. In the "Methodus Fluxionum" he defined the rate of generated change as a fluxion, which he represented by a dotted letter, and the quantity generated he defined as a fluent. For example, if formula_4 and formula_5 are fluents, then formula_6 and formula_7 are their respective fluxions. This revised calculus of ratios continued to be developed and was maturely stated in the 1676 text "De Quadratura Curvarum" where Newton came to define the present day derivative as the ultimate ratio of change, which he defined as the ratio between evanescent increments (the ratio of fluxions) purely at the moment in question. Essentially, the ultimate ratio is the ratio as the increments vanish into nothingness. Importantly, Newton explained the existence of the ultimate ratio by appealing to motion;


title: History of calculus

text: “For by the ultimate velocity is meant that, with which the body is moved, neither before it arrives at its last place, when the motion ceases nor after but at the very instant when it arrives... the ultimate ratio of evanescent quantities is to be understood, the ratio of quantities not before they vanish, not after, but with which they vanish”


title: History of calculus

text: Newton developed his fluxional calculus in an attempt to evade the informal use of infinitesimals in his calculations.


title: History of calculus

text: While Newton began development of his fluxional calculus in 1665–1666 his findings did not become widely circulated until later. In the intervening years Leibniz also strove to create his calculus. In comparison to Newton who came to math at an early age, Leibniz began his rigorous math studies with a mature intellect. He was a polymath, and his intellectual interests and achievements involved metaphysics, law, economics, politics, logic, and mathematics. In order to understand Leibniz’s reasoning in calculus his background should be kept in mind. Particularly, his metaphysics which described the universe as a Monadology, and his plans of creating a precise formal logic whereby, "a general method in which all truths of the reason would be reduced to a kind of calculation."


title: History of calculus

text: In 1672, Leibniz met the mathematician Huygens who convinced Leibniz to dedicate significant time to the study of mathematics. By 1673 he had progressed to reading Pascal’s "Traité des Sinus du Quarte Cercle" and it was during his largely autodidactic research that Leibniz said "a light turned on". Like Newton, Leibniz saw the tangent as a ratio but declared it as simply the ratio between ordinates and abscissas. He continued this reasoning to argue that the integral was in fact the sum of the ordinates for infinitesimal intervals in the abscissa; in effect, the sum of an infinite number of rectangles. From these definitions the inverse relationship or differential became clear and Leibniz quickly realized the potential to form a whole new system of mathematics. Where Newton over the course of his career used several approaches in addition to an approach using infinitesimals, Leibniz made this the cornerstone of his notation and calculus.


title: History of calculus

text: In the manuscripts of 25 October to 11 November 1675, Leibniz recorded his discoveries and experiments with various forms of notation. He was acutely aware of the notational terms used and his earlier plans to form a precise logical symbolism became evident. Eventually, Leibniz denoted the infinitesimal increments of abscissas and ordinates "dx" and "dy", and the summation of infinitely many infinitesimally thin rectangles as a long s (∫ ), which became the present integral symbol formula_8.


title: History of calculus

text: While Leibniz's notation is used by modern mathematics, his logical base was different from our current one. Leibniz embraced infinitesimals and wrote extensively so as, “not to make of the infinitely small a mystery, as had Pascal.” According to Gilles Deleuze, Leibniz's zeroes "are nothings, but they are not absolute nothings, they are nothings respectively" (quoting Leibniz' text "Justification of the calculus of infinitesimals by the calculus of ordinary algebra"). Alternatively, he defines them as, “less than any given quantity.” For Leibniz, the world was an aggregate of infinitesimal points and the lack of scientific proof for their existence did not trouble him. Infinitesimals to Leibniz were ideal quantities of a different type from appreciable numbers. The truth of continuity was proven by existence itself. For Leibniz the principle of continuity and thus the validity of his calculus was assured. Three hundred years after Leibniz's work, Abraham Robinson showed that using infinitesimal quantities in calculus could be given a solid foundation.


title: History of calculus

text: The rise of calculus stands out as a unique moment in mathematics. Calculus is the mathematics of motion and change, and as such, its invention required the creation of a new mathematical system. Importantly, Newton and Leibniz did not create the same calculus and they did not conceive of modern calculus. While they were both involved in the process of creating a mathematical system to deal with variable quantities their elementary base was different. For Newton, change was a variable quantity over time and for Leibniz it was the difference ranging over a sequence of infinitely close values. Notably, the descriptive terms each system created to describe change was different.


title: History of calculus

text: Historically, there was much debate over whether it was Newton or Leibniz who first "invented" calculus. This argument, the Leibniz and Newton calculus controversy, involving Leibniz, who was German, and the Englishman Newton, led to a rift in the European mathematical community lasting over a century. Leibniz was the first to publish his investigations; however, it is well established that Newton had started his work several years prior to Leibniz and had already developed a theory of tangents by the time Leibniz became interested in the question.


title: History of calculus

text: It is not known how much this may have influenced Leibniz. The initial accusations were made by students and supporters of the two great scientists at the turn of the century, but after 1711 both of them became personally involved, accusing each other of plagiarism.


title: History of calculus

text: The priority dispute had an effect of separating English-speaking mathematicians from those in continental Europe for many years. Only in the 1820s, due to the efforts of the Analytical Society, did Leibnizian analytical calculus become accepted in England. Today, both Newton and Leibniz are given credit for independently developing the basics of calculus. It is Leibniz, however, who is credited with giving the new discipline the name it is known by today: "calculus". Newton's name for it was "the science of fluents and fluxions".


title: History of calculus

text: The work of both Newton and Leibniz is reflected in the notation used today. Newton introduced the notation formula_9 for the derivative of a function "f". Leibniz introduced the symbol formula_10 for the integral and wrote the derivative of a function "y" of the variable "x" as formula_11, both of which are still in use.


title: History of calculus

text: Since the time of Leibniz and Newton, many mathematicians have contributed to the continuing development of calculus. One of the first and most complete works on both infinitesimal and integral calculus was written in 1748 by Maria Gaetana Agnesi.


title: History of calculus

text: The calculus of variations may be said to begin with a problem of Johann Bernoulli (1696). It immediately occupied the attention of Jakob Bernoulli but Leonhard Euler first elaborated the subject. His contributions began in 1733, and his "Elementa Calculi Variationum" gave to the science its name. Joseph Louis Lagrange contributed extensively to the theory, and Adrien-Marie Legendre (1786) laid down a method, not entirely satisfactory, for the discrimination of maxima and minima. To this discrimination Brunacci (1810), Carl Friedrich Gauss (1829), Siméon Denis Poisson (1831), Mikhail Vasilievich Ostrogradsky (1834), and Carl Gustav Jakob Jacobi (1837) have been among the contributors. An important general work is that of Sarrus (1842) which was condensed and improved by Augustin Louis Cauchy (1844). Other valuable treatises and memoirs have been written by Strauch (1849), Jellett (1850), Otto Hesse (1857), Alfred Clebsch (1858), and Carll (1885), but perhaps the most important work of the century is that of Karl Weierstrass. His course on the theory may be asserted to be the first to place calculus on a firm and rigorous foundation.


title: History of calculus

text: Antoine Arbogast (1800) was the first to separate the symbol of operation from that of quantity in a differential equation. Francois-Joseph Servois (1814) seems to have been the first to give correct rules on the subject. Charles James Hargreave (1848) applied these methods in his memoir on differential equations, and George Boole freely employed them. Hermann Grassmann and Hermann Hankel made great use of the theory, the former in studying equations, the latter in his theory of complex numbers.


title: History of calculus

text: Niels Henrik Abel seems to have been the first to consider in a general way the question as to what differential equations can be integrated in a finite form by the aid of ordinary functions, an investigation extended by Liouville. Cauchy early undertook the general theory of determining definite integrals, and the subject has been prominent during the 19th century. Frullani integrals, David Bierens de Haan's work on the theory and his elaborate tables, Lejeune Dirichlet's lectures embodied in Meyer's treatise, and numerous memoirs of Legendre, Poisson, Plana, Raabe, Sohncke, Schlömilch, Elliott, Leudesdorf and Kronecker are among the noteworthy contributions.


title: History of calculus

text: Eulerian integrals were first studied by Euler and afterwards investigated by Legendre, by whom they were classed as Eulerian integrals of the first and second species, as follows:


title: History of calculus

text: but the integral converges for all positive real formula_15 and defines an analytic continuation of the factorial function to all of the complex plane except for poles at zero and the negative integers. To it Legendre assigned the symbol formula_16, and it is now called the gamma function. Besides being analytic over positive reals ℝ,  formula_16 also enjoys the uniquely defining property that  formula_18 is convex, which aesthetically justifies this analytic continuation of the factorial function over any other analytic continuation. To the subject Lejeune Dirichlet has contributed an important theorem (Liouville, 1839), which has been elaborated by Liouville, Catalan, Leslie Ellis, and others. Raabe (1843–44), Bauer (1859), and Gudermann (1845) have written about the evaluation of formula_19 and formula_20. Legendre's great table appeared in 1816.


title: History of calculus

text: The application of the infinitesimal calculus to problems in physics and astronomy was contemporary with the origin of the science. All through the 18th century these applications were multiplied, until at its close Laplace and Lagrange had brought the whole range of the study of forces into the realm of analysis. To Lagrange (1773) we owe the introduction of the theory of the potential into dynamics, although the name "potential function" and the fundamental memoir of the subject are due to Green (1827, printed in 1828). The name "potential" is due to Gauss (1840), and the distinction between potential and potential function to Clausius. With its development are connected the names of Lejeune Dirichlet, Riemann, von Neumann, Heine, Kronecker, Lipschitz, Christoffel, Kirchhoff, Beltrami, and many of the leading physicists of the century.


title: History of calculus

text: It is impossible in this article to enter into the great variety of other applications of analysis to physical problems. Among them are the investigations of Euler on vibrating chords; Sophie Germain on elastic membranes; Poisson, Lamé, Saint-Venant, and Clebsch on the elasticity of three-dimensional bodies; Fourier on heat diffusion; Fresnel on light; Maxwell, Helmholtz, and Hertz on electricity; Hansen, Hill, and Gyldén on astronomy; Maxwell on spherical harmonics; Lord Rayleigh on acoustics; and the contributions of Lejeune Dirichlet, Weber, Kirchhoff, F. Neumann, Lord Kelvin, Clausius, Bjerknes, MacCullagh, and Fuhrmann to physics in general. The labors of Helmholtz should be especially mentioned, since he contributed to the theories of dynamics, electricity, etc., and brought his great analytical powers to bear on the fundamental axioms of mechanics as well as on those of pure mathematics.


title: History of calculus

text: Furthermore, infinitesimal calculus was introduced into the social sciences, starting with Neoclassical economics. Today, it is a valuable tool in mainstream economics.


title: Louise Lombard

text: Louise Lombard (born Louise Marie Perkins; 13 September 1970) is an English actress. She is known for her roles as Evangeline Eliott in the BBC drama series "The House of Eliott" (1991–94) and Sofia Curtis in the CBS drama series "" (2004–11).


title: Louise Lombard

text: Lombard was born in Redbridge, London, England, the fifth of seven children. One of her siblings is former footballer Declan Perkins.


title: Louise Lombard

text: Lombard began taking drama lessons when she was eight. She attended Trinity Catholic High School, a Roman Catholic school, from which she achieved nine O Levels. Lombard studied English literature at Cambridge University.


title: Louise Lombard

text: Lombard is best known for playing Evangeline Eliott in the 1990s television drama "The House of Eliott". Her first big break was in the hit series "Chancer", after which Lombard went on to star in the television dramas "Bodyguards" and "Metropolis" and several films including "Gold in the Streets", "My Kingdom" and "After the Rain".


title: Louise Lombard

text: In 1994, she was named one of "People Magazine"s 50 Most Beautiful People in the World. From 1998 to 2000, Lombard took a career break to study English literature at Cambridge.


title: Louise Lombard

text: In 1998, Lombard starred in "Tale of the Mummy"; and, in 1999, she starred in the film "Esther", with F. Murray Abraham. In 1999 Lombard starred in "After the Rain" with Ariyon Bakare, Paul Bettany and Peter Krummack.


title: Louise Lombard

text: In 2004, Lombard appeared in the film "Hidalgo". In November that same year, Lombard began a recurring role on the television series "" during Seasons 5 and 6. She made her first appearance in Season 5, Episode 7 ("Formalities"), playing Sofia Curtis, a crime scene investigator who later becomes a homicide detective. In September 2006, in the Season 7 premiere ("Built to Kill, Part 1"), Lombard began a regular role which she held throughout that season, until its finale ("Living Doll"). In September 2007, Lombard appeared in the Season 8 premiere ("Dead Doll") and was credited as a Special Guest Star.


title: Louise Lombard

text: In 2009, Lombard appeared in the backdoor pilot episode of "", which aired during Season 6 of the main "NCIS" series; Episodes 22 ("Legend Part 1") and 23 ("Legend Part 2"). She played Special Agent Lara Macy in charge of the NCIS Office of Special Projects in Los Angeles.


title: Louise Lombard

text: In March 2011, TVLine announced that Lombard would reprise her role as Sofia Curtis on "CSI: Crime Scene Investigation" in the episode "Father of the Bride", which aired on 28 April 2011 and revealed that her character had been promoted to Deputy Chief.


title: Drive (2019 film)

text: Drive is a 2019 Indian Hindi-language action-heist film written, edited and directed by Tarun Mansukhani and produced by Hiroo Yash Johar, Karan Johar and Apoorva Mehta under Dharma Productions. Starring Sushant Singh Rajput, Jacqueline Fernandez, Vikramjeet Virk, Sapna Pabbi, Pankaj Tripathi and Boman Irani the story of the film revolves around the manhunt for an infamous 'King' for a robbery of 300 kilograms of gold. An undercover agent infiltrates a street racing gang who is chasing the King. The film was scheduled to release on 7 September 2018, but was pushed to 28 June 2019, ultimately to not see a theatrical release. It was directly released on Netflix on 1 November 2019. It marked the last film of Rajput before his death on 14 June 2020.


title: Drive (2019 film)

text: Vibha Singh is a corrupt bureaucrat in the Accounts Department of the Indian Government who pushes many of her clients into giving her the "percentages" of their money which may either have been stolen or confiscated. With the support of her assistant Hamid Ibrahim, she continues to do so and hides the money in a basement of the Rashtrapati Bhavan, which is only known to her, and resumes her lifestyle until she receives news from Kirit Ojha, the Honorary Secretary to the Prime Minister, that her help is needed critically by the Prime Minister for a certain task. Ojha sends his man, Irfan Ali to work with them and start an investigation from within their department to avoid being caught, as the investigation in question is against the notorious criminal King, who has recently stolen jewels from a jewelry house owner Mr. Mehta, and has claimed that his next target would be the Rashtrapati Bhavan. For the same, a hacker from the technical department, named Raj Naik, is chosen to decipher messages of the gang.


title: Drive (2019 film)

text: Hamid and Irfan go on to investigate a street racing gang whose members have been striving hard to get close to King. The gang, composed of the leader, Tara Loha, and her associates and friends Bikki Kumar and Naina Sethi, indulges in illegal street racing. While Irfan speculates that a certain Arjun can infiltrate the gang and earn more information on King, a man appears out of nowhere. The man, Samar, disrupts Tara when she tries to meet a recent street race winner, and wins Tara's trust by regaining the car given to him along with some money, when he loses both upon being caught by a policeman, Mukhtar Rathore. Through the very course of events that follows suit, Samar bonds well with Tara, Bikki, and Naina, holidaying with the group in Israel for the next few days, when Irfan realizes, along with Singh and Hamid, that several messages that they have been receiving ostensibly as customer care offer messages are actually coded messages. They ask Raj to decipher the rail code messages, and discover that King's loot is located near the Gopigunj police station. Tara receives the message and sets out with Bikki and Naina to retrieve it, with the police, headed by Irfan and Hamid, in hot pursuit, when it is revealed that the infiltrator, Arjun, was part of the street racing gatherings, and has been able to take the lead against the trio, but Tara, Bikki, and Naina are then saved by a mysterious entity, which is then revealed to be Samar himself. Admitting himself to be King, even as he used the name as a simple criminal alias to commit robberies, Samar gets the group going on the coveted Rashtrapati Bhavan robbery, which is aimed to get them their hands on Singh's money, and their plan begins to work, but days later, much close to the heist, Irfan realizes that Raj was actually allied with King, and puts him to interrogation, hampering the hacking aspects of the group's plan.


title: Drive (2019 film)

text: On the eve of the heist, Samar relays to Tara that he will legitimately convert the stolen money to diamonds and store them in the Museum of London, and even as Bikki and Naina get married, Samar gets an alternate plan ready to be executed. The heist works perfectly well when Irfan, Hamid, and Singh are put off their guard, with Singh being knocked unconscious and her money stolen, but during the mighty escape to the airport, where Tara fools Samar and make sure that he is caught by the police, which is when Tara reveals to him that "she" is King, and it was impulsive for her to betray him for all his smartness. Irfan and Hamid catch up with Samar and arrest him.


title: Drive (2019 film)

text: Two months later, Tara has changed her identity to a random Shahida Khan, and goes to the Bank of London, with Bikki behind her, to store her diamonds in a vault. However, on the spot, she sees Samar, disguised as a certain Lakhan Sharma, the vault manager, and soon realizes that Peter Tulip (Irfan), who then appears before her, was actually Samar's boss, and that Samar was let in on as the early Ojha. A shocked Tara, along with a helpless Bikki, then walks away with Samar and Irfan into the vault.


title: Drive (2019 film)

text: "The New Indian Express" reported that a party song for the film was being shot in Tel Aviv, Israel. Producer Karan Johar did not liked the film when the film was shot for the first time. So, a disappointed Johar decided to reshoot the film and this time also, Johar did not liked the film. So, it was decided that this film will not be released in theatres, instead, it will be released on OTT when Netflix bought the rights to the film.


title: Drive (2019 film)

text: In January 2019 a teaser released with showcasing the release date 28 July 2019 but got later postponed and further sold to Netflix. The film was released on 1 November on Netflix. The film is the first original film from Dharma Productions to release on Netflix.


title: Drive (2019 film)

text: The music is composed by Tanishk Bagchi, Amartya Bobo Rahut and Javed-Mohsin, while lyrics are written by Siddhant Kaushal, Ozil Dalal, Tanishk Bagchi, and Danish Sabri.


title: Drive (2019 film)

text: "Bollywood Hungama" gave 2 stars out of 5 and said, "'Drive" gives a déjà vu of many other films in this genre and fails to impress on account of confusing and unconvincing plot.' The Free Press Journal rated the movie 1 and a half stars on five and reviewed, ""Drive" is a film without logic and also without magic. It reminds you Bollywood's days of unimaginative cinema are far from over."


title: Drive (2019 film)

text: Uday Bhatia of LiveMint called the movie a lazy heist thriller. Saibal Chatterjee of NDTV rated the movie 1 on 5 stars and wrote, "Drive is so utterly pointless that one wonders why on earth it is on a streaming platform. That is a mystery. It will take some doing to crack. In the meantime, steer clear!" Shubhra Gupta of The Indian Express rated the movie 1 and a half stars on five and wrote, "Drive seems to have been strung up with influences from Hollywood films featuring sharp racing, sleek cars, and canny 'chors’, but has none of the smarts it is aiming at." Jyoti Sharma Bawa of the Hindustan Times stated "Drive is a lot like the name of its villain – terribly dated. You could build up men named King when they were fighting off others called Lion (or, to be precise, Loin). The film, with its gyrating blondes and street racing, is trying so hard to be the uber-cool racing-heist film but its soul is stuck in the 80s. If it has a soul, that is." Prathyush Parasuraman of Film Companion stated "Uncaring for craft or clarity, 'Dharma Productions’ latest film is a welcome addition to the gang of movies-that-are-so-bad-they-are-good".


title: Robert Trump

text: Robert Stewart Trump (August 26, 1948 – August 15, 2020) was an American businessman and investor. He was the younger brother of former U.S. President Donald Trump.


title: Robert Trump

text: Robert Trump was born in Queens, New York City, on August 26, 1948, to Fred Trump and Mary Anne MacLeod. He was the youngest of their five children; his siblings were Maryanne, Fred Jr., Elizabeth, and Donald. He graduated from St Paul's School in Garden City, Long Island. Trump attended Boston University, where he majored in economics; while there, he played soccer and was the MVP and team captain in 1969.


title: Robert Trump

text: Trump joined his father's business and came to manage the Trump Organization's real estate holdings outside of Manhattan.


title: Robert Trump

text: Following Mark G. Etess's death in an October 10, 1989, helicopter crash on a Garden State Parkway median in Lacey Township, New Jersey, Donald Trump appointed Robert Trump to serve in Etess's former position. Etess had been the top executive at the Trump Taj Mahal, Robert Trump's special sporting events coordinator, and was the master of super deals in sports and entertainment for Donald Trump.


title: Robert Trump

text: He served on the board of directors for ZeniMax Media, parent company to Bethesda Softworks, a position he occupied from 1999 until his death in 2020. During his tenure as a director, ZeniMax published several series, including "Fallout", "The Elder Scrolls", "Doom", and "Wolfenstein". His role at the company was highlighted by media outlets in the wake of the Parkland school shooting, when his brother linked video games to violence and subsequently met with various industry chiefs, including Robert Altman, CEO of ZeniMax. In addition to being a board member at ZeniMax, Trump was also an investor in the company.


title: Robert Trump

text: In the years prior to his death, Robert Trump was the president of Trump Management, a business owned by the Trump siblings, including Donald and Robert, as well as their sisters Maryanne Trump-Barry and Elizabeth Trump-Grau. At some point, Trump worked as a real estate developer.


title: Robert Trump

text: In June 2020, Robert Trump filed a lawsuit seeking to preclude the upcoming publication of the book by his niece, Mary L. Trump, "Too Much and Never Enough". Trump's lawsuit was based on a 2001 confidentiality agreement Mary Trump signed in settling a lawsuit related to her grandfather, Fred Trump's, will and estate.


title: Robert Trump

text: Justice Hal B. Greenwald of the New York Supreme Court ruled in July 2020 that the book's publisher, Simon & Schuster, was not a party to the 2001 NDA, and its rights to publish the book were not restricted by that agreement. Greenwald affirmed that Mary Trump's contract with the publisher gave her no ability to halt publication at that point. The book was published as scheduled on July 14, 2020.


title: Robert Trump

text: Robert Trump lived in Millbrook, New York. In 1984, Trump married Blaine Beard, whom he met at a Christie's fundraiser. He had a stepson Christopher Trump-Retchin. The two filed for divorce in 2007, and the divorce was finalized by 2009. Trump married his second wife, Ann Marie Pallan, in January 2020. Robert was a longtime friend of Robert A. Altman.


title: Robert Trump

text: In 1990, Donald Trump put Robert in charge of the Trump Taj Mahal casino in Atlantic City, New Jersey. The casino experienced significant problems with its grand opening, especially the slot machine financial controls, that took months to rectify. According to Jack O'Donnell, a former Trump Organization executive, at one of the meetings, "Donald Trump screamed at his brother, putting the blame for the slot machine debacle entirely on him."


title: Robert Trump

text: Robert Trump remained a loyal supporter of his brother's political career. In a 2016 interview, Robert Trump stated: "I support Donald one thousand percent." Fox commentator, Eric Bolling, following Robert's death, had stated that he and his wife Ann Marie Pallan were vigorous supporters of Donald. Trump himself stated on "Fox & Friends" that he was his biggest fan and would hear about his immense support from others too.


title: Robert Trump

text: In June 2020, Trump reportedly spent a week in intensive care at Mount Sinai Hospital in Manhattan. On August 14, 2020, the White House announced that he had again been hospitalized with a fatal stroke. Donald Trump visited him that day, later stating that Robert was seriously ill and was "having a hard time". Robert Trump died at NewYork–Presbyterian Hospital in Manhattan the following day, August 15, 2020, at age 71. "The New York Times" quoted a family friend as saying that Trump had recently started experiencing intracerebral hemorrhaging after a fall. Mary L. Trump, in an interview with Greenpeace a few days before his death, said that Robert had been sick and hospitalized "a couple of times in the last three months."


title: Robert Trump

text: In a written statement, Donald Trump said, "He was not just my brother, he was my best friend." A funeral service was held for Robert on August 21, 2020, in the East Room attended by 150 guests. This was the first time in almost a century that a president had held a funeral in the East Room. White House officials stated that all expenses would be privately paid by President Trump.


title: Title 18 of the United States Code

text: Title 18 of the United States Code is the main criminal code of the federal government of the United States. The Title deals with federal crimes and criminal procedure. In its coverage, Title 18 is similar to most U.S. state criminal codes, which typically are referred to by such names as Penal Code, Criminal Code, or Crimes Code. Typical of state criminal codes is the California Penal Code. Many U.S. state criminal codes, unlike the federal Title 18, are based on the Model Penal Code promulgated by the American Law Institute.


title: Title 18 of the United States Code

text: This statute covers a specific way to satisfy the Fifth Amendment (right to silence as a form of protection against self-incrimination) to the Constitution, but still force witnesses to testify. Basically, if a witness—whether in a federal court such as a United States District Court or in testimony before a Congressional subcommittee—refuses to answer questions and pleads the 5th, the presiding officer can use the provisions of Title 18 Chapter 601 to forcibly compel the witness to answer the questions. Since this would violate the 5th amendment rights of the witness, the statute requires that the presiding officer must mandatorily preserve those rights, by guaranteeing the witness immunity from prosecution for anything they might truthfully say under such compulsion. (The witness is being compelled to answer the questions truthfully—if they lie, they can be tried in court for perjury, but as long as they tell the truth, they are immune from being personally prosecuted for anything they might say—which is the reverse of the usual situation, where anything you say can and will be used against you in a court of law.)


title: Title 18 of the United States Code

text: Actually giving a particular witness guaranteed immunity as a means to compelling their testimony is somewhat involved; the details of how it is done vary depending on the particular branch of government hearing the testimony. If the witness is testifying before an agency (includes Army/Navy/AirForce/VA/DOD/HomeSec/StateDept, FCC/FTC, DOT/NTSB, DOE/NRC/COP/DeptOfTheInterior, SEC/CFTC/FedBoard/FDIC, NLRB/LaborDept/CommerceDept/AgDept, DOJ/Treasury, and many others), the presiding officer for the agency needs approval from the federal Attorney General before they can grant a witness immunity and compel testimony. In court cases, the federal district attorney (for the particular federal district court which has jurisdiction in the case) needs approval from either the federal attorney general directly or from a specific set of the federal attorney general's underlings. In the case of testimony before congress, the body hearing the testimony must vote on whether or not to give immunity as a means to compel testimony, before getting a federal district court to issue to compulsion order; for a subcommittee, two-thirds of the full membership must vote affirmative, whereas for testimony before an entire house of congress a simple majority of members present voting affirmative is acceptable. Although congress must notify the federal attorney general 10 days in advance of submitting their request for compulsion to the federal district court, the AG cannot veto the order (but they can at their option instruct the federal district court to delay issuing the compulsion order for a period up to 20 days total).


title: Tokyo Godfathers

text: Kon was inspired by the 1948 American film "3 Godfathers" to make the film. Unlike Kon's other films, "Tokyo Godfathers" contains no fantasy elements nor does it explore themes of the lines between fiction and reality, instead being grounded more in realism. However, as is typical of Kon's work, the film includes devices that are not straightforward, and Kon himself called it a twisted sentimental story.


title: Tokyo Godfathers

text: "Tokyo Godfathers" was released in Japan on November 8, 2003, and in North America on January 16, 2004.


title: Tokyo Godfathers

text: It won the Excellence Award at the 2003 Japan Media Arts Festival and Best Animation Film at the 58th Mainichi Film Awards.


title: Tokyo Godfathers

text: One Christmas Eve after watching a children's performance of the nativity scene, three homeless people – a middle-aged alcoholic man named Gin, a transgender woman named Hana, and a dependent teenage runaway girl named Miyuki – discover an abandoned newborn while searching through the garbage for presents. Deposited with the unnamed baby is a note asking the unknown finder to take good care of her and a key, leading to a bag containing clues to the parents' identity. The trio sets out to find the baby's parents. The baby is named Kiyoko by Hana, based on the Japanese translation of "Silent Night" literally meaning "pure child", as she is found on Christmas Eve. Outside a cemetery, the group encounters a high-ranking yakuza boss trapped under his car. The man happens to know the owner of the club where Kiyoko's mother used to work; his daughter is going to be marrying the club's owner that day. At the wedding reception, the groom tells them that the baby's mother is a former bar girl named Sachiko. He gives them Sachiko's address, but the party is interrupted when a maid, revealed to be a Latino hitman in disguise, attempts to shoot the bride's father. The hitman kidnaps Miyuki and baby Kiyoko while holding them hostage at gunpoint and takes them back to his home. There, Miyuki befriends the hitman's wife who happens to have a child of her own and they begin bonding (despite their language barrier). While looking through old photo albums, Miyuki tearfully confesses to fleeing her home after stabbing her over-controlling father Ishida when her beloved cat Angel went missing (believing that he had gotten rid of it).


title: Tokyo Godfathers

text: Hana searches for Miyuki and Kiyoko while Gin takes care of an elderly homeless man who is dying in the street. After giving Gin a little red bag, the old man peacefully passes away. Some teenagers show up and beat up Gin and the dead old man's corpse. Meanwhile, Hana finds the girls and they go off to find a place to stay. They go to Angel Tower, a club where Hana had worked at before quitting her job for assaulting a rude and intoxicated customer years ago. Gin, who was rescued by another member of the club, is also there. While there, it's learned that Hana had become homeless when her lover Ken had died from injuring himself after slipping on a bar of soap in the bathroom. The trio set out to find Sachiko's house, but they discover that it has been torn down. They are informed of the unhappy relationship between Sachiko and her husband, who is a gambling alcoholic. The group rests at a store until they are told to leave by the clerk. Hana collapses, and is taken by Gin and Miyuki to the hospital. Once at the hospital, Gin finds his estranged daughter, who is also named Kiyoko, working as a nurse. Hana berates Gin in front of his daughter and storms out of the hospital, with Miyuki following behind with baby Kiyoko in hand. Hana and Miyuki find Sachiko about to jump off a bridge. Sachiko insists that her husband got rid of the baby without her knowledge, and that they return the baby to her.


title: Tokyo Godfathers

text: Gin finds Sachiko's husband, who confirms a TV report Gin saw earlier that Kiyoko was actually stolen by Sachiko from the hospital. They chase after Sachiko and Kiyoko. After an intense car chase, Miyuki chases Sachiko to the top of a building. Sachiko reveals she became pregnant in hopes it would bring her closer to her husband. When her baby was stillborn, she decided to kidnap Kiyoko from the hospital's nursery, thinking, in her grief, the baby was hers. As Sachiko is about to jump off the building intending to commit suicide with Kiyoko in her hands, her husband comes out of his apartment, located just across the street, and begs her to start over with him. Sachiko jumps off nevertheless, but Miyuki manages to catch her before she falls, but then Sachiko accidentally drops Kiyoko. Hana jumps off the building after Kiyoko, catches the baby, and lands safely due to a miraculous gust of wind. Hana, Miyuki, and Gin are taken to the hospital. Miyuki hands Gin his cigarettes and drops the old man's small red bag on the floor, revealing a winning lottery ticket. Kiyoko's real parents want to ask the trio to become her godparents. When a police inspector introduces them to the trio, the inspector is revealed to be Miyuki's father.


title: Tokyo Godfathers

text: Japanese: Akiko Kawase, Akiko Takeguchi, Atsuko Yuya, Bin Horikawa, Chiyako Shibahara, Eriko Kawasaki, Hidenari Umezu, Kazuaki Itou, Masao Harada, Mitsuru Ogata, Nobuyuki Furuta, Toshitaka Shimizu, Tsuguo Mogami, Yoshinori Sonobe, Yuuto Kazama


title: Tokyo Godfathers

text: English (GKIDS): Crispin Freeman, David Manis, Erica Schroeder, Jaden Waldman, Jamieson Price, Jordan Cole, Kirk Thornton, Lexie Foley, Gloria Garayua, Marc Thompson, Michael Sinterniklaas, Orlando Rios, Philece Sampler


title: Tokyo Godfathers

text: During the production of "Millennium Actress", a producer from Madhouse asked Kon if he had any plans for his next film. After completing the film, Kon took two months to write and submit a brief proposal, which was immediately accepted by Madhouse.


title: Tokyo Godfathers

text: The original story and screenplay were written by director Satoshi Kon, and co-written by Keiko Nobumoto, known as the screenwriter of the TV drama series "Hakusen Nagashi" and the TV anime "Cowboy Bebop", and the creator of the TV anime "Wolf's Rain".


title: Tokyo Godfathers

text: Kon had previously asked Nobumoto to write the script for "Perfect Blue", but she was turned down at that time, citing her busy schedule.


title: Tokyo Godfathers

text: The animation director was Kenichi Konishi, who had worked on "My Neighbors the Yamadas" while at Studio Ghibli, and the Studio director was Shogo Furuya.


title: Tokyo Godfathers

text: While the previous two works focused on the progression of the story, this work prioritized the theatricality of the characters and their presence above all else in both the scenario and storyboarding.


title: Tokyo Godfathers

text: Although the story and theatrics are quite comical in appearance, the film was created not to return to the old-fashioned manga interpretation, but to aim for a manga interpretation that lies ahead after going through real-oriented animation.


title: Tokyo Godfathers

text: The film was produced in digital technology, and all of Kon's subsequent works are digital animation.


title: Tokyo Godfathers

text: The motif of "Tokyo Godfathers" is "coincidence" and "family," and the rough plot is about "three main characters who are not related by blood but live together as if they were a real family, and through a miraculous coincidence triggered by a baby, each of them recovers the connection with their original family that they have lost.


title: Tokyo Godfathers

text: "Tokyo Godfathers" does not adopt an overt "mixing of fiction and reality" motif, but a careful look reveals that the relationship between "fiction and reality" is conscious in this film as well.


title: Tokyo Godfathers

text: What Kon was conscious of in his direction was "meaningful coincidence", in other words, to create a chain of miraculous events to move the story forward.


title: Tokyo Godfathers

text: Kon writes in the press sheet, "This film is an attempt to restore in a healthy way the 'miracles and coincidences' that have been pushed into the other world by the weapons of scientific logic," and just as that sentence says, "meaningful coincidences" and "impossible events" happen one after another in "Tokyo Godfathers" .


title: Tokyo Godfathers

text: In other words, the idea of this film is that the "fiction" of "miracles and coincidences" can be found in the seemingly real life of the homeless in Tokyo. The director's aim is to portray a series of events that could never happen in reality with a sense of reality and persuasiveness that makes it seem possible.


title: Tokyo Godfathers

text: Kon said: "Homeless people, as the term implies, 'have no home,' but in this film, it is not just 'people who have lost their homes,' but also 'people who have lost their families,' and in that sense, this film is a story about recovering lost relationships with families." Kon chose homeless people as his protagonists because he had long been interested in the lives of homeless people. One of the triggers for Kon to come up with "Tokyo Godfathers" was the idea that they are born even in times of affluence, and at the same time, they are supported because the world is affluent, so they may be said to be kept alive by the city. The other idea was the idea of animism in the city, that even the buildings and alleys of the city may have a soul, and that the main characters step into the other world that overlaps the city. Based on a story in which three homeless people living like pseudo-families pick up a baby and try to return it to her parents, Kon imagined a story in which the trio enter a "different world" where strange coincidences occur in succession, and they recover their relationship with their families and society through their adventures, while another protagonist named "Tokyo" is watching over them. In fact, "landscapes that look like faces," in which the outdoor units of air conditioners and windows are used as eyes and mouths, are embedded in various cuts, which could be said to be the figures of the gods of the city staring at the main characters. These "faces" are not visible from the perspective of the characters, and only the audience can notice them. Kon has also created a fiction here. The film's background is a trick of overlapping two layers of information: "the city scenery = reality for the characters" and "the scenery with faces that only the audience can see = a kind of fiction", even though it is the same single picture.


title: Tokyo Godfathers

text: The setting of the three main characters, who are not blood related, had the condition that they look like a family. It was not so much an exaggeration as a suggestion of a "new image of the family in the future," but simply a suggestion that Kon's idea of a family with this kind of relationship might be acceptable. Kon's idea was to suggest that it is necessary to find a way for each person to have their own family, rather than a standardized model of what a new family should look like. Kon said that he did not intend to portray homeless people as representatives of weakness and unhappiness, or as a hindrance to society, and that the three are symbols of everyone's weaknesses and regrets rather than real homeless people. He also said they are unhappy not because they are homeless, but because their lives have lost their former glow, and that happiness lies in the process of recovery, which is the story of this work itself.


title: Tokyo Godfathers

text: This movie was released in North America by Sony Pictures on December 29, 2003 in an unsuccessful attempt to get an Academy Award nomination for Best Animated Feature. The movie was released on sub-only DVD on April 13, 2004, and they planned to use DTS for the DVD, but was ultimately scrapped. Announced on December 19, 2019, international animation licensor, GKIDS, in partnership with the original US distributor Destination Films, released the movie on March 9, 2020 with a brand new 4K restoration and a new English dub.


title: Tokyo Godfathers

text: The review aggregation website Rotten Tomatoes reported that 91% of critics have given the film a positive review based on 74 reviews, with an average rating of 7.1/10. The critics consensus states, "Beautiful and substantive, "Tokyo Godfathers" adds a moving – and somewhat unconventional – entry to the animated Christmas canon." On Metacritic, the film has a weighted average score of 73 out of 100 based on 25 critics, indicating "generally favorable reviews." Roger Ebert gave the film three stars out of four, calling it "harrowing and heartwarming."


title: Tokyo Godfathers

text: Susan Napier points out that "Tokyo Godfathers" is part of a trend in anime and manga as depicting families in an increasingly dark fashion, showcasing the problems with traditional families, and attempts by people to construct a "pseudo-family" out of an increasingly fragmented and isolating modern Japanese society. It is put forth that despite the seeming criticisms of traditional families throughout the film, it ends with a more conservative feeling as everyone returns to their traditional/original families. Despite its seemingly traditional ending, the film offers a more radical version of family. Throughout the story these three homeless vagabonds unknowingly form a "pseudo-family" to protect themselves from the outside world and to overcome their personal demons.


title: Jill Haworth

text: Valerie Jill Haworth (15 August 1945 – 3 January 2011) was an English-American actress. She appeared in films throughout the 1960s, and started making guest appearances on television in 1963. She originated the role of Sally Bowles in the musical "Cabaret" on Broadway in 1966.


title: Jill Haworth

text: Haworth was born in Hove, Sussex, to a textile magnate father and a mother who trained as a ballet dancer. She was named Valerie Jill in honour of the day she was born, Victory over Japan Day or V.J. Day. She took ballet lessons at the Sadler's Wells Ballet School to escape from an unhappy home when her parents separated in 1953. Later she attended the Corona Stage School.


title: Jill Haworth

text: Her first film appearance was in the remake of "The 39 Steps" (1959), directed by Ralph Thomas, when she had a non-speaking part as a schoolgirl. Next she played another schoolgirl in "The Brides of Dracula" (1960), directed by Terence Fisher.


title: Jill Haworth

text: Otto Preminger was seeking a new fresh face for the role of Karen Hansen, an ill-fated Jewish-Danish refugee girl in love with Dov Landau (Sal Mineo), for his film "Exodus" (1960). He travelled to Britain and Germany, with his fiancée Hope Bryce, searching for a girl to cast in the role. After looking at hundreds of girls, Preminger spotted a photo of Haworth in a modelling magazine for the Corona Theatre School.


title: Jill Haworth

text: Haworth went to the three auditions in order to get out of school. She was only 15 years old when she was cast as Karen Hansen in her first acting role in a feature film. Haworth appeared in the 31 July 1960 issue of "Parade" magazine. She and Mineo appeared on the front cover of the 12 December 1960 issue of "LIFE", part of a photo essay by Gjon Mili.


title: Jill Haworth

text: Under contract to Preminger (for five years), she also worked with him in "The Cardinal", (1963) as Lalage Menton, and "In Harm's Way" (1965), as Ensign Annalee Dorne, a Nurse Corps officer who, while engaged to Ensign Jeremiah Torrey (Brandon deWilde), commits suicide after being raped by Captain Paul Eddington, Jr. (Kirk Douglas). Haworth liked working with De Wilde, Patricia Neal, and Douglas, but called John Wayne "the meanest, nastiest man with the worst attitude I ever worked with." Wayne's other costars didn't share her opinion.


title: Jill Haworth

text: Preminger insisted that she live in New York City to become Americanized, but he did not want her to live in Los Angeles for fear she would just be a "starlet a-go-go". She was approached to be the title character in "Lolita" (1962) with James Mason, but because Preminger held her contract, he vetoed the idea.


title: Jill Haworth

text: Mineo and Haworth were also considered for the film "David and Lisa" (1962), but once again Preminger refused permission. Preminger let her make three French films; "Les Mystères de Paris" (as Fleur de Marie; 1962), "" (as Cécilia; 1963), and "Ton ombre est la mienne" (as Sylvie "Devi" Bergerat; 1963). Haworth co-starred alongside David McCallum in the" Outer Limits" episode, "The Sixth Finger" (1963). Haworth visited Mineo in Utah in November 1962 and had a nonspeaking role as an extra in "The Greatest Story Ever Told" (1965).


title: Jill Haworth

text: She made four appearances on the television programme "12 O'Clock High". In "The Sound of Distant Thunder," she played an English girl, Mary, who falls in love with Lieutenant Andy Lathrop (played by Peter Fonda). The same season, she played a deaf girl, Nora Burgess, in an episode entitled "To Heinie with Love". She then played Lieutenant Fay Vendry in two episodes, "Runway in the Dark" (1965) and "The Hotshot."


title: Jill Haworth

text: In 1965, she appeared in an episode of "The Rogues" entitled "Mr. White's Christmas" as Timothea, and really loved working with David Niven and Charles Boyer. She appeared in one of the final episodes of the series "Rawhide", "Duel at Daybreak", as Vicki Woodruff, alongside co-actors Clint Eastwood and Charles Bronson. Haworth hurt her back in an accident on the set when she jumped from a runaway buggy and team of horses. She then caught pneumonia and was bedridden for two months after standing waist-deep in a man-made pond for six hours doing retakes.


title: Jill Haworth

text: She starred in the horror films "It!" (1967), "The Haunted House of Horror" (1969), "Tower of Evil" (1972), "Home for the Holidays" (1972), and "The Mutations" (1974). She took a part in "It!" only for the money, hated her hair in the film, and hated the film altogether. Haworth liked working with Roddy McDowall, who brought her the poster for the film (on her opening night of "Cabaret"), and wrote "S-h" in front of the title.


title: Jill Haworth

text: While filming "It!" she met Hal Prince, who was doing research for a musical based on "Goodbye to Berlin" by Christopher Isherwood. Prince asked her if she could sing, to which she claimed, "Louder than Merman." She played Sally Bowles in the original Broadway cast of the 1966 musical "Cabaret", a part she played for almost two and a half years. Judi Dench took over the role when the production debuted in London in 1968. Haworth's other stage roles included "Bedroom Farce" and "Butterflies Are Free".


title: Jill Haworth

text: Haworth turned down working on "Hawaii Five-O" because of the reputation of the show's star, Jack Lord, for being a hard-driving perfectionist.


title: Jill Haworth

text: While making "Exodus", Haworth became friends, first, and then lovers, with Sal Mineo, and they remained friends until his death in 1976. She later told author Michael Michaud that she thought Courtney Burr III, who later had a long-term relationship with Mineo, was the "love of Mineo's life."


title: Jill Haworth

text: Haworth dated television producer Aaron Spelling in the summer of 1965, when he was 42 and she was 19. Spelling reportedly told friends that he hoped that Haworth would be the next Mrs. Spelling, but Haworth's mother, Nancy, reportedly "scoffed" at the idea.