Early life and education.

Jayapal was born in Madras (since renamed Chennai), India to Maya Jayapal, a writer, and her father MP Jayapal, a marketing professional. She spent most of her childhood in Indonesia and Singapore. She immigrated to the United States in 1982, at the age of 16, to attend college. She earned a baccalaureate from Georgetown University and an MBA from Northwestern University.  Jayapal worked with PaineWebber as a financial analyst after graduation from Northwestern. While at PaineWebber she began to work on development projects from Chicago to Thailand. Later, she briefly worked in sales and marketing for a medical company before moving into the public sector in 1991.

Advocacy work.

Jayapal founded Hate Free Zone after the 2001 September 11 attacks as an advocacy group for immigrant groups. Hate Free Zone registered new American citizens to vote and lobbied on immigration reform and related issues. They successfully sued the Bush Administration's Immigration and Naturalization Services to prevent the deportation of over 4,000 Somalis across the country. The group changed its name to OneAmerica in 2008. Jayapal stepped down from her leadership position in May 2012. In 2013 she was recognized by the White House as a "Champion of Change."  On June 29, 2018, Jayapal participated in Women Disobey and the sit-in at the Hart Senate Office Building to protest the Trump administration’s “zero-tolerance” approach to illegal immigration. The protest resulted in the arrest of over 500 people, including Jayapal. She said she was "proud to have been arrested" for protesting the administration’s "inhumane and cruel" policy.

Early political career.

Jayapal served on the Mayoral Advisory Committee that negotiated Seattle's $15 minimum wage, and co-chaired the Mayor's police chief search committee, which resulted in the unanimous selection of the city's first woman police chief.  After State Senator Adam Kline announced his retirement in early 2014, Jayapal entered the race to succeed him. She was endorsed by Seattle Mayor Ed Murray and won more than 51% of the vote in the August 5 primary, out of a field of six candidates. She went on to defeat fellow Democrat Louis Watanabe in November 2014.  In the Washington State Senate, Jayapal was the primary sponsor of SB 5863, which directs the Washington State Department of Transportation to administer a pre-apprenticeship program targeting women and people of color; the bill passed into law in July 2015. She co-sponsored a bill to test and track thousands of police department rape kits.  Jayapal endorsed Senator Bernie Sanders for President of the United States in the 2016 Democratic primaries.

U.S. House of Representatives.

Elections.

In January 2016, Jayapal declared her candidacy for Congress in Washington's 7th congressional district, after Congressman Jim McDermott announced his retirement. In April, she received an endorsement from Bernie Sanders. On August 2, 2016, Jayapal finished first in the top-two primary, alongside state representative Brady Walkinshaw, also a Democrat. This was the first time in the state's history that a federal seat was contested by two Democrats. In the final weeks of the race, Jayapal and her supporters contested claims from Walkinshaw that she had not advanced enough legislation. Jayapal won the general election with 56 percent of the vote.

Tenure.

Jayapal is a co-sponsor of legislation intended to make public colleges and universities tuition-free for most families and to significantly reduce student debt. She and Rep. Jamie Raskin (D-MD) introduced the Trump Transparency Package, a series of bills aimed at promoting transparency and eliminating conflicts of interest in the Trump White House. Jayapal and her fellow co-chairs of the United for Climate and Environmental Justice Task Force also introduced a package of environmental justice bills to fight the impact of climate change on frontline communities. Jayapal is a supporter of universal healthcare and co-sponsor of Expanded and Improved Medicare For All Act. On April 16, 2018, Jayapal joined Justice Democrats.  During the inauguration of President Donald Trump, Jayapal met with constituents in her congressional district instead of attending the ceremony. "The Nation" called her "a leader of the resistance," quoting Minority Leader Nancy Pelosi calling Jayapal "a rising star in the Democratic caucus." In September, Rep. Don Young (R-AK) apologized to Jayapal after calling her "young lady" in an exchange that went viral. Jayapal has described facing sexism from colleagues in Congress.  Jayapal voted against a House resolution condemning the U.N. Security Council resolution on Israeli settlements built on the occupied Palestinian territories in the West Bank. In July 2019, Jayapal voted against H. Res. 246 - 116th Congress, a House resolution introduced by Congressman Brad Schneider (D-IL) opposing efforts to delegitimize the State of Israel and the Global Boycott, Divestment, and Sanctions Movement targeting Israel. The resolution passed 398-17.  On April 25, 2018, 57 members of the House of Representatives, including Jayapal, released a condemnation of Holocaust distortion in Ukraine and Poland. They criticized Poland’s new Holocaust law, which would criminalize accusing Poles of complicity in the Holocaust, and Ukraine’s 2015 memory laws glorifying Ukrainian Insurgent Army (UPA) and its pro-Nazi leaders, such as Roman Shukhevych.  In April 2019, after the House passed the resolution withdrawing American support for the Saudi-led coalition in Yemen, Jayapal was one of nine lawmakers to sign a letter to President Trump requesting a meeting with him and urging him to sign "Senate Joint Resolution 7, which invokes the War Powers Act of 1973 to end unauthorized US military participation in the Saudi-led coalition's armed conflict against Yemen's Houthi forces, initiated in 2015 by the Obama administration." They asserted the "Saudi-led coalition's imposition of an air-land-and-sea blockade as part of its war against Yemen’s Houthis has continued to prevent the unimpeded distribution of these vital commodities, contributing to the suffering and death of vast numbers of civilians throughout the country" and that Trump's approval of the resolution through his signing would give a "powerful signal to the Saudi-led coalition to bring the four-year-old war to a close".  In June 2019, Jayapal became the first South Asian American woman to preside over the House.  In December 2019, Jayapal introduced a bill in US Congress to urge India to lift curbs on communications in Kashmir. These curbs were introduced as part of revocation of the special status of Jammu and Kashmir in August 2019. Later in December 2019, the Foreign Minister of India cancelled the meeting with US lawmakers citing inclusion of Jayapal on the invitee list. The bill has seen no movement since its introduction in US Congress.  On January 20, 2020, Martin Luther King Jr. Day, Jayapal officially announced her endorsement of Senator Bernie Sanders for President of the United States in the 2020 Democratic presidential primaries.  Co-chair, Congressional Progressive Caucus

Committee memberships.

Jayapal is also a member of the Congressional Asian Pacific American Caucus.

Personal life.

Jayapal became a U.S. citizen in 2000. She is the author of "Pilgrimage: One Woman's Return to a Changing India", published in March 2000.  Jayapal lives in Seattle with her husband Steven R. Williamson. Janak, Jayapal's child from a previous marriage, is gender non-binary. In 2019 Jayapal for the first time publicly wrote that she had chosen to abort a pregnancy because the pregnancy would risk her and the potential child's health.  Jayapal's older sister Susheela has served on the Multnomah County Commission since 2019.

Pramila Jayapal (; born September 21, 1965) is an American politician serving as the U.S. Representative for since 2017. A member of the Democratic Party, her district includes most of Seattle as well as suburban areas of King County. Jayapal previously represented the 37th legislative district in the Washington State Senate from 2015 to 2017. She is the first Indian-American woman to serve in the U.S. House of Representatives. The district's first female member of Congress, she is also the first Asian American to represent the State of Washington at the federal level.

Pramila Jayapal, née le dans la ville indienne de Madras (aujourd'hui Chennai), est une femme politique américaine membre du Parti démocrate. Elle est élue pour le district de l'État de Washington à la Chambre des représentants des États-Unis depuis 2016.


Life.

Details about the life and training of Adam de Coster are sketchy. It is known he was originally from Mechelen where he was born in the year 1585 or 1586 as the son of Jan de Coster and Clara van der Borcht. In 1607 he is recorded in Antwerp on his admission as a master to the local Guild of Saint Luke. Despite the lack of documentary evidence, it is assumed that de Coster travelled to Italy in his formative years. Here he would have been in touch with the works of Caravaggio and his followers, which would have such an important influence on his style and subject matter. Some of the recently rediscovered works of de Coster were part of Italian collections, which also points to a possible residence in Italy. Certain correspondences between his paintings and those of the Lombard artist Antonio Campi also point to a possible sojourn in Italy. The only evidence for any foreign travel is a document which places him in Hamburg in 1635. De Coster did have strong personal ties with Italy as some of his close relatives emigrated to Italy where they worked as painters.  He spent his active career in Antwerp where he seems to have enjoyed a high reputation. This is confirmed by the fact that Anthony van Dyck painted his "" in "grisaille" and an freely cut after this portrait by Pieter de Jode II was included in van Dyck's "Iconography" (Icones Principum Virorum), a collection of portraits of leading personalities of van Dyck's time. Below his portrait de Coster is described as a "Pictor Noctium" i.e. a 'Painter of Nights', a clear reference to his preference for tenebrist scenes. It demonstrates that his reputation as a painter of night scenes had been established firmly in Northern Europe by the 1630s. The artist did not have any known pupils. His name was largely forgotten after his death and his work attributed to other artists.

Work.

Adam de Coster was not in the habit of signing or dating his works. As a result, many of his works were attributed to other Caravaggisti. His oeuvre has been reconstituted mainly on the basis of an engraving made by Lucas Vorsterman the Elder (1595–1675) after the lost painting "". The engraving depicted tric-trac players and a musician illuminated by two burning candles on a table. The engraving states in the lower margin: "A De Coster pi:", which shows that it was engraved after an original work by de Coster. This work provided the basis for the attribution of further paintings. The English art historian Benedict Nicolson played an important role in the rediscovery of the artist and the re-attribution of works to de Coster. Adam de Coster's oeuvre is mainly composed of genre paintings with half-length figures and dramatic light effects. He preferred stark chiaroscuro and returned time and again to the motif of half-length figures illuminated by candlelight. He was clearly familiar with the work of Caravaggio and his followers and in particular the Utrecht Caravaggists. De Coster's paintings show a certain affinity with those of Georges de La Tour and other French variations of the tenebrist movement in Caravaggism. More direct influences, however, are Gerard Honthorst and Antonio Campi. He often used the trope of the half-masked flame in his compositions.  His subjects are those that one typically finds with Caravaggio and his followers: card sharps, fortune tellers, prostitutes, musical performances, the denial of St Peter etc. De Coster returned to certain themes regularly and various versions of the "Denial of St Peter" and the "Card Players" exist. He also painted "" (Statens Museum for Kunst), which is possibly a double portrait of Francois Duquesnoy and Georg Petel. This suggests he was also active as a portrait painter. A fine example of his work is the "Three Singers" (Liechtenstein Collections). In this work de Coster depicts a musical performance by three singers who are singing from the same songbook. The three musicians are drawn with fine yet sharp features, against the background of a red curtain. They are illuminated from below by a source of light outside the picture. De Coster shows his mastery in the sensuous rendering of the fabric of the female singer's dress and the way it catches the light. Another composition with a musical theme is "A Man Singing by Candlelight" (1625-1635) (National Gallery of Ireland). Here de Coster used the device of the covered light source to create splendid lighting effects on the costume. The singer is depicted with half-open mouth heightening the sense of drama and the realism of a captured moment in time. It is likely that the figure is a life study. Closely related to this work is (At Sotheby's 25 January 2017 in New York, lot 23), another composition depicting a single figure lit by the flame of what appears to be the same candle stick. The similarities between the two compositions illustrates de Coster's reworking of a successful compositional prototype.

Adam de Coster (c. 1586 in Mechelen – 4 May 1643 in Antwerp) was a Flemish painter who was a prominent member of the Antwerp Caravaggisti. These Caravaggisti were part of an international movement of European artists who interpreted the work of Caravaggio and the followers of Caravaggio in a personal manner. He is mainly known for his genre scenes with strong chiaroscuro effects. He was called a "Pictor Noctium", i.e. a 'Painter of Nights' because of his preference for tenebrist scenes.

Adam de Coster, né à Malines vers 1586 et mort à Anvers en 1643, est un peintre brabançon de l’époque baroque.


Early life and career.

Saeroen was born in Yogyakarta, Dutch East Indies, to a courtier ("abdi dalem") and his wife. After failing to complete his schooling at two different elementary schools, during which time he worked cleaning horse-drawn carriages and delivering newspapers, he passed a written test equivalent to an elementary school diploma. He then went to Batavia (modern-day Jakarta) to work at a train station. After several months he was asked to work at the railway employees' news publication, "Vereniging van Spoor-en TramPersoneel".  Interested in the press, Saeroen left his job and became involved with several mainstream publications, including the Chinese-owned "Siang Po" and "Keng Po". He later established the daily "Pemandangan" with Raden Hajji Djunaedi, writing heated editorials with the pen name Kampret (the Indonesian word for microbats). At the time editorials were mainstays of minor publications, and several reporters were better known by their pen names than their birth names. Although the newspaper's circulation grew quickly, Saeroen's editorials led to "Pemandangan" being closed by the Dutch colonial government in the mid-1930s. This reportedly followed a nationalist editorial in which Saeroen described Mohammad Husni Thamrin as prime minister of a "United Indonesian Republic".

Film career.

With "Pemandangan" closed and the newly established "Antara" news agency gaining greater strength, Saeroen was asked to head the native desk at the Dutch-run news agency Aneta, where he also served as a translator. Around 1936 Saeroen was approached by Albert Balink and the Wong brothers to work on their new film collaboration, "Terang Boelan" ("Full Moon"), reportedly first only to improve the dialogue but later as the primary scriptwriter. As Saeroen had had experience with the popular "toneel" theatrical troupes, he was able to write a story which drew on theatre traditions and became popular among natives. The film, a love story starring Rd. Mochtar and Roekiah, was a commercial success, earning 200,000 Straits dollars in British Malaya; it proved to be the most successful production in the area until 1953's "Krisis" ("Crisis"), released after Indonesia had become independent.  After the success of "Terang Boelan" and Balink's emigration to the United States, much of the cast and crew – including Saeroen – were signed with Tan's Film. Saeroen's first film with the company, "Fatima" (1938), was a commercial success, earning 200,000 gulden on a 7,000 gulden budget. Around 1939 he was arrested for influencing the national media with Japanese funds, spending nine months in prison. During that year he also wrote "Gagak Item" ("Black Raven") for Tan's, a work inspired by Zorro.  Over the following two years Saeroen wrote four further films while continuing to write in "Pemandangan", which had been reestablished. In 1940 he wrote two films for Union Film: "Harta Berdarah" ("Bloody Treasure"), a story about an accursed treasure; and "Bajar dengan Djiwa" ("Pay with Your Soul"), a drama following the interactions between several families, including the philanthropist Basuki and the ne'er-do-well Umar. A further film was completed for the company in 1941, "Asmara Moerni". In 1942 Saeroen wrote two works for Star Film: "Ajah Berdosa" ("Father Sins"), and "Pah Wongso Tersangka".

Later life.

Saeroen's activities during the Japanese occupation (1942–1945) and ensuing national revolution (1945–1949) are not known. He resurfaced in 1953 as a writer for several newspapers, including "Lukisan Dunia", "Dewan Rakjat", and "Warta Bogor" – the last of which he published himself. These writings were again published using the pen name Kampret.  Over the next several years Saeroen continued to work as a journalist while opening several hotels in Cipayung with bat-themed names, including Kampret, Kalong (flying foxes), and Kelelawar (roundleaf bats); he is also reported to have helped raise the children of Titien Sumarni after the actress' death. Saeroen died in Bogor, West Java, on 6 October 1962.

Filmography.

All as a screenwriter:

Saeroen (Perfected Spelling: Saerun; fl. 1920s–1962) was an Indonesian journalist and screenwriter. Born in Yogyakarta, he became a journalist after a time working at a railway station. By the mid-1930s he had established the daily "Pemandangan" with Raden Hajji Djunaedi and was writing editorials with the pen name Kampret. When the paper was dissolved, Saeroen drifted into the film industry as a writer, making his debut with Albert Balink's "Terang Boelan" (1937). Much of his later life was spent working with several minor publications.

Saeroen (né dans les années 1920 à Yogyakarta et mort le à Bogor) est un journaliste et un scénariste de films indonésien.


Overview.

Many of Lamaní's residents own farms where they raise cows and other livestock. Farmers also cultivate rice, beans, corn, coffee, tomato, cucumbers,eggplants,among other crops.  Some residents immigrate to the United States to work and provide income to their families. Being a small town, Lamaní immigrants know each other and tend to stay in touch, sometimes forming neighborhoods with a lot of Lamaní immigrants in the United States.  It has recently undergone changes to its physical and communications infrastructure, such as paving of roads, access to the internet, cable television service, etc. They have their own medical clinic and preparatory schools. Some studious residents have turned out to be lawyers, doctors, engineers, and even soccer players, most notably Fernando "Azulejo" Bulnes, who played for Atlético Español of Tegucigalpa in 1965-1966.

Climate.

Temperatures can range anywhere within the 32 degrees Celsius range to as low as 4 degrees Celsius.

Transport.

Lamaní is to experience further construction, as an international highway is to be built beside the town. This highway is to connect the northern coast of Honduras and continue into El Salvador.

Events.

Lamaní has two main festivities throughout the year. Christmas is celebrated throughout 4 days, often hosting bullfights in two town stadiums, simultaneously. One is sanctioned by a private party, the other is sanctioned by the municipality of Lamani. Thousands of people attend these bullfights. The other is called El Dia De La Virgen del Carmen, which celebrates the patron saint of Lamani. It is celebrated much in the same fashion that Christmas is celebrated.

Lamaní is a municipality in the Honduran department of Comayagua. It is located about 25 minutes from the City of Comayagua, in the vicinity of the Piedra Parada Mountain.

Lamaní est une municipalité du Honduras, située dans le département de Comayagua. Elle est fondée en 1864. En 2009, la municipalité comprend 7 villages et 64 hameaux.


Club career.

Born in Nova Hartz, Rio Grande do Sul, Ruschel started his career at Juventude. He made his senior debut on 20 January 2009, starting in a 1–0 Campeonato Gaúcho home win against Sapucaiense.  Despite appearing regularly in the year's "Gauchão", Ruschel never established himself a starter for Juventude, and subsequently served loans at Pelotas and Luverdense. In May 2013, he joined Chapecoense permanently.  On 3 July 2013, Ruschel was caught in a doping exam, and was suspended for six months on 6 August. On 26 December of that year, however, he signed for Série A club Internacional.  A backup to Fabrício, Ruschel made his top tier debut on 14 September 2014 by starting in a 2–0 home win against Botafogo. The following 8 January, he signed a new three-year deal with the club.  On 6 August 2015, Ruschel was loaned to fellow top-tier club Atlético Paranaense, until December. After appearing in just one match, he suffered a knee injury and his loan was cut short.  On 7 June 2016, Ruschel returned to "Chape", now in a temporary deal until the end of the campaign. He acted as a second-choice to Dener as his side reached the 2016 Copa Sudamericana Finals for the first time ever.

LaMia Flight 2933 accident.

On 28 November 2016, whilst travelling with Chapecoense to the aforementioned finals, Ruschel was one of only six survivors of the LaMia Flight 2933 accident in the Colombian village of Cerro Gordo, La Unión, Antioquia. The first person to arrive at the hospital, he had a back injury which was later fixed through surgery. A few days later, a video was recorded with Ruschel walking again.  On 7 August 2017, Ruschel played his first match since the incident, playing in the 2017 Joan Gamper Trophy for the first 35 minutes and receiving a standing ovation along with his other 2 surviving teammates.

Alan Luciano Ruschel (; born 23 August 1989), known as Alan Ruschel, is a Brazilian professional footballer who plays for and captains Chapecoense, as a left back and midfielder.

Alan Luciano Ruschel (né le à Nova Hartz dans le Rio Grande do Sul) est un footballeur brésilien, qui évolue en tant que défenseur.


Biography.

Early life.

Blanco is the daughter of musician Billy Blanco Junior and musician and English teacher Maria Claudia Blanco. She is the granddaughter of Billy Blanco, who was a successful bossa nova artist. Blanco was born in São Paulo and currently resides in Rio de Janeiro. She was raised in a large family of musicians; she has an older brother Pedro Sol and four younger siblings: Ana Terra, Estrela, Daniel, and Marisol. They were home-schooled by their mother in both English and Portuguese. The family moved often, including living in Peru for two years. The children entertained themselves with music and social projects.  She performed in musicals at a very young age in a band with her parents and siblings. Blanco and her siblings recorded an album called "O Trem do Arco-Íris" (The Rainbow Train), composed of children's songs in Portuguese and English.

Early career (2005–2006).

After recording a CD, "Família Blanco – É Natal" (It's Christmas) (2004), when Blanco turned 18, she and her family group began performing in bars and other small venues in Rio de Janeiro. Their repertoire consisted of bossa nova and The Beatles songs. In 2006, while in college, Blanco toured with her new band, Lágrima Flor (Flower's Tear), for which she was vocalist and composer. (The name of the band was a tribute to a song of her grandfather, introducing his work to a new generation.) After five years she left the band for other projects.

Theatre, television and film (2008–2010).

Blanco took courses to improve her talents: singing lessons with Professor Carol Savoy; Theatrical Interpretation at Casa de Cultura Laura Alvim, with Daniel Herz (2008–2009); Diving Theatre, the CAL course with Isaac Bernat, Claudia Melle and Renata Frisina (2009); Interpretation Workshop with Walter Lima to Cinema (2009); training workshop for "Rebelde" on TV Record, with Roberto Bomtempo (2010); workshop with the casting director Sergio Penna (2013).  Blanco began acting in 2008; her first stage role was Isolde in "Romeu e Isolda". That same year, she appeared in the Rede Globo telenovela "Três Irmãs" ("Three Sisters"), playing surfer Bia.  In 2009, Blanco returned to theater, cast as the character Mariana in the musical "O Despertar da Primavera" ("Spring Awakening") by Frank Wedekind; the musical produced a Latin version revived by Charles Moeller and Cláudio Botelho. Among the three thousand auditioned, Blanco and her siblings Pedro Sol and Estrela were among the 19 finalists. In 2010, they released a soundtrack album for the musical. Blanco also played rock-musician Joe in the Globo telenovela "Malhação" and joined the cast of young presenters for "TV Globinho".  In 2010, Blanco played Grace in the Globo telenovela "As Aventuras do Didi" (The Adventures of Didi). She re-recorded the hits "A Thousand Miles" by Vanessa Carlton and "Umbrella" by Rihanna, released on "Relaxing Bossa – Volume 4". Blanco also came to rehearse for Natália in the play "Confessions of a Teenager" based on the book series of author Maria Mariana, but because of other commitments she could not continue in the show.  In the beginning of 2011, she debuted as Talia in the feature film "Teus Olhos Meus" ("Soulbound" ), which was directed and written by Caio Sóh.

Success in "Rebelde" (2011–2013).

Blanco became known for playing Roberta Messi, one of the protagonists on the Brazilian version of the telenovela "Rebelde" ("Rebel" ). Written by Margareth Boury and directed by Ivan Zettel, it was inspired by the eponymous Mexican telenovela by Pedro Damián. Auditions lasted four months and in late 2010, Blanco was chosen as one of the finalists. She completed a series of tests including acting, dancing, and singing to play the rebellious character Roberta. "Rebelde" portrayed the everyday life of young people living at a prestigious boarding school, facing typical teenage drama beyond the main storyline, such as alcoholism, bullying, eating disorders, and family problems. The telenovela premiered on March 21, 2011 and completed its final episode on October 12, 2012; the series was divided into two seasons and was broadcast in 410 episodes.  Blanco and the other five lead "Rebelde" actors – Arthur Aguiar, Chay Suede, Mel Fronckowiak, Micael Borges and Sophia Abrahão – were also the vocalists for the Rebeldes band. They were signed to Rede Record to tour and record along with TV series, and performed about 90 shows in Brazil over three years. The first Rebel Tour (October 30, 2011 – January 30, 2012) had shows conclude with Blanco singing "Firework" by Katy Perry for up to 90 thousand spectators. Following the telenovela's conclusion, the Farewell Tour "Nada Pode Nos Parar" (Nothing Can Stop Us) (January 30, 2012 – August 18, 2012) showed an audience demand that allowed for multiple tour extensions. They chose to perform ten days of concerts in the northeast, then launched the "Turne Asepxia" (Tour Asepxia) (August 25 – September 23, 2012). Lastly, the Rebels "Forever Tour" began in September 2012, revisiting cities for additional farewell concerts.  On September 23, 2011, the band's album "Rebeldes" was released, selling about 120,000 copies and earning platinum certification. The music video for the single "The Way I Am" was released in December of the same year.

Achievements with Rebeldes.

In early 2012, the six lead actors recorded commercials for specialized products to combat pimples. Months afterwards when the ads aired, they learned that Asepxia was an official sponsor of the band.  On April 11, the band launched its first live album and DVD, Rebels Live, taken from show recordings in São Paulo. It sold 40,000 copies for gold certification, and a DVD equivalent of 50,000 copies for platinum. Together they yielded 140,000 copies. With the DVD they released a music video for the song "Nada Pode Nos Parar". In June, "After the Rain" became another hit single. On December 9, 2012, the band released a studio album, "Meu Jeito, Seu Jeito" (My Way, Your Way).  In 2012, Blanco appeared in the video "It was the Chosen" by her former band, Lágrima Flor, as an actress.  Rebeldes' final show was in Belo Horizonte on May 4, 2013.

2013–present.

At the beginning of 2013, Blanco recorded a duet with singer João Teles of Pietros for "Todo Dia" (Every Day), released in April, and appeared in the music video. She made another duet with Rodrigo Fragoso, "Tudo Vai Mudar" (Everything Will Change).  In 2013, Blanco returned to theater in the role of Anne, a protagonist of the comedy "Stand Up" with Matheus Souza, who directed and wrote the play. The show was successful and extended for another season. In the same year, she participated in the musical "As Coisas Que Fizemos e Não Fizemos" (The Things We Did and Did not Do) as Paula, where she worked with actress Giselle Batista and Matheus Souza (who wrote and directed the show).  In July–August 2013, Lua made a cameo in the last two performances of "Tudo por um Popstar" (Everything for a Popstar) in Rio de Janeiro and three performances in São Paulo. The play portrayed the adventures of three friends who travel to the capital to watch the show of their biggest pop idols. Blanco took the stage with the cast to sing "I'm Yours" by Jason Mraz, a song and video she recorded with the Pietros band (who also attended), plus "Meu Jeito Seu Jeito" (My Way, Your Way) from the Rebeldes catalog.  Blanco recorded the song "Turnaround" for the film "A Brasileira" (The Brazilian). The film's producers were Uri Singer and Fabio Golombek, and starring actors included Fernanda Machado, Greg Tuculescu, Dean Cain, Mariel Hemingway, and Scott Rodgers.  Blanco returned to telenovelas in "Pecado Mortal" ("Mortal Sin"), which debuted on September 25, 2013. Blanco radically changed her look for the role due to the nature of the plot, the 1970s setting, and to better resemble the actor who played her character's mother.  Blanco directed a series pilot for a show called "UO", featuring actors Miguel Romulo, Mariana Molina, Rael Barja, and Diego Montez.  In early 2014, Blanco was cast in "Se Eu Fosse Você – O Musical" (If I Were You – The Musical), a stage adaptation of the popular Brazilian film of the same name. Lua played Bia, the daughter of protagonists Helena (Claudia Netto) and Claudio (Nelson Freitas). It opened on March 21, in Rio de Janeiro, under the supervision of Daniel Filho, Flavio Marinho, direction and choreography by Alonso Barros, and musical direction by Guto Graça Mello.  In late 2014, Blanca began filming and recording for the feature "Turbulência" (Turbulence), a romantic comedy directed by Tiago Venâncio. She played Paula, one of the four protagonists, and recorded the song "Fall My Way" with singer Kevin White. The film was released on September 15, 2016.  On December 2, 2015, Blanco released the promotional single "Eu e o Tempo" ("Me and Time") and an autobiographical e-book to promote the release of her first solo album. She also sold collectibles in a campaign to promote and fund her tour. A second promotional single, "O Mundo Todo" (The Whole World), was released on December 25, and on February 27 the first official single "Perde Tudo" (Lose Everything). On March 5 (her 29th birthday), Blanco ended the campaign with 102% of her funding goal.  On March 21, Blanco sent fans who had supported her a digital version of her first studio album, "Mão No Sonho" ("Hand In The Dream"). The album includes the participation of her brothers in the song "Gosto do Amanhã", by fellow Rebeldes-member Micael Borges in "Vem Não Vem", and singer Gugu Peixoto, in the song "Tanto". Following the promotional tour, Blanco officially released "Mão No Sonho" on September 2, with a music video released on September 9.

Lua Blanco (born March 5, 1987) is a Brazilian actress, singer, songwriter, TV host, and model. Blanco has been recognized for her talent, charisma and her ability to play different roles. She achieved success on the telenovela "Rebelde" and as a member of its accompanying band, Rebeldes, which received one gold, two platinum, and one double-platinum album awards. Band members included Arthur Aguiar, Chay Suede, Micael Borges, Mel Fronckowiak and Sophia Abrahão. Lua performed about 90 shows over a span of three years, for a total of over 1.2 million spectators in Brazil.

Lua Maria Blanco (San Paolo, 5 mars 1987) est une chanteuse, actrice, auteur-compositeur, vloguera, hôte et le modèle à l'occasion du Brésil. Il a été le protagoniste du roman Rebelde (version brésilienne du feuilleton mexicain "Rebelde") mais a déjà participé à des feuilletons Malhação et Três Irmãs.


Geography.

In behalf to a great variability in elevation, Lurë-Dejës Mt National Park is densely populated in vegetation. Higher plant life consists mainly of both coniferous and deciduous trees, particularly around the shores of the lakes. The most common tree native to Lurë is the european beech along with silver fir, black pine, red pine and bosnian pine. Especially protected is the balkan pine, which is threatened with extinction and only common in the west of the Balkan Peninsula. The southern section of the park has a meadow of multicolour flowers and several coniferous trees, which is called the Field of Mares, offering pristine views over the landscape. In terms of phytogeography, the park falls within the Pindus Mountains mixed forests terrestrial ecoregion of the Palearctic Mediterranean forests, woodlands, and scrub.

Flora and Fauna.

The park shelters numerous species. Most important wildlife inhabiting the park includes the european brown bear, eurasian lynx, eurasian wolf, european pine marten, roe deer and western capercaillie. Small mammals include the red squirrel and edible dormouse. The twelve glacial lakes within the national park were formed during the ice age. They are located in the northeastern part of the nation in the Dibër County at an elevation between. Each lake carries a name associated with its most characteristic feature.  Zall Gjoçaj, part of the expanded park, is an intensively fissured and mountainous landscape with a great variety of natural features including valleys, glacial lakes and dense forests without human intervention. Elevations in the area vary from 600 metres to over 2,000 metres above the Adriatic. The geomorphological conditions of the region reflects the dynamic geological history, tectonic movements and erosive activity of the rivers flowing through the park.  Most of the area is covered by a mixture of beech, fir, pine, ash and maple trees growing on limestone and dolomite. The park's woods are important because they provide shelter for numerous fauna. Most notable amongst them is the brown bear and grey wolf. Other large mammals include lynxes, roe deers and birds such as the golden eagle.  According to Albanian poet Gjergj Fishta, "Him/her who has not seen Lura, he/she has not seen Albania", meanwhile British renowned traveler Edith Durham has been quoted as follows: "When I came up the Qafë Lurë, I saw such a beautiful field, that I had never seen in any place of the Balkans".

Post communism.

However, following the fall of communism in the 1990s, the area suffered massive deforestation from illegal logging and forest fires that severely affected ecosystems. In fact, it is estimated that as much as 50% of the original Lura National Park has been destroyed. In 2014, the Government of Albania launched a controversial rehabilitation campaign including reforestation, roadwork, and the putting of new signs.  Local stakeholders have criticized the project as merely superficial. In the meantime, local non-governmental organizations such as Ecovolis are trying to revitalize the park by planting of trees and removing debris around the lakes, some of which are drying up. Nature is also helping by naturally spreading seeds of new trees which are growing at different areas of the park.  Accommodation consists of several family run hotels and guesthouses near the park in Fushe-Lure. The area around Lura features traditional tower houses, the once industrial mining town of Kurbnesh, Ottoman mosques, and a recently renovated Catholic Church. The region is also home to Albanian Independence signatory Dom Nikollë Kaçorri.

Outlook.

In 2018, the park was expanded and renamed Lura-Mt Dejes National Park to include former Zall-Gjocaj National Park for a total coverage area of 20,242 ha. The Albanian government has outlined a plan that would turn the area into an agritourism hot-spot under the 100 Villages Initiative, consisting in the renovation of traditional tower houses, and the reconstruction of the road connecting the park with Rreshen and the A1 motorway.  In 2019, a number of local NGOs such as Co-Plan and North Green Association in collaboration with local stakeholders planted 1000 new trees inside the protected area. Furthermore, a project called Trees for Lure hopes to plant 20 000 trees by 2020.  However, the future of the expanded national park is being threatened from the construction of hydro electric dams in Zall-Gjocaj that would further cripple the already fragile ecosystem of the area.

The Lurë-Dejës Mt National Park () is a national park in northeastern Albania, spanning an expanded area of since 2018 by encompassing the entire section of Kunora e Lurës, former Zall-Gjocaj National Park, and Dejë Mountain. The park was originally established in 1966 to protect the various ecosystems and biodiversity as Lura National Park. The altitude vary from. The International Union for Conservation of Nature (IUCN) has listed the park as Category II. Nevertheless, it is described as an important Bird and Plant Area, because it supports significant bird and plant species.

Le parc national Lurë, aussi appelé Parc national Lura (""), est un parc national situé dans la municipalité de Dibër dans le nord-est de l'Albanie. Il a été fondé en 1966 et protégeait 1 280 hectares sur la côte orientale de la "Kunora e Lurës". Il a été considérablement agrandi en 2018, avec l'ajout de plusieurs zones et de l'ancien parc national Zall-Gocaj, et couvre désormais une superficie de 202 km2. Il abrite le plus haut sommet des montagnes Lurë, qui atteint une hauteur de 2119 m. Le parc est réputé pour ses 12 lacs et sa faune qui attirent des visiteurs toute l'année.


History.

Attempts to create organs "in vitro" started with one of the first dissociation-reaggregation experiments where Henry Van Peters Wilson demonstrated that mechanically dissociated sponge cells can reaggregate and self-organize to generate a whole organism. In the subsequent decades, multiple labs were able to generate different types of organs "in vitro" through the dissociation and reaggregation of organ tissues obtained from amphibians and embryonic chicks. The phenomena of mechanically dissociated cells aggregating and reorganizing to reform the tissue they were obtained from subsequently led to the development of the differential adhesion hypothesis by Malcolm Steinberg. With the advent of the field of stem cell biology, the potential of stem cells to form organs "in vitro" was realized early on with the observation that when stem cells form teratomas or embryoid bodies, the differentiated cells can organize into different structures resembling those found in multiple tissue types. The advent of the field of organoids, started with a shift from culturing and differentiating stem cells in 2D media, to 3D media to allow for the development of the complex 3-dimensional structures of organs. Since 1987, researchers have devised different methods for 3-D culturing, and were able to utilize different types of stem cells to generate organoids resembling a multitude of organs. In 2006, Yaakov Nahmias and David Odde showed the self-assembly of vascular liver organoid maintained for over 50 days "in vitro". In 2008, Yoshiki Sasai and his team at RIKEN institute demonstrated that stem cells can be coaxed into balls of neural cells that self-organize into distinctive layers. In 2009 the Laboratory of Hans Clevers at Hubrecht Institute and University Medical Center Utrecht, Netherlands, showed that single LGR5-expressing intestinal stem cells self-organize to crypt-villus structures "in vitro" without necessity of a mesenchymal niche. In 2010, Mathieu Unbekandt & Jamie A. Davies demonstrated the production of renal organoids from murine fetus-derived renogenic stem cells. Subsequent reports showed significant physiological function of these organoids "in vitro" and "in vivo".  In 2013, Madeline Lancaster at the Austrian Academy of Sciences established a protocol for culturing cerebral organoids derived from stem cells that mimic the developing human brain's cellular organization. In 2014, Artem Shkumatov et al. at the University of Illinois at Urbana-Champaign demonstrated that cardiovascular organoids can be formed from ES cells through modulation of the substrate stiffness, to which they adhere. Physiological stiffness promoted three-dimensionality of EBs and cardiomyogenic differentiation.  Takebe et al. demonstrate a generalized method for organ bud formation from diverse tissues by combining pluripotent stem cell-derived tissue-specific progenitors or relevant tissue samples with endothelial cells and mesenchymal stem cells. They suggested that the less mature tissues, or organ buds, generated through the self-organized condensation principle might be the most efficient approach toward the reconstitution of mature organ functions after transplantation, rather than condensates generated from cells of a more advanced stage.

Properties.

Lancaster and Knoblich define an organoid as a collection of organ-specific cell types that develops from stem cells or organ progenitors, self-organizes through cell sorting and spatially restricted lineage commitment in a manner similar to "in vivo", and exhibits the following properties:

Process.

Organoid formation generally requires culturing the stem cells or progenitor cells in a 3D medium. The 3D medium can be made using an extracellular matrix hydrogel Matrigel or Cultrex BME, which is a laminin-rich extracellular matrix that is secreted by the Engelbreth-Holm-Swarm tumor line. Organoid bodies can then be made through embedding stem cells in the 3D medium. When pluripotent stem cells are used for the creation of the organoid, the cells are usually, but not all the time, allowed to form embryoid bodies. Those embryoid bodies are then pharmacologically treated with patterning factors to drive the formation of the desired organoid identity. Organoids have also been created using adult stem cells extracted from the target organ, and cultured in 3D media.

Types.

A multitude of organ structures have been recapitulated using organoids. This section aims to outline the state of the field as of now through providing an abridged list of the organoids that have been successfully created, along with a brief outline based on the most recent literature for each organoid, and examples of how it has been utilized in research.

Cerebral organoid.

A cerebral organoid describes artificially grown, "in vitro", miniature organs resembling the brain. Cerebral organoids are created by culturing human pluripotent stem cells in a three-dimensional rotational bioreactor and develop over a course of months. The procedure has potential applications in the study of both physiology and brain function. Cerebral organoids may experience "simple sensations" in response to external stimulation and neuroscientists Andrea Lavazza, Elan Ohayon and Hideya Sakaguchi are among those expressing concern that such organs could develop sentience. They propose that further evolution of the technique needs to be subject to a rigorous oversight procedure.

Gut organoid.

Gut organoids refer to organoids that recapitulate structures of the gastrointestinal tract. The gastrointestinal tract arises from the endoderm, which during development forms a tube that can be divided in three distinct regions, which give rise to, along with other organs, the following sections of the gastrointestinal tract:  Organoids have been created for the following structures of the gastrointestinal tract:

Intestinal organoid.

Intestinal organoids have thus far been among the gut organoids to be generated directly from pluripotent stem cells. One way human pluripotent stem cells can be driven to form intestinal organoids is through first the application of activin A to drive the cells into a mesoendodermal identity, followed by the pharmacological upregulation of Wnt3a and Fgf4 signaling pathways as they have been demonstrated to promote posterior gut fate. Intestinal organoids have also been generated from intestinal stem cells, extracted from adult tissue and cultured in 3D media. Intestinal organoids recapitulate the crypt-Villus structure of the intestine, by recapitulating its function, physiology and organization, and maintaining all the cell types found normally in the structure including intestinal stem cells. Intestinal organoids recapitulate the crypt-Villus structure to high degree of fidelity that they have been successfully transplanted to mouse intestines, and are hence highly regarded as a valuable model for research. One of the fields of research that intestinal organoids have been utilized is that of stem cell niche. Intestinal organoids were used to study the nature of the intestinal stem cell niche, and research done with them demonstrated the positive role IL-22 has in maintaining in intestinal stem cells, along with demonstrating the roles of other cell types like neurons and fibroblasts in maintenance of intestinal stem cells. Intestinal organoids have also demonstrated therapeutic potential.

Stomach or gastric organoid.

Gastric organoids recapitulate at least partly the physiology of the stomach. Gastric organoids have been generated directly from pluripotent stem cells through the temporal manipulation of the FGF, WNT, BMP, retinoic acid and EGF signalling pathways in three-dimensional culture conditions. Gastric organoids have also been generated using LGR5 expressing stomach adult stem cells. Gastric organoids have been used as model for the study of cancer along with human disease and development. For example one study investigated the underlying genetic alterations behind a patient's metastatic tumor population, and identified that unlike the patient's primary tumor, the metastasis had both alleles of the TGFBR2 gene mutated. To further assess the role of TGFBR2 in the metastasis, the investigators created organoids where TGFBR2 expression is knocked down, through which they were able to demonstrate that reduced TGFBR2 activity leads to invasion and metastasis of cancerous tumors both "in vitro" and "in vivo".

Lingual organoid.

Lingual organoids are organoids that recapitulate, at least partly, aspects of the tongue physiology. Epithelial lingual organoids have been generated using BMI1 expressing epithelial stem cells in three-dimensional culture conditions through the manipulation of EGF, WNT, and TGF-β. This organoid culture, however, lacks taste receptors, as these cells do not arise from Bmi1 expressing epithelial stem cells. Lingual taste bud organoids containing taste cells, however, have been created using the LGR5+ or CD44+ stem/progenitor cells of circumvallate (CV) papilla tissue. These taste bud organoids have been successfully created both directly from isolated Lgr5- or LGR6-expressing taste stem/progenitor cells. and indirectly, through the isolation, digestion, and subsequent culturing of CV tissue containing Lgr5+ or CD44+ stem/progenitor cells.

Basic research.

Organoids are an excellent tool to study basic biological processes. Organoids enable to study how cells interact together in an organ, their interaction with their environment, how diseases affect them and the effect of drugs. "In vitro" culture makes this system easy to manipulate and facilitates their monitoring. While organs are difficult to culture because their size limits the penetration of nutrients, the small size of organoids limits this problem. On the other hand, they don't exhibit all organ features and interactions with other organs are not recapitulated "in vitro". While research on stem cells and regulation of stemness was the first field of application of intestinal organoids, they are now also used to study e.g. uptake of nutrients, drug transport and secretion of incretin hormones. This is of great relevance in the context of malabsorption diseases as well as metabolic diseases such as obesity, insulin resistance, and diabetes.

Models of disease.

Organoids provide an opportunity to create cellular models of human disease, which can be studied in the laboratory to better understand the causes of disease and identify possible treatments. In one example, the genome editing system called CRISPR was applied to human pluripotent stem cells to introduce targeted mutations in genes relevant to two different kidney diseases, polycystic kidney disease and focal segmental glomerulosclerosis. These CRISPR-modified pluripotent stem cells were subsequently grown into human kidney organoids, which exhibited disease-specific phenotypes. Kidney organoids from stem cells with polycystic kidney disease mutations formed large, translucent cyst structures from kidney tubules. When cultured in the absence of adherent cues (in suspension), these cysts reached sizes of 1 cm in diameter over several months. Kidney organoids with mutations in a gene linked to focal segmental glomerulosclerosis developed junctional defects between podocytes, the filtering cells affected in that disease. Importantly, these disease phenotypes were absent in control organoids of identical genetic background, but lacking the CRISPR mutations. Comparison of these organoid phenotypes to diseased tissues from mice and humans suggested similarities to defects in early development.  As first developed by Takahashi and Yamanaka in 2007, induced pluripotent stem cells (iPSC) can also be reprogrammed from patient skin fibroblasts. These stem cells carry the exact genetic background of the patient including any genetic mutations which might contribute to the development of human disease. Differentiation of these cells into kidney organoids has been performed from patients with Lowe Syndrome due to "ORCL1" mutations. This report compared kidney organoids differentiated from patient iPSC to unrelated control iPSC and demonstrated an inability of patient kidney cells to mobilise transcription factor SIX2 from the golgi complex. Because "SIX2" is a well characterised marker of nephron progenitor cells in the cap mesenchyme, the authors concluded that renal disease frequently seen in Lowe Syndrome (global failure of proximal tubule reabsorption or renal Fanconi syndrome) could be related to alteration in nephron patterning arising from nephron progenitor cells lacking this important "SIX2" gene expression.  Other studies have used CRISPR gene editing to correct the patient's mutation in the patient iPSC cells to create an isogenic control, which can be performed simultaneously with iPSC reprogramming. Comparison of a patient iPSC derived organoid against an isogenic control is the current gold standard in the field as it permits isolation of the mutation of interest as the only variable within the experimental model. In one such report, kidney organoids derived from iPSC of a patient with Mainzer-Saldino Syndrome due to compound heterozygous mutations in "IFT140" were compared to an isogenic control organoid in which an "IFT140" variant giving rise to a non-viable mRNA transcript was corrected by CRISPR. Patient kidney organoids demonstrated abnormal ciliary morphology consistent with existing animal models which was rescued to wild type morphology in the gene corrected organoids. Comparative transcriptional profiling of epithelial cells purified from patient and control organoids highlighted pathways involved in cell polarity, cell-cell junctions and dynein motor assembly, some of which had been implicated for other genotypes within the phenotypic family of renal ciliopathies. Another report utilising an isogenic control demonstrated abnormal nephrin localisation in the glomeruli of kidney organoids generated from a patient with congenital nephrotic syndrome.

Personalised medicine.

Intestinal organoids grown from rectal biopsies using culture protocols established by the Clevers group have been used to model cystic fibrosis, and led to the first application of organoids for personalised treatment. Cystic fibrosis is an inherited disease that is caused by gene mutations of the cystic fibrosis transmembrane conductance regulator gene that encodes an epithelial ion channel necessary for healthy epithelial surface fluids. Studies by the laboratory of Jeffrey Beekman (Wilhelmina Children's Hospital, University Medical Center Utrecht, The Netherlands) described in 2013 that stimulation of colorectal organoids with cAMP-raising agonists such as forskolin or cholera toxin induced rapid swelling of organoids in a fully CFTR dependent manner. Whereas organoids from non-cystic fibrosis subjects swell in response to forskolin as a consequence of fluid transport into the organoids' lumens, this is severely reduced or absent in organoids derived from people with cystic fibrosis. Swelling could be restored by therapeutics that repair the CFTR protein (CFTR modulators), indicating that individual responses to CFTR modulating therapy could be quantitated in a preclinical laboratory setting. Schwank et al. also demonstrated that the intestinal cystic fibrosis organoid phenotype could be repaired by CRISPR-Cas9 gene editing in 2013.  Follow-up studies by Dekkers et al. in 2016 revealed that quantitative differences in forskolin-induced swelling between intestinal organoids derived from people with cystic fibrosis associate with known diagnostic and prognostic markers such as CFTR gene mutations or in vivo biomarkers of CFTR function. In addition, the authors demonstrated that CFTR modulator responses in intestinal organoids with specific CFTR mutations correlated with published clinical trial data of these treatments. This led to preclinical studies where organoids from patients with extremely rare CFTR mutations for who no treatment was registered were found to respond strongly to a clinically available CFTR modulator. The suggested clinical benefit of treatment for these subjects based on the preclinical organoid test was subsequently confirmed upon clinical introduction of treatment by members of the clinical CF center under supervision of Kors van der Ent (Department of Paediatric Pulmonology, Wilhelmina Children's Hospital, University Medical Center Utrecht, The Netherlands). These studies show for the first time that organoids can be used for the individual tailoring of therapy or personalised medicine.

As a model for developmental biology.

Organoids offer researchers an exceptional model to study developmental biology. Since the identification of pluripotent stem cells, there have been great advancements in directing pluripotent stem cells fate "in vitro" using 2D cultures. These advancements in PSC fate direction, coupled with the advancements in 3D culturing techniques allowed for the creation of organoids that recapitulate the properties of various specific subregions of a multitude of organs. The use of these organoids has thus greatly contributed to expanding our understanding of the processes of organogenesis, and the field of developmental biology. In central nervous system development, for example, organoids have contributed to our understanding of the physical forces that underlie retinal cup formation.

An organoid is a miniaturized and simplified version of an organ produced in vitro in three dimensions that shows realistic micro-anatomy. They are derived from one or a few cells from a tissue, embryonic stem cells or induced pluripotent stem cells, which can self-organize in three-dimensional culture owing to their self-renewal and differentiation capacities. The technique for growing organoids has rapidly improved since the early 2010s, and it was named by "The Scientist" as one of the biggest scientific advancements of 2013. Organoids are used by scientists to study disease and treatments in a laboratory.

En culture cellulaire, un organoïde est une structure multicellulaire tridimensionnelle qui reproduit "in vitro" la micro-anatomie d'un organe ; c'est donc un modèle de l'organe (ou un mini-organe). Un organoïde est généralement obtenu à partir d'une ou plusieurs cellules précurseurs d'un tissu, de cellules souches embryonnaires ou de cellules souches pluripotentes induites, qui peuvent s'auto-organiser en trois dimensions, notamment grâce à leurs propriétés d'auto-renouvellement et de différenciation.


Taxonomy and systematics.

The rufous-naped lark is geographically very variable, and is taken to form a species complex with the allopatric red-winged lark of East Africa, and perhaps with the Somali lark. It is a smaller version of the first, with a finer bill and shorter tail, but their morphological and vocal features do not intergrade where their ranges meet. The rufous nape is an equivocal field character, being absent in the tropical races and in some individuals.  Due to the inherent variability of the species, some of the 23–25 odd races are perhaps insufficiently distinct or clinal. Consequently, "M. a. rostrata" and "M. a. zuluensis" are sometimes merged with "M. a. africana", and "M. a. okahandjae" with "M. a. pallida". On the other hand, a few taxa are arguably incipient or full species. The distinctly plumaged blackish lark comprises races "M. a. nyikae" and "M. a. nigrescens", and is altitudinally isolated from "M. a. transvaalensis" in nearby Tanzania. Malbrant's lark, "M. (a.) malbranti", which ranges from Gabon to Angola, has a fairly distinct display flight, but may intergrade with "M. a. kabalii" in Zambia.  Sharpe's lark, "M. (a.) sharpii", of northwestern Somalia, has almost plain, coppery red upper parts and is sometimes (e.g., by Sibley and Monroe) regarded as a separate and endangered species. Its small range of some 21,200 km is impacted by overgrazing and conversion to croplands. It may however be conspecific with Somali lark, "M. (a.) somalica", which differs by its very long bill and white edges to the outer tail feathers. The Somali lark is sometimes considered a race of rufous-naped lark, but is alternatively deemed a full species in "Mirafra" or "Certhilauda".

Subspecies.

Twenty-three subspecies are recognized:

Description.

The rufous-naped lark is a fairly large and robust lark species, with rather heavy flight. The sexes are similar, but males average larger and heavier. Adults are individually and geographically variable. It measures 15–18 cm from bill tip to tail tip and weighs 40-44 g. The streaked upper parts, short erectile crest, creamy-buff eyebrow that merges with the lore, and the rufous flight feathers are easily discernible features. The hindcrown and nape are streaked along the feather centers while the margins vary from chestnut, rufous or pinkish buff to greyish brown. The wings appear conspicuously rufous in flight, while the outer edges of the primaries show up as a rufous panel on the closed wing. The underwing coverts are rufous, and upper coverts are broadly edged tawny or buff (or grey in race "grisescens"). The tail is dark brown, but the outer webs of the outer tail feathers vary from buff (cf. "africana" and "sharpii") to tawny or bright rufous. The mantle is lighter brown than the back, and the rump still darker brown. The flanks are a shade darker than the rufous-buff belly, but regionally the plumage may also be stained red by soil. The throat is unmarked but the pale rufous upper breast is streaked and spotted darker brown. The eyes are hazel brown, the longish bill is blackish and pinkish, and the feet pink to pinkish brown. Juveniles have bold black spotting on the crown, mantle and wing coverts, all edged with buff, while the breast spotting is more blotchy or diffuse.

Geographic variation.

"M. a. athi" of the Kenyan highlands is typically coloured, but like other tropical races, lacks the rufous nape. Most accepted races are distinguished based on the colour of the back or underpart plumage, or the amount of streaking on the ear coverts and flanks. High altitude races "M. a. nyikae" and "M. a. nigrescens", which occur above 2,000 meters, have very dark upper part plumages and increased flank streaking. "M. a. tropicalis" which is found above 1,000 meters has a solid rufous wash over the underparts. Of the southern African races, those in the southeast are the largest and darkest (cf. "M. a. africana" and "M. a. rostrata"), with a cline towards lightly streaked and pale pinkish plumages in the northwest.

Distribution and habitat.

The rufous-naped lark is found in many parts of sub-Saharan Africa. It has a very large but discontinuous range, with an estimated global extent of occurrence of 5,600,000 km. Its range is believed to be increasingly fragmented in the north, from which a declining population is inferred. The southern African population has not contracted in range or abundance, save for areas of extensive cultivation or urbanization. Livestock ranching is believed to have created bare patches in grasslands, which they favour. The populations of southern Mozambique and Swaziland have been estimated at >50,000 and 100,000 individuals respectively.  It tolerates a range of dry or mesic habitats, typically bushy grassland or sparsely wooded savannah. It also occurs along the fringes of marshes, in woodland clearings or in the fragmented ecotone of woodland and grassland. It is present from near sea level in the south, to about 3,000 meters near the equator. In Zimbabwe it occurs from 900 to 1,800 meters, and in East Africa from 1,000 to 3,000 meters. Termitaria, bushes, small trees or fence posts provide perches for display, while a combination of tall and short grass provides cover and foraging space. In southern Africa it occurs only sparsely in grassy fynbos, grassy karoo and upland sour grasslands, but has high reporting rates in the Eastern Highlands of Zimbabwe, in miombo and in sweet or mixed grasslands.

Behaviour and ecology.

The rufous-naped lark is sedentary, territorial and monogamous. It is often sluggish, allowing a close approach. Short distances are covered in low, level or undulating flight, or it may flee an intruder by running and dodging through grass haphazardly. It may be difficult to flush from grass, and is easily overlooked when not singing.  At any time of the year, but especially when the rains commence, a male will spend hours calling from a conspicuous perch. A clear, somewhat variable, whistled phrase of three to five syllables is typical, which may be rendered as "tseep-tseeoo", "teeoo-teewee" or "chiwiki-chiwi". The song may be changed after each 20 or so repetitions. During some intermissions the wings are audibly fluttered in the few seconds between phrases. This results in a quick "prrrrt" or "phrrrp" rattle, and may lift the bird off its perch. The crest is also lifted during display. It may alternatively sing a rudimentary song consisting of whistles, tweets and trills (distinguishable as imitated calls), during short flights over the grass or during an upward spiraling flight, before it planes down. Race "malbranti" in particular, may sing during a straight and direct display flight and clap its wings above its back. Perched males may also string together fragments of the songs of various grassland birds. It utters "peewit", "tweekiree" or "pree, pree" notes in alarm.

Breeding.

The male will courtship feed the female to reinforce their pair-bond or to secure a mating opportunity. The nest is a well concealed cup of dry grass that is positioned in a deep scrape at the base of a grass tuft or against a shrub. A flimsy or substantial grass dome (typical of "Mirafra" and related genera) covers the nest while leaving a front entrance. The cup is lined with finer plant material, and 2 to 3 (rarely 4) eggs are laid. The eggs are white, cream or pink in colour, and speckled brown and grey, especially near the blunter end. The chicks have bright yellow gapes, three black tongue spots, and a spot near the tip of the lower mandible. They are covered in pale grey to buff down, and are brooded by the female only. The incubation period is about 14 to 15 days, and singing by the male decreases as incubation commences. The young are fed by both parents, though mainly by the female. Surviving chicks leave the nest after about 12 days, before they are able to fly. Post-breeding moult has been recorded in mid December in Botswana and from July to August in Kenya.

Food and feeding.

It forages at the bases of grass tufts, on bare ground including cultivated lands and fallow fields, and between ungulate droppings. It may also catch termite alates in the air or as they emerge from termitaria, or glean insects from plants. Food includes insects of various groups, spiders, solifugids, millipedes, earthworms, and in winter some seeds of grasses and forbs. It may forage in burnt grassland immediately after fires.

The rufous-naped lark ("Mirafra africana") or rufous-naped bush lark is a widespread and conspicuous species of lark in the lightly wooded grasslands, open savannas and farmlands of the Afrotropics. Males attract attention to themselves by their bold and repeated wing-fluttering displays from prominent perches, which is accompanied by a melodious and far-carrying whistled phrase. This rudimentary display has been proposed as the precursor to the wing-clapping displays of other bush lark species. They have consistently rufous outer wings and a short erectile crest, but the remaining plumage hues and markings are individually and geographically variable. It has a straight lower, and longish, curved upper mandible.

L' Alouette à nuque rousse ("Mirafra africana") est une espèce d'oiseaux de la famille des Alaudidae. Cet oiseau vit en Afrique subsaharienne.


Premise.

David Haller was diagnosed with schizophrenia at a young age and has been a patient in various psychiatric hospitals since with the latest one having him placed in there by his adoptive sister Amy Haller. After Haller has an encounter with a fellow psychiatric patient, he is confronted with the possibility that there may be more to him than mental illness where an incident led to the death of his friend Lenore "Lenny" Busker. Hunted by the government agency Division 3 in the first season, Haller is saved by a group of mutants at a facility called Summerland, who explain that he is also a mutant. Haller eventually discovers that his mind is infected by the parasitic mutant Amahl Farouk / Shadow King, and is able to force the villain from his mind.  In the second season, Haller returns after a year spent trapped in a mysterious orb. In his absence, his Summerland allies have joined forces with Division 3 to stop Farouk's plan to find his real body and amass world-ending power. Farouk even uses Oliver Bird and a device stolen from Division 3 to enable Lenny to be reborn in Amy's body.  Due to Shadow King's evidence, David flees from Division 3 with Lenny where they set up a place for his cult as David gets a time-traveling mutant named Switch on his side. He plans to improve Switch's powers in order to protect the world. David kidnaps Cary Loudermilk to help him amplify Switch's powers. David then uses Switch to go back to when he was a child and witnesses various parts of his parents' past including his father Charles Xavier going to war and meeting his mother Gabrielle Haller at a mental facility, his father locating and meeting Farouk, and how Farouk got into him in the first place, though this does bring both sides into conflict with the Time Eaters.

Production.

Development.

After completing work on the first season of "Fargo" at FX in 2014, Noah Hawley was presented with the opportunity to develop the first live-action television series based on the X-Men comics, of which he was a fan when growing up. Hawley was initially pitched two different ideas for the potential series, including an adaptation of the comics' Hellfire Club, but the ideas did not interest Hawley. Instead, he worked with "X-Men" film series writer and producer Simon Kinberg to reverse-engineer an idea for the series. After discussing an "interesting show in this genre... that isn't being done", the two settled on the character of David Haller / Legion. Hawley found the character interesting because of his mental illness, and for the potential of the series to depict his unique mindset. He pitched the series as "a deconstruction of a villain... and a love story".  In October 2015, FX ordered a pilot for "Legion", with Marvel Television and FX Productions producing; FX Productions would handle the physical production. Hawley was set to write the pilot, and executive produce the series alongside "X-Men" film producers Lauren Shuler Donner, Bryan Singer, and Kinberg, Marvel Television executives Jeph Loeb and Jim Chory, and Hawley's "Fargo" collaborator John Cameron. Steve Blackman, Alan Fine, Stan Lee, Joe Quesada, and Karim Zreik also executive produce. Hawley's initial script for the series was described as "less fractured", "cohesive [and] much more regular." However, he quickly reconceived the series "and decided more "Eternal Sunshine of the Spotless Mind", Terrence Malick, more whimsy, more impressionistic and went in that direction." By January 2016, FX President John Landgraf was confident that the series would be picked up by the network, saying that "the vast majority of things that we pilot do go forward to series" and "the scripts [for "Legion"] are extraordinary." That May, FX ordered an eight-episode first season of "Legion".  In June, Landgraf said that the series, if successful, could run for as many seasons as Hawley feels it needs to tell the story. Discussing future seasons, Hawley said in January 2017 that he was open to continuing the story past the first season, but didn't want the audience to get to the end of the first run and have "no resolution of any kind at the end of it." Star Dan Stevens said, "I know for a fact that there are more issues that David has to deal with than the one that we really address in the first season." Also at that time, Singer explained the executive producers' roles in the series, saying that he, Donner, and Kinberg brought their experience from making the "X-Men" films, but their involvement generally consisted of giving small notes on scripts and early cuts of episodes. In March, FX ordered a second season of the series. With the end of the first season, Hawley said that the second season would consist of ten episodes, and explained that he was unsure at that time how long he would like the series to run: "I think there were things about the first season that [I felt] would unfold faster than they did, and things that I thought would take longer that I dealt with more quickly. I think by the end of the second year I'll have a better sense of how many more years there are to go".  Singer was removed as an executive producer on the series in January 2018, and his name was removed from the credits of the series' episodes beginning with the second season, due to sexual abuse allegations against him being made. Hawley said that it had been Singer who had asked for his name to be removed, and that Singer had only had limited involvement with the series anyway; he had initially expressed interest in directing the pilot of the series, but had not been directly involved since Hawley took over. That month, Hawley stated that he was planning for a third season of the series, and soon elaborated that the second season would clearly lead in to the third, and that "it's not a show where each year there's a new villain and the end of the table. It's a three or four or five act story where each season is another chapter in that story." In March, he discussed the proposed acquisition of 21st Century Fox by Disney, saying that he was unsure how it would affect the series and that he had not discussed the issue with either studio, but that he believed "as long as the show is making noise and is watched by people, I won't be worried that they're going to cancel "Legion" because it doesn't fit in with their larger brand."  In June 2018, FX renewed "Legion" for a third season. In February 2019, Hawley said that the third season would premiere in June 2019, and would be the final season of the series, which he said had always been his intent. On May 2, 2019, FX said the final season would premiere on June 24, 2019.

Writing.

Kinberg teased in November 2015 that the series would tell "X-Men stories in a slightly different way and even with a slightly different tone" from the films, noting the differences in tone between the "operatic" "X-Men" films and the "irreverent and hysterical" "Deadpool", and feeling that "Legion" gives "us an opportunity to go even further... in some ways to sort of blow up the paradigm of comic book or superhero stories and almost do our "Breaking Bad" of superhero stories." Loeb noted that "the core" of all "X-Men" comic books has always been that "the X-Men were different... We live in a world right now where diversity and uniqueness and whether or not we fit in is something that's on our minds twenty-four hours a day. The X-Men have never been more relevant than they are right now." Hawley added, "The great thing about exploring this character is before he has an opinion about anyone else, he has to figure out his own shit. That's what we all have to do. This journey isn't necessarily racing toward a battle with an entity, so much as embracing the battle within."  In May 2016, Hawley described his take on the series as being inspired by the works of David Lynch, and said that "the structure of a story should reflect the content of the story. If the story, as in this case, is about a guy who is either schizophrenic or he has these abilities, i.e., he doesn't know what's real and what's not real, then the audience should have the same experience... my goal with this is to do something whimsical and imaginative and unexpected. Not just because I want to do something different, but because it feels like the right way to tell this story." Elaborating on structuring the series to reflect Haller's point of view, Hawley said, "I love the idea that even when you're in it on the journey, there is this "Alice in Wonderland" quality to it, of a story within a story." Discussing the increasing popularity of unreliable narrators in television, Hawley said that he wanted to avoid making the audience think that the series is a puzzle that needs to be solved by solving the mysteries for them upfront—"We're going to take a character out of confusion into clarity and an audience out of mystery into clarity." Hawley deliberately chose not to directly adapt any storylines from the comics, feeling that "you're bound to offend somebody, no matter what you do" in that situation. Instead, he wanted to take the character of Legion and basic set-up around him, and "play" with that, which he described in relation to "Fargo"—"my job was not to remake the movie, to sort of retell a story that had already been told, but to try to tell a different story with the same effect, the same impact."  Concerning the mental illness aspects of the character, Hawley said, "It's a tragic condition that people have, and so I don't want to use it for entertainment purposes... if we can ground that [aspect] for the audience, then the idea that he's fallen in love and that he's not ill, there's a hope to that that the audience is gonna grab onto." In January 2017, Hawley explained that he was willing to use different tropes from the superhero genre in the series, such as superhero costumes with capes, if necessary, but did want to avoid "sending a message that all conflict can only be resolved through battle. There is a sense in a lot of these stories that everything always builds to a big fight... I wanted to find a story that was just as exciting and interesting but doesn't send the message that in the end that'might makes right'." At the end of the first season, Hawley said, "I like this idea of having to face our demons", with the first season seeing Haller go through an internal struggle with the malevolent Shadow King occupying his mind, and then the second season seeing that character possess someone else "making it an exterior agent. And there's going to be something very complicated about going to war with himself. It's been with him since he was a baby, it's like a phantom limb now, it's part of him." Hawley said he preferred this idea of a villain "worthy of creating a whole story around", rather than a villain-of-the year. He was unsure at the time how long that storyline would continue throughout the show, but said "it's a fascinating setup to follow."

Casting.

In January 2016, Rachel Keller was cast as the female lead of the series, after her breakout role in "Fargo". In early February, Stevens, Aubrey Plaza, and Jean Smart were cast as Haller, his friend Lenny Busker, and therapist Melanie Bird, respectively. Keller's role was revealed to be Syd Barrett. Later that month, Jeremie Harris was cast in the regular role of Ptonomy Wallace, and Amber Midthunder was cast as the savant Kerry Loudermilk. In March, Katie Aselton was cast as Haller's older sister Amy. With the full series order in May 2016, Bill Irwin was added to the cast, in the role of Cary Loudermilk.  Stevens, Keller, Plaza, Irwin, Harris, Midthunder, and Smart returned for the second season, with Aselton making a guest appearance in the season before Amy's body is transformed into a new one for Busker. They are joined by Navid Negahban, cast as the true form of the Shadow King, a character that appeared in several different forms throughout the first season. Jemaine Clement and Hamish Linklater also star in the second season, after having guest roles during the first season as Oliver Bird, the husband of Melanie, and the "Interrogator" Clark Debussy, respectively.  Season 3 added relative newcomer Lauren Tsai as Switch, "a young mutant whose secret ability serves as the key to executing David Haller's plan". She is loosely based on the Marvel Comics character of the same name. In February, it was announced that the characters Gabrielle Haller and Professor X would appear played by Stephanie Corneliussen and Harry Lloyd, respectively.

Design.

Though he put little thought into the aesthetics of the series when writing the pilot, as a director Hawley wanted the series to be highly stylized, describing his vision for it as "a 1964 Terence Stamp movie". It was not feasible to literally translate Bill Sienkiewicz's iconic artwork of the character to the screen, and Hawley wanted the series to have "its own visual aesthetic to it, and part of that is being a story kind of out of time and out of place". He stated that "the design of a show has to have its own internal logic", and compared this sensibility to the series "Hannibal", which he said was "a great example of something that had this almost fetishistic beauty to everything that you saw, whether it was food or violence." Hawley elaborated that the design choice of 60s British films came about because "this whole show is not the world, it's David's of the world. He's piecing his world together from nostalgia and memory and the world becomes that."

Filming.

Filming for the pilot took place in Vancouver, with Hawley directing and Dana Gonzales serving as cinematographer. With the series order, the rest of the first season were set to also film in Vancouver, with Craig Wrobleski also working as a cinematographer. Both Gonzales and Wrobleski previously worked with Hawley on "Fargo". The pilot featured a large amount of in-camera effects, which Hawley admitted would be a challenge for the series' directors to maintain, given he had 21 days to film the pilot, but the subsequent episodes were only scheduled 8 days of filming each. Some of these shoots ultimately had to be extended to 10 or 11 days filming to meet Hawley's vision. For the second season, the series relocated its production to California to take advantage of tax incentives provided by the California Film Commission under its "Program 2.0" initiative.

Music.

Jeff Russo was revealed to be composing the series' score in October 2016. Hawley stated that when first meeting with Russo about the series, he told the latter that he wanted the series to sound like Pink Floyd's "The Dark Side of the Moon", explaining "that album more than anything is really the soundscape of mental illness to some degree". Russo felt that "the important part is allowing the humanity of these characters to really shine through", and in addition to an orchestra he used "a bunch of old synthesizers" and "a lot of interesting sound design" to represent the "otherworldly" elements of the series. With the series' premiere, Russo reiterated that the "through-line" of the series is the relationship between Haller and Barrett, and said that a love story "lends itself to musical moments. It allows it to underscore the character." After his early meetings with Hawley, Russo developed some initial ideas for the score, and created three different themes to represent Haller. He adapted these ideas to fit the episodes once they had been edited. A soundtrack album for the first season was released digitally on February 24, 2017, on Amazon.com.

Shared universe connections.

Landgraf stated, in January 2016, that the series would be set in a universe parallel to the "X-Men" films where "the US government is in the early days of being aware that something called mutants exist but the public is not". He felt it was unlikely that characters would cross over between the show and films, but noted that this could change between then and the premiere of the series. That July, an article on Marvel.com referred to Legion as one of several characters joining the Marvel Cinematic Universe (MCU), suggesting that "Legion" would be set in that shared universe like Marvel Television's other series. The next month, Singer said that "Legion" had actually been designed to fit into the "X-Men" universe, but also to stand alone, so "you wouldn't have to label" the relationship between the series and the films. He teased plans to have the series "relate to future "X-Men" movies".  At New York Comic-Con 2016, Donner said that the series is "far from the "X-Men" movies, but still lives in that universe. The only way for "X-Men" to keep moving forward is to be original and to surprise. And this is a surprise. It is very, very different." Hawley explained that because the series is depicting the title character's "subjective reality", it would not have to address any connections to the films straight away, noting that "Fargo", which is connected to the 1996 film of the same name, at first "had to stand on its own feet" before exploring those connections more; "We have to earn the right to be part of this universe. My hope is we create something so strong that the people in the movie studio call and say they would be foolish enough not to connect these things." He did state that "you can't tell this story without" acknowledging that Legion is the son of Charles Xavier, who appears in the films. In regards to the MCU, Loeb stated that his involvement in the series was a sign that "bridges are being made" between Marvel and Fox, "but I don't want to make any promises... Marvel heroes at their core are people who are damaged and are trying to figure out who they are in life. It doesn't matter whether or not they're X-Men, Tony Stark, Matt Murdock or Peter Parker... If you start at a place as strong as David's character is and you have a storyteller like Noah, then it's Marvel. In that way, it all connected."  Loeb and Donner stated in January 2017 that there were no plans to have "Legion" be the first in a series of connected shows on FX, like Marvel Television's group of interconnected "Defenders" series on Netflix, and that "Legion" and the "X-Men" series being developed for Fox are "not going to get in each other's way." Donner stated that the series was just a chance to bring an X-Men character to the screen who was not going to be used by the films. The producers hoped that audiences would watch the show because of its character-focus and the talents of Hawley and the cast, rather than to "see a Marvel franchise show." Donner also noted that having Hawley focus on Haller's perspective of reality rather than connections to the "X-Men" films allowed the series to avoid the convoluted continuity of the films, "because we play with so many different timelines, and we rebooted and not really rebooted and all that" throughout the films. Therefore, "the cinematic universe will not worry about "Legion". They will not worry about these TV worlds at all. They will just continue in the way that they have been continuing." For the onscreen confirmation that Xavier is Haller's father in "Chapter 7", with Xavier's signature wheelchair shown in a brief flashback, the series' production was able to choose from any of the variant wheelchairs used throughout the film series. They settled on the version from "", with the prop used in that film being brought out of storage for the show.

Broadcast and release.

"Legion" airs on FX in the United States, and on Fox channels in over 125 other countries, releasing using a "day-and-date" delivery system so that viewers around the world get the series on the same day as the U.S.; Fox Networks Group's sales division handles distribution of the series to third parties.

Home media.

The first season was released on Blu-ray and DVD in region 1 on March 27, 2018, in region 2 on October 2, 2017, and in region 4 on November 22, 2017. The second season was released as a manufacture on demand DVD in region 1 on October 30, 2018.

Reception.

Ratings.

Writing for Screen Rant, J.M. Brandt noted that FX extensively advertised the series, but was debuting the 90 minute (with commercials) premiere at 10:00pm on a Wednesday night, later than other genre "monster hits" like "Game of Thrones" and "The Walking Dead". Brandt felt that the series' success would heavily depend on DVR viewing "to bolster what might be a likely smallish live audience". Following the series premiere, "Legion"s debut ratings were described as "OK, not great", in line with other cable series debuts, but lower than other high-profile FX debuts such as "American Crime Story" and Hawley's own "Fargo".

Critical response.

The review aggregation website Rotten Tomatoes reported a 90% approval rating for the first season, with an average rating of 8.48/10 based on 89 reviews. The website's critical consensus reads, "Bold, intelligent, and visually arresting, "Legion" is a masterfully surreal and brilliantly daring departure from traditional superhero conceits." Metacritic, which uses a weighted average, assigned a score of 82 out of 100 based on 40 reviews for the season, indicating what the website considers to be "universal acclaim".  A 91% approval rating for the second season was reported by Rotten Tomatoes, with an average rating of 7.72/10 based on 37 reviews, and a critical consensus reading, ""Legion" returns with a smart, strange second season that settles into a straighter narrative without sacrificing its unique sensibilities." Metacritic assigned a score of 85 out of 100 based on 10 reviews for the season, indicating "universal acclaim".  Rotten Tomatoes reported a 92% approval rating for the third season, with an average rating of 7.75/10 based on 25 reviews. and a critical consensus reading, "In its final season, "Legion" remains a singular piece of visually arresting, mind-bending television that never fails to surprise." Metacritic, which uses a weighted average, assigned a score of 72 out of 100 based on 6 critics, indicating "generally favorable reviews".

Analysis.

Discussing the series' exploration of mental illness, Charles Pulliam-Moore of io9 stated that schizophrenia is widely featured in popular culture and is generally misrepresented, and noted that giving Haller schizophrenia was a change from the comics where the character had dissociative identity disorder. He felt that the series takes advantage of this change both to show "mind-bending, trippy moments meant to convey to viewers how fractured and disorienting David's perceptions of reality can be" and by having characters like Melanie Bird insist that Haller can improve with treatment and counselling. Pulliam-Moore explained that other telepaths with mental illnesses in the "X-Men" franchise—Jason Stryker in "X2", Jean Grey in "", and Charles Xavier in "Logan"—were all treated with drugs, and praised the alternative therapy explored in the series, as well as the fact that the removal of the Shadow King from Haller's mind was not an excuse to ignore the mental illness issues moving forward. He concluded, "It's that idea—that healing is an ongoing, complex, and dynamic process—that made "Legion"s first season so strong", and hoped that it would be continued in the second season of the series.

Legion is an American cable television series created for FX by Noah Hawley, based on the Marvel Comics character David Haller / Legion. It is produced by FX Productions in association with Marvel Television. Hawley is the showrunner.

Elle met en scène le personnage Légion de Marvel Comics, interprété par l'acteur Dan Stevens. La série est produite par FX Productions, 26 Keys Productions et Marvel Television. Elle sera connectée à l'univers cinématographique "X-Men".


History.

Foundation and government, 1964-1998.

The United Bermuda Party was founded on 21 August 1964, by 24 members of Bermuda's Parliament, following the formation of the Progressive Labour Party the previous year. Sir Henry Tucker became the leader of the new party. The party won 30 of the 40 seats at the 1968 election and formed the first government and Tucker was appointed Bermuda's first Premier. under Bermuda's new constitution and universal adult suffrage. The party was loosely modelled on the UK's Conservative Party.  From 1968 until 1998, the UBP won 8 straight elections. The 1970s saw the UBP majority in Parliament decline as the PLP grew in strength. This trend was halted when Sir John Swan became party leader and Premier on 15 January 1982. Under Swan's leadership, the second black man to lead the party, the UBP control of Parliament strengthened at the 1983 and 1985 elections (where it reached an all-time high of 31 seats), though this trend ended at the 1989 election.  The 1990s were a troubling time for the party as the PLP increasingly gained seats. Following the 1993 election, the UBP held 22 seats. In 1995, Swan held a referendum on independence, which was soundly defeated. He had promised to resign if the measure was defeated as a sign of his support for the issue, and kept his word. He was replaced by David Saul, who was soon replaced by Pamela Gordon, Bermuda's youngest Premier, and the first woman to hold the office.

Opposition and disbanding, 1998-2011.

At the 1998 election, the PLP defeated the UBP for the first time, marking the first time in over 30 years that the UBP was not in power. At the 2003 election, the party won 48.0% of popular votes and 14 out of 36 seats under the leadership of Grant Gibbons. In January 2006, Gibbons was replaced by Wayne Furbert, who was unanimously selected as the new party leader. On 3 April 2007, Michael Dunkley replaced Furbert as party leader. Dunkley lost his seat at the 2007 election, and was replaced as leader by Kim Swan. The party's deputy leader was long-standing maverick MP Trevor Moniz, a recognised champion of Bermuda's Portuguese community.  On 3 May 2011, the UBP executive voted to merge with the Bermuda Democratic Alliance (BDA), to form the One Bermuda Alliance (OBA). However, leader Kim Swan refused to join after the executive failed to allow a disputes tribunal under the United Bermuda Party constitution to take place, and was granted an injunction in the courts. In response, seven UBP MPs resigned from the UBP and joined with the sitting BDA members under the OBA banner. While Kim Swan and Charles Swan remained as UBP Members of Parliament, the OBA replaced the UBP as the official opposition party. On 29 June 2011, the UBP announced that its offices would close and it would cease to operate on the following day.

Revival, 2011-2012.

In November 2011, the two remaining UBP MPs, Kim Swan and Charlie Swan, announced their intention to revive the UBP and to have it contest the next Bermudian election. The party's website was updated and election posters prepared. The two MPs were the only two announced candidates for the party. A March 2012 poll reported that the revived party had about 1% of voter support. When an election was called for 17 December 2012, Kim and Charlie Swan announced they would run as independent candidates, effectively ending the revival attempt.

Platform.

The United Bermuda Party's stated core objectives were:

The United Bermuda Party (UBP) was a political party in Bermuda, which represented itself as centrist party with a moderate social and fiscal agenda. The party held power in Bermuda's House of Assembly continuously from 1968 to 1998, the 47-year-old party was dissolved on 30 June 2011 after the majority of its members joined the One Bermuda Alliance.

Le Parti bermudien uni ( : United Bermuda Party, UBP) est un parti politique des Bermudes fondé en 1964. Il fut le parti majoritaire de 1968 à 1998 avant d'être le principal parti d’opposition à partir de cette date. En 2011, la plupart de ses membres vont fonder la "One Bermuda Alliance", qui depuis 2012 est majoritaire au parlement des Bermudes.