Plot.

Forty-one years ago, the Saiyan homeworld Planet Vegeta is ruled by the forces of King Cold, who delegates their command to his son Frieza. King Vegeta, leader of the Saiyans, believes his son Prince Vegeta is a prodigy destined to liberate their people and rule the universe. He learns of Broly, a Saiyan baby born with an abnormal power level exceeding that of his son, and exiles Broly to the distant planet Vampa. Broly and his father Paragus, who goes after his son, are stranded on Vampa after their ships are damaged. Paragus vows to raise Broly as a mighty warrior to exact revenge on King Vegeta.  Five years later, a low-class Saiyan warrior named Bardock becomes suspicious of Frieza and sends his son Kakarot (later named Goku) to Earth. His suspicions are confirmed when Frieza destroys Planet Vegeta after learning of a legend about a Legendary Super Saiyan who could one day defeat him. The Saiyan race is eradicated, except for Broly and Paragus, Goku and his brother Raditz, Vegeta and his comrade Nappa, and Vegeta's brother Tarble.  In the present day, Goku and Vegeta train on an island with Bulma, Bulla, Beerus, and Whis. Bulma is contacted by Trunks, who informs her that six of the Dragon Balls have been stolen by Frieza's soldiers. Goku, Vegeta, Bulma, and Whis travel to the Arctic to find the seventh Dragon Ball before Frieza can retrieve it. Meanwhile, Broly and Paragus are rescued from Vampa by Cheelai and Lemo, two low-class soldiers in Frieza's army searching for recruits. They are brought to Frieza, who recruits them to help him defeat Goku and Vegeta. The two groups come face-to-face in the Arctic, where Paragus orders Broly to attack Vegeta.  Broly fights Vegeta, his strength growing by the minute to the point of surpassing not only Vegeta's Super Saiyan but even Super Saiyan God eventually. Goku soon challenges Broly after he pushes back Vegeta and although he puts up a better fight on both transformations, he is still overpowered. Goku, telling Piccolo, who telepathically communicated with him due to sensing the fight, to stay in his location in case a retreat is necessary, activates Super Saiyan Blue and turns the tides. As Goku proves to have become too powerful for Broly to match, Frieza responds by murdering Paragus, triggering the awakening of Broly's Super Saiyan powers. He overwhelms Goku and Vegeta with his new power, so they trick him into attacking Frieza instead and then teleport to Piccolo's location. Goku and Piccolo teach Vegeta how to use the Fusion Dance technique; about an hour later, after two failed attempts, Goku and Vegeta successfully fuse into Gogeta and teleport back to the battlefield. Gogeta turns Super Saiyan and engages in a beam clash with Broly, which shatters the fabric of reality and sends the two into another dimension. Gogeta dominates the fight until an infuriated Broly powers up even further into his Legendary Super Saiyan form. This allows Broly to regain the advantage, until Gogeta powers up into Super Saiyan Blue, allowing him to dominate the fight once again. The two then clash even more violently, breaking through multiple dimensions, before arriving back in the real world.  Gogeta defeats Broly and is about to obliterate him with a powerful energy wave, but Cheelai and Lemo, who had formed a friendship with Broly, summon Shenron with the Dragon Balls and use their wish to transport Broly back to Vampa. Frieza retreats, promising to return another time. Goku later meets with Broly, Cheelai, and Lemo on Vampa, wishing to be friends and providing them with various survival supplies from Capsule Corp, while also hoping to spar with Broly again and offering to teach him how to control his power.

Production.

Development.

The film is produced by Toei Animation. It was originally announced under the tentative title of "Dragon Ball Super - The Movie" on December 17, 2017, during Jump Festa with the general theme being "The Strongest Warrior Race in the Universe, The Saiyans". A poster was released on March 13, 2018, 11 days before the airing of the final episode of "Dragon Ball Super", featuring an entirely new traditional animation design by Toei animator Naohiro Shintani, as opposed to veteran "Dragon Ball" character designer Tadayoshi Yamamuro. One week later, the first trailer for the film was released publicly through Toei Animation featuring the all–new character designs and an enigmatic new villain. Akira Toriyama wrote the story, screenplay and designed the characters, Tatsuya Nagamine is film director, Naohiro Shintani is animation director, Kazuo Ogura is serving as art director, Rumiko Nagai as color designer, Naotake Oota is in charge of special effects, and Kai Makino is the CG director. The film includes elements of the 2014 "Dragon Ball −(Minus): The Departure of the Fated Child" story written by Toriyama.  On July 9, 2018, the movie's title was revealed to be "Dragon Ball Super: Broly", revealing the unknown villain to be the titular character Broly who first appeared in the 1993 film "". Toriyama stated the character and his origin is reworked, but with his classic image in mind. With this movie portrayal, the character would become part of the "Dragon Ball Super" official continuity. Other new characters introduced in the film are Goku's mother Gine, Kikono, Berryblue, Cheelai, and Lemo serving in the Frieza's army, and the Saiyan Beets.

Music and soundtrack.

The film score was composed by Norihito Sumitomo. The original soundtrack, containing 34 tracks, was released on 12 December, by Avex Trax. In August 2018, was reported a rumor that the "Dragon Ball Z" iconic theme song "Cha-La Head-Cha-La" would be also featured in a new arrangement. In October 2018, it was announced that Daichi Miura would perform the film's theme song "Blizzard", which was released as a single on 19 December, by Sonic Groove. Three versions of the single "Blizzard" were released (CD+DVD Edition, Single CD Edition and CD "Dragon Ball Super: Broly" Cover Edition). In its first week of release the CD single sold 22,826 copies. In his sixth week in the Charts, "Blizzard" reached number 2 on the "Billboard" Japan Hot 100 and achieved the number 1 on the "Billboard" Hot Animation.

Marketing.

Beginning July 20, the first 50,000 pre-order ticket holders in Japan received a char of Goku or Vegeta. A promotional one-hour television special aired on Fuji TV in Japan on December 2, 2018, entitled ""Just before the Dragon Ball Super debut! TV version climax recap"".  In North America, anime distributor Funimation hosted the "Dragon Ball North America Tour 2018 with Bandai Collectibles" to promote the film. The tour was held in seven cities in the United States and Canada, starting with a San Diego Comic-Con International panel on July 19, and ending at Dallas Fan Days on October 21, 2018. Fathom Events and Toei Animation also held two limited North American theatrical screenings of past "Dragon Ball" films that featured characters from "Dragon Ball Super: Broly". A screening of "" (1993) was held in September 2018, while "" (1990) and "" (1995), billed together as "Dragon Ball Z: Saiyan Double Feature", were screened the following November. To promote the North American release of the film, a Goku balloon was flown during the 92nd Macy's Thanksgiving Day Parade in 2018.  The film's versions of Gogeta and Broly appear as playable characters via downloadable content (DLC) in the video games "Dragon Ball Xenoverse 2" and "Dragon Ball FighterZ". "Xenoverse 2" also features Super Saiyan God Vegeta as DLC.  A novelization of the film, written by Masatoshi Kusakabe, was released on December 14, 2018. The novel adds additional details not present in the film, such as the names of two Saiyans, Leek and Taro, who appeared early in the film. It was one of the twenty top-selling light novels of January 2019, selling 10,466 copies in Japan. The film was also adapted into an anime comic on May 2, 2019, featuring cover art by the film's animation supervisor Naohiro Shintani.

Release.

The film is distributed in Japan by Toei Company in cooperation with 20th Century Fox, while its international distribution rights are owned by 20th Century Fox. On July 7, 2018, Funimation bought the film's international rights in the United States and Canada. In addition to regular screenings, it is also screened in IMAX, MX4D, and 4DX. The film is the first anime to be screened in IMAX in the United States, with a limited projection beginning January 16, 2019.  On July 19, 2018, trailers for both the subtitled and dubbed versions were released online after being shown at San Diego Comic-Con. On October 5, 2018, the second official trailer for both the subtitled and dubbed versions were released online after being shown at New York Comic Con during the "Dragon Ball Super: Broly" panel at the Hulu Theater at Madison Square Garden. The third trailer was released on November 7, 2018, but only subtitled, while dubbed version on 20 December. The fourth which was a music trailer featuring the theme song "Blizzard" was released on November 24, 2018. The fifth and final trailer was released on 29 November 2018, with a dubbed version, also of the theme song, on 4 December 2018. Each trailer covered a different aspect of the film; the first introduced Broly and his fights against Vegeta, Goku and Frieza, the second their origin stories, the third more scenes from the fights, the fourth recapped previous scenes, and fifth which was the shortest introduced Gogeta's battle against Broly.  The world premiere of "Dragon Ball Super: Broly" was held at the Nippon Budokan in Tokyo on November 14, 2018. This event was limited to only 1,000 guests that were selected via lottery through "Weekly Shōnen Jump" No.47 and the December "V Jump". "Broly" was open nationwide in Japan on December 14, 2018, while Funimation's English dub had its world premiere at TCL Chinese Theatre in Los Angeles on December 13 followed by its United States and Canada release a month later on January 16, 2019 by Funimation Films. The film was screened in Bangladesh by Star Cineplex on January 18, 2019, making it the first anime as well as Dragon Ball film to release in the country's theater. In the United Kingdom and Ireland, Manga Entertainment screened the film theatrically from January 23, 2019. In Australia and New Zealand, Madman Entertainment screened the film theatrically from January 24, 2019, and also screened the IMAX and 4DX versions of the film in select cinemas. 20th Century Fox released the movie theatrically in the Philippines on January 30, 2019. On February 28, 2019, both Hong Kong and Italy projected the film theatrically through distributors Neofilms and Anime Factory respectively. In the France, Viz Media Europe screened the film theatrically from March 13, 2019. PVR Cinemas released the film in India on March 29, 2019, making it the first film of its franchise to be theatrically released in India. In China, the film premiered theatrically on May 24, 2019.

Box office.

Japan.

In its opening weekend between 14–16 December 2018, the film was shown on 467 screens in Japan, and surpassed "" to set a new opening weekend record for the franchise. It opened at number-one at Japanese box office by dominating the weekend from December 14 to 16, selling more than 820,000 tickets and earning more than () in its first three days. In its first six days it sold more than 1 million tickets and earned (). The "Mainichi Shimbun" newspaper reported that the film has earned more than ¥2 billion (US$18.1 million) after 11 days at the box office, being the fastest film in the franchise to hit that mark. It has also sold more than 1.5 million tickets. After three weekends, on 31 December it earned $23.6 million in Japan, and roughly $24.4 million internationally.  According to "Crunchyroll", after 24 days the film earned on 2,604,870 tickets in Japan. After 32 days of release (14 December 2018 to 14 January 2019), the film had earned (), with 2,823,215 tickets having been sold. After 38 days of release, the film's earnings had increased to () to become the highest-grossing film in the series. On seventh weekend, the film dropped from sixth to ninth place. As of 3 February 2019, the film has sold 3,009,730 tickets and grossed ¥3,895,569,200 () in Japan.

Worldwide.

After four weekends, on 6 January 2019, it was estimated to have earned $32.3 million worldwide, with $29.7 million coming from Japan and $3.3 million from five other countries, including the highest-grossing opening by a Japanese film in Brazil with $1.7 million, and by a Japanese animation film in Malaysia with $232,000. During its release on 10 January in Latin America, in Peru the film had the second best premiere in history reaching 257,420 spectators on its first day of release, only surpassed by the "" with 291,629 in 2018, as well best premiere for an animation film in Bolivia. In Argentina, Bolivia, Paraguay, Puerto Rico and Uruguay the film also debuted at number-one at the box office. In its first Latin America weekend it grossed reportedly over $6.1 million in Mexico alone, while according to "Deadline Hollywood", "Peru ($2.5 million) and Argentina ($1.55 million) gave Fox its biggest opening weekend ever, followed by Chile ($1.7 million) with the industry's 3rd biggest animation opening of all time. In Colombia it was Fox's 4th biggest opening weekend ever at $1.5 million and in Ecuador, the Toei anime fantasy is Fox's top launch ever, and the 3rd best superhero bow, behind "Avengers: Infinity War" and """ with $1.3 million. In its fifth weekend ending 13 January 2019, the film grossed $19.2 million from 17 territories, becoming the weekend's third top-grossing film in international markets, behind only "Bumblebee" and "Aquaman", which brought the film's worldwide gross to $53.5 million ahead of its United States release. On the weekend ending 20 January, the international cume had increased to $65.9 million, holding onto the number 1 spot in Chile ($3 million), Peru ($3.8 million) and Ecuador. The film's gross increased to $9.5 million in Mexico, $4.3 million in Brazil, $2.6 million in Argentina and $2.4 million in Colombia. Alongside its domestic total, the worldwide gross increased to $88.7 million.  In the United States the film earned $7.03 million on its opening day, which was a new series record, besting "Resurrection 'F"'s $1.97 million. It again topped the United States box office on its second day of release with $3.3 million, for a two-day total of $10.4 million. It earned $2.39 million on Friday (18 January), earning $12.8 million total in its first three days. The film ended up grossing $9.8 million across the three-day opening weekend (and $11.94 million across the four-day MLK Weekend) to bring its domestic total up to in six days, far surpassing the original estimates of $11 million. In its second weekend it fell 63% to $3.6 million, finishing 10th. It became the 3rd highest grossing anime film in the United States of all time. , "Dragon Ball Super: Broly" has grossed over in the United States and Canada, and internationally from Fox distributed markets, for a worldwide total of over. It is the 11th highest grossing anime film internationally of all time.  Among non Fox distributed markets, in the United Kingdom and Ireland, it became the third highest-grossing anime film ever, earning £850,000 () on its first weekend. It eventually became the second highest-grossing upon surpassing £1 million ($1.3 million).  It debuted at number 7 in Australia and number 1 in New Zealand, raising AUS$1,322,182 and $309,209 respectively. In the Netherlands, it raised €377,570 () in its first week of release, entering at number 4. About 73,000 people saw the movie on its premier on 29 January in Germany where it grossed €854,000 ($970,000). It debuted at number 3 in Spain and earned $1.82 million after its fourth weekend. It debuted at number 1 in Italy earning €1.7 million ($1.9 million) in its opening week. By its second weekend the gross had increased to €2.31 million ($2.6 million).  On 3 March 2019, the movie was reported by the official "Dragon Ball" news site to have earned over ¥12 billion ($107 million) at the worldwide box office., the movie was reported in Toei Animations's fiscal report to have grossed over ¥13 billion ($118 million) at the worldwide box office. In China, where it released on 24 May 2019, the film debuted with a opening weekend., the film has grossed $30,712,119 in the United States and Canada, and $92,411,000 in other territories, for a worldwide total of.

Critical reception.

On review aggregator Rotten Tomatoes, the film holds an approval rating of 82% based on 49 reviews, with an average rating of 7/10. The website's critical consensus reads, ""Dragon Ball Super: Broly" may seem like colorful chaos to newcomers, but for longtime fans, it represents this long-running franchise near its action-packed apogee." On Metacritic, which assigns a normalized rating to reviews, the film has a weighted average score of 59 out of 100, based on 6 critics, indicating "mixed or average reviews". According to Pia's first-day satisfaction survey of Japanese audiences, it ranked as No 1. with an audience approval rating of 92.7%, while American audiences gave the film five out of five stars on PostTrak, including a 91% positive score and 78% "definite recommend."  It received critical acclaim from the initial critical reviews by Anime News Network, IGN, and Comic Book praising the story, animation style, humour, as well Broly for making the movie a "meaningful character piece about a broken man haunted by his abuse-filled past—twisted into something he was never destined to become". In a 5 out of 5 stars review by "Stuff", it was considered as the "best "Dragon Ball" film" with the only prominent critical point that "there are certain scenes where it transitions between 2D animation and 3D... which can disrupt the flow of it all". Ollie Barder writing for "Forbes", stated that the "only real criticism at this point is that after this solid narrative starting setup, we have a pretty hefty time jump to where we are post-"Dragon Ball Super". Considering the depth and breadth of the story between these points of time, it would have been nice to have a bit more exposition to help with the pacing. However, that said, this is already a long movie and we all know that we have a massive fight to look forward to". Allegra Frank of "Polygon" concluded that the movie "gets the fundamentals of "Dragon Ball" extremely right, no matter where you're coming in from", with "no grand statements to be made in "Dragon Ball Super: Broly", and more amusement than anxiety".

Home media.

On April 16, 2019, Funimation released to the North American market the package of Blu-ray discs, DVD and digital combo of the film. The Blu-ray of the movie debuted at number 1 selling 298,048 copies, while the DVD debuted at number 9 selling 30,216 copies and therefore, together they raised more than in retail stores of the United States in its first week of launching. The Blu-ray release contains bonus interviews with the English voice cast; Vic Mignogna was initially advertised as featuring, but his material was omitted following sexual assault accusations made against him and his removal from future Funimation projects in response. Some viewers criticized the picture quality of Funimation's releases for adding a "green tint" to the color, which Funimation defended as being "identical" to the theatrical release.  In United Kingdom, Manga Entertainment released the DVD and Blu-ray on May 27, 2019; this version did not include the interviews featured on the American release and was not affected by the green color issues. Selecta Visión launched in Spain the regular Blu-ray / DVD editions and the Collector's Edition of the film on May 29, 2019.  The film was released in Japan in regular and limited edition DVD and Blu-ray formats on June 5, 2019. The Limited editions for both formats include an bonus DVD featuring TV spot, promotional clips, world premiere event at Nippon Budokan and an event held on December 15, 2018. Also includes tin badges featuring Saiyan, 32 postcards, an original card folder and a 60-page booklet. The home video of "Dragon Ball Super: Broly" debuted at number 1 in the Japan's Animation DVD and Blu-ray Ranking and sold approximately 64,259 copies in its first week. For the second consecutive week, "Dragon Ball Super: Broly" continued to occupy the number 1 spot, adding another 10,291 copies. In its third week, it sold 4,540 copies approximately.  In Australia and New Zealand, Madman Entertainment released the film on DVD and Blu-ray on June 19, 2019. Koch Media released the film in Italy on DVD and Blu-ray on June 20, 2019. On July 17, 2019, Wild Side Video released the DVD and Blu-ray of the film in France. KAZÉ Anime released the film's DVD and Blu-ray in Germany on December 5, 2019.

Anime comic adaptation.

"Dragon Ball Super: Broly" has been adapted into an anime comic, using shots from the film put into manga format. Featuring a cover illustration by Naohiro Shintani, the single volume was released in Japan on May 2, 2019.

Set after the events of the Universe Survival Saga depicted in "Dragon Ball Super", the film follows series protagonists Goku and Vegeta as they encounter a powerful Saiyan name Broly. In the beginning, it tells the history of the Saiyans and the background story of these three Saiyans with different destinies connected to the turbulent period of their race, and later resulting in a massive fight between them.

Dragonball Super: Broly ist der 20. Anime-Film, der auf Akira Toriyamas Manga "Dragon Ball" basiert. Der 2018 veröffentlichte Film ist der erste der Dragon-Ball-Super-Reihe. Der Film spielt nach den Ereignissen der Universums-Turnier-Saga. Das Budget betrug etwa 8,5 Mio. US-Dollar.


Plot.

The film tells the story of two families over about thirty years: Liu Yaojun, Wang Liyun and their son Liu Xing ('Xingxing') together with Shen Yingming, Li Haiyan and their son Shen Hao ('Haohao'). Haohao and Xingxing were born on the same day. Both families were originally close and worked in the same factory, but became estranged in the 1980s.  Following the death of Xingxing, who drowned while playing by a reservoir with Haohao and other children, Yaojun and Liyun moved to another province (Fujian) and adopted a 'new' boy who they rename 'Xingxing', who grows estranged from his foster parents and leaves them as a young teenager. Yingming and Haiyan make a fortune in real estate and Haohao becomes a doctor.  When Haiyan is about to die, she invites Yaojun and Liyun to come back to their home town, which they hardly recognise after so much urban development. At the end, Haohao tells Xingxing's parents that he had forced Xingxing to play in the reservoir because the other kids were laughing at him and he felt embarrassed. Following this revelation, Liu Yaojun and Wang Liyun receive a phone call from their estranged, adopted son to say he is returning to visit them and bringing his new girlfriend.  The film portrays the journey of the two families with non-chronological flashbacks explaining the course of their lives. It speaks of affection, getting married, having and raising children (with the one-child policy), collective dismissal because of economic reform, ups and downs in life, grief and many social changes in China, resulting in complicated life experiences.

So Long, My Son () is a 2019 Chinese drama film directed by Wang Xiaoshuai. It was selected to compete for the Golden Bear at the 69th Berlin International Film Festival. At the festival, the film won the two main acting awards, with Wang Jingchun and Yong Mei winning the Silver Bear for Best Actor and Actress, respectively.

Bis dann, mein Sohn (Originaltitel: "Di jiu tian chang",, dt. „Lange Zeit“; englischsprachiger Festivaltitel: "So Long, My Son", dt.: „Mach’s gut, mein Sohn“) ist ein chinesischer Spielfilm von Wang Xiaoshuai aus dem Jahr 2019. Es handelt sich um den ersten Teil von Wangs geplanter „Heimat-Trilogie“. Der Film erzählt in Rückblenden vom Leben der befreundeten chinesischen Familien ab den 1980er-Jahren bis in die Gegenwart.


Background.

After the Japanese invasion of the Philippines, President Manuel L. Quezon had declared the national capital Manila an "open city", and left it under the rule of Jorge B. Vargas, as mayor. The Japanese entered the city on January 2, 1942, and established it as the capital. Japan fully captured the Philippines on May 6, 1942, after the Battle of Corregidor.  General Masaharu Homma decreed the dissolution of the Commonwealth of the Philippines and established the Philippine Executive Commission, a caretaker government, with Vargas as its first chairman in January 1942. KALIBAPI — "Kapisanan sa Paglilingkod sa Bagong Pilipinas" (Tagalog for the "Association for Service to the New Philippines") — was formed by Proclamation No. 109 of the Philippine Executive Commission (Komisyong Tagapagpaganap ng Pilipinas), a piece of legislation passed on December 8, 1942, banning all existing political parties and creating the new governing alliance. Its first director-general was Benigno Aquino, Sr. The pro-Japanese Ganap Party, which saw the Japanese as the saviors of the archipelago, was absorbed into the KALIBAPI.

Independence.

Before the formation of the Preparatory Commission, the Japanese gave an option to put the Philippines under the dictatorship of Artemio Ricarte, whom the Japanese returned from Yokohama to help bolster their propaganda movement. However, the Philippine Executive Commission refused this option and chose to make the Philippines a republic instead. During his first visit to the Philippines on May 6, 1943, Prime Minister Hideki Tōjō promised to return independence to the Philippines as part of its propaganda of Pan-Asianism ("Asia for the Asians").  This prompted the KALIBAPI to create the Preparatory Committee for Philippine Independence on June 19, 1943. A draft constitution was formed by the Preparatory Commission for Independence, consisting of 20 members from the KALIBAPI. The Preparatory Commission, led by José P. Laurel, presented its draft Constitution on September 4, 1943 and three days later, the KALIBAPI general assembly ratified the draft Constitution.  By September 20, 1943, the KALIBAPI's representative groups in the country's provinces and cities elected from among themselves fifty-four members of the Philippine National Assembly, the legislature of the country, with fifty-four governors and city mayors as ex-officio members.  Three days after establishing the National Assembly, its inaugural session was held at the pre-war Legislative Building and it elected by majority Benigno S. Aquino as its first Speaker and José P. Laurel as President of the Republic of the Philippines, who was inaugurated on October 14, 1943, at the foundation of the Republic, the Legislative Building. Former President Emilio Aguinaldo and General Artemio Ricarte raised the Philippine flag, the same one used during the Philippine–American War, during the inauguration. This was the first time since the Japanese occupation that the flag was displayed and the anthem played.  On the same day, a Pact of Alliance was signed between the new Republic and the Japanese government that was ratified two days later by the National Assembly.

The Republic.

Greater East Asia Conference.

was an international summit held in Tokyo from November 5 to 6, 1943, in which Japan hosted the heads of state of various component members of the Greater East Asia Co-Prosperity Sphere. The event was also referred to as the "Tokyo Conference". The Conference addressed few issues of any substance, but was intended from the start as a propaganda show piece, to illustrate the Empire of Japan's commitments to the Pan-Asianism ideal and to emphasize its role as the "liberator" of Asia from Western colonialism.  The conference and the formal declaration adhered to on November 6 was little more than a propaganda gesture designed to rally regional support for the next stage of the war, outlining the ideals of which it was fought. However, the Conference marked a turning point in Japanese foreign policy and relations with other Asian nations. The defeat of Japanese forces on Guadalcanal (in present-day Solomon Islands) and an increasing awareness of the limitations to Japanese military strength led the Japanese civilian leadership to realize that a framework based on cooperation, rather than colonial domination would enable a greater mobilization of manpower and resources against the resurgent Allied Forces. It was also the start of efforts to create a framework that would allow for some form of diplomatic compromise should the military solution fail altogether. However these moves came too late to save the Empire, which surrendered to the Allies less than two years after the conference.

Problems of the Republic.

During his term in office, Laurel was faced with various problems that the country was experiencing, such as the following:  Laurel attempted to show that the independence of the republic was genuine by rectifying these problems.

Food shortages.

Prioritizing the shortages of food, he organized an agency to distribute rice, even though most of the rice was confiscated by Japanese soldiers. Manila was one of the many places in the country that suffered from severe shortages, due mainly to a typhoon that struck the country in November 1943. The people were forced to cultivate private plots which produced root crops like kangkong. The Japanese, in order to raise rice production in the country, brought a quick-maturing "horai" rice, which was first used in Taiwan. Horai rice was expected to make the Philippines self-sufficient in rice by 1943, but rains during 1942 prevented this from happening.  In addition, carabaos provided the necessary labor that allowed Filipino farmers to grow rice and other staples. Japanese army patrols would slaughter the carabaos for meat, thereby preventing the farmers from growing enough rice to feed the large population. Before World War II, an estimated three million carabaos inhabited the Philippines. By the end of the war, an estimated nearly 70% of them had been lost.

Japanese money.

The first issue in 1942 consisted of denominations of 1, 5, 10 and 50 centavos and 1, 5, and 10 Pesos. The next year brought ""replacement notes"" of the 1, 5 and 10 Pesos while 1944 ushered in a 100 Peso note and soon after an inflationary 500 Pesos note. In 1945, the Japanese issued a 1,000 Pesos note. This set of new money, which was printed even before the war, became known in the Philippines as Mickey Mouse money due to its very low value caused by severe inflation. Anti-Japanese newspapers portrayed stories of going to the market laden with suitcases or ""bayong"" (native bags made of woven coconut or "buri" leaf strips) overflowing with the Japanese-issued bills. In 1944, a box of matches cost more than 100 "Mickey Mouse" pesos. In 1945, a kilogram of camote cost around 1000 "Mickey Mouse" pesos. Inflation plagued the country with the devaluation of the Japanese money, evidenced by a 60% inflation experienced in January 1944.

Education.

The Japanese allowed Tagalog to be the national language of the Philippines. To this end, a pared-down, 1,000-word version of the language was promoted to be learned rapidly by those not yet versed in the language.  Love for labor was encouraged, as seen by the massive labor recruitment programs by the KALIBAPI by mid-1943. Propagation of both Filipino and Japanese cultures were conducted. Schools were reopened, which had an overall number of 300,000 students at its peak.

End of the Republic.

On September 21, 1944, Laurel placed the Republic under martial law. On September 23, 1944, the Republic officially declared war against the United States and United Kingdom. Following the return of American-led Allied forces, the government of the Second Republic evacuated Manila to Baguio. The republic was formally dissolved by Laurel in Tokyo on August 17, 1945.

The Second Philippine Republic, officially known as the Republic of the Philippines (; ; Spanish: "República de Filipinas") and also known as the Japanese-sponsored Philippine Republic, was a puppet state established on October 14, 1943 during the Japanese occupation.

Die Zweite Philippinische Republik, offiziell als Republik der Philippinen bekannt oder auf den Philippinen als von Japan geduldete Philippinische Republik bekannt, war ein Marionettenstaat, der am 14. Oktober 1943 während der japanischen Besatzung gegründet wurde. Jose P. Laurel war der eingesetzte Präsident.


Story.

Upon starting the game, the player is invited to construct an avatar. However, upon completion, the game deletes the avatar and informs the player that "No one can choose who they are in this world."  The player begins the story as Kris, a human child living in a village mostly made up of monster residents, with their adoptive mother Toriel, who is also a monster. Toriel drops Kris off at school, where Kris attends a class taught by Alphys. Kris and Susie, a delinquent monster classmate, are sent to get chalk for the blackboard. Upon entering the supply closet, both of them are pulled into the "Dark World". There, they meet Ralsei, a prince of the dark, who tells them that the three of them are heroes destined to close the Dark Fountain (a geyser of dark energy) to restore balance to that world. However, the King has seized control of the Dark World and is determined to spread darkness.  Susie chooses not to help, only wanting to return to her own world. Before she can leave, the three encounter the King's son Lancer, who tries to stop them from proceeding with various poorly thought out plans. Susie eventually decides to join Lancer, leaving Kris and Ralsei on their own. As Kris and Ralsei make their way to the King's castle, Susie befriends Lancer, and the four ultimately become a team. Upon realizing that they will have to confront the King, Lancer runs off to the castle and arranges for the King's henchmen to throw Kris, Ralsei, and Susie into the dungeon.  Susie escapes the dungeon and confronts Lancer, who explains he wanted to keep Susie and the King from hurting each other. Susie promises Lancer she won't hurt the King. Kris, Susie and Ralsei go to the top of the castle and confront the King in battle. Eventually, the King falls to the ground in exhaustion and Ralsei takes pity on him, healing the King. However, this is revealed to be a ruse as the King quickly incapacitates the three heroes, threatening to kill them all. If the player has resolved enemy encounters without violence throughout the game, Lancer turns the King's men against him and imprisons him, taking his father's place as king of the Dark World. Otherwise, Susie subdues the King using Ralsei's Pacify spell.  Kris closes the Dark Fountain so that they can return to their own world. There, Susie says goodbye, expressing interest in returning to the Dark World. The player can explore the town before having Kris go home to bed. That night, Kris shakes in bed, then falls on the floor and limps to the center of the room. Kris tears into their chest and rips out their heart-shaped SOUL, throwing it into a birdcage in the corner of the room. The player can move the SOUL around the birdcage, but cannot do anything else. Kris draws a knife and turns toward the viewer. They smile, with their right eye flashing red.

Gameplay.

Like "Undertale", "Deltarune" is a role-playing game with a top-down perspective. The player directly controls a human named Kris, but they may also select actions for other characters in the game. Similarly to "Undertale", "Deltarune" includes puzzles and bullet hell sections in which the player must move a heart around a boxed area while avoiding attacks. "Undertale"'s random encounter system has been removed; players can now see the enemies directly on the field, allowing for the possibility of avoiding them.  Combat is turn-based. Players can choose from a set of actions each turn such as fight, act, spare, using an item, or defend, which reduces incoming damage. Brushing against attacks without touching them increases the Tension Points (TP) gauge, which allow party members to use spells. For example, Ralsei can pacify enemies by singing them to sleep. When a party member's hit points (HP) reaches 0, they become downed and can't fight anymore. The HP of downed party members will regenerate automatically until it reaches 1; healing items or Ralsei's healing spell will also revive them.  While the goal of the game is implicitly to avoid fights and spare monsters, this is made difficult in that Susie—who is not initially controlled by the player—would attack enemies rather than spare them, and thus the player must also warn enemies of Susie's attacks if they want to show mercy.

Development and release.

The idea for "Deltarune" came to Toby Fox in a dream he had in 2011 while he was at college. In the dream, he saw the ending to a video game and was determined to create it. Fox was also inspired by a collection of playing card designs posted on Tumblr by artist Kanotynes, which were used in the final game. Development of the game started in 2012, although it was abandoned before Fox created the first room. Some music from the original project was recycled for "Undertale", most notably the main battle theme (which became Papyrus' battle theme), and a song called "Joker Battle" (which was reused for the Toriel fight). After the Kickstarter success of "Undertale", Fox decided to make a game combining the two. Various factors such as the graphics, overhauled combat system and Fox's mental state make " Deltarune " a more challenging game to produce compared to "Undertale".  Temmie Chang, who previously assisted Fox with character art in "Undertale," served as the main artist for the "Deltarune". She helped design characters, sprites and animations. Fox came up with Susie's design after having played "". He originally based her off Maya Fey and she would act "nice and cute". However, as her design progressed, she eventually turned into more of a "thug". Fox stated that he planned to give an unnamed character a fire spell which they wouldn't be good at using, but decided against adding it in the first chapter.  "Deltarune" was developed by Fox in GameMaker Studio 2. The game introduces a new battle system comparable to the one used in the "Final Fantasy" franchise, contrasting with the original game's combat system (which shared similarities with that of the "Mother" series). Some of the music in the game remixes portions of the "Undertale" soundtrack, but most pieces are new. Unlike "Undertale", Fox plans for "Deltarune" to have only one ending.  After previously teasing something "Undertale"-related a day earlier, Fox released the first chapter of "Deltarune", a game "intended for people who have completed "Undertale"", on October 31, 2018, for Windows and macOS for free. Fox stated that this release is the first part of a new project, and considered the release a "survey program" to determine how to take the project further. Fox clarified that "Deltarune" will be a larger project than "Undertale" and once he anticipates getting a team to help develop and more, and when it is ready, will release the game as one whole package. "Deltarune" merchandise was announced on November 2018 in collaboration with Fangamer, including T-shirts, a poster, a plushie and a pin set.  A Nintendo Direct released on February 13, 2019, announced that the first chapter of "Deltarune" would be released on Nintendo Switch on February 28. On February 21, 2019, the official PlayStation Twitter account announced that a PlayStation 4 version of the first chapter would also be released on February 28. However, the full version of the game has not been released.

Reception.

The first chapter of "Deltarune" garnered a lot of comparisons to "Undertale". Jason Schreier of "Kotaku" and Dominic Tarason of "Rock, Paper, Shotgun" compared it favorably. Schreier praised the refinements of "Undertale" elements, calling it "a refreshing return"; Tarason agreed, saying that "Deltarune" is "a higher-budget production". Although Mitchell Parton of "Nintendo World Report" thought that "Deltarune" "doesn’t significantly change up the formula", he did not have a problem with it. "Nintendo Life"'s Mitch Vogel was less positive, being disappointed that after how "fresh" "Undertale" was at its release, "Deltarune" ended up being "‘just’ more of the same". A significant amount of praise was aimed at the music, with Schreier claiming that "The soundtrack should be enough of a selling point." Tarason found that the music had "a fresh new edge to it" whereas Parton described it as "emotional and solid" and expressed surprise at it being composed by one person. Adam Luhrs of RPGFan praised Toby's "clever use of motifs", feeling that they were incorporated well in "Deltarune"'s story. "Gamespot"'s Michael Higham pointed out similarities between "Deltarune" and "Undertale"'s music, believing that they're "callbacks to remind you that these two worlds are somehow bound together". Tarason liked the game's pixel art, calling it "more detailed and expressive" compared to "Undertale," a sentiment which Parton agreed with. Higham further elaborated that's "Deltarune"'s ability to "communicate so much with so little" is one of its greatest strengths and that the "character expressions and body language provide vivid displays of personality". The gameplay was also generally well received, with Parton calling it "unique" and Vogel describing the combat as "an organic and well-implemented expansion of the original". Some criticism was given by Higham, referring to some sequences – such as the Card Castle – as "a bit barebones". Allegra Frank of "Polygon" mentioned that "Deltarune"'s sense of humor is one of its "defining features". Vogel concurred, calling the humor "witty" and the story "compelling". Higham stated that "you'll be smiling ear-to-ear from the witty writing, snappy jokes, and absurdist humor". Parton and Tarason focused more on the character designs, with Tarason praising the "fresh (and lovable) set of characters" and Parton asserting that their designs range from "undeniably adorable to nightmarishly disturbing". Vogel was critical of the way that the Dark World was implemented, opining that despite it looking slightly better than "Undertale", it "hardly feels like a cohesive or living place". He also criticized the "sparsely decorated hallways with very little in the way of interesting design or presentation", ending his criticism by saying that ""Deltarune" is unfortunately not a very pretty game to look at." Parton also listed the game's infrequent save points as a negative in his summary.

Awards.

The game soundtrack was nominated for the Game Audio Network Guild / MAGFest People's Choice Award at the 2019 G.A.N.G. Awards.

Deltarune is a role-playing video game created by Toby Fox. The player controls a human, Kris, in a world inhabited by monsters. Kris and a classmate named Susie fall into an unknown place called the "Dark World" where they meet Ralsei, who informs them that they are heroes destined to save the world. The trio meets various beings who call themselves "Darkners" during a prophesied quest to seal the duplicate Dark Fountain. Mainly through the combat system, the player navigates through different kinds of bullet hell attacks by enemies, which can be resolved peacefully or through violence.

Deltarune (Eigenschreibweise: deltarune) ist ein episodisches Indie‐Computer‐Rollenspiel des US‐amerikanischen Entwicklers Toby Fox. Das erste Kapitel des Spiels, welches gleichzeitig als Demoversion fungiert, erschien am 31. Oktober 2018 für Microsoft Windows und macOS. Am 28. Februar 2019 erschien das erste Kapitel auch für Nintendo Switch und Playstation 4.


History.

The precise construction date of the first Kaunas Castle is unknown. Archaeological data suggests that a stone castle was built on the site during the middle of the 14th century. Situated on an elevated bank near the river junction about from the capital city of Vilnius, it served as a strategic outpost and guarded nearby cities as well as trade routes.  A written account states that in 1361, the Grand Master of the Teutonic Knights Winrich von Kniprode issued an order to gather information about the castle, specifically the thickness of its walls, as preparation for an assault on the castle. In March–April 1362, the castle was besieged by the Teutonic Order. During this attack, the Teutonic Knights constructed a siege tower and erected wall-penetration machinery; primitive fire arms might have been used, since gunpowder technology was emerging in Europe. At that time, the castle walls were over high, when its firing galleries are factored in. According to Wigand of Marburg, the castle's garrison consisted of about 400 Lithuanians soldiers, commanded by Vaidotas, son of Duke Kęstutis. After three weeks, the Knights managed to breach the castle's walls, and soon afterwards the castle was taken. On Easter Sunday in 1362, the knights conducted a Mass at the castle to commemorate their victory.  Apparently, of the castle's defense force of 400, only 36 survived. Questions remain with regard to the castle's defenders' lack of support from outside during the siege. In any event, Kęstutis soon regained and rebuilt Kaunas Castle, but it remained a point of contention between Lithuanians and Teutonic Knights for many years. In 1384 Kaunas Castle was re-captured by the Teutonic Knights. At this time Grand Master Konrad Zöllner von Rotenstein began reconstruction of Kaunas Castle and renamed it Marienwerder. The presence of the Knights in Kaunas meant that the entire defensive system of castles along the Nemunas was threatened. Confronting this situation, the Lithuanians launched an attack on the castle later the same year.  It seems likely that the Lithuanians mustered an army near Vilnius as a strategic maneuver, since Lithuanians could use the downstream flow of the Neris River to transport artillery and military provisions from Vilnius; the Knights were forced to use overland or upstream transport. During the 1384 assault, the Lithuanians deployed cannons and trebuchets; the besieged Teutonic Knights had also installed cannons in the castle, which apparently destroyed the Lithuanians' trebuchet. Nevertheless, the castle was retaken by the Lithuanians.  After 1398, the Teutonic Knights were no longer able to reconquer the castle. After the Battle of Grunwald, Kaunas Castle lost its strategic military importance and was used as a residence. The castle served administrative purposes after the death of Vytautas the Great. Sigismund Augustus gave this castle to his wife Barbara Radziwill in 1549. During the 16th century, the castle was strengthened and adapted to new defensive purposes by the construction of an artillery bastion near the round tower. The diameter of the bastion was about and the height of the bastion's walls was about ; the wall worked in conjunction with a defensive trench. At the bottom of the bastion a firing gallery was installed, which was linked with the tower.  In 1601, Kaunas Castle housed courts and an archive. At some time in 1611, part of the castle was flooded by the Neris River. Due to its convenient location, it was used by the Swedish military during its war with the Polish–Lithuanian Commonwealth, after which its military functions ceased. In the mid-17th century, large portions of the castle were again flooded. The castle was used as a prison in the 18th century; later the Russian administration granted permission for houses to be built in the castle's territory, which resulted in significant damage to the castle itself.  Kaunas city and this castle was mentioned in the famous Lithuanian and Polish poet Adam Mickiewicz poem "Konrad Wallenrod" (1828), by set in the 14th-century Grand Duchy of Lithuania.  For many years afterwards, Kaunas castle stood abandoned. In the 1960s the round tower was opened as a museum, but due to the tower's structural deterioration, the museum was transferred elsewhere.

Conservation of the castle.

Protection of the castle began in 1930; nearby houses were demolished, and the territory was examined by archeologists. Further efforts to preserve the castle were made in the 1950s. At this time the round tower underwent some repair; later the firing bastion was excavated from beneath several overlying strata. The excavated bastion was in very good condition. As part of its protection, temporary roofing was put in place there, as well as on the remaining towers and walls. The remaining portions of the round tower were not reconstructed to their original height, nor were the castle walls; the bigger part of them are only remaining foundations of the walls.  Archeological excavations continued at Kaunas Castle, interrupted by periods of inactivity. The evidence gathered from these archeological works suggests that the configuration of the castle, excluding the bastion, has remained in the form it took during its reconstruction in 1376.

Today.

Major reconstruction work started in 2010 and ended in 2011. In 2011, a branch of the Kaunas City Museum was established in Kaunas Castle. The castle is open to tourism, and hosts occasional festivals. A new sculpture "Freedom Warrior" (or the Vytis) was erected near Kaunas castle on 14 July 2018. The "Freedom Warrior" is almost seven meters high and was cast in Ukraine. A bronze horseman with a horse was placed at the castle of Kaunas on a granite pedestal. The authors of the sculpture are Lithuanian A. Sakalauskas and Ukrainians Boris Krylov and Olesius Sidoruk. In 2019 Kaunas City museum with Kaunas Castle became a new Member of Association of Castles and Museums around the Baltic Sea.

Kaunas Castle is a medieval castle in Kaunas, the second-largest city in Lithuania. Archeological evidence suggests that it was originally built during the mid-14th century, in the Gothic style. Its site is strategic – a rise on the banks of the Nemunas River near its confluence with the Neris River. At the beginning of the 21st century, about one-third of the castle was still standing.

Die Burg Kaunas ist die älteste Mauer-Burg in Litauen. Sie befindet sich in der Stadt Kaunas, am Zusammenfluss der Memel und der Neris. Die Burg wurde 1361 urkundlich erwähnt. Sie hatte eine wichtige strategische Position, da sie den Kreuzzug gegen den Einbruch in Litauen und in die Hauptstadt Vilnius blockierte. Aus diesem Grund wurde die Burg mehrmals von den Kreuzrittern des Deutschen Ordens überfallen.


Franz de Paula Ulrich, 3rd Prince Kinsky of Wchinitz and Tettau

Family and career.

His father, Count Philip Kinsky of Wchinitz and Tettau (1700–1749), was a Habsburg state administrator, jurist, and ambassador to the Court of St. James's. He married Maria Carolina, Countess of Martinitz in 1722: from this marriage, he had four sons and four daughters. For the eldest son, Franz de Paula Ulrich, he planned a career in government service, similar to his own, which his son accepted. Franz de Paula Ulrich served for a short time in the "Hofrat" (High Council) in a juridical position. While in this branch of the state service, on 12 September 1749, he married Maria Sidonie Countess of Hohenzollern-Hechingen (1729–1815); they had four children: Philipp Joseph, Joseph, Wenzel Octavian and Maria Anna.  In 1752, his cousin, the Fürst Franz Joseph, died childless; his own father had died in 1749, as had his uncle. The allodial seat came to him. After his succession, he gave up state bureaucratic service and joined the Army. He was assigned to the Regiment "Colledo" in 1754, and in the following year, promoted to Colonel and regimental commander. He led this regiment during the Battle of Lobositz, the first battle of the Seven Years' War and the following year he was promoted to Major General, on 25 June 1757 (effective 26 January 1757).  In the second campaign of the war, 1757, he commanded the Infantry Regiment "Bolla", in the Austrian victory at the Battle of Kolin. During the battle, he led his regiment to secluded, low ground where they fixed their bayonets and fell upon the Prussian flank; his regiment fought against twice their number, and the Prussians were armed with two cannons. In the battle he was so badly wounded he had to be carried from the field. Reportedly, General Loudon wrote to the Empress that she should put the Order in the regimental flag. He received the Knights Cross of the Military Order of Maria Theresa on 7 March 1758.  He returned to the field for the Battle of Mansfeld, in September of that year, his horse was killed by a cannonball, and he received a severe contusion. In the third campaign, he participated in the Battle of Hochkirch, in which Leopold Josef Graf Daun masterminded an early morning attack on the Prussian camp. In this battle, he lost two horses when they were shot from under him. He received the Commanders Cross on 15 September 1758, and was promoted to Lieutenant Field Marshal on 19 March 1759.  In 1767, he was appointed "Feldzeugmeister", of General of Artillery; he also became a member of the Imperial Privy Council on 28 January 1767. He served as Director-General of Artillery, from February 1772 to 1778, when he was promoted to Field Marshal in March of that year. In this capacity, he participated in the War of the Bavarian Succession. In 1761, the Emperor appointed him as Colonel and Proprietor (Inhaber) of the Infantry Regiment N°36, a position he held until his death 18 December 1792. He retired from the military service in 1779, and managed his extensive properties in Vienna, Prague and Moravia. He received the Order of the Golden Fleece on 21 September 1771.

Franz de Paula Ulrich, 3rd Prince Kinsky of Wchinitz und Tettau, was a Bohemian noble and general in service of the House of Habsburg. He was born in Zlonice, Bohemia, 23 June 1726, and died in Prague, Bohemia (present day Czech Republic) 19 December 1792.

Franz de Paula Ulrich III. Reichsfürst Kinsky von Wchinitz und Tettau (* 23. Juni 1726 in Slonitz im Königreich Böhmen; † 19. Dezember 1792 in Prag) war ein Adeliger und kaiserlicher Feldmarschall der österreichischen Armee.


Background.

Originally titled "Thank You, Little Girl", the song was written by John Lennon and Paul McCartney as a tribute to the band's many female fans. McCartney said, "We knew that if we wrote a song called, 'Thank You Girl', that a lot of the girls who wrote us fan letters would take it as a genuine 'thank you'. So a lot of our songs were directly addressed to the fans." Written “eyeball to eyeball", a phrase Lennon and McCartney would later use to describe their early formulaic writing sessions, "Thank You Girl" demonstrates how they were able to produce a song from scratch by working in total partnership. Lyrically, Ian MacDonald suggests that Lennon probably wrote the first line of each verse, allowing McCartney to use his flair for word play and inner-rhyming in completing it.  Lennon said the song was originally intended as a single: "'Thank You Girl' was one of our efforts at writing a single that didn't work. So it became a B-side or an album track." In April 1972, he told "Hit Parader", "[The song was written by] Paul and me. This was just a silly song we knocked off." McCartney seemed to agree describing it as "a bit of a hack song, but all good practice."  Both "From Me to You" and "Thank You Girl" were credited to "McCartney–Lennon", as were eight of the songs on the "Please Please Me" album. It would be permanently changed to the more familiar "Lennon–McCartney" songwriting credit for their next single release, "She Loves You".

Recording.

The song was recorded in thirteen takes, the same number of takes needed to perfect "From Me To You" on 5 March 1963. This recording session is also notable because it marks the first studio appearances of two Lennon–McCartney songs that would not be released until much later in the band's career: "One After 909" (later re-recorded, appearing on "Let It Be") and "What Goes On" (later re-recorded, appearing on "Rubber Soul", credited as Lennon–McCartney/Starkey to reflect Ringo's contribution to the lyrics). Although both songs were rehearsed, only "One After 909" was recorded, and even then the results were deemed unsatisfactory for release.  John Lennon overdubbed the harmonica without the other Beatles eight days later. According to multiple sources, John came to the session directly from bed due to a severe cold. Engineer Geoff Emerick said it took John numerous takes to produce a satisfactory result because he was so unsteady.  The stereo mix of the song (included on the Capitol LP "The Beatles' Second Album") is noticeably different from the original single mono mix (re-released on CD in 1988 on the compilation "Past Masters, Volume One") in the middle 8. In the stereo version, a couple of extra harmonica lines can be heard, as well as at the very end of the song. In addition, this stereo mix contained reverb added by Capitol. The unadulterated stereo mix was released for the first time on the 2009 remastered CD "Past Masters.

Cover versions.

The song was covered by the Smithereens on their 2008 album "B-Sides The Beatles".

"Thank You Girl" is a song recorded by the English rock band the Beatles, written by John Lennon and Paul McCartney (Lennon–McCartney). It was issued as the B-side of the single "From Me to You", which was recorded on the same day (5 March 1963). While not released on an LP in the United Kingdom until "Rarities" in 1978, the song was the second track on "The Beatles' Second Album" in the United States. As the B-side of the single "Do You Want to Know a Secret", it hit No. 35 on the "Billboard" Hot 100 in the spring of 1964.

Thank You Girl () ist ein Lied der britischen Band The Beatles aus dem Jahr 1963, das als B-Seite der Single "From Me to You" erschien.


Education.

Mace was educated at the University of Liverpool where she was awarded a Bachelor of Science degree in 1976. She was awarded a PhD on the evolutionary ecology of small mammals in 1979 from the University of Sussex for research supervised by Paul H. Harvey.

Research and career.

Her research interests are in measuring the trends and consequences of biodiversity loss and ecosystem change. She started her career at the Smithsonian Institution to study the impact on inbreeding in zoological collections. Mace continued this work and further researched captive population ecology by studying population viability in zoos. Mace commented that "It was exciting to make quantitative scientific contributions to conservation"  She has been President of the British Ecological Society, President of the Society for Conservation Biology, a member of the Science Committee of Diversitas. Mace was editor of the "Philosophical Transactions of the Royal Society (Series B, Biological Sciences)" from 2008 to 2010.  In 2000, Mace became Director of Science at the Institute of Zoology in London, during this time, Professor Mace was instrumental in developing the criteria for listing species in the IUCN Red List, the most comprehensive inventory on the conservation status of the world's species species conservation contributing to the maintenance of global biodiversity and managed by IUCN. Prior to these changes, the Red List was based on nominations from experts rather than data, the changes instigation by Mace and her colleagues took 10 years to be implemented by the IUCN. Many Regional Red List publications are now increasingly based on the same criteria. Since 2002 she and her colleagues have worked to establish methods for evaluating biodiversity and the ecosystem services it provides, and changes in biodiversity that have been provisionally measured by the Red List Index.  Mace was also actively involved in the biodiversity sections of the "Millennium Ecosystem Assessment" which was conducted from 2002 through 2005. Mace continues to work in the field of conservation biology and states that "all the evidence to date is that when societies put their mind to solving a problem, they can generally do it."  In 2006, Mace became director of the Natural Environment Research Council's Centre for Population Biology at Imperial College London. Since 2012 Mace has been the Director of the Centre for Biodiversity and Environment Research (CBER) at University College London. She is also an Academic Editor of PLOS Biology, the open access online journal and supports open-access policy to scientific publications.

Honours and awards.

Mace was appointed Officer of the Order of the British Empire (OBE) in 1998, Commander of the Order of the British Empire (CBE) in 2007 for services to environmental science, and Dame Commander of the Order of the British Empire (DBE) in the 2016 New Year Honours for services to science.  Mace was elected a Fellow of the Royal Society (FRS) in 2002. In July 2007 she was awarded an Honorary Doctor of Science degree by the University of Sussex for her work on biodiversity. She was the winner of the 2007 International Cosmos Prize. In 2011 she received the Ernst Haeckel Prize by the European Ecological Federation. In 2016 Mace won the Dr A.H. Heineken Prize for Environmental Sciences. In 2016 she was also awarded, jointly with Sandra Knapp, the Linnean Medal of the Linnean Society She received a President's Medal from the British Ecological Society.  She has received the 2018 BBVA Foundation Frontiers of Knowledge Award in the category of Ecology and Conservation Biology, jointly with Gretchen Daily for developing vital tools facilitating science-based policies "to combat species loss".

Dame Georgina Mary Mace, (born 12 July 1953) is a British ecologist and conservation scientist. She is Professor of Biodiversity and Ecosystems at University College London. She was previously Professor of Conservation Science and Director of the Natural Environment Research Council (NERC) Centre for Population Biology, Imperial College London (2006–2012) and was Director of Science at the Zoological Society of London (2000–2006).

Georgina Mary Mace (* 12. Juli 1953 in London) ist eine britische Naturschutzbiologin. Sie ist Professorin für Biodiversität und Ökosysteme am University College London.


Synopsis.

A coming of age story about Crown Prince Lee Yeong (Park Bo-gum)'s growth from a boy to revered monarch, and his unlikely relationship with eunuch Hong Ra-on (Kim Yoo-jung).

Production.

On December 2015, KBS Media announced that they will be adapting and producing the popular novel "" written by Yoon Yi-soo. Park Bo-gum joined the project in February 2016 and Kim Yoo-jung boarded in April. The first script reading was held in Yeoido, Seoul on May 26, 2016 and filming began in early June. The drama's first teaser, with lead actor Park dressed in dragon robe dancing to Jessy Matador's French pop-song "Bomba" in front of Gwanghwamun, was released on July 2016 and became a viral hit.  In a press conference held in August 18, 2016, director Kim Sung-yoon indicated that despite the series being set in the 19th century, the production aimed to show a more contemporary message adding: "Our focus was on creating a romance that's pretty and charming but also sad. We'd like viewers to be able to identify with the emotions displayed. There's no grand metaphor. Rather than unveiling a political message, we focused on telling a story that's easy to identify with."  Due to high audience ratings, KBS negotiated for the production to extend its original 18 episodes to 20. Chief producer Kang Byung-taek declined saying that the framework of the story had already been laid out and it would only yield complications with the cast and crew's respective schedules.  "Love in the Moonlight" is the second collaboration between director Kim Sung-yoon and writers Kim Min-jung and Im Ye-jin after working on "" and director Baek Sang-hoon, cinematographer Kim Si-hyeong and music director Gaemi after working on "Descendants of the Sun" (2016).

Original soundtrack.

In August 2016, OU Entertainment's Gaemi, real name Kang Dong-yoon, joined the project as music director. Jinyoung, who plays Yoon-sung, composed and produced "Misty Road" sung by Ben. "My Person", which lead actor Park finished recording in October 2016 was co-written by composer Kim Se-jin. It topped Melon, Mnet, Bugs, olleh, Soribada, Genie, Naver and Monkey3 charts upon its release.  The two-disc soundtrack album was released on October 27, 2016 and consists of 13 tracks including a humming version of "Because I Miss You", 13 instrumentals and three special background music created by folk-fusion band Second Moon.  The drama marked the comeback of acclaimed balladeers Sung Si-kyung and Baek Ji-young after two years.

Reception.

The series was met with praise by critics and audiences for its production, performances and music. It doubled its premiere ratings on its third episode and remained the undisputed #1 against 3 public broadcasting dramas in the same timeslot. In addition, it became KBS's highest-rated Monday/Tuesday drama since 2010. It also dominated topicality, content and brand reputation charts in and beyond its run which led the media to call its popularity ""Moonlight" Syndrome". Moreover, it topped viewership ratings in the Philippines where it premiered in March 2017, dubbed in Filipino on ABS-CBN.  Costume designer Lee Jin-hee was also commended for her work on the production's Joseon-era clothes. Lead actor Park's hanbok were put on exhibit at Tokyo International Forum during his Japan fan meeting the following year. Sales of the novel experienced a 56% increase upon the drama's airing. The overseas demand consequently led to its translation in Mandarin and plans on Japanese and Thai translations, among others. Both KakaoTalk and LINE released "Moonlight" digital stickers and three of Raon's outfits were made available for purchase in mobile game "I Love Nicky". The eternal bracelets of Yeong and Raon went on sale as official merchandise and the drama's 336-page official photo essay book became a best-seller. "Moonlight" has also been parodied in shows like "Saturday Night Live Korea" and "The Return of Superman", among others. In September 2016, KBS Media acquired the rights to adapt "Moonlight" into a musical production.  On October 19, 2016, Park, Kim, Jinyoung and Kwak held a fan-signing event, wearing their drama costumes, at the historic Gyeongbokgung Palace where scenes of the drama were filmed. More than 5,000 fans gathered to see the cast and the event was also live-streamed on Facebook. A gesture of gratitude for the drama's success, it was a collaborative effort between KBS and the Korea Creative Content Agency.  In partnership with Viki, the series screened at University of California, Berkeley on October 2016 as a joint project of the campus' Korea-centric organizations, KUNA and K-Popular.

Ratings.

In this table, represent the lowest ratings and represent the highest ratings.

International broadcast.

The series aired worldwide, with English subtitles, starting August 23, 2016 every Tuesday and Wednesday at 21:50 (KST) on KBS World. It also streams internationally, on DramaFever, Viki and Hulu.

Love in the Moonlight () is a South Korean television series starring Park Bo-gum and Kim Yoo-jung with Jinyoung, Chae Soo-bin and Kwak Dong-yeon. It is a coming-of-age story and youth romance set during 19th-century Joseon Dynasty based on the novel "" which was first serialized on Naver in 2013 and consequently published as a five-part series of books in 2015. It aired on KBS2 at 22:00 (KST) every Monday and Tuesday for 18 episodes from August 22, 2016, until October 18, 2016.

Love in the Moonlight ( "Gureumi Geurin Dalbit") ist eine südkoreanische Fernsehserie mit Park Bo-gum, Kim Yoo-jung, Jinyoung, Chae Soo-bin und Kwak Dong-yeon. Sie besteht aus 18 Episoden und wurde vom 22. August bis zum 18. Oktober 2016 auf KBS2 ausgestrahlt.


History.

Background.

In the early 20th century, privately funded streetcars and interurbans gave Portland one of the largest urban rail systems in the American West, including lines that once extended from Forest Grove to Troutdale and Vancouver, Washington to Eugene. Ben Holladay brought over Portland's first trolleys from San Francisco; they were introduced in 1872 and were initially drawn by horses and mules. In 1890, the first electric streetcar service opened in Albina, which was operated by the Willamette Bridge Railway Company, and

Early beginnings.

At the height of local freeway revolts in the 1970s, TriMet began a study for mass transit using funds made available by the passage of the Federal-Aid Highway Act of 1973. These funds had been intended for the Mount Hood Freeway and I-505 projects, which were abandoned amid strong opposition from the Portland city government and neighborhood associations. In 1973, Governor Tom McCall assembled a task force that helped determine several alternative options, including a busway and light rail. Local jurisdictions originally favored the busway alternative but support for light rail prevailed following the mode's inclusion in a 1977 environmental impact statement. The proposal became known as the Banfield light rail project, which was named for the Banfield Freeway, a segment of I-84 that part of the alignment followed. TriMet formally approved the project in September 1978. Construction of the, 27-station route between 11th Avenue in downtown Portland and Cleveland Avenue in Gresham began in March 1982.

South–North proposal.

At the same time TriMet was planning the Westside MAX in the mid-1980s, Metro regional government announced new light rail proposals for Clackamas County. Its planning committee—the Joint Policy Advisory Committee on Transportation (JPACT)—proposed two separate routes that would have run between downtown Portland and Oregon City via Milwaukie and between Portland International Airport and Clackamas Town Center via I-205. Further planning led JPACT to favor the I-205 corridor due to an existing right-of-way along the I-205 Transitway, an unfinished mass transit component of the freeway that had been built to accommodate a busway. TriMet, however, prioritized the Westside MAX during its bid for federal matching funds and the I-205 plans were put on hold. In 1989, studies for both I-205 and Milwaukie proposals received funding from the U.S. Senate Committee on Appropriations under the condition that they included potential route extensions to Clark County, Washington. Metro completed the studies in 1993, ultimately abandoning I-205 in favor of

Airport and Interstate lines.

Compelled by the rapid expansion of Portland International Airport in the 1990s, the Port of Portland began exploring ways to alleviate worsening traffic congestion, including the possibility of introducing MAX service, which regional planners had not anticipated for at least another 20 years. In 1997, engineering firm Bechtel accelerated plans by submitting an unsolicited proposal to design and build an airport rail link in exchange for of Port property. A public–private partnership between the company and local governments was negotiated and construction of the Airport MAX began in June 1999. With no federal assistance requested and right-of-way already secured, it was completed in just under two years. The four-station, line between Gateway/Northeast 99th Avenue Transit Center and Portland International Airport station opened on September 10, 2001. Celebrations scheduled for that weekend were canceled in the aftermath of the September 11 attacks. Red Line service originally ran between the airport and downtown, turning around at the loop tracks on 11th Avenue. On September 1, 2003, it was

South Corridor extensions.

In 2001, Metro revisited its former light rail plans for Clackamas County by reconsidering proposals similar to those of the canceled South–North Line project, with two routes extending to Clackamas and Milwaukie. This resulted in a new study, which Metro referred to as the South Corridor transportation project, that evaluated light rail among other alternatives. The study's task force recommend both light rail options in 2003 and suggested splitting the project into two phases. The first phase planned for the addition of light rail to I-205, between Gateway Transit Center and Clackamas Town Center. In October of that year, the first phase plans were amended to include adding light rail to the Portland Transit Mall following a petition from Portland business leaders. The combined project was approved for federal funding in 2006 and work began in January 2007. Light rail commenced service along the 14-station, Portland Transit Mall on August

Future plans.

TriMet works with local jurisdictions and also other agencies to identify and recommend priority transit projects, which are then included in Metro's Regional Transportation Plan (RTP). The 2018 RTP is the plan's latest iteration; it lists three funding scenarios that divide the region's proposals into three priority levels. The highest priority projects, which are referred to as "2027 Constrained", are proposals the region expects to have funding for by 2027. The "2040 Constrained" lists projects that fit within the region's planned budget through 2040 while the "2040 Strategic" are projects that may be built if additional funding becomes available.

Current projects.

The 2018 RTP currently lists two MAX-related projects it expects

Other proposals.

TriMet has indicated additional extensions and improvements have been studied or discussed

Network.

Lines.

For MAX, a "line" refers to the physical railroad track and stations a train serves between its designated termini, i.e. a train "route" or "service". The MAX system consists of five lines, each of which is assigned a color. The use of colors to distinguish the separately-operated routes was adopted in 2000 and brought into use in 2001 with the opening Red Line service.  All five lines traverse downtown Portland. The Blue and Red lines run north–south via First Avenue and east–west via Morrison and Yamhill streets. The

Segments.

The MAX rail network is long; TriMet typically rounds this figure up to. It was built in a series of six projects starting with the Banfield—now Eastside—alignment. A portion of the Eastside MAX between 11th Avenue and Gateway Transit Center is now served by the Blue, Green, and Red

Alignment.

In parts of the MAX system, particularly in downtown Portland and downtown Hillsboro, MAX trains run on surface streets. Trains in these sections run in reserved lanes that are closed to other motorized vehicles, except within intersections. Exceptions include the Portland Transit Mall, Southwest Harbor Viaduct, and Tilikum Crossing, where trains operate on the same lanes as transit buses but MAX has traffic priority.  Elsewhere, MAX runs within its own exclusive right-of-way that includes street medians, former railroad lines, alongside freeways and existing freight lines, viaducts, and underground. Where the tracks run within a street median, such as the majority of the Interstate MAX and a section of the Eastside MAX along Burnside Street, intersections are controlled by traffic signals that give trains preemption. Where tracks run on a separate right-of-way, trains are protected by automated grade crossing

Signaling.

Approximately 70% of the MAX system uses automatic block signaling (ABS). This allows for faster operating speeds—up to —and short headways. In particular, between Lloyd Center/Northeast 11th Avenue station and Gateway Transit Center along the Banfield Freeway—where Blue, Green, and

Stations.

MAX serves 94 stations throughout the Portland metropolitan area, of which 48 are served by the Blue Line, 30 by the Green Line, 26 by the Red Line, 17 by the Orange Line, and 17 by the Yellow Line. Moreover, 32 stations are served by at least two lines and eight stations are served by three lines. The system's central stations, where all MAX services interconnect, are situated within two blocks of downtown Portland occupied by the Pioneer Courthouse and Pioneer Courthouse Square. They are the Pioneer Courthouse and Pioneer Place stations—which are served by the Green, Orange, and Yellow lines—and the Pioneer Square stations—which are served by the Blue and Red lines.  MAX stations vary in size but are generally simple and austere. Platforms are about long as a result of Portland's short city blocks in downtown, restricting trains to two-car consists. Like many other light rail systems in North America, MAX stations do not have faregates; paid fare zones are delineated but remain accessible to anyone. In 2015, TriMet proposed installing turnstiles at some stations along the Orange Line but never did so. Stations are typically equipped with trash cans, shelters, and ticket vending machines. Most have arrival information displays that show when trains arrive and update riders about service disruptions. These displays were initially installed on I-205 MAX and Portland Transit Mall stations and a federal grant in 2013 enabled TriMet to add more to additional locations. Concessionaires sometimes open coffee shops at certain stations.  A majority of MAX stations are at street level, correlating to the system's predominant alignment. A few stations, including Sunset Transit Center,, and stations along the Banfield Freeway, are below street level. One station,, is elevated. Washington Park is the system's only underground station; it is currently North America's deepest transit station at below ground.  Many MAX stations facilitate transfers to other modes of transportation. Eleven stations operate as TriMet transit centers, providing connections to several local and intercity bus lines. Currently, Beaverton Transit Center is the only MAX-served transit center with a transfer to WES Commuter Rail, which operates between the westside cities of Beaverton, Tigard, Tualatin, and Wilsonville. Within the Portland Transit Mall, trains connect with numerous bus lines; bus stops are situated in transit mall blocks that are not occupied by light rail platforms. In Portland's Central City district, riders can transfer to the Portland Streetcar at stations near points where MAX and streetcar lines intersect. Riders may also connect to Amtrak via two stations near Portland Union Station. The Red Line operates as an airport rail link and terminates at a MAX station attached to the main passenger terminal of Portland International Airport.  TriMet has built a total of six infill stations. Four were built on the original Eastside MAX alignment—Mall/Southwest 4th Avenue (1990), Mall/Southwest 5th Avenue (1990), Convention Center (1990), and (2010)—and two were built on the Portland Transit Mall—PSU South/Southwest 6th and College (2012) and PSU South/Southwest 5th and Jackson (2012). On March 1, 2020, TriMet closed the Mall infill stations served by the Blue and Red lines in an effort to speed up travel times in downtown Portland. In addition, the agency temporarily closed Kings Hill/Southwest Salmon Street station for a trial period ending on March 1, 2021.

Rolling stock.

, TriMet operates five models of light rail vehicles that are designated as "Type 1" through "Type 5", of which two are successive upgrades of the same model. The agency has 145 cars that vary in length, from to, and are all used interchangeably by every service on the network. With Portland's relatively small downtown blocks, services operate with only one or two cars to prevent stationary trains from blocking intersections. Type 2 and 3 low-floor vehicles may run singularly or coupled to another Type 1, 2, or 3 vehicle. Type 1 high-floor vehicles are also capable of running singularly, but doing so would constrain accessibility due a lack of wheelchair access. Thus, a high-floor car must be coupled with a low-floor car. Type 4 and 5 cars can only be coupled to one another.  Twenty-six Type 1 high-floor vehicles were produced for the Banfield light rail project by a joint venture between Bombardier and La Brugeoise et Nivelles beginning in 1983. TriMet announced it would purchase seven additional vehicles that August, but a budget shortfall forced the agency to withdraw this proposal the following November. The cars are similar in design to Bombardier vehicles that had been used in Rio de Janeiro. Bombardier built the frames in Quebec, but its factory in Barre, Vermont manufactured the majority of each car, the first of

Facilities.

TriMet's vehicle-maintenance complexes for the MAX system are the Ruby Junction facility in Gresham and the smaller Elmonica facility in Beaverton. The Ruby Junction facility is located near Ruby Junction/East 197th Avenue station while the Elmonica facility is adjacent to Elmonica/Southwest 170th Avenue station; both are on the Blue Line.  Ruby Junction began with one building that TriMet built as part of the original MAX project in the early 1980s; it had expanded to three multi-story buildings totaling occupying by 2010, and to

Services.

From Monday to Thursday, MAX trains run for 22 hours per day. Additional late-night trips are provided on Fridays. Except for additional late-night trips on Saturdays, weekend service runs on a slightly reduced schedule. TriMet designates all MAX lines as "Frequent Service" routes, which ensures service runs on a 15-minute headway for most of each day. During the early morning and late evening hours, trains operate with headways of up to 30minutes. During rush hours, headways can be as short as three minutes, particularly in the central section of the system where lines overlap. At many stations, a live display shows the destination and time-to-arrival of the next several trains using data gathered by a vehicle tracking system installed on the light rail tracks.

Ridership.

MAX carried over 38.8million total passengers in 2019, an average of 120,900 riders per day on weekdays. This is slightly lower than the number of riders recorded in 2018 and represents the system's third consecutive year of fallen ridership. MAX ridership peaked in 2012, when the system recorded around 42.2million annual

Fares.

As is standard practice on North American light rail systems, MAX uses a proof-of-payment fare collection system and its stations do not have ticket barriers. Most ticket vending machines at stations accept cash as well as credit and debit cards but some machines accept only cards. TriMet employs an automated fare collection system through a stored-value, contactless smart card called Hop Fastpass, which can be purchased from participating retail stores. Alternatively, chip-embedded,

Discontinued services.

From the MAX system's opening until 2012, riding trains within Fareless Square, which was known as the Free Rail Zone from 2010 to 2012, was free of charge. Fareless Square included all of downtown and, starting in 2001, part of the Lloyd District. The 37-year-old fare-free zone was discontinued on September 1, 2012, as part of system-wide cost-cutting measures. As part of the same budget cuts, TriMet discontinued its zonal fares and moved to a flat-fare system. Zones had been in place since 1986; higher fares were charged for longer journeys across four paid zones.  The MAX Mall Shuttle operated on weekday afternoons from when it was introduced on September 14, 2009, until 2011. It acted as a supplement to the light rail service provided on the Portland Transit Mall by

2017 stabbing incident.

On May 26, 2017, at approximately 4:30pm, a man fatally stabbed two people and injured a third after he was confronted for shouting anti-Muslim slurs at two teenage girls inside a MAX train. Two men—a technician and U.S. Army veteran, and a recent university graduate—died from wounds to their necks while a third victim, who is also male, survived. The attacker, who described himself as a white nationalist, was arrested and charged with murder, attempted murder, and other crimes. On February 21, 2020, the perpetrator was found guilty on all charges, including two counts of first-degree murder.

MAX Light Rail (for Metropolitan Area Express) is a light rail system in Portland, Oregon, United States, that is owned and operated by TriMet. It consists of 94 stations over a network and is served by five lines, each of which is designated by a color. The system connects all six sections of Portland; the suburban communities of Beaverton, Clackamas, Gresham, Hillsboro, and Milwaukie; and Portland International Airport to Portland City Center. MAX is the fourth-busiest light rail system in the United States after comparable light rail services in Los Angeles, Boston, and San Francisco. The system had an average daily ridership of 120,900 and nearly 39 million annual riders in 2019. Lines run seven days a week with headways of between 30 minutes off-peak and three minutes during rush hours.

Die Stadtbahn Portland, mit vollem Namen Metropolitan Area Express und regelmäßig abgekürzt MAX Light Rail, ist ein Stadtbahnsystem in Portland (Oregon) an der Westküste der Vereinigten Staaten. Als eines der ersten Stadtbahnsysteme nach der Renaissance der Straßenbahnen ermöglicht es einen schienengebundenen Pendlerverkehr in die Innenstadt von Portland, wohin alle fünf Linien führen. Errichtet und betrieben wird es vom Trimet, dem städtischen Nahverkehrsvertrieb, der auch die Buslinien betreibt, nicht jedoch die Straßenbahn Portland.


Plot.

Adopted from war-torn Eritrea, Luce Edgar is an all-star high school athlete and accomplished debater who is adored by other school students and his parents, Peter and Amy Edgar. However, he has animosity toward his history teacher, Harriet Wilson, who got his friend DeShaun kicked off the running team after finding marijuana in his locker and calling the police.  Harriet calls Amy, asking her to meet at school. She shows her Luce's written assignment in which, asked to write from the perspective of a historical figure, he chose Frantz Fanon, a political revolutionary who argued that colonialism can be overcome through violence. Harriet is concerned, as Luce was a child soldier before coming to America, and someone like him writing this could get in trouble. Harriet also tells Amy that she went through Luce's locker and found a bag full of illegal and dangerous fireworks.  Amy shows Peter the paper and the fireworks; both are unsettled, but decide to hide them and not mention anything to Luce. During dinner, the family brings up Harriet again. Luce accuses her of singling out students to make a point. He tells them how Harriet often uses Stephanie Kim, a classmate allegedly sexually abused at a party while drunk, as an example of a victimized woman suffering in silence. Luce is Harriet's shining example of a star black student, which is not how he wants to be seen, arguing that he does not want to be tokenized. Later, Luce finds the hidden paper and fireworks.  The next day, Luce and Harriet discuss the issue of his paper. He acknowledges his wording but says he just did what the assignment asked, dismissing any true belief in violence. He then makes a comment about fireworks that Harriet interprets as a threat, and she notifies Peter. He and Amy confront Luce about the comment plus the fireworks being in his locker. He explains that the track team members share lockers, and the fireworks are not his. Peter thinks Luce is lying, while Amy is not sure what to believe.  Harriet and her sister Rosemary, who suffers from an unspecified mental illness, have an encounter with Luce that unsettles Harriet. Later that night, Harriet finds Rosemary has trashed the house. She takes her sister back to the "doctor." At a team car wash fundraiser, Luce promises DeShaun that he will make things right. Meanwhile, Amy and Stephanie meet at a coffee shop. Stephanie says that she used to date Luce, something Amy never knew, but that they broke up. Stephanie uncomfortably describes being sexually assaulted at a party by several boys but denies Luce's involvement, saying he claimed to have stopped them and comforted her after she awoke. Luce later learns from Stephanie about the visit.  The next day Rosemary arrives at the school and has a breakdown in front of Harriet, Luce, and other students before being apprehended by police. Luce shows a video of the incident to Amy and Peter, which disturbs them. Harriet's home is vandalized that night, and Stephanie arrives shortly after to tell Harriet that Luce sexually assaulted her. Harriet informs the school principal (Dan Towson), and a meeting is organized with them, Luce, and his parents, with Stephanie waiting in another room. Luce quickly disproves Harriet's accusations with video evidence of his whereabouts, and Harriet's harsh questions quickly make Amy and Peter take their son's side over hers.  Harriet brings up the fireworks, and Amy lies, saying that Harriet only told her about them on the phone. Amy even tells Towson that Harriet deliberately went after her. Harriet goes to the room Stephanie was in to discover she has left. Once she returns, Towson accepts Amy's claims, and the meeting ends despite Harriet still trying to argue her side to Towson. At night, exploding fireworks inside Harriet's desk cause a fire. Harriet meets with Towson who puts her on a leave of absence pending investigation due to heavy suspicion against her. After learning of the incident, Amy runs home to find the fireworks, only to discover in horror that they are gone. Peter believes Luce was involved, but Amy insists that they will stand up for their son and not defend Harriet.  Luce confronts Harriet at her house about how she ruined DeShaun's athletic career and put Luce on a pedestal. She defends her position, but Luce believes she stereotyped them. She claims that America stereotyped them and she was trying to protect them. She then accuses Luce of being hypocritical (by using other black students to "run his errands" so he wouldn't get caught) before ordering him out of her house.  Outside, Amy follows Luce to a hideout where he has sex with Stephanie, who sees Amy outside the window but does not react. When Amy returns home to the spot she had originally hidden the fireworks, Luce returns too and reconciles with her. Later, Luce gives a speech at school, where he thanks Amy and Peter for raising him and says how lucky he feels to be an American, with the chance to start over and tell his own story. After, Luce goes on a run, during which his face contorts in rage.

Production.

In November 2017, it was announced Naomi Watts, Octavia Spencer, Kelvin Harrison Jr., and Tim Roth had joined the cast of the film, with Julius Onah directing from a screenplay by himself and JC Lee. John Baker, Onah, and Andrew Yang served as producers on the film with Rob Feng, Amber Wang, and Lee served as executive producers under their Dream Factory Group banner. In December 2017, Brian Bradley, also known as Stro, joined the cast of the film. Onah spoke about the importance of rehearsal with actors to his process. The actors rehearsed with each other before filming to create deeper familiarity, this includes a rehearsal in which all the young actors joined up in New York to hang out and develop a deeper backstory and understanding of their characters. The film was shot on 35mm film.

Release.

The film had its world premiere at the Sundance Film Festival on January 27, 2019. Shortly after, NEON & Topic Studios acquired distribution rights to the film. It was released on August 2, 2019.

Reception.

On review aggregator Rotten Tomatoes, the film holds an approval rating of 91% based on 149 reviews, with an average rating of 7.75/10. The site's critical consensus reads: ""Luce" brings a stellar ensemble to bear on a satisfyingly complex story that addresses its timely themes in thought-provoking fashion." On Metacritic, the film holds a weighted average score of 72 out of 100, based on 31 critics, indicating "generally favorable reviews".  "The Guardian"s Benjamin Lee said of Kelvin Harrison Jr.'s performance, "It's an utterly mesmeric turn, filled with crushing vulnerability and insidious menace, in a brutal, dramatically explosive film that challenges preconceptions and leaves us with difficult, troubling questions to consider." Critic Brian Tallerico of "RogerEbert.com" praises the film commenting, "It reminded me of early Mamet work although with a commentary on race he could never attempt. All of this, and it’s got one of the best ensemble performances of Sundance 2019. This is one to watch for." He went on to specifically praise Harrison Jr.'s performance as "the real deal... flat out brilliant."

Luce is a 2019 American social thriller drama film directed, co-produced, and co-written by Julius Onah. It stars Naomi Watts, Octavia Spencer, Kelvin Harrison Jr., and Tim Roth. The film was based on the play of the same name by J.C. Lee.

Luce ist ein US-amerikanisches Filmdrama von Julius Onah, das am 27. Januar 2019 im Rahmen des Sundance Film Festivals seine Premiere feierte und am 2. August 2019 in ausgewählte US-Kinos kam.


History.

Precursors to the popular samples can be found in contemporary classical music, for example in Igor Stravinsky's ballet "The Firebird" (1919).  Use of short samples (such as the orchestra hit) became popular in the early 1980s with the advent of digital samplers. These devices allowed sounds to be replayed at specific times and at regular intervals by sequencing, which was extremely difficult through previous methods of tape splicing. Samplers also began to allow sections of audio to be edited and played by a keyboard controller.  The orchestra hit was popularised in Afrika Bambaataa's "Planet Rock" (1982) and used soon after in Kate Bush's "The Dreaming". Other examples of use in popular music include En Vogue's "Hold On" (1990) and Duran Duran's "A View to a Kill" (1985). Yes's "Owner of a Lonely Heart" (1983) used an orchestra hit which was sampled from Funk, Inc.'s "Kool is Back". By the mid 1980s, the orchestra hit had become commonplace in hip hop music, and its ubiquitous use became a cliché. Use in other genres extends to jazz funk, where it was used on the title track of Miles Davis's 1986 album "Tutu". By the mid 1990s the sound had begun to be used in caribbean music.  Anne Dudley and Trevor Horn used an orchestra hit with the Art of Noise as a sound effect rather than a melodic instrument. The sample was used in "Close (to the Edit)", where it was sequenced alongside sound effects of chainsaws, breaking glass and motorcycles. Similarly, the brass orchestra hits in "Owner of a Lonely Heart" are used as a rhythmic device, rather than an effect to evoke a specific environment (in a similar way to samples in Yes's earlier recordings). The stabs in the song may also be substitutes for other instruments in the rhythm section, possibly drum fills, and the use of orchestra hits and other samples is particularly noticeable between the first chorus and the start of the guitar solo. High-pitched versions of the orchestra hit were used in many late 80s and 90s songs in Eastern Europe, for example one notable use there was in the song "S'agapao pou na parei" (Σ'αγαπάω που να πάρει) by Greek singer Thanos Kalliris in 1997.  Orchestra hits can be used in film music to represent loud noises such as closing doors.

Technical.

Orchestra hit is defined in the General Midi sound set. It is assigned voice 55, in the ensemble sub group.  The Fairlight CMI synthesizer included a sampled orchestra hit voice, which was later included in many sample libraries. The voice was given the name ORCH5, and was possibly the first famous orchestra hit sample. The sound was a low-resolution, eight-bit digital sample from a recording of Stravinsky's "Firebird Suite" – specifically, the chord that opens the "Infernal Dance" section, pitched down a minor sixth and at a reduced speed. It was sampled by David Vorhaus. Music magazine "The Wire" suggests that the prototype sample is owned by Vivian Kubrick.  Early orchestra hits were short in duration (often less than a second) both due to the nature of the sound (a staccato note) and the restrictions on bit rates and depths. A compromise for longer durations would be lower bitrates, which would leave the sample with little timbre.  Fairlight produced a number of orchestra hit samples, including a chord version (TRIAD), a percussion version (ORCHFZ1) and a looped version (ORCH2). Samples ORCH4, ORCH5 and ORCH6 were located on the CMI's disk 8, within the STRINGS1 library.

Samples.

The following samples are examples of orchestra hit voices on different sound modules. Each note is played at C4 (see scientific pitch notation).

An orchestra hit, also known as an orchestral hit, orchestra stab, or orchestral stab, is a synthesized sound created through the layering of the sounds of a number of different orchestral instruments playing a single staccato note or chord. The orchestra hit sound was propagated by the use of early samplers, particularly the Fairlight CMI where it was known as the ORCH5 sample. The sound is used in pop, hip hop, jazz fusion, techno, and video game genres to accentuate passages of music.

Orchestra Hit (Abk. Orchehit u. a.; deutsch: "Orchesterabschlag") ist ein Sampler-Instrument bzw. eine Sampling-Klangquelle, die durch eine Kombination aus Orchester-Instrumentenklängen hergestellt wurde und worin das Orchester gleichzeitig mit einem Staccato-Ton oder -Sound wie ein Tutti-Akkord oder Tusch in einem klassischen Orchesterstück erklingt.