title: Rapture

text: An 1828 edition of Matthew Henry's "An Exposition of the Old and New Testament" uses the word "rapture" in explicating 1 Thessalonians 4:17.


title: Rapture

text: Although not using the term "rapture", the idea was more fully developed by Edward Irving (1792–1834). In 1825, Irving directed his attention to the study of prophecy and eventually accepted the one-man Antichrist idea of James Henthorn Todd, Samuel Roffey Maitland, Robert Bellarmine, and Francisco Ribera, yet he went a step further. Irving began to teach the idea of a two-phase return of Christ, the first phase being a secret rapture prior to the rise of the Antichrist. Edward Miller described Irving's teaching like this: "There are three gatherings: – First, of the first-fruits of the harvest, the wise virgins who follow the Lamb whithersoever He goeth; next, the abundant harvest gathered afterwards by God; and lastly, the assembling of the wicked for punishment."


title: Rapture

text: Pre-tribulational premillennialism traces its roots in the post-apostolic era as far back as "The Shepherd of Hermas" (ca. A.D. 140), which alludes to the idea that some believers in Christ will escape the tribulation. Other antecedents of pre-tribulational premillennialism can be found in "The Apocalypse of Elijah", "The Apocalypse of Pseudo-Ephraem", and "The History of Brother Dolcino" which present early, less refined forms of pre-tribulational premillennialism. Modern pre-tribulational premillennialism gained rise in the seventeenth century with the Puritan preachers Increase Mather and Cotton Mather. It was popularized extensively in the 1830s by John Nelson Darby and the Plymouth Brethren and was further promoted in the United States through the wide circulation of the Scofield Reference Bible in the early 20th century.


title: Rapture

text: The pre-tribulation position advocates that the rapture will occur before the beginning of a seven-year tribulation period, while the second coming will occur at the end of it. Pre-tribulationists often describe the rapture as Jesus coming "for" the church and the second coming as Jesus coming "with" the church. Pre-tribulation educators and preachers include Jimmy Swaggart, Robert Jeffress, J. Dwight Pentecost, Tim LaHaye, J. Vernon McGee, Perry Stone, Chuck Smith, Hal Lindsey, Jack Van Impe, Chuck Missler, Grant Jeffrey, Thomas Ice, David Jeremiah, John F. MacArthur, and John Hagee. While many pre-tribulationists are also dispensationalists, not all pre-tribulationists are dispensationalists.


title: Rapture

text: John Nelson Darby first proposed and popularized the pre-tribulation rapture in 1827. This view was accepted among many other Plymouth Brethren movements in England. Darby and other prominent Brethren were part of the Brethren movement which impacted American Christianity, especially with movements and teachings associated with Christian eschatology and fundamentalism, primarily through their writings. Influences included the Bible Conference Movement, starting in 1878 with the Niagara Bible Conference. These conferences, which were initially inclusive of historicist and futurist premillennialism, led to an increasing acceptance of futurist premillennial views and the pre-tribulation rapture especially among Presbyterian, Baptist, and Congregational members. Popular books also contributed to acceptance of the pre-tribulation rapture, including William E. Blackstone's book "Jesus is Coming", published in 1878, which sold more than 1.3 million copies, and the Scofield Reference Bible, published in 1909 and 1919 and revised in 1967.


title: Rapture

text: Some pre-tribulation proponents, such as Grant Jeffrey, maintain that the earliest known extra-Biblical reference to the pre-tribulation rapture is from a 7th-century tract known as the Apocalypse of Pseudo-Ephraem the Syrian. Different authors have proposed several different versions of the text as authentic and there are differing opinions as to whether it supports belief in a pre-tribulation rapture. One version of the text reads, "For all the saints and Elect of God are gathered, prior to the tribulation that is to come, and are taken to the Lord lest they see the confusion that is to overwhelm the world because of our sins." In addition, "The Apocalypse of Elijah" and "The History of Brother Dolcino" both state that believers will be removed prior to the Tribulation.


title: Rapture

text: There exists at least one 18th-century and two 19th-century pre-tribulation references: in an essay published in 1788 in Philadelphia by the Baptist Morgan Edwards which articulated the concept of a pre-tribulation rapture, in the writings of Catholic priest Manuel Lacunza in 1812, and by John Nelson Darby in 1827. Manuel Lacunza (1731–1801), a Jesuit priest (under the pseudonym Juan Josafat Ben Ezra), wrote an apocalyptic work entitled "La venida del Mesías en gloria y majestad" ("The Coming of the Messiah in Glory and Majesty"). The book appeared first in 1811, 10 years after his death. In 1827, it was translated into English by the Scottish minister Edward Irving.


title: Rapture

text: During the 1970s, belief in the rapture became popular in wider circles, in part because of the books of Hal Lindsey, including "The Late Great Planet Earth", which has reportedly sold between 15 million and 35 million copies, and the movie "A Thief in the Night", which based its title on the scriptural reference 1 Thessalonians 5:2. Lindsey proclaimed that the rapture was imminent, based on world conditions at the time.


title: Rapture

text: In 1995, the doctrine of the pre-tribulation rapture was further popularized by Tim LaHaye's "Left Behind" series of books, which sold close to 80 million copies and was made into several movies and four real-time strategy video games.


title: Rapture

text: The mid-tribulation position espouses that the rapture will occur at some point in the middle of what is popularly called the tribulation period, or during Daniel's 70th Week. The tribulation is typically divided into two periods of 3.5 years each. Mid-tribulationists hold that the saints will go through the first period (Beginning of Travail), but will be raptured into Heaven before the severe outpouring of God's wrath in the second half of what is popularly called the Great Tribulation. Mid-tribulationists appeal to which says the saints will be given over to tribulation for "time, times, and half a time," – interpreted to mean 3.5 years. At the halfway point of the tribulation, the Antichrist will commit the "abomination of desolation" by desecrating the Jerusalem temple. Mid-tribulationist teachers include Harold Ockenga, James O. Buswell (a reformed, Calvinistic Presbyterian), and Norman Harrison. This position is a minority view among premillennialists.


title: Rapture

text: The prewrath rapture view also places the rapture at some point during the tribulation period before the second coming. This view holds that the tribulation of the church begins toward the latter part of a seven-year period, being Daniel's 70th week, when the Antichrist is revealed in the temple. This latter half of a seven-year period [i.e. years] is defined as the great tribulation, although the exact duration is not known. References from Matthew 24, Mark 13, and Luke 21 are used as evidence that this tribulation will be cut short by the coming of Christ to deliver the righteous by means of the rapture, which will occur after specific events in Revelation, in particular after the sixth seal is opened and the sun is darkened and the moon is turned to blood. However, by this point many Christians will have been slaughtered as martyrs by the Antichrist. After the rapture will come God's seventh-seal wrath of trumpets and bowls (a.k.a. "the Day of the Lord"). The Day of the Lord's wrath against the ungodly will follow for the remainder of seven years.


title: Rapture

text: The partial, conditional or selective rapture theory holds that all obedient Christians will be raptured before the great tribulation depending on ones personal fellowship (or closeness) between she or he and God, which is not to be confused with the relationship between the same and God (which is believer, regardless of fellowship.) Therefore, it is believed by some that the rapture of a believer is determined by the timing of his conversion before the great tribulation. Other proponents of this theory hold that only those who are faithful in their relationship with God (having true fellowship with him) will be raptured, and the rest resurrected during the great tribulation, between the 5th and 6th seals of Revelation, having lost their lives during. Still others hold the rest will either be raptured during the tribulation or at its end. As stated by Ira David (a proponent of this view): “The saints will be raptured in groups during the tribulation as they are prepared to go.” Some notable proponents of this theory are G. H. Lang, Robert Chapman, G. H. Pember, Robert Govett, D. M. Panton, Watchman Nee, Ira E. David, J. A. Seiss, Hudson Taylor, Anthony Norris Groves, John Wilkinson, G. Campbell Morgan, Otto Stockmayer and Rev. J. W. (Chip) White Jr.


title: Rapture

text: In the post-tribulation premillennial position, the rapture would be identical to the second coming of Jesus or as a meeting in the air with Jesus that immediately precedes his return to the Earth before a literal millennium. The post-tribulation position places the rapture at the end of the tribulation period. Post-tribulation writers define the tribulation period in a generic sense as the entire present age, or in a specific sense of a period of time preceding the second coming of Christ. The emphasis in this view is that the church will undergo the tribulation. – ""Immediately after the Tribulation of those days...they shall gather together his elect..."" – is cited as a foundational scripture for this view. Post-tribulationists perceive the rapture as occurring simultaneously with the second coming of Christ. Upon Jesus' return, believers will meet him in the air and will then accompany him in his return to the Earth. In the Epistles of Paul, most notably in ("the dead in Christ shall rise first") and , a trumpet is described as blowing at the end of the tribulation to herald the return of Christ; further supports this view. Moreover, after chapters 6–19, and after 20:1–3 when Satan is bound, says, "and they lived, and reigned with Christ a thousand years. But the rest of the dead lived not again until the thousand years were finished. This "is" the first resurrection. Blessed and holy "is" he that hath part in the first resurrection."


title: Rapture

text: Authors and teachers who support the post-tribulational view include Pat Robertson, Walter R. Martin, John Piper, George E. Ladd, Robert H. Gundry, and Douglas Moo.


title: Rapture

text: In the postmillennialist view the millennium is seen as an indefinitely long time thus precluding literal interpretation of a thousand-year period. According to Loraine Boettner "the world will be Christianized, and the return of Christ will occur at the close of a long period of righteousness and peace, commonly called the millennium." Postmillennialists commonly view the rapture of the Church as one and the same event as the second coming of Christ. According to them the great tribulation was already fulfilled in the Jewish-Roman War of 66–73 AD that involved the destruction of Jerusalem. Authors who have expressed support for this view include the Puritan author of "Pilgrim's Progress", John Bunyan, Jonathan Edwards and Charles Finney.


title: Rapture

text: Amillennialists view the millennial rule of Christ as the current, but indefinite period that began with the foundation of the church and that will end with the Second Coming—a period where Christ already reigns with his saints through the Eucharist and his church. They view the life of the church as Christ's kingdom already established (inaugurated on the day of the Pentecost described in the first chapter of Acts), but not to be made complete until his second coming. This framework precludes a literal interpretation of the thousand-year period mentioned in chapter twenty of Revelation, viewing the number "thousand" as numerologically symbolic and pertaining to the current age of the church. Amillennialists generally do not use "rapture" as a theological term, but they do view a similar event coinciding with the second coming—primarily as a mystical gathering with Christ. To amillennialists the final days already began on the day of the Pentecost, but that the great tribulation will occur during the final phase or conclusion of the millennium, with Christ then returning as the alpha and omega at the end of time. Unlike premillennialists who predict the millennium as a literal thousand-year reign by Christ after his return, amillennialists emphasize the continuity and permanency of his reign throughout all periods of the New Covenant, past, present and future. They do not regard mentions of Jerusalem in the chapter twenty-one of Revelation as pertaining to the present geographical city, but to a future new Jerusalem or "new heaven and new earth", for which the church through the twelve apostles (representing of the twelve tribes of Israel) currently lays the foundation in the messianic kingdom already present. Unlike certain premillennial dispensationalists, they do not view the rebuilding of the temple of Jerusalem as either necessary or legitimate, because the practice of animal sacrifices has now been fulfilled in the life of the church through Christ's ultimate sacrifice on the cross. Authors who have expressed support for the amillenialist view include St. Augustine. The amillennialist viewpoint is the position held by the Catholic, Eastern Orthodox, and Anglican churches, as well as mainline Protestant bodies, such as Lutherans, Methodists, Presbyterians and many Reformed congregations.


title: Rapture

text: Since the origin of the concept, some believers have made predictions regarding the date of the event. All have failed in their attempt to set a date.


title: Rapture

text: Some predictions of the date of the Second Coming of Jesus (which may or may not refer to the rapture) include the following:


title: Joan Fontaine

text: Joan de Beauvoir de Havilland (October 22, 1917 – December 15, 2013), known professionally as Joan Fontaine, was a British-American actress who is best known for her starring roles in Hollywood films during the "Golden Age". Fontaine appeared in more than 45 films in a career that spanned five decades. She was the younger sister of actress Olivia de Havilland. Their rivalry was well-documented in the media at the height of Fontaine's career.


title: Joan Fontaine

text: She began her film career in 1935, signing a contract with RKO Pictures. Fontaine received her first major role in "The Man Who Found Himself" (1937) and in "Gunga Din" (1939). Her career prospects improved greatly after her starring role in Alfred Hitchcock's "Rebecca" (1940), for which she received her first of three nominations for the Academy Award for Best Actress. The following year, she won that award for her role in Hitchcock's "Suspicion" (1941). A third nomination came with "The Constant Nymph" (1943). She appeared mostly in drama films through the 1940s, including "Letter from an Unknown Woman" (1948), which is now considered a classic. In the next decade, after her role in "Ivanhoe" (1952), her film career began to decline and she moved into stage, radio and television roles. She appeared in fewer films in the 1960s, which included "Voyage to the Bottom of the Sea" (1961), and her final film role in "The Witches" (1966), also known as "The Devil's Own".


title: Joan Fontaine

text: She released an autobiography, "No Bed of Roses", in 1978, and continued to act until 1994. Having won an Academy Award for her role in "Suspicion", Fontaine is the only actress to have won an Academy Award for acting in a Hitchcock film. She and her sister remain the only siblings to have won lead-acting Academy Awards.


title: Joan Fontaine

text: Joan de Beauvoir deHavilland was born on October 22, 1917, in Tokyo City, in the then Empire of Japan to English parents. Her father, Walter de Havilland (1872–1968), was educated at the University of Cambridge and served as an English professor at the Imperial University in Tokyo before becoming a patent attorney. Her mother, Lilian Augusta Ruse de Havilland Fontaine (1886–1975), was educated at the Royal Academy of Dramatic Art in London and became a stage actress who left her career after going to Tokyo with her husband. Her mother returned to work with the stage name "Lillian Fontaine" after Joan and her elder sister Olivia de Havilland achieved prominence in the 1940s. Joan's paternal cousin was Sir Geoffrey de Havilland (1882–1965), an aircraft designer known for the de Havilland Mosquito, and founder of the aircraft company which bore his name. Her paternal grandfather, the Reverend Charles Richard deHavilland, was from a family from Guernsey, in the Channel Islands.


title: Joan Fontaine

text: De Havilland's parents married in 1914 and separated in 1919 when she was two; the divorce was not finalized, however, until February 1925.


title: Joan Fontaine

text: Taking a physician's advice, Lilian deHavilland moved Joanreportedly a sickly child who had developed anaemia following a combined attack of the measles and a streptococcal infectionand her sister to the United States. The family settled in Saratoga, California, and Fontaine's health improved dramatically during her teen years. She was educated at nearby Los Gatos High School and was soon taking diction lessons alongside Olivia. When she was 16 years old, Joan returned to Japan to live with her father. There she attended the Tokyo School for Foreign Children, graduating in 1935.


title: Joan Fontaine

text: Fontaine made her stage debut in the West Coast production of "Call It a Day" (1935) and made her film debut in MGM's "No More Ladies" (1935) in which she was credited as Joan Burfield. She was leading lady to Bruce Bennett (billed as Herman Brix) in a low budget independent film, "A Million to One" (1937).


title: Joan Fontaine

text: Fontaine signed a contract with RKO Pictures. Her first film for the studio was "Quality Street" (1937) starring Katharine Hepburn, in which Fontaine had a small unbilled role.


title: Joan Fontaine

text: The studio considered her a rising star, and touted "The Man Who Found Himself" (1937) with John Beal as her first starring role, placing a special screen introduction, billed as the "new RKO screen personality" after the end credit. Fontaine later said it had "an A budget but a Z story."


title: Joan Fontaine

text: RKO put her in "You Can't Beat Love" (1937) with Preston Foster and "Music for Madame" (1937) with Nino Martini.


title: Joan Fontaine

text: She next appeared in a major role alongside Fred Astaire in his first RKO film without Ginger Rogers, "A Damsel in Distress" (1937). Despite being directed by George Stevens, audiences were disappointed and the film flopped. She was top billed in the comedies "Maid's Night Out" (1938) and "Blond Cheat" (1938) then was Richard Dix's leading lady in "Sky Giant" (1938).


title: Joan Fontaine

text: Edward Small borrowed her to play Louis Hayward's love interest in "The Duke of West Point" (1938), then Stevens used her at RKO in "Gunga Din" (1939) as Douglas Fairbanks Jr.'s love interest. The film was a huge hit, but Fontaine's part was relatively small. Republic borrowed her to support Dix in "Man of Conquest" (1939) but her part was small. George Cukor gave her a small role in MGM's "The Women" (1939).


title: Joan Fontaine

text: Fontaine's luck changed one night at a dinner party when she found herself seated next to producer David O. Selznick. Selznick and she began discussing the Daphne du Maurier novel "Rebecca", and Selznick asked her to audition for the part of the unnamed heroine. She endured a grueling six-month series of film tests along with hundreds of other actresses before securing the part sometime before her 22nd birthday.


title: Joan Fontaine

text: "Rebecca" (1940), starring Laurence Olivier alongside Fontaine, marked the American debut of British director Alfred Hitchcock. The film was released to glowing reviews, and Fontaine was nominated for an Academy Award for Best Actress. Fontaine did not win that year (Ginger Rogers took home the award for "Kitty Foyle"), but she did win the following year for Best Actress in "Suspicion", which co-starred Cary Grant and was also directed by Hitchcock. This was the only Academy Award-winning acting performance to have been directed by Hitchcock.


title: Joan Fontaine

text: Fontaine was then one of the biggest female stars in Hollywood, although she was typecast in female melodrama. "They seemed to want to make me cry the whole Atlantic", she later said. However, historically, she had become the top female star of the 1940s.


title: Joan Fontaine

text: 20th Century Fox borrowed her to appear opposite Tyrone Power in "This Above All" (1942) then she went to Warner Brothers to star alongside Charles Boyer in "The Constant Nymph". She was nominated for a third Academy Award for her performance in this film.


title: Joan Fontaine

text: She also starred as the titular protagonist in the film "Jane Eyre" that year, which was developed by Selznick then sold to Fox.


title: Joan Fontaine

text: Fontaine starred in the film "Frenchman's Creek" (1944). Like "Rebecca", this was also based on a novel by Daphne du Maurier. Fontaine personally considered "Frenchman's Creek" one of her least favorites among the films she starred in.


title: Joan Fontaine

text: Selznick wanted to cast her in "I'll Be Seeing You" (1944) but she refused, saying she was "sick of playing the sad sack." Selznick suspended her for eight months. Eventually she went back to work in "The Affairs of Susan" (1945) for Hal Wallis at Paramount, her first comedy. She returned to RKO for "From This Day Forward" (1946).


title: Joan Fontaine

text: In August 1946 Fontaine set up her own company, Rampart Productions, with her then-husband William Dozier. Her contract with Selznick ended in February 1947 and Fontaine would work exclusively for Rampart apart from one film a year for RKO.


title: Joan Fontaine

text: Fontaine also appeared in "Letter from an Unknown Woman" (1948) directed by Max Ophüls, produced by John Houseman and co-starring Louis Jourdan. It was made by Rampart Productions and released through Universal. It is today considered to be a classic with one of the finest performances of her career.


title: Joan Fontaine

text: At Paramount, she appeared opposite Bing Crosby in Billy Wilder's "The Emperor Waltz" (1948) then went to Universal for another film for Rampart, "You Gotta Stay Happy" (1948), a comedy with James Stewart.


title: Joan Fontaine

text: In "Kiss the Blood Off My Hands", (1948), with Burt Lancaster, Nathan Juran and Bernard Herzbrun, large sets were created representing the "East End" of London. At Paramount she did "September Affair" (1950) with Joseph Cotten for Wallis, "Darling, How Could You!" (1951) and "Something to Live For" (1952), a third film with George Stevens. At RKO she was a femme fatale in "Born to Be Bad" (1950).


title: Joan Fontaine

text: MGM hired Fontaine to play the love interest in "Ivanhoe" (1952), a big success. She was reunited with Jourdan in "Decameron Nights" (1953) then went to Paramount for the low budget "Flight to Tangier" (1953) with Jack Palance.


title: Joan Fontaine

text: Fontaine made "The Bigamist" (1953), directed by Ida Lupino. She began appearing on TV shows such as "Four Star Playhouse", "Ford Theatre", "Star Stage", "The 20th Century Fox Hour", "The Joseph Cotten Show", and "General Electric Theater".


title: Joan Fontaine

text: She won good reviews for her role on Broadway in 1954 as Laura in "Tea and Sympathy", playing the role originated by Deborah Kerr. She appeared opposite Anthony Perkins and toured the show for a few months.


title: Joan Fontaine

text: She was Bob Hope's leading lady in "Casanova's Big Night" (1956) then supported Mario Lanza in "Serenade" (1956). She was in Fritz Lang's "Beyond a Reasonable Doubt" (1956) at RKO.


title: Joan Fontaine

text: Fontaine had a big hit with "Island in the Sun" (1957) having a romance with Harry Belafonte. At MGM she appeared with Jean Simmons and Paul Newman in "Until They Sail" (1957) then she made "A Certain Smile" (1958) at Fox.


title: Joan Fontaine

text: Fontaine had the female lead in the popular "Voyage to the Bottom of the Sea" (1961) at Fox. She had a key role in "Tender Is the Night" (1962) also at Fox.


title: Joan Fontaine

text: Most of her 1960s work was done on television or stage. TV shows included "General Electric Theater", "Westinghouse Desilu Playhouse", "Startime", "", "Checkmate", "The Dick Powell Show", "Kraft Television Theatre", "Wagon Train", "Alfred Hitchcock Presents", and "The Bing Crosby Show".


title: Joan Fontaine

text: In 1967, she appeared in "Dial M for Murder" in Chicago. The following year she appeared in "Private Lives".


title: Joan Fontaine

text: She returned to Hollywood for the first time in 15 years in 1975 to appear in an episode of "Cannon" especially written for her. She was in "The Users" (1978) and was nominated for an Emmy Award for the soap opera "Ryan's Hope" in 1980.


title: Joan Fontaine

text: Fontaine published her autobiography, "No Bed of Roses", in 1978. In 1982, she traveled to Berlin, Germany, and served as a jury president for the Berlin International Film Festival.


title: Joan Fontaine

text: In the early 1980s, after 25 years in New York, she moved to Carmel, California. "I have no family ties anymore, so I want to work", she said. "I still host an interview show for cable in New York. I lecture all over the country. But it wasn't enough. My theory is that if you stay busy, you haven't time to grow old. Or at least you don't notice it."


title: Joan Fontaine

text: She starred in "Aloha Paradise", "Bare Essence", and "Crossings" (1986). She played the lead in a TV movie, "Dark Crossings" (1986), replacing Loretta Young. She said, "At my time in life, I don't want to do bit parts. Also, Rosalind Russell once said, 'Always escape the mother parts.' And I've avoided them."


title: Joan Fontaine

text: Fontaine's last role for television was in the 1994 TV film "Good King Wenceslas", after which she retired to her estate, Villa Fontana, in Carmel Highlands, California, where she spent time in her gardens and with her dogs.


title: Joan Fontaine

text: For her contribution to the motion picture industry, Fontaine has a star on the Hollywood Walk of Fame at 1645 Vine Street. She left her hand and foot prints in front of the Grauman's Chinese Theatre on 26 May 1942.


title: Joan Fontaine

text: Fontaine and her elder sister, Olivia de Havilland, are the only siblings to have won lead acting Academy Awards. Olivia was the first to become an actress; when Fontaine tried to follow her lead, their mother, who favored Olivia, refused to let Joan use the family name. Subsequently, Fontaine had to invent a name, taking first Joan Burfield, and later Joan Fontaine taking her stepfather's surname. Biographer Charles Higham records that the sisters had an uneasy relationship from early childhood, when Olivia would rip up the clothes Joan had to wear as hand-me-downs, forcing Joan to sew them back together. A large part of the friction between the sisters stemmed from Fontaine's belief that Olivia was their mother's favorite child.


title: Joan Fontaine

text: De Havilland and Fontaine were both nominated for the Academy Award for Best Actress in 1942. Fontaine won for her role in Alfred Hitchcock's "Suspicion" over deHavilland's performance in "Hold Back the Dawn". Higham states that Fontaine "felt guilty about winning given her lack of obsessive career drive ...". Higham has described the events of the awards ceremony, stating that as Fontaine stepped forward to collect her award, she pointedly rejected deHavilland's attempts to congratulate her and that deHavilland was both offended and embarrassed by her behaviour. Fontaine, however, tells a different story in her autobiography, explaining that she was paralyzed with surprise when she won the Academy Award, and that deHavilland insisted that she get up to accept it. "Olivia took the situation very graciously", Fontaine wrote. "I was appalled that I'd won over my sister." Several years later, however, deHavilland apparently remembered what she perceived as a slight and exacted her own revenge by brushing past Fontaine, who was waiting with her hand extended, because deHavilland took offense at a comment Fontaine had made about deHavilland's husband.


title: Joan Fontaine

text: Contrary to press reports, the sisters continued their relationship after the 1940s. After Fontaine's separation from her husband in 1952, deHavilland went to her apartment in New York often, and at least once they spent Christmas together there, in 1961. They were photographed laughing together at a party for Marlene Dietrich in 1967. Fontaine also visited deHavilland in Paris in 1969.


title: Joan Fontaine

text: The sisters reportedly did not completely stop speaking to each other until 1975, after their mother's funeral, to which Joan, who was out of the country, was not invited.


title: Joan Fontaine

text: Both sisters largely refused to comment publicly about their relationship. In a 1978 interview, however, Fontaine said of the sibling rivalry, "I married first, won the Oscar before Olivia did, and if I die first, she'll undoubtedly be livid because I beat her to it!" The following year, in a 1979 interview, Fontaine claimed the reason her sister and she stopped speaking to each other was that deHavilland wanted their mother (who was suffering from cancer) to be treated surgically at the advanced age of 88, which Fontaine apparently did not think was a good idea. Fontaine claims that after their mother died, deHavilland did not bother to try to find where Fontaine could be reached (Fontaine was on tour in a play). Instead, deHavilland sent a telegram, which did not arrive until two weeks later at Fontaine's next stop. According to Fontaine, deHavilland did not invite her to a memorial service for their mother. DeHavilland claims she informed Fontaine, but Fontaine brushed her off, claiming she was too busy to attend. Higham records that Fontaine had an estranged relationship with her own daughters, as well, possibly because she discovered that they were secretly maintaining a relationship with deHavilland.


title: Joan Fontaine

text: Fontaine held dual citizenship; she was British by birthright (both her parents were British) and became an American citizen in April 1943. Outside of acting, Fontaine was also noted as being a licensed pilot, an accomplished interior decorator, and a Cordon Bleu-level chef.


title: Joan Fontaine

text: She was married and divorced four times. Her first marriage was to actor Brian Aherne, in 1939, at the St. John's Chapel in Del Monte, California; they divorced in April 1945.


title: Joan Fontaine

text: In May 1946, she married actor/producer William Dozier in Mexico City. They had a daughter, Deborah Leslie, in 1948, and separated in 1949. Deborah is Fontaine's only biological child. The following year, Fontaine filed for divorce, charging Dozier with desertion. Their divorce was final in January 1951. The two of them had a custody battle over their child which lingered through the 1950s.


title: Joan Fontaine

text: Fontaine's third marriage was to producer and writer Collier Young on November 12, 1952. They separated in May 1960, and Fontaine filed for divorce in November 1960. Their divorce was final in January 1961.


title: Joan Fontaine

text: Fontaine's fourth and final marriage was to "Sports Illustrated" golf editor Alfred Wright, Jr, on January 23, 1964, in Elkton, Maryland; they divorced in 1969. Fontaine also had a personal relationship with Adlai Stevenson: "We had a tenderness for each other that grew into something rather serious. There was so much speculation about our marrying in the press that over lunch at his apartment in the Waldorf Towers he told me he could not marry an actress. He still had political ambitions and the 'little old ladies from Oshkosh' wouldn't approve. I told him it was just as well. My family would hardly approve of my marrying a politician".


title: Joan Fontaine

text: Fontaine had an affair with actor and producer John Houseman after her marriage to Aherne. "Ours was what was known in Hollywood as a 'romance,' -- which meant that we slept together three or four nights a week, got invited to parties together, went away together for weekends and sometimes talked about getting married without really meaning it," Houseman wrote in Front and Center, his second autobiography.


title: Joan Fontaine

text: While in South America for a film festival in 1951, Fontaine met a four-year-old Peruvian girl named Martita, and informally adopted her. Fontaine met Martita while visiting Incan ruins where Martita's father worked as a caretaker. Martita's parents allowed Fontaine to become Martita's legal guardian to give the child a better life. Fontaine promised Martita's parents she would send the girl back to Peru to visit when she was 16 years old. When Martita turned 16, Fontaine bought her a round-trip ticket to Peru, but Martita refused to go and opted to run away. Fontaine and Martita became estranged following the incident. While promoting her autobiography in 1978, Fontaine addressed the issue, stating, "Until my adopted daughter goes back to see her parents, she's not welcome. I promised her parents. I do not forgive somebody who makes me break my word."


title: Joan Fontaine

text: On December 15, 2013, Fontaine died in her sleep of natural causes at the age of 96 in her Carmel Highlands home. Her longtime friend Noel Beutel said, "She had been fading in recent days and died peacefully." After Fontaine's death, deHavilland released a statement saying she was "shocked and saddened" by the news.


title: Joan Fontaine

text: Fontaine's Academy Award for Best Actress in "Suspicion" was initially to be sold at an animal rights auction; however, the Academy threatened to sue since it was not offered back to them for $1 and Fontaine's estate retained possession.


title: Ronald DeFeo Jr.

text: Ronald Joseph DeFeo Jr. (September 26, 1951 – March 12, 2021) was an American mass murderer who was tried and convicted for the 1974 killings of his father, mother, two brothers, and two sisters in Amityville, Long Island, New York. Condemned to six sentences of 25 years to life, DeFeo died in prison on March 12, 2021. The case inspired the book and film versions of "The Amityville Horror".


title: Ronald DeFeo Jr.

text: Around 6:30p.m. on November 13, 1974, DeFeo, who was then 23, entered Henry's Bar in Amityville, Long Island, New York, and declared: "You got to help me! I think my mother and father are shot!" DeFeo and a small group of people went to 112 Ocean Avenue, which was located near the bar, and found that DeFeo's parents were dead inside the house. One of the group, DeFeo's friend Joe Yeswit, made an emergency call to the Suffolk County Police Department, who searched the house and found that six members of the family were dead in their beds.


title: Ronald DeFeo Jr.

text: The victims were Ronald Jr.'s parents: Ronald DeFeo Sr. (43) and Louise DeFeo ("née" Brigante, 43); and his four siblings: Dawn (18), Allison (13), Marc (12), and John (9). All of the victims had been shot with a .35 caliber lever action Marlin 336C rifle around three o'clock in the morning of that day. The DeFeo parents had both been shot twice, while the children had all been killed with single shots. Physical evidence suggests that Louise DeFeo and her daughter Allison were awake at the time of their deaths. According to Suffolk County Police, the victims were all found lying face down in bed. The DeFeo family had occupied 112 Ocean Avenue since purchasing it in 1965. The six victims were later buried in Saint Charles Cemetery nearby in Farmingdale.


title: Ronald DeFeo Jr.

text: Ronald DeFeo Jr., also known as "Butch", was the eldest child of the family and its lone surviving member. He was taken to the local police station for his own protection after suggesting to police officers at the scene of the crime that the killings had been carried out by a mob hit man, Louis Falini. However, an interview at the station soon exposed serious inconsistencies in his version of events. The following day, he confessed to carrying out the killings himself; and Falini, the alleged hitman, had an alibi proving he was out of state at the time of the killings. DeFeo told detectives: "Once I started, I just couldn't stop. It went so fast". He admitted that he had taken a bath and redressed, and detailed where he had discarded crucial evidence such as blood-stained clothes, the Marlin rifle and cartridges before going to work as usual.


title: Ronald DeFeo Jr.

text: DeFeo's trial began on October 14, 1975. He and his defense lawyer, William Weber, mounted an affirmative defense of insanity, with DeFeo claiming that he killed his family in self-defense because he heard their voices plotting against him. The insanity plea was supported by the psychiatrist for the defense, Daniel Schwartz. The psychiatrist for the prosecution, Dr. Harold Zolan, maintained that, although DeFeo was a user of heroin and LSD, he had antisocial personality disorder and was aware of his actions at the time of the crime. The trial's judge, Thomas Stark, declared that DeFeo's crimes were "the most heinous murders committed in Suffolk County since its founding."


title: Ronald DeFeo Jr.

text: On November 21, 1975, DeFeo was found guilty on six counts of second-degree murder. On December 4, 1975, Judge Thomas Stark sentenced DeFeo to six sentences of 25 years to life.


title: Ronald DeFeo Jr.

text: DeFeo was held at the Sullivan Correctional Facility in the town of Fallsburg, New York, and until his death all of his appeals and requests to the parole board had been denied.


title: Ronald DeFeo Jr.

text: All six of the victims were found face down in their beds with no signs of a struggle. The police investigation concluded that the rifle had not been fitted with a sound suppressor and found no evidence of sedatives having been administered. DeFeo claimed during his interrogation that he had drugged his family.


title: Ronald DeFeo Jr.

text: DeFeo had a volatile relationship with his father, but the motive for the killings remains unclear. He asked police what he had to do in order to collect on his father's life insurance, which prompted the prosecution to suggest at trial that his motive was to collect on the life insurance policies of his parents.


title: Ronald DeFeo Jr.

text: After his conviction, DeFeo gave several varying accounts of how the killings were carried out. In a 1986 interview for "Newsday", DeFeo claimed his sister Dawn killed their father and then their distraught mother killed all of his siblings, apparently with a rifle before he killed his mother. He stated that he took the blame because he was afraid to say anything negative about his mother to her father, Michael Brigante Sr., and his father's uncle, out of fear that they would kill him. His father's uncle was Peter DeFeo, a "caporegime" in the Genovese crime family. In this interview, DeFeo also asserted he was married at the time of the murders to a woman named Geraldine Gates, with whom he was living in New Jersey, and that his mother phoned to ask him to return to Amityville to break up a fight between Dawn and their father. Subsequently, he drove to Amityville with Geraldine's brother, Richard Romondoe, who was with him at the time of the murders and could verify his story completely.


title: Ronald DeFeo Jr.

text: In 1990, DeFeo filed a 440 motion, a proceeding to have his conviction vacated. In support of his motion, DeFeo asserted that Dawn and an unknown assailant, who fled the house before he could get a good look at him, killed their parents and Dawn subsequently killed their siblings. He said the only person he killed was Dawn and that it was by accident as they struggled over the rifle. Again, he asserted he was married to Geraldine and that her brother was with him at the time of the murders. An affidavit from Richard Romondoe was submitted to the court and it was asserted he could not be located to testify in person. Evidence was submitted to the court by the Suffolk County District Attorney's Office suggesting that Richard Romondoe did not exist and that Geraldine Gates was living in upstate New York married to someone else at the time of the murders. Geraldine Gates did not testify at this hearing because the authorities had already confronted her about the false claims and in 1992 secured a statement under oath where she admitted Romondoe was fictitious and that she did not actually marry DeFeo until 1989 in anticipation of the filing of the 440 motion.


title: Ronald DeFeo Jr.

text: Judge Stark denied the motion, writing, "I find the testimony of the defendant overall to be false and fabricated. His testimony that during the fall of 1974 he was married and lived with his wife and child at Long Branch, New Jersey is incredible and not worthy of belief. He produced no corroborating evidence in this regard... another reason for my disbelief of defendant's testimony is demonstrated by consideration of several portions of the trial testimony... he signed a lengthy written statement describing in detail his activities... in this statement he said that he lived with his family at 112 Ocean Avenue in Amityville and that he worked for his father... that he usually went to and from work with his father; that he was ill and stayed home from work on November 12, 1974; that he was on probation for having stolen an outboard engine and had an appointment to see his probation officer in Amityville on that very afternoon... defendant's girlfriend, Mindy Weiss, testified that she began dating the defendant in June 1974, and was with him frequently that summer and fall". Stark further declared, "Defendant's testimony that he did not shoot and kill the members of his family is likewise incredible and not worthy of belief".


title: Ronald DeFeo Jr.

text: On November 30, 2000, DeFeo met with Ric Osuna, the author of "The Night the DeFeos Died", which was published in 2002. According to Osuna they spoke for about six hours. However, in a letter to the radio show host Lou Gentile, DeFeo denied giving Ric Osuna information that could be used in his book, claiming that he immediately left the interview and did not speak to Osuna about anything substantive.


title: Ronald DeFeo Jr.

text: According to Osuna, DeFeo claimed that he had committed the murders with his sister Dawn and two friends, Augie Degenero and Bobby Kelske, "out of desperation" because his parents had plotted to kill him. Allegedly, DeFeo claimed that, after a furious row with his father, he and his sister planned to kill their parents and that Dawn murdered the children in order to eliminate them as witnesses. He said that he was enraged on discovering his sister's actions, knocked her unconscious on to her bed and shot her in the head. Police found traces of unburned gunpowder on Dawn's nightgown, which DeFeo proponents allege proves she discharged a firearm. However, at trial, the ballistics expert, Alfred Della Penna, testified that unburned gunpowder is discharged through the muzzle of a weapon, indicating that she was in proximity to the muzzle of the weapon when it was discharged and not that she fired the weapon. He reiterated this on an A&E Amityville documentary that is extensively discussed in Will Savive's "Mentally Ill In Amityville". Savive had an expert evaluate Della Penna's assessment and the expert confirmed that he was correct. Moreover, the medical examiner found nothing to indicate that Dawn had been in a struggle; the bullet wound was the only fresh mark on her body.


title: Ronald DeFeo Jr.

text: Joe Nickell notes that given the frequency with which DeFeo has changed his story over the years, any new claims from him regarding the events that took place on the night of the murders should be approached with caution.


title: Ronald DeFeo Jr.

text: Most of the claims made in Ric Osuna's book are sourced to DeFeo's ex-wife, Geraldine Gates. While in the 1986 interview with "Newsday", she asserted she married DeFeo in 1974, in Osuna's book, she alleges they married in 1970. Their 1993 divorce case says that they met in 1985, married in 1989, and divorced in 1993.


title: Ronald DeFeo Jr.

text: Ric Osuna's book was adapted into a docudrama titled "Shattered Hopes: The True Story of the Amityville Murders". The film, released on December 16, 2011, was written, directed and produced by Ryan Katzenbach and featuring narration by veteran actor Ed Asner, examines all aspects of the Amityville case, with a strong focus on the DeFeo family and the events surrounding their murders.


title: Ronald DeFeo Jr.

text: DeFeo died aged 69 on March 12, 2021, at the Albany Medical Center. The official cause of death has not been released to the public.


title: Inhumans (TV series)

text: Marvel's Inhumans, or simply Inhumans, is an American television series created by Scott Buck for ABC, based on the Marvel Comics race of the same name. It is set in the Marvel Cinematic Universe (MCU) and acknowledges the franchise's other television series. It was produced by ABC Studios and Marvel Television in association with Devilina Productions, and was co-financed by IMAX Entertainment in a deal that gave the series a theatrical premiere. Buck served as showrunner on the series.


title: Inhumans (TV series)

text: The series is centered on Black Bolt, portrayed by Anson Mount, and other members of the Inhuman Royal Family. Serinda Swan, Ken Leung, Eme Ikwuakor, Isabelle Cornish, Ellen Woglom, and Iwan Rheon also star. Marvel Studios announced an Inhumans film in 2014 as part of their , with the species first introduced to the MCU in the series "Agents of S.H.I.E.L.D." The film was removed from Marvel Studios' slate in April 2016, and the "Inhumans" series was announced that November, to be partly filmed using IMAX cameras. Buck joined the series in October, and Mount was cast in February 2017. Filming took place from March to June 2017, at the former Naval Air Station Barbers Point airfield in Kalaeloa, Hawaii and various locations on the island of Oahu.


title: Inhumans (TV series)

text: "Inhumans" debuted on IMAX screens on September 1, 2017, the first live-action television series to do so. The theatrical run lasted two weeks, before the series premiered on ABC on September 29 and ran for eight episodes, concluding on November 10. The series was met with unfavorable reviews and low television ratings, and was canceled by ABC in May 2018. Mount reprised his role as an alternate version of Black Bolt in Marvel Studios' MCU film "Doctor Strange in the Multiverse of Madness" (2022).


title: Inhumans (TV series)

text: After a military coup, the Inhuman Royal Family escape to Hawaii, where they must save themselves and the world.


title: Inhumans (TV series)

text: Crystal's teleporting canine companion Lockjaw also appears in the series, created through CGI. Reiné stated that "nobody has done a full CG character on a TV series before. So Lockjaw is the first. It's a big responsibility for all of us." Mount called Lockjaw the "goofy sidekick", but felt that he had been integrated into the plot rather than just used as comic relief. Buck felt Lockjaw's storylines would "always [be] fairly simple" as a way to ensure the writers "don't try to pretend that he's anything other than" a dog and pull focus from the other characters. Initial designs for Lockjaw had him bigger than his final look, closer to "the size of a Mini Cooper".


title: Inhumans (TV series)

text: A film based on the Inhumans was first mentioned as being in development in a March 2011 trade report. In October 2014, Marvel Studios officially announced the film as part of the Marvel Cinematic Universe's Phase Three, with a release date of November 2, 2018. Producer Kevin Feige said, "We really do believe the Inhumans can be a franchise or a series of franchises unto themselves. They have dozens of powers and an amazing social structure. With our 20th movie in the Marvel Cinematic Universe, we wanted to continue to refine what that universe is about." The following December, the Inhuman species was introduced during the second season of "Marvel's Agents of S.H.I.E.L.D." that began a storyline that recurred throughout the series moving forward. In April 2016, the film was officially taken off of Marvel's release schedule, though it was not outright canceled. After the film's cancellation, Jed Whedon, executive producer and showrunner on "Agents of S.H.I.E.L.D.", noted that series had "a little more freedom" and were "able to do a little bit more" with the species going into the fourth season, including the potential of introducing some of the "classic" Inhumans.


title: Inhumans (TV series)

text: In May 2016, after ABC had canceled "Marvel's Agent Carter" and passed on "Marvel's Most Wanted", ABC Entertainment president Channing Dungey said that Marvel and ABC were looking "at series that would be beneficial to both brands" moving forward. In November, Feige said that ""Inhumans" will happen for sure. I don't know when. I think it's happening on television. And I think as we get into Phase 4 as I've always said, it could happen as a movie." Shortly after, Marvel Television and IMAX Corporation announced the eight-episode television series "Inhumans", to be produced in conjunction with ABC Studios and air on ABC; Marvel Studios decided that the characters were better suited to television, and a series would be better than trying to fit the multiple planned franchise films around the studio's existing film franchises. "Inhumans" was not intended to be a reworking of the planned film, nor a spin-off from "Agents of S.H.I.E.L.D.", but it is set in the same shared universe. In December, Scott Buck, the showrunner for the first season of the Marvel Netflix series "Iron Fist", was revealed to also be executive producing and showrunning "Inhumans". Jeph Loeb and Jim Chory also executive produce the series.


title: Inhumans (TV series)

text: IMAX serves as a financing partner on the series, the first time it had done so for a television series, paying completely for the first two episodes. IMAX had originally approached Marvel about the deal after a successful IMAX event with "Game of Thrones" in 2015. Because of this deal, Marvel was able to spend more on "Inhumans" than it has on its other shows, especially for visual effects, which have been criticized in series like "Agents of S.H.I.E.L.D." ABC also hoped that partnering with IMAX would attract a larger audience to the series than its previous Marvel shows, similar to the "buzz-creating, widely watched series" that Marvel provides to Netflix, and perhaps even draw more viewers to "Agents of S.H.I.E.L.D."s fifth season in the 2017–18 television season. Ben Sherwood, president of Disney–ABC Television Group, described the deal as "a quadruple win—a win for IMAX, a win for Marvel, a win for ABC Studios and a win for ABC to launch a show in an innovative way and get attention" in an increasingly crowded market for original television series. Buck felt working with IMAX "gave us a lot more freedom and pushed and encouraged us to think a little bit bigger than we would if it was just a normal network show. We just wanted to think bigger in terms of scope, and what we were seeing, and how we bring these characters to the audience." Loeb cautioned that "Inhumans" was "a television show that is premiering in an IMAX theater" rather than a film, but that it would still be a spectacle, and "a unique way to be able to see TV".


title: Inhumans (TV series)

text: Buck said "Inhumans" would be "a family drama with one big story leading us through the season", rather than a procedural series like "Agents of S.H.I.E.L.D.", and though the initial IMAX release was intended to be "something that absolutely stands on its own", he hoped it would "intrigue people enough to make them want to watch the rest of the show". On incorporating the more fantastical elements associated with the Inhumans, Buck said they would be leaned on "to a certain extent, yes, but again, we approach these all as real people who just happen to have these abilities, so they're all very grounded people. ... We want their powers to seem like a very natural part of their personality."


title: Inhumans (TV series)

text: The season is set both on Earth and in the Inhuman city of Attilan, which is on the Moon, and tells an original story inspired by elements from the comics, including Paul Jenkins and Jae Lee's 1998-99 "Inhumans" series. Buck said that the season's story arc "will be complete by the end of the season, but also open us up to a whole other potential storyline". The story puts the characters in situations where using their powers would not help them, to allow the audience to "view the characters as people with super powers, rather than as superheroes only". Compared to other superhero series such as Marvel's Netflix series, "Inhumans" is more appropriate for children, though with some "parental guidance". It was reported that the "underpinning scripts" were a point of contention between ABC and Marvel for the series, with network executives expressing concern to Marvel early on.


title: Inhumans (TV series)

text: In late February 2017, Iwan Rheon was cast as Maximus, followed shortly by Anson Mount as Black Bolt. There was no audition for the role of Black Bolt since the character does not speak, with Mount instead cast due to an existing relationship with Loeb, who felt Mount would fit the role. At the start of March, the series added Serinda Swan as Medusa, Ken Leung as Karnak, Eme Ikwuakor as Gorgon, Isabelle Cornish as Crystal, and Ellen Woglom as Louise. During the time from her audition to being cast, Swan had also been cast in the HBO series "Ballers", which necessitated a negotiation between the two series to ensure Swan would be allowed to appear on both.


title: Inhumans (TV series)

text: Mike Moh and Sonya Balmores were also cast in March 2017 as Triton and Auran, respectively. Also in the month, comic writer Charles Soule indicated that the series would feature some NuHumans as well, including some he created in his "Inhuman" comic book. In June 2017, Henry Ian Cusick revealed he would be portraying Evan Declan in the series.


title: Inhumans (TV series)

text: Carlos Barbosa served as production designer for the series, with Adam Davis as art director. The pair are architects who had previously worked together on several feature films. Buck noted that there have been a lot of different looks and designs for the Inhumans since their creation, which allowed the crew to "pick what was the best and most interesting aspects" for the adaptation. Davis described the comics as storyboards that gave "very broad strokes" from which they developed their own "visual language". The series contrasts the "concrete and dark" look of Attilan with more colorful scenes set on Earth. The sets of the series were designed and built more vertically than usual to accommodate the IMAX release, and to take advantage of the available space. The sets for Attilan are primarily made from stone, due to the limited building materials that would be available on the moon. Davis said that this 'instinctually' lead them to a combination of expressionism and brutalist architecture when designing the city, which also reflected some of the architecture on Honolulu where the Earth scenes are set. The designers also took inspiration from early Russian architecture and styles from the 1960s such as "massive pure geometric shapes". This is shown in rooms such as the Royal Hall, which is based on rectangular shapes; the Quiet Room, which is a circle; and the Control Room, based on equilateral triangles. The sets also include a lot of reflective surfaces, which the crew hoped would "provide more depth to the images" from the IMAX cameras.


title: Inhumans (TV series)

text: Attilan is surrounded by a protective energy field in the shape of a cone, that projects out images of the moon's surface to camouflage the city, and projects in Earth-like imagery like clouds and sunsets. The cone shape was chosen, rather than a more traditional dome shape, so the Quiet Room where Black Bolt spends much of his time could be directly below the apex of the field, and "if he accidentally produces any sonic waves, the waves are redirected up the side of the cone and out the apex into outer space" and away from the city. The set decorations were described as "slightly futuristic yet quaintly old-fashioned", with elements such as Ancient Greek-inspired statues of the Inhumans' ancestors present in the Royal Hall. The character's apartments and bedrooms are sparse, "with only essentials". Black Bolt and Medusa's bedroom has a view of the whole city. Crystal's bedroom was designed to be able to fit Lockjaw, her dog; because he can teleport, the set's door frames did not have to be sized to the character, but areas such as where he sleeps in her room did. Roland Sanchez served as costume designer for the series. Rheon called the costumes "very different" from how they appear in the comics. For instance, Mount does not wear Black Bolt's comic costume of a black outfit with white accents, tuning fork, and mask. Mount said that this was done to make the character "more accessible to the viewer ... I'm not sure TV is the space for masks." Rheon added that the costumes were intended to look strange to the audience to highlight that the Inhumans have been segregated from Earth and human culture for some time. Special effects make-up was provided by Glenn Hetrick and Neville Page's Alchemy Studios.


title: Inhumans (TV series)

text: Filming for "Inhumans" began by March 5, 2017, in Downtown Honolulu, under the working title "Project Next", with Jeff Jur serving as cinematographer. Studio work for the series took place in Kalaeloa, Hawaii at the former Naval Air Station Barbers Point airfield. Additional filming occurred at Diamond Head, and the Hawaii State Capitol building. The first two episodes of the series were shot on Arri Alexa 65 IMAX 2D digital cameras, to accommodate a debut on IMAX screens, with major action sequences from subsequent episodes also being shot using the technology to enhance the overall visual quality of the series. A new, wider lens was crafted for the cameras specifically for use on the series. The first two episodes were shot over 20 days, with the remaining episodes having eight-day shooting schedules. Filming ended on June 12. It was reported that the series underwent multiple reshoots.


title: Inhumans (TV series)

text: ABC, Marvel and IMAX chose to produce "Inhumans" in Hawaii due to the state's tax incentives for filming, and the strong relationship that Disney and ABC have with the state from previous projects. However, with the sole production studio on the islands, Hawaii Film Studio, in use by "Hawaii Five-O", new studio space needed to be developed for the project. The Hawaii State Film Office had been interested in developing the former Naval Air Station Barbers Point airfield into a filming studio, and by early 2017 the space had been leased by Navy Region Hawaii to the Hawaiian Department of Business, Economic Development and Tourism, who subleased the complex to the series' production, allowing the production to begin retrofitting the former airfield into a production facility. Jean Higgins, who previously worked in Hawaii on ABC's "Lost" as a co-executive producer, serves as producer of "Inhumans". "Inhumans" hired around 150 local workers as production crew, and was expected to provide $80–100 million a year to the Hawaiian economy.


title: Inhumans (TV series)

text: Mark Kolpack, visual effects supervisor on "Agents of S.H.I.E.L.D.", stated he would not be involved with "Inhumans" due to his commitments on "S.H.I.E.L.D.", despite introducing the species on that series. Eric Grenaudier serves as visual effects supervisor for the series instead, with seven visual effects studios working on the series. Many of the effects are created by Digital Media. Buck noted that Medusa's hair was a very difficult process and "takes quite a long time in post to make that effect work", while Grenaudier added that creating Lockjaw and the city of Attilan were also some of the biggest challenges on the series. He noted that the team was trying to create effects that would hold up on an IMAX screen and be equivalent to those seen in the MCU films but with a television budget and schedule. The results of early visual effects were reported to be a point of contention between ABC and Marvel, and after they were poorly received in the first trailer of the series, resulted in a reported additional $100,000 being spent on Medusa's hair.


title: Inhumans (TV series)

text: Lockjaw was created by Double Negative, who director Roel Reiné called "the best house to do creatures". A life-sized, blue foam "stuffy" was used on set as a stand-in for Lockjaw to help the directors frame shots and the actors interact with the character, while a 360-degree camera was used to take lighting references in each scene to help with lighting the CG version. Double Negative began work on Lockjaw in early February 2017, starting to design the final look of the character and creating a rough, simplistic version that could be added to completed sequences as further reference. Marvel gave approval on the final design for Lockjaw in April 2017, during filming of the series' fifth episode, with Double Negative creating a digital model complete with "animatics, muscles and textures". Grenaudier said that Lockjaw "is going to have to be photo-real and interact in a lot of scenes with environments, with other people that are going to be able to play or touch and react with him—obviously it's been done in movies. I'm not talking about "Life of Pi", but to try to [do] that on an episodic schedule on a TV budget, it's putting the bar pretty high." For Lockjaw's teleportation effect, Reiné wanted "something really organic", and created sketches to pitch "the idea of how Lockjaw would organically dissolve into a sandburst", which Buck and Marvel both loved. It was reported that the high cost of producing Lockjaw resulted in the character being removed from the series as it progressed.


title: Inhumans (TV series)

text: At the 2017 San Diego Comic-Con, Loeb announced Sean Callery as the composer for "Inhumans", after he previously composed the score for "Marvel's Jessica Jones". Callery recorded his score for "Inhumans" with a 68-piece orchestra, the largest he had ever worked with for television. He called his score "the most thematic I've been with any show I've worked on. At its core, it's about a royal family, so there are some grand themes for the kingdom and the family." Callery wrote an "adventurous" main theme for the series that was featured in the IMAX release, with a "very, very abridged version" used in the television episodes. Callery tried to use the show's music to differentiate between scenes set on Earth and those on the Moon, and took four or five days to compose the music for each episode.


title: Inhumans (TV series)

text: When announcing the series, Sherwood said that those behind the project had "worked very carefully" with Marvel Studios to ensure that "content-wise we are only enhancing" the MCU. Buck noted that "things that have happened on "[Agents of] S.H.I.E.L.D." will potentially affect our show as well" but cautioned that he was focused on getting the new series "launched" before attempting any crossovers with other parts of the MCU. Buck further elaborated, "This exists all in the same universe. Even if we don't cross paths with, say, "Agents of S.H.I.E.L.D." or characters from other shows, they are still out there. We all live in the same world. The same things that applied in other shows and occurred also apply to "Inhumans" as well." Elements carried over from "Agents of S.H.I.E.L.D." include the alien writing associated with the Inhumans on that series, and the blue Terrigen crystals, which were designed to be consistent with their depiction on "Agents of S.H.I.E.L.D." Loeb noted that Hawaii was chosen as the series' setting, in part because Marvel wanted "Inhumans" to occur in "a contained area" as "a way to minimize its impact on the rest of the MCU". He added that, as of the premiere of the series, there were no plans for the characters to interact with the Inhumans on "Agents of S.H.I.E.L.D" such as Daisy Johnson. The final episode of the series sees the destruction of Attilan and its people becoming refugees on Earth, similarly to "" which sees the destruction of Asgard. Both also expressed the same sentiment that a place is its people, not a location.


title: Inhumans (TV series)

text: ABC, IMAX, and Marvel Television looked to create a joint marketing and promotion plan for the series across their proprietary media platforms, which would be the first such cross-platform marketing launch of a television series. This approach was described by industry analysts as "a can't-miss cross-platform push".


title: Inhumans (TV series)

text: A teaser for the series was released ahead of "Guardians of the Galaxy Vol. 2" IMAX screenings, as well as online, in early May 2017. It followed the release of a cast photo, which Dana Schwartz at Observer.com called "pretty lame ... Overall, the look of the entire royal family is 'group that met on Craigslist to try to win a costume contest, with varying levels of commitment'". James Whitbrook of Gizmodo said "some of these costumes work way better than others": Black Bolt "probably comes out the best", Crystal "gets some points for effort", but Medusa looks "like she's trying to do a particularly low-budget cosplay of "Game of Thrones" Sansa Stark". Analyzing the response to the series on Twitter, marketing firm Amobee counted 27,000 tweets concerning the series between May 4 and 9, with 17 and 7 percent of that specifically mentioning "hair" or "wig", respectively, referencing Swan's hair in the photo which was particularly criticized. 35 percent of the tweets were deemed negative, and just 26 percent positive, with Amobee principle brand analyst Jonathan Cohen saying, "The high level of audience engagement in Marvel TV shows is a double-edged sword for the company. On one hand, there's great anticipation around any nugget of information for an upcoming TV series. On the other hand, when a segment of that audience is disappointed, that reaction is magnified".


title: Inhumans (TV series)

text: The first trailer for the series was screened exclusively at ABC's advertiser upfront presentation on May 17, 2017. Reactions praised the visuals for Lockjaw and quelled some of the criticism regarding the costumes. The first public trailer was released on June 29, after footage had leaked online from the upfront reveal, and was met to mainly negative reactions. Cast members appeared at San Diego Comic-Con International 2017 to promote the series, where exclusive footage was shown. The panel concluded with an extended trailer for the series, which was also released online, and appeared before IMAX screenings of the film "Dunkirk". Fans in attendance at the panel enjoyed the footage, with Swan feeling the positive fan response to the completed effects for Medusa's hair was "vindication". However, critics were not as positive about the footage. In August, the first episode was released for critics to view ahead of the series' Television Critics Association (TCA) press tour panel, but initial reactions posted online were shortly taken down. At the TCA event, Dungey and Loeb both addressed criticisms of the first episode's quality. The panel was cut short by ABC, and was widely considered by critics in attendance to be "awkward" and "uncomfortable". "The Washington Post"s Michael Cavna called the marketing for the series at this point "positively awful", noting "the harder the show's sales force tries to scrub the early stench, the more the entire enterprise stinks to some Marvel fans", and that it would need more "positive word of mouth" before its release to entice fans to see the series in IMAX. Later in August, exclusive clips from the series were shown at the Edinburgh International Television Festival.


title: Inhumans (TV series)

text: "Inhumans" held the premiere of its first two episodes (totaling 75 minutes) in Los Angeles at Universal CityWalk on August 28, 2017, before debuting on 667 IMAX screens in 67 countries on September 1, 2017. It ran for two weeks, though, as with all IMAX releases, each theater "determine[s] showtimes on a week-to-week basis", so "Inhumans" did not remain on IMAX screens at some theaters for the stated two weeks. The episodes premiered in IMAX theaters in Italy and Germany on September 15, and in Korea on September 22, eventually playing on more than 1,000 IMAX screens in over 74 countries. ABC then broadcast the series weekly, starting with the first two episodes on September 29, 2017, with those first two episodes featuring an additional 9 minutes of exclusive content outside of the versions screened on IMAX. The first season consisted of eight episodes. CTV acquired the broadcast rights for Canada, while Sky acquired them for the United Kingdom.


title: Inhumans (TV series)

text: Richard L. Gelfond, the chief executive of IMAX, stated IMAX was "confident our exhibition partners will be excited about this. The response from conceptual conversations has been extremely positive." Sherwood added that Disney made sure ABC affiliates were on board with the IMAX debut for the series and that they had worked with Marvel Studios so that the theatrical debut of the series could be timed to not interfere with the release of any MCU films—the theatrical run of the series was between the releases of "" and "".


title: Inhumans (TV series)

text: The IMAX presentation of the first two episodes grossed $3.5 million worldwide. The $3.5 million gross was considered a disappointment by IMAX, with Gelfond noting that the poor reception and gross was based on "misalignment of customer expectations", who were expecting "a production akin to a mega-budget blockbuster movie, rather than pilots for a television show".


title: Inhumans (TV series)

text: In January 2018, Dungey stated the series "didn't perform for us at the level that we would've wanted" and that the viewership numbers "were less exciting for us than we hoped they would be". The series averaged 4.14 million total viewers, including from DVR, ranking 121st among network series in the 2017–18 television season. It also had an average total 18-49 rating of 1.2, which was 80th.


title: Inhumans (TV series)

text: The review aggregator website Rotten Tomatoes reported an 11% approval rating, with an average rating of 3.70/10 based on 47 reviews. The website's consensus states, ""Marvel's Inhumans" sets a new low standard for the MCU with an unimaginative narrative, dull design work, weak characters, and disengaging soapy melodrama." Metacritic, which uses a weighted average, assigned a score of 27 out of 100 based on 20 reviews, indicating "generally unfavorable reviews". Reviews for the first two episodes that released in IMAX were mainly negative from critics. In his review of the first episodes, TVLine's Matt Webb Mitovich said, "If the pace and ingenuity [from the second half] continues to ramp up, "Inhumans", with just six more episodes to go, could prove to be a serviceable Marvel 'event' series – though maybe not enough so that "Agents of S.H.I.E.L.D." fans will forgive that series' delayed return." Brian Lowry of CNN noted, "If the eight-episode "Inhumans" fails, it could shine a spotlight on the fact Marvel has generally lagged behind" Warner Bros. Television and DC Comics, who produce the Arrowverse series for The CW.


title: Inhumans (TV series)

text: After the release of the final episode, Kofi Outlaw of "Comicbook.com" said, "In the end, it's hard to avoid the conclusion that "Inhumans" is anything but a complete failure - one of the worst that the Marvel Cinematic Universe franchise has ever seen... we've never seen a case like "Inhumans", where there was a major IMAX theatrical release that fell flat, before a disappointing TV run." James Whitbrook at io9 felt ""Inhumans" tried to do a lot of things, and did none of them particularly well". He continued that he would have been "amazed" if the series received a second season, and felt once the fifth season of "Agents of S.H.I.E.L.D." returned to present-day Earth from space, the "Attilan Inhumans could make for a really good season-long plotline. Arguably, that's probably what "Inhumans" should've been instead of its own messy, miserable show." In his review for the final episode, "Entertainment Weekly"s Christian Holub felt "Inhumans" "will probably be forgotten in the greater MCU, though it would be kind of fun to check in on them at some point". Reviewing the season, Matt Liparota of "Destructoid" concluded, ""Inhumans" is a work with almost nothing of value for anyone. It's not even an interesting train wreck. It's just a boring, lifeless slog easily shooting to the top of the list of the worst things the MCU has produced in its near-decade of existence." Marc Buxton of Den of Geek was a bit more positive, feeling "Inhumans" "ended up being more enjoyable than the dreadful opening two hours would have indicated" but was "still Marvel's first swing and a miss... "Inhumans" just kind of exists in its own low budget bubble... [that] came and went with a whimper". Buxton wanted a second season for the series, having enjoyed the cast and some of the characters, and hoped Marvel would have "lean into a proper Inhumans series and not a half assed one".


title: Inhumans (TV series)

text: By September 2017, Buck had a general plan for the first three seasons of the series and said there would always be different places to take the main characters. He added that there was a set point from where work on a second season would start. Nellie Andreeva of "Deadline Hollywood" labelled the first season "underwhelming", and considered the series "dead" by March 2018. On May 11, ABC officially canceled "Inhumans".


title: Inhumans (TV series)

text: Mount acknowledged rumors in October 2019 that a rebooted version of the Inhumans was being planned for Disney+, potentially starring Vin Diesel (the voice of Groot in the MCU films) who had campaigned to portray Black Bolt before Mount was cast. Mount expressed support for such a reboot, hoping the property would get "another shot" with "the right home, the right tone, and the right vision overall". Mount reprised his role in the Marvel Studios film "Doctor Strange in the Multiverse of Madness" (2022), portraying a different version of the character from Earth-838 which is an alternate universe to the main MCU. His costume in the film is closer to its comic book design.


title: Zulu people

text: Zulu people (; ) are a Nguni ethnic group native to Southern Africa. The Zulu people are the largest ethnic group and nation in South Africa, with an estimated 10–12 million people, living mainly in the province of KwaZulu-Natal.


title: Zulu people

text: They originated from Nguni communities who took part in the Bantu migrations over millennia. As the clans integrated together, the rulership of Shaka brought success to the Zulu nation due to his improved military tactics and organization.


title: Zulu people

text: Zulus take pride in their ceremonies such as the Umhlanga, or Reed Dance, and their various forms of beadwork.


title: Zulu people

text: The art and skill of beadwork takes part in the identification of Zulu people and acts as a form of communication and dedication to the tribe and specific traditions. The men and women both serve different purposes in society in order to function as a whole. Today the Zulu people predominantly believe in Christianity, but have created a syncretic religion that is combined with the Zulu's prior belief systems.


title: Zulu people

text: The Zulu were originally a major clan in what is today Northern KwaZulu-Natal, founded ca. 1574 by Zulu kaMalandela. In the Nguni languages, "iZulu" means "heaven", or weather"." At that time, the area was occupied by many large Nguni communities and clans (also called the "isizwe" people or nation, or called "isibongo", referring to their clan or family name). Nguni communities had migrated down Africa's east coast over millennia, as part of the Bantu migrations. As the nation began to develop, the rulership of Shaka brought the clans together to build a cohesive identity for the Zulu.


title: Zulu people

text: The Zulu nation's growth and strength was based on its military organization and skills during Shaka's reign and that of his successors. The military was organized around the ukubuthwa ('to be enrolled') system, which did away with initiation ceremonies for the most part. Each age-set, or group of young men of the same age, was assigned to the same regiment - ibutho singular, amabutho plural - according to the system. Girls were also subject to Ukubuthwa, but they were usually assigned to an age group rather than a regiment. The amabutho were housed in military barracks - ikhanda singular, amakhanda plural - located throughout the kingdom and under the command of a close relative or someone appointed by the king.


title: Zulu people

text: The barracks were designed and laid out similarly to an umuzi, but on a much larger scale. Aside from military duties, the izinsizwa 'young men' were also responsible for the repair and maintenance of their barracks.


title: Zulu people

text: The Zulu formed a powerful state in 1816 under the leader Shaka. Shaka, as the Zulu commander of the Mthethwa Empire and successor to Dingiswayo, united what was once a confederation of tribes into an imposing empire under Zulu hegemony. Shaka built a militarised system known as Impi featuring conscription, a standing army, new weaponry, regimentation, and encirclement battle tactics. Zulu expansion was a major factor of the Mfecane ("Crushing") that depopulated large areas of southern Africa. It is during this period when Shaka deployed an army regiment for raiding tribes on the North. The regiment which was under Mzilikazi disobeyed Shaka and crafted a plan to continue raiding up-North forming another dialect of Zulu language referred to as Northern Ndebele (Now in Zimbabwe).


title: Zulu people

text: In mid-December 1878, envoys of the British crown delivered an ultimatum to 11 chiefs representing the then-current king of the Zulu empire, Cetshwayo. Under the British terms delivered to the Zulu, Cetshwayo would have been required to disband his army and accept British sovereignty. Cetshwayo refused, and war between the Zulus and African contingents of the British crown began on January 12, 1879. Despite an early victory for the Zulus at the Battle of Isandlwana on the 22nd of January, the British fought back and won the Battle at Rorke's Drift, and decisively defeated the Zulu army by July at the Battle of Ulundi.


title: Zulu people

text: After Cetshwayo's capture a month following his defeat, the British divided the Zulu Empire into 13 "kinglets". The sub-kingdoms fought amongst each other until 1883 when Cetshwayo was reinstated as king over Zululand. This still did not stop the fighting and the Zulu monarch was forced to flee his realm by Zibhebhu, one of the 13 kinglets, supported by Boer mercenaries. Cetshwayo died by heart attack in February 1884, leaving his son, the 15-year-old Dinuzulu, to inherit the throne. In-fighting between the Zulu continued for years, until in 1897 Zululand was absorbed fully into the British colony of Natal.


title: Zulu people

text: Under apartheid, the homeland of KwaZulu ("Kwa" meaning "place of") was created for Zulu people. In 1970, the Bantu Homeland Citizenship Act provided that all Zulus would become citizens of KwaZulu, losing their South African citizenship. KwaZulu consisted of many disconnected pieces of land, in what is now KwaZulu-Natal. Hundreds of thousands of Zulu people living on privately owned "black spots" outside of KwaZulu were dispossessed and forcibly moved to bantustans – worse land previously reserved for whites contiguous to existing areas of KwaZulu. By 1993, approximately 5.2 million Zulu people lived in KwaZulu, and approximately 2 million lived in the rest of South Africa. The Chief Minister of KwaZulu, from its creation in 1970 (as Zululand) was Chief Mangosuthu Buthelezi. In 1994, KwaZulu was joined with the province of Natal, to form the modern KwaZulu-Natal.


title: Zulu people

text: "Inkatha YeSizwe" means "the crown of the nation". In 1975, Buthelezi revived the Inkatha YaKwaZulu, predecessor of the Inkatha Freedom Party. This organization was nominally a protest movement against Apartheid, but held more conservative views than the ANC. For example, Inkatha was opposed to the armed struggle, and to sanctions against South Africa. Inkatha was initially on good terms with the ANC, but the two organizations came into increasing conflict beginning in 1976 in the aftermath of the Soweto Uprising.


title: Zulu people

text: The language of the Zulu people is "isiZulu", a Bantu language; more specifically, part of the Nguni subgroup. Zulu is the most widely spoken language in South Africa, where it is an official language. More than half of the South African population are able to understand it, with over 9 million first-language and over 15 million second-language speakers. Many Zulu people also speak Xitsonga, Sesotho and others from among South Africa's 11 official languages.


title: Zulu people

text: The Zulu people celebrate an annual event that was established in 1984 called the Umhlanga or Reed Dance. This event takes place at the royal capital near Nongoma. This traditional ceremony is performed by young women from all parts of the kingdom to perform in front of the monarch and his guests. The purpose of this event is to promote pride in virginity and to restrain sexual relationships. Beadwork is a prominent attire that is worn at the Umhlanga. The beadwork is not only worn by the dancers, but by the guests as well. The Umhlanga is not purely for a time of dance. The King also uses this time to speak to the young men and women of the nation. The King discusses current political issues.


title: Zulu people

text: The creation of beadwork dates back to the times of war for the Zulu people. This particular form of beadwork were known as "iziqu", medallions of war. Often worn as a necklace, the beads were displayed in a criss-cross formation across the shoulders. This assemblage of beads by the warriors represented a symbol of bravery. Before the use of glass was apparent to the Zulu, beadwork derived from wood, seeds and berries. It was not until the arrival of Europeans that glass became a trade material with the Portuguese, which soon became abundantly available to the Zulu.


title: Zulu people

text: Beadwork is a form of communication for the Zulu people. Typically when one is wearing multiple beads, it is a sign of wealth. The more beads one is wearing, the wealthier they are perceived. The beads have the potential to convey information about a person's age, gender and marital status. The design of the beads often conveys a particular message. However, one must know the context of their use in order to read the message correctly. Depending on the area in which the beadwork was made, some designs can depict different messages compared to other areas. A message could be embedded into the colors and structure of the beads or could be strictly for decorative purposes. Beadwork can be worn in everyday use, but is often worn during important occasions such as weddings, or ceremonies. For example, beadwork is featured during the coming of age for a young girl or worn during dances. The beaded elements complement the costumes worn by the Zulu people to bring out a sense of finery or prestige.


title: Zulu people

text: Beadwork is worn by all men, women, and children at any age. Depending on which stage of life an individual is in, the beadwork indicates different meanings. Beadwork is dominantly worn when young Zulu people are courting or in search for love affairs. The wearing of decorative beadwork can act as an attempt to grab the attention of someone of the opposite sex. Also, the gifting of beadwork is a way of communicating interest with lovers. During the transition from single to married women, beadwork is shown through a beaded cloth apron worn over a pleated leather skirt. As for older or mature women, beadwork is displayed in detailed headdresses and cowhide skirts that extend past the knee. These long skirts are also seen on unmarried women and young marriageable-age girls. Men are more conservative when wearing beadwork. However, when a young boy is seen wearing multiple necklaces, it is a sign that he is highly interested by these gifts from various girls. The more gifts he is wearing, the higher prestige he obtains.


title: Zulu people

text: Various forms of beadwork are found in different color schemes. Typically, there are four different types of color schemes:


title: Zulu people

text: The colors of beads might hold different meanings based on the area that they originated from. It is often at times that this can lead to misrepresentation or confusion when attempting to understand what the beadwork is communicating. One cannot assume that the color system is standard across South Africa. In some areas, the color green symbolizes jealousy in a certain area, but in another area it symbolizes grass. One must know the origin of the beadwork in order to interpret the message correctly.


title: Zulu people

text: Zulus wear a variety of attire, both traditional for ceremonial or culturally celebratory occasions, and modern westernized clothing for everyday use. The women dress differently depending on whether they are single, engaged, or married.


title: Zulu people

text: In South Africa, the miniskirt has existed since pre-colonial times. In the African cultures, such as the Basotho, the Batswana, the Bapedi, the Amaswati and the AmaZulu, women wore traditional miniskirts as cultural attire. These skirts are not seen as shameless but used to cover the women's genitals. The skirts are called isigcebhezana and are essential in Zulu ceremonies. For example, Umemulo is a ceremony for women who turn 21 years of age. It represents a huge transition in the woman's life because it is a symbol of her being ready to accept a boyfriend and even get married. Additionally, each stage of a Zulu's life is determined by a specific type of clothing. For an unmarried woman, she wears the skirt and nothing on the top, but as she grows up, the woman starts to cover up her body because a time will come in which she will be a married woman and an old woman. Nonetheless, a special type of clothing is reserved to pregnant women. When a woman is pregnant she wears an ‘isibamba', a thick belt made from dried grass, covered with glass or plastic beadwork, to support her swelling stomach and its additional weight.


title: Zulu people

text: The Zulu people govern under a patriarchal society. Men are perceived as the head of the household and seen as authoritative figures. Zulu men identify themselves with great pride and dignity. They also compare themselves to qualities of powerful wild animals such as bulls, lions and elephants. The men contribute to society by acting as defenders, hunters, and lovers. The Zulu men are also in charge of herding the cattle, educating themselves on the lives of disciplined warriors, creating weapons, and learning the art of stick fighting.


title: Zulu people

text: The art of stick fighting is a celebration of manhood for Zulu men. These men can begin to learn this fighting art form as young as the age of five years old. There are multiple reasons why men learn how to stick fight. For example, men may want to learn so that they can set right any wrongs or insults made towards them. Other reasons some men choose to learn are for sporting purposes, proving skills or manliness, and self-defense. The goal of stick fighting is to injure the opponent and sometimes even kill. There are rules of etiquette that must be abided by when stick fighting. The men can only fight a man the same age as them. One cannot hit the opponent when they lose their stick. Only sticks are allowed when fighting.


title: Zulu people

text: The women in Zulu society often perform domestic chores such as cleaning, raising children, collecting water and firewood, laundry, tending to crops, cooking, and making clothes. Women can be considered as the sole income-earner of the household. A woman's stages of life lead up to the goal of marriage. As a woman approaches puberty, she is known as a "tshitshi". A "tshitshi" reveals her singleness by wearing less clothing. Single women typically do not wear clothing to cover their head, breasts, legs and shoulders. Engaged women wear hairnets to show their marital status to society and married women cover themselves in clothing and headdresses. Also, women are taught to defer to men and treat them with great respect. The women are always bound by a male figure.


title: Zulu people

text: Most Zulu people state their beliefs to be Christian. Some of the most common churches to which they belong are African Initiated Churches, especially the Zion Christian Church, Nazareth Baptist Church and United African Apostolic Church, although membership of major European Churches, such as the Dutch Reformed, Anglican and Catholic Churches are also common. Nevertheless, many Zulus retain their traditional pre-Christian belief system of ancestor worship in parallel with their Christianity.


title: Zulu people

text: Traditional Zulu religion includes belief in a creator God ("uNkulunkulu") who is above interacting in day-to-day human life, although this belief appears to have originated from efforts by early Christian missionaries to frame the idea of the Christian God in Zulu terms. Traditionally, the more strongly held Zulu belief was in ancestor spirits ("amaThongo" or "amaDlozi"), who had the power to intervene in people's lives, for good or ill. This belief continues to be widespread among the modern Zulu population.


title: Zulu people

text: Traditionally, the Zulu recognize several elements to be present in a human being: the physical body ("inyama yomzimba" or "umzimba"); the breath or life force ("umoya womphefumulo" or "umoya"); and the "shadow," prestige, or personality ("isithunzi"). Once the "umoya" leaves the body, the "isithunzi" may live on as an ancestral spirit ("idlozi") only if certain conditions were met in life. Behaving with ubuntu, or showing respect and generosity towards others, enhances one's moral standing or prestige in the community, one's "isithunzi". By contrast, acting in a negative way towards others can reduce the "isithunzi", and it is possible for the "isithunzi" to fade away completely.


title: Zulu people

text: In order to appeal to the spirit world, a diviner ("sangoma") must invoke the ancestors through divination processes to determine the problem. Then, a herbalist ("inyanga") prepares a mixture ("muthi") to be consumed in order to influence the ancestors. As such, diviners and herbalists play an important part in the daily lives of the Zulu people. However, a distinction is made between white "muthi" ("umuthi omhlope"), which has positive effects, such as healing or the prevention or reversal of misfortune, and black "muthi" ("umuthi omnyama"), which can bring illness or death to others, or ill-gotten wealth to the user. Users of black "muthi" are considered witches, and shunned by the society.


title: Zulu people

text: Christianity had difficulty gaining a foothold among the Zulu people, and when it did it was in a syncretic fashion. Isaiah Shembe, considered the Zulu Messiah, presented a form of Christianity (the Nazareth Baptist Church) which incorporated traditional customs.


title: Zulu people

text: Furthermore, Zulu people also practice a ceremony called Ukweshwama. The killing of the bull is part of Ukweshwama, an annual ceremony that celebrates a new harvest. It is a day of prayer when Zulus thank their creator and their ancestors. By tradition, a new regiment of young warriors is asked to confront a bull to prove its courage, inheriting the beast's strength as it expires. It is believed this power then transfers to the Zulu king.


title: Zulu people

text: Zulu people have a system called "". This term is particularly used by Zulu people when it comes to bride wealth. Every African ethnic group has different requirements when it comes to bride wealth. In pre-capitalist Zulu society, ilobolo was inextricably linked to the ownership of cattle. During that time, there was not a fixed number of cattle required for the wedding to happen; it could be paid before the marriage or during the marriage. The groom takes the cattle from his father's herd in order to perpetuate the family heritage. Nonetheless, this ritual has changed during colonization because in 1869, Theophilus Shepstone, then Natal Secretary for Native Affairs, formalized the ilobolo payment to 10 cattle for commoners (plus the ingquthu cow for the mother), 15 for hereditary chief siblings and 20-plus for the daughters of a chief. They found it too lenient to let the groom give whatever amount he wants, so they decided to establish a specific number of cattle that would be needed before or at the start of the marriage. This has been accepted by Zulu men who were educated in mission schools, but according to more ritual people this became “untraditional”. Additionally, with the instauration of the Natal Code, some Zulu men decided to settle another way in which they could decrease the ilobo: offer a token payment or bring a present for the father of the prospective bride in order to decrease the "ilobolo" amount to be paid. The payment of "ilobolo" can be difficult for some families, but as it is often considered a symbol of pride and respect, many are willing to maintain this tradition as long as possible.


title: Jackie Coogan

text: John Leslie Coogan (October 26, 1914 – March 1, 1984) was an American actor and comedian who began his film career as a child actor in silent films.


title: Jackie Coogan

text: Charlie Chaplin's film classic "The Kid" (1921) made him one of the first child stars in the history of Hollywood. He later sued his mother and stepfather over his squandered film earnings and provoked California to enact the first known legal protection for the earnings of child performers, the California Child Actors Bill, widely known as the Coogan Act. Coogan continued to act throughout his life, later earning renewed fame in middle age portraying Uncle Fester in the 1960s television series "The Addams Family".


title: Jackie Coogan

text: Coogan was born John Leslie Coogan in Los Angeles, California in 1914 to John Henry Coogan Jr. and Lillian Rita (Dolliver) Coogan. He began performing as an infant in both vaudeville and film, with an uncredited role in the 1917 film "Skinner's Baby". Charlie Chaplin discovered him in the Orpheum Theatre, a vaudeville house in Los Angeles, on the stage doing the shimmy, a then-popular dance. Coogan's father was also an actor, as was his younger brother, Robert.


title: Jackie Coogan

text: Coogan was a natural mimic and delighted Chaplin with his abilities. Chaplin cast him in a small role in "A Day's Pleasure" (1919). The following year, Chaplin cast Coogan as the abandoned child raised by his Tramp character in the silent comedy-drama "The Kid" (1921). In 1922, Coogan was cast in the title role in "Oliver Twist", directed by Frank Lloyd. Coogan was one of the first stars to be heavily merchandised. Peanut butter, stationery, whistles, dolls, records, coins and figurines were among the Coogan-themed merchandise on sale. He was tutored until the age of 10, when he entered Urban Military Academy and other prep schools. He attended several colleges, as well as the University of Southern California. In 1932, he dropped out of Santa Clara University because of poor grades.


title: Jackie Coogan

text: In November 1933, 22-year-old Brooke Hart, a close friend of Coogan from Santa Clara University and heir to a successful department store in San Jose, was kidnapped as he drove his car out of a parking lot. After several demands for a $40,000 ransom were delivered to the family, police arrested Thomas Thurmond and Jack Holmes in San Jose. Thurmond admitted that he and Holmes had murdered Hart the same day he was kidnapped. Both killers were transferred to a jail in downtown San Jose. A mob broke into the jail, and Thurmond and Holmes were hanged from a tree in a nearby park, with the unapologetic approval of the state's governor. Coogan was reported to be present and to have held the lynching rope.


title: Jackie Coogan

text: In May 1935, 20-year-old Coogan was the sole survivor of a car crash in eastern San Diego County that killed his father; his best friend 19-year-old actor Junior Durkin; their ranch foreman, Charles Jones; and actor and writer Robert J. Horner. The party was returning from a day of dove hunting just over the Mexican border. With his father at the wheel, the car was forced off the mountain highway near Pine Valley by an oncoming vehicle and rolled down an embankment.


title: Jackie Coogan

text: As a child star, Coogan earned an estimated $3 to $4 million ($44 to $59 million in 2021 dollars). When he turned 21 in October 1935, his fortune was believed to be well intact. His assets had been conservatively managed by his father, who had died in the car accident five months earlier.


title: Jackie Coogan

text: However, Coogan soon discovered that nearly the entire amount had been squandered by his mother and stepfather, Arthur Bernstein, on fur coats, diamonds and other jewelry and expensive cars. Bernstein had been a financial advisor for the family and married Coogan's mother in late 1936. Coogan's mother and stepfather claimed Jackie enjoyed himself and simply thought he was playing before the camera. She insisted, "No promises were ever made to give Jackie anything", and claimed he "was a bad boy". Coogan sued them in 1938, but after his legal expenses, he received just $126,000 of the $250,000 remaining of his earnings. When Coogan went broke during the litigation he asked Charlie Chaplin for assistance; Chaplin handed him $1,000 cash without hesitation.