title: Daniil Kvyat

text: After two races with Koiranen Bros. Motorsport in 2010, in the Eurocup Formula Renault 2.0 finale at Barcelona and a fourth-place finish in the Formula Renault UK Winter Series, Kvyat, and his Formula BMW and Red Bull Junior teammate Carlos Sainz Jr., joined Koiranen for full 2011 seasons in both the Eurocup and the Formula Renault 2.0 Northern European Cup. He finished as runner-up behind Sainz, Jr. in the Northern European Cup standings with seven wins, including a hat-trick of wins at Monza. In the Eurocup he was outpaced by former Formula BMW rival Robin Frijns and Sainz, scoring two wins at Spa and the Nürburgring.


title: Daniil Kvyat

text: For 2012, Kvyat remained in the Formula Renault category, competing in both Formula Renault 2.0 Alps and the Eurocup Formula Renault 2.0 series. His debut in the Alps championship was marked with a dominating double win at Monza. In May he returned to the Eurocup, and recorded a double win in the opening round of the season at Motorland Aragón. In the Eurocup, Kvyat's main rival was Stoffel Vandoorne, who won four races "versus" Kvyat's six but he also never finished a single race below P4. Kvyat lost points at Nürburgring due to a wrong tyre choice by his team, and at Hungaroring after crashing with Oliver Rowland. The fate of the title was decided in the last round of the championship in Barcelona. Koiranen GP made a wrong call in the mixed conditions and selected wet tyres for Kvyat although the circuit was drying up after the rain; most of the other drivers on the grid started on slick tires. Thus, having lost several positions in the last part of the race, Kvyat did not score enough points to secure the title. In the Alps series, the Russian was fighting Norman Nato. Barcelona hosted the series finale just a couple of hours after the finish of the Eurocup race. Two title contenders crashed out and, having more overall points in the championship, Kvyat won the title. Russian driver remained with the Red Bull Junior Team and progressed to the GP3 Series for 2013.


title: Daniil Kvyat

text: Kvyat spent 2013 competing in the GP3 Series with MW Arden and the European Formula 3 championship with Carlin Motorsport. Kvyat was a late registration for the latter series, and so he was ineligible for points. He scored five pole positions, seven podiums and a dominant win at Zandvoort. His first win saw an unusual mistake on the part of event organisers: there was no record of National Anthem of Russia present at Zandvoort, and ""The Patriotic Song"" by Mikhail Glinka was played instead to celebrate Kvyat's win. After this race he was offered a contract as a Formula 1 driver by Helmut Marko, head of the Red Bull Junior Team.


title: Daniil Kvyat

text: Carlos Sainz Jr joined Kvyat as a teammate once again in GP3, after a mediocre season in Formula 3. The season start was a challenge for both drivers: struggling to find appropriate settings for the cars, both Kvyat and Sainz failed in the season opener. They managed to catch up with the leaders after a few rounds, once the Arden engineers mastered management of the Pirelli tyres. Kvyat scored his first podium in the series at Hungaroring in July, then won the race in Spa in August to decrease the points deficit between him and the leaders in the drivers' standings. He went into the Abu Dhabi event being a title contender and finally won the championship in his debut year. His performance in two final feature races at Monza and Abu Dhabi was notable: Kvyat scored a pole, a win, led every lap and recorded the fastest lap, gaining the maximum points available at both races.


title: Daniil Kvyat

text: Kvyat became the second driver of the Scuderia Toro Rosso (STR) Formula One team for the season, alongside Frenchman Jean-Éric Vergne. He replaced Daniel Ricciardo, who moved to parent team Red Bull Racing. As a test driver for STR, he took part in Friday practice for the final two Grands Prix of the 2013 season, in the United States and Brazil. Kvyat made his F1 debut—aged just 19—in the 2014 Australian Grand Prix, where he made it into the top ten in qualifying and finished 9th in the race, breaking Sebastian Vettel's record as the youngest points-scorer in Formula One. He went on to score points in the Malaysian, Chinese, British and Belgian Grands Prix, finishing 15th in the World Championship. In September the organisers of the inaugural Russian Grand Prix announced their intention of naming a stand in the Sochi Autodrom after him.


title: Daniil Kvyat

text: Kvyat was promoted to Red Bull for the season, to replace the quadruple world champion Sebastian Vettel, who would move to Ferrari. He took his first podium in the sport with a second-place finish at the 2015 Hungarian Grand Prix, the highest finish for a Russian driver in Formula One. As a result, Kvyat – aged  – became the second-youngest driver to record a podium finish, after Vettel. In qualifying for the 2015 Japanese Grand Prix, Kvyat crashed heavily into the barriers, ultimately flipping the car. He was uninjured, and finished 13th in the race the following day. Kvyat ended the 2015 season with 95 points and 7th place in Drivers' World Championship, beating his race winning teammate Daniel Ricciardo by 3 points.


title: Daniil Kvyat

text: The 2016 season start was a challenge again, but Kvyat finished third in the third round, securing the first podium for Red Bull Racing in the new season. However, after an incident during the start of his home Grand Prix when Kvyat collided with Sebastian Vettel's car, team management decided to demote Kvyat back to Toro Rosso.


title: Daniil Kvyat

text: In the week following the , Red Bull announced that Toro Rosso driver Max Verstappen would be replacing Kvyat beginning from the following round, the , with Kvyat returning to Toro Rosso alongside Carlos Sainz Jr. According to Red Bull's team principal Christian Horner, "Dany will be able to continue his development at Toro Rosso, in a team that he is familiar with, giving him the chance to regain his form and show his potential." Kvyat spent some time adapting to the team and the new car, and returned to good shape, posting several strong performances in qualifying and races. It was announced ahead of the that Kvyat had been re-signed to Toro Rosso for 2017 after much intense speculation.


title: Daniil Kvyat

text: Although the opening phase of the championship looked promising, with both the car and the drivers demonstrating solid speed, regularly making it into the top ten, Kvyat's season was plagued by multiple problems, including several retirements due to technical failures and occasional driver's mistakes. On 26 September 2017, Toro Rosso announced the decision to replace Kvyat for the forthcoming with Frenchman Pierre Gasly, following a sustained run of underwhelming form from the Russian. Whilst confirming the decision to stand Kvyat down, in a statement, Toro Rosso added that the driver switch should not be considered a permanent parting of the ways, saying "This is not a case of goodbye for our Daniil, as he still remains part of the Red Bull Family." Kvyat returned to racing for Toro Rosso at the , following teammate Carlos Sainz Jr.'s move to Renault, and Gasly attending the 2017 Super Formula Championship finale at Suzuka. Despite securing a points finish it was not enough to secure his seat once more as Toro Rosso chose to continue with New Zealander Brendon Hartley and welcome the return of Gasly to complete the team's pair in preparation for Mexico. In the week between the United States and Mexican Grands Prix, it was confirmed by Helmut Marko that Kvyat would not return to the team and would be released out of the Red Bull driver development programme.


title: Daniil Kvyat

text: On the day of the Mexican Grand Prix, Williams technical director Paddy Lowe said that Williams were considering him as an option for the 2018 season.


title: Daniil Kvyat

text: After failing to attract a race seat for the 2018 season, Kvyat became the third driver for Ferrari. While mainly focusing on the team's simulator at Maranello, Kvyat drove the Ferrari SF71H for the first time at Fiorano, during a Pirelli wet weather test in April 2018.


title: Daniil Kvyat

text: Kvyat rejoined Toro Rosso as a driver for the 2019 season, replacing the Red Bull-bound Pierre Gasly. This saw Kvyat race for the team he debuted in Formula One for a third time in his career. He initially raced alongside Thai driver Alexander Albon, who moved up from the FIA Formula 2 Championship. Kvyat put in strong performances during the first half of the season, achieving six points finishes from twelve races. However, he suffered consecutive retirements in China and Azerbaijan, both as a result of collision damage. His points finishes included 7th place in Monaco, a 9th place in Britain after starting from the back row of the grid and a shock 3rd-place podium finish at the rain-affected German Grand Prix. This came after a strategy call to pit for dry-weather tyres before the rest of the field and an overtake on Lance Stroll. This marked Kvyat's third career podium, and Toro Rosso's first podium since winning the 2008 Italian Grand Prix.


title: Daniil Kvyat

text: During the summer break prior to the Belgian Grand Prix, Kvyat's teammate Albon was promoted to Red Bull in August to replace Pierre Gasly, who was demoted back to Toro Rosso. Some questioned the decision not to promote Kvyat instead, as he had outperformed Albon during the first half of the season. Red Bull justified the move by saying they wished to trial Albon for the remainder of the season to decide who would partner Max Verstappen at the team in 2020. Kvyat produced an excellent drive in Belgium to finish in 7th place after starting in 19th due to power unit penalties. His third retirement of the season came at the next race in Italy after suffering an oil leak. Kvyat recorded three more points finishes in the remainder of the season; two 10th-place finishes in Japan and Brazil, and a 9th-place finish in Abu Dhabi. He also finished in the points in Mexico and the United States, but was handed post-race penalties for causing last-lap collisions in both races, dropping him out of the points. Kvyat finished the season in 13th place in the championship with 37 points.


title: Daniil Kvyat

text: AlphaTauri (previously Toro Rosso) retained Kvyat and Gasly for the 2020 season. Kvyat retired from the first race of the season (the 2020 Austrian Grand Prix) due to a suspension failure. He received his first point of the season at the Styrian Grand Prix with a tenth-place finish. He retired at the British Grand Prix after a heavy crash into the barriers that was caused by a tyre failure. Kvyat finished fourth in the 2020 Emilia Romagna Grand Prix after a succession of overtakes on Alexander Albon, Sergio Pérez and Charles Leclerc after the Safety car restart.


title: Daniil Kvyat

text: The Russian finished the season 14th in the standings with 32 points, compared to team-mate Pierre Gasly who scored 75 points and finished tenth. His contract was not renewed and Yuki Tsunoda replaced Kvyat at AlphaTauri for 2021.


title: Daniil Kvyat

text: Kvyat was entered to drive for G-Drive Racing in the LMP2 class in the FIA World Endurance Championship, alongside James Allen and Rene Binder. However, G-Drive withdrew on 6 March, two weeks before the first race of the season, in response to conditions introduced by the FIA following the 2022 Russian invasion of Ukraine. Kvyat called the sanctions and restrictions against Russian athletes “unfair and discriminatory”.


title: Daniil Kvyat

text: In December 2017 Kvyat tested a NASCAR Whelen Euro Series racecar at a young driver test. Throughout 2021 and 2022, Kvyat attended multiple NASCAR Cup Series events including at Martinsville Speedway and Road America, and appearing in multiple teams' garages.


title: Daniil Kvyat

text: Kvyat is due to make three starts in the NASCAR Cup Series for Team Hezeberg, with his car using the same number he used in Formula One, 26. He made his NASCAR debut in the 2022 Verizon 200 at the Brickyard at the Indianapolis Motor Speedway road course, finishing in 36th position after retiring from the race with suspension issues.


title: Daniil Kvyat

text: Kvyat lived in Ufa, Russia, until 2000 when his family moved to Moscow. This is where he first raced go-karts before first moving to Western Europe and racing competitively. Kvyat currently lives in Monaco. In addition to his native Russian, he is also fluent in Italian, Spanish, and English, and has some ability in speaking Finnish and Dutch.


title: Daniil Kvyat

text: Rules introduced for the 2014 Formula One World Championship allowed the drivers to pick their own racing numbers that they will carry with them for the rest of their careers. When asked about which number he wanted, Kvyat revealed that 26 was the number he had chosen as he had no previous connection to it, and that he wanted to make it successful.


title: Daniil Kvyat

text: Kvyat's hobbies include table tennis, football, wakeboarding and skiing. He also likes heavy metal music, and has cited Metallica's "Whiskey in the Jar" cover and Motörhead's "Ace of Spades" as his two favourite songs. He plays the guitar.


title: Daniil Kvyat

text: Until November 2015, Kvyat was one of the few drivers in motor racing to have an FIA Super Licence, but not a regular driving licence in his native Russia.


title: Daniil Kvyat

text: In January 2017, Kvyat began dating Kelly Piquet, daughter of three-time F1 World Champion Nelson Piquet. The couple's first child, a daughter, was born in July 2019. The pair split in December 2019.


title: Let Me In (film)

text: Let Me In is a 2010 romantic horror film written and directed by Matt Reeves and starring Kodi Smit-McPhee, Chloë Grace Moretz, Elias Koteas, and Richard Jenkins. It is a remake of the 2008 Swedish film "Let the Right One In". The film tells the story of a bullied 12-year-old boy who befriends and develops a romantic relationship with a female child vampire in Los Alamos, New Mexico, during the early 1980s.


title: Let Me In (film)

text: Interest in producing an English-language version of "Let the Right One In" began in 2007 shortly before it was released to audiences. In 2008, Hammer Films acquired the rights for the English adaptation and initially offered Tomas Alfredson, the director of the Swedish film, the opportunity to direct, which he declined. Reeves was then signed to direct and write the screenplay. Reeves made several changes for the English version such as altering the setting from Stockholm to New Mexico and renaming the lead characters. The film's producers stated that their intent was to keep the plot similar to the original, yet make it more accessible to a wider audience. Principal photography began in early November 2009, and concluded in January 2010. The film's budget was estimated to be $20million.


title: Let Me In (film)

text: "Let Me In" premiered at the Toronto International Film Festival on September 13, 2010, and was released in North America on October 1, 2010. The film was placed on several critics' top ten list. Many critics noted it as a rare Hollywood remake which stayed true to the original, while others criticized it for being too derivative of the Swedish film. The film earned $24million in box office revenue worldwide, of which $12million was earned in the United States and Canada. Moretz won several awards for her performance with critics praising the on-screen chemistry with her co-star, Smit-McPhee. "Let Me In" was released on DVD and Blu-ray in North America on February 1, 2011, and in the UK on March 14, 2011. An official comic book miniseries prequel titled "" was released after the film which establishes the back-story of Abby and ends where the theatrical film begins.


title: Let Me In (film)

text: In March 1983, in Los Alamos, New Mexico, a disfigured man is taken to the hospital. An unnamed police detective tries to question him about a recent murder. While the detective answers a call outside the room, the disfigured man jumps out of the window, leaving behind a note that reads: "I'M SORRY ABBY".


title: Let Me In (film)

text: Two weeks earlier, Owen, an unhappy and lonely 12-year-old boy who is neglected by his divorcing parents, sees a barefoot little girl named Abby and an older man moving in next door. At school, a teenage bully named Kenny and two of his friends constantly terrorize Owen, who lies to his mother about it but tells Abby the truth. Abby encourages him to retaliate, and pledges to protect him. Owen and Abby become close friends and start communicating by Morse code through the walls of their apartments. Abby's companion Thomas abducts a local teenager and drains the boy's blood into a jug, only to accidentally spill all of its contents. Starving, Abby attacks a neighbor and drinks his blood, killing him and forcing Thomas to dispose of the body.


title: Let Me In (film)

text: On a later night, Thomas hides in the back of another car, but is discovered. In the ensuing struggle, the car falls into a ditch and flips over. Trapped, Thomas pours concentrated sulfuric acid on his face, rendering himself unrecognizable and hospitalizing himself. Abby learns what happened and visits Thomas in the hospital, who lets her drink his blood before falling to his death. That night, Owen is awakened by Abby, who insists he verbally invite her in. She spends the night in his bed and agrees to be his girlfriend. The next day, Owen's class goes ice skating on a river. Cornered by the bullies, Owen smashes the side of Kenny’s head with a metal pole, splitting his left ear. At the same moment, the students discover the neighbor's body encased in the ice.


title: Let Me In (film)

text: Later, Owen tries to make a blood pact with Abby. Seeing blood, Abby reveals her vampire form and flees, feeding on another neighbor. The next night, Abby admits to Owen that she is a vampire and that Thomas was not her father. Owen discovers an aged photo of her with Thomas as a young boy. Scared, Owen wants to leave, but he is stopped by Abby who will not answer his demands on letting him out. Owen finally leaves after asking Abby what she will do to him.


title: Let Me In (film)

text: Owen sneaks out to spend the night at Abby's apartment. In the morning, the detective forces his way into Abby's apartment and finds her asleep, only to be distracted by Owen. Abby wakes and attacks the detective, killing him. Horrified at her actions, Abby decides to leave town and kisses a heartbroken Owen goodbye. During swim class, Kenny, Jimmy, and their friends ambush Owen and begin to drown him, only to be dismembered by Abby, who returned to rescue Owen.


title: Let Me In (film)

text: According to Hammer Films executive producer Nigel Sinclair, interest in the project initially began in the middle of 2007, before the original "Let the Right One In" had screened for audiences.


title: Let Me In (film)

text: The rights for the English-language film were later acquired by Hammer Films at the 2008 Tribeca Film Festival, where "Let the Right One In" won the "Founders Award for Best Narrative Feature," and Matt Reeves was quickly introduced as the director. John Nordling and Carl Molinder, the Swedish producers of the original film, were both involved as producers for the adaptation. Tomas Alfredson, the director of the Swedish film, was initially asked to direct the remake, but he turned it down stating that "I am too old to make the same film twice and I have other stories that I want to tell." Hammer Films producer Simon Oakes initially referred to the film with "If you call it a faithful remake, I think that's true to say that's what it is. It's not a reimagining; the same beats [are there], maybe the scares are a little bit more scary." He later said, "I call it his [Reeves'] version. I don't call it his remake or his re-imagining of it." The decision to make a new film adaptation has been criticized by Tomas Alfredson. He has stated on numerous occasions that he is not in favor of remaking his film. "If one should remake a film, it's because the original is bad. And I don't think mine is," he said. Producer Donna Gigliotti said, "We're incredibly admiring of the original, but to be honest with you, that picture grossed $2million. It's not like we're remaking "Lawrence of Arabia"." Producer Simon Oakes made it clear that the plot of "Let Me In" would closely resemble that of the original film, except that it will be made "very accessible to a wider audience."


title: Let Me In (film)

text: Writer John Ajvide Lindqvist, on the other hand, says that Reeves told him that he "will make a new film based on the book, and not remake the Swedish film" and so "it'll be something completely different, but it's going to be really interesting to see." Reeves expressed his intent to retain the book's early 1980s setting and his admiration for the book and Alfredson's adaptation. "It's a terrific movie and a fantastic book. I think it could be a really touching, haunting and terrifying film. I'm really excited about what it could be", he said. In response to the criticism he said, "I can understand because of people's love of the [original] film that there's this cynicism that I'll come in and trash it, when in fact I have nothing but respect for the film. I'm so drawn to it for personal and not mercenary reasons ... I hope people give us a chance." When Reeves was initially approached, he at first was against the idea but after reading the novel gained a better appreciation for the story, stating,


title: Let Me In (film)

text: In adapting the film, a few adjustments were made, such as changing the names of the protagonists to Owen and Abby, and moving the setting from the Stockholm suburb of Blackeberg to "a small New Mexico town." Reeves was also asked to change the ages of the main characters, but he refused, saying that "would ruin the essence of the story and change everything completely ... we need that childlike innocence." He also told his actors to not watch the original film beforehand so "we could make our own version but stay very true to the essence of the story." The filmmakers have noted that "they intend to forge a unique identity for "Let Me In", placing it firmly in an American context", while at the same time paying respect to the original. In comparing his adaptation to the Swedish one, Reeves admitted to not adding many different details from the book that weren't in the original film, stating that "the story was so big that you couldn't really add a lot of stuff in without taking away the focus of the coming of age story so I tried to have allusions and references to stuff in the book." Reeves also admitted to borrowing elements from the Swedish film, stating "There are things that [Lindqvist] adapted brilliantly in the movie and I borrowed from that because I thought he did a great adaptation. But there are some things that hopefully don't detract and fit into the context of the story. It's a mixture of details from the book, the original film and things that grew out of adapting it." In adapting the story for American audiences, Reeves stated that keeping the 1980s time period within the film was critical in exploring the theme of good and evil. He used Ronald Reagan's "evil empire speech" as an example of American thought during that period. Reeves stated, "The idea of Reagan's 'evil empire' speech and that whole sort of school of thought was that evil was something that was outside of us. Evil was 'Other,' it was over there, it was the Soviets". Reeves felt that this idea was central to the main character Owen, as he "would be grappling with these very, very dark feelings but being in a kind of American town where there was that sort of [Reagan era] mindset and religiousness. How would you fit in? How would you feel about yourself being confused and being 12 or 13 years old and not knowing what it means that you wish you could kill those kids who were terrorizing you every day? The humanity of that."


title: Let Me In (film)

text: In July 2009, audition tapes were leaked to the Internet, showing Chloë Grace Moretz, Mary Mouser, and Ariel Winter auditioning for the role of the vampire, Abby. Smit-McPhee, in an interview with "The Herald Sun", hinted that he may have landed the role as Owen. The casting of Moretz and Smit-McPhee in the leading roles was confirmed on October 1, 2009, along with the addition of Richard Jenkins as Abby's adult companion.


title: Let Me In (film)

text: In a press release, director Matt Reeves described Smit-McPhee, Moretz and Jenkins as his "absolute dream cast", and added that he "couldn't be more excited to be working with them." Both Smit-McPhee and Moretz were cast before the release of "The Road" or "Kick-Ass", and the films' directors John Hillcoat and Matthew Vaughn, respectively, each praised the young actors and recommended them to Reeves.


title: Let Me In (film)

text: Chloe's older brother, Colin Moretz was also cast in a minor role as the cashier at the convenience store.


title: Let Me In (film)

text: Principal photography began in Albuquerque, New Mexico on November 2, 2009. Filming took place in several different New Mexico locations, before concluding in Albuquerque in January 2010. A large section of the film was filmed at Los Alamos High School in Los Alamos, New Mexico. Los Alamos County granted a special request from the film's director and producer to name the town in the movie "Los Alamos, New Mexico." The local police department lent the film crew 1980s style uniforms and patrol cars to use for the film and over 100 local teenagers were cast as extras.


title: Let Me In (film)

text: Reeves felt that Lindqvist's story was very naturalistic and wanted the film to be shot the same way. After viewing "Bright Star", he hired Greig Fraser as his cinematographer because he admired Fraser's work with natural light on the film. Shortly before filming, Reeves sought advice from Steven Spielberg for directing child actors. Spielberg instructed Reeves to have the two leads each keep a diary in character with the intention of sharing with Reeves what they wrote in it. Reeves stated, "It was all a process of trying to, not only guide them, but in places, trying to let them guide me toward their perspective. That was important."


title: Let Me In (film)

text: Method Studios was contracted to handle the film's visual effects work. The studio's supervisor Sean Faden, worked alongside the film's visual effects supervisor, Brad Parker throughout the production.


title: Let Me In (film)

text: Several of the film's scenes proved to be a challenge for the team. Director Reeves wanted the "car-crash" sequence to appear as if it were filmed uncut in first-person. Several plates were shot, with the first plate involving actor Jenkins backing the car out of the gas station and swerving, and the second plate shot had a model of the car capable of being spun mechanically on a "rotisserie" in front of a blue screen which could simulate the car's roll down the hill. Jenkins' stunt double and a dummy were placed in the car as the rotisserie spun with additional effects work used to animate the dummy as the car rolled. The two shots were then combined to deceive the viewer into believing that it was one complete shot.


title: Let Me In (film)

text: Houdini software was used for much of the film's shots which involved Abby in her vampiric form. Faden noted the techniques used in another challenging shot important to Abby's character in which she begins bleeding when she enters Owen's apartment without invitation. Faden stated, "Normally in such a scene, the character would be shot on set, dressed in blood. But in this case, the timing of the bleeding was so dependent on the emotional beats of the scene that this technique wouldn't have allowed us enough control." Actress Chloë Grace Moretz was first shot with minimal prosthetic blood applied to her face for reference. Then using techniques utilized in a prior Method Studios film, "A Nightmare on Elm Street", Faden had the Houdini software track Moretz's shaking movements and render the gradual release of blood from her face.


title: Let Me In (film)

text: Let Me In: Original Motion Picture Soundtrack is the film's soundtrack album. It was released by Varèse Sarabande on October 12, 2010. The score was composed by Michael Giacchino. Giacchino stated that scoring the film was a difficult "balancing act" for some scenes. He mentioned, "I was always trying to say, 'let's take music out!' and Matt [Reeves] was like, 'no, put it in!'" In composing the score, he stated that he also applied certain musical themes to each character for which the audience could respond to as the story progressed. Composing the score to convey the correct emotion was also a challenge for Giacchino who said, "... it was tricky finding the right balance of, well, should this be scary? Or should this be sentimental? Or should it be emotional? Or should it be this? It was a weird balance because you're dealing with a dynamic that is quite questionable as far as what everyone's intentions are in the film.


title: Let Me In (film)

text: It was announced on August 17, 2010, that "Let Me In" would have its world premiere at Toronto International Film Festival on September 13, 2010, and its U.S. premiere on the opening night of Fantastic Fest on September 23, 2010. Overture Films released promotional items placed in small plastic evidence bags.


title: Let Me In (film)

text: With a budget estimated to be $20million, the film was released on October 1, 2010, in North America opening at #8 on its debut weekend with an estimated $5.1million in 2,020 theaters. The film's international release began on October 6 in European markets with other markets following thereafter. During the film's ten-week theatrical run, "Let Me In" grossed over $24million worldwide, $12.1million of which was from the United States and Canada. The film was #5 among the ten lowest-grossing releases of 2010 from major studios (movies released in over 1,500 theaters).


title: Let Me In (film)

text: "Let Me In" received critical acclaim upon release. Review aggregation website Rotten Tomatoes gives the film a score of 88% based on reviews from 220 critics, with an average score of 7.6/10. The consensus is that "similar to the original in all the right ways—but with enough changes to stand on its own—"Let Me In" is the rare Hollywood remake that doesn't add insult to inspiration." "Let Me In" was included on "Rotten Tomatoes" list of the ten best reviewed wide-release films of 2010 in addition to being the best reviewed horror film of 2010. Metacritic gave the film an average score of 79/100 based on 35 reviews, judged to be "generally favorable reviews". According to Metacritic, "Let Me In" was one of the ten best-reviewed wide-release films of 2010 and the best reviewed film of the year in the horror category.


title: Let Me In (film)

text: Particular praise was given to the film's two leads, Smit-McPhee and Moretz, for their chemistry and maturity on-screen.


title: Let Me In (film)

text: Acclaimed horror author Stephen King wrote ""Let Me In" is a genre-busting triumph. Not just a horror film, but the best American horror film in the last 20 years." Joe Morgenstern of "The Wall Street Journal" wrote that the film "is more than a respectful remake; "Let Me In" is quietly stylish and thoroughly chilling in its own right."


title: Let Me In (film)

text: Lou Lumenick of "The New York Post" called "Let Me In" "the scariest, creepiest and most elegantly filmed horror movie I've seen in years—it positively drives a stake through the competition." A. O. Scott of "The New York Times" wrote "what makes" "Let Me In" "so eerily fascinating is the mood it creates. It is at once artful and unpretentious, more interested in intimacy and implication than in easy scares or slick effects". Roger Ebert of the "Chicago Sun-Times" praised the film while comparing it to the original. He stated, "Reeves understands what made the first film so eerie and effective, and here the same things work again." "Rolling Stone" film critic Peter Travers, who was initially skeptical, gave the film a positive review while writing, "I thought for sure that any Hollywood remake of Tomas Alfredson's artful Swedish vampire film, "Let the Right One In", would be a crass desecration. Well, color me blushing... Prepare to be wowed. It's a spellbinder." Roger Moore of the "Orlando Sentinel" gave the film 3.5 out of 4 stars, stating, "Reeves has Americanized a very good foreign film without defanging it."


title: Let Me In (film)

text: "Let Me In" was not well received by all critics. Some disputed Reeves' claims that he was not remaking the film but re-adapting the book, criticizing it for being too similar to the Swedish film. Josh Tyler of "CinemaBlend" wrote, "The movie he's made is absolutely a direct remake of the 2008 film, the two are so similar that it's almost impossible to differentiate between them." In a similar vein, Jamie S. Rich of "DVD Talk" noted that while there was plenty of content in the original novel that the Swedish film omitted, "Reeves hasn't really ferreted out anything new; on the contrary, there is actually less plot in "Let Me In" than in the Alfredson version." Beth Accomando wrote, "How Reeves can take the credit 'written and directed by Matt Reeves' seems almost laughable when you note how similar the script and the direction are to the original." In comparing the two films, she opined that the remake "makes obvious all that the original film made subtle and does so with less complexity". Mark Kermode called it "the most utterly redundant remake of the year".


title: Let Me In (film)

text: According to Sukhdev Sandhu of "The Daily Telegraph", ""Let Me In" doesn't need to exist unless, that is, the very notion of Swedish cinema is strange and unpalatable to you ... What's missing is the alluring otherness of "Let the Right One In". That film's brittle textures and haunted ambiance seemed in some strange way to have sprung organically from the nation in which it was set. This remake, by contrast, smells of boardrooms and calculating machines."


title: Let Me In (film)

text: "Let Me In" was a critics' pick as one of the Top 10 Best Films of 2010 at CNN and at MSN Entertainment for the 2010 Year in Review Special Features.


title: Let Me In (film)

text: John Ajvide Lindqvist, author of the book and screenwriter of the original Swedish film, was pleased with "Let Me In". He said:


title: Let Me In (film)

text: "Let Me In" was released on DVD and Blu-ray in North America on February 1, 2011, and in the UK on March 14, 2011. The disc includes an audio commentary with director Reeves, a 17-minute featurette on the making of the film, a short that focuses on the art of the special effects, an in-depth video about the process of making the film's unique car crash scene, three deleted scenes, trailer and poster galleries, and a digital copy of the film. The Blu-ray contains an exclusive featurette titled "Dissecting Let Me In". Both the DVD and Blu-ray come with a copy of the limited-edition "" comic book. As of April 2011, DVD sales (not including Blu-ray) totaled over 457,000 units sold with over $6.2million in revenue.


title: Let Me In (film)

text: In April 2010, it was announced that Hammer Films and Dark Horse Comics were producing a four-issue comic book limited series based on the film. Marc Andreyko wrote the comic. The series, titled "Let Me In: Crossroads", is a prequel to the film. The first issue has Abby and her "guardian" facing a ruthless real-estate tycoon who wants to steal their home and was released in December 2010. John Ajvide Lindqvist, who wrote the original novel that both the Swedish and American films are based upon, said "Nobody has asked me about [doing a comic] and I think that the project stinks. I am looking into this matter and hope that they have no right to do this." Later, he informed fans that he had in fact unwittingly sold the rights for the comic to be made, stating that the producers had misinformed him as to the nature of the contract he had signed.


title: Danish language

text: Danish (; , ) is a North Germanic language spoken by about six million people, principally in and around Denmark. Communities of Danish speakers are also found in Greenland, the Faroe Islands, and the northern German region of Southern Schleswig, where it has minority language status. Minor Danish-speaking communities are also found in Norway, Sweden, the United States, Canada, Brazil, and Argentina.


title: Danish language

text: Along with the other North Germanic languages, Danish is a descendant of Old Norse, the common language of the Germanic peoples who lived in Scandinavia during the Viking Era. Danish, together with Swedish, derives from the "East Norse" dialect group, while the Middle Norwegian language (before the influence of Danish) and Norwegian Bokmål are classified as "West Norse" along with Faroese and Icelandic. A more recent classification based on mutual intelligibility separates modern spoken Danish, Norwegian, and Swedish as "mainland (or "continental") Scandinavian", while Icelandic and Faroese are classified as "insular Scandinavian". Although the written languages are compatible, spoken Danish is distinctly different from Norwegian and Swedish and thus the degree of mutual intelligibility with either is variable between regions and speakers.


title: Danish language

text: Until the 16th century, Danish was a continuum of dialects spoken from Schleswig to Scania with no standard variety or spelling conventions. With the Protestant Reformation and the introduction of the printing press, a standard language was developed which was based on the educated Copenhagen dialect. It spread through use in the education system and administration, though German and Latin continued to be the most important written languages well into the 17th century. Following the loss of territory to Germany and Sweden, a nationalist movement adopted the language as a token of Danish identity, and the language experienced a strong surge in use and popularity, with major works of literature produced in the 18th and 19th centuries. Today, traditional Danish dialects have almost disappeared, though regional variants of the standard language exist. The main differences in language are between generations, with youth language being particularly innovative.


title: Danish language

text: Danish has a very large vowel inventory consisting of 27 phonemically distinctive vowels, and its prosody is characterized by the distinctive phenomenon , a kind of laryngeal phonation type. Due to the many pronunciation differences that set Danish apart from its neighboring languages, particularly the vowels, difficult prosody and "weakly" pronounced consonants, it is sometimes considered to be a "difficult language to learn, acquire and understand", and some evidence shows that children are slower to acquire the phonological distinctions of Danish compared to other languages. The grammar is moderately inflective with strong (irregular) and weak (regular) conjugations and inflections. Nouns and demonstrative pronouns distinguish common and neutral gender. Like English, Danish only has remnants of a former case system, particularly in the pronouns. Unlike English, it has lost all person marking on verbs. Its word order is V2, with the finite verb always occupying the second slot in the sentence.


title: Danish language

text: Danish is a Germanic language of the North Germanic branch. Other names for this group are the Nordic or Scandinavian languages. Along with Swedish, Danish descends from the Eastern dialects of the Old Norse language; Danish and Swedish are also classified as East Scandinavian or East Nordic languages.


title: Danish language

text: Scandinavian languages are often considered a dialect continuum, where no sharp dividing lines are seen between the different vernacular languages.


title: Danish language

text: Like Norwegian and Swedish, Danish was significantly influenced by Low German in the Middle Ages, and has been influenced by English since the turn of the 20th century.


title: Danish language

text: Danish itself can be divided into three main dialect areas: West Danish (Jutlandic), Insular Danish (including the standard variety), and East Danish (including Bornholmian and Scanian). Under the view that Scandinavian is a dialect continuum, East Danish can be considered intermediary between Danish and Swedish, while Scanian can be considered a Swedified East Danish dialect, and Bornholmsk is its closest relative. Contemporary Scanian is fully mutually intelligible with Swedish and less so with Danish since it shares a standardized vocabulary and less distinct pronunciations with the rest of Sweden than in the past. Blekinge and Halland, the two other provinces further away from Copenhagen that transitioned to Sweden in the 17th century, speak dialects more similar to standard Swedish.


title: Danish language

text: About 2000 of Danish non-compound words are derived from the Old Norse language, and ultimately from Proto Indo-European. Of these 2000 words, 1200 are nouns, 500 are verbs, 180 are adjectives and the rest belong to other word classes. Danish has also absorbed a large number of loan words, most of which were borrowed from Middle Low German in the late medieval period. Out of the 500 most frequently used words in Danish, 100 are medieval loans from Middle Low German, as Low German was the other official language of Denmark–Norway. In the 17th and 18th centuries, standard German and French superseded Low German influence and in the 20th century, English became the main supplier of loan words, especially after World War II. Although many old Nordic words remain, some were replaced with borrowed synonyms, as can be seen with (to eat) which became less common when the Low German came into fashion. As well as loan words, new words are freely formed by compounding existing words. In standard texts of contemporary Danish, Middle Low German loans account for about 16–17% of the vocabulary, Graeco-Latin-loans 4–8%, French 2–4% and English about 1%.


title: Danish language

text: Danish and English are both Germanic languages. Danish is a North Germanic language descended from Old Norse, and English is a West Germanic language descended from Old English. Old Norse exerted a strong influence on Old English in the early medieval period. To see their shared Germanic heritage, one merely has to note the many common words that are very similar in the two languages. For example, commonly used Danish nouns and prepositions such as , , , , , , , and are easily recognizable in their written form to English speakers. Similarly, some other words are almost identical to their Scots equivalents, e.g., (Scots "kirk", i.e., 'church') or (Scots "bairn", i.e. 'child'). In addition, the word , meaning "village" or "town", occurs in many English place-names, such as "Whitby" and "Selby", as remnants of the Viking occupation. During the latter period, English adopted "are", the third person plural form of the verb "to be", as well as the corresponding personal pronoun form "they" from contemporary Old Norse.


title: Danish language

text: Danish is largely mutually intelligible with Norwegian and Swedish. Proficient speakers of any of the three languages can often understand the others fairly well, though studies have shown that the mutual intelligibility is asymmetric: speakers of Norwegian generally understand both Danish and Swedish far better than Swedes or Danes understand each other. Both Swedes and Danes also understand Norwegian better than they understand each other's languages. The reason Norwegian occupies a middle position in terms of intelligibility is because of its shared border with Sweden resulting in a similarity in pronunciation, combined with the long tradition of having Danish as a written language which has led to similarities in vocabulary. Among younger Danes, Copenhageners are worse at understanding Swedish than Danes from the provinces. In general, younger Danes are not as good at understanding the neighboring languages as are Norwegian and Swedish youths.


title: Danish language

text: The Danish philologist Johannes Brøndum-Nielsen divided the history of Danish into a period from 800 AD to 1525 to be "Old Danish", which he subdivided into "Runic Danish" (800-1100), Early Middle Danish (1100–1350) and Late Middle Danish (1350–1525).


title: Danish language

text: By the eighth century, the common Germanic language of Scandinavia, Proto-Norse, had undergone some changes and evolved into Old Norse.


title: Danish language

text: This language was generally called the "Danish tongue" (), or "Norse language" (). Norse was written in the runic alphabet, first with the elder futhark and from the 9th century with the younger futhark.


title: Danish language

text: From the seventh century, the common Norse language began to undergo changes that did not spread to all of Scandinavia, resulting in the appearance of two dialect areas, Old West Norse (Norway and Iceland) and Old East Norse (Denmark and Sweden). Most of the changes separating East Norse from West Norse started as innovations in Denmark, that spread through Scania into Sweden and by maritime contact to southern Norway. A change that separated Old East Norse (Runic Swedish/Danish) from Old West Norse was the change of the diphthong "æi" (Old West Norse "ei") to the monophthong "e", as in to . This is reflected in runic inscriptions where the older read and the later . Also, a change of "au" as in into "ø" as in occurred. This change is shown in runic inscriptions as a change from into . Moreover, the (Old West Norse ) diphthong changed into , as well, as in the Old Norse word for "island". This monophthongization started in Jutland and spread eastward, having spread throughout Denmark and most of Sweden by 1100.


title: Danish language

text: Through Danish conquest, Old East Norse was once widely spoken in the northeast counties of England. Many words derived from Norse, such as "gate" () for street, still survive in Yorkshire, the East Midlands and East Anglia, and parts of eastern England colonized by Danish Vikings. The city of York was once the Viking settlement of Jorvik. Several other English words derive from Old East Norse, for example "knife" (), "husband" (), and "egg" (). The suffix "-by" for 'town' is common in place names in Yorkshire and the east Midlands, for example Selby, Whitby, Derby, and Grimsby. The word "dale" meaning valley is common in Yorkshire and Derbyshire placenames.


title: Danish language

text: In the medieval period, Danish emerged as a separate language from Swedish. The main written language was Latin, and the few Danish-language texts preserved from this period are written in the Latin alphabet, although the runic alphabet seems to have lingered in popular usage in some areas. The main text types written in this period are laws, which were formulated in the vernacular language to be accessible also to those who were not Latinate. The Jutlandic Law and Scanian Law were written in vernacular Danish in the early 13th century. Beginning in 1350, Danish began to be used as a language of administration, and new types of literature began to be written in the language, such as royal letters and testaments. The orthography in this period was not standardized nor was the spoken language, and the regional laws demonstrate the dialectal differences between the regions in which they were written.


title: Danish language

text: Throughout this period, Danish was in contact with Low German, and many Low German loan words were introduced in this period. With the Protestant Reformation in 1536, Danish also became the language of religion, which sparked a new interest in using Danish as a literary language. Also in this period, Danish began to take on the linguistic traits that differentiate it from Swedish and Norwegian, such as the , the voicing of many stop consonants, and the weakening of many final vowels to /e/.


title: Danish language

text: The first printed book in Danish dates from 1495, the ("Rhyming Chronicle"), a history book told in rhymed verses. The first complete translation of the Bible in Danish, the Bible of Christian II translated by Christiern Pedersen, was published in 1550. Pedersen's orthographic choices set the "de facto" standard for subsequent writing in Danish.


title: Danish language

text: Following the first Bible translation, the development of Danish as a written language, as a language of religion, administration, and public discourse accelerated. In the second half of the 17th century, grammarians elaborated grammars of Danish, first among them Rasmus Bartholin's 1657 Latin grammar ; then Laurids Olufsen Kock's 1660 grammar of the Zealand dialect ; and in 1685 the first Danish grammar written in Danish, ("The Art of the Danish Language") by Peder Syv. Major authors from this period are Thomas Kingo, poet and psalmist, and Leonora Christina Ulfeldt, whose novel ("Remembered Woes") is considered a literary masterpiece by scholars. Orthography was still not standardized and the principles for doing so were vigorously discussed among Danish philologists. The grammar of Jens Pedersen Høysgaard was the first to give a detailed analysis of Danish phonology and prosody, including a description of the . In this period, scholars were also discussing whether it was best to "write as one speaks" or to "speak as one writes", including whether archaic grammatical forms that had fallen out of use in the vernacular, such as the plural form of verbs, should be conserved in writing (i.e. "he is" vs. "they are").


title: Danish language

text: The East Danish provinces were lost to Sweden after the Second Treaty of Brömsebro (1645) after which they were gradually Swedified; just as Norway was politically severed from Denmark, beginning also a gradual end of Danish influence on Norwegian (influence through the shared written standard language remained). With the introduction of absolutism in 1660, the Danish state was further integrated, and the language of the Danish chancellery, a Zealandic variety with German and French influence, became the "de facto" official standard language, especially in writing—this was the original so-called ("Danish of the Realm"). Also, beginning in the mid-18th century, the , the uvular R sound (), began spreading through Denmark, likely through influence from Parisian French and German. It affected all of the areas where Danish had been influential, including all of Denmark, Southern Sweden, and coastal southern Norway.


title: Danish language

text: In the 18th century, Danish philology was advanced by Rasmus Rask, who pioneered the disciplines of comparative and historical linguistics, and wrote the first English-language grammar of Danish. Literary Danish continued to develop with the works of Ludvig Holberg, whose plays and historical and scientific works laid the foundation for the Danish literary canon. With the Danish colonization of Greenland by Hans Egede, Danish became the administrative and religious language there, while Iceland and the Faroe Islands had the status of Danish colonies with Danish as an official language until the mid-20th century.


title: Danish language

text: Following the loss of Schleswig to Germany, a sharp influx of German speakers moved into the area, eventually outnumbering the Danish speakers. The political loss of territory sparked a period of intense nationalism in Denmark, coinciding with the so-called "Golden Age" of Danish culture. Authors such as N.F.S. Grundtvig emphasized the role of language in creating national belonging. Some of the most cherished Danish-language authors of this period are existential philosopher Søren Kierkegaard and prolific fairy tale author Hans Christian Andersen. The influence of popular literary role models, together with increased requirements of education did much to strengthen the Danish language, and also started a period of homogenization, whereby the Copenhagen standard language gradually displaced the regional vernacular languages. Throughout the 19th century, Danes emigrated, establishing small expatriate communities in the Americas, particularly in the US, Canada, and Argentina, where memory and some use of Danish remains today.


title: Danish language

text: After the Schleswig referendum in 1920, a number of Danes remained as a minority within German territories.


title: Danish language

text: After the occupation of Denmark by Germany in World War II, the 1948 orthography reform dropped the German-influenced rule of capitalizing nouns, and introduced the letter Å/å. Three 20th-century Danish authors have become Nobel Prize laureates in Literature: Karl Gjellerup and Henrik Pontoppidan (joint recipients in 1917) and Johannes V. Jensen (awarded 1944).


title: Danish language

text: With the exclusive use of , the High Copenhagen Standard, in national broadcasting, the traditional dialects came under increased pressure. In the 20th century, they have all but disappeared, and the standard language has extended throughout the country. Minor regional pronunciation variation of the standard language, sometimes called ("regional languages") remain, and are in some cases vital. Today, the major varieties of Standard Danish are High Copenhagen Standard, associated with elderly, well to-do, and well educated people of the capital, and low Copenhagen speech traditionally associated with the working class, but today adopted as the prestige variety of the younger generations. Also, in the 21st century, the influence of immigration has had linguistic consequences, such as the emergence of a so-called multiethnolect in the urban areas, an immigrant Danish variety (also known as ), combining elements of different immigrant languages such as Arabic, Turkish, and Kurdish, as well as English and Danish.


title: Danish language

text: Within the Danish Realm, Danish is the national language of Denmark and one of two official languages of the Faroe Islands (alongside Faroese). Until 2009, it had also been one of two official languages of Greenland (alongside Greenlandic). Danish is widely spoken in Greenland now as "lingua franca", and an unknown portion of the native Greenlandic population has Danish as their first language; a large percentage of the native Greenlandic population speaks Danish as a second language since its introduction into the education system as a compulsory language in 1928. Danish was an official language in Iceland until 1944, but is today still widely used and is a mandatory subject in school taught as a second foreign language after English. Iceland was a territory ruled by Denmark–Norway, one of whose official languages was Danish. About 10% of the population of Greenland speak Danish as their first language owing to immigration.


title: Danish language

text: No law stipulates an official language for Denmark, making Danish the "de facto" language only. The Code of Civil Procedure does, however, lay down Danish as the language of the courts. Since 1997, public authorities have been obliged to observe the official spelling by way of the Orthography Law. In the 21st century, discussions have been held regarding creating a language law that would make Danish the official language of Denmark.


title: Danish language

text: In addition, a noticeable community of Danish speakers is in Southern Schleswig, the portion of Germany bordering Denmark, where it is an officially recognized regional language, just as German is north of the border. Furthermore, Danish is one of the official languages of the European Union and one of the working languages of the Nordic Council. Under the Nordic Language Convention, Danish-speaking citizens of the Nordic countries have the opportunity to use their native language when interacting with official bodies in other Nordic countries without being liable for any interpretation or translation costs.


title: Danish language

text: The more widespread of the two varieties of written Norwegian, , is very close to Danish, because standard Danish was used as the "de facto" administrative language until 1814 and one of the official languages of Denmark–Norway. is based on Danish, unlike the other variety of Norwegian, , which is based on the Norwegian dialects, with Old Norwegian as an important reference point.


title: Danish language

text: There are also Danish emigrant communities in other places of the world who still use the language in some form. In the Americas, Danish-speaking communities can be found in USA, Canada and in Argentine and Brazil.


title: Danish language

text: Standard Danish () is the language based on dialects spoken in and around the capital, Copenhagen. Unlike Swedish and Norwegian, Danish does not have more than one regional speech norm. More than 25% of all Danish speakers live in the metropolitan area of the capital, and most government agencies, institutions, and major businesses keep their main offices in Copenhagen, which has resulted in a very homogeneous national speech norm.


title: Danish language

text: Danish dialects can be divided into the traditional dialects, which differ from modern Standard Danish in both phonology and grammar, and the Danish accents or regional languages, which are local varieties of the Standard language distinguished mostly by pronunciation and local vocabulary colored by traditional dialects. Traditional dialects are now mostly extinct in Denmark, with only the oldest generations still speaking them.


title: Danish language

text: Jutlandic is further divided into Southern Jutlandic and Northern Jutlandic, with Northern Jutlandic subdivided into North Jutlandic and West Jutlandic. Insular Danish is divided into Zealand, Funen, Møn, and Lolland-Falster dialect areas―each with addition internal variation. The term "Eastern Danish" is occasionally used for Bornholmian, but including the dialects of Scania (particularly in a historical context)―Jutlandic dialect, Insular Danish, and Bornholmian. Bornholmian is the only Eastern Danish dialect spoken in Denmark, since the other Eastern Danish dialects were spoken in areas ceded to Sweden and subsequently swedified.


title: Danish language

text: Traditional dialects differ in phonology, grammar, and vocabulary from standard Danish. Phonologically, one of the most diagnostic differences is the presence or absence of . Four main regional variants for the realization of stød are known: In Southeastern Jutlandic, Southernmost Funen, Southern Langeland, and Ærø, no is used, but instead a pitch accent. South of a line ( "The Stød border") going through central South Jutland, crossing Southern Funen and central Langeland and north of Lolland-Falster, Møn, Southern Zealand and Bornholm neither nor pitch accent exists. Most of Jutland and on Zealand use , and in Zealandic traditional dialects and regional language, occurs more often than in the standard language. In Zealand, the line divides Southern Zealand (without ), an area which used to be directly under the Crown, from the rest of the Island that used to be the property of various noble estates.


title: Danish language

text: Grammatically, a dialectally significant feature is the number of grammatical genders. Standard Danish has two genders and the definite form of nouns is formed by the use of suffixes, while Western Jutlandic has only one gender and the definite form of nouns uses an article before the noun itself, in the same fashion as West Germanic languages. The Bornholmian dialect has maintained to this day many archaic features, such as a distinction between three grammatical genders. Insular Danish traditional dialects also conserved three grammatical genders. By 1900, Zealand insular dialects had been reduced to two genders under influence from the standard language, but other Insular varieties, such as Funen dialect had not. Besides using three genders, the old Insular or Funen dialect, could also use personal pronouns (like he and she) in certain cases, particularly referring to animals. A classic example in traditional Funen dialect is the sentence: "Katti, han får unger", literally "The cat, he is having kittens", because cat is a masculine noun, thus is referred to as (he), even if it is female cat.


title: Danish language

text: The sound system of Danish is unusual, particularly in its large vowel inventory and in the unusual prosody. In informal or rapid speech, the language is prone to considerable reduction of unstressed syllables, creating many vowel-less syllables with syllabic consonants, as well as reduction of final consonants. Furthermore, the language's prosody does not include many clues about the sentence structure, unlike many other languages, making it relatively more difficult to perceive the different sounds of the speech flow. These factors taken together make Danish pronunciation difficult to master for learners, and Danish children are indicated to take slightly longer in learning to segment speech in early childhood.


title: Danish language

text: Although somewhat depending on analysis, most modern variants of Danish distinguish 12 long vowels, 13 short vowels, and two "schwa" vowels, and that only occur in unstressed syllables. This gives a total of 27 different vowel phonemes – a very large number among the world's languages. At least 19 different diphthongs also occur, all with a short first vowel and the second segment being either , , or . The table below shows the approximate distribution of the vowels as given by in Modern Standard Danish, with the symbols used in . Questions of analysis may give a slightly different inventory, for example based on whether r-colored vowels are considered distinct phonemes. gives 25 "full vowels", not counting the two unstressed "schwa" vowels.


title: Danish language

text: The consonant inventory is comparatively simple. distinguishes 16 non-syllabic consonant phonemes in Danish.


title: Danish language

text: Many of these phonemes have quite different allophones in onset and coda where intervocalic consonants followed by a full vowel are treated as in onset, otherwise as in coda. Phonetically there is no voicing distinction among the stops, rather the distinction is one of aspiration and fortis vs. lenis. are aspirated in onset realized as , but not in coda. The pronunciation of "t", , is in between a simple aspirated and a fully affricated (as has happened in German with the second High German consonant shift from "t" to "z"). There is dialectal variation, and some Jutlandic dialects may be less affricated than other varieties, with Northern and Western Jutlandic traditional dialects having an almost unaspirated "dry t".


title: Danish language

text: The sound is found for example in the word /sjovˀ/ "fun" pronounced and "marijuana" pronounced . Some analyses have posited it as a phoneme, but since it occurs only after or and doesn't occur after these phonemes, it can be analyzed as an allophone of , which is devoiced after voiceless alveolar frication. This makes it unnecessary to postulate a -phoneme in Danish. Jutlandic dialects often lack the sound and pronounce the "sj" cluster as or .


title: Danish language

text: In onset is realized as a uvu-pharyngeal approximant, , but in coda it is either realized as a non-syllabic low central vowel, or simply coalesces with the preceding vowel. The phenomenon is comparable to the "r" in German or in non-rhotic pronunciations of English. The Danish realization of as guttural – the so-called "skarre-r" – distinguishes the language from those varieties of Norwegian and Swedish that use trilled . Only very few, middle-aged or elderly, speakers of Jutlandic retain a frontal which is then usually realised as a flapped or approximant .


title: Danish language

text: Danish is characterized by a prosodic feature called (lit. "thrust"). This is a form of laryngealization or creaky voice. Some sources have described it as a glottal stop, but this is a very infrequent realization, and today phoneticians consider it a phonation type or a prosodic phenomenon. It has phonemic status, since it serves as the sole distinguishing feature of words with different meanings in minimal pairs such as ("peasants") with stød, versus ("beans") without stød. The distribution of stød in the vocabulary is related to the distribution of the common Scandinavian pitch accents found in most dialects of Norwegian and Swedish.


title: Danish language

text: Danish intonation has been described by Nina Grønnum as a hierarchical model where components such as the stress group, sentence type and prosodic phrase are combined, and where the stress group is the main intonation unit and in Copenhagen Standard Danish mainly has a certain pitch pattern that reaches its lowest peak on the stressed syllable followed by its highest peak on the following unstressed syllable, after which it declines gradually until the next stress group.


title: Danish language

text: There are also various studies on specific interactional phenomena in Danish focusing on pitch, such as Mikkelsen & Kragelund on ways to mark the end of a story and Steensig (2001) on turn-taking.


title: Danish language

text: Similarly to the case of English, modern Danish grammar is the result of a gradual change from a typical Indo-European dependent-marking pattern with a rich inflectional morphology and relatively free word order, to a mostly analytic pattern with little inflection, a fairly fixed SVO word order and a complex syntax. Some traits typical of Germanic languages persist in Danish, such as the distinction between irregularly inflected strong stems inflected through ablaut or umlaut (i.e. changing the vowel of the stem, as in the pairs ("takes/took") and ("foot/feet")) and weak stems inflected through affixation (such as "love/loved", "car/cars"). Vestiges of the Germanic case and gender system are found in the pronoun system. Typical for an Indo-European language, Danish follows accusative morphosyntactic alignment. Danish distinguishes at least seven major word classes: verbs, nouns, numerals, adjectives, adverbs, articles, prepositions, conjunctions, interjections and onomatopoeia.


title: Danish language

text: Nouns are inflected for number (singular vs. plural) and definiteness, and are classified into two grammatical genders. Only pronouns inflect for case, and the previous genitive case has become an enclitic. A distinctive feature of the Nordic languages, including Danish, is that the definite articles, which also mark noun gender, have developed into suffixes. Typical of Germanic languages plurals are either irregular or "strong" stems inflected through umlaut (i.e. changing the vowel of the stem) (e.g. "foot/feet", "man/men") or "weak" stems inflected through affixation (e.g. "ship/ships", "woman/women").


title: Danish language

text: Standard Danish has two nominal genders: "common" and "neuter"; the common gender arose as the historical feminine and masculine genders conflated into a single category. Some traditional dialects retain a three-way gender distinction, between masculine, feminine and neuter, and some dialects of Jutland have a masculine/feminine contrast. While the majority of Danish nouns (ca. 75%) have the "common" gender, and "neuter" is often used for inanimate objects, the genders of nouns are not generally predictable and must in most cases be memorized. The gender of a noun determines the form of adjectives that modify it, and the form of the definite suffixes.


title: Danish language

text: Definiteness is marked by two mutually exclusive articles: either a postposed enclitic or a preposed article which is the obligatory way to mark definiteness when nouns are modified by an adjective. Neuter nouns take the clitic , and common gender nouns take . Indefinite nouns take the articles (common gender) or (neuter). Hence, the common gender noun "a man" (indefinite) has the definite form "the man", whereas the neuter noun "a house" (indefinite) has the definite form, "the house" (definite) .


title: Danish language

text: The plural definite ending is (e.g. "boys > "the boys" and "girls" > "the girls"), and nouns ending in lose the last before adding the -ne suffix (e.g. "Danes" > "the Danes"). When the noun is modified by an adjective, the definiteness is marked by the definite article (common) or (neuter) and the definite/plural form of the adjective: "the big man", "the big house".


title: Danish language

text: There are three different types of regular plurals: Class 1 forms the plural with the suffix (indefinite) and (definite), Class 2 with the suffix (indefinite) and (definite), and Class 3 takes no suffix for the plural indefinite form and for the plural definite.


title: Danish language

text: Most irregular nouns have an ablaut plural (i.e. with a change in the stem vowel), or combine ablaut stem-change with the suffix, and some have unique plural forms. Unique forms may be inherited (e.g. the plural of "eye", which is the old dual form ), or for loan words they may be borrowed from the donor language (e.g. the word "account" which is borrowed from Italian and uses the Italian masculine plural form "accounts").


title: Danish language

text: Possessive phrases are formed with the enclitic -"s", for example "my father's house" where the noun carries the possessive enclitic. This is however not an example of genitive case marking, because in the case of longer noun phrases the -s attaches to the last word in the phrase, which need not be the head-noun or even a noun at all. For example, the phrases "the king of Denmark's candy factory", where the factory is owned by the king of Denmark, or "that is the daughter of the girl that Uffe lives with", where the enclitic attaches to a stranded preposition.


title: Danish language

text: As does English, the Danish pronominal system retains a distinction between nominative and oblique case. The nominative form of pronouns is used when pronouns occur as grammatical subject of a sentence (and only when non-coordinated and without a following modifier), and oblique forms are used for all non-subject functions including direct and indirect object, predicative, comparative and other types of constructions. The third person singular pronouns also distinguish between animate masculine ( "he"), animate feminine ( "she") forms, as well as inanimate neuter ( "it") and inanimate common gender ( "it").


title: Danish language

text: Possessive pronouns have independent and adjectival uses, but the same form. The form is used both adjectivally preceding a possessed noun ( "it is my horse"), and independently in place of the possessed noun ( "it is mine"). In the third person singular, is used when the possessor is also the subject of the sentence, whereas ("his"), (her) and "its" is used when the possessor is different from the grammatical subject.


title: Danish language

text: Like all Germanic languages, Danish forms compound nouns. These are represented in Danish orthography as one word, as in , "the female national handball team". In some cases, nouns are joined with "s" as a linking element, originally possessive in function, like (from , "country", and , "man", meaning "compatriot"), but (from same roots, meaning "farmer"). Some words are joined with the linking element instead, like (from and , meaning "guest book"). There are also irregular linking elements.


title: Danish language

text: Danish verbs are morphologically simple, marking very few grammatical categories. They do not mark person or number of subject, although the marking of plural subjects was still used in writing as late as the 19th century. Verbs have a past, non-past and infinitive form, past and present participle forms, and a passive, and an imperative.


title: Danish language

text: Verbs can be divided into two main classes, the strong/irregular verbs and the regular/weak verbs. The regular verbs are also divided into two classes, those that take the past suffix and those that take the suffix .


title: Danish language

text: The infinitive always ends in a vowel, usually -e (pronounced ), infinitive forms are preceded by the article (pronounced ) in some syntactic functions. The non-past or present tense takes the suffix , except for a few strong verbs that have irregular non-past forms. The past form does not necessarily mark past tense, but also counterfactuality or conditionality, and the non-past has many uses besides present tense time reference.


title: Danish language

text: The present participle ends in (e.g. "running"), and the past participle ends in (e.g. "run"), (e.g. købt "bought"). The Perfect is constructed with ("to have") and participial forms, like in English. But some transitive verbs form the perfect using ("to be") instead, and some may use both with a difference in meaning.


title: Danish language

text: The passive form takes the suffix -s: ("the newspaper is read every day"). Another passive construction uses the auxiliary verb "to become": .


title: Danish language

text: The imperative form is the infinitive without the final schwa-vowel, with potentially being applied depending on syllable structure.:


title: Danish language

text: The numerals are formed on the basis of a vigesimal system with various rules. In the word forms of numbers above 20, the units are stated before the tens, so 21 is rendered , literally "one and twenty".


title: Danish language

text: The numeral means (literally "half second", implying "one plus half of the second one"). The numerals (), () and () are obsolete, but still implicitly used in the vigesimal system described below. Similarly, the temporal designation ()" halv tre", literally "half three (o'clock)", is half past two.


title: Danish language

text: One peculiar feature of the Danish language is that the numerals 50, 60, 70, 80 and 90 are (as are the French numerals from 80 through 99) based on a vigesimal system, meaning that the score (20) is used as a base unit in counting. (short for , "three times twenty") means 60, while 50 is (short for , "half third times twenty", implying two score plus half of the third score). The ending meaning "times twenty" is no longer included in cardinal numbers, but may still be used in ordinal numbers. Thus, in modern Danish fifty-two is usually rendered as from the now obsolete , whereas 52nd is either or . Twenty is (derived from Old Danish , a haplology of , meaning 'two tens'), while thirty is (Old Danish , "three tens"), and forty is (Old Danish , "four tens", still used today as the archaism ). Thus, the suffix should be understood as a plural of (10), though to modern Danes means 20, making it hard to explain why is 40 (four tens) and not 80 (four twenties).


title: Danish language

text: For large numbers (one billion or larger), Danish uses the long scale, so that the short-scale billion (1,000,000,000) is called , and the short-scale trillion (1,000,000,000,000) is .


title: Danish language

text: Danish basic constituent order in simple sentences with both a subject and an object is Subject–Verb–Object. However, Danish is also a V2 language, which means that the verb must always be the second constituent of the sentence. Following the Danish grammarian Paul Diderichsen Danish grammar tends to be analyzed as consisting of slots or fields, and in which certain types of sentence material can be moved to the pre-verbal (or "foundation") field to achieve different pragmatic effects. Usually the sentence material occupying the preverbal slot has to be pragmatically marked, usually either new information or topics. There is no rule that subjects must occur in the preverbal slot, but since subject and topic often coincide, they often do. Therefore, whenever any sentence material that is not the subject occurs in the preverbal position the subject is demoted to postverbal position and the sentence order becomes VSO.


title: Danish language

text: When there is no pragmatically marked constituents in the sentence to take the preverbal slot (for example when all the information is new), the slot has to take a dummy subject "der".


title: Danish language

text: describes the basic order of sentence constituents in main clauses as comprising the following 8 positions:


title: Danish language

text: Position 0 is not part of the sentence and can only contain sentential connectors (such as conjunctions or interjections). Position 1 can contain any sentence constituent. Position 2 can only contain the finite verb. Position 3 is the subject position, unless the subject is fronted to occur in position 1. Position 4 can only contain light adverbs and the negation. Position 5 is for non-finite verbs, such as auxiliaries. Position 6 is the position of direct and indirect objects, and position 7 is for heavy adverbial constituents.


title: Danish language

text: Questions with wh-words are formed differently from yes/no questions. In wh-questions the question word occupies the preverbal field, regardless of whether its grammatical role is subject or object or adverbial. In yes/no questions the preverbal field is empty, so that the sentence begins with the verb.


title: Danish language

text: In subordinate clauses, the word order differs from that of main clauses. In the subordinate clause structure the verb is preceded by the subject and any light adverbial material (e.g. negation). Complement clauses begin with the particle in the "connector field".


title: Danish language

text: The oldest preserved examples of written Danish (from the Iron and Viking Ages) are in the Runic alphabet. The introduction of Christianity also brought the Latin script to Denmark, and at the end of the High Middle Ages Runes had more or less been replaced by Latin letters.


title: Danish language

text: Danish orthography is conservative, using most of the conventions established in the 16th century. The spoken language however has changed a lot since then, creating a gap between the spoken and written languages. Since 1955, Dansk Sprognævn has been the official language council in Denmark.


title: Danish language

text: The modern Danish alphabet is similar to the English one, with three additional letters: , , and , which come at the end of the alphabet, in that order. The letters c, q, w, x and z are only used in loan words. A spelling reform in 1948 introduced the letter , already in use in Norwegian and Swedish, into the Danish alphabet to replace the digraph . The old usage continues to occur in some personal and geographical names; for example, the name of the city of is spelled with Aa following a decision by the City Council in the 1970s and decided to go back to Aa in 2011. When representing the sound, is treated like in alphabetical sorting, though it appears to be two letters. When the letters are not available due to technical limitations, they are often replaced by "ae" (Æ, æ), "oe" or "o" (Ø, ø), and "aa" (Å, å), respectively.


title: Danish language

text: The same spelling reform changed the spelling of a few common words, such as the past tense (would), (could) and (should), to their current forms of , and (making them identical to the infinitives in writing, as they are in speech). Modern Danish and Norwegian use the same alphabet, though spelling differs slightly, particularly with the phonetic spelling of loanwords; for example the spelling of and in Danish remains identical to other languages, whereas in Norwegian, they are transliterated as and .


title: Danish language

text: Danish is a well-studied language, and multiple universities in Denmark have departments devoted to Danish or linguistics with active research projects on the language, such as the Linguistic Circle of Copenhagen, and there are many dictionaries and technological resources on the language. The language council Dansk Sprognævn also publishes research on the language both nationally and internationally. There are also research centers focusing specifically on the dialects: The Peter Skautrup center at Aarhus University describes the dialects and varieties of the Jutlandic peninsula and is working on a dictionary of Jutlandic, while the Center for Dialect Research at University of Copenhagen works on the Insular Danish varieties. The Puzzle of Danish - a research project at Aarhus University, funded by the Danish Research Council - investigates whether the challenging sound structure of Danish has an impact on how native speakers process and produce Danish language. Their findings suggest that native speaker of Danish tend to use contextual cues to process Danish sounds and sentences, more than native speakers of other comparable languages, and that they produce more lexically, syntactically, and semantically redundant language in conversation.


title: Danish language

text: Multiple corpora of Danish language data are available. The Danish Gigaword project provides a curated corpus of a billion words. is a corpus of written texts in Danish. There are also a number of conversations available in , the Danish part of TalkBank.


title: Danish language

text: Academic descriptions of the language are published both in Danish and English. The most complete grammar is the (Grammar over the Danish Language) by Erik Hansen & Lars Heltoft, and it is written in Danish and contains over 1800 pages. Multiple phonologies have been written, most importantly by Basbøll and Grønnum, based on work that used to take place at the former Institute of Phonetics at the University of Copenhagen.


title: Kiwi Farms

text: Kiwi Farms, formerly known as CWCki Forums ( ), is an Internet forum that facilitates the discussion and harassment of online figures and communities. Their targets are often subject to organized group trolling and stalking, as well as doxxing and real-life harassment. These actions have tied Kiwi Farms to the suicides of three people targeted by members of the forum.


title: Kiwi Farms

text: Kiwi Farms' connection to several controversies and harassment campaigns has caused the forum to be blocked by Internet service providers or refused service by companies. After the Christchurch mosque shootings, some Internet service providers in New Zealand blocked the site. In 2021, after the suicide of Near, a non-binary software developer who was subject to targeted and organised group harassment by members of the site, DreamHost stopped providing their domain registration services to Kiwi Farms. In September 2022, Kiwi Farms was blocked by Cloudflare due to "an imminent and emergency threat to human life". Following intermittent availability, "The Daily Dot" confirmed VanwaTech was providing content delivery network services to the site, which brought it back online.


title: Kiwi Farms

text: In September 2022, Kiwi Farms suffered a data breach; the site operator told users to assume that IP addresses, email addresses, and passwords had been leaked.


title: Kiwi Farms

text: Kiwi Farms was founded in 2013 by Joshua Conner Moon (known as "Null" on the website), a former 8chan administrator. It was originally launched as a forum website to troll and harass a webcomic artist who was first noticed in 2007 on a 4chan video game board. Eventually, an Encyclopedia Dramatica page was created about the artist. A dedicated wiki, titled "CWCki" based on the artist's initials, was created by people who felt that the Encyclopedia Dramatica entry was not detailed or accurate enough. Kiwi Farms was originally called "CWCki Forums" before "Kiwi Farms" was coined in 2014. It now hosts threads targeting many individuals, including minorities, women, LGBT people, neurodivergent people, people considered by Kiwi Farms users to be mentally ill or sexually deviant, feminists, journalists, Internet celebrities, video game or comics hobbyists, and far-right personalities.


title: Kiwi Farms

text: , the site had 16,000 daily logins, according to the site's administrators. Katelyn Burns, who had been targeted by the site, described its audience as "terminally online people from a wide range of political ideologies, from far right and anti-trans feminist types to edgy lefties obsessed with consuming internet drama", while noting that "of particular interest to many of the site’s users have been trans people, who they have labeled 'troons', a derogatory portmanteau of 'tranny' and 'goon'".


title: Kiwi Farms

text: The targets of Kiwi Farms threads are often subject to organized group trolling, harassment, and stalking, including real-life harassment by users. The site targets transgender people, people with disabilities, those its users believe to be non-neurotypical, and members of the far-right. Tactics include publishing their victims' personal information ("doxxing"), trying to get them fired from their jobs, reporting crimes at their addresses in an attempt to have police dispatched to their homes ("swatting"), and harassing their family members and friends. Some of Kiwi Farms' harassment campaigns have continued for months or years, and some aim to drive the targets to suicide. Both the site's owner Moon and the userbase of Kiwi Farms have been described as antisemitic, with Kiwi Farms users targeting a transgender Jewish convert with antisemitic abuse.


title: Kiwi Farms

text: Clara Sorrenti, a transgender activist and Twitch streamer under the name "Keffals", was doxxed on Kiwi Farms in a thread dedicated to discussing her. Users on the site posted personal information about her (e.g. addresses, phone numbers) as well as that of her friends and family. Users also leaked sexually explicit photos of her and made death threats. She was later swatted, arrested, and detained for over ten hours in August 2022 when someone stole her identity and sent fake emails to local politicians threatening mass violence. She was later cleared of any wrongdoing, and police acknowledged the incident as a swatting attempt. Users also posted the address of an unrelated man who lives in the same city and shares her last name, and police were also sent to his residence. After the swatting incident, Sorrenti said she moved out of her home and into a hotel for her safety. After she posted a photograph of her cat on the hotel bed, Kiwi Farms users identified the hotel from the bedsheets in the photograph, and sent multiple pizza orders to the hotel under her deadname. "Obviously, the pizza itself isn't the problem. It's the threat they send by telling me they know where I live and are willing to act on it in the real world," she said in a video after the incident. Sorrenti later fled the country after her location was identified again, reportedly by someone who hacked her Uber account. The incidents are being investigated as criminal harassment, and Sorrenti stated she intended to pursue legal action. Sorrenti also promoted a campaign to pressure Cloudflare into terminating its services to the website.


title: Kiwi Farms

text: On August 24, 2022, U.S. Representative Marjorie Taylor Greene stated in an interview with NewsMax that she was swatted twice by an individual claiming to be Kiwifarms moderator "AltisticRight". She demanded that the website be shut down, saying "There should be no business or any kind of service where you can target your enemy. That's absolutely absurd and this is the type of lawlessness that Democrats want all over the country". Cloudflare suspended a service to the website that allowed them to customize error messages in response.


title: Kiwi Farms

text: Kiwi Farms used services from Cloudflare, an American hosting and web security services provider. The services include DDoS protection, and distribution through Cloudflare's content delivery network. Following Kiwi Farms' harassment campaign against Sorrenti, in August 2022 a campaign was started to try to convince Cloudflare to stop providing services to the site. NBC News claims this was done in order to enable "debilitating virtual attacks" against Kiwi Farms. While Cloudflare initially defended their decision to keep working with Kiwi Farms, on September 3, 2022, Cloudflare officially blocked the site from using its services. People attempting to visit the site saw an error message explaining that the decision had been made due to "an imminent and emergency threat to human life". Cloudflare CEO Matthew Prince stated that the company acted because "the rhetoric on the Kiwifarms site and specific, targeted threats [had] escalated over the last 48 hours" at the time of the decision. Other middleware providers, such as hCaptcha, followed suit in halting support for Kiwi Farms.


title: Kiwi Farms

text: Though the site was briefly offline due to Cloudflare's decision, it was back online "intermittently" on September 4, 2022, with the Russian-based service provider DDoS-Guard and a Russian domain that had been registered on July 12, 2021. Former FBI Assistant Director for Counterintelligence Frank Figliuzzi warned that by switching to Russian servers, Kiwi Farms "could easily become an increased threat of domestic terror". DDoS-Guard stopped providing services to Kiwi Farms on September 5, 2022, also rendering the site's Russian domain inaccessible. The Internet Archive excluded Kiwi Farms from being archived at the Wayback Machine during this time.


title: Kiwi Farms

text: Moon has since claimed that the takedown of Kiwi Farms was "an organized attack", and that there is "a coalition of criminals trying to frame the forum for their behavior" which provides "opportunities for professional victims to amplify their message". Moon also commented that he did not see a realistic scenario for Kiwi Farms to stay online. On September 6, 2022, "The Daily Dot" confirmed that VanwaTech was providing content delivery network services to the site, hence bringing it back online. Other websites running on VanwaTech infrastructure experienced availability problems as a result, including "The Daily Stormer" and 8chan.


title: Kiwi Farms

text: Harassment campaigns by Kiwi Farms users are known to have contributed to the suicides of three individuals. The Kiwi Farms community considers it a goal to drive its targets to suicide, and has celebrated such deaths with a counter on the website. They have used social media reporting systems to mass-report posts by harassment targets in which they have expressed suicidal thoughts or intentions, with the goal of reducing the possibility their targets receive help.


title: Kiwi Farms

text: In 2013, American video game developer Chloe Sagal became a Kiwi Farms target after "Eurogamer" reported Sagal's Indiegogo crowdfunding campaign had been flagged for "suspicious activity". Sagal had raised over $30,000 on the platform for metal poisoning treatment to remove shrapnel from a car accident, but "Eurogamer" reported that Sagal had actually intended to use the proceeds for sex reassignment surgery. Sagal later died via self-immolation on June 19, 2018, which several reports attributed to years of harassment from Kiwi Farms.


title: Kiwi Farms

text: Julie Terryberry, a Canadian woman, died by suicide in 2016 following sustained harassment from Kiwi Farms users. Following Terryberry's death, Joshua Moon posted a note on the forum claiming that Kiwi Farms and its users had no responsibility for suicide.


title: Kiwi Farms

text: In a Twitter thread posted on June 27, 2021, Near, a pseudonymous Japan-based software developer known for their work on the video game emulator higan, described long-term harassment from Kiwi Farms users. Near, who was non-binary, said that they had endured lifelong bullying but that the abuse had recently centralized around Kiwi Farms which had "made the harassment orders of magnitude worse". Near stated that they and their friends had been doxxed and goaded into suicide by members of the website, and that Near had been mocked for being autistic. On June 28, Hector Martin posted a link to a Google Doc which he said came from a mutual friend of his and Near's, which said that Near had died by suicide, and alleged that the harassment from Kiwi Farms amounted to murder. Martin subsequently reported on June 28 that he had spoken to police who confirmed that Near had died the previous day. "USA Today" reported on July 23, 2021, that it had confirmed with Near's former employer that they had died.


title: Kiwi Farms

text: In March 2019, Kiwi Farms republished both the livestream and the manifesto of Brenton Tarrant, the perpetrator of the 2019 Christchurch mosque shootings. Shortly after, website owner Joshua Moon publicly denied a request by New Zealand Police to voluntarily hand over all data on posts about the shooting, including the email and IP addresses of posters. Moon responded aggressively and mockingly, calling New Zealand a "shithole country", and stated that he did not "give a single solitary fuck what section 50 of your faggot law says about sharing your email". He deemed the request a censorship attempt and argued that New Zealand authorities "do not have the legal reach to imprison everyone who's posted [the video]". Kiwi Farms was one of several websites blocked by New Zealand Internet service providers after the attack. In New Zealand, those who were caught possessing or sharing images or videos of the attack faced charges that could result in 14-year prison sentences.


title: Kiwi Farms

text: The perpetrator of the 2017 Aztec High School shooting, William Atchison, was a commenter on Kiwi Farms under the alias “FuckYou”, as well as other websites including Encyclopedia Dramatica and the Blockland Forums. Two days before the shooting he posted an explicit sexual statement towards one of the perpetrators of the failed Halifax shooting plot, Lindsay Souvannarath, who herself had been an active member of Kiwi Farms before her arrest. After the name of the perpetrator was publicly released, Joshua Moon opened up two threads for discussing the shooting and collecting information on the shooter and his online accounts for the purpose of mocking him. The forum’s research was utilized and cited by counseling psychologist and author Peter F. Langman, an expert on school shootings, for his documentation on Atchison’s online activity.


title: Kiwi Farms

text: In 2017, Tumblr user and young adult fiction writer Rose Christo claimed that she had authored the Harry Potter fan fiction "My Immortal", which, Christo said, she had written in order to find her missing brother. She announced that Macmillan Publishers was publishing a memoir, "Under the Same Stars: The Search for My Brother and the True Story of My Immortal", about the fan fiction's creation as well as her childhood of abuse and experiences as a Native American in the New York foster care system. A forum thread concerning Christo and discussing her claims was created on Kiwi Farms. Christo's brother responded to the Kiwi Farms thread, saying that her story was nearly entirely false, including their Native American ancestry, their having gone to foster care, and her quest to locate her brother, which formed the center of the memoir. Christo then admitted that she had falsified documents supporting her story, but maintained that she had written "My Immortal". Macmillan Publishers canceled the publication of her memoir.


title: Semiotics

text: Semiotics (also called semiotic studies) is the systematic study of sign processes (semiosis) and meaning making. Semiosis is any activity, conduct, or process that involves signs, where a sign is defined as anything that communicates something, usually called a meaning, to the sign's interpreter. The meaning can be intentional such as a word uttered with a specific meaning, or unintentional, such as a symptom being a sign of a particular medical condition. Signs can also communicate feelings (which are usually not considered meanings) and may communicate internally (through thought itself) or through any of the senses: visual, auditory, tactile, olfactory, or gustatory (taste). Contemporary semiotics is a branch of science that studies meaning-making and various types of knowledge.


title: Semiotics

text: The semiotic tradition explores the study of signs and symbols as a significant part of communications. Unlike linguistics, semiotics also studies non-linguistic sign systems. Semiotics includes the study of signs and sign processes, indication, designation, likeness, analogy, allegory, metonymy, metaphor, symbolism, signification, and communication.


title: Semiotics

text: Semiotics is frequently seen as having important anthropological and sociological dimensions; for example the Italian semiotician and novelist Umberto Eco proposed that every cultural phenomenon may be studied as communication. Some semioticians focus on the logical dimensions of the science, however. They examine areas also belonging to the life sciences—such as how organisms make predictions about, and adapt to, their semiotic niche in the world (see semiosis). Fundamental semiotic theories take "signs" or sign systems as their object of study; applied semiotics analyzes cultures and cultural artifacts according to the ways they construct meaning through their being signs. The communication of information in living organisms is covered in biosemiotics (including zoosemiotics and phytosemiotics).


title: Semiotics

text: Semiotics is not to be confused with the Saussurean tradition called semiology, which is a subset of semiotics.


title: Semiotics

text: The importance of signs and signification has been recognized throughout much of the history of philosophy and psychology. The term derives (). For the Greeks, 'signs' occurred in the world of nature and 'symbols' in the world of culture. As such, Plato and Aristotle explored the relationship between signs and the world.


title: Semiotics

text: It would not be until Augustine of Hippo that the nature of the sign would be considered within a conventional system. Augustine introduced a thematic proposal for uniting the two under the notion of 'sign' ("signum") as transcending the nature-culture divide and identifying symbols as no more than a species (or sub-species) of "signum". A monograph study on this question would be done by Manetti (1987). These theories have had a lasting effect in Western philosophy, especially through scholastic philosophy.


title: Semiotics

text: The general study of signs that began in Latin with Augustine culminated with the 1632 "Tractatus de Signis" of John Poinsot and then began anew in late modernity with the attempt in 1867 by Charles Sanders Peirce to draw up a "new list of categories". More recently Umberto Eco, in his "Semiotics and the Philosophy of Language", has argued that semiotic theories are implicit in the work of most, perhaps all, major thinkers.