title: Merkava

text: Some Merkava tanks are fitted with full medical and ambulance abilities while retaining their armament (but carrying less ammunition than the standard tank, having both ammunition racks in the rear removed). The cabin area is converted for carrying injured personnel and includes two stretchers and life support medical station systems supplemented by a full medical team complement to operate under combat conditions with a Merkava battalion. The vehicle has a rear door to facilitate evacuation under fire, and can provide cover-fire/fire-support to infantry.


title: Merkava

text: The "tankbulance" is not an unarmed ambulance and consequently is not protected by the Geneva Convention's provisions regarding ambulances, but it is far less vulnerable to accidental or deliberate fire than an ambulance or armored personnel carrier.


title: Merkava

text: Namer (Hebrew: leopard, which is also an abbreviation of "Nagmash (APC) Merkava"), is an infantry fighting vehicle based on the Merkava Mark IV chassis. In service since 2008, the vehicle was initially called "Nemmera" (Hebrew: leopardess), but later renamed to "Namer".


title: Merkava

text: Namer is equipped with a Samson Remote Controlled Weapon Station (RCWS) armed with either a .50 M2 Browning Heavy Machinegun or a Mk 19 Automatic Grenade Launcher. It also has a 7.62 mm MAG machine gun, 60 mm mortar and smoke grenades. Like the Merkava Mark IV, it is optimized for high level of crew survival on the battlefield. The "Namer" has a three-man crew (commander, driver, and RCWS gunner) and may carry up to nine infantrymen and a stretcher. An ambulance variant can carry two casualties on stretchers and medical equipment.


title: Merkava

text: The Golani Brigade used two "Namer" IFVs during Operation Cast Lead. During Operation Protective Edge more than 20 vehicles were operated with great success and post operation analysis recommended procuring more of them.


title: Merkava

text: The Merkava armored recovery vehicle initially called "Namer" (Hebrew: leopard), but subsequently renamed "Nemmera" (Hebrew: leopardess) is an armored recovery vehicle based on a Merkava Mark III or IV chassis. It can tow disabled tanks and carries a complete Merkava back-up power pack that can be changed in the field in under 90 minutes.


title: Merkava

text: There are two versions of Nemmera: the heavier equipped with a 42 tonne-force-meter crane and a 35 tonne-force-meter winch, and the smaller equipped with a smaller crane.


title: Merkava

text: Two prototypes of "Sholef" ("Slammer", Hebrew slang for "Gunslinger") 155 mm self-propelled howitzer with an automatic loading system were built by Soltam in 1984–86. The 45-tonne vehicle had a long 155 mm gun barrel giving a range of 45+ km. Using GPS, inertial navigation, and an internal fire control computer, it was also capable of direct fire while on the move. It never entered production.


title: Merkava

text: The Slammer is a heavily armored artillery gun mounted on a modified Merkava Mk 1 chassis. Many of these vehicles are Merkava Mk 1 that were retired after the Merkava Mk 2 and Merkava Mk 3 came into service. The Slammer has a long 52-caliber gun barrel that allows +10% range. Reload speed may be decreased to 1 for one minute every 10 minutes through use of an automatic loader. Ammunition racks are large. The Slammer is ready for autonomous operation (without an FDC) if the target's location is known within 15 seconds of a halt, using GPS, inertial navigation, and an internal fire control computer.


title: Merkava

text: The Slammer 155 mm self-propelled howitzer is based on a modified Merkava MBT chassis fitted with a new welded steel turret, designed by Soltam Systems.


title: Merkava

text: Development commenced in the 1970s. The project was considered of high national priority and incorporated the newest technological developments. Instead the Israeli Defense Forces selected an upgraded version of American M109 howitzer.


title: Merkava

text: The Sholef's chassis, aside from a few minor modifications, is identical to that of the Merkava Mk.III. The glacis plate is unchanged, except for the addition of a support bracket for the gun turret, which is folded down when not in use. As such, the Sholef and Merkava series share a large percentage of common components. The front-left side of the chassis has a prominent exhaust louver, along with a much smaller port just in front of it; the exact function of this port is uncertain, though the soot seen around it in photos of the Sholef suggests it may be a new or additional exhaust port, or perhaps an outlet for a smoke generator.


title: Merkava

text: The Sholef can be ready to fire only 15 seconds after coming to a complete stop, and fire three projectiles in only 15 seconds. It is compatible with standard NATO 155 mm ammunition, and a total of 75 projectiles can be stowed in one Sholef, 60 of which are ready for combat.


title: Merkava

text: The Sholef's 155 mm/52 gun is an original design created by Soltam, though it bears a resemblance to South Africa's G5 howitzer. It has a fume extractor and muzzle brake, and is kept stationary by a travel lock while the vehicle is on the move. This gun has a maximum rate of fire of 9 rounds/min, and a range in excess of 40,000 m when firing an ERFB-BB round. Though loaded automatically, the gun may be cycled and fire manually if the need arises. While the gun is normally carried by a travel lock as with most other self-propelled howitzers while the Sholef is on the move, the weapon is stabilized and can actually be used for direct-fire while the vehicle is moving, giving it much greater self-defense ability than most other vehicles of its type.


title: Merkava

text: A crew of four is required to fully operate the Sholef. Air conditioning and heating for the crew are provided, as is a ration heater.


title: Merkava

text: The hull has the same ballistic protection as the Merkava Mk.III. The armor on the turret is sufficient to defeat small arms fire, shell splinters, blast overpressure, and most heavy machine gun rounds. The armor is augmented by spall liners, and the same overpressure NBC system as the Merkava Mk.III is fitted. There is also a back-up collective NBC system.


title: Merkava

text: The running gear consists of six unevenly spaced rubber-tired roadwheels on each side, and five return rollers, the second from the rear of which is noticeably larger than the others. The drive sprocket is forward, and the conspicuously spoked idler is rear. These may be partially obscured by track skirts, of which the Merkava Mk.III has ten panels, with a wavering underside, and little coverage of the sprocket or idler.


title: Merkava

text: The ordnance is fitted with a fume extractor and a double-baffle muzzle brake. When travelling, the ordnance is held in position by a travel lock that is mounted on the forward part of the glacis plate and this is remotely operated from the crew compartment.


title: Merkava

text: The 155 mm 52 calibre ordnance and recoil system is of the companies well-proven type already used in its towed weapons. The breech block assembly is of the semi-automatic wedge type that contains an automatic primer feeding system that enables manual reloading of the primer without opening the breech. Turret traverse and weapon elevation is hydraulic, with manual controls for emergency use.


title: Merkava

text: A maximum rate of fire of 9 rounds/min can be achieved due to the automatic computerised loading system, and a burst rate of fire of three rounds in 15 seconds.


title: Merkava

text: The high rate of fire can be achieved using the onboard ammunition supply or from ground-piled ammunition. The loading cycle is operated by two turret crewmen only, with the commander operating the computer and charge loader.


title: Merkava

text: The automatic loader has five main subsystems: projectile storage system; projectile transfer system; loading tray with flick rammer; charge loading tray and elevator for external charge supply; and projectile elevator for reloading the external storage or directly loading the gun.


title: Merkava

text: The internal projectile storage contains 60 projectiles ready for automatic loading with the remaining 15 stored in other locations. The system enables the handling of all kinds of projectiles in use without any adaptation.


title: Merkava

text: Charge loading is accomplished manually using a loading tray with the ignition primer being inserted automatically. All systems have a manual back-up so that, in the case of failure, the loading system may be operated partly or completely manually by only three crewmen, so allowing a continuous firing rate of 4 rounds/min.


title: Merkava

text: The computer also controls the functioning of the gun. The Loader Control System (LCS) consists of five main units:


title: Merkava

text: The main operational roles are: firing from internal storage; firing for elevator – ground-piled ammunition; loading from elevator – external pile; synthesising fire programs; unloading; manual firing; identification; and fusing and checks.


title: Merkava

text: Standard equipment includes an NBC system of the overpressure type and an inertial navigation and aiming system designed for autonomous operations.


title: Merkava

text: According to Soltam Systems, the 155 mm/52 calibre ordnance and automatic loader, or parts of the system, could be installed in other self-propelled artillery systems and used to upgrade other self-propelled systems such as the US-designed and built 155 mm M109 and M44.


title: Merkava

text: On July 14, 2011, "The Jerusalem Post" reported that the IDF had begun developing a successor for the Merkava series of tanks. The development was begun in part by the arrival of the Trophy active protection system. With the system's ability to intercept threats at a stand-off distance, there was a review of the need for vehicles like the Merkava to have thick, heavy layers of armor. The Merkava Tank Planning Directorate set up a team to study principles for a future tank and present ideas for an armored fighting vehicle to provide mobile firepower on a future battlefield. The team reviewed basic design principles including lessening its weight, armor thickness compared to an APS to intercept anti-tank threats, reducing the crew size, and the type of main gun. Horsepower abilities and heavy and light track systems compared to a wheeled chassis were also considered. With future battlefield condition developments affecting design features, the vehicle may not be considered a "tank" in the traditional sense. By July 2012, details began to emerge of considerations for developing technologies for the new design. One possibility is the replacement of the traditional main gun with a laser cannon or an electromagnetic cannon. Other improvements could include a hybrid-electric engine and a reduced crew of two. The goals of the new tank are to make it faster, better protected, more interoperable and lethal than the prior Merkava.


title: Merkava

text: The 65-tonne Merkava is not regarded as useful for missions other than conventional warfare. The Israeli Army Armored Corps wants a lighter and highly mobile vehicle for rapid-response and urban warfare situations that can fill multiple roles. In 2012, the Defense Ministry drafted a program for development of a new family of light armored vehicles called "Rakiya" (Horizon), a Hebrew acronym for "future manned combat vehicle" (FMCV). The FMCV is planned to weigh 35 tonnes and have sufficient armor and weapons for both urban and conventional military operations. Instead of one multi-mission chassis, separate vehicles in distinct variants will perform different roles with all vehicles using common components. Vehicles are likely to be wheeled to maneuver in urban environments and move troops and equipment around in built-up areas. While the FMCV will be a fifth-generation vehicle as a follow-on to the Merkava IV, it will not be a replacement for the tank. The Merkava and Namer heavy tracked vehicles will remain in service for decades, while FMCV vehicles are to address entirely different operational requirements. Although the program seems similar to the American Future Combat Systems effort, which failed to produce a family of rapidly deployable lightweight ground vehicles, program officials say they learned from the American experience and that the FMCV was more focused and driven by simpler and more reasonable requirements based on cost considerations. Officials expect requirements for a range of configurations for FMCV light armored vehicles to be approved in 2014 and solicited to Israeli and American companies. The IDF hoped the FMCV family of vehicles would be operational by 2020.


title: Merkava

text: The program was named Carmel around 2016, and three contractors produced three prototypes by 2019. In 2021, Israel Aerospace Industries (IAI) was selected to lead the next phase of Carmel's development.


title: Let the Right One In (film)

text: Let the Right One In () is a 2008 Swedish romantic horror film directed by Tomas Alfredson, based on the 2004 novel of the same title by John Ajvide Lindqvist, who also wrote the screenplay. The film tells the story of a bullied 12-year-old boy who develops a friendship with a strange child in Blackeberg, a suburb of Stockholm, in the early 1980s.


title: Let the Right One In (film)

text: A film adaptation of Lindqvist's novel began development in 2004 when John Nordling acquired the rights to produce the project. Alfredson, unconcerned with the horror and vampire conventions, decided to tone down many elements of the novel and focus primarily on the relationship between the two main characters and explore the darker side of humanity. Selecting the lead actors involved a year-long process with open castings held all over Sweden. In the end, Kåre Hedebrant and Lina Leandersson were chosen for the leading roles. Leandersson's role in the film was dubbed by Elif Caylan. Principal photography took place in 2007 in Luleå, with additional filming in Blackeberg. The film was produced by EFTI, Sveriges Television and Filmpool Nord, with support from the Swedish Film Institute, Nordisk Film & TV Fond, WAG and Canal+.


title: Let the Right One In (film)

text: "Let the Right One In" premiered at the Gothenburg Film Festival on 26 January 2008, where it received the Nordic Film Prize. It was released in Sweden on 24 October 2008 by Sandrew Metronome. The film received critical acclaim, with praise for the performances of the two leads, the cinematography, screenplay, and direction. It won several awards, including the Founders Award for Best Narrative Feature at the Tribeca Film Festival, as well as four Guldbagge Awards, including Best Director for Alfredson, Best Cinematography for Van Hoytema, and Best Screenplay for Lindqvist. It also won the Saturn Award for Best International Film and the Empire Award for Best Horror Film. At the 63rd British Academy Film Awards, the film was nominated for Best Film Not in the English Language. An American remake, titled "Let Me In" and directed by Matt Reeves, was released in 2010.


title: Let the Right One In (film)

text: Oskar, a meek 12-year-old boy, resides with his mother Yvonne in the western Stockholm suburb of Blackeberg in 1982. His classmates regularly bully him, and he spends his evenings imagining revenge, collecting clippings from newspapers and magazines about murders. One night he meets Eli, who appears to be a pale girl of his age. Eli has recently moved into the next-door apartment with an older man, Håkan. Eli initially informs Oskar that they cannot be friends. Over time, however, the two begin to form a relationship, and exchange Morse code messages through their adjoining wall. Eli learns that Oskar is being bullied by schoolmates and encourages him to stand up for himself. Oskar enrolls in weight-training classes after school.


title: Let the Right One In (film)

text: Earlier, Håkan stops and kills a passerby on a footpath to harvest blood for Eli, but is interrupted by an approaching dog walker. Eli is prompted to waylay and kill a local man, Jocke, making his way home after having said goodnight to his best friend, Lacke. A cat-loving recluse, Gösta, witnesses the attack from his flat but, in disbelief, decides not to report the incident. Håkan hides Jocke's body in an ice-hole in the local lake. Håkan makes another effort to obtain blood for Eli by trapping a teenage boy in a changing room after school. When he is about to be discovered by the boy's friends, Håkan pours concentrated hydrochloric acid onto his own face, disfiguring it to prevent the authorities from identifying him. Eli visits Håkan in the hospital; Håkan offers his neck to Eli for feeding, and Eli drains him of his blood. Eli goes to Oskar's apartment and spends the night with him, during which time they agree to "go steady", though Eli states, "I'm not a girl".


title: Let the Right One In (film)

text: During an ice skating field trip at the lake, some of Oskar's fellow students discover Jocke's body. At the same time, the bullies again harass Oskar, who hits their leader Conny in the head with a metal pole, splitting his ear. Sometime later, unaware that Eli is a vampire, Oskar suggests that he and Eli form a blood bond, and cuts his hand, asking Eli to do the same. Eli, thirsting for blood but not wanting to harm Oskar, laps up his blood before running away. Lacke's girlfriend, Virginia, is subsequently attacked by Eli. Virginia survives but discovers that she has become painfully sensitive to sunlight. Virginia visits Gösta, only to be fiercely attacked by Gösta's cats. Soon after this, Oskar confronts Eli, who admits to being a vampire. Oskar is initially upset by Eli's need to kill people for survival. However, Eli insists that they are alike, in that Oskar wants to kill and Eli needs to kill, and encourages Oskar to "be me, for a little while."


title: Let the Right One In (film)

text: In the hospital, Virginia asks an orderly to open the blinds in her room. When the sunlight streams in, Virginia bursts into flames. Lacke tracks Eli down to the apartment. Breaking in, he discovers Eli asleep in the bathtub. He prepares to kill Eli, but Oskar interferes; Eli wakes up, jumps on Lacke and feeds on his blood, killing him. Eli thanks Oskar and kisses him. However, an upstairs neighbor is angrily knocking on the ceiling due to the disturbance. Eli realizes that it is not safe to stay and leaves that night.


title: Let the Right One In (film)

text: The next morning, Oskar is lured out to resume the after-school fitness program at the local swimming pool. The bullies, led by Conny and his older brother Jimmy, start a fire to draw Mr Ávila, the supervising teacher, outside. They enter the pool area and order the children, aside from Oskar, to clear out. Jimmy forces Oskar under the water, threatening to stab his eye out if he does not hold his breath for three minutes. While Oskar is being held underwater, Eli arrives and rescues him by killing and dismembering the bullies, except for the most reluctant of their number, Andreas, who is left sobbing on a bench.


title: Let the Right One In (film)

text: Later, Oskar is travelling on a train with Eli in a box beside him. From inside, Eli taps the word "kiss" to Oskar in Morse code, to which he taps back "small kiss".


title: Let the Right One In (film)

text: The film project started in late 2004 when John Nordling, a producer at the production company EFTI, contacted Ajvide Lindqvist's publisher Ordfront to acquire the rights for a film adaptation of his novel, "Let the Right One In": "At Ordfront they just laughed when I called, I was like the 48th they put on the list. But I called John Ajvide Lindqvist and it turned out we had the same idea of what kind of film we should make. It wasn't about money, but about the right constellation". A friend introduced Tomas Alfredson to the novel. While he normally does not like to receive books, because "it's a private thing to choose what to read", he decided after a few weeks to read it. The depiction of bullying in the novel affected Alfredson deeply. "It's very hard and very down-to-earth, unsentimental (...) I had some period when I grew up when I had hard times in school (...) So it really shook me", he told the "Los Angeles Times". Ajvide Lindqvist already knew Alfredson's previous work, and he and Alfredson discovered that they "understood each other very well".


title: Let the Right One In (film)

text: In addition to EFTI, co-producers included Sveriges Television and the regional production-centre Filmpool Nord. The production involved a total budget of around 29 million SEK, including support from the Swedish Film Institute, Nordisk Film & TV Fond, WAG, and Canal+.


title: Let the Right One In (film)

text: Lindqvist had insisted on writing the screenplay himself. Alfredson, who had no familiarity with the vampire and horror genres, initially expressed skepticism at having the original author do the adaptation, but found the end result very satisfying. Many of the minor characters and events from the book were removed, and focus directed primarily on the love story between the two leads. In particular, many aspects of the character Håkan, including him being a paedophile, were toned down, and his relationship with Eli was mostly left open to interpretation. Alfredson felt that the film could not deal with such a serious theme as pedophilia in a satisfying manner, and that this element would detract from the story of the children and their relationship. Still, the film provided a few hints, of which Alfredson mentions one in the director's comments (Håkan likes children, for the wrong reasons).


title: Let the Right One In (film)

text: A key passage in the novel details what happens when a vampire enters a room uninvited, an action that traditional vampire lore usually prohibits. Alfredson originally wanted to omit this from the film, but Ajvide Lindqvist was adamant that it had to be included. Alfredson was initially nervous about the scene. He realized in post-production that the sound effects and music made it "American, in a bad way", and had to be removed for the scene to work. The end result, which shows Eli slowly beginning to bleed from her eyes, ears, and pores, received positive notices from many critics. Peter Bradshaw of "The Guardian" described it as a "haemophilia of rejection".


title: Let the Right One In (film)

text: The novel presents Eli as an androgynous boy, castrated centuries before by a sadistic vampire nobleman. The film handles the issue of Eli's gender more ambiguously: a brief scene in which Eli changes into a dress offers a glimpse of a suggestive scar but no explicit elaboration. When Oskar asks Eli to become his girlfriend, Eli tries to tell Oskar "I'm not a girl". An actress plays Eli's character, but her voice was considered to be too high pitched, so it was dubbed by voice actress Elif Ceylan. According to an interview with the director, as the film was originally conceived, flashbacks explained this aspect in more detail, but these scenes were eventually cut. In the end, Ajvide Lindqvist was satisfied with the adaptation. When Alfredson showed him eight minutes of footage for the first time, he "started to cry because it was so damn beautiful". He subsequently described the film as a "masterpiece". "It doesn't really matter that [Alfredson] didn't want to do it the way I wanted it in every respect. He could obviously never do that. The film is his creative process", he said.


title: Let the Right One In (film)

text: Casting of the lead actors took almost a year, with open castings held all over Sweden. Kåre Hedebrant, selected to audition for the role as Oskar after an initial screening at his school, eventually landed the role. Lina Leandersson responded to an online advertisement seeking a 12-year-old boy or girl "good at running". After three more auditions, she was selected to play Eli.


title: Let the Right One In (film)

text: Alfredson has described the casting process as the most difficult part of making the film. He had particular concerns about the interaction between the two leads, and the fact that those who had read the book would have a preconceived notion of how the characters were supposed to look. He wanted the actors to look innocent, and be able to interact in front of the camera. They were supposed to be "mirror images of each other. She is everything he isn't. Dark, strong, brave, and a girl. (...) Like two sides of the same coin." On another occasion, Alfredson stated that "[c]asting is 70 percent of the job; it's not about picking the right people to make the roles. It is about creating chords, how a B and A minor interact together, and are played together." In the end, Alfredson expressed satisfaction with the result, and has frequently lauded Hedebrant and Leandersson for being "extremely intelligent", "incredibly wise", and "unprecedentedly fantastic."


title: Let the Right One In (film)

text: Although the film takes place in Blackeberg, a suburb of Stockholm, principal photography took place in Luleå (in the north of Sweden) to ensure enough snow and cold weather. The area where the filming took place dated from around the same time as Blackeberg, and has similar architecture. However, Alfredson shot a few scenes in the Blackeberg area. In particular, the scene where Eli leaps down on Virginia from a tree, was shot in the town square of Blackeberg. Another scene, where Eli attacks Jocke in an underpass, was shot in the nearby suburb of Råcksta. The original Blackeberg underpass that Lindqvist had envisioned was deemed too high to fit in the picture. Some of the outdoor close-up scenes were made in a super cold studio. The jungle gym where much of the interaction between Oskar and Eli takes place was constructed specifically for the film. Its design was intended to suit the CinemaScope format better than a regular jungle gym, which would typically have to be cropped height-wise.


title: Let the Right One In (film)

text: Most of the filming used a single, fixed, Arri 535B camera, with almost no handheld usage, and few cuts. Tracking shots relied on a track-mounted dolly, rather than Steadicam, to create calm, predictable camera movement. The crew paid special attention to lighting. Cinematographer Hoyte van Hoytema and director Alfredson invented a technique they called "spray light". In an interview, van Hoytema describes it as follows: "If you could capture dull electrical light in a can and spray it like hairspray across Eli’s apartment, it would have the same result as what we created". For the emotional scenes between Oskar and Eli, van Hoytema consistently diffused the lighting.


title: Let the Right One In (film)

text: The film contains around fifty shots with computer-generated imagery. Alfredson wanted to make them very subtle and almost unnoticeable. The sequence where multiple cats attack Virginia, one of the most complicated scenes to film, required several weeks of drafting and planning. The crew used a combination of real cats, stuffed cats and computer-generated imagery.


title: Let the Right One In (film)

text: The film features analogue sound-effects exclusively throughout. The lead sound-designer Per Sundström explained: "The key to good sound effects is working with natural and real sounds.(...) These analogue sounds can be digitally reworked as much as necessary, but the origin has to be natural". Sundström designed the soundscape to come as close to the actors as possible, with audible heartbeats, breathing, and swallowing. Late in production it was also decided to overdub actress Lina Leandersson's voice with a less feminine one, to underline the backstory. "She's 200 years old, not twelve. We needed that incongruity. Besides, it makes her menacing", Sundström said. Both men and women up to the age of forty auditioned for the role. After a vote, the film team ended up selecting Elif Ceylan, who provides all of Eli's spoken dialogue. Footage of Ceylan eating melon or sausage was combined with various animal noises to emulate the sound of Eli biting into her victims and drinking their blood. The sound crew won a Guldbagge Award for Best Achievement from the Swedish Film Institute, for the "nightmarishly great sound" in the film.


title: Let the Right One In (film)

text: Swedish composer Johan Söderqvist wrote the score. Alfredson instructed him to write something that sounded hopeful and romantic, in contrast to the events that take place in the film. Söderqvist has described the outcome as consisting of both darkness and light, and emphasized melody and harmony as the most important qualities of the music. The Slovak National Symphony Orchestra performed the score; two years earlier they had performed the score for the first Swedish vampire movie, "Frostbiten". On 11 November 2008, MovieScore Media released the film soundtrack in a limited edition of 500 copies. It contains 21 of Söderqvist's original scores from the film. It placed fourth on Ain't It Cool News' Top 10 Best Scores Of 2008 List, being described as "scrupulously weaving together strains of bone-chillingly cold horror with the encompassing warmth of newly acquired love". "If" magazine described the score as "the most beautifully emotional score yet to grace the undead. It’s a feeling of tender melancholy that delivers its scares in a subtle, chamber orchestra way".


title: Let the Right One In (film)

text: The song "Kvar i min bil", written and performed by Per Gessle, resonates repeatedly through the film. Originally an outtake from Gessle's solo album "En händig man", the song was specially provided for the film, to resemble the sound of popular 1980s pop group Gyllene Tider. Gessle has described the song as a "bluesy tune with a nice guitar hook". Other songs in the film include "Försonade" from 1968, written and performed by future ABBA member Agnetha Fältskog, "Flash in the Night" from 1981, written by Tim Norell and Björn Håkansson and performed by Secret Service, and "Dags å välja sida" by Peps Blodsband.


title: Let the Right One In (film)

text: "Let the Right One In" premiered at the Gothenburg Film Festival in Sweden on 26 January 2008 where Alfredson won the Festival's Nordic Film Prize. It subsequently played at several other film festivals, including the Tribeca Film Festival in New York City (24 April 2008), where it won the Founders Award for Best Narrative Feature; the Edinburgh Film Festival (25 June 2008), where it won the Rotten Tomatoes Critical Consensus Award; and the Neuchâtel International Fantastic Film Festival in Switzerland (3 July 2008), where it won the Méliès d'Argent (Silver Méliès).


title: Let the Right One In (film)

text: The Swedish premiere was originally planned for 18 April 2008, but following the positive response from the festival screenings, the producers decided to postpone the release until autumn, to allow for a longer theatrical run. At one time there was a plan to release the film for a special series of screenings in Luleå, beginning 24 September and lasting seven days. This was canceled when the Swedish Film Institute announced that "Everlasting Moments" had been selected over "Let the Right One In" as Sweden's submission for the Academy Award for Best Foreign Language Film. The distributors released it on 24 October 2008 in Sweden, Norway, and as a limited release in the United States. In Australia, the film was released on 19 March 2009. The film was released in cinemas in the United Kingdom on 10 April 2009.


title: Let the Right One In (film)

text: The film was released in North America on DVD and Blu-ray in March 2009 by Magnet Films, and in the United Kingdom in August by Momentum Pictures. The American discs feature both the original Swedish dialogue and an English dubbed version, while the European versions feature only the Swedish, and an audio-descriptive track in English. "Icons of Fright" reported that the American release had been criticized for using new, oversimplified English subtitles instead of the original theatrical subtitles. Following customer complaints, Magnet stated that they would release an updated version with the original theatrical subtitles, but will not exchange current discs. Director Alfredson also expressed his dissatisfaction with the DVD subtitles, calling it a "turkey translation". "If you look on the 'net, people are furious about how bad it is done", he added. The UK release retains the theatrical subtitles.


title: Let the Right One In (film)

text: "Let the Right One In" received widespread critical acclaim. The film has a 98% "Certified fresh" rating at Rotten Tomatoes based on 193 reviews, with an average rating of 8.3/10. The critical consensus reads, ""Let the Right One In" reinvigorates the seemingly tired vampire genre by effectively mixing scares with intelligent storytelling". Additionally, Metacritic has reported an average score of 82 out of 100 based on 30 reviews which indicates "universal acclaim".


title: Let the Right One In (film)

text: Swedish critics generally expressed positive reactions to the film. In 26 reviews listed at the Swedish-language review site Kritiker.se it achieved an average rating of 4.1 out of 5. "Svenska Dagbladet" gave the film a rating of 5 out of 6 and hailed Alfredson for his ability to "tell [stories] through pictures instead of words about a society where hearts are turned to icicles and everyone is left on their own, but also about love warm and red like blood on white melting snow". Göran Everdahl for SVT's "Gomorron Sverige" gave the film 4 out of 5 and described the film as "kitchen sink fantasy" that "gives the vampire story back something it has been missing for a long time: the ability to really frighten us". "Expressen" and "Göteborgs-Posten" were less impressed and gave the film 3 out of 5. "Expressen" criticized it for being unappealing to those uninitiated in vampire films while "Göteborgs-Posten" believed the supporting characters had lost the emotional depth that made the novel so successful.


title: Let the Right One In (film)

text: Reviewers have commented on the beautiful cinematography and its quiet, restrained approach to the sometimes bloody and violent subject matter. KJ Doughton of "Film Threat" thought the visuals in the ending were fresh and inventive and would be talked about for years to come. Roger Ebert gave the film 3.5 out of 4 stars, calling it a vampire movie that takes vampires seriously, drawing comparisons to "Nosferatu" and to "Nosferatu the Vampyre". He described it as a story of "two lonely and desperate kids capable of performing dark deeds without apparent emotion", and praised the actors for "powerful" performances in "draining" roles. Ebert later called the film "The best modern vampire movie". One negative review came from Owen Gleiberman of "Entertainment Weekly", who gave the movie a "C", characterizing it as a "Swedish head-scratcher", with "a few creepy images but very little holding them together".


title: Let the Right One In (film)

text: Bloody Disgusting ranked the film first in their list of the 'Top 20 Horror Films of the Decade', with the article saying "It’s rare enough for a horror film to be good; even rarer are those that function as genuine works of art. "Let the Right One In" is one of those films – an austerely beautiful creation that reveals itself slowly, like the best works of art do." The film was ranked #15 in "Empire"'s 2010 list of "The 100 Best Films Of World Cinema". In their rationale, the authors noted that, "in these days where every second movie seems to feature vampires, it takes a very special twist on the legend to surprise us – but this one knocked us out and then bit us in the jugular", and found that the "strange central friendship" between the two lead characters was what made the film "so frightening, and so magnetic". In the early 2010s, "Time Out" conducted a poll with several authors, directors, actors and critics who have worked within the horror genre to vote for their top horror films; "Let the Right One In" placed at number 28 on their top 100 list. The film was later voted the 94th greatest film since 2000 in an international critics' poll conducted by BBC.


title: Let the Right One In (film)

text: Alfredson won the Gothenburg Film Festival's Nordic Film Prize as director of "Let the Right One In" on the grounds that he "succeeds to transform a vampire movie to a truly original, touching, amusing and heart-warming story about friendship and marginalisation". "Let the Right One In" was nominated in five categories for the Swedish Film Institute's 2008 Guldbagge Award, eventually winning for best directing, screenplay and cinematography as well as a Best Achievement-award to production designer Eva Norén. In awarding the film the "Founders Award for Best Narrative Feature", the top award at the Tribeca Film Festival, the jury described the film as a "mesmerizing exploration of loneliness and alienation through masterful reexamination of the vampire myth". The film also won the Méliès d'Argent (Silver Méliès) at the Swiss Neuchâtel International Fantastic Film Festival (NIFFF) and went on to win the Méliès d'Or (Golden Méliès) for the "Best European Fantastic Feature Film", awarded by the European Fantastic Film Festivals Federation of which NIFFF is a part. Other awards include the first Rotten Tomatoes Critical Consensus Award at the Edinburgh Film Festival.


title: Let the Right One In (film)

text: Despite being an internationally successful film, "Let the Right One In" was not submitted by Sweden for the Academy Award for Best Foreign Language Film. The details surrounding the film's eligibility for the award resulted in some confusion. Being released on 24 October 2008, the film would normally be eligible for submission for the 82nd Academy Awards. However, the producers decided to release it on 24 September as a seven-day limited run only in Luleå. This would be exactly enough to meet the criteria for the 81st Academy Awards instead. When the Swedish Film Institute on 16 September announced that Jan Troell's "Everlasting Moments" had been selected instead of "Let the Right One In", the Luleå screenings were cancelled. Despite the fact that the film was released within the eligibility period for the 82nd Academy Awards, it wasn't among the films considered because the Swedish Film Institute doesn't allow a film to be considered twice.


title: Let the Right One In (film)

text: After the release of "Let the Right One In" took place, "Cloverfield" director Matt Reeves signed on to write and direct an English-language version for Overture Films and Hammer Films. Hammer Films acquired the rights at the 2008 Tribeca Film Festival, where "Let the Right One In" won the "Founders Award for Best Narrative Feature", and Overture films planned to release the film in 2010. Alfredson has expressed unhappiness about the idea of a remake, saying that "Remakes should be made of movies that aren't very good, that gives you the chance to fix whatever has gone wrong" and expressing concern that the end result would be too mainstream. Alfredson 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." Lindqvist, in contrast, said that he had heard that Reeves "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." Hammer Films producer Simon Oakes referred to the project as a remake of the film and later not as a remake, but just as "Reeves' version". "Let Me In" was released in late 2010 starring Chloë Grace Moretz and Kodi Smit-McPhee as Abby and Owen, Eli's and Oskar's respective counterparts, and received very positive reviews but underperformed at the box office.


title: Nepali language

text: Nepali (; , ) is an Indo-Aryan language native to the Himalayas region of South Asia. It is the official, and most widely spoken, language of Nepal, where it also serves as a "lingua franca". Nepali has official status in the Indian state of Sikkim and in the Gorkhaland Territorial Administration of West Bengal. It is spoken by about a quarter of population in Bhutan. Nepali also has a significant number of speakers in the states of Arunachal Pradesh, Assam, Himachal Pradesh, Manipur, Meghalaya, Mizoram and Uttarakhand. In Myanmar it is spoken by the Burmese Gurkhas. The Nepali diaspora in the Middle East, Brunei, Australia and worldwide also use the language. Nepali is spoken by approximately 16 million native speakers and another 9 million as a second language.


title: Nepali language

text: The language originated from the Sinja Valley, Karnali Province then the capital city of the Khasa Kingdom around the 10th and 14th centuries. It developed proximity to a number of Indo-Aryan languages, most significantly to other Pahari languages. Nepali was originally spoken by the Khas people, an Indo-Aryan ethno-linguistic group native to the Himalayan region of South Asia. The earliest inscription in the Nepali language is believed to be an inscription in Dullu, Dailekh District which was written around the reign of King Bhupal Damupal around the year 981. The institutionalisation of the Nepali language arose during the rule of the Kingdom of Gorkha (later became known as the Kingdom of Nepal) in the 16th century. Over the centuries, different dialects of the Nepali language with distinct influences from Sanskrit, Maithili, Hindi, and Bengali are believed to have emerged across different regions of the current-day Nepal and Uttarakhand, making Nepali the "lingua franca".


title: Nepali language

text: Nepali is a highly fusional language with relatively free word order, although the dominant arrangement is subject–object–verb word order (SOV). There are three major levels or gradations of honorific: low, medium and high. Low honorific is used where no respect is due, medium honorific is used to signify equal status or neutrality, and high honorific signifies respect. Like all modern Indo-Aryan languages, Nepali grammar has syncretized heavily, losing much of the complex declensional system present in the older languages. Nepali literature, developed a significant literature within a short period of a hundred years in the 19th century. Around 1830, several Nepali poets wrote on themes from the Sanskrit epics "Ramayana" and the "Bhagavata Purana", which was followed by Bhanubhakta Acharya translating the "Ramayana" in Nepali which received "great popularity for the colloquial flavour of its language, its religious sincerity, and its realistic natural descriptions".


title: Nepali language

text: The initial name of Nepali language was "Khas Kura". An archaic dialect of the language is spoken in Karnali. During the Shah dynasty the language was also referred to as "Gorakhā bhāṣā" (), meaning "language of the Gorkhas". "Gorkha Bhasa Prakashini Samiti" (Gorkha Language Publishing Committee), a government institution established in 1913 (B.S. 1970) for advancement of Gorkha Bhasa, renamed itself as "Nepali Bhasa Prakashini Samiti" (Nepali Language Publishing Committee) in 1933 (B.S. 1990), and is currently known as "Sajha Prakashan". The language is also called "Parvate Kurā" (), which literally means "talks of the hills". The name "Pāṣyā Bolī" () was also briefly used during the regime of Jung Bahadur Rana. The Tibetan nationalities refer to the language as "Khasa Bhāṣā". Nepali language is known as "Khae Bhāe" (Nepal Bhasa: , ) in the Newar community, "Jyārdī Gyoī" (Tamang: ) or "Jyārtī Gyot" (Tamang: ) in the Tamang community, "Khasanta" (Chepang: ) in the Chepang community, "Roṅakeka" (Lhowa: ) in the Lhowa community and "Khase Puka" (Dungmali: ) in Dungmali community. In Bhutan, the language is known as Lhotshamkha in Dzongkha.


title: Nepali language

text: The earliest evidence and inscriptions of dialects related to the Nepali language support the theory of a linguistic intrusion from the West or Northwest Himalayas into the Central Himalayas in the present-day regions of Western Nepal during the rule of Khasas, an Indo-Aryan speaking group, who migrated from the northwest. The oldest discovered inscription in the Nepali language is believed to be the Dullu Inscription, believed to have been written around the reign of King Bhupal Damupal around the year 981. Changes of phonological patterns indicate that Nepali is related to other Northwest Indian languages, including Sindhi, Punjabi, and Lahnda. Comparative reconstructions based on vocabulary have substantiated the relations of the Nepali language to proto-Dardic, Pahari, Sindhi, Lahnda, and Punjabi. Archaeological and historical investigations show that modern Nepali descends from the language spoken by the ancient Khasha people. There is some mention of the word "khasha" in Sanskrit legal, historical, and literary texts like Manusmriti (circa 100 CE), Puranas (350–1500), and the Rajatarangini (1148). The Khashas are documented to have ruled over a vast territory comprising what is now western Nepal, parts of Garhwal and Kumaon in northern India, and some parts of southwestern Tibet. King Ashoka Challa (1255–1278) is believed to have proclaimed himself Khasha-Rajadhiraja (emperor of the Khashas) in a copper-plate inscription found in Bodh Gaya, and several other copper plates in ancient Nepali have been traced back to the king's descendants.


title: Nepali language

text: The Ashoka Challa inscription of 1255 is the earliest example of modern Nepali. The languages of these early inscriptions are considered to be a dialect of Jumla and West Nepal, rather than a predecessor of the dialect of Gorkha, which became the modern Nepali language.


title: Nepali language

text: The earliest example of modern Nepali is the literary manuscript "Svastanivratakatha," dated 1648. Other such early literary texts in modern Nepali are the anonymous version of the "Khandakhadya" (dated 1649), the "Bajapariksha" (1700) and "Jvarotpatticikitsa" written by Banivilas Jytoirvid (1773) and "Prayascittapradipa" written by Premnidhi Pant (1780). The 1670 Rani Pokhari inscription of King Pratap Malla, another early example of modern Nepali, indicates the significant increment of Nepali speakers in Kathmandu valley. The currently popular variant of Nepali is believed to have originated around 500 years ago with the mass migration of a branch of Khas people from the Karnali-Bheri-Seti eastward to settle in lower valleys of the Karnali and the Gandaki basin that were well-suited to rice cultivation. Over the centuries, different dialects of the Nepali language with distinct influences from Sanskrit, Maithili, Hindi, and Bengali are believed to have emerged across different regions of the current-day Nepal and Uttarakhand, making Khasa the lingua franca.


title: Nepali language

text: The institutionalisation of the Nepali language is believed to have started with the Shah kings of Gorkha Kingdom, in the modern day Gorkha District of Nepal. In 1559, a prince of Lamjung, Dravya Shah established himself on the throne of Gorkha with the help of local Khas and Magars. He raised an army of Khas people under the command of Bhagirath Panta. Later, in the late 18th century, his descendant, Prithvi Narayan Shah, raised and modernized an army of Chhetri, Thakuri, Magars, Gurung people, and others and set out to conquer and consolidate dozens of small principalities in the Himalayas. Since Gorkha had replaced the original Khas homeland, Khaskura was redubbed "Gorkhali" "language of the Gorkhas".


title: Nepali language

text: One of the most notable military achievements of Prithvi Narayan Shah was the conquest of Kathmandu Valley, a region called Nepal at the time. After the overthrowing of the Malla rulers, Kathmandu was established as Prithvi Narayan's new capital. The Khas people originally referred to their language as "Khas kurā" ("Khas speech"), which was also known as "Parbatiya" (or "Parbattia" or "Paharia", meaning language of the hill country). The Newar people used the term "Gorkhali" as a name for this language, as they identified it with the Gorkhali conquerors. The Gorkhalis themselves started using this term to refer to their language at a later stage. The census of India prior to independence used the term "Naipali" at least from 1901 to 1951, the 1961 census replacing it with "Nepali".


title: Nepali language

text: Historically, Sanskrit has been a significant source of vocabulary for the Nepali language. According to exclusive phonological evidences observed by lexicographer Sir Ralph Turner, Nepali language is closely related to Punjabi, Lahnda, Hindi and Kumaoni while it appears to share some distinguishing features with the other Indo-Aryan languages like Rajasthani, Gujarati and Bangla. Ethnologist Brian Houghton Hodgson stated that the Khas or Parbattia language is an "Indian Prakrit" brought by colonies from south of the Nepalese hills, and the whole structure including the eighth-tenth portion of the vocabulary of it is "substantially Hindee" due to the influences and loanwords it shares with Arabic and Farsi.


title: Nepali language

text: Expansion – particularly to the north, west, and south – brought the growing state into conflict with the British and the Chinese. This led to wars that trimmed back the territory to an area roughly corresponding to Nepal's present borders. After the Gorkha conquests, the Kathmandu valley or "Nepal" became the new center of politics. As the entire conquered territory of the Gorkhas ultimately became "Nepal", in the early decades of the 20th century, Gorkha language activists in India, especially Darjeeling and Varanasi, began petitioning Indian universities to adopt the name 'Nepali' for the language. Also in an attempt to disassociate himself with his Khas background, the Rana monarch Jung Bahadur Rana decreed that the term Gorkhali be used instead of "Khas kurā" to describe the language. Meanwhile, the British Indian administrators had started using the term "Nepal" to refer to the Gorkha kingdom. In the 1930s, Nepal government also adopted this term fully. Subsequently, the Khas language came to be known as "Nepali language".


title: Nepali language

text: The earliest Nepali grammar to have survived was written by Veerendra Keshari Aryal entitled "Nepali Vyakaran" and it is dated around 1891 to 1905. The grammar is based on Panini model and it equates Nepali with Prakrit and labels it as "the mountain Prakrit". However, later the official institution established in 1912 for formalizing Nepali language, the "Gorkha Bhasha Prakashini Samiti", accepted the 1920 grammar text entitled "Candrika Gorkha Bhasha Vyakaran" by Pandit Hemraj Pandey as the official grammar of the Nepali language. Nepali is spoken indigenously over most of Nepal west of the Gandaki River, then progressively less further to the east.


title: Nepali language

text: Part 1 of the Nepali Constitution deals with the official language of the Federal Democratic Republic of Nepal. Under Article 6, the official "language of the nation" will be "all languages spoken as the mother tongues in Nepal". In Article 7, the official language of Nepal have been written, which includes Nepali in Devanagari script:


title: Nepali language

text: On August 31, 1992, the Parliament of India passed a bill to amend the Eighth Schedule to the Constitution of India to give Konkani, Manipuri, and Nepali as a languages with official status in India. Nepali has official status in the Indian state of Sikkim and in the Gorkhaland Territorial Administration of West Bengal. Nepali also has a significant number of speakers in the states of Arunachal Pradesh, Assam, Himachal Pradesh, Manipur, Meghalaya, Mizoram and Uttarakhand.


title: Nepali language

text: Despite Nepali language being spoken by about a quarter of population in Bhutan. It has no official status in Bhutan, the native speakers of Nepali are known as "Lhotshampa" ("southerners"). Many of Nepali-language speaking Bhutanese people were displaced by various laws enacted by the Bhutanese government.


title: Nepali language

text: According to the 2011 national census, 44.6% of the population of Nepal speaks Nepali as its first language. and 32.8% speak Nepali as a second language. Ethnologue reports 12,300,000 speakers within Nepal (from the 2011 census).


title: Nepali language

text: Nepali is traditionally spoken in the hilly regions of Nepal. The language is prominently used by the government of Nepal and is the everyday language of the local population. The exclusive use of Nepali in the court system and by the government of Nepal, however, is being challenged. Gaining recognition for other languages of Nepal was one of the goals of the decades-long Maoist insurgency.


title: Nepali language

text: In Bhutan, native Nepali speakers, known as "Lhotshampa", are estimated at 35% of the population. This number includes displaced Bhutanese refugees, with unofficial estimates of the ethnic Bhutanese refugee population as high as 30 to 40%, constituting a majority in the south (about 242,000 people).


title: Nepali language

text: According to the 2011 Census of India, there were a total of 2,926,168 Nepali language speakers in India.


title: Nepali language

text: Nepali is the third-most spoken language in the Australian territory of Tasmania, where it is spoken by 1.3% of its population, and fifth-most spoken language in the Northern Territory, Australia, spoken by 1.3% of its population.


title: Nepali language

text: Nepali developed a significant literature within a short period of a hundred years in the 19th century. This literary explosion was fuelled by Adhyatma Ramayana; Sundarananda Bara (1833); Birsikka, an anonymous collection of folk tales; and a version of the ancient Indian epic "Ramayana" by Bhanubhakta Acharya (d. 1868). The contribution of trio-laureates Lekhnath Paudyal, Laxmi Prasad Devkota, and Balkrishna Sama took Nepali to the level of other world languages. The contribution of expatriate writers outside Nepal, especially in Darjeeling and Varanasi in India, is also notable.


title: Nepali language

text: Dialects of Nepali include Acchami, Baitadeli, Bajhangi, Bajurali, Bheri, Dadeldhuri, Dailekhi, Darchulali, Darchuli, Gandakeli, Humli, Purbeli, and Soradi. These dialects can be distinct from Standard Nepali. Mutual intelligibility between Baitadeli, Bajhangi, Bajurali (Bajura), Humli, and Acchami is low. The dialect of Nepali language spoken in Karnali Province is not mutually intelligible with Standard Nepali. The language is known with its old name as "Khas Bhasa" in Karnali.


title: Nepali language

text: Nepali distinguishes six oral vowels and five nasal vowels. /o/ does not have a phonemic nasal counterpart, although it is often in free variation with [õ].


title: Nepali language

text: [j] and [w] are nonsyllabic allophones of [i] and [u], respectively. Every consonant except [j], [w], and /ɦ/ has a geminate counterpart between vowels. /ɳ/ and /ʃ/ also exist in some loanwords such as /baɳ/ "arrow" and /nareʃ/ "king", but these sounds are sometimes replaced with native Nepali phonemes.


title: Nepali language

text: Final schwas may or may not be preserved in speech. The following rules can be followed to figure out whether or not Nepali words retain the final schwa.


title: Nepali language

text: Nepali is a highly fusional language with relatively free word order, although the dominant arrangement is SOV (subject–object–verb). There are three major levels or gradations of honorifics: low, medium and high. Low honorific is used where no respect is due, medium honorific is used to signify equal status or neutrality, and high honorific signifies respect. There is also a separate highest level honorific, which was used to refer to members of the royal family, and by the royals among themselves. Like all modern Indo-Aryan languages, Nepali grammar has syncretized heavily, losing much of the complex declensional system present in the older languages. Instead, it relies heavily on periphrasis, a marginal verbal feature of older Indo-Aryan languages.


title: Nepali language

text: In the section below Nepali is represented in Latin transliteration using the IAST scheme and IPA. The chief features are: subscript dots for retroflex consonants; macrons for etymologically, contrastively long vowels; "h" denoting aspirated plosives. Tildes denote nasalised vowels.


title: Nepali language

text: The following is a sample text in Nepali, of Article 1 of the Universal Declaration of Human Rights, with a transliteration (IAST) and transcription (IPA).


title: Carol Kane

text: Carolyn Laurie Kane (born June 18, 1952) is an American actress. She became known in the 1970s and 1980s in films such as "Hester Street", for which she received an Academy Award nomination for Best Actress, "Dog Day Afternoon", "Annie Hall", "The Princess Bride" and "Scrooged".


title: Carol Kane

text: Kane appeared on the television series "Taxi" in the early 1980s, as Simka Gravas, the wife of Latka, the character played by Andy Kaufman, winning two Emmy Awards for her work. She has played the character of Madame Morrible in the musical "Wicked", both in touring productions and on Broadway from 2005 to 2014. From 2015 to 2020, she was a main cast member on the Netflix series "Unbreakable Kimmy Schmidt", in which she played Lillian Kaushtupper. During the Star Trek Day 2022 streaming event, it was announced Kane would be joining the Season 2 cast of "."


title: Carol Kane

text: Kane was born in Cleveland, Ohio, the daughter of Joy, a jazz singer, teacher, dancer, and pianist, and Michael Kane. Her family is Jewish, and her grandparents emigrated from Russia, Austria, and Poland. Her parents divorced when she was 12 years old. She attended the Cherry Lawn School, a boarding school in Darien, Connecticut, until 1965. She studied theater at HB Studio and also went to the Professional Children's School in New York City. Kane made her professional theater debut in a 1966 production of "The Prime of Miss Jean Brodie", starring Tammy Grimes.


title: Carol Kane

text: Kane portrayed Simka Dahblitz-Gravas, wife of Latka Gravas (Andy Kaufman), on the American television series "Taxi" from 1981 to 1983. She received two Emmy Awards for her work in the series.


title: Carol Kane

text: In 1984, Kane appeared in episode 12, season 3 of "Cheers" as Amanda, an acquaintance of Diane Chambers from her time spent in a mental institution.


title: Carol Kane

text: Kane was a regular on the 1986 series "All Is Forgiven", a regular on the 1990–1991 series "American Dreamer", guest-starred on a 1994 episode of "Seinfeld", a 1996 episode of "Ellen" and had a supporting role in the short-lived sitcom "Pearl".


title: Carol Kane

text: In 1988, Kane appeared in the Cinemax Comedy Experiment "Rap Master Ronnie: A Report Card" alongside Jon Cryer and the Smothers Brothers.


title: Carol Kane

text: In January 2009, she appeared in the television series "Two and a Half Men" as the mother of Alan Harper's receptionist. In March 2010, Kane appeared in the television series "Ugly Betty" as Justin Suarez's acting teacher. In 2014, she had a recurring role in the TV series "Gotham" as Gertrude Kapelput, Oswald Cobblepot's (Penguin's) mother.


title: Carol Kane

text: In 2015, she was cast as Lillian Kaushtupper, the landlord to the title character of Netflix's series "Unbreakable Kimmy Schmidt". She reprised the role in the television movie "".


title: Carol Kane

text: In 2020, Kane was part of the ensemble cast of the Amazon series "Hunters"; it also includes Al Pacino and Logan Lerman.


title: Carol Kane

text: Kane appeared in "Carnal Knowledge" (1971), "The Last Detail" (1973), "Hester Street" (1975), "Dog Day Afternoon" (1975), "Annie Hall" (1977), "The World's Greatest Lover" (1977), "When a Stranger Calls" (1979), "Norman Loves Rose" (1982), "Transylvania 6-5000" (1985), "The Princess Bride" (1987), "Scrooged" (1988), in which "Variety" called her "unquestionably [the] pic's comic highlight"; "Flashback" (1989), with Dennis Hopper; and as a potential love interest for Steve Martin's character in "My Blue Heaven" (1990).


title: Carol Kane

text: In 1998, she played Mother Duck on the cartoon movie "The First Snow of Winter". In 1999, she made a cameo in the Andy Kaufman biopic "Man on the Moon" as her "Taxi" character.


title: Carol Kane

text: At the 48th Academy Awards, Kane was nominated for an Academy Award for Best Actress for her role in the film "Hester Street".


title: Carol Kane

text: Kane made her West End debut in January 2011 in a major revival of Lillian Hellman's drama "The Children's Hour" at London's Comedy Theatre. She starred alongside Keira Knightley, Elisabeth Moss and Ellen Burstyn.


title: Carol Kane

text: Kane is also known for her portrayal of the evil headmistress Madame Morrible in the Broadway musical "Wicked", whom she played in various productions from 2005 to 2014.


title: Carol Kane

text: Kane made her "Wicked" debut on the 1st National Tour, playing the role from March 9 through December 19, 2005. She then reprised the role in the Broadway production from January 10 through November 12, 2006. She again played the role for the Los Angeles production which began performances on February 7, 2007. She left the production on December 30, 2007, and later returned from August 26, 2008, until the production closed on January 11, 2009.


title: Carol Kane

text: She then transferred with the L.A. company, to play the role once again, in the San Francisco production which began performances January 27, 2009. She ended her limited engagement on March 22, 2009. Kane returned to the Broadway company of "Wicked" from July 1, 2013, through February 22, 2014 (a period that included the show's 10th anniversary).


title: Lara Croft: Tomb Raider

text: Lara Croft: Tomb Raider is a 2001 action adventure film based on the "Tomb Raider" video game series featuring the character Lara Croft, portrayed by Angelina Jolie. An international co-production between the United States, the United Kingdom, Japan and Germany, it was directed by Simon West and revolves around Lara Croft trying to obtain ancient artifacts in competition with the Illuminati.


title: Lara Croft: Tomb Raider

text: The film was released on June 15, 2001, and received generally negative reviews from critics, although Angelina Jolie was praised for her performance. "Tomb Raider" was the highest-grossing film on its opening weekend. A sequel, "", was released in 2003.


title: Lara Croft: Tomb Raider

text: Adventurer Lara Croft defeats a robot in an Egyptian tomb, revealed to be a training exercise arena in her family manor, where she lives with her technical assistant Bryce and butler Hillary. In Venice, as the first phase of a planetary alignment begins, the Illuminati search for a key to rejoin halves of a mysterious artifact, "the Triangle," which must be completed by the final phase, a solar eclipse. Manfred Powell assures the cabal that the artifact is almost ready, but has no real idea of its location.


title: Lara Croft: Tomb Raider

text: Lara's father Lord Richard Croft, long missing and presumed dead, appears to her in a dream. Lara awakens to a mysterious ticking, and finds a strange clock hidden inside the manor. On her way to consult a friend of her father's, Wilson, Lara crosses paths with Alex West, an American associate and fellow adventurer. Lara shows Wilson the clock, and he puts her in touch with Powell. Lara shows Powell photographs of the clock, which he claims not to recognize.


title: Lara Croft: Tomb Raider

text: That night, armed commandos invade the house and steal the clock, bringing it to Powell. The next morning, a prearranged letter from Lara's father arrives, explaining that the clock is the key to retrieving the halves of the Triangle of Light, an ancient object with the power to control time. After misuse of its power destroyed an entire city, the Triangle was separated: one half was hidden in a tomb at Angkor Cambodia, and the other in the ruined city located at Ukok Plateau, Siberia. Her father tasks her to find and destroy both pieces before the Illuminati can exploit the Triangle's power.


title: Lara Croft: Tomb Raider

text: In Cambodia, Lara finds Powell, who has hired West, and his commandos already at the temple. West solves part of the temple's puzzle, and Powell prepares to insert the clock at the moment of alignment. Lara, realizing they made a mistake, finds the correct keyhole; with only seconds left, Lara persuades Powell to throw her the clock. She unlocks the first piece of the Triangle, and the statues of the temple come to life and attack the intruders. West, Powell, and his remaining men flee with the clock, leaving Lara to defeat an enormous six-armed guardian statue. She escapes with the first piece; recovering at a Buddhist monastery, she arranges a meeting with Powell.


title: Lara Croft: Tomb Raider

text: In Venice, Powell proposes a partnership to find the Triangle, and informs Lara that her father was a member of the Illuminati, and offers to use the Triangle's power to resurrect him; though reluctant, she agrees to join forces. Lara and Bryce travel with Powell, West, and the leader of the Illuminati to Siberia. Entering the tomb, they discover a giant orrery, which activates as the alignment nears completion. Lara retrieves the second half of the Triangle, and Powell kills the Illuminati's leader to restore the Triangle himself, but the halves will not fuse. Realizing Lara knows the solution, Powell kills West to persuade her to complete the Triangle to restore West's and her father's lives. Lara complies, but seizes the Triangle herself.


title: Lara Croft: Tomb Raider

text: In a "crossing" of time, Lara faces her father, who urges her to destroy the Triangle for good rather than save his life. Returning to the tomb, Lara manipulates time to save West and stab Powell, and destroys the Triangle. The tomb begins to collapse, and all flee but the wounded Powell, who reveals to Lara that he murdered her father. After a hand-to-hand fight, she kills Powell, retrieving her father's pocket watch and escaping the tomb.


title: Lara Croft: Tomb Raider

text: Back in her manor, Lara visits her father's memorial and finds that Bryce has reprogrammed the robot, and Hillary presents her with her pistols, which she takes with a smile.


title: Lara Croft: Tomb Raider

text: "Tomb Raider" went through many drafts and several writers, which resulted in production delays. In 1998, writer Brent V. Friedman, who had co-written "" the year before, penned an unproduced "Tomb Raider" script. Producer and screenwriter Steven E. de Souza, who wrote and directed the 1994 video game film "Street Fighter", penned an early draft of the "Tomb Raider" script in 1999, but it was rejected by Paramount. The final draft of the script was attributed to five writers, including director Simon West. West reverted back to the original writers after he replaced Stephen Herek as director.


title: Lara Croft: Tomb Raider

text: "Lara Croft" was financed through Tele München Gruppe (TMG), a German tax shelter. The tax law of Germany allowed investors to take an instant tax deduction even on non-German productions and even if the film has not gone into production. By selling them the copyright for $94 million and then buying it back for $83.8 million, Paramount Pictures made $10.2 million. The copyright was then sold again to Lombard Bank, a British investment group and a further $12 million was made. However, to qualify for Section 48 tax relief, the production must include some UK filming and British actors, which was acceptable for a film partially set in the United Kingdom. Presales to distributors in Japan, Britain, France, Germany, Italy and Spain made a further $65 million. Showtime paid $6.8 million for premium cable television rights. In total, $94 million was put together.


title: Lara Croft: Tomb Raider

text: The announcement of the film generated significant discussion about who would be cast to play Lara Croft. Numerous actresses (and non-actresses) were rumoured to be on the shortlist to play her and countless others declared their interest in the role, most notably Jennifer Love Hewitt, Famke Janssen, Jennifer Lopez, Rhona Mitra, Elizabeth Hurley, Ashley Judd, Sandra Bullock, Catherine Zeta-Jones, Diane Lane, Demi Moore and Denise Richards, with many considering the latter the favourite to win the role.


title: Lara Croft: Tomb Raider

text: The casting of Jolie was controversial among many fans of the "Tomb Raider" series, who felt she wasn't physically appropriate enough to play the large-breasted heroine; others complained about an American actress being hired to play a British character; others cited Jolie's tattoos and well-publicised controversial personal life. Director Simon West dismissed these concerns and said, in reference to Jolie's penchant for sexual knife play, "it was always Angelina. I mean, Lara sleeps with knives and doesn't take shit from anybody. That's [Angelina] down to a tee." Jolie wore a padded bra to increase her bust size when playing Lara. As she explained to "NY Rock" in June 2001: "C'mon, I'm not so flat chested to begin with. When I wear a tight T-shirt, I look a certain way. So it wasn't like we had to completely change me. You know, we just had to enhance me a little. I'm a 36C. Lara, she's a 36D. And in the game, she's a double D, so we took her down some. But we did give her a bit of padding there. For me, it was simply one size. So it was like having a padded bra. But no, I am not flat chested anyway. So we still made it Lara Croft, but we didn't go to any extremes. And Lara doesn't apologize for herself, and for having that, you know, recognizable shape. So I'm not going to apologize for her either."


title: Lara Croft: Tomb Raider

text: The film marked the feature film debut of television actor Chris Barrie, known for his role of Arnold Rimmer in the BBC science fiction comedy series "Red Dwarf". English actor Daniel Craig adopts an American accent for the role of Alex West whilst Jolie, being American herself, takes on an English accent. Jon Voight, Angelina Jolie's father, plays Richard Croft, Lara's father in the film.


title: Lara Croft: Tomb Raider

text: Principal photography for "Lara Croft: Tomb Raider" took place from July 30 to November 30, 2000. Portions of the film were shot on location at the Ta Prohm temple, located in Angkor, Siem Reap Province, Cambodia. The film was the first major motion picture to be shot in Cambodia since "Lord Jim" in 1964, following the country's occupation by the Khmer Rouge regime. In addition to on-location shooting, a majority of the film's production also took place on the 007 Stage at Pinewood Studios. Hatfield House in Hertfordshire was used as Croft's home in the film.


title: Lara Croft: Tomb Raider

text: Simon West's first director's cut of the film was around 130 minutes long, and that was before it went through re-shoots some time later after principal photography was finished. West was removed from working on the film in post due to some problems between him and Paramount, however he did return to work on re-shoots. Editor Stuart Baird was brought in by Paramount to re-edit the entire film. He was well known for coming in at last minute to help movie studios by fixing up their films which went through troubled productions and had problems with earlier cuts. Baird was promised the job of directing "" by Paramount in exchange for re-editing original 130 minute cut of this film and John Woo's original 210 minute cut of "". Due to all the work on post production taking longer than anyone thought it would, and how rushed it was, some of the major effects were apparently left unfinished by the time the film was released in theaters. Baird ended up re-editing the film down to 88 minutes. One of the bigger cuts on the film was changing the original score. Originally, Nathan McCree was hired to compose the score, since he already composed the music for some of Tomb Raider games, but Paramount insisted on more well known movie composer. Greg Hale Jones started to work on the score with Peter Afterman in November 2000, right after production was finished, and Danny Elfman composed the main theme for the film. Jones later said how once West was fired from the film, his score and Elfman's theme were shelved. Michael Kamen was then hired and he submitted couple demos, although according to "Tales From Development Hell" by David Hughes, Kamen did in fact compose full score which was rejected once the film was re-edited by Baird. Graeme Revell was then brought in and he had to compose sixty minutes of music inside ten days. Some earlier reports about the film mentioned John Powell as one of original choices for composer, and Fatboy Slim too. Jerry Goldsmith was also attached to score the film at one point, but he couldn't do it due to problems with his health at the time.


title: Lara Croft: Tomb Raider

text: Despite large amount of film that was cut out, only four deleted scenes, in total seven minutes long, were included as extras on film's DVD and Blu-Ray releases. Trailers for the film do show at least couple more deleted scenes. At the time of movie's release in July 2001, Simon West said in an interview how he already prepared alternate version of the film for DVD release which would include lot of deleted scenes, but this version was never released. Angelina Jolie's nude scenes were also cut out for PG-13 rating. The shower scene for example originally had actual nude shots of Lara, and next scene where she throws her towel away originally showed some rear nudity from her, however according to Jolie she used body double for her nude shots. One of the special features of the film, "Digging Into Tomb Raider", shows filming of another deleted scene where Lara is showering but this one takes place in some outside location. Some of the earlier scripts for the film included more scenes focusing on Lara's sex appeal, like Lara flashing her breasts to some villains as distraction (Steven E. de Souza February 1999 script), using her breasts to crush giant milipede (Mike Werb & Michael Colleary November 1999 script), and many similar scenes (reportedly including her showering, bathing, skinny dipping, losing her bikini while fighting some creature...), but probably due to possible rating problems, this was changed and toned down with each new script. Jolie later said how she was disappointed with how Lara's sexual appeal was scaled down, and how she thought Lara wasn't sexy enough in the final film.


title: Lara Croft: Tomb Raider

text: "Lara Croft: Tomb Raider" is a 2001 soundtrack album to the film. The various artists soundtrack was released June 15, 2001. The Score was later released on June 25, 2001. The movie also featured the song "Lila" by Vas and a Piano rendition of "Largo" from Johann Sebastian Bach's Harpsichord Concerto no. 5 performed by Hae-won Chang. These were not featured on the soundtrack. Also used in the movie were elements of "Elevation (Influx Remix)" by U2. This was uncredited.


title: Lara Croft: Tomb Raider

text: Graeme Revell composed the soundtrack in less than two weeks, following failed attempts by other composers.


title: Lara Croft: Tomb Raider

text: The CD was released through Elektra Entertainment. As noted by Revell, the tracks were mislabeled after failed attempts to stop the pressings. For example, the opening track includes both the Main Titles and Lara Croft at Home cues together. The resulting score caused the composer himself to issue an apology "for the poor listening experience" through his website. The track list was later revised.


title: Lara Croft: Tomb Raider

text: "Lara Croft: Tomb Raider" was released on DVD and VHS on November 13, 2001; a Blu-ray release followed on June 3, 2008. A 4K UHD Blu-ray release followed on February 27, 2018.


title: Lara Croft: Tomb Raider

text: On the North American video rental charts, the film grossed in DVD rental revenue, . In the United Kingdom, it was watched by viewers on television in 2004, making it the year's sixth most-watched film (and third most-watched British film) on television.


title: Lara Croft: Tomb Raider

text: "Tomb Raider" was a box office success. The movie debuted at number one with $48.2 million, ahead of "" and "Shrek", giving Paramount its second-best debut after "" and the fifth-highest debut of 2001. In addition, it had the fourth largest June opening weekend, behind "Jurassic Park", "" and "Batman Forever". It beat the opening record for a film featuring a female protagonist ($42.3 million for "Scary Movie") as well as the opening record for a video game adaptation ($31 million for ""), and is one of the highest grossing video game to film adaptations. The movie has grossed a total of $274,703,340 worldwide.


title: Lara Croft: Tomb Raider

text: On review aggregator Rotten Tomatoes, "Lara Croft: Tomb Raider" earned positive reviews from of critics, with an average rating of . The site's consensus is "Angelina Jolie is perfect for the role of Lara Croft, but even she can't save the movie from a senseless plot and action sequences with no emotional impact." On Metacritic it has a weighted average score of 33 out of 100 based on reviews from 31 critics, indicating "generally unfavorable reviews". Audiences surveyed by CinemaScore gave the film a grade B on scale of A to F.


title: Lara Croft: Tomb Raider

text: IGN gave the movie the lowest score, a 0.0 ("Disaster") rating, condemning everything from character performances to the ending.


title: Lara Croft: Tomb Raider

text: Todd McCarthy of "Variety" said "[the film] has the distinction of being a major motion picture that’s far less imaginative, and quite a bit more stupid, than the interactive game it’s based on." McCarthy praises Jolie but says "everything else about this frenetic production is flat and unexciting."


title: Lara Croft: Tomb Raider

text: A positive review came from Roger Ebert, who awarded the film three out of four stars and said, Lara Croft Tomb Raider' elevates goofiness to an art form. Here is a movie so monumentally silly, yet so wondrous to look at, that only a churl could find fault."


title: Lara Croft: Tomb Raider

text: The film was nominated for two MTV Movie Awards, these awards included: Best Female Performance and Best Fight scene, but the film lost to "Moulin Rouge!" and "Rush Hour 2" respectively. The film was also nominated for Teen Choice Award for Choice Movie - Drama. Angelina Jolie was nominated for the Worst Actress Golden Raspberry Award for her role in the film, but she lost to Mariah Carey in "Glitter".


title: Lara Croft: Tomb Raider

text: Director Simon West would comment a decade after its release that the creation of "Lara Croft" was influenced by a film market that "wasn't used to women leading summer blockbusters". This factor influenced his decision to cast Angelina Jolie who was not well known at the time, and not the studio's first choice (in contrast to Catherine Zeta-Jones, Ashley Judd, and Jennifer Lopez). West said that his decision to cast Jolie lay in the fact that "there hadn't been a female lead of an action-adventure film that had carried a film [by herself recently], and Angelina wasn't as big as some of the other actresses that were up for the part, who'd done bigger films and had a longer track record and bigger box-office grosses... Some of their [images] were safer than Angelina's, whose was quite dangerous. She had all sorts of thing written about her—some obviously not true. She was a young woman experimenting." While "Lara Croft"s box office totals were the highest for a female-led action film at the time, and the film inspired theme park rides and led to a sequel, West stated in 2018 that "at the time, the studio was incredibly nervous at what the outcome could have been. I'm surprised it's taken so long [for other female-fronted action stories to rise up], because I thought that two or three years after, there'd be 10 other movies like it cashing in on its success ...[b]ut it's amazing how things work so slowly. But finally "The Hunger Games" and "Wonder Woman" have caught up!"


title: Lara Croft: Tomb Raider

text: Angelina Jolie returned in the sequel "Lara Croft: Tomb Raider – The Cradle of Life". While it was viewed as a critical improvement over its predecessor, it did not repeat its financial success, grossing $156 million compared to the previous installment's $274 million.


title: Lara Croft: Tomb Raider

text: GK Films first acquired the rights to reboot the film in 2011. In April 2016, MGM and GK Films announced a reboot of the film starring Alicia Vikander as Lara Croft with Roar Uthaug directing. It was released March 16, 2018.


title: The New Yorker

text: The New Yorker is an American weekly magazine featuring journalism, commentary, criticism, essays, fiction, satire, cartoons, and poetry. Founded as a weekly in 1925, the magazine is published 47 times annually, with five of these issues covering two-week spans. Although its reviews and events listings often focus on the cultural life of New York City, "The New Yorker" has a wide audience outside New York and is read internationally. It is well known for its illustrated and often topical covers, its commentaries on popular culture and eccentric American culture, its attention to modern fiction by the inclusion of short stories and literary reviews, its rigorous fact checking and copy editing, its journalism on politics and social issues, and its single-panel cartoons sprinkled throughout each issue.


title: The New Yorker

text: "The New Yorker" was founded by Harold Ross and his wife Jane Grant, a "New York Times" reporter, and debuted on February 21, 1925. Ross wanted to create a sophisticated humor magazine that would be different from perceivably "corny" humor publications such as "Judge", where he had worked, or the old "Life". Ross partnered with entrepreneur Raoul H. Fleischmann (who founded the General Baking Company) to establish the F-R Publishing Company. The magazine's first offices were at 25 West 45th Street in Manhattan. Ross edited the magazine until his death in 1951. During the early, occasionally precarious years of its existence, the magazine prided itself on its cosmopolitan sophistication. Ross declared in a 1925 prospectus for the magazine: "It has announced that it is not edited for the old lady in Dubuque."


title: The New Yorker

text: Although the magazine never lost its touches of humor, it soon established itself as a pre-eminent forum for serious fiction, essays and journalism. Shortly after the end of World War II, John Hersey's essay "Hiroshima" filled an entire issue. The magazine has published short stories by many of the most respected writers of the twentieth and twenty-first centuries, including Ann Beattie, Sally Benson, Maeve Brennan, Truman Capote, Rachel Carson, John Cheever, Roald Dahl, Mavis Gallant, Geoffrey Hellman, Ernest Hemingway, Stephen King, Ruth McKenney, John McNulty, Joseph Mitchell, Alice Munro, Haruki Murakami, Vladimir Nabokov, John O'Hara, Dorothy Parker, S.J. Perelman, Philip Roth, George Saunders, J. D. Salinger, Irwin Shaw, James Thurber, John Updike, Eudora Welty, and E. B. White. Publication of Shirley Jackson's "The Lottery" drew more mail than any other story in the magazine's history. In its early decades, the magazine sometimes published two or even three short stories in an issue, but in later years the pace has remained steady at one story per issue.


title: The New Yorker

text: The non-fiction feature articles (which usually make up the bulk of the magazine's content) cover an eclectic array of topics. Subjects have included eccentric evangelist Creflo Dollar, the different ways in which humans perceive the passage of time, and Münchausen syndrome by proxy.


title: The New Yorker

text: The magazine is known for its editorial traditions. Under the rubric "Profiles", it has published articles about prominent people such as Ernest Hemingway, Henry R. Luce and Marlon Brando, Hollywood restaurateur Michael Romanoff, magician Ricky Jay and mathematicians David and Gregory Chudnovsky. Other enduring features have been "Goings on About Town", a listing of cultural and entertainment events in New York, and "The Talk of the Town", a feuilleton or miscellany of brief pieces—frequently humorous, whimsical or eccentric vignettes of life in New York—written in a breezily light style, although latterly the section often begins with a serious commentary. For many years, newspaper snippets containing amusing errors, unintended meanings or badly mixed metaphors ("Block That Metaphor") have been used as filler items, accompanied by a witty retort. There is no masthead listing the editors and staff. Despite some changes, the magazine has kept much of its traditional appearance over the decades in typography, layout, covers and artwork. The magazine was acquired by Advance Publications, the media company owned by Samuel Irving Newhouse Jr, in 1985, for $200 million when it was earning less than $6 million a year.


title: The New Yorker

text: Ross was succeeded as editor by William Shawn (1951–87), followed by Robert Gottlieb (1987–92) and Tina Brown (1992–98). The current editor of "The New Yorker" is David Remnick, who succeeded Brown in July 1998.


title: The New Yorker

text: Among the important nonfiction authors who began writing for the magazine during Shawn's editorship were Dwight Macdonald, Kenneth Tynan, and Hannah Arendt, whose "Eichmann in Jerusalem" reportage appeared in the magazine before it was published as a book.


title: The New Yorker

text: Brown's tenure attracted more controversy than Gottlieb's or even Shawn's, thanks to her high profile (Shawn, by contrast, had been an extremely shy, introverted figure), and to the changes she made to a magazine with a similar look for the previous half-century. She introduced color to the editorial pages (several years before "The New York Times") and included photography, with less type on each page and a generally more modern layout. More substantively, she increased the coverage of current events and topics such as celebrities and business tycoons, and placed short pieces throughout "Goings on About Town", including a racy column about nightlife in Manhattan. A letters-to-the-editor page was introduced, and authors' personal bylines were added to their "Talk of the Town" pieces.


title: The New Yorker

text: Since the late 1990s, "The New Yorker" has used the Internet to publish current and archived material, and maintains a website with some content from the current issue (plus exclusive web-only content). Subscribers have access to the full current issue online, as well as a complete archive of back issues viewable as they were originally printed. In addition, "The New Yorker"s cartoons are available for purchase online. A digital archive of back issues from 1925 to April 2008 (representing more than 4,000 issues and half a million pages) has also been issued on DVD-ROMs and on a small portable hard drive. More recently, an iPad version of the current issue of the magazine has been released.


title: The New Yorker

text: The magazine's editorial staff unionized in 2018 and The New Yorker Union signed their first collective bargaining agreement in 2021.


title: The New Yorker

text: "The New Yorker" influenced a number of similar magazines, including "The Brooklynite" (1926 to 1930), "The Chicagoan" (1926 to 1935), and Paris's "The Boulevardier" (1927 to 1932).


title: The New Yorker

text: Kurt Vonnegut said that "The New Yorker" has been an effective instrument for getting a large audience to appreciate modern literature. Vonnegut's 1974 interview with Joe David Bellamy and John Casey contained a discussion of "The New Yorker"s influence:


title: The New Yorker

text: Tom Wolfe wrote about the magazine: "The "New Yorker" style was one of leisurely meandering understatement, droll when in the humorous mode, tautological and litotical when in the serious mode, constantly amplified, qualified, adumbrated upon, nuanced and renuanced, until the magazine's pale-gray pages became High Baroque triumphs of the relative clause and appository modifier".


title: The New Yorker

text: Joseph Rosenblum, reviewing Ben Yagoda's "About Town", a history of the magazine from 1925 to 1985, wrote, ""The New Yorker" did create its own universe. As one longtime reader wrote to Yagoda, this was a place 'where Peter DeVries ... was forever lifting a glass of Piesporter, where Niccolò Tucci (in a plum velvet dinner jacket) flirted in Italian with Muriel Spark, where Nabokov sipped tawny port from a prismatic goblet (while a Red Admirable perched on his pinky), and where John Updike tripped over the master's Swiss shoes, excusing himself charmingly.


title: The New Yorker

text: "The New Yorker" has been the source for motion pictures. Both fiction and non-fiction pieces have been adapted for the big screen, including the upcoming "Coyote vs. Acme", "Spiderhead" (2022), based on the "New Yorker" story "Escape from Spiderhead", "Flash of Genius" (2008), based on a true account of the invention of the intermittent windshield wiper by John Seabrook; "Away From Her", adapted from Alice Munro's short story "The Bear Came over the Mountain", which debuted at the 2007 Sundance Film Festival; "The Namesake" (2007), similarly based on Jhumpa Lahiri's novel, which originated as a short story in the magazine; "The Bridge" (2006), based on Tad Friend's 2003 non-fiction piece "Jumpers"; "Brokeback Mountain" (2005), an adaptation of the short story by Annie Proulx that first appeared in the October 13, 1997, issue of "The New Yorker"; Jonathan Safran Foer's 2001 debut in "The New Yorker", which later came to theaters in Liev Schreiber's debut as both screenwriter and director, "Everything Is Illuminated" (2005); Michael Cunningham's" The Hours", which appeared in the pages of "The New Yorker" before becoming the film that garnered the 2002 Best Actress Academy Award for Nicole Kidman; "Adaptation" (2002), which Charlie Kaufman based on Susan Orlean's "The Orchid Thief", written for "The New Yorker"; Frank McCourt's "Angela's Ashes" (1999), which also appeared, in part, in "The New Yorker" before its film adaptation was released in 1999; "The Addams Family" (1991) and its sequel, "Addams Family Values" (1993), both inspired by the work of "New Yorker" cartoonist Charles Addams; Brian De Palma's "Casualties of War" (1989), which began as a "New Yorker" article by Daniel Lang; "Boys Don't Cry" (1999), starring Hilary Swank, began as an article in the magazine, and "Iris" (2001), about the life of Iris Murdoch and John Bayley, the article written by John Bayley for "The New Yorker", before he completed his full memoir, the film starring Judi Dench and Jim Broadbent; "The Swimmer" (1968), starring Burt Lancaster, based on a John Cheever short story from "The New Yorker"; "In Cold Blood" (1967), the widely nominated adaptation of the 1965 non-fiction serial written for "The New Yorker" by Truman Capote; "Pal Joey" (1957), based on a series of stories by John O'Hara; "Mister 880" (1950), starring Edmund Gwenn, based on a story by longtime editor St. Clair McKelway; "The Secret Life of Walter Mitty" (1947), which began as a story by longtime "New Yorker" contributor James Thurber; and "Junior Miss" (1941) and "Meet Me in St. Louis" (1944), both adapted from Sally Benson's short stories.


title: The New Yorker

text: In its issue dated November 1, 2004, the magazine endorsed a presidential candidate for the first time, choosing to endorse Democrat John Kerry over incumbent Republican George W. Bush.


title: The New Yorker

text: "The New Yorker" has featured cartoons (usually gag cartoons) since it began publication in 1925. The cartoon editor of "The New Yorker" for years was Lee Lorenz, who first began cartooning in 1956 and became a "New Yorker" contract contributor in 1958. After serving as the magazine's art editor from 1973 to 1993 (when he was replaced by Françoise Mouly), he continued in the position of cartoon editor until 1998. His book "The Art of the New Yorker: 1925–1995" (Knopf, 1995) was the first comprehensive survey of all aspects of the magazine's graphics. In 1998, Robert Mankoff took over as cartoon editor and edited at least 14 collections of "New Yorker" cartoons. In addition, Mankoff usually contributed a short article to each book, describing some aspect of the cartooning process or the methods used to select cartoons for the magazine. Mankoff left the magazine in 2017.


title: The New Yorker

text: "The New Yorker"s stable of cartoonists has included many important talents in American humor, including Charles Addams, Peter Arno, Charles Barsotti, George Booth, Roz Chast, Tom Cheney, Sam Cobean, Leo Cullum, Richard Decker, Pia Guerra, J. B. Handelsman, Helen E. Hokinson, Ed Koren, Burr Shafer, Reginald Marsh, Mary Petty, George Price, Charles Saxon, Otto Soglow, Saul Steinberg, William Steig, James Stevenson, James Thurber, Pete Holmes, and Gahan Wilson.


title: The New Yorker

text: Many early "New Yorker" cartoonists did not caption their own cartoons. In his book "The Years with Ross", Thurber describes the newspaper's weekly art meeting, where cartoons submitted over the previous week would be brought up from the mail room to be looked over by Ross, the editorial department, and a number of staff writers. Cartoons often would be rejected or sent back to artists with requested amendments, while others would be accepted and captions written for them. Some artists hired their own writers; Helen Hokinson hired James Reid Parker in 1931. (Brendan Gill relates in his book "Here at The New Yorker" that at one point in the early 1940s, the quality of the artwork submitted to the magazine seemed to improve. It later was found out that the office boy (a teenaged Truman Capote) had been acting as a volunteer art editor, dropping pieces he didn't like down the far end of his desk.)


title: The New Yorker

text: Several of the magazine's cartoons have climbed to a higher plateau of fame. One 1928 cartoon drawn by Carl Rose and captioned by E. B. White shows a mother telling her daughter, "It's broccoli, dear." The daughter responds, "I say it's spinach and I say the hell with it." The phrase "I say it's spinach" entered the vernacular (and three years later, the Broadway musical "Face the Music" included Irving Berlin's musical number entitled "I Say It's Spinach (And the Hell with It)"). The catchphrase "back to the drawing board" originated with the 1941 Peter Arno cartoon showing an engineer walking away from a crashed plane, saying, "Well, back to the old drawing board."


title: The New Yorker

text: The most reprinted is Peter Steiner's 1993 drawing of two dogs at a computer, with one saying, "On the Internet, nobody knows you're a dog". According to Mankoff, Steiner and the magazine have split more than $100,000 in fees paid for the licensing and reprinting of this single cartoon, with more than half going to Steiner.


title: The New Yorker

text: Over seven decades, many hardcover compilations of cartoons from "The New Yorker" have been published, and in 2004, Mankoff edited "The Complete Cartoons of The New Yorker", a 656-page collection with 2004 of the magazine's best cartoons published during 80 years, plus a double CD set with all 68,647 cartoons ever published in the magazine. This features a search function allowing readers to search for cartoons by a cartoonist's name or by year of publication. The newer group of cartoonists in recent years includes Pat Byrnes, J. C. Duffy, Liana Finck, Robert Leighton, Michael Maslin, Julia Suits, and P. C. Vey. Will McPhail cited his beginnings are "just ripping off "Calvin and Hobbes", Bill Watterson, and doing little dot eyes." The notion that some "New Yorker" cartoons have punchlines so "non sequitur" that they are impossible to understand became a subplot in the "Seinfeld" episode "The Cartoon", as well as a playful jab in an episode of "The Simpsons", "The Sweetest Apu".


title: The New Yorker

text: In April 2005, the magazine began using the last page of each issue for "The New Yorker Cartoon Caption Contest". Captionless cartoons by "The New Yorker"s regular cartoonists are printed each week. Captions are submitted by readers, and three are chosen as finalists. Readers then vote on the winner. Anyone age thirteen or older can enter or vote. Each contest winner receives a print of the cartoon (with the winning caption), signed by the artist who drew the cartoon.


title: The New Yorker

text: Since 1993, the magazine has published occasional stories of comics journalism (alternately called "sketchbook reports") by such cartoonists as Marisa Acocella Marchetto, Barry Blitt, Sue Coe, Robert Crumb and Aline Kominsky-Crumb, Jules Feiffer, Ben Katchor, Carol Lay, Gary Panter, Art Spiegelman, Mark Alan Stamaty, and Ronald Wimberly.


title: The New Yorker

text: "The New Yorker" launched a crossword puzzle series in April 2018 with a weekday crossword published every Monday. Subsequently, it launched a second, weekend crossword that appears on Fridays and relaunched cryptic puzzles that were run in the magazine in the late 1990s, and in June 2021, it began publishing new cryptics weekly. In July 2021, "The New Yorker" introduced Name Drop, a trivia game, which is posted online weekdays. In March 2022, "The New Yorker" moved to publishing online crosswords every weekday, with decreasing difficulty Monday through Thursday and themed puzzles on Fridays. The puzzles are written by a rotating stable of thirteen constructors. The crosswords integrate cartoons into the puzzle playing experience. The Christmas 2019 issue featured a crossword puzzle by Patrick Berry that had cartoons as clues, and the answers were captions for the cartoons. In December 2019, Liz Maynes-Aminzade was named the first puzzles and games editor of "The New Yorker".


title: The New Yorker

text: The magazine's first cover illustration, a dandy peering at a butterfly through a monocle, was drawn by Rea Irvin, the magazine's first art editor, based on an 1834 caricature of the then Count d'Orsay which appeared as an illustration in the 11th edition of the "Encyclopædia Britannica". The gentleman on the original cover, now referred to as "Eustace Tilley", is a character created by Corey Ford (1902–1969) for "The New Yorker". The hero of a series entitled "The Making of a Magazine", which began on the inside front cover of the August 8 issue that first summer, Tilley was a younger man than the figure on the original cover. His top hat was of a newer style, without the curved brim. He wore a morning coat and striped formal trousers. Ford borrowed Eustace Tilley's last name from an aunt—he had always found it vaguely humorous. "Eustace" was selected by Ford for euphony.