title: P.O.D.

text: "Murdered Love" was originally going to be released in June 2012, but was instead pushed back to July 10. The album was produced by Howard Benson, who also produced "Satellite" and "The Fundamental Elements of Southtown". It was described by Curiel as "Back to our roots. A little bit of hip hop, a little bit of punk rock, or reggae". The album caused controversy concerning its eleventh track, "I Am", which uses the word "fuck" (albeit backmasked). Sandoval, explaining the purpose of the song, said, "being up close and personal with these kids, that's what came out in that song. I'm a man of faith and I'm a follower and a believer of Jesus Christ, and in talking to these kids, and even in talking to people just throughout my career in P.O.D., a lot of these bands and athletes and all these people that you meet, they don't have a problem with Jesus. They have a problem with people that are religious and claim to know Jesus, but aren't living it or acting it and aren't loving the way Jesus did. In my faith, if I believe that Jesus paid for the sins of the world, and I'm all these things, this is what's going on in the real world, and do you still love someone like me? And even though I know you do, and I believe in you, I believe in your forgiveness and your grace and your mercy, there's still so much confusion around me that everybody's getting in the way and trying to take your place. Everything gets in my way from seeing who Jesus was...We had that song for almost a year, and I didn't take it lightly. I'd been praying on it for over a year. I'd actually took counsel and let people hear it. And it was 50/50. Some people are like, you know what, go for it. Because my heart is like, I don't write music for Christians. I don't write music for people that I believe are saved and going to heaven. If it's a breath of you and encourages you and gives you a sense of power to go balls out for what you believe in, then by all means. But ultimately we're trying to reach people fed up with religion that are sick and tired of it, and people that are in the real world that really are lost and confused. Our music has always been a tool to bring hope to those people. I'm sorry we can't please everybody in the church, but ultimately in our faith, I believe you're taken care of. There are a lot of people that live in the real world that are out on the streets, that are prostituting themselves, that are being sexually abused, that are being murdered and killed, and it's an evil world. And sometimes you've got to just give them the truth flat out. And it might offend some people. Might offend a lot of people. But at the end of the day, if they understand it and they get it, and they allow God to speak straight into their soul, then I think it's worth the slap on the hand." The band went on tour with Shinedown and Three Days Grace as an opening act.


title: P.O.D.

text: In a 2012 interview with "Broken Records Magazine", Sandoval said that the band had to get their lives back in order and take care of personal needs before getting back into music, but was extremely happy about the response the band was getting from fans.


title: P.O.D.

text: On October 22, 2013, P.O.D. released a deluxe edition of "Murdered Love". The album contains the original songs, slightly remixed, along with bonus tracks "Find a Way", "Burn It Down", acoustic versions of "Beautiful" and "West Coast Rock Steady", a remixed version of "On Fire", and music videos for "Murdered Love", "Beautiful", "Higher", and "Lost In Forever". Multiple behind the scenes videos were also on the track list.


title: P.O.D.

text: In mid-2014, P.O.D. announced an acoustic album to be released toward the end of the year. The album was crowd-funded on the website PledgeMusic. On October 20, 2014, P.O.D. announced a new record deal with T-Boy Records along with a new acoustic album. "SoCal Sessions" was released on November 17, 2014, and contained songs such as "Alive" and "Youth of the Nation".


title: P.O.D.

text: The band followed that release with another studio album, "The Awakening", released on August 21, 2015, which was produced by Howard Benson, with guest vocalists such as Maria Brink of In This Moment and Lou Koller of Sick of It All.


title: P.O.D.

text: On May 17, 2016, the band announced that they would be taking part in the Make America Rock Again super tour throughout the summer and fall 2016. The tour featured a number of artists who had success throughout the 2000s.


title: P.O.D.

text: On August 18, 2017, the band released a new song, "Soundboy Killa", and embarked on a fall tour promoting the song.


title: P.O.D.

text: In January 2018, it was announced that the band had signed a new record deal with Mascot Records. They toured alongside Alien Ant Farm, Lit, and Buckcherry on the "Gen-X Tour" in 2018. Their tenth studio album, "Circles", was released on November 16, 2018.


title: P.O.D.

text: The band embarked on their Satellite Album 20th Anniversary tour with From Ashes to New and All Good Things in 2021, starting in Sturgis, South Dakota at Buffalo Chip on August 14, 2021, and ending on October 7, 2021, at the House of Blues in San Diego, California.


title: P.O.D.

text: In August 2022 they performed two sets on the same day at Seaworld. On October 14th, 2022, the band reissued "When Angels and Serpents Dance", having the album remixed and remastered as well as featuring three bonus songs, one of which, "Don't Fake It", had appeared previously as an iTunes exclusive in 2008.


title: P.O.D.

text: The band's name, Payable on Death (P.O.D.), derives itself from the banking term "Payable on Death". The band chose this name to be a direct tie in with the Christian theology that explains that since Jesus died on the Cross, Christians' debts to God have been paid for; in other words all believers, in their acceptance that Jesus was sacrificed for them on God's behalf, have inherited eternal life. P.O.D.'s style has evolved over the years, from the rap metal sound on their early albums to the nu metal and reggae-infused alternative metal styles for which they're most well known. The band's seventh album, "When Angels & Serpents Dance", is a combination of alternative rock, reggae rock and Latin-influenced metal with almost none of the rap metal or nu metal sound of their older releases. P.O.D.'s influences include Boogie Down Productions, Run-DMC, U2, the Police, Bad Brains, Santana, Metallica, AC/DC, Suicidal Tendencies, Bob Marley, Primus, Earth, Wind & Fire, 24-7 Spyz, and Steel Pulse.


title: P.O.D.

text: "Note: Album- and single-specific awards and nominations are listed under their respective articles."


title: Deep Blue Sea (1999 film)

text: Deep Blue Sea is a 1999 American science fiction horror film directed by Renny Harlin. It stars Saffron Burrows, Thomas Jane, Samuel L. Jackson, Michael Rapaport, and LL Cool J. Set in an isolated underwater facility, the film follows a team of scientists and their research on mako sharks to help fight Alzheimer's disease. The situation plunges into chaos when multiple genetically engineered sharks go on a rampage and flood the facility.


title: Deep Blue Sea (1999 film)

text: "Deep Blue Sea" had a production budget of $60–82 million and represented a test for Harlin, who had not made a commercially successful film since "Cliffhanger" in 1993. The film was primarily shot at Fox Baja Studios in Rosarito, Mexico, where the production team constructed sets above the large water tanks that had been built for James Cameron's 1997 film "Titanic". Although "Deep Blue Sea" features some shots of real sharks, most of the sharks used in the film were either animatronic or computer generated. Trevor Rabin composed the film score; LL Cool J contributed two songs to the film: "Deepest Bluest (Shark's Fin)" and "Say What".


title: Deep Blue Sea (1999 film)

text: Released in theaters during the summer season, "Deep Blue Sea" grossed over $165 million worldwide. It received generally mixed reviews from critics, who praised its suspense, pacing, and action sequences, but criticized its unoriginality and B movie conventions. Retrospectively, "Deep Blue Sea" has been regarded as a successful shark film, especially within a limited genre that has been dominated by Steven Spielberg's 1975 thriller "Jaws". A direct-to-video sequel, "Deep Blue Sea 2", was released in 2018. A third film, "Deep Blue Sea 3", was released on July 28, 2020.


title: Deep Blue Sea (1999 film)

text: In a remote underwater facility, doctors Susan McCallister and Jim Whitlock are conducting research on mako sharks to help in the re-activation of dormant human brain cells like those found in Alzheimer's disease patients. After one of the sharks escapes the facility and attempts to attack a boat full of young adults, financial backers send corporate executive Russell Franklin to investigate the facility.


title: Deep Blue Sea (1999 film)

text: Susan and Jim prove their research is working by testing a certain protein complex that was removed from the brain tissue of their largest shark, which bites off Jim's right arm upon awakening in the laboratory. Brenda Kerns, the tower's operator, calls a helicopter that braves heavy rain and strong winds to evacuate Jim, but as he is being lifted, the cable jams, dropping Jim and his stretcher into the shark pen. The largest shark grabs the stretcher and pulls the helicopter into the tower, killing Brenda and the pilots, as well as causing massive explosions that severely damage the facility.


title: Deep Blue Sea (1999 film)

text: In the laboratory, Susan, Franklin, wrangler Carter Blake, marine biologist Janice Higgins, and engineer Tom Scoggins witness the shark smash the stretcher against the laboratory's main window, which then shatters, drowning Jim and flooding the facility. The group goes to the facility's wet entry, where they plan to take a submersible to escape. Susan confesses to the others that she and Jim genetically engineered the sharks to increase their brain size, as they were not large enough to harvest sufficient amounts of the protein complex; this had the side effect of making them smarter and more deadly. When the group reaches the wet entry, they discover that the submersible has been damaged. While delivering a monologue emphasizing the need for group unity, Franklin is dragged into the submersible pool by one of the sharks and devoured.


title: Deep Blue Sea (1999 film)

text: The remaining crew opt to climb up the elevator shaft at the risk of destabilizing the pool. As they climb, explosive tremors cause the ladder to break, and Janice loses her grip and falls into the shark-infested water. Despite Carter's attempt to save her, one of the two remaining sharks drags Janice under, killing and devouring her. In the facility's kitchen, which has been partially flooded, cook Sherman "Preacher" Dudley, whose parrot is devoured in the process, manages to kill the first shark with an explosion. He then makes his way to the elevator shaft, where he encounters Carter, Scoggins, and Susan. Carter and Scoggins go to the flooded laboratory to activate a control panel that drains a stairway to the surface, while Susan heads to her room to collect her research material. Carter and Scoggins reach the control panel, but the largest shark storms in, killing and ripping Scoggins apart, and sabotaging the controls. In the other room, Susan encounters another shark, and electrocutes it with a power cable, destroying her research in the process.


title: Deep Blue Sea (1999 film)

text: After regrouping, Carter, Susan, and Preacher go to a decompression chamber and swim to the surface. Preacher is grabbed by the last shark, but is released when he stabs the shark in the eye with his crucifix, though he escapes with injuries to his leg. Carter realizes that the sharks made them flood the facility, so they could escape through the weaker mesh fences at the surface. In an effort to distract the shark from escaping to the open sea, Susan deliberately cuts her hand and dives into the water. Although she manages to distract the shark with her blood, she is unable to get out of the water, and is devoured, despite Carter's efforts to save her. While Carter is grabbing hold of the shark's dorsal fin, Preacher shoots the shark with a harpoon, but also pierces Carter's thigh. As the shark breaks through the fence, Carter orders Preacher to connect the trailing wire to a battery, sending an electric current through the wire and to an explosive charge in the harpoon, killing the shark. In the end, Carter reveals that he had managed to free himself in time, and joins Preacher to see a worker's boat en route on the horizon.


title: Deep Blue Sea (1999 film)

text: The story of "Deep Blue Sea" was conceived by Australian screenwriter Duncan Kennedy after he witnessed the result of a "horrific" shark attack on a beach near his home. The tragedy contributed to a recurring nightmare of him "being in a passageway with sharks that could read his mind". This motivated him to write a spec script, while acknowledging the challenge of approaching a shark film without repeating Steven Spielberg's 1975 thriller "Jaws". Although Warner Bros. bought the script in late 1994, actual development on the project did not start until two years later. When Renny Harlin was chosen to direct the film, Kennedy's screenplay, which had already been re-written by several writers at Warner Bros., was presented to Donna Powers and Wayne Powers, who turned it into the film's final script. According to Wayne, "The movie became essentially what we wrote. The draft we were first presented by [Warner Bros.] was much more of a military espionage, high-tech action movie, grenade launchers, that kind of thing. We wanted our team to include more blue-collar types and not to have weapons to fight back, to play it more as a horror film."


title: Deep Blue Sea (1999 film)

text: "Deep Blue Sea" had a budget of $82 million and represented a test for Harlin, who had not made a commercially successful film since "Cliffhanger" in 1993. Harlin's main goal was to bring the horror genre back to the serious and high-budget production values of films like "The Exorcist", "Jaws", "The Shining", as opposed to the tongue-in-cheek style of subsequent films in the genre. Ridley Scott's 1979 film "Alien" was an influence on the casting process, as Harlin wanted to cast the characters in a way as to make it impossible for the audience to know who was going to die or survive. To achieve this, he combined relatively unknown actors who could deliver solid performances and meet the physical demands of the diving and stunts with a star, Academy Award nominee Samuel L. Jackson, who "anchors the whole piece". Harlin also forced the studio into hiring rapper LL Cool J because he wanted a character who could bring "a lot of warmth and humor to the film without it being joke-type humor".


title: Deep Blue Sea (1999 film)

text: Principal photography for "Deep Blue Sea" began on August 3, 1998. Most of the film was shot at Fox Baja Studios in Rosarito, Mexico, where the production team constructed sets above the large water tanks that had been built for James Cameron's 1997 film "Titanic". Some of the sets were designed so that they could be submerged, while others were built on sound stages with fishtanks used as windows. At Fox Baja Studios, the cast worked with sharks that were either animatronic or computer generated. As the shark used in "Jaws" was 25 feet long, Harlin decided to increase their animatronic shark to 26 feet. Jackson recalled, "When they first brought it into the lab we were all in awe of the size of this machine [...] It was a real monster. I would walk up to it slowly and touch it and they said it felt like a real shark. The gills moved and it had a mind of its own sometimes." As an added homage to "Jaws", the license plate pulled from the shark's teeth by Carter is the same plate found in the tiger shark carcass from Spielberg's film.


title: Deep Blue Sea (1999 film)

text: After the shoot at Fox Baja Studios wrapped, Harlin insisted the team go to The Bahamas to shoot with real sharks. Recounting his experience there, actor Thomas Jane, who played shark wrangler Carter, said, "The first day, I was in a cage, but the next day, they swam me 30 feet down... Then this guy yanks the breather off me and the water's churning with blood and guts and stuff... It was so terrifying that I don't want to remember it." The idea was to mix footage of real sharks with animatronic and computer generated sharks to ensure a seamless transition between them all. To distinguish "Deep Blue Sea" from "Jaws", where the shark is frequently hidden, Harlin decided to show theirs more prominently because he felt that audience expectations had changed since then.


title: Deep Blue Sea (1999 film)

text: The scene where the cast is trying to get back to the elevator after hooking up actor Stellan Skarsgård to the helicopter is actually an accident that made it into the finished film. As Jackson explained, "At one point three tons of water got thrown on us by accident and we got swept toward those cargo bays and everyone thought we were going into the drink and people were tumbling around this metal grating [...] We scrambled up and kept acting [...] That was not supposed to happen and we didn't have safety harnesses on and we were flailing around on this deck." Jackson was initially offered the role played by LL Cool J, but his management team did not like the idea of him playing a chef, so Harlin created the role of Russell Franklin for him. Additionally, LL Cool J's character was supposed to die early on, but the director ultimately decided to keep him. The production team could not afford to have a fully trained parrot for LL Cool J's character, so they used two parrots: one that was good at flying, and another that could sit on his shoulder.


title: Deep Blue Sea (1999 film)

text: The film's ending was changed shortly before its theatrical release. Originally, Burrows's character would escape the shark infested water and live. However, the test audience, who saw the film less than a month before its release, disapproved of the ending because she was behind the shark experiments and was seen as the film's villain. As a result, the production team did a one-day reshoot in the Universal Studios tank and did some computer generated work on the sharks to change it. In 2009, Harlin explained that "Deep Blue Sea" was the hardest film he had ever made because most of the shooting days involved the team standing in water or being under water for long periods. According to him, "Just the practicality of putting a wet suit on in the morning, being in the water all day. Your script, all your paperwork has to be made of plastic paper. And things that you wouldn't think would ever float, they float. [...] Or then things that you hope would float actually sink and you can't find them anywhere."


title: Deep Blue Sea (1999 film)

text: The film score for "Deep Blue Sea" was composed by Trevor Rabin. Rabin's music ranges from orchestral and choral arrangements to electronic soundscapes, and was noted for its use of both dramatic and easily accessible themes. The soundtrack features two songs by LL Cool J"Deepest Bluest (Shark's Fin)" and "Say What"which were used in the end credits. Two soundtrack albums were also released for the film. The first album, "Deep Blue Sea: Music from the Motion Picture", was released on August 3, 1999 by Warner Bros. Records and features a set of hip hop and R&B tracks by several artists, including Hi-C, Cormega, and Bass Odyssey. The second album, "Deep Blue Sea: Original Motion Picture Score", was released on August 24, 1999 by Varèse Sarabande and contains musical tracks by Rabin.


title: Deep Blue Sea (1999 film)

text: "Deep Blue Sea" performed well when it opened on July 30, 1999 in 2,854 theaters, finishing third and grossing around $18.6 million at the US weekend box office. During its second weekend, the film grossed an estimated $11 million and finished in fifth place, behind "The Sixth Sense", "The Blair Witch Project", "Runaway Bride", and "The Thomas Crown Affair". "Deep Blue Sea" grossed over $73.7 million the United States and Canada and $91.4 million internationally, grossing over $165 million worldwide. The film's performance was compared to Stephen Sommers's "The Mummy" and Jan de Bont's "The Haunting", which had a similar budget and made a significant impact on the box office in the summer of 1999.


title: Deep Blue Sea (1999 film)

text: "Deep Blue Sea" received mixed reviews from critics. Review aggregator Rotten Tomatoes gives the film a "Fresh" 60% rating, based on 114 reviews. The critics consensus reads, ""Deep Blue Sea" is no "Jaws", but action fans seeking some toothy action can certainly do - and almost certainly have done - far worse for B-movie thrills." On Metacritic, the film has a score of 54 out of 100, based on reviews from 22 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale. Writing for "Chicago Sun-Times", Roger Ebert gave the film three out of four stars and praised it as "a skillful thriller", saying that "Deep Blue Sea" "is essentially one well-done action sequence after another [...] It doesn't linger on the special effects (some of the sharks look like cartoons), but it knows how to use timing, suspense, quick movement and [especially] surprise". He concluded that the film keeps spectators guessing in an otherwise predictable genre.


title: Deep Blue Sea (1999 film)

text: In a positive review, Kenneth Turan of "Los Angeles Times" considered "Deep Blue Sea" a return to form for Harlin, especially after the "dismal swamps" of "Cutthroat Island" and "The Long Kiss Goodnight". He described the film as "an example of how expert action filmmaking and up-to-the-minute visual effects can transcend a workmanlike script and bring excitement to conventional genre material". Similarly, Desson Howe of "The Washington Post" remarked that, while the film's premise feels familiar, it "knows its audience and knows what'll get them going – and even wondering". He said that "Deep Blue Sea" might not be Harlin's finest two hours, but he managed to build "something that, if nothing else, gives you a great big shock every few minutes". In a three-and-a-half out of four review, Robert Lasowski of "The Florida Times-Union" highly praised the film's pacing, intense action, and chase scenes, stating that "Deep Blue Sea" is "a great popcorn movie" and "what summer at the cineplex is all about".


title: Deep Blue Sea (1999 film)

text: Other reviews were less enthusiastic. Writing for "The New York Times", Stephen Holden described "Deep Blue Sea" as "a cut-rate "Titanic" stripped of romance and historical resonance and fused with "Jaws", shorn of mythic symbolism and without complex characters", while Barbara Shulgasser of "Chicago Tribune" criticized it for being an inferior imitation of "Jurassic Park", but praised LL Cool J's performance and the film's realistic setting. Ian Nathan of the British magazine "Empire" gave the film three out of five stars and criticized its B movie conventions, stating that "You're never entirely sure whether you're laughing at or with "Deep Blue Sea"." "Variety" reviewer Robert Koehler felt the computer generated sharks were inconsistently realized, but nevertheless highlighted the flooding of the facility very positively. The dialogue between action sequences was also praised, especially LL Cool J's "blend of Bible talk, smack and wit". Despite his few lines, Jane was seen as a charismatic character and "a genuine new action star".


title: Deep Blue Sea (1999 film)

text: "Deep Blue Sea" was first released on DVD on December 7, 1999, courtesy of Warner Home Video. Special features include the film in a 2.35:1 anamorphic format, two behind-the-scene featurettes, five deleted scenes with extended dialogue and relationships between the characters, and an audio commentary in which Harlin and Jackson discuss the film's technical features and special effects. Warner also released the film on Blu-ray on October 12, 2010, which includes the same special features from the DVD release.


title: Deep Blue Sea (1999 film)

text: In a 2016 retrospective, "Wired" editor Brian Raftery considered "Deep Blue Sea" "the greatest non-"Jaws" shark movie of all time" and superior to Jaume Collet-Serra's "The Shallows". He remarked that, within a genre that had been dominated by "Jaws", "Deep Blue Sea" features "genuinely inventive" action sequences, "nicely rounded-out, human" characters, and memorable death scenes. Raftery also noted that the film was among the last of its kind, describing it as "[A]n R-rated B-movie, full of gore and chaos and smart-stupidness, but with a big-budget, big-cast sheen", in a similar way to Paul Verhoeven's "Total Recall" and "Starship Troopers", Roland Emmerich's "Stargate", and Luc Besson's "The Fifth Element". Samuel L. Jackson's surprising death scene in the film appears on some lists of best film deaths of all time.


title: Deep Blue Sea (1999 film)

text: "Deep Blue Sea" has often been cited as one of the greatest shark films of all time. In 2012, "PopMatters" ranked the film third, behind "Jaws" and "Open Water", and described it as "[O]ne of the last great [films] from action ace Renny Harlin." In 2015, "Den of Geek!", a publication of Dennis Publishing, ranked "Deep Blue Sea" only behind "Jaws" and credited it for its action-packed scenes and intelligent sharks. In 2017, "Slant Magazine" ranked it seventh and highlighted Jackson's death scene and LL Cool J's performance, while "Complex" ranked it third, praising its talented actors and tight action sequences. In 2019, to celebrate the 20th anniversary of the release of "Deep Blue Sea", the Screamfest Horror Film Festival hosted a screening at the TCL Chinese theaters in Hollywood, California, as part of its "Fears & Beers" program. Cast members including actor Thomas Jane attended for a post-screening Q&A moderated by Brian Collins of Birth.Movies.Death.


title: Deep Blue Sea (1999 film)

text: A direct-to-video sequel, "Deep Blue Sea 2", was released in 2018. A third film, "Deep Blue Sea 3", was released on July 28, 2020.


title: Lathe

text: A lathe () is a machine tool that rotates a workpiece about an axis of rotation to perform various operations such as cutting, sanding, knurling, drilling, deformation, facing, and turning, with tools that are applied to the workpiece to create an object with symmetry about that axis.


title: Lathe

text: Lathes are used in woodturning, metalworking, metal spinning, thermal spraying, parts reclamation, and glass-working. Lathes can be used to shape pottery, the best-known design being the Potter's wheel. Most suitably equipped metalworking lathes can also be used to produce most solids of revolution, plane surfaces and screw threads or helices. Ornamental lathes can produce three-dimensional solids of incredible complexity. The workpiece is usually held in place by either one or two "centers", at least one of which can typically be moved horizontally to accommodate varying workpiece lengths. Other work-holding methods include clamping the work about the axis of rotation using a chuck or collet, or to a faceplate, using clamps or dog clutch.


title: Lathe

text: Examples of objects that can be produced on a lathe include screws, candlesticks, gun barrels, cue sticks, table legs, bowls, baseball bats, pens, musical instruments (especially woodwind instruments), and crankshafts.


title: Lathe

text: The lathe is an ancient tool. The earliest evidence of a lathe dates back to Ancient Egypt around 1300 BC. There is also tenuous evidence for its existence at a Mycenaean Greek site, dating back as far as the 13th or 14th century BC.


title: Lathe

text: Clear evidence of turned artifacts have been found from the 6th century BC: fragments of a wooden bowl in an Etruscan tomb in Northern Italy as well as two flat wooden dishes with decorative turned rims from modern Turkey.


title: Lathe

text: During the Warring States period in China, c. 400 BC, the ancient Chinese used rotary lathes to sharpen tools and weapons on an industrial scale.


title: Lathe

text: The lathe was very important to the Industrial Revolution. It is known as the "mother of machine tools", as it was the first machine tool that led to the invention of other machine tools. The first fully documented, all-metal slide rest lathe was invented by Jacques de Vaucanson around 1751. It was described in the "Encyclopédie".


title: Lathe

text: In 1718 Russian engineer Andrey Nartov invented one of the first lathes with a mechanical cutting tool-supporting carriage and a set of gears (also known as a compound rest or slide rest) with the first to invent such a lathe probably being Leonardo da Vinci.


title: Lathe

text: An important early lathe in the UK was the horizontal boring machine that was installed by Jan Verbruggen in 1772 in the Royal Arsenal in Woolwich. It was horse-powered and allowed for the production of much more accurate and stronger cannon used with success in the American Revolutionary War in the late 18th century. One of the key characteristics of this machine was that the workpiece was turning as opposed to the tool, making it technically a lathe. Henry Maudslay, who later developed many improvements to the lathe, worked at the Royal Arsenal from 1783, being exposed to this machine in the Verbruggen workshop. A detailed description of Vaucanson's lathe was published decades before Maudslay perfected his version. It is likely that Maudslay was not aware of Vaucanson's work, since his first versions of the slide rest had many errors that were not present in the Vaucanson lathe.


title: Lathe

text: During the Industrial Revolution, mechanized power generated by water wheels or steam engines was transmitted to the lathe via line shafting, allowing faster and easier work. Metalworking lathes evolved into heavier machines with thicker, more rigid parts. Between the late 19th and mid-20th centuries, individual electric motors at each lathe replaced line shafting as the power source. Beginning in the 1950s, servomechanisms were applied to the control of lathes and other machine tools via numerical control, which often was coupled with computers to yield computerized numerical control (CNC). Today manually controlled and CNC lathes coexist in the manufacturing industries.


title: Lathe

text: A lathe may or may not have legs, which sit on the floor and elevate the lathe bed to a working height. A lathe may be small and sit on a workbench or table, not requiring a stand.


title: Lathe

text: Almost all lathes have a bed, which is (almost always) a horizontal beam (although CNC lathes commonly have an inclined or vertical beam for a bed to ensure that swarf, or chips, falls free of the bed). Woodturning lathes specialized for turning large bowls often have no bed or tail stock, merely a free-standing headstock and a cantilevered tool rest.


title: Lathe

text: At one end of the bed (almost always the left, as the operator faces the lathe) is a headstock. The headstock contains high-precision spinning bearings. Rotating within the bearings is a horizontal axle, with an axis parallel to the bed, called the spindle. Spindles are often hollow and have an interior Morse taper on the spindle nose (i.e., facing to the right / towards the bed) by which work-holding accessories may be mounted to the spindle. Spindles may also have arrangements for work-holding on the left-hand end of the spindle with other tooling arrangements for particular tasks. (i.e., facing away from the main bed) end, or may have a hand-wheel or other accessory mechanism on their outboard end. Spindles are powered and impart motion to the workpiece.


title: Lathe

text: The spindle is driven either by foot power from a treadle and flywheel or by a belt or gear drive from a power source such as electric motor or overhead line shafts. In most modern lathes this power source is an integral electric motor, often either in the headstock, to the left of the headstock, or beneath the headstock, concealed in the stand.


title: Lathe

text: In addition to the spindle and its bearings, the headstock often contains parts to convert the motor speed into various spindle speeds. Various types of speed-changing mechanism achieve this, from a cone pulley or step pulley, to a cone pulley with back gear (which is essentially a low range, similar in net effect to the two-speed rear of a truck), to an entire gear train similar to that of a manual-shift automotive transmission. Some motors have electronic rheostat-type speed controls, which obviates cone pulleys or gears.


title: Lathe

text: The counterpoint to the headstock is the tailstock, sometimes referred to as the loose head, as it can be positioned at any convenient point on the bed by sliding it to the required area. The tail-stock contains a barrel, which does not rotate, but can slide in and out parallel to the axis of the bed and directly in line with the headstock spindle. The barrel is hollow and usually contains a taper to facilitate the gripping of various types of tooling. Its most common uses are to hold a hardened steel center, which is used to support long thin shafts while turning, or to hold drill bits for drilling axial holes in the work piece. Many other uses are possible.


title: Lathe

text: Metalworking lathes have a carriage (comprising a saddle and apron) topped with a cross-slide, which is a flat piece that sits crosswise on the bed and can be cranked at right angles to the bed. Sitting atop the cross slide is usually another slide called a compound rest, which provides 2 additional axes of motion, rotary and linear. Atop that sits a toolpost, which holds a cutting tool, which removes material from the workpiece. There may or may not be a leadscrew, which moves the cross-slide along the bed.


title: Lathe

text: Woodturning and metal spinning lathes do not have cross-slides, but rather have banjos, which are flat pieces that sit crosswise on the bed. The position of a banjo can be adjusted by hand; no gearing is involved. Ascending vertically from the banjo is a tool-post, at the top of which is a horizontal tool-rest. In woodturning, hand tools are braced against the tool rest and levered into the workpiece. In metal spinning, the further pin ascends vertically from the tool rest and serves as a fulcrum against which tools may be levered into the workpiece.


title: Lathe

text: Unless a workpiece has a taper machined onto it which perfectly matches the internal taper in the spindle, or has threads which perfectly match the external threads on the spindle (two conditions which rarely exist), an accessory must be used to mount a workpiece to the spindle.


title: Lathe

text: A workpiece may be bolted or screwed to a faceplate, a large, flat disk that mounts to the spindle. In the alternative, faceplate dogs may be used to secure the work to the faceplate.


title: Lathe

text: A workpiece may be mounted on a mandrel, or circular work clamped in a three- or four-jaw chuck. For irregular shaped workpieces it is usual to use a four jaw (independent moving jaws) chuck. These holding devices mount directly to the lathe headstock spindle.


title: Lathe

text: In precision work, and in some classes of repetition work, cylindrical workpieces are usually held in a collet inserted into the spindle and secured either by a draw-bar, or by a collet closing cap on the spindle. Suitable collets may also be used to mount square or hexagonal workpieces. In precision toolmaking work such collets are usually of the draw-in variety, where, as the collet is tightened, the workpiece moves slightly back into the headstock, whereas for most repetition work the dead length variety is preferred, as this ensures that the position of the workpiece does not move as the collet is tightened.


title: Lathe

text: A soft workpiece (e.g., wood) may be pinched between centers by using a spur drive at the headstock, which bites into the wood and imparts torque to it.


title: Lathe

text: A soft dead center is used in the headstock spindle as the work rotates with the centre. Because the centre is soft it can be trued in place before use. The included angle is 60°. Traditionally, a hard dead center is used together with suitable lubricant in the tailstock to support the workpiece. In modern practice the dead center is frequently replaced by a running center, as it turns freely with the workpiece—usually on ball bearings—reducing the frictional heat, especially important at high speeds. When clear facing a long length of material it must be supported at both ends. This can be achieved by the use of a traveling or fixed steady. If a steady is not available, the end face being worked on may be supported by a dead (stationary) half center. A half center has a flat surface machined across a broad section of half of its diameter at the pointed end. A small section of the tip of the dead center is retained to ensure concentricity. Lubrication must be applied at this point of contact and tail stock pressure reduced. A lathe carrier or lathe dog may also be employed when turning between two centers.


title: Lathe

text: In woodturning, one variation of a running center is a cup center, which is a cone of metal surrounded by an annular ring of metal that decreases the chances of the workpiece splitting.


title: Lathe

text: A circular metal plate with even spaced holes around the periphery, mounted to the spindle, is called an "index plate". It can be used to rotate the spindle to a precise angle, then lock it in place, facilitating repeated auxiliary operations done to the workpiece.


title: Lathe

text: Other accessories, including items such as taper turning attachments, knurling tools, vertical slides, fixed and traveling steadies, etc., increase the versatility of a lathe and the range of work it may perform.


title: Lathe

text: When a workpiece is fixed between the headstock and the tail-stock, it is said to be "between centers". When a workpiece is supported at both ends, it is more stable, and more force may be applied to the workpiece, via tools, at a right angle to the axis of rotation, without fear that the workpiece may break loose.


title: Lathe

text: When a workpiece is fixed only to the spindle at the headstock end, the work is said to be "face work". When a workpiece is supported in this manner, less force may be applied to the workpiece, via tools, at a right angle to the axis of rotation, lest the workpiece rip free. Thus, most work must be done axially, towards the headstock, or at right angles, but gently.


title: Lathe

text: When a workpiece is mounted with a certain axis of rotation, worked, then remounted with a new axis of rotation, this is referred to as "eccentric turning" or "multi-axis turning". The result is that various cross sections of the workpiece are rotationally symmetric, but the workpiece as a whole is not rotationally symmetric. This technique is used for camshafts, various types of chair legs.


title: Lathe

text: Lathes are usually 'sized' by the capacity of the work that they may hold. Usually large work is held at both ends either using a chuck or other drive in the headstock and a centre in the tailstock. To maximise size, turning between centres allows the work to be as close to the headstock as possible and is used to determine the longest piece the lathe will turn: when the base of the tailstock is aligned with the end of the bed. The distance between centres gives the maximum length of work the lathe will officially hold. It is possible to get slightly longer items in if the tailstock overhangs the end of the bed but this is an ill-advised practice.


title: Lathe

text: The other dimension of the workpiece is how far off-centre it can be. This is known as the 'swing' ("The distance from the head center of a lathe to the bed or ways, or to the rest. The swing determines the diametric size of the object which is capable of being turned in the lathe; anything larger would interfere with the bed. This limit is called the swing of the bed. The swing of the rest is the size which will rotate above the rest, which lies upon the bed.") from the notion that the work 'swings' from the centre upon which it is mounted. This makes more sense with odd-shaped work but as the lathe is most often used with cylindrical work, it is useful to know the maximum diameter of work the lathe will hold. This is simply the value of the swing (or centre height above the bed) multiplied by two. For some reason, in the U.S. swing is assumed to be diameter but this is incorrect. To be clear on size, it is better, therefore, to describe the dimension as 'centre height above the bed'. As parts of the lathe reduce capacity, measurements such as 'swing over cross slide' or other named parts can be found.


title: Lathe

text: The smallest lathes are "jewelers lathes" or "watchmaker lathes", which, though often small enough to be held in one hand are normally fastened to a bench. There are rare and even smaller mini lathes made for precision cutting. The workpieces machined on a jeweler's lathe are often metal, but other softer materials can also be machined. Jeweler's lathes can be used with hand-held "graver" tools or with a "compound rest" that attach to the lathe bed and allows the tool to be clamped in place and moved by a screw or lever feed. Graver tools are generally supported by a T-rest, not fixed to a cross slide or compound rest. The work is usually held in a collet, but high-precision 3 and 6-jaw chucks are also commonly employed. Common spindle bore sizes are 6 mm, 8 mm and 10 mm. The term WW refers to the Webster/Whitcomb collet and lathe, invented by the American Watch Tool Company of Waltham, Massachusetts. Most lathes commonly referred to as watchmakers lathes are of this design. In 1909, the American Watch Tool company introduced the Magnus type collet (a 10-mm body size collet) using a lathe of the same basic design, the Webster/Whitcomb Magnus. (F.W.Derbyshire, Inc. retains the trade names Webster/Whitcomb and Magnus and still produces these collets.) Two bed patterns are common: the WW (Webster Whitcomb) bed, a truncated triangular prism (found only on 8 and 10 mm watchmakers' lathes); and the continental D-style bar bed (used on both 6 mm and 8 mm lathes by firms such as Lorch and Star). Other bed designs have been used, such as a triangular prism on some Boley 6.5 mm lathes, and a V-edged bed on IME's 8 mm lathes.


title: Lathe

text: Smaller metalworking lathes that are larger than jewelers' lathes and can sit on a bench or table, but offer such features as tool holders and a screw-cutting gear train are called hobby lathes, and larger versions, "bench lathes" - this term also commonly applied to a special type of high-precision lathe used by toolmakers for one-off jobs. Even larger lathes offering similar features for producing or modifying individual parts are called "engine lathes". Lathes of these types do not have additional integral features for repetitive production, but rather are used for individual part production or modification as the primary role.


title: Lathe

text: Lathes of this size that are designed for mass manufacture, but not offering the versatile screw-cutting capabilities of the engine or bench lathe, are referred to as "second operation" lathes.


title: Lathe

text: Lathes with a very large spindle bore and a chuck on both ends of the spindle are called "oil field lathes".


title: Lathe

text: Fully automatic mechanical lathes, employing cams and gear trains for controlled movement, are called screw machines.


title: Lathe

text: Lathes with the spindle mounted in a vertical configuration, instead of horizontal configuration, are called vertical lathes or vertical boring machines. They are used where very large diameters must be turned, and the workpiece (comparatively) is not very long.


title: Lathe

text: A lathe with a tool post that can rotate around a vertical axis, so as to present different tools towards the headstock (and the workpiece) are turret lathes.


title: Lathe

text: A lathe equipped with indexing plates, profile cutters, spiral or helical guides, etc., so as to enable ornamental turning is an ornamental lathe.


title: Lathe

text: Various combinations are possible: for example, a vertical lathe can have CNC capabilities as well (such as a CNC VTL).


title: Lathe

text: Lathes can be combined with other machine tools, such as a drill press or vertical milling machine. These are usually referred to as combination lathes.


title: Lathe

text: Woodworking lathes are the oldest variety. All other varieties are descended from these simple lathes. An adjustable horizontal metal rail, the tool rest, between the material and the operator accommodates the positioning of shaping tools, which are usually hand-held. After shaping, it is common practice to press and slide sandpaper against the still-spinning object to smooth the surface made with the metal shaping tools. The tool rest is usually removed during sanding, as it may be unsafe to have the operators hands between it and the spinning wood.


title: Lathe

text: Many woodworking lathes can also be used for making bowls and plates. The bowl or plate needs only to be held at the bottom by one side of the lathe. It is usually attached to a metal face plate attached to the spindle. With many lathes, this operation happens on the left side of the headstock, where are no rails and therefore more clearance. In this configuration, the piece can be shaped inside and out. A specific curved tool rest may be used to support tools while shaping the inside. Further detail can be found on the woodturning page.


title: Lathe

text: Most woodworking lathes are designed to be operated at a speed of between 200 and 1,400 revolutions per minute, with slightly over 1,000 rpm considered optimal for most such work, and with larger workpieces requiring lower speeds.


title: Lathe

text: One type of specialized lathe is duplicating or copying lathe also known as Blanchard lathe after its inventor Thomas Blanchard. This type of lathe was able to create shapes identical to a standard pattern and it revolutionized the process of gun stock making in the 1820s when it was invented.


title: Lathe

text: Used to make a pattern for foundries, often from wood, but also plastics. A patternmaker's lathe looks like a heavy wood lathe, often with a turret and either a leadscrew or a rack and pinion to manually position the turret. The turret is used to accurately cut straight lines. They often have a provision to turn very large parts on the other end of the headstock, using a free-standing toolrest. Another way of turning large parts is a sliding bed, which can slide away from the headstock and thus open up a gap in front of the headstock for large parts.


title: Lathe

text: In a metalworking lathe, metal is removed from the workpiece using a hardened cutting tool, which is usually fixed to a solid moveable mounting, either a tool-post or a turret, which is then moved against the workpiece using handwheels or computer-controlled motors. These cutting tools come in a wide range of sizes and shapes, depending upon their application. Some common styles are diamond, round, square and triangular.


title: Lathe

text: The tool-post is operated by lead-screws that can accurately position the tool in a variety of planes. The tool-post may be driven manually or automatically to produce the roughing and finishing cuts required to "turn" the workpiece to the desired shape and dimensions, or for cutting threads, worm gears, etc. Cutting fluid may also be pumped to the cutting site to provide cooling, lubrication and clearing of swarf from the workpiece. Some lathes may be operated under control of a computer for mass production of parts (see "Computer numerical control").


title: Lathe

text: Manually controlled metalworking lathes are commonly provided with a variable-ratio gear-train to drive the main lead-screw. This enables different thread pitches to be cut. On some older lathes or more affordable new lathes, the gear trains are changed by swapping gears with various numbers of teeth onto or off of the shafts, while more modern or expensive manually controlled lathes have a quick-change box to provide commonly used ratios by the operation of a lever. CNC lathes use computers and servomechanisms to regulate the rates of movement.


title: Lathe

text: On manually controlled lathes, the thread pitches that can be cut are, in some ways, determined by the pitch of the lead-screw: A lathe with a metric lead-screw will readily cut metric threads (including BA), while one with an imperial lead-screw will readily cut imperial-unit-based threads such as BSW or UTS (UNF, UNC). This limitation is not insurmountable, because a 127-tooth gear, called a transposing gear, is used to translate between metric and inch thread pitches. However, this is optional equipment that many lathe owners do not own. It is also a larger change-wheel than the others, and on some lathes may be larger than the change-wheel mounting banjo is capable of mounting.


title: Lathe

text: The workpiece may be supported between a pair of points called centres, or it may be bolted to a faceplate or held in a chuck. A chuck has movable jaws that can grip the workpiece securely.


title: Lathe

text: There are some effects on material properties when using a metalworking lathe. There are few chemical or physical effects, but there are many mechanical effects, which include residual stress, micro-cracks, work-hardening, and tempering in hardened materials.


title: Lathe

text: Cue lathes function similarly to turning and spinning lathes, allowing a perfectly radially-symmetrical cut for billiard cues. They can also be used to refinish cues that have been worn over the years.


title: Lathe

text: Glass-working lathes are similar in design to other lathes, but differ markedly in how the workpiece is modified. Glass-working lathes slowly rotate a hollow glass vessel over a fixed- or variable-temperature flame. The source of the flame may be either hand-held or mounted to a banjo/cross-slide that can be moved along the lathe bed. The flame serves to soften the glass being worked, so that the glass in a specific area of the workpiece becomes ductile and subject to forming either by inflation ("glassblowing") or by deformation with a heat-resistant tool. Such lathes usually have two head-stocks with chucks holding the work, arranged so that they both rotate together in unison. Air can be introduced through the headstock chuck spindle for glassblowing. The tools to deform the glass and tubes to blow (inflate) the glass are usually handheld.


title: Lathe

text: In diamond turning, a computer-controlled lathe with a diamond-tipped tool is used to make precision optical surfaces in glass or other optical materials. Unlike conventional optical grinding, complex aspheric surfaces can be machined easily. Instead of the dovetailed ways used on the tool slide of a metal-turning lathe, the ways typically float on air bearings, and the position of the tool is measured by optical interferometry to achieve the necessary standard of precision for optical work. The finished work piece usually requires a small amount of subsequent polishing by conventional techniques to achieve a finished surface suitably smooth for use in a lens, but the rough grinding time is significantly reduced for complex lenses.


title: Lathe

text: In metal spinning, a disk of sheet metal is held perpendicularly to the main axis of the lathe, and tools with polished tips ("spoons") or roller tips are hand-held, but levered by hand against fixed posts, to develop pressure that deforms the spinning sheet of metal.


title: Lathe

text: Metal-spinning lathes are almost as simple as wood-turning lathes. Typically, metal spinning requires a mandrel, usually made from wood, which serves as the template onto which the workpiece is formed (asymmetric shapes can be made, but it is a very advanced technique). For example, to make a sheet metal bowl, a solid block of wood in the shape of the bowl is required; similarly, to make a vase, a solid template of the vase is required.


title: Lathe

text: Given the advent of high-speed, high-pressure, industrial die forming, metal spinning is less common now than it once was, but still a valuable technique for producing one-off prototypes or small batches, where die forming would be uneconomical.


title: Lathe

text: The ornamental turning lathe was developed around the same time as the industrial screw-cutting lathe in the nineteenth century. It was used not for making practical objects, but for decorative work: "ornamental turning". By using accessories such as the horizontal and vertical cutting frames, eccentric chuck and elliptical chuck, solids of extraordinary complexity may be produced by various generative procedures.


title: Lathe

text: A special-purpose lathe, the Rose engine lathe, is also used for ornamental turning, in particular for engine turning, typically in precious metals, for example to decorate pocket-watch cases. As well as a wide range of accessories, these lathes usually have complex dividing arrangements to allow the exact rotation of the mandrel. Cutting is usually carried out by rotating cutters, rather than directly by the rotation of the work itself. Because of the difficulty of polishing such work, the materials turned, such as wood or ivory, are usually quite soft, and the cutter has to be exceptionally sharp. The finest ornamental lathes are generally considered to be those made by Holtzapffel around the turn of the 19th century.


title: Lathe

text: Many types of lathes can be equipped with accessory components to allow them to reproduce an item: the original item is mounted on one spindle, the blank is mounted on another, and as both turn in synchronized manner, one end of an arm "reads" the original and the other end of the arm "carves" the duplicate.


title: Lathe

text: A reduction lathe is a specialized lathe that is designed with this feature and incorporates a mechanism similar to a pantograph, so that when the "reading" end of the arm reads a detail that measures one inch (for example), the cutting end of the arm creates an analogous detail that is (for example) one quarter of an inch (a 4:1 reduction, although given appropriate machinery and appropriate settings, any reduction ratio is possible).


title: Lathe

text: Reducing lathes are used in coin-making, where a plaster original (or an epoxy master made from the plaster original, or a copper-shelled master made from the plaster original, etc.) is duplicated and reduced on the reducing lathe, generating a master die.


title: Lathe

text: A lathe in which wood logs are turned against a very sharp blade and peeled off in one continuous or semi-continuous roll. Invented by Immanuel Nobel (father of the more famous Alfred Nobel). The first such lathes in the United States were set up in the mid-19th century. The product is called wood veneer and it is used for making plywood and as a cosmetic surface veneer on some grades of chipboard.


title: Lathe

text: Watchmakers lathes are delicate but precise metalworking lathes, usually without provision for screwcutting, and are still used by horologists for work such as the turning of balance staffs. A handheld tool called a graver is often used in preference to a slide-mounted tool. The original watchmaker's turns was a simple dead-center lathe with a moveable rest and two loose head-stocks. The workpiece would be rotated by a bow, typically of horsehair, wrapped around it.


title: Lathe

text: Transcription or recording lathes are used to make grooves on a surface for recording sounds. These were used in creating sound grooves on wax cylinders and then on flat recording discs originally also made of wax, but later as lacquers on a substratum. Originally the cutting lathes were driven by sound vibrations through a horn in a process known as acoustic recording and later driven by an electric current when microphones were first used in sound recording. Many such lathes were professional models, but others were developed for home recording and were common before the advent of home tape recording.


title: Lathe

text: National and international standards are used to standardize the definitions, environmental requirements, and test methods used for the performance evaluation of lathes. Election of the standard to be used is an agreement between the supplier and the user and has some significance in the design of the lathe. In the United States, ASME has developed the B5.57 Standard entitled "Methods for Performance Evaluation of Computer Numerically Controlled Lathes and Turning Centers", which establishes requirements and methods for specifying and testing the performance of CNC lathes and turning centers.


title: Devil May Cry 5

text: "Devil May Cry 5" was directed by Hideaki Itsuno whose goal was for this installment to be his best work. He aimed to balance the game for newcomers and returning gamers by providing various difficulties and challenges. Capcom also wanted to bring a more realistic design inspired by the RE Engine used in their previous work, "". As a result, real-life people were used to make the character's faces. The plot was written by returning writer Bingo Morihashi while the setting was based on various locations in London. Multiple composers worked together to produce the game's audio, creating three main themes centered around the playable characters.


title: Devil May Cry 5

text: "Devil May Cry 5" received positive reviews from critics, praising the variety of techniques the three characters bring while also liking the handling of the narrative. The game won several awards, and sold over two million copies less than two weeks after its release, which increased to six million by October 2022, making it the best-selling game in the franchise. A light novel and manga related to the game have also been released. An expanded version called was released for Xbox Series X/S and PlayStation 5 in November 2020, featuring the addition of Vergil as a playable character. For players on PlayStation 4, Windows, and Xbox One, Vergil was released as paid downloadable content.


title: Devil May Cry 5

text: The gameplay features the return of Dante and Nero as playable characters, along with a new character, named V. The gameplay is similar to that of the other titles in the "Devil May Cry" series, focusing on fast-paced "stylish action"; The player fights off hordes of demons with a variety of attacks and weapons. They receive a style rating for combat based on several factors, such as move variety, the length of a combo, and dodging attacks. The game's music changes based on the player's performance in combat. Every time the player interacts with the mechanic Nico or finds a statue, he can buy new abilities for each character. While there are three playable characters, the game forces the player to use only one per mission. Like previous games, this title has a Bloody Palace mode where players can face multiple types of demons in a single area.


title: Devil May Cry 5

text: The first character is Nero, introduced in "Devil May Cry 4". He retains his Red Queen sword for melee combat and the Blue Rose double-barreled revolver. However, he does not have his Devil Bringer from the beginning. Still, he has an assortment of new robotic arms called Devil Breakers instead. These have various functions like grabbing enemies from a distance or stopping time to freeze an enemy in place. Nero can also find Devil Breakers during stages. Devil Breakers are powerful but fragile and can be destroyed if misused. Late in the story, Nero regains his Devil Bringer and has access to the Devil Trigger move which expands his combat skills.


title: Devil May Cry 5

text: Dante plays like his "Devil May Cry 4" persona as he can change between four styles to create new techniques or parry enemy attacks. Along with his signature blade "Rebellion" and the Demonic "Devil Sword Sparda", Dante uses three new Devil Arms, a pair of buzzsaw-like weapons that combine into a motorcycle called "Cavaliere", and a set of fiery gauntlets and boots called "Balrog". Dante also wields "King Cerberus", a stronger version of the "Cerberus" nunchaku introduced in "Devil May Cry 3". He also wears the "Dr. Faust", a hat that requires red orbs to attack; it is a risk/reward weapon depending on the player's actions. Dante can also use both "Kalina Ann" from "Devil May Cry 3" and the new enhanced "Kalina Ann 2". Besides the Devil Trigger that enhances Dante's abilities and restores his health, the character also possesses a more overpowered form named "Sin Devil Trigger" which produces new means of attacks.


title: Devil May Cry 5

text: The third playable character is V, who primarily summons his three demon familiars to fight. These include Griffon, an eagle that uses ranged lightning-based attacks, Shadow, a panther that forms blades, spikes, and portals out of its body, and Nightmare, a large and powerful golem. V enters a Devil Trigger-like state, which turns his hair white, to summon Nightmare, which uses a combination of melee attacks and explosive laser beams. Once the enemy's health turns light purple, V uses his cane to finish off the enemy with a final blow.


title: Devil May Cry 5

text: Vergil reappears as a playable character in the game's Special Edition, carrying over his playstyle from the fourth game's Special Edition, including the Concentration gauge system and weaponry. However, the Force Edge from previous Special Edition games is replaced with Mirage Edge, an ethereal sword that Vergil usually used as a projectile summon. He has a new ability, which allows him to turn into V and gather his trio demonic familiars to deal a wide range of damages to enemies. Instead of transforming into his regular Devil Trigger form, Vergil immediately transforms into his Sin Devil Trigger upgrade. His original Devil Trigger is now replaced with Doppelganger, a summoned spectral copy of his Sin Devil Trigger form which mirrors Vergil's attacks (with the Yamato only), which was a mechanic introduced in "Devil May Cry 3" as Dante's Doppelganger Style, then reintroduced as the Devil Trigger ability for the reboot Vergil in "Dmc: Devil May Cry".


title: Devil May Cry 5

text: Following the events of "Devil May Cry 4", Nero is working as a demon hunter for Dante's Devil May Cry agency along with his friend, gunsmith Nico Goldstein. One afternoon, Nero is working at the agency when a hooded man enters. Nero offers the stranger food when he suddenly rips off his demonic Devil Bringer arm, along with the Yamato sword.


title: Devil May Cry 5

text: Some time later, a mysterious man known as V hires Dante and his crew to take down a powerful demon named Urizen. The group travels to Red Grave City, where they find a demonic tree called Qliphoth planted in the city, killing people for their blood. They confront Urizen but, empowered by the Qliphoth, the new demon king incapacitates them and overpowers Nero when he intervenes. Dante stops Urizen from capturing Nero but is defeated and ejected from the Qliphoth with his sword Rebellion shattered. His allies Lady and Trish are captured to be used as demon-cores while V convinces the weakened Nero to escape.


title: Devil May Cry 5

text: One month later, Nero returns to Red Grave outfitted with the "Devil Breaker" prosthetic arm, made by Nico. Nero meets up with V, who is seeking Qliphoth for its fruit—born of condensed human blood—which makes whoever consumes it the king of the Underworld. As the pair destroy the Qliphoth's roots while searching for Dante, Nero rescues Lady while V splits off to discover the Devil Sword Sparda - along with a hibernating Dante, whose presence was hidden by the sword.


title: Devil May Cry 5

text: After awakening from his coma, Dante frees Trish and begins fighting his way to Urizen. Trish learns from V that Urizen is the demon-side of Dante's brother Vergil, who used Yamato's power to separate his demon and human halves - the latter manifesting as V, whose body is rapidly breaking down. Realizing Yamato has an unbelievable capability of separating humanity and the devil, Dante questions himself whether his Rebellion also has a hidden potential, believing both legacy weapons have incredible power on their own. After stabbing himself with his broken Rebellion, Dante unlocks his full demonic power and a new weapon, the "Devil Sword Dante," by absorbing Rebellion and Devil Sword Sparda into his body. Nero attempts to confront Urizen again and is overpowered once more, but Dante rescues him and gains the upper hand with his new powers. Urizen takes his leave when the Qliphoth bears fruit and consumes it to empower himself further. While Dante arrives first to face Urizen, Nero rescues V from the demon Malphas and learns of Dante's history with Vergil. Nero and V reach Dante just as he defeats Urizen, but a dying V intervenes and merges with Urizen before Dante can finish him, reviving Vergil.


title: Devil May Cry 5

text: Vergil returns to the Qliphoth tree, telling Dante to recover his full strength before they battle again. Nero insists on going after Vergil himself, but Dante reveals Nero is Vergil's son, and refuses to let Nero kill his father. Dante then faces V's familiars - revealed as the embodied memories of Vergil's time as Nelo Angelo - and they elect to die by Dante's hand to lessen Vergil's trauma. Dante and Vergil fight again, where Vergil learns Nero is his unintended son. Nero settles his emotions in a phone call to Kyrie and resolves not to let his father and uncle die, fully awakening his demonic powers and regrowing his arm. Intervening in their fight and forcing Dante out, Nero vows to end the pair's sibling rivalry and defeats Vergil, who gives Nero V's book as a memento. Vergil joins Dante in a one-way trip to the Underworld to cut the Qliphoth down and seal the portal before it rips Red Grave City apart and merges the Demon World with the Human World, with Nero departing as the Qliphoth falls. Weeks later, Trish and Lady are hired for a new job by Dante's agent, Morrison, whom Dante left in charge of his office. In the Underworld, Dante and Vergil continue sparring while demons attack them, now friendly rivals instead of enemies.


title: Devil May Cry 5

text: In 2013, Hideaki Itsuno, director of the "Devil May Cry" games since the second game, showed an interest in continuing the original "Devil May Cry" series by developing a fifth installment. It was originally thought the series might go on hiatus or end for good if "Devil May Cry 4: Special Edition" was not a commercial success. However, in an interview with "GameSpot", Itsuno confirmed this was not the case. He alleviated these fears by confirming that Capcom was ultimately satisfied with the final sales figures of "Devil May Cry 4: Special Edition" and "". In January 2016, Itsuno tweeted that he was working on a project well in development which could not yet be announced. In March, Reuben Langdon and Johnny Yong Bosch, who had done voice acting and motion capture for Dante and Nero respectively in "Devil May Cry 4", took pictures of themselves in motion capture gear, leading to speculation that a new "Devil May Cry" game was in development. In a response on Twitter about these speculations, Capcom Vancouver stated: "It's not a game that we've announced that we're working on at this studio." On 17 May 2018, the domain name "DevilMayCry5.com" was registered by an unknown entity under Capcom's Onamae domain register. "Devil May Cry 5" was confirmed at E3 2018 for a release the following year. Capcom confirmed a release date of March 2019 and a demo was playable in August 2018 at Gamescom. It was later made available on PlayStation Store and Xbox Live.


title: Devil May Cry 5

text: The game was originally planned to be announced in 2017. However, the idea to announce it along with the "Resident Evil 2" remake led to a change. The game was being developed by Capcom Dev Studio 1 and many staff members worked on the "Dragon's Dogma" and the "Devil May Cry" series. The team aimed to make it the best action game from the Heisei period. A secret message was left in the first trailer for series' fans. The game was created by a studio from Osaka, Japan. It runs on the RE Engine, first used in "". Most of the team had originally worked on the recently released "Resident Evil 7" and were experienced with the engine. Itsuno was also influenced by his work in "Monster Hunter World" to provide content that would appeal to new gamers. However, because of the need to have a good balance in the gameplay, Itsuno felt making it challenging would also appeal to long-time fans. Other members of the staff previously worked in the reboot game "", but the Osaka team was more willing to make a sequel to the fourth installment of the main series. The team listened to the fans' opinions of previous games to ensure the game appealed to them. An example is giving the players an "auto" mode that provides easier ways to produce combos.


title: Devil May Cry 5

text: Itsuno claims the original "Devil May Cry 4" was unsuitable for consoles of its generation which resulted in certain issues with its design. As a result, he aimed to make this sequel far more enjoyable with a budget that would allow more content and thus appeal to a larger audience, including "Devil May Cry 4" players. However, because the game's narrative was focused on Dante, Nero and V, Lady and Trish could not appear as playable characters again. The game difficulty of "Sons of Sparda" was retouched from a previous game to provide players with new challenges like the way characters have to parry enemy attacks and then be able to defeat them in one counterattack while also enhancing the boss fights such as Goliath's fight scene. Another of Itsuno's objectives was making more responsive controls to generate better productions while making the characters move like humans. A big influence on Itsuno and the game was a movie where three robots combined into one giant bot and overcame their foe, moving him to tears. He wanted to create similar moments. Itsuno also wanted to give players the style of a Hollywood movie, most notably Marvel's "Avengers" series.


title: Devil May Cry 5

text: Dante and Nero's respective actors, Reuben Langdon and Johnny Yong Bosch, have expressed pleasure with the game. Their characters were developed to play completely different in a similar fashion to "Devil May Cry 4" as they employ different mechanics. Itsuno still felt that mastering Dante's skills would be more difficult as a result of the multiple mode and weaponry he executes. It features Cameo System, an online multiplayer mode for up to three players, that can be triggered depending on the mission being played. In April 2019, Capcom's Matt Walker claimed Vergil would not be a playable character in the game, leaving "a bitter taste" in fans mouths.


title: Devil May Cry 5

text: The story main's theme is "love" which is something Capcom aimed to introduce into "Devil May Cry" since the first installment. Itsuno explained the development team aimed for a "photo-realistic" graphics style. The game targets 60 frames per second on each release platform. The developers scanned various models to give the characters a realistic look, and actual clothes were created in London and scanned in Serbia. Using the RE Engine, the Capcom staff aimed for a more realistic story than previous games in the franchise rather than making it look like low-budget plot. The game's main location was modeled after London. The team made multiple research trips to generate better stages. Locations include Midhurst in West Sussex, Rochester, Kent, Canterbury and Leeds Castle in Kent. Art director Koki Kinoshita stated that thanks to the new technology provided by the engine, the character designs of the returning ones involved slight alterations to their "Devil May Cry 4" appearances in order to fit their personalities. However, while Dante and Nero had few scrapped ideas, V underwent nearly twenty different appearances. The designs were also inspired by Carol Christian Poell as well as Daniel Craig and Benedict Cumberbatch.


title: Devil May Cry 5

text: Itsuno wanted to portray a villain who would not be taken lightly by either Dante or Nero. As a result, the staff found Vergil to be the best candidate for an interesting villain due the power he has developed in the series, and how he is related to the protagonists. The staff wanted to generate a major emotional scene when Vergil reappears in the climax confronting his brother. As a result, the brothers' feud is stopped by Nero who awakens his own demon powers to face his father. Nero's gameplay is designed to emphasize his anger over the way Dante treats him in the beginning. The game's climactic event, where Nero awakens his demonic powers and stops the struggle between Dante and Vergil, is meant to give the story a deeper form. The idea behind making Nero's new powers available near the game's ending is not only to give the title replay value, but to emphasize the power Nero needs to use to face Vergil. This contrasts with the beginning of the game when he can not defeat his alter-ego Urizen. His redesign for "Devil May Cry 5" is intended to contrast with Dante's older look. Capcom used an older incarnation of Nero, so he would be "at the top of his game in body and mind". Because the game's graphics are meant to be as realistic as possible, each character is modeled after an actor.


title: Devil May Cry 5

text: According to the company, Dante "hasn't gone wild for no reason". In terms of his moves, Itsuno said he would be more like his "Devil May Cry 3" persona. Nevertheless, he stated Dante has a more mature personality and still wishes to protect humanity and honor the legacy of his father, Sparda. The new antagonist, Urizen, was meant to remind players of the original Demon King from the 2001 "Devil May Cry" game. Itsuno said, "Urizen is definitely the strongest enemy of the entire "Devil May Cry" saga ... the most powerful. You've seen it: every time he appears, he sits on his throne and, maybe sometimes, he moves a little, but that's it. We want to make people understand how a fight against him can be completely crazy."


title: Devil May Cry 5

text: Newcomer V was created to be the exact opposite of Nero and Dante. He does not wield weapons, giving him a sense of mystery. Itsuno was pleased he was well-received as a character by fans, despite his traits which he felt would make him divisive. Nico was created to be a contrasting heroine to Nero's girlfriend, Kyrie; Nico is more used to fighting. In developing Nero's Devil Breaker abilities, Itsuno pointed out that Punch Line, which involves Nero shooting his mechanical arm, was made to attract teenagers.


title: Devil May Cry 5

text: During localization, Langdon did not like reading the script. Although he enjoyed the story and characters, Langdon claims the dialogue was "horrible," and they had to rewrite some parts. Translator Mike NcNamara reworked the original dialogue much to Langdon's liking alongside Itsuno's. Langdon worked with Daniel Southworth and Bosch to improve the English translation of the dialogue, which they enjoyed. Dante performs a parody of one of Michael Jackson's themes that the staff knew Langdon could not perform in motion capture during one scene. As a result, this scene was performed by a stunt double known as Shibata. The voiceover had to be redone during the making of the game. Although "Devil May Cry 5" is a sequel, Bosch did three auditions to reprise his roles due to the considerable time the game took to be made.


title: Devil May Cry 5

text: Kota Suzuki, Yoshiya Terayama, Hiromitsu Maeba, Steven McNair, John R. Graham, Casey Edwards, Cody Matthew Johnson and Jeff Rona composed the game's soundtrack. Johnson and Rona had worked together on multiple projects before "Devil May Cry 5" including the fighting game "" where both worked on a remix of Dante's theme "Devils Never Cry". Their work's success led the duo to be chosen to work on "Devil May Cry 5". While not a composer, Johnson played the games, so he knew the series. Edwards has been a fan of the series since the original 2001 game. He took a liking to Nero's theme from "Devil May Cry 4" which attracted him mostly because of the lyric "I'll endure the exile." According to Johnson, the general idea for the music was "grittier, heavier, and more experimental." The fact the game uses three characters allowed them to use different types of music. Sony Japan released the game's original soundtrack in Japan on 12 April 2019. on five disks.


title: Devil May Cry 5

text: Nero's battle themes are "Devil Trigger" and its final boss remix, "Silver Bullet," both performed by Ali Edwards. "Devil Trigger" was released on 11 June 2018 as a soundtrack single to promote the game. Edwards was given multiple images of Nero facing his enemies to give him an idea of how his theme song should sound. Edwards met Bosch, who gave him a better understanding of the character. This included his young and reckless traits despite being older when he is introduced. The massive positive response to "Devil Trigger" surprised Edwards. On Spotify the song has 7.2 million streams. At one point on YouTube, it had over 30 million views. "Devil Trigger" was also the first song revealed to the audience because older members of the staff enjoyed the composers' work on that track. The theme "Silver Bullet" used for Nero's final fight with Vergil was considered a "risked" by the composer. It served as an homage to the original "Devil May Cry" final boss theme and served as a remix of "Devil Trigger." He faced the challenge of putting a more emotional theme than "Devil Trigger" in this remix and was grateful to the Capcom staff for assisting him in making this theme.


title: Devil May Cry 5

text: In September 2018, Dante's battle theme "Subhuman," composed by Johnson and performed by Suicide Silence, was released. It was originally sung by the band's lead vocalist Eddie Hermida, but following sexual misconduct allegations against him, he was replaced by then-former Volumes vocalist Michael Barr. The idea for this theme was to explore the dark and goofy sides of Dante's personality through the instruments being played. The staff was careful the song accurately reflected the character.


title: Devil May Cry 5

text: In December 2018, new franchise character V's original battle theme, "Crimson Cloud," composed by Rona, was released. Because V's real identity was not revealed until later in the story, the composers avoided giving him themes related to his origins. The final trailer presented the game's ending theme "Legacy," composed by Kota Suzuki and sung by Ali Edwards. Edwards worked as both vocalist and lyricist. A theme of this song is "family" as well as the idea of people supporting each other. The Japanese version of the game includes the song "Mad Qualia" by Hyde.


title: Devil May Cry 5

text: "Devil May Cry 5" was released for PlayStation 4, Windows, and Xbox One on 8 March 2019. Players who purchased the deluxe edition of the game had access to several pieces of additional content. These included the Cavaliere R weapon for Dante, new cutscenes and announcer options, battle music from the first four "Devil May Cry" titles, and four Devil Breaker weapons for Nero, including a Mega Buster based on "Mega Man 11". They were available for purchase separately as downloadable content within weeks of the game's release. A wave-based survival mode, Bloody Palace, was released as a free update on 1 April 2019. In Japan, there were three limited releases of the game which included a replica of either Dante, Nero, or V's jacket. An Amazon Luna version of the game was announced and released during the 2021 Game Awards.


title: Devil May Cry 5

text: Bingo Morihashi, the game's writer, wrote a prequel novel that leads up to the beginning of the game's story. Titled "Devil May Cry 5: Before the Nightmare", it was released in Japan on 1 March 2019, one week before the game's release. A spin-off manga centered around V was also released. Titled "Devil May Cry 5: Visions of V", it was written by Tomio Ogata and serialized on Line Manga from 7 March 2019 to 19 March 2022. Its 50 chapters were collected into five physical tankōbon volumes, with the first volume released on 15 November 2019, and the final volume released on 15 July 2022.


title: Devil May Cry 5

text: During the September 2020 PlayStation 5 showcase, Capcom announced an expanded version called "Devil May Cry 5: Special Edition". It was released as a digital-only launch title for the Xbox Series X/S and PlayStation 5 in November 2020. A physical version was released the following month. Owing to the more powerful hardware, it features improved visuals and gameplay at up to 120 frames per second. Alongside all previously-released downloadable content, other additions include Vergil as a playable character, ray tracing graphics options, and two additional game modes; Legendary Dark Knight mode, which significantly increases the number of enemies in each level; and Turbo mode, which increases the game speed by 20%. Turbo mode was previously included in "Devil May Cry 3: Special Edition" and "Devil May Cry 4: Special Edition". Players who own the original version of "Devil May Cry 5" can also purchase Vergil separately as downloadable content.


title: Devil May Cry 5

text: Including Vergil as a playable character was something the team wanted to do ever since the "Special Edition" was conceived. Vergil's new battle theme, titled "Bury the Light", was composed by Casey Edwards with vocals performed by Victor Borba. Edwards stated that the song was meant to be a reflection of Nero's battle theme, "Devil Trigger", as he saw Nero as a reflection of Vergil. According to Edwards, "Nero chose to 'embrace the darkness' within and accept his demon side. Vergil has always tried to bury his humanity as it is a great source of personal pain and memory of weakness".


title: Devil May Cry 5

text: Following 2018's Tokyo Game Show, "Devil May Cry 5" won the Future Division award from the Japan Game Awards. Some concern arose in the gaming community regarding the decision to include optional in-game purchases where the player can purchase red orbs used to upgrade characters. Capcom confirmed this in no way alters the game's designed progression system, and it is similar to that of "Devil May Cry 4: Special Edition", which also allowed for similar in-game purchases.


title: Devil May Cry 5

text: "Devil May Cry 5" received "generally favorable reviews" on all platforms, according to review aggregator Metacritic. The gameplay and characters were praised. "PC Gamer UK" referred to it as "one of the best games about hitting demons ever made". The reviewer enjoyed the characters' fightstyles and how performing different techniques rewards the player for their originality in combat. "USgamer" found it one of the series' strongest installments. They noted that while the reboot by Ninja Theory was enjoyable, "Devil May Cry 5" remained true to the series' core when it came to gameplay mechanics and the handling of the characters. VideoGamer.com praised its gameplay and world building style—particularly its handling of the setting based on London. Similarly, "The Guardian" gave it a perfect score. The reviewer liked how newcomers can easily learn how to score the stylish system in a short time, noting they must also understand the enemies' tactics to beat them and the bosses. "GameSpot" appreciated the depth Capcom offered players, most notably the change in Nero's gameplay to allow different styles of Devil Breaker techniques. "Destructoid" enjoyed the multiple types of enemies and boss fights and noted Capcom had responded to criticism of "Devil May Cry 4" by providing the player with more stages.


title: Devil May Cry 5

text: Several critics focused on the increased number of moves available to the three protagonists. "The Daily Telegraph" praised the characters' mechanics, most notably V's, for how differently he plays compared to Nero and Dante while still entertaining. "GamesRadar" enjoyed the great variety each of the three playable characters possess in combat while retaining their own style—this, despite Dante playing similarly to his "Devil May Cry 4" persona. "GameSpot" noted how engaging Nero is to newcomers thanks to his gameplay. They also felt the techniques V presents and how differently he plays from Dante and Nero is impressive. "IGN" liked Nero's new techniques provided by his mechanical arms—most notably the one he shoots to attack enemies. While IGN felt Dante was similar to his presentation in previous games, they noted the new weapons he presents were much more enjoyable. V was also well-received for his interactions with the demons he commands to fight enemies. Due to some difficulties in handling Nero's Devil Breakers mechanics, "Destructoid" felt that Dante and V were the most polished characters to play. Despite enjoying the gameplay, the swapping between characters who need to earn new powers was criticized by "Game Informer".


title: Devil May Cry 5

text: The game's narrative and the concept was also the subject of praise by "IGN" for its characters and elements of the story, despite the reviewer not finding it very entertaining overall. "IGN"s Mitchell Saltzman said "its mysterious story keeps things interesting along the way." "GameSpot" praised the storyline for concluding the crisis the protagonists have across the game, praising their character arcs even though they are not deep. "The Guardian" liked the plot despite finding it simple and noted it took elements from the reboot that were also well received. Dante's characterization as older than in previous games while retaining his juvenile personality was also praised by "The Guardian". "PCGamer" enjoyed the story for the portrayal of its characters. The reviewer felt let down by some cutscenes and was critical of Nico. While liking how integral the narrative became in the gameplay mechanics, "GamesRadar" felt newcomers might not understand the game's full plot and that the ending was rushed. "VideoGamer.com" was more critical of the plot, believing the narrative and villain were "dull" despite some interesting interactions in the storyline.


title: Devil May Cry 5

text: At its launch, the PlayStation 4 version of the game released in western countries included the use of a lens flare which reduced the visibility of brief nudity. Several gaming journalists referred to it as an act of censorship and reported the change came about as part of a patch for the game. "IGN" also noted that another character was similarly censored in all western versions regardless of the platform. In April 2019, "Push Square" reported the lens flare had been removed in the game's North American version, yet remained in Europe.


title: Devil May Cry 5

text: In Japan, approximately 116,202 physical units, or 75.75% of its initial shipment for the PS4, were sold during its launch week making it the number one selling game of any format, While selling fewer units than the debut of "Devil May Cry 4", it still surpassed the reboot "DmC". In the United Kingdom, "Devil May Cry 5" debuted atop the all-format sales chart selling 20,872 physical copies, becoming Capcom's second number-one in the country in 2019 following the "Resident Evil 2" remake. At the 2019 Game Developers Conference, Itsuno revealed the game had sold more than two million copies, reaching the figure within two weeks of its release. , the game had sold over 2.7million copies worldwide. By September 2020, 3.9 million copies had been sold, making it the best-selling title in the series. By April 2022, 5 million copies had been sold, not including the "Special Edition" version. As of 19 October 2022, 6 million copies had been sold.


title: The Birdcage

text: The Birdcage is a 1996 American comedy film directed by Mike Nichols, adapted by Elaine May, and starring Robin Williams, Gene Hackman, Nathan Lane, and Dianne Wiest. Dan Futterman, Calista Flockhart, Hank Azaria, and Christine Baranski appear in supporting roles. It is an English-language remake of the 1978 Franco-Italian film "La Cage aux Folles" and the musical of the same name.


title: The Birdcage

text: Armand Goldman is the openly gay owner of a drag club in South Beach called The Birdcage; his life partner Albert, an effeminate and flamboyant man, plays Starina, the star attraction of the club. They live together in an apartment above The Birdcage with Agador, their openly gay flamboyant Guatemalan housekeeper who aspires to be in Armand's drag show.


title: The Birdcage

text: One day, Armand's son Val, who resulted from Armand's drunken one-night stand with a woman named Katharine, comes home to announce that he has been seeing a young woman named Barbara whom he intends to marry. Although unhappy about the news, Armand agrees to support Val. Unfortunately, Barbara's parents are the ultra-conservative Republican Senator Kevin Keeley and his wife Louise.


title: The Birdcage

text: Kevin, co-founder of a conservative group called the Coalition for Moral Order, becomes embroiled in a political scandal when the group's co-founder and Kevin's fellow senator is found dead in the bed of an underage black prostitute. Louise and Barbara convince Kevin that a visit to meet the family of his daughter's fiancé would be the perfect way to stave off bad press, so they set out for South Beach.


title: The Birdcage

text: Barbara shares news of her father's plan to Val; to cover the Goldmans' truth, she has told her parents that Armand is straight and a cultural attaché to Greece. Armand dislikes the idea of being forced into the closet, but agrees to play along, enlisting the help of friends and club employees to redecorate the family's apartment to more closely resemble a traditional household. Val and Armand attempt to get Albert out of the house, but when they fail, Albert suggests that he will pose as Val's straight uncle. Armand contacts Katharine and explains the situation; she promises to come to the party and pretend to be his wife. Armand then tries to coach Albert on how to be straight, but Albert's flamboyant nature makes the task difficult. When Albert realizes his plan will not fool anyone, he takes offense and locks himself in his room.


title: The Birdcage

text: The Keeleys arrive at the Goldmans' (who are calling themselves "Coleman" for the evening to hide their Jewish heritage) redecorated apartment; they are greeted by Agador, who is attempting to pass as a Greek butler named Spartacus for the night. Unfortunately, Katharine gets caught in traffic, and the Keeleys begin wondering where "Mrs. Coleman" is. Suddenly, Albert enters, dressed and styled as a conservative middle-aged woman. Armand, Val, and Barbara are nervous, but Kevin and Louise are taken in by the disguise.


title: The Birdcage

text: Despite the success of the evening, trouble begins when the senator's chauffeur betrays him to two tabloid journalists, Harry Radman and his photographer, who have been hoping for a scoop on the Coalition story and who have followed the Keeleys to South Beach. While they research The Birdcage, they also remove a note that Armand has left on the door informing Katharine not to come upstairs. When she arrives, she unknowingly reveals the deceptions, leading Val to confess to the scheme and finally identify Albert as his true parent.


title: The Birdcage

text: Kevin is initially confused by the situation, but Louise informs him of the truth and scolds him for being more concerned with his career than his family's happiness. When attempting to leave, he is ambushed by the paparazzi camped outside to take his picture. Albert then realizes that there is a way for the family to escape without being recognized. He dresses them in drag and they use the apartment's back entrance to sneak into The Birdcage where, by dancing to "We Are Family," they make their way out of the nightclub without incident. Barbara and Val are married in an interfaith service that both families attend.


title: The Birdcage

text: Three songs written by Stephen Sondheim were adapted and arranged for the film by composer Jonathan Tunick. Albert's first song (as Starina) is "Can That Boy Foxtrot," cut from Sondheim's "Follies". "Little Dream" was written specifically for the film, ultimately used during Albert's rehearsal with the gum-chewing dancer. While Armand and Katharine dance in her office, they sing "Love Is in the Air", cut from "A Funny Thing Happened on the Way to the Forum." In addition to the Sondheim songs, Tunick utilized dance-style music such as Donna Summer's "She Works Hard for the Money" and "We Are Family," along with Gloria Estefan and Miami Sound Machine's "Conga."


title: The Birdcage

text: The film opened on March 8, 1996, and grossed $18,275,828 in its opening weekend, topping the box office. It remained at No. 1 for the next three weeks before being derailed by the openings of "Primal Fear" and "A Thin Line Between Love and Hate." By the end of its 14-week run, the film had grossed $124,060,553 domestically and $61,200,000 internationally, eventually reaching a total of US$185,260,553 worldwide.


title: The Birdcage

text: The film received positive reviews upon its release. On the review aggregation website Rotten Tomatoes, the film holds an 82% approval rating based on reviews from 55 critics. The site's critical consensus reads, "Mike Nichols wrangles agreeably amusing performances from Robin Williams and Nathan Lane in this fun, if not quite essential, remake of the French-Italian comedy "La Cage aux Folles"." On "Metacritic" the film has a score of 72/100 based on reviews from 18 critics, indicating "generally favorable reviews."


title: The Birdcage

text: James Berardinelli wrote in "ReelViews," "The film is so boisterously entertaining that it's easy for the unsuspecting viewer not to realize that there's a message here." Desson Thomson of "The Washington Post" described the film as "A spirited remake of the French drag farce [that] has everything in place, from eyeliner to one-liner." Owen Gleiberman of "Entertainment Weekly" called the film "Enchantingly witty." Janet Maslin of "The New York Times" gave the film a positive review, especially praising Robin Williams' performance: "...this is one of his most cohesive and least antic performances. It's also a mischievously funny one: He does a fine job of integrating gag lines with semi-serious acting..."


title: The Birdcage

text: The Gay & Lesbian Alliance Against Defamation (GLAAD) praised the film for "going beyond the stereotypes to see the characters' depth and humanity. The film celebrates differences and points out the outrageousness of hiding those differences." The film was also nominated for a GLAAD Media Award.


title: Larry Linville

text: Lawrence Lavon Linville (September 29, 1939 – April 10, 2000) was an American actor known for his portrayal of the surgeon Major Frank Burns on the television series "M*A*S*H".


title: Larry Linville

text: Linville was born in Ojai, California, the son of Fay Pauline (née Kennedy) and Harry Lavon Linville. Raised in Sacramento, he attended El Camino High School (Class of 1957) and later studied aeronautical engineering at the University of Colorado at Boulder before applying for a scholarship to the Royal Academy of Dramatic Arts in London.


title: Larry Linville

text: After returning to the United States, Linville began his acting career at the Barter Theatre in Abingdon, Virginia, a year-round repertory theatre under director Robert Porterfield.


title: Larry Linville

text: Before his five-year co-starring role on "M*A*S*H", Linville had guest-starring roles on many of the well-known television series of the late 1960s and early 1970s. Included in his credits in that period are one appearance each on "Bonanza", "Room 222" and "Adam-12". He had three appearances, as three different characters, on "" over three seasons of that television series. On the early seasons of "Mannix", Linville had a recurring role as Lieutenant George Kramer, an ally of Mannix in the L.A. Police Department.


title: Larry Linville

text: Linville played the coroner on the television movie "The Night Stalker" (1972), a predecessor of the "Kolchak" television series, and in the episode titled "Chopper" of "", he played the youngest police captain on the force investigating murders committed by a headless motorbike rider. He also had a small role in the film "Kotch" (1971), which was directed by Jack Lemmon and starred Walter Matthau. Linville also appeared as U.S. Treasury Agent Hugh Emery in the 1972 television series "Search" episode "One of Our Probes is Missing".


title: Larry Linville

text: When the television series "M*A*S*H" was picked up for production in early-1972, Linville signed a five-year contract for the role of Major Frank Burns, an ill-tempered, inept civilian surgeon who embraced military discipline with a cartoonish over-zealousness. This contrasted with the more competent and rebellious doctors played by Alan Alda and Wayne Rogers (and later, Mike Farrell). During the second season, the sitcom's tone started to change from pure comedy to more drama-focused story lines, as it reflected issues related to the Vietnam War (though "M*A*S*H" was set during the Korean War, it aired during the Vietnam and post-Vietnam era and tended to reflect this period in a roundabout fashion). At the start of the series fifth season in late-1976, Linville was offered a renewal for two more seasons, but declined. As the tone of the series had evolved to more serious storylines, Linville felt that he had taken the Frank Burns character, which had become increasingly one-dimensional, as far as he could, and chose to leave the series to pursue other roles.


title: Larry Linville

text: After "M*A*S*H", Linville starred or appeared in many films and television series. He was a guest-star on many television series, most frequently "Murder, She Wrote", "Fantasy Island", "The Love Boat", "The FBI Story", and "CHiPs". He also appeared on episodes of "Airwolf" (he played Maxwell in "And a Child Shall Lead") and "The Rockford Files", and appeared in the television movie "The Girl, the Gold Watch & Dynamite" (1981). He also played a stock character—the "Crazy General"—along with Edward Winter in the pilot episode of "Misfits of Science". He also co-starred in the short-lived sitcom "Grandpa Goes to Washington" with Jack Albertson.