title: Badoo

text: Badoo has several features that enable users to meet people. When they first sign up, individuals select whether they want to meet new people to date, chat or to make new friends. Users can chat, match with others, upload photos and videos, as well as share their interests and see any friends in common.


title: Badoo

text: Badoo has developed numerous safety features to ensure users are real and verified. Such features include the 'selfie request' button, through which women can request a man they're speaking to send a 'selfie' to prove they are the same person as in the pictures.


title: Badoo

text: The company has also developed a photo verification process, where users upload a photo of themselves mimicking a specific pose. This photo is then verified in a minute by one of Badoo's 5,000 moderators.


title: Badoo

text: Badoo is a freemium service, where the basic service is free for everyone but users have an option to pay for premium features. Such features include, ‘Rise Up’, which allows users to pay to give their profile more visibility on the site for a limited time. In late 2007, 20% of Badoo's then 22 million users were paying for heightened visibility at least once a month. However, according to "The Economist", by 2011 only 5% of members were paying for the premium services.


title: Badoo

text: Users can also pay to have their profile photo more widely visible across the site. "Super Powers" enables users to see more search results, as well as who wants to meet them and which of their messages have been read.


title: Badoo

text: In a peer-reviewed study by Cambridge University in 2009, it was given the lowest score for privacy among the 45 social networking sites examined. In the same report, it was given a ‘perfect score’ for verified accessibility on mobile devices.


title: Badoo

text: Finnish newspaper "Iltalehti" reported that numerous Badoo profiles were created without people's consent, and that people have reported Badoo's actions to the police.


title: Badoo

text: According to Google's transparency report on the requests for search removals stemming from the "right to be forgotten" ruling, Badoo had the eighth-highest number of URLs removed from Google Search, with Facebook, YouTube, Google Groups and Twitter receiving a higher number of these requests.


title: Badoo

text: A CNET review by Rafe Needleman described Badoo's first impression as "creepy". He said that though the site was advertised as a way to meet local friends with shared interests, it was more like a photo-based dating site. He also said the way it matches users was "obscure".


title: Agnès Varda

text: Agnès Varda (; born Arlette Varda; 30 May 1928 – 29 March 2019) was a Belgian-born French film director, screenwriter, photographer, and artist. Her pioneering work was central to the development of the widely influential French New Wave film movement of the 1950s and 1960s. Her films focused on achieving documentary realism, addressing women's issues, and other social commentary, with a distinctive experimental style.


title: Agnès Varda

text: Varda's work employed location shooting in an era when the limitations of sound technology made it easier and more common to film indoors, with constructed sets and painted backdrops of landscapes, rather than outdoors, on location. Her use of non-professional actors was also unconventional for 1950s French cinema. Varda's feature film debut was "La Pointe Courte" (1955), followed by "Cléo from 5 to 7" (1962), one of her most notable narrative films, "Vagabond" (1985), and "Kung Fu Master" (1988). Varda was also known for her work as a documentarian with such works as "Black Panthers" (1968), "The Gleaners and I" (2000), "The Beaches of Agnès" (2008), "Faces Places" (2017), and her final film, "Varda by Agnès" (2019).


title: Agnès Varda

text: Director Martin Scorsese described Varda as "one of the Gods of Cinema". Among several other accolades, Varda received an Honorary Palme d'Or at the Cannes Film Festival, a Golden Lion at the Venice Film Festival, an Academy Honorary Award, and was nominated for the Academy Award for Best Documentary Feature. She was the first female director to be feted with an honorary Oscar.


title: Agnès Varda

text: Varda was born Arlette Varda on 30 May 1928 in Ixelles, Brussels, Belgium, to Christiane (née Pasquet) and Eugène Jean Varda, an engineer. Her mother was from Sète, France, and her father was a member of a family of Greek refugees from Asia Minor. She was the third of five children. Varda legally changed her first name to Agnès at age 18. During World War II, she lived on a boat in Sète with her family. Varda attended the Lycée et collège Victor-Duruy, and received a bachelor's degree in literature and psychology from the Sorbonne. She described her relocation to Paris as a "truly excruciating" one that gave her "a frightful memory of my arrival in this grey, inhumane, sad city." She did not get along with her fellow students and called classes at the Sorbonne "stupid, antiquated, abstract, [and] scandalously unsuited for the lofty needs one had at that age."


title: Agnès Varda

text: Varda intended to become a museum curator, and studied art history at the École du Louvre, but decided to study photography at the Vaugirard School of Photography instead. She began her career as a still photographer before becoming one of the major voices of the Left Bank Cinema and the French New Wave. She maintained a fluid interrelationship between photographic and cinematic forms: "I take photographs or I make films. Or I put films in the photos, or photos in the films."


title: Agnès Varda

text: Varda discussed her beginnings with the medium of still photography: "I started earning a living from photography straight away, taking trivial photographs of families and weddings to make money. But I immediately wanted to make what I called 'compositions.' And it was with these that I had the impression I was doing something where I was asking questions with composition, form and meaning." In 1951, her friend Jean Vilar opened the Théâtre National Populaire and hired Varda as its official photographer. Before accepting her position there, she worked as a stage photographer for the Theatre Festival of Avignon. She worked at the Théâtre National Populaire for ten years from 1951 to 1961, during which time her reputation grew and she eventually obtained photo-journalist jobs throughout Europe.


title: Agnès Varda

text: Varda's still photography sometimes inspired her subsequent motion pictures. She recounted: "When I made my first film, "La Pointe Courte"without experience, without having been an assistant before, without having gone to film schoolI took photographs of everything I wanted to film, photographs that are almost models for the shots. And I started making films with the sole experience of photography, that's to say, where to place the camera, at what distance, with which lens and what lights?"


title: Agnès Varda

text: She later recalled another example:I made a film in 1982 called "Ulysse", which is based on another photograph I took in 1954, one I'd made with the same bellows camera, and I started "Ulysse" with the words, 'I used to see the image upside down.' There's an image of a goat on the ground, like a fallen constellation, and that was the origin of the photograph. With those cameras, you'd frame the image upside down, so I saw Brassaï through the camera with his head at the bottom of the image.


title: Agnès Varda

text: Varda's filmmaking career predates the French New Wave, but contains many elements specific to that movement. While working as a photographer, Varda became interested in making a film, although she stated that she knew little about the medium and had only seen around 20 films by the age of 25. She later said that she wrote her first screenplay "just the way a person writes his first book. When I'd finished writing it, I thought to myself: 'I'd like to shoot that script,' and so some friends and I formed a cooperative to make it." She found the filmmaking process difficult because it did not allow the same freedom as writing a novel; she said her approach was instinctive and feminine. In an interview with "The Believer", Varda said that she wanted to make films that related to her time (in reference to "La Pointe Courte"), rather than focusing on traditions or classical standards.


title: Agnès Varda

text: Varda liked photography but was interested in moving into film. After spending a few days filming the small French fishing town of La Pointe Courte for a terminally ill friend who could no longer visit on his own, Varda decided to shoot a feature film of her own. Thus, in 1954, Varda's first film, "La Pointe Courte", about an unhappy couple working through their relationship in a small fishing town, was released. The film is a stylistic precursor to the French New Wave. At the time, Varda was influenced by the philosophy of Gaston Bachelard, under whom she had once studied at the Sorbonne. "She was particularly interested in his theory of 'l'imagination des matières,' in which certain personality traits were found to correspond to concrete elements in a kind of psychoanalysis of the material world." This idea finds expression in "La Pointe Courte" as the characters' personality traits clash, shown through the opposition of objects such as wood and steel. To further her interest in character abstraction, Varda used two professional actors, Silvia Monfort and Philippe Noiret, combined with the residents of La Pointe Courte, to provide a realistic element that lends itself to a documentary aesthetic inspired by neorealism. Varda continued to use this combination of fictional and documentary elements in her films.


title: Agnès Varda

text: The film was edited by Varda's friend and fellow "Left Bank" filmmaker Alain Resnais, who was reluctant to work on it because it was "so nearly the film he wanted to make himself" and its structure was very similar to his own "Hiroshima mon amour" (1959). While editing the film in Varda's apartment, Resnais kept annoying her by comparing the film to works by Luchino Visconti, Michelangelo Antonioni and others that she was unfamiliar with "until I got so fed up with it all that I went along to the Cinémathèque to find out what he was talking about." Resnais and Varda remained lifelong friends, though Resnais said they had nothing in common "apart from cats." The film was immediately praised by "Cahiers du Cinéma": André Bazin said, "There is a total freedom to the style, which produces the impression, so rare in the cinema, that we are in the presence of a work that obeys only the dreams and desires of its auteur with no other external obligations." François Truffaut called it "an experimental work, ambitious, honest and intelligent." Varda said that the film "hit like a cannonball because I was a young woman, since before that, in order to become a director you had to spend years as an assistant." But the film was a financial failure, and Varda made only short films for the next seven years.


title: Agnès Varda

text: Varda is considered the grandmother and mother of the French New Wave. "La Pointe Courte" is unofficially but widely considered the first film of the movement. It was the first of many she made that focus on issues ordinary people face. Late in her life, she said that she was not interested in accounts of people in power but "much more interested in the rebels, the people who fight for their own life".


title: Agnès Varda

text: After "La Pointe Courte", Varda made several documentary short films; two were commissioned by the French tourist office. These include one of Varda's favorites of her own works, "L'opéra-mouffe", a film about the Rue Mouffetard street market which won an award at the 1958 Brussels Experimental Film Festival.


title: Agnès Varda

text: "Cléo from 5 to 7" follows a pop singer through two extraordinary hours in which she awaits the results of a recent biopsy. The film is superficially about a woman coming to terms with her mortality, a common trope for Varda. On a deeper level, "Cléo from 5 to 7" confronts the traditionally objectified woman by giving Cléo her own vision. She cannot be constructed through the gaze of others, which is often represented through a motif of reflections and Cléo's ability to strip her body of "to-be-looked-at" attributes (such as clothing or wigs). Stylistically, "Cléo from 5 to 7" mixes documentary and fiction, as had "La Pointe Courte". The film represents diegetic action said to occur between 5 and 7 p.m., although its run-time is 89 minutes.


title: Agnès Varda

text: In 1977, Varda founded her own production company, Ciné-Tamaris, in order to have more control over shooting and editing. In 2013, the Los Angeles County Museum of Art held Varda's first American exhibition, "Agnès Varda in Californialand". It featured a sculptural installation, several photographs, and short films, and was inspired by time she spent in Los Angeles in the 1960s.


title: Agnès Varda

text: In 1985, Varda made "Sans toit ni loi" ("without roof nor law"; known in most English-speaking countries as "Vagabond"), a drama about the death of a young female drifter named Mona. The death is investigated by an unseen and unheard interviewer who focuses on the people who last saw her. "Vagabond" is told through nonlinear techniques, with the film divided into 47 episodes, and each episode about Mona told from a different person's perspective. "Vagabond" is considered one of Varda's greater feminist works because of how the film deals with the de-fetishization of the female body from the male perspective.


title: Agnès Varda

text: In 1991, shortly after her husband Jacques Demy's death, Varda created the film "Jacquot de Nantes", which is about his life and death. The film is structured at first as being a recreation of his early life, being obsessed with the various crafts used for filmmaking like animation and set design. But then Varda provides elements of documentary by inserting clips of Demy's films as well as footage of him dying. The film continues with Varda's common theme of accepting death, but at its heart it is considered to be Varda's tribute to her late husband and their work.


title: Agnès Varda

text: "Les Glaneurs et la Glaneuse" ("The Gleaners and I"), a documentary, focuses on Varda's interactions with gleaners (harvesters) who live in the French countryside, and also includes subjects who create art through recycled material, as well as an interview with psychoanalyst Jean Laplanche. The film is notable for its fragmented and free-form nature along with it being the first time Varda used digital cameras. This style of filmmaking is often interpreted as a statement that great things like art can still be created through scraps, yet modern economies encourage people to only use the finest product.


title: Agnès Varda

text: In 2017, Varda co-directed "Faces Places" with the artist JR. The film was screened out of competition at the 2017 Cannes Film Festival where it won the L'Œil d'or award. The film follows Varda and JR traveling around rural France, creating portraits of the people they come across. Varda was nominated for the Academy Award for Best Documentary Feature for this film, making her the oldest person to be nominated for a competitive Oscar. Although the nomination was her first, Varda did not regard it as important, stating: "There is nothing to be proud of, but happy. Happy because we make films to love. We make films so that you love the film." The film ends with Varda and JR knocking on Jean-Luc Godard's front door in Rolle for an interview. Godard agreed to the meeting but "stands them up".


title: Agnès Varda

text: Many of Varda's films use protagonists that are marginalized or rejected members of society, and are documentary in nature. She made a short film on the Black Panthers after seeing that their leader, Huey Newton, was arrested for killing a policeman. The film focuses on demonstrations in support of Newton and the "Free Huey" campaign.


title: Agnès Varda

text: Like many other French New Wave directors, Varda was likely influenced by auteur theory, creating her own signature style by using the camera "as a pen." Varda called her method of filmmaking "cinécriture" ("cinematic writing" or "writing on film"). Rather than separating the fundamental roles that contribute to a film (such as cinematographer, screenwriter, and director), she believed that all roles should work together simultaneously to create a more cohesive film, and all elements of the film should contribute to its message. She claimed to make most of her discoveries while editing, seeking the opportunity to find images or dialogue that create a motif.


title: Agnès Varda

text: Because of her photographic background, still images are often significant in her films. They may serve symbolic or narrative purposes, and each element of them is important. There is sometimes conflict between still and moving images in her films, and she often mixed still images (snapshots) with moving images. Varda paid very close attention to detail and was highly conscious of the implications of each cinematic choice she made. Elements of the film are rarely just functional, each element has its own implications, both on its own and that it lends to the entire film's message.


title: Agnès Varda

text: Many of her influences were artistic or literary, including Surrealism, William Faulkner, Franz Kafka, and Nathalie Sarraute.


title: Agnès Varda

text: Because of her literary influences, and because her work predates the French New Wave, Varda's films belong more precisely to the Left Bank ("Rive Gauche") cinema movement, along with those of Resnais, Chris Marker, Marguerite Duras, Alain Robbe-Grillet, Jean Cayrol and Henri Colpi. Categorically, the Left Bank side of the New Wave movement embraced a more experimental style than the "Cahiers du Cinéma" group, but this distinction is ironic considering that the New Wave itself was considered experimental in its treatment of traditional methodologies and subjects.


title: Agnès Varda

text: Left Bank Cinema was strongly tied to the "nouveau roman" movement in literature. The members of the group had in common a background in documentary filmmaking, left-wing politics, and a heightened interest in experimentation and the treatment of film as art. Varda and other Left Bank filmmakers crafted a mode of filmmaking that blends one of film's most socially motivated approaches, documentary, with one of its most formally experimental approaches, the avant-garde. Its members often collaborated with each other. According to scholar Delphine Bénézet, Varda resisted the "norms of representation and diktats of production."


title: Agnès Varda

text: Varda's work is often considered feminist because of her use of female protagonists and her creation of a female cinematic voice. She said, "I'm not at all a theoretician of feminism. I did all that—my photos, my craft, my film, my life—on my terms, my own terms, and not to do it like a man." Although not actively involved in any strict agendas of the feminist movement, Varda often focused on women's issues thematically and never tried to change her craft to make it more conventional or masculine. She was also Professor of Film at The European Graduate School.


title: Agnès Varda

text: Bénézet has argued for Varda's importance as "au feminin singulier," a woman of singularity and of the utmost importance in film history. Varda embraced her femininity with distinct boldness.


title: Agnès Varda

text: In 1958, while living in Paris, Varda met her future husband, Jacques Demy, also a French director. They moved in together in 1959. She was married to Demy from 1962 until his death in 1990. Varda had two children: a daughter, Rosalie Varda (born 1958), from a previous union with actor Antoine Bourseiller (who starred in "Cléo from 5 to 7"), and a son, Mathieu Demy (born 1972), with Demy. Demy legally adopted Rosalie Varda. Varda worked on the Oscar-nominated documentary "Faces Places" with her daughter.


title: Agnès Varda

text: In 1971, Varda was one of the 343 women who signed the Manifesto of the 343 admitting they had had an abortion despite it being illegal in France at the time and asking that abortion be made legal.


title: Agnès Varda

text: Varda was the cousin of the painter Jean Varda. In 1967, while living in California, Varda met her father's cousin for the first time. He is the subject of her short documentary "Uncle Yanco". Jean Varda called himself "Yanco" and was affectionately called "uncle" by Varda due to their age difference.


title: Agnès Varda

text: Varda died from cancer on 29 March 2019 in Paris, at the age of 90. She was buried at Montparnasse Cemetery on 2 April. Among those who attended her funeral were Catherine Deneuve, Julie Gayet, Jean-Pierre Léaud, Jane Birkin, and Sandrine Bonnaire. Mourners left flowers and potatoes outside her house on rue Daguerre.


title: Agnès Varda

text: Her death drew a passionate response from the filmmaking community with Martin Scorsese releasing a statement writing, "I seriously doubt that Agnès Varda ever followed in anyone else’s footsteps, in any corner of her life or her art. Every single one of her remarkable handmade pictures, so beautifully balanced between documentary and fiction, is like no one else’s—every image, every cut … What a body of work she left behind: movies big and small, playful and tough, generous and solitary, lyrical and unflinching … and alive." Barry Jenkins tweeted, "Work and life were undeniably fused for this legend. She lived FULLY for every moment of those 90 damn years". Ava DuVernay wrote about her relationship with Varda, ending her statement with "Merci, Agnes. For your films. For your passion. For your light. It shines on." Other filmmakers and artists who paid tribute to Varda include Guillermo del Toro, the Safdie brothers, Edgar Wright, JR and Madonna. Jean-Luc Godard sent Varda's daughter Rosalie (who produced "Faces Places") "a kind of photo collage of Agnés...It was something special. It's a secret. But he sent me something nice. I think he cared for Agnès a lot. He saw all her films", she said.


title: Agnès Varda

text: Varda was a member of the jury at the Cannes Film Festival in 2005 and a member of the jury at the Venice Film Festival in 1983. In 2002 she was the recipient of the French Academy prize, "René Clair Award". On 4 March 2007, she was appointed a Grand Officer of the National Order of Merit of France. On 12 April 2009, she was made Commandeur de la Légion d'honneur. In May 2010 Varda received the Directors' Fortnight's 8th Carosse d'Or award for lifetime achievement at the Cannes Film Festival. On 22 September 2010, Varda received an honorary degree from University of Liège, Belgium. On 14 May 2013, Varda was promoted to Grand Cross of the National Order of Merit of France. On 22 May 2013, Varda received the 2013 FIAF Award for her work in the field of film preservation and restoration. On 10 August 2014, Varda received the Leopard of Honour award at the 67th Locarno Film Festival. She was the second female to receive the award after Kira Muratova. On 13 December 2014, Varda received the honorary Lifetime Achievement Award, presented by the European Film Academy. On 24 May 2015, Varda received an honorary Palme d'Or. She was the first woman to receive an honorary Palme d'Or. On 16 April 2017, Varda was promoted to Grand officier de la Légion d'honneur. Varda was included in Cinema Eye's 2017 list of "Unforgettables."


title: Agnès Varda

text: On 11 November 2017, Varda received an Academy Honorary Award for her contributions to cinema, making her the first female director to receive such an award. The prize was presented at the 9th Annual Governors Awards ceremony. She was nominated two months later for the Academy Award for Best Documentary Feature for her documentary "Faces Places", becoming the oldest nominated person at the show (she was eight days older than fellow nominee James Ivory).


title: Agnès Varda

text: For the 1985 documentary-style feature film "Vagabond", she received the Golden Lion of the 42nd Venice International Film Festival. In 2009, "The Beaches of Agnès" won the Best Documentary Film award at the 34th César Awards.


title: Agnès Varda

text: At the time of her death, Varda was the oldest person to be nominated for an Academy Honorary Award and is the first female director to receive an honorary Oscar. In 2017, she was awarded the Honorary Academy Award which was presented to her by Angelina Jolie at the Governors Awards.


title: Agnès Varda

text: In 2019, the BBC polled 368 film experts from 84 countries to name the 100 best films by women directors. Varda was the most-named director, with six different films on the list: "The Beaches of Agnès", "One Sings, the Other Doesn't", "The Gleaners and I", "Le Bonheur", "Vagabond", and the number-two entry on the list, "Cléo from 5 to 7".


title: Lovelace (film)

text: Lovelace is a 2013 American biographical drama film centered on porn actress Linda Lovelace, star of "Deep Throat", a landmark 1972 film at the forefront of the Golden Age of Porn. "Lovelace" covers her life from age 21 to 32.


title: Lovelace (film)

text: Directed by Oscar-winning duo Rob Epstein and Jeffrey Friedman, the film was written by Andy Bellin and stars Amanda Seyfried, Peter Sarsgaard, Sharon Stone, Adam Brody, James Franco, Chloë Sevigny, and Juno Temple.


title: Lovelace (film)

text: "Lovelace" had its world premiere on January 22, 2013, at the 2013 Sundance Film Festival and opened in a U.S. limited release on August 9, 2013.


title: Lovelace (film)

text: In 1970, 21-year-old Linda Susan Boreman is living with her parents in Florida, having moved from New York City.


title: Lovelace (film)

text: While out dancing one night with her best friend, Patsy, Linda attracts the attention of a man named Chuck Traynor and the two soon develop a relationship after a vulnerable Linda reveals to him that the relationship with her parents is strained. The strain was caused because Linda had earlier given birth to a son out-of-wedlock and her domineering mother Dorothy had tricked her into putting the baby up for adoption.


title: Lovelace (film)

text: Chuck, much older than Linda, begins teaching her how to perform sexual acts, which she is initially thrilled about. After breaking curfew one night, Linda is berated by her mother Dorothy; forcing Linda to move out so she can live with Chuck, later marrying him. During a party, Linda watches one of Chuck's homemade pornographic films for the first time and tells him that good girls never do things like that.


title: Lovelace (film)

text: Six months later, Linda bails Chuck out of jail for facilitating prostitution, although he claims to have had little knowledge of what went on in the parking lot behind his bar. Desperate for money, he persuades Linda to become a porn actress. By 1972, Linda begins working on a film, "Deep Throat", in which she uses her new stage name "Linda Lovelace".


title: Lovelace (film)

text: The movie becomes a huge hit, making over $30,000 at the box office in its first week. After it becomes a worldwide phenomenon, Linda is interviewed by a variety of print and radio reporters and becomes the subject of late-night television humor. Her life is seen as exciting and glamorous, and Linda poses nude, and attends parties, weekly.


title: Lovelace (film)

text: During a private screening in Los Angeles, Playboy founder Hugh Hefner convinces Linda that she has the potential to be more than a porn actress. However, Chuck's violent and cruel nature is gradually exposed and Linda's life is revealed not to be as perfect as it seems. Chuck seemingly chokes Linda during sex, refusing to stop when she asks, and later forces her into prostitution at gunpoint.


title: Lovelace (film)

text: A battered Linda soon visits her parents seeking to move back in. Despite telling them of Chuck's dominating abuse towards her, Dorothy encourages Linda to endure her ordeal as their religion forbids divorce. When learning that Linda has been discussing a new salary with the movie's director, Gerard Damiano, without telling him, an enraged Chuck punishes her by making Linda shower in freezing cold water.


title: Lovelace (film)

text: Years after Deep Throat's success, Chuck tries to persuade Linda to do another porn film. When Linda refuses, a now sadistic Chuck takes her to a party and forces Linda to participate in a gang bang. Her attempts to escape result in Chuck sleeping on top of Linda, almost suffocating her.


title: Lovelace (film)

text: The following day, Linda secretly meets with Anthony Romano, telling him she wants out of the porn business and also revealing the abuse inflicted on her by Chuck. Disgusted, Romano has her checked into a private hotel while he and his bodyguards attack Chuck for abusing Linda and for the $25,000 he owes.


title: Lovelace (film)

text: Six years later, Linda marries Larry Marchiano, moves to Long Island and has a young son. Linda later takes a polygraph test before publishing her autobiography "Ordeal", which details years of Chuck's physical and sexual abuse, as well as his stealing all of her earnings. Linda appears on "Donahue", and her distraught parents break down in tears while watching her. A few days later, the Marchianos travel to Florida for Linda to reconcile with her parents.


title: Lovelace (film)

text: In January 2011, pregnant Kate Hudson was offered the part of Linda Lovelace while James Franco was in talks to portray Lovelace's husband Chuck Traynor. The production of the film was planned to begin after the birth of Hudson's child and as of April 2011, the actress was still involved in the project. However, on November 1, 2011, Amanda Seyfried and Peter Sarsgaard were reported to be in discussions to play Lovelace and Traynor. Sharon Stone announced on November 16, 2011, that she would play Lovelace's mother. In December 2011, Juno Temple and Wes Bentley were cast as Lovelace's best friend and Larry Marchiano, her second husband.


title: Lovelace (film)

text: In December 2011, Franco received the part of Hugh Hefner. Robert Patrick, Hank Azaria, Chris Noth, and Bobby Cannavale landed the respective roles of John Boreman (Lovelace's father), Gerry Damiano, Anthony Romano and Butchie Peraino. On January 2, 2012, Adam Brody and Eric Roberts were cast as Harry Reems and Nat Laurendi, while Demi Moore agreed to a cameo appearance as Gloria Steinem. A few weeks later she dropped out of the film for personal issues and was replaced by Sarah Jessica Parker. However, Parker's cameo was ultimately deleted. Cory Hardrict and Debi Mazar play Frankie Crocker and Dolly Sharp. Chloë Sevigny plays a feminist journalist.


title: Lovelace (film)

text: To prepare for the role, Seyfried read Lovelace's books and studied videos of her speaking. She also watched the film "Deep Throat" and underwent a New York accent training. Seyfried said of Lovelace: "She was such a different person than what we expect. It's a good story to tell, and I'm really, really excited about it." Brody prepared for the role of Reems by watching his interviews. He told that "the arrest and indictment of Reems on federal charges of conspiracy to distribute obscenity across state lines" are not shown in the film. He described as "brotherly" the relationship Reems shares with "Deep Throat" co-star Lovelace, explaining that "he was the antithesis of her husband [Traynor]".


title: Lovelace (film)

text: "The Hollywood Reporter" reported on January 13, 2012 that filming had already begun in Los Angeles. A few days later, photographs of Amanda Seyfried as Linda Lovelace on a film set were published. Scenes were shot in Glendale, California. Filming wrapped in February 2012.


title: Lovelace (film)

text: Epstein used "grainy" 16 mm film as a reference to the 70s films depicted in the plot. During the filming, the cooperation between Seyfried and Sarsgaard went so well that she called him with hindsight "the best actor I've ever worked with".


title: Lovelace (film)

text: Sarah Jessica Parker's scenes did not make it into the final version due to the time setting for the end of the film being changed from 1984 to 1980. As a result, the role of Gloria Steinem became unnecessary.


title: Lovelace (film)

text: The film premiered at the 2013 Sundance Film Festival on January 22, 2013. The film was released in the United States on August 9, 2013.


title: Lovelace (film)

text: "Lovelace" was met with mixed reviews. According to Rotten Tomatoes, 53% of critics have given the film a positive review, based on 129 reviews with an average rating of 5.68/10. The website's critical consensus states: "Amanda Seyfried and Peter Sarsgaard do their best with the material, but "Lovelace" lacks enough depth and conviction to truly do its fascinating subject justice." The film also has a Metacritic score of 51 out of 100, based on 37 reviews, indicating "mixed or average reviews". Todd McCarthy of "The Hollywood Reporter" wrote the film was "smartly done". Richard Roeper gave the film a B+, commenting that it "never really feels triumphant or inspirational. It's very well-made and well-acted, but it's a reminder that the most famous porn star of the most famous porn movie ever made was a victim through and through." On the other hand, "Variety" Rob Nelson complained the true story behind the film had been simplified to a "series of cartoonish vignettes". Amanda Mae Meyncke endorsed Seyfried's portrayal as "excellent" but considered the film all in all only "mediocre".


title: Lovelace (film)

text: Doubts were also raised as to the historical accuracy of the film's narrative. In particular, Gerard Damiano Jr., son of the director of "Deep Throat", and Eric Danville, Linda Lovelace's biographer, spoke to The Rialto Report about how the film conflated spousal abuse with the treatment of actors in the adult film industry.


title: Achyuth Kumar

text: Achyuth Kumar is an Indian actor who predominantly works in Kannada cinema. Born in the town of Belur, in the district of Hassan and brought up in Tiptur. Tumakuru district,He graduated in bachelor of commerce from the Kalpatharu First Grade College, which was then under the University of Bangalore. He is well known for his performances in the films, "Sidlingu" and "Lucia" & he has won 3 South Filmfare Awards and 2


title: Achyuth Kumar

text: Kumar began acting during his time as a college-going student Tiptur, Karnataka, along with his theatre groups like Geleyarabalaga, Mungaru Hudugaru and Abhinaya Theatre Group, with a guidance of Nataraj Huliyar. Later, he started his training as an actor at Ninasam. Working in theatre during the time, he was chosen by Girish Kasaravalli to play a pivotal role in his television soap "Gruhabhanga" in 2000. In the soap "Moodala Mane", Kumar played a supportive colleague to the daughter of the protagonist. In "Preethi Illada Mele", he played the eldest son of a judge (played by Anant Nag).


title: Achyuth Kumar

text: Kumar's career in films began in 2007 when he signed to play the father of the female lead in "Moggina Manasu" (2008) and gangster Oil Kumar in "Aa Dinagalu" (2007), both Kannada films. He went on to gain a reputation as a character actor and appeared in around 12 films per year. He also appeared in a couple of Tamil films. However, it was in the 2013 film "Lucia", that Kumar received widespread appreciation. In the film, he played Shankaranna, a movie theater owner and employer of Nikhil, played by Sathish Ninasam. The performance won him the Filmfare Award for Best Supporting Actor.


title: Achyuth Kumar

text: In "Hejjegalu" (2013), Kumar played Kodanda, a gambling addict who squanders money taken on loan, being tried to reform by his young daughter. The performance won him the Karnataka State Film Award for Best Supporting Actor. He received praise for his portrayal of Shivappa, a scavenger in "Amaraavati " (2017). In "Urvi" (2017), based on the menace of child trafficking, he played Devarugunda, an influential man who kidnaps women, rapes them and forces them into prostitution. Archana Nathan of "The Hindu" wrote, "Achutha Kumar performs well, but one wishes that his character had been given some more depth and background."


title: Achyuth Kumar

text: In the 2022 drama film, "Kantara", Kumar played the main antagonist in the film whose role is revealed to be a treacherous feudal lord Devendra Suttooru, scheming to snatch land from the tribal community after appearing to help them. "Deccan Herald" wrote, "... given how brilliant Achyuth is, the character's sudden switch in the trait is made invisible by his effortless transformation." "The New Indian Express" termed his performance "powerful".


title: Sabbath Bloody Sabbath

text: Sabbath Bloody Sabbath is the fifth studio album by English heavy metal band Black Sabbath, released in November 1973. It was produced by the band and recorded at Morgan Studios in London in September 1973. The writing process for the album, which began in Los Angeles, California, was initially hampered in part by the band's substance abuse and fatigue following their 1972–1973 world tour in support of their previous album, "Vol. 4". The band then relocated to Clearwell Castle in the Forest of Dean, Gloucestershire, England, where guitarist Tony Iommi conceived the main riff of what became the album's title track and lead single.


title: Sabbath Bloody Sabbath

text: Following Black Sabbath's 1972–1973 world tour in support of their album, "Vol. 4", the group returned to Los Angeles to begin work on its successor. Pleased with "Vol. 4", the band sought to recreate the recording atmosphere, and returned to the Record Plant Studios. The band rented a house in Bel Air and began writing in the summer of 1973 but, due in part to substance abuse and fatigue, were unable to complete any songs. "Ideas weren't coming out the way they were on "Vol. 4" and we really got discontent," guitarist and songwriter Tony Iommi said. "Everybody was sitting there waiting for me to come up with something. I just couldn't think of anything. And if I didn't come up with anything, nobody would do anything." In 2013, bassist Geezer Butler told "Mojo magazine" that after the tour in support of "Vol. 4" the band was "absolutely, completely exhausted" and by the time they played the Hollywood Bowl, "Tony collapsed. It was really touch-and-go at one point whether he'd survive or not because he was totally depleted. So we had to cancel the rest of the tour and we actually took time off for the first time since the band started. We got away from each other and had a social life. Then we came back together to start on the next album, and couldn't come up with anything." In his autobiography "I Am Ozzy", singer Ozzy Osbourne states that in the time leading up to the Hollywood Bowl "Tony had been doing coke literally for days – we all had, but Tony had gone over the edge. I mean, that stuff just twists your whole idea of reality. You start seeing things that aren't there. And Tony was "gone". Near the end of the gig he walked off stage and collapsed." Regarding his writer's block, Iommi admitted to Phil Alexander in 2013, "I panicked because I didn't have a single idea about what to write. It might have been the drugs, it could have been the pressure, but either way I felt it was my fault." The band were also disappointed to discover that the room they had used previously at the Record Plant had been replaced with a "giant synthesizer" by Stevie Wonder, who had recently recorded there.


title: Sabbath Bloody Sabbath

text: After a month in Los Angeles with no results, the band opted to return to the UK, where they rented Clearwell Castle in the Forest of Dean, Gloucestershire, England, in which the likes of Led Zeppelin, Mott the Hoople and Deep Purple wrote and recorded. The medieval surroundings may have revitalised the band musically, but also left a sinister impression; in the liner notes to the 1998 live album "Reunion", Iommi recalls, "We rehearsed in the armoury there and one night I was walking down the corridor with Ozzy and we saw this figure in a black cloak ... We followed this figure back into the armoury and there was absolutely no one there. Whoever it was had disappeared into thin air! The people that owned the castle knew all about this ghost and they said, 'Oh yes, that's the ghost of so and so. We were like 'What!?'" Adds Butler: "We rehearsed in the dungeons and it was really creepy but it had some atmosphere, it conjured up things, and stuff started coming out again". While working in the dungeon, Iommi stumbled onto the main riff of "Sabbath Bloody Sabbath", which set the tone for the new material. In 2001 Butler admitted to Dan Epstein of "Guitar World", "We almost thought that we were finished as a band ... Once Tony came out with the initial riff for 'Sabbath Bloody Sabbath' we went 'We're baaaack!'" The spooky atmosphere at Clearwell Castle perfectly complemented the band's practice of playing practical jokes on one another. In the documentary "Black Sabbath, Volume 1: 1970–1978" Iommi recalls, "I've got to be honest, we frightened the life out of each other. We had to leave in the end, everybody terrified of each other because we were playing jokes on each other and nobody knew who was doing it... We used to leave and drive all the way home and drive back the next day. It was really silly." In his autobiography Osbourne cracks, "We weren't so much the Lords of Darkness as the Lords of Chickenshit when it came to that kind of thing ... We wound each other up so much none of us got any sleep. You'd just lie there with your eyes wide open, expecting an empty suit of armour to walk into your bedroom at any second to shove a dagger up your arse." Osbourne also writes that he nearly burned the castle down one night when he fell asleep with his boot in the fire. Osbourne said that when it came to the shenanigans Bill Ward typically "got the worst of it", with the drummer eventually going to bed at night with a dagger.


title: Sabbath Bloody Sabbath

text: Although the band's then-manager Patrick Meehan received credit as co-producer, Iommi said years later that Meehan had virtually no actual involvement in the album's production, saying "Meehan's ego got involved, and he stuck his name down as producer". Recording was completed at Morgan Studios in Willesden, North London in 1973. Keyboardist Rick Wakeman of the band Yes (who were recording "Tales from Topographic Oceans" in the next studio) was brought in as a session player, appearing on "Sabbra Cadabra". Wakeman refused payment from the band and was ultimately compensated with beer for his contribution. The members of Led Zeppelin, close friends of the band from their early days in Birmingham, showed up at the studio during "Sabbath Bloody Sabbath"'s recording. Drummer John Bonham was eager to play on "Supernaut", but Sabbath preferred to play material other than their own for the occasion. In the end, the two bands had an improvised jam session which was recorded but never released.


title: Sabbath Bloody Sabbath

text: Osbourne has said that "Sabbath Bloody Sabbath" was "the beginning of the end" for Black Sabbath's original line-up. In 2013, the singer elaborated to "Mojo", ""Sabbath Bloody Sabbath" was really the album after which I should have said goodbye because after that I really started unravelling. Then we ended up falling out of favour with each other." Fuelled by rampant drug and alcohol use within the band, tensions began to mount. Iommi began to resent doing the lion's share of songwriting and studio work, thus having no social life. Bassist Butler also began complaining that vocalist Osbourne had become too reliant on him for lyrics.


title: Sabbath Bloody Sabbath

text: Building on the stylistic changes introduced on "Vol. 4", new songs incorporated synthesizers, strings, keyboards and more complex arrangements. Iommi experimented with sitar and bagpipes in the studio but was not able to master the instruments to his satisfaction.


title: Sabbath Bloody Sabbath

text: The lyrics also delved into new areas, with "Mojo" opining in 2013, "The title track led into an expansive set as Butler's lyrics contemplated the mysteries of birth and DNA in 'A National Acrobat' and "Spiral Architect', respectively." "'A National Acrobat' was just me thinking about who selects what sperm gets through to the egg", Butler explained in the liner notes to "Reunion" in 1998. "'Spiral Architect' was about life's experiences being added to a person's DNA to create a unique individual. I used to get very contemplative on certain substances. I still do, but without those substances." In his autobiography "Iron Man: My Journey Through Heaven & Hell with Black Sabbath", Iommi reveals that the initial riff for "A National Acrobat" was written by Butler, to which the guitarist "added bits to it. Geezer can write some great stuff." According to the book "How Black Was Our Sabbath", the band invited an orchestra to play on 'Spiral Architect' "but couldn't cram all of the musicians and their instruments into Morgan Studios. They ended up at the nearby Pye Studio along the road, with Ozzy trying to explain what he wanted them to play like some sort of mad conductor. He had no written music to give the orchestra, he just hummed the part and they picked it up."


title: Sabbath Bloody Sabbath

text: Osbourne purchased a Moog synthesizer; though he "didn't know how to use it" according to Iommi, he was still able to compose the song "Who Are You?" with it. In his memoir Osbourne states, "I'd written it one night at Bulrush Cottage while I was loaded and fiddling around with a Revox tape machine and my ARP 2600." The singer also writes that "Sabbath Bloody Sabbath" was "Our last truly great album, I think... And with the music we'd managed to strike just the right balance between our old heaviness and our new, 'experimental' side." "Killing Yourself to Live" was a Butler composition written while he was in hospital for kidney problems caused by heavy drinking. Ward was also drinking heavily, and the song reflects the problems caused by their "extreme" lifestyles. An early incarnation of the song can be heard on the live albums "Live at Last" and "Past Lives". The instrumental "Fluff" was composed by Iommi and named after BBC radio disc jockey Alan "Fluff" Freeman. Freeman was one of the few radio personalities in Britain to play Sabbath's music on-air.


title: Sabbath Bloody Sabbath

text: Illustrator Drew Struzan created colored pencil drawings for both the front and back album sleeves. The front, drawn primarily in red tones, depicts a man on a bed tormented by demons and rats. The back shows a more peaceful scene, rendered mostly in blue, with a dying man surrounded by loved ones and sleeping lions.


title: Sabbath Bloody Sabbath

text: Black Sabbath released "Sabbath Bloody Sabbath" in late November 1973. For the first time in their career, the band began to receive favourable reviews in the mainstream press, with "Rolling Stone" calling the album "an extraordinarily gripping affair", and "nothing less than a complete success". Later reviewers such as AllMusic's Eduardo Rivadavia cite the album as "a masterpiece, essential to any heavy metal collection", while also displaying "a newfound sense of finesse and maturity". The album marked the band's fifth consecutive platinum selling album in the United States. It reached number four on the UK charts, and number eleven in the US. In the UK, it was the first Black Sabbath album to attain Silver certification (60,000 units sold) by the British Phonographic Industry, achieving this in February 1975. The album would go on to be regarded in high esteem by the band members themselves; when asked by "Guitar for the Practicing Musician" in 1994 which songs he would like to see on the upcoming Black Sabbath box set, Butler replied, "Probably anything off of "Sabbath Bloody Sabbath". The song "Sabbath Bloody Sabbath" itself. It was a whole new era for us. We felt really open on that album. It was a great atmosphere, good time, great coke! Just like a new birth for me. We had done the first four albums and done it that way. "Sabbath Bloody Sabbath" was like Part Two of your life. It was a weird feeling; a good feeling." In his memoir, Iommi calls the album "the pinnacle".


title: Sabbath Bloody Sabbath

text: The song "Sabbath Bloody Sabbath" has been singled out for praise by many hard rock and heavy metal guitar players, with Slash from Guns N' Roses stating to "Guitar World" in 2008, "The outro to 'Sabbath Bloody Sabbath' is the heaviest shit I have ever heard in my life. To this day, I haven't heard anything as heavy that has as much soul." Brent Hinds of Mastodon agrees, telling Nick Bowcott in 2008, "The 'dreams turn to nightmares, Heaven turns to Hell' riff at the end of that song is unbeatable." Kirk Hammett of Metallica cites "Killing Yourself to Live" as his favourite Black Sabbath song, revealing in the Holiday 2008 issue of "Guitar World" that "A lot of people gravitate toward the album's title track, 'Sabbath Bloody Sabbath', but for me this is the stand out cut on the album."


title: Sabbath Bloody Sabbath

text: The initial Castle Communications CD release from 1986 (NELCD 6017) also featured a live version of "Cornucopia" from "Live at Last" as a bonus track. The subsequent Castle CD release (CLACD 201) returned to the original tracklist.


title: Gerald Durrell

text: Gerald Malcolm Durrell, (7 January 1925 – 30 January 1995) was a British naturalist, writer, zookeeper, conservationist, and television presenter. He founded the Durrell Wildlife Conservation Trust and the Jersey Zoo on the Channel Island of Jersey in 1959. He wrote approximately forty books, mainly about his life as an animal collector and enthusiast, the most famous being "My Family and Other Animals" (1956). Those memoirs of his family's years living in Greece were adapted into two television series ("My Family and Other Animals", 1987, and "The Durrells", 2016–2019) and one television film ("My Family and Other Animals", 2005). He was the youngest brother of novelist Lawrence Durrell.


title: Gerald Durrell

text: Durrell was born in Jamshedpur, British India, on 7 January 1925. He was the fifth and youngest child (an elder sister having died in infancy) of Louisa Florence Dixie and Lawrence Samuel Durrell, both of whom were born in India of English and Irish descent. Durrell's father was a British engineer and, as was commonplace for a family of their status, the infant Durrell spent most of his time in the company of an "ayah" (nursemaid). Durrell reportedly recalled his first visit to a zoo in India and attributed his lifelong love of animals to that encounter.


title: Gerald Durrell

text: The family moved to Britain shortly before the death of his father in 1928 and settled in the Upper Norwood, Crystal Palace, area of South London. Durrell was enrolled in Wickwood School, but frequently stayed at home, feigning illness.


title: Gerald Durrell

text: Louisa moved to the Greek island of Corfu in 1935 with Leslie, Margaret, and Gerald, joining her eldest son Lawrence who had arrived there with his wife Nancy about a week earlier. It was on Corfu that Durrell began to collect and keep the local fauna as pets.


title: Gerald Durrell

text: The family lived on Corfu until 1939, and this interval became the basis of Durrell's books "My Family and Other Animals"; "Birds, Beasts, and Relatives"; and "The Garden of the Gods"; plus a few short stories such as "My Donkey Sally". The Corfu years also set the background for two TV series and one telefilm. Durrell was home-schooled during this time by various private tutors, mostly friends of his brother Lawrence.


title: Gerald Durrell

text: Theodore Stephanides was a Greek-British doctor, scientist, poet, translator, and a friend of George Wilkinson, one of Durrell's tutors. He became Durrell's greatest friend and mentor, his ideas leaving a lasting impression on the young naturalist. Together, they examined Corfu's fauna, which Durrell housed in a variety of items including test tubes and bathtubs. Stephanides' daughter Alexia Mercouri (1927–2018) accompanied the two on their field trips. She stated that both families had hoped that she and Durrell would marry one day, but any such prospect was disrupted by the outbreak of war in 1939.


title: Gerald Durrell

text: Other influences on Durrell during his formative years were the works of naturalists Charles Darwin, Alfred Russel Wallace, Jean-Henri Fabre and Gilbert White.


title: Gerald Durrell

text: Durrell, his mother, his brother Leslie and their Greek maid Maria Kondos moved back to Britain in 1939 at the outbreak of the Second World War. It was difficult to find a job in the war and post-war years, especially for a homeschooled youth, but the enterprising Durrell worked as a helper at an aquarium and pet store. Some of the difficulties that he faced in this period can be found in "Fillets of Plaice".


title: Gerald Durrell

text: His call-up for the war came in 1943, but he was exempted from military duty on medical grounds, and asked to serve the war effort by working on a farm. After the war, Durrell joined Whipsnade Zoo as a junior or student keeper. This move fulfilled a lifelong dream: Durrell claims in "The Stationary Ark" that the first word that he could enunciate with any clarity was "zoo". "Beasts in My Belfry" recalls events of this period.


title: Gerald Durrell

text: Durrell left Whipsnade Zoo in May 1946 in order to join wildlife collecting expeditions, but was denied a place in the voyages due to his lack of experience. His wildlife expeditions began with a 1947 trip to the British Cameroons (now part of Cameroon) with ornithologist John Yealland, financed by a £3,000 inheritance from his father on turning 21. The animals that he brought back were sold to London Zoo, Chester Zoo, Paignton Zoo, Bristol Zoo, and Belle Vue Zoological Gardens. He followed this expedition with two others, accompanied by fellow Whipsnade zookeeper Ken Smith: a repeat trip to the British Cameroon in 1949, and a trip to British Guiana (now Guyana) in 1950. On the first of these trips, he met the Fon of Bafut Achirimbi II, an autocratic West African chieftain who helped him organise future missions.


title: Gerald Durrell

text: Durrell housed and fed his captives with the best supplies obtainable, not trapping animals having merely "show value" or those which would fetch high prices from collectors. These practices differed from those of other animal-collecting expeditions of the time, and he was in financial straits by the end of his third expedition. Further, he had a falling-out with George Cansdale, superintendent of the London Zoo, and Durrell was blackballed by the British zoo community and could not secure a job in most zoos. He eventually secured a job at the aquarium at Belle Vue Zoo in Manchester, where he remained for some time.


title: Gerald Durrell

text: Durrell started writing humorous autobiographical accounts to raise money with encouragement and assistance from Jacquie and advice from his brother Lawrence. He did this initially because he and Jacquie were in need of money after their wedding and he had no source of income, and later he wrote in order to fund his expeditions and conservation efforts. His first book "The Overloaded Ark" was a huge success, causing him to follow up with other such accounts. He only made £50 from British rights (Faber and Faber), but he obtained £500 from the United States rights (Viking Press) for the book, and thus managed to raise money for a fourth expedition to South America in 1954. This, however, was undertaken during a political coup d'état in Paraguay and was unsuccessful.


title: Gerald Durrell

text: The publication of "My Family and Other Animals" in 1956 made Durrell a notable author and brought him public recognition as a naturalist. Royalties from this book, which made best-seller lists in the United Kingdom, helped to fund Durrell's next expedition.


title: Gerald Durrell

text: Durrell's growing disillusionment with the way zoos of the time were run, and his belief that they should primarily act as reserves and regenerators of endangered species, made him contemplate founding his own zoo. His 1957 trip to Cameroon for the third and last time was primarily to collect animals which would form the core collection of his own zoo.


title: Gerald Durrell

text: This expedition was also filmed, it being Durrell's first experiment with making a cinematographic record of his work with animals. The success of the film "To Bafut with Beagles", together with his autobiographical radio programme "Encounters with Animals", made Durrell a regular with the BBC Natural History unit for decades to come, as well as generating funds for his conservation projects.


title: Gerald Durrell

text: On his return from Bafut, Durrell and wife Jacquie stayed with his sister Margaret at her boarding house in the seaside resort of Bournemouth. His animals were housed in her gardens and garage on a temporary basis, while Durrell sought prospective sites for a zoo. To his dismay, both Bournemouth and Poole municipalities turned down his suggestion for a zoo. This experience provided material for his book "A Zoo in My Luggage".


title: Gerald Durrell

text: Durrell founded the Jersey Zoological Park in 1959 to house his growing collection of animals. The site for the zoo, a 17th-century manor house, Les Augres Manor, came to Durrell's notice by chance after a long and unsuccessful search for a suitable site. Durrell leased the manor and set up his zoo on the redesigned manor grounds. In the same year, Durrell undertook another, more successful expedition to South America to collect endangered species. The zoo was opened to the public in 1959 on 26 March.


title: Gerald Durrell

text: As the zoo grew in size, so did the number of projects undertaken to save threatened wildlife in other parts of the world. Durrell was instrumental in founding the Jersey Wildlife Preservation Trust (now Durrell Wildlife Conservation Trust), on 6 July 1963 to cope with the increasingly difficult challenges of zoo, wildlife and habitat management.


title: Gerald Durrell

text: The trust opened an international wing, the Wildlife Preservation Trust International, in the United States in 1971, to aid international conservation efforts in a better fashion. That year, the trust bought out Les Augres Manor from its owner, Major Hugh Fraser, giving the zoo a permanent home.


title: Gerald Durrell

text: Durrell's initiative caused the Fauna and Flora Preservation Society to start the World Conference on Breeding Endangered Species in Captivity as an Aid to their Survival in 1972 at Jersey, today one of the most prestigious conferences in the field. 1972 also saw Princess Anne becoming a patron of the trust, an action which brought the trust into media limelight and helped raise funds.


title: Gerald Durrell

text: The 1970s saw Jersey Wildlife Preservation Trust become a leading zoo in the field of captive breeding, championing the cause among species like the lowland gorilla, and various Mauritian fauna. Durrell visited Mauritius several times and coordinated large scale conservation efforts in Mauritius with conservationist Carl Jones, involving captive breeding programmes for native birds and reptiles, ecological recovery of Round Island, training local staff, and setting up local conservation facilities. This ultimately led to the founding of the Mauritian Wildlife Foundation in 1984.


title: Gerald Durrell

text: Jacquie Durrell separated from and then divorced Durrell in 1979, citing his increasing work pressure, associated alcoholism and mounting stress as causes.


title: Gerald Durrell

text: Durrell met his second wife, Lee McGeorge Wilson, in 1977 when he lectured at Duke University, where she was studying for a PhD in animal communication. In 1978, a year after they first met, Durrell wrote a love letter to his future wife. They married in 1979. She co-authored a number of books with him, including "The Amateur Naturalist", and became the honorary director of the trust after his death.


title: Gerald Durrell

text: In 1978, Durrell started the training centre for conservationists at the zoo, or the "mini-university" in his words. As of 2005, over a thousand biologists, naturalists, zoo veterinarians and zoo architects from 104 countries have attended the International Training Centre. Durrell was also instrumental in forming the Captive Breeding Specialist Group of the World Conservation Union in 1982.


title: Gerald Durrell

text: Durrell founded Wildlife Preservation Trust Canada, now Wildlife Preservation Canada, in 1985. The official appeal, Saving Animals from Extinction, was launched in 1991 at a time when British zoos were not faring well and London Zoo was in danger of closing down.


title: Gerald Durrell

text: In 1989, Durrell and his wife, along with David Attenborough and cricketer David Gower helped launch the World Land Trust (then the World Wide Land Conservation Trust). The initial goal of the trust was to purchase rainforest land in Belize as part of the Programme for Belize. Around this time Gerald Durrell developed a friendship with Charles Rycroft, who became an important donor of funds both for building works in Jersey (the Harcroft Lecture Theatre) and for conservation work in East Africa, Madagascar and elsewhere.


title: Gerald Durrell

text: 1990 saw the trust establish a conservation programme in Madagascar along the lines of the Mauritius programme. Durrell visited Madagascar in 1990 to start captive breeding of a number of endemic species like the aye-aye.


title: Gerald Durrell

text: Durrell chose the dodo, the flightless bird of Mauritius that was hunted to extinction in the 17th century, as the logo for both the Jersey Zoo and the trust. The children's chapter of the trust is called the Dodo Club. Following his death, the Jersey Wildlife Preservation Trust was renamed the Durrell Wildlife Conservation Trust at the 40th anniversary of the zoo on 26 March 1999. The Wildlife Preservation Trust International also changed its name to Wildlife Trust in 2000, and adopted the logo of the black tamarin.


title: Gerald Durrell

text: To me the extirpation of an animal species is a criminal offence, just as the destruction of something else that we cannot recreate or replace, such as a Rembrandt or the Acropolis, would be.


title: Gerald Durrell

text: On 26 February 1951, Durrell married Manchester resident Jacqueline ('Jacquie') Sonia Wolfenden after a lengthy courtship; they eloped when she was 21, because of opposition from her father. The couple initially lived in a small bedsitter in Durrell's sister Margaret's Bournemouth boarding house. Jacquie accompanied him on most of his following animal expeditions and helped found and manage the Jersey Zoo. She also authored two humorous, best-selling memoirs on the lines of Durrell's books in order to raise money for conservation efforts. They separated and then divorced in 1979, citing the pressure of his work and his alcoholism.


title: Gerald Durrell

text: In 1979, Gerald married American Lee McGeorge Wilson, who met him when he gave a lecture at Duke University in North Carolina in 1977, where she was a doctoral student. He was 52 and she was 28 years old. Both were enthusiastic naturalists. They remained married until his death.


title: Gerald Durrell

text: A hard, outdoor life led Durrell to health problems in the 1980s. He underwent hip-replacement surgery in a bid to counter arthritis, but he also suffered from alcohol-related liver problems. His health deteriorated rapidly after the 1990 Madagascar trip. Durrell had a liver transplant in King's College Hospital on 28 March 1994, and he died of septicaemia on 30 January 1995, shortly after his 70th birthday in Jersey General Hospital. His ashes are buried in Jersey Zoo, under a memorial plaque bearing a quote by William Beebe:


title: Gerald Durrell

text: The beauty and genius of a work of art may be re-conceived, though its first material expression be destroyed; a vanished harmony may yet again inspire the composer; but when the last individual of a race of living beings breathes no more, another heaven and another earth must pass before such a one can be again. ("The Bird", 1906)


title: Gerald Durrell

text: A memorial celebrating Durrell's life and work was held at the Natural History Museum in London on 28 June 1995. Participants included personal friends such as David Attenborough and Princess Anne.


title: Gerald Durrell

text: Durrell's books have a very loose style which pokes fun at himself as well as those around him. Perhaps his best-known work is "My Family and Other Animals" (1956), which tells of his idyllic childhood on Corfu and was developed into two TV series and one film. It is deprecating about the whole family, especially elder brother Lawrence, who became a famous novelist. Despite Durrell's jokes at Lawrence's expense, the two were close friends all their lives.


title: Gerald Durrell

text: Durrell always insisted that he wrote for royalties to help the cause of environmental stewardship, not out of an inherent love for writing. He describes himself as a writer in comparison to his brother:


title: Gerald Durrell

text: The subtle difference between us is that he loves writing and I don't. To me it's simply a way to make money which enables me to do my animal work, nothing more.


title: Gerald Durrell

text: Durrell was a regular contributor to magazines on both sides of the Atlantic, including "Harper's", "Atlantic Monthly", and "the Sunday Times" Supplement. He was also a regular book reviewer for "The New York Times". A number of excerpts and stories from his books were used by Octopus Books and Reader's Digest Publishing, including in the Reader's Digest Condensed Books. His works have been translated into 31 languages and made into TV serials and feature films. He has large followings in Northern and Eastern Europe, Russia, Israel, and various Commonwealth countries, including India. The British Library houses a collection of Durrell's books as part of the Lawrence Durrell Collection.


title: Gerald Durrell

text: Durrell was a talented artist and caricaturist, but worked with numerous illustrators over the years, starting with Sabine Baur for "The Overloaded Ark" (published by Faber and Faber). Two of his most productive collaborations were with Ralph Thompson ("Bafut Beagles", "Three Singles To Adventure", "The New Noah", "The Drunken Forest", "Encounters with Animals", "A Zoo in My Luggage", "The Whispering Land", "Menagerie Manor") (published by Rupert Hart-Davis) and Edward Mortelmans ("Catch Me A Colobus", "Beasts in My Belfry", "Golden Bats and Pink Pigeons") (published by Collins). The illustrations are mostly sketches of animal subjects. Ralph Thompson visited the Jersey Zoological Park during the sketching period for "Menagerie Manor".


title: Gerald Durrell

text: Other illustrators who worked with Durrell were Barry L. Driscoll, who illustrated "Two in the Bush"; Pat Marriott, who illustrated "Look at Zoos"; and Anne Mieke van Ogtrop, who illustrated "The Talking Parcel" and "Donkey Rustlers".


title: Gerald Durrell

text: Durrell wrote a number of lavishly illustrated children's books in his later years. Graham Percy was the illustrator for "The Fantastic Flying Journey" and "The Fantastic Dinosaur Adventure". "Toby the Tortoise" and "Keeper" were illustrated by Keith West. His "Puppy" board books were illustrated by Cliff Wright.


title: Gerald Durrell

text: In case of simultaneous releases in many countries, the UK edition is referred to, except for companion books to TV series where both the UK and US editions are referred to.


title: Gerald Durrell

text: A time capsule buried at Jersey Zoo in 1988 contains the following popular quote by Durrell, often used in conservation awareness campaigns:


title: Gerald Durrell

text: <poem>We hope that there will be fireflies and glow-worms at night to guide you and butterflies in hedges and forests to greet you.


title: Gerald Durrell

text: We hope that your dawns will have an orchestra of bird song and that the sound of their wings and the opalescence of their colouring will dazzle you.


title: Gerald Durrell

text: We hope that there will still be the extraordinary varieties of creatures sharing the land of the planet with you to enchant you and enrich your lives as they have done for us.


title: Gerald Durrell

text: "Many people think conservation is just about saving fluffy animals—what they don't realise is that we are trying to prevent the human race from committing suicide."


title: Scaramouche

text: Scaramouche () or Scaramouch (; from Italian Scaramuccia , literally "little skirmisher") is a stock clown character of the 16th-century commedia dell'arte (comic theatrical arts of Italian literature). The role combined characteristics of the "Zanni" (servant) and the "Capitano" (masked henchman), with some assortment of villainous traits. Usually attired in black Spanish dress and burlesquing a Don, he was often beaten by Harlequin for his boasting and cowardice.


title: Scaramouche

text: Although Tiberio Fiorillo (1608–1694) was not the first to play the role, he greatly developed and popularized it. He removed the mask, used white powder on his face, and employed grimaces. He was small , long beard, and wore a predominantly black costume with a white ruff. In France he became known as Scaramouche.


title: Scaramouche

text: In the 19th century, the English actor Joseph Grimaldi and his son J. S. Grimaldi made numerous appearances as Scaramouche.


title: Scaramouche

text: Scaramouche influences the audience to do his bidding. Rosa says that Coviello (like Scaramouche) is "short, adroit, supple, and conceited". In Molière's "The Bourgeois Gentleman", Coviello disguises his master as a Turk and pretends to speak Turkish. Both Scaramouche and Coviello can be clever or stupid—as the actor sees fit to portray him.


title: Scaramouche

text: In Blaise Pascal's Pensèes Section 1 Article 12, Scaramouche is described as a person "who only thinks of one thing. The doctor, who speaks for a quarter of an hour after he has said everything, so full is he of the desire of talking."


title: Scaramouche

text: Scaramouche is one of the great characters in the Punch and Judy puppet shows (a performative art with roots in commedia dell'arte). In some scenarios, he is the owner of The Dog, another stock character. During performances, Punch frequently strikes Scaramouche, causing his head to come off his shoulders. Because of this, the term "scaramouche" has become associated with a class of puppets with extendable necks.


title: All Eyez on Me (film)

text: All Eyez on Me is a 2017 American biographical drama film about the African-American rapper Tupac Shakur, directed by Benny Boom and written by Jeremy Haft, Eddie Gonzalez, and Steven Bagatourian. Titled after Shakur's 1996 fourth studio album as well as the song of the same name, the film stars Demetrius Shipp Jr. as Shakur with Kat Graham, Lauren Cohan, Hill Harper, and Danai Gurira in supporting roles, with Jamal Woolard reprising his role as Christopher "The Notorious B.I.G." Wallace from "Notorious" (2009).


title: All Eyez on Me (film)

text: Talks of a Tupac biopic began in 2011 by Morgan Creek Entertainment Group. The film languished in development hell for several years with various directors, including Antoine Fuqua and John Singleton, attached at different points before Boom was confirmed in November 2015. That December, Shipp Jr., whose father worked on music videos with Shakur, was cast as the rapper and principal photography began that month. It lasted until April 2016, filming in Atlanta, Las Vegas, and Los Angeles.


title: All Eyez on Me (film)

text: "All Eyez on Me" premiered on June 14, 2017, at the Fox Bruin Theater and was released in the United States on June 16, 2017, on what would have been Shakur's 46th birthday. The film received generally negative reviews from critics and was a commercial failure, only grossing $55 million worldwide on an over $40 million budget.


title: All Eyez on Me (film)

text: At the Clinton Correctional Facility in 1995, a documentary filmmaker arrives to interview Tupac Shakur. In a flashback to 1971, Tupac's mother, Afeni Shakur and other Black Panther Party members are released from prison following acquittal. From an early age, Tupac, instilled with black pride, witnesses multiple injustices in his neighborhood. His stepfather, Mutulu, a revolutionary, is caught by the FBI for an armored-truck robbery and murder. As Tupac gets older, he distances himself from his mother's revolutionary ideals. He attends the Baltimore School for the Arts, where he becomes friends with Jada Pinkett.


title: All Eyez on Me (film)

text: Tupac's music career begins when he joins Digital Underground for their hit "Same Song". Under manager Atron Gregory, he begins to have hip-hop albums produced. Although his music becomes popular, some songs' controversial lyrics cause tensions between him and his record producers. Tupac begins acting in movies such as "Juice", as well as collaborating with performers including Biggie Smalls. He generates both praise and controversy.


title: All Eyez on Me (film)

text: Tupac finds himself beaten by police officers over jaywalking. Another time, after he and E.D.I. Mean, a member of 2Pac's group called, "Outlawz" intervene when two white male off-duty police officers assault a black man, Tupac is arrested for shooting at the cops. Tupac develops a contentious relationship with a Brooklyn drug dealing club promoter and aspiring music executive named Nigel.


title: All Eyez on Me (film)

text: In 1993, Tupac goes on trial for rape and harassment charges. On November 30, 1994, he is attacked and robbed by three men from Brooklyn, NY in the lobby of Quad Recording Studios, is shot five times before the men flee, and is hospitalized. The following day, Tupac is found not guilty of rape, but found guilty of illegal touching, and sentenced to eighteen months in prison.


title: All Eyez on Me (film)

text: While in prison, Tupac hears Biggie's song "Who Shot Ya?", and interprets it as a diss track bragging about Biggie's alleged involvement in his shooting. Tupac, who is assaulted by two guards while in prison, eventually is released and signs to Death Row Records under Suge Knight. Tupac and label-mate Dr. Dre work on the hit song "California Love". He releases the track "Hit Em Up" as a response to "Who Shot Ya?" in which Tupac brags about supposedly having an affair with Biggie's wife Faith Evans. Tupac parts ways with Death Row to launch his own company. Later, Suge offers Tupac a chance to become partners, and Tupac agrees to head Death Row's East Coast operations.


title: All Eyez on Me (film)

text: On September 7, 1996, Tupac, Suge, and other members of the Mob Pirus are leaving the Mike Tyson vs. Bruce Seldon boxing match at the MGM Grand Las Vegas. They confront a Southside Compton Crips gang member named Orlando Anderson who had jumped a friend, and Tupac knocks him to the ground, leading to a brawl. Tupac stops by his hotel to change clothes, and tells Kidada he will return in an hour from performing at Club 662. With Suge, Tupac is at the intersection of Flamingo Road and Koval Lane when a Cadillac pulls alongside Suge's BMW and from the backseat an arm with a leather glove on & a Glock 17 shoots Tupac multiple times before fleeing the scene. Onscreen text states that Tupac was pronounced dead six days later at age 25. Tupac had released 9 platinum albums, 7 posthumous albums, 75 million albums sold, 713 songs, and 7 movies, all by the age of 25. It has been two decades since his death and his murder remains unsolved.


title: All Eyez on Me (film)

text: On February 10, 2011, it was announced that Morgan Creek Productions was developing, and would finance and produce, "Tupac", a biographical film about rap legend Tupac Shakur, which would follow his entire life, from growing up in East Harlem to becoming a legendary songwriter and hip-hop artist, to his death in Las Vegas at the age of 25. Antoine Fuqua was attached as the director of the film, and the script was written by Steven Bagatourian, Stephen J. Rivele, and Christopher Wilkinson.


title: All Eyez on Me (film)

text: James G. Robinson and David C. Robinson were set to produce the film, along with Program Pictures' L.T. Hutton, and Tupac's mother Afeni Shakur was set as executive producer, with production initially scheduled to begin that summer. On September 19, 2013, Emmett/Furla/Oasis Films came on board to co-finance and co-produce the $45 million-budgeted film, along with Morgan Creek.


title: All Eyez on Me (film)

text: On February 12, 2014, John Singleton signed on to rewrite, direct and produce the film, and on April 16, 2014, Open Road Films acquired the United States distribution rights. Ed Gonzalez, Jeremy Haft, and Singleton wrote the then-latest draft of the script. On April 7, 2015, it was revealed that Singleton had exited the film due to major creative differences, while Carl Franklin was being eyed to direct instead.


title: All Eyez on Me (film)

text: On October 28, 2015, The Hollywood Reporter reported that Emmett/Furla/Oasis had sued Morgan Creek over $10 million for breaking the companies' co-production agreement, signed in September 2013. In the agreement, terms included not raising the production budget above $30 million, mutual approval for the lead actor's selection, a filming schedule, and agreements on distribution and sales. Randall Emmett and George Furla also stated that they had all first signed a distribution deal with Open Road, which Morgan Creek rejected, and that Morgan Creek had inked a new deal with Open Road without mutual approval.


title: All Eyez on Me (film)

text: On November 30, 2015, it was reported that music director Benny Boom would direct the film, replacing Franklin. In early December 2015, the film's title was confirmed to be "All Eyez On Me". Newcomer Demetrius Shipp, Jr. was set to play Tupac. Jamal Woolard joined the film to play The Notorious B.I.G., Tupac's friend turned rival, reprising his starring role in the 2009 film "Notorious". On January 11, 2016, Danai Gurira was added to the film's cast to play Tupac's mother Afeni Shakur, a political activist and member of the Black Panther Party. "Variety" reported the next day that Kat Graham had signed on to play Jada Pinkett, a friend of Tupac from the Baltimore School for the Arts. It was later revealed that Dominic L. Santana had been cast as record producer Suge Knight.


title: All Eyez on Me (film)

text: On January 13, Jamie Hector signed on to play Mutulu Shakur, Tupac's stepfather. On January 15, Lauren Cohan joined the cast to play Leila Steinberg, a key figure in Tupac's life, as his mentor. Money B appeared in the film as himself, Tupac's coworker at Digital Underground, while Clifton Powell was cast as Floyd, an inmate at the Clinton Correctional Facility, and Johnell Young as Tupac's close friend Ray Luv. On January 19, TheWrap reported that Grace Gibson had been cast to play Biggie Smalls' wife, Faith Evans, and on January 22, 2016, Keith Robinson was cast as Atron Gregory, a TNT Records founder, who first helped Tupac become a dancer and a solo artist. Annie Ilonzeh was added to the cast in February 2016 to play Kidada Jones, who was engaged to Tupac at the time of his death.


title: All Eyez on Me (film)

text: Principal photography on the film began in mid-December 2015 in Atlanta, Georgia. Filming wrapped on April 12, 2016, in Las Vegas, Nevada.


title: All Eyez on Me (film)

text: On June 16, 2016, on what would have been Shakur's 45th birthday, a teaser trailer for the film was released, and a second trailer premiered on September 13, 2016, the 20th anniversary of Shakur's death. The film's release date was set as June 16, 2017. On February 10, 2017, a third teaser trailer was released, confirming Summit, Morgan Creek, Program Pictures, and Codeblack Films as producers and distributors. On April 6, 2017, a fourth trailer was released.


title: All Eyez on Me (film)

text: "All Eyez on Me" grossed $44.9 million in the United States and Canada, and $10.7 million in other territories, for a worldwide total of $55.7 million, against a production budget of $40 million.


title: All Eyez on Me (film)

text: In North America, "All Eyez on Me" was released on June 16, 2017, alongside "Rough Night", "47 Meters Down" and "Cars 3", and was projected to gross $17–20 million from 2,471 theatres in its opening weekend. It took in $12.8 million on Friday (including $3.1 million from Thursday night previews), increasing weekend estimates to $31 million. It ended up debuting to $26.4 million, finishing 3rd at the box office, behind "Cars 3" ($53.7 million) and "Wonder Woman" ($41.3 million). Deadline Hollywood attributed the film's success to the release corresponding with Tupac's birthday, as well as to audience interest in the subject matter, following the success of rap biopic "Straight Outta Compton" in 2015; 47% of the opening weekend audience was black, 25% Hispanic, and 19% white.


title: All Eyez on Me (film)

text: In its second weekend, the film declined 78% to $5.8 million, the 16th largest such decline on record. In its third weekend, the film, which had dropped down to 1,258 theatres, declined another 68.6% to $1.8 million, finishing 11th at the box office.


title: All Eyez on Me (film)

text: On review aggregator Rotten Tomatoes, the film has an approval rating of 18% based on 92 reviews, with an average rating of 4.3/10. The website's critical consensus reads, "Despite Demetrius Shipp Jr.'s fine lead performance, "All Eyez on Me" is mostly a surface-skimming, by-the-numbers biopic of a larger-than-life icon." On Metacritic, which assigns a normalized rating, the film has a weighted average score of 38 out of 100, based on 22 critics, indicating "generally unfavorable reviews." Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale, and PostTrak reported filmgoers gave it an 82% overall positive score.


title: All Eyez on Me (film)

text: Glenn Kenny of "The New York Times" gave the film a negative review, saying: "Almost all the dialogue is that flat-footed. It’s a stark contrast to the almost always vivid power of Shakur’s own words, which could be profoundly empathetic and pettily profane." Owen Gleiberman of "Variety" wrote: "Comprehensive but sketchy, richly atmospheric but often under-dramatized, it is not, in the end, a very good movie (there are a few scenes, like Tupac’s initial meeting with Ted Field of Interscope Records, that are embarrassingly bad). Yet it’s highly worth seeing because in its volatility and hunger, and the desperation of its violence, it captures something about the space in which Tupac Shakur lived: a place that wanted to be all about pride and power, but was really about flying over the abyss."


title: All Eyez on Me (film)

text: Jada Pinkett Smith stated that the film contained inaccuracies about her relationship with Shakur, and why he left for California. Smith specified that Tupac never read the poem he read to her character in the film, and that she had no knowledge that it even existed until it was published in his book. She also stated that she never attended one of Shakur's shows at his request, and that there was no backstage argument. However, she praised the performances of Shipp and Graham. Ayanna Jackson, the woman who had accused Shakur of sexual assault, described her portrayal in the movie as, “absolutely ludicrous … nothing about it is me at all,” and that the film's depiction of the situation between her and Shakur was “such a falsehood”. Jackson stated that she walked out of the movie theater while seeing the film after seeing her portrayal. Both Sean Combs and Suge Knight gave blessings to the film, praising their respective portrayals.


title: All Eyez on Me (film)

text: In June 2017, shortly after "All Eyez on Me" was released journalist Kevin Powell filed a copyright infringement lawsuit against the filmmakers. In the complaint Powell alleged that the film was derived from several articles that Powell wrote for "Vibe Magazine" in the 1990s. While events from Tupac's life are in the public domain, Powell claimed to have "changed or embellished" portions of his articles. One of the claims made by Powell in the lawsuit was that he had invented the character of Nigel.


title: Look Who's Back (film)

text: Look Who's Back (, ; ) is a 2015 German satirical black comedy film directed by and based on the 2012 novel of the same name by Timur Vermes. The film features unscripted vignettes of Oliver Masucci as Adolf Hitler interacting with ordinary Germans, interspersed with scripted storyline sequences. It was listed as one of eight films that could be the German submission for the Best Foreign Language Film at the 89th Academy Awards, but it was not selected.


title: Look Who's Back (film)

text: The film begins in Berlin, 2014. Adolf Hitler wakes up in the park where his Führerbunker once stood. As he wanders, disoriented, through the city, he interprets modern situations and things from a wartime perspective. Everyone he meets assumes he is an actor impersonating Hitler. Attempting to ask directions to the Reich Chancellery, Hitler is told by a mime to find his own spot and pepper-sprayed by a terrified young mother. Arriving at a newspaper kiosk and reading that it is 2014, he becomes dizzy and faints.


title: Look Who's Back (film)

text: Meanwhile, moviemaker Fabian Sawatzki is fired from the television station MyTV and despondently watches the documentary he had been filming in the park where Hitler awoke. Seeing Hitler in the background, Sawatzki begins searching for him in hopes of getting his job back.


title: Look Who's Back (film)

text: Waking at the kiosk, Hitler begins to read about modern Germany. Through the newspapers he discovers a completely different nation from the one he left and not one agreeable to him. Lamenting that Poland still exists on formerly German soil, Hitler says the whole war was a waste. He decides that destiny has resurrected him for a reason and vows to continue his work.


title: Look Who's Back (film)

text: After finding the kiosk, Sawatzki proposes to travel across Germany with Hitler and film him for YouTube. Hitler agrees, and the two leave together. Travelling from the North Sea Coast to Bavaria, Sawatzki films Hitler interacting with ordinary Germans and promising to solve their problems with immigrants and guest-workers. When a Bavarian tells Hitler that he will never follow him, Hitler demands his name and address, saying that it is for "the first wave of arrests". The Bavarian responds that he is not worried.


title: Look Who's Back (film)

text: Sawatzki's idea for an animal-centred film clip ends when Hitler shoots a dog with a concealed pistol. Sawatzki is outraged, but Hitler calls him a weakling and vows to make a man out of him. While their videos gain over a million hits, Sawatzki and Hitler return to Berlin. Sawatzki introduces both Hitler and his program idea to the MyTV station chiefs. The new MyTV chairman, Katja Bellini, decides to use Hitler in one of MyTV's comedies.


title: Look Who's Back (film)

text: Before the show, Hitler learns about the Internet and uses it to prepare his return to politics. On air, Hitler presents his old plans for an ethnically homogeneous fascist state, and unintentionally becomes a big comedy hit. As his success in comedy increases, Christoph Sensenbrink, one of MyTV's executives, discovers the unedited footage of Hitler shooting the dog. Sensenbrink broadcasts the footage, ruining the burgeoning careers of Hitler, Sawatzki, and Bellini, and resulting in his own promotion to station chief.


title: Look Who's Back (film)

text: With the help of Bellini and Sawatzki, Hitler publishes an autobiographical book about his new life in the 21st century, "Er Ist Wieder Da" ("Look Who's Back"), and it becomes a bestseller. Soon after, Sawatzki turns the book into a film. Without Hitler, MyTV's ratings and ad revenue drop precipitously and Sensenbrink, after a fit of rage (parodying Hitler's breakdown scene in the German drama film "Downfall"), decides he must rehire Hitler.


title: Look Who's Back (film)

text: Hitler plays himself in the movie. After a night of filming, he is beaten by two Neo-Nazis who believe him to be a fraudulent impersonator mocking their beliefs. Hitler is hospitalized, but the news of his beating generates sympathy and he returns to high standing with the German people. While Hitler is recuperating, Sawatzki reviews his old footage and discovers a ball of energy (based on "The Terminator") in the background before Hitler first appeared. Returning to the site, he finds burnt leaves. With horror, he realizes that the Hitler he encountered was the real person all along. He rushes to the hospital to confront Hitler, but finds only Katja, who says Hitler is at the movie studio. Katja does not understand Sawatzki when he says Hitler is real and he trashes the hospital room before running for the exit pursued by two hospital orderlies.


title: Look Who's Back (film)

text: Sawatzki arrives at the movie studio, where he forces Hitler to the roof at gunpoint with his own pistol. Calmly, Hitler replies that he was elected by the German people, and if he is a monster, then so is everyone who voted for him. Enraged, Sawatzki shoots Hitler in the face and watches him fall off the roof to his apparent death. Suddenly Hitler reappears behind Sawatzki, claiming he cannot be killed, as he is a part of every German. This entire scene is revealed to be a part of the film, and Sawatzki is a body double wearing a silicone mask. The real Sawatzki has been committed to a mental hospital following his previous outburst that Hitler still lives.


title: Look Who's Back (film)

text: Once the work for his film finishes, Hitler senses that he is on the path to a political comeback. He is more popular than ever, and nationalist Germans give him hope that Germany may be ready for his return to power. With Hitler and Bellini riding in the back seat of a car, and among images of actual nationalist demonstrations, the film ends with Hitler's voice-over: "I can work with this".


title: Look Who's Back (film)

text: As themselves in cameos (German TV and internet personalities): Klaas Heufer-Umlauf, Joko Winterscheidt, Frank Plasberg, Daniel Aminati, , Roberto Blanco, Micaela Schäfer, , , , , Andrea Nahles, Nina Proll


title: Look Who's Back (film)

text: The film was remade in Italy as "Sono tornato" ("I'm Back"). The plot closely follows the German film except that it is Benito Mussolini rather than Hitler who magically reappears in the 21st century.


title: Tank destroyer

text: A tank destroyer, tank hunter, tank killer, or self-propelled anti-tank gun is a type of armoured fighting vehicle, armed with a direct fire artillery gun or missile launcher, designed specifically to engage and destroy enemy tanks, often with limited operational capacities.


title: Tank destroyer

text: While tanks are designed for front-line combat, combining operational mobility and tactical offensive and defensive capabilities and performing all primary tasks of the armoured troops, the tank destroyer is specifically designed to take on enemy tanks and other armoured fighting vehicles. Many are based on a tracked tank chassis, while others are wheeled.


title: Tank destroyer

text: Since World War II, gun-armed powerful tank destroyers have fallen out of favor as armies have favored multirole main battle tanks. However, lightly armoured anti-tank guided missile (ATGM) carriers are commonly used for supplementary long-range anti-tank work. The resurgence of expeditionary warfare in the first two decades of the 21st century has seen the emergence of gun-armed wheeled vehicles, sometimes called "protected gun systems", which may bear a superficial resemblance to tank destroyers, but are employed as direct fire support units typically providing support in low-intensity operations such as the wars in Iraq and Afghanistan.


title: Tank destroyer

text: Dedicated anti-tank vehicles made their first major appearance in the Second World War as combatants developed effective armoured vehicles and tactics. Some were little more than stopgap solutions, mounting an anti-tank gun on a tracked vehicle to give mobility, while others were more sophisticated designs. An example of the development of tank destroyer technology throughout the war are the Marder III and Jagdpanzer 38 vehicle, that were very different in spite of being based on the same chassis: Marder was straightforwardly an anti-tank gun on tracks whereas the Jagdpanzer 38 traded some firepower (its 7.5 cm Pak 39, designed to operate within the confines of a fully armoured fighting compartment, fires the same projectiles from a reduced propellant charge compared to Marder's 7.5 cm Pak 40) for better armour protection and ease of concealment on the battlefield.


title: Tank destroyer

text: Except for most American designs, all tank destroyers were turretless vehicles with fixed or casemate superstructures. When a tank destroyer was used against enemy tanks from a defensive position such as by ambush, the lack of a rotating turret was not particularly critical, while the lower silhouette was highly desirable. The turretless design allowed accommodation of a more powerful gun, typically a dedicated anti-tank gun (in lieu of a regular tank's general-purpose main gun that fired both anti-tank and high explosive ammunition) that had a longer barrel than could be mounted in a turreted tank on the same chassis. The lack of a turret increased the vehicle's internal volume, allowing for increased ammunition stowage and crew comfort. Eliminating the turret let the vehicle carry thicker armour, and also let this armour be concentrated in the hull. Sometimes there was no armoured roof (only a weather cover) to keep the overall weight down to the limit that the chassis could bear. The absence of a turret meant that tank destroyers could be manufactured significantly cheaper, faster, and more easily than the tanks on which they were based, and they found particular favor when production resources were lacking.


title: Tank destroyer

text: The first German tank destroyers were the "Panzerjäger" ("tank hunters"), which mounted an existing anti-tank gun on a convenient chassis for mobility, usually with just a three-sided gun shield for crew protection. For instance, 202 obsolete Panzer I light tanks were modified by removing the turret and were rebuilt as the Panzerjäger I self-propelled 4.7 cm PaK(t). Similarly, Panzer II tanks were used on the eastern front. Captured Soviet anti-tank guns were mounted on modified Panzer II chassis, producing the Marder II self-propelled anti-tank gun. The most common mounting was a German anti-tank gun on the Czech Panzer 38(t) chassis as the Marder III. The Panzer 38(t) chassis was also used to make the Jagdpanzer 38 casemate style tank destroyer. The Panzerjäger series continued up to the equipped Nashorn.


title: Tank destroyer

text: German tank destroyers based on the Panzer III medium tank and later German tanks had more armour than their tank counterparts. One of the more successful German tank destroyers was designed as a self-propelled artillery gun, the "Sturmgeschütz III". Based on the Panzer III tank chassis, the "Sturmgeschütz III" was originally fitted with a short barreled low-velocity howitzer-like gun, and was assigned to the artillery arm for infantry fire support as an assault gun. Later, after encountering Soviet tanks, it was refitted with a comparatively short-barreled high-velocity anti-tank gun, usually with a muzzle brake, enabling it to function as a tank destroyer. The "Sturmgeschütz III" from its 1938 origin used a new casemate-style superstructure with an integrated design, similar to the later "Jagdpanzer" vehicle designs' superstructure, to completely enclose the crew. It was employed in infantry support and offensive armoured operations as well as in the defensive anti-tank role. The StuG III assault gun was Germany's most-produced fully tracked armoured fighting vehicle during World War II, and second-most produced German armoured combat vehicle of any type after the Sd.Kfz. 251 half-track.


title: Tank destroyer

text: Although the early German "Panzerjäger" carried more effective weapons than the tanks on which they were based, they were generally lacking in protection for the crew, having thinly armoured open-topped superstructures. The "open-topped" design format of the "Panzerjäger" vehicles was succeeded by the "Jagdpanzer" ("hunting tanks"), which mounted the gun in true casemate-style superstructures, completely enclosing the crew compartment in armor that was usually integral to the hull. The first of these "Jagdpanzer"s was the 70-ton "Ferdinand" (later renamed "Elefant"), based on the chassis, hulls, and drive systems of ninety-one Porsche VK4501 (P) heavy tanks, mounting a long-barreled 88 mm cannon in an added casemate, more like the earlier "Panzerjägers" had with their added-on armour shielding for the gun crew, but in the "Ferdinand" completely enclosing the gun and firing crew in the added casemate, as the later purpose-built "Jagdpanzers" would. However, the "Ferdinand" was mechanically unreliable and difficult to maneuver, and once all ninety-one unturreted "Porsche Tiger" hulls/drive systems were converted, no more were built. The German Army had more success with the Jagdpanther. Introduced in mid-1944, the Jagdpanther, of which some 415 examples were produced, was considered the best of the casemate-design Jagdpanzer designs. It featured the same powerful PaK 43 88 mm cannon used on the unwieldy "Elefant", now fitted to the chassis of the medium Panther tank, providing greatly improved armour-penetrating capability in a medium-weight vehicle.


title: Tank destroyer

text: Facing an increasingly defensive war, the German Army turned to larger and more powerfully armed Jagdpanzer designs, and in July 1944 the first "Jagdtiger" rolled off the production line; it was the heaviest German armoured fighting vehicle to go into active service. The "Jagdtiger" was based on the Tiger II heavy tank featured a huge 128 mm PaK 44 cannon and heavy armour protection. Only 88 "Jagdtiger" vehicles were produced, barely matching the total number of the earlier Ferdinand/Elefant vehicles. They were first deployed to combat units in September 1944.