title: Liskov substitution principle

text: Behavioural subtyping is a stronger notion than typical subtyping of functions defined in type theory, which relies only on the contravariance of parameter types and covariance of the return type. Behavioural subtyping is undecidable in general: if "q" is the property "method for "x" always terminates", then it is impossible for a program (e.g. a compiler) to verify that it holds true for some subtype "S" of "T", even if "q" does hold for "T". Nonetheless, the principle is useful in reasoning about the design of class hierarchies.


title: Liskov substitution principle

text: Liskov substitution principle imposes some standard requirements on signatures that have been adopted in newer object-oriented programming languages (usually at the level of classes rather than types; see nominal vs. structural subtyping for the distinction):


title: Liskov substitution principle

text: In addition to the signature requirements, the subtype must meet a number of behavioural conditions. These are detailed in a terminology resembling that of design by contract methodology, leading to some restrictions on how contracts can interact with inheritance:


title: Liskov substitution principle

text: The rules on pre- and postconditions are identical to those introduced by Bertrand Meyer in his 1988 book "Object-Oriented Software Construction". Both Meyer, and later Pierre America, who was the first to use the term "behavioral subtyping", gave proof-theoretic definitions of some behavioral subtyping notions, but their definitions did not take into account aliasing that may occur in programming languages that support references or pointers. Taking aliasing into account was the major improvement made by Liskov and Wing (1994), and a key ingredient is the history constraint. Under the definitions of Meyer and America, a mutable point would be a behavioral subtype of an immutable point, whereas Liskov substitution principle forbids this.


title: Liskov substitution principle

text: While widely used, the characterization of behavioral subtyping as the ability to substitute subtype objects for supertype objects has been said to be flawed. It makes no mention of "specifications", so it invites an incorrect reading where the "implementation" of the supertype is compared to the "implementation" of the subtype. This is problematic for several reasons, one being that it does not support the common case where the supertype is abstract and has no implementation. Also, more subtly, in the context of object-oriented imperative programming it is difficult to define precisely what it means to universally or existentially quantify over objects of a given type, or to substitute one object for another. When applying subtyping, generally we are not substituting subtype objects for supertype objects, we are simply using subtype objects as supertype objects. That is, it is the same objects, the subtype objects, that "are also" supertype objects.


title: Liskov substitution principle

text: In an interview in 2016, Liskov herself explains that what she presented in her keynote address was an "informal rule", that Jeannette Wing later proposed that they "try to figure out precisely what this means", which led to their joint publication on behavioral subtyping, and indeed that "technically, it's called behavioral subtyping". During the interview, she does not use substitution terminology to discuss the concepts.


title: Aurora (Sleeping Beauty)

text: Princess Aurora, also known as Sleeping Beauty or Briar Rose, is a fictional character who appears in Walt Disney Productions' 16th animated feature film "Sleeping Beauty" (1959). Originally voiced by singer Mary Costa, Aurora is the only child of King Stefan and Queen Leah. An evil fairy named Maleficent seeks revenge for not being invited to Aurora's christening and curses the newborn princess, foretelling that she will die before the sun sets on her sixteenth birthday by pricking her finger on a spinning wheel's spindle. Merryweather, however, was able to weaken the curse so Aurora would fall into a deep sleep instead of dying. Determined to prevent this, three good fairies raise Aurora as a peasant in order to protect her, patiently awaiting her sixteenth birthday — the day the spell can only be broken by a kiss from her true love, Prince Phillip.


title: Aurora (Sleeping Beauty)

text: Aurora is based on the princess in Charles Perrault's fairy tale "Sleeping Beauty", as well as the heroine who appears in the Brothers Grimm's retelling of the story, "Little Briar Rose". For several years, Walt Disney had struggled to find a suitable actress to voice the princess and nearly abandoned the film entirely until Costa was discovered by composer Walter Schumann. However, Costa's southern accent nearly cost her the role until she proved that she could sustain a British accent for the duration of the film. In order to accommodate the film's unprecedentedly detailed backgrounds, Aurora's refined design demanded more effort than had ever been spent on an animated character before, with the animators drawing inspiration from Art Nouveau. Animated by Marc Davis, Aurora's slender physique was inspired by actress Audrey Hepburn. With only 18 lines of dialogue and equally few minutes of screen time, the character speaks less than any speaking main character in a feature-length Disney animated film.


title: Aurora (Sleeping Beauty)

text: When "Sleeping Beauty" was first released in 1959, the film was both a critical and commercial failure, discouraging the studio from adapting fairy tales into animated films for three decades. Aurora herself received negative reviews from both film and feminist critics for her passivity and similarities to Snow White, and would remain Disney's last princess until "The Little Mermaid"'s Ariel debuted 30 years later in 1989. However, Costa's vocal performance was praised, which inspired her to pursue a full-time career as an opera singer to great success. Chronologically, Aurora is the third Disney Princess. Actress Elle Fanning portrayed a live-action version of Aurora in the film "Maleficent" (2014), a retelling of the 1959 animated film "Sleeping Beauty" from the perspective of the title character. Fanning returned to portray Aurora in "" (2019), which is set five years later.


title: Aurora (Sleeping Beauty)

text: Filmmaker Walt Disney had long been struggling to adapt the fairy tale "Sleeping Beauty" into a full-length animated film for several years, intending to base the project on both Charles Perrault and the Brothers Grimm's versions of the story. Disney was considering abandoning work on the film altogether until singer Mary Costa was discovered, the casting of whom as the film's heroine finally allowed the project to graduate from development to production. At the time Aurora was conceived, there had only been two prior Disney princesses: Snow White and Cinderella, the heroines of Disney's "Snow White and the Seven Dwarfs" (1937) and "Cinderella" (1950), respectively. Disney wanted his third princess to be as different from Snow White as possible, but several strong similarities remain between the two characters and their respective stories. Gary Susman of Moviefone observed that both films feature "an evil witch jealous of a young and beautiful princess, the princess hiding out in a woodland cottage with a group of comic-relief caretakers ... and the witch putting the princess into a deathlike sleep, from which only true love's kiss can awaken her."


title: Aurora (Sleeping Beauty)

text: In the original fairy tale, the princess actually sleeps for 100 years before she is finally awakened by the prince's kiss; this detail was adjusted for the film in favor of having Prince Phillip introduced earlier, and thus Aurora is awakened much sooner. In the Grimm version, the princess is destined to prick her finger at the age of 15, while Disney decided to age the character by one year. Aurora's names are borrowed from both Tchaikovsky's ballet and the Grimm fairy tale. While Tchaikovsky referred to his princess as "Aurora", the Brothers Grimm had named her "Little Briar Rose"; this ultimately inspired Disney to use both names in the film, the latter of which serves as the character's alias while she is hiding from Maleficent. Aurora was the last princess in whose conception Walt Disney himself was directly involved prior to his death.


title: Aurora (Sleeping Beauty)

text: Aurora is voiced by American singer Mary Costa, who was 22 years old when she was cast as the character in 1952. Costa had grown up a fan of Disney films, the first of which she saw was "Snow White and the Seven Dwarfs". As a child, Costa adored the film so much that she would imitate Snow White by parading around her house wearing a bath towel as a makeshift cape. Costa described herself garnering the role of Aurora as simply "being in the right place at the right time." The filmmakers had long struggled to cast Aurora, having been searching for the right voice for the character for three years. Disney himself had been considering to shelving the project unless a suitable voice actress was found, insisting that the same performer provide both the character's speaking and singing voices. Costa was attending a dinner party for the entertainment industry, to which she had been invited by a friend who was hoping to introduce her to some influential people, where she performed the popular standard "When I Fall in Love". The performance was heard by film composer Walter Schumann who, impressed by her vocals, approached Costa about possibly voicing Aurora and inviting her to audition the following morning. Despite doubting that she would be cast, Costa agreed to audition mostly because she wanted to meet Walt Disney. Upon arriving at the studio the next day, composer George Bruns welcomed Costa by asking her to perform a bird call, which she did successfully. However, being from Knoxville, Tennessee, Costa's strong southern accent nearly prevented her from being cast until she proved that she could sustain a fake British accent for the entire film. The filmmakers likened the situation to English actress Vivien Leigh successfully feigning a southern accent for her role as Scarlet O'Hara in the film "Gone With the Wind" (1939). Within hours of her audition, Walt Disney himself contacted Costa via telephone to offer her the job, which she immediately accepted. Aurora became Costa's first major film role.


title: Aurora (Sleeping Beauty)

text: Costa communicated with Walt Disney at least twice a week for nine months, but almost exclusively via telephone because the producer feared that her personality or physical appearance would influence his vision of Aurora if they were to meet in person too soon. They first met when Costa was recording "Once Upon a Dream", Walt's favorite song in the film. When Costa asked Walt why he decided to cast her as Aurora out of all the actresses who auditioned, the producer explained that it was because her singing voice sounded "like an extension of speech." Walt advised Costa to "paint with [her] voice", as well as refuse to let anyone demonstrate her lines for her. Walt also instructed Costa to avoid catching a cold, eat a warm meal two hours prior to her recording sessions, exercise her vocal cords, and get nine hours of sleep every night. Walt and Costa developed a special father-daughter relationship. Aurora's supervising animator Marc Davis would often observe and sketch Costa while she worked in order to incorporate her mannerisms into the character. Costa worked closely with actresses Verna Felton, Barbara Jo Allen and Barbara Luddy, the voices of Flora, Fauna and Merryweather, respectively, with whom she became good friends, while declaring the utmost respect for actress Eleanor Audley, voice of Maleficent. She also recorded with actor Bill Shirley, voice of Prince Phillip, admitting to having had a crush on him. Costa cites the scene in which Aurora and Phillip meet as her favorite. Schumann, the composer responsible for discovering Costa, eventually departed the project due to creative differences with Disney, and ultimately died before the film was completed.


title: Aurora (Sleeping Beauty)

text: Costa's singing voice is a combination of classical and pop singing. Aurora's songs were recorded within the first year of production. Costa would practice her songs live with the orchestra before recording them. After working on the film for three years, Costa finally finished recording in 1955, long before the film was completed; it would take the animators another several years to complete the footage to accompany Costa's vocals and dialogue. Costa would often return to the studio to re-record lines as the story changed and evolved, which she described as a "painstaking" process. However, with only 18 spoken lines, Aurora speaks less than any other main character in a full-length Disney animated feature – aside from Dumbo, who is completely silent – and has absolutely no dialogue once she is awakened from her deep sleep. Ultimately, Costa's performance in "Sleeping Beauty" – and Walt Disney himself – inspired her to pursue a full-time career as a professional opera singer, advising her "Mary, just remember the three Ds... Dedication, Determination, and Discipline, and you'll achieve your Dreams!". Costa's salary was $250 per week.


title: Aurora (Sleeping Beauty)

text: Aurora's blurb on the Disney Princess website once cited the character as "gentle and loving". Walt Disney introduced Aurora to Costa as "a very layered character", describing her as "different. She's calm, yet she's playful. She has a sense of humor, and she has an imagination." Despite popular opinion that Aurora is a very passive character, Costa believes that the princess is actually "very strong", citing her urge to defy her guardians as an example of her strength, while referring to the character as "a beautiful personification of femininity." Raised exclusively by three women in a very sheltered environment, Aurora had never been exposed to a man prior to meeting Phillip. Costa believes that, because of this, Aurora is "innately romantic" as opposed to simply lonely, explaining, there "was a certain part of her that maybe she didn't realize that was just so romantic and maybe expecting something that she didn't even know what", and credits the fact that she was raised by three older women as opposed to her parents with making her "a little bit older, and yet, she ... had this young outreaching spirit." A very loving character, Aurora enjoyed her lonely life as much as she did because she had never experienced anything else. Additionally, the character's close companionship with woodland creatures is used to demonstrate that she is a loving individual.


title: Aurora (Sleeping Beauty)

text: Walt Disney challenged his animators to make the film's characters appear "as real as possible". Animator Marc Davis was the supervising animator for Aurora, responsible for animating the character's most important scenes who also animated the film's antagonist Maleficent. By the time he started working on "Sleeping Beauty", Davis' prior work experience had already established him as "one of Walt Disney’s go-to animators for pretty girls," having previously animated Snow White and Cinderella, as well as Alice from "Alice in Wonderland" (1951) and Tinker Bell from "Peter Pan" (1953). Although heroines are among the most difficult characters to animate, Davis' knowledge of the human body and anatomy "brought these iconic female characters to life and made them believable", according to The Walt Disney Family Museum. While other "Sleeping Beauty" animators struggled to adapt to artistic director Eyvind Earle's unprecedented preference for detailed backgrounds, Davis himself rather embraced this new style. Collaborating with character designer Tom Oreb on Aurora, Davis "crafted a leading lady of elegance", while Oreb drew vertical lines into the pleats of Briar Rose's skirt and incorporated two-dimensional swirls into her hair. With a dignified, angular shape that complemented Earle’s vertical and horizontal backgrounds, the princess was "more refined" than preceding Disney heroines, and thus required much more attention to detail than any animated character before her. Quality control animator Iwao Takamoto described working on Aurora as "a laborious job ... because the drawings were so refined", and ultimately limited in-betweeners such as himself to completing only seven drawings per day. With an artistry "characterized by a sense of style", Davis incorporated Art Nouveau and Art Deco into Aurora's long, golden curls. The character also has violet eyes, Disney's first princess to have eyes that are this color. Notably, Davis animated Aurora throughout the entire film as opposed to eventually being replaced by another animator which, according to Costa, would have altered the appearance of the character for the worse. Aurora's refined features complement those of her nemesis Maleficent, who is similarly as refined and "alluring" but in a more "manipulative manner." Both characters were animated by Davis.


title: Aurora (Sleeping Beauty)

text: Walt Disney strongly encouraged Costa to work closely with Davis while he animated Aurora so that she could learn as much as possible about her character and familiarize herself with "all aspects of her." Drawing Aurora to resemble her voice actress, Davis incorporated Costa's habit of gesturing with her hands while speaking and singing into the character's design, and defended the singer's performance when it was incorrectly referred to a voice-over by a fan, explaining that Costa's voice was "the ocean of sound upon which we animated." Davis and Costa eventually became close friends. Actress and dancer Helene Stanley served as the live-action model for Aurora, providing visual reference for the animators. The performer was recruited due to the high degree of realism required to animate Aurora. Stanley's costume was designed by costume designer Alice Estes at the behest of Davis, then a student of the animator at Chouinard Art Institute. To complement the "tapestry pattern" of the film's backgrounds, Estes agreed to design the dress to "move like [the tapestry] was animated." Estes and Davis eventually got married. Meanwhile, British actress Audrey Hepburn served as Oreb's inspiration for Aurora's body type, from whom they borrowed the princess' "elegant, slender features". The studio disagreed about whether Aurora's gown should be pink or blue, a conflict that was written into the film in the form of an argument between Flora and Merryweather. Aurora has a total of only 18 minutes of screen time.


title: Aurora (Sleeping Beauty)

text: When "Sleeping Beauty" was released in 1959, a dubbing process was started which, in the space of one year, brought the movie to number 10 dubbings by 1960. Along the years, Disney's expanded its market to new countries, having the movie dubbed into a constantly growing number of dubbings, as well as a starting massive re-dubbing process which regarded many of the oldest dubbings. To this date, only five of the 10 dubbings initially released are still in use and were never redubbed. To this date, the animated movie numbers a total of 34 dubbings currently in use in as many languages, and 9 more versions which were later substituted by newer dubbings.


title: Aurora (Sleeping Beauty)

text: Originally, in the Danish and the first Latin American Spanish dubbings, Aurora's speaking voices, Ellen Winther and Estrellita Díaz respectively, were meant to sing the princess' songs as well. But while Winther was replaced by Inge Stauss because the Danish directors thought that her voice didn't suit Aurora's singing well enough, Díaz didn't get to sing because she died short after having recorded her spoken lines, without having recorded the songs.


title: Aurora (Sleeping Beauty)

text: Aurora is a member of a trifecta known as the "Golden Era" of Disney heroines. Alongside her two predecessors Snow White and Cinderella, Aurora is one of the three original Disney princesses. Kit Steinkellner of HelloGiggles wrote that Aurora continued the "trend of passive heroines who wait around for magic to change their lives," a recurring theme shared by Disney princesses who were introduced both during and prior to the 1950s. Sonia Saraiya of "Nerve" dubbed Aurora "the apex" of "women who made no choices for themselves". Writing for MTV, Lauren Vino felt that the character "followed the basic princess tenants [sic] of loving animals and sleeping in makeup", while About.com's David Nusair wrote that Aurora followed the "pattern of kind yet helpless princesses", similar to Snow White and Cinderella. Mary Grace Garis of Bustle observed that the original trio "seeks out marriage as both their endgame and salvation", elaborating, "It's literally their own means of escape, and their only final objective." However, Aurora's dreams and fantasies are different in the sense that they are drawn from loneliness and isolation; the character essentially longs "for human connections beyond her three fairy surrogate mothers." The Walt Disney Family Museum volunteer Lucas O. Seastrom agreed that Aurora is more "self-confident" and "more of repose than the usual naïveté of Disney heroines." Observing that Aurora's actions are influenced by the decisions and opinions of those around her, while most of the film's action involves Prince Phillip, Steinkellner joked that the character is so passive that she remains asleep during the film's climax. Dubbing her "a girl of reaction," nerdology.org's Lisa Kaye Cunningham felt that Aurora's "little screen time makes her difficult to classify as a feminist, but her single active decision shows great promise in the evolution of feminist Disney princesses," despite the fact that her agency is constantly undermined by other characters. Cunningham concluded, "By making one active decision to try and follow her dreams, this princess made a big step forward as a stronger feminist than Snow White, though Aurora remains bogged down with passive reactivity." Author Melissa G. Wilson observed in her book "Mashups for Teens: From Sleeping Beauty to Beyonce" that Aurora's reaction upon learning that she is a princess differs from what one would expect from a young woman.


title: Aurora (Sleeping Beauty)

text: By default, Aurora is usually considered to be the film's main character. Leigh Butler of Tor.com argues that the role of "protagonist" rightfully belongs to the three good fairies because they "make "all" the critical decisions in the film, the ones which drive the action", while Aurora acts as little more than a pawn. Butler expounded that Aurora "never grows as a character during the course of the film; she has no agency at all, in fact. She doesn’t act; she is acted upon. So she is definitely not the hero of the story." Helping Writers Become Authors' K. M. Weiland agreed, writing, "Sleeping Beauty has no arc. Prince Phillip has no arc. And, even more importantly, neither of them are present from start to finish in the story. Without the fairies to hold this thing together, the plot would have lacked any kind of impetus or cohesion." Upon initial viewing of "Sleeping Beauty", a writer for Anibundel originally dismissed Aurora as "the ultimate Disney princess in the most negative and passive sense of the stereotype ... playing no part whatsoever in her own outcome." However, in retrospect, the author's opinion eventually evolved upon subsequent viewings: "Although Aurora has little to do with her own conclusion, it’s not a mark of her being a non-person. Instead it reflects how sometimes bad things just happen which we have no control over, a difficult but important lesson." Anibundel does agree that although Aurora is "Sleeping Beauty"s title character, she can hardly be considered the film's protagonist, believing instead that the film actually lacks one completely. Meanwhile, the author dubbed Aurora the film's most sympathetic character because she has "thoughts, feelings, aspirations, and emotions," elaborating, "While most characters ... are overly focused on the plot and reacting to events, Briar Rose is unaware of the other events so we get to see a more authentic everyday side of her." In his book "Multiculturalism and the Mouse: Race and Sex in Disney Entertainment", author Douglas Brode wrote that the fairies' raising of Aurora mirrors "precisely that sort of women's commune numerous feminists experimented with throughout the seventies."


title: Aurora (Sleeping Beauty)

text: Writing for Durham College's "The Water Buffalo", Michelle Munro observed that the first five Disney Princesses share physical and personality traits, namely their white skin, naivety, kindness and compassion, "showing viewers what Disney believed a princess should look and act like" at that time. Munro concluded that Aurora specifically can appear both spoiled and childish in demeanor at times. Bailey Cavender of The Silver Petticoat Review believes that the character's appearance and style is reminiscent of the Gibson Girl, a popular character created and designed by graphic artist Charles Dana Gibson, who embodied the idea that "physical beauty was a measure of fitness, character, and Americanness". According to Cavender, Aurora's beauty was considered to be "ideal" for women at the time her film was released, embodying the "classic standards of beauty." In his book "Debating Disney: Pedagogical Perspectives on Commercial Cinema", Douglas Brode agreed that Aurora is "a model of modern (1950s) female glamour", comparing her long blonde hair to that of actress Brigitte Bardot while likening her gown to the work of fashion designer Christian Dior. According to "The Dissolve"'s Noel Murray, Aurora's story is a metaphor about a "young woman being cautioned to avoid penetration." Similarly, Carrie R. Wheadon, writing for Common Sense Media, interpreted Aurora's arousal by a handsome prince as being symbolic of a young woman's "transition to adulthood and sexual awakening." According to "Multiculturalism and the Mouse: Race and Sex in Disney Entertainment" author Douglas Brode, Aurora is "torn between childlike loyalties and adult instincts", while The Disney Middle Ages: A Fairy-Tale and Fantasy Past author Tison Pugh believes that Aurora's first encounter with Prince Phillip "tips her from fantasy into reality, from childhood into womanhood."


title: Aurora (Sleeping Beauty)

text: Aurora debuted in "Sleeping Beauty" (1959) as the only daughter of King Stefan and Queen Leah. Angered by not receiving an invitation to her christening, the princess is cursed by an evil fairy named Maleficent, who dooms her to die when she pricks her finger on a spinning wheel's spindle before the sun sets on her 16th birthday. However, one of the three good fairies named Merryweather alters the curse so that Aurora will instead sleep until she is awakened by a kiss from her true love. Merryweather and the two other fairies, Flora and Fauna, take extra precautions by raising the princess in a secluded cottage under the alias Briar Rose to protect her from Maleficent until her sixteenth birthday arrives. Several years later, a 16-year-old Aurora meets a handsome man in the forest. Unaware that he is actually a prince named Phillip, to whom she has been betrothed since infancy, the two fall in love and agree to meet again. However, the fairies finally reveal Aurora's true identity to her and thus forbid her from seeing him because they plan on returning the heartbroken princess to her parents. While alone at the castle, Aurora is hypnotized by Maleficent, who lures her to prick her finger and fulfill Merryweather's prophecy. The fairies then place Aurora in the highest tower to sleep peacefully, and put the entire kingdom to sleep until the spell was broken. Meanwhile, Maleficent has captured Phillip, whom the fairies release upon realizing that he is in fact the same man Aurora met in the forest earlier that day. Helping him defeat Maleficent, Aurora is successfully awakened by Phillip's kiss, and is finally reunited with her parents.


title: Aurora (Sleeping Beauty)

text: In "" (2007), Aurora, voiced by actress Erin Torpey, stars in the segment "Keys to the Kingdom", in which her parents leave her responsible for running the kingdom in their two-day absence with assistance of their majordomo, Lord Duke. Declining assistance from the fairies, they give her her own wand instead should she need help. At first reluctant to use it because she is determined to accomplish everything on her own, Aurora eventually succumbs when her duties prove overwhelming. However, her inexperience with magic leads to several consequences, which forces Lord Duke into warning Stefan, Leah, King Hubert, and Prince Phillip, who were all coming back from a royal conference, about the giant chickens, green pigs, and cows. She is then forced to solve without magic before the others came in the throne room. She hosts a banquet for her parents, King Hubert, Prince Phillip, Lord Duke, Flora, Fauna, and Merryweather.


title: Aurora (Sleeping Beauty)

text: In "Maleficent" (2014), a live-action re-imagining of the animated film, the "Sleeping Beauty" story is retold from the villain's perspective. Here, Aurora is portrayed by Elle Fanning, while Janet McTeer portrays a narrator who turns out to be Aurora as an elderly woman. As an infant, the princess is cursed by Maleficent...in order to avenge a years-old betrayal by King Stefan, Aurora's father. Three quarrelsome pixies are charged with raising the princess, but their glaring ineptitude threatens to kill Aurora long before her 16th birthday. Maleficent's pity for the princess overcomes her rage toward Stefan; along with her minion Diaval, the dark fairy herself brings up Aurora...albeit covertly. When the young princess ultimately encounters Maleficent for the first time, the dark fairy is touched by Aurora's affectionate nature; the girl, who has never known her biological parents, regards Maleficent as her fairy godmother. When the dark fairy's curse is at last fulfilled, despite her efforts to renounce it, Maleficent herself (rather than Phillip) breaks the spell with a remorseful kiss on Aurora's brow. Aurora then saves Maleficent from her royal father, by returning the dark fairy's wings to her. The princess is subsequently crowned queen of both her own human kingdom and the fairy kingdom known as the Moors.


title: Aurora (Sleeping Beauty)

text: Fanning reprises the role in the sequel, "" (2019). Five years have passed since Aurora became Queen of the Moors. One day Phillip finally asks for her hand in marriage, which she gladly accepts. Despite Maleficent initially not accepting Phillip's blessing, she agrees to go have dinner at the castle in Ulsted, Phillip's kingdom, to meet Aurora's future in-laws. Maleficent is then wrongfully blamed for cursing Phillip's father, King John, and Aurora refuses to go back home with her. Eventually, Aurora begins to miss her godmother as well as her life in the Moors. She soon discovers that it was Phillip's mother, Queen Ingrith, who cursed the king and that a trap is being set to kill the creatures of the Moors. Aurora and Phillip help Maleficent stop the war against Queen Ingrith, and they are finally married.


title: Aurora (Sleeping Beauty)

text: A live-action version of Aurora appears as a recurring character in the fantasy television series "Once Upon a Time", portrayed by actress Sarah Bolger. Aurora made a guest appearance in a "Sofia the First" episode, "Holiday in Enchancia" called on by the mystical amulet of Avalor to assist young Princess Sofia in finding her missing stepfather, King Roland II. She assured Sofia that she could rely on her animal friends' to help just as she had long ago.


title: Aurora (Sleeping Beauty)

text: Aurora, alongside other Disney Princesses, appeared in the film "Ralph Breaks the Internet", as was announced at the 2017 D23 Expo.


title: Aurora (Sleeping Beauty)

text: Aurora appears as a non-player character in the "Kingdom Hearts" video game series, depicted as one of the seven Princesses of Heart. In the prequel "Kingdom Hearts Birth by Sleep" (2010), the character goes through the same events as the original film. Aurora appears in "Kinect Disneyland Adventures" (2011), asking players to collect items various items, including songs performed by birds.


title: Aurora (Sleeping Beauty)

text: Performers dressed as Aurora make "fairly regular" appearances throughout several popular locations at the Walt Disney Parks and Resorts, specifically Walt Disney World's Epcot France Pavilion, Cinderella's Royal Table, Disney Dreams Come True Parade, and Princess Fairytale Hall in the Magic Kingdom, Fantasyland's Princess Meet 'n' Greet at Disneyland California, Fantasyland's Princess Pavilion and Auberge de Cendrillon at Disneyland Paris, Fantasyland and World Bazaar at Tokyo Disneyland, and the Wishing Well at Hong Kong Disneyland.


title: Aurora (Sleeping Beauty)

text: Aurora appears in the fourth book of Serena Valentino's Villains series. In the book she has been cursed by Maleficent to remain in slumber and is trapped in the realm of mirrors with the Odd Sisters, who constantly torment her during the course of the book. It is revealed during the course of the novel that Aurora is actually the daughter of Maleficent, who was created by the Odd Sisters from the remaining best parts of Maleficent. However rather than a feeling of love for her, Maleficent only feels a powerful urge to protect her from developing powers, which will manifest on her sixteenth birthday similar to Maleficent, hence the Sleeping Curse. After Maleficent dies, Circe is able to bind Aurora's powers and wake her from her slumber.


title: Aurora (Sleeping Beauty)

text: In the second book of "A Twisted Tale", written by Liz Braswell, the question is asked "What if the Sleeping Beauty never woke up?" Aurora is trapped in a dream world of Maleficent's design, and when Phillip tries to awaken her with a kiss, he becomes trapped in the dream world as well. Aurora eventually becomes a warrior in her own right and rises up against Maleficent to break herself out of the Dream World.


title: Aurora (Sleeping Beauty)

text: The Walt Disney Company currently has a trademark with the US Patent and Trademark Office, filed March 13, 2007, for the name "Princess Aurora" that covers production and distribution of motion picture films; production of television programs; production of sound and video recordings. This has caused some controversy because "Princess Aurora" is the name of the lead character in "The Sleeping Beauty" ballet, from where Disney acquired the name and some of the music for its animated film, and which is performed live on stage and sometimes television and often sold later as a recorded performance on video. The trademark was granted on January 17, 2012.


title: Aurora (Sleeping Beauty)

text: Initial critical response towards Aurora was generally unfavorable, with film critics complaining about Aurora's passivity and overall similarity to Snow White. During the 1950s, Disney received "harsh criticism" for depicting both Cinderella and Aurora as "naïve and malleable" characters, and failing to acknowledge the ways in which women's roles in society had evolved since Snow White's debut in 1937. Critics agree that Aurora represents "the classic damsel in distress" by being depicted as a beautiful young woman who is rescued by a stranger. Bosley Crowther of "The New York Times" felt that the character was too similar to Snow White, writing, "The princess looks so much like Snow White they could be a couple of Miss Rheingolds separated by three or four years." "Time Out" dismissed Aurora as a "delicate" and "vapid" character. Bustle's Mary Grace Garis wrote that the character "suffers from having very little definable personality and ... serious Damsel-in-Distress syndrome". Sonia Saraiya of Jezebel echoed this sentiment, criticizing Aurora for lacking "interesting qualities"; Saraiya also ranked Aurora Disney's least feminist princess. Similarly, Bustle also ranked Aurora the least feminist Disney Princess, with author Chelsea Mize expounding, "Aurora literally sleeps for like three quarters of the movie ... Aurora just straight-up has no agency, and really isn't doing much in the way of feminine progress." Dismissing the character as "barely more than a cipher", Leigh Butler of Tor.com panned Aurora as "a Barbie doll knockoff who does nothing the whole film but sing wistfully about Finding Her Man, before becoming the ultimate passive Damsel in Distress". However, Butler went on to defend the character somewhat, writing, "Aurora’s cipher-ness in "Sleeping Beauty" would be infuriating if she were the only female character in it, but the presence of the Fairies and Maleficent allow her to be what she is without it being a subconscious statement on what "all" women are." Similarly, Refinery29 ranked Aurora the fourth most feminist Disney Princess because "Her aunts have essentially raised her in a place where women run the game."


title: Aurora (Sleeping Beauty)

text: Aurora was Disney's last princess created before Walt Disney's death in 1966. When "Sleeping Beauty" was first released in 1959, the film performed poorly at the box office while failing to impress critics. In response, the studio decided to avoid adapting fairy tales into feature-length animated films for several years; Aurora would remain Disney's last princess until "The Little Mermaid"'s Ariel debuted in 1989, 30 years later. Mic's Melissa Hugel believes that the negative reception instigated by Aurora's passive role as a woman in "Sleeping Beauty" also contributed to this hiatus, earning the character a reputation as one of Disney's worst princesses. Meanwhile, David Nusair of About.com attributes the film's failure with "the familiarity of its storyline, as the film boasts many of the elements contained within both of its predecessors – including the revelation that Princess Aurora can only be awakened from her deep slumber by a kiss from her one true love" similar to Snow White. Hollywood.com ranked "Sleeping Beauty" Disney's worst princess film because its main character remains asleep for the majority of it. At one point, the name "Aurora" became a popular baby name, with parents often naming their daughters after the character. Still, "Aurora has become an oft-forgotten princess" who is not as prominently featured in Disney merchandise and her popularity pales in comparison to that of Cinderella, Ariel, and Snow White. While creating the Disney Princess franchise, Disney Consumer Products decided that Aurora should be marketed wearing the pink version of her dress in order to further distinguish her from Cinderella, who also wears blue. BuzzFeed readers voted Aurora their sixth favorite Disney Princess, who garnered 7% of the 9,554 votes. "Time" reported that Aurora was the seventh best-selling Disney Princess on eBay in 2014, having sold $215,856 in merchandise that year. However, "Seventeen" argues that Aurora is one of Disney's most famous princess[es]".


title: Aurora (Sleeping Beauty)

text: Media publications often tend to place Aurora towards the end of their Disney Princess rankings. "Seventeen" ranked Aurora last on their "Definitive Ranking Of Disney Princesses" list. Similarly, BuzzFeed also ranked Aurora last. Moviepilot placed Aurora last on the website's "All of the Disney Princess Ranked from Worst to Best" ranking, with author Kristin Lai dismissing the character as "a snooze." Meanwhile, MTV ranked Aurora 12th on the website's "Ultimate Ranking Of The Best Disney Princesses Of All Time". Similarly, E! also ranked Aurora 12th, with author John Boone elaborating, "She's not a "bad" princess, per se. She might actually be the prettiest of all the princesses ... But she's asleep half the movie! Pretty...but so, so boring." Zimbio ranked Aurora the second worst Disney Princess, while BuzzFeed ranked the character one of Disney's least intelligent princesses, with author Leonora Epstein dismissing Aurora as the "equivalent to the child who puts his finger in a socket when expressly told not to." However, the character has garnered recognition for her beauty and fashion, with "Stylist" extolling Aurora's "blowout" as "the ultimate hairstyle when it comes to being a princess" while ranking it among Disney's "Best beauty looks", and Bustle dubbing her "the hottest Disney Princess". "Entertainment Weekly" ranked Aurora's hair the second best of all the Disney Princesses, with author Annie Barrett describing it as "aspirational". Oh My Disney ranked the pink and blue versions of Aurora's dress 15th and 16th on their countdown of every Disney Princess outfit, voicing their preference for the character in blue. "Marie Claire" ranked Aurora's outfits among "The 20 Greatest Movie Dresses of All Time", writing, "Of all the Disney princesses, "Sleeping Beauty"'s Aurora had a fashionable edge" potentially worthy of being imitated by singers Katy Perry and Nicki Minaj. Aurora was ranked first on Moviepilot's "Which Outfit is Fairest of Them All? 13 Disney Divas Ranked" list. Author Mikayla Sloan enthused that "The lines of Aurora's dress are flawless and her shoulders are set off beautifully" while "Her hair is effortlessly wavy and her accessories accentuate her features perfectly." According to Bustle, the character is the third most stylish Disney Princess, while E! believes that Aurora owns the sixth greatest Disney Princess wardrobe, voicing their preference for the character in pink. BuzzFeed ranked Aurora's ballgown 11th on their "Definitive Ranking Of 72 Disney Princess Outfits". According to "Seventeen", the character underwent the fifth greatest Disney Princess makeover. On "Cosmopolitan"'s list of "the 14 Hottest Disney Princesses", Aurora was ranked 12th, with author Frank Kobola dismissing the character as "a snoozefest" and comparing her to "that girl in college who was "always" taking naps".


title: Aurora (Sleeping Beauty)

text: Costa has garnered widespread acclaim for her performance as Aurora. BuzzFeed ranked Aurora ninth on the website's ranking of Disney Princess singing voices, with author Kelcie Willis awarding it "Extra props for bringing operatic vocals to Disney." "Variety" complimented Costa's "rich and expressive" performance, praising the singer for providing Aurora with both "substance and strength". John Clark of SFGate credited Costa's vocals with "manag[ing] to make an enchanting impression in just a few onscreen minutes without being pushy or saccharine." Meanwhile, Artistdirect's Rick Florino wrote that the singer "brought a pure and honest vibrancy to the film." Additionally, "Sleeping Beauty" served as Costa's first singing job, prior to which she had had little professional singing experience. The role has since had a profound impact on Costa's career, allowing her to successfully transition from animated to operatic roles. Costa credits Walt Disney and "Sleeping Beauty" with instilling a work ethic in her, which she maintained throughout her entire career. Costa has achieved great success as an opera singer; "The New York Times" hailed her as "one of the most beautiful women to grace the operatic stage", while Paul MacInnes of "The Guardian" referred to her as "One of America's finest sopranos". First Lady Jacqueline Kennedy personally requested that Costa perform at the memorial service of her late husband, United States President John F. Kennedy. Despite her success elsewhere, Costa continues to hold voicing Aurora in high regard as her greatest accomplishment because the role "keeps [her] close to young people." Costa was officially recognized as a Disney Legend in 1999, and continues to make promotional appearances for Disney. In 1997, Costa hosted a theatrical screening of "Sleeping Beauty" in her hometown of Knoxville, Tennessee to commemorate the film's home video release. In 1989, Costa sued Disney for royalties owed since the film's 1986 home video release, claiming that her contract with the studio prevented them from producing "phonograph recordings or transcriptions for sale to the public" without her permission, although Disney claimed that the video tapes are simply versions of the film. The case was settled out-of-court in favor of Costa for an undisclosed sum, provided she relinquish all future rights. Costa continued responding to all fan letters for nearly 60 years after the film's original release, until she found that she had become too elderly to continue responding at the age of 86 in 2016; she continues to meet fans and sign autographs at conventions. In 2020, following her 90th birthday, Costa then asked people to stop sending her any fan-mail in general, but once again thanked them for their continued love and support over the years.


title: Aurora (Sleeping Beauty)

text: Elle Fanning's performances as Aurora in "Maleficent" and "" were generally well-received. J.C. Maçek III of "PopMatters" said Fanning was an "inspired choice" for the character. Her acting was also praised by Michael Philips of the "Chicago Tribune". Sheri Linden of "The Hollywood Reporter" said that Fanning brought a "diamond-in-the-rough aspect to Aurora’s loveliness", and added that "she’s no conventional Disney Princess but a child of nature with a strong sense of justice and an innate toughness." Richard Roeper of "Chicago Sun-Times" praised Fanning's performance in the sequel for having, "quite a bit of spunk and fight in her." "Empire"'s Helen O'Hara was pleased that in "Mistress of Evil", "Fanning manages to occasionally find something useful for Aurora to do: no mean feat in a character essentially designed to be a simpering blank." Rosie Knight of "IGN" found Fanning's portrayal in the second movie to be "charming as ever". Fanning's performance in the first film earned her a nomination for Best Performance by a Younger Actor at the 41st Saturn Awards as well as nominations for the "Choice Movie Actress: Action" at the 2014 Teen Choice Awards and "Favorite Movie Actress" at the 2015 Kids' Choice Awards.


title: Marisa Abela

text: Marisa Gabrielle Abela (born 7 December 1996) is an English actress. She is known for her television roles in the BBC Two and HBO series "Industry" and the Sky One series "COBRA".


title: Marisa Abela

text: Abela was born in Brighton to actress Caroline Gruber and director Angelo Abela and grew up in Rottingdean with her older brother Jack. Her father is of Maltese-Libyan (Arab) and English descent, and her mother is of Polish Jewish and Russian Jewish ancestry. She attended Roedean School and took drama classes with the Theatre Workshop. She initially intended to study History and Law at UCL and become a human rights lawyer, but changed her mind last minute and decided to pursue acting instead. She went on to graduate from the Royal Academy of Dramatic Art (RADA) in 2019.


title: Marisa Abela

text: Abela made her television debut in 2020 with main roles in the Sky One action series "COBRA" as Ellie Sutherland and the BBC Two and HBO drama "Industry" as Yasmin Kara-Hanani. She appeared in the films "She Is Love" and "Rogue Agent".


title: Marisa Abela

text: In July 2022, Abela joined the cast of Greta Gerwig's "Barbie". Later that month, it was announced Abela was in early talks to star as Amy Winehouse in Sam Taylor-Johnson's "Back to Black", a biopic about the singer.


title: The Producers (2005 film)

text: The Producers is a 2005 American musical comedy film directed by Susan Stroman and written by Mel Brooks and Thomas Meehan based on the eponymous 2001 Broadway musical, which in turn was based on Brooks's 1967 film of the same name. The film stars an ensemble cast led by Nathan Lane, Matthew Broderick, Uma Thurman, Will Ferrell, Gary Beach, Roger Bart, and Jon Lovitz. Creature effects were provided by Jim Henson's Creature Shop.


title: The Producers (2005 film)

text: The film was released in the United States by Universal Pictures in a limited release on December 16, 2005, followed by a wide release on December 25. It garnered generally mixed reviews from critics and was a commercial failure, earning $38 million worldwide from a $45 million budget.


title: The Producers (2005 film)

text: In 1959, following the flop of the theatrical musical "Funny Boy" (based on William Shakespeare's "Hamlet") ("Opening Night"), the show's washed-up producer, Max Bialystock, hires the neurotic Leo Bloom as his accountant. While studying Max's books, Leo notes that as a flop is expected to lose money, the IRS will not investigate the finances of failed productions. Leo jests that by selling an excess of shares and embezzling the funds, a flop could generate up to $2 million. Max asks for Leo's help with the scheme, only for the latter to refuse ("We Can Do It").


title: The Producers (2005 film)

text: Returning to his old accounting firm, Leo starts fantasizing about being a Broadway producer ("I Wanna Be a Producer"). Leo quits his job and forms "Bialystock & Bloom" with Max. Searching for the worst play ever written, the duo finds "Springtime for Hitler", a musical written by an ex-Nazi named Franz Liebkind. Max and Leo, in order to acquire Franz's rights to the musical, perform Hitler's favorite song and swear the sacred "Siegfried Oath" to him ("Der Guten Tag Hop-Clop").


title: The Producers (2005 film)

text: In order to ensure the play's failure, Max and Leo meet failing, flamboyant director Roger De Bris and his assistant Carmen Ghia. Roger is reluctant to direct, but when Max and Leo suggest he could win a Tony Award, he agrees on the condition that the play be more "gay" ("Keep It Gay"). Back at their office, a Swedish woman named Ulla appears to audition. Although Leo points out that they have not started casting, Max hires her as their secretary until they audition her later ("When You've Got It, Flaunt It").


title: The Producers (2005 film)

text: To gain backers to fund the musical, Max has dalliances with several elderly women ("Along Came Bialy"), allowing him to raise the $2 million. Leo laments about the dangers of sex distracting him from his work, and shares a kiss with Ulla ("That Face"). At auditions for the role of Hitler, Franz, angered at a performer's rendition of a German song, storms the stage and performs it himself ("Haben Sie gehört das Deutsche Band?"). Based on the performance, Max hires Franz to play Hitler.


title: The Producers (2005 film)

text: On opening night, as the cast and crew prepare to go on stage, Leo wishes everyone good luck, to which everyone warns it is bad luck to say "good luck" on opening night, and that the correct phrase is to say "break a leg" ("You Never Say Good Luck on Opening Night"). Franz leaves to prepare and literally breaks his leg in a fall. Max enlists Roger to perform the role in his place, and Roger accepts.


title: The Producers (2005 film)

text: As the show opens, the audience is horrified at the first song ("Springtime for Hitler"), and people begin leaving out of disgust until Roger enters as Hitler ("Heil Myself"). Roger, playing Hitler very flamboyantly, causes the audience to misinterpret the play as satire, resulting in the show becoming a smash. Terrified the IRS will learn of their crimes, a dispute breaks out between Max and Leo, but stops when Roger and Carmen come into the office to congratulate them. Furious at Roger for making the play successful, Max angrily confronts Roger for his actions, and even goes as far to physically torture Carmen when he tries to defend Roger. Franz then appears and attempts to shoot all four of them for breaking the Siegfried Oath by mocking Hitler, only to attract the police. As Max and Franz attempt to evade the police, Franz breaks his other leg.


title: The Producers (2005 film)

text: Arrested for his tax fraud, Max is imprisoned while Leo elopes with Ulla to Rio de Janeiro ("Betrayed"). About to be sentenced, Max is saved by Leo, who returns to defend him ("Til Him"). The judge, realizing Max and Leo are inseparable, sentences them both to five years at Sing Sing Prison with Franz. Writing and producing a new musical in prison ("Prisoners of Love"), Leo, Max, and Franz are pardoned by the governor for their work, allowing them to collaborate with Roger and Ulla and release "Prisoners of Love". The play's success means Max and Leo go on to become successful Broadway producers.


title: The Producers (2005 film)

text: Lane, Broderick, Beach and Bart reprise their roles from the stage musical. Nicole Kidman was originally cast as Ulla but backed out of the project due to her other commitments.


title: The Producers (2005 film)

text: Additional tracks: 21) "The Hop-Clop Goes On" 3:34, 22) "Goodbye!" 0:37, 23) "The King Of Broadway (Bonus Track) 4:38


title: The Producers (2005 film)

text: The film grossed $19 million at the box office in North America and another $18 million overseas, which brings the worldwide total of $38 million. The film’s failure was partly due to its competition with "King Kong", "", "Fun with Dick and Jane", and "Memoirs of a Geisha".


title: The Producers (2005 film)

text: On Rotten Tomatoes, the film holds an approval rating of 50% based on 153 reviews, with an average rating of 5.4/10. The site's critical consensus reads, "Despite the rich source material, "The Producers" has a stale, stagy feel more suited to the theater than the big screen." On Metacritic, the film has a weighted average score of 52 out of 100, based on 36 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.


title: The Producers (2005 film)

text: A positive review from Betty Jo Tucker of Reel Talk said: "Outrageous musical numbers evoke most of the laughs in this movie funfest. Eat your heart out, Rockettes, because here comes a little old ladies' chorus line ('Along Came Bialy') to rival your success. Watch out, real-life producers, for an actor named Gary Beach ('Heil Myself'). Never, and I mean never, hire him if you want your play to flop! And stop spinning in your grave, Florenz Ziegfeld. Those 'Springtime for Hitler and Germany' showgirls are all in good fun. Finally, congratulations to director Susan Stroman, for making this Broadway gem into a film that old-time movie musical fans like me can cheer about."


title: The Producers (2005 film)

text: Nathan Rabin wrote: "Between the rough start and an ending that lingers too long, there's a solid hour or so of terrific entertainment that serves as both a giddy tribute to Broadway musicals and a parody thereof. Thirty-seven years after Brooks declared war on taste and propriety, "The Producers" has lost its power to shock or offend, but it's retained its ability to amuse."


title: The Producers (2005 film)

text: Roger Ebert cited difficulty in reviewing the film due to familiarity with the original 1967 film. However, he did state that the new version was "fun" and gave it three out of four stars. Said Ebert: "The new movie is a success, that I know. How much of a success, I cannot be sure."


title: The Producers (2005 film)

text: In addition to these positive reviews, it was nominated for four Golden Globes (including nominations for actors Ferrell and Lane).


title: The Producers (2005 film)

text: Most negative reviews suggested that the performances were tuned more for the theater rather than for film. Stephanie Zacharek observed: ""The Producers" is essentially a filmed version of a stage play, in which none of the characters' expressions or line readings have been scaled down to make sense on-screen. Every gesture is played out as if the actors were 20 feet away in real life, which means that, by the time the performers are magnified on the big screen, they're practically sitting in your lap. The effect is something like watching a 3-D IMAX film without the special glasses."


title: The Producers (2005 film)

text: In addition to these negative reviews, it was nominated for five Stinkers Bad Movie Awards (Worst Director, Worst Remake, Worst Actor for Broderick, Least Dynamic Duo for Broderick and Lane, and Worst Song for "Keep It Gay") along with winning a special "Annie Award", which criticised the decision to sell tickets for the film for an additional $2.50; the name reflects a decision similarly used by the film "Annie".


title: The Producers (2005 film)

text: On February 28, 2016, a five-minute short film serving as a sequel to "The Producers", entitled Trumped, was released on "Jimmy Kimmel Live!", with Nathan Lane and Matthew Broderick reprising their roles as Max Bialystock and Leopold "Leo" Bloom. The film follows Bialystock & Bloom having formed their own Political Consultants business, which has since fallen on hard times. Bloom realises that under the right circumstances more money can be made from a losing candidate than from a winner. They choose Donald Trump as a candidate, only for him to become a political phenomenon.


title: Two Weeks Notice

text: Two Weeks Notice is a 2002 American romantic comedy film written and directed by Marc Lawrence and starring Hugh Grant and Sandra Bullock. Although critical response was mixed, the film was successful at the box office.


title: Two Weeks Notice

text: Lucy Kelson is an intelligent, highly competent liberal lawyer who specializes in historic preservation, environmental law, and pro bono causes in New York City. George Wade is an arrogant, needy billionaire real estate developer and stylish womanizing playboy, who is also quite naïve. Lucy's hard work and devotion to others contrasts sharply with George's childish recklessness and greed.


title: Two Weeks Notice

text: Lucy meets George in an attempt to stop the destruction of the Coney Island community center from her childhood. Discovering she graduated from prestigious Harvard law school, he offers to hire her to replace his old Chief Counsel, overlooking their opposing views of real estate development. She decides the benefits he offers for discretionary funding for community causes she espouses outweighs the negatives, especially as he promises to protect the community center.


title: Two Weeks Notice

text: Soon, she finds what he really requires is advice in all aspects of his life. She regretfully becomes his indispensable assistant, and he calls her for every little thing at all hours. At a friend's wedding, her cell phone loudly rings and disrupts the proceedings before she responds to his urgent page. When she discovers the "emergency" he needs her advice on is his attire to an important event, she gives him her two weeks' notice of resignation. Yet, her departure is not so easy.


title: Two Weeks Notice

text: Lucy looks for work at other firms, but everyone says no because George has called in advance asking them not to hire her, so he can keep her on. Eventually, he gives in, and she offers to help him find a replacement, but unaware of how close and interdependent they have become. They act like an old married couple at a restaurant, able to simultaneously carry out a conversation while involuntarily exchanging food out of habit from knowing each other's food preferences.


title: Two Weeks Notice

text: When potential interviewee June Carver shows up without an appointment seeking the position, Lucy speaks to her, but is concerned June lacks real estate experience. When George sees June he is immediately attracted and is ready to hire her on the spot, with seemingly disregards Lucy's concerns. Rather than look the other way and let her soon-to-be-former boss deal with the foolishness of his sexist hiring practices, Lucy instead becomes increasingly concerned and competitive with her replacement. When George invites June to business social events that formerly would be just between George and Lucy, Lucy increasingly perceives the business events to be more like dates, and is surprised June is intruding on them.


title: Two Weeks Notice

text: Lucy finds out despite George's promise, the community center is going to be knocked down and challenges him on his apparent betrayal. She arrives at his hotel to confront him and finds June and George in his apartment in lingerie during a game of "strip chess". George confronts her the next day, her last day, where Lucy reminds him he promised her to spare the community center. Lucy leaves after George accuses her of being a saint, making everyone else look bad because they are humans who make mistakes.


title: Two Weeks Notice

text: After she is gone, George realizes his time with her has demonstrated he needs to change. Meanwhile, in her new job, Lucy finds she misses him. He goes in search for her and reveals he decided to keep his promise to her. Lucy initially rebuffs him but then returns and they declare their feelings. George reveals he resigned.


title: Two Weeks Notice

text: In the DVD version of the film, an unreleased wedding scene of George and Lucy was featured. George and Lucy were married at the community center attended by family and friends.


title: Two Weeks Notice

text: Director Marc Lawrence suffered headaches, sinus infections, a root canal, and a slipped disc, while making the film. Lawrence previously wrote the films "Forces of Nature" and "Miss Congeniality", which starred Bullock, and it was on the latter film where he asked her to look at his unfinished script. Bullock liked it enough to star in and produce the film. Grant was first choice for the part, he and Bullock had already wanted to work together. Lawrence hoped the film would be different enough for Grant, not the same as his "Notting Hill" character, but not as unpleasant as his "Bridget Jones's Diary" character. Filming took place in New York City, and was noted as the first Hollywood production to take place after the September 11 attacks.


title: Two Weeks Notice

text: The film opened at number 2 at the U.S. Box office, earning USD14,328,494 in its opening weekend, behind "". It had a total domestic gross of $93,354,851 and an overall worldwide gross of $199,043,242.


title: Two Weeks Notice

text: On Rotten Tomatoes, the film has an approval rating of 42% based on 123 reviews, with an average rating of 5.6/10. The site's critics consensus reads: "Though "Two Weeks Notice" has nothing new to add to the crowded genre, Hugh Grant and Sandra Bullock make the movie a pleasant, if predictable, sit." On Metacritic, the film has a weighted average score of 42 out of 100, based on 30 critics, indicating "mixed or average reviews". Audiences surveyed by CinemaScore gave the film an average grade of "B+" on scale of A+ to F.


title: Two Weeks Notice

text: Roger Ebert of the "Chicago Sun-Times" gave the film 3 out of 4 and wrote: "I WANTED it to be a typical romantic comedy starring those two lovable people, Sandra Bullock and Hugh Grant. And it was. And some of the dialogue has a real zing to it. There were wicked little one-liners that slipped in under the radar and nudged the audience in the ribs."


title: Two Weeks Notice

text: Lisa Schwarzbaum of "Entertainment Weekly" wrote, that the film "Knows what it needs to do for both its stars, does it, and doesn't make a federal case about it. I'd watch these two together again in a New York minute."


title: Two Weeks Notice

text: David Rooney of "Variety" called it: "An affable but undernourished romantic comedy that fails to match the freshness of the actress-producer and writer's previous collaboration, "Miss Congeniality.""


title: Two Weeks Notice

text: In the best-selling book on punctuation "", the author Lynne Truss points out that the spelling of the film's title is grammatically incorrect because it is missing an apostrophe (Two Weeks' Notice). The book's original hardcover edition featured Truss in her author's photo, glaring at the poster and holding a marker where the apostrophe should be.


title: Prisoners of the Ghostland

text: Prisoners of the Ghostland is a 2021 American horror Western film directed by Sion Sono, from a script by Aaron Hendry and Reza Sixo Safai. It stars Nicolas Cage, Sofia Boutella, and Bill Moseley. Its plot revolves around a notorious criminal, Hero (Nicolas Cage), who is sent to rescue the governor's adopted granddaughter, who has disappeared into a dark region called Ghostland.


title: Prisoners of the Ghostland

text: The film had its world premiere at the 2021 Sundance Film Festival on January 31, 2021. The film was released in theaters and on video on demand on September 17, 2021, by RLJE Films. Critics gave the film generally mixed reviews.


title: Prisoners of the Ghostland

text: This was the last film Sono released until the sexual misconduct allegations came out against him the following year.


title: Prisoners of the Ghostland

text: In a region of Japan devastated and quarantined years ago following an accident in which highly volatile nuclear waste was spilled after a crash between the waste transport and a prison bus, a settlement called Samurai Town is ruled by an unscrupulous Governor who has blended elements of Japanese society (both modern-day and pre-modern) and the old American West together at his whim, and is keeping a harem of adopted "granddaughters" as his sex slaves. The outside is a wasteland known as the Ghostland, inhabited by half-crazed outcasts and victims of the irradiated environment. Just before the catastrophe, Hero, a criminal, was imprisoned in the aftermath of a botched bank robbery where his partner Psycho brutally murdered several innocent bystanders. It is later revealed that Psycho was in the prison transport which collided with the waste truck and thus set off the disaster.


title: Prisoners of the Ghostland

text: One night, Bernice, one of the "granddaughters", flees from the Governor's house with her friends Stella and Nanci, only to get stranded in the Ghostland. The Governor has Hero released to retrieve Bernice from the Ghostland, and outfits him with a bodysuit which is set to detonate explosive charges in case he mistreats Bernice in any way, the suit itself is tampered with, or Bernice has not been rescued within five days. When departing, Hero undertakes a parting gesture of defiance against the Governor which impresses Yasujiro, the Governor's samurai bodyguard whose sister is one of the Governor's "granddaughters".


title: Prisoners of the Ghostland

text: Upon entering the Ghostland, Hero is intercepted by a band of mutated men, suffers an accident and is taken by the outcasts to their cult-like enclave and their leader, Enoch. He finds Bernice among them, but she is half-catatonic from trauma. As he prepares to transport her back, Hero accidentally triggers one of his suit's explosives, which destroys one of his testicles and renders him unconscious. In a nightmare flashback, Hero recognizes Bernice as a young girl whose mother was killed while he tried to escape the police after the bank robbery and who was subsequently taken in by the Governor. Attacked by the mutants from earlier, Hero is rendered unconscious when an explosive on his arm is set off, just before the assailants vanish. However, the detonation shakes Bernice from her catatonia.


title: Prisoners of the Ghostland

text: Meanwhile, Stella returns from the Ghostland and is captured by the Governor's men, who has Yasujiro execute her, which finally turns him against the Governor. Having had a revelation during his unconsciousness about his accidental role in the cataclysm, Hero stirs the Ghostlanders into a revolt against the Governor, aided by Psycho and the mutants, his fellow convicts from the fateful accident. Hero and Bernice return to Samurai Town, but when the Governor refuses to unlock the suit and Hero pretends to take Bernice hostage, Bernice's friend Susie, traumatized from the Governor's treatment of her, massacres several of his bodyguards with a minigun. Hero, Bernice, and Yasujiro overcome the remainder, then Hero faces off against and kills Yasujiro while Bernice shoots the Governor. With the oppressor dead and the outcasts liberated, Hero, Bernice, and Susie watch as Samurai Town begins to stir with new, freer life.


title: Prisoners of the Ghostland

text: In December 2018, it was announced that Sion Sono was working on his first overseas production and English-language debut, "Prisoners of the Ghostland", starring Nicolas Cage. Cage said the film "might be the wildest movie I've ever made." In February 2019, shortly after Imogen Poots was cast in a starring role, Sono underwent emergency surgery following a heart attack, halting pre-production on the film. In November 2019, Sofia Boutella, Ed Skrein, Bill Moseley, Young Dais, and Tak Sakaguchi joined the cast, in undisclosed roles, from a script by Aaron Hendry and Reza Sixo Safai. Safai, Laura Rister, Michael Mendelsohn, Ko Mori, and Nate Bolotin signed on as producers.


title: Prisoners of the Ghostland

text: Principal photography began on November 6, 2019, in Japan, with Sôhei Tanikawa serving as cinematographer. Filming also took place on March 31, 2020, in Los Angeles, California.


title: Prisoners of the Ghostland

text: The film had its world premiere at the 2021 Sundance Film Festival on January 31, 2021. RLJE Films acquired distribution rights to the film at Sundance and released it in theaters and on video on demand on September 17, 2021.


title: Prisoners of the Ghostland

text: On Rotten Tomatoes, the film has an approval rating of 65% based on reviews from 139 critics, with an average rating of 5.80/10. The website's critics consensus reads, ""Prisoners of the Ghostland" is far from Sono's most distinctive work, but viewers in the mood for a deliriously gonzo genre mash-up featuring an explosive performance from Nicolas Cage just might have a ball." On Metacritic, the film has a weighted average score of 53 out of 100 based on reviews from 19 critics, indicating "mixed or average reviews."


title: Prisoners of the Ghostland

text: Nick Allen at RogerEbert.com gave the film 2 out of 4 stars, writing that "No movie with Nicolas Cage, directed by the wonderfully weird Japanese director Sion Sono, should be this taxing, drawn out, and plainly boring." "Screen Daily" commented positively Sion Sono's film writing that: "The film is held captive by its myriad influences, but Cage is so high-spirited that you won't mind being its prisoner". "Variety" wrote a mixed to positive review, sentencing: "Somehow, it doesn't actually seem surprising that Cage would partner with Sono". "HorrorBuzz" awarded the film with a rating of 6 out of 10. Clarisse Loughrey from


title: Prisoners of the Ghostland

text: Independent gave to it a rating of 4/5, commenting: "Sono may indulge in madness, but it's not madness without reason".


title: Gurmukhi

text: Gurmukhī (, , ) is an abugida developed from the Laṇḍā scripts, standardized and used by the second Sikh guru, Guru Angad (1504–1552). It is used by Punjabi Sikhs to write the language, commonly regarded as a Sikh script, Gurmukhi is used in Punjab, India as the official script of the Punjabi language. While Shahmukhi script is used in Punjab, Pakistan as the official script.


title: Gurmukhi

text: The primary scripture of Sikhism, the Guru Granth Sahib, is written in Gurmukhī, in various dialects and languages often subsumed under the generic title "Sant Bhasha" or "saint language", in addition to other languages like Persian and various phases of Indo-Aryan languages.


title: Gurmukhi

text: Modern Gurmukhī has thirty-five original letters, hence its common alternative term "paintī" or "the thirty-five," plus six additional consonants, nine vowel diacritics, two diacritics for nasal sounds, one diacritic that geminates consonants and three subscript characters.


title: Gurmukhi

text: The Gurmukhī script is generally believed to have roots in the Proto-Sinaitic alphabet by way of the Brahmi script, which developed further into the Northwestern group (Sharada, or Śāradā, and its descendants, including Landa and Takri), the Central group (Nagari and its descendants, including Devanagari, Gujarati and Modi) and the Eastern group (evolved from Siddhaṃ, including Bangla, Tibetan, and some Nepali scripts), as well as several prominent writing systems of Southeast Asia and Sinhala in Sri Lanka, in addition to scripts used historically in Central Asia for extinct languages like Saka and Tocharian. Gurmukhi is derived from Sharada in the Northwestern group, of which it is the only major surviving member, with full modern currency.


title: Gurmukhi

text: Gurmukhi evolved in cultural and historical circumstances notably different from other regional scripts, for the purpose of recording scriptures of Sikhism, a far less Sanskritized cultural tradition than others of the subcontinent. This independence from the Sanskritic model allowed it the freedom to evolve unique orthographical features. These include:


title: Gurmukhi

text: From the 10th century onwards, regional differences started to appear between the Sharada script used in Punjab, the Hill States (partly Himachal Pradesh) and Kashmir. Sharada proper was eventually restricted to very limited ceremonial use in Kashmir, as it grew increasingly unsuitable for writing the Kashmiri language. With the last known inscription dating to 1204 C.E., the early 13th century marks a milestone in the development of Sharada. The regional variety in Punjab continued to evolve from this stage through the 14th century; during this period it starts to appear in forms closely resembling Gurmukhī and other Landa scripts. By the 15th century, Sharada had evolved so considerably that epigraphists denote the script at this point by a special name, "Devāśeṣa". Tarlochan Singh Bedi (1999) prefers the name "Pritham Gurmukhī", or Proto-Gurmukhī.


title: Gurmukhi

text: The Sikh gurus adopted Proto-Gurmukhī to write the Guru Granth Sahib, the religious scriptures of the Sikhs. The Takri alphabet developed through the "Devāśeṣa" stage of the Sharada script from the 14th-18th centuries and is found mainly in the Hill States such as Chamba, Himachal Pradesh and surrounding areas, where it is called Chambeali. In Jammu Division, it developed into Dogri, which was a "highly imperfect" script later consciously influenced in part by Gurmukhi during the late 19th century, possibly to provide it an air of authority by having it resemble scripts already established in official and literary capacities, though not displacing Takri. The local Takri variants got the status of official scripts in some of the Punjab Hill States, and were used for both administrative and literary purposes until the 19th century. After 1948, when Himachal Pradesh was established as an administrative unit, the local Takri variants were replaced by Devanagari.


title: Gurmukhi

text: Meanwhile, the mercantile scripts of Punjab known as the Laṇḍā scripts were normally not used for literary purposes. "Laṇḍā" means alphabet "without tail", implying that the script did not have vowel symbols. In Punjab, there were at least ten different scripts classified as Laṇḍā, Mahajani being the most popular. The Laṇḍā scripts were used for household and trade purposes. In contrast to Laṇḍā, the use of vowel diacritics was made obligatory in Gurmukhī for increased accuracy and precision, due to the difficulties involved in deciphering words without vowel signs.


title: Gurmukhi

text: In the following epochs, Gurmukhī became the primary script for the literary writings of the Sikhs. Playing a significant role in Sikh faith and tradition, it expanded from its original use for Sikh scriptures and developed its own orthographical rules, spreading widely under the Sikh Empire and used by Sikh kings and chiefs of Punjab for administrative purposes. Also playing a major role in consolidating and standardizing the Punjabi language, it served as the main medium of literacy in Punjab and adjoining areas for centuries when the earliest schools were attached to "gurdwaras". The first natively produced grammars of the Punjabi language were written in the 1860s in Gurmukhi. The Singh Sabha Movement of the late 19th century, a movement to revitalize Sikh institutions which had declined during colonial rule after the fall of the Sikh Empire, also advocated for the usage of the Gurmukhi script for mass media, with print media publications and Punjabi-language newspapers established in the 1880s. Later in the 20th century, after the struggle of the Punjabi Suba movement, from the founding of modern India in the 1940s to the 1960s, the script was given the authority as the official state script of the Punjab, India, where it is used in all spheres of culture, arts, education, and administration, with a firmly established common and secular character.


title: Gurmukhi

text: The prevalent view among Punjabi linguists is that as in the early stages the Gurmukhī letters were primarily used by the Guru's followers, Gurmukhs (literally, those who face, or follow, the Guru, as opposed to a Manmukh); the script thus came to be known as "Gurmukhī", "the script of those guided by the Guru." Guru Angad is credited in the Sikh tradition with the creation and standardization of Gurmukhi script from earlier Śāradā-descended scripts native to the region. It is now the standard writing script for the Punjabi language in India. The original Sikh scriptures and most of the historic Sikh literature have been written in the Gurmukhi script.


title: Gurmukhi

text: Although the word Gurmukhī has been commonly translated as "from the Mouth of the Guru," the term used for the Punjabi script has somewhat different connotations. This usage of the term may have gained currency from the use of the script to record the utterances of the Sikh Gurus as scripture, which were often referred to as Gurmukhī, or from the "mukh" (face, or mouth) of the Gurus. Consequently, the script that was used to write the resulting scripture may have also been designated with the same name.


title: Gurmukhi

text: The name for the Perso–Arabic alphabet for the Punjabi language, "Shahmukhi", was modeled on the term "Gurmukhi".


title: Gurmukhi

text: The Gurmukhī alphabet contains thirty-five base letters ("akkhara", plural "akkharā̃"), traditionally arranged in seven rows of five letters each. The first three letters, or "mātarā vāhak" ("vowel carrier"), are distinct because they form the basis for vowels and are not consonants, or "vianjan", like the remaining letters are, and except for the second letter "aiṛā" are never used on their own; see for further details. The pair of fricatives, or "mūl varag" ("base class"), share the row, which is followed by the next five sets of consonants, with the consonants in each row being homorganic, the rows arranged from the back (velars) to the front (labials) of the mouth, and the letters in the grid arranged by place and manner of articulation. The arrangement, or "varaṇamālā", is completed with the "antim ṭolī", literally "ending group." The names of most of the consonants are based on their reduplicative phonetic values, and the "varaṇamālā" is as follows:


title: Gurmukhi

text: The nasal letters ਙ /ŋəŋːaː/ and ਞ /ɲəɲːaː/ have become marginal as independent consonants in modern Gurmukhi. The sounds they represent occur most often as allophones of [] in clusters with velars and palatals respectively.


title: Gurmukhi

text: The most characteristic feature of the Punjabi language is its tone system. The script has no separate symbol for tones, but they correspond to the tonal consonants that once represented voiced aspirates as well as older *"h". To differentiate between consonants, the Punjabi tonal consonants of the fourth column, ਘ "kà", ਝ "cà", ਢ "ṭà", ਧ "tà", and ਭ "pà", are often transliterated in the way of the voiced aspirate consonants "gha", "jha", "ḍha", "dha", and "bha" respectively, although Punjabi lacks these sounds. Tones in Punjabi can be either rising, neutral, or falling; in the pronunciation of the names of the Gurmukhī letters, they are at the beginning of the word and as such produce the falling tone, hence the grave accent (à) as opposed to the acute. The tone on the stem vowel changes to a rising one (á) and precedes the letter when it is in syllabic coda positions, and is falling when the letter in stem-medial positions after a short vowel and before a long vowel, and when the tonal letter follows the stem vowel. The letters now always represent unaspirated consonants, and are unvoiced in initial positions and voiced elsewhere.


title: Gurmukhi

text: In addition to the 35 original letters, there are six supplementary consonants in official usage, referred to as the "navīn ṭolī" or "navīn varag", meaning "new group," created by placing a dot ("bindī") at the foot ("pair") of the consonant to create "pair bindī" consonants. These are not present in the Guru Granth Sahib or old texts. These are used most often for loanwords, though not exclusively, and their usage is not always obligatory:


title: Gurmukhi

text: The character ਲ਼ /ɭ/, the only character not representing a fricative consonant, was only recently officially added to the Gurmukhī alphabet. It was not a part of the traditional orthography, as the distinctive phonological difference between /l/ and /ɭ/, while both native sounds, was not reflected in the script; however, its usage, while still currently not universal, has been noted along with the other letters of the group among the earliest Punjabi grammars produced. Previous usage of another glyph to represent this sound, [ਲ੍ਰ], has also been attested. The Shahmukhi alphabet equivalent for representing the sound is ࣇ, "lam with tah above."


title: Gurmukhi

text: Other characters, like the more recent [ਕ਼] //, are also on rare occasion used unofficially, chiefly for transliterating old writings in Persian and Urdu, the knowledge of which is less relevant in modern times.


title: Gurmukhi

text: Three "subscript" letters, called "dutt akkhara" ("joint letters") or "pairī̃ akkhara" ("letters at the foot") are utilised in modern Gurmukhī: forms of ਹ ("ha"), ਰ ("ra"), and ਵ ("va").


title: Gurmukhi

text: The subscript ਰ (r) and ਵ (v) are used to make consonant clusters and behave similarly; subjoined ਹ (h) introduces tone.


title: Gurmukhi

text: In addition to the three standard subscript letters, another subscript character representing the subjoined /j/, the "yakash" or "pairī̃ yayyā" ( ੵ U+0A75), is utilized specifically in archaized "sahaskritī"-style writings in Sikh scripture, where it is found 268 times for word forms and inflections from older phases of Indo-Aryan, as in the examples ਰਖੵਾ /ɾəkʰːjaː/ "(to be) protected," ਮਿਥੵੰਤ /mɪt̪ʰjən̪t̪ə/ "deceiving," ਸੰਸਾਰਸੵ /sənsaːɾəsjə/ "of the world," ਭਿਖੵਾ /pɪ̀kʰːjaː/ "(act of) begging," etc. There is also a conjunct form of the letter "yayyā", ਯ→੍ਯ, which functions similarly to the "yakash", and is used exclusively for Sanskrit borrowings, and even then rarely. In addition, miniaturized versions of the letters ਚ, ਟ, ਤ, and ਨ are also found in limited use as subscript letters in Sikh scripture.


title: Gurmukhi

text: Only the subjoined /ɾ/ and /h/ are commonly used; usage of the subjoined /ʋ/ and conjoined forms of /j/, already rare, is increasingly scarce in modern contexts.


title: Gurmukhi

text: To express vowels (singular, "sur"), Gurmukhī, as an abugida, makes use of obligatory diacritics called "lagā̃". Gurmukhī is similar to Brahmi scripts in that all consonants are followed by an inherent schwa sound. This inherent vowel sound can be changed by using dependent vowel signs which attach to a bearing consonant. In some cases, dependent vowel signs cannot be used – at the beginning of a word or syllable for instance – and so an independent vowel character is used instead.


title: Gurmukhi

text: Independent vowels are constructed using three bearer characters: "ūṛā" (ੳ), "aiṛā" (ਅ) and "īṛī" (ੲ). With the exception of "aiṛā" (which represents the vowel ), the bearer consonants are never used without additional vowel signs.


title: Gurmukhi

text: Dotted circles represent the bearer consonant. Vowels are always pronounced after the consonant they are attached to. Thus, "sihārī" is always written to the left, but pronounced after the character on the right. When constructing the independent vowel for , "ūṛā" takes an irregular form instead of using the usual "hoṛā".


title: Gurmukhi

text: Gurmukhi orthography prefers vowel sequences over the use of semivowels ("y" or "w") intervocally and in syllable nuclei, as in the words ਦਿਸਾਇਆ "disāiā" "caused to be visible" rather than "disāyā", ਦਿਆਰ "diāra" "cedar" rather than "dyāra", and ਸੁਆਦ "suāda" "taste" rather than "swāda", permitting vowels in hiatus.


title: Gurmukhi

text: In terms of tone orthography, the short vowels [ɪ] and [ʊ], when paired with [h] to yield /ɪh/ and /ʊh/, represent [é] and [ó] with high tones respectively, e.g. ਕਿਹੜਾ "kihṛā" () 'which,' ਦੁਹਰਾ "duhrā" () "repeat, reiterate, double." The compounding of [əɦ] with [ɪ] or [ʊ] yield [ɛ́] and [ɔ́] respectively, e.g. ਮਹਿੰਗਾ "mahingā" () "expensive," ਵਹੁਟੀ "vahuṭī" () "bride."


title: Gurmukhi

text: The diacritics for gemination and nasalization are together referred to as "lagākkhara" ("applied letters").


title: Gurmukhi

text: The use of "adhak" ( ੱ ) () indicates that the following consonant is geminated, and is placed above the consonant preceding the geminated one. Consonant length is distinctive in the Punjabi language and the use of this diacritic can change the meaning of a word, for example:


title: Gurmukhi

text: There is a tendency, especially in rural dialects, to geminate consonants following a long vowel (/a:/, /e:/, /i:/, /o:/, /u:/, /ɛ:/, /ɔː/) in the penult of a word, e.g. ਔਖਾ "aukkhā" "difficult," ਕੀਤੀ "kīttī" "did," ਪੋਤਾ "pottā" "grandson," ਪੰਜਾਬੀ "panjābbī" "Punjabi," ਹਾਕ "hāka" "call, shout," but plural ਹਾਕਾਂ "hākkā̃".


title: Gurmukhi

text: Except in this case, where this unmarked gemination is often etymologically rooted in archaic forms, and has become phonotactically regular, the usage of the "adhak" is obligatory.


title: Gurmukhi

text: "Ṭippī" ( ੰ ) and "bindī" ( ਂ ) are used for producing a nasal phoneme depending on the following obstruent or a nasal vowel at the end of a word. All short vowels are nasalized using "ṭippī" and all long vowels are nasalized using "bindī" except for "dulaiṅkaṛ" ( ੂ ), which uses "ṭippi" instead.


title: Gurmukhi

text: The "halanta" ( ੍ U+0A4D) character is not used when writing Punjabi in Gurmukhī. However, it may occasionally be used in Sanskritised text or in dictionaries for extra phonetic information. When it is used, it represents the suppression of the inherent vowel.


title: Gurmukhi

text: The "ḍaṇḍī" (।) is used in Gurmukhi to mark the end of a sentence. A doubled "ḍaṇḍī", or "doḍaṇḍī" (॥) marks the end of a verse.


title: Gurmukhi

text: The "visarga" symbol (ਃ U+0A03) is used very occasionally in Gurmukhī. It can represent an abbreviation, as the period is used in English, though the period for abbreviation, like commas, exclamation points, and other Western punctuation, is freely used in modern Gurmukhī.


title: Gurmukhi

text: Gurmukhī has its own set of digits, which function exactly as in other versions of the Hindu–Arabic numeral system. These are used extensively in older texts. In modern contexts, they are sometimes replaced by standard Western Arabic numerals.


title: Gurmukhi

text: Before the 1970's, Gurbani and other Sikh scriptures were written in the traditional "scriptio continua" method of writing the Gurmukhi script known as "larivār" where there were no spacing between words in the texts (interpuncts in the form of a dot were used by some to differentiate between words, such as by Guru Arjan). This is opposed to the comparatively more recent method of writing in Gurmukhi known as "pad ched", which breaks the words by inserting spacing between them.


title: Gurmukhi

text: First line of the Guru Granth Sahib, the "Mul Mantar," in "larivār" (continuous form) and "pad ched" (spacing form):


title: Gurmukhi

text: Transliteration: Ik-ōṅkār sati nāmu karatā purkhu nirbhau nirvairu akāl mūrti ajūnī saibhann gur prasādi.


title: Gurmukhi

text: Panjab Digital Library has taken up digitization of all available manuscripts of Gurmukhī Script. The script has been in formal use since the 1500s, and a lot of literature written within this time period is still traceable. Panjab Digital Library has digitized over 45 million pages from different manuscripts and most of them are available online.


title: Gurmukhi

text: Punjabi University Patiala has developed label generation rules for validating international domain names for internet in Gurmukhi.


title: Romantic (film)

text: Romantic is a 2021 Indian Telugu-language romantic film directed by Anil Paduri. It is written by Puri Jagannadh who co-produced the film with Charmme Kaur under Puri Connects. The film stars Akash Puri, debutante Ketika Sharma and Ramya Krishna. The film was released theatrically on 29 October 2021.


title: Romantic (film)

text: Vasco da Gama son of a cop is a street smart ruffian who chooses crime to earn a fortune and fulfill his grandma Mary’s dream after watching his parents death. He and his childhood friend Annie join Goa’s most notorious drug mafia lord Rodrigues’ gang. Within no time, Vasco becomes a kingpin in the Goa underworld. Vasco falls for the charms and ‘back’ beauty of a young musician named Monica later it soon turns out into a passionate affair. After a failed drug deal, Vasco kills Rodrigues and proclaims himself as the new mafia king of Goa. In the process, he kills an SI and that’s when a dutiful and ruthless ACP Ramya Gowarikar is transferred from Mumbai to Goa to nab Vasco. At the same time Samsun a rival of Rodrigues wants his drugs containers worths crores steels by Vasco and his gang tries to nab him off. After a Cat and Mouse game ensues between the 3 groups finally Vasco achieves his grand mother dream for building a new homes for his community, later he kills Samsun but in the final battle with Ramya he was finally shot dead by her and confess that he Respects her a lot because she was like his father who is very sincere and dies in the arms of Mary. After watching his death Monica shot her self to death just like that. Before dying they hug each other and do a spinning move and shoot at police but they are finally shot by Ramya. Finally film ends that Ramya realises that the Vasco and Monica did not realised they were in love and thinks they are having an affair and dies for it and sadly declares the drug mafia ends in Goa. She turns out to be right and the entire film is just about romance and love, in which a mafia was also involved. But at least she killed them in the end and now she will get a promotion and a vacation so she is happy.


title: Romantic (film)

text: The film was initially scheduled for a theatrical release on 29 May 2020 but it was postponed due to the COVID-19 pandemic. On 1 March 2021, new release date was announced as 18 June 2021. Later, it was postponed to 4 November 2021. Later, it was rescheduled to 29 October 2021.


title: Romantic (film)

text: "The Times of India" critic Neeshitha Nyayapati called it " Puri's gangster version of "Romeo & Juliet"," rating the film 3 stars of 5. In her review for "The Hindu", Y. Sunita Chowdhary felt "Romantic" was "voyeuristic drama at best." Murali Krishna CH of "The New Indian Express" criticized the writing, calling it an "assault on our senses."


title: Mediterranean cuisine

text: Mediterranean cuisine is the food and methods of preparation used by the people of the Mediterranean Basin. The idea of a Mediterranean cuisine originates with the cookery writer Elizabeth David's book, "A Book of Mediterranean Food" (1950) and was amplified by other writers working in English.


title: Mediterranean cuisine

text: Many writers define the three core elements of the cuisine as the olive, wheat, and the grape, yielding olive oil, bread and pasta, and wine; other writers deny that the widely varied foods of the Mediterranean basin constitute a cuisine at all. A common definition of the geographical area covered, proposed by David, follows the distribution of the olive tree.


title: Mediterranean cuisine

text: The region spans a wide variety of cultures with distinct cuisines, in particular (going anticlockwise around the region) the Maghrebi, Egyptian, Levantine, Ottoman (Turkish), Greek, Italian, French (Provençal), and Spanish, though some authors include additional cuisines. Portuguese cuisine, in particular, is partly Mediterranean in character.


title: Mediterranean cuisine

text: The historical connections of the region, as well as the impact of the Mediterranean Sea on the region's climate and economy, mean that these cuisines share dishes beyond the core trio of oil, bread, and wine, such as roast lamb or mutton, meat stews with vegetables and tomato (for example, Spanish andrajos), vegetable stews (Provençal ratatouille, Spanish pisto, Italian ciambotta), and the salted cured fish roe, bottarga, found across the region. Spirits based on anise are drunk in many countries around the Mediterranean.


title: Mediterranean cuisine

text: The cooking of the area is not to be confused with the Mediterranean diet, made popular because of the apparent health benefits of a diet rich in olive oil, wheat and other grains, fruits, vegetables, and a certain amount of seafood, but low in meat and dairy products. Mediterranean cuisine encompasses the ways that these and other ingredients, including meat, are dealt with in the kitchen, whether they are health-giving or not.


title: Mediterranean cuisine

text: Various authors have defined the scope of Mediterranean cooking either by geography or by its core ingredients.


title: Mediterranean cuisine

text: Elizabeth David, in her "A Book of Mediterranean Food" (1950), defines her scope as "the cooking of the Mediterranean shores" and sketches out the geographical limits:


title: Mediterranean cuisine

text: She defines this region as coextensive with the range of the olive tree: "those blessed lands of sun and sea and olive trees". The olive's natural distribution is limited by frost and by availability of water. It is therefore constrained to a more or less narrow zone around the Mediterranean Sea, except in the Maghreb and in Spain, where it is distributed more widely, and on the islands of the Mediterranean, where it is widespread.


title: Mediterranean cuisine

text: The Tunisian historian Mohamed Yassine Essid similarly defines the region by the olive's presence, along with bread, wheat, and the grape as the "basic products of Mediterranean folk cuisine":


title: Mediterranean cuisine

text: Some writers include the cuisines of the eastern Adriatic coast of Dalmatia – Albanian, Montenegrin, and Croatian, while most do not mention them. Some writers also include areas not touching the Mediterranean Sea or supporting olive cultivation, including Serbian, Macedonian, and Portuguese cuisine.


title: Mediterranean cuisine

text: Essid identifies the "trinity" of basic ingredients of traditional Mediterranean cuisine as the olive, wheat, and the grape, yielding oil, bread, and wine respectively. The archaeologist Colin Renfrew calls this the "Mediterranean triad".


title: Mediterranean cuisine

text: The olive appears to come from the region of Persia and Mesopotamia, at least 6,000 years ago. It spread from there to nearby areas, and has been cultivated since the early Bronze Age (up to 3,150 BC) in southern Turkey, the Levant, and Crete. The ten countries with the largest harvests (in 2011) are all near the Mediterranean (Portugal being the tenth largest): together, they produce 95% of the world's olives.


title: Mediterranean cuisine

text: The olive yields bitter fruits, made edible by curing and fermentation, and olive oil. Some 90% of the fruit production (1996) goes into olive oil. The Mediterranean region accounts for the world's highest consumption of olive oil: in 2014, the highest-consuming country, Greece, used 17 kg per head; Italy, 12 kg, Spain, 13 kg; the United States for comparison used only 1 kg per head.


title: Mediterranean cuisine

text: Wheat was domesticated in the Fertile Crescent, in and near the Levant some 10,000 years ago. Its ancestors include wild emmer wheat; this was hybridised, harvested and sown to create domestic strains with larger grains, in ears that shatter less readily than wild forms. It was spread across the Mediterranean region as far as Spain by 5,000 BC.


title: Mediterranean cuisine

text: Wheat is a staple food in the Mediterranean region. Wheat bread was already critically important in the empire of Ancient Rome, which included the entire region; at that time, around 2,000 years ago, North Africa was the "breadbasket" of the empire. Other staple wheat-based Mediterranean foods include pasta and semolina (wheat middlings) products such as couscous and bulgur. In turn, these are made into dishes such as the Greek dessert galaktoboureko (milk börek), consisting of filo pastry parcels around a custard made with semolina. A widespread wheat dish from Turkey and the Levant to Iran and India is halva, a dessert of sweetened semolina with butter, milk, and pine kernels.


title: Mediterranean cuisine

text: The grape was domesticated between 7,000 and 4,000 BC between the Black Sea and Persia; archaeological evidence shows that wine was being made there by 6,000 BC, reaching Greece and Crete in the fifth millennium BC and Spain by the last millennium BC. Winemaking started in Italy in the ninth century BC, and in France around 600 BC.


title: Mediterranean cuisine

text: Grapes are mostly grown for making wine and vinegar as basic components of the Mediterranean diet, as well for drying as raisins or for eating as table grapes. Raisins and table grape varieties are chosen for their flavour. Grape production remains important in the Mediterranean area, with Southern Europe accounting for 21% of the world's harvest. In 2014, Italy produced 6.9 million tonnes (mt) of grapes, Spain 6.2 mt, France 6.2 mt, Turkey 4.2 mt, and Germany 1.2 mt. Wine production for Southern Europe was 37% of the world total in 2014, with Italy producing 4.8 mt, Spain 4.6 mt, France 4.3 mt, and Germany 0.9 mt.


title: Mediterranean cuisine

text: The concept of a Mediterranean cuisine is very recent, probably dating from the publication of David's "A Book of Mediterranean Food" (1950). David herself did not use the term, speaking instead of Mediterranean "food", "cookery", or "cooking". The usefulness of the concept is disputed. Carol Helstosky, author of the book "Food Culture in the Mediterranean" (2009), is among the authors who use "Mediterranean cuisine" interchangeably with "Mediterranean food". In the preface to her book she writes:


title: Mediterranean cuisine

text: Essid acknowledges that "geographical differences and the vicissitudes of history" have affected the food of different Mediterranean lands, but nonetheless asserts that:


title: Mediterranean cuisine

text: On the other hand, Sami Zubaida argues in his book "Culinary Cultures of the Middle East" (1994) that: