title: Line (geometry)

text: In modern mathematics, given the multitude of geometries, the concept of a line is closely tied to the way the geometry is described. For instance, in analytic geometry, a line in the plane is often defined as the set of points whose coordinates satisfy a given linear equation, but in a more abstract setting, such as incidence geometry, a line may be an independent object, distinct from the set of points which lie on it.


title: Line (geometry)

text: When a geometry is described by a set of axioms, the notion of a line is usually left undefined (a so-called primitive object). The properties of lines are then determined by the axioms which refer to them. One advantage to this approach is the flexibility it gives to users of the geometry. Thus in differential geometry, a line may be interpreted as a geodesic (shortest path between points), while in some projective geometries, a line is a 2-dimensional vector space (all linear combinations of two independent vectors). This flexibility also extends beyond mathematics and, for example, permits physicists to think of the path of a light ray as being a line.


title: Line (geometry)

text: When geometry was first formalised by Euclid in the "Elements", he defined a general line (now called a "curve") to be "breadthless length" with a straight line being a line "which lies evenly with the points on itself". These definitions serve little purpose, since they use terms which are not by themselves defined. In fact, Euclid himself did not use these definitions in this work, and probably included them just to make it clear to the reader what was being discussed. In modern geometry, a line is simply taken as an undefined object with properties given by axioms, but is sometimes defined as a set of points obeying a linear relationship when some other fundamental concept is left undefined.


title: Line (geometry)

text: In an axiomatic formulation of Euclidean geometry, such as that of Hilbert (Euclid's original axioms contained various flaws which have been corrected by modern mathematicians), a line is stated to have certain properties which relate it to other lines and points. For example, for any two distinct points, there is a unique line containing them, and any two distinct lines intersect in at most one point. In two dimensions (i.e., the Euclidean plane), two lines which do not intersect are called parallel. In higher dimensions, two lines that do not intersect are parallel if they are contained in a plane, or skew if they are not.


title: Line (geometry)

text: On an Euclidean plane, a line can be represented as a boundary between two regions. Any collection of finitely many lines partitions the plane into convex polygons (possibly unbounded); this partition is known as an arrangement of lines.


title: Line (geometry)

text: In three-dimensional space, a first degree equation in the variables "x", "y", and "z" defines a plane, so two such equations, provided the planes they give rise to are not parallel, define a line which is the intersection of the planes. More generally, in "n"-dimensional space "n"−1 first-degree equations in the "n" coordinate variables define a line under suitable conditions.


title: Line (geometry)

text: In more general Euclidean space, R (and analogously in every other affine space), the line "L" passing through two different points "a" and "b" (considered as vectors) is the subset


title: Line (geometry)

text: The direction of the line is from "a" ("t" = 0) to "b" ("t" = 1), or in other words, in the direction of the vector "b" − "a". Different choices of "a" and "b" can yield the same line.


title: Line (geometry)

text: Three points are said to be "collinear" if they lie on the same line. Three points "usually" determine a plane, but in the case of three collinear points this does "not" happen.


title: Line (geometry)

text: In affine coordinates, in "n"-dimensional space the points "X" = ("x", "x", ..., "x"), "Y" = ("y", "y", ..., "y"), and "Z" = ("z", "z", ..., "z") are collinear if the matrix


title: Line (geometry)

text: has a rank less than 3. In particular, for three points in the plane ("n" = 2), the above matrix is square and the points are collinear if and only if its determinant is zero.


title: Line (geometry)

text: Equivalently for three points in a plane, the points are collinear if and only if the slope between one pair of points equals the slope between any other pair of points (in which case the slope between the remaining pair of points will equal the other slopes). By extension, "k" points in a plane are collinear if and only if any ("k"–1) pairs of points have the same pairwise slopes.


title: Line (geometry)

text: In Euclidean geometry, the Euclidean distance "d"("a","b") between two points "a" and "b" may be used to express the collinearity between three points by:


title: Line (geometry)

text: However, there are other notions of distance (such as the Manhattan distance) for which this property is not true.


title: Line (geometry)

text: In the geometries where the concept of a line is a primitive notion, as may be the case in some synthetic geometries, other methods of determining collinearity are needed.


title: Line (geometry)

text: In a sense, all lines in Euclidean geometry are equal, in that, without coordinates, one can not tell them apart from one another. However, lines may play special roles with respect to other objects in the geometry and be divided into types according to that relationship. For instance, with respect to a conic (a circle, ellipse, parabola, or hyperbola), lines can be:


title: Line (geometry)

text: In the context of determining parallelism in Euclidean geometry, a transversal is a line that intersects two other lines that may or not be parallel to each other.


title: Line (geometry)

text: For a convex quadrilateral with at most two parallel sides, the Newton line is the line that connects the midpoints of the two diagonals.


title: Line (geometry)

text: For a hexagon with vertices lying on a conic we have the Pascal line and, in the special case where the conic is a pair of lines, we have the Pappus line.


title: Line (geometry)

text: Parallel lines are lines in the same plane that never cross. Intersecting lines share a single point in common. Coincidental lines coincide with each other—every point that is on either one of them is also on the other.


title: Line (geometry)

text: In three-dimensional space, skew lines are lines that are not in the same plane and thus do not intersect each other.


title: Line (geometry)

text: The concept of line is often considered in geometry as a primitive notion in axiomatic systems, meaning it is not being defined by other concepts. In those situations where a line is a defined concept, as in coordinate geometry, some other fundamental ideas are taken as primitives. When the line concept is a primitive, the behaviour and properties of lines are dictated by the axioms which they must satisfy.


title: Line (geometry)

text: In a non-axiomatic or simplified axiomatic treatment of geometry, the concept of a primitive notion may be too abstract to be dealt with. In this circumstance, it is possible to provide a "description" or "mental image" of a primitive notion, to give a foundation to build the notion on which would formally be based on the (unstated) axioms. Descriptions of this type may be referred to, by some authors, as definitions in this informal style of presentation. These are not true definitions, and could not be used in formal proofs of statements. The "definition" of line in Euclid's Elements falls into this category. Even in the case where a specific geometry is being considered (for example, Euclidean geometry), there is no generally accepted agreement among authors as to what an informal description of a line should be when the subject is not being treated formally.


title: Line (geometry)

text: Lines in a Cartesian plane or, more generally, in affine coordinates, are characterized by linear equations. More precisely, every line formula_5 (including vertical lines) is the set of all points whose coordinates ("x", "y") satisfy a linear equation; that is,


title: Line (geometry)

text: where "a", "b" and "c" are fixed real numbers (called coefficients) such that "a" and "b" are not both zero. Using this form, vertical lines correspond to equations with "b" = 0.


title: Line (geometry)

text: There are many variant ways to write the equation of a line which can all be converted from one to another by algebraic manipulation. The above form is sometimes called the "standard form". If the constant term is put on the left, the equation becomes


title: Line (geometry)

text: and this is sometimes called the "general form" of the equation. However, this terminology is not universally accepted, and many authors do not distinguish these two forms.


title: Line (geometry)

text: These forms are generally named by the type of information (data) about the line that is needed to write down the form. Some of the important data of a line is its slope, x-intercept, known points on the line and y-intercept.


title: Line (geometry)

text: The equation of the line passing through two different points formula_8 and formula_9 may be written as


title: Line (geometry)

text: formula_12In two dimensions, the equation for non-vertical lines is often given in the "slope-intercept form":


title: Line (geometry)

text: The slope of the line through points formula_14 and formula_15, when formula_16, is given by formula_17 and the equation of this line can be written formula_18.


title: Line (geometry)

text: Parametric equations are also used to specify lines, particularly in those in three dimensions or more because in more than two dimensions lines "cannot" be described by a single linear equation.


title: Line (geometry)

text: Parametric equations for lines in higher dimensions are similar in that they are based on the specification of one point on the line and a direction vector.


title: Line (geometry)

text: As a note, lines in three dimensions may also be described as the simultaneous solutions of two linear equations


title: Line (geometry)

text: such that formula_22 and formula_23 are not proportional (the relations formula_24 imply formula_25). This follows since in three dimensions a single linear equation typically describes a plane and a line is what is common to two distinct intersecting planes.


title: Line (geometry)

text: The "normal form" (also called the "Hesse normal form", after the German mathematician Ludwig Otto Hesse), is based on the "normal segment" for a given line, which is defined to be the line segment drawn from the origin perpendicular to the line. This segment joins the origin with the closest point on the line to the origin. The normal form of the equation of a straight line on the plane is given by:


title: Line (geometry)

text: where formula_27 is the angle of inclination of the normal segment (the oriented angle from the unit vector of the -axis to this segment), and is the (positive) length of the normal segment. The normal form can be derived from the standard form formula_28 by dividing all of the coefficients by


title: Line (geometry)

text: Unlike the slope-intercept and intercept forms, this form can represent any line but also requires only two finite parameters, formula_27 and , to be specified. If , then formula_27 is uniquely defined modulo . On the other hand, if the line is through the origin (), one drops the term to compute formula_32 and formula_33, and it follows that formula_27 is only defined modulo .


title: Line (geometry)

text: A ray starting at point "A" is described by limiting λ. One ray is obtained if λ ≥ 0, and the opposite ray comes from λ ≤ 0.


title: Line (geometry)

text: In a Cartesian plane, polar coordinates are related to Cartesian coordinates by the parametric equations:formula_37


title: Line (geometry)

text: In polar coordinates, the equation of a line not passing through the origin—the point with coordinates —can be written


title: Line (geometry)

text: with and formula_39 Here, is the (positive) length of the line segment perpendicular to the line and delimited by the origin and the line, and formula_27 is the (oriented) angle from the -axis to this segment.


title: Line (geometry)

text: It may be useful to express the equation in terms of the angle formula_41 between the -axis and the line. In this case, the equation becomes


title: Line (geometry)

text: These equations can be derived from the normal form of the line equation by setting formula_44 and formula_45 and then applying the angle difference identity for sine or cosine.


title: Line (geometry)

text: These equations can also be proven geometrically by applying right triangle definitions of sine and cosine to the right triangle that has a point of the line and the origin as vertices, and the line and its perpendicular through the origin as sides.


title: Line (geometry)

text: The previous forms do not apply for a line passing through the origin, but a simpler formula can be written: the polar coordinates formula_46 of the points of a line passing through the origin and making an angle of formula_47 with the -axis, are the pairs formula_46 such that


title: Line (geometry)

text: In many models of projective geometry, the representation of a line rarely conforms to the notion of the "straight curve" as it is visualised in Euclidean geometry. In elliptic geometry we see a typical example of this. In the spherical representation of elliptic geometry, lines are represented by great circles of a sphere with diametrically opposite points identified. In a different model of elliptic geometry, lines are represented by Euclidean planes passing through the origin. Even though these representations are visually distinct, they satisfy all the properties (such as, two points determining a unique line) that make them suitable representations for lines in this geometry.


title: Line (geometry)

text: The "shortness" and "straightness" of a line, interpreted as the property that the distance along the line between any two of its points is minimized (see triangle inequality), can be generalized and leads to the concept of geodesics in metric spaces.


title: Line (geometry)

text: Each such part is called a ray and the point "A" is called its "initial point". It is also known as half-line, a one-dimensional half-space. The point A is considered to be a member of the ray. Intuitively, a ray consists of those points on a line passing through "A" and proceeding indefinitely, starting at "A", in one direction only along the line. However, in order to use this concept of a ray in proofs a more precise definition is required.


title: Line (geometry)

text: Given distinct points "A" and "B", they determine a unique ray with initial point "A". As two points define a unique line, this ray consists of all the points between "A" and "B" (including "A" and "B") and all the points "C" on the line through "A" and "B" such that "B" is between "A" and "C". This is, at times, also expressed as the set of all points "C" on the line determined by "A" and "B" such that "A" is not between "B" and "C". A point "D", on the line determined by "A" and "B" but not in the ray with initial point "A" determined by "B", will determine another ray with initial point "A". With respect to the "AB" ray, the "AD" ray is called the "opposite ray".


title: Line (geometry)

text: Thus, we would say that two different points, "A" and "B", define a line and a decomposition of this line into the disjoint union of an open segment and two rays, "BC" and "AD" (the point "D" is not drawn in the diagram, but is to the left of "A" on the line "AB"). These are not opposite rays since they have different initial points.


title: Line (geometry)

text: The definition of a ray depends upon the notion of betweenness for points on a line. It follows that rays exist only for geometries for which this notion exists, typically Euclidean geometry or affine geometry over an ordered field. On the other hand, rays do not exist in projective geometry nor in a geometry over a non-ordered field, like the complex numbers or any finite field.


title: Line (geometry)

text: A line segment is a part of a line that is bounded by two distinct end points and contains every point on the line between its end points. Depending on how the line segment is defined, either of the two end points may or may not be part of the line segment. Two or more line segments may have some of the same relationships as lines, such as being parallel, intersecting, or skew, but unlike lines they may be none of these, if they are coplanar and either do not intersect or are collinear.


title: Line (geometry)

text: A point on number line corresponds to a real number and vice versa. Usually, integers are evenly spaced on the line, with positive numbers are on the right, negative numbers on the left. As an extension to the concept, an imaginary line representing imaginary numbers can be drawn perpendicular to the number line at zero. The two lines forms the complex plane, a geometrical representation of the set of complex numbers.


title: Digimon Tamers

text: The series was originally licensed in North America by Saban Entertainment, aired in the US from September 2001 to June 2002 as the third season of "Digimon: Digital Monsters". A Hong Kong manhua adaptation of the series, by Yuen Wong Yu, was serialized from April to October 2004.


title: Digimon Tamers

text: Takato Matsuki, a fan of the "Digimon" card game, finds a Blue Card, which transforms his card reader into a D-Power Digivice. His original Digimon creation, Guilmon, materializes into real life when his D-Power scans his drawings. Takato meets Henry Wong and Rika Nonaka, two other children who are partnered with Terriermon and Renamon, as well as Calumon and Impmon. As wild Digimon began roaming Shinjuku, the Tamers defeat them and defend the city. Using their D-Powers, the Tamers can Digi-modify through scanning cards or help them Digivolve. After each Digimon is defeated, their Digimon obtains their data. Meanwhile, Hypnos, an intelligence agency led by Mitsuo Yamaki, has been capturing the Digimon and sending them back to the Digital World.


title: Digimon Tamers

text: The Tamers eventually began working with Hypnos when the Devas invade the Real World. Calumon is captured by the Devas, and the Tamers follow him to the Digital World to save him. When Impmon turns on and attacks the Tamers and murders Leomon, Jeri Kato falls into depression. After resolving conflicts with the Digimon Sovereigns, the Tamers learn that the Digimon are protecting themselves from humans and the Real World after the Digital World is invaded by the D-Reaper, a rogue clean-up program. As the Tamers return to the Real World, the D-Reaper kidnaps Jeri, manipulating and trapping her inside the body. When the D-Reaper begins to materialize in the Real World, the Tamers defeat it, using the program and saving Jeri. With both worlds restored, the children are forced to say goodbye to their Digimon partners, when they end up returning to the Digital World by the effects of the program. The series ends with Takato discovering the portal in the tunnel under his hiding place.


title: Digimon Tamers

text: After the success of "Digimon Adventure 02", Hiroyuki Kakudo and staff did not know what to do now that the series was finished. The team was satisfied with the release of "Digimon Tamers", as Kakudo believed the setting could have also been applied in the previous anime. Chiaki J. Konaka was concerned that the portrayal of the Digimon as "kind-hearted creatures" in "Digimon Adventure" and "Digimon Adventure 02" might affect the "monster-like spirit of "Digimon"." As a result, Konaka wanted to explore the primitive nature of Digimon, where they instinctively harm other creatures to become stronger and would learn morals from their partners. This aspect would be primarily explored through Guilmon.


title: Digimon Tamers

text: Konaka was also worried about Digivolutions losing impact due to their repetitiveness. In order to solve this, the D-Power was designed as the new Digivice so that it could be used alongside cards and give the characters another "ace up sleeve." The writers wanted to limit the use of cards to one at a time. The main characters being more responsible of the evolutions and their adventures was another of Konaka's priorities as a message to children from modern society. For the last episodes of the series, Konaka believed the final enemy is the D-Reaper. While making the series, Konaka had conceptualized the idea of the Tamers combining with their Digimon to reach the highest level of evolution, Mega. Shinji Aramaki joined the design team in the CGI animation, which including the Bio-merge scenes.


title: Digimon Tamers

text: Unlike the previous series, Konaka did not introduce the idea of Digimon being reborn after death, as he believed death should be portrayed realistically in a show for children, especially since the main characters were risking their lives. As a result, the staff decided to portray death as a shocking event by using Leomon like in "Digimon Adventure", even though Konaka had doubts about it. While the series was presented as dark, Terriermon and Calumon balanced out the tone of the series.


title: Digimon Tamers

text: According to Chiaki Konaka, the story-line of "Digimon Tamers" was largely influenced by one of the original scripts prepared for "" by Chiaki and Kazuya Konaka before the script written by Kazunori Itō, and the ideas by Konaka brothers were later adopted for "Digimon Tamers" and "Gamera the Brave".


title: Digimon Tamers

text: The characters were designed by Katsuyoshi Nakatsuru and was based on the concept of "a normal elementary school student has a great adventure over the span of a year." Producer Hiromi Seki had wanted the three main characters to be of mixed genders and consist of an immigrant or someone not raised in Japan. Rika was designed with a "strong" image and character in an attempt to boost sales for products based on female characters, which traditionally did not perform well in the market. Henry became the basis of the proposed non-Japanese or emigrant character, and Konaka decided to make him half-Chinese and half-Japanese based on the statistics of non-Japanese students in elementary schools. Originally, the main cast from "Digimon Adventure" and "Digimon Adventure 02" was set to appear as mentors. The idea was scrapped and only Ryo Akiyama from the WonderSwan games was used.


title: Digimon Tamers

text: In 2021, Konaka had posted on his blog that he originally had plans to create "Digimon Tamers 2020", which would have been the continuation of an audio drama that was released with the 2018 limited edition Blu-ray box set of "Digimon Tamers". However, Toei Animation had rejected the pitch; Konaka claimed it was due to casting problems, particularly in regards to having some voice actors reprise their roles or play older versions of their characters convincingly.


title: Digimon Tamers

text: The series aired 51 episodes on Fuji TV in Japan from April 1, 2001 to March 31, 2002. The opening theme is "The Biggest Dreamer" by Kōji Wada, which peaked at #59 on the Oricon Weekly Singles Chart. The ending themes are performed by AiM, the first half of the show being "My Tomorrow" and the second half being . "My Tomorrow" peaked at #70 on the Oricon Weekly Singles Chart, while "Days (Aijō to Nichijō)" charted at #68. Insert songs featured in the show include "Slash" by Michihiko Ohta as the Digi-modify theme, "Evo" by Wild Child Bound as the Digivolution and Matrix Digivolution themes, and "One Vision" by Takayoshi Tanimoto as the Biomerge Digivolution theme.


title: Digimon Tamers

text: An edited English-language version was produced by distributor Saban Entertainment and aired on Fox Kids in the United States from September 1, 2001 to June 8, 2002 as the third season of "Digimon: Digital Monsters". Saban's version received various changes to character names, music and sound effects, as well as edits pertaining to violence and cultural references. Even though the setting of the country is still in Japan and the cards keep their original Japanese appearances and text in the English dub. The show also began airing on ABC Family in 2002, after Disney had acquired the rights from Saban Entertainment, which later also included a package deal with "Digimon Frontier". The show was released on Hulu with English subtitles in January 2011. New Video Group release the dubbed version as a DVD boxset in North America on June 11, 2013. Manga Entertainment released the series in the United Kingdom in 2018.


title: Digimon Tamers

text: The series was added to the Netflix Instant Streaming service on August 3, 2013 in separate English dubbed and Japanese subtitled versions. The series was removed on August 1, 2015, after nearly two years on Netflix when Crunchyroll acquired streaming rights to the English dubbed versions and Funimation acquired rights to the English subtitled versions, the English dubbed version of "Tamers" returned to Netflix while the English subtitled version of "Tamers" are now exclusive to Funimation.


title: Digimon Tamers

text: was released on July 14, 2001 as part of Toei Animation Summer 2001 Animation Fair. The film was featured along with "Mōtto! Ojamajo Doremi: The Movie: Kaeru Seki no Himitsu" and "Kinnikuman: Second Generations". The film takes place during the Tamers' summer vacation, where Mephistomon sends Digimon to invade the Real World through a virus called the "V-Pet." The film's ending theme song is "Moving On!" by AiM, which peaked at #95 on the Oricon Weekly Singles Chart. An insert song in the film, , was performed by Sammy and released as a single on September 29, 2001. The film's original soundtrack was released on December 5, 2001.


title: Digimon Tamers

text: Two CD dramas written by Chiaki J. Konaka were released. The voice cast from the series reprised their roles.


title: Digimon Tamers

text: "Digimon Tamers 1984", written by Chiaki J. Konaka and illustrated by Kenji Watanabe, was published on July 5, 2002 in Volume 5 of "SF Japan", a Japanese science fiction magazine. The story focuses on the creation of the original Digimon program by the Monster Makers at Palo Alto University and dealt largely with the philosophical and technological issues surrounding the creation of artificial intelligence. In 2018, Konaka uploaded an updated version of the story onto his website.


title: Digimon Tamers

text: Due to its differences from the first two "Digimon" series, "Tamers" received mixed reviews when it first aired in the United States (September 1, 2001). Tim Jones of THEM Anime writes, "Although "Digimon Tamers" has its faults (slow character development, a sudden change in new characters from the last series, and a less-than-exciting first half), the more you watch it, and the further you get into it, the more you'll enjoy it." In comparison to the first two series, "Tamers" also displayed darker undertones in its plot. According to English-language dub voice actor Dave Wittenberg, the new series possessed "an element of seriousness" that was not present in the first two series. Additionally, some parts would be better understood by older viewers due to the introduction of more difficult concepts. Regarding this, Konaka believes that Calumon and Terriermon were able to tone down the grim and serious atmosphere of the occasionally tough scenes throughout the series.


title: Digimon Tamers

text: The airing of the series coincided with the September 11 attacks, and in at least one case, the events have been analyzed within the context of the series. Margaret Schwartz of PopMatters writes, "As NPR and other […] media began to debate the September 11 images, I began to see just how important it was to consider how we as a culture define and experience 'reality' […] Some argue that the shocking video footage […] is a necessary experience of the catastrophe—even a condition of it." She points out the metafictional story of "Tamers" where "bits of forgotten computer data have fused to become a separate world inhabited by live creatures". In acknowledging the line drawn between good and evil in the series, Schwartz writes, "The evil here consists in refusing to see that Digimon are 'real', real creatures, and that destroying any one of them is in fact murder." Through the existence of intangible communication networks as a "product of human ingenuity", she concludes that "those of us in the 'real' world have become so good at playing creator, at making 'things' appear much like 'real' creatures, that we tend to confuse the two."


title: Digimon Tamers

text: DigiFes 2021, an official "Digimon" event taking place annually on August 1, held a live reading featuring the original voice cast of an original audio drama that Konaka had written for "Digimon Tamers"' 20th anniversary. The script featured the Tamers fighting a villainous entity called "political correctness", which used an attack called "cancel culture." Prior to this, Konaka had been keeping a retrospective blog for rewatching "Digimon Tamers" and had blogged his opinions about conspiracy theories around 9/11 and COVID-19. The audio drama was met with international backlash. Konaka released an apology on his blog and clarified that he did not associate with any political ideology.


title: Gary Scott Thompson

text: Gary Scott Thompson (born October 7, 1959) is an American screenwriter, television producer, and director. Scott is notable for his work on "The Fast and the Furious" starring Vin Diesel and Paul Walker, the sequel "2 Fast 2 Furious", "Hollow Man" with Kevin Bacon and Elisabeth Shue, "Split Second", "88 Minutes", starring Al Pacino, and "K-911" and "".


title: Gary Scott Thompson

text: As creator, showrunner, writer, and executive producer of NBC's hit series "Las Vegas", Thompson also directed 4 episodes and made a brief appearance as a psychotherapy patient. Thompson wrote, co-developed, and executive produced NBC and TF1's "Taxi Brooklyn".


title: Gary Scott Thompson

text: Born in Ukiah, California, but spending much of his childhood in American Samoa, Thompson first gained exposure to the world of entertainment


title: Gary Scott Thompson

text: actor, studying the craft from such actors as Powers Boothe. To pay for his education and support himself, Thompson worked in a junkyard, operated heavy equipment, delivered mail, built sets for a theatre company, tutored college students in English, taught high school in New York City, worked in a gym, was a stagehand at the Metropolitan Opera House NYC, was a reader and assistant dramaturgy at Circle Rep Theatre, and did story notes and development for a Hollywood film studio and distributor.


title: Gary Scott Thompson

text: Eventually settling on writing, he received a Master of Fine Arts degree from New York University and went to work as a playwright. Thompson's theater credits include "Small Town Syndrome," "Cowboys Don't Cry" and "Private Hells."


title: Gary Scott Thompson

text: For "Las Vegas", Thompson received the honor of Best Drama Series at the "WIN Awards", an awards show dedicated to highlighting positive and multi-dimensional portrayals of women in media. Additionally, Thompson received the first-ever Visionary Award from spinal cord injury advocacy organization Life Rolls On for the first-ever portrayal of a featured character with a SCI on national television.


title: Gary Scott Thompson

text: Thompson has a "Based on characters created by" credit in "The Fast & Furious" films and series in which he did not participate.


title: Nausea (novel)

text: Nausea () is a philosophical novel by the existentialist philosopher Jean-Paul Sartre, published in 1938. It is Sartre's first novel.


title: Nausea (novel)

text: The novel takes place in 'Bouville' (homophone of "Boue-ville", literally, 'Mud town') a town similar to Le Havre. It comprises the thoughts and subjective experiences—in a personal diary format—of Antoine Roquentin, a melancholy and socially isolated intellectual who is residing in Bouville ostensibly for the purpose of completing a biography on a historical figure. Roquentin's growing alienation and disillusionment coincide with an increasingly intense experience of revulsion, which he calls "the nausea", in which the people and things around him seem to lose all their familiar and recognizable qualities. Sartre's original title for the novel before publication was "Melancholia".


title: Nausea (novel)

text: The novel has been translated into English by Lloyd Alexander as "The Diary of Antoine Roquentin" and by Robert Baldick as "Nausea".


title: Nausea (novel)

text: Like many Modernist novels, "La Nausée" is a "city-novel", encapsulating experience within the city. It is widely assumed that Bouville in the novel is a fictional portrayal of Le Havre, where Sartre was living and teaching in the 1930s as he wrote it.


title: Nausea (novel)

text: The critic William V. Spanos has used Sartre's novel as an example of "negative capability", a presentation of the uncertainty and dread of human existence so strong that the imagination cannot comprehend it.


title: Nausea (novel)

text: "The Cambridge Companion to the French Novel" places "La Nausée" in a tradition of French activism: "Following on from Malraux, Sartre, Beauvoir, and Camus among others were all able to use the writing of novels as a powerful tool of ideological exploration." Although novelists like Sartre claim to be in rebellion against the 19th Century French novel, "they in fact owe a great deal both to its promotion of the lowly and to its ambiguous or 'poetic' aspects."


title: Nausea (novel)

text: In his essay "What Is Literature?", Sartre wrote, "On the one hand, the literary object has no substance but the reader's subjectivity ... But, on the other hand, the words are there like traps to arouse our feelings and to reflect them towards us ... Thus, the writer appeals to the reader's freedom to collaborate in the production of the work."


title: Nausea (novel)

text: The novel, according to Sartre, is an intricate formal achievement modeled on much 18th-century fiction that was presented as a "diary discovered among the papers of...".


title: Nausea (novel)

text: Hayden Carruth wonders if there are unrecognized layers of irony and humor beneath the seriousness of "Nausea": "Sartre, for all his anguished disgust, can play the clown as well, and has done so often enough: a sort of fool at the metaphysical court."


title: Nausea (novel)

text: Like many modernist authors, Sartre, when young, loved popular novels in preference to the classics and claimed in his autobiography that it was from them, rather than from the balanced phrases of Chateaubriand, that he had his "first encounters with beauty".


title: Nausea (novel)

text: Sartre described the stream of consciousness technique as one method of moving the novel from the era of Newtonian physics forward into the era of Einstein's theory of general relativity, in terms of writing style. He saw this as crucial because he felt that "narrative technique ultimately takes us back to the metaphysics of the novelist." He wanted his novelistic techniques to be compatible with his theories on the existential freedom of the individual as well as his phenomenological analyses of the unstable, shifting structures of consciousness.


title: Nausea (novel)

text: Disdaining 19th-century notions that character development in novels should obey and reveal psychological law, "La Nausée" treats such notions as bourgeois "bad faith", ignoring the contingency and inexplicability of life.


title: Nausea (novel)

text: From the psychological point of view, Antoine Roquentin could be seen as an individual suffering from depression, and the Nausea itself as one of the symptoms of his condition. Unemployed, living in deprived conditions, lacking human contact, being trapped in fantasies about the 18th century secret agent he is writing a book about, he establishes Sartre's oeuvre as a follow-up to Dostoevsky's "Crime and Punishment", or Rilke's "The Notebooks of Malte Laurids Brigge" in search of a precise description of schizophrenia. Rilke's character anticipates Sartre's.


title: Nausea (novel)

text: However, Roquentin's predicament is not simply depression or mental illness, although his experience has pushed him to that point. Sartre presents Roquentin's difficulties as arising from man's inherent existential condition. His seemingly special situation (returning from travel, reclusiveness), which goes beyond the mere indication of his very real depression, is supposed to induce in him (and in the reader) a state that makes one more receptive to noticing an existential situation that everyone experiences, but may not be sensitive enough to let become consciously noticeable. Roquentin undergoes a strange metaphysical experience that estranges him from the world. His problems are not merely a result of personal insanity, which would be deprived of larger significance. Rather, like the characters in the Dostoevsky and Rilke novels, he is a victim of larger ideological, social, and existential forces that have brought him to the brink of insanity. Sartre's point in "Nausea" is to comment on our universal reaction to these common external predicaments.


title: Nausea (novel)

text: Hayden Carruth wrote of the way that "Roquentin has become a familiar of our world, one of those men who, like Hamlet or Julien Sorel, live outside the pages of the books in which they assumed their characters ... It is scarcely possible to read seriously in contemporary literature, philosophy, or psychology without encountering references to Roquentin's confrontation with the chestnut tree, for example, which is one of the sharpest pictures ever drawn of self-doubt and metaphysical anguish. ... Certainly, "Nausea" gives us a few of the clearest and hence most useful images of man in our time that we possess; and this, as Allen Tate has said, is the supreme function of art."


title: Nausea (novel)

text: More recently, younger French academics following Emmanuel Legeard have rather built upon cultural psychology to interpret the nausea feeling more metaphorically: «The feeling of nausea has spawned a series of implausible interpretations, but any truly involved reader should be able to apprehend through intuitive sympathy that nausea is disgust at the traumatic decomposition of the divine within existence, symptomatic of the discovery of the absurd, of the disenchantment of the world. Transcendence and providence were invented by man. Every being is meaningless "in itself". There is no God. But the experience through nausea ends up taking a positive turn: if God doesn't exist, then everything becomes possible. And that's how, with despair, true optimism begins.»


title: Nausea (novel)

text: Criticism of Sartre's novels frequently centered on the tension between the philosophical and political on one side, and the novelistic and individual on the other.


title: Nausea (novel)

text: Ronald Aronson describes the reaction of Albert Camus, still in Algeria and working on his own first novel, "L’Étranger". At the time of the novel's release, Camus was a reviewer for an Algiers left-wing daily. Camus told a friend that he "thought a lot about the book" and it was "a very close part of [himself]." In his review, Camus wrote, "the play of the toughest and most lucid mind are at the same time both lavished and squandered." Camus felt that each of the book's chapters, taken by itself, "reaches a kind of perfection in bitterness and truth." However, he also felt that the descriptive and the philosophical aspects of the novel are not balanced, that they "don't add up to a work of art: the passage from one to the other is too rapid, too unmotivated, to evoke in the reader the deep conviction that makes the art of the novel." He likewise felt that Sartre had tipped the balance too far in depicting the repugnant features of mankind "instead of placing the reasons for his despair, at least to a certain degree, if not completely, on the elements of human greatness." Still, Camus's largely positive review led to a friendship between the two authors.


title: Nausea (novel)

text: Philosopher G. J. Mattey describes "Nausea" and others of Sartre's literary works as "practically philosophical treatises in literary form."


title: Nausea (novel)

text: In his book "Irrational Man", the philosopher William Barrett, in distinction both from Camus's feeling that "Nausea" is an uneasy marriage of novel and philosophy and also from Mattey's belief that it is a philosophy text, expresses an opposite judgment. He writes that "Nausea" "may well be Sartre's best book for the very reason that in it the intellectual and the creative artist come closest to being conjoined." Barrett says that, in other literary works and in his literary criticism, Sartre feels the pull of ideas too strongly to respond to poetry, "which is precisely that form of human expression in which the poet—and the reader who would enter the poet's world—must let Being be, to use Heidegger's phrase, and not attempt to coerce it by the will to action or the will to intellectualization."


title: Nausea (novel)

text: The poet Hayden Carruth agrees with Barrett, whom he quotes, about "Nausea". He writes firmly that Sartre, "is not content, like some philosophers, to write fable, allegory, or a philosophical tale in the manner of "Candide"; he is content only with a proper work of art that is at the same time a synthesis of philosophical specifications."


title: Nausea (novel)

text: Barrett feels that Sartre as a writer is best when "the idea itself is able to generate artistic passion and life."


title: Nausea (novel)

text: The core philosophical issue of the novel is the realization that reality is fundamentally "contingent" – that it is utterly groundless – a view Sartre took from Nietzsche. For Sartre, this realization is not intellectual comprehension of an abstract idea, but rather a lived experience of reality itself. Thus, instead of arguing abstractly for contingency, "Nausea" is a literary invitation to share the experience of contingency. From its earliest beginnings, Simone de Beauvoir recognised "Nausea" as the first robust expression of this key philosophical idea:


title: Nausea (novel)

text: I came to realize the wealth of meaning in what he called his 'theory of contingency,' and in which were to be found already the seeds of all his ideas on being, existence, necessity, and liberty... But he wasn't making things easy for himself, for he had no intention of composing a theoretical treatise on conventional lines. He ... refused to separate philosophy from literature. In his view, Contingency was no abstract notion, but an actual dimension of real life: it would be necessary to make use of all the resources of art to make the human heart aware of that secret 'failing' which he perceived in Man and in the world around him."


title: Nausea (novel)

text: As the project developed, Sartre intended to follow Husserl's phenomenological maxim, "to the things themselves," and lead his audience as directly as possible to the experience of reality itself, which required the art of literature rather than the abstract prose of academic philosophy.


title: Nausea (novel)

text: Steven Ungar compares "Nausea" with French novels of different periods, such as Madame de La Fayette's "La Princesse de Clèves" (1678), Honoré de Balzac's "Le Père Goriot" (1835), André Malraux's "La Condition humaine" (1933), and Annie Ernaux's "Une femme" (1988), all of which have scenes with men and women faced with choices and "provide literary expressions to concerns with personal identity that vary over time more in detail than in essence."


title: Nausea (novel)

text: A main theme in "La Nausée" is that life is meaningless unless a person makes personal commitments that give it meaning. William Barrett emphasizes that the despair and disgust in "Nausea" contrast with the total despair of Céline (who is quoted on the flyleaf of the French edition) that leads to nothing; rather, they are a necessary personal recognition that eventuate in "a release from disgust into heroism."


title: Nausea (novel)

text: Barrett adds that, "like Adler's, Sartre's is fundamentally a masculine psychology; it misunderstands and disparages the psychology of woman. The humanity of man consists in the For-itself, the masculine component by which we choose, make projects, and generally commit ourselves to a life of action. The element of masculine protest, to use Adler's term, is strong throughout Sartre's writings ... the disgust ... of Roquentin, in "Nausea," at the bloated roots of the chestnut tree ...".


title: Nausea (novel)

text: Mattey elaborates further on the positive, redeeming aspect of the seemingly bleak, frustrating themes of existentialism that are so apparent in "Nausea": "Sartre considered the subjectivity of the starting-point for what a human is as a key thesis of existentialism. The starting-point is subjective because humans make themselves what they are. Most philosophers consider subjectivity to be a bad thing, particularly when it comes to the motivation for action... . Sartre responds by claiming that subjectivity is a dignity of human being, not something that degrades us." Therefore, the characteristic anguish and forlornness of existentialism are temporary: only a prerequisite to recognizing individual responsibility and freedom. The basis of ethics is not rule-following. A specific action may be either wrong or right and no specific rule is necessarily valid. What makes the action, either way, ethical is "authenticity," the willingness of the individual to accept responsibility rather than dependence on rules, and to commit to his action. Despair, the existentialist says, is the product of uncertainty: being oriented exclusively to the outcome of a decision rather than to the process yields uncertainty, as we cannot decide the future, only our action.


title: Nausea (novel)

text: In his "Introduction" to the American edition of "Nausea", the poet and critic Hayden Carruth feels that, even outside those modern writers who are explicitly philosophers in the existentialist tradition, a similar vein of thought is implicit but prominent in a main line through Franz Kafka, Miguel de Unamuno, D. H. Lawrence, André Malraux, and William Faulkner. Carruth says:


title: Nausea (novel)

text: Sartre declared, in a lecture given in Paris on 29 October 1945 (later published under the title "L'existentialisme est un humanisme"):What is meant ... by saying that existence precedes essence? It means that, first of all, man exists, turns up, appears on the scene, and only afterwards defines himself. If man, as the existentialist conceives of him, is undefinable, it is only because he is nothing. Only afterwards will he be something, and he will have made what he will be.If things—and also people—are contingent, if they "just are," then we are free and we create ourselves solely through our decisions and choices.


title: Nausea (novel)

text: David Drake mentions that, in "Nausea," Sartre gives several kinds of examples of people whose behavior shows "bad faith", who are inauthentic: members of the bourgeoisie who believe their social standing or social skills give them a "right" to exist, or others who embrace the banality of life and attempt to flee from freedom by repeating empty gestures, others who live by perpetuating past versions of themselves as they were or who live for the expectations of others, or those who claim to have found meaning in politics, morality, or ideology.


title: Nausea (novel)

text: In simply narrative terms, Roquentin's nausea arises from his near-complete detachment from other people, his not needing much interaction with them for daily necessities: "The fact of his alienation from others is important; as his own work ceases to entertain and to occupy him, Roquentin has nothing that could distract him from the business of existing in its simplest forms." As a practical matter, he could solve his problem by getting a job; but, as a device for developing the novel's theme, his aloneness is a way of making him (and the reader) recognize that there is nothing inherent in the objective nature of the world that would give any necessary meaning to whatever actions he chose, and therefore nothing to restrict his freedom. "[H]is perception of the world around him becomes unstable as objects are disengaged from their usual frames of reference," and he is forced to recognize that freedom is inescapable and that therefore creating a meaning for his life is his own responsibility. "Nothing makes us act the way we do, except our own personal choice."


title: Nausea (novel)

text: "But," David Clowney writes, "freedom is frightening, and it is easier to run from it into the safety of roles and realities that are defined by society, or even by your own past. To be free is to be thrown into existence with no "human nature" as an essence to define you, and no definition of the reality into which you are thrown, either. To accept this freedom is to live "authentically"; but most of us run from authenticity. In the most ordinary affairs of daily life, we face the challenge of authentic choice, and the temptation of comfortable inauthenticity. All of Roquentin's experiences are related to these themes from Sartre's philosophy."


title: Nausea (novel)

text: During the Second World War, the experience of Sartre and others in the French Resistance to the Nazi occupation of France emphasized political activism as a form of personal commitment. This political dimension was developed in Sartre's later trilogy of novels, "Les Chemins de la Liberté" ("The Roads to Freedom") (1945–1949), which concern a vicious circle of failure on the part of a thinking individual to progress effectively from thought to action. Finally, for Sartre, political commitment became explicitly Marxist.


title: Nausea (novel)

text: In 1945, Sartre gave a lecture in New York that was printed in Vogue in July of that year. In it he recast his prewar works, such as "Nausea", into politically committed works appropriate to the postwar era.


title: Nausea (novel)

text: Marxism was not, in any case, always as appreciative of Sartre as he was of it. Mattey describes their objections:


title: Nausea (novel)

text: Sartre was influenced at the time by the philosophy of Edmund Husserl and his phenomenological method. He received a stipend from the Institut Français, allowing him to study in Berlin with Husserl and Martin Heidegger in 1932, as he began writing the novel.


title: Nausea (novel)

text: Following Husserl, Sartre views absurdity as a quality of all existing objects (and of the material world collectively), independent of any stance humans might take with respect to them. Our consciousness of an object does not inhere in the object itself. Thus in the early portions of the novel, Roquentin, who takes no attitude towards objects and has no stake in them, is totally estranged from the world he experiences. The objects themselves, in their brute existence, have only participation in a meaningless flow of events: they are "superfluous". This alienation from objects casts doubt for him, in turn, on his own validity and even his own existence.


title: Nausea (novel)

text: Roquentin says of physical objects that, for them, "to exist is simply to be there." When he has the revelation at the chestnut tree, this "fundamental absurdity" of the world does not go away. What changes then is his attitude. By recognizing that objects won't supply meaning in themselves, but people must supply it for them – that Roquentin himself must create meaning in his own life – he becomes both responsible and free. The absurdity becomes, for him, "the key to existence."


title: Nausea (novel)

text: Thus, although, in some senses, Sartre's philosophy in "Nausea" derives from Husserl and ultimately from René Descartes, the strong role he gives to the contingent randomness of physical objects contrasts with their commitment to the role of necessity. (Roy Elveton mentions that, unknown to Sartre, Husserl himself was developing the same ideas, but in manuscripts that remained unpublished.)


title: Nausea (novel)

text: Ethan Kleinberg writes that, more than Husserl, it was Martin Heidegger who appealed to Sartre's sense of radical individualism. He says, "for Sartre, the question of being was always and only a question of personal being. The dilemma of the individual confronting the overwhelming problem of understanding the relationship of consciousness to things, of being to things, is the central focus" of "Nausea". Eventually, "in his reworking of Husserl, Sartre found himself coming back to the themes he had absorbed from Heidegger's "Was ist Metaphysik?"" Nausea was a prelude to Sartre's sustained attempt to follow Heidegger's "Sein und Zeit" by analyzing human experience as various ontological modes, or ways of being in the world.


title: Nausea (novel)

text: In 1937, just as Sartre was finishing "Nausea" and getting it to press, he wrote an essay, "The Transcendence of the Ego". He still agreed with Husserl that consciousness is "about" objects or, as they say, it "intends" them – rather than forming within itself a duplicate, an inner representation of an outward object. The material objects of consciousness (or "objects of intention") exist in their own right, independent and without any residue accumulating in them from our awareness of them. However, the new idea in this essay was that Sartre now differed in also believing that the person's ego itself is also "in the world," an object of consciousness to be discovered, rather than the totally known subject of consciousness. In the novel, not only Roquentin's consciousness but his own body also become objectified in his new, alarming perception.


title: Nausea (novel)

text: And so Sartre parted company with Husserl over the latter's belief in a transcendent ego, which Sartre believed instead was neither formally nor materially in consciousness, but outside it: in the world.


title: Nausea (novel)

text: This seemingly technical change fit with Sartre's native predisposition to think of subjectivity as central: a conscious person is always immersed in a world where his or her task is to make himself concrete. A "person" is not an unchanging, central essence, but a fluid construct that continually re-arises as an interaction among a person's consciousness, his physiology and history, the material world, and other people. This view itself supported Sartre's vision of people as fundamentally both doomed and free to live lives of commitment and creativity.


title: Nausea (novel)

text: "La Nausée" allows Sartre to explain his philosophy in simplified terms. Roquentin is the classic existentialist hero whose attempts to pierce the veil of perception lead him to a strange combination of disgust and wonder. For the first part of the novel, Roquentin has flashes of Nausea that emanate from mundane objects. These flashes appear seemingly randomly, from staring at a crumpled piece of paper in the gutter to picking up a rock on the beach. The feeling he perceives is pure disgust: a contempt so refined that it almost shatters his mind each time it occurs. As the novel progresses, the Nausea appears more and more frequently, though he is still unsure of what it actually signifies. However, at the base of a chestnut tree in a park, he receives a piercingly clear vision of what the Nausea actually is. Existence itself, the property of existence to be something rather than nothing was what was slowly driving him mad. He no longer sees objects as having qualities such as color or shape. Instead, all words are separated from the thing itself, and he is confronted with pure being.


title: Nausea (novel)

text: Carruth points out that the antipathy of the existentialists to formal ethical rules brought them disapproval from moral philosophers concerned with traditional schemes of value. On the other hand, analytical philosophers and logical positivists were "outraged by Existentialism's willingness to abandon rational categories and rely on nonmental processes of consciousness."


title: Nausea (novel)

text: Additionally, Sartre's philosophy of existentialism is opposed to a certain kind of rationalistic humanism. Upon the confession of the Self-Taught Man as to being a member of the S.F.I.O., a French Socialist party, Roquentin quickly engages him in a Socratic dialogue to expose his inconsistencies as a humanist. Roquentin first points out how his version of humanism remains unaffiliated to a particular party or group so as to include or value all of mankind. However, he then notes how the humanist nonetheless caters his sympathy with a bias towards the humble portion of mankind. Roquentin continues to point out further discrepancies of how one humanist may favor an audience of laughter while another may enjoy the somber funeral. In dialogue, Roquentin challenges the Self-Taught Man to show a demonstrable love for a particular, tangible person rather than a love for the abstract entity attached to that person (e.g. the idea of Youth in a young man). In short, he concludes that such humanism naively attempts to "melt all human attitudes into one." More importantly, to disavow humanism does not constitute "anti-humanism".


title: Nausea (novel)

text: The kind of humanism Sartre found unacceptable, according to Mattey, "is one that denies the primacy of individual choice... . But there is another conception of humanism implicit in existentialism. This is one that emphasizes the ability of individual human beings to transcend their individual circumstances and act on behalf of all humans. The fact is, Sartre maintains, that the only universe we have is a human universe, and the only laws of this universe are made by humans."


title: Nausea (novel)

text: In his Sartre biography, David Drake writes, ""Nausea" was on the whole well received by the critics and the success of Sartre the novelist served to enhance the reputation he had started to enjoy as a writer of short stories and philosophical texts, mostly on perception."


title: Nausea (novel)

text: Although his earlier essays did not receive much attention, "Nausea" and the collection of stories "The Wall", swiftly brought him recognition.


title: Nausea (novel)

text: Carruth writes that, on publication, "it was condemned, predictably, in academic circles, but younger readers welcomed it, and it was far more successful than most first novels."


title: Nausea (novel)

text: Sartre originally titled the novel "Melancholia", based on the engraving "Melencolia I" by Albrecht Dürer. Simone de Beauvoir referred to it as his "factum on contingency." He composed it from 1932 to 1936. He had begun it during his military service and continued writing at Le Havre and in Berlin.


title: Nausea (novel)

text: The manuscript was subsequently typed. It was at first refused by the "Nouvelle Revue Française" ("N.R.F."), despite a strong recommendation from their reviewer, Jean Paulhan. In 1937, however, the imprint's publisher, Gaston Gallimard, accepted it and suggested the title "La Nausée".


title: Nausea (novel)

text: Brice Parain, the editor, asked for numerous cuts of material that was either too populist or else too sexual to avoid an action for indecency. Sartre deleted the populist material, which was not natural to him, with few complaints, because he wanted to be published by the prestigious N.R.F., which had a strong, if vague, house style. However, he stood fast on the sexual material which he felt was an artistically necessary hallucinatory ingredient.


title: Nausea (novel)

text: , one of Sartre's closest collaborators and then among his most prominent scholars, has examined the original typescript and feels that, "if ever "Melancholia" is published as its author had originally intended it, the novel will no doubt emerge as a work which is more composite, more baroque and perhaps more original than the version actually published."


title: Nausea (novel)

text: The North-American publisher New Directions first issued Lloyd Alexander's translation in 1949 as part of its New Classics library; a New Directions paperback edition was introduced in 1959.


title: Nausea (novel)

text: Robert Crumb submitted a 9-page cartoon story based on "Nausea" in his HUP #3, published by Last Gasp in November 1989.


title: Stokes Twins

text: Alan Chen Stokes and Alex Chen Stokes are Chinese-American twins and Internet celebrities known for their YouTube and TikTok accounts with 15 million subscribers and 31.1 million followers respectively. They began making videos separately and then combined their following into a shared twins account. As of 2022, their YouTube channel is the 9th largest in the world as measured by views per episode.


title: Stokes Twins

text: In August 2020, the Stokes Twins were charged with false imprisonment effected by violence, menace, fraud or deceit and falsely reporting an emergency in connection, or swatting with a YouTube video that they had recorded in October 2019. The video contained two separate fake bank robberies as pranks, where the brothers pretended to be robbers; dressed all in black, wearing ski masks and carrying duffle bags, and are attempting to make a getaway by asking unsuspecting people for clothing items or transportation help.


title: Stokes Twins

text: At one instance, they called an Uber driver, who was not aware of the prank, and after the driver refused to drive them they attempted to coerce him. Numerous bystanders called police in both prank attempts and footage of the pair being stopped by officers were added to the video. The Uber driver was held at gunpoint by responding officers until it was determined the driver was not involved, and the brothers were warned but not arrested and continued to film the video with a second prank four hours later at University of California, Irvine.


title: Stokes Twins

text: The twins' attorneys have raised claims that the twins are not guilty of the charges as responding officers from the first prank reportedly gave suggestions for the video being filmed, and one brother reportedly called the Irvine Police Department's non-emergency line twice to tell them about the prank prior to the video being filmed. Their attorneys also raised concerns about the length of time between the video and the charges; ten months, and that the twins were not notified about the charges until after the department issued a press release about them.


title: Stokes Twins

text: On April 1, 2021, the twins pleaded guilty in a plea bargain, and were sentenced to 160 hours community service and a year of probation.


title: I'm Gonna Git You Sucka

text: I'm Gonna Git You Sucka is a 1988 American blaxploitation parody film written, directed by, and starring Keenen Ivory Wayans in his directorial debut. Featured in the film are several noteworthy African-American actors who were part of the genre of blaxploitation: Jim Brown, Bernie Casey, Antonio Fargas, and Isaac Hayes. Other actors in the film are Kadeem Hardison, Ja'net Dubois, John Witherspoon, Damon Wayans, Clarence Williams III, and Chris Rock. The film is also the film debut of comedian Robin Harris, who appears as a bartender, and of brothers Shawn and Marlon Wayans.


title: I'm Gonna Git You Sucka

text: Soldier Jack Spade returns home to Any Ghetto, U.S.A. after receiving news that his brother, Junebug, died of an "OG" – overdosing on gold chains. Surveying the old neighborhood, Jack observes the effect of gold chains on his community and desires revenge not only for his brother's death, but for the community at large. He vows to destroy Mr. Big, the neighborhood chain lord responsible for the epidemic that claimed Junebug's life. Jack asks for the aid of his childhood idol and local hero John Slade in planning the demise of Mr. Big's empire. Together, they form a team including Kung Fu Joe, Flyguy, Slammer, and Hammer. With the help of his crew, Jack sets out to take down Mr. Big and the gold trade in the streets.


title: I'm Gonna Git You Sucka

text: The film was written and directed by first-time director Keenan Ivory Wayans. The inspiration behind the film came from Wayans, who is a fan of blaxploitation films, and his childhood spent growing up watching these films as they made up the majority of black films made during the 1960s and 1970s. Sitting with friends and making fun of the genre struck the idea for the film in Wayans. Before making "I’m Gonna Git You Sucka", Wayans spent five years earning credentials for films such as "Hollywood Shuffle" and "Eddie Murphy Raw". Eddie Murphy suggested the concept of a blaxploitation parody and its title. Once Wayans earned enough credibility to have his film picked up by a studio and a budget of $3 million, Wayans filmed his debut feature film in 32 days. It grossed a total of $3 million in the box office in the first month of the film's release.


title: I'm Gonna Git You Sucka

text: "I'm Gonna Git You Sucka" has a rating of 62% on Rotten Tomatoes from 29 reviews, the critical consensus on the website saying that the film "puts a satirical spin on '70s nostalgia with a comedy whose somewhat scattershot laughs are often offset by pure energetic silliness."


title: I'm Gonna Git You Sucka

text: The film opened with rave responses from the black community. African-American audience members were thrilled to attend the screening of a movie filled with black actors about a black film genre. "I’m Gonna Git You Sucka" received critical receptions that were wide-ranging and numerous in viewpoint. To the urban public, the parody film perfectly captured the era of blaxploitation films in the 1960s and 1970s. Critics also noted Wayans’ ability to satirically capture the era of the “Buck” in blaxploitation film: the white man's notion of the all-powerful brutal black man.


title: I'm Gonna Git You Sucka

text: In her analysis of the film, Harriet Margolis writes that this is not because “[Jack] consciously chooses to reject his mother’s values as that he wants to establish his own based on the macho heroic values he learned during the heyday of blaxploitation films."


title: I'm Gonna Git You Sucka

text: Robert Sklar wrote “The [blaxploitation film] movement quickly developed into a phenomenon not of an African-American audience but of a specific subgroup, a segment of a segment: young urban males,” so often the perspective and narratives of young black women were left out or included as the background in many of these films during the 1970s.


title: I'm Gonna Git You Sucka

text: Critics of the film argued that the film not only failed at producing humor in its use of black stereotypes, but generally was not funny. "Chicago Sun-Times" film critic Roger Ebert wrote "I’m Gonna Git You Sucka" is "a comedy that feeds off the blaxploitation movie, and although, like all good satires, it is cheerfully willing to be offensive, it is almost completely incapable of being funny." There was also a concern about the perception of the film by the white movie going audience. The film's villain, Mr. Big, is not only a white man, but a white man responsible for the deterioration of an inner city black community.


title: I'm Gonna Git You Sucka

text: On December 15, 1990, the hour-long television pilot titled "Hammer, Slammer, & Slade" was shown on ABC-TV. It was directed by Michael Schultz.


title: I'm Gonna Git You Sucka

text: Isaac Hayes (Hammer), Jim Brown (Slammer), and Bernie Casey (Slade) continued in their parts from the movie "I'm Gonna Git You Sucka". Also returning were Ja'net Dubois and Steve James. Although Keenen Ivory Wayans wrote the pilot, and he served as the executive producer, he did not appear in this pilot. Instead, the character of Jack Spade was portrayed by Eriq La Salle. Fast-talking Lennie, played by Damon Wayans in the film, was played by Bentley Kyle Evans, while his sidekick Willie, played by Kadeem Hardison in the film, was played by a then-unknown Martin Lawrence.


title: I'm Gonna Git You Sucka

text: "Hammer, Slammer, & Slade" was not sold to any TV network, but it was shown several times in syndication.


title: I'm Gonna Git You Sucka

text: In 2001, "I'm Gonna Git You Sucka" was released on DVD and in 2010, it was digitized in High Definition (1080i) and released on MGM HD.


title: Treylon Burks

text: Treylon Burks (born March 23, 2000) is an American football wide receiver for the Tennessee Titans of the National Football League (NFL). He played college football at Arkansas and was drafted by the Titans in the first round of the 2022 NFL Draft.


title: Treylon Burks

text: Burks was born on March 23, 2000, in Flint, Michigan and grew up in Warren, Arkansas. He attended Warren High School, where he played wide receiver for their football team and totaled 151 receptions for 3,403 yards and 43 touchdowns. He missed most of his senior season in 2018 after tearing his ACL. On July 30, 2018, he committed to the University of Arkansas to play college football. He was a four-star recruit and was the 103rd ranked recruit in the nation, and the number one recruit in Arkansas. He also played basketball and baseball in high school.


title: Treylon Burks

text: As a true freshman at Arkansas in 2019, Burks started nine of 11 games and recorded 29 receptions for 475 receiving yards. Burks was named 2nd Team All-SEC as a return specialist by the Coaches, and was placed on the SEC All-Freshman team. In 2020, he became Arkansas' number one receiver as a sophomore, with 51 receptions for 820 yards and seven touchdowns despite starting only eight games. Burks was named 2nd Team All-SEC by the AP and Coaches. In his junior season of 2021, Burks started all twelve games and finished with 66 receptions for 1,104 receiving yards and 11 receiving touchdowns, becoming only the fourth player in program history with over 1,000 yards receiving in a single season. He had 14 carries for 112 yards rushing and one rushing touchdown. Burks was named 1st Team All-SEC by the AP and the Coaches. Arkansas would finish the regular season 8-4, 4-4 in SEC play, and would be invited to play Penn State in the 2022 Outback Bowl on New Year's Day in Tampa. Burks decided to forgo participation in the Outback Bowl and also skip his senior season, declaring his intentions to enter the 2022 NFL Draft.


title: Treylon Burks

text: Burks was drafted 18th overall by the Tennessee Titans in 2022. To obtain the draft pick from the Philadelphia Eagles, Tennessee traded away receiver A. J. Brown, also receiving a third round pick in 2023. He suffered turf toe in Week 4 and was placed on injured reserve on October 8. He was activated from injured reserve on November 12, 2022.


title: Come Play

text: Come Play is a 2020 American horror thriller film written and directed by Jacob Chase. The film stars Gillian Jacobs, John Gallagher Jr., Azhy Robertson, and Winslow Fegley.


title: Come Play

text: "Come Play" was released in the United States on October 30, 2020, by Focus Features. The film received mixed reviews from critics and grossed $13 million against a budget of $9 million.


title: Come Play

text: Oliver is a young non-verbal autistic boy who uses a smartphone to communicate with people. He attends school and is mostly taken care of by his mother, Sarah; his father Marty spends most of his time at work trying to make ends meet. Sarah and Marty's marriage has become difficult to the extent that Marty moves out. One night Oliver sees an app on his smartphone, "Misunderstood Monsters", narrating the story of a monster named Larry who "just wants a friend". After he reads the story, lights go out by themselves. He plays with an app on his tablet that identifies faces, and it identifies a face in the empty space next to him. At school, Oliver is bullied by his classmates due to his condition. They lure him into a field and take his phone, throwing it out into the field.


title: Come Play

text: One night, Sarah organizes a sleepover so Oliver can become more social. The three boys who bullied him come over. Oliver hides the tablet as he is terrified of it. One of the boys retrieves the tablet and reads the story. The lights go out and Larry appears, but he can only be seen through the tablet's camera. Larry attacks Byron, one of the boys, and the terrified boys all blame Oliver for the incident. In the following days, Sarah begins to see the same strange things Oliver did. Through Oliver's tablet, Larry says he wants to take Oliver back to his home world.


title: Come Play

text: That night, Marty takes Oliver to his night-shift parking lot attendant job. Larry, revealing as a skeletal creature similar to a ghoul, begins to stalk them. When Marty witnesses Larry picking Oliver off from the ground, he finally believes Sarah and Oliver. They break the tablet and assume everything is over. Byron is traumatized from the incident at Oliver's house but comes clean on what really happened, absolving Oliver of blame. It is revealed that Byron and Oliver were once good friends but their friendship ended badly because Oliver accidentally hurt Byron which also caused their moms to break up their friendship. They both reconcile, with Oliver and Byron becoming friends again.


title: Come Play

text: One night at work, Marty is attacked by Larry, who can travel through electricity and usually communicates with people through screens. Marty is hurt but alive. Larry proceeds to attack Oliver at his house, intending to take the boy. Sarah trashes all electrical devices in the house, but the TV finishes playing Larry's story before she can shut it off. Larry takes physical form, being able to move in real life without the use of a screen, and begins to stalk them throughout the house. Oliver takes Sarah to the field where there is no electricity for Larry to follow them with, but Larry uses Oliver's phone that the boys threw earlier to trap them there.


title: Come Play

text: Oliver must take Larry's hand to enter Larry's world, but at the last second, Sarah takes Larry's hand instead, offering to go with him and become his friend instead of Oliver. In their final moments, Oliver looks Sarah in the eye for the first time, something Sarah has struggled with ever since Oliver was diagnosed. Larry takes Sarah and they both vanish, leaving Oliver alone. In the aftermath, Oliver lives with Marty, and they intend to deal with their loss. Marty gets more involved with Oliver's therapy.


title: Come Play

text: One night, the lights go out again and strange noises are heard downstairs. Marty grabs his phone and sees Oliver and Sarah (who has been taken by Larry and seemingly lives in his world) playing happily. Sarah tells her son "I'll protect you", as Marty smiles. Larry's fate is left unknown.


title: Come Play

text: It was announced in October 2018 that Jacob Chase would write and direct a film adaptation of his short film "Larry". In September 2018, Gillian Jacobs and Azhy Robertson were cast in the film, and in November 2018, John Gallagher Jr. was added as well.


title: Come Play

text: "Come Play" was theatrically released in the United States on October 30, 2020. It was previously scheduled to be released on July 24, 2020, but the release was rescheduled due to the COVID-19 pandemic. The studio spent "in the high single digit million range" promoting the film.


title: Come Play

text: "Come Play" was released on DVD and Blu-ray on January 26, 2021 by Universal Pictures Home Entertainment.


title: Come Play

text: "Come Play" grossed $10.5 million in the United States and Canada, and $2.7 million in other territories, for a worldwide total of $13.2 million.


title: Come Play

text: The film grossed $1 million from 2,183 theaters on its first day, including $150,000 from Thursday night previews. It went on to debut to $3.2 million, over the October 30–November 1 Halloween weekend, coming in slightly above projections and topping the box office. The film fell 45% to $1.7 million in its second weekend, finishing second, after fellow Focus Features release "Let Him Go", and then made $1.1 million in its third weekend.


title: Come Play

text: On review aggregator Rotten Tomatoes the film holds an approval rating of based on reviews, with an average rating of . The website's critics consensus reads, "A frightening feature debut from Jacob Chase, "Come Play" makes up for its uneven tone by adding real depth to its jarring scares." On Metacritic, the film has a weighted average score of 58 out of 100, based on 21 critics, indicating "mixed or average reviews." Audiences polled by CinemaScore gave the film an average grade of "B−" on an A+ to F scale, while PostTrak reported 60% of audience members gave the film a positive score, with 40% saying they would definitely recommend it.


title: Come Play

text: David Ehrlich, writing for IndieWire, gave the film a "C−" grade, writing, "merely serviceable, [the film] leaves you with the feeling that a much better game was lost in the shuffle." "The A.V. Club"s A. A. Dowd gave it a "B" and called it "an Amblin entertainment in the purest, classic sense." In "Variety"s review, Courtney Howard stated, "The title stands as a beckoning call to audiences to join in the devilish delights he's conjured. Yet the scares in the tale fail to scale from a mobile device to the big screen."


title: Carlos Ruiz Zafón

text: Carlos Ruiz Zafón (; 25 September 1964 – 19 June 2020) was a Spanish novelist known for his 2001 novel "La sombra del viento" ("The Shadow of the Wind").


title: Carlos Ruiz Zafón

text: Ruiz Zafón was born in Barcelona. His grandparents had worked in a factory and his father sold insurance. Ruiz Zafón began his working life in advertising. In the 1990s he moved to Los Angeles where he worked briefly in screen writing. He was fluent in English.


title: Carlos Ruiz Zafón

text: Ruiz Zafón's first novel, "El príncipe de la niebla" 1993 ("The Prince of Mist", published in English in 2010), earned the Edebé literary prize for young adult fiction. He was also the author of three additional young adult novels, "El palacio de la medianoche" (1994), "Las luces de septiembre" (1995) and "Marina" (1999).


title: Carlos Ruiz Zafón

text: In 2001 he published his first adult novel "La sombra del viento" ("The Shadow of the Wind", Lucia Graves' English translation published in 2004), a Gothic mystery that involves Daniel Sempere's quest to track down the man responsible for destroying every book written by author Julian Carax. The novel has sold millions of copies worldwide, with more than a million copies sold in the UK. "La sombra del viento" garnered critical acclaim around the world.


title: Carlos Ruiz Zafón

text: Ruiz Zafón's next novel, "El juego del ángel", was published in April 2008. The English edition, "The Angel's Game", was also translated by Lucia Graves. It is a prequel to "The Shadow of the Wind", also set in Barcelona, but during the 1920s and 1930s. It follows (and is narrated by) David Martín, a young writer who is approached by a mysterious figure to write a book. Ruiz Zafón intended it to be included in a four-book series along with "The Shadow of the Wind".


title: Carlos Ruiz Zafón

text: The next book in the cycle, "El prisionero del cielo", appeared in 2011. It returns to "The Shadow of the Wind"'s Daniel Sempere and his travel back to the 1940s to resolve a buried secret. The novel was published in English in July 2012 as "The Prisoner of Heaven".


title: Carlos Ruiz Zafón

text: "The Labyrinth of Spirits" (original title: "El laberinto de los espíritus") is the fourth and final book in the Cemetery of Forgotten Books series. The novel was initially released on 17 November 2016 in Spain and Latin America by Spanish publisher Planeta. HarperCollins published the English translation by Lucia Graves, which was released on 18 September 2018.


title: Carlos Ruiz Zafón

text: Ruiz Zafón's works have been published in 45 countries and have been translated into more than 40 languages. According to these figures, he is the most widely published contemporary Spanish writer, followed by Javier Sierra, whose works have been published in 42 countries, and Juan Gómez-Jurado, whose works have been published in 41 countries.


title: Carlos Ruiz Zafón

text: Influences on Ruiz Zafón's work have included 19th century classics, crime fiction, noir authors, and contemporary writers.


title: Carlos Ruiz Zafón

text: Apart from books, another large influence came in the form of films and screenwriting. He said in interviews that he found it easier to visualize scenes in his books in a cinematic way, which lends itself to the lush worlds and curious characters he created.


title: Government of South Korea

text: The Government of South Korea is the union government of the Republic of Korea, created by the Constitution of South Korea as the executive, legislative and judicial authority of the republic. The president acts as the head of state and is the highest figure of executive authority in the country, followed by the prime minister and government ministers in decreasing order.


title: Government of South Korea

text: The Executive and Legislative branches operate primarily at the national level, although various ministries in the executive branch also carry out local functions. Local governments are semi-autonomous and contain executive and legislative bodies of their own. The judicial branch operates at both the national and local levels.


title: Government of South Korea

text: The South Korean government's structure is determined by the Constitution of the Republic of Korea. This document has been revised several times since its first promulgation in 1948 (for details, see History of South Korea). However, it has retained many broad characteristics; with the exception of the short-lived Second Republic of South Korea, the country has always had a relatively independent chief executive in the form of a president.


title: Government of South Korea

text: As with most stable three-branch systems, a careful system of checks and balances is in place. For instance, the judges of the Constitutional Court are partially appointed by the executive, and partially by the legislature. Likewise, when a resolution of impeachment is passed by the legislature, it is sent to the judiciary for a final decision.


title: Government of South Korea

text: At the national level, the legislative branch consists of the National Assembly of South Korea. This is a unicameral legislature; it consists of a single large assembly. Most of its 300 members are elected from-member constituencies; however, 56 are elected through proportional representation. The members of the National Assembly serve for four years; if a member is unable to complete his or her term, a by-election is held.


title: Government of South Korea

text: The National Assembly is charged with deliberating and passing legislation, auditing the budget and administrative procedures, ratifying treaties, and approving state appointments. In addition, it has the power to impeach or recommend the removal of high officials.


title: Government of South Korea

text: The Assembly forms 17 standing committees to deliberate matters of detailed policy. For the most part, these coincide with the ministries of the executive branch.


title: Government of South Korea

text: Bills pass through these committees before they reach the floor. However, before they reach committee, they must already have gained the support of at least 20 members, unless they have been introduced by the president. To secure final passage, a bill must be approved by a majority of those present; a tie vote is not sufficient. After passage, bills are sent to the president for approval; they must be approved within 15 days.


title: Government of South Korea

text: Each year, the budget bill is submitted to the National Assembly by the executive. By law, it must be submitted at least 90 days before the start of the fiscal year, and the final version must be approved at least 30 days before the start of the fiscal year. The Assembly is also responsible for auditing accounts of past expenditures, which must be submitted at least 120 days before the start of the fiscal year.


title: Government of South Korea

text: Sessions of the Assembly may be either regular (once a year, for no more than 100 days) or extraordinary (by request of the president or a caucus, no more than 30 days). These sessions are open-door by default but can be closed to the public by majority vote or by decree of the Speaker. In order for laws to be passed in any session, a quorum of half the members must be present.


title: Government of South Korea

text: The executive branch is headed by the president. The president is elected directly by the people, and is the only elected member of the national executive. The president serves for one five-year term; additional terms are not permitted. The president is head of state, head of government and commander-in-chief of the South Korean armed forces. The president is vested with the power to declare war, and can also propose legislation to the National Assembly. The president can also declare a state of emergency or martial law, subject to the Assembly's subsequent approval. The President can veto bills, subject to a two-thirds majority veto override by the National Assembly. However, the president does not have the power to dissolve the National Assembly. This safeguard reflects the experience of authoritarian governments under the First, Third, and Fourth Republics.


title: Government of South Korea

text: The president is assisted in his or her duties by the Prime Minister of South Korea as well as the Presidential Secretariat (대통령비서실, 大統領祕書室). The Prime Minister is appointed by the president upon the approval of the National Assembly, and has the power to recommend the appointment or dismissal of the Cabinet ministers. The officeholder is not required to be a member of the National Assembly. The Prime Minister is assisted in his/her duties by the Prime Minister's Office which houses both the Office for Government Policy Coordination (국무조정실, 國務調整室) and the Prime Minister’s Secretariat (국무총리비서실, 國務總理祕書室), the former of which is headed by a cabinet-level minister and the latter by a vice minister-level chief of staff. if the president is unable to fulfill his duties, the Prime Minister assumes the president's powers and takes control of the state until the President can once again fulfill his/her duties or until a new president is elected.


title: Government of South Korea

text: if they are suspected of serious wrongdoing, the president and cabinet-level officials are subject to impeachment by the National Assembly. Once the National Assembly votes in favor of the impeachment the Constitutional Court should either confirm or reject the impeachment resolution, once again reflecting the system of checks and balances between the three branches of the government.


title: Government of South Korea

text: The State Council (국무회의, 國務會議, "gungmuhoeui") is the highest body and national cabinet for policy deliberation and resolution in the executive branch of the Republic of Korea. The Constitution of the Republic of Korea mandates that the Cabinet be composed of between 15 and 30 members including the Chairperson, and currently the Cabinet includes the President, the Prime Minister, the Vice Prime Minister (the Minister of Strategy and Finance), and the cabinet-level ministers of the 17 ministries. The Constitution designates the President as the chairperson of the Cabinet and the Prime Minister as the vice chairperson. Nevertheless, the Prime Minister frequently holds the meetings without the presence of the President as the meeting can be lawfully held as long as the majority of the Cabinet members are present at the meeting. Also, as many government agencies have moved out of Seoul into other parts of the country since 2013, the need to hold Cabinet meetings without having to convene in one place at the same time has been growing, and therefore the law has been amended to allow Cabinet meetings in a visual teleconference format. Although not the official members of the Cabinet, the chief presidential secretary (대통령비서실장, 大統領祕書室長), the Minister of the Office for Government Policy Coordination (국무조정실장, 國務調整室長), the Minister of Government Legislation (법제처장, 法制處長), the Minister of Patriots and Veterans Affairs (국가보훈처장, 國家報勳處長), the Minister of Food and Drug Safety (식품의약품안전처장, 食品醫藥品安全處長), the Chairperson of Korea Fair Trade Commission (공정거래위원장, 公正去來委員長), the Chairperson of Financial Services Commission (금융위원장, 金融委員長), the Mayor of Seoul Special City (서울특별시장, 서울特別市長), and other officials designated by law or deemed necessary by the Chairperson of the Cabinet can also attend the Cabinet meetings and speak in front of the Cabinet without the right to vote on the matters discussed in the meetings The Mayor of Seoul, although being the head of a local autonomous region in South Korea and not directly related to the central executive branch, has been allowed to attend the Cabinet meeting considering the special status of Seoul (Special City) and its mayor (the only cabinet-level mayor in Korea).


title: Government of South Korea

text: It has to be noted that the Cabinet of the Republic of Korea performs somewhat different roles than those of many other nations with similar forms. As the Korean political system is basically a presidential system yet with certain aspects of parliamentary cabinet system combined, the Cabinet of the Republic of Korea also is a combination of both systems. More specifically, the Korean Cabinet performs policy resolutions as well as policy consultations to the President. Reflecting that the Republic of Korea is basically a presidential republic the Cabinet resolutions cannot bind the president's decision, and in this regard, the Korean Cabinet is similar to those advisory counsels in strict presidential republics. At the same time, however, the Constitution of the Republic of Korea specifies in details 17 categories including budgetary and military matters, which necessitates the resolution of the Cabinet in addition to the President's approval, and in this regard the Korean Cabinet is similar to those cabinets in strict parliamentary cabinet systems.


title: Government of South Korea

text: The official residence and office of the President of the Republic of Korea is Cheongwadae (청와대, 靑瓦臺), located in Jongno-gu, Seoul. The name "Cheongwadae" literally means "the house with blue-tiled roof" and is named as such due to its appearance. In addition to the Office of the President, Cheongwadae (청와대, 靑瓦臺) also houses the Office of National Security (국가안보실, 國家安保室) and the Presidential Security Service (대통령경호실, 大統領警護室) to assist the President.


title: Government of South Korea

text: Currently, 18 ministries exist in the South Korean government. The 18 ministers are appointed by the President and report to the Prime Minister. Also, some ministries have affiliated agencies (listed below), which report both to the Prime Minister and to the minister of the affiliated ministry. Each affiliated agency is headed by a vice-minister-level commissioner except Prosecution Service which is led by a minister-level Prosecutor General.


title: Government of South Korea

text: The Minister of Strategy and Finance and the Minister of Education, by law, automatically assume the positions of Deputy Prime Ministers of the Republic of Korea.


title: Government of South Korea

text: The respective ministers of the below ministries assume the President's position in the below order, if the President cannot perform his/her duty and the Prime Minister cannot assume the President's position. Also note that the Constitution and the affiliated laws of the Republic of Korea stipulates only so far as the Prime Minister and the 17 ministers as those who can assume the President's position. Moreover, if the Prime Minister cannot perform his/her duty the Vice Prime Minister will assume the Prime Minister's position, and if both the Prime Minister and the Vice Prime Minister cannot perform the Prime Minister's role the President can either pick one of the 17 ministers to assume the Prime Minister's position or let the 17 ministers assume the position according to the below order.


title: Government of South Korea

text: The commissioner of National Tax Service, a vice-minister-level official by law, is customarily considered to be a minister-level official due to the importance of National Tax Service. For example, the vice-commissioner of the agency will attend meetings where other agencies would send their commissioners, and the commissioner of the agency will attend meetings where minister-level officials convene.


title: Government of South Korea

text: Until 2013, almost all of the central government agencies were located in either Seoul or Gwacheon government complex, with the exception of a few agencies located in Daejeon government complex. Considering that Gwacheon is a city constructed just outside Seoul to house the new government complex, virtually all administrative functions of South Korea were still concentrated in Seoul. It has been decided, however, that government agencies decide if they will relocate themselves to Sejong Special Self-Governing City, which was created from territory comprising South Chungcheong Province, so that government agencies are better accessible from most parts of South Korea and reduce the concentration of government bureaucracy in Seoul. Since the plan was announced, 22 agencies have moved to the new government complex in Sejong.


title: Government of South Korea

text: The judicial branch of South Korea is organized into two groups. One is the Constitutional Court which is the highest court on adjudication of matters on constitutionality, including judicial review and constitutional review. Another is ordinary courts on matters except jurisdiction of Constitutional Court. These ordinary courts are regarding the Supreme Court as the highest court. Both the Chief Justice of the Supreme Court and the President of the Constitutional Court have equivalent status as two heads of the judiciary branch in South Korea.


title: Government of South Korea

text: Elections in South Korea are held on national level to select the President and the National Assembly. South Korea has a multi-party system, with two dominant parties and numerous third parties. Elections are overseen by the Electoral Branch of the National Election Commission. The most recent presidential election was held on 9 March 2022.


title: Government of South Korea

text: The president is directly elected for a single five-year term by plurality vote. The National Assembly has 300 members elected for a four-year term, 253 in single-seat constituencies and 47 members by proportional representation. Each individual party intending to represent its policies in the National Assembly must be qualified through the assembly's general election by either: i) the national party-vote reaching over 3.00% on a proportional basis or ii) more than 5 members of their party being elected in each of their first-past-the-post election constituencies.


title: Government of South Korea

text: Local autonomy was established as a constitutional principle of South Korea beginning with the First Republic. However, for much of the 20th century this principle was not honored. From 1965 to 1995, local governments were run directly by provincial governments, which in turn were run directly by the national government. However, since the elections of 1995, a degree of local autonomy has been restored. Local magistrates and assemblies are elected in each of the primary and secondary administrative divisions of South Korea, that is, in every province, metropolitan or special city, and district. Officials at lower levels, such as "eup" and "dong", are appointed by the city or county government.


title: Government of South Korea

text: As noted above, local autonomy does not extend to the judicial branch. It also does not yet extend to many other areas, including fire protection and education, which are managed by independent national agencies. Local governments also have very limited policy-making authority; generally, the most that they can do is decide how national policies will be implemented. However, there is some political pressure for the scope of local autonomy to be extended.


title: Government of South Korea

text: Although the chief executive of each district is locally elected, deputy executives are still appointed by the central government. It is these deputy officials who have detailed authority over most administrative matters.


title: Government of South Korea

text: The South Korean civil service is managed by the Ministry of Personnel Management. This is large, and remains a largely closed system, although efforts at openness and reform are ongoing. In order to gain a position in civil service, it is usually necessary to pass one or more difficult examinations. Positions have traditionally been handed out based on seniority, in a complex graded system; however, this system was substantially reformed in 1998.


title: Government of South Korea

text: There are more than 800,000 civil servants in South Korea today. More than half of these are employed by the central government; only about 300,000 are employed by local governments. In addition, only a few thousand each are employed by the national legislative and judicial branches; the overwhelming majority are employed in the various ministries of the executive branch. The size of the civil service increased steadily from the 1950s to the late 1990s, but has dropped slightly since 1995.


title: Government of South Korea

text: The civil service, not including political appointees and elected officials, is composed of career civil servants and contract civil servants. Contract servants are typically paid higher wages and hired for specific jobs. Career civil servants make up the bulk of the civil service, and are arranged in a nine-tiered system in which grade 1 is occupied by assistant ministers and grade 9 by the newest and lowest-level employees. Promotions are decided by a combination of seniority, training, and performance review. Civil servants' base salary makes up less than half of their annual pay; the remainder is supplied in a complex system of bonuses. Contract civil servants are paid on the basis of the competitive rates of pay in the private sector.