title: Chrysler Sebring

text: A redesigned Sebring Coupe was introduced for the 2001 model year, based on the third-generation Mitsubishi Eclipse. Like the previous generation, the coupe shared very little in common with the sedan or the convertible, other than the name and a few exterior styling cues to help market all three vehicles together as one model. The Sebring Coupe received a minor facelift for 2003, and was discontinued after the 2005 model year.


title: Chrysler Sebring

text: Chrysler also manufactured export versions of the 2001-2006 Sebring sedan and convertible for the mainland European market. Front and rear lights are to European standards, different from the USA & Canada in that turn-signal indicators are orange, with additional side-turn repeaters on the front fenders. The rear bumper has a larger recess for the longer European-size license plates, and two rear fog lamps are fitted; one on each side of the license plate. The LHD headlamps incorporate Euro-type H4 bulbs, together with three-way up and down beam-level adjustment via a dash-mounted switch to the left of the steering wheel. Emissions controls are to the EURO 3 standard; later versions are compliant with EURO 4. Engine ranges offered were the 2.0 L DOHC 16V inline 4-cylinder (later replaced by the 2.4L unit in some countries), and the 2.7 L DOHC 24V 6-cylinder unit. The 2.0 and 2.4L engines are available with the 5-speed manual or four-speed 41TE auto transmission (depending on the country); the six-cylinder engine is automatic only.


title: Chrysler Sebring

text: The Canadian-market 240 km/h-160 mph speedometer (with km/h predominant) is fitted to the European models. The odometer and trip meter are in kilometers. As the 2001-2006 Sebring sedan and convertible were made in left-hand drive only, they were not sold in the UK and Ireland. Chrysler UK did, however, import 50 convertibles with the 2.7 L engine in 2001/2002, and these were sold through selected dealers. Being non-standard in Chrysler's UK range at the time though, no more were imported.


title: Chrysler Sebring

text: Trim levels offered in Europe were LE (equivalent to North American market LX) and LX (equivalent to North American market LXi). From 2004, "Touring" and "Limited" versions started to replace the LE and LX designations respectively.


title: Chrysler Sebring

text: The lack of a diesel engine and right-hand drive availability prevented this Sebring from being a true pan-European model unlike other Chryslers such as the Chrysler 300M, PT Cruiser, and Voyager. In addition, the model was dropped from Chrysler's lineup in some countries, notably France, before production ended in 2006. In France, the three domestic car-makers PSA-Peugeot, Citroen, and Renault dominate the new car market, which meant very low sales of the Sebring there. As a result, the sedan was only imported by Chrysler France in 2001 and 2002. The 2003 and facelifted 2004–2006 year models were not. The convertible was only sold until 2004. The 2005 and 2006 models were likewise not imported.


title: Chrysler Sebring

text: Despite not being available in the UK and Ireland, some Sebring convertibles have been bought in from the U.S. as grey imports. Some Euro-spec models have also been privately imported, mostly from Germany. The European versions are easier to re-register in the UK as they have EU-type approval. The dual km/h-mph speedo-display and twin rear foglights mean only headlamp beam-aim adjustment for left-hand traffic is necessary. The sedan is much rarer in the UK though; a few EU models have been imported, but most are likely from North America as grey imports.


title: Chrysler Sebring

text: In 2006, the license, tooling, and assembly line for the second-generation Chrysler Sebring/Dodge Stratus sedan was sold to Russian firm GAZ for about US$151 million (€ 124 million). After some minor modifications the vehicle was renamed the Volga Siber. It went into production in March 2008 at the Gorky Automobile Plant in Nizhny Novgorod, Russia. However, due to the Great Recession sales were not as expected and production ended in 2010 after 9,000 examples were built.


title: Chrysler Sebring

text: The Sebring was replaced with a new model based on the JS platform for the 2007 model year. The third-generation Sebring was assembled in Sterling Heights, Michigan, containing over 82% of parts sourced in North America. Since no 2007 convertible was offered, the 2006 Sebring convertible was left to fill the void, remaining in showrooms and on the company's website until the 2008 model's release. The third-generation Sebring borrowed many styling cues from the 2003 Chrysler Airflite concept. It also has several Chrysler-signature styling cues, several of which were borrowed from the Chrysler Crossfire. The Sebring sedan and convertible were also sold in right-hand drive through Chrysler's UK and Ireland dealer network.


title: Chrysler Sebring

text: Chrysler offered three engines for the 2007 Sebring; the GEMA I4, the EER V6, and the EGF V6. The 3.5 L V6 is coupled to Chrysler's first ever six-speed automatic transmission, which employs Autostick technology, and the 2.7 L V6 is capable of running on cleaner-burning E85. Export vehicles will be offered with a 2.0 L turbocharged PDTDI (pumpe düse) diesel made by Volkswagen and the 2.0 L GEMA engine. The 3.5 L V6 sedan is available with all-wheel drive as an extra cost option for 2008 only.


title: Chrysler Sebring

text: In 2008, the optional "MyGIG Multimedia Infotainment System" became available. In addition, the Limited received the 2.4 L four-cylinder engine and was priced at the same level as the 2008 Touring model. Also for 2009, the rear badge placements were modified. For the model 2010 year, the hood was redesigned, eliminating the longitudinal grooves. The IIHS gave the 2010 Models a G for good in the frontal crash test, the side impact test, and the roof strength test, giving the 2010 Sebring a "Top Safety Pick".


title: Chrysler Sebring

text: For the 2008 model year, the Sebring convertible was redesigned with hood strakes recalling the Chrysler Crossfire. The new convertible body style debuted at the 2007 Los Angeles International Auto Show as an early-2008 model. It was the second bestselling four-place open-top cars in the United States, trailing only the Ford Mustang convertible.


title: Chrysler Sebring

text: The new convertible offered both a retractable hardtop and soft tops, with the Sebring's roofs manufactured by Karmann. A vinyl top came on the base LX model, a cloth roof on the Touring and Limited models with the option of a retractable metal top. The convertible top retracts into the trunk with a power tonneau cover and a luggage protector for the top. The top can also be retracted with the remote keyless entry, meaning the top can be stowed without being inside the car or starting the engine.


title: Chrysler Sebring

text: The LX model included a new 2.4 L I4 engine, the Touring version came with a retuned version of the 2.7 L V6, while the Limited featured a new 3.5 L V6. Unlike the Sebring sedan, the convertible was not available in all-wheel drive.


title: Chrysler Sebring

text: Production of the Chrysler Sebring sedan for the China market began in 2007 at the Beijing-Benz DaimlerChrysler Automotive Co. (BBDC) in Beijing. BBDC is a joint venture between the Beijing Automotive Industry Holding and Chrysler.


title: Chrysler Sebring

text: Production of the Sebring leveraged assembly capacity for the new BBDC plant which also built the Chrysler 300C, the Mercedes-Benz E-Class, and Mitsubishi Outlander.


title: Chrysler Sebring

text: Four-cylinder World Engines for the Sebring were built at the Global Engine Manufacturing Alliance (GEMA) plant in Dundee, Michigan for export to China. GEMA began as a joint venture of Chrysler, Mitsubishi, and Hyundai. Since 2009, GEMA is wholly owned by Chrysler.


title: Chrysler Sebring

text: Chrysler introduced this generation Sebring in the European markets (including right-hand drive markets) as their first competitor in the D-segment. It received a generally unfavorable reception from European motoring journalists.


title: Chrysler Sebring

text: The Chrysler Sebring was extensively refreshed in 2010, but was rebadged as the Chrysler 200. The JS platform and bodyshell had been retained, but there were extensive cosmetic and powertrain changes to the vehicle. The name change helped distance the vehicle from the Sebring's reputation for quality issues and fleet pervasiveness.


title: Puffball

text: Puffballs are a type of fungus featuring a ball-shaped fruit body that bursts on impact, releasing a cloud of dust-like spores when mature. Puffballs belong to the division Basidiomycota and encompass several genera, including "Calvatia", "Calbovista" and "Lycoperdon". The puffballs were previously treated as a taxonomic group called the Gasteromycetes or Gasteromycetidae, but they are now known to be a polyphyletic assemblage.


title: Puffball

text: The distinguishing feature of all puffballs is that they do not have an open cap with spore-bearing gills. Instead, spores are produced internally, in a spheroidal fruit body called a "gasterothecium" (gasteroid 'stomach-like' basidiocarp). As the spores mature, they form a mass called a gleba in the centre of the fruitbody that is often of a distinctive color and texture. The basidiocarp remains closed until after the spores have been released from the basidia. Eventually, it develops an aperture, or dries, becomes brittle, and splits, and the spores escape. The spores of puffballs are "statismospores" rather than ballistospores, meaning they are not forcibly extruded from the basidium. Puffballs and similar forms are thought to have evolved convergently (that is, in numerous independent events) from Hymenomycetes by "gasteromycetation", through secotioid stages. Thus, 'Gasteromycetes' and 'Gasteromycetidae' are now considered to be descriptive, morphological terms (more properly "gasteroid" or "gasteromycetes", to avoid taxonomic implications) but not valid cladistic terms.


title: Puffball

text: True puffballs do not have a visible stalk or stem, while stalked puffballs do have a stalk that supports the gleba. None of the stalked puffballs are edible as they are tough and woody mushrooms. The Hymenogastrales and "Enteridium lycoperdon", a slime mold, are the "false puffballs". A gleba which is powdery on maturity is a feature of true puffballs, stalked puffballs and earthstars. False puffballs are hard like rock or brittle. All false puffballs are inedible, as they are tough and bitter to taste. The genus "Scleroderma", which has a young purple gleba, should also be avoided.


title: Puffball

text: Puffballs were traditionally used in Tibet for making ink by burning them, grinding the ash, then putting them in water and adding glue liquid and "a "nye shing ma" decoction", which, when pressed for a long time, made a black dark substance that was used as ink. Rural Americans likewise burned the common puffball with some kind of bee smoker to anesthetize honey bees as a means to safely procure honey; the practice later inspired experimental medicinal application of the puffball smoke as a surgical general anesthetic in 1853.


title: Puffball

text: While most puffballs are not poisonous, some often look similar to young agarics, and especially the deadly Amanitas, such as the death cap or destroying angel mushrooms. Young puffballs in the edible stage, before maturation of the gleba, have undifferentiated white flesh within; whereas the gills of immature Amanita mushrooms can be seen if they are closely examined. These can be very toxic.


title: Puffball

text: The giant puffball, "Calvatia gigantea" (earlier classified as "Lycoperdon giganteum"), reaches a foot (30 cm) or more in diameter, and is difficult to mistake for any other fungus. It has been estimated that a large specimen of this fungus when mature will produce around 7 × 10¹² spores.


title: Puffball

text: Not all true puffball mushrooms are without stalks. Some may also be stalked like the "Podaxis pistillaris" which is also called the "false shaggy mane". There are also a number of false puffballs that look similar to the true ones.


title: Puffball

text: Similarly, the true truffles (Tuberales) are gasteroid Ascomycota. Their ascocarps are called tuberothecia.


title: Branwell Brontë

text: Patrick Branwell Brontë (, commonly ; 26 June 1817 – 24 September 1848) was an English painter and writer. He was the only son of the Brontë family, and brother of the writers Charlotte, Emily and Anne. Brontë was rigorously tutored at home by his father, and earned praise for his poetry and translations from the classics. However, he drifted between jobs, supporting himself by portrait-painting, and gave way to drug and alcohol addiction, apparently worsened by a failed relationship with a married woman. Brontë died at the age of 31, insisting on standing in his final moments.


title: Branwell Brontë

text: Branwell Brontë was the fourth of six children and the only son of Patrick Brontë (1777–1861) and his wife, Maria Branwell Brontë (1783–1821). He was born in Thornton, near Bradford, West Riding of Yorkshire, and moved with his family to Haworth when his father was appointed to the perpetual curacy in 1821.


title: Branwell Brontë

text: While four of his five sisters were sent to Cowan Bridge boarding school, Branwell was educated at home by his father, who gave him a classical education. Elizabeth Gaskell, biographer of his sister, Charlotte Brontë, says of Branwell's schooling "Mr. Brontë's friends advised him to send his son to school; but, remembering both the strength of will of his own youth and his mode of employing it, he believed that Branwell was better at home, and that he himself could teach him well, as he had told others before." His two eldest sisters died just before his eighth birthday in 1825, and their loss affected him deeply.


title: Branwell Brontë

text: Even as a young boy Brontë read extensively, and was especially fond of the "Noctes Ambrosianae", literary dialogues published in "Blackwood's Magazine". He took leadership role with Charlotte in a series of fantasy role-playing games which the siblings wrote and performed about the "Young Men", characters based on a set of wooden soldiers. The plays evolved into an intricate saga based in West Africa about the fictitious Glass Town confederacy. From 1834, he both collaborated and competed with his sister Charlotte to describe another imaginary world, "Angria". Branwell's particular interest in these paracosms were their politics and wars, including the destructive rivalry between their heroes, Charlotte's Arthur Wellesley, Duke of Zamorna, and his Alexander Percy, Earl of Northangerland. These writings impress by their virtuosity and scope, but are also repetitive when compared to Charlotte's contributions. Christine Alexander, a Brontë juvenilia historian the University of New South Wales, wrote "Both Charlotte and Branwell ensured the consistency of their imaginary world. When Branwell exuberantly kills off important characters in his manuscripts, Charlotte comes to the rescue and, in effect, resurrects them for the next stories [...]; and when Branwell becomes bored with his inventions, such as the Glass Town magazine he edits, Charlotte takes over his initiative and keeps the publication going for several more years. It was Branwell, however, who took a pride in systematizing their private world and maintaining a consistent political structure, features typical of paracosmic play. He documented in encyclopaedic detail, in neat lists, footnotes, sketches and maps, the geography, history, government, and social structure of the Glass Town Federation (and later, the new kingdom of Angria)—laying down the parameters of the imaginary world". He often wrote under several pseudonyms, such as Captain John Bud, Sergeant Bud, and Chief Genius Bany, who were also characters in their world.


title: Branwell Brontë

text: Surrounded by female company and missing that of males, there are signs of pleasure in his early works of the wider options he would have due to his sex.


title: Branwell Brontë

text: Aged 11 in January 1829 he began producing a magazine, later named "Branwell's Blackwood's Magazine" which included his poems, plays, criticisms, histories and dialogues.


title: Branwell Brontë

text: Unlike his sisters, Brontë was not prepared for a specific career. In his only real attempt to find work, on the death of James Hogg, a Blackwood's writer, the 18-year-old Brontë boldly wrote to the magazine suggesting himself as a replacement. Between 1835 and 1842, Brontë wrote a total of six times to the magazine, sending poems and arrogantly offering his services. His letters were left unanswered. He began enjoying masculine company in the pubs in Haworth, and in February 1836 joined Haworth's Masonic Lodge of the Three Graces at the youngest possible age.


title: Branwell Brontë

text: In 1829–30, Patrick Brontë engaged John Bradley, an artist from neighbouring Keighley, as drawing-master for the children. Bradley was an artist of some local repute, rather than a professional instructor, but he may well have fostered Branwell's enthusiasm for art and architecture. Bradley emigrated to America in 1831, and Branwell Brontë continued his studies under the portrait painter William Robinson. In 1834, he painted a portrait of his three sisters. He included his own image but became dissatisfied with it and painted it out. This portrait is now one of the best known images of the sisters and hangs in the National Portrait Gallery.


title: Branwell Brontë

text: In 1835, he wrote a letter to the Royal Academy of Arts seeking to be admitted. Earlier biographers reported a move to London to study painting, which quickly ended following Brontë's dissolute spending on drink. Other biographers speculated that he was too intimidated to present himself at the Academy. More recent scholarship suggests that Brontë did not send the letter or even make the trip to London. According to Francis Leyland, Brontë's friend and a future biographer of the family, his first job was as an usher at a Halifax school. More certainly, Brontë worked as a portrait painter in Bradford in 1838 and 1839. Though certain of his paintings, for example that of his landlady Mrs. Kirby and a portrait of Emily show talent for comedic and serious styles, other portraits lack life. He returned to Haworth in debt in 1839.


title: Branwell Brontë

text: With his father, Brontë reviewed the classics with a view to future employment as a tutor. At the beginning of January 1840, he started his employment with the family of Robert Postlethwaite in Broughton-in-Furness. During this time he wrote letters to his pub friends in Haworth which give "a vivid picture of Branwell's scabrous humour, his boastfulness, and his need to be accepted in a man's world". According to Brontë, he started his job off with a riotous drinking session in Kendal.


title: Branwell Brontë

text: During this employment he continued his literary work, including sending poems and translations to Thomas De Quincey and Hartley Coleridge who both lived in the Lake District. At Coleridge's invitation, he visited the poet at his cottage who encouraged him to pursue his translations of Horace's "Odes". In June 1840 he sent the translations to Coleridge, despite having been dismissed by the Postlethwaites. According to Juliet Barker's biography of the Brontës, he may have fathered an illegitimate child during time in the town, but others suspect that it may be more of Brontë's boasting. Coleridge began an encouraging letter about the quality of the translations in November–December 1840 but never finished it.


title: Branwell Brontë

text: In October 1840, Brontë moved near to Halifax, where he had many good friends including the sculptor Joseph Bentley Leyland and Francis Grundy. He obtained employment with the Manchester and Leeds Railway, initially as 'assistant clerk in charge' at Sowerby Bridge railway station, where he was paid £75 per annum (paid quarterly).


title: Branwell Brontë

text: Later, on 1 April 1841, he was promoted to 'clerk in charge' at Luddendenfoot railway station in West Yorkshire, where his salary increased to £130. In 1842 he was dismissed due to a deficit in the accounts of £11–1s–7d (£11.19) This had probably been stolen by Watson, the porter, who was left in charge when Brontë went drinking. This was attributed to incompetence rather than theft and the missing sum was deducted from his salary.


title: Branwell Brontë

text: A description by Francis Leyland of Brontë at this time described him as "rather below middle height, but of a refined and gentleman-like appearance, and of graceful manners. His complexion was fair and his features handsome; his mouth and chin were well-shaped; his nose was prominent and of the Roman type; his eyes sparkled and danced with delight, and his forehead made up of a face of oval form which gave an irresistible charm to its possessor, and attracted the admiration of those who knew him." Another described him less flatteringly as "almost insignificantly small" and with "a mass of red hair which he wore brushed off his forehead – to help his height I fancy... small ferrety eyes, deep sunk and still further hidden by the never removed spectacles."


title: Branwell Brontë

text: In January 1843, after nine months at Haworth, Brontë took up another tutoring position in Thorp Green, where he was to tutor the Reverend Edmund Robinson's young son. His sister Anne had been the governess there since May 1840. As usual, at first things went well, with Charlotte reporting in January 1843 that her siblings were "both wonderously valued in their situations." During his 30 months service Branwell corresponded with several old friends about his increasing infatuation with Robinson's wife Lydia, née Gisborne, a charming and sophisticated woman, almost fifteen years senior to him. He wrote, perhaps unreliably, to one of his friends that "my mistress is DAMNABLY TOO FOND OF ME" and sent him a "lock of her hair, wch has lain at night on his breast – wd to God it could do so legally !" In July 1845, he was dismissed from his position. According to Gaskell, he received a letter "sternly dismissing him, intimating that his proceedings were discovered, characterising them as bad beyond expression and charging him, on pain of exposure, to break off immediately, and for ever, all communication with every member of the family." Multiple explanations have been given for this, including inappropriate relationships with a Robinson daughter or son, or that he had passed forged cheques. The most likely explanation is Brontë's own account that he had an affair with Mrs Robinson which Brontë hoped would lead to marriage after her husband's death. For several months after his dismissal, he regularly received small amounts of money from Thorpe Green, sent by Mrs. Robinson herself, probably to dissuade him from blackmailing his former employer and lover.


title: Branwell Brontë

text: Brontë returned home to his family at the Haworth parsonage, where he looked for another job, wrote poetry and attempted to adapt Angrian material into a book called "And the Weary are at Rest". During the 1840s, several of his poems were published in local newspapers under the name of Northangerland, making him the first of the Brontës to be a published poet. Soon however, after Mr Robinson's death, Mrs Robinson made clear that she was not going to marry Branwell, who then "declined into chronic alcoholism, opiates and debt". Charlotte's letters from this time demonstrate that she was angered by his behaviour. In January 1847, he wrote to his friend Leyland about the easy existence he hoped for: "to try and make myself a name in the world of posterity, without being pestered by the small but countless botherments." His behaviour became increasingly impossible and embarrassing to the family. He managed to set fire to his bed, after which his father had to sleep with him for the safety of the family. Towards the end of his life he was sending notes to a friend asking of "Five pence (5d) worth of Gin". Charlotte Brontë wrote to her publisher that Branwell died without "ever knowing that . " However, according to Juliet Barker's biography, Branwell may have known about his sisters' publication of their poetry, having been the accidental recipient of some proofs since their pseudonyms were thought to be male. Barker also states his friends said he claimed authorship of Wuthering Heights (though they may have said this out of loyalty).


title: Branwell Brontë

text: On 24 September 1848, Brontë died at Haworth parsonage, most likely due to tuberculosis aggravated by delirium tremens, alcoholism, and laudanum and opium addiction, despite the fact that his death certificate notes "chronic bronchitis-marasmus" as the cause. Elizabeth Gaskell's biography of Charlotte reports an eye-witness account that Brontë, wanting to show the power of the human will, decided to die standing up, "and when the last agony began, he insisted on assuming the position just mentioned." On 28 September 1848, he was interred in the family vault.


title: Branwell Brontë

text: Emily Brontë died of tuberculosis on 19 December of that year and Anne Brontë on 29 May 1849 in the coastal resort of Scarborough. Charlotte, the last living sister, married the Reverend Arthur Bell Nichols, curate of Haworth, in 1854 and died in March 1855, due to complications from pregnancy.


title: Branwell Brontë

text: Polly Teale wrote a 2005 play entitled "Brontë" about the three sisters, in which Branwell was portrayed as a drunk and jealous brother due to the growing successes of his sisters.


title: Branwell Brontë

text: Blake Morrison wrote the play "We are Three Sisters" (2011), a re-working of Chekhov's "Three Sisters" based on the lives of the Brontë sisters and featuring Branwell and Mrs Robinson, which premiered in Halifax on 9 September before touring.


title: Branwell Brontë

text: British novelist Robert Edric wrote "Sanctuary" (2014), a novel chronicling Branwell's final months, during which family secrets are revealed and he learns about the publication of his sisters' books.


title: Branwell Brontë

text: He was portrayed by Adam Nagaitis in "To Walk Invisible" (2016), a BBC drama about the Brontë family.


title: Everybody's Talking About Jamie (film)

text: Everybody's Talking About Jamie is a 2021 biographical coming-of-age musical comedy-drama film directed by Jonathan Butterell (in his feature directorial debut) from a screenplay by Tom MacRae based on the stage musical of the same name, which in turn was adapted from the BBC Three documentary "Jamie: Drag Queen at 16" by Jenny Popplewell. The film stars newcomer Max Harwood with Sarah Lancashire, Lauren Patel, Shobna Gulati, Ralph Ineson, Adeel Akhtar, Samuel Bottomley, Sharon Horgan, and Richard E. Grant. The story follows and is based upon the true-life story of 16-year-old British schoolboy Jamie Campbell, as he overcomes prejudice and bullying, to step out of the darkness and become a drag queen.


title: Everybody's Talking About Jamie (film)

text: Following delays of a planned theatrical release by 20th Century Studios, due to the COVID-19 pandemic, "Everybody's Talking About Jamie" was released in select theatres in the United States on 10 September 2021, followed by a worldwide streaming release on 17 September 2021 via Amazon Studios on Amazon Prime Video. The film has received positive reviews and was nominated for the BAFTA Award for Outstanding British Film.


title: Everybody's Talking About Jamie (film)

text: In Sheffield, South Yorkshire, England, Jamie New, a gay boy, lives with his single mother Margaret, and attends Mayfield school on his sixteenth birthday. At school, his teacher rebukes the pupils for their unrealistic career plans. Jamie pretends to agree with her, but secretly he dreams of being a drag queen onstage ("And You Don't Even Know It").


title: Everybody's Talking About Jamie (film)

text: Margaret goes to see her friend Ray to help her prepare for Jamie's birthday party. Jamie's estranged father, Wayne, who has lived with his girlfriend Cheryl for some time, is expected to arrive at the party, but at the last minute he messages Margaret to cancel his appearance. Jamie arrives and Margaret lies about his absence, pretending he gave him a card. Margaret presents Jamie a pair of expensive red high heels that he has been saving up money for. Jamie is disappointed about his father's absence and reminisces about their strained relationship and an unspecified hurtful small comment made in his childhood that he is still struggling to overcome ("Wall in My Head").


title: Everybody's Talking About Jamie (film)

text: At school, Jamie shows the heels to his best friend Pritti Pasha - a girl constantly harassed for her religion - and confesses his desire to be a drag queen. After class bully Dean Paxton insults Jamie and Pritti for their differences and Jamie sticks up for Pritti, Pritti returns the favour by encouraging Jamie to wear the shoes to the school prom and be the drag queen he wants to be ("Spotlight").


title: Everybody's Talking About Jamie (film)

text: Margaret goes to see Wayne at his girlfriend Cheryl's house, and admonishes him for not showing up for Jamie at all on his sixteenth birthday and for his lack of parental efforts. Wayne replies that Cheryl is pregnant with their son and urges Margaret to tell Jamie the truth - that he is bitterly disappointed that Jamie is not a stereotype male, and that he wants nothing at all to do with him, especially as Jamie is now no longer a minor.


title: Everybody's Talking About Jamie (film)

text: Jamie goes to a drag shop, House of Loco, where he intends to find his first dress. Hugo Battersby, the drag shop owner, briefly discusses Jamie’s dreams of being a drag queen with him, and reveals that he was himself once a drag superstar, Miss Loco Chanelle, and that his past was filled with a loving drag family that was destroyed when the AIDS epidemic ravaged the community and claimed the life of his male lover ("This Was Me"). He describes drag as a form of revolution, and that a drag queen is never deterred. He offers to mentor Jamie, and to help him with his plan of coming out at the prom by allowing Jamie to debut at a drag show at the local club. He tells Jamie and Pritti that he will give Loco Chanelle’s dress to him if he can earn it. Jamie informs his mother and Ray of the visit to the shop and his upcoming drag show, and over the next few weeks earns enough money to buy the dress. Meanwhile, Margaret struggles to tell Jamie about her encounter with his father, and is unable to break his heart by telling him his father’s true feelings. Jamie mistakenly believes that his father will attend the drag show.


title: Everybody's Talking About Jamie (film)

text: At school on the day of the show, Jamie beckons Pritti into the school toilets and begs for her help in getting rid of a badly painted eyebrow he accidentally gave himself. Pritti reluctantly agrees to help him, but before she can manage Hedge catches them. After embarrassedly attempting to explain the eyebrow incident, Hedge humiliates Jamie by demanding he return to class with his makeup intact ("Work of Art"). When Jamie arrives in art class, his classmates ridicule him, and he responds by telling them about his drag show, determined not to be shamed ("Work of Art (Reprise)")


title: Everybody's Talking About Jamie (film)

text: After school, Dean calls out Jamie, intending to go to the show and humiliate him. Jamie goes to the club but gets cold feet and attempts to back out, but is stopped by Hugo dressed up as Loco Chanelle, who encouraged him to perform and dresses him up along with the other drag queens ("Over the Top"). Margaret and Ray arrive at the show, along with Dean and his friends who intend to ridicule Jamie’s drag performance, and Margaret sends Jamie flowers and a card which she pretends is from Wayne, which Jamie is thrilled to receive. In an attempt to come up with his drag name, Jamie cries frustratedly, "it's about me. Me. Me!", leading Hugo to introduce Jamie as "Mimi Me". He performs a lip synced song as Mimi Me – Dean and the boys heckle him briefly but are quickly removed, and Mimi Me finishes the number in style, with Pritti and his mother in the audience.


title: Everybody's Talking About Jamie (film)

text: The next day at school, the whole school gossips about the drag show ("Everybody's Talking About Jamie"). Jamie arrives to class late in dramatic fashion and with make-up, which Hedge orders him to remove, and Jamie refuses, quoting school dress rules and mocking her. Dean gets into a fight with Jamie, and declares he will not attend prom if Jamie comes as Mimi Me. At a meeting with the head teacher, Hedge demands that Jamie not wear a dress to prom and claims he will selfishly ruin the special night for everyone else. Jamie leaves, upset.


title: Everybody's Talking About Jamie (film)

text: Jamie goes to Pritti’s house for consolation, but Pritti urges Jamie to be himself at prom, and that Mimi Me doesn’t have to always be in his life. Jamie reveals his bodily self-loathing without Mimi Me, and Pritti comforts him by revealing that in Arabic, his name - Jamil - means beautiful ("It Means Beautiful"). Newly confident, Jamie goes to visit his father to thank him for the flowers, and Wayne harshly reveals the truth about Margaret’s lies, and his own disinterest and disappointment, telling him he had always longed for a better son.


title: Everybody's Talking About Jamie (film)

text: Jamie returns home and confronts Margaret. He rips his Loco Chanelle dress and speaks cruelly, before storming off. Margaret, alone, reminisces about the joys and difficulties of having Jamie as a son ("He's My Boy"). Jamie, in an angry and confused downward spiral, shoplifts alcohol, gets drunk, and sneaks into a sports game that Wayne is attending, going onto the field to briefly reveal himself to his father in partial drag. He is physically harassed and shoved off the field. Beaten and bloody, Jamie goes to Hugo’s shop after it is shut, where Hugo bathes his injured nose and comforts him.


title: Everybody's Talking About Jamie (film)

text: Jamie comes home. He and Margaret apologize to each other and reconcile over their differences, as well as briefly discussing Jamie’s queer personality ("My Man, My Boy"). On prom night, Year 11 prepare for the event. Pritti arrives in makeup and fends off Dean’s bullying with an inspiring speech, reminding Dean that after school ends tomorrow, he will no longer be a big man in a small social world. Jamie arrives, not in drag or as Mimi Me, but as himself, Jamie, dressed in a traditional girls’ prom dress with no makeup.


title: Everybody's Talking About Jamie (film)

text: Hedge admonishes Jamie, and won’t allow him into prom, but his classmates, led by Pritti, rally their support and eventually Hedge relents and allows everyone in. After sharing a moment together, Pritti goes into prom while Jamie implores Dean to let bygones be bygones and dance with him before prom ends. The class celebrate together and support each other ("Out of the Darkness (A Place Where We Belong)").


title: Everybody's Talking About Jamie (film)

text: The film was announced in May 2018. In June 2019, it was revealed that Richard E. Grant, John McCrea, Sharon Horgan, Sarah Lancashire and Shobna Gulati and newcomer Max Harwood had joined the cast, with original stage director Jonathan Butterell making his feature film debut from a screenplay by Tom MacRae. Regency Enterprises, Film4 Productions, and Warp Films would produce, with distribution by 20th Century Studios.


title: Everybody's Talking About Jamie (film)

text: In a 2021 interview, Jamie Campbell commented that "it was important to him that the movie captured British humour perfectly, and had an accurate representation of the working class", and that retaining the "grit and rawness" as well as the humour, achieved by having the team involved in the musical also be involved in the film, had been key to the film.


title: Everybody's Talking About Jamie (film)

text: The film removes several songs from the original score, including "The Legend of Coco Chanelle (and the Blood Red Dress)" (replaced by "This Was Me"), "If I Met Myself Again", "Limited Edition Prom Night Special", "Ugly in This Ugly World", "Prom Song" and all reprises save for "It Means Beautiful".


title: Everybody's Talking About Jamie (film)

text: The film's soundtrack album was released by Island Records and New Regency Music on 10 September 2021, the same day as its U.S. release. The film contains one new song, "This Was Me", performed by Richard E. Grant and Frankie Goes to Hollywood frontman Holly Johnson. Alongside the film's musical numbers, the soundtrack includes contributions from Becky Hill, Todrick Hall, Sophie Ellis-Bextor (who had previously recorded a version of "Work of Art" in 2017), Chaka Khan and The Feeling. During his debut show as Mimi, Jamie lip-syncs to "Don’t Even Know It" as performed by Beverley Knight, which is found within the “Over the Top” track on the album.


title: Everybody's Talking About Jamie (film)

text: The film was originally scheduled to be released on 23 October 2020, but was postponed to 22 January 2021, by Disney, the parent company of 20th Century, due to the COVID-19 pandemic. It was postponed again to 26 February 2021. However, it was then removed from the release calendar. In May 2021, Disney cancelled the film's domestic theatrical release and sold the distribution rights to Amazon Studios. Amazon later set it for a 17 September 2021 release on Amazon Prime Video.


title: Everybody's Talking About Jamie (film)

text: "Everybody's Talking About Jamie" premiered at the Frameline Film Festival on 12 June 2021, as part of their San Francisco Pride celebration. It was released in selected theatres on 10 September 2021, in the United States.


title: Everybody's Talking About Jamie (film)

text: The film received generally positive reviews. On review aggregator Rotten Tomatoes, the film has a 82% approval score, based on 104 reviews, with an average rating of 6.8/10. The website's critics consensus reads: "It may not be as effervescent as its title character, but "Everybody's Talking About Jamie" remains an infectiously enjoyable musical with an uplifting message." On Metacritic it has a rating of 62 out of 100 from 22 reviews, indicating "generally favorable reviews".


title: Everybody's Talking About Jamie (film)

text: David Rooney of "The Hollywood Reporter" gave a positive review, saying "There's abundant joy, spirited resilience and sweet humor on tap that should be especially infectious for young LGBTQ audiences, or anyone with experience of outsider stigmatization."


title: Everybody's Talking About Jamie (film)

text: Less favorable reviews criticized the film for incoherent "all frosting, no cake" slant, for "barrage of grimacing uplift", for having "plenty of empowerment but not much depth", for being full of "drag-lite drag scenes" and "'Glee'-colored dance numbers", which "won’t be showing up in lip synchs anytime soon". In short, "drag is what it is, and drag is what it does".


title: Tony Huston

text: He was born in Los Angeles County, California, the son of director John Huston and his fourth wife Enrica Soma.


title: Tony Huston

text: Unlike other members of his family, who went into acting, Huston specialised in writing screenplays. He is known for his work on "The Hellcats" (1968) and "The Dead" (1987). He later became an attorney and assistant director.


title: Tony Huston

text: On 18 November 1978, he married Lady Margot Cholmondeley, the daughter of The 6th Marquess of Cholmondeley, with whom he had three children: Mathew (born 1979), Laura Sybil (born 1981), and actor Jack Huston (born 1982). Huston and Lady Margot later divorced.


title: Don't Give Up (Peter Gabriel and Kate Bush song)

text: "Don't Give Up" is a song written by English musician Peter Gabriel and recorded as a duet with Kate Bush for Gabriel's fifth solo studio album "So" (1986). The single version was released as the second single from the album in the UK in 1986 and as the fifth single in the US in 1987.


text: It spent eleven weeks in the UK Top 75 chart in 1986, peaking at number nine. The song was included in Gabriel's Secret World Live tour featuring singer Paula Cole. The DVD release of a performance in Italy in 1993 (released in 1994) included the duet. An all-orchestral recording featuring Ane Brun was released on Gabriel's "New Blood" album in 2011. In 1987, the song won Ivor Novello Award for "Best Song Musically and Lyrically".


text: The song was inspired by the Depression-era photographs of Dorothea Lange, showing poverty-stricken Americans in Dust Bowl conditions. Gabriel saw Lange's images in a 1973 book titled "In This Proud Land". He felt that a song based on this was wholly appropriate to difficult economic conditions in England under the premiership of Margaret Thatcher. He composed lyrics about a man whose unemployment causes stress in his domestic relationship. The verses, sung by Gabriel, describe the man's feelings of isolation, loneliness and despair; the choruses, sung by Bush, offer words of hope and encouragement.


text: Gabriel originally wrote the song from a reference point of American roots music and he approached country singer Dolly Parton to sing it with him. However, Parton turned it down, so his friend Kate Bush took her place.


text: In a 2014 interview, Elton John attributed his sobriety to the song, in particular the lyric from Bush, "Rest your head. You worry too much. It’s going to be all right. When times get rough you can fall back on us. Don’t give up." He states, "she [Bush] played a big part in my rebirth. That record helped me so much."


text: Two videos were created for the song. The first, by Godley & Creme, is a single take of Gabriel and Bush, as they sing, in an embrace, while the sun behind them enters a total eclipse and re-emerges. (Of the shoot, Gabriel remarked, "There are worse ways of earning a living.") The video was featured the final broadcast of the channel Europa TV in November 1986.


text: A second video, directed by Grammy award-winning Jim Blashfield and produced by Melissa Marsland in 1988, features the singers’ faces superimposed over film of a town and its people in disrepair.


text: The song was covered as a duet between American musician Willie Nelson & Irish singer Sinéad O'Connor in 1993. The single is included on Nelson's "Across the Borderline" album, produced by Don Was, Paul Simon, and Roy Halee. O'Connor sings Kate Bush's parts in the song. In an interview with "Los Angeles Times", Nelson talked about the duet and how it was made. He said:


text: A music video was made to accompany the song, featuring both singers. It has a sepia tone. It was reported that funds raised by sales of the single were in excess of $300,000.


text: Martin Monkman from AllMusic stated that it is "the most stunning song on the album", and "a brilliant piece of casting." He added, "Nelson and O'Connor's rendition is quietly triumphant and every bit as powerful as Gabriel and Bush's original." Bill DeYoung from "Gainesville Sun" described the duet as "heartfelt". Paul Freeman from "Los Angeles Times" called it "a striking duet". Music & Media commented that Nelson's version "makes a rodeo queen out of his duet partner Sinead O'Connor." "Pittsburgh Post-Gazette" noted that Nelson and O'Connor "make an odd but effective couple on Peter Gabriel's emotional "Don't Give Up"."


text: "Don't Give Up" was recorded by American recording artist Alicia Keys and Irish musician Bono. Retitled "Don't Give Up (Africa)", the song was produced by Keys and Steve Lillywhite. On 6 December 2005, the song was released as a single exclusively on iTunes and a ringtone version was released by Cingular Wireless. The proceeds of the release went to the charity Keep a Child Alive, for which Keys is a spokesperson. Keys commented that "I love this song. And I love Bono. I really respect what he has done for Africa and how he has used his fame to do good in the world. I hope I can do half as much in my life". Keys and Bono performed the song live at Keys' charity event the Black Ball, which raises money for the organization Keep A Child Alive. They performed the song also on "The Oprah Winfrey Show" in October 2006.


text: The recording of the song took place at the Oven Studios on Long Island. Keys spoke of the recording session at the studio with Bono and Steve Lillywhite:


text: Jann Klose and Renaissance vocalist and painter Annie Haslam released their version, produced by Rave Tesar in June 2017. The recording features Jann Klose on acoustic guitar and lead vocals, Annie Haslam on lead vocals, John Arbo on upright bass, Rob Mitzner on cajon and Rave Tesar on keys. Proceeds from the sale of the recording benefit Desmond Tutu's TutuDesk foundation.


text: A cover version was recorded by Australian artist Shannon Noll and former Rogue Traders frontwoman Natalie Bassingthwaighte. It was produced by Michael "fingaz" Mugisha who also produced hits for Jessica Mauboy, Big Brovaz and recorded for the compilation "". It was released as a charity single for the depression organisation beyondblue. It was the most added song to Australian radio in its first week. It made its debut at number seven on the Australian Singles Chart, and, in its second week, climbed to number two with a Platinum certification. The song was also performed live on the fifth season of "Dancing with the Stars". The music video features Noll and Bassingthwaighte in the studio recording the single.


text: Maire Brennan and Michael McDonald recorded a gender-reversed version of the song on the 1999 Contemporary Christian album Streams.


title: Haight-Ashbury

text: Haight-Ashbury () is a district of San Francisco, California, named for the intersection of Haight and Ashbury streets. It is also called The Haight and The Upper Haight. The neighborhood is known as one of the main centers of the counterculture of the 1960s.


title: Haight-Ashbury

text: The district generally encompasses the neighborhood surrounding Haight Street, bounded by Stanyan Street and Golden Gate Park on the west, Oak Street and the Golden Gate Park Panhandle on the north, Baker Street and Buena Vista Park to the east and Frederick Street and Ashbury Heights and Cole Valley neighborhoods to the south.


title: Haight-Ashbury

text: The street names commemorate two early San Francisco leaders: pioneer and exchange banker Henry Haight, and Munroe Ashbury, a member of the San Francisco Board of Supervisors from 1864 to 1870.


title: Haight-Ashbury

text: Both Haight and his nephew, as well as Ashbury, had a hand in the planning of the neighborhood and nearby Golden Gate Park at its inception. The name "Upper Haight" is also used by locals in contrast to the Haight-Fillmore or Lower Haight.


title: Haight-Ashbury

text: The Beats had congregated around San Francisco's North Beach neighborhood from the late 1950s. Many who could not find accommodation there turned to the quaint, relatively cheap and underpopulated Haight-Ashbury.


title: Haight-Ashbury

text: Later, the Haight-Ashbury district is noted for its role as one of the main center of the hippie movement. The Summer of Love (1967) and much of the counterculture of the 1960s have been synonymous with San Francisco and the Haight-Ashbury neighborhood ever since.


title: Haight-Ashbury

text: Before the completion of the Haight Street Cable Railroad in 1883, what is now the Haight-Ashbury was a collection of isolated farms and acres of sand dunes. The Haight cable car line, completed in 1883, connected the east end of Golden Gate Park with the geographically central Market Street line and the rest of downtown San Francisco. As the primary gateway to Golden Gate Park, and with an amusement park known as the Chutes on Haight Street between Cole and Clayton Streets between 1895 and 1902 and the California League Baseball Grounds stadium opening in 1887, the area became a popular entertainment destination, especially on weekends. The cable car, land grading and building techniques of the 1890s and early 20th century later reinvented the Haight-Ashbury as a residential upper middle class homeowners' district. It was one of the few neighborhoods spared from the fires that followed the catastrophic San Francisco earthquake of 1906.


title: Haight-Ashbury

text: The Haight was hit hard by the Depression, as was much of the city. Residents with enough money to spare left the declining and crowded neighborhood for greener pastures within the growing city limits, or newer, smaller suburban homes in the Bay Area. During World War II, the Edwardian and Victorian houses


title: Haight-Ashbury

text: were divided into apartments to house workers. Others were converted into boarding homes for profit. By the 1950s, the Haight was a neighborhood in decline. Many buildings were left vacant after the war. Deferred maintenance also took its toll, and the exodus of middle class residents to newer suburbs continued to leave many units for rent.


title: Haight-Ashbury

text: In the 1950s, a freeway was proposed that would have run through the Panhandle, but due to a citizen freeway revolt, it was cancelled in a series of battles that lasted until 1966.


title: Haight-Ashbury

text: The Haight-Ashbury's elaborately detailed, 19th century, multi-story, wooden houses became a haven for hippies during the 1960s, due to the availability of cheap rooms and vacant properties for rent or sale in the district; property values had dropped in part because of the proposed freeway.


title: Haight-Ashbury

text: The alternative culture that subsequently flourished there took root, and to some extent, has remained to this day.


title: Haight-Ashbury

text: The mainstream media's coverage of hippie life in the Haight-Ashbury drew the attention of youth from all over America. Hunter S. Thompson labeled the district "Hashbury" in "The New York Times Magazine", and the activities in the area were reported almost daily. The Haight-Ashbury district was sought out by hippies to constitute a community based upon counterculture ideals, drugs, and music. This neighborhood offered a concentrated gathering spot for hippies to create a social experiment that would soon spread throughout the nation.


title: Haight-Ashbury

text: The first head shop, Ron and Jay Thelin's Psychedelic Shop, opened on Haight Street on January 3, 1966, offering hippies a spot to purchase marijuana and LSD, which was essential to hippie life in Haight-Ashbury. Along with businesses like the coffee shop The Blue Unicorn, the Psychedelic Shop quickly became one of the unofficial community centers for the growing numbers of hippies migrating to the neighborhood in 1966-67. The entire hippie community had easy access to drugs, which was perceived as a community unifier.


title: Haight-Ashbury

text: Another well-known neighborhood presence was the Diggers, a local "community anarchist" group known for its street theater, formed in the mid to late 1960s. One well known member of the group was Peter Coyote. The Diggers believed in a free society and the good in human nature. To express their belief, they established a free store, gave out free meals daily, and built a free medical clinic, which was the first of its kind, all of which relied on volunteers and donations. The Diggers were strongly opposed to a capitalistic society; they felt that by eliminating the need for money, people would be free to examine their own personal values, which would provoke people to change the way they lived to better suit their character, and thus lead a happier life.


title: Haight-Ashbury

text: During the 1967 Summer of Love, psychedelic rock music was entering the mainstream, receiving more and more commercial radio airplay. The Scott McKenzie song "San Francisco (Be Sure to Wear Flowers in Your Hair)," became a hit that year. The Monterey Pop Festival in June further cemented the status of psychedelic music as a part of mainstream culture and elevated local Haight bands such as the Grateful Dead, Big Brother and the Holding Company, and Jefferson Airplane to national stardom. A July 7, 1967, "Time" magazine cover story on "The Hippies: Philosophy of a Subculture," an August CBS News television report on "The Hippie Temptation" and other major media interest in the hippie subculture exposed the Haight-Ashbury district to enormous national attention and popularized the counterculture movement across the country and around the world.


title: Haight-Ashbury

text: The neighborhood's fame reached its peak as it became the haven for a number of psychedelic rock performers and groups of the time. The members of many bands lived close to the intersection. They not only immortalized the scene in song, but also knew many within the community.


title: Haight-Ashbury

text: The Summer of Love attracted a wide range of people of various ages: teenagers and college students drawn by their peers and the allure of joining a cultural utopia; middle-class vacationers; and even partying military personnel from bases within driving distance. The Haight-Ashbury could not accommodate this rapid influx of people, and the neighborhood scene quickly deteriorated. Overcrowding, homelessness, hunger, drug problems, and crime afflicted the neighborhood. Many people left in the autumn to resume their college studies. On October 6, 1967, those remaining in the Haight staged a mock funeral, Digger happening, "The Death of the Hippie" ceremony. Mary Kasper explained the message of the mock funeral as:


title: Haight-Ashbury

text: After 1968, the area went into decline due to hard drug use, and a lack of policing, but was improved and renewed in the late 1970s.


title: Haight-Ashbury

text: In the 1980s, the Haight became an epicenter for the San Francisco comedy scene when a small coffee house near Haight Street, in Cole Valley, called The Other Café, 100 Carl Street at Cole Street (currently the restaurant "Crepes on Cole") became a full-time comedy club that helped launch the careers of Robin Williams, Dana Carvey, and Whoopi Goldberg.


title: Haight-Ashbury

text: The Haight-Ashbury Street Fair is held on the second Sunday of June each year attracting thousands of people, during which Haight Street is closed between Stanyan and Masonic to vehicular traffic, with one sound stage at each end.


title: Witney Carson

text: Witney Capri Carson McAllister (née Carson; born October 17, 1993) is an American professional Latin ballroom dancer and choreographer. She first gained attention in 2012, when the 18-year-old finished ladies' second runner-up in season nine of "So You Think You Can Dance". Carson continued her professional dancing career in early 2013 as a troupe dancer in seasons 16 and 17 of "Dancing with the Stars". She was promoted to professional partner in season 18. In season 19, she and her partner Alfonso Ribeiro were announced the winners on November 25, 2014, making her one of six professional dancers to win the mirror ball trophy within their first two seasons, while Ribeiro waited ten years for him to win. For that season, she received a nomination for the Primetime Emmy Award for Outstanding Choreography. In 2019, she reunited with Ribeiro to co-host the reboot of "Catch 21".


title: Witney Carson

text: Throughout her dance career, Carson has worked with dancers and choreographers such as Mia Michaels, Nappytabs, Travis Wall, Sonya Tayeh, Tyce Diorio, Mark Ballas, Derek Hough, and Stacey Tookey.


title: Witney Carson

text: Carson was born in American Fork, Utah. She is the oldest of four children. She has two brothers and a sister. She started her career as a dancer at the age of three, training in different dance styles including ballet, jazz, hip hop, ballroom and tap, among others.


title: Witney Carson

text: At age of 18, Carson auditioned for season nine of the Fox Broadcasting show "So You Think You Can Dance". She made it through to the top 20 finalists. Her partner was ballet dancer and season-winner Chehon Wespi-Tschopp. As she advanced to the top six dancers, Carson partnered with Nick Lazzarini, Stephen "Twitch" Boss and Marko Germar before she was eliminated after the week-seven round in September 2012.


title: Witney Carson

text: She returned in season ten, partnering with Paul Karmiryan and season-winner Du-shaunt "Fik-shun" Stegall.


title: Witney Carson

text: Carson was announced as a troupe dancer on the reality-television series "Dancing with the Stars" in March 2013. Carson, partnered with "Dancing with the Stars" professional dancer Lindsay Arnold, was a contestant on "So You Think You Can Dance" season nine. She continued dancing and choreographing for the troupe on season 17.


title: Witney Carson

text: On season 18, Carson was promoted to professional dancer, partnering with singer Cody Simpson. They were eliminated on April 14, 2014, finishing in ninth place. The following season, Carson returned as a professional dancer, partnering with actor Alfonso Ribeiro and winning the competition on November 25, 2014.


title: Witney Carson

text: In 2015, Carson starred in "," directed by David Winters and also starring other winners and runner ups of "So You Think You Can Dance," as well as Gary Daniels.


title: Witney Carson

text: Carson returned for season 20 as partner for season 19 "Bachelor", Chris Soules. They were the eighth couple to be eliminated, finishing in fifth place.


title: Witney Carson

text: For season 21, Carson was paired with Big Time Rush singer and actor Carlos PenaVega. They reached the Finals but were eliminated on Night 1 and finished in fourth place.


title: Witney Carson

text: For season 22, Carson was paired with NFL player Von Miller. During a double elimination on week 7, Miller and Carson were eliminated and finished in 8th place.


title: Witney Carson

text: For season 23, Carson was paired with rapper Vanilla Ice. During a double elimination on week 4, they were eliminated and finished in 10th place.


title: Witney Carson

text: For season 24, Carson was partnered with comedian Chris Kattan. They were first eliminated on March 27, 2017.


title: Witney Carson

text: For season 25, Carson was partnered with "Malcolm in the Middle" actor Frankie Muniz. They reached the finals and ultimately finished in third place.


title: Witney Carson

text: For season 26, Carson was paired with Olympic luger Chris Mazdzer. They were eliminated on the third week of competition, tying in fourth place with Jennie Finch Daigle and Mirai Nagasu and their partners Keo Motsepe and Alan Bersten.


title: Witney Carson

text: For season 27, Carson was partnered with actor Milo Manheim. They reached the finals of the competition and finished in second place behind Bobby Bones and Sharna Burgess.


title: Witney Carson

text: For season 28, Carson was partnered with Nickelodeon actor and comedian Kel Mitchell. They reached the finals and finished in second place behind Hannah Brown and Alan Bersten.


title: Witney Carson

text: For season 30, Carson returned to the show and was partnered with WWE wrestler Mike "The Miz" Mizanin. They finished in 9th place after being eliminated week 7.


title: Witney Carson

text: For season 31, Carson was partnered with comedian, actor & television personality Wayne Brady. They reached the finals and the couple finished in third place.


title: Witney Carson

text: Carson became the co-host of the game show "Catch 21" in November 2019, which reunited her with Ribiero.


title: Witney Carson

text: Carson married Carson McAllister on January 1, 2016, in a ceremony of the Church of Jesus Christ of Latter-day Saints at the Salt Lake Temple in Salt Lake City. Fellow "Dancing with the Stars" dancers Brittany Cherry, Jenna Johnson, and Emma Slater were among her bridesmaids, with Lindsay Arnold serving as her matron of honor. On July 23, 2020, the couple announced that they were expecting their first child, a boy. Their son, Kevin Leo McAllister, was born on January 3, 2021. On November 14, 2022, Carson announced they are expecting their second child, due in May 2023.


title: Witney Carson

text: Score given by guest judge Zendaya. For this week only, as part of "America's Switch Up", Miller performed with Lindsay Arnold instead of Carson. Carson performed with Wanyá Morris. Score given by guest judge Maksim Chmerkovskiy.


title: Sigmoid colon

text: The sigmoid colon (or pelvic colon) is the part of the large intestine that is closest to the rectum and anus. It forms a loop that averages about in length. The loop is typically shaped like a Greek letter sigma (ς) or Latin letter S (thus "sigma" + "-oid"). This part of the colon normally lies within the pelvis, but due to its freedom of movement it is liable to be displaced into the abdominal cavity.


title: Sigmoid colon

text: The sigmoid colon begins at the superior aperture of the lesser pelvis, where it is continuous with the iliac colon, and passes transversely across the front of the sacrum to the right side of the pelvis.


title: Sigmoid colon

text: It then curves on itself and turns toward the left to reach the middle line at the level of the third piece of the sacrum, where it bends downward and ends in the rectum.


title: Sigmoid colon

text: Its function is to expel solid and gaseous waste from the gastrointestinal tract. The curving path it takes toward the anus allows it to store gas in the superior arched portion, enabling the colon to expel gas without excreting faeces simultaneously.


title: Sigmoid colon

text: The sigmoid colon is completely surrounded by peritoneum (and thus is not retroperitoneal), which forms a mesentery (sigmoid mesocolon), which diminishes in length from the center toward the ends of the loop, where it disappears, so that the loop is fixed at its junctions with the iliac colon and rectum, but enjoys a considerable range of movement in its central portion.


title: Sigmoid colon

text: Pelvic splanchnic nerves are the primary source for parasympathetic innervation. Lumbar splanchnic nerves provide sympathetic innervation via the inferior mesenteric ganglion.


title: Sigmoid colon

text: Behind the sigmoid colon are the external iliac vessels, ovary, obturator nerve, the left Piriformis, and left sacral plexus of nerves.


title: Sigmoid colon

text: In front, it is separated from the bladder in the male, and the uterus in the female, by some coils of the small intestine.


title: Sigmoid colon

text: Diverticulosis often occurs in the sigmoid colon in association with increased intraluminal pressure and focal weakness in the colonic wall. It is a common cause of hematochezia.


title: Sigmoid colon

text: Volvulus occurs when a portion of the bowel twists around its mesentery, which can lead to obstruction and infarction. Volvulus in the elderly commonly occurs in the sigmoid colon, whereas in infants and children it is more likely to occur in the midgut. This may correct itself spontaneously or the rotation may continue until the blood supply of the gut is cut off completely.


title: Plesiosaurus

text: Plesiosaurus (Greek: ' ('), near to + ' ('), lizard) is a genus of extinct, large marine sauropterygian reptile that lived during the Early Jurassic. It is known by nearly complete skeletons from the Lias of England. It is distinguishable by its small head, long and slender neck, broad turtle-like body, a short tail, and two pairs of large, elongated paddles. It lends its name to the order Plesiosauria, of which it is an early, but fairly typical member. It contains only one species, the type, Plesiosaurus dolichodeirus. Other species once assigned to this genus, including "P. brachypterygius", "P. guilielmiimperatoris", and "P. tournemirensis" have been reassigned to new genera, such as "Hydrorion", "Seeleyosaurus" and "Occitanosaurus".


title: Plesiosaurus

text: The first complete skeleton of "Plesiosaurus" was discovered by early paleontologist and fossil hunter Mary Anning in Sinemurian (Early Jurassic)-age rocks of the lower Lias Group in December 1823. Additional fossils of "Plesiosaurus" were found in rocks of the Lias Group of Dorset for many years, "until the cessation of quarrying activities in the Lias Group, early in this [20th] century." although less complete remains were used by Henry De la Beche and William Conybeare to name the species two years earlier in 1821, and despite being discovered first, Conybeare's remains were not the holotype; Anning's were.


title: Plesiosaurus

text: "Plesiosaurus" was one of the first of the "antediluvian reptiles" to be discovered and excited great interest in 19th-century England. It was so-named ("near lizard") by William Conybeare and Henry De la Beche, to indicate that it was more like a normal reptile than "Ichthyosaurus", which had been found in the same rock strata just a few years earlier. "Plesiosaurus" is the archetypical genus of Plesiosauria and the first to be described, hence lending its name to the order. Conybeare and De la Beche coined the name for scattered finds from the Bristol region, Dorset, and Lyme Regis in 1821. The type species of "Plesiosaurus", "P. dolichodeirus", was named and described by Conybeare in 1824 on the basis of Anning's original finds.


title: Plesiosaurus

text: Compared to other plesiosaur genera, "Plesiosaurus" has a small head. The skull is much narrower than long, reaching its greatest width just behind the eyes (the postorbital bar). The anterior portion is "bluntly triangular". In lateral view, the skull reaches its highest point at the rear of the skull table. "The external nostrils overlie the internal nares". They are not positioned at the tip of the snout, but farther back, nearer the eyes than the tip of the skull. Unlike the nostrils of "Rhomaleosaurus", they do not appear to be adapted for underwater olfaction. The orbits (eye sockets) are roughly circular and are positioned about halfway along the length of the skull. They face up and to the sides. Just posterior to the orbits are the supratemporal fenestrae, which are about the same size as the orbits and also roughly circular. Between the four openings is the pineal foramen, and between the temporal fenestrae is a narrow sagittal ridge. As in other plesiosaurs, the pterygoids of the palate are fused to the basioccipital of the braincase, although the union is not as robust as in the pliosaurs "Rhomaleosaurus" and "Pliosaurus". "The palatal bones are thin, but there is no suborbital fenestra."


title: Plesiosaurus

text: The two rami of the lower jaw make a "V" shape with an angle of about 45°. The specialized region where they meet, the symphysis, is robust. The two rami are fused at the symphysis, making a pointed, shallow scoop-like shape.


title: Plesiosaurus

text: The teeth of "Plesiosaurus" are "simple, needle-like cones" that are "slightly curved and circular in transverse section". They are sharply pointed with fine striations running from tip to base, and point forward (procumbent). This procumbency becomes more pronounced near the leading end of the skull, where they may be only 10–15° above horizontal. There are 20 to 25 teeth per upper jaw tooth row, and 24 per low jaw tooth row. Up to four teeth of a lower jaw's tooth row are found in the symphyseal region.


title: Plesiosaurus

text: "Plesiosaurus" was a moderately sized plesiosaur that grew to in length and in body mass. There are approximately 40 cervical vertebrae (neck vertebrae), with different specimens preserving 38 to 42 cervical vertebrae. Of the rest of the vertebral column, there are a handful (four or five in the holotype specimen) of "pectoral" vertebrae from the neck-torso transition, approximately 21 dorsal or back vertebrae, three or more sacral vertebrae, and at least 28 caudal vertebrae. Generally, the centra of the cervical vertebrae are relatively elongated, being slightly longer than tall. The width, however, is usually greater than or equal to the length. The articular surfaces of the cervical centra are "slightly concave and kidney-shaped, with rounded, slightly rugose edges." Small holes called foramina subcentralia are found on the ventral surface of the centra. Some of the dorsals have rugose articular edges, like the cervicals; this feature is typically absent from the caudals.


title: Plesiosaurus

text: Ribs are found from the neck to the tail. Cervical ribs are hatchet-shaped and have two articular heads. Dorsal ribs are thick and have only one head. Sacral ribs are "short, robust, and blunt or knob-like on both ends." Caudal ribs have different morphologies depending on their location along the tail, with anterior examples being pointed and more distal examples being "broad and blunt." "Plesiosaurus" also has gastralia, also known as "belly ribs." Nine or more sets of gastralia are present between the shoulder and pelvis. Each set is composed of seven elements: a bone on the midline flanked by three lateral elements.


title: Plesiosaurus

text: The shoulder girdle is only partly known but appears to be typical for plesiosaurs. It includes fused clavicles at the anterior end, scapulae (shoulder blades), and large coracoids. The scapulae and coracoids both contribute to the glenoids (arm sockets). A pair of oval holes called pectoral fenestrae are found midway along the scapular/coracoid contacts. The forelimbs are elongate and relatively narrow compared to those of most plesiosaurs. The humerus (upper arm bone) has distinctive curvature, which appears to be a retained primitive feature among sauropterygians. Mature "Plesiosaurus" also have a distinctive groove along the ventral surface of the humerus. The forearm includes a flat, broad, crescent-shaped ulna and a "robust and pillar-like" radius. The wrist includes six bones. The hand paddle has five digits; the phalangeal formula is uncertain, but the count for one large individual, from "thumb" to fifth "finger", is 4-8-9-8-6.


title: Plesiosaurus

text: The pelvis includes equant pubic bones, ischia, and blade-shaped ilia connecting the pelvis to the vertebral column. The acetabulum is formed by surfaces on the pubic bones and ischia. Similar to the pectoral girdle, there is a pair of holes between the ischia and pubic bones. The hindlimbs are long and narrow, and in adults, they are much smaller than the forelimbs. The thigh bones are straight. The lower hindlimb includes two roughly equal-sized bones, the robust tibia and the semilunate-shaped fibula. There are six bones in the ankle. The foot paddle includes five digits. Like the hand, the phalangeal formula is uncertain, but is at least 3-7-9-8-7 from innermost to outer "toe".


title: Plesiosaurus

text: "Plesiosaurus" has historically been a wastebasket taxon. This is due in part to few anatomical or taxonomic studies of the relevant fossils. Uncritical taxonomic work resulted in hundreds of species representing most of the world and most of the Mesozoic being assigned to "Plesiosaurus." None of the younger Jurassic or Cretaceous species belong to "Plesiosaurus". Review of the Early Jurassic species indicates that the only English species properly assigned to "Plesiosaurus" is "P. dolichodeirus". Several other European Early Jurassic species have been assigned to new genera. "P. brachypterygius", "P. guilielmiimperatoris" and "P. tournemirensis", for example, were assigned to the new genera "Hydrorion", "Seeleyosaurus" and "Occitanosaurus".


title: Plesiosaurus

text: The following cladogram follows an analysis by Benson "et al.", 2012, and shows the placement of "Plesiosaurus" within Plesiosauria.


title: Plesiosaurus

text: Unequivocal specimens of "Plesiosaurus dolichodeirus" are limited to the Lyme Regis area of Dorset. It appears to be the most common species of plesiosaur in the Lias Group of England. "Plesiosaurus" is best represented from the "upper part of the Blue Lias, the 'Shales with Beef,' and the lower Black Ven Marls" the latter of which form part of the Charmouth Mudstone; using the Lias Group ammonite fossil zones, these rocks date to the early Sinemurian stage. Some other "Plesiosaurus" fossils are from later Sinemurian rocks. The oldest specimen may be a skull thought to come from late Rhaetian or early Hettangian rocks.


title: Plesiosaurus

text: "Plesiosaurus" fed mainly on clams and snails, and is thought to have eaten belemnites, fish and other prey as well. Its U-shaped jaw and sharp teeth would have been like a fish trap. It propelled itself by the paddles, the tail being too short to be of much use. Its neck could have been used as a rudder when navigating during a chase. "Plesiosaurus" gave live birth to live young in the water like sea snakes. The young might have lived in estuaries before moving out into the open ocean.


title: Plesiosaurus

text: It has been postulated that the long neck of "Plesiosaurus" would have been a hindrance when trying to speed up, any bend in the neck creating turbulences. If that is the case then "Plesiosaurus" would have had to keep its neck straight to achieve good acceleration, something that would make hunting difficult. For this reason it may be possible that these animals would actually lie in wait for prey to come close instead of trying to pursue them.


title: Sorry (2021 film)

text: Sorry is a 2021 stand-up comedy concert film by Louis C.K. The special was released December 18, 2021, and was released on C.K.'s website.


title: Sorry (2021 film)

text: The special was self-released by C.K. via his website, available for digital download or streaming for US$10. C.K. ran an advertisement for the special during a December broadcast for Saturday Night Live. C.K. has previously hosted SNL four times.


title: Sorry (2021 film)

text: Lili Loufbourow of "Slate" reviewed that "Sorry" "isn't bad" and is averaging among C.K.'s works, but lacks ambition. Loufbourow said that C.K. is "repeating a lot of themes you'll recognize from other specials" and that the way his "flirtations with the offensive and the taboo work" are less successful in light of his sexual misconduct.


title: Sorry (2021 film)

text: Reviewing a live performance of the show at the Hulu Theatre in August, "The Daily Beast"s Katie Tamola lambasted it as an "insultingly unapologetic hour of material from a man who thinks that if he fits enough passive self-deprecation into his comedy, he can get away with pretty much anything". Tamola criticized jokes C.K. made about receiving sexual interest from younger women, and men being afraid of being accused of raping children. Tamola found the use of the slur "faggot" "uncomfortable".


title: Sorry (2021 film)

text: Matthew Mahler of "MovieWeb" reviewed the special saying "His last specials have been accused of pandering to the alt-right, what with his criticism of the victims of the Parkland shooting, his rants against gender pronouns, and his bitterness toward the 'woke generation.' However, "Sorry" does something slightly different and actually thought-provoking rather than intentionally shocking, and has some truly hilarious moments."


title: Sorry (2021 film)

text: According to some observers, the title ironically refers to that were made public in 2017. Academics in "The Conversation" wrote that C.K.'s statement in response to the incident lacked the word "sorry", so the special's title allowed "renewed criticism for a seemingly flippant treatment of the harm that he caused".


title: Incubation period

text: Incubation period (also known as the latent period or latency period) is the time elapsed between exposure to a pathogenic organism, a chemical, or radiation, and when symptoms and signs are first apparent. In a typical infectious disease, the incubation period signifies the period taken by the multiplying organism to reach a threshold necessary to produce symptoms in the host.


title: Incubation period

text: While "latent" or "latency period" may be synonymous, a distinction is sometimes made whereby the latent period is defined as the time from infection to infectiousness. Which period is shorter depends on the disease. A person may carry disease, such as "Streptococcus" in the throat, without exhibiting any symptoms. Depending on the disease, the person may or may not be contagious during the incubation period.


title: Incubation period

text: During latency, an infection is subclinical. With respect to viral infections, in incubation the virus is replicating. This is in contrast to viral latency, a form of dormancy in which the virus does not replicate. An example of latency is HIV infection. HIV may at first have no symptoms and show no signs of AIDS, despite HIV replicating in the lymphatic system and rapidly accumulating a large viral load. People with HIV in this stage may be infectious.


title: Incubation period

text: The terms "intrinsic incubation period" and "extrinsic incubation period" are used in vector-borne diseases. The intrinsic incubation period is the time taken by an organism to complete its development in the definitive host. The extrinsic incubation period is the time taken by an organism to develop in the intermediate host.


title: Incubation period

text: For example, once ingested by a mosquito, malaria parasites must undergo development within the mosquito before they are infectious to humans. The time required for development in the mosquito ranges from 10 to 28 days, depending on the parasite species and the temperature. This is the extrinsic incubation period of that parasite. If a female mosquito does not survive longer than the extrinsic incubation period, then she will not be able to transmit any malaria parasites.


title: Incubation period

text: But if a mosquito successfully transfers the parasite to a human body via a bite, the parasite starts developing. The time between the injection of the parasite into the human and the development of the first symptoms of malaria is its intrinsic incubation period.


title: Incubation period

text: Due to inter-individual variation, the incubation period is always expressed as a range. When possible, it is best to express the mean and the 10th and 90th percentiles, though this information is not always available.


title: Put option

text: In finance, a put or put option is a derivative instrument in financial markets that gives the holder (i.e. the purchaser of the put option) the right to sell an asset (the "underlying"), at a specified price (the "strike"), by (or at) a specified date (the "expiry" or "maturity") to the "writer" (i.e. seller) of the put. The purchase of a put option is interpreted as a negative sentiment about the future value of the underlying stock. The term "put" comes from the fact that the owner has the right to "put up for sale" the stock or index.


title: Put option

text: Puts may also be combined with other derivatives as part of more complex investment strategies, and in particular, may be useful for hedging. Holding a European put option is equivalent to holding the corresponding call option and selling an appropriate forward contract. This equivalence is called "put-call parity".


title: Put option

text: Put options are most commonly used in the stock market to protect against a fall in the price of a stock below a specified price. If the price of the stock declines below the strike price, the holder of the put has the right, but not the obligation, to sell the asset at the strike price, while the seller of the put has the obligation to purchase the asset at the strike price if the owner uses the right to do so (the holder is said to "exercise" the option). In this way the buyer of the put will receive at least the strike price specified, even if the asset is currently worthless.


title: Put option

text: If the strike is , and at time the value of the underlying is , then in an "American option" the buyer can exercise the put for a payout of any time until the option's maturity date . The put yields a positive return only if the underlying price falls below the strike when the option is exercised. A "European option" can only be exercised at time rather than at any time until , and a "Bermudan option" can be exercised only on specific dates listed in the terms of the contract. If the option is not exercised by maturity, it expires worthless. (The buyer will not usually exercise the option at an allowable date if the price of the underlying is greater than .)


title: Put option

text: The most obvious use of a put option is as a type of insurance. In the protective put strategy, the investor buys enough puts to cover their holdings of the underlying so that if the price of the underlying falls sharply, they can still sell it at the strike price. Another use is for speculation: an investor can take a short position in the underlying stock without trading in it directly.


title: Put option

text: The terms for exercising the option's right to sell it differ depending on option style. A European put option allows the holder to exercise the put option for a short period of time right before expiration, while an American put option allows exercise at any time before expiration.


title: Put option

text: The most widely traded put options are on stocks/equities, but they are traded on many other instruments such as interest rates (see interest rate floor) or commodities.


title: Put option

text: The put buyer either believes that the underlying asset's price will fall by the exercise date or hopes to protect a long position in it. The advantage of buying a put over short selling the asset is that the option owner's risk of loss is limited to the premium paid for it, whereas the asset short seller's risk of loss is unlimited (its price can rise greatly, in fact, in theory it can rise infinitely, and such a rise is the short seller's loss). The put buyer's prospect (risk) of gain is limited to the option's strike price less the underlying's spot price and the premium/fee paid for it.


title: Put option

text: The put 'writer' believes that the underlying security's price will rise, not fall. The writer sells the put to collect the premium. The put writer's total potential loss is limited to the put's strike price less the spot and premium already received. Puts can be used also to limit the writer's portfolio risk and may be part of an options spread.


title: Put option

text: The put buyer/owner is short on the underlying asset of the put, but long on the put option itself. That is, the buyer wants the value of the put option to increase by a decline in the price of the underlying asset below the strike price. The writer (seller) of a put is long on the underlying asset and short on the put option itself. That is, the seller wants the option to become worthless by an increase in the price of the underlying asset above the strike price. Generally, a put option that is purchased is referred to as a "long put" and a put option that is sold is referred to as a "short put".


title: Put option

text: A naked put, also called an "uncovered put", is a put option whose writer (the seller) does not have a position in the underlying stock or other instrument. This strategy is best used by investors who want to accumulate a position in the underlying stock, but only if the price is low enough. If the buyer fails to exercise the options, then the writer keeps the option premium.


title: Put option

text: If the underlying stock's market price is below the option's strike price when expiration arrives, the option owner (buyer) can exercise the put option, forcing the writer to buy the underlying stock at the strike price. That allows the exerciser (buyer) to profit from the difference between the stock's market price and the option's strike price. But if the stock's market price is above the option's strike price at the end of expiration day, the option expires worthless, and the owner's loss is limited to the premium (fee) paid for it (the writer's profit).


title: Put option

text: The seller's potential loss on a naked put can be substantial. If the stock falls all the way to zero (bankruptcy), his loss is equal to the strike price (at which he must buy the stock to cover the option) minus the premium received. The potential upside is the premium received when selling the option: if the stock price is above the strike price at expiration, the option seller keeps the premium, and the option expires worthless. During the option's lifetime, if the stock moves lower, the option's premium may increase (depending on how far the stock falls and how much time passes). If it does, it becomes more costly to close the position (repurchase the put, sold earlier), resulting in a loss. If the stock price completely collapses before the put position is closed, the put writer potentially can face catastrophic loss. In order to protect the put buyer from default, the put writer is required to post margin. The put buyer does not need to post margin because the buyer would not exercise the option if it had a negative payoff.


title: Put option

text: A buyer thinks the price of a stock will decrease. They pay a premium that they will never get back, unless it is sold before it expires. The buyer has the right to sell the stock at the strike price.


title: Put option

text: The writer receives a premium from the buyer. If the buyer exercises their option, the writer will buy the stock at the strike price. If the buyer does not exercise their option, the writer's profit is the premium.


title: Put option

text: A put option is said to have intrinsic value when the underlying instrument has a spot price ("S") "below" the option's strike price ("K"). Upon exercise, a put option is valued at K-S if it is "in-the-money", otherwise its value is zero. Prior to exercise, an option has time value apart from its intrinsic value. The following factors reduce the time value of a put option: shortening of the time to expire, decrease in the volatility of the underlying, and increase of interest rates. Option pricing is a central problem of financial mathematics.


title: Nico Minoru

text: Minoru Nico (briefly known as Sister Grimm), is a superhero appearing in American comic books published by Marvel Comics. Created in 2003 by writer Brian K. Vaughan and artist Adrian Alphona, the character debuted in "Runaways" #1 (July 2003). Like every member of the original Runaways, Nico is the daughter of the super-powered villains calling themselves "the Pride"; in her case, she is the daughter of dark wizards. Upon finding out, Nico runs away with the rest of the runaways but later discovers that she inherited her parents' magical aptitude. Whenever Nico bleeds, a powerful staff emerges from her chest, called the Staff of One, allowing Nico to bend magic.


title: Nico Minoru

text: After the Runaways are betrayed by one of their own in volume one, Nico reluctantly becomes the de facto leader of her unofficial and nameless superhero team, making her one of the few Japanese-American superheroine team leaders. Nico's trademark is her elaborate and ornate Gothic wardrobe. Nico is a sorceress like her parents and great-grandmother before her and can cast nearly any spell imaginable with her staff. Nico uses her talents to make up for her parents' villainous actions and to prevent anyone from assuming the Pride's place at the top of Los Angeles organized crime.


title: Nico Minoru

text: In the Marvel Universe, she was featured in "Avengers Arena" and its sequel, "Avengers Undercover", which follows the survivors of the thirty day-long deathmatch in MurderWorld. Nico is traumatized by those events and temporarily walked away from the Runaways. She later joined Marvel's first all-female Avengers team, "A-Force".


title: Nico Minoru

text: Nico's Staff of One responds to verbal commands, but can only respond to any given spell once. If she attempts to cast the same spell twice, the results have unforeseen consequences. To summon the Staff itself, Nico must bleed—as all magic comes with a cost. After working with the Witchbreaker, Nico develops the ability to cast spells without the Staff and upgrades her own abilities. In the wake of her resurrection in Murderworld, Nico jumps up to another power level and even receives a magical arm replacement that can channel supernatural energies more powerful than the Staff. By the relaunch of "Runaways" vol. 5, Nico's Staff and powers are reverted to its original condition and her magical arm replaced with a normal arm for reasons unknown yet.


title: Nico Minoru

text: Since her debut, Nico has been described as one of Marvel's most notable and powerful LGBT female heroes.


title: Nico Minoru

text: Nico Minoru was portrayed by Lyrica Okano in the Hulu streaming television series "Runaways", set in the Marvel Cinematic Universe (MCU). She will reprise the role in the 2022 tactical role-playing game "Marvel's Midnight Suns".


title: Nico Minoru

text: Nico Minoru first appeared in "Runaways" # 1 (July 2003) and was created by Brian K. Vaughan and Adrian Alphona.


title: Nico Minoru

text: In Brian K. Vaughan's original pitch for the series, Nico was called Rachel Messina. Her parents were still magicians, but posed as wealthy antique dealers; this cover story was ultimately used for Gert's time travelling parents. Nico's source of power was not originally going to be her mother's Staff, but Robert Minoru's spellbook.


title: Nico Minoru

text: Nico Minoru appeared in "Avengers Arena", a new series by Dennis Hopeless and Kev Walker, as well as its sequel, "Avengers Undercover".


title: Nico Minoru

text: Nico appears as one of the main characters in "A-Force", an all-female Avengers spin-off launched by G. Willow Wilson, Marguerite Bennett, and Jorge Molina during Marvel's "Secret Wars" crossover.


title: Nico Minoru

text: Every year, Nico's parents join five other couples in a charity event; one year, Nico and the other kids spy on their parents. Nico is shocked to discover her father speaking an enchantment, and after witnessing the murder of an innocent girl by their parents ("the Pride"), Nico joins the others in their massive ransack to run away from their parents. While on the run, Nico encounters her parents. Her mother, wielding a large staff with a ball at the end ("the Staff of One"), reveals that she and Nico's father are dark wizards; she then attempts to jam the Staff into Nico's chest. Nico's body absorbs it. After she is later cut by Dale Yorkes' Samurai battle-axe, the Staff re-emerges from her chest, which prompts Nico to use the phrase "Freeze", and freeze Stacey Yorkes. It is revealed that Nico is a witch, and that the Staff only emerges when she bleeds. Sometime after running off, Nico takes on the name Sister Grimm to escape the name her parents gave her, but drops it after a while. After team leader Alex outs himself as the mole and is defeated along with the Pride, Nico is accepted as the group's leader.


title: Nico Minoru

text: In 2007, the magic-related crossover event "Mystic Arcana" fills the gap between "Runaways" #17 and #18, during Nico's brief time at Father Flanagan's Home for Unwanted Goth Kids. The story begins with Nico dressed in a Japanese school girl's outfit, stating that it's perhaps time to let go of the goth trend. She is soon talked into going to a nightclub with her friends, where she meets her parents' old rival Marie Laveau; Laveau seeks revenge on Nico's parents for stealing the Black Mirror, one of the four Cornerstones of Creation. After Laveau explains that she needs Nico's blood to activate the Black Mirror, Nico gives Leveau her blood, while also purging out the Staff of One. The two fight, and Nico easily wins. Nico attempts to bring back Alex Wilder using the Mirror, however the spell fails, the Mirror shatters and the last page of the Darkhold is revealed behind the glass. Laveau takes it and flees, while Nico accepts her place as an outcast with the Runaways.


title: Nico Minoru

text: Artist Dave Sexton revealed Nico was one of the four magic characters chosen for the story arc because each character relates to some elemental themes: Magik represents air and logic, the Black Knight represents the Earth and tools, the Scarlet Witch represents water and emotions while Nico represented fire and wands. As Nico must deliver blood in order to produce her Staff, fire and sacrifice prove to be very similar to Tarot's Minor Arcana suit of "wands". Although C.B. Cebulski wrote the "Sister Grimm" portion of Mystic Arcana, "Runaways"-creator Brian K. Vaughan lent some assistance.


title: Nico Minoru

text: After being warned of a future threat named Victor Mancha, Nico and the Runaways find and abduct Victor to question him. After Victor's mother is murdered and father, Ultron, is destroyed, Nico invites Victor to become a part of the team, much to the anger of some members, notably Chase. Nico reassures them that she is willing to "rip [Victor's] damn heart out" if necessary. After Chase ties Nico up before he attempts to sacrifice himself to the Gibborim, Nico interprets it as a cry for help and leads the Runaways to intervene to stop Chase's self-sacrifice. The Gibborim instead attempt to take Nico, revealing that Nico's soul is innocent, thus, suitable for the Gibborim's consumption. Victor rescues Nico and the two form a relationship. After defeating the Gibborim, Victor asks Nico what she's willing to do if Chase does something like this again; Nico responds by saying she is willing to "rip [Chase's] damn heart out" if necessary. After returning to their lair beneath the La Brea Tar Pits, Xavin realizes she had publicly exposed their location, drawing the attention of Iron Man and S.H.I.E.L.D. Nico, stepping into her role as a leader, leads the Runaways in a cross-country escape from Iron Man and S.H.I.E.L.D.


title: Nico Minoru

text: After escaping the authorities, the Runaways head to New York where Nico anxiously makes a deal with the Kingpin. In a twisted turn of events, the Runaways end up time-displaced in 1907 New York, where Nico is kidnapped and brought to a woman named "the Witchbreaker". The Witchbreaker claims she is Nico's great-grandmother, and states she will teach Nico how to withstand more pain and, therefore, wield more magic with better proficiency. She wields a weapon similar to the Staff of One, with more adornments. When reunited with her comrades, a significant development to Nico's abilities is evident, where she is freely able to float, displays more proficiency and confidence in casting spells and able to use a spell with an effect more complicated than most of her others thus far. It is revealed that Nico had obtained the Witchbreaker's Staff. Little more information is given to how Nico and her ancestor's meeting had ended, though the Official Handbook of the Marvel Universe's more recent edition says that Nico had "escaped" her. During this period, Victor falls in love with another girl, corrupting his relationship with Nico.


title: Nico Minoru

text: During the global shape-shifting alien invasion by the Skrulls, Nico and the other Runaways briefly remain in New York after returning from 1907, trusting that "hiding in plain sight" would be sufficient to conceal their own identities and that it would be best if they showed Klara around her city in the future before they returned to Los Angeles. However, to their shock, an armada of Skrull ships attack New York and its civilians. Xavin, trying to fool the invaders into thinking she intends to help them, uses a force field to knock out the Runaways; Nico and Victor are still conscious, however, and they attack Xavin, accusing her of being a traitor. Xavin reveals that she is trying to protect them and convinces them that the Skrulls are too dangerous for them to fight and pleading with them to flee to the Leapfrog. The Runaways eventually unite with the Young Avengers to assist against the invading Skrulls. Nico insists on leading her team to help the Young Avengers continue the fight against the Skrulls, refusing to "run away." However, Wiccan urges her to leave, claiming that if the Young Avengers lose, they will need the Runaways to save them.


title: Nico Minoru

text: Nico uses a spell ("scatter") to scatter a group of invading Majesdanians all over the planet. The spell, however, had unwanted side-effects: it emotionally scatters the Runaways. Victor realizes this in time, and Nico spearheads a massive escape from the returning Majesdanians. A short time later, the Runaways realize that having obeyed Nico, they broke the enchantment. Regardless, Xavin shapeshifts into Karolina and leaves Earth, much to the other Runaways' great grief.


title: Nico Minoru

text: Later on, Nico uses the spell "Zombie Not" to turn an army of zombies back to humans; the spell, backfiring, turns the zombies into an actual "zombie knot", thus creating a one large zombie. The Runaways deduce that after the Witchbreaker tortured and trained Nico, Nico's magical abilities have been greatly augmented. Val Rhymin's magician informs Nico that the Staff of One carries tremendous magical ability and Nico, being young, should not use it. The magician steals the Staff from her, only to be killed after the Staff defends itself. A silent Nico takes her Staff back, and warns the other Runaways not to touch it.


title: Nico Minoru

text: At the 2009 Emerald City ComiCon, writer Brian Bendis implied that Nico might be one of the magicians sought by former Sorcerer Supreme Doctor Strange, seeing as the search "is not done yet." Although the title went to Brother Voodoo, her image appeared as one of the many candidates the Eye of Agamotto considered to assume the role of the new Sorcerer Supreme.


title: Nico Minoru

text: Nico also makes a non-speaking cameo in "Strange" #4 (Feb. 2010) as one of the powerful mages Dr. Strange asks to stop using their powers for an hour.