title: Always Look on the Bright Side of Life

text: "Always Look on the Bright Side of Life" is a comedy song written by Monty Python member Eric Idle that was first featured in the Python film "Life of Brian" and has gone on to become a common singalong at public events such as football matches as well as funerals.


title: Always Look on the Bright Side of Life

text: Written in the British music hall tradition, the song touches on stoicism and the "stiff upper lip" spirit in the face of adversity, so often associated with British people. It became immensely popular, reaching No. 3 on the UK Singles Chart in 1991. Idle performed the song live to a global audience at the 2012 Summer Olympics closing ceremony during the one-hour symphony of British Music segment.


title: Always Look on the Bright Side of Life

text: Whilst trying to come up with a way of ending the film "Monty Python's Life of Brian", Eric Idle wrote an original version of the song on a Gibson J-50 guitar using only jazz chords he learnt from a course by Mickey Baker. Originally the song was sung in a more straight fashion, which the other Python members eventually agreed would be good enough for the end of the film. However, Michael Palin noted in his diary for 16 June 1978 that during a script meeting, "Eric's two songs—'Otto' and the 'Look on the Bright Side' crucifixion song—are rather coolly received before lunch." Despite being initially underwhelmed, the group warmed to Idle's efforts and the song was retained. While practising during a break in filming, Idle found that it worked better if sung in a more cheeky manner by a character of his called "Mr Cheeky", which in turn was based on the film's Cockney lighting crew. This new version was used in the film and became one of Monty Python's most famous compositions.


title: Always Look on the Bright Side of Life

text: The song appears at the end of the film. The film's lead character Brian Cohen (played by Graham Chapman) has been crucified for his part in a kidnap plot. After a succession of apparent rescue opportunities all come to nothing, a character on a nearby cross (played by Eric Idle) attempts to cheer him up by singing "Always Look on the Bright Side of Life". As the song progresses, many of the other crucifixion victims (140 in all, according to the script, though twenty-three crosses are actually seen on screen) begin to dance in a very restricted way and join in with the song's whistled hook. The song continues as the scene changes to a long-shot of the crosses and the credits begin to roll. An instrumental version plays over the second half of the credits. Its appearance at the end of the film, when the central character seems certain to die, is deliberately ironic.


title: Always Look on the Bright Side of Life

text: "Always Look on the Bright Side of Life" was arranged and conducted by John Altman and recorded at Chappell's Studio with a full orchestra and the Fred Tomlinson Singers. The whistling was performed by Neil Innes. The song appeared on the film soundtrack album, listed as "Look on the Bright Side of Life (All Things Dull and Ugly)". The subtitle does not appear in the actual song, and is only used on the soundtrack album. "All Things Dull and Ugly" was also the title of an unrelated track on "Monty Python's Contractual Obligation Album" (released the following year) which is a parody of the popular hymn "All Things Bright and Beautiful". The song was also released as a Double A side single with "Brian", the film's opening theme (performed by Sonia Jones).


title: Always Look on the Bright Side of Life

text: The song touched a chord with the British trait of stoicism and the "stiff upper lip" in the face of disaster, and became immensely popular. When the destroyer HMS "Sheffield" was struck by an Exocet cruise missile on 4 May 1982 in the Falklands War, her crew sang it while waiting to be rescued from their sinking ship, as did the crew of HMS "Coventry", with the line from the song "Worse things happen at sea, you know" being especially ironic.


title: Always Look on the Bright Side of Life

text: When Chapman died on 4 October 1989, the five remaining Pythons, as well as Chapman's close friends and family, came together at his public memorial service to sing "Always Look on the Bright Side of Life" as part of Idle's eulogy. In 2005, a survey by Music Choice showed that it was the third most popular song Britons would like played at their funerals. By 2014, it was the most popular.


title: Always Look on the Bright Side of Life

text: When performing the song live in a (solo) sketch within special events, Idle re-wrote one verse of the song to fit the particular occasion, and on one occasion sung a parody of the song with entirely different lyrics. What follows are two such examples of the former, and the latter.


title: Always Look on the Bright Side of Life

text: In 2018, Idle made a guest appearance on "The Late Late Show with James Corden"; he and Corden begin to perform a duet of the song to distract from the abundance of bad-natured current events, but after they are interrupted multiple times by notifications on their cell phones where they are aghast at even more upsetting news, they instead sing a parody of the song titled "We Are Probably All Going to Die".


title: Always Look on the Bright Side of Life

text: "Always Look on the Bright Side of Life" was first issued as a single as a double A-side with "Brian" in the UK on 16 November 1979 to promote "Monty Python's Life of Brian" and its soundtrack album, but did not chart. Nine years later when the film was released on VHS, the song was reissued on 21 November 1988 in an edited form to remove profanity, with a full version of "Brian" on the B-side. Once again it failed to chart.


title: Always Look on the Bright Side of Life

text: The song became particularly popular in the early 1990s. The film had retained a cult status in the intervening years. Around 1990, BBC Radio 1 DJ Simon Mayo, whose breakfast show had a track record of reviving old novelty songs, began playing the original version on his show, which led to Virgin reissuing the track as a single on 23 September 1991.


title: Always Look on the Bright Side of Life

text: The 7-inch single was backed with two tracks from "Contractual Obligation", "I Bet You They Won't Play This Song on the Radio" and "I'm So Worried", while the cassette and CD singles added a German-language version of "The Lumberjack Song" taken from the first "Fliegender Zirkus" episode. The single reached the top ten in October and prompted a deliberately chaotic performance by Idle on "Top of the Pops". Despite some predictions, it did not manage to bring an end to Bryan Adams's unprecedented run at the top of the UK Singles Chart with "(Everything I Do) I Do It for You", instead peaking at number 3 and leading to a re-promotion for the 1989 compilation "Monty Python Sings", which the song opens. However, the single did get to Number 1 in Ireland on 13 October 1991, despite "Life of Brian" having been banned in Ireland, and the soundtrack on Warners withdrawn when released after protests. Following this attention, the song became more popular than ever. Two cover versions, by Tenor Fly (incorporating the piano riff from Nina Simone's "My Baby Just Cares for Me"), and the cast of "Coronation Street" (with main vocals by Bill Waddington, who played Percy Sugden in the show), both reached the charts in 1995, with "The Coronation Street Single" version reaching number 35.


title: Always Look on the Bright Side of Life

text: Eric Idle recorded alternative lyrics for the radio version, with the swearing censored, and the comments about the end of the film replaced with references to "the end of the record", and continued rants about old people. This version was released on CD, cassette and vinyl via the compilation album "Now 20" in November 1991 and as a b-side on a reissue of "Galaxy Song" (where it is billed as "1991 version") on 2 December 1991. For this radio version, the line "Life's a piece of shit" was altered to "Life's a piece of spit". In recognition of Simon Mayo's contribution to making the record a hit, a special version was also created, in which Idle addresses him by name. Mayo still uses this version when the song is played on his show. This version is also included as the penultimate track on "Now That's What I Call Music! 1991 – The Millennium Series", released in 1999.


title: Always Look on the Bright Side of Life

text: On 14 July 2014 another version of the song was issued, this time as a 12" single where it was promoted as "The Unofficial England Football Anthem". The track featured a new vocal from Eric Idle and some alternate lyrics about the World Cup.


title: Always Look on the Bright Side of Life

text: Harry Nilsson performed "Always Look on the Bright Side of Life" as the closing track on his 1980 album, "Flash Harry". In 1997, the song was recorded by Art Garfunkel and included in the soundtrack of James L. Brooks' film "As Good as It Gets". In the film itself, Jack Nicholson sings the song fleetingly with the minor addition of "your" in "brighter side of [your] life". Garfunkel's version replaced the risqué phrase "Life's a piece of shit" with the more family-friendly "Life's a counterfeit" ("Life is hit or miss" has also replaced the lyric as with wedding bands and live radio). The song has also been performed by Bruce Cockburn and released on his 1990 live CD.


title: Always Look on the Bright Side of Life

text: The Brobdingnagian Bards recorded the song for their CD "A Faire to Remember". American musician Emilie Autumn performed a harpsichord cover of the song for her compilation album "A Bit o' This & That". Heavens Gate recorded a metal cover of "Always Look on the Bright Side of Life" for the album "Hell for Sale!". Green Day has used it in their rendition of "Shout" on their concert DVD "Bullet in a Bible".


title: Always Look on the Bright Side of Life

text: German fun metal band JBO made a version of the song with changed lyrics ("Always Look on the Dark Side of Life") for their album "Sex Sex Sex". German fun punk band Heiter bis Wolkig also made a version with changed lyrics called "Versuch's mal von der breiten Seite zu seh'n". The British duo Amateur Transplants made a parody version of "Always Look on the Bright Side of Life" as well, with lyrics in which only the name and the chorus of the original song are retained.


title: Always Look on the Bright Side of Life

text: Green Day did a short version of the song on their "Revolution Radio" tour in 2017 in Brisbane, Australia. They also covered "(I Can't Get No) Satisfaction" and "Hey Jude" after playing "King for a Day" and "Shout".


title: Always Look on the Bright Side of Life

text: The song appears twice in the Broadway musical "Spamalot", based on "Monty Python and the Holy Grail" – once in Act II and again during the curtain call.


title: Always Look on the Bright Side of Life

text: The song is used at the end of "Not the Messiah (He's a Very Naughty Boy)", the comedic oratorio written by Eric Idle and collaborator John Du Prez.


title: Always Look on the Bright Side of Life

text: The song would make an appearance on season 8 of "The Masked Singer", where Idle sung it as his encore song after being unmasked as the Hedgehog.


title: Gummy (singer)

text: Park Ji-yeon (Hangul: 박지연; born April 8, 1981), better known by her stage name Gummy (Hangul: 거미), is a South Korean singer. She debuted in 2003 with the album "Like Them" and has since become known for her soundtrack appearances.


title: Gummy (singer)

text: Gummy debuted in 2003 with the album "Like Them". Her title track "Memory Loss" () brought her success and recognition and led Gummy to win the Bonsang at the 19th Golden Disk Awards. The same year, Gummy earned the Mobile Popularity Award for "Memory Loss" at the 2004 Mnet Km Music Festival. However, she suffered vocal nodules between the first and second albums.


title: Gummy (singer)

text: She released her fourth album titled "Comfort" on March 12, 2008, which marked her first released in three years. The lead single "I'm Sorry" () features T.O.P from Big Bang. A week after its release, the song peaked within the top five spots on various digital charts.


title: Gummy (singer)

text: Gummy released a mini album titled "Loveless". A music video plus the full song of one of her tracks in the mini album was released on April 21. "Loveless" was released on April 29, and promotion for the album began in May.


title: Gummy (singer)

text: 2013 marked the tenth anniversary for Gummy and she celebrated with a fan meeting. She then released her OST for the drama, "That Winter, the Wind Blows" entitled "Snow Flower".


title: Gummy (singer)

text: Gummy also released her second Japanese album, "Fate(s)". She also had a duet with Daesung from BIGBANG. Two music videos were released for the lead single of the album, "Shinjiteru (Believe)".


title: Gummy (singer)

text: In 2014, Gummy provided the song "You're Calling Me" for the action-thriller television series "Three Days". Gummy then returned with the mini album "I Loved...Have No Regrets". One of the singles from the 6-track EP was a duet with labelmate and JYJ's Park Yuchun.


title: Gummy (singer)

text: In 2016, Gummy released her OST for the drama "Descendants of the Sun" entitled "You are My Everything". It topped iTunes K-pop charts in Canada, Hong Kong, New Zealand, Malaysia, Singapore, Australia, Indonesia, and Taiwan as well as coming in the top 10 in the U.S and Vietnam. The same year, she once again collaborated with "Descendant"'s music director Gaemi to release the OST for the popular drama "Love in the Moonlight" entitled "Moonlight Drawn by Clouds". The success of her soundtrack releases drew the media to call her "OST Queen".


title: Gummy (singer)

text: Gummy was born into a food-production family. Her father worked in a seaweed sauce factory, while her grandfather worked in a prawn farm in the sea. She has been in a relationship with actor Jo Jung-suk since 2013.


title: Gummy (singer)

text: In June 2018, they announced they would be getting married in the fall. On October 8, 2018, news broke that the couple had gotten married privately. On August 6, 2020, they welcomed their first child.


Pokémon the Movie: Secrets of the Jungle is a 2020 Japanese anime film based on Satoshi Tajiri's "Pokémon" media franchise and produced by OLM. It is the twenty-third and most recent film in the "Pokémon" universe, the third film in the Alternate Timeline series covering Generation VIII. The film returns to the series’ traditional 2D art style rather than using the CGI animation used in "". It features the new Generation VIII Mythical Pokémon Zarude and a shiny Celebi.


title: Pokémon the Movie: Secrets of the Jungle

text: In Japan, the film was released on December 25, 2020, by Toho. The original release date of July 10, 2020, was delayed due to the COVID-19 pandemic in Japan. The film released worldwide (excluding Japan, Korea, and China) on Netflix on October 8, 2021.


text: For a limited time, if players of "Pokémon Sword" and "Shield" preordered tickets for this film's premiere, they would get the Mythical Pokémon Zarude in its "Dada" form and a Shiny Celebi. This is the last "Pokémon" film to date.


text: In the Forest of Okoya, the Mythical Pokémon Zarude finds an infant boy in a cradle washed up on a riverbank. Unable to leave the child on his own, Zarude adopts him as a son, giving him the name "Koko". Zarude leaves his tribe, which inhabits a Great Tree deep in the jungle where humans are forbidden to venture, to raise Koko who grows up as a feral child.


text: Ten years later, Ash Ketchum and Pikachu visit the Forest of Okoya from nearby Milyfa Town. While attempting to capture a wild Cramorant, Ash and Pikachu encounter a research team from the Biotope Company, a scientific organization studying the jungle. Team Rocket, covertly following them, look up information on the Biotope Company and its leader Dr. Zed, and decide to infiltrate the group.


text: Later, Ash sees Koko go over a waterfall, after he got knocked out from a pipe while swinging on a vine with a wild Skwovet, and retrieves him from the water, bringing him to Milyfa Town's Pokémon Center for treatment. When Koko awakens, he becomes alarmed and escapes the building, having never seen other humans before. Discovering that Koko believes himself to be a Pokémon, Ash and Pikachu spend time with him in the town, helping him to learn about humans for the first time.


text: Ash, Pikachu and Koko later encounter Zarude, who is forced to admit the truth about Koko's heritage. Zarude brings them to an abandoned laboratory he found shortly after adopting Koko, where he shows them a photograph he found of an infant Koko with his human parents. Zarude then leaves, returning to the Great Tree alone.


text: Discovering a wallet from Biotope Company, Ash brings Koko to their headquarters, where they meet with Dr. Zed. He reveals that Koko's parents are Chrom and Phossa Molybdenum, a pair of scientists who led the organization in researching the healing springs, and that Koko's real name is Al Molybdenum. However, Chrom and Phossa were killed in a car accident ten years ago, which was presumed to have killed Al as well. Dr. Zed scans Koko's pendant and discovers partially corrupted data on it that reveals an image of the Great Tree. Distraught over the news of his parents' fate, Koko flees to the Great Tree as well.


text: As soon as he reaches the Great Tree, Koko discovers a tracking chip planted on him by Dr. Zed. Zed arrives with his research team, which Team Rocket have infiltrated, along with a giant, spider-like tank. Koko and Ash try to stop Zed's actions, but he restrains them using his Ariados and throws them into the back of one of his trucks. He then fires missiles at the Great Tree, blasting open holes from which the spring water gushes forth. Ash, Pikachu and Koko escape with unwitting help from Team Rocket as they wrestle with the Cramorant from earlier and confront Dr. Zed, who suffers a psychotic breakdown and admits that, when Chrom and Phossa Molybden discovered the Great Tree's location but refused to continue researching it out of respect for the Zarude tribe, he killed the couple by running them off a road and stealing their supply of the spring water before leaving them to die in the explosion of their wrecked car. Before they perished, Chrom and Phossa sent the infant Al down the river with a drive containing the rest of their research, leading to Zarude finding him.


text: Dr. Zed seizes control of the tank from his henchmen, and Ash, Pikachu and Koko try to fight him to no avail. Zarude's tribe arrives, having been convinced to help save the jungle by Zarude who raised Koko. Koko's father figure also brings a group of wild Pokémon, who previously disliked his tribe due to their selfish behavior, to assist. Zarude is injured in the battle and nearly succumbs, but Koko manages to harness the power of the jungle as if he were indeed a Pokémon, healing him. With all their combined forces, they manage to break the tank's power source, disabling it. Zed attempts to escape, but is captured by Koko.


text: In the aftermath, the humans and Pokémon work together to restore the damage done to the jungle. Dr. Zed is arrested for his crimes and is loaded into a police van by Officer Jenny, based on evidence leaked by Team Rocket. Koko decides to leave to explore the human world and become the bridge between humans and Pokémon, taking the photograph of his parents along with him. As he and Ash leave the Forest of Okoya, they see Zarude turn the healing springs into a geyser to send Koko off. Cheered up by this, Koko goes forth into his future, embracing his dual identity as a Zarude and a human. At the Great Tree, Zarude who raised Koko sees a Shiny Celebi, which observes Zarude now living in harmony with the other Pokémon.


text: "Pokémon the Movie: Koko Music Collection" (Japanese: 「劇場版ポケットモンスター ココ」ミュージックコレクション) is the official soundtrack of the movie that was released in Japan on December 23, 2020. "Koko" by Beverly is the Japanese opening theme for the movie. "Pokémon the Movie: Koko Theme Song Collection" (Japanese: 「劇場版ポケットモンスター ココ」テーマソング集), the album for the opening theme was also released on December 23, 2020.


text: The movie has 6 theme songs, all written by Taiiku Okazaki; this is the first time that a "Pokémon" movie had multiple theme songs all written by the same artist:


text: The film was released on December 25, 2020, in Japan. The original release date of July 10, 2020, was delayed due to the COVID-19 pandemic.


text: The film was released on DVD and Blu-ray in Japan on July 14, 2021, and in North America on October 18, 2022.


text: In Japan, "Pokémon the Movie: Secrets of the Jungle" grossed () . Overseas, the film's September 2021 releases in China and South Korea grossed $5,045,865, for a worldwide total of .


title: The Pink Panther Show

text: The Pink Panther Show is a showcase of animated shorts produced by David H. DePatie and Friz Freleng between 1969 and 1978, starring the animated Pink Panther character from the opening credits of the live-action films. The series was produced by Mirisch Films and DePatie–Freleng Enterprises, and was broadcast Saturday mornings on two American television networks: from September 6, 1969, to September 2, 1978, on NBC; and from September 9, 1978, to August 30, 1980, on ABC. The show was originally broadcast in black and white.


title: The Pink Panther Show

text: When "The Pink Panther Show" first aired in 1969, it consisted of one cartoon featuring The Inspector, sandwiched by two Pink Panther entries. Due to the number of shorts produced, two episodes feature a Pink Panther cartoon sandwiched by two Inspector entries. The 30-minute show was then connected via bumper sequences featuring both the panther and Inspector together, with announcer Marvin Miller acting as an off-camera narrator talking to the panther. Bumper sequences consisted of newly animated segments as well as recycled footage from existing cartoons "We Give Pink Stamps", "Reel Pink", "Pink Outs" and "Super Pink", fitted with new incidental music and voice-over work from Miller.


title: The Pink Panther Show

text: Pink Panther shorts that were produced after 1969 (starting with "A Fly in the Pink") were made for both broadcast and theatrical release, typically appearing on television first, and released to theaters by United Artists. A number of new series were created, including the very popular "The Ant and the Aardvark", "Tijuana Toads" (a.k.a. Texas Toads), "Hoot Kloot", "Misterjaw", "Roland and Rattfink", "The Dogfather" and two "Tijuana Toads" spinoffs: "The Blue Racer" and "Crazylegs Crane". "The New Pink Panther Show" and later shows featured newly animated bumper segments involving the Panther, the Ant and the Aardvark, Misterjaw, and the Texas Toads.


title: The Pink Panther Show

text: By this time, due to the violent nature of some of the cartoons, they were re-edited for television by omitting the cartoon violent scenes from their broadcasts, in order to make them more family friendly.


title: The Pink Panther Show

text: In 1976, the half-hour series was revamped into a 90-minute format, as "It's the All New Pink Panther Laugh-and-a-Half Hour-and-a-Half Show Introducing Misterjaw"; this version included a live-action segment, where comedian Lenny Schultz would read letters and jokes from viewers. This version performed poorly and eventually reverted to the original 30-minute version in 1977 as "Think Pink Panther".


title: The Pink Panther Show

text: After nine years on NBC, the Pink Panther moved to ABC in 1978 and was retitled "The All New Pink Panther Show" and "Pink Panther Encore", where it lasted two seasons before leaving the network realm entirely. The tenth season featured 16 episodes with 32 new Pink Panther cartoons, and 16 featuring Crazylegs Crane: no bumpers were produced for "The All New Pink Panther Show", but 10 second "Stay tuned..." bumpers explaining an upcoming entry were produced for the first several episodes. The 32 "All New Pink Panther Show" entries were eventually released to theaters by United Artists.


title: The Pink Panther Show

text: Henry Mancini composed "The Pink Panther Theme" for the live action films, which would be used extensively in the cartoon series as well. Doug Goodwin composed the show's opening title music while William Lava and Walter Greene composed music scores heard throughout the cartoons, many of which were variations on Mancini's "Pink Panther Theme".


title: The Pink Panther Show

text: By the time of the show's 1969 debut, fitting cartoon and children's shows with a laugh track was standard practice. In keeping with this standard, NBC added a laugh track to all seasons of "The Pink Panther Show", marking the first time in history that theatrical films were fitted with a laugh track for television broadcast (Season 2 utilized an inferior laugh track, utilizing isolated laugh clips from Season 1). This was an anomaly, as other theatrical cartoon series that were aired successfully on television (i.e. "Tom and Jerry", "Woody Woodpecker", "Looney Tunes", "Popeye") did not receive this addition.


title: The Pink Panther Show

text: The soundtracks were restored to their original theatrical form in 1982 when the DFE theatrical package went into syndication. Repackaging over the years has resulted in both theatrical and television versions of the entries being available. The exceptions were "Misterjaw" and "Crazylegs Crane", which were produced specifically for television and never re-released theatrically, resulting in laughter-only versions. The U.S.-based Boomerang occasionally airs versions with the laugh track intact, though these versions are more commonly found outside of the U.S. The Spanish language Boomerang requires that MGM supply them with laugh track-only versions of all shorts. The Portuguese language Boomerang, France-based Gulli, and Poland channels TV 4 and TV6 also broadcast certain entries utilizing laugh track versions.


title: The Pink Panther Show

text: United Artists Television syndicated "The Pink Panther Show" in 1980, complete with bumpers and laugh-tracked versions of the shorts. By 1982, MGM Television began syndicating some individual cartoons to local stations to air them as they saw fit. This format did not contain the series' bumpers nor the laugh track.


title: The Pink Panther Show

text: Most television stations aired the later package released in 1982, featuring the cartoon shorts by themselves, isolated from the show's original bumpers sequences. The laugh track was also silenced on all entries except for "Misterjaw". Chicago-based WGN-TV was one of the few stations to air the 1980 "The Pink Panther Show" syndication package. Conversely, New York City-based WPIX featured a stripped-down version of the shorts, airing the entries without the laugh track, bumpers, or theatrical opening/closing credits.


title: The Pink Panther Show

text: "The Pink Panther Show" (1969–1971) and "The New Pink Panther Show" (1971–1974) has been remastered in its original format. It was previously shown on BBC Two, UK Gold, BBC One, Boomerang (2000–2009) and Cartoon Network (1993–2002). In the late 2000s, it aired in Canada on Teletoon Retro weekday mornings at 8:00am. Teletoon Retro showed all 32 episodes of "The Pink Panther Show" with the panther and the Inspector, all 17 episodes of "The New Pink Panther Show" with the panther and the Ant and the Aardvark, and select episodes of the first syndicated "Pink Panther Show" series (only those episodes with the middle cartoon being an Ant and Aardvark). Teletoon Retro then showed all 16 episodes of "The All New Pink Panther Show", with the panther and Crazylegs Crane. The laugh track is muted for most entries.


title: The Pink Panther Show

text: The episodes shown on Teletoon Retro also featured remastered versions, while the wrap-around content was in rougher condition. The Inspector cartoon, "Tour de Farce", had the wrong title card, that for "Reaux, Reaux, Reaux Your Boat".


title: The Pink Panther Show

text: Cartoon Network reran "The Pink Panther Show" from 1997 to 1999, and intermittently in 2006, 2009, and 2012. A "no-frills" version aired on Boomerang five days a week at 5:30am, 10am and 2:30pm;; the Boomerang version included four shorts and no bumpers, in the style of its other theatrical-short compilation shows. Until August 2009, Boomerang only featured shorts from "The Pink Panther", "The Ant and the Aardvark" and "The Inspector". The laugh track was present on several entries. Currently, the show remains intact on the Spanish Language Boomerang TV channel with most entries containing their original laugh track. The Pink Panther show aired on Boomerang from 2004 to 2012.


title: The Pink Panther Show

text: In the Arab world, it was shown on Spacetoon from 2014 to 2017, due to Spacetoon airing The Pink Panther and low reception from Spacetoon viewers.


title: The Pink Panther Show

text: The show also previously aired in its original format on This TV on Tuesdays and Thursdays at 8:30am Eastern Time (as part of its Cookie Jar Toons programming block) until September 22, 2011. The digital broadcast network Light TV ran the series when the network launched Christmas weekend 2016 until September 29, 2019. On June 1, 2020 to May 29, 2022, the show aired for the first time in Spanish on Galavisión, known as "El show de la Pantera Rosa".


title: The Pink Panther Show

text: MeTV currently reruns the show under the name Pink Panther's Party, during their Saturday morning block, "Saturday Morning Cartoons", from 7:30 am to 8:00 am ET/ 6:30 to 7:00 am CT following Popeye and Pals, which currently airs from 7:00 am to 7:30 am ET/ 6:00 am to 6:30 am CT. The show is collectively called Popeye and Pink Panther's Party, combining Popeye and Pals and Pink Panther's Party into a single show.


title: The Pink Panther Show

text: The first season of The Pink Panther Show (1969–1970) consisted of one "The Inspector" entry sandwiched by two "Pink Panther" entries. The show was "hosted" by The Pink Panther and The Inspector, seen during the opening sequence, which showed a boy driving the "Panthermobile" from the countryside to Grauman's Chinese Theatre in Hollywood. During the journey, images of animals mentioned in the song (rhinoceros, tiger, cats, American mink) are seen alongside clips of the panther from "Reel Pink", "Come On In! The Water's Pink" and "Put Put Pink". Upon arrival, the Pink Panther and the Inspector then disembark from the Panthermobile and enter the famous theatre. In the ending credits, the Inspector climbs back into the Panthermobile, but leaves the Pink Panther behind, who is seen chasing after the car.


title: The Pink Panther Show

text: The entries utilized for the second season featured complete original theatrical titles. With only two exceptions, the first and third cartoons of each episode were Pink Panthers, and second was an Inspector. In the two exceptions, the first and third cartoons were Inspectors, and the middle one was a Pink Panther. Unlike Season 1, a full laugh track was not used but rather an abridged version using isolated laughs from Season 1 edited onto the soundtrack by DFE (these inferior versions currently in circulation are marked with †). Seasons 1 and 2 were repackaged as a single Season 1 in the 2000s.


title: The Pink Panther Show

text: The New Pink Panther Show (1971–1974) featured a new opening and closing sequence and theme song, pitting the attention-seeking Aardvark against the panther. The show's new title song, "Pantherly Pride", was written by Doug Goodwin and played over the opening sequence.


title: The Pink Panther Show

text: This incarnation aired "The Ant and the Aardvark" during the 1971–1972 season. Later seasons swapped "The Ant and the Aardvark" with theatrical series' "Roland and Rattfink", "Hoot Kloot" or "The Blue Racer", as well as reruns of "The Inspector". Only eight new "Pink Panther" cartoons were produced over this three-year period (in Bold).


title: The Pink Panther Show

text: The Pink Panther and Friends (1974–1976) followed the same format as "The New Pink Panther Show". The first Pink Panther entry was a new episode, while the second was a rebroadcast of an old entry. Bumpers featuring "The Inspector" and "The Ant and the Aardvark" connected the three entries. New series "The Dogfather" (originally produced for theatrical release) was also added to broadcasts, in addition to "The Blue Racer" or "Hoot Kloot".


title: The Pink Panther Show

text: The Pink Panther Laugh-and-a-Half Hour-and-a-Half Show was an attempt by DFE to revamp the traditional format of three entries airing in a 30-minute format. The show was expanded to 90 minutes, and included a live-action segment featuring comedian Lenny Schultz reading letters and jokes from viewers. The show also featured two new made-for-television series, a first for the franchise: the "Texas Toads" (a redubbed version of the theatrical "Tijuana Toads" series), and "Misterjaw". New bumper sequences featuring both the Texas Toads and Misterjaw were created for the series. These new entries were aired in combination with rebroadcasts of "The Pink Panther", "The Inspector" and "The Ant and the Aardvark".


title: The Pink Panther Show

text: "The Pink Panther Laugh-and-a-Half Hour-and-a-Half Show" did not do well in the ratings, so it lasted only one season.


title: The Pink Panther Show

text: The final series broadcast on NBC, Think Pink Panther reverted to the traditional 30-minute format and consisted of rebroadcasts. No new cartoons were created for this show. The layout of the closing credits was based on "The New Pink Panther Show."


title: The Pink Panther Show

text: The All New Pink Panther Show (1978) was a new version of the series commenced after NBC's broadcast of the series ended its nine-year run. For its tenth season, ABC picked up the series and requested 32 new made-for-television "Pink Panther" shorts, along with 16 entries for the new "Crazylegs Crane" segment. A disco-flavored rendition of Henry Mancini's "Pink Panther Theme" was used for the opening and closing credits, with the closing credits featuring Pink Panther disco-dancing. "Stay Tuned" bumpers were produced for seven episodes as well.


title: The Pink Panther Show

text: For its 11th and final season, DFE repackaged pre-1978 entries for a total of 52 episodes. No new cartoons were created for this show.


title: The Pink Panther Show

text: United Artists Television syndicated a weekday 30-minute Pink Panther show in 1980, complete with bumpers and laugh-tracked versions of the shorts. A new opening sequence preceding the show featured Henry Mancini's "Pink Panther Theme" played under a segment from "Pink Outs" featuring the Pink Panther folding the backdrop into a square to be eaten. The closer featured the last few seconds of the theme played under a scene from "Reel Pink" featuring the panther water skiing.


title: The Pink Panther Show

text: UATV created two versions of the syndication package. The first consisted of "The Pink Panther", "Inspector", "The Ant and the Aardvark" and "Texas Toads" entries sourced from film elements utilized during the program's original network run.


title: The Pink Panther Show

text: The second version consisted of "The Pink Panther", "The Ant and the Aardvark" and "Misterjaw" entries sourced from new prints of the original film negatives and transferred to videotape, resulting in sharper images. As "The Pink Panther" and "The Ant and the Aardvark" entries were sourced using theatrical prints (sans laugh track), a new, less invasive laugh track being employed on sitcoms at the time was added to the soundtrack for consistency to match the made-for-television "Misterjaw" entries and bumper sequences that retained their respective laugh-tracked soundtracks.


title: The Pink Panther Show

text: The second version also incorporated several of the made-for-television "Pink Panther" entries from "The All New Pink Panther Show". Pre-1978 "Pink Panther" and "Ant and the Aardvark" entries featured shorter opening titles with introduction music from either "The New Pink Panther Show" (1971–1974) or "The All New Pink Panther Show" (1978–1979). Closing credits featuring the Pink Panther disco dancing from "The All New Pink Panther Show" closed out the episodes.


title: Papa Don't Preach

text: "Papa Don't Preach" is a song recorded by American singer-songwriter Madonna for her third studio album "True Blue" (1986). The song was written by Brian Elliot with additional lyrics by Madonna, who produced it alongside Stephen Bray. Furthermore, it was included in the compilation albums "The Immaculate Collection" (1990) and "Celebration" (2009). Musically, "Papa Don't Preach" combines pop and classical styling, with lyrics that talk about teenage pregnancy, and the choices that come with it. The teen gossip Elliot would hear outside his recording studio inspired him to write it.


title: Papa Don't Preach

text: Released as the album's second single in mid-1986, it saw commercial success, becoming Madonna's fourth number-one single on the "Billboard" Hot 100; "Papa Don't Preach" also performed well internationally, reaching the top position in the United Kingdom and Australia. It was lauded by contemporary critics, who noted an artistic growth in Madonna's work, and frequently cited it as a highlight in the album and a milestone in her career. The music video, directed by James Foley, shows the singer in her first "head-to-toe" image makeover, with a leaner, more toned body, and cropped platinum blonde hair. Its main storyline had Madonna trying to tell her father, played by actor Danny Aiello, about her pregnancy. The scenes are juxtaposed with shots of her dancing and singing in a small, darkened studio, and spending a romantic evening with her boyfriend, played by Alex McArthur.


title: Papa Don't Preach

text: Shortly after its release, the song caused heated discussions about its lyrical content. Women's organizations and others in the family planning field criticized Madonna for encouraging teenage pregnancy, while groups opposed to abortion saw the song as having a positive anti-abortion message. Madonna has performed "Papa Don't Preach" in five of her concert tours, the last being 2019―2020's Madame X Tour. The single's performance at the Who's That Girl World Tour (1987) caused Madonna's first conflict with the Vatican, as she dedicated it to Pope John Paul II, who urged Italian fans to boycott her concerts. In 2002, British singer Kelly Osbourne recorded a cover of the song, which was met by lukewarm critical reception, but achieved commercial success.


title: Papa Don't Preach

text: During the autumn of 1985, Madonna started writing and recording songs for her third studio album, "True Blue"; she brought back Steve Bray and hired a new producer, Patrick Leonard. The album's first track, "Papa Don't Preach", was written by Brian Elliot, who described it as "a love song, maybe framed a little bit differently [...] about a young girl who found herself at a crossroads in life and didn’t know where to turn". Elliot, who had recorded an album of his own for Warner Bros., was producing sessions for an artist named Cristina Dent. When he played her tracks for Warner's Michael Ostin, the same A&R executive who discovered "Like a Virgin", he asked if he could play "Papa Don't Preach" for Madonna; Elliot had been working with Dent for six months and was reluctant to let the song go to another artist, but he eventually gave in, finding the idea of Madonna recording his song "hard to resist".


title: Papa Don't Preach

text: The lyrics of the song are based on teen gossip Elliot would hear outside his recording studio, which has a large front window that doubled as a mirror where schoolgirls from the Los Angeles' North Hollywood High School would regularly stop to fix their hair and chat. Madonna only contributed with some additional lyrics, making "Papa Don't Preach" the only song on the album that she did not have a strong hand in writing. In the United States, "Papa Don't Preach" was released as "True Blue"s second single on June 11, 1986; in Europe, it was released five days later. Afterwards, it was included on Madonna's compilation albums "The Immaculate Collection" (1990), and "Celebration" (2009). In a 2009 interview with "Rolling Stone", the singer was asked by Austin Scaggs why she felt attracted to the song's theme and lyrics; she replied,


title: Papa Don't Preach

text: [The song] just fit right in with my own personal zeitgeist of standing up to male authorities, whether it's the pope, or the Catholic Church or my father and his conservative, patriarchal ways. ... For 'Papa Don't Preach' there were so many opinions – that's why I thought it was so great. Is she for 'schma-smortion', as they say in "Knocked Up"? Is she against abortion?


title: Papa Don't Preach

text: "Papa Don't Preach" is a dance-pop song with instrumentation from acoustic, electric, and rhythm guitars, keyboards, and string arrangements; it is set in common time, and moves at a moderate tempo of 116 beats per minute. Written in the key of F minor, the combination of key and tempo produces a disjuncture between pop and classical rhythms, underlined by the instrumentation during the introduction. It begins with a distinctly Vivaldian style, as the fast tempo and classical-style chord progression anticipates the lyrics to follow. The opening chords and the melody emphasize the tonic of the leading notes: Fm–E–D–Cm–D–E–Fm–D–E–Fm, resembling a Baroque work. This is followed by the sound of dance music, produced by a powerful beat from the instruments. Madonna's vocal range spans from F to C, and was described as being "more mature" and "centered" than that of her previous works.


title: Papa Don't Preach

text: The lyrics talk about a girl who tells her father that she's pregnant and refuses to have an abortion or give up the baby for adoption, despite her friends' advice. The track is constructed in a verse-chorus form, with a bridge before the third and final chorus; at the beginning, she addresses her father directly, asking him to talk to her as an adult, "You should know by now that I'm not a baby". The transition to the chorus employs a more dramatic voice with a higher range, ending nearly in cries as she sings the word "Please". Leading to the chorus, Madonna switches to a pleading voice, singing the song's main hook in a high tone. During the bridge, the song features a Spanish-inspired rhythm, one of the earliest examples of the influence that Hispanic music had on Madonna's musical style.


title: Papa Don't Preach

text: The song has been acclaimed since its release. According to "Rolling Stone"s Davitt Sigerson on his review of "True Blue", "only the magnificent 'Papa Don’t Preach' has the high-profile hook to match 'Like a Virgin', 'Dress You Up' and 'Material Girl'", and compared it to Michael Jackson's "Billie Jean" (1983). From the "Chicago Tribune", Daniel Brogan referred to it as "stunning". Stephen Thomas Erlewine, for Allmusic, called it a "masterstroke" and applauded Madonna for "using the music to hook in critics just as she's baiting a mass audience". Santiago Fouz-Hernández, co-author of "Madonna's Drowned Worlds" (2004), pointed out it was a "significant milestone in [Madonna]'s artistic career". Adam Sexton, author of "Desperately Seeking Madonna: In Search of the Meaning of the World's Most Famous Woman" (2008), named it "True Blue"s "boldest" track; although its melody is just as "insistently chugging" as the singer's previous singles "Into the Groove" and "Dress You Up" (1985), the mood is "tense and claustrophobic". For "Entertainment Weekly"s David Browne, "a 30-ish urban sophisticate singing in the voice of a pregnant teen [...] ought to sound ridiculous. With the help of collaborators like Stephen Bray and Patrick Leonard, though [...] [it] turns into a perfectly conceived pop record". From the "New York Times", Stephen Holden pointed out that "Madonna sings it in a passionate, bratty sob that makes the plea immediate and believable".


title: Papa Don't Preach

text: Caroline Sullivan from "The Guardian", opined that it was the artist's "first socially controversial single, and one of her best tunes to boot [...] it wasn't her first attempt at a teenage persona (see also 'Dress You Up'), but it was the most endearing". Sal Cinquemani from "Slant", thought it was "undeniably more mature" than the singer's previous works up at that point, further adding that, with songs like "Papa Don’t Preach", "[Madonna] made the transition from pop tart to consummate artist, joining the ranks of the decade’s icons like Michael Jackson and Prince". Writing for "PopMatters", Peter Piatkowski said it was an "idiosyncratic tune", that shared the "maturity and ambition" of previous single "Live to Tell". For the "Los Angeles Times", Robert Hilburn expressed that the "most obvious growth is in the control and character in Madonna's singing", and considered the lyrics to be "tailor-made for video". "The Arizona Republic"s Ed Masley noted a "huge artistic growth" and "more soul than was expected at the time" in the singer's vocals. One lukewarm review came from "The Daily Iowan"s Jeff Hamilton: "[Madonna] had a good year at the stores, but can anyone take her music seriously? [...] In terms of scrutable ideology ['Papa Don't Preach'] doesn't represent a change from 'Like A Virgin'". While reviewing "The Immaculate Collection" on its 25th anniversary, "People"s Drew Mackie said of the single:


title: Papa Don't Preach

text: Arguably the best track from the "True Blue" album, ["Papa Don’t Preach"] gets straight to the heart of a lot of what makes Madonna, Madonna: sex, rebellion against the patriarchy, and a whole lot of Catholicism thrown in. It’s a fantastic song, and it will always be one of Madonna’s best. It’s no wonder it not only hit the No. 1 spot [of the Hot 100], but also spent two weeks there.


title: Papa Don't Preach

text: Retrospective reviews have also been positive: for "Parade", Samuel R. Murrian praised it for treating a "complicated subject with humanity and the gravity it merits", and having an "ace[s] pop hook driving it"; he named it Madonna's 25th best song. It was ranked in the 21st place of "Slant"s ranking of Madonna singles: Paul Schrodt opined it "may well be the only song about choosing "not" to have an abortion that also feels rebellious, even dangerous". Schrodt further singled out the "cinematic string arrangement", which gives the track a "sweeping backdrop", concluding that "Madonna has rarely sounded more impassioned". "Entertainment Weekly"s Chuck Arnold also considered it her 21st best, and the staff of "Billboard" her 28th. Jude Rogers, from "The Guardian", named it her fifth greatest song, praising its "glorious string arrangement [that] adds cinematic authority", and Madonna's vocals. For Yahoo!'s Nicole Hogsett, "['Papa Don't Preach'] proved that Madonna could tackle a serious topic but still keep her signature sound". From website Albumism, Justin Chadwick said that "Papa Don't Preach" was "arguably the most unforgettable of "True Blue"s many memorable moments". According to "Gay Star News" Joe Morgan, "Papa Don't Preach" is the singer's tenth best single, while the "HuffPost" Matthew Jacobs ranked it her 14th, highlighting its "sweeping string arrangement" as "one of pop music's most engaging openings". Nayer Missim from "PinkNews" named it the third best song of Madonna's discography; "a rare example of Madonna-as-storyteller [...] Unfairly dismissed (or claimed) as a pro-life anthem, its lyrics are much more personal, open and interesting than that", Missim wrote. For "Stereogum"s Tom Breihan, "Papa Don't Preach" is an example of "how Madonna, a technically limited singer, could always capture the feeling of a song". At the 29th Grammy Awards, "Papa Don't Preach" was nominated for Best Female Pop Vocal Performance but lost to Barbra Streisand's "The Broadway Album".


title: Papa Don't Preach

text: On June 18, 1986, "Papa Don't Preach" was added to 174 of 226 pop reporting radio stations, which caused it to debut on the "Billboard" Hot 100 at number 42. One month later, the song reached the sixth place of the chart, becoming Madonna's ninth consecutive top 10 single; she became the fourth female artist in the rock era to earn this amount of consecutive top 10 singles, behind only Brenda Lee, Aretha Franklin and Donna Summer. On August 16, "Papa Don't Preach" reached the Hot 100's first position and spent two weeks there. It was Madonna's fourth US number one. This also gave her her eight consecutive top 5 hit, the most for any artist in the 1980s; Madonna became one of only three acts to amass a total of eight top 5 hits – consecutive or not – in the decade, the others being Air Supply and Lionel Richie. It placed at position 29 for the "Billboard" year-end chart for 1986. In October 1998, it was certified gold by the Recording Industry Association of America (RIAA) for shipment of 500,000 copies. "Papa Don't Preach" entered the Dance Club Songs chart at number 38 the week of July 19, eventually peaking at number four on August 30. The single also peaked at 16 on the Adult Contemporary chart. In Canada the song debuted at number 53 of the "RPM" singles chart on July 5, eventually reaching and remaining on the top for two weeks on August 9. "Papa Don't Preach" came in at position 13 of "RPM"s 1986 year-end chart.


title: Papa Don't Preach

text: In the United Kingdom, the single debuted at number 13 on the Singles Chart on June 28, before climbing to number one two weeks later; it remained three consecutive weeks at the top, and 15 weeks on the chart in general. "Papa Don't Preach" was certified gold by the British Phonographic Industry (BPI) in August 1986 for shipment of 500,000 copies. According to "Music Week" magazine, over 629,386 copies of the single have been sold in the United Kingdom as of 2008. The song was commercially successful across Europe as well: it topped the charts in Belgium, Ireland, and Norway, and peaked within the top 5 in Austria, France, Germany, the Netherlands, Spain and Switzerland. In Italy, the song spent 12 consecutive weeks at the top of the "Musica e dischi" charts. "Papa Don't Preach" reached the first position of the Eurochart Hot 100, where it remained for 11 weeks. The song also reached the top of the charts in Australia, and the top 5 in South Africa and New Zealand.


title: Papa Don't Preach

text: The music video for "Papa Don't Preach" was directed by James Foley, who had previously worked with Madonna on "Live to Tell"; production was done by David Naylor and Sharon Oreck, while Michael Ballhaus was in charge of the photography. It was shot on location over three days in May 1986 in Staten Island, New York and Manhattan; according to Foley, Madonna wanted something "a bit more grounded and 'drama'", having just done the "very glamorous and stylized" videos for "Material Girl" and "Like a Virgin", thus he suggested filming in Staten Island. Actor Danny Aiello was chosen by the singer to play her father on the clip; Aiello claimed he had never heard of the singer before and only agreed to do the video by petition of his daughter. Actor Alex McArthur was signed on to play the singer's boyfriend and father of her child; she had spotted McArthur in a small role in the 1985 film "Desert Hearts" and thought he was a natural to play her mechanic boyfriend; "I was out in the garage working on my Harley [...] I answered the phone and a voice said, 'Hi, this is Madonna. I would like you to be in my next video'", the actor recalled. For the music video, Madonna sported a complete image makeover: she changed the heavy jewelry and make-up, and adopted a gamine look similar to the one donned by Shirley MacLaine and Audrey Hepburn during the 1950s. The video interspersed shots of the singer as a tomboy – dressed in jeans, black leather jacket, and a slogan T-shirt with the caption "Italians do it better" – with those of her in a "figure-revealing" outfit, consisting of a 1960s-style black bustier top and capri pants. Her body was also leaner and muscular. Of the alternating looks and shots of the singer, Foley recalled:


title: Papa Don't Preach

text: We took the script literally from the lyrics of the song, and I remember having a moment's hesitation about doing that because most videos are not literal interpretations. But I just felt like it was something that tied into her desire to dip into the working-class world. I did have the idea that there should be a segment of the video where she was Madonna — not the character in the story — and that's where it cuts to the black and white stuff of her dancing around for the chorus.


title: Papa Don't Preach

text: The clip starts with shots of the New York skyline, the Staten Island Ferry, and character close-ups. Madonna, who plays an Italian American young woman, is seen walking along a lane; she thinks about her father (Aiello) and how much he loves her, and then goes to meet her boyfriend (MacArthur). The images are juxtaposed with shots of Madonna dancing and singing in a small, darkened studio. In the next scene, she walks away from her friends (Debi Mazar and Bianca Hunter), after they warn her about her boyfriend. Next, her and her boyfriend spend a romantic evening together on a barge where they reflect upon their lives after watching an elderly couple. Madonna then finds out that she is pregnant and decides to keep the baby. After much hesitation, she tells her father, who's shocked and leaves the room to think about the situation, before eventually accepting the pregnancy. Afterward, father and daughter hug each other. "Papa Don't Preach" can be found on Madonna's video compilations "The Immaculate Collection" (1990), and "" (2009).


title: Papa Don't Preach

text: The video received positive reviews from critics. According to the staff of "Rolling Stone", it was the moment Madonna began "treating the music video concept as more of a short film than promotional clip"; they also applauded her "rather unglamorous" look for fitting "nicely" with the song's subject matter. For Hal Marcovitz, author of "The History of Music Videos" (2012), it marked a "sharp departure" from what the public was used to see in the singer's videos up until that point; "in most of her videos [she] promoted her sex appeal, usually strutting through her tightly choreographed dances in stiletto heels and barely there costumes". Retrospective reviews have named it one of Madonna's best music videos: "Idolator"s Mike Neid placed it in the fourth position of his ranking, highlighting the singer's onscreen relationship with her father and applauding her for "showing off a more serious side of her artistry". For The Odyssey, Rocco Papa also named it Madonna's fourth best and singled out the views of New York City. It came in the sixteenth and tenth positions of the rankings created by The Backlot and "Rolling Stone", respectively; for the former, Louis Virtel said that "the urgency in her performance makes this video, as well as the climactic hug in the last second of the story". Sal Cinquemani, on a "Billboard" article enlisting the singer's nine most controversial music videos, deemed it her "first bona-fide video controversy". At the 1987 MTV Video Music Awards, "Papa Don't Preach" won Best Female Video, and was nominated for Best Cinematography and Best Overall Performance.


title: Papa Don't Preach

text: Journalist Ellen Goodman referred to the video as a "commercial for teen-age pregnancy", and criticized it for "glamorizing" said subject; "[her] boyfriend is a hunky dreamboat with a conscience and moral compass, while her father is loving, supportive and even-tempered". Goodman argued that few pregnant teenagers would find a similar support from their boyfriends and families. "This happily-ever-after image has about as much to do with the reality of adolescent motherhood as Madonna's (shapely) figure has to do with pregnancy", the author concluded, and asked the singer to "call off the propaganda". Fellow singer Cyndi Lauper also weighed in and added that "if you're a teen mother who wants to keep her baby [...] you're not going to look like Madonna [...] it ain't gonna be that easy. Fathers don't always come around to give you their blessing. The guy who knocked you up doesn't always hang around". Georges-Claude Guilbert, author of "Madonna as Postmodern Myth", said it was hard for him to believe that "[Madonna] did not know that she was going to cause a huge controversy [...] With such a song and video, she was throwing in America's face the image of a country ravaged by the abortion debate, which is far from being resolved". He further viewed the singer as being "pro-choice"; "[she] deems that a woman (whatever her age) must choose whether to recur or "not" to abortion without paying attention to outside pressure. No representative of the feminist lobby or of the patriarchy will dictate her conduct". In the book "The Fiction of America: Performance and the Cultural Imaginary in Literature and Film" (2013), Susanne Hamscha argued that the clip oscillates between liberal and conservative ideology, private and public, feminism and patriarchy, and "female independence and the need for paternal approval"; Amy Robinson stated that the topic of abortion is "explicitly" addressed in terms of the "private/public dive", and noted how Madonna's character "glorifies parental consent".


title: Papa Don't Preach

text: As the song's popularity increased in the United States, so did the criticism and support it received from groups concerned with pregnancy and abortion. Feminist lawyer Gloria Allred, the spokeswoman of the National Organization for Women (NOW), angrily called for Madonna to make a public statement or another record supporting the opposite point of view. Alfred Moran, the executive director of Planned Parenthood of New York City, also criticized the song, fearing that it would undermine efforts to promote birth control among teenagers and would encourage teenage pregnancy. Recalling how in 1985 his agency's clinics were filled with girls dressed in a style similar to Madonna's, Moran felt that the song's message was "getting pregnant is cool and having the baby is the right thing and a good thing and don't listen to your parents, the school, anybody who tells you otherwise—don't preach to me, Papa. The reality is that what Madonna is suggesting to teenagers is a path to permanent poverty". Similarly, social worker Kathie Peters added that "too many kids are getting pregnant. They don't know what they're getting into. I don't like the [song's] message". The singer herself discussed the song with music critic Stephen Holden:


title: Papa Don't Preach

text: "Papa Don't Preach" is a message song that everyone is going to take the wrong way. Immediately they're going to say I am advising every young girl to go out and get pregnant. When I first heard the song, I thought it was silly. But then I thought, wait a minute, this song is really about a girl who is making a decision in her life. She has a very close relationship with her father and wants to maintain that closeness. To me it's a celebration of life. It says, 'I love you, father, and I love this man and this child that is growing inside me'. Of course, who knows how it will end? But at least it starts off positive.


title: Papa Don't Preach

text: In contrast, groups opposed to abortion saw "Papa Don't Preach" as a positive, anti-abortion song. Susan Carpenter-McMillan, the president of the California chapter of Feminists for Life (FFL) in the US, said that "abortion is readily available on every street corner for young women. Now what Madonna is telling them is, hey, there's an alternative". Tipper Gore, a founder of the Parents Music Resource Center (PMRC), who had previously denounced Madonna for perceived sexual content in her single "Dress You Up" and had led a campaign against explicit content in music, applauded the singer for speaking candidly about a serious subject; "['Papa Don't Preach'] speaks to a serious subject with a sense of urgency and sensitivity in both the lyrics and Madonna's rendition. It also speaks to the fact that there's got to be more support and more communication in families about this problem, and anything that fosters that I applaud".


title: Papa Don't Preach

text: Composer Brian Elliot also weighed in: "I just wanted to make this girl in the song a sympathetic character. As a father myself, I'd want to be accessible to my children's problems". Danny Aiello, having appeared in the video as the titular "Papa", recorded "Papa Wants the Best for You" later that year, an answer song written by Artie Schroeck from the father's point of view; he even asked Madonna to participate in a music video for the song, but she turned the offer down. Madonna did not comment on the song's use as a pro-life statement; her publicist Liz Rosenberg said that "[she] is singing a song, not taking a stand [...] her philosophy is people can think what they want to think".


title: Papa Don't Preach

text: "Papa Don't Preach" has been included on five of Madonna's concert tours: Who's That Girl (1987), Blond Ambition (1990), Re-Invention (2004), MDNA (2012) and Madame X (2019―2020). On the first one, she performed the song wearing a leather jacket over a 1950s blue dress; the screen in the background showed portraits of Pope John Paul II, then-president of the United States Ronald Reagan, the White House, and the phrase "Safe sex". In Italy, the Vatican publicly denounced the singer, with John Paul II going as far as to urge fans to boycott the concerts in the country. Writing for the "New York Times", Jon Pareles pointed out that, at certain point in the performance, Madonna tilted her chin up to resemble the cover photograph for "True Blue". Two different performances can be found on the videos "Who's That Girl: Live in Japan", filmed in Tokyo on June, and "", filmed in Turin on September.


title: Papa Don't Preach

text: On 1990's Blond Ambition World Tour, "Papa Don't Preach" was given a Catholic theme: the stage was set up to resemble a cathedral with votive candles, while the singer wore black vestments and the dancers black kaftans; they waved their hands over their heads as Madonna sang and danced. Carlton Wilborn, one of the dancers, played a priest the singer interacted with. While reviewing the Houston concert, the staff of the "Orlando Sentinel" highlighted the number's "joyous gospel and heavy gothic organ scorings". Two different performances can be found in "Blond Ambition Japan Tour 90", taped in Yokohama, and in "Blond Ambition World Tour Live", taped in Nice.


title: Papa Don't Preach

text: For the song's performance on 2004's Re-Invention World Tour, Madonna donned a plaid kilt and a black T-shirt that read "Kabbalists Do It Better" ― a nod to the one worn on the music video. The number, which included a Ring a Ring o' Roses circle dance, was praised for its "playfulness and innocence" by "Newsday"s Glenn Gamboa. An abbreviated "Papa Don't Preach" was included on Madonna's 2012 MDNA Tour; the performance found her rolling on the floor before being "manhandled and bound" by dancers dressed as tribal warriors. Timothy Finn, for "The Kansas City Star", noted it was the number that caused "the first big eruption" from the crowd. The performances of the song at the November 19–20 shows in Miami were recorded and released in Madonna's fourth live album, "MDNA World Tour" (2013). "Papa Don't Preach" was one of the songs performed during Madonna's visit to "The Late Late Show with James Corden" in December 2016. The singer again did a shortened rendition of the single on her Madame X Tour (2019―2020), where she changed the lyric "I'm keeping my baby" to "I'm "not" keeping my baby". Selena Fragassi, from the "Chicago Sun-Times", applauded Madonna for turning the song into a "platform for pro-choice beliefs".


title: Papa Don't Preach

text: A pop-metal cover of "Papa Don't Preach" was recorded by Kelly Osbourne in 2002; in April of that year, MTV reported that Osbourne had recorded a demo of the song per her mother Sharon's suggestion. Produced by her brother Jack, it featured Incubus members Mike Einziger and Jose Pasillas on guitar and drums, respectively. Executives for "The Osbournes" were impressed with the demo and requested a studio version, set to be included on an upcoming soundtrack to the series. Osbourne then re-recorded the song without involving her brother or the two members of Incubus; this version, described as being "more polished", was added to "The Osbourne Family Album" soundtrack. Explaining the cover, Osbourne said, “I love Madonna. Who doesn't?". Afterwards, the song was added as a hidden bonus track to Osbourne's debut album "Shut Up".


title: Papa Don't Preach

text: To promote the release, Osbourne shot a music video for the song in Los Angeles, which was directed by Marcos Siega; she then sang it live at the MTV Movie Awards, where her father introduced her to the audience. Critical reviews were generally mixed: "Billboard"s Chuck Arnold considered it an "aggressive post-punk anthem" that's "certainly good for three minutes of steering-wheel banging on the way to the market". "NME"s Peter Robinson, on the other hand, said it made "precisely zero sense", and criticized the presence of Incubus for making "the whole sorry mess barely distinguishable". "Entertainment Weekly"s Rob Brunner was also negative on his review, dismissing the cover as "unnecessary". Despite lukewarm reviews from critics, the single was commercially successful: it peaked at number three in the United Kingdom and Australia, where it was certified platinum by the Australian Recording Industry Association (ARIA), for having sold over 70,000 units. Furthermore, Osbourne's version reached the top 40 in Austria, Germany, Italy, and New Zealand, the top 20 in Sweden, and the top 10 in Ireland and Finland.


title: Papa Don't Preach

text: In 1986, "Weird Al" Yankovic included the song in one of his polka medleys, "Polka Party!", taken from his album of the same name. In 2002, French–Dutch group Mad'House did a Eurodance take on the song, that was included on their album "Absolutely Mad". One Year later, Picturehouse sang it for the first "Even Better Than the Real Thing" covers album. Renditions of the song on tribute albums include Brook Barros on "The Music of Madonna" (2005) and a jazz version on Bo. Da's " Plays Madonna in Jazz" (2007). "Papa Don't Preach" was sampled at the beginning of Mario Winans' 2004 single "Never Really Was". Finally, in 2009, Dianna Agron sang the track on the eleventh episode of American television series "Glee", "Hairography".


title: Rockefeller University

text: The Rockefeller University is a private biomedical research and graduate-only university in New York City, New York. It focuses primarily on the biological and medical sciences and provides doctoral and postdoctoral education. It is classified among "R2: Doctoral Universities – High research activity." Rockefeller is the oldest biomedical research institute in the United States.


title: Rockefeller University

text: In 2018, the faculty included 82 tenured and tenure-track members, including 37 members of the National Academy of Sciences, 17 members of the National Academy of Medicine, seven Lasker Award recipients, and five Nobel laureates. As of March 2022, a total of 26 Nobel laureates have been affiliated with Rockefeller University.


title: Rockefeller University

text: The university is located on the Upper East Side of Manhattan, between 63rd and 68th streets on York Avenue. Richard P. Lifton became the university's eleventh president on September 1, 2016. The Rockefeller University Press publishes the "Journal of Experimental Medicine", the "Journal of Cell Biology", and "The Journal of General Physiology".


title: Rockefeller University

text: The Rockefeller University was founded in June 1901 as The Rockefeller Institute for Medical Research—often called simply The Rockefeller Institute—by John D. Rockefeller, who had founded the University of Chicago in 1889, upon advice by his adviser Frederick T. Gates and action taken in March 1901 by his son, John D. Rockefeller Jr. Greatly elevating the prestige of American science and medicine, it was America's first biomedical institute, like France's Pasteur Institute (1888) and Germany's Robert Koch Institute (1891). The Rockefeller Foundation, a philanthropic organization, founded in 1913, is a separate entity, but had close connections mediated by prominent figures holding dual positions.


title: Rockefeller University

text: The first director of laboratories was Simon Flexner, who supervised the development of research capacity at the institute, whose staff made major discoveries in basic research and medicine. While a student at Johns Hopkins University, Flexner had studied under the institute's first scientific director, William H. Welch, first dean of Hopkins' medical school and known as the dean of American medicine. Flexner retired in 1935 and was succeeded by Herbert Gasser. He was succeeded in 1953 by Detlev Bronk, who broadened The Rockefeller Institute into a university that began awarding the PhD degree in 1954. In 1965 The Rockefeller Institute's name was changed to The Rockefeller University.


title: Rockefeller University

text: For its first six decades, the institute focused on basic research to develop basic science, on applied research as biomedical engineering, and, since 1910—when The Rockefeller Hospital opened on its campus as America's first facility for clinical research—on clinical science. The Rockefeller Hospital's first director Rufus Cole retired in 1937 and was succeeded by Thomas Milton Rivers. As director of The Rockefeller Institute's virology laboratory, he established virology as an independent field apart from bacteriology.


title: Rockefeller University

text: In the 1940s, it hosted a "scientific team that overturned medical dogma" and "became the first to demonstrate that genes were made of DNA."


title: Rockefeller University

text: Rockefeller Sr visited the university just once, at the urging of Rockefeller Jr, who was enthusiastic about the institute. Rockefeller Jr and his youngest son David visited more often. David Rockefeller joined the board of trustees in 1940, was its chairman from 1950 to 1975, chaired the board's executive committee from 1975 to 1995, became honorary chairman and life trustee, and remained active as a philanthropist until his death.


title: Rockefeller University

text: The archives of Rockefeller University are at the Rockefeller Archive Center, established in 1974 as part of the university and organized as an independent foundation since 2008.


title: Rockefeller University

text: To foster an interdisciplinary atmosphere among its laboratories, faculty members are grouped into one or more of ten interconnecting research areas:


title: Rockefeller University

text: Rockefeller University admitted its first graduate students in 1955. Today, about 255 graduate students are enrolled in the program, which offers doctoral degrees in the biomedical sciences, chemistry, and biophysics. The university's organization on the basis of laboratories rather than a hierarchical departmental structure extends to the graduate program, where laboratory research is the primary focus and students can meet degree requirements by participating in any combination of courses. In partnership with neighboring Memorial Sloan Kettering Cancer Center and Weill Cornell Medicine, Rockefeller participates in the Tri-Institutional MD–PhD Program as well as a Tri-Institutional chemical biology Ph.D. program.


title: Rockefeller University

text: Rockefeller faculty have made contributions to breakthroughs in biomedical sciences. Michael W. Young was one of several scientists who located genes that regulate the sleep–wake cycle in 1984. In 1994, Jeffrey M. Friedman’s laboratory discovered leptin, a gene that influences appetite and weight. Charles David Allis helped identify the first enzyme that modifies histones in 1996, providing early evidence that the DNA packaging material plays a crucial role in gene regulation. In 1998, Roderick MacKinnon’s laboratory elucidated the structure and mechanism of a potassium channel, explaining how electrical signals are conveyed across cell membranes. Titia de Lange was part of a team that found how telomeres protect chromosome ends, shedding light on the role of genome instability in cancer in 1999. Robert B. Darnell led research that defined the molecular basis of fragile X syndrome, the second leading cause of intellectual disability, in 2001. Vincent A. Fischetti was part of a group that developed a powerful agent that can target and wipe out anthrax bacteria in 2002. Charles M. Rice helped produce an infectious form of the hepatitis C virus in laboratory cultures of human cells in 2005, leading directly to three new classes of hepatitis C drugs. Elaine Fuchs helped define the stem cells that can initiate squamous cell carcinoma in 2011, and also characterized the signaling pathways that drive malignancy. In 2013, Leslie B. Vosshall’s laboratory identified a gene in mosquitoes that is responsible for their attraction to humans and their sensitivity to the insect repellent DEET. Ali Brivanlou's laboratory developed a method to grow embryos outside the uterus for up to 13 days in 2016, allowing scientists to study the earliest events of human development.


title: Rockefeller University

text: In 2020, many Rockefeller scientists shifted the focus of their research in response to the COVID-19 pandemic. Michel C. Nussenzweig pioneered a method to isolate and clone antibodies from people who successfully recovered from COVID-19 to design a treatment that prevents people from developing severe disease. Jean-Laurent Casanova identified genetic mutations that are responsible for a subset of unexpectedly severe cases of COVID-19.


title: Rockefeller University

text: Founder's Hall was the first building on Rockefeller's campus, built between 1903 and 1906. It housed the nation's first major biomedical research laboratory and was declared a National Historic Landmark in 1974. Caspary Auditorium, a 40-foot-high, 90-foot round geodesic dome, was built in 1957 and hosts a variety of concert series and lectures. The completion of the Stavros Niarchos Foundation–David Rockefeller River Campus in 2019, built along the East River over FDR Drive, added two acres to Rockefeller's footprint. Rockefeller's campus houses a childcare center for researchers and other university employees.


title: Rockefeller University

text: Graduate students are offered subsidized housing on campus and receive an annual stipend. Student groups include People at Rockefeller Identifying as Sexual/Gender Minorities (PRISM), Women in Science at Rockefeller (WISeR), and the Science and Education Policy Association (SEPA). The student-run publication "Natural Selections" is produced monthly.


title: Rockefeller University

text: The Rockefeller University established a Women in Science initiative in 1998 to address the underrepresentation of women in the field. It is founded mainly by female philanthropists. The program includes scholarships and an entrepreneurship found to help increase the low number of female researchers that commercialize their discoveries. In 2004 Rockefeller's professor Paul Greengard donated the full amount of his Nobel Prize to establish the Pearl Meister Greengard Prize given annually to a woman scientist in the field of biology.


title: Rockefeller University

text: Rockefeller also host diverse initiatives to promote science and culture: Parents & Science Initiative, The RockEDU Science Outreach for K-12 students and teachers that includes lab experience and professional development and The Lewis Thomas Prize for writing about science is given annually.


title: Rockefeller University

text: In addition, Rockefeller hosts the Peggy Rockefeller Concerts and in collaboration with Cornell University and Memorial Sloan Kettering Cancer Center it hosts the Tri-Institutional Noon concert Series.


title: Rockefeller University

text: Notable figures to emerge from the institution include Alexis Carrel, Peyton Rous, Hideyo Noguchi, Thomas Milton Rivers, Richard Shope, Thomas Francis Jr, Oswald T. Avery, Frederick Griffith, Colin MacLeod, Maclyn McCarty, Rebecca Lancefield, Wendell Meredith Stanley, René Dubos, Ashton Carter, and Cornelius P. Rhoads. Others attained eminence before being drawn to the university. Joshua Lederberg, who won the Nobel Prize in Physiology or Medicine in 1958, served as president of the university from 1978 to 1990. Paul Nurse, who won the Nobel Prize in Physiology or Medicine in 2001, was president from 2003 to 2010. (Before Nurse's tenure, Thomas Sakmar was acting-president from 2002.) Barry Coller, who invented the Abciximab, currently serves as the Vice President for Medical Affairs. In all, as of October 2020, 38 Nobel Prize recipients have been associated with the university. In the mid-1970s, the university attracted a few prominent academicians in the humanities, such as Saul Kripke.


title: Rockefeller University

text: Reginald Archibald, an endocrinologist at the university from 1948 to 1982, allegedly abused dozens or hundreds of boys during his time at the university while studying growth problems in children, including molestation and photographing them naked. Officials at Rockefeller University knew of the legitimacy of the claims for years before notifying the public. The university and hospital issued a statement confirming that Archibald had "engaged in certain inappropriate conduct during patient examinations" and that they "deeply regret[ted]" any "pain and suffering" the former patients felt. New York State passed a law known as the Child Victims Act, which created a one-year window for civil suits brought by former child victims, allowing them to make cases against the university.


title: Yoon Bo-ra

text: Yoon Bo-ra (born December 30, 1989), better known by the mononym Bora, is a South Korean singer, rapper and actress. She is a former member of the South Korean girl group Sistar and its sub-group Sistar19.


title: Yoon Bo-ra

text: Bora was born on December 30, 1989, in Seoul. She majored in Musical Theater in Myongji University, and graduated in February 2015.


title: Yoon Bo-ra

text: In June 2010, Bora made her debut as a member of Sistar on KBS' "Music Bank" with their debut single, Push Push.


title: Yoon Bo-ra

text: On October 17, 2011, it was revealed that Bora would be part of the new season of KBS2's "Invincible Youth". The first episode of "Invincible Youth 2" aired on November 11.


title: Yoon Bo-ra

text: On October 21, 2012, it was revealed that Bora would join one of four groups that would perform a new song for the SBS' "Gayo Daejeon" music spectacular. As part of Mystic White, Bora released the charity song "Mermaid Princess" on December 26, 2012.


title: Yoon Bo-ra

text: In 2013, Bora joined SBS's fashion program "Fashion King Korea", where the cast members would team up with professional fashion designers to design and produce fashion items. The same year, she was announced as a fixed host for KBS' music program "Music Bank" alongside Park Seo-joon.


title: Yoon Bo-ra

text: On December 21, 2013, Bora won Best Rookie Award at the 2013 KBS Entertainment Awards for her work in "Music Bank".


title: Yoon Bo-ra

text: In January 2015, Bora was the new MC for KBS2's fashion and beauty show, "A Style For You" together with Heechul, Hara, and Hani. In April, she collaborated with "Unpretty Rapstar" contestants Kisum, Lil Cham, Jace, and male artist Adoonga for a hip-hop single titled "Feedback". She then starred in web dramas, "Flatterer" and "High-End Crush". In November 2015, Bora joined the cast of SBS' survival show "Law of the Jungle".


title: Yoon Bo-ra

text: In March 2017, it was announced that Bora would make her big screen debut in the family comedy film "Sunkist Family". In June 2017, Bora signed a contract under Hook Entertainment as an actress going by her full name, leaving Starship Entertainment after seven years of being in Sistar. In November 2017, Bora was cast in tvN's fantasy drama "A Korean Odyssey".


title: Yoon Bo-ra

text: In July 2018, Bora appeared as the special MC for Produce 48 on episode 6 and 7. She also appeared as one-day healing mentor on episode 11. In November 2018, Bora was cast in OCN's "Quiz of God - Season 5 : Reboot".


title: Yoon Bo-ra

text: In January 2020, Bora was cast in SBS' "Dr. Romantic Season 2". In August 2020, It was revealed that Bora has left Hook Entertainment and signed with KeyEast Entertainment. In October 2020, Bora was announced as the ambassador of "AIA Vitality". In November 2020, it was announced that Bora was cast in MBC's "Late Night Café Season 2, Hit Up! Hit Up!" as the female lead.


title: Yoon Bo-ra

text: In January 2021, it was revealed that Bora will be the host for GlanceTV's beauty show, "Unnie's Beauty Carpool together" with Hyoyeon.


title: Siddique (director)

text: Siddique Ismail is an Indian film director, screenwriter, actor and producer who predominantly works in Malayalam cinema.


title: Siddique (director)

text: He made his directorial debut with the Malayalam movie "Ramji Rao Speaking" in 1989. As a screenwriter, he made his debut in the Malayalam movie "Pappan Priyappetta Pappan" in 1986.


title: Siddique (director)

text: Siddique Ismail was born to Ismail Haji and Zainaba in Kochi on 1 August 1954. He is a alumnus of St. Paul's College, Kalamassery. He married Sajitha on 6 May 1984. The couple have three daughters Sumaya, Sara, and Sukoon.


title: Siddique (director)

text: He began his career as an assistant director to Fazil. The duo of Siddique and Lal was spotted by Fazil when he saw them performing in the Cochin Kalabhavan troupe. Siddique later teamed up with Lal to create many films and was credited as Siddique-Lal. The duo has since split up, Siddique has continued with his directorial ventures, while Lal has turned to acting and producing. Siddique's films are all in the comedy genre. Siddique's films in Tamil have mostly been remakes of his Malayalam films.


title: Siddique (director)

text: His film "Bodyguard" in Malayalam has been remade into Tamil as "Kaavalan" by Siddique himself. He also remade the film into Hindi as "Bodyguard". Siddique co-produce films with Jenso Jose under their joint company S Talkies.


title: Curse of the Golden Flower

text: Curse of the Golden Flower () is a 2006 Chinese epic wuxia drama film written and directed by Zhang Yimou. The Mandarin Chinese title of the movie is taken from the last line of the poem written by the rebel leader Huang Chao who had revolted against the Tang dynasty.


title: Curse of the Golden Flower

text: With a budget of US$45 million, it was at the time of its release the most expensive Chinese film to date, surpassing Chen Kaige's "The Promise". It was chosen as China's entry for the Academy Award for Best Foreign Language Film for the year 2006, but did not receive the nomination. The film was nominated for Costume Design. In 2007 it received fourteen nominations at the 26th Hong Kong Film Awards and won "Best Actress" for Gong Li, "Best Art Direction", "Best Costume and Make Up Design" and "Best Original Film Song" for "菊花台" (Chrysanthemum Terrace) by Jay Chou.


title: Curse of the Golden Flower

text: The plot is based on Cao Yu's 1934 play "Thunderstorm" (雷雨 pinyin: Léiyǔ), but is set in the Imperial court in ancient China.


title: Curse of the Golden Flower

text: On the eve of the Double Ninth Festival, the Emperor (Chow Yun-fat) and the second of his three sons, Prince Jai (Jay Chou), return from their military campaign to Nanjing so they can celebrate the holiday with their family. However, the Empress has been in an affair with the first son, Crown Prince Wan (Liu Ye), who was born of the Emperor's previous wife. At the same time, Crown Prince Wan has been in an affair with Jiang Chan (Li Man), daughter of the Imperial Doctor, and is keen on rejecting the throne so that he may run away with her.


title: Curse of the Golden Flower

text: Prince Jai notices the declining health of his mother, and is confused by her sudden interest in chrysanthemums, the golden flowers. The Empress explains that the tea she drinks has been poisoned for some time by the Emperor, but that she is planning a rebellion to overthrow him. Prince Jai agrees to be the leader of the rebellion. The Empress hires a mysterious woman to discover the type of poison which she is suffering from, but the woman is captured by Crown Prince Wan and taken to the Emperor. As it happens, the woman is Jiang Shi (Chen Jin), the Imperial Doctor's wife, whom the Emperor imprisoned a while ago and who was believed dead, but somehow escaped. The Emperor decides to pardon her and to promote the Imperial Doctor to governor of Suzhou. When Crown Prince Wan meets with Jiang Chan to say goodbye, she informs him that the Empress has woven 10,000 scarves with golden flower sigils. Crown Prince Wan confronts the Empress, and when she admits to planning a rebellion, he is anguished, and tries to kill himself, but survives.


title: Curse of the Golden Flower

text: On the way to Suzhou, the Imperial Doctor's household is betrayed and attacked by the Emperor's assassins, resulting in his death. Jiang Shi and Jiang Chan run back to Nanjing and confront the Emperor, who refuses to answer, whereupon the Empress explains to Jiang Chan that Jiang Shi was the Emperor's first wife and Crown Prince Wan's mother, meaning that Jiang Chan and Crown Prince Wan are half-brother and sister. Jiang Chan is horrified by this news and runs from the palace. Jiang Shi chases after her, whereupon both are murdered by more assassins. At this point, the third son, Prince Yu, suddenly murders Crown Prince Wan and reveals he has been aware of the corruption of both the Emperor and the Empress. Summoning a group of his own soldiers, Prince Yu demands the Emperor abdicate and offer him the throne. However, more of the Emperor's assassins descend from the ceiling and easily defeat Prince Yu's soldiers. The Emperor proceeds to whip Prince Yu to death using his belt.


title: Curse of the Golden Flower

text: Meanwhile, the outer square of the palace is assaulted by 10,000 soldiers wearing gold flower sigils, with Prince Jai in the lead. They overpower the assassins and proceed to the inner square of the palace, trampling upon the bed of golden flowers arranged for the ceremony. However, thousands of soldiers, the reserve army of the Emperor, appear and slaughter the golden soldiers; only Prince Jai survives, and he is taken captive. Behind him, the courtyard is cleaned with mechanical efficiency by a legion of servants, with bodies being removed, floors being scrubbed and laid with carpets, and pots of yellow flowers being replaced, making it seem as if the entire rebellion never even happened. At midnight, the Double Ninth Festival begins as scheduled. At the table, the Emperor expresses disappointment with Prince Jai, saying that he was already planning to give him the throne. Prince Jai says that he did not rebel to obtain the throne, but for his mother's sake. The Emperor responds by offering to pardon Prince Jai if he cooperates in the Empress's poisoning. Prince Jai refuses and kills himself, and as he does so, his blood spills into another cup of poisoned tea that has been brought to the Empress, turning the tea red. Horrified, the Empress slaps the tea away, and the liquid is shown to corrode the table's wood, along with the golden flower image engraved into the wood.


title: Curse of the Golden Flower

text: The Chinese title of the movie is taken from the last line of a poem written by the rebel leader Huang Chao who was also the Emperor of self-proclaimed Qi Dynasty that was at war with the Tang Dynasty. Huang Chao had composed the poem "On the Chrysanthemum, after failing the Imperial Examination" () or simply "Chrysanthemum":


title: Curse of the Golden Flower

text: Due to the film's high-profile while it was still in production, its title, which can be literally translated as "The Whole City is Clothed in Golden Armor", became a colorful metaphor for spring 2006 sandstorms in Beijing and the term "golden armor" (黄金甲, huángjīnjiǎ) has since become a metaphor for sandstorms among the locals.


title: Curse of the Golden Flower

text: The screenplay is based on "Thunderstorm", a renowned Chinese play written by Cao Yu in the 1930s. The plot could also be possibly based on Hamlet according to James Berardinelli.


title: Curse of the Golden Flower

text: The two protagonists are known in the Chinese version as "King" and "Queen", which in the English version has been upgraded to the more stereotypically Chinese "Emperor" and "Empress". The distinction is not trivial, as the lower title "king" only lays claim to a defined region whereas the supreme "emperor" claims overlordship over the entire (Chinese-speaking) world. The choice of title therefore implies that despite the splendour of its court the polity depicted in the film does not actually rule all of China.


title: Curse of the Golden Flower

text: The English language version states that this movie is set in the "Tang dynasty" in the year 928. The Chinese version doesn't specify a time period. The film's published screenplay indicates it is set during Later Shu of the Five Dynasties and Ten Kingdoms period. Neither the Tang dynasty (618–907) nor Later Shu (934–965) existed in the year 928, although another state named Tang — known as Later Tang in history — did, as well as other Chinese states Wu, Chu, Min, Southern Han, Jingnan and Wuyue, in addition to the Khitan-ruled Liao dynasty (known as just Khitan in 928). However, Later Tang rulers were known as "Emperor" (皇帝) and never "King" (大王), and of all the states mentioned above, only Chu, Wuyue, Min and Jingnan rulers could be called "King" by their subjects in 928.


title: Curse of the Golden Flower

text: Suzhou is evidently under the jurisdiction of the state featured in the film, as the King is able to appoint Dr. Jiang its governor. This narrows the number of candidates to the states with territory in the Yangzi River Delta.


title: Curse of the Golden Flower

text: It has grossed over $78 million worldwide. It was also the third highest grossing non-English language film in 2006 after "Apocalypto" and "Pan's Labyrinth".


title: Curse of the Golden Flower

text: Richard Corliss of "Time magazine" praised the film's lurid operatic aspect: "this is high, and high-wire, melodrama...where matters of love and death are played at a perfect fever pitch. And grand this Golden Flower is." Jeannette Catsoulis of "The New York Times" states: "In "Curse of the Golden Flower" Mr. Zhang achieves a kind of operatic delirium, opening the floodgates of image and melodrama until the line between tragedy and black comedy is all but erased." Kevin Thomas of the "Los Angeles Times" described the film as: "A period spectacle, steeped in awesome splendor and lethal palace intrigue, it climaxes in a stupendous battle scene and epic tragedy" and "director Zhang Yimou's lavish epic celebrates the gifts of actress Gong Li while weaving a timeless tale of intrigue, corruption and tragedy." Andrew O'Hehir of Salon said: "the morbid grandiosity of "Curse of the Golden Flower" is its own distinctive accomplishment, another remarkable chapter in the career of Asia's most important living filmmaker."


title: Curse of the Golden Flower

text: Stephen Hunter of "The Washington Post" wrote: "Zhang Yimou's "Curse of the Golden Flower" is a kind of feast, an over-the-top, all-stops-pulled-out lollapalooza that means to play kitschy and grand at once" and Hunter further states: "It's just a great old wild ride at the movies."


title: Curse of the Golden Flower

text: Matt Brunson of "Creative Loafing" felt that the film was a poor reflection of director Zhang Yimou's acclaimed previous works. Bruce Westbrook of "The Houston Chronicle" though praising the film's spectacular visuals, stated "Visuals alone can't make a story soar, and too often this one becomes bogged down by spectacle..." Kirk Honeycutt of "The Hollywood Reporter" wrote the film is "A disappointing misfire from a great director." Gene Seymour of "Newsweek" said: ""Curse of the Golden Flower" is to the feudal costumed adventure what Nicholas Ray's "Johnny Guitar" is to the Western. Both bend their genres to the extremes of operatic grandeur with such force as to pull up just below the level of High Camp." However Seymour wrote that the film was overly melodramatic and ludicrous to absorb.


title: Curse of the Golden Flower

text: The film received a score of 70 out of 100 from 32 film critics according to the review aggregator Metacritic, indicating "generally favorable reviews" and holds an average rating of 65% by 127 film critics on the review ranking site Rotten Tomatoes, and an average rating of 6.42/10. The website's critical consensus states, "Melodrama, swordplay, and CG armies -- fans of martial arts epic will get what they bargain for, though the baroque art direction can be both mesmerizing and exhaustively excessive".


title: Curse of the Golden Flower

text: Besides starring in the film, Jay Chou has also recorded two songs to accompany the film, one titled "Chrysanthemum Terrace" (), released on his seventh studio album "Still Fantasy" and one included in his "Curse of the Golden Flower (EP)". The EP includes his song "Golden Armor" ().


title: Curse of the Golden Flower

text: "Curse of the Golden Flower" won four awards out of 14 nominations from the 26th Hong Kong Film Awards in 2007.


title: Man-at-arms

text: A man-at-arms was a soldier of the High Medieval to Renaissance periods who was typically well-versed in the use of arms and served as a fully-armoured heavy cavalryman. A man-at-arms could be a knight, or other nobleman, a member of a knight's or nobleman's retinue, or a mercenary in a company serving under a captain. Such men could serve for pay or through a feudal obligation. The terms "knight" and "man-at-arms" are often used interchangeably, but while all knights equipped for war were men-at-arms, not all men-at-arms were knights.


title: Man-at-arms

text: Though in English the term man-at-arms is a fairly straightforward rendering of the French "homme d'armes", in the Middle Ages, there were numerous terms for this type of soldier, referring to the type of arms he would be expected to provide: In France, he might be known as a "lance" or "glaive", while in Germany, "Spieß", "Helm" or "Gleve", and in various places, a "bascinet". In Italy, the term "barbuta" was used, and in England from the late 14th century, men-at-arms were known as "lances" or "spears".


title: Man-at-arms

text: In the Early Medieval period, any well-equipped horseman could be described as a "knight", or in Latin, "miles". In the course of the 12th century knighthood became a social rank with a distinction being made between "milites gregarii" (non-noble cavalrymen) and "milites nobiles" (true knights). As a fully armoured cavalryman could be of a lesser social status than a knight, an alternative term describing this type of soldier came into use which was, in French, "homme d'armes" or "gent d'armes", and in English man-at-arms. This evolution differed in detail and timeline across Europe but by 1300, there was a clear distinction between the military function of the man-at-arms and the social rank of knighthood. The term man-at-arms thus primarily denoted a military function, rather than a social rank.


title: Man-at-arms

text: The military function that a man-at-arms performed was serving as a fully-armoured heavy cavalryman; though he could, and in the 14th and 15th centuries often did, also fight on foot. In the course of the 16th century, the man-at-arms was gradually replaced by other cavalry types, the demi-lancer and the cuirassier, characterised by less-extensive armour coverage and the use of weapons other than the heavy lance.


title: Man-at-arms

text: Throughout the Medieval period and into the Renaissance the armour of the man-at-arms became progressively more effective and expensive. Throughout the 14th century, the armour worn by a man-at-arms was a composite of materials. Over a quilted gambeson, mail armour covered the body, limbs and head. Increasingly during the century, the mail was supplemented by plate armour on the body and limbs. In the 15th century, full plate armour was developed, which reduced the mail component to a few points of flexible reinforcement.


title: Man-at-arms

text: From the 14th to 16th century, the primary weapon of the man at arms on horseback was the lance. The lance of the 14th century was essentially a simple spear, in length, usually of ash. In response to the development of improved armour, however, heavier lances weighing up to 18 kg were developed, combined with a new method of using them in conjunction with a lance rest ("arrêt") fixed to the breastplate. This combination of heavy lance and "arrêt" enabled the mounted man-at-arms to enjoy a new effectiveness on the battlefields of the later 15th and 16th centuries. Not all men-at-arms in the 15th century carried the heavy lance. A lighter weapon called a demi-lance evolved and this gave its name to a new class of a lighter-equipped man-at-arms, the demi-lancer, towards the end of the 15th century.


title: Man-at-arms

text: When fighting on foot, men-at-arms initially modified their ordinary cavalry weapons. English men-at-arms in Italy in the 1360s are recorded as advancing in close order with two men holding a cavalry lance. On other occasions, such as at the Battle of Agincourt, men-at-arms cut down their lances to a more manageable size of . In the 15th century, the increased protection of plate armour led to the development of a specialist foot combat weapon, the two-handed poleaxe.


title: Man-at-arms

text: The horse was an essential part of a man-at-arm's equipment. The type of horse, however, varied according to wealth and status. Andrew Ayton in an in-depth study of English warhorses of the 13th and 14th centuries has shown that three types predominate: the destrier, the courser and an animal simply known as a "horse" ("L:equus Med Fr : chival"). Destriers were both rare and expensive, making up 5% of men-at-arms horses. Ayton also calculated the value of the average man-at-arm's horse in thirteen campaigns between 1282 and 1364, showing it varied between £7.6 and £16.4. In only two campaigns in the mid-14th century did the majority of horses cost more than £10. The horse was, therefore, a major item of expenditure in the equipment of a man-at-arms. It has been calculated that a French gendarme's horse in the mid-15th century cost the equivalent of six months' wages.