title: Troubleshooting

text: Some of the most difficult troubleshooting issues relate to symptoms which occur intermittently. In electronics this often is the result of components that are thermally sensitive (since resistance of a circuit varies with the temperature of the conductors in it). Compressed air can be used to cool specific spots on a circuit board and a heat gun can be used to raise the temperatures; thus troubleshooting of electronics systems frequently entails applying these tools in order to reproduce a problem.


title: Troubleshooting

text: In computer programming race conditions often lead to intermittent symptoms which are extremely difficult to reproduce; various techniques can be used to force the particular function or module to be called more rapidly than it would be in normal operation (analogous to "heating up" a component in a hardware circuit) while other techniques can be used to introduce greater delays in, or force synchronization among, other modules or interacting processes.


title: Troubleshooting

text: In particular he asserts that there is a distinction between the frequency of occurrence and a "known procedure to consistently reproduce" an issue. For example, knowing that an intermittent problem occurs " within" an hour of a particular stimulus or event ... but that sometimes it happens in five minutes and other times it takes almost an hour ... does not constitute a "known procedure" even if the stimulus does increase the frequency of observable exhibitions of the symptom.


title: Troubleshooting

text: Nevertheless, sometimes troubleshooters must resort to statistical methods ... and can only find procedures to increase the symptom's occurrence to a point at which serial substitution or some other technique is feasible. In such cases, even when the symptom seems to disappear for significantly longer periods, there is a low confidence that the root cause has been found and that the problem is truly solved.


title: Troubleshooting

text: However, many problems only occur as a result of multiple failures or errors. This is particularly true of fault tolerant systems, or those with built-in redundancy. Features that add redundancy, fault detection and failover to a system may also be subject to failure, and enough different component failures in any system will "take it down."


title: Troubleshooting

text: Even in simple systems, the troubleshooter must always consider the possibility that there is more than one fault. (Replacing each component, using serial substitution, and then swapping each new component back out for the old one when the symptom is found to persist, can fail to resolve such cases. More importantly, the replacement of any component with a defective one can actually increase the number of problems rather than eliminating them).


title: Troubleshooting

text: Note that, while we talk about "replacing components" the resolution of many problems involves adjustments or tuning rather than "replacement." For example, intermittent breaks in conductors --- or "dirty or loose contacts" might simply need to be cleaned and/or tightened. All discussion of "replacement" should be taken to mean "replacement or adjustment or other modification."


title: Heliopolis (ancient Egypt)

text: Heliopolis (I͗wnw, Iunu or 𓉺𓏌𓊖; , 'the Pillars'; ; ) was a major city of ancient Egypt. It was the capital of the 13th or Heliopolite Nome of Lower Egypt and a major religious centre. It is now located in Ayn Shams, a northeastern suburb of Cairo.


title: Heliopolis (ancient Egypt)

text: Heliopolis was one of the oldest cities of ancient Egypt, occupied since the Predynastic Period. It greatly expanded under the Old and Middle Kingdoms but is today mostly destroyed, its temples and other buildings having been scavenged for the construction of medieval Cairo. Most information about the ancient city comes from surviving records.


title: Heliopolis (ancient Egypt)

text: The major surviving remnant of Heliopolis is the obelisk of the Temple of Ra-Atum erected by Senusret I of Dynasty XII. It still stands in its original position, now within Al-Masalla in Al-Matariyyah, Cairo. The high red granite obelisk weighs 120 tons (240,000 lbs) and is believed to be the oldest surviving obelisk in the world. The Romans took the Obelisk of Montecitorio to the city to Rome, under Augustus, where it remains. The two smaller obelisks called Cleopatra's Needle, in London and New York, also came from the city.


title: Heliopolis (ancient Egypt)

text: Heliopolis is the Latinised form of the Greek name "Hēlioúpolis" (), meaning "City of the Sun". Helios, the personified and deified form of the sun, was identified by the Greeks with the native Egyptian gods Ra and Atum, whose principal cult was located in the city.


title: Heliopolis (ancient Egypt)

text: Its native name was ("The Pillars"), whose exact pronunciation is uncertain because ancient Egyptian recorded only consonantal values. Its traditional Egyptological transcription is "Iunu" but it appears in biblical Hebrew as "ʾŌn" (, ), and "ʾĀwen" () leading some scholars to reconstruct its pronunciation in earlier Egyptian as "*ʔa:wnu", perhaps from older /ja:wunaw/. Variant transcriptions include "Awnu" and "Annu". The name survived as Coptic "Ōn".


title: Heliopolis (ancient Egypt)

text: It was principally notable as the cult center of the sun god Atum, who came to be identified with Ra and then Horus. The primary temple of the city was known as the Great House ( or "Per Aat", "*Par ʻĀʼat") or House of Atum (' or "Per Atum", "*Par-ʼAtāma"; , "Pithom"). Its priests maintained that Atum or Ra was the first being, rising self-created from the primeval waters. A decline in the importance of Ra's cult during Dynasty V led to the development of the Ennead, a grouping of nine major Egyptian deities that placed the others in subordinate status to Ra–Atum. The high priests of Ra are not as well documented as those of other deities, although the high priests of Dynasty VI (BC) have been discovered and excavated. During the Amarna Period of Dynasty XVIII, Pharaoh Akhenaten introduced a kind of henotheistic worship of Aten, the deified solar disc. As part of his construction projects, he built a Heliopolitan temple named "Elevating Aten" (' or "Wetjes Aten"), whose stones can still be seen in some of the gates of Cairo's medieval city wall. The cult of the Mnevis bull, another embodiment of the Sun, had its altar here as well. The bulls' formal burial ground was situated north of the city.


title: Heliopolis (ancient Egypt)

text: The store-city Pithom is mentioned once in the Hebrew Bible (Exodus 1:11), and according to one theory, this was Heliopolis.


title: Heliopolis (ancient Egypt)

text: The temple of Ra was said to have been, to a special degree, a depository for royal records, and Herodotus states that the priests of Heliopolis were the best informed in matters of history of all the Egyptians. Heliopolis flourished as a seat of learning during the Greek period; the schools of philosophy and astronomy are claimed to have been frequented by Orpheus, Homer, Pythagoras, Plato, Solon, and other Greek philosophers. Ichonuphys was lecturing there in 308 BC, and the Greek mathematician Eudoxus, who was one of his pupils, learned from him the true length of the year and month, upon which he formed his octaeterid, or period of 8 years or 99 months. Ptolemy II had Manetho, the chief priest of Heliopolis, collect his history of the ancient kings of Egypt from its archives. The later Ptolemies probably took little interest in their "father" Ra, and Alexandria had eclipsed the learning of Heliopolis; thus with the withdrawal of royal favour Heliopolis quickly dwindled, and the students of native lore deserted it for other temples supported by a wealthy population of pious citizens. By the first century BC, in fact, Strabo found the temples deserted, and the town itself almost uninhabited, although priests were still present.


title: Heliopolis (ancient Egypt)

text: Heliopolis was well known to the ancient Greeks and Romans, being noted by most major geographers of the period, including Ptolemy, Herodotus, and others, down to the Byzantine geographer Stephanus of Byzantium.


title: Heliopolis (ancient Egypt)

text: In Roman Egypt, Heliopolis belonged to the province Augustamnica, causing it to appear as when it needed to be distinguished from Roman Heliopolis. Its population probably contained a considerable Arabian element. Many of the city's obelisks were removed to adorn more northern cities of the Delta and Rome. Two of these eventually became London's Cleopatra's Needle and its twin in New York's Central Park.


title: Heliopolis (ancient Egypt)

text: During the Middle Ages, the growth of Fustat and Cairo only a few kilometres away caused its ruins to be massively scavenged for building materials, including for their city walls. The site became known as the "Eye of the Sun" ("Ayn Shams") and "ʻArab al-Ḥiṣn".


title: Heliopolis (ancient Egypt)

text: The importance of the solar cult at Heliopolis is reflected in both ancient pagan and current monotheistic beliefs. Greco-Roman mythology held that the Egyptian bennu, renamed phoenix, brought the remains of its predecessor to the altar of the sun god at Heliopolis each time it was reborn. In the Hebrew's scriptures, Heliopolis is referenced directly and obliquely, usually in reference to its prominent pagan cult. In his prophesies against Egypt, Isaiah claimed the "City of the Sun" ("Ir ha Shemesh") would be one of the five Egyptian cities to follow the Lord of Heaven's army and speak Hebrew. Jeremiah and Ezekiel mention the "House of the Sun" ("Beth Shemesh") and Ôn, claiming Nebuchadnezzar of Babylon would shatter its obelisks and burn its temple and that its "young men of Folly" ("Aven") would "fall by the sword".


title: Heliopolis (ancient Egypt)

text: The "Syrian Heliopolis" Baalbek has been claimed to have gained its solar cult from a priest colony emigrating from Egypt.


title: Heliopolis (ancient Egypt)

text: Heliopolis in Augustamnica remains a titular see of both the Roman Catholic Church and the Eastern Orthodox Church.


title: Heliopolis (ancient Egypt)

text: The ancient city is currently located about below the streets of the middle- and lower-class suburbs of Al-Matariyyah, Ain Shams, and Tel Al-Hisn in northern Cairo. The area is about west of the modern suburb which bears its name.


title: Heliopolis (ancient Egypt)

text: Some ancient city walls of crude brick can be seen in the fields, a few granite blocks bearing the name of Ramesses II remain, and the position of the great Temple of Ra-Atum is marked by the Al-Masalla obelisk. Archaeologists excavated some of its tombs in 2004. In 2017, parts of a colossal statue of Psamtik I were found and excavated.


title: Georgia Toffolo

text: Georgia Valerie Toffolo (born 23 October 1994), also known as Toff, is a British media and television personality. She is best known for appearing on E4 reality television series "Made in Chelsea" from 2014 and winning the seventeenth series of ITV's "I'm a Celebrity...Get Me Out of Here!" in 2017. She also released her first book "Always Smiling" on 6 September 2018.


title: Georgia Toffolo

text: Toffolo was born on 23 October 1994 in Torquay, Devon to scrap-metal dealer Gary Bennett and Nicola Toffolo. Raised in Devon and London, she attended Stoodley Knowle Independent School for Girls, Torquay Girls' Grammar School, The Maynard School, and Blundell's School. She has revealed that she was bullied at school and, after telling her father, was moved to Blundell's as a boarder. She then started an LLB degree in law and politics at the University of Westminster, with an ambition to work in commercial law, but dropped out (although several newspapers have reported that she managed to complete a law degree). She then worked in a charity shop, an old people's home, a family-run firm of solicitors in Devon, and London law firm Family Law in Partnership.


title: Georgia Toffolo

text: Toffolo has been a member of the Conservative Party since she was in secondary school. Toffolo has stated with regard to her political views, "I believe that the traditions of our country should be upheld and I'm a real advocate of business. I can't comprehend why someone my age would support the Labour Party."


title: Georgia Toffolo

text: From its seventh series in 2014, Toffolo has appeared on reality television show "Made in Chelsea". In September 2017 she appeared in the third series of "Celebs Go Dating".


title: Georgia Toffolo

text: In November 2017, Toffolo was announced to be a contestant on the seventeenth series of ITV's "I'm a Celebrity...Get Me Out of Here!". On 10 December, she won the series, beating Jamie Lomas and Iain Lee in the final. On 20 December, she announced she was joining "This Morning".


title: Georgia Toffolo

text: In October 2019, she appeared in "Celebrity Hunted" – Stand Up to Cancer, partnering with Stanley Johnson (Boris Johnson’s father).


title: Georgia Toffolo

text: Toffolo and her spaniel dog, Monty, appeared in 2020 on Channel 4's "Celebrity Snoop Dogs" (series one, episode two) which also gave an insight into her home near central London.


title: Georgia Toffolo

text: In 2018 Toffolo published her autobiography/memoir, titled "Always Smiling". In 2020, Toffolo revealed that she was writing a four-part series for the British romance publisher Mills & Boon. Her first novel "Meet Me in London" was published on 15 October 2020. Her second novel "Meet Me in Hawaii" was released on 18 April 2021.


title: Georgia Toffolo

text: Her third novel entitled "Meet Me in Tahiti" was released on 2 September 2021. The final novel of the series "Meet Me at the Wedding" was published on 28 April 2022.


title: Complex (psychology)

text: A complex is a structure in the unconscious that is objectified as an underlying theme—like a power or a status—by grouping clusters of emotions, memories, perceptions and wishes in response to a threat to the stability of the self. In psychoanalysis, it is antithetical to drives.


title: Complex (psychology)

text: An example of a complex would be as follows: if one had a leg amputated when one was a child, this would influence one's life in profound ways, even if they overcame the physical handicap. A person may have many thoughts, emotions, memories, feelings of inferiority, triumphs, bitterness, and determinations centering on that one aspect of their life. If these thoughts were troubling and pervasive, Jung might say they had a complex about the leg.


title: Complex (psychology)

text: The reality of complexes is widely agreed upon in the area of depth psychology, a branch of psychology asserting that the vast majority of the personality is determined and influenced by unconscious processes. Complexes are common features of the psychic landscape, according to Jung's accounting of the psyche, and often become relevant in psychotherapy to examine and resolve, most especially in the journey toward individuation or wholeness. Without resolution, complexes continue to exert unconscious, maladaptive influence on our thoughts, feelings, and behavior and keep us from achieving psychological integration.


title: Complex (psychology)

text: Carl Jung distinguished between two types of unconscious mind: the personal unconscious and collective unconscious. The personal unconscious was the accumulation of experiences from a person's lifetime that could not be consciously recalled. The collective unconscious, on the other hand, was a sort of universal inheritance of human beings, a "species memory" passed on to each of us, not unlike the motor programs and instincts of other animals. Jung believed the personal unconscious was dominated by complexes.


title: Complex (psychology)

text: The term "complex" (; also "emotionally charged complexes" or "feeling-toned complex of ideas"), was coined by Carl Jung when he was still a close associate of Sigmund Freud. Complexes were so central to Jung's ideas that he originally called his body of theories "Complex psychology". Historically the term originated with Theodor Ziehen, a German psychiatrist who experimented with reaction time in word association test responses. Jung described a complex as a node in the unconscious; it may be imagined as a knot of unconscious feelings and beliefs, detectable indirectly, through behavior that is puzzling or hard to account for.


title: Complex (psychology)

text: Jung found evidence for complexes very early in his career in the word association tests conducted at the Burghölzli, the psychiatric clinic of Zurich University, where Jung worked from 1900 to 1908. Jung developed the theory out of his work on Word Association Test. In the word association tests, a researcher reads a list of 100 words to each subject, who was asked to say, as quickly as possible, the first thing that came to mind in response to each word, and the subject's reaction time was measured in fifths of a second. (Sir Francis Galton invented the method in 1879.) Researchers noted any unusual reactions—hesitations, slips of the tongue, signs of emotion. Jung was interested in patterns he detected in subjects' responses, hinting at unconscious feelings and beliefs.


title: Complex (psychology)

text: In Jung's theory, complexes may be conscious, partly conscious, or unconscious. Complexes can be positive or negative, resulting in good or bad consequences. There are many kinds of complex, but at the core of any complex is a universal pattern of experience, or archetype. Two of the major complexes Jung wrote about were the anima (a node of unconscious beliefs and feelings in a man's psyche relating to the opposite gender) and animus (the corresponding complex in a woman's psyche). Other major complexes include the mother, father, hero, and more recently, the brother and sister. Jung believed it was perfectly normal to have complexes because everyone has emotional experiences that affect the psyche. Although they are normal, negative complexes can cause us pain and suffering.


title: Complex (psychology)

text: One of the key differences between Jungian and Freudian theory is that Jung's thought posits several different kinds of complex. Freud only focused on the Oedipus complex which reflected developmental challenges that face every young boy. He did not take other complexes into account except for the Electra complex, which he briefly spoke of.


title: Complex (psychology)

text: After years of working together, Jung broke from Freud, due to disagreements in their ideas, and they each developed their own theories. Jung wanted to distinguish between his and Freud's findings, so he named his theory "analytical psychology".


title: Complex (psychology)

text: The ego itself can be thought of as a complex, not yet fully integrated with other parts of the psyche (namely, the superego and the id, or unconscious). As described by Jung, "by ego I understand a complex of ideas which constitutes the center of my field of consciousness and appears to possess a high degree of continuity and identity. Hence I also speak of an ego-complex".


title: Complex (psychology)

text: Jung often used the term "complex" to describe a partially repressed, yet highly influential cluster of charged psychic material split off from, or at odds with, the conscious "I". Daniels described complexes in 2010 as "'stuck-together' agglomerations of thoughts, feelings, behavior patterns, and somatic forms of expression". Concerning its nature as feeling-toned, Jung wrote "[a complex] is the image of a certain psychic situation which is strongly accentuated emotionally and is, moreover, incompatible with the habitual attitude of consciousness. This image has a powerful inner coherence, it has its own wholeness and, in addition, a relatively high degree of autonomy, so that it is subject to the control of the conscious mind to only a limited extent, and therefore behaves like an animated foreign body in the sphere of consciousness."


title: Complex (psychology)

text: Some complexes can usurp power from the ego and can cause psychological disturbances and symptoms resulting from the development of a neurosis. Jung described the autonomous, self-directing nature of complexes when he said


title: Complex (psychology)

text: On the other hand, Jung spoke of the "differentiating functions" as essentially the healthy development of useful complexes, yet not without bringing about often undesirable side effects.


title: Complex (psychology)

text: In "Psychological Types", Jung describes the effects of tensions between the dominant and inferior differentiating functions, often forming complexes and neuroses, in high and even extremely one-sided types.


title: Complex (psychology)

text: Jung conceptualized complexes as having a high degree of autonomy, describing them as ‘splinter psyches’ that form the basis for ‘mini-personalities’, whom he called the ‘little people’.


title: Complex (psychology)

text: This provided the foundation for later expansion of the idea, most notably by British Psychotherapist John Rowan, who referred to them as subpersonalities, each one operating as a 'semipermanent and semi-autonomous region of the personality capable of acting as a person'.


title: Complex (psychology)

text: The work of Rowan and others led to the widespread use of techniques by which psychotherapists encourage clients to express the thoughts, feelings, and attitudes of their various subpersonalities, as a way of facilitating the integration of diverse characteristics, part of what Jung called individuation.


title: Iron Fist (season 1)

text: The first season of the American streaming television series "Iron Fist", which is based on the Marvel Comics character of the same name, follows Danny Rand as he returns to New York City after being presumed dead for 15 years and must choose between his family's legacy and his duties as the Iron Fist. It is set in the Marvel Cinematic Universe (MCU), sharing continuity with the films and other television series of the franchise. The season was produced by Marvel Television in association with ABC Studios and Devilina Productions, with Scott Buck serving as showrunner.


title: Iron Fist (season 1)

text: Finn Jones stars as Rand, alongside Jessica Henwick, Tom Pelphrey, Jessica Stroup, Ramón Rodríguez, Sacha Dhawan, Rosario Dawson, and David Wenham. Development for the series began in late 2013, with Buck hired as the series' showrunner in December 2015 and Jones cast as Rand in February 2016. Filming took place in New York City from April to October 2016, with a focus placed on exploring the "One Percent of the One Percent" through story, location, and costume design. The character's martial arts background is also explored, and each episode is named after Shaolin Kung Fu sequences. As the last of several Marvel Netflix seasons to release before the crossover miniseries "The Defenders", it features set-up for that event and references to those prior seasons.


title: Iron Fist (season 1)

text: The season premiered on March 15, 2017, in New York City, with the full season of 13 episodes released on Netflix on March 17. It received generally negative reviews from critics, particularly for its pace and storytelling, and Jones's performance. The appropriateness of his casting and storyline in terms of race was also widely discussed, while the season's fight sequences were criticized as an important element that were poorly acted, choreographed, and edited. Conversely, Henwick's performance and the use of established characters Claire Temple and Jeri Hogarth did receive some praise. Third-party data analytics determined the series had strong initial viewership, but this dropped within a week. The series was renewed for a second season in July 2017.


title: Iron Fist (season 1)

text: In October 2013, "Deadline" reported that Marvel Television was preparing four drama series and a miniseries, totaling 60 episodes, to present to video on demand services and cable providers, with Netflix, Amazon, and WGN America expressing interest. A few weeks later, Marvel and Disney announced that Marvel Television and ABC Studios would provide Netflix with live action series centered around Iron Fist, Daredevil, Jessica Jones, and Luke Cage, leading up to a miniseries based on the Defenders. In April 2015, the official title was revealed to be "Marvel's Iron Fist", and that December, Marvel announced that Scott Buck would serve as showrunner. John Dahl, Cindy Holland, Allie Goss, Alison Engel, Kris Henigman, Alan Fine, Stan Lee, Joe Quesada, Dan Buckley, Jim Chory, Loeb and Buck serve as executive producers on the series.


title: Iron Fist (season 1)

text: Each episode of the season is named after Shaolin Kung Fu sequences. Quesada stated in July 2016 that "there's a lot going on" in the season, with Buck and the season's writers weaving together "some great legends from Marvel present and past" including what Quesada believed to be the most antagonists in a single season of a Marvel Netflix series. Buck likened "Iron Fist" to a mystery, saying, "It's very much about how do you go about proving who you are when there's no way to do that, and that's not just the story, that's also the theme of it". The season begins with Danny Rand returning to New York after having been missing, presumed dead, for 15 years. Buck said that much of the season was "about a journey of finding self ... in terms of what he wants to be as far as 'Who is Danny Rand? What is the Iron Fist?’ and then, 'How do these things get together?'" Loeb described the structure of the season as building "through a series of sort of metaphorical fights, which is very important in a martial arts film, to sort of show how the character needs to grow from the innocent, wide-eyed person to someone who has to come to terms with ‘this is the way the outside world works—how am I going to make it work for me?’".


title: Iron Fist (season 1)

text: Continuing on the idea from the previous Marvel Netflix series that New York City is a "fifth Defender", Loeb said the season would examine the high-end financial world of New York City, examining "the One Percent of the One Percent and how that affects our world on a day-to-day basis... high-level corporation, Big Pharma, things like that". Actor Finn Jones added the season examined "corporate corruption and corporate responsibility in the modern world, and... how much do corporations have impact on society? And what we actually look at in the show is the heroin epidemic of the city, and how corporations maybe actually fund the heroin epidemic, and what that means to society". In terms of Rand donning a comic-based costume in the season, Buck stated, "There was no good reason we could imagine to put Danny Rand in a costume. Because Danny Rand is still discovering who he is as a hero and where he is going to be, so he's not yet ready to put on a mask or a costume. [A]t the same time he is someone who is rather well known as a billionaire, so he can't necessarily go out in public and do the things he does without being recognized. It does become an issue for the character."


title: Iron Fist (season 1)

text: The main cast for the season includes Jones as Danny Rand / Iron Fist, Jessica Henwick as Colleen Wing, Tom Pelphrey as Ward Meachum, Jessica Stroup as Joy Meachum, Ramón Rodríguez as Bakuto, Sacha Dhawan as Davos, Rosario Dawson as Claire Temple, and David Wenham as Harold Meachum. Dawson reprises her role from previous Marvel Netflix series.


title: Iron Fist (season 1)

text: Recurring throughout the season are David Furr as Wendell Rand, Danny's father; Barrett Doss as Megan, a Rand Enterprises secretary; Alex Wyse as Kyle, Harold Meachum's personal assistant; and Ramon Fernandez as Kevin Singleton, Harold Meachum's bodyguard. Wai Ching Ho recurs as Gao, reprising her role from "Daredevil", and Marquis Rodriguez recurs as Darryl, reprising his role from "Luke Cage". Clifton Davis, John Sanders, and Elise Santora portray Lawrence Wilkins, Donald Hooper, and Maria Rodriguez, respectively, members of the Rand Enterprise board. Also returning from previous Marvel Netflix series are Carrie-Anne Moss as Jeri Hogarth, Tijuana Ricks as Thembi Wallace, and Suzanne H. Smart as Shirley Benson.


title: Iron Fist (season 1)

text: Stephanie Maslansky is the costume designer for "Iron Fist", after serving the same role for the previous Marvel Netflix series. Maslansky noted one of the differences with the season compared to the other Marvel Netflix series, was the neighborhoods it spent time in ("the wealthier neighborhoods; Midtown, Upper East Side, that sort of thing") compared to Hell's Kitchen for "Daredevil" and "Jessica Jones" and Harlem for "Luke Cage". As such, Rand wears more suits than the other heroes, and given the amount of fighting he does in the season, a lot of spandex was added to increase the suits' flexibility. Rand's look evolves throughout the season, with Maslansky noting, "When we first meet him he's clearly traveled a long way. I wanted people to look at Danny and not be sure exactly what he was. A backpacker, or a homeless man. His look needed to reflect a variety of culture [and almost feel] otherworldly." Once Rand enters the corporate world, he settles on an "Urban Cali" style, which is "a little looser, little more relaxed. But it's still a suit. His tie is never tied tightly and he always wears sneakers." This relaxed style for Rand also provided "a strong contrast" to Ward Meachum who is a "far more corporate looking person." The monk costumes and Rand's warrior costume was based on "real Shaolin warrior monk costumes... I took that distinctive silhouette from the Shaolin warrior monk clothing, and we combined it with the traditional colors of the Iron Fist, green and gold." Regarding Gao, Maslansky stated "Her particular look is influenced by ancient China," particularly the Terracotta Army and further progresses the "villainy" look of the Marvel Netflix series of "surround[ing] themselves with [money], with beautiful things."


title: Iron Fist (season 1)

text: Marvel announced in February 2014 that the series would be filmed in New York City, with Quesada stating in April that the show would be filming on location in addition to sound stage work. Photography began in April 2016 in New York City, with the working title "Kick". Manuel Billeter served as director of photography after doing the same for the first seasons of "Jessica Jones" and "Luke Cage".


title: Iron Fist (season 1)

text: Filming locations included Mariners Harbor and Sailors' Snug Harbor on Staten Island, which served as Bakuto's compound; 28 Liberty Street for the exterior of Rand Enterprises, while some interiors were filmed in the MetLife Building; 19 Gramercy Park South for Joy Meachum's home; City Hall Park; Chinatown, including Mott Street; the lobby of the General Electric Building for Harold Meachum's penthouse; the Manhattan Bridge; Green-Wood Cemetery; Bank of America Tower; Bryant Park; the Presidential Suite in the InterContinental New York Barclay Hotel, serving as Rand's temporary apartment; the STK Midtown restaurant; Brooklyn Navy Yard; Pelham Bay Park; the Bayonne Bridge, which doubled as Anzhou, China; and Sutton Place Park. Filming wrapped on October 8, 2016.


title: Iron Fist (season 1)

text: "Iron Fist" was filmed in high dynamic range (HDR), which Billeter stated added "a learning curve" to his work, forcing him to rethink how he would shoot certain scenes, such as a car lights or street lights, which become much brighter in HDR than previously. To compensate, lights would be painted on set to help "bring down the highlights". Post-production vendor Deluxe worked on the season to adjust colors the filming team did not have the chance to tweak on set.


title: Iron Fist (season 1)

text: Brett Chan was the stunt-coordinator, fight choreographer, and second unit director for the season, having "full involvement in all the episodes". Buck wanted the fighting in the series to be mostly Wing Chun but with the animal styles of kung fu as well, and Chan worked alongside Buck and other Marvel executives during development of the fights. As a second unit director, the amount of creative input that Chan had depended on the episodic director he was working with. Chan was influenced by the works of the Shaw Brothers, Jackie Chan, Stephen Chow, Bruce Lee, and Yuen Woo Ping, but avoided being "floaty or wire-like" per a request from Marvel; wire work and CGI were used minimally for fights.


title: Iron Fist (season 1)

text: Chan worked closely with Jones during early preparation for the season, but during filming spent most of his time either choreographing sequences or working on-set. Chan noted that Jones had a very busy schedule, and it was difficult to find the time to train him in martial arts which Chan felt was "a lifestyle" and "isn't something you can just pick up, or train for every once in a while. It's something you need to be really involved in". He did note that Henwick trained for six hours every day regardless if she was scheduled to train that day or if she was filming. Jones elaborated that he had three weeks before filming began to train for the season, during which time he would spend two and a half hours a day training in martial arts before doing weight training in the afternoons. Once filming began, Jones had a day and a half during weekends in which he could continue his training, and otherwise would have to learn fight choreography 15 minutes before filming an action sequence. He described this process as "a baptism of fire and I just learned on the job".


title: Iron Fist (season 1)

text: The executive producers wanted the score to feel modern, and composer Trevor Morris agreed not to use an orchestra. He did try some instruments to represent the Asian influence on the series, but these were deemed "too traditional" by the producers. Only some "heavily affected" Japanese flutes were ultimately used. Morris also looked to avoid using themes for different characters in a traditional way. He did write a theme for Rand, which is heard in the series' title sequence, as well as a theme for the Hand, but in general focused on environmental music. Additional music heard in the season includes "So Fresh, So Clean" by Outkast, "Krystal Karrington" by Camp Lo, "Heat of the Moment" by Killah Priest, "Black Mags" by The Cool Kids, "Hang N' Bang" by Vince Staples, "Blockbuster Night, Pt. 1" by Run the Jewels, and music from A Tribe Called Quest.


title: Iron Fist (season 1)

text: A soundtrack album featuring Morris's score was released by Marvel digitally on March 17, 2017, coinciding with the release of the season. Also included is the album-only single "Come Down", by Anderson .Paak. All music by Trevor Morris, except where noted:


title: Iron Fist (season 1)

text: In working around the other Marvel Netflix series, Buck described "a fair amount of freedom", but "because we are leading into "The Defenders", we have to leave our show in a very specific place with our character, because we do sort of plant seeds and stories that will then come to fruition in "The Defenders". There does have to be a lot of cooperation between all the different [series' showrunners]. But other than that, we work distinctly by ourselves." The season makes references to the events of "The Avengers", the Hulk, Stark Industries, Jessica Jones, Daredevil, Luke Cage, and Seagate Prison, and mentions the Dogs of Hell biker gang, "New York Bulletin" editor-in-chief Mitchell Ellison and reporter Karen Page, Roxxon Oil and Midland Circle. The events of the second season of "Daredevil", such as the Hand's attack on Metro General Hospital, are noted throughout the season, and the Hand's blood draining facility from that season is also seen.


title: Iron Fist (season 1)

text: In October 2016, Buck and the season's main cast promoted the season at New York Comic-Con, debuting exclusive footage from the season and the first look at the first trailer. In early February 2017, the official trailer for the season was released. David Betancourt, reacting to the trailer for "The Washington Post", compared the story it presents to that of "Batman Begins" (2005), and questioned the fact that Iron Fist's comic costume was not shown. Eric Francisco at Inverse noted that the trailer was widely criticized on Twitter for the season's depiction of Rand as an "insufferable college hippie". On March 15, 2017, the season held its premiere at the Tribeca Performing Arts Center in New York City.


title: Iron Fist (season 1)

text: The first season of "Iron Fist" was released on March 17, 2017, on the streaming service Netflix worldwide, in Ultra HD 4K and HDR. The season, along with the additional "Iron Fist" season and the other Marvel Netflix series, was removed from Netflix on March 1, 2022, due to Netflix's license for the series ending and Disney regaining the rights. The season became available on Disney+ in the United States, Canada, United Kingdom, Ireland, Australia, and New Zealand on March 16, ahead of its debut in Disney+'s other markets by the end of 2022.


title: Iron Fist (season 1)

text: Netflix does not reveal subscriber viewership numbers for their series, but Parrot Analytics determined that the season generated over 63 million "Demand Expressions" at its peak, behind only "Luke Cage"s 69 million in terms of all the Marvel Netflix series, with Parrot calculating expressions "by evaluating streaming video, P2P-sharing, social chatter, and more." 7Park Data, which measures the number of streams on subscription video services, determined "Iron Fist" to be the most binge-watched premiere for Netflix in 2017 with 54.7% of "Iron Fist" streams on March 17, 2017, being of three episodes or more. The average score was 46.9%. 7Park Data also determined that "Iron Fist" accounted for 14.6% of all Netflix streams on its premiere date, the highest percentage of any series premiere measured by the company including previous Marvel Netflix premieres.


title: Iron Fist (season 1)

text: Parrot later revealed that demand for "Iron Fist" a week after it launched was halved. This was the largest drop in retention for a Marvel Netflix series, indicating "that people started binge-watching the show in its first few days and then didn't come back to finish the season the next weekend." The marketing analytics firm Jumpshot determined the season was the third-most viewed Netflix season in the first 30 days after it premiered, garnering 28% of the viewers that the second season of "Daredevil" received, which was the firm believed was the most viewed season. Jumpshot, which "analyzes click-stream data from an online panel of more than 100 million consumers", looked at the viewing behavior and activity of the company's U.S. members, factoring in the relative number of U.S. Netflix viewers who watched at least one episode of the season.


title: Iron Fist (season 1)

text: The review aggregator website Rotten Tomatoes reported a 20% approval rating with an average rating of 4.20/10 based on 85 reviews. The website's critical consensus reads, "Despite some promising moments, "Iron Fist" is weighed down by an absence of momentum and originality." Metacritic, which uses a weighted average, assigned a score of 37 out of 100 based on reviews from 21 critics, indicating "generally unfavorable reviews".


title: Iron Fist (season 1)

text: Reviewing the first six episodes of the season, Daniel Fienberg of "The Hollywood Reporter" found "Iron Fist" to be the "first big misstep" for Marvel and Netflix, lacking the "street-level authenticity" that their previous series had. Fienberg felt Jones was unable to elevate the material, instead coming across as "a spoiled frat boy". He said the season lacked basic character archetypes such as "a worthy adversary to our hero", comic relief, or a "voice of wise authority". "Variety"s Maureen Ryan gave a negative review for the first two episodes, calling them "ferociously boring" and "inessential". After criticizing the pacing, action, general characterization, production design, cinematography, and dialogue, Ryan suggested that Henwick should have been the star of the season instead of Jones.


title: Iron Fist (season 1)

text: Rob Sheffield of "Rolling Stone" criticized Jones' performance, calling him "totally devoid of charisma, more cub than lone wolf." He also felt the character was missing humor and inner turmoil, and said Rand's "mystic Zen quotes go over like a "Wayne's World" set-up minus the punch line." Allison Keene of Collider awarded the season 3 stars out of 5 after seeing the first six episodes. She said the season had a good cast and great origin story, but had a "glacial pace" and choppy editing. She did find Jones charming, but agreed with Fienberg that the season was lacking a villain, and felt that Temple was "shoe-horned" into the season. In his review for Screen Crush, Kevin Fitzpatrick stated, ""Iron Fist" needed to be so much weirder than it actually is, akin to how "Doctor Strange" (2016) essentially re-told the "Iron Man" (2008) story with enough out-there visuals and eccentric supporting characters to paper over any shortcomings. "Iron Fist" starts to show signs of life in its sixth episode... but the slog in getting there is too great an ask, especially when the vast majority of the principal characters [are so] underdeveloped." Fitzpatrick felt that Colleen Wing was the better of the supporting characters, and praised Henwick's performance.


title: Iron Fist (season 1)

text: Uproxx's Alan Sepinwall felt of the first six episodes, "It's easily the worst of the Netflix Marvel shows", criticizing the pacing and "miscasting" of Jones. He was more positive about Moss and Dawson's roles. Sepinwall concluded, "the biggest problem with the new show is that no one involved seems to have any kind of take on the material. They’re just making a mostly faithful but personality-free adaptation because someone at Marvel decided four years ago that Danny had to be [in "The Defenders", and as a result,] we got a show that's so lifeless that I have no interest in finishing out the season". Dan Jolin also gave 3 stars out of 5 in his review for "Empire". He felt it was beneficial that "Iron Fist" released after "Doctor Strange" introduced the MCU to "all his Eastern-mystical baggage", and called Iron Fist "a fresh presence" compared to "moody, conflicted heroism" of the other Defenders. Jolin did criticize that Buck had "no sense of connection to his subject" as previous Marvel Netflix showrunners had, and felt it was not until the sixth episode "that you really feel the pulp martial-arts-movie-riffing origins" thanks to episodic director RZA who "finally gives the show a proper sense of flair ... It's enough to make you wish they made him the showrunner." Jolin concluded, ""Iron Fist" works some fantastical flavor into the MCU's down-to-earth Defenders nook, but it needs more proper kung-fu flair than showrunner Buck allows."


title: Iron Fist (season 1)

text: Responding to these reviews, Jones said that "these shows are not made for critics, they are first and foremost made for the fans ... when the fans of the Marvel Netflix world and fans of the comic books view the show through the lens of just wanting to enjoy a superhero show, then they will really enjoy what they see." Jones later attributed the negative reviews to the fact that his character, "a white American billionaire", was similar to Donald Trump who had become "public enemy number one, especially in the US" between the making of the season and its release. In an article for Vox, Alex Abad-Santos said Jones was just attempting to "pass the blame" away from himself when the real problem with the season was "no one thought about what makes the character human". Abad-Santos suggested that the season be a warning to others telling stories about superheroes, who he thought needed to ensure they were "using established characters to touch on other topics—mental illness, parenthood, race, trauma—instead of simply rehashing old plots."


title: Iron Fist (season 1)

text: Feinberg, in his review, criticized the fight sequences in the season, calling them "weakly staged and all-too-brief, without any effort to even pretend that the show's leading man is doing any of his own stunts" and felt "Danny's strength and his enhanced abilities are barely explained and inconsistently depicted." Sepinwall described the fighting in the season as "both brief and unconvincing", criticizing Jones' ability to perform the fights as well as the way they were filmed and edited. One fight sequence, featuring 56 cuts for just 35 seconds of footage, was highlighted by some fans and critics as emblematic of the season's fight problems, with "The Independent"s Christopher Hooton saying the editing created this "disorientating, messy and ultimately not particularly impactful sequence". He compared it to what he believed to be the superior work of Jackie Chan, citing a single take fight scene featuring that performer, as well as the fight scenes from "Daredevil" which "had great success with a more considered shot selection and more minimal cutting than "Iron Fist"".


title: Iron Fist (season 1)

text: Aloysius Low at CNET also compared Jones's fighting in the season to that of Chan as well as Jet Li, saying, "There's none of that elegance I expect from a kung fu master, and he gets hit way too easily for a trained expert." Low also criticized the fact that Jones was unable to fight with both of his fists in the season, while noting that what he believed to be the best fight of the season was when Jones was faced with the drunken fist technique and was losing because of it with Rand only winning that fight due to "the inevitable invincibility of [his] plot armor". Brook H. at Pop Culture Uncovered felt that many of the season's fight scene issues stemmed from a decision to model "Iron Fist" on the American action films of the 1980s and 1990s, rather than updating the style of 1970s Hong Kong films: the season has "no fluidity, variety, interesting styles, or back-and-forth between combatants. These fights were an American interpretation of martial arts, using the visage of kung fu to mask nothing more than straightforward brawling." Brook H.'s piece noted that Chan had extensive experience working as a stunt coordinator, but limited time working as a fight choreographer before joining the series, while a professional fight choreographer discussing the season felt the choreography was not the problem as "I can see where the choreographers were going" but the actors, particularly Jones, were just not skilled enough to deliver on them. The quick cut editing was also criticized, again, as well as attempts to "slow-down Wachowski-style, only to speed right back up" which "failed miserably".


title: Iron Fist (season 1)

text: Following the announcement of the series, Russ Burlingame noted for ComicBook.com that Marvel may have been tempted to change Danny Rand from white to a person of Asian descent, especially given that the other Marvel Netflix series "Jessica Jones" and "Luke Cage" already set a precedent of increasing diversity by exploring a female and African-American lead, respectively. However, Burlingame was against this happening, wanting to see "the classic" version of the character, and feeling that making the character Asian simply because he is a martial artist was itself "quietly, subtlely racist". This situation, of casting either a white or Asian-American actor in the role, was described as "lose/lose" by Devin Faraci of Birth.Movies.Death, while Albert Ching at Comic Book Resources was strictly against casting an Asian-American. He said that any extra Asian-American representation onscreen would be positive, but that he was not comfortable with the idea of the first major Asian superhero in film or television being a martial artist. Ching questioned why this discussion had not been raised with any other character, and suggested that a non-white, non-Asian actor be cast instead to avoid either issues. He highlighted the casting of Chloe Bennet and Ming-Na Wen in the MCU series "Agents of S.H.I.E.L.D.", both in "non-stereotypical roles", as examples of what roles he would rather have Asian-Americans be cast in.


title: Iron Fist (season 1)

text: In response to this, Keith Chow at The Nerds of Color specifically asked Marvel to cast an Asian-American in the role. Chow focused on the lack of Asian-American representation in mainstream television and films, the fact that the character's story would not have to change to accommodate this difference, and how it would stop elements of the "white savior" trope being depicted where a "white-guy-is-better-at-being-Asian-than-the-Asians". Chow did not feel it was equivalent to simply add a different Asian hero to the series such as Shang-Chi as there is a difference between the experience of an Asian character and an Asian-American, with the latter still being able to have a "fish out of water" storyline as Rand does in the comics. Chow disagreed that it was racist to have an Asian-American martial artist, as martial arts are a natural part of an Asian-American's heritage and would not be the only thing the character does; he gave the example of Daniel Wu in "Into the Badlands", the only other Asian American lead of a mainstream martial arts series, who agreed to star in that series despite the perceived stereotypes because of the characterization beyond fighting, and because his "culture did create kung fu, so is that a stereotype? No it's part of [my] history". Chow started the hashtag #AAIronFist on Twitter, beginning a movement that received support from "high profile people" such as Lexi Alexander and Gail Simone.


title: Iron Fist (season 1)

text: Marvel and Netflix became aware of the movement to cast an Asian-American as Danny Rand, particularly after Chow began writing on the subject in March 2014, and considered several Asian-American actors for the role. This included Lewis Tan, who went on to guest star as the villain Zhou Cheng in the season. However, by the time Buck was announced as showrunner in December 2015, the studios were "leaning toward keeping Iron Fist white." Jones, who is white, was cast in February 2016.


title: Iron Fist (season 1)

text: Following the casting, io9's Rob Bricken spoke out against commentators who accepted Jones's casting because Marvel had been in a "damned if they do, damned if they don't" situation, feeling this was not true because the benefits that could have come from casting an Asian-American actor—including having the character " his Asian heritage, instead of taking it from others"—outweighed just copying the stereotypes from the comics. His colleague Katharine Trendecosta later added, after watching the completed season, that an Asian-American Danny Rand would have been more interesting than the final version, especially in being able to explore how he felt about returning to America having become more of a stereotype, and feeling out of place in K'un Lun due to being American while feeling out of place among the high-society circles of America due to being Asian. In response to these criticisms, Jones agreed that "there needs to be more diversity in film and television" but was confused why "Iron Fist" in particular had been targeted by internet commentators and said that they should get angry at "real problems in the world" instead. After the irony of him championing diversity through his Twitter account was raised with Jones in March 2017, he added that the producers chose to lean in to the problematic aspects of the character and surround him with "one of the most diverse" casts of the Marvel Netflix series to create a "socially progressive story" without alienating the comic fan base. Jones subsequently took down his Twitter account.


title: Iron Fist (season 1)

text: In response to specific criticisms that Rand is a "white savior", Buck said that he had approached the character without knowing of the racial issues surrounding him and his comic history, and that "I can say most definitively Danny Rand is no white saviour. He's trying to save himself, if anything." Jones agreed, saying, "Danny Rand is not a white savior. Danny Rand can hardly save himself, let alone an entire race of people. He is a very complicated, vulnerable individual." Jones felt that changing K'un Lun to be a multi-cultural place for the series aided in lessening the white savior narrative, while stating, "It's up to the writers to address thematic and narrative choices. And it's up to us as actors to try and breathe life into these characters as truthfully and as honestly and with [as much] genuine passion as possible." Roy Thomas, co-creator of the character, also defended the season following accusations of cultural appropriation, saying that the character was created for a less "PC" time and that K'un Lun was always meant to be a mythical place rather than a representation of Asia. Thomas added that he would not be bothered if the character had been changed to Asian-American, but was not "ashamed" that Rand remained white.


title: Iron Fist (season 1)

text: The season was nominated for Best New Media Superhero Series at the 44th Saturn Awards, but lost to Marvel's own "The Punisher".


title: Kurtz (Heart of Darkness)

text: Kurtz is a central fictional character in Joseph Conrad's 1899 novella "Heart of Darkness". He is a trader of ivory in Africa and commander of a trading post, and previously a colonel. He monopolises his position as a demigod among native Africans. Kurtz meets with the novella's protagonist, Charles Marlow, who returns him to the coast via steamboat. Kurtz, whose reputation precedes him, impresses Marlow strongly, and during the return journey, Marlow is witness to Kurtz's final moments.


title: Kurtz (Heart of Darkness)

text: Kurtz is an ivory trader, sent by a shadowy Belgian company into the heart of an unnamed place in Africa (generally regarded as the Congo Free State). With the help of his superior technology, Kurtz has turned himself into a charismatic demigod of all the tribes surrounding his station and gathered vast quantities of ivory in this way. As a result, his name is known throughout the region. Kurtz's general manager is envious of Kurtz and plots his downfall.


title: Kurtz (Heart of Darkness)

text: Kurtz's mother was half English, his father was half French and thus "All Europe contributed to the making of Kurtz." As the reader finds out at the end, Kurtz is a multitalented man—painter, musician, writer, promising politician. He starts out, years before the novel begins, as an imperialist in the best tradition of the "white man's burden". The reader is introduced to a painting of Kurtz's, depicting a blindfolded woman bearing a torch against a nearly black background, and clearly symbolic of his former views. Kurtz is also the author of a pamphlet regarding the civilization of the natives.


title: Kurtz (Heart of Darkness)

text: The presence of his admirer, the Russian "Harlequin", and what he reveals about Kurtz in his adulatory descriptions of him raises questions about Kurtz's actual beliefs and the sincerity of his progressive views.


title: Kurtz (Heart of Darkness)

text: However, over the course of his stay in Africa, Kurtz becomes corrupted. He takes his pamphlet and scribbles in, at the very end, the words "Exterminate all the brutes!" He induces the natives to worship him, setting up rituals and venerations worthy of a tyrant. By the time Marlow, the protagonist, sees Kurtz, he is ill with jungle fever and almost dead. Marlow seizes Kurtz and endeavors to take him back down the river in his steamboat. Kurtz dies on the boat with the last words, "The horror! The horror!" Kurtz ultimately was changed by the jungle. At first he wanted to bring civilization to the natives, as his painting shows, but by the end he wants to "exterminate all the brutes!"


title: Kurtz (Heart of Darkness)

text: Kurtz's persona is generally understood to derive from the notoriously brutal history of the so-called "Congo Free State", a territory that existed as the private property of King Leopold II from 1885 to 1908 until it was taken over by Belgium and became a Belgian colony. In his history book "King Leopold's Ghost", Adam Hochschild suggests that Léon Rom, an administrator in King Leopold's Congo, i.e. in the Congo Free State, was the principal inspiration for the Kurtz character, citing references as the heads on the stakes outside of the station and other similarities between the two. Hochschild and other authors have also suggested that the fate of the disastrous "rear column" of the Emin Pasha Relief Expedition (1886–8) on the Congo may have also been an influence. Column leader Edmund Musgrave Barttelot, "went mad, began hitting, whipping, and killing people, and was finally murdered". Bloom notes that Kurtz's sophisticated brutality is closer to that of Barttelot's associate slave trader Tippu Tip. The expedition's overall leader, Henry Morton Stanley, the principal figure involved in preparing the Congo for Leopold's rule, may also have been an influence. Conrad's biographer Norman Sherry judged that Arthur Hodister (1847–1892), a Belgian solitary but successful trader, who spoke three Congolese languages and was venerated by Congolese to the point of deification, served as the main model, while later scholars have refuted this hypothesis. Peter Firchow mentions the possibility that Kurtz is a composite, modelled on various figures present in the Congo Free State at the time as well as on Conrad's imagining of what they might have had in common.


title: Kurtz (Heart of Darkness)

text: A personal acquaintance of Conrad's, Georges Antoine Klein, may also have been a real-life basis for the character. Klein was an employee of the Brussels-based trading company "Société Anonyme Belge pour le Commerce du Haut-Congo", and died shortly after being picked up on the steamboat Conrad was piloting. Further, "Klein" means "little" in German, and as Marlow muses in the novella, "Kurz" means "short" in the same language.


title: Kurtz (Heart of Darkness)

text: Conrad also expressed admiration of Robert Louis Stevenson's Pacific Ocean writings, in particular, the stories "The Beach of Falesá" and "The Ebb-Tide", as well as the non-fiction account of Tembinok' of the Gilbert Islands that appeared in "In the South Seas". All three texts contain megalomaniacs who manipulate their circumstances and remote settings to assert power over others. It is widely believed that Conrad drew influence from these characters, as well as Stevenson's plot lines when writing "Heart of Darkness".


title: Kurtz (Heart of Darkness)

text: In the 1958 loose adaptation for the CBS television anthology series "Playhouse 90" Kurtz was played by Boris Karloff. This version uses the encounter between Marlow and Kurtz as its final act, and adds a backstory in which Marlow had been Kurtz's adopted son.


title: Kurtz (Heart of Darkness)

text: Francis Ford Coppola's acclaimed Vietnam War film "Apocalypse Now" (1979) centers on the protagonist's mission to find and kill the renegade Colonel Kurtz (played by Marlon Brando), based on Conrad's character, who has gone rogue far up a river, deep in the Cambodian jungle. The script acknowledges "Heart of Darkness" as a source of inspiration, and the last words of Colonel Kurtz, "The horror! The horror!", echo those of his namesake in the novel.


title: Kurtz (Heart of Darkness)

text: In the mostly poorly received 1994 TNT version of the story directed by Nicolas Roeg, Kurtz, who has gone insane and is now doing the most horrible and blasphemous deeds, was portrayed by John Malkovich.


title: Kurtz (Heart of Darkness)

text: The 2020 documentary "African Apocalypse" follows the parallels between the fictional Kurtz and the brutal Paul Voulet, who led a murderous expedition into Niger in the year that "Heart of Darkness" was published.


title: Kurtz (Heart of Darkness)

text: The video game "" (2010) features a character in many ways similar to Kurtz, a man who refers to himself as Caesar. Caesar was initially a diplomat who went out into the post-apocalyptic world in an attempt to both increase the knowledge of the now tribal inhabitants and learn from their cultures to facilitate understanding in the wasteland. Caesar eventually went mad with power after becoming the de facto leader of one such tribe and led them in dismantling other tribes who then assimilated into his group. Now, he is the ruler of Caesar's Legion, a vast army of tribals modeled after the Roman Empire. Like Kurtz, Caesar is an educated, charismatic figure who is worshipped as a god by his underlings; in Caesar's case, his followers believe him to be the reincarnation of Mars, the Roman god of war.


title: Kurtz (Heart of Darkness)

text: The video game "" (2012), another modernized loose adaptation of "Heart of Darkness" (set in a ruined Dubai), has a similar Kurtz figure named Colonel John Konrad.


title: Kurtz (Heart of Darkness)

text: Timothy Findley's novel "Headhunter" (1993) features Kurtz's escape from "Heart of Darkness" and subsequent reign of terror over the city of Toronto as the psychiatrist-in-chief at the Parkin Institute.


title: Kurtz (Heart of Darkness)

text: In Josef Škvorecký's novel "The Engineer of Human Souls" Kurtz is seen as the epitome of exterminatory colonialism.


title: Kurtz (Heart of Darkness)

text: Who Fighter with Heart of Darkness is an anthology that includes a manga adaptation of "Heart of Darkness". Like "Apocalypse Now" the setting is changed to WWII era Burma, about a soldier named Maruo sent to hunt down the renegade Colonel Kurutsu.


title: Quebec French

text: Quebec French ( ), also known as Québécois French, is the predominant variety of the French language spoken in Canada. It is the dominant language of the province of Quebec, used in everyday communication, in education, the media, and government.


title: Quebec French

text: Canadian French is a common umbrella term to describe all varieties of French used in Canada, including Quebec French. Formerly it was used to refer solely to Quebec French and the closely related dialects spoken in Ontario and Western Canada, in contrast with Acadian French, which is spoken in some areas of eastern Quebec (Gaspé Peninsula), New Brunswick, and in other parts of Atlantic Canada, and Métis French, which is found generally across the Prairie provinces.


title: Quebec French

text: The term is commonly used to refer to Quebec working class French (when considered a basilect), characterized by certain features often perceived as phased out, "old world" or "incorrect" in standardized French. "Joual", in particular, exhibits strong Norman influences largely owing to Norman immigration during the Ancien Regime (they were perceived as true Catholics and allowed to immigrate to the new world as an example of ideal French settlers). For example the word "placoter" can mean both to splash around or to chatter which comes from the Normand French word "clapoter" which means the same thing. Its equivalent in Acadian French is called Chiac.


title: Quebec French

text: The origins of Quebec French lie in the 17th- and 18th-century regional varieties (dialects) of early modern French, also known as Classical French, and of other (especially Poitevin dialect, Saintongeais dialect and Norman) that French colonists brought to New France. Quebec French either evolved from this language base and was shaped by the following influences (arranged according to historical period) or was imported from Paris and other urban centres of France as a koiné, or common language shared by the people speaking it.


title: Quebec French

text: Unlike the language of France in the 17th and 18th centuries, French in New France was fairly well unified. It also began to borrow words and gather importations (see loan word), especially place names such as "", "Canada" and "Hochelaga", and words to describe the flora and fauna such as (cranberry) and (largemouth bass), from First Nations languages.


title: Quebec French

text: The importance of the rivers and ocean as the main routes of transportation also left its imprint on Quebec French. Whereas European varieties of French use the verbs and for “to get in” and “to get out” of a vehicle (lit. "to mount" and "to dismount", as one does with a horse or a carriage), the Québécois variety in its informal register tends to use and , a result of Quebec's navigational heritage.


title: Quebec French

text: With the onset of British rule in 1760, Quebec French became isolated from European French. This led to a retention of older pronunciations, such as for () and expressions that later died out in France. In 1774, the Quebec Act guaranteed French settlers as British subjects rights to French law, the Roman Catholic faith and the French language to appease them at a moment when the English-speaking colonies to the south were on the verge of revolting in the American Revolution.


title: Quebec French

text: After Canadian Confederation in 1867, Quebec started to become industrialized and thus experienced increased contact between French and English speakers. Quebec business, especially with the rest of Canada and with the United States, was conducted in English. Also, communications to and within the Canadian federal government were conducted almost exclusively in English. This period included a sharp rise in the number of immigrants from the United Kingdom who spoke a variety of languages including English, Irish, and Scottish Gaelic. This was particularly noticeable in Montreal, which resembled a majority anglophone city in terms of its commercial life, but was predominantly francophone. As a result, Quebec French began to borrow from both Canadian and American English to fill accidental gaps in the lexical fields of government, law, manufacturing, business and trade. A great number of French Canadians went to the US to seek employment. When they returned, they brought with them new words taken from their experiences in the New England textile mills and the northern lumber camps.


title: Quebec French

text: During World War I, a majority of Quebec's population lived in urban areas for the first time. From the time of the war to the death of Maurice Duplessis in 1959, the province experienced massive modernization. It is during this period that French-language radio and television broadcasting, albeit with a façade of European pronunciation, began in Canada. While Quebec French borrowed many English-language brand names during this time, Quebec's first modern terminological efforts bore a French lexicon for (ice) hockey, one of the national sports of Canada. Following World War II, Quebec began to receive large waves of non-French- and non-English-speaking immigrants (allophones) who would acquire French or English, but most commonly the latter.


title: Quebec French

text: From the Quiet Revolution to the passing of the Charter of the French Language, the French language in Quebec saw a period of validation in its varieties associated with the working class while the percentage of literate and university-educated francophones grew. Laws concerning the status of French were passed both on the federal and provincial levels. The was established to play an essential role of support in language planning. In Ontario, the first French-language public secondary schools were built in the 1960s, but not without confrontations. West Nipissing, Penetanguishene and Windsor each had their own school crisis.


title: Quebec French

text: Although Quebec French constitutes a coherent and standard system, it has no objective norm as the very organization mandated to establish it, the Office québécois de la langue française, believes that objectively standardizing Quebec French would lead to reduced mutual intelligibility with other French communities around the world, linguistically isolating Quebeckers and possibly causing the extinction of the French language in the Americas.


title: Quebec French

text: This governmental institution has nonetheless published many dictionaries and terminological guidelines since the 1960s, effectively allowing many Canadianisms ("canadianismes de bon aloi") or more often Quebecisms (French words local to Canada or Quebec) that describe specifically North American realities. It also creates new, morphologically well-formed words to describe technological evolutions to which the "Académie française", the equivalent body governing French language in France, is extremely slow to react.


title: Quebec French

text: The resulting effect (based on many historical factors) is a negative perception of Quebec French traits by some of the Québécois themselves, coupled with a desire to "improve" their language by conforming it to the Metropolitan French norm. This explains why most of the differences between Quebec French and Metropolitan French documented are marked as "informal" or "colloquial". Various artists and citizens create work that grapples with this reality, such as the television shows Toupie et binou and Les Appendices.


title: Quebec French

text: As mentioned earlier, Quebec French is not standardized and is therefore equated with Standard French, partly to keep it in line with and mutually intelligible with Metropolitan French. There is a continuum of full intelligibility between Quebec and European French. If a comparison can be made, the differences between both varieties are comparable to those between


title: Quebec French

text: Some travelling Québécois choose to register or modify their accent to be more easily understood, but most are able to communicate readily with European francophones. European pronunciation is usually not difficult for Canadians to understand; only differences in vocabulary present any problems. Nevertheless, the Québécois accent is mostly closer to that of Poitou or of Normandy and also some parts of Wallonia.


title: Quebec French

text: In general, European French speakers have no problems understanding Quebec newscasts or other moderately formal Québécois speech. However, they may have some difficulty understanding informal speech, such as the dialogue in a sitcom. That is due more to slang, idioms, vocabulary (particularly the use of English words), and use of exclusive cultural references than to accent or pronunciation. However, when speaking to a European French speaker, a more rural French speaker from Quebec can shift to a slightly more formal, "international" type of speech by avoiding idioms or slang, much as a person speaking Southern American English would do to a person speaking British English.


title: Quebec French

text: Quebec's culture has only recently gained exposure in Europe, especially since the Quiet Revolution (). The difference in dialects and culture is large enough that speakers of Quebec French overwhelmingly prefer their own "home grown" television dramas or sitcoms to shows from Europe or the United States. Conversely, certain singers from Quebec have become very famous even in France, notably Félix Leclerc, Gilles Vigneault, Kate and Anna McGarrigle, Céline Dion, and Garou. Some television series from Quebec such as "Têtes à Claques" and "L'Été indien" are also known in France. The number of such shows from France shown on Quebec television is about the same as the number of British shows on American television even though French news channels like France 24 and a francophone channel based in France, TV5 Québec Canada, are broadcast in Quebec. Nevertheless, Metropolitan French series such as "The Adventures of Tintin" and "Les Gens de Mogador" are broadcast and known in Quebec. In certain cases, on French TV, subtitles can be added when barbarisms, rural speech and slang are used, not unlike cases in the US of a number of British programmes being shown with subtitles (notably from Scotland).


title: Quebec French

text: Quebec French was once stigmatized, including by some Québécois themselves as well as Metropolitan French and others in the Francophonie. Quebec French was considered by them as a low-class dialect, a sign of a lack of education, or a corruption due to its use of words/structures from Ancien Régime French and sometimes simply due to its differences from standardardized Metropolitan French.


title: Quebec French

text: Until 1968, usage of Québécois/Joual was not encouraged in mainstream media and seldom used for theatre plays. That year, the huge success of Michel Tremblay's play "Les Belles-sœurs" proved to be a turning point. Today, many speakers feel freer to choose a register when speaking, and Canadian media features individuals and characters who speak in a way that reflects Quebec culture and the different registers of the language.


title: Quebec French

text: Formal Quebec French uses essentially the same orthography and grammar as Standard French, with few exceptions, and exhibits moderate lexical differences. Differences in grammar and lexicon become more marked as language becomes more informal.


title: Quebec French

text: While phonetic differences also decrease with greater formality, Quebec and European accents are readily distinguishable in all registers. Over time, European French has exerted a strong influence on Quebec French. The phonological features traditionally distinguishing informal Quebec French and formal European French have gradually acquired varying sociolinguistic status, so that certain traits of Quebec French are perceived neutrally or positively by Quebecers, while others are perceived negatively.


title: Quebec French

text: Sociolinguistic studies conducted in the 1960s and 1970s showed that Quebecers generally rated speakers of European French heard in recordings higher than speakers of Quebec French in many positive traits, including expected intelligence, education, ambition, friendliness and physical strength. The researchers were surprised by the greater friendliness rating for Europeans, since one of the primary reasons usually advanced to explain the retention of low-status language varieties is social solidarity with members of one's linguistic group. François Labelle cites the efforts at that time by the Office québécois de la langue française "to impose a French as standard as possible" as one of the reasons for the negative view Quebecers had of their language variety.


title: Quebec French

text: Since the 1970s, the official position on Québécois language has shifted dramatically. An oft-cited turning point was the 1977 declaration of the "Association québécoise des professeurs de français" defining thus the language to be taught in classrooms: "Standard Quebec French ["le français standard d'ici", literally, "the Standard French of here"] is the socially favoured variety of French which the majority of Francophone Québécois tend to use in situations of formal communication." Ostiguy and Tousignant doubt whether Quebecers today would still have the same negative attitudes towards their own variety of French that they did in the 1970s. They argue that negative social attitudes have focused instead on a subset of the characteristics of Quebec French relative to European French, and particularly some traits of informal Quebec French. Some characteristics of European French are even judged negatively when imitated by Quebecers.


title: Quebec French

text: Quebec French has some typographical differences from European French. For example, in Quebec French, unlike European French, a full non-breaking space is not used before the semicolon, exclamation mark, or question mark. Instead, a thin space (which according to "Le Ramat de la typographie" normally measures a quarter of an em) is used; this thin space can be omitted in word-processing situations where the thin space is assumed to be unavailable, or when careful typography is not required.


title: Quebec French

text: A notable difference in grammar which received considerable attention in France during the 1990s is the feminine form of many professions, which traditionally did not have a feminine form. In Quebec, one writes nearly universally "une chercheuse" or "une chercheure" "a researcher", whereas in France, "un chercheur" and, more recently, "un chercheur" and "une chercheuse" are used. Feminine forms in "eure as in "ingénieure are still strongly criticized in France by institutions like the Académie française, but are commonly used in Canada and Switzerland.


title: Quebec French

text: There are other, sporadic spelling differences. For example, the Office québécois de la langue française recommends the spelling "tofou" for what is in France "tofu" "tofu". In grammar, the adjective "inuit" "Inuit" is invariable in France but, according to official recommendations in Quebec, has regular feminine and plural forms.


title: Quebec French

text: Grammatical differences between informal spoken Quebec French and the formal language abound. Some of these, such as omission of the negative particle "ne", are also present in the informal language of speakers of standard European French, while other features, such as use of the interrogative particle "-tu", are either peculiar to Quebec or Canadian French or restricted to nonstandard varieties of European French.


title: Quebec French

text: While the overwhelming majority of lexical items in Quebec French exist in other dialects of French, many words and expressions are unique to Quebec, much like some are specific to American and British varieties of English. The differences can be classified into the following five categories. The influences on Quebec French from English and Native American can be reflected in any of these five:


title: Quebec French

text: The following tables give examples of each of the first four categories, along with the Metropolitan French equivalent and an English gloss. Contextual differences, along with individual explanations, are then discussed.


title: Quebec French

text: Some Quebec French lexical items have the same general meaning in Metropolitan French but are used in different contexts. English translations are given in parentheses.


title: Quebec French

text: In addition, Quebec French has its own set of swear words, or , distinct from other varieties of French.


title: Quebec French

text: One characteristic of major sociological importance distinguishing Quebec French from European French is the relatively greater number of borrowings from English, especially in the informal spoken language, but that notion is often exaggerated. Québécois have been found to show a stronger aversion to the use of anglicisms in formal contexts than do European francophones, largely because of what the influence of English on their language is held to reveal about the historically-superior position of anglophones in Canadian society. According to Cajolet-Laganière and Martel, out of 4,216 "criticized borrowings from English" in Quebec French that they were able to identify, some 93% have "extremely low frequency" and 60% are obsolete. Despite this, the prevalence of anglicisms in Quebec French has often been exaggerated.


title: Quebec French

text: It is worth noting that various anglicisms commonly used in European French informal language are mostly not used by Quebec French speakers. While words such as shopping, parking, escalator, ticket, email and week-end, are commonly spoken in European French, Quebec French tends to favour French equivalents, namely: and , respectively. As such, the exaggeration of anglicism use in Quebec French could be attributed, in part, simply to the fact that the anglicisms used are different, and thus more noticeable by European French speakers.


title: Quebec French

text: French spoken with a number of anglicisms viewed as excessive may be disparagingly termed /"Frenglish". According to Chantal Bouchard, "While the language spoken in Quebec did indeed gradually accumulate borrowings from English [between 1850 and 1960], it did not change to such an extent as to justify the extraordinarily negative discourse about it between 1940 and 1960. It is instead in the loss of social position suffered by a large proportion of Francophones since the end of the 19th century that one must seek the principal source of this degrading perception."


title: Quebec French

text: , the Canadian French word for bullfrog, a frog species native to North America, originates from an Iroquois word.


title: Quebec French

text: The following are areas in which the lexicon of Quebec French is found to be distinct from those of other varieties of French:


title: Quebec French

text: Some recent Quebec French lexical innovations have spread, at least partially, to other varieties of French, for example:


title: Quebec French

text: For phonological comparisons of Quebec French, Belgian French, Meridional French, and Metropolitan French, see French phonology.


title: Quebec French

text: These examples are intended not exhaustive but illustrate the complex influence that European French has had on Quebec French pronunciation and the range of sociolinguistic statuses that individual phonetic variables can possess.


title: Quebec French

text: Like any variety of French, Quebec French is generally characterized by increasingly wide gaps between the formal form and the informal form. Notable differences include the generalized use of "on" (informal for "nous"), the use of single negations as opposed to double negations: "J'ai pas" (informal) vs "Je n'ai pas" (formal) etc. There are increasing differences between the syntax used in spoken Quebec French and that of other regional dialects of French. However, the characteristic differences of Quebec French syntax are not considered standard despite their high-frequency in everyday, relaxed speech.


title: Quebec French

text: One far-reaching difference is the weakening of the syntactic role of the specifiers (both verbal and nominal), which results in many syntactic changes:


title: Quebec French

text: However, these features are common to all the basilectal varieties of "français populaire" descended from the 17th century koiné of Paris.


title: Quebec French

text: In their syntax and morphology, Quebec French verbs differ very little from the verbs of other regional dialects of French, both formal and informal. The distinctive characteristics of Quebec French verbs are restricted mainly to:


title: Ryan Bertrand

text: Ryan Dominic Bertrand (born 5 August 1989) is an English professional footballer who plays as a left-back for Premier League club Leicester City.


title: Ryan Bertrand

text: Bertrand began his youth career at Gillingham, before signing for Chelsea in July 2005. He graduated from Chelsea's youth system and was sent on loan to various clubs between 2006 and 2010. He made his full debut for Chelsea on in April 2011, six years after joining them, in a fixture against Birmingham City. In the 2011–12 season, Bertrand signed a new four-year contract with Chelsea and was made understudy to Ashley Cole. In May 2012, Bertrand became the first player to make his Champions League debut in the final, starting in an unfamiliar left wing role in front of Cole; Chelsea beat Bayern Munich 4–3 on penalties.


title: Ryan Bertrand

text: Bertrand is an England international, having also represented 'the Young Lions' at under-17, under-18, under-19, under-20, under-21 levels, as well as Great Britain at the 2012 Summer Olympics. He made his debut for the England senior team in August 2012 in a friendly against Italy, in a 2–1 win.


title: Ryan Bertrand

text: Bertrand was born in Southwark, London. He joined Gillingham aged nine, progressing through their youth system. Bertrand attended the Robert Napier School in Gillingham, Kent.


title: Ryan Bertrand

text: Bertrand was signed by Chelsea in July 2005 from Gillingham for an initial £125,000, which was set by a tribunal and was subject to increases depending on progress.


title: Ryan Bertrand

text: During the 2006–07 season, he was twice sent on loan to AFC Bournemouth, at the same time as Chelsea teammate Jack Cork. He suffered a ruptured spleen in a youth team match against Arsenal that ruled him out of the later part of that season.


title: Ryan Bertrand

text: On 4 January 2008, a matter of days after his spell at Oldham came to an end, Bertrand joined Norwich City on loan for the rest of the 2007–08 season. He put in a number of impressive displays playing at both left-back and on the left wing, and admitted he would welcome a longer stay with the club. Bertrand became popular with the Carrow Road crowd earning him the nickname 'Plastic' in reference to the Belgian singer Plastic Bertrand. On 4 July 2008, he rejoined the club on loan until January 2009, with an option to extend to the end of the season.


title: Ryan Bertrand

text: On 17 July 2009, Bertrand joined Reading on a season-long loan. He scored his first professional goal against Derby County on 10 March 2010. He came third in the voting for Reading's player of the season, behind Gylfi Sigurðsson and Jimmy Kébé.


title: Ryan Bertrand

text: On 5 August 2010, Bertrand signed on loan with Championship club Nottingham Forest in an initial six-month deal. He made his debut for Forest as a substitute in a 1–0 away defeat against Burnley. He was a regular for Forest for whom he made a total of 19 appearances. Forest were interested in either extending Bertrand's loan spell for the rest of the season or to sign him permanently but when his loan period expired on 3 January 2011 he returned to his parent club Chelsea.


title: Ryan Bertrand

text: Bertrand made his Premier League debut on 20 April 2011, when he came on as substitute to replace Ashley Cole in a 3–1 win against Birmingham City. Bertrand also made a goal, providing a cross which Florent Malouda headed past Birmingham goalkeeper Ben Foster.


title: Ryan Bertrand

text: He was used as a back-up to Cole by Chelsea manager Carlo Ancelotti, as he remained with Chelsea and left-back Patrick van Aanholt went out on loan. Six years after signing for Chelsea as a schoolboy, Bertrand made his first starting appearance, against Fulham in the League Cup. The match finished in favour of Chelsea, who won on penalties 4–3, as the match ended goalless.


title: Ryan Bertrand

text: During the 2011–12 season, Bertrand played 90 minutes in Chelsea's 2–0 defeat against Liverpool in the League Cup. He made his first league appearance of the season coming on as a late substitute for Ashley Cole against Everton, the match ended in a 2–0 defeat for Chelsea. Bertrand was handed his first Premier League start against Wigan Athletic on 7 April, in which he produced an outstanding performance, as Chelsea won 2–1 and he was named fan's man of the match. He was again named man of the match in his third start, a 0–0 draw with Arsenal on 21 April. On 5 May, Bertrand won the FA Cup with Chelsea, but he did not appear on the pitch in the win against Liverpool.


title: Ryan Bertrand

text: Bertrand made his European debut in the 2012 UEFA Champions League Final against Bayern Munich on 19 May 2012, playing on the left of midfield, becoming the first player in the Champions League era to make his debut in the final. He was substituted with a knock after 70 minutes and replaced by Florent Malouda as Chelsea edged out Bayern 4–3 on penalties.


title: Ryan Bertrand

text: Bertrand scored his first professional goal for Chelsea in the Community Shield match against Manchester City on 12 August 2012, which they went on to lose 3–2. He started in the first league match of the season against Wigan Athletic playing as a winger. On 5 September 2012, Bertrand signed a new improved five-year contract with Chelsea. On 25 September, he scored his second professional goal in a League Cup match against Wolverhampton Wanderers at Stamford Bridge, which Chelsea won 6–0.


title: Ryan Bertrand

text: On 1 April 2013, he came on as a replacement for Ashley Cole in the FA Cup quarter-final replay against Manchester United, which Chelsea went on to win 1–0. It was revealed after the match that Cole would be sidelined for at least two weeks, leaving Bertrand as the clubs only recognised left-back. He started the next match, the Europa League quarter-final first leg against Rubin Kazan at Stamford Bridge, putting in a strong performance as Chelsea ran out 3–1 winners. On 7 April, Bertrand made his 50th Chelsea appearance in a 2–1 win against Sunderland.


title: Ryan Bertrand

text: He started at left-back in the FA Cup semi-final against Manchester City at Wembley Stadium on 14 April, which ended in a 2–1 defeat for Chelsea. In the continued absence of Ashley Cole, Bertrand started and performed well in the next league match in the West London derby against Fulham at Craven Cottage on 17 April, which Chelsea comfortably won 3–0 thanks to a 30-yard strike from David Luiz and a brace from John Terry.


title: Ryan Bertrand

text: On 17 January 2014, Bertrand joined Aston Villa on loan for the remainder of the 2013–14 season. He made his debut the next day in a 2–2 draw with Liverpool.


title: Ryan Bertrand

text: On 30 July 2014, Bertrand joined Southampton on loan for the 2014–15 season. He made his competitive debut for the club on 17 August in their first match of the league season, playing the full 90 minutes of a 2–1 defeat away to Liverpool. Bertrand scored for Southampton the first time on 27 September, opening a 2–1 home win against Queens Park Rangers. His second goal for the club came on 26 December, in a 3–1 victory over Crystal Palace. On 1 February 2015, he was given a straight red card at the end of a 0–1 home loss against Swansea City for a foul on Modou Barrow.


title: Ryan Bertrand

text: On 2 February 2015, Bertrand completed a permanent move to Southampton, signing a -year deal for an undisclosed fee, reported to be £10 million. On 26 April, he was the only Southampton player named in the PFA Team of the Year.


title: Ryan Bertrand

text: Bertrand scored his only goal of the 2015–16 season in the final match, a penalty in a 4–1 win over Crystal Palace. On 12 July 2016, Bertrand signed a new five-year contract.


title: Ryan Bertrand

text: On 12 May 2021, Southampton announced that Bertrand would leave the club when his contract expired in the summer.


title: Ryan Bertrand

text: On 15 July 2021, Bertrand joined Premier League club Leicester City on a free transfer, signing a two-year contract. Bertrand made his debut for the club in Leicester's 1–0 triumph over reigning Premier League champions Manchester City in the Community Shield on 7 August 2021.


title: Ryan Bertrand

text: Bertrand has represented England youth teams at under-17, under-18, under-19, under-20 and under-21 levels.


title: Ryan Bertrand

text: He was promoted to the U21s and called up for several 2009 European Championship qualifiers, but missed out of the squad for the final tournament. On 14 November, Stuart Pearce selected him at left-back for an under-21 match against Portugal at Wembley in Group 9 of the qualification process, and helped the team keep first clean sheet since 29 June 2009. He was named in the England under-21 squad for the 2011 European Championship and played all matches.


title: Ryan Bertrand

text: On 2 July 2012, Bertrand was named in Stuart Pearce's 18-man squad for the 2012 Summer Olympics. He played his first match for Great Britain on 20 July 2012 in a friendly match against Brazil. He played three matches during the Olympic tournament.


title: Ryan Bertrand

text: On 10 August 2012, Bertrand was called up to the senior England team for the first time, for a friendly match against Italy. He made his international debut coming on for Leighton Baines in the 78th minute and cleared a shot off the line minutes later from Manolo Gabbiadini which eventually led to England's winning goal as England won the match 2–1.


title: Ryan Bertrand

text: On 11 September 2012, Bertrand came on after 73 minutes in the 2014 FIFA World Cup qualification match against Ukraine and crossed the ball that led to the penalty that Frank Lampard converted. On 8 October 2012, Bertrand was called up to the England squad for two more qualifying matches, against San Marino and Poland. However he missed both matches because of a virus.


title: Ryan Bertrand

text: Bertrand came on as a substitute for England away to Italy on 3 March 2015 and he won his fourth full cap, starting for England against Republic of Ireland in Dublin on 7 June 2015.


title: Ryan Bertrand

text: Bertrand was part of the squad for UEFA Euro 2016. On 1 September 2017, Bertrand scored his first goal for England in a 4–0 World Cup qualifier win over Malta.


title: Ryan Bertrand

text: Bertrand has been described as a modern-day full-back who gives assistance in attacking down the flanks, keeping and retaining possession as well as defending and reclaiming possession, making quick runs into the box and often does one-two's with his teammates. Bertrand was described by Glenn Roeder, his manager at Norwich, as a defender who "likes to bomb forward and is tenacious in the tackle when defending." In a 2018 "ESPN FC" article about the state of left-backs in England, Michael Cox said that the "only real star is Ryan Bertrand, a truly excellent full-back defensively and offensively".


title: Ryan Bertrand

text: Bertrand is a founder of the fintech brokerage Silicon Markets which provides machine learning and algorithmic trading tools for retail traders in the Foreign Exchange and CFD markets.


title: LaToya Cantrell

text: LaToya Cantrell ("née" Wilder; born April 3, 1972) is an American politician serving as the Mayor of New Orleans, Louisiana since May 7, 2018. A Democrat, Cantrell is the first woman to hold the office. Before becoming mayor, Cantrell represented District B on the New Orleans City Council from 2012–2018.


title: LaToya Cantrell

text: Cantrell was born as LaToya Wilder in Los Angeles. She moved to New Orleans in 1990 to attend Xavier University of Louisiana, where she earned a BA in sociology. She attended an executive training program at the Harvard Kennedy School.


title: LaToya Cantrell

text: Cantrell returned to New Orleans in 1999, settling in the Broadmoor neighborhood. In 2003, she joined the board of the Broadmoor Improvement Association and became president of the association in 2004. After the 2005 levee failures in Greater New Orleans following Hurricane Katrina, the Broadmoor neighborhood flooded severely and remained mostly deserted for months afterward. In early 2006, the Bring New Orleans Back Commission, a blue-ribbon panel convened by then-mayor Ray Nagin, released a recovery plan that called for Broadmoor and five other New Orleans neighborhoods to be converted into greenspace. In her role as president of the association, Cantrell worked with residents and local religious leaders to organize opposition to the panel's recommendation. She also helped enlist returning Broadmoor residents in a six-month effort to write a recovery plan for the neighborhood.


title: LaToya Cantrell

text: Cantrell worked full time to implement Broadmoor's recovery plan from 2006 through 2012. She and fellow residents formed the Broadmoor School Board, overseeing the reopening and renovation of the Andrew H. Wilson school. She served as a founding board member of the Broadmoor Development Corporation, a community development corporation that provided case management and other social services for returning residents. She was involved with residents' efforts to reopen Broadmoor's Rosa F. Keller Library, which won a $2 million grant from the Carnegie Endowment. She created a partnership between the Broadmoor Improvement Association and Church of the Annunciation, which provided the neighborhood association with office space and hosted volunteer groups. She also formed a partnership between the Broadmoor Improvement Association and her home parish, Blessed Trinity Catholic Church, to open the Broadmoor Art and Wellness Center.


title: LaToya Cantrell

text: In 2012, Cantrell declared her candidacy for the New Orleans City Council seat vacated when former District B representative Stacy Head won an election to an at-large position. After the November election, candidate Dana Kaplan and Cantrell advanced to a December runoff, which Cantrell won with 54 percent of the vote. Cantrell served out the balance of Head's term, and was unopposed for a full four-year term in 2014.


title: LaToya Cantrell

text: As a council member, Cantrell focused on health, housing, and criminal-justice issues. She introduced a bill banning smoking at restaurants and bars within New Orleans, citing the health effects of secondhand smoke on service industry workers. The council unanimously passed the bill in 2015.


title: LaToya Cantrell

text: Also in 2015, Cantrell began work to open a low-barrier homeless shelter, a move that was objected to by residents because of its proposed placement in Central City, New Orleans. Instead, the shelter was moved to the downtown site of the former VA Hospital. In 2017, Cantrell introduced legislation with at-large council member Jason Williams to register and inspect rental units in the city.


title: LaToya Cantrell

text: As a member of the Criminal Justice Committee, Cantrell has participated in efforts to install crime cameras in her district, assess the effectiveness of citywide anti-gun-violence campaigns, and address understaffing at the New Orleans Police Department.


title: LaToya Cantrell

text: Cantrell declared her candidacy for mayor of New Orleans in March 2017 in a race to replace term-limited mayor Mitch Landrieu. An open primary was held on October 14 and included 18 candidates. Cantrell garnered the most votes, winning 39% of the total. In the November 18 runoff election, Cantrell defeated fellow Democratic opponent Desiree Charbonnet, a former municipal judge, with 60% of the vote. She is the first woman to lead New Orleans in its 300-year history, as well as the first mayor not born in the city since Vic Schiro.


title: LaToya Cantrell

text: Cantrell was inaugurated as mayor on May 7, 2018, the first woman to hold the position in the city's history. Once in office, she established a new Office of Youth and Families, with the goal of creating a strategic plan to address families in crisis in the city. Cantrell also founded a Gun Violence Reduction Council, tasked with finding solutions to violent crime. Starting with a push to rededicate hotel taxes collected within the city for city use, Cantrell has focused on her #fairshare initiative to improve city infrastructure, public transportation, public parks, and green spaces. As part of that initiative, in October 2018 the City of New Orleans filed a lawsuit against four opioid manufacturers and distributors.