title: Skegness

text: In 1922, the proprietors of the "Lincolnshire Standard" group of newspapers established a local version for the town, the "Skegness Standard"; it switched to tabloid in 1981; the "Standard" continues as a weekly as of 2020. Founded in 2001, the "East Lindsey Target" became the "East Coast and The Wolds Target" in 2017, and continues as of 2020. Former newspapers include the "Skegness Herald" (1882–1917) and the "Skegness News" (1909–1964; revived in 1985 but merged into the "Skegness Standard" in 2007).


title: Skegness

text: Skegness is covered by BBC Yorkshire and Lincolnshire/ITV Yorkshire. The public broadcaster BBC Radio Lincolnshire operates across the county, as does the commercial radio station Lincs FM. Coastal Sound radio (founded in 2016) is a community radio service broadcasting from Skegness to the area and beyond by way of the internet.


title: Skegness

text: Skegness's oldest buildings are the medieval churches of St Clement, in Skegness, and St Mary, in Winthorpe. St Clement's has a 13th-century tower; the rest of the building may be medieval, but probably dates to the mid-16th century when it is thought to have been rebuilt. There were restorations in 1884 and the 20th-century and it is grade-II* listed. St Mary's is grade-I listed and is mostly 15th-century, with some late 12th-century elements. There are some 16th-century monumental brasses, and a medieval standing cross in the churchyard, which is a scheduled monument. Other buildings which predate the modern resort town include the Ivy House Farmhouse on Burgh Road, which dates to the mid or late 18th century, Church Farmhouse on Church Road, which dates to the early 18th century and hosts the Church Farm Museum, the 18th-century Church Farmhouse on Church End, Winthorpe, and the early-19th-century Burnside Farmhouse. The houses at 1–5 St Andrew's Drive are mid- to late-19th-century cottages and thought to have been built to house coastguards.


title: Skegness

text: Parts of the Victorian development have been recognised for their special interest. These include the Church of St Matthew and the war memorial in its churchyard, the Jubilee Clock Tower (built in 1898 and a landmark in the town), and portions of original railings dating from the 1870s which are situated to the south and north of the clock tower; these are all grade-II listed structures. A large portion of the later esplanade, boating lake, land north of the pier and tower gardens is also grade-II listed. South Parade and Grand Parade contain 19th- and 20th-century boarding houses in the Queen Anne revival style. Modern buildings of note include the Sun Castle (1932), County Hotel (1935) and The Ship Hotel ("c". 1935).


title: Skegness

text: Skegness has been home to several people associated with the entertainment industry. Billy Butlin (1899–1980) first set up his amusements stall on the seafront in the 1920s, opened the fairground rides south of the pier in 1929 and then established the first of his all-in holiday camps at Ingoldmells in 1936. Among performers connected with the town was the comedian Arthur Lucan (1885–1954), who grew up in the Boston area and busked in Skegness after leaving home. The actress Elizabeth Allan (1910–1990) was born in the town. The rock singer and songwriter Graham Bonnet was born in Skegness in 1947. The comedian Dave Allen (1936–2005) worked as a redcoat at Butlins early in his career. The disgraced clergyman Harold Davidson (born 1875) performed in a circus act in the amusement park in 1937 (while campaigning for his reinstatement to the priesthood), but died that year in the town after being mauled by one of his lions. The clown Jacko Fossett (1922–2004) retired to Skegness.


title: Skegness

text: Several notable religious figures either lived in the town or served it in some capacity: Edward Steere (1828–1882) was curate from 1858 to 1862, George William Clarkson (1897–1977) was rector from 1944 to 1948, Roderick Wells (born 1936) was rector from 1971 to 1978, and Kenneth Thompson (1909–1975) lived in the town.


title: Skegness

text: Local sportspeople include Anne Pashley (died 2016), the Olympic athlete and (latterly) opera singer, who was born at Wallace's holiday camp in Skegness in 1935. The footballer Ray Clemence was born in Skegness in 1948. The cricketer Ray Frearson (1904–1991) played for the Skegness team and died in the town. Among golfers, Mark Seymour died in Skegness in 1952, and Helen Dobson was born there.


title: Skegness

text: Others with links to Skegness include the poet and art critic William Cosmo Monkhouse (born 1840), who died in the town in 1901, and the novelist Vernon Scannell (died 2007), who was born there in 1922. The former tabloid editor Neil Wallis started his journalistic career at the "Skegness Standard" in the 1960s. Reginald J. G. Dutton (1886–1970), who created the shorthand Dutton Speedwords, for some time chaired Skegness Urban District Council. The naval officer Sir Guy Grantham was born in the town in 1900, as was the seaman Jesse Handsley, who served on Scott's first Antarctic Expedition; Kingsmill Bates (1916–2006) retired to Skegness. The chess champion and educator John Littlewood (1931–2009) taught at the grammar school.


title: Govind Vasantha

text: Govind Vasantha (born 29 October 1988) is an Indian composer, singer, and violinist who works predominantly in Malayalam and Tamil films. He is one of the founding members of the musical band Thaikkudam Bridge, in which he is a vocalist and violinist. He won the Filmfare Award for Best Music Director – Tamil for his work in "96".


title: Govind Vasantha

text: He is from a musical family in Irinjalakuda, Thrissur, Kerala. His father Peethambaran’s elder brother Gopinathan was a Carnatic musician and his early exposure to music has been through his uncle. Govind changed his surname from Menon to Vasantha, taking his mother's name, becoming Govind Vasantha as an effort towards removing caste, providing an equality even on name-optics which was revealed by Vijay Sethupathi on a show on a Tamil television channel. Govind Vasantha is a founder member of the musical sensation Thaikkudam Bridge. His father Peethambaran has been a star performer of Thaikkudam Bridge, since his retirement from the Government Services in the Irrigation Department in 2012.


title: Deep Cover

text: Deep Cover is a 1992 American action thriller film starring Laurence Fishburne, Jeff Goldblum and Charles Martin Smith, and directed by veteran actor Bill Duke in his third directorial outing. The screenplay was written by Henry Bean and Academy Award-nominee Michael Tolkin.


title: Deep Cover

text: Fishburne plays a police officer who goes undercover in a sting operation in Los Angeles to bring down a West Coast drug cartel. The film received positive reviews, being likened by some critics to a modern film noir. It is also notable for its theme song of the same title, composed by Dr. Dre and released as his debut solo single, which also features then-newcomer Snoop Doggy Dogg making his studio debut.


title: Deep Cover

text: In Cleveland, at Christmas 1972, Russell Stevens Jr. is the son of a drug-addicted, alcoholic man, who tells his son never to be like him. Stevens then witnesses his father getting shot and killed while robbing a liquor store. He swears that he will never end up like him.


title: Deep Cover

text: In 1991, Stevens is a police officer. He is recruited by DEA Special Agent Gerald Carver to go undercover in Los Angeles, claiming that his criminal-like character traits will be more of a benefit undercover than they would serve him as a uniformed policeman. Stevens poses as drug dealer "John Hull" in order to infiltrate and work his way up the network of the West Coast's largest drug importer, Anton Gallegos and his uncle Hector Guzmán, a South American politician. Stevens relocates to a cheap hotel in Los Angeles and begins dealing cocaine.


title: Deep Cover

text: One day, Stevens is arrested by the devoutly religious LAPD Narcotics Detective Taft and his corrupt partner Hernández, as he buys a kilogram in a set-up by Gallegos' low-level street supplier Eddie Dudley. At his arraignment, Stevens discovers that he bought baby laxative instead of cocaine, and his case is dismissed. Stevens' self-appointed attorney David Jason, who is also a drug trafficker in Gallegos' network, rewards Stevens' silence with more cocaine and introduces Stevens to Felix Barbossa, the underboss to Gallegos. Felix kills Eddie when he finds out he's working with the LAPD and enlists Stevens as Eddie's replacement.


title: Deep Cover

text: Stevens develops a romance with Betty McCutcheon, the manager of an art dealership which is a front to launder Jason's drug money. When one of Stevens' dealers is murdered by a rival dealer, Stevens is informed by Jason that if he doesn't retaliate, other street dealers will view it as a sign of weakness, and in turn murder him. Steven follows the rival dealer to a nightclub, corners him in a bathroom, and kills him. Jason then partners with Stevens in his new business: distribution of a synthetic chemical variant of cocaine.


title: Deep Cover

text: It is revealed that Barbossa is a confidential informant working with Detective Hernández. After a falling out, in which Stevens correctly deduces that Barbossa wants Jason killed due to his business venture which would threaten Barbossa's, Felix immediately gives up Stevens, Jason, and Betty to Hernandez, and wants Jason killed during the arrest. Carver knows about this, but refuses to interfere, forcing Stevens to violate orders and stop it himself by exposing Felix, which results in a vengeful Jason killing him, while Betty reneges on the drug business because of it with Stevens' protection.


title: Deep Cover

text: Gallegos comes to meet with Jason and Stevens and informs them that they have inherited Felix's debts to him. Later that day, Stevens meets with Carver to tell him about his meeting with Gallegos. Instead, Carver pulls a gun on Stevens and orders him to surrender his weapon and get in his car. Angrily, Stevens disarms Carver and forces him to admit that the State Department has decided to leave Gallegos alone because Guzmán may some day be useful as a political asset to them and Carver has decided to play along in exchange for career advancement. Stevens' disillusionment reaches its conclusion, and he abandons his undercover status, vowing to take down Gallegos and Guzmán alone.


title: Deep Cover

text: Stevens and Jason learn that Gallegos is going to kill them anyway, so they kill him first and steal a van storing over $100 million of Gallegos' cash. Jason and Stevens invite Guzmán to a shipyard and offer to return 80% of Gallegos' money if he agrees to invest the remaining 20% in their synthetic cocaine operation. Detective Taft, who has been tailing Stevens, interrupts the deal but is unable to arrest Guzmán because of his diplomatic immunity. Guzmán leaves. Taft orders Stevens to surrender, but is shot and killed by Jason. Stevens reveals himself as a police officer and attempts to arrest Jason, but is forced to kill him in self-defense.


title: Deep Cover

text: Afterward, Carver coerces Stevens into testifying in favor of him and the DEA in return for not charging Betty with money laundering. Stevens produces a videotape of the incriminating conversation with Guzmán at the shipyard during his testimony to the House Judiciary Subcommittee, ruining the State Department's intentions along with Guzmán and Carver's careers. Later, he contemplates what to do with the $11 million of Gallegos' money he secretly kept.


title: Deep Cover

text: "Deep Cover" was released on April 17, 1992 in 901 theaters, and grossed $3.4 million on its opening weekend. It went on to make $16.6 million in North America.


title: Deep Cover

text: The majority of critics responded favorably towards "Deep Cover". Film critic Roger Ebert gave the film three-and-a-half stars out of four and praised the voice-over narration as "poetic and colorful. That's part of the process elevating the story from the mundane to the mythic". Janet Maslin, in her review for "The New York Times", praised the "quietly commanding Larry Fishburne and the wry Jeff Goldblum, who make an interestingly offbeat team". In his review for "The Chicago Reader", Jonathan Rosenbaum wrote, "What emerges is a powerhouse thriller full of surprises, original touches, and rare political lucidity". "Rolling Stone" magazine's Peter Travers wrote, "Duke ("A Rage in Harlem") makes the perks of the drug lifestyle palpably seductive. But this time there's something new in the snortscrew-slay formula: a working conscience".


title: Deep Cover

text: "Entertainment Weekly" gave the film a "B−" rating and Owen Gleiberman wrote, "The movie peels away every layer of hope, revealing a red-hot core of nihilistic despair. Fishburne, with his hair-trigger line readings and deadly reptilian gaze, conveys the controlled desperation of someone watching his own faith unravel. And Goldblum reveals a new dimension of comic rottishness". In her review for "The Independent", Sheila Johnston wrote: "The disappointment of "Night and the City" has left some critics lamenting that film noir is dead in the water, but "Deep Cover" displays many hallmarks of the genre, down to the diffuse paranoia (perhaps the entire operation is a high-level Washington cover-up). It was the most unexpected pleasure to arrive here in many a month". In its 2021 retrospective, "The A.V. Club"s Ignatiy Vishnevetsky wrote "As a depiction of crime, law enforcement, and drug dealing, the film is a cartoon; as an exploration of the Man's ulterior motives, it's trenchant and angry. Stylistic and attitudinal cues come by way of Miami Vice, anti-heroic Blaxploitation, and the politicized, independent-minded B-films of Samuel Fuller."


title: Deep Cover

text: However, not all critics liked the movie. In his review for "The Washington Post", Desson Howe wrote, "With "Boyz n the Hood", Fishburne broke through to the big time. Here, his acting career takes a step backwards". Despite this, of Jeff Goldblum he stated that "Oddly enough, Goldblum's so wildly out of place in this misbegotten movie, he becomes its greatest asset".


title: Deep Cover

text: On Rotten Tomatoes, the film holds a rating of 87% from 30 reviews with the consensus: ""Deep Cover" rises above standard-issue crime thriller fare thanks to a smartly cynical script and powerhouse performances from its unorthodox but well-matched leads."


title: Deep Cover

text: The film's soundtrack, "Deep Cover", was released by SOLAR Records and Epic Records on April 4, 1992. It was recorded by Dr. Dre and newcomer Snoop Doggy Dogg in 1991 and 1992. Containing a mix of hip hop, reggae and R&B tracks, it peaked at No. 166 on the "Billboard" 200 and No. 9 on the Top R&B/Hip-Hop Albums.


title: Eclecticism

text: Eclecticism is a conceptual approach that does not hold rigidly to a single paradigm or set of assumptions, but instead draws upon multiple theories, styles, or ideas to gain complementary insights into a subject, or applies different theories in particular cases. However, this is often without conventions or rules dictating how or which theories were combined.


title: Eclecticism

text: It can sometimes seem inelegant or lacking in simplicity, and eclectics are sometimes criticized for lack of consistency in their thinking. It is, however, common in many fields of study. For example, most psychologists accept certain aspects of behaviorism, but do not attempt to use the theory to explain all aspects of human behavior.


title: Eclecticism

text: Eclecticism was first recorded to have been practiced by a group of ancient Greek and Roman philosophers who attached themselves to no real system, but selected from existing philosophical beliefs those doctrines that seemed most reasonable to them. Out of this collected material they constructed their new system of philosophy. The term comes from the Greek ("eklektikos"), literally "choosing the best", and that from ("eklektos"), "picked out, select". Well known eclectics in Greek philosophy were the Stoics Panaetius and Posidonius, and the New Academics Carneades and Philo of Larissa. Among the Romans, Cicero was thoroughly eclectic, as he united the Peripatetic, Stoic, and New Academic doctrines. Philo's successor and Cicero's teacher Antiochus of Ascalon is credited with influencing the Academy so that it finally transitioned from Skepticism to Eclecticism. Other eclectics included Varro and Seneca the Younger.


title: Eclecticism

text: According to Rošker and Suhadolnik, however, even though eclecticism had a Greek origin, the term was rarely used and it was even given a negative connotation by historians of Greek thought, associating it with the description for impure and unoriginal thinking. Scholars such as Clement of Alexandria maintained that eclecticism had a long history in Greek philosophy and it is underpinned by a deeper metaphysical and theological conviction concerning the absolute/God as the source of all noble thoughts and that all parts of the truth can be found among the various philosophical systems.


title: Eclecticism

text: The term eclecticism is used to describe the combination, in a single work, of elements from different historical styles, chiefly in architecture and, by implication, in the fine and decorative arts. The term is sometimes also loosely applied to the general stylistic variety of 19th-century architecture after neoclassicism (), although the revivals of styles in that period have, since the 1970s, generally been referred to as aspects of historicism.


title: Eclecticism

text: Eclecticism plays an important role in critical discussions and evaluations but is somehow distant from the actual forms of the artifacts to which it is applied, and its meaning is thus rather indistinct. The simplest definition of the term—that every work of art represents the combination of a variety of influences—is so basic as to be of little use. In some ways Eclecticism is reminiscent of Mannerism in that the term was used pejoratively for much of the period of its currency, although, unlike Mannerism, Eclecticism never amounted to a movement or constituted a specific style: it is characterized precisely by the fact that it was not a particular style.


title: Eclecticism

text: Some martial arts can be described as eclectic in the sense that they borrow techniques from a wide variety of other martial arts.


title: Eclecticism

text: In textual criticism, eclecticism is the practice of examining a wide number of text witnesses and selecting the variant that seems best. The result of the process is a text with readings drawn from many witnesses. In a purely eclectic approach, no single witness is theoretically favored. Instead, the critic forms opinions about individual witnesses, relying on both external and internal evidence.


title: Eclecticism

text: Since the mid-19th century, eclecticism, in which there is no "a priori" bias to a single manuscript, has been the dominant method of editing the Greek text of the New Testament (currently, the United Bible Society, 4th ed. and Nestle-Åland, 27th ed.). Even so, the oldest manuscripts, being of the Alexandrian text-type, are the most favored, and the critical text has an Alexandrian disposition.


title: Eclecticism

text: In Hellenistic philosophy, the Eclectics used elements from multiple philosophies, texts, life experiences, and their own philosophical ideas. These ideas include life as connected with existence, knowledge, values, reason, mind, and language. This movement is closely associated with Middle Platonism.


title: Eclecticism

text: Antiochus of Ascalon () was the pupil of Philo of Larissa, and the teacher of Cicero. Through his influence, Platonism transitioned from the Academic Skepticism of the New Academy to Eclecticism. Whereas Philo had adhered to the doctrine that there is nothing absolutely certain, Antiochus abandoned this to support dogmatism. Among his objections to skepticism was the consideration that without firm convictions no rational content of life is possible. Antiochus pointed out that it is a contradiction to assert that nothing can be asserted or to prove that nothing can be proved; that we cannot speak of false ideas and at the same time deny the distinction between false and true. He expounded the Academic, Peripatetic, and Stoic systems in such a way as to show that these three schools deviated from one another only in minor points. Antiochus was chiefly interested in ethics, in which he tried to find a middle way between Zeno of Citium, Aristotle, and Plato. For instance, he said that virtue suffices for eudaimonia, but for the highest grade of happiness, bodily and external goods are necessary as well.


title: Eclecticism

text: This eclectic tendency was enabled by the fact that most of Plato's works were non-dogmatic. Middle Platonism was promoted by the necessity of considering the main theories of the post-Platonic schools of philosophy, such as the Aristotelian logic and the Stoic psychology and ethics (theory of goods and emotions). On the one hand the Middle Platonists were engaged like the later Peripatetics in scholarly activities such as the exposition of Plato's doctrines and the explanation of his dialogues; on the other hand they attempted to develop the Platonic theories systematically. In so far as it was subject in this to the influence of Neopythagoreanism, it was of considerable importance in preparing the way for Neoplatonism.


title: Eclecticism

text: Eclecticism is recognized in approaches to psychology that see many factors influencing behavior and cognition or psyche. In the 1970s, psychologists started using whichever approaches and techniques that they deemed appropriate for their client. They take multiple perspectives into consideration while identifying, explaining, and changing the behavior of the client.


title: ATL (film)

text: ATL is a 2006 American coming-of-age comedy-drama film, and the feature film directorial debut of music video director Chris Robinson. The screenplay was written by Tina Gordon Chism from an original story by Antwone Fisher, and is loosely based on the experiences of the film's producers Dallas Austin and Tionne "T-Boz" Watkins growing up in Atlanta, Georgia (ATL). The film is a coming-of-age tale concerning Rashad, played by Atlanta native and hip hop artist T.I. (credited as Tip Harris) in his film debut, and his friends in their final year in high school and on the verge of adulthood. The film also stars Antwan Andre Patton, aka Big Boi of the hip hop group OutKast, Evan Ross, Jackie Long, Lauren London, and Mykelti Williamson.


title: ATL (film)

text: "ATL" was the first feature film for its director and the majority of its cast. Filmed in Atlanta, Georgia in summer 2005, many celebrities from the city make cameo appearances, including Bone Crusher, Jazze Pha, Killer Mike, and Monica. "ATL" received generally positive reviews from critics, who praised the performances and soundtrack, but criticized the direction and formulaic script. It has since become a cult film among the rap community.


title: ATL (film)

text: Rashad Swann is a teen living in Mechanicsville, Atlanta, Georgia with his Uncle George (Mykelti Williamson), and his little brother, Ant (Evan Ross). He and his brother were raised by George since their parents died in a car accident, and they work with him as part of his custodial company. When not working or finishing his last semester of high school, Rashad spends most of his time with his friends.


title: ATL (film)

text: Rashad is a talented artist but does not see much of a future in that field as he has become accustomed to working the family business, cleaning offices and building spaces. Benjamin “Esquire” Gordon (Jackie Long), Rashad's best friend, goes to Mount Paran Academy, a private school on the opposite side of town from where they live, and has dreams of attending Briton University, an Ivy League college after senior year. However, he finds out that he will need a letter of recommendation from someone of high stature to better his chances of acceptance at said school.


title: ATL (film)

text: Unlike Esquire, Rashad attends Mechanicsville High School, on the opposite side of the city. Along with his other two friends, one being Teddy (Jason Weaver), who is 21 years old and has yet to graduate, and the other being Brooklyn (Albert Daniels), who's from New York, and always has to constantly remind the group of where he's from. Rashad's younger brother Ant, also attends, Rashad tries his best to keep the promise he made to his parents which was to keep his little brother on the right path, but he usually fails because of Ant's hard-headed nature. Rashad and his friends are a month away from graduating high school and they're all at the same point in their lives, pondering on what's the next step.


title: ATL (film)

text: While hanging with his friends at a Waffle House, Rashad encounters the mysterious New New (Lauren London) along with her friends Veda & Star (Khadijah & Malika Haqq), twins who have a knack for stealing clothes from the mall. Rashad inquires about what school New New attends since she's only around when the group is hanging out. Rashad and his friends are also a skate crew called “The Ones” at Cascade, a skating rink which they attend every Sunday Night, they're on a quest to win Skate Wars, a skating competition that could secure them bragging rights for the remainder of the Summer. As Brooklyn quits another job, the group goes to the local community swimming pool, and are informed by New New that Big Booty Judy is throwing a party to celebrate their upcoming graduation from High School. While at the pool Ant encounters Marcus’ cousin Austin, who quit school to sell drugs for his cousin, he then introduces Ant to Marcus (Big Boi).


title: ATL (film)

text: At the graduation party, Rashad and New New make their moves on each other, and after a misstep with Rashad's ex Tonya, they state their attractions toward one another. As Veda & Star get caught by their mother Gayle for stealing clothes at the mall, New New would have to leave the party prematurely as they all come together, but Rashad offers to give her a ride home. As he gives her a ride home in his Chevrolet El Camino they kiss each other. Esquire has since developed a disliking for Rashad's new love interest, considering her and the twins bad company.


title: ATL (film)

text: Ant becomes more and more involved with Marcus and begins to sell for him. Rashad tries to talk sense into Ant after he skips his history class by showing him the money he's been saving up ever since their parents passing, so Ant can get out of Mechanicsville and have a shot at attending college when he graduates High School. At school, Ant meets up with Jay who inquires about the drugs that Ant is selling, but the youth lies and says he doesn't sell. Ant then informs his friends that he knows Jay is a narc. As Ant is having sex with Tondie in the backseat of a car, he sees Austin getting beat up by Marcus as he was short on some drug money.


title: ATL (film)

text: At work one day, Esquire meets John Garnett (Keith David), a millionaire. During a game of golf, the two get to know each other and become friends, with Esquire seeing an opportunity to obtain the letter of recommendation that he so desperately needs. When Esquire goes to Garnett's house to have dinner and receive the letter, he meets his daughter Erin, who turns out to be New-New. Esquire wants to tell Rashad about Erin but is conflicted when Erin says that she will reveal to her father where Esquire is really from, as he lied to Garnett about it while they were playing golf.


title: ATL (film)

text: Ant becomes reckless and eventually ends up selling drugs to Jay, who tips off the police. Ant is then arrested after the police raid his locker. Marcus bails him out of jail and tells him he will have to put in some overtime to recoup the money and drugs the police took. Ant and Rashad have a fight after the former's arrest and are broken up by Uncle George, who then ends up arguing with Rashad after suggesting that maybe him selling drugs might not be a bad thing.


title: ATL (film)

text: During what seems to be a normal Sunday night at the skating rink, Erin's lies suddenly catch up with her as her father shows up at Cascade and takes her back home. The next day she drives to Rashad's house to try to explain herself and apologize but Rashad doesn't want to hear anything she has to say, effectively breaking up with her. Feeling betrayed, he then alienates his friends after realizing that Esquire knew about Erin after realizing she was driving the same car sitting in the driveway of John Garnett's house. Esquire, feeling guilty about the way he obtained the letter, decides to return it to Garnett, and reveals the truth about himself much to the chagrin of Garnett. On the Last Sunday Night, Esquire attempts to make peace with Rashad and he, along with the rest of their friends, pleads with him to attend Skate Wars.


title: ATL (film)

text: Rashad initially refuses the offer, but changes his mind after speaking to Uncle George. Before he can attend he gets a call from Marcus who is looking for Ant, as he failed to check in after he was robbed of the money he was supposed to use to pay off his debt after his arrest. Marcus corners Ant and is about to shoot him but Rashad tracks the two down and after a confrontation Ant is shot in the neck. At the hospital, Rashad and Ant reconnect. Rashad and his friends make peace as well, each going on to succeed in their endeavors.


title: ATL (film)

text: Teddy finally graduated from High School and opened up his own gold teeth shop called “Gangsta Grillz.” Brooklyn was finally able to secure a long-term job. After a change of heart from John Garnett, Esquire received a “mysterious” Letter of Recommendation to attend Brinton University, the Ivy League school of his dreams. Veda & Star still remained at the skating rink causing trouble every Sunday night. Uncle George let go of the dating sites, went to church, and found a girlfriend. New New was finally able to convince her parents to let her attend Spelman College with Rashad glad she'd still be close to him. After his ordeal with Marcus, Ant finally stopped trying to become a drug dealer and got himself together in school, becoming an honors student. Rashad was able to take his artistic talents and draw for the comics section of the newspaper, realizing his father's prediction of when he'd finally put his skates down.


title: ATL (film)

text: The music for "ATL" was to be released in the form of a soundtrack album, however during the recording process of the soundtrack, the focus shifted towards T.I.'s fourth studio album "King"; featuring singles such as “What You Know” and “Ride Wit Me” the album ultimately served as the soundtrack to the film.


title: ATL (film)

text: "ATL"'s story is loosely based on material by producers Dallas Austin and Tionne Watkins, who set out to describe their experiences growing up on the south side of Atlanta in the early '90s. Watkins and producer Jody Gerson approached James Lassiter with the idea of a story about a skating rink that many involved in the Atlanta music scene had started at, and how all of these people would attend the rink every Sunday night in their teen years.


title: ATL (film)

text: Chris Robinson, a renowned music video director, was contacted with an offer to direct Austin and Watkins' visualization, and took on his first feature with "ATL". The film's producers decided Robinson would be well-suited for the project because of his ability to capture the music-driven aspects of the film, as provided by his experience in the field. They also cited his talent in storytelling. According to producer Austin, "a lot of music video directors can't capture the story, so what we'd do was turn on the directors' tapes, turn down the music and just watch to see if we could find the story. Chris was far and away the best." About making "ATL" his first feature, Robinson stated that "as a music video director, I'd get a lot of scripts that had to do with really big visual pictures. But I wanted to start off doing something that had heart." After being hired, Robinson traveled to Atlanta and spent time with Austin to try to soak up the vibe and energy of the unique city.


title: ATL (film)

text: Open auditions were held in Atlanta, Chicago, Los Angeles, and New York to comb the crowd for candidates who could compose the film's ensemble cast. Robinson had already decided he wanted relatively unknown actors to perform in the film. Once the cast was assembled, Robinson had his actors converge in Atlanta for six weeks to rehearse the script and familiarize themselves with each other. "All this young black talent out there, all these young black actors who don't get a shot or who have to wait years to get their shot, are getting their shot in this film, and they're bringing it."


title: ATL (film)

text: Three months prior to the start of production, the actors gathered at Atlanta's Skatetown to begin training for the skating sequences in the film. Some had never been on roller skates before. Vaughn Newton, the actors' skate captain, worked with them rigorously, usually practicing five hours a day. “Lauren and the twins, Malika and Khadijah, adapted very quickly," said Newton. "The guys came along a little slower. Al Be, Jason and Jackie Long developed very fast. T.I. was determined to learn. They were all great students and very supportive of each other.”


title: ATL (film)

text: In addition to the main cast, Robinson decided to include numerous cameos in the film, generally involving people popular in the Atlanta music scene, a core element of the movie. Music producer Jazze Pha played the skating rink's DJ; Rico Wade, a part of the Atlanta-based production team Organized Noize, who also frequented Jellybeans in the early '90s, made an appearance as well. R&B singer Monica, a protégé of producer Austin's, also plays a Waffle House waitress in the film. A few of the south's most sought after music video models made appearances as well including 'Whyte Chocolate' also known as Monique Harris-Ford. There are also cameos from rappers Bone Crusher, Konkrete, and Killer Mike.


title: ATL (film)

text: Dallas Austin coordinated the music for the film, which executive producer Timothy M. Bourne says is "all new music that's rooted in the Atlanta vibe." Austin had already produced his first feature with "Drumline" in 2002, and wanted to be sure "ATL" would be similarly authentic to the culture of his hometown by using its current hip-hop scene as the story's backdrop. Music in the environment of the rink was the way Austin pitched the film "as a way to make a musical without putting "Singin' in the Rain" on the screen... without the kids breaking into song. I'm determined to show Hollywood and New York the culture from the South."


title: ATL (film)

text: Under the working title "Jellybean", the film was shot over a span of six weeks in fifty-two locales throughout the city of Atlanta. Filming took place in the summer, sometimes in temperatures over a hundred degrees, challenging the cast and crew's ability to stay motivated. "A lot of times we had to motivate each other to say 'listen, up your game. Go hard,'" said Robinson. "And sometimes we needed to step back, take a breath, so we could get through."


title: ATL (film)

text: Chris Robinson and Robb Buono, the film's production designer, decided that the script was composed of two distinct parts—the reality of the teens' lives and the time they spent at the skating rink. According to Buono, "we wanted to look at it [the rink] through rose colored glasses, because when you think back on your memories of that time period—no matter what age you are—you see everything bigger. Our goal was to make that roller skating rink a character that grows as we keep coming back, and each time it's more magical—a "Saturday Night Fever"-like contrast to the reality of life.” Robinson and Buono chose to shoot at the Cascade Family Skating Rink in Atlanta after visiting and witnessing the energy and excitement of the rink. However, the filmmakers felt Cascade's interior design was too bland and decided it should be redesigned.


title: ATL (film)

text: Buono chose black and red for the rink's new color palette. Red was used for its intensity and energy, and black was utilized because the rink would appear larger. Additionally, usage of black would contrast more boldly with the red colors. The ceiling above the rink was removed for lighting purposes. The rink floor was also refinished with darker colors to provide better light reflection. Rigging for the lights became an artistic challenge for Buono. Working with the art department, the rigging electrics and the rigging grips, he designed a wagon wheel effect that moved with the motion of the skating and allowed the lights to be programmed, aesthetically lighting both ends of the rink and capturing the action of the skating sequences. The skate rental section, arcade and snack bar were redesigned at the rink as well, so that the areas besides the skating floor wouldn't feel monotonous. “We did every inch of that rink,” said Buono. “The carpet on the walls, painting the ceiling, putting in the lights, painting the snack bar, changing the color of the tables. We used a lot of neon and bold bright colors.”


title: ATL (film)

text: "ATL" was released on March 28, 2006 in 1,602 theatres across the U.S. The film grossed at $11,554,404, and ranked third at the box office behind "" at one and Spike Lee's "Inside Man" at two; the film's opening weekend was a success. Its second weekend profits were considerably lower, as the film only earned $3,710,215, enough for it to be reach seventieth place on the list of widely released films with the biggest weekend drops in the last twenty-six years. The film made less money in the following weekends, and by the end of its theatrical run "ATL" had accumulated a total of $21,170,563. After the theater take of approximately 50%, ATL earned around half of its production cost, producing a significant loss.


title: ATL (film)

text: The film was released in the U.S. on DVD and HD-DVD July 18, 2006. DVD features include a behind-the-scenes featurette, deleted scenes, star T.I.'s music video for his single ""What You Know"," and the film's theatrical trailer. The film was also released on Blu-ray on November 14, 2006.


title: ATL (film)

text: "ATL" received generally positive reviews from critics. At Allmovie, the film was given three stars, and critic Derek Armstrong, in a positive review of the film, stated that the film is only an average coming of age story "because some substance must take a backseat to all this beautifully crafted style." Melissa Walters at "BlackFilm.com", while believing some of the writing to be clichéd and the story familiar, also called the film "heartfelt, genuine, and enjoyable." Film critic Roger Ebert awarded the film three stars in his "Chicago Sun-Times" review, declaring the film "warm" and praising the screenplay's "unforced, genuine affection for its characters."


title: ATL (film)

text: IGN.com gave the film a 4/5 rating, naming Robinson's directorial debut "masterful." On Metacritic the film a had a weighted average score of 63 out of 100 based on 25 reviews. On the review aggregation website Rotten Tomatoes, the film averaged a 62% approval rate based on 86 reviews, with an average rating of 5.9/10. The website's critics consensus reads: "Strong lead performances and catchy musical interludes rescue this coming-of-age story from its formulaic script and uneven direction.".


title: ATL (film)

text: Ruthe Stein from the "San Francisco Chronicle" called the film one of the better kind of its genre, praising the performances of the young cast, and the film's star T.I. in particular. At Yahoo! Movies, based on 13 reviews the film has averaged a B− by the critics standards.


title: ATL (film)

text: Not all reviews of the picture were so enthusiastic. Lisa Schwarzbaum of "Entertainment Weekly" graded the film a B−, saying that while the skating scenes are a blast, the film stumbles when it attempts to be too much for too many audiences. Neil Genzlinger of "The New York Times" said he was surprised that with so many untested actors rounding out the main cast, "the most amateurish thing about it is the script." Genzlinger also called the screenplay cliché-marred and predictable, while giving credit to the young actors of the film. He was also critical of Chris Robinson's direction, stating that he "can't stay with a scene long enough to let his actors build momentum." At "The Atlanta Journal-Constitution", Bob Longino provided a negative review of the movie, pointing it out as "boring, uninteresting, and slow". Longino said that T.I. and Big Boi's performances improved as the film progressed, and that there were a few laugh-out-loud comedic moments in the film.


title: ATL (film)

text: On January 7, 2015, Chris Robinson posted a teaser poster of the sequel on Instagram with the main cast in it confirming that a sequel is in the works. On March 4, 2015, T.I. confirmed on his Instagram that an "ATL 2" is set to be released. In 2021, after years of being believed to be in development hell, Robinson posted a teaser trailer for the sequel featuring most of the original main cast.


title: Auxin

text: Auxins ( ) are a class of plant hormones (or plant-growth regulators) with some morphogen-like characteristics. Auxins play a cardinal role in coordination of many growth and behavioral processes in plant life cycles and are essential for plant body development. The Dutch biologist Frits Warmolt Went first described auxins and their role in plant growth in the 1920s.


title: Auxin

text: Kenneth V. Thimann became the first to isolate one of these phytohormones and to determine its chemical structure as indole-3-acetic acid (IAA). Went and Thimann co-authored a book on plant hormones, "Phytohormones", in 1937.


title: Auxin

text: Auxins were the first of the major plant hormones to be discovered. They derive their name from the Greek word αυξειν ("auxein" – "to grow/increase"). Auxin is present in all parts of a plant, although in very different concentrations. The concentration in each position is crucial developmental information, so it is subject to tight regulation through both metabolism and transport. The result is the auxin creates "patterns" of auxin concentration maxima and minima in the plant body, which in turn guide further development of respective cells, and ultimately of the plant as a whole.


title: Auxin

text: The (dynamic and environment responsive) pattern of auxin distribution within the plant is a key factor for plant growth, its reaction to its environment, and specifically for development of plant organs (such as leaves or flowers). It is achieved through very complex and well-coordinated active transport of auxin molecules from cell to cell throughout the plant body — by the so-called polar auxin transport. Thus, a plant can (as a whole) react to external conditions and adjust to them, without requiring a nervous system. Auxins typically act in concert with, or in opposition to, other plant hormones. For example, the ratio of auxin to cytokinin in certain plant tissues determines initiation of root versus shoot buds.


title: Auxin

text: On the molecular level, all auxins are compounds with an aromatic ring and a carboxylic acid group. The most important member of the auxin family is indole-3-acetic acid (IAA), which generates the majority of auxin effects in intact plants, and is the most potent native auxin. And as native auxin, its equilibrium is controlled in many ways in plants, from synthesis, through possible conjugation to degradation of its molecules, always according to the requirements of the situation.


title: Auxin

text: Some synthetic auxins, such as 2,4-D and 2,4,5-trichlorophenoxyacetic acid (2,4,5-T), are sold as herbicides. Broad-leaf plants (dicots), such as dandelions, are much more susceptible to auxins than narrow-leaf plants (monocots) such as grasses and cereal crops, making these synthetic auxins valuable as herbicides.


title: Auxin

text: In 1881, Charles Darwin and his son Francis performed experiments on coleoptiles, the sheaths enclosing young leaves in germinating grass seedlings. The experiment exposed the coleoptile to light from a unidirectional source, and observed that they bend towards the light. By covering various parts of the coleoptiles with a light-impermeable opaque cap, the Darwins discovered that light is detected by the coleoptile tip, but that bending occurs in the hypocotyl. However the seedlings showed no signs of development towards light if the tip was covered with an opaque cap, or if the tip was removed. The Darwins concluded that the tip of the coleoptile was responsible for sensing light, and proposed that a messenger is transmitted in a downward direction from the tip of the coleoptile, causing it to bend.


title: Auxin

text: In 1910, Danish scientist demonstrated that the phototropic stimulus in the oat coleoptile could propagate through an incision. These experiments were extended and published in greater detail in 1911 and 1913. He found that the tip could be cut off and put back on, and that a subsequent one-sided illumination was still able to produce a positive phototropic curvature in the basal part of the coleoptile. He demonstrated that the transmission could take place through a thin layer of gelatin separating the unilaterally illuminated tip from the shaded stump. By inserting a piece of mica he could block transmission in the illuminated and non-illuminated side of the tip, respectively, which allowed him to show that the transmission took place in the shaded part of the tip. Thus, the longitudinal half of the coleoptile that exhibits the greater rate of elongation during the phototropic curvature, was the tissue to receive the growth stimulus.


title: Auxin

text: In 1911, Boysen Jensen concluded from his experimental results that the transmission of the phototropic stimulus was not a physical effect (for example due to a change in pressure) but "serait dû à une migration de substance ou d’ions" (was caused by the transport of a substance or of ions). These results were fundamental for further work on the auxin theory of tropisms.


title: Auxin

text: In 1928, the Dutch botanist Frits Warmolt Went showed that a chemical messenger diffuses from coleoptile tips. Went's experiment identified how a growth promoting chemical causes a coleoptile to grow towards the light. Went cut the tips of the coleoptiles and placed them in the dark, putting a few tips on agar blocks that he predicted would absorb the growth-promoting chemical. On control coleoptiles, he placed a block that lacked the chemical. On others, he placed blocks containing the chemical, either centered on top of the coleoptile to distribute the chemical evenly or offset to increase the concentration on one side.


title: Auxin

text: When the growth-promoting chemical was distributed evenly the coleoptile grew straight. If the chemical was distributed unevenly, the coleoptile curved away from the side with the cube, as if growing towards the light, even though it was grown in the dark. Went later proposed that the messenger substance is a growth-promoting hormone, which he named auxin, that becomes asymmetrically distributed in the bending region. Went concluded that auxin is at a higher concentration on the shaded side, promoting cell elongation, which results in coleoptiles bending towards the light.


title: Auxin

text: development at all levels in plants, from the cellular level, through organs, and ultimately to the whole plant.


title: Auxin

text: When a plant cell comes into contact with auxin, it causes dramatic changes in gene expression, with many genes up- or down-regulated. The precise mechanisms by which this occurs are still an area of active research, but there is now a general consensus on at least two auxin signalling pathways.


title: Auxin

text: The most well-characterized auxin receptors are the TIR1/ AFB family of F-box proteins. F-box proteins target other proteins for degradation via the ubiquitin degradation pathway. When TIR1/ AFB proteins bind to auxin, the auxin acts as a 'molecular glue' that allows these proteins to then bind to their targets (see below).


title: Auxin

text: Another auxin-binding protein, ABP1 is now often regarded as an auxin receptor (at the apoplast), but it is generally considered to have a much more minor role than the TIR1/AFB signaling pathway, and much less is known about ABP1 signaling.


title: Auxin

text: Auxin response factors (ARFs) are a large group of transcription factors that act in auxin signaling. In the absence of auxin, ARFs bind to a class of repressors known as Aux/IAAs. Aux/IAA suppress the ability of ARFs to enhance gene transcription. Additionally, the binding of Aux/IAA to ARFs brings Aux/IAA into contact with the promoters of auxin-regulated genes. When at these promoters, Aux/IAA repress the expression of these genes through recruiting other factors to make modifications to the DNA structure.


title: Auxin

text: The binding of auxin to TIR1/AFBs allows them to bind to Aux/IAAs. When bound by TIR1/AFBs, Aux/IAAs are marked for degradation. The degradation of Aux/IAA frees ARF proteins, which are then able to activate or repress genes at whose promoters they are bound.


title: Auxin

text: The large number of Aux/IAA and ARF binding pairs possible, and their different distributions between cell types and across developmental age are thought to account for the astonishingly diverse responses that auxin produces.


title: Auxin

text: In June 2018, it was demonstrated that plant tissues can respond to auxin in a TIR1-dependent manner extremely quickly (probably too quickly to be explained by changes in gene expression). This has led some scientists to suggest that there is an as yet unidentified TIR1-dependent auxin-signalling pathway that differs from the well-known transcriptional response.


title: Auxin

text: On the cellular level, auxin is essential for cell growth, affecting both cell division and cellular expansion. Auxin concentration level, together with other local factors, contributes to cell differentiation and specification of the cell fate.


title: Auxin

text: Depending on the specific tissue, auxin may promote axial elongation (as in shoots), lateral expansion (as in root swelling), or iso-diametric expansion (as in fruit growth). In some cases (coleoptile growth), auxin-promoted cellular expansion occurs in the absence of cell division. In other cases, auxin-promoted cell division and cell expansion may be closely sequenced within the same tissue (root initiation, fruit growth). In a living plant, auxins and other plant hormones nearly always appear to interact to determine patterns of plant development.


title: Auxin

text: Growth and division of plant cells together result in the growth of tissue, and specific tissue growth contributes to the development of plant organs.


title: Auxin

text: Growth of cells contributes to the plant's size, unevenly localized growth produces bending, turning and directionalization of organs- for example, stems turning toward light sources (phototropism), roots growing in response to gravity (gravitropism), and other tropisms originated because cells on one side grow faster than the cells on the other side of the organ. So, precise control of auxin distribution between different cells has paramount importance to the resulting form of plant growth and organization.


title: Auxin

text: To cause growth in the required domains, auxins must of necessity be active preferentially in them. Local auxin maxima can be formed by active biosynthesis in certain cells of tissues, for example via tryptophan-dependent pathways, but auxins are not synthesized in all cells (even if cells retain the potential ability to do so, only under specific conditions will auxin synthesis be activated in them). For that purpose, auxins have to be not only translocated toward those sites where they are needed but also they must have an established mechanism to detect those sites. Translocation is driven throughout the plant body, primarily from peaks of shoots to peaks of roots (from up to down).


title: Auxin

text: For long distances, relocation occurs via the stream of fluid in phloem vessels, but, for short-distance transport, a unique system of coordinated polar transport directly from cell to cell is exploited. This short-distance, active transport exhibits some morphogenetic properties.


title: Auxin

text: This process, polar auxin transport, is directional, very strictly regulated, and based in uneven distribution of auxin efflux carriers on the plasma membrane, which send auxins in the proper direction. While PIN-FORMED (PIN) proteins are vital in transporting auxin in a polar manner, the family of AUXIN1/LIKE-AUX1 (AUX/LAX) genes encodes for non-polar auxin influx carriers.


title: Auxin

text: The regulation of PIN protein localisation in a cell determines the direction of auxin transport from cell, and concentrated effort of many cells creates peaks of auxin, or auxin maxima (regions having cells with higher auxin – a maximum). Proper and timely auxin maxima within developing roots and shoots are necessary to organise the development of the organ. PINs are regulated by multiple pathways, at both the transcriptional and the post-translational levels. PIN proteins can be phosphorylated by PINOID, which determines their apicobasal polarity and thereby the directionality of auxin fluxes. In addition, other AGC kinases, such as D6PK, phosphorylate and activate PIN transporters. AGC kinases, including PINOID and D6PK, target to the plasma membrane via binding to phospholipids. Upstream of D6PK, 3'-phosphoinositide dependent protein kinase 1 (PDK1) acts as a master regulator. PDK1 phosphorylates and activates D6PK at the basal side of plasma membrane, executing the activity of PIN-mediated polar auxin transport and subsequent plant development.


title: Auxin

text: Surrounding auxin maxima are cells with low auxin troughs, or auxin minima. For example, in the "Arabidopsis" fruit, auxin minima have been shown to be important for its tissue development.


title: Auxin

text: Auxin has a significant effect on spatial and temporal gene expressions during the growth of apical meristems. These interactions depend both on the concentration of Auxin as well as the spatial orientation during primordial positioning. Auxin relies on PIN1 which works as an auxin efflux carrier. PIN1 positioning upon membranes determines the directional flow of the hormone from higher to lower concentrations. Initiation of primordia in apical meristems is correlated to heightened auxin levels.


title: Auxin

text: Genes required to specify the identity of cells arrange and express based on levels of auxin. STM (SHOOT MERISTEMLESS), which helps maintain undifferentiated cells, is down-regulated in the presence of auxin. This allows growing cells to differentiate into various plant tissues. The CUC (CUP-SHAPED COTYLEDON) genes set the boundaries for growing tissues and promote growth. They are upregulated via auxin influx. Experiments making use of GFP (GREEN FLUORESCENCE PROTEIN) visualization in Arabidopsis have supported these claims.


title: Auxin

text: As auxins contribute to organ shaping, they are also fundamentally required for proper development of the plant itself. Without hormonal regulation and organization, plants would be merely proliferating heaps of similar cells. Auxin employment begins in the embryo of the plant, where the directional distribution of auxin ushers in subsequent growth and development of primary growth poles, then forms buds of future organs. Next, it helps to coordinate proper development of the arising organs, such as roots, cotyledons, and leaves and mediates long-distance signals between them, contributing so to the overall architecture of the plant. Throughout the plant's life, auxin helps the plant maintain the polarity of growth, and actually "recognize" where it has its branches (or any organ) connected.


title: Auxin

text: An important principle of plant organization based upon auxin distribution is apical dominance, which means the auxin produced by the apical bud (or growing tip) diffuses (and is transported) downwards and inhibits the development of ulterior lateral bud growth, which would otherwise compete with the apical tip for light and nutrients. Removing the apical tip and its suppressively acting auxin allows the lower dormant lateral buds to develop, and the buds between the leaf stalk and stem produce new shoots which compete to become the lead growth. The process is actually quite complex because auxin transported downwards from the lead shoot tip has to interact with several other plant hormones (such as strigolactones or cytokinins) in the process on various positions along the growth axis in plant body to achieve this phenomenon. This plant behavior is used in pruning by horticulturists.


title: Auxin

text: Finally, the sum of auxin arriving from stems to roots influences the degree of root growth. If shoot tips are removed, the plant does not react just by the outgrowth of lateral buds — which are supposed to replace to original lead. It also follows that smaller amount of auxin arriving at the roots results in slower growth of roots and the nutrients are subsequently in higher degree invested in the upper part of the plant, which hence starts to grow faster.


title: Auxin

text: Auxin participates in phototropism, geotropism, hydrotropism and other developmental changes. The uneven distribution of auxin, due to environmental cues, such as unidirectional light or gravity force, results in uneven plant tissue growth, and generally, auxin governs the form and shape of the plant body, direction and strength of growth of all organs, and their mutual interaction. When the cells grow larger, their volume increases as the intracellular solute concentration increases with water moving into the cells from extracellular fluid. This auxin-stimulated intake of water causes turgor pressure on the cell walls, causing the plant to bend.


title: Auxin

text: Auxin stimulates cell elongation by stimulating wall-loosening factors, such as expansins, to loosen cell walls. The effect is stronger if gibberellins are also present. Auxin also stimulates cell division if cytokinins are present. When auxin and cytokinin are applied to callus, rooting can be generated with higher auxin to cytokinin ratios, shoot growth is induced by lower auxin to cytokinin ratios, and a callus is formed with intermediate ratios, with the exact threshold ratios depending on the species and the original tissue.


title: Auxin

text: Auxin induces the formation and organization of phloem and xylem. When the plant is wounded, the auxin may induce the cell differentiation and regeneration of the vascular tissues.


title: Auxin

text: Auxins promote root initiation. Auxin induces both growth of pre-existing roots and root branching (lateral root initiation), and also adventitious root formation. As more native auxin is transported down the stem to the roots, the overall development of the roots is stimulated. If the source of auxin is removed, such as by trimming the tips of stems, the roots are less stimulated accordingly, and growth of stem is supported instead.


title: Auxin

text: In horticulture, auxins, especially NAA and IBA, are commonly applied to stimulate root initiation when rooting cuttings of plants. However, high concentrations of auxin inhibit root elongation and instead enhance adventitious root formation. Removal of the root tip can lead to inhibition of secondary root formation.


title: Auxin

text: Auxin induces shoot apical dominance; the axillary buds are inhibited by auxin, as a high concentration of auxin directly stimulates ethylene synthesis in axillary buds, causing inhibition of their growth and potentiation of apical dominance. When the apex of the plant is removed, the inhibitory effect is removed and the growth of lateral buds is enhanced. This is called decapitation, usually performed in tea plantations and hedge-making. Auxin is sent to the part of the plant facing away from the light, where it promotes cell elongation, thus causing the plant to bend towards the light.


title: Auxin

text: Auxin is required for fruit growth and development and delays fruit senescence. When seeds are removed from strawberries, fruit growth is stopped; exogenous auxin stimulates the growth in fruits with seeds removed. For fruit with unfertilized seeds, exogenous auxin results in parthenocarpy ("virgin-fruit" growth).


title: Auxin

text: Fruits form abnormal morphologies when auxin transport is disturbed. In "Arabidopsis" fruits, auxin controls the release of seeds from the fruit (pod). The valve margins are a specialised tissue in pods that regulates when pod will open (dehiscence). Auxin must be removed from the valve margin cells to allow the valve margins to form. This process requires modification of the auxin transporters (PIN proteins).


title: Auxin

text: The evolutionary transition from diploid to triploid endosperms - and the production of antipodal cells - may have occurred due to a shift in gametophyte development which produced a new interaction with an auxin-dependent mechanism originating in the earliest angiosperms.


title: Auxin

text: Auxin plays also a minor role in the initiation of flowering and development of reproductive organs. In low concentrations, it can delay the senescence of flowers. A number of plant mutants have been described that affect flowering and have deficiencies in either auxin synthesis or transport. In maize, one example is bif2 barren inflorescence2.


title: Auxin

text: In low concentrations, auxin can inhibit ethylene formation and transport of precursor in plants; however, high concentrations can induce the synthesis of ethylene. Therefore, the high concentration can induce femaleness of flowers in some species.


title: Auxin

text: Auxin inhibits abscission prior to the formation of the abscission layer, and thus inhibits senescence of leaves.


title: Auxin

text: In the course of research on auxin biology, many compounds with noticeable auxin activity were synthesized. Many of them had been found to have economical potential for human-controlled growth and development of plants in agronomy.


title: Auxin

text: Auxins are toxic to plants in large concentrations; they are most toxic to dicots and less so to monocots. Because of this property, synthetic auxin herbicides, including 2,4-dichlorophenoxyacetic acid (2,4-D) and 2,4,5-trichlorophenoxyacetic acid (2,4,5-T), have been developed and used for weed control.


title: Auxin

text: However, some exogenously synthesized auxins, especially 1-naphthaleneacetic acid (NAA) and indole-3-butyric acid (IBA), are also commonly applied to stimulate root growth when taking cuttings of plants or for different agricultural purposes such as the prevention of fruit drop in orchards.


title: Auxin

text: Used in high doses, auxin stimulates the production of ethylene, also a native plant hormone. Excess ethylene can inhibit elongation growth, cause leaves to fall (abscission), and even kill the plant. Some synthetic auxins, such as 2,4-D and 2,4,5-T are marketed also as herbicides. Dicots, such as dandelions, are much more susceptible to auxins than monocots, such as grasses and cereal crops. So these synthetic auxins are valuable as synthetic herbicides. 2,4-D was the first widely used herbicide, and it is still in use. 2,4-D was first commercialized by the Sherwin-Williams company and saw use in the late 1940s. It is easy and inexpensive to manufacture.


title: Auxin

text: Triclopyr (3,5,6-TPA), while known as an herbicide, has also been shown to increase the size of fruit in plants. At increased concentrations, the hormone can be lethal. Dosing down to the correct concentration has been shown to alter photosynthetic pathways. This hindrance to the plant causes a response that increases carbohydrate production, leading to larger fruit.


title: Auxin

text: Synthetic auxins are used as a kind of herbicide and overdosing of auxins will interrupt plants' growth and lead to their death. The defoliant Agent Orange, used extensively by British forces in the Malayan Emergency and American forces in the Vietnam War, was a mix of 2,4-D and 2,4,5-T. The compound 2,4-D is still in use and is thought to be safe, but 2,4,5-T was more or less banned by the U.S. Environmental Protection Agency in 1979. The dioxin TCDD is an unavoidable contaminant produced in the manufacture of 2,4,5-T. As a result of the integral dioxin contamination, the use of 2,4,5-T products has been implicated in leukemia, miscarriages, birth defects, liver damage, and other diseases.


title: Jack Noseworthy

text: Jack Evan Noseworthy Jr. (born December 21, 1964) is an American actor known for his roles in "Event Horizon", "U-571", "Barb Wire" and "Killing Kennedy".


title: Jack Noseworthy

text: He appeared in Bon Jovi's music video "Always", with Carla Gugino and Keri Russell. He co-starred with Meryl Streep in the Public Theater's 2006 production of "Mother Courage and Her Children".


title: Jack Noseworthy

text: He starred in a short-lived MTV drama series, "Dead at 21". In December 2005, he originated the role of Armand in the musical "Lestat" during its pre-Broadway run at the Curran Theatre in San Francisco, but left the production during its first week of previews (he was replaced by actor Drew Sarich). He is also the only male actor to play Peter Pan on Broadway, in the revue "Jerome Robbins' Broadway".


title: Jack Noseworthy

text: In 2013, Noseworthy played Attorney General Robert F. Kennedy in "Killing Kennedy", a made-for-television movie aired on National Geographic Channel.


title: Jack Noseworthy

text: In 2018, Noseworthy joined the Canadian production of "Come from Away", in the role of Kevin T. and others.


title: Jack Noseworthy

text: Noseworthy has been in a relationship with choreographer Sergio Trujillo since 1990. They married in 2011. Noseworthy and Trujillo have a son born in 2018.


title: Bolas

text: Bolas or bolases (singular bola; from Spanish and Portuguese "bola", "ball", also known as a "boleadora" or "boleadeira") is a type of throwing weapon made of weights on the ends of interconnected cords, used to capture animals by entangling their legs. Bolas were most famously used by the gauchos, but have been found in excavations of Pre-Columbian settlements, especially in Patagonia, where indigenous peoples (particularly the Tehuelche) used them to catch 200-pound guanacos and rheas. The Mapuche and the Inca army used them in battle. Mapuche warriors used bolas in their confrontations with the Chilean Army during the Occupation of Araucanía (1861–1883).


title: Bolas

text: "Gauchos" used "boleadoras" to capture running cattle or game. Depending on the exact design, the thrower grasps the "boleadora" by one of the weights or by the nexus of the cords. The thrower gives the balls momentum by swinging them and then releases the "boleadora". The weapon is usually used to entangle the animal's legs, but when thrown with enough force might even inflict damage (e.g. breaking a bone).


title: Bolas

text: Traditionally, Inuit have used bolas to hunt birds, fouling the birds in air with the lines of the bola. "People of a Feather" showed Belcher Island Inuit using bolas to hunt eider ducks on the wing.


title: Bolas

text: There is no uniform design; most "bolas" have two or three balls, but there are versions of up to eight or nine. Some "bolas" have balls of equal weight, others vary the knot and cord. "Gauchos" use "bolas" made of braided leather cords with wooden balls or small leather sacks full of stones at the ends of the cords.


title: Bolas

text: "Bolas" of three weights are usually designed with two shorter cords with heavier weights, and one longer cord with a light weight. The heavier weights fly at the front parallel to each other, hit either side of the legs, and the lighter weight goes around, wrapping up the legs.


title: Bolas

text: Other unrelated versions include "qilumitautit", the "bolas" of the Inuit, made of sinew and bone weights and used to capture water birds.


title: Quotation marks in English

text: In English writing, quotation marks or inverted commas, also known informally as quotes, talking marks, speech marks, quote marks, quotemarks or speechmarks, are punctuation marks placed on either side of a word or phrase in order to identify it as a quotation, direct speech or a literal title or name. Quotation marks may be used to indicate that the meaning of the word or phrase they surround should be taken to be different from (or, at least, a modification of) that typically associated with it, and are often used in this way to express irony. (For example, in the sentence 'The lunch lady plopped a glob of "food" onto my tray.' the quotation marks around the word "food" show it is being called that ironically.) They also sometimes appear to be used as a means of adding emphasis, although this usage is usually considered incorrect.


title: Quotation marks in English

text: Quotation marks are written as a pair of opening and closing marks in either of two styles: or . Opening and closing quotation marks may be identical in form (called neutral, vertical, straight, typewriter, or "dumb" quotation marks), or may be distinctly left-handed and right-handed (typographic or, colloquially, curly quotation marks); see quotation mark glyphs for details. Typographic quotation marks are usually used in manuscript and typeset text. Because typewriter and computer keyboards lack keys to directly enter typographic quotation marks, much of typed writing has neutral quotation marks. Some computer software has the feature often called "smart quotes" which can, sometimes imperfectly, convert neutral quotation marks to typographic ones.


title: Quotation marks in English

text: The typographic closing double quotation mark and the neutral double quotation mark are similar to and sometimes stand in for the ditto mark and the double prime symbol. Likewise, the typographic opening single quotation mark is sometimes used to represent the ʻokina while either the typographic closing single quotation mark or the neutral single quotation mark may represent the prime symbol. Characters with different meanings are typically given different visual appearance in typefaces that recognize these distinctions, and they each have different Unicode code points. Despite being semantically different, the typographic closing single quotation mark and the typographic apostrophe have the same visual appearance and code point (U+2019), as do the neutral single quote and typewriter apostrophe (U+0027). (Despite the different code points, the curved and straight versions are sometimes considered multiple glyphs of the same character.)


title: Quotation marks in English

text: In the first centuries of typesetting, quotations were distinguished merely by indicating the speaker, and this can still be seen in some editions of the Christian Bible. During the Renaissance, quotations were distinguished by setting in a typeface contrasting with the main body text (often italic type with roman, or the other way around). Long quotations were also set this way, at full size and full measure.


title: Quotation marks in English

text: Quotation marks were first cut in metal type during the middle of the sixteenth century, and were used copiously by some printers by the seventeenth. In some Baroque and Romantic-period books, they would be repeated at the beginning of every line of a long quotation. When this practice was abandoned, the empty margin remained, leaving the modern form of indented block quotation.


title: Quotation marks in English

text: In Early Modern English, quotation marks were used to denote pithy comments. They were used to quote direct speech as early as the late sixteenth century, and this practice became more common over time.


title: Quotation marks in English

text: Single or double quotation marks denote either speech or a quotation. Double quotes are preferred in the United States, and also tend to be preferred in Canada, Australia, and New Zealand. Single quotes are more usual in the United Kingdom, Ireland and South Africa, though double quotes are also common there. A publisher's or author's style may take precedence over regional general preferences. The important idea is that the style of opening and closing quotation marks must be matched:


title: Quotation marks in English

text: Sometimes quotations are nested in more levels than inner and outer quotation. Nesting levels up to five can be found in the Christian Bible. In these cases, questions arise about the form (and names) of the quotation marks to be used. The most common way is to simply alternate between the two forms, thus:


title: Quotation marks in English

text: If such a passage is further quoted in another publication, then all of their forms have to be shifted up by one level.


title: Quotation marks in English

text: In many cases, quotations that span multiple paragraphs are set as block quotations, and thus do not require quotation marks. However, quotation marks are used for multiple-paragraph quotations in some cases, especially in narratives, where the convention in English is to give opening quotation marks to the first and each subsequent paragraph, using closing quotation marks only for the final paragraph of the quotation, as in the following example from "Pride and Prejudice":


title: Quotation marks in English

text: As noted above, in some older texts, the quotation mark is repeated every line, rather than every paragraph.


title: Quotation marks in English

text: When quoted text is interrupted, such as with the phrase "he said", a closing quotation mark is used before the interruption, and an opening quotation mark after. Commas are also often used before and after the interruption, more often for quotations of speech than for quotations of text:


title: Quotation marks in English

text: Quotation marks are not used for indirect speech. This is because indirect speech can be a paraphrase; it is not a direct quote, and in the course of any composition, it is important to document when one is using a quotation versus when one is just giving content, which may be paraphrased, and which could be open to interpretation.


title: Quotation marks in English

text: Another common use of quotation marks is to indicate or call attention to ironic, dubious, or non-standard words:


title: Quotation marks in English

text: Quotes indicating verbal irony, or other special use, are sometimes called scare quotes. They are sometimes gestured in oral speech using air quotes, or indicated in speech with a tone change or by replacement with "supposed[ly]" or "so-called".


title: Quotation marks in English

text: Quotation marks are also used to indicate that the writer realises that a word is not being used in its current commonly accepted sense:


title: Quotation marks in English

text: In addition to conveying a neutral attitude and to call attention to a neologism, or slang, or special terminology (also known as jargon), quoting can also indicate words or phrases that are "descriptive" but unusual, colloquial, folksy, startling, humorous, metaphoric, or contain a pun: Dawkins's concept of a meme could be described as an "evolving idea".


title: Quotation marks in English

text: People also use quotation marks in this way to distance the writer from the terminology in question so as not to be associated with it, for example to indicate that a quoted word is not official terminology, or that a quoted phrase presupposes things that the author does not necessarily agree with; or to indicate special terminology that should be identified for accuracy's sake as someone else's terminology, as when a term (particularly a controversial term) pre-dates the writer or represents the views of someone else, perhaps without judgement (contrast this neutrally distancing quoting to the negative use of scare quotes).


title: Quotation marks in English

text: "The Chicago Manual of Style", 17th edition (2017), acknowledges this type of use but, in section 7.57, cautions against its overuse: "Quotation marks are often used to alert readers that a term is used in a nonstandard (or slang), ironic, or other special sense ... [T]hey imply 'This is not my term,' or 'This is not how the term is usually applied.' Like any such device, scare quotes lose their force and irritate readers if overused."


title: Quotation marks in English

text: Either quotation marks or italic type can emphasise that an instance of a word refers to the word itself rather than its associated concept.


title: Quotation marks in English

text: A three-way distinction is occasionally made between normal use of a word (no quotation marks), referring to the concept behind the word (single quotation marks), and the word itself (double quotation marks):


title: Quotation marks in English

text: The logic for this derives from the need to distinguish use forms, coupled with the mandate to retain consistent notation for like use forms. The switching between double and single quotes in nested citation quotes reveals the same literary device for reducing ambiguity.


title: Quotation marks in English

text: Precise writing about language often uses italics for the word itself and single quotation marks for a gloss, with the two not separated by a comma or other punctuation, and with strictly logical quotation around the gloss – extraneous terminal punctuation "outside" the quotation marks – even in North American publications, which might otherwise prefer them inside:


title: Quotation marks in English

text: Quotation marks, rather than italics, are generally used for the titles of shorter works. Whether these are single or double depends on the context; however, many styles, especially for poetry, prefer the use of single quotation marks.


title: Quotation marks in English

text: As a rule, the title of a whole publication is italicised (or, in typewritten text, underlined), whereas the titles of minor works within or a subset of the larger publication (such as poems, short stories, named chapters, journal papers, newspaper articles, TV show episodes, video game levels, editorial sections of websites, etc.) are written with quotation marks.


title: Quotation marks in English

text: Quotation marks can also set off a nickname embedded in an actual name, or a false or ironic title embedded in an actual title; for example, Nat "King" Cole, Frank "Chairman of the Board" Sinatra, or Simone Rizzo "Sam the Plumber" DeCavalcante.


title: Quotation marks in English

text: Quotes are sometimes used for emphasis in lieu of underlining or italics, most commonly on signs or placards. This usage can be confused with ironic or altered-usage quotation, sometimes with unintended humor. For example, "For sale: "fresh" fish, "fresh" oysters", could be construed to imply that "fresh" is not used with its everyday meaning, or indeed to indicate that the fish or oysters are anything but fresh. As another example, "Cashiers' desks open until noon for your "convenience"" could be interpreted to mean that the convenience was for the bank employees, not the customers.


title: Quotation marks in English

text: With regard to quotation marks adjacent to periods and commas, there are two styles of punctuation in widespread use. These two styles are most commonly referred to as "American" and "British", or sometimes "typesetters' quotation" and "logical quotation". Both systems have the same rules regarding question marks, exclamation points, colons, and semicolons. However, they differ in the treatment of periods and commas.


title: Quotation marks in English

text: In all major forms of English, question marks, exclamation marks, semicolons, and any other punctuation (with the possible exceptions of periods and commas, as explained in the sections below) are placed inside or outside the closing quotation mark depending on whether they are part of the quoted material.


title: Quotation marks in English

text: A convention is the use of square brackets to indicate content between the quotation marks that has been modified from, or was not present in, the original material.


title: Quotation marks in English

text: The prevailing style in the United Kingdom called "British style", "logical quotation", and "logical punctuation" is to include within quotation marks only those punctuation marks that appeared in the "original" quoted material and in which the punctuation mark fits with the sense of the quotation, but otherwise to place punctuation outside the closing quotation marks. Fowler's "A Dictionary of Modern English Usage" provides an early example of the rule: "All signs of punctuation used with words in quotation marks must be placed "according to the sense"."


title: Quotation marks in English

text: When dealing with words-as-words, short-form works and sentence fragments, this style places periods and commas outside the quotation marks:


title: Quotation marks in English

text: When dealing with direct speech, British placement depends on whether or not the quoted statement is complete or a fragment. According to the British style guide "Butcher's Copy-editing", American style should be used when writing fiction. In non-fiction, some British publishers may permit placing punctuation that is not part of the person's speech inside the quotation marks but prefer that it be placed outside. Periods and commas that part of the person's speech are permitted inside the quotation marks regardless of whether the material is fiction.


title: Quotation marks in English

text: "Hart's Rules" and the "Oxford Dictionary for Writers and Editors" call the British style "new" quoting. It is also similar to the use of quotation marks in many other languages (including Portuguese, Spanish, French, Italian, Catalan, Dutch and German). A few US professional societies whose professions frequently employ various non-word characters, such as chemistry and computer programming, use the British form in their style guides (see "ACS Style Guide").


title: Quotation marks in English

text: According to the "Jargon File" from 1983, American hackers (members of a subculture of enthusiastic programmers) switched to what they later discovered to be the British quotation system because placing a period inside a quotation mark can change the meaning of data strings that are meant to be typed character-for-character.


title: Quotation marks in English

text: Some American style guides specific to certain specialties also prefer the British style. For example, the journal "Language" of the Linguistic Society of America requires that the closing quotation mark precede the period or comma unless that period or comma is "a necessary part of the quoted matter". The websites Wikipedia and Pitchfork use logical punctuation.


title: Quotation marks in English

text: In the United States, the prevailing style is called "American style", whereby commas and periods are almost always placed inside closing quotation marks. The American style is used by most newspapers, publishing houses, and style guides in the United States and, to a lesser extent, Canada as well.


title: Quotation marks in English

text: When dealing with words-as-words, short-form works, and sentence fragments, standard American style places periods and commas inside the quotation marks:


title: Quotation marks in English

text: This style also places periods and commas inside the quotation marks when dealing with direct speech, regardless of whether the work is fiction or non-fiction:


title: Quotation marks in English

text: Nevertheless, many American style guides explicitly permit periods and commas outside the quotation marks when the presence of the punctuation mark inside the quotation marks leads to ambiguity, such as when describing keyboard input, as in the following example:


title: Quotation marks in English

text: The American style is recommended by the Modern Language Association's "MLA Style Manual", the American Psychological Association's "APA Publication Manual", the University of Chicago's "The Chicago Manual of Style", the American Institute of Physics's "AIP Style Manual", the American Medical Association's "AMA Manual of Style", the American Political Science Association's "APSA Style Manual", the Associated Press' "The AP Guide to Punctuation", and the Canadian Public Works' "The Canadian Style". This style is also used in British news and fiction.


title: Quotation marks in English

text: In both major styles, regardless of placement, only one end mark (?, !, or .) can end a sentence. Only the period, however, "may not" end a quoted sentence when it does not also end the enclosing sentence, except for literal text:


title: Quotation marks in English

text: With narration of direct speech, both styles retain punctuation inside the quotation marks, with a full stop changing into a comma if followed by attributive matter, also known as a speech tag or annunciatory clause. Americans tend to apply quotations when signifying doubt of veracity (sarcastically or seriously), to imply another meaning to a word or to imply a cynical take on a paraphrased quotation, without punctuation at all.


title: Quotation marks in English

text: "Primary quotations" are orthographically distinguished from "secondary quotations" that may be nested within a primary quotation. British English often uses single quotation marks to identify the outermost text of a primary quotation versus double quotation marks for inner, nested quotations. By contrast, American English typically uses double quotation marks to identify the outermost text of a primary quotation versus single quotation marks for inner, nested quotations.


title: Quotation marks in English

text: British usage does vary, with some authoritative sources such as "The Economist" and "The Times" recommending the same usage as in the US, whereas other authoritative sources, such as "The King's English", "Fowler's", and "New Hart's Rules", recommend single quotation marks. In journals and newspapers, quotation mark double/single use often depends on the individual publication's house style.


title: Quotation marks in English

text: In English, when a quotation follows other writing on a line of text, a space precedes the opening quotation mark unless the preceding symbol, such as an em dash, requires that there be no space. When a quotation is followed by other writing on a line of text, a space follows the closing quotation mark unless it is immediately followed by other punctuation within the sentence, such as a colon or closing punctuation. (These exceptions are ignored by some Asian computer systems that systematically display quotation marks with the included spacing, as this spacing is part of the fixed-width characters.)


title: Quotation marks in English

text: There is generally no space between an opening quotation mark and the following word, or a closing quotation mark and the preceding word. When a double quotation mark or a single quotation mark immediately follows the other, proper spacing for legibility may suggest that a thin space (codice_1) or larger non-breaking space (codice_2) be inserted.


title: Quotation marks in English

text: This is not common practice in mainstream publishing, which will generally use more precise kerning. It is more common in online writing, although using CSS to create the spacing by kerning is more semantically appropriate in Web typography than inserting extraneous spacing characters.


title: Quotation marks in English

text: Straight quotation marks (or italicised straight quotation marks) are often used to approximate the prime and double prime, e.g. when signifying feet and inches or arcminutes and arcseconds. For instance, 5 feet and 6 inches is often written 5' 6"; and 40 degrees, 20 arcminutes, and 50 arcseconds is written 40° 20' 50". When available, however, primes should be used instead (e.g. 5′ 6″, and 40° 20′ 50″). Prime and double prime are not present in most code pages, including ASCII and Latin-1, but are present in Unicode, as characters and . The HTML character entity references are and , respectively.


title: Quotation marks in English

text: Straight single and double quotation marks are used in most programming languages to delimit strings or literal characters, collectively known as string literals. In some languages (e.g. Pascal) only one type is allowed, in some (e.g. C and its derivatives) both are used with different meanings and in others (e.g. Python) both are used interchangeably. In some languages, if it is desired to include the same quotation marks used to delimit a string inside the string, the quotation marks are doubled. For example, to represent the string in Pascal one uses codice_3. Other languages use an escape character, often the backslash, as in codice_4.


title: Quotation marks in English

text: In the TeX typesetting program, left double quotes are produced by typing two back-ticks () and right double quotes by typing two apostrophes (). This is a continuation of a typewriter tradition of using ticks for opening quotation marks; see .


title: Quotation marks in English

text: Standard English computer keyboard layouts inherited the single and double straight quotation marks from the typewriter (the single quotation mark also doubling as an apostrophe), and they do not include individual keys for left-handed and right-handed typographic quotation marks. In character encoding terms, these characters are labeled "unidirectional". However, most computer text-editing programs provide a "smart quotes" feature to automatically convert straight quotation marks into bidirectional punctuation, though sometimes imperfectly (see below). Generally, this smart quote feature is enabled by default, and it can be turned off in an "options" or "preferences" dialog. Some websites do not allow typographic quotation marks or apostrophes in posts. One can skirt these limitations, however, by using the HTML character codes or entities or the other key combinations in the following table. In Windows, AutoHotkey scripts can be used to assign simpler key combinations to opening and closing quotation marks.


title: Quotation marks in English

text: To make typographic quotation marks easier to enter, publishing software often automatically converts typewriter quotation marks (and apostrophes) to typographic form during text entry (with or without the user being aware of it). Out-of-the-box behavior on macOS and iOS is to make this conversion. These are known as "smart quotes" ('). Straight quotation marks are also retronymically called "dumb quotes" (').


title: Quotation marks in English

text: The method for producing smart quotes may be based solely on the character preceding the mark. If it is a space or another of a set of hard-coded characters or if the mark begins a line, the mark will be rendered as an opening quote; if not, it will be rendered as a closing quote or apostrophe. This method can cause errors, especially for contractions that start with an apostrophe or text with nested quotations:


title: Quotation marks in English

text: In Windows, if it is necessary to follow a space with a closing quotation mark when Smart Quotes is in effect, it is usually sufficient to input the character using the Alt code shown above rather than typing or .


title: Honeymoon (2014 film)

text: Honeymoon is a 2014 American supernatural horror film directed by Leigh Janiak, who co-wrote the screenplay with Phil Graziadei. Janiak's feature film directorial debut, it stars Rose Leslie and Harry Treadaway as a newly married couple whose honeymoon ends up being ruined by a series of strange events. The film had its world premiere on March 7, 2014, at South by Southwest, and was theatrically released by Magnolia Pictures on September 12, 2014.


title: Honeymoon (2014 film)

text: Bea and Paul are newly married and are spending their honeymoon at a rustic cabin, which belongs to her family, in a secluded Canadian forest. They visit a small restaurant where they meet Will, the owner and Bea's childhood friend. Will's wife Annie interrupts, saying they need to get away. That night, Paul wakes up to find Bea missing. He finds her naked and disoriented in the woods and takes her back to the cabin, where she claims she was sleepwalking due to stress. However, Paul is suspicious since Bea doesn't have a history of sleepwalking.


title: Honeymoon (2014 film)

text: Over subsequent days, Bea seemingly forgets how to do several basic tasks, but insists that she is fine. Paul observes her practicing future conversations in the bathroom mirror, and she struggles to remember common words. One night, Paul is disturbed by bright lights shining through their bedroom window, but is unable to find its source. He returns to where he found Bea the night she vanished, discovering a gown she claimed to have packed. The gown is covered in a mysterious goo. Despite her repeated denial, Paul concludes that Will is responsible and goes to confront him.


title: Honeymoon (2014 film)

text: Paul sees Annie outside the restaurant. She exhibits similar behavior to Bea and bears identical marks on her thighs. Annie claims that Will is hiding and again warns Paul to stay away before departing. Paul finds Will's bloody baseball hat floating in the water. He enters their home and finds several pages of notes describing basic details about Annie, including her and Will's names, along with security camera footage of Annie following the bright lights into the woods.


title: Honeymoon (2014 film)

text: Paul discovers that Bea has taken similar notes, and accuses her of being someone else. She locks herself in the bathroom, and when Paul breaks in he finds her repeatedly stabbing herself in the genitals with a toilet bowl cleaner. Paul ties her to the bed, and interrogates her about details of their relationship, most of which she either misremembers or has forgotten. She puts Paul's hand into her vagina and has him remove a large worm-like creature.


title: Honeymoon (2014 film)

text: Bea explains that the night she disappeared into the woods, she saw the same lights Paul had seen and walked to them. She encountered a group of silhouetted figures who impregnated her with the creature. Bea claims that she is herself, but that the figures are taking away what is left of her. Paul scrambles to find their car keys, but she insists that they cannot leave. After a beam of light suddenly appears, she knocks Paul out and takes him into the middle of the lake on a boat, fastening an anchor to his legs. He awakens, with Bea explaining that she is protecting him from the figures by "hiding" him under the water. Paul tries to escape, but she throws him overboard.


title: Honeymoon (2014 film)

text: Bea is shown to be deteriorating with her skin peeling off and her eyes discolored. After watching her and Paul's wedding video, she is met by a similarly-deteriorated Annie, and they walk into the lights together.


title: Honeymoon (2014 film)

text: The development of "Honeymoon" began in 2010, after Janiak viewed "Monsters" and "Tiny Furniture", and she and Phil Graziadei began writing the script in 2012. While writing the film's script, Janiak was inspired by the idea that "Even small moments ... can drive a wedge between people" and, with her writing partner, wondered "how far [they] could push them until they started falling apart." Janiak chose Rose Leslie to play the role of Bea after seeing her performance as Ygritte on "Game of Thrones". Principal photography began in spring 2013 and had a limited budget.


title: Honeymoon (2014 film)

text: On Rotten Tomatoes, the film holds a rating of 76% based on 58 reviews, with an average rating of 5.80/10. The site's consensus reads, "Smart, stylish, and nail-bitingly tense, "Honeymoon" packs more slow-building horror than many bigger-budget productions." On Metacritic, the film has an aggregated score of 65 out of 100 based on 10 critic reviews, indicating "generally favorable reviews".


title: Honeymoon (2014 film)

text: Ryan Turek of "Shock Till You Drop" gave "Honeymoon" a positive review, stating "Janiak demonstrates some wonderfully confident direction for a first-timer, utilizing space, sound design and two very good lead actors as her tools to slowly amplify the tension and mess with your head." Ryland Aldrich of "Twitch Film" also praised the film and called it "a good story, excellently told, and very, very scary."


title: Honeymoon (2014 film)

text: Andy Greene of "Pop Insomniacs" gave it a mixed review, saying that the film "isn’t going to blow your mind, or scare the crap out of you", but added that director Leigh Janiak "is clever enough to bank on these young stars and their explosive chemistry instead." Mike McCahill of "The Guardian" gave the film a score of 2 stars out of 5, writing: "Co-writer/director Leigh Janiak aims for Lars von Trier’s sustained dread, but manages only vague unease."


title: Virtual Studio Technology

text: Virtual Studio Technology (VST) is an audio plug-in software interface that integrates software synthesizers and effects units into digital audio workstations. VST and similar technologies use digital signal processing to simulate traditional recording studio hardware in software. Thousands of plugins exist, both commercial and freeware, and many audio applications support VST under license from its creator, Steinberg.


title: Virtual Studio Technology

text: VST plugins generally run within a digital audio workstation (DAW), to provide additional functionality, though a few standalone plugin hosts exist that support VST. Most VST plugins are either instruments (VSTi) or effects (VSTfx), although other categories exist—for example spectrum analyzers and various meters. VST plugins usually provide a custom graphical user interface that displays controls similar to physical switches and knobs on audio hardware. Some (often older) plugins rely on the host application for their user interface.


title: Virtual Studio Technology

text: VST instruments include software simulation emulations of well-known hardware synthesizers and samplers. These typically emulate the look of the original equipment as well as its sonic characteristics. This lets musicians and recording engineers use virtual versions of devices that otherwise might be difficult and expensive to obtain.