title: Chalkidiki

text: There are several summer resorts on the beaches of all three fingers where other minor towns and villages are located, such as at Yerakini (Gerakina Beach) and Psakoudia in central Chalkidiki, Kallithea, Chanioti and Pefkochori in the Kassandra peninsula, Nikiti and Neos Marmaras (Porto Carras) in the Sithonia peninsula, and Ouranoupolis at Mount Athos.


title: Chalkidiki

text: The first Greek settlers in this area came from Chalcis and Eretria, ancient ionian cities in Euboea, around the 8th century BC who founded cities such as Mende, Toroni and Scione a second wave came from Andros in the 6th century BC who founded cities such as Akanthos. The ancient city of Stageira was the birthplace of the great philosopher Aristotle. Chalkidiki was an important theatre of war during the Peloponnesian War between Athens and Sparta. Later, the Greek colonies of the peninsula were conquered by Philip II of Macedon and Chalkidiki became part of Macedonia (ancient kingdom). After the end of the wars between the Macedonians and the Romans, the region became part of the Roman Empire, along with the rest of Greece. At the end of the Roman Republic (in 43 BC) a Roman colony was settled in Cassandreia, which was later (in 30 BC) resettled by Augustus.


title: Chalkidiki

text: During the following centuries, Chalkidiki was part of the Byzantine Empire (East Roman Empire). On a chrysobull of Emperor Basil I, dated 885, the "Holy Mountain" (Mount Athos) was proclaimed a place of monks, and no laymen or farmers or cattle-breeders were allowed to be settled there. With the support of Nikephoros II Phokas, the Great Lavra monastery was founded soon afterwards. Today, over 2,000 monks from Greece and many other Eastern Orthodox countries, such as Romania, Moldova, Georgia, Bulgaria, Serbia, and Russia, live an ascetic life in Athos, isolated from the rest of the world. Athos with its monasteries has been self-governing ever since.


title: Chalkidiki

text: After a short period of domination by the Latin Kingdom of Thessalonica, the area became again Byzantine until its conquest by the Ottomans in 1430. During the Ottoman period, the peninsula was important for its gold mining. In 1821, the Greek War of Independence started and the Greeks of Chalkidiki revolted under the command of Emmanouel Pappas, a member of Filiki Eteria, and other local fighters. The revolt was progressing slowly and unsystematically. The insurrection was confined to the peninsulas of Mount Athos and Kassandra. One of the main goals was to restrain and detain the coming of the Ottoman army from Istanbul, until the revolution in the south (mainly Peloponnese) became stable. Finally, the revolt resulted in a decisive Ottoman victory at Kassandra. The survivors, among them Papas, were rescued by the Psarian fleet, which took them mainly to Skiathos, Skopelos and Skyros. The Ottomans proceeded in retaliation and many villages were burnt.


title: Chalkidiki

text: Finally, the peninsula was incorporated into the Greek Kingdom in 1912 after the Balkan Wars. Many Greek refugees from East Thrace and Anatolia (modern Turkey) were settled in parts of Chalkidiki after the 1922 Greco-Turkish war, adding to the indigenous Greek population.


title: Chalkidiki

text: In the 1980s, a tourism boom came to Chalkidiki and took over agriculture as the primary industry. In June 2003, at the holiday resort of Porto Carras located in Neos Marmaras, Sithonia, leaders of the European Union presented the first draft of the European Constitution (see History of the European Constitution for developments after this point).


title: Chalkidiki

text: In June 2022, archaeologists announced the discovery of a poorly preserved single-edged sabre among the ruins of a monastery on the coast of Chalcidice. Alongside the curved sword, excavators revealed evidence of a fire, a large cache of 14th-century glazed pottery vessels, as well as other weapons, including axes and arrowheads.


title: Chalkidiki

text: The peninsula is notable for its olive oil and its green olives production. Also various types of honey and wine are produced.


title: Chalkidiki

text: Chalkidiki has been a popular summer tourist destination since the late 1950s when people from Thessaloniki started spending their summer holidays in the coastal villages. In the beginning tourists rented rooms in the houses of locals. By the 1960s, tourists from Austria and Germany started to visit Chalkidiki more frequently. Since the start of the big tourist boom in the 1970s, the whole region has been captured by tourism. In the region there is a golf course, with plans for four others in the future.


title: Chalkidiki

text: Gold was mined in the region during antiquity by Philip II of Macedon and the next rulers. Since 2013, a revival of mining for gold and other minerals has occurred, and a number of concessions have been granted to Eldorado Gold of Canada. Critics claim that mining adversely affects tourism and the environment.


title: Chalkidiki

text: The Chalkidiki regional unit is subdivided into five municipalities (numbered as in the infobox map):


title: Chalkidiki

text: As a part of Greece's 2011 local government reform, the Chalkidiki regional unit (, ) was created out of the former Chalkidiki prefecture (, ); the regional unit has the same territory as the former prefecture. As par of the reforms, Chalkidiki's five municipalities (, ) were created by combining former municipalities, which were in turn demoted to municipal units (, ), according to the table below.


title: Chalkidiki

text: Before the abolishment of the provinces of Greece in 2006, the Chalkidiki prefecture was subdivided into the following provinces:


title: Chalkidiki

text: As of the 2011 census, the regional unit had a population of 105,908 inhabitants, up from 96,849 inhabitants in the 2001 census. The autonomous monastic state of Mount Athos which is often considered to be geographically part of Chalkidiki recorded an additional 1,811 people in the 2011 census. The population is mostly Eastern Orthodox monks.


title: Chalkidiki

text: In September 2018 it was announced that Line 2 of the Thessaloniki Metro could be extended in the future in order to serve commuters to and from some areas of Chalkidiki.


title: Borna Sosa

text: Borna Sosa (; born 21 January 1998) is a Croatian professional footballer who plays as a left-back or a left-wing back for Bundesliga club VfB Stuttgart and the Croatia national team.


title: Borna Sosa

text: Sosa was born in the Prečko neighbourhood of Zagreb to Herzegovinian Croat parents from Gradac, near Posušje. He was a youth player for Dinamo Zagreb. He was given his Prva HNL debut for Dinamo by coach Zoran Mamić on 7 March 2015 in a 2–0 home win over Zagreb, starting and playing the full 90 minutes. On 10 May 2016, he played full 90 minutes in the Croatian Cup Final as Dinamo defeated Slaven Belupo 2–1. He made his European debut on 12 July 2016, when coach Zlatko Kranjčar substituted him for Alexandru Mățel in the 66th minute of the 2–1 victory over Vardar in Skopje in the Champions League second qualifying round. Over the course of four seasons at Dinamo, Sosa made 41 appearances and six assists for his hometown club.


title: Borna Sosa

text: On 14 May 2018, Sosa signed a five-year-contract with VfB Stuttgart, with effect from 1 July. He made his debut for Stuttgart on 26 August, after being substituted on for Emiliano Insúa in the 84th minute of the 1–0 loss to Mainz. However, due to frequent injuries, Sosa's minutes were significantly reduced in his first season with Stuttgart, which saw the club relegated to the 2. Bundesliga. The injuries continued during his second season as well, resulting in Sosa making only 24 appearances for Stuttgart in his first two seasons. On 16 December 2019, he scored his debut goal for Stuttgart in a 1–1 draw with Darmstadt. However, the 2020–21 season was Sosa's breakthrough season, as he found form and consistency in Pellegrino Matarazzo's 3–4–2–1 formation. His performances in the Bundesliga earned him praise and comparisons to David Beckham, whom he named his football role model alongside David Alaba. On 27 November 2020, he extended his contract until 2025. He finished the season with nine assists on his account.


title: Borna Sosa

text: At the beginning of the 2021–22 season, on 7 August, Sosa captained Stuttgart for the first time in a DFB-Pokal match against Dynamo Berlin, scoring and assisting in the 6–0 victory. Seven days later, on the first matchday of Bundesliga, Sosa provided Marc-Oliver Kempf and Hamadi Al Ghaddioui with a hat-trick of assists as Stuttgart defeated Greuther Fürth 5–1.


title: Borna Sosa

text: Sosa represented Croatia at the 2015 UEFA Under-17 Euro and the 2015 FIFA U-17 World Cup. In May 2018, he was named in Zlatko Dalić's preliminary 32-man squad for the 2018 World Cup in Russia, but did not make the final 23. He was named in Nenad Gračan's squad for the UEFA Under-21 Euro 2019 and Igor Bišćan's squad for the UEFA Under-21 Euro 2021. However, he was ruled out of the latter squad at the last minute due to a knee injury.


title: Borna Sosa

text: On 7 May 2021, it was reported by "Sportske novosti" and Sky Sport that Sosa was given German citizenship, on Germany coach Joachim Löw's initiative, through his mother Vesna who was born and raised in Berlin, and was expected to represent Germany at the UEFA Euro 2020. A day later, on 8 May, Sosa himself confirmed the information to "24sata". However, on 11 May, Oliver Bierhoff, the technical director of the German Football Association, announced that Sosa is ineligible to play for Germany according to the FIFA rules. Two days later, on 13 May, Sosa issued an official apology to the Croatian public, Croatia national team fans and the Croatian Football Federation via the Federation's website.


title: Borna Sosa

text: Sosa earned his first call-up to the national team on 16 August 2021, ahead of the September World Cup qualifiers against Russia, Slovakia and Slovenia. He made his debut on 1 September in a goalless draw against Russia, being named in the starting lineup. On 14 November, in the crucial qualifier against the same opponent, Sosa caused Fyodor Kudryashov's own goal, leading to Croatia's 1–0 victory and qualification for the World Cup. On 22 September 2022, he scored his debut goal for the national team in a 2–1 Nations League victory over Denmark.


title: Vinayakan

text: Vinayakan T. K. is an Indian actor, playback singer, and composer who predominantly works in the Malayalam film industry. He has also appeared in some Tamil language films. He started his career with a cameo appearance in the 1995 film "Maanthrikam". Later, he did a couple of films as supporting roles as well as comedian roles.


title: Vinayakan

text: In 2016, Vinayakan won the Kerala State Film Award for Best Actor for his leading role of "Ganga" in Rajiv Ravi's "Kammatipaadam" and it was well appreciated by the critics. He also composed a song for the film.


title: Vinayakan

text: Vinayakan began his career as a dancer and had a dance troupe named "Black Mercury" with Fire dance being his forte. Director Thampi Kannanthanam introduced him in "Maanthrikam" and later in "Onnaman". He was noticed for his performances in "Stop Violence", Vellithira, Chathikkatha Chanthu, Chotta Mumbai and Thottappan. Also, he appeared in a couple of Bollywood movies.


title: Vinayakan

text: Vinayakan was appreciated for his performance as Ganga in Rajeev Ravi' s 2016 film "Kammatipaadam", and nominated for national award. It also brought him the Best Actor Award of Kerala State Film Awards, The North American Film Award for Outstanding performance in a film, Best Actor Award (2016) of Cinema Paradiso Club Cine Awards, etc. In the same film, he made his debut as a music director.


title: Vinayakan

text: Vinayakan composed the song "Puzhu Pulikal" for the movie "Kammatipaadam.".He has also sung songs for Rafi's new film Role Models and another one for Ordinary fame, Sugeeth's upcoming movie.


title: No Good Nick

text: No Good Nick is an American comedy-drama streaming television series, created by David H. Steinberg and Keetgi Kogan. The series stars Siena Agudong, Lauren Lindsey Donzis, Kalama Epstein, Melissa Joan Hart and Sean Astin, and the first part premiered on April 15, 2019, on Netflix. Part two was released on August 5, 2019. In September 2019, it was announced that the series was canceled after one season.


title: No Good Nick

text: Thirteen-year-old Nicole "Nick" Franzelli was raised by her father Tony who ran the popular Franzelli's restaurant in Portland, Oregon. After Liz Thompson opened her rival Crescendo Restaurant across the street, the Thompson family used dirty tactics to drive Franzelli's out of business. Tony borrowed money from the mob in a desperate effort to keep his restaurant afloat and then went to prison for robbing a convenience store to meet his repayments to the mob. Taken into state care, Nick was placed with corrupt foster parents Sam and Dorothy Harbaugh, who trained her as a con artist.


title: No Good Nick

text: The series begins as Nick infiltrates the Thompson home under the alias "Nicole Patterson," claiming that her parents recently died in a car crash and the family are her closest living relatives. Under the influence of her father and the Harbaughs, Nick endeavors to steal money and valuables from the Thompsons and wreak revenge on them. However, as she becomes increasingly attached to the family, Nick's loyalties are divided and she struggles to carry out her plan.


title: No Good Nick

text: Reviews note the difficulty in classifying the genre of "No Good Nick", citing that, although it casts veteran child stars of Disney, Freeform, and Nickelodeon, the series features themes more attuned to adults such as physical violence and drama.


title: No Good Nick

text: On September 21, 2018, it was announced that Netflix had given the production a series order for a first season consisting of twenty episodes. The series was created by David H. Steinberg and Keetgi Kogan, both of whom were also expected to executive produce. It was further announced that Andy Fickman would serve as the series' director. On March 6, 2019, Netflix announced that the series is set to release the first 10 episodes on April 15, 2019, and a promotional poster was released.


title: No Good Nick

text: Alongside the series order announcement, it was confirmed that Melissa Joan Hart, Sean Astin, Siena Agudong, Kalama Epstein, and Lauren Lindsey Donzis had been cast in starring roles.


title: No Good Nick

text: On review aggregator Rotten Tomatoes, the series holds an approval rating of 60% based on 5 reviews, with an average rating of 6.5/10. A critic from the "Hollywood Gossip" writes: "There are plenty of ways that "No Good Nick" could have made more of its premise, but it never really stumbles on a compelling one."


title: Child abduction

text: Child abduction or child theft is the unauthorized removal of a minor (a child under the age of legal adulthood) from the custody of the child's natural parents or legally appointed guardians.


title: Child abduction

text: The term "child abduction" includes two legal and social categories which differ by their perpetrating contexts: abduction by members of the child's family or abduction by strangers:


title: Child abduction

text: By far the most common kind of child abduction is parental child abduction (200,000 in 2010 alone). It often occurs when the parents separate or begin divorce proceedings. A parent may remove or retain the child from the other seeking to gain an advantage in expected or pending child-custody proceedings or because that parent fears losing the child in those expected or pending child-custody proceedings; a parent may refuse to return a child at the end of an access visit or may flee with the child to prevent an access visit or fear of domestic violence and abuse.


title: Child abduction

text: Parental child abductions may result in the child be kept within the same city, within the state or region, within the same country, or sometimes may result in the child being taken to a different country.


title: Child abduction

text: Most parental abductions are resolved fairly quickly. Studies performed for the U.S. Department of Justice's Office of Juvenile Justice and Delinquency Prevention reported that in 1999, 53% percent of family abducted children were gone less than one week, and 21% were gone one month or more.


title: Child abduction

text: Parental abduction has been characterized as child abuse, when seen from the perspective of the kidnapped child.


title: Child abduction

text: International child abduction occurs when a parent, relative or acquaintance of a child leaves the country with the child or children in violation of a custody decree or visitation order. Another related situation is retention where children are taken on an alleged vacation to a foreign country and are not returned.


title: Child abduction

text: While the number of cases which is over 600,000 a year consists of international child abduction is small in comparison to domestic cases, they are often the most difficult to resolve due to the involvement of conflicting international jurisdictions. Two-thirds of international parental abduction cases involve mothers who often allege domestic violence. Even when there is a treaty agreement for the return of a child, the court may be reluctant to return the child if the return could result in the permanent separation of the child from their primary caregiver. This could occur if the abducting parent faced criminal prosecution or deportation by returning to the child's home country.


title: Child abduction

text: The Hague Convention on the Civil Aspects of International Child Abduction is an international human rights treaty and legal mechanism to recover children abducted to another country. The Hague Convention does not provide relief in many cases, resulting in some parents hiring private parties to recover their children. Covert recovery was first made public when Don Feeney, a former Delta Commando, responded to a desperate mother's plea to locate and recover her daughter from Jordan in the 1980s. Feeney successfully located and returned the child. A movie and book about Feeney's exploits lead to other desperate parents seeking him out for recovery services.


title: Child abduction

text: By 2007, both the United States, European authorities, and NGO's had begun serious interest in the use of mediation as a means by which some international child abduction cases may be resolved. The primary focus was on Hague Cases. Development of mediation in Hague cases, suitable for such an approach, had been tested and reported by REUNITE, a London Based NGO which provides support in international child abduction cases, as successful. Their reported success lead to the first international training for cross-border mediation in 2008, sponsored by NCMEC. Held at the University of Miami School of Law, Lawyers, Judges, and certified mediators interested in international child abduction cases, attended.


title: Child abduction

text: International child abduction is not new. A case of international child abduction has been documented aboard the Titanic. However, the incidence of international child abduction continues to increase due to the ease of international travel, increase in bi-cultural marriages and a high divorce rate.


title: Child abduction

text: The stereotypical version of kidnapping by a stranger is the classic form of "kidnapping," exemplified by the Lindbergh kidnapping, in which the child is detained, transported some distance, held for ransom or with intent to keep the child permanently. These instances are rare.


title: Child abduction

text: The earliest nationally publicised kidnapping of a child by a stranger for the purpose of extracting a ransom payment from the parents was the Pool case of 1819, which took place in Baltimore, Maryland. Margaret Pool, 20-months-old, was kidnapped on May 20 by Nancy Gamble (19-years-old) and secreted with the assistance of Marie Thomas. On May 22, the parents, James and Mary Pool, placed an ad in the "Baltimore Patriot" newspaper offering a $20 reward for Mary's return. When the child was recovered on May 23—through the efforts of members of the community who conducted a search—it was revealed that the child had been badly whipped by Gamble and bore bloody wounds. Both Gamble and Thomas were tried for the crime of kidnapping and found guilty. The motive for the crime was demonstrated to be financial. She had kidnapped the child with the intention of waiting for a reward to be offered, then would return the child and collect the money. This is a technique favored by many ransom child kidnappers before the use of written ransom demands became the favored method. Nancy Gamble's crime and subsequent trial were reported in detail in "Baltimore Patriot" (June 26, 1819). The June 26 article, as well as others on the case that had appeared in the "Patriot", were reprinted in newspapers in other states including: Connecticut, Maryland, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, Vermont, Virginia and Washington D.C.


title: Child abduction

text: In 1597, Elizabeth I of England licensed the abduction of children for use as chapel choristers and theatre performers.


title: Child abduction

text: There are reports that abduction of children to be used or sold as slaves is common in parts of Africa.


title: Child abduction

text: The Lord's Resistance Army, a rebel paramilitary group operating mainly in northern Uganda, is notorious for its abductions of children for use as child soldiers or sex slaves. According to the Sudan Tribune, , more than 30,000 children have been kidnapped by the LRA and their leader, Joseph Kony.


title: Child abduction

text: A very small number of abductions result from women who kidnap babies (or other young children) to bring up as their own. These women are often unable to have children of their own, or have miscarried, and choose to abduct a child rather than adopting. The crime is often premeditated, with the woman often simulating pregnancy to reduce suspicion when a baby suddenly appears in the household.


title: Child abduction

text: Historically, a few states have practiced child abduction for indoctrination, as a form of punishment for political opponents, or for profit. Notable cases include the kidnapping of children by Nazi Germany for Germanization, the lost children of Francoism, during which an estimated 300,000 children were abducted from their parents, and the about 500 "Children of the Disappeared (Desaparecidos)" who were adopted by the military in the Argentine Dirty War. In Australia the 'Stolen Generation' is the term given to native Aboriginal children who were forcibly abducted or whose mothers gave consent under duress or misleading information so the government could assimilate the black population into the white majority. In Canada, with the Sixties Scoop, indigenous children were systematically removed from their families and culture to be fostered and adopted by white families.


title: Child abduction

text: Some other abductions have been to make children available by child-selling for adoption by other people, without adopting parents necessarily being aware of how children were actually made available for adoption.


title: Child abduction

text: Neonatal infant abduction and prenatal fetal abduction are the earliest ages of child abduction, when "child" is expansively defined as a viable baby before birth (usually a few months before the typical time for birth) through the age of majority (the age at which a young person is legally recognized as an adult). In addition, embryo theft and even oocyte misappropriation in reproductive medical settings have been legalistically construed as child abduction.


title: Child abduction

text: Launched in 1998 as a joint venture of the International Centre for Missing & Exploited Children (ICMEC) and NCMEC, the Global Missing Children's Network (GMCN) is a network of countries that connect, share best practices, and disseminate information and images of missing children to improve the effectiveness of missing children investigations. The Network has 22 member countries: Albania, Argentina, Australia, Belarus, Belgium, Brazil, Canada, Germany, Greece, Ireland, Italy, Mexico, the Netherlands, New Zealand, Poland, Romania, Russia, Serbia, South Africa, South Korea, Spain, the United Kingdom, and the US.


title: Child abduction

text: Each country can access a customizable website platform, and can enter missing children information into a centralized, multilingual database that has photos of and information about missing children, which can be viewed and distributed to assist in location and recovery efforts. GMCN staff train new countries joining the Network, and provide an annual member conference sponsored by Motorola Solutions Foundation at which best practices, current issues, trends, policies, procedures, and possible solutions are discussed.


title: Child abduction

text: The parents of Madeleine McCann, a three-year-old girl who disappeared from her bed in a hotel in Portugal in 2007, approached ICMEC to help them publicize her case. ICMEC's YouTube channel, "Don'tYouForgetAboutMe," which lets people post videos, images, and information about their missing children, was launched that year as a part of these efforts, and had 2,200 members. ICMEC reviews the postings to ensure that any child in a posted video is in fact missing, that authorities are aware that the child is missing, and that the images are not inappropriate.


title: Child abduction

text: Since February 2006, France has adopted a nationwide alert system, Alerte Enlèvement, which broadcasts (via radio, television, street signs and airport and train stations screens) crucial information when an abduction of a minor takes place. The French Penal Code describes the fact of "without order of a constituted authority and except as ordered by law, to stop, to remove, to detain or to kidnap a person" punishable by twenty years of imprisonment. If the victim is mutilated or permanently disabled as a result of the kidnapping, the offense is punishable by thirty years of imprisonment and by life imprisonment when it is preceded or accompanied by torture or "barbaric acts".


title: Child abduction

text: See the Child Abduction Act 1984, the Child Abduction and Custody Act 1985 and the Child Abduction (Northern Ireland) Order 1985.


title: Child abduction

text: The United States has a variety of related laws at the state and municipal levels. The US developed the AMBER Alert system, which broadcasts cases of suspected kidnapping when the child is believed to be in a motor vehicle and the vehicle licence plate is known. Some laws, such as the Adam Walsh Child Protection and Safety Act, aim to prevent stranger abductions through public sex offender registeries which include an offender's address.


title: Riccardo Patrese

text: Riccardo Gabriele Patrese (born 17 April 1954) is an Italian former racing driver, who raced in Formula One from to .


title: Riccardo Patrese

text: He became the first Formula One driver to achieve 200 Grand Prix starts when he appeared at the 1990 British Grand Prix, and then became the first to achieve 250 starts at the 1993 German Grand Prix. For 19 years, he held the record for the most Formula One Grand Prix starts, with 256 races from 257 entries. As of the end of the season he is the ninth-most experienced F1 driver in history. At the age of 38 he was runner-up to Nigel Mansell in the 1992 Formula One World Championship, and third in and . He won six Formula One races, with a record gap of over six years between two of these – the 1983 South African Grand Prix and 1990 San Marino Grand Prix.


title: Riccardo Patrese

text: Patrese also competed at the World Sportscar Championship for the Lancia factory team, finishing runner-up in 1982 and collecting eight wins.


title: Riccardo Patrese

text: Born in Padua, Veneto, Patrese started driving karts at age 9. Growing up near the Italian Alps, he was also selected for the Italian national ski team as a teenager, and was in addition a competitive swimmer. In 1974, he won the Karting World Championship at the Estoril circuit, finishing ahead of second-placed teammate and fellow future F1 driver Eddie Cheever. He received an offer to drive in Formula Italia the following year, finishing second in the championship to another future F1 racer, Bruno Giacomelli. In 1976, he moved up to Formula 3, winning both the Italian and European Formula 3 championships. The following year he moved to Formula 2 before making his Formula One debut midway through the year.


title: Riccardo Patrese

text: He made his debut at the 1977 Monaco Grand Prix with the Shadow racing team sponsored by Italian businessman Franco Ambrosio, replacing Renzo Zorzi. He took his first point at the Japanese Grand Prix later that year. Later that year team-leader Jackie Oliver and sponsor Ambrosio left Shadow to form the Arrows team. Patrese and Shadow teammate Alan Jones both received offers from the Williams team for 1978: whilst Jones joined Williams, Patrese linked up with Arrows, alongside Rolf Stommelen. Shadow subsequently took Arrows to court, arguing that Arrows had stolen the design of the Shadow DN9 that Arrows and were essentially running a DN9 under a different name. The court agreed, forcing Arrows to design and construct a totally new car, the Arrows A1, which became the first of the Arrows F1 bloodline.


title: Riccardo Patrese

text: In 1978 Patrese very nearly won Arrows' second race, the South African Grand Prix, until engine failure forced him to retire 15 laps from the end. He subsequently took second at the Swedish Grand Prix behind Niki Lauda's Brabham BT46B "fan car", in its only appearance before being withdrawn. However, his driving style was perceived by some established drivers, such as Ronnie Peterson and James Hunt, as being over-aggressive. Later that year, at the Italian Grand Prix, Patrese's reputation for aggressive driving was blamed for a first lap major incident. In part, one of the causes suggested was a premature start by the Monza race director, leading to cars at the rear of the field catching up to those in the midfield that had been fully stopped when the green signal was given. This being said, Patrese, Peterson, and 8 others were involved in a 10-car pile-up before turn one, causing a stoppage of the race. Peterson, whose injuries from the chain reaction wreck were not in and of themselves life-threatening, died from an embolism the day after the Grand Prix.


title: Riccardo Patrese

text: By the next race, the United States Grand Prix, five top drivers - Hunt, Lauda, Mario Andretti, Emerson Fittipaldi and Jody Scheckter - declared that unless Patrese was banned from the race that they would withdraw. The race organizers agreed to this: although Patrese later stated that he obtained a ruling from a local judge in Watkins Glen stating that the ban was a violation of his right to work, Arrows decided to withdraw his entry due to pressure from the organizers and the FIA. He returned to competition at the following race, the Canadian Grand Prix, where he finished fourth.


title: Riccardo Patrese

text: For years after the crash which caused Peterson's death, Hunt (along with other drivers) blamed Patrese for starting the accident, and viewers of Hunt's commentaries of Formula One races from 1980 to 1993 on BBC Television were regularly treated to bitter diatribes against Patrese when the Italian appeared on screen. Hunt believed that it was Patrese's muscling past that caused the McLaren driven by Hunt and the Lotus driven by Peterson to touch, but Patrese argued that he was already well ahead of the pair before the accident took place. Patrese, together with race director Gianni Restilli, stood trial in Italian criminal court on manslaughter charges for Peterson's death. Both were cleared of wrongdoing on 28 October 1981.


title: Riccardo Patrese

text: Two of Patrese's most notable performances during his Arrows years were at the United States Grand Prix West in Long Beach, where he finished second in 1980 and took pole position in the following year: he led the latter race before being forced to retire by a blocked fuel filter.


title: Riccardo Patrese

text: In 1982 Patrese moved to Brabham and gained his maiden win at that year's Monaco Grand Prix in rather sensational circumstances. Patrese took the lead when Alain Prost crashed out, only to spin in dampening conditions on the next lap. This left him third behind Didier Pironi and Andrea de Cesaris, who both stopped on the final lap – Pironi with an electrical fault and de Cesaris out of fuel. Later that season he also led the Austrian Grand Prix but retired due to an engine failure. Patrese finished the season tenth, just ahead of his teammate Nelson Piquet. 1983 proved to be a more difficult season. Patrese crashed out late in the race while leading at San Marino - to the cheers of the "tifosi", as his shunt meant that he handed the race win to Ferrari driver Patrick Tambay. He also took pole on home ground at the Italian Grand Prix, before his engine blew up in the early stages of the race: in a 2010 interview he said he suspected that his engine had been left in its qualifying trim, rendering it extremely powerful but fragile, as he had not been offered a new contract for the following year, and had been reluctant to sacrifice his chances of winning his home Grand Prix for teammate Nelson Piquet, who was fighting for the World Championship. Despite scoring a second win at the South African Grand Prix, Patrese only finished ninth while Piquet claimed his second Drivers' Championship title. It would be seven years before he made another visit to the top step of the podium.


title: Riccardo Patrese

text: A move to Alfa Romeo in delivered two lacklustre seasons resulting in eight world championship points and a single visit to the podium at the 1984 Italian Grand Prix. Patrese and teammate, American Eddie Cheever, were hampered by cars with Alfa Romeo 890T V8 turbo engines that proved too thirsty for the amount of fuel they were allowed to carry (220 litres). Often both drivers drove good races to be in the points, only to run out of fuel two or three laps from the finish dropping them out of the points. Indeed, Patrese's 3rd place at Monza in 1984 (to date the final podium finish for Alfa Romeo in F1) came at the expense of Cheever who was robbed of a podium finish when his car ran out of fuel 6 laps from the finish.


title: Riccardo Patrese

text: The pair were also hampered by their cars. 's Alfa Romeo 184T proved fast in qualifying, but fuel restrictions saw them well off the pace in most races. The 1985 car, the 185T proved to be even less competitive to the point that halfway through the season the team replaced it with an updated version of the 184T (dubbed the 184TB). Although the updated car did prove faster, results were not forthcoming. In an interview in 2000, Patrese described the 185T as "the worst car I ever drove".


title: Riccardo Patrese

text: At the 1985 Monaco Grand Prix, Patrese's former teammate Nelson Piquet began his 14th lap and was attempting to lap Patrese as they crossed the start/finish line. The cars made contact, and Patrese went into a spin while Piquet lost his suspension. Patrese then bounced off the wall and back into Piquet, and both drivers were out of the race.


title: Riccardo Patrese

text: In 1986 Patrese returned to Brabham alongside fellow Italian Elio de Angelis, but by now the team was a spent force and would never again take a driver to victory in a grand prix. Two more winless seasons followed despite the team's BMW engine being considered at the time to be the most powerful on the grid. Despite the trials of uncompetitive machinery, Patrese never publicly criticised the team and earned respect throughout the sport for his professionalism.


title: Riccardo Patrese

text: Toward the end of the 1987 season, Patrese was given the chance to revitalise what seemed to be a declining career when the Williams driver Nigel Mansell was injured whilst qualifying for the Japanese Grand Prix. With the help of Brabham owner and Formula One boss Bernie Ecclestone, Patrese tested the Williams FW11B at Imola, where he set a time that was half a second quicker than Ayrton Senna's pole at that year's San Marino Grand Prix, and was drafted in to replace Mansell for the season's finale in Australia.


title: Riccardo Patrese

text: Patrese had already been signed by Williams management to be Nelson Piquet's replacement for the season as the 1987 and triple World Champion was off to Lotus to replace Ayrton Senna who had signed with McLaren (Honda were staying with Lotus for 1988 but Williams had lost their Honda engines to McLaren). However, 1988 saw Williams struggling with an uncompetitive car powered by non-turbocharged Judd V8 engines. Patrese and Mansell were also hampered in the first half of the season by the Williams FW12's reactive suspension not working properly. It wasn't until the British Grand Prix at Silverstone that Williams dumped the reactive suspension for a more conventional one and the FW12s became competitive.


title: Riccardo Patrese

text: At the 1988 Spanish Grand Prix, Patrese was fined US$10,000 for 'brake testing' the Tyrrell of F1 rookie Julian Bailey during qualifying which caused the Tyrrell 017 to launch its front wheels in the air when Bailey ran into the back of the Williams. One unnamed driver allegedly said of the incident ""They should fine him his bloody retainer. There are enough accidental shunts in this business without someone deliberately causing one"".


title: Riccardo Patrese

text: It was not until and the arrival of the V10 Renault engines that Patrese and his new teammate Thierry Boutsen were able to challenge for race wins. In his record-breaking 176th Grands Prix, Patrese led the first race of the year in Brazil (the first time he led a Grand Prix since 1983) including setting a new lap record of the Autódromo Internacional Nelson Piquet before stopping with an engine failure. In what would prove to be his best season since 1983, he achieved an impressive 3rd place in the Drivers' Championship, taking no wins but securing 6 podium finishes, including 4 second places, as well as claiming pole position in Hungary, a race he confidently led under constant pressure from reigning World Champion Ayrton Senna in his McLaren-Honda V10 until lap 54 when a holed radiator forced his retirement.


title: Riccardo Patrese

text: In , Patrese finally won his third Grand Prix at the 1990 San Marino Grand Prix, though the competitiveness of the Renault powered FW13B with what many felt were two "number two" drivers waned in the second half of the year as McLaren, Ferrari and later Benetton with their Ford V8 engines took the ascendancy and he finished the Drivers' Championship in 7th place.


title: Riccardo Patrese

text: In Nigel Mansell returned to Williams after two seasons with Ferrari and, together with Patrese, the team became genuine contenders for both the Drivers' and Constructors' Championships. Two wins in Mexico and Portugal gave Patrese his most competitive F1 season thus far and a respectable third place behind Championship contenders Mansell and Senna. In addition he took four pole positions across the season. Patrese also out qualified Mansell at every race until the halfway point of the season at Silverstone for the British Grand Prix, and provided much support for the Englishman's title chase at races such as Italy and Portugal.


title: Riccardo Patrese

text: Williams dominated F1 in and Patrese continued to deliver in his role of second driver to Nigel Mansell, moving out of the way for Mansell while leading comfortably at that year's French Grand Prix. Again Patrese handled the delicate situation about team orders diplomatically, repeatedly offering a "No comment" to questions about the team orders that had been imposed on him at the red flag period of the French race. Patrese took a single win at the Japanese Grand Prix and had eight other podium finishes, including six second-place results. After his retirement Patrese stated that Mansell had the edge over him that season because of Mansell's greater upper body strength, as the car's steering was heavy due to the amount of downforce it generated combined with the absence of power steering, whilst Patrese's skill in low speed corners was negated by the car's traction control system.


title: Riccardo Patrese

text: With Alain Prost, Ayrton Senna and Nigel Mansell all desperately trying to sign for Williams, Patrese's position looked to be under threat and he signed for the Benetton team before the end of the year. His teammate for would be young German driver Michael Schumacher. Ironically, only Prost was able to agree terms with Williams for 1993 (Mansell went on to race in the American-based Champ Car series while Prost had a clause in his contract, signed in early 1992, that prevented Senna from being his teammate). This would have left a seat free for Patrese had he remained with the team. Although Williams offered Patrese the opportunity to stay with the team after Mansell announced his retirement from F1 at the Italian Grand Prix, he felt he could not go back on his word to Benetton. The number two seat at Williams went to the team's test driver Damon Hill, the son of the and World Champion Graham Hill.


title: Riccardo Patrese

text: While Williams continued to dominate F1 in 1993, Patrese found it difficult to get along with team manager Flavio Briatore, sensing that the team's concentration was on his new teammate Michael Schumacher. Patrese would also describe the Benetton B193 with its Ford HBA8 V8 as a step down in quality compared to the much more sophisticated Williams cars he had been driving for the previous five years. After scoring 56 points and finishing 2nd in the World Championship in 1992, Patrese scored 20 points to finish 5th in 1993 with a best finish of 2nd in Hungary in what was to prove to be his final season in Formula One. Before the end of the season Briatore informed Patrese that he was "free to seek an alternate drive". Ligier made Patrese an offer for 1994 but seeing it as a further step down in his career, he decided against it.


title: Riccardo Patrese

text: As most top teams already had drivers signed for 1994, Patrese opted for retirement and brought what was then the longest F1 career in history to a conclusion. Patrese was invited to rejoin Williams in 1994 to fill the seat of Ayrton Senna after his fatal accident at Imola, but ultimately decided against returning to Formula One. A DTM test with Mercedes-Benz in July 1994 did not come to fruition either. In the second half of 1996, as thanks for his years of service to Williams, the team invited Patrese to test their latest car, the FW18, at Silverstone, with the Italian reportedly setting a time that would have placed him on the second row of the grid for that year's British Grand Prix.


title: Riccardo Patrese

text: After this, Patrese competed in the 24 Hours of Le Mans in 1997. He drove a Nissan R390 GT1 for the Nissan factory team; the car was third fastest in qualifying but was forced to retire with gearbox problems. After retiring from racing, he took up show jumping, following in the footsteps of his daughters who have competed in the sport internationally. He won an Italian national amateur title before retiring from equestrianism in 2014. Outside of competition, he is a keen collector of model railways, in particular those manufactured by Märklin.


title: Riccardo Patrese

text: In 2005 he returned to racing in the inaugural season of the Grand Prix Masters formula for retired F1 drivers. He finished third behind his former teammate Nigel Mansell and Emerson Fittipaldi in the sole 2005 race at Kyalami, South Africa. His 2006 season was less successful with a 10th-place finish at Losail in Qatar and a 6th at Silverstone.


title: Riccardo Patrese

text: Patrese's record of 257 Grand Prix entries, set in a period when a typical F1 season was limited to 16 races, stood for 15 years, surviving the Schumacher era when Michael Schumacher retired on 250 race entries. Rubens Barrichello finally surpassed Patrese's total, recording his 258th Grand Prix entry at the 2008 Turkish Grand Prix. As part of the "handover", Patrese tested a Honda RA107 at Jerez on 9 September (Barrichello was driving for Honda at the time). Schumacher subsequently came out of retirement and became the second driver to surpass Patrese's former record.


title: Riccardo Patrese

text: In July 2018 it was announced that Patrese would come out of retirement to compete at the Spa 24 Hours that month, competing in the pro-am category in a JAS Motorsport-run Honda NSX GT3 with Loïc Depailler (the son of former F1 driver Patrick Depailler), Bertrand Baguette and Esteban Guerrieri.


title: Riccardo Patrese

text: Driver did not finish the Grand Prix, but was classified as he completed over 90% of the race distance.


title: Interpretations of 2001: A Space Odyssey

text: Since its premiere in 1968, the film "" has been analysed and interpreted by numerous people, ranging from professional movie critics to amateur writers and science fiction fans. The director of the film, Stanley Kubrick, and the writer, Arthur C. Clarke, wanted to leave the film open to philosophical and allegorical interpretation, purposely presenting the final sequences of the film without the underlying thread being apparent; a concept illustrated by the final shot of the film, which contains the image of the embryonic "Starchild". Nonetheless, in July 2018, Kubrick's interpretation of the ending scene was presented after being newly found in an early interview.


text: Kubrick encouraged people to explore their own interpretations of the film, and refused to offer an explanation of "what really happened" in the movie, preferring instead to let audiences embrace their own ideas and theories. In a 1968 interview with "Playboy", Kubrick stated:


text: Neither of the two creators equated openness to interpretation with meaninglessness, although it might seem that Clarke implied as much when he stated, shortly after the film's release, "If anyone understands it on the first viewing, we've failed in our intention." When told of the comment, Kubrick said "I believe he made it [the comment] facetiously. The very nature of the visual experience in "2001" is to give the viewer an instantaneous, visceral reaction that does not—and should not—require further amplification." When told that Kubrick had called his comment 'facetious', Clarke responded


text: In a subsequent discussion of the film with Joseph Gelmis, Kubrick said his main aim was to avoid "intellectual verbalization" and reach "the viewer's subconscious". He said he did not deliberately strive for ambiguity, that it was simply an inevitable outcome of making the film non-verbal, though he acknowledged that this ambiguity was an invaluable asset to the film. He was willing then to give a fairly straightforward explanation of the plot on what he called the "simplest level", but unwilling to discuss the metaphysical interpretation of the film which he felt should be left up to the individual viewer.


text: Arthur C. Clarke's was developed simultaneously with the film, though published after the film's release. It seems to explain the ending of the film more clearly. Clarke's novel explicitly identifies the monolith as a tool created by extraterrestrials that have been through many stages of evolution, moving from organic forms, through biomechanics, and finally to a state of pure energy. The book explains the monolith much more specifically than the movie, depicting the first (on Earth) as a device capable of inducing a higher level of consciousness by directly interacting with the brain of pre-humans approaching it, the second (on the Moon) as an alarm signal designed to alert its creators that humanity had reached a sufficient technological level for space travel, and the third (near Jupiter in the movie but on a satellite of Saturn in the novel) as a gateway or portal to allow travel to other parts of the galaxy. It depicts Bowman traveling through some kind of interstellar switching station which the book refers to as "Grand Central," in which travelers go into a central hub and then are routed to their individual destinations. The book also depicts a crucial utterance by Bowman when he enters the portal via the monolith; his last statement is "Oh my God—it's full of stars!" This statement is not shown in the movie, but becomes crucial in the 1984 sequel "", based on the novel "".


text: The book reveals that these aliens travel the cosmos assisting lesser species to take evolutionary steps. Bowman explores the hotel room methodically, and deduces that it is a kind of zoo created by aliens—fabricated from information derived from television transmissions from Earth intercepted by the TMA-1 monolith—in which he is being studied by the invisible alien entities. He examines some food items provided for him, and notes that they are edible, yet clearly not made of any familiar substance from Earth. Kubrick's film leaves all this unstated. Although not included in the movie, Kubrick did originally plan to have aliens portrayed in the movie, and only cut the idea after deciding that it was too hard to do it with special and practical effects.


text: Clarke himself used to recommend reading the book, saying "I always used to tell people, 'Read the book, see the film, and repeat the dose as often as necessary'", although, as his biographer Neil McAleer points out, he was promoting sales of his book at the time. Elsewhere he said, "You will find my interpretation in the novel; it is not necessarily Kubrick's. Nor is his necessarily the 'right' one – whatever that means."


text: Film critic Penelope Houston noted in 1971 that the novel differs in many key respects from the film, and as such, it perhaps should not be regarded as the skeleton key to unlock it.


text: Stanley Kubrick was less inclined to cite the book as a definitive interpretation of the film, but he also frequently refused to discuss any possible deeper meanings during interviews. During an interview with Joseph Gelmis in 1969, Kubrick explained:


text: Author Vincent LoBrutto, in "Stanley Kubrick: A Biography", was inclined to note creative differences leading to a separation of meaning for book and film:


text: In an interview for "Rolling Stone" magazine, Kubrick said "On the deepest psychological level the film's plot symbolizes the search for God, and it finally postulates what is little less than a scientific definition of God . . . The film revolves around this metaphysical conception, and the realistic hardware and the documentary feelings about everything were necessary in order to undermine your built-in resistance to the poetical concept."


text: When asked by Eric Nordern in Kubrick's interview with "Playboy" if "2001: A Space Odyssey" was a religious film, Kubrick elaborated:


text: I will say that the God concept is at the heart of "2001" but not any traditional, anthropomorphic image of God. I don't believe in any of Earth's monotheistic religions, but I do believe that one can construct an intriguing scientific definition of God, once you accept the fact that there are approximately 100 billion stars in our galaxy alone, that each star is a life-giving sun and that there are approximately 100 billion galaxies in just the visible universe. Given a planet in a stable orbit, not too hot and not too cold, and given a few billion years of chance chemical reactions created by the interaction of a sun's energy on the planet's chemicals, it's fairly certain that life in one form or another will eventually emerge. It's reasonable to assume that there must be, in fact, countless billions of such planets where biological life has arisen, and the odds of some proportion of such life developing intelligence are high. Now, the Sun is by no means an old star, and its planets are mere children in cosmic age, so it seems likely that there are billions of planets in the universe not only where intelligent life is on a lower scale than man but other billions where it is approximately equal and others still where it is hundreds of thousands of millions of years in advance of us. When you think of the giant technological strides that man has made in a few millennia—less than a microsecond in the chronology of the universe—can you imagine the evolutionary development that much older life forms have taken? They may have progressed from biological species, which are fragile shells for the mind at best, into immortal machine entities—and then, over innumerable eons, they could emerge from the chrysalis of matter transformed into beings of pure energy and spirit. Their potentialities would be limitless and their intelligence ungraspable by humans.


text: Perhaps there is a certain element of the lumpen literati that is so dogmatically atheist and materialist and Earth-bound that it finds the grandeur of space and the myriad mysteries of cosmic intelligence anathema.


text: In a 1980 interview that remained obscure until being rediscovered in 2018, Kubrick explained the intent of the film's ending. God-like beings of "pure energy and intelligence" place the astronaut in a human zoo, where he passes his entire life with "no sense of time". After they eventually finish with him, he is "transformed into some kind of super being and sent back to Earth, transformed and made into some sort of superman... It is the pattern of a great deal of mythology, and that is what we were trying to suggest."


text: The film has been seen by many people not only as a literal story about evolution and space adventures, but as an allegorical representation of aspects of philosophical, religious or literary concepts.


text: Friedrich Nietzsche's philosophical tract "Thus Spoke Zarathustra", about the potential of mankind, is directly referred to by the use of Richard Strauss's musical piece of the same name. Nietzsche writes that man is a bridge between the ape and the Übermensch. In an interview in the "New York Times", Kubrick gave credence to interpretations of 2001 based on "Zarathustra" when he said: "Somebody said man is the missing link between primitive apes and civilized human beings. You might say that is inherent in the story too. We are semicivilized, capable of cooperation and affection, but needing some sort of transfiguration into a higher form of life. Man is really in a very unstable condition." Moreover, in the chapter "Of the Three Metamorphoses", Nietzsche identifies the child as the last step before the Uberman (after the camel and the lion), lending further support to this interpretation in light of the 'star-child' who appears in the final scenes of the movie.


text: Nietzsche's Zarathustra includes this passage, which closely describes Bowman blowing the space pod's door by pressing three buttons (two times):


text: Donald MacGregor has analysed the film in terms of a different work, "The Birth of Tragedy", in which Nietzsche refers to the human conflict between the Apollonian and Dionysian modes of being. The Apollonian side of man is rational, scientific, sober, and self-controlled. For Nietzsche a purely Apollonian mode of existence is problematic, since it undercuts the instinctual side of man. The Apollonian man lacks a sense of wholeness, immediacy, and primal joy. It is not good for a culture to be either wholly Apollonian or Dionysian. While the world of the apes at the beginning of "2001" is Dionysian, the world of travel to the moon is wholly Apollonian, and HAL is an entirely Apollonian entity. Kubrick's film came out just a year before the Woodstock rock festival, a wholly Dionysian affair. MacGregor argues that David Bowman in his transformation has regained his Dionysian side.


text: "2001" has also been described as an allegory of human conception, birth, and death. In part, this can be seen through the final moments of the film, which are defined by the image of the "star child", an in utero fetus that draws on the work of Lennart Nilsson. The star child signifies a "great new beginning", and is depicted naked and ungirded, but with its eyes wide open.


text: New Zealand journalist Scott MacLeod sees parallels between the spaceship's journey and the physical act of conception. We have the long, bulb-headed spaceship as a sperm, and the destination planet Jupiter (or the monolith floating near it) as the egg, and the meeting of the two as the trigger for the growth of a new race of man (the "star child"). The lengthy pyrotechnic light show witnessed by David Bowman, which has puzzled many reviewers, is seen by MacLeod as Kubrick's attempt at visually depicting the moment of conception, when the "star child" comes into being.


text: Taking the allegory further, MacLeod argues that the final scenes in which Bowman appears to see a rapidly ageing version of himself through a "time warp" is actually Bowman witnessing the withering and death of his own species. The old race of man is about to be replaced by the "star child", which was conceived by the meeting of the spaceship and Jupiter. MacLeod also sees irony in man as a creator (of HAL) on the brink of being usurped by his own creation. By destroying HAL, man symbolically rejects his role as creator and steps back from the brink of his own destruction.


text: Similarly, in his book, "The Making of Kubrick's 2001", author Jerome Agel puts forward the interpretation that "Discovery One" represents both a body (with vertebrae) and a sperm cell, with Bowman being the "life" in the cell which is passed on. In this interpretation, Jupiter represents both a female and an ovum.


text: An extremely complex three-level allegory is proposed by Leonard F. Wheat in his book, "Kubrick's 2001: A Triple Allegory". Wheat states that, "Most... misconceptions (of the film) can be traced to a failure to recognize that 2001 is an allegory – a surface story whose characters, events, and other elements symbolically tell a hidden story... In 2001's case, the surface story actually does something unprecedented in film or literature: it embodies three allegories." According to Wheat, the three allegories are:


text: Wheat uses evidence like acronyms to support his theories. For example, of the name "Heywood R. Floyd," he writes that """He" means Helen of Troy, "wood" is the Trojan Horse, and "oy" refers to Troy. The remaining letters, R, F, and L; occur in the word "reflect." Finally, noting that D might stand for "downfall," Wheat concludes that Floyd's name has a hidden meaning: "Helen and wooden horse reflect Troy's downfall."


text: As with many elements of the film, the iconic monolith has been subject to numerous interpretations, including religious, alchemical, historical, and evolutionary. To some extent, the very way in which it appears and is presented allows the viewer to project onto it all manner of ideas relating to the film. The Monolith in the movie seems to represent and even trigger epic transitions in the history of human evolution, evolution of humans from ape-like beings to civilised people, hence the odyssey of humankind.


text: Vincent LoBrutto's biography of Kubrick notes that for many, Clarke's novel is the key to understanding the monolith. Similarly, Geduld observes that "the monolith ...has a very simple explanation in Clarke's novel", though she later asserts that even the novel does not fully explain the ending.


text: However, the fundamental metaphor of the ερετμόν is consistent with the references to the Odyssey throughout the film, and is drawn directly from the pivotal passage in Book XI, lines 119–137. Here, Odysseus summons the ghost of the Theban seer Teiresias who tells him he may again reach Ithaca if he appeases Poseidon (who harbors wrath against Odysseus for blinding his son, the Cyclops Polyphemus). Upon his return to Ithaca, Odysseus will slay the suitors and then must immediately journey inland with an oar (ερετμόν) on his shoulder. He will know that he has travelled far enough when an inland dweller remarks that he is carrying a winnowing fan. This indicates that these people have no knowledge of the sea, whereby Odysseus must plant the oar upright in the ground and make holy sacrifices to Poseidon. Teiresias promises a gentle death in luxurious old age far from the sea if Odysseus accomplishes this task of bringing knowledge of Poseidon's domain to non-seafarers; and the Ithacans will dwell in prosperity. Not only does the monolith bring knowledge of the cosmos to proto-humans, but the death of Bowman presumably augurs a new future for humans, and so the film ends.


text: "Rolling Stone" reviewer Bob McClay sees the film as a four-movement symphony, its story told with "deliberate realism". Carolyn Geduld believes that what "structurally unites all four episodes of the film" is the monolith, the film's largest and most unresolvable enigma. Each time the monolith is shown, man transcends to a different level of cognition, linking the primeval, futuristic and mystic segments of the film. McClay's "Rolling Stone" review notes a parallelism between the monolith's first appearance in which tool usage is imparted to the apes and the completion of "another evolution" in the fourth and final encounter with the monolith. In a similar vein, Tim Dirks ends his synopsis saying "The cyclical evolution from ape to man to spaceman to angel-starchild-superman is complete".


text: The monolith appears four times in "2001: A Space Odyssey": on the African savanna, on the Moon, in space orbiting Jupiter, and near Bowman's bed before his transformation. After the first encounter with the monolith, we see the leader of the apes have a quick flashback to the monolith after which he picks up a bone and uses it to smash other bones. Its usage as a weapon enables his tribe to defeat the other tribe of apes occupying the water hole who have not learned how to use bones as weapons. After this victory, the ape-leader throws his bone into the air, after which the scene shifts to an orbiting weapon four million years later, implying that the discovery of the bone as a weapon inaugurated human evolution, hence the much more advanced orbiting weapon four million years later.


text: The first and second encounters of humanity with the monolith have visual elements in common; both apes, and later astronauts, touch the monolith gingerly with their hands, and both sequences conclude with near-identical images of the Sun appearing directly over the monolith (the first with a crescent moon adjacent to it in the sky, the second with a near-identical crescent Earth in the same position), both echoing the Sun–Earth–Moon alignment seen at the very beginning of the film. The second encounter also suggests the triggering of the monolith's radio signal to Jupiter by the presence of humans, echoing the premise of Clarke's source story "The Sentinel".


text: In the most literal narrative sense, as found in the concurrently written novel, the Monolith is a tool, an artifact of an alien civilisation. It comes in many sizes and appears in many places, always in the purpose of advancing intelligent life. Arthur C. Clarke has referred to it as "the alien Swiss Army Knife"; or as Heywood Floyd speculates in the 1982 film "2010", "an emissary for an intelligence beyond ours. A shape of some kind for something that has no shape."


text: The fact that the first tool used by the protohumans is a weapon to commit murder is only one of the challenging evolutionary and philosophic questions posed by the film. The tool's link to the present day is made by the famous match cut from the bone/tool flying into the air, to a weapon orbiting the Earth. At the time of the movie's making, the space race was in full swing, and the use of space and technology for war and destruction was seen as a great challenge of the future.


text: But the use of tools also allowed mankind to survive and flourish over the next four million years, at which point the monolith makes its second appearance, this time on the Moon. Upon excavation, after remaining buried beneath the lunar surface for four million years, the monolith is examined by humans for the first time, and it emits a powerful radio signal—the target of which becomes "Discovery One"s mission.


text: In reading Clarke or Kubrick's comments, this is the most straightforward of the monolith's appearances. It is "calling home" to say, in effect, "they're here!" Some species visited long ago has not only evolved intelligence, but intelligence sufficient to achieve space travel. Humanity has left its cradle, and is ready for the next step. This is the point of connection with Clarke's 1951 short story, "The Sentinel", originally cited as the basis for the entire film.


text: The third time we see a monolith marks the beginning of the film's most cryptic and psychedelic sequence, interpretations of the last two monolith appearances are as varied as the film's viewers. Is it a "star gate," some giant cosmic router or transporter? Are all of these visions happening inside Bowman's mind? And why does he wind up in some cosmic hotel suite at the end of it?


text: According to Michael Hollister in his book "Hollyworld", the path "beyond the infinite" is introduced by the vertical alignment of planets and moons with a perpendicular monolith forming a cross, as if the astronaut is about to become a new saviour. Bowman lives out his years alone in a neoclassical room, brightly lit from underneath, that evokes the Age of Enlightenment, decorated with classical art.


text: As Bowman's life quickly passes in this neoclassical room, the monolith makes its final appearance: standing at the foot of his bed as he approaches death. He raises a finger toward the monolith, a gesture that alludes to the Michelangelo painting of "The Creation of Adam", with the monolith representing God.


text: The monolith is the subject of the film's final line of dialogue (spoken at the end of the "Jupiter Mission" segment): "Its origin and purpose still a total mystery". Reviewers McClay and Roger Ebert have noted that the monolith is the main element of mystery in the film, Ebert writing of "The shock of the monolith's straight edges and square corners among the weathered rocks", and describing the apes warily circling it as prefiguring man reaching "for the stars". Patrick Webster suggests the final line relates to how the film should be approached as a whole, noting "The line appends not merely to the discovery of the monolith on the moon, but to our understanding of the film in the light of the ultimate questions it raises about the mystery of the universe."


text: Gerard Loughlin claimed in a 2003 book that the monolith is Kubrick's representation of the cinema screen itself: "it is a cinematic conceit, for turn the monolith on its side and one has the letterbox of the cinemascope screen, the blank rectangle on which the star-child appears, as does the entirety of Kubrick’s film." The internet-based film critic Rob Ager later produced a video essay also espousing this theory. The academic Dan Leberg complained that Ager had not credited Loughlin.


text: HAL 9000 has been compared to Frankenstein's monster. HAL is an artificial intelligence, a sentient, synthetic, life form. According to film critic John Thurman, HAL's very existence is an abomination, much like Frankenstein's monster. "While perhaps not overtly monstrous, HAL’s true character is hinted at by his physical 'deformity'. Like a Cyclops he relies upon a single eye, examples of which are installed throughout the ship. The eye’s warped wide-angle point-of-view is shown several times—notably in the drawings of hibernating astronauts (all of whom HAL will later murder)."


text: Kubrick underscores the Frankenstein connection with a scene that virtually reproduces the style and content of a scene from James Whale’s 1931 "Frankenstein". The scene in which Frankenstein's monster is first shown on the loose is borrowed to depict the first murder by HAL of a member of "Discovery One"s crew—the empty pod, under HAL's control, extends its arms and "hands", and goes on a "rampage" directed towards astronaut Poole. In each case, it is the first time the truly odious nature of the "monster" can be recognised as such, and only appears about halfway through the film.


text: Clarke has suggested in interviews, his original novel, and in a rough draft of the shooting script that HAL's orders to lie to the astronauts (more specifically, concealing the true nature of the mission) drove him "insane". The novel does include the phrase "He [HAL] had been living a lie"—a difficult situation for an entity programmed to be as reliable as possible. Or as desirable, given his programming to "only win 50% of the time" at chess, in order for the human astronauts to feel competitive. Clarke also gives an explanation of the ill-effects of HAL being ordered to lie in computer terms as well as psychological terms, stating HAL is caught in a "Möbius feedback loop."


text: While the film remains ambiguous, one can see evidence in the film that since HAL was instructed to deceive the mission astronauts as to the actual nature of the mission and that deception opens a Pandora's box of possibilities. During a game of chess, although easily victorious over Frank Poole, HAL makes a subtle mistake in the use of descriptive notation to describe a move, and when describing a forced mate, fails to mention moves that Poole could make to delay defeat. Poole is seen to be mouthing his moves to himself during the game and it is later revealed that HAL can lip read. HAL's conversation with Dave Bowman just before the diagnostic error of the AE-35 unit that communicates with Earth is an almost paranoid question and answer session ("Surely one could not be unaware of the strange stories circulating...rumors about something being dug up on the moon...") where HAL skirts close to the pivotal issue concerning which he is concealing information. When Dave states "You're working up your crew psychology report," HAL takes a few seconds to respond in the affirmative. Immediately following this exchange, he errs in diagnosing the antenna unit. HAL has been introduced to the unique and alien concept of human dishonesty. He does not have a sufficiently layered understanding of human motives to grasp the need for this and trudging through the tangled web of lying complications, he falls prey to human error.


text: The follow-up film "2010" further elaborates Clarke's explanation of HAL's breakdown. While HAL was under orders to deny the true mission with the crew, he was programmed at a deep level to be completely accurate and infallible. This conflict between two key directives led to him taking any measures to prevent Bowman and Poole finding out about this deception. Once Poole had been killed, others were eliminated to remove any witnesses to his failure to complete the mission.


text: One interesting aspect of HAL's plight, noted by Roger Ebert, is that this supposedly perfect computer actually behaves in the most human fashion of all of the characters.


text: He has reached human intelligence levels, and seems to have developed human traits of paranoia, jealousy and other emotions. By contrast, the human characters act like machines, coolly performing their tasks in a mechanical fashion, whether they are mundane tasks of operating their craft or even under extreme duress as Dave must be following HAL's murder of Frank. For instance, Frank Poole watches a birthday transmission from his parents with what appears to be complete apathy.


text: Although the film leaves it mysterious, early script drafts made clear that HAL's breakdown is triggered by authorities on Earth who order him to withhold information from the astronauts about the purpose of the mission (this is also explained in the film's sequel "2010"). Frederick Ordway, Kubrick's science advisor and technical consultant, stated that in an earlier script Poole tells HAL there is "... something about this mission that we weren't told. Something the rest of the crew knows and that you know. We would like to know whether this is true", to which HAL responds: "I'm sorry, Frank, but I don't think I can answer that question without knowing everything that all of you know." HAL then falsely predicts a failure of the hardware maintaining radio contact with Earth (the source of HAL's difficult orders) during the broadcast of Frank Poole's birthday greetings from his parents.


text: The final script removed this explanation, but it is hinted at when HAL asks David Bowman if Bowman is bothered by the "oddities" and "tight security" surrounding the mission. After Bowman concludes that HAL is dutifully drawing up the "crew psychology report", the computer makes his false prediction of hardware failure. Another hint occurs at the moment of HAL's deactivation when a video reveals the purpose of the mission.


text: Stanley Kubrick originally intended, when the film does its famous match-cut from prehistoric bone-weapon to orbiting satellite, that the latter and the three additional satellites seen be established as orbiting nuclear weapons by a voice-over narrator talking about nuclear stalemate. Further, Kubrick intended that the Star Child would detonate the weapons at the end of the film. Over time, Kubrick decided that this would create too many associations with his previous film "Dr. Strangelove" and he decided not to make it so obvious that they were "war machines". Kubrick was also confronted with the fact that, during the production of the film, the US and USSR had agreed not to put any nuclear weapons into outer space by signing the Outer Space Treaty.


text: Alexander Walker in a book he wrote with Kubrick's assistance and authorisation, states that Kubrick eventually decided that as nuclear weapons the bombs had "no place at all in the film's thematic development", now being an "orbiting red herring" which would "merely have raised irrelevant questions to suggest this as a reality of the twenty-first century".


text: In the Canadian TV documentary "2001 and Beyond", Clarke stated that not only was the military purpose of the satellites "not spelled out in the film, there is no need for it to be", repeating later in this documentary that "Stanley didn't want to have anything to do with bombs after Dr. Strangelove".


text: In a "New York Times" interview in 1968, Kubrick merely referred to the satellites as "spacecraft", as does the interviewer, but he observed that the match-cut from bone to spacecraft shows they evolved from "bone-as-weapon", stating "It's simply an observable fact that all of man's technology grew out of his discovery of the weapon-tool".


text: Nothing in the film calls attention to the purpose of the satellites. James John Griffith, in a footnote in his book "Adaptations As Imitations: Films from Novels", wrote "I would wonder, for instance, how several critics, commenting on the match-cut that links humanity's prehistory and future, can identify—without reference to Clarke's novel—the satellite as a nuclear weapon".


text: Arthur C. Clarke, in the TV documentary "2001: The Making of a Myth", described the bone-to-satellite sequence in the film, saying "The bone goes up and turns into what is supposed to be an orbiting space bomb, a weapon in space. Well, that isn't made clear, we just assume it's some kind of space vehicle in a three-million-year jump cut". Former NASA research assistant Steven Pietrobon wrote "The orbital craft seen as we make the leap from the Dawn of Man to contemporary times are supposed to be weapons platforms carrying nuclear devices, though the movie does not make this clear."


text: The vast majority of film critics, including noted Kubrick authority Michel Ciment, interpreted the satellites as generic spacecraft (possibly Moon bound).


text: The perception that the satellites "are" nuclear weapons persists in the minds of some viewers (and some space scientists). Due to their appearance there are statements by members of the production staff who still refer to them as weapons. Walker, in his book "Stanley Kubrick, Director", noted that although the bombs no longer fit in with Kubrick's revised thematic concerns, "nevertheless from the national markings still visible on the first and second space vehicles we see, we can surmise that they are the Russian and American bombs."


text: Similarly, Walker in a later essay stated that two of the spacecraft seen circling Earth were meant to be nuclear weapons, after asserting that early scenes of the film "imply" nuclear stalemate. Pietrobon, who was a consultant on "2001" to the Web site "Starship Modeler" regarding the film's props, observes small details on the satellites such as Air Force insignia and "cannons".


text: In the film, US Air Force insignia, and flag insignia of China and Germany (including what appears to be an Iron Cross) can be seen on three of the satellites, which correspond to three of the bombs' stated countries of origin in a widely circulated early draft of the script.


text: Production staff who continue to refer to "bombs" (in addition to Clarke) include production designer Harry Lange (previously a space industry illustrator), who has since the film's release shown his original production sketches for all of the spacecraft to Simon Atkinson, who refers to seeing "the orbiting bombs". Fred Ordway, the film's science consultant, sent a memo to Kubrick after the film's release listing suggested changes to the film, mostly complaining about missing narration and shortened scenes. One entry reads: "Without warning, we cut to the orbiting bombs. And to a short, introductory narration, missing in the present version". Multiple production staff aided in the writing of Jerome Agel's 1970 book on the making of the film, in which captions describe the objects as "orbiting satellites carrying nuclear weapons" Actor Gary Lockwood (astronaut Frank Poole) in the audio DVD commentary says the first satellite is an armed weapon, making the famous match-cut from bone to satellite a "weapon-to-weapon cut". Several recent reviews of the film mostly of the DVD release refer to armed satellites, possibly influenced by Gary Lockwood's audio commentary.


text: A few published works by scientists on the subject of space exploration or space weapons tangentially discuss "2001: A Space Odyssey" and assume at least some of the orbiting satellites are space weapons. Indeed, details worked out with input from space industry experts, such as the structure on the first satellite that Pietrobon refers to as a "conning tower", match the original concept sketch drawn for the nuclear bomb platform.


text: Modelers label them in diverse ways. On the one hand, the "2001" exhibit (given in that year) at the Tech Museum in San Jose and now online (for a subscription) referred merely to "satellites", while a special modelling exhibition at the exhibition hall at Porte de Versailles in Paris also held in 2001 (called "2001 l'odyssée des maquettes (2001: A Modeler's Odyssey)") overtly described their reconstructions of the first satellite as the "US Orbiting Weapons Platform".


text: Some, but not all, space model manufacturers or amateur model builders refer to these entities as bombs.


text: The perception that the satellites are bombs persists in the mind of some but by no means all commentators on the film. This may affect one's reading of the film as a whole. Noted Kubrick authority Michel Ciment, in discussing Kubrick's attitude toward human aggression and instinct, observes "The bone cast into the air by the ape (now become a man) is transformed at the other extreme of civilization, by one of those abrupt ellipses characteristic of the director, into a spacecraft on its way to the moon." In contrast to Ciment's reading of a cut to a serene "other extreme of civilization", science fiction novelist Robert Sawyer, speaking in the Canadian documentary "2001 and Beyond", sees it as a cut from a bone to a nuclear weapons platform, explaining that "what we see is not how far we've leaped ahead, what we see is that today, '2001', and four million years ago on the African veldt, it's exactly the same—the power of mankind is the power of its weapons. It's a continuation, not a discontinuity in that jump."


text: Kubrick, notoriously reluctant to provide any explanation of his work, never publicly stated the intended functions of the orbiting satellites, preferring instead to let the viewer surmise what their purpose might be.


text: It has been pointed out that Kubrick's aforementioned narration regarding the satellites describes the nuclear stalemate by comparing it to an airline with a perfect safety record, "in that no one expected it to last forever", and that, effectively, just before the BBC-12 interview broadcast, it seems that David is reading a newspaper article on his tablet-like "newspad" about an advanced airliner aircraft having gone missing, something that has been speculated to be a subtle implication that nuclear peace is coming to an end.


title: Priyanka Upendra

text: Priyanka Upendra (née Trivedi) is an Indian actress who predominantly appears in Kannada Language films.


title: Priyanka Upendra

text: Priyanka was born in Calcutta (now Kolkata). Her mother is from West Bengal and father from Uttar Pradesh. She spent ten years of her schooling life in the US and about three years in Singapore, before graduating with a commerce degree from a college in Kolkata. She described herself as "little introverted, pretty flexible as a person, a good listener and overtly sensitive." She appeared in television commercials for brands such as Britannia, Orient Electric and Pillsbury in the late 1990s. During this time, she was cast by director Basu Chatterjee in his first Bengali film, "Hothat Brishti" (1998). She went on to make two more films with him, "Chupi Chupi" (2001) and "Tak Jhal Mishti" (2002).


title: Priyanka Upendra

text: Priyanka subsequently moved to Mumbai and acted in the Hindi film "Mujhe Meri Biwi Se Bachaao" (2001). She then began receiving offers for South Indian films, and went on make Telugu films "Soori" and "Raa", the former of which was remade in Hindi as "Durga" with Priyanka acting in that too; "H2O" and "Kotigobba" in Kannada; and "Raajjiyam", "Raja", "Kadhal Sadugudu" and "Jananam" in Tamil.


title: Priyanka Upendra

text: In 2015, she starred in "Priyanka", a film based on a real-life incident involving a murder where a 27-year-old man killed another man whose wife he was in love with. Released in 2016, the film was received well by critics and her performance received praise. S. Viswanath of "Deccan Herald" felt that Priyanka turned in "with a polished show as the doting, Facebook-addicted wife." In her second release of the year, the horror film "Mummy", Priyanka played a widow and a mother to a young girl and pregnant with a second child, who move in to a haunted villa. Her performance was received well by critics. A. Sharadhaa of "The New Indian Express" called the film "technically brilliant" and that "Priyanka carries the film on her shoulders with ease..." In "2nd Half", her only release of 2018, she played Anuradha, a police constable, who takes it upon herself to solve a case after receiving no support from her superiors. Critic Sharadhaa felt, "Priyanka carries a lot of responsibility on her shoulders. Being the central focus of the film, she has ample scope to perform and does justice to her role." In H. Lohith's crime-thriller "Devaki" (2019), who also directed "Mummy", Priyanka played a mother who frantically searches the streets of Kolkata for her kidnapped daughter (played by real-life daughter, Aishwarya) with the help of a police officer. Vivek M. V. of "Deccan Herald" wrote of her performance, "Priyanka is earnest but for the most part, she is in tears. We wonder if she could have brought out other facets like anxiety, fear and the pain of a single mother separated from her daughter. Thankfully, she makes it up in the final scene."


title: Priyanka Upendra

text: In her first release after "Devaki", a period film "1980", set in the same year as the title, Priyanka played a novelist. The film explored the concept of an alternate universe. It was released on the OTT platform Namma Flix on 15 October 2021. Critic Prathibha Joy wrote for "Ottplay.com" that the film lacked "execution" despite having an "intriguing narrative" and "[the makers'] best efforts, most notably by lead actress Priyanka Upendra..."


title: Taken by Force

text: Taken by Force is the fifth studio album by German band Scorpions, released by RCA Records in 1977. This was the first Scorpions album to feature drummer Herman Rarebell and the final studio album to feature guitarist Uli Jon Roth. Roth left the band in 1978 following the end of the album's tour, and was at first replaced by Michael Schenker and later by Matthias Jabs.


title: Taken by Force

text: The lyrics to "We'll Burn the Sky" were initially a poem written by Monika Dannemann, the last girlfriend of Jimi Hendrix , as a tribute to him after he died.


title: Taken by Force

text: The album cover photography was taken by Michael von Gimbut; his third Scorpions album cover commission. Like their previous two albums, "Taken by Force" caused controversy with its cover art which again resulted in the artwork being replaced in most markets with an alternative cover using photographs of the band members. The band's former lead guitarist Uli Jon Roth defended the original artwork in a 2008 interview, stating:


title: And Then There Were None (1945 film)

text: And Then There Were None is a 1945 film adaptation of Agatha Christie's 1939 mystery novel of the same name, directed by René Clair. It was released in the United Kingdom as Ten Little Indians, in keeping with the third United Kingdom title of Christie's novel.


title: And Then There Were None (1945 film)

text: Eight people, all strangers to each other, are invited to a small isolated island off the coast of Devon, England, by a Mr. and Mrs. Owen. They settle in at a mansion tended by two newly hired servants, Thomas and Ethel Rogers, but their hosts are absent. When the guests sit down to dinner, they notice the centerpiece, ten figurines of Indians. Thomas puts on a gramophone record, through which a man's voice accuses them all of murder:


title: And Then There Were None (1945 film)

text: It becomes apparent that none of the ten knows or has even seen "U. N. Owen"; they then realize the name stands for "unknown." They also cannot leave the island, as Rogers informs them that the boat will not return until Monday, and it is only Friday.


title: And Then There Were None (1945 film)

text: Starloff admits his guilt, then dies from his drink, which was poisoned. The next morning, it is discovered that Mrs. Rogers died in her sleep. The guests notice that one figurine is broken and another missing after the two deaths. With the two deaths matching the Ten Little Indians nursery rhyme, they search the island for "Mr. Owen" without success. After General Mandrake is stabbed to death, the judge declares that Owen must be one of them.


title: And Then There Were None (1945 film)

text: They vote on who they suspect Owen is; as the only one to get more than one vote, Rogers is made to sleep in the woodshed. The next morning, they find him dead, his head split open with an axe. Miss Brent dies next, her body found with a hypodermic needle nearby. Armstrong discovers that his needle is missing and Lombard's revolver is lost as well.


title: And Then There Were None (1945 film)

text: At dinner, Quinncannon, Armstrong, Blore, and Lombard all confess to their crimes. When it is Miss Claythorne's turn, she excuses herself to get her coat and the others hear her shriek and rush to her. In the confusion, a single gunshot is heard. They find her shaken after being brushed by seaweed hanging from the ceiling. They also find Lombard's gun; Quinncannon is dead from a shot to the head.


title: And Then There Were None (1945 film)

text: Miss Claythorne insists she is innocent, but Armstrong suspects her and locks her in her room. That night, she admits to Lombard that her sister killed her own fiancé, and that Miss Claythorne helped her cover up the crime and took the blame. The two later realize Armstrong is missing.


title: And Then There Were None (1945 film)

text: The next morning, Blore is struck by stonework toppled from the floor above. Lombard sees a corpse on the beach: Armstrong. Miss Claythorne holds Lombard's gun against him, certain that Lombard is the killer. He tells her that his real name is Charles Morley, and that the real Lombard was his friend who committed suicide. Morley has a flash of insight and urges her to shoot him.


title: And Then There Were None (1945 film)

text: Miss Claythorne fires and Morley drops. She finds a noose hanging in the parlor and discovers who Owen is: Quinncannon, very much alive. The judge tells her that all his life he had searched for perfect justice. After learning that he was terminally ill, he concocted this plan. He persuaded Armstrong to help him fake his own (Quinncannon's) death, supposedly to help catch Owen, then murdered Armstrong. He tells her that she can either hang herself or be sent to the gallows (as the only possible perpetrator). He drinks poisoned whiskey, and Morley appears behind him, alive, as Vera missed the shot intentionally. Quinncannon dies and the boat arrives, rescuing Morley and Miss Claythorne.


title: And Then There Were None (1945 film)

text: On first release in 1945, Bosley Crowther of "The New York Times" wrote: "René Clair has produced an exciting film and has directed a splendid cast in it with humor and a light macabre touch. The temptation to the horrifying is intelligently dismissed". The film kept its audience involved "from fear and trembling, not from gore." Several performances were commended, especially Walter Huston and Barry Fitzgerald. "Variety" magazine, however, described the film as a "dull whodunit" which "rarely rises to moments of suspense and despite the killings it gives the appearance of nothing ever happening". Most of the cast, "Variety" thought, seemed out of place.


title: And Then There Were None (1945 film)

text: Film critic Leonard Maltin awarded the film four out of four stars, calling it "Highly suspenseful" and praising the film's script, music score, and visuals. On Rotten Tomatoes, the film holds an approval rating of 100% based on , with a weighted average rating of 8.1/10.


title: And Then There Were None (1945 film)

text: The film won the Golden Leopard and the Best Direction Award at the 1946 Locarno International Film Festival.


title: And Then There Were None (1945 film)

text: Though it was distributed by a major studio, 20th Century Fox, the copyright was allowed to lapse and the film is now in the public domain. Several different editions of varying quality have been released to home video formats.


title: And Then There Were None (1945 film)

text: The name of the film sometimes varies with who listed it. In 1960, "Radio Times" altered the title to "Ten Little Niggers" for an airing of Clair's film on BBC television on 9 July, the original title of the novel as published in the UK.


title: And Then There Were None (1945 film)

text: Sensitivity to the original title of the novel was remarked by Sadie Stein in 2016, commenting on a BBC miniseries with the title "And Then There Were None", which she said "has been an enormous hit in the UK." In general, "Christie’s work is not known for its racial sensitivity, and by modern standards her oeuvre is rife with casual Orientalism." The original title was based on a rhyme from minstrel shows and children's games, "a rhyme so macabre and distressing one doesn’t hear it now outside of the Agatha Christie context." Stein quotes Alison Light as to the power of the original name of the island in the novel, Nigger Island, "to conjure up a thrilling ‘otherness’, a place where revelations about the ‘dark side’ of the English would be appropriate." Speaking of the "widely known" 1945 movie, Stein added that "we’re merely faced with fantastic amounts of violence, and a rhyme so macabre and distressing one doesn’t hear it now outside of the Agatha Christie context." She felt that the original title of the novel in the UK, seen now, "that original title, it jars, viscerally."


title: And Then There Were None (1945 film)

text: Multiple versions of Christie's mystery have been filmed, including "Ten Little Indians" (1965), "Ten Little Indians" (1974), "Desyat Negrityat" (1987) and "Ten Little Indians" (1989), with variations to its characters and locale.


The Alliance of Independent Social Democrats (; abbr. СНСД or SNSD) is a Serb political party in Bosnia and Herzegovina. Founded in 1996, it is the governing party in Republika Srpska, with its leader, Milorad Dodik, serving as the current president of Republika Srpska. The party's vice-president, Željka Cvijanović, is the current member of the Presidency of Bosnia and Herzegovina, while SNSD member Radovan Višković is the current prime minister of Republika Srpska.


title: Alliance of Independent Social Democrats

text: The creation of the SNSD can be traced back to the Independent Members of Parliament Group, which eventually grew to become the Party of Independent Social Democrats. During this time, the party served as the only opposition to the dominance of the ultra-nationalist Serb Democratic Party (SDS), which was led by Radovan Karadžić for the majority of the 1990s. The SNSD was seen as a moderate and non-extremist alternative to the SDS, with many of its members, including Dodik, being part of the former non-nationalist and multi-ethnic Union of Reform Forces of Yugoslavia.


text: The SNSD's first real electoral success was recorded in 2006, where it won 41 of the 83 seats in the National Assembly of Republika Srpska, attracting 44.95% of the popular vote. Since then, the party has gradually abandoned its reformist ideology for a more aggressive advocacy of Serbian nationalism, threatening the secession of Republika Srpska from the rest of Bosnia and Herzegovina numerous times. This has also led to the party being expelled from the Socialist International in 2012 for continuing to "espouse a nationalist and extremist" line.


text: The party grew out of the Independent Members of Parliament Caucus (IMPC), known as "the club", of the National Assembly of Republika Srpska (NSRS) in 1996. The club was in opposition to the Serb Democratic Party (SDS) during the Bosnian War (1992–96). The IMPC was established from the caucus of ethnic Serb members of the Parliament of the Socialist Republic of Bosnia and Herzegovina elected in 1990 from the election list of the Union of Reform Forces. The Serb members of the Parliament of SR Bosnia and Herzegovina, the majority of the Serb Democratic Party (SDS), including the members of the IMPC, established the Assembly of the Serb People of Bosnia and Herzegovina on 24 October 1991 (later renamed National Assembly of the Republika Srpska), following the majority of the parliament (mostly Croats and Bosniaks) approved the "Memorandum on Sovereignty" on 15 October 1991. In 1992, the Bosnian parliament held an independence referendum which led to the declaration of the Republic of Bosnia and Herzegovina.


text: The absolute majority of the newly founded NSRS was from the SDS. The IMPC was the only parliamentary opposition from the founding of the National Assembly through the first post-war elections in September 1996. The Party of Independent Social Democrats (SNSD) participated in the elections in the "Union for Peace and Progress" coalition along with the Socialist Party of RS (SPRS) and a minor party. The club and later party (SNSD) was chaired by Milorad Dodik.


text: By the time of the next local elections in 1997, about twenty municipal committees had been formed, and it ran independently in 24 municipalities of the Republic of Srpska, mainly in Krajina and Posavina. In 1997, there was a split in the Serb Democratic Party, in which Biljana Plavšić, the president of Repubika Srpska left the party following internal clashes. The People’s Assembly of Republika Srpska was dissolved and parliamentary elections were held simultaneously with local elections. The Party of Independent Social Democrats received twice as much support compared to the previous elections just a year earlier. The then western-backed Plavšić nominated Dodik for Prime Minister and he was elected in the January 1998 elections, largely being seen as a moderate. In the party's early years it was active in the "Sloga" ("freedom") coalition with Plavšić's Serb National Alliance and the Socialist Party, whose leader at the time was Živko Radišić. In 1998 another parliamentary election was held. In the elections for the People’s Assembly of Republika Srpska, the Party of Independent Social Democrats won 6 parliamentary seats.


text: 1999 was marked by difficulties in the region, including the NATO bombing of Yugoslavia and internal strife with the blockade of the work of the Government by the People’s Assembly, a vote of no-confidence and the removal of Nikola Poplašen from the post of President of Republika Srpska by the High Representative Carlos Westendorp. Meanwhile the government led by Dodik received significant support from international institutions.


text: In December 1999 the Social Liberal Party of Republika Srpska merged into the SNSD, and after local elections in 2000 Nikola Špirić's Democratic Socialist Party (DSP) merged into it in 2001. The SNSD then changed its name to the "Alliance of Independent Social Democrats", keeping its old abbreviation. DSP was a splinter party of the SPRS. At the Unifying Congress in May 2002, it elected Milorad Dodik as president of the Alliance of Independent Social Democrats, with Nebojša Radmanović as president of the Executive Committee. Vinko Đuragić's New Workers' Party also joined the Alliance of Independent Social Democrats. In August 2002, the New Labour Party of Republika Srpska merged into the SNSD.