title: Kasumi Arimura

text: Arimura has also taken on acting roles in works which are regarded as controversial in nature. In the drama "Chūgakusei Nikki", Arimura took on the challenging role of a young teacher who ended up falling in love with her 15 year-old student. Despite its controversial nature, the drama was named the Best Drama in the 99th Japan Television Drama Academy Awards.


title: Kasumi Arimura

text: The year 2021 proved to be a very successful year for Arimura. She appeared in the film "We Made A Beautiful Bouquet", which was the 8th highest grossing film of 2021 in Japan. Arimura was awarded the Best Actress award in the 45th Japan Academy Film Prize for her role in the film. Arimura also starred in the blockbuster films "" and "", the final 2 films of the epic Rurouni Kenshin film franchise which consist of films which are adapted from the "Rurouni Kenshin" manga series. Both films were massive box-office successes in 2021 in Japan, grossing more than 6.5 billion yen cumulatively. Arimura portrayed Yukishiro Tomoe, the deceased-wife of the titular character Himura Kenshin. "" was the 6th highest grossing film whilst "" was the 13th highest grossing film for the year 2021 in Japan.


title: Kasumi Arimura

text: On the drama side, Arimura starred as a young lady struggling with employment, who happens to chance upon a group of also struggling stand-up comedians in the 2021 slice of life drama "Life's Punchline (Konto Ga Hajimaru)". For her role in the drama, she was voted as the Best Supporting Actress in The 108th Television Drama Academy Awards, making her one of the few female actresses who has won both the Best Actress ("Hiyokko") and Best Supporting Actress Awards ("Life's Punchline") in The Television Drama Academy Awards.


title: Kasumi Arimura

text: Arimura appeared in the drama "Zenkamono" (a.k.a "Prior Convictions") wherein she acted as a voluntary probation officer who was tasked with the supervision of 3 separate paroled convicts. A movie version of "Zenkamono" starring Arimura was also released in 2022. Also In 2022, Arimura appeared alongside Ninomiya Kazunari in the TV Special "Adventure of Comandante Cappellini (Sensuikan Cappellini-go no Bouken)" and starred in the drama "Ishiko and Haneo". Arimura is scheduled to star in the film "Phases of the Moon" in December 2022 as well as the Netflix-produced film titled "Call Me Chihiro" and the 62nd NHK taiga drama "What Will You Do, Ieyasu?" in 2023.


title: Willard (2003 film)

text: Willard is a 2003 American psychological horror film co-written and directed by Glen Morgan and starring Crispin Glover, R. Lee Ermey and Laura Elena Harring. It is loosely based on the novel "Ratman's Notebooks" by Stephen Gilbert, as well as on the novel's first film adaptation, "Willard" (1971), and its sequel, "Ben" (1972). It was not billed as a remake by the producers, who chose instead to present it as a reworking of the themes from the original with a stronger focus on suspense.


title: Willard (2003 film)

text: Social misfit Willard Stiles, who cares for his ill and fragile but verbally abusive mother Henrietta in a musty old mansion, is constantly humiliated and mercilessly taunted in front of his co-workers by his vicious and cruel boss, Frank Martin, who took over the Stiles family company after Willard's father Alfred committed suicide in 1995. After discovering and failing to exterminate a growing rat colony in the basement, Willard befriends and quickly becomes obsessed with a white rat he names Socrates, considering him his only friend.


title: Willard (2003 film)

text: At work, Martin locks Willard in the elevator, though Willard's sympathetic co-worker Cathryn eventually releases him. That evening, he watches Socrates begin tearing up a newspaper, prompting him to train the now expansive horde of rats, including Ben, a large Gambian pouched rat who envies Willard's favoritism towards Socrates. After training the rats sufficiently, Willard takes them to Martin's home and orders them to chew up the tires on Martin's new Mercedes-Benz. The next day at work, Willard gleefully watches Martin arrive late and tired. While Willard explains to the rats that they must move out, Henrietta overhears him, assuming he plans to get rid of her. Startled by noises from the basement, Willard finds her dead the next morning, having fallen down the basement stairs. At the wake, Willard learns that Henrietta refinanced the family home to pay off Alfred's debts and that the bank will likely foreclose upon the property.


title: Willard (2003 film)

text: In Henrietta's bedroom, Willard finds an envelope from the coroner's office containing the effects found on Alfred's body, including the still-bloody pocket knife he evidently committed suicide with. Distraught, Willard attempts suicide with the knife until Socrates stops him. Attempting to comfort Willard, Cathryn describes her own mother's death and gives him a pet cat, whose own mother helped Cathryn to grieve. Willard reluctantly takes it, with Socrates safely stowed in his pocket. In a scene set to the title song from the movie "Ben", the rats, who have taken over the entire house, pursue and fatally overpower the cat.


title: Willard (2003 film)

text: Desperately lonely, Willard starts bringing Socrates to work with him. Despite a contract written by Alfred stipulating that he remain employed by the family company, Willard finds a note at his desk from Martin declaring that he is being fired. While Willard desperately argues with Martin, Martin's secretary Barbara Leach discovers Socrates in the supply room. Her screams alert Martin, who fatally bludgeons Socrates as Willard helplessly watches. Willard finally snaps and hatches a plan to avenge Socrates with Ben. Loading the numerous rats into a company van, he confronts Martin and orders them to swarm upon Martin and kill him.


title: Willard (2003 film)

text: At home, Willard kills the remaining colony before rat-proofing his entire house. Exhausted after the night's events, he is finally awoken by the doorbell. Terrified by the shadows of two policemen, he remains standing in the hallway until the evening, seemingly feverish. Cathryn appears, informing Willard that Martin's body was found and that rumors had arisen that he was either murdered or eaten by animals. Coming face-to-face with Ben, Willard tries to leave the house before realizing that the rats have chewed out his car tires. Accosted by the two policemen, Willard retreats into the house and frantically attempts to prevent the rats from entering. Trapping himself in the kitchen, Willard is confronted by Ben, whom he tries to kill with a rat trap.


title: Willard (2003 film)

text: Believing Willard is insane, and aghast at the rat infestation, the police leave to call the Bellevue Hospital Center and health department. When Cathryn tries to enter the house, they warn her against entering, asking whether she wants to be eaten alive. Horrified, she connects the rats to Martin's death and realizes Willard's complicity. Ben viciously attacks Willard as he tries to escape. The police officers and Cathryn look on as Willard, outlined in the upstairs window, kills Ben with his father's pocket knife.


title: Willard (2003 film)

text: The final scene reveals Willard in a psychiatric hospital, seemingly semicatatonic and refusing to eat. A white rat appears in his cell, crawling into Willard's sleeve as Socrates used to. Believing that his friend has been reincarnated, Willard joyfully drops his semicatatonic state and begins telling the rat his plans for an escape.


title: Willard (2003 film)

text: Bruce Davison, who portrayed Willard in the original 1971 film, makes a non-acting cameo appearance as Willard's late father, Alfred Benjamin Stiles, in a portrait above the house's fireplace.


title: Willard (2003 film)

text: The film opened at number eight at the U.S. box office, grossing US$4,010,593 It fell to 13 the following week, and finished with $6,886,089 in domestic box office and $1,660,577 in foreign box office.


title: Willard (2003 film)

text: On Rotten Tomatoes, the film has an approval rating of 64% based on reviews from 129 critics. The consensus reads: "In this creepy story of a man and his rodents, Glover seems born to play the oddball title character". On Metacritic, it has a score of 61% based on reviews from 31 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "D−" on an A+ to F scale.


title: Express.js

text: Express.js, or simply Express, is a back end web application framework for building RESTful APIs with Node.js, released as free and open-source software under the MIT License. It is designed for building web applications and APIs. It has been called the de facto standard server framework for Node.js.


title: Express.js

text: The original author, TJ Holowaychuk, described it as a Sinatra-inspired server, meaning that it is relatively minimal with many features available as plugins. Express is the back-end component of popular development stacks like the MEAN, MERN or MEVN stack, together with the MongoDB database software and a JavaScript front-end framework or library.


title: Express.js

text: Express.js was founded by TJ Holowaychuk. The first release, according to Express.js's GitHub repository, was on 22 May 2010. Version 0.12


title: Express.js

text: In June 2014, rights to manage the project were acquired by StrongLoop. StrongLoop was acquired by IBM in September 2015; in January 2016, IBM announced that it would place Express.js under the stewardship of the Node.js Foundation incubator.


title: Express.js

text: The following program will respond to HTTP GET requests with the text 'Hi, your request has been received', and listen to the port the program is running on; Port 2000, in this case.


title: True Crime: Streets of LA

text: True Crime: Streets of LA is a 2003 open world action-adventure video game developed by Luxoflux and published by Activision for GameCube, PlayStation 2 and Xbox in November 2003, for Microsoft Windows in May 2004, and by Aspyr for Mac OS X in March 2005. A mobile phone adaptation was released in November 2004. The game tells the story of Nicholas Kang, an uncompromising Los Angeles police officer who is recruited into the Elite Operations Division in order to investigate a series of bombings in Chinatown. As he delves further into the case, he discovers it may be connected to the disappearance of his police-officer father twenty years previously. The game features a re-creation of a large part of Los Angeles, including most of Beverly Hills and Santa Monica, with most street names, landmarks and highways reproduced accurately.


title: True Crime: Streets of LA

text: "Streets of LA" received generally mixed-to-positive reviews. Many critics praised the ambitious nature of the game, its setting, the differentiation between itself and "Grand Theft Auto III", the branching storyline and the overall 'feel'. Common criticisms, however, were graphical and technical problems, an unlikable protagonist, and poorly implemented gameplay. The game was a commercial success, selling over three million units worldwide across all platforms, and the "True Crime" franchise continued in 2005, with the release of "".


title: True Crime: Streets of LA

text: "True Crime" is an open world action-adventure game played from a third-person perspective, in which the player controls Detective Nicholas Kang of the "Elite Operations Division" (E.O.D.), a hand-picked autonomous unit of the regular LAPD.


title: True Crime: Streets of LA

text: The game was one of the first non-"Grand Theft Auto" open world action-adventure games released after "Grand Theft Auto III" in 2001, and, as such, was labeled by many as a "Grand Theft Auto" clone, as the core game mechanics are identical to "Grand Theft Auto III", and its 2002 successor, "" – the player can travel across the city freely, commandeer vehicles, do whatever they want in terms of attacking and/or killing innocent civilians, and progress through the storyline at their own leisure, spending as much time traversing the city as they wish. However, the major difference from "Grand Theft Auto" games is that in "True Crime", the player controls a law enforcement officer. As such, "True Crime" has been called "the "GTA III" clone where you play a cop."


title: True Crime: Streets of LA

text: The game involves four main types of mission, each with their own unique gameplay; shooting, fighting, stealth and driving. In many levels of the game, even if missions are failed, the storyline will continue, sometimes with a different opening cutscene for the next level, sometimes with an alternate version of the level, occasionally by branching into an entirely different storyline.


title: True Crime: Streets of LA

text: During shooting missions, the game auto-targets the closest opponent. If the player wishes to switch target to another opponent, they must do so manually. When the player is in shooting mode, they can enter "Precision Targeting" at any time. At this point, the game switches to first-person, zooms in on the target, and goes into slow motion momentarily. While in Precision Targeting, if the targeting reticule turns green, the player can hit the enemy with a neutralizing, non-lethal shot. If the player fires when the reticule is red, the enemy will be killed instantly. Players can also take cover during shootouts, firing from behind cover when the opportunity presents itself. Players are also free to pick up any weapons dropped by enemies. Once the ammo of these weapons is depleted, however, Kang will drop the weapon and revert to his standard issue revolver, which, although it does need to be reloaded, never runs out of ammo.


title: True Crime: Streets of LA

text: In hand-to-hand combat, the player has four main attacks; high kick, low kick, punch, and grapple. After hitting an enemy a certain number of times, the enemy will be stunned, at which point the player can perform a combo by pressing a series of buttons. During stealth missions, the player is automatically placed into stealth mode. The player can approach enemies from behind and either knock them out or kill them. Bumping into objects or walking over broken glass or plastic bags will cause nearby enemies to become aware of the player's presence.


title: True Crime: Streets of LA

text: Driving missions can involve either trying to catch another car, escape from another car or tailing another car. At all times, when the player is in a car, their car's condition is shown on screen. If the car's health meter empties, the car is close to destruction. When another car is involved, that car's health meter will also be shown on-screen. When the player is tailing another car, a "Tail meter" will appear on-screen, with three sections and a moving arrow. If the arrow is in the top section, it means the player is too close and must back off. If the arrow is in the bottom section, it means the player is losing the target and must speed up. As such, the player must try to keep the arrow in the middle section as much as possible. During normal driving missions, the player can solve random crimes given by the radio dispatcher.


title: True Crime: Streets of LA

text: The player can access 24/7 facilities throughout the game to upgrade either their driving, fighting or shooting abilities. 24/7 facilities are only accessible if the player has an available "badge." Badges are earned by acquiring "Reward points"; every one-hundred reward points is converted into one badge. Entry into a 24/7 facility costs one badge, and the player must complete a challenge to earn the upgrade. If they fail, they must spend another badge to try again. Rewards points are also necessary for the player to heal themselves at a pharmacy or have their car repaired at a garage; the number of points deducted depends on the level of damage in each case. The player earns reward points for arresting or killing criminals, solving crimes and completing missions. Points are deducted for killing civilians and failing missions.


title: True Crime: Streets of LA

text: The player also has a "Good Cop/Bad Cop" meter. If the player arrests criminals, solves crimes, shoots opponents with neutralizing shots, and knocks out rather than kills opponents in stealth missions, they will get Good Cop points. If, however, they kill civilians, shoot criminals in the head, use weapons in hand-to-hand combat, or kill enemies in stealth missions, they will get Bad Cop points. At certain points in the game, the storyline will branch differently depending on whether the player has a Good Cop score or a Bad Cop score. If the player's Bad Cop score gets too high, civilians will begin to attack Kang. If the Bad Cop score reaches 99, other police, and eventually SWAT will attempt to kill him. The number of Good or Bad Cop points also plays a factor in determining the game's ending.


title: True Crime: Streets of LA

text: The game begins with Detective Nick Kang (voiced by Russell Wong) being recruited into the autonomous Elite Operations Division of the LAPD at the behest of Chief Wanda Parks (CCH Pounder). Kang is the son of Henry Wilson, a detective whose disappearance twenty years previously has remained unsolved. He was recently suspended from the police department for repeated incidents of excessive force, but Parks believes he has what it takes to help the E.O.D. break a case involving a series of bombings in Chinatown. Kang's gut tells him the Triad is behind it. Parks partners him with Detective Rosie Velasco (Michelle Rodriguez), an ex-gangbanger turned cop.


title: True Crime: Streets of LA

text: Kang and Velasco head to a diner in Chinatown where they see a Triad member harassing the owner. During the ensuing confrontation, Velasco is shot and wounded. Parks puts out an APB on the Triad's getaway car, which is soon spotted at a Chinese bar. Kang heads there, learning the driver works for Jimmy Fu (Keone Young), a small-time criminal. Kang visits Fu, who tells him "something big is about to go down," and reveals he is working for "Big" Chong (Keone Young), an enforcer for Ancient Wu's Triad, which is thought by many to be a myth.


title: True Crime: Streets of LA

text: At the precinct, Sergeant George (Christopher Walken), an elderly desk sergeant, tells Velasco about Kang's background; his father, Henry Wilson, was involved in a drug trafficking scandal in the 1970s, during which he disappeared. Internal Affairs believed Wilson skipped town, but George never believed it. Meanwhile, Kang tails Chong and sees him bringing large amounts of money into a building owned by Cyprus Holdings, a company linked to the Russian mafia. Kang follows Chong to a spa, where he observes him meeting a Russian named "Rocky" (Gary Oldman). Rocky complains Chong is not laundering the money from Chinatown quickly enough. Chong tells Rocky that Ancient Wu is unhappy, but Rocky is unconcerned, telling Chong, "the General is in town looking for his money. That's bad news for all of us." Kang confronts them, killing Chong, but Rocky escapes.


title: True Crime: Streets of LA

text: Meanwhile, Parks introduces Kang to FBI Agent Paul Masterson (Gary Oldman). The FBI had the spa under surveillance in an effort to build a case against Rocky, but since Kang's raid, Rocky has disappeared. Kang sets out to find Rocky, and Parks fills Velasco in on more of his backstory. After Henry disappeared, Kang and his brother Cary Kang (Ryun Yu) moved to Hong Kong to live with their deceased mother's relatives. They changed their name to Kang, but both returned to L.A. eventually; Kang to become a cop, Cary to open a franchise of martial arts dojos. Meanwhile, Kang traces Rocky to a club, where he observes a Hollywood detective entering the building. Kang meets Rocky, who tells him the money the Triad is laundering is counterfeit. Rocky warns Kang that if he doesn't back off, Cary will be killed. Kang races to Cary's dojo, but Cary is nowhere to be found.


title: True Crime: Streets of LA

text: Kang confronts the Hollywood cop from the club. His name is Don Rafferty (Michael Madsen), and he is an old friend of Henry's. He warns Kang the case he is working on is over his head, but tells him where Rocky is holding Cary. Kang rescues Cary and decides to speak to Ancient Wu. In what may be a dream, Kang heads to a restaurant in Chinatown, where he discovers a network of secret tunnels under the streets. Fighting his way through a horde of zombies, he finds "Ancient" Wu (James Hong), who makes him undergo a series of tests, including fighting fire-demons and a dragon, before telling him that twenty years previously, the KGB sent one of their top agents to L.A. However, he soon lost loyalty to Russia, and turned to a life of crime in the United States. The agent was Rasputin "Rocky" Kuznetsov.


title: True Crime: Streets of LA

text: Believing Kang to have lost his mind, Masterson fires him and issues a warrant for his arrest. However, with Velasco's help, Kang tails Rafferty to a warehouse where he hears Rocky tell Rafferty that Kang must be killed. Rafferty protests that he never wanted Henry killed, and doesn't want his son to die as well. Kang attacks them, but both Rocky and Rafferty escape. Kang is then led into a trap at Santa Monica Airport by Rocky's girlfriend Jill (Grey Griffin). Rocky explains that in the 1970s, he and Rafferty were smuggling cocaine into L.A., but Henry found out. Rocky tried to pay him off, but he refused, so Rocky shot him and dumped his body in the ocean. Rafferty then planted evidence to make Henry look dirty. Rocky tries to kill Kang, but Rafferty intervenes, saving Kang's life at the cost of his own.


title: True Crime: Streets of LA

text: Rocky tries to escape, but Kang stops and kills him. Kang is then confronted by General Han Yu Kim (Mako) of the North Korean army, the mastermind behind the counterfeit/laundering scam. Rocky had betrayed Kim, electing to keep the money for himself rather than sending it back to North Korea. With Rocky now dead, the only person blocking Kim's plans to use the money for his army is Kang. They fight, and if Kim wins, he escapes before the police arrive. If Kang wins, Kim is defeated and Kang is finally able to put his father's disappearance behind him.


title: True Crime: Streets of LA

text: The game was first announced on May 15, 2002, when Activision revealed Luxoflux were developing an "original action-racing game inspired by Hong Kong action films" for PlayStation 2, Xbox and GameCube. According to Larry Goldberg, executive vice president of Activision Worldwide Studios,


title: True Crime: Streets of LA

text: Activision stated the game combined the gameplay of beat 'em ups, third-person shooters, and vehicular combat games, and would include over twenty branching missions and multiple endings. They also revealed the game would recreate of Los Angeles, and the player would be able to visit multiple L.A. landmarks. Although only 40% complete, "True Crime" was first shown at the 2002 E3 event in May, where it was slated for an April 2003 release. Activision emphasized the geographical accuracy of the game's Los Angeles, as well as the different styles of gameplay.


title: True Crime: Streets of LA

text: In December, Activision showed a 60% complete version of the game. They revealed the size of the game's Los Angeles had been reduced to roughly . To recreate the city, the developers used commercial satellite imaging, GPS technology and traditional photographs, with the in-game city stretching from the Hollywood Hills to Downtown to Santa Monica to Marina Del Rey. They also revealed details of the branching plot, with many levels having two or three opening cutscenes, depending on what the player has done in previous levels. They stressed it would be rare for the player to find a "Game Over" screen; usually a failed mission will simply lead to a later level by way of a different path than had the player completed the mission successfully. They also revealed the game would have three completely different endings, and that the player could play through the game multiple times, experiencing a different narrative and different levels every time. They also announced the game would feature roughly one-hundred randomly occurring crimes that the player has the option of solving whilst driving around the city. The "Good Cop/Bad Cop" system was also shown for the first time, although it was still in a rudimentary state of development. The casting of Russell Wong as protagonist Nick Kang and Gary Oldman as the game's main villain was also announced.


title: True Crime: Streets of LA

text: In April 2003, Activision announced the main cast of voice actors; as well as Russell Wong and Gary Oldman, the game would also feature Christopher Walken, C. C. H. Pounder, James Hong, Mako, Ron Perlman and Keone Young. Several days later, Michelle Rodriguez and Michael Madsen were also added to the cast.


title: True Crime: Streets of LA

text: The game was next shown at the 2003 E3 event in May. Although not a final build, both IGN and GameSpot were impressed. IGN's Sam Bishop wrote "it's clear that Luxoflux isn't trying to bust out a quick and dirty "Grand Theft Auto" clone." GameSpot's Jeff Gertsmann praised the integration of gameplay types, writing "The interesting part is how well all these game mechanics mesh together to form a mission-driven yet open-ended game." During the show, Activision again announced the size of the game's city had been decreased, this time to . However, they also announced that over one-hundred landmarks in L.A. were featured in the game, in their exact geographical locations, such as the Los Angeles Convention Center and the Staples Center.


title: True Crime: Streets of LA

text: In the build-up to the release of the game, Activision announced "True Crime" would be ported to mobile by MFORMA. On October 22, they sent the final build of the game to gaming websites. Several days later they confirmed rumors that Snoop Dogg was an unlockable character, with his own mission and car. They also announced they had signed an exclusive licensing deal with PUMA; Kang would be wearing several pieces from PUMA's Fall 2003 catalogue. Barney Waters, marketing director for PUMA North America stated "Video gaming is a phenomenon with a diverse appeal. From the skate kids, to the hipsters and fashionistas, gaming is the common denominator to a widespread audience, and a distinctive medium for PUMA to utilize to interact with consumers."


title: True Crime: Streets of LA

text: In late October 2003, two weeks prior to the game's scheduled release of November 4, novelist Robert Crais claimed that the game's protagonist, Nicholas Kang, was a direct copy of the protagonist of many of Crais' novels, Elvis Cole. Crais filed a lawsuit which claimed ""True Crime" is substantially similar to the Elvis Cole novels," and accused Activision of copying "protectable expressions." The suit sought for an injunction to prevent Activision from shipping the game, for undisclosed monetary damages, and for the "destruction of all infringing works."


title: True Crime: Streets of LA

text: The lawsuit failed to prevent the scheduled release of the game, and on November 6, Crais dropped the complaint entirely. After reviewing Luxoflux's development materials for the game, Crais was satisfied that lead designer Peter Morawiec had not copied the character of Kang from that of Cole, but was in fact a fan of Crais and was paying homage to his work. Shortly thereafter, Crais released a statement on his official website in which he wrote,


title: True Crime: Streets of LA

text: The PC port of the game was first announced by Activision on January 29, 2004, although no details were given on who would be porting it, or when it was slated for release. The only solid information was that it would feature an online multiplayer component. More details were revealed on February 18. The game was being ported by LTI Gray Matter, and would feature five different online gaming modes; "Street Racing" (racing customizable cars), "Dojo Master" (fighting in teams or individually), "Battle Master" (same as Dojo Master but with weaponry), "The Beat" (four players compete to make the most arrests in a set time) and "Chase Mode" (one player plays as a criminal and tries to avoid being caught by the other players, who play as police). The port would also feature several new weapons, enhanced graphics, thirty additional songs not in the console versions, and PC-optimized controls.


title: True Crime: Streets of LA

text: In March, Activision announced the PC version would also feature character skins not found in the console versions, mainly characters from other Activision games; "", "", "Call of Duty", and the "Tony Hawk's" and "Tenchu" franchises. Later in March, more details were announced about the game's new soundtrack. Thirty-two additional licensed tracks were being added, mainly rock tracks from artists such as Alice in Chains, Queensrÿche, Spineshank and Stone Sour. On April 14, Activision showcased an almost finalized build of the game at a gaming event in San Francisco. IGN's Dan Adams praised the superior graphics and PC-specific controls. The port went gold on May 3.


title: True Crime: Streets of LA

text: True Crime: Streets of LA: The Soundtrack was released on November 11, 2003 for Vybe Squad Ent. and Koch Records. The album was produced by Bigg Swoop, Battlecat, Damizza, DJ Quik, Warren G and King Tech.


title: True Crime: Streets of LA

text: Activision first revealed details about the game's soundtrack on September 2, 2003, when they announced the game would feature over fifty original tracks from artists such as Snoop Dogg, Westside Connection, E-40, Kam, Lil Eazy, Lil' ½ Dead, Bad Azz, Damizza, Jayo Felony, Bigg Swoop, as well as licensed tracks from artists such as Ice-T, The D.O.C. and N.E.R.D. Chris Archer, executive producer at Activision Worldwide Studios stated, ""True Crime: Streets of LA" represents the largest collection of original West Coast hip hop music ever assembled. The collision of the game's intense action with the pulse pounding sounds from the powerhouses of urban music will elevate video game soundtracks to a whole new standard." Bright Riley, CEO of Vybe Squad, stated "This album marks the first time that the entire west coast is joining forces to create some of the hottest flows L.A. has to offer." On October 15, Activision announced full details of the soundtrack, which would feature twenty tracks.


title: True Crime: Streets of LA

text: AllMusic's Heather Phares scored the soundtrack 3 out of 5, writing ""True Crime" is something of an achievement when it comes to gathering popular music in support of a video game." She concluded "It's not a perfect soundtrack, but "True Crime" is entertaining enough to please gaming and non-gaming rap fans alike." IGN's Spence D scored the soundtrack 7.5 out of 10, writing "Where "The Streets of LA: The Soundtrack" really succeeds is in the fact that the 20 track album features all new material written specifically for the game." He concluded "The most interesting thing is that for all intents and purposes the West Coast gangsta scene, musically speaking, has more or less run its course, succumbing to the bling and blitz of the Dirty South. But this album proves that it's still alive and well. Whatever your take on the gunz-n-thugs mentality may be, one thing can't be denied: the 20 tracks included here are rife with game, style, and serious funktafication."


title: True Crime: Streets of LA

text: The soundtrack peaked at No. 100 on the Top R&B/Hip-Hop Albums and No. 42 on the Independent Albums chart. The soundtrack was nominated for "Best Soundtrack From a Video Game" at MTV's 2004 Video Music Awards, losing to "Tony Hawk's Underground".


title: True Crime: Streets of LA

text: "True Crime: Streets of LA" received "generally favorable reviews." The PlayStation 2 version holds an aggregate score of 77 out of 100 on Metacritic, based on thirty-nine reviews; the Xbox version 77 out of 100, based on twenty-five reviews; the GameCube version 77 out of 100, based on twenty-nine reviews; and the PC version 68 out of 100, based on thirty-one reviews.


title: True Crime: Streets of LA

text: IGN's Aaron Boulding scored the console versions 9 out of 10, giving the game an "Editor's Choice" award. The GameCube version was also the runner-up in the November 2003 "GameCube Game of the Month" award, losing to "". Boulding wrote "the greatest strength of this Luxoflux game is the integration of story and layers of game design into one cohesive package." He praised the gameplay, especially the Good Cop/Bad Cop system and the upgrades system. He also praised the absence of loading screens. However, he wrote of the graphics, "there are far too many clipping issues that come up far too often to be ignored. Similarly, the camera ties into the clipping problems so that there will be times when the camera will float through and behind a wall or tree during a fight so that you can't see the action at all." He concluded ""True Crime" is an enjoyable game if you can clear your mind of "Grand Theft Auto" expectations [...] It's a lot of fun despite the burden of the camera system and other technical glitches. It doesn't, nor should it, replace "Grand Theft Auto" by any means. "True Crime" has enough good to counter the bad and stand on its own." Boulding and Tom McNamara scored the PC version 8 out of 10, writing "the multiplayer that many of us have been salivating for is almost disorientingly low-budget." They were also critical of the controls and graphics, concluding "the rich fighting component and the shooting and driving mechanics aren't translated well to the PC, with awkward controls, poor texture quality, and odd visual bugs. Plus, multiplayer, the hot magnet exclusive to the PC version, is decidedly half-baked."


title: True Crime: Streets of LA

text: "Game Informer"s Andrew Reiner scored the PlayStation 2 version 8.5 out of 10, writing ""True Crime" is the first game to come along and truly give the "Grand Theft Auto" series a run for its money." However, he also wrote "a number of roadblocks hold "True Crime" back from achieving greatness [...] The game has amazing variety. Unfortunately, none of these individual components feel particularly polished." Of the protagonist, he wrote "Nick Kang is quite easily the most annoying new character in video games." He concluded "It's not nearly as good as "GTA", but entertaining nonetheless." Justin Leeper scored the GameCube version 8 out of 10, writing "this is the worst of the three console versions of this title. Fortunately, it's still pretty darn good." Of the graphics, he wrote "the replication of LA suffers from some of the worst pop-up I've seen in a game."


title: True Crime: Streets of LA

text: GameSpy's Russ Fischer scored the console versions 4 out of 5, writing "there's more to "True Crime" than "GTA" emulation." Of the graphics, he wrote, "the rendering of L.A. is superb -- simply put, there's not a better real-world model in gaming [...] The problem is with the camera, which has some real problems in tight quarters. There are also occasional clipping issues." He concluded "The problems can't tear down the fact that "True Crime" really does create its own identity." Joel Durham Jr. scored the PC version 3 out of 5, writing "while it manages to retain the overall appeal of the original, the complaints hold true, with a few new ones that cropped up along the way." He was critical of the controls, calling them "unresponsive and clunky." He was also critical of multiplayer mode; "Multiplayer "True Crime" is about as reliable as Pacific Gas and Electric." He concluded "the gameplay of "True Crime" is hampered by a host of negatives. It's a fun game, but it's hard to recommend to hardcore PC gamers -- you'll need a strong appreciation of console gaming to embrace it."


title: True Crime: Streets of LA

text: GameSpot's Jeff Gertsmann scored the console versions 7.2 out of 10, writing "the game's strong production values aren't backed up by an equally compelling story or game." He called Nicholas Kang "completely unlikeable" and "an unnecessarily cocky jerk." However, he also wrote, "in terms of its presentation, "True Crime" delivers quite well. The graphics are very sharp and are most impressive when you're out on the road. Los Angeles looks startlingly realistic, right down to the maze of freeway on- and off-ramps." He concluded ""True Crime" is a game that simply lacks polish and, in some cases, feels unfinished. It makes decent attempts with its different styles of gameplay, but none of them are particularly well done." He scored the PC version 6.3 out of 10, writing "the game's transition from console to PC wasn't handled as smoothly as you might have expected, thus leaving a game that was already a little uneven feeling a little broken in some spots." He called the controls "pretty terrible" and argued "the fact that the PC version doesn't have any sort of gamepad support certainly doesn't help." He was also critical of the graphics, writing ""True Crime" looks like a PlayStation 2 game that's been ported up, touched up a little bit, and shipped." He called the multiplayer mode "ill-conceived," arguing "the online mode actually detracts from the overall package rather than enhancing it."


title: True Crime: Streets of LA

text: Eurogamer's Tom Bramwell scored the PlayStation 2 version 7 out of 10, writing "although comparisons with "GTA III" and its multi-million-selling sequel are inevitable, "True Crime" actually does a good job of setting out its own stall." He was critical of the graphics, citing "low-resolution textures, some clipping issues, a rather horrible depth of field effect and a lack of screen-filling vistas." He called Nicholas Kang "one of the most unlikeable folks I've ever had the displeasure of thumbing around a third-person action game". However, he also wrote "The fact is that there's just something compelling about the game - and it's not any particular element over another - it's just something about the cohesiveness of the whole thing." He concluded ""True Crime" is this year's "The Getaway" - it's not "GTA" and it will frustrate for some on that basis, but it's a respectable enough game in its own right."


title: True Crime: Streets of LA

text: "Official U.S. PlayStation Magazine"s John Davison scored the PlayStation 2 version 2 out of 5. He was highly critical of both the script and the storyline, and found the gameplay "boring." He wrote, "The overall experience starts off weak and deteriorates quickly. There's a fair amount of violence against women, which is disturbing." He concluded "This is a bad game. The fact that it was so ambitious just amplifies that fact. It's like a big-budget Hollywood flick gone horribly wrong."


title: True Crime: Streets of LA

text: The game was a commercial success. During its first two weeks on release in North America, it sold over 300,000 units across all platforms. By the end of its first month, it had sold over 600,000 units. By July 2006, the PlayStation 2 version of "True Crime" had sold 1.5 million units and earned $65 million in the United States. "Next Generation" ranked it as the 27th highest-selling game launched for the PlayStation 2, Xbox or GameCube between January 2000 and July 2006 in that country. Combined sales of "True Crime" console games reached 2.8 million units in the United States by July 2006. In the United Kingdom, the PlayStation 2 version received a "Platinum" sales award from the Entertainment and Leisure Software Publishers Association (ELSPA), indicating sales of at least 300,000 units. Ultimately, the game went on to sell over 3 million units worldwide across all platforms.


title: True Crime: Streets of LA

text: At the 2003 Spike Video Game Awards, "True Crime" was nominated for five awards; "Best Action Game", "Best Animation", "Best Music", and two "Best Performance by a Human" nominations (Christopher Walken as George and Snoop Dogg as Himself). It won Best Action Game, but lost in the other categories; Best Animation was given to "Dead or Alive Xtreme Beach Volleyball", Best Music to "Def Jam Vendetta" and Best Performance by a Human to Ray Liotta in "". It was also nominated for "Most Innovative Story Design - Interactive Media", and Snoop Dogg was nominated for "Outstanding Character from an Interactive Media" at the 2004 Satellite Awards. It lost in the first category to "XIII". Snoop Dogg lost to Ray Liotta's performance in "Vice City". It was also nominated for the "Technical Achievement" award at the 1st British Academy Games Awards in 2004, losing to "".


title: Scourge

text: A scourge is a whip or lash, especially a multi-thong type, used to inflict severe corporal punishment or self-mortification. It is usually made of leather.


title: Scourge

text: The word is most commonly considered to be derived from Old French "escorgier" - "to whip", going further back to the Vulgar Latin "excorrigiare": the Latin prefix "ex"- "out, off" with its additional English meaning of "thoroughly", plus "corrigia" - "thong", or in this case "whip". Some connect it to , "to flay", built of two Latin parts, "ex"- ("off") and , "skin".


title: Scourge

text: The scourge, or flail, and the crook are the two symbols of power and domination depicted in the hands of Osiris in Egyptian monuments. The shape of the flail or scourge is unchanged throughout history. However, when a scourge is described as a 'flail' as depicted in Egyptian mythology, it may be referring to use as an agricultural instrument. A flail's intended use was to thresh wheat, not to implement corporal punishment.


title: Scourge

text: Hard material can be affixed to multiple thongs to give a flesh-tearing "bite". A scourge with these additions is called a scorpion. is Latin for a Roman and is referred to in the Bible: 1 Kings 12:11: "...My father scourged you with whips; I will scourge you with scorpions" said Rehoboam, referring to increased conscription and taxation beyond Solomon's. The name testifies to the pain caused by the arachnid. Testifying to its frequent Roman application is the existence of the Latin words 'carrying a whip' and 'often-lashed slave'. According to the Gospel of John, Pontius Pilate, the Roman governor of Judea, ordered Jesus to be scourged.


title: Scourge

text: Scourging was soon adopted as a sanction in the monastic discipline of the fifth and following centuries. Early in the fifth century it is mentioned by Palladius of Galatia in the , and Socrates Scholasticus tells us that, instead of being excommunicated, offending young monks were scourged. (See the sixth-century rules of St. Cæsarius of Arles for nuns, and of St. Aurelian of Arles.) Thenceforth scourging is frequently mentioned in monastic rules and councils as an enforcer of discipline. Its use as a punishment was general in the seventh century in all monasteries of the severe Columban rule.


title: Scourge

text: Canon law (Decree of Gratian, Decretals of Gregory IX) recognized it as a punishment for ecclesiastics; even as late as the sixteenth and seventeenth centuries, it appears in ecclesiastical legislation as a punishment for blasphemy, concubinage and simony. Though doubtless at an early date a private means of penance and mortification, such use is publicly exemplified in the tenth and eleventh centuries by the lives of St. Dominic Loricatus and St. Peter Damian (died 1072). The latter wrote a special treatise in praise of self-flagellation; though blamed by some contemporaries for excess of zeal, his example and the high esteem in which he was held did much to popularize the voluntary use of a small scourge known as a discipline, as a means of mortification and penance. From then on the practice appeared in most medieval religious orders and associations.


title: Scourge

text: The practice was, of course, capable of abuse, as demonstrated in the thirteenth century by the rise of the fanatical sect of the Flagellants, though in the same period we meet with the private use of the "discipline" by such saintly persons as King Louis IX of France and Elisabeth of Hungary.


title: Scourge

text: Semi-literal usages such as "the scourge of God" for Attila the Hun (i.e. "God's whip with which to punish the nations") led to metaphoric uses to mean a severe affliction, e.g. "the scourge of drug abuse".


title: Army–McCarthy hearings

text: The Army–McCarthy hearings were a series of televised hearings held by the United States Senate's Subcommittee on Investigations (April–June 1954) to investigate conflicting accusations between the United States Army and U.S. Senator Joseph McCarthy. The Army accused McCarthy and his chief counsel Roy Cohn of pressuring the Army to give preferential treatment to G. David Schine, a former McCarthy aide and friend of Cohn's. McCarthy counter-charged that this accusation was made in bad faith and in retaliation for his recent aggressive investigations of suspected communists and security risks in the Army.


title: Army–McCarthy hearings

text: Chaired by Senator Karl Mundt, the hearings convened on March 16, 1954, and received considerable press attention, including gavel-to-gavel live television coverage on ABC and DuMont (April 22 – June 17). The media coverage, particularly television, greatly contributed to McCarthy's decline in popularity and his eventual censure by the Senate the following December.


title: Army–McCarthy hearings

text: McCarthy came to national prominence in February 1950 after giving a speech in Wheeling, West Virginia, in which he claimed to have a list of 205 State Department employees who were members of the Communist Party. McCarthy claimed the list was provided to but dismissed by Secretary of State Dean Acheson, saying that the "State Department harbors a nest of Communists and Communist sympathizers who are helping to shape our foreign policy". In January 1953, McCarthy began his second term and the Republican Party regained control of the Senate; with the Republicans in the majority, McCarthy was made chairman of the Senate Committee on Government Operations. This committee included the Permanent Subcommittee on Investigations, and the mandate of this subcommittee allowed McCarthy to use it to carry out his investigations of communists in the government. McCarthy appointed 26-year-old Roy Cohn as chief counsel to the subcommittee and future Attorney General Robert F. Kennedy as assistant counsel, while reassigning Francis Flanagan to the ad hoc position of general counsel.


title: Army–McCarthy hearings

text: In 1953, McCarthy's committee began inquiries into the United States Army, starting by investigating supposed communist infiltration of the Army Signal Corps laboratory at Fort Monmouth. McCarthy's investigations were largely fruitless, but after the Army accused McCarthy and his staff of seeking a direct commission for Private G. David Schine, a chief consultant to the Senate Permanent Subcommittee on Investigations and a close friend of Cohn's who had been drafted into the Army as a private the previous year, McCarthy claimed that the accusation was made in bad faith.


title: Army–McCarthy hearings

text: The Senate decided that these conflicting charges should be investigated and the appropriate committee to do this was the Senate Permanent Subcommittee on Investigations, usually chaired by McCarthy. Since McCarthy was one of the targets of the hearings, Senator Karl Mundt was reluctantly appointed to replace McCarthy as chairman of the subcommittee. John G. Adams was the Army's Counsel. Acting as Special Counsel was Joseph Welch of the Boston law firm of Hale & Dorr (now called WilmerHale). The hearings were broadcast nationally on the new ABC and DuMont networks, and in part by NBC. Francis Newton Littlejohn, the news director at ABC, made the decision to cover the hearings live, gavel-to-gavel. The televised hearings lasted for 36 days and an estimated 80 million people saw at least part of the hearings.


title: Army–McCarthy hearings

text: While the hearings went on, a photograph of Schine was introduced, and Joseph Welch accused Cohn of doctoring the image to show Schine alone with Army Secretary Robert T. Stevens. On the witness stand Cohn and Schine both insisted that the picture entered into evidence (Schine and Stevens alone) was requested by Stevens and that no one was edited out of the photograph. Welch then produced a wider shot of Stevens and Schine with McGuire AFB wing commander Colonel Jack Bradley standing to Schine's right. A fourth person also edited out of the picture (his sleeve was visible to Bradley's right in the Welch photograph) was identified as McCarthy aide Frank Carr.


title: Army–McCarthy hearings

text: After the photograph was discredited, McCarthy produced a copy of a confidential letter he claimed was a January 26, 1951, memo written and sent by FBI Director J. Edgar Hoover, to Major General Alexander R. Bolling, warning Army Intelligence of subversives in the Army Signal Corps. McCarthy claimed the letter was in the Army files when Stevens became secretary in 1953, and that Stevens willfully ignored it. Welch was the first to question the letter's validity, claiming that McCarthy's "purported copy" did not come from Army files; McCarthy stated he never received any document from the FBI, but when questioned on the stand by special Senate counsel Ray Jenkins and cross-examined by Welch, McCarthy, while admitting the document was given to him by an intelligence officer, refused to identify his source.


title: Army–McCarthy hearings

text: Robert Collier, assistant to Ray Jenkins, read a letter from Attorney General Herbert Brownell Jr., in which he stated that Hoover examined the document and that he neither wrote nor ordered the letter, and that no such copy existed in FBI files, rendering McCarthy's claims meritless, and the letter spurious.


title: Army–McCarthy hearings

text: Though the hearings were primarily about government subversion, they occasionally took on accusations of a more taboo nature: a portion of the hearings assessed the security risk of homosexuals in government. The issue remained an undercurrent throughout the hearings. One such example of this undercurrent was an exchange between Senator McCarthy and Joseph Welch. Welch was questioning McCarthy staff member James Juliana about the unedited picture of Schine with Stevens and Bradley, asking him "Did you think this came from a Pixie?" (a type of camera popular at the time), at which point McCarthy asked to have the question re-read:


title: Army–McCarthy hearings

text: At least a portion of the Army's allegations were correct. Roy Cohn did take steps to request preferential treatment for Schine, going so far on at least one occasion to sign McCarthy's name without his knowledge on a request for Schine to have access to the Senators' Baths, a pool and steam room reserved exclusively for senators.


title: Army–McCarthy hearings

text: The exact relationship between Cohn, McCarthy and Schine remains unknown. Cohn and Schine were certainly close, and rather than work out of the Senate offices, the two rented nearby office space and shared bills. McCarthy commented that Cohn was unreasonable in matters dealing with Schine. It is unclear if Schine ever had a romantic or sexual relationship with Cohn, who was a closeted homosexual. (Three years after the hearings, Schine married and eventually had six children.) Some have also suggested that McCarthy may have been homosexual, and was even possibly involved with Schine or Cohn.


title: Army–McCarthy hearings

text: In what played out to be the most dramatic exchange of the hearings, McCarthy responded to aggressive questioning from Army counsel Joseph Welch. On June 9, 1954, day 30 of the hearings, Welch challenged Cohn to give McCarthy's list of 130 subversives in defense plants to the office of the FBI and the Department of Defense "before the sun goes down". In response to Welch's challenge, McCarthy suggested that Welch should check on Fred Fisher, a young lawyer in Welch's own Boston law firm whom Welch had planned to have on his staff for the hearings. McCarthy then mentioned that Fisher had once belonged to the National Lawyers Guild (NLG), a group which Attorney General Brownell had called "the legal bulwark of the Communist Party".


title: Army–McCarthy hearings

text: Welch revealed he had confirmed Fisher's former membership in the National Lawyers Guild approximately six weeks before the hearings started. After Fisher admitted his membership in the National Lawyers Guild, Welch decided to send Fisher back to Boston. His replacement by another colleague on Welch's staff was also covered by "The New York Times". Welch then reprimanded McCarthy for his needless attack on Fisher, saying "Until this moment, Senator, I think I never really gauged your cruelty or your recklessness." McCarthy, accusing Welch of filibustering the hearing and baiting Cohn, dismissed Welch's dissertation and casually resumed his attack on Fisher, at which point Welch angrily cut him short:


title: Army–McCarthy hearings

text: Senator, may we not drop this? We know he belonged to the Lawyers Guild ... Let us not assassinate this lad further, Senator; you've done enough. Have you no sense of decency, sir? At long last, have you left no sense of decency?


title: Army–McCarthy hearings

text: Welch excluded himself from the remainder of the hearings with a parting shot to McCarthy: "Mr. McCarthy, I will not discuss this further with you ... You have seen fit to bring [the Fisher/NLG affair] out, and if there is a God in heaven, it will do neither you nor your cause any good! I will not discuss it further ... You, Mr. Chairman, may as you will, call the next witness!" After Welch deferred to Chairman Mundt to call the next witness, the gallery burst into applause.


title: Army–McCarthy hearings

text: Near the end of the hearings, McCarthy and Senator Stuart Symington (D-Missouri) sparred over the handling of secret files by McCarthy's staff. McCarthy staff director Frank Carr testified that everyone who worked on McCarthy's staff had access to classified files regardless of their level of security clearance. Symington hinted that some members of McCarthy's own staff might themselves be subversive and signed a document agreeing to take the stand in the hearings to reveal their names in return for McCarthy's signature on the same document agreeing to an investigation of his staff. But McCarthy, after calling Symington "Sanctimonious Stu", refused to sign the agreement, claiming it contained false statements, and called the accusations an "unfounded smear" on his men. He then rebuked Symington by saying "You're not fooling anyone!" But Symington retaliated with a prophetic remark of his own: "Senator, the American people have had a look at you now for six weeks; you're not fooling anyone, either."


title: Army–McCarthy hearings

text: In Gallup polls from January 1954, McCarthy's approval rating was at 50%, with only 29% disapproving. By June, both percentages had shifted by 16%, with more people (34% approving, 45% disapproving) now rejecting McCarthy and his methods.


title: Army–McCarthy hearings

text: After hearing 32 witnesses and two million words of testimony, the committee concluded that McCarthy himself had not exercised any improper influence on Schine's behalf, but that Roy Cohn, McCarthy's chief counsel, had engaged in some "unduly persistent or aggressive efforts" for Schine. The conclusion also reported questionable behavior on the part of the Army: that Secretary Stevens and Army Counsel John Adams "made efforts to terminate or influence the investigation and hearings at Fort Monmouth", and that Adams "made vigorous and diligent efforts" to block subpoenas for members of the Army Loyalty and Screening Board "by means of personal appeal to certain members of the [McCarthy] committee". Before the official reports were released, Cohn had resigned as McCarthy's chief counsel, and Senator Ralph Flanders (R, Vermont) had introduced a resolution of censure against McCarthy in the Senate.


title: Army–McCarthy hearings

text: Despite McCarthy's acquittal of misconduct in the Schine matter, the Army–McCarthy hearings ultimately became the main catalyst in McCarthy's downfall from political power. Daily newspaper summaries were increasingly unfavorable toward McCarthy, while television audiences witnessed firsthand the unethical tactics of the junior Senator from Wisconsin.


title: Army–McCarthy hearings

text: On December 2, 1954, the Senate voted 67–22 to censure McCarthy, effectively eradicating his influence, though not expelling him from office. McCarthy continued to chair the Subcommittee on Investigations until January 3, 1955, the day the 84th United States Congress was inaugurated; Senator John L. McClellan (D-Arkansas) replaced McCarthy as chairman.


title: Army–McCarthy hearings

text: Fred Fisher was relatively unaffected by McCarthy's charges and went on to become a partner in Boston's prestigious Hale & Dorr law firm and organized its commercial law department. He also served as president of the Massachusetts Bar Association and as chairman of many committees of the American and Boston bar associations.


title: Army–McCarthy hearings

text: After his censuring, Senator McCarthy continued his anti-communist oratory, often speaking to an empty or near-empty Senate chamber. Turning increasingly to alcohol, McCarthy died of hepatitis on May 2, 1957, at the age of 48.


title: Daisy Shah

text: Daisy Shah (born 25 August 1984) is an Indian actress, model and dancer who primarily appears in Hindi and Kannada films. She has worked as an assistant to choreographer Ganesh Acharya. Her first breakthrough came when she was selected to play the lead role in the 2011 Kannada film "Bhadra". She then appeared opposite Salman Khan in the 2014 Hindi film "Jai Ho". In 2015, she was a part of "Hate Story 3".


title: Daisy Shah

text: Shah belongs to a Gujarati family, but was born and brought up in Mumbai, Maharashtra. Shah won the Miss Photogenic award in the MS Dombivli contest at a local mall when she was in 10th class. She studied arts at Mumbai's Khalsa College.


title: Daisy Shah

text: Shah worked as an assistant to choreographer Ganesh Acharya in films like "Zameen" and "Khakee" and later started modelling, doing photo shoots and print ads. Kannada director Harsha approached her for the film "Chingari". She played Ammu in the Kannada version of "Bodyguard". She then shot for two item songs in the Kannada film "Bachchan" and the Hindi film "Bloody Isshq". She also did an item song ("Neeli Lugadi") in the Hindi film "Khuda Kasam", starring Sunny Deol and Tabu. In 2014, Shah acted in the commercially successful Jai Ho opposite Salman Khan. She portrayed Sanjana in the 2018 film "Race 3".


title: American Kenpo

text: American Kenpo Karate (), also known as Ed Parker's Kenpo Karate, American Kenpo and Kenpo Karate, is an all-inclusive system of martial arts based on ancient martial arts methods applied to solve modern-day violent scenarios using logic and practicality to survive nonconsensual, violent altercations. It is often characterized by the use of quick and powerful moves delivered from the body's natural weapons, powered by rapid stance transitions, that make up the footwork in the system. Beginners are introduced to the concepts and principles of the system taught through scripted scenarios that serve as starting points for further exploration into the introduced topic. Senior Grand Master Ed Parker's approach to American Kenpo was to teach an updated and practical science of Martial Arts tailored to the needs of the individual and in a manner that would take a practitioner from being a mere follower to an innovator.


title: American Kenpo

text: The purpose of training in this manner is to increase physical coordination and continuity with linear and circular motion. Each movement, when correctly executed, leads into the next, keeping an adversary's "dimensional zones" in check, which limits their ability to retaliate. Should the adversary not react as anticipated, the skilled Kenpo practitioner, is able to seamlessly transition into an alternative and appropriate action, drawn spontaneously from the trained subconscious. In American Kenpo you never try to select a specific technique in the middle of a sudden, violent altercation but just let your body do what the Kenpo training has already ingrained in you.


title: American Kenpo

text: Founded and codified by Ed Parker, American Kenpo is primarily a self-defense combat system. Parker made significant modifications to the original art of Kenpo which he learned throughout his life, by introducing or changing principles, theories, and concepts of motion, as well as terminology. At the time of his passing in December 1990, Parker had created Short Form 1, Long Form 1, Short Form 2, Long Form 2, Short Form 3, Long Form 3, Long Form 4, Long Form 5 (Surprise Attacks), Long Form 6 (Bare Hands vs. Weapons),and Long Form 7 (Twin Clubs) the final form developed by Ed Parker only one year before his passing.


title: American Kenpo

text: However, several senior black belts continue to teach this set, often referring to it as "Long Form 8".


title: American Kenpo

text: Parker also created 154 named (ideal phase) technique sequences with 96 extensions, taught in three phases (Ideal, What-if and Formulation Phases). Parker believed in tailoring Kenpo to the individual and would also encourage his students to explore the unknown areas of martial arts. To his most trusted students the founder taught a more destructive and lethal version of the techniques which also involved killing methods with a knife and they continue to pass on this aspect to their most trusted students.


title: American Kenpo

text: Parker left behind a large following of instructors who honored his teachings by implementing many different versions of American Kenpo. As Senior Grandmaster, Parker did not name a successor to his art, but instead entrusted his senior students to continue his teachings in their own way.


title: American Kenpo

text: The word Kenpo is an English transliteration of a Ryukyuan and Japanese pronunciation of Chinese characters, the origin of which is Cantonese, pronounced Ken Fat. Due to inaccuracies of Chinese history, many people do not realize that Cantonese predates Mandarin, and it was Cantonese immigrants who first came to Hawaii and California bringing their martial art of Ken Fat with them when they formed Tongs (benevolent organizations) to look after each other. As a result of not understanding the history of Mandarin most people incorrectly think the origin of Kenpo is derived from the Mandarin Chinese pronunciation Chuan Fa. Both Canton (Guangzhou) and Fujian were the only ports in mainland China that were active in trade with neighboring countries and so the Min languages and Cantonese were the prevalent forms of the Chinese language that spread to the surrounding nations. Mandarin on the other hand originated in the Mongol/Yuan Dynasty which is why it only has four tones as compared to the more sophisticated native Chinese dialects that have 10 or more tones. As a result of Beijing being occupied by the Mongols and the later occupation of the Manchu/Qing Dynasty Mandarin became the common dialect of the North while the original Chinese of the North and Central Plains were forced into the South. Thus, Ken Fat was further refined by the Southern Chinese and spread into Fujian and Canton where the various respective styles developed and were imported to Taiwan, Hong Kong, Ryukyu (Okinawa), Korea, Malaysia, Indonesia, Vietnam and Japan. If you look at the pronunciation of the Chinese characters in all those neighboring countries, you will find that it sounds closer to Ken Fat than to Chuan Fa. Due to the intense hate of the Communists for the secret societies that used Ken Fat to support the Nationalists which began in Fujian and Canton, Mandarin was made the official common language of China. The meaning of Ken Fat is Fist Law but denotes a Fighting Method. It was never a standalone style, but characters added to the end of the formal name of a style. Eventually, the Fat was dropped or rarely used and the character for fist was used alone at the end of a style name. For example, Wing Chun simply means Beautiful Springtime but when adding the character Fist to the end of it lets people know it is a fighting system (Wing Chun Kuen)


title: American Kenpo

text: The modern history of American Kenpo began in 1933 with Thomas Miyashiro (1915-1977) who began openly teaching Kenpo Karate in 1933 in Hawaii. He was joined by Mizuho Mutsu and Kamesuke Higashiona who were both students of Choki Motobu. They toured Hawaii giving public demonstrations of Kenpo Karate in support of the first public Kenpo Karate Dojo in Hawaii. They were featured in numerous local newspapers and Kenpo Karate became very popular in Hawaii. These sensei also brought books written by Mizuho Mutsu and Choki Motobu to Hawaii, that were the most detailed books on Kenpo Karate at that time. While they were teaching Kenpo Karate publicly the Chee Kong Tong in Maui had been teaching Cantonese Ken Fat since the 1920s to Cantonese immigrants. Willam Chow's father Sun Chow Hoon immigrated from Canton and also trained Ken Fat at the Tong HQ when first arriving in Maui. He also taught his eldest son William Chow. William Chow became an enforcer for the Tong, his nickname the Thunderbolt comes from a common punishment for those members who break the vows of the Tongs (death by Five Thunderbolts). Those who enforce the justice of the Tongs on members who violate their vows are often nicknamed Thunderbolt.


title: American Kenpo

text: William Chow studied multiple martial arts in Hawaii, including Danzan Ryu Jujutsu by observing his little brother John Chow's classes and working out with him, often using his knowledge of Ken Fat to device counters to the Jujutsu techniques. Chow eventually developed his own unique style of Kenpo Karate that blended his Chinese Martial Arts training with the more focused Ryukyuan Kenpo Karate methods popularized in Hawaii, it was a blend of linear and circular motion, and emphasized practical fighting techniques designed to outperform the various martial arts in the melting pot of Hawaii. William Chow called his style by many different names over the years that he taught but most refer to his method as Kenpo Karate Chow experimented and modified his art, adapting it to meet the needs of American students.


title: American Kenpo

text: Parker, dubbed The Magician of Motion, started his martial arts training in Judo, earning a black belt. He then studied western boxing from his father, a boxing commissioner in Hawaii, before eventually training and earning a black belt from Chow in Kenpo Karate. After Ed Parker moved to California, he cross-referenced his martial arts knowledge with Chinese martial arts masters living in California like Lau Bun, Ark Wong, Ming Lum, James Lee, Bruce Lee and many more. Parker hosted a large martial arts tournament, the Long Beach Internationals, where he popularized the martial artists and gave many legends there start, eventually founding American Kenpo. Parker founded his own Kenpo association, The International Kenpo Karate Association (IKKA), after his students started teaching his art in other countries. Al Tracy claims that Chow promoted Parker to "sandan" (3rd-degree black belt) in December 1961.


title: American Kenpo

text: Parker started teaching other Hawaiian Islanders attending Brigham Young University in Provo, Utah in 1954. By 1956, he was teaching commercially in Provo. Late in 1956, he opened a studio in Pasadena, California. He published a book about his early system in 1960. The book has a heavy Japanese influence, including the use of linear and circular movements, "focused" techniques and jujutsu-style locks, holds, and throws. When Parker increased the Chinese arts content of his system, he began to refer to his art as Chinese Kenpo. Based on this influence, he wrote "Secrets of Chinese Karate", published in 1963.


title: American Kenpo

text: The system which came to be known as American Kenpo was developed by Parker as his Specific System, and featured Parker's revisions of older methods to work in more modern fighting scenarios. He heavily restructured American Kenpo's forms and techniques during this period. He moved away from methods that were recognizable from other arts (such as forms that were familiar within Hung Gar) and established a more definitive relationship between forms and the self-defense technique curriculum of American Kenpo. Parker also eschewed esoteric Eastern concepts and sought instead to express the art in terms of Western scientific principles and metaphors. During this time, Parker also dropped most Asian language elements and altered traditions in favor of American English. Although he was challenged numerous times by experts and masters from multiple other Martial Arts, he remained well respected in the Martial Arts world.


title: American Kenpo

text: Parker continually developed his art, causing students to learn different curriculum interpretations and arrangements depending on when they studied with him. Since many instructors had gone their own ways and didn't continue with Parker's updating, Kenpo today has several different versions of techniques. None of the versions is wrong, as long as it works for the individual practitioner. This is what set Parker apart from many traditionalists who wanted to make students into exact replicas of their instructors. American Kenpo should be tailored to fit each individual student by a competent instructor. While Parker was labeled a rebel when he first introduced his revolutionary ideas, they have since been tested and proven by members of the military, law enforcement, and civilians. Many have successfully survived violent situations due to the training they received in American Kenpo.


title: American Kenpo

text: One of Parker's best-known students was singer/actor Elvis Presley. to whom he awarded a 9th degree black belt.


title: American Kenpo

text: American Kenpo emphasizes fast techniques to disable an attacker in seconds. Kicks are less common and are usually directed at the lower body because high kicks are slower to execute and potentially compromise the practitioner's balance; higher kicks are taught to more advanced and capable practitioners. American Kenpo contains a wide array of kicks, punches, open-hand, elbow and knee strikes, finger strikes, some throwing and joint locking techniques, as well as club and knife training. The mountain of motion and principles are available, but after learning the basics students specialize in whatever areas fit their needs and desires. A soldier may emphasize knife techniques, a police officer may emphasize locks and stick techniques, a civilian interested in competition may emphasize the less lethal options, while some specialize in the more lethal aspects of the system.


title: American Kenpo

text: Physically, American Kenpo develops environmental awareness, structural stability, balance, coordination, flow, speed, power and timing in that order as the student progresses through a step by step curriculum. Memorization of the system is not necessary to gain functional skill and is primarily for students who wish to become instructors. All American Kenpo students are taught not only how to execute each basic movement in the system, but also when and why to execute each basic movement. Senior Grand Master Ed Parker placed emphasis on concepts and principles over sequences of motion. He did not want his students to mimic him but rather to tailor his American Kenpo system to their own circumstances and needs. Thus American Kenpo is not a traditional art but a combat science that is designed to evolve as the practitioners' understanding improves. This also placed the burden of effectiveness on the individual practitioner. It was up to them to make their American Kenpo applications effective by correctly applying the concepts and principles to the instructor's ideal phase techniques.


title: American Kenpo

text: Students are encouraged to formulate a logical sequence of action that removed the dangers of what-if scenarios, effectively turning a what-if problem to an even-if solution. Every American Kenpo black belt will have their own unique and tailored style, but Parker published minimum requirements for each belt rank that instructors in his association - the IKKA - were to follow. However, if a Kenpo Instructor starts his own association, he or she is free to select his or her student's base curriculum as they see fit.


title: American Kenpo

text: The design of the International Kenpo Karate Association crest was completed Dave Parker, Mr. Parker's brother, in 1958, as the art of American Kenpo was gaining international recognition. The crest design was meant to symbolically represent the art's modernized form while simultaneously acknowledging the roots of American Kenpo in traditional Chinese and Japanese martial arts.


title: American Kenpo

text: American Kenpo has a graded colored belt system consisting of white, yellow, orange, purple, blue, green, 3rd degree brown, 2nd degree brown, 1st degree brown and 1st through 10th degree black. Different Kenpo organizations and schools may have different belt systems. The black belt ranks are indicated by half-inch red 'tips' up to the 4th degree, then a 5-inch 'block' for 5th. Thereafter, additional half-inch stripes are added up to the 9th degree. For 10th degree black belt, two 5-inch 'blocks' separated by a half-inch space are used. In some styles, an increasing number of stripes on both sides of the belt can indicate black belt ranks.


title: American Kenpo

text: There are different requirements per belt depending on the school. Parker's IKKA schools stayed with the 24 techniques-per-belt syllabus, though some schools today have adopted a 16–20–24 technique syllabus as their standard. The 24 and the 16–20–24 technique syllabuses contain exactly the same techniques, but the latter groups them differently so fewer techniques are found at lower belt levels, and there are more belt levels to be found. In addition to self-defense techniques, Parker set specific criteria required for proficiency at each level. The criteria included basics categorized by stances, blocks, parries, punches, strikes, finger techniques, kicks, and foot maneuvers, as well as the much neglected specialized moves and methods category, which includes joint dislocations, chokes, take-downs, throws and other grappling components.


title: American Kenpo

text: Beyond proficiency, a student's character and attitude can also be analyzed as a major consideration in the promotion to a new rank. Promotion after 3rd degree black belt has more to do with contributions made back to the art, such as teaching or other great works of exploration. For example, a third degree black belt who further explores knife violence and brings that knowledge back may be promoted for his excellent contributions.


title: Technology acceptance model

text: The technology acceptance model (TAM) is an information systems theory that models how users come to accept and use a technology.


title: Technology acceptance model

text: The "actual system use" is the end-point where people use the technology. "Behavioral intention" is a factor that leads people to use the technology. The behavioral intention (BI) is influenced by the "attitude" (A) which is the general impression of the technology.


title: Technology acceptance model

text: The model suggests that when users are presented with a new technology, a number of factors influence their decision about how and when they will use it, notably:


title: Technology acceptance model

text: "External variables" such as social influence is an important factor to determine the attitude. When these things (TAM) are in place, people will have the attitude and intention to use the technology. However, the perception may change depending on age and gender because everyone is different.


title: Technology acceptance model

text: The TAM has been continuously studied and expanded—the two major upgrades being the TAM 2 ( & ) and the unified theory of acceptance and use of technology (or UTAUT, ). A TAM 3 has also been proposed in the context of e-commerce with an inclusion of the effects of trust and perceived risk on system use ().


title: Technology acceptance model

text: TAM is one of the most influential extensions of Ajzen and Fishbein's theory of reasoned action (TRA) in the literature. Davis's technology acceptance model (Davis, 1989; Davis, Bagozzi, & Warshaw, 1989)


title: Technology acceptance model

text: (Venkatesh, 2000). It was developed by Fred Davis and Richard Bagozzi (, ). TAM replaces many of TRA's attitude measures with the two technology acceptance measures—"ease of use", and "usefulness". TRA and TAM, both of which have strong behavioural elements, assume that when someone forms an intention to act, that they will be free to act without limitation. In the real world there will be many constraints, such as limited freedom to act ().


title: Technology acceptance model

text: Earlier research on the diffusion of innovations also suggested a prominent role for perceived ease of use. Tornatzky and Klein () analysed the adoption, finding that compatibility, relative advantage, and complexity had the most significant relationships with adoption across a broad range of innovation types. Eason studied perceived usefulness in terms of a fit between systems, tasks and job profiles, using the terms "task fit" to describe the metric (quoted in ) suggest that TAM must be extended to include variables that account for change processes and that this could be achieved through adoption of the innovation model into TAM.


title: Technology acceptance model

text: Several researchers have replicated Davis's original study () to provide empirical evidence on the relationships that exist between usefulness, ease of use and system use (; ; ; ; ; ). Much attention has focused on testing the robustness and validity of the questionnaire instrument used by Davis. Adams et al. () replicated the work of Davis () to demonstrate the validity and reliability of his instrument and his measurement scales. They also extended it to different settings and, using two different samples, they demonstrated the internal consistency and replication reliability of the two scales. Hendrickson et al. () found high reliability and good test-retest reliability. Szajna () found that the instrument had predictive validity for intent to use, self-reported usage and attitude toward use. The sum of this research has confirmed the validity of the Davis instrument, and to support its use with different populations of users and different software choices.


title: Technology acceptance model

text: Segars and Grover () re-examined Adams et al.'s () replication of the Davis work. They were critical of the measurement model used, and postulated a different model based on three constructs: usefulness, effectiveness, and ease-of-use. These findings do not yet seem to have been replicated. However, some aspects of these findings were tested and supported by Workman () by separating the dependent variable into information use versus technology use.


title: Technology acceptance model

text: Mark Keil and his colleagues have developed (or, perhaps rendered more popularisable) Davis's model into what they call the Usefulness/EOU Grid, which is a 2×2 grid where each quadrant represents a different combination of the two attributes. In the context of software use, this provides a mechanism for discussing the current mix of usefulness and EOU for particular software packages, and for plotting a different course if a different mix is desired, such as the introduction of even more powerful software ().


title: Technology acceptance model

text: The TAM model has been used in most technological and geographic contexts. One of these contexts is health care, which is growing rapidly


title: Technology acceptance model

text: Venkatesh and Davis extended the original TAM model to explain perceived usefulness and usage intentions in terms of social influence (subjective norms, voluntariness, image) and cognitive instrumental processes (job relevance, output quality, result demonstrability, perceived ease of use). The extended model, referred to as TAM2, was tested in both voluntary and mandatory settings. The results strongly supported TAM2 ().


title: Technology acceptance model

text: In an attempt to integrate the main competing user acceptance models, Venkatesh et al. formulated the unified theory of acceptance and use of technology (UTAUT). This model was found to outperform each of the individual models (Adjusted R square of 69 percent) (). UTAUT has been adopted by some recent studies in healthcare.


title: Technology acceptance model

text: In addition, authors Jun, Yoon, and Lee also think that the technology acceptance model is essential to analyze the factors affecting customers’ behavior towards online food delivery services. It is also a widely adopted theoretical model to demonstrate the acceptance of new technology fields. The foundation of TAM is a series of concepts that clarifies and predicts people’s behaviors with their beliefs, attitudes, and behavioral intention. In TAM, perceived ease of use and perceived usefulness, considered general beliefs, play a more vital role than salient beliefs in attitudes toward utilizing a particular technology.


title: Technology acceptance model

text: TAM has been widely criticised, despite its frequent use, leading the original proposers to attempt to redefine it several times. Criticisms of TAM as a "theory" include its questionable heuristic value, limited explanatory and predictive power, triviality, and lack of any practical value (). Benbasat and Barki suggest that TAM "has diverted researchers' attention away from other important research issues and has created an illusion of progress in knowledge accumulation. Furthermore, the independent attempts by several researchers to expand TAM in order to adapt it to the constantly changing IT environments has lead to a state of theoretical chaos and confusion" (). In general, TAM focuses on the individual 'user' of a computer, with the concept of 'perceived usefulness', with extension to bring in more and more factors to explain how a user 'perceives' 'usefulness', and ignores the essentially social processes of IS development and implementation, without question where more technology is actually better, and the social consequences of IS use. Lunceford argues that the framework of perceived usefulness and ease of use overlooks other issues, such as cost and structural imperatives that force users into adopting the technology. For a recent analysis and critique of TAM, see Bagozzi ().


title: Technology acceptance model

text: Legris et al. claim that, together, TAM and TAM2 account for only 40% of a technological system's use.


title: Technology acceptance model

text: Perceived ease of use is less likely to be a determinant of attitude and usage intention according to studies of telemedicine () mobile commerce (), and online banking ()


title: Warner Bros. Movie World

text: Warner Bros. Movie World is a theme park on the Gold Coast in Queensland, Australia. Owned and operated by Village Roadshow Theme Parks, the park opened on 3 June 1991. It is part of a entertainment precinct, with the adjacent Village Roadshow Studios and nearby Wet'n'Wild Gold Coast, among other sites operated by Village Roadshow. Movie World is Australia's only film-related theme park and the oldest of the Warner Bros. parks worldwide (the others are at Madrid and Abu Dhabi). As of 2016, it receives a yearly average of 1.4 million visitors.


title: Warner Bros. Movie World

text: In the late 1980s, a failed film studio lot and its adjacent land were bought out by Village. They entered a joint venture with Pivot Leisure (part-owners of the nearby Sea World) and Warner to develop the land into a theme park. Designed by C. V. Wood, the layout was inspired by Universal Studios Hollywood and Disney-MGM Studios Theme Park, and opening attractions were designed to educate guests about the processes behind filmmaking. The park has since expanded to include an array of attractions that are based on Warner and related DC Comics properties. It has survived financial hardships and remains among Australia's most popular tourist destinations.


title: Warner Bros. Movie World

text: Attractions range from thrill rides such as Batwing Spaceshot and Superman Escape to family attractions such as and Wild West Falls Adventure Ride, entertainment at the Roxy Theatre and the Hollywood Stunt Driver live show. Among the five operating roller coasters, DC Rivals HyperCoaster is Australia's tallest, fastest and longest, and Green Lantern Coaster has the world's third-steepest drop angle. Film characters regularly roam the grounds to interact and take photos with guests. Each afternoon, characters participate in a parade along Main Street. The seasonal Fright Nights and White Christmas events are hosted annually.


title: Warner Bros. Movie World

text: Hollywood interest in the Australian film industry grew rapidly during the 1980s. Italian-American film producer Dino De Laurentiis visited the country in 1986; he had worked with Australian film alumni in recent years and noted industry buzz over the film "Crocodile Dundee". With De Laurentiis Entertainment Limited (DEL), he commissioned and constructed a film studio in Oxenford, near Surfers Paradise on the Gold Coast, Queensland. The studio was to produce the action film "Total Recall", but after their finances were jeopardised by several box office bombs (such as "Million Dollar Mystery"), De Laurentiis left the failing DEL in December 1987. Production on "Total Recall" halted and AU$3.4 million worth of studio sets were dismantled. Village Roadshow, who had an established partnership with Warner Bros. in Australia, bought out DEL entirely in 1988 and opened Warner Roadshow Studios (now Village Roadshow Studios) in July.


title: Warner Bros. Movie World

text: In October 1988, Village acquired a large lot of swampy land adjacent to the studio complex from investment company Ariadne Australia (which had been crippled by the 1987 Black Monday stock market crash). The following month, Village persuaded Warner to acquire 50% of the studio and announced that a theme park, provisionally named Warner World, was to be built on the recently acquired land. Warner recognised the value proposition in the theme park more than in the studio. In July 1989, the two companies entered a joint venture to develop the park with Pivot Leisure, part-owners of a property trust in Sea World, a local marine mammal park. American designer C. V. Wood was commissioned that year to design the park. He had six park designs in his portfolio at the time, including Six Flags Over Texas and Disneyland, and modelled Movie World's layout on Universal Studios Hollywood and Disney-MGM Studios Theme Park. It was scaled to let up to 13,000 guests visit all attractions in a single day, even during peak periods. Construction took about 16 months, relied on labour from local workers as much as possible and cost an estimated $120–140 million, of which Pivot contributed about $30 million.


title: Warner Bros. Movie World

text: The opening ceremony held on 2 June 1991 was attended by more than 5,000 people, among them celebrities such as Clint Eastwood, Mel Gibson, Goldie Hawn and Kurt Russell. To mark the occasion, Premier of Queensland Wayne Goss cut a novelty film reel with Eastwood and Bugs Bunny. The evening prior, 1 June, a special edition episode of "Hey Hey It's Saturday" ("Hey Hey It's Movie World") shot on-location had host Daryl Somers interview many of the celebrities in attendance, such as Eastwood and Russell. The park opened to the public on 3 June. Between 400 and 500 jobs were created upon its opening. The initial guest admission fee was $29 for adults and $19 for children. With increased international tourism to the Gold Coast since the 1980s, Village had hoped to tap into a market with American and Japanese customers; attractions were subtitled, and tour guides were trained, in Japanese. Described as the world's first "movie-based theme park" built outside the United States and the first "American-style" theme park since Tokyo Disneyland, it was expected to draw between one and 1.5 million visitors within its first year.


title: Warner Bros. Movie World

text: Opening attractions at Movie World educated guests about the processes behind filmmaking. Marketing slogans billed it as "Hollywood on the Gold Coast" and its design was intended to capture the aesthetic of American theme parks such as Disneyland and Universal Studios. Beyond the Fountain of Fame opening plaza, Main Street featured replicas of buildings and facades from various Warner films, such as Rick's Café Américain from "Casablanca", the bank robbed during "Bonnie and Clyde" and the "Daily Planet" building from "Superman". A film studio tour included the Movie Magic Special Effects Show with audience participation on a live set. There were two live daily shows: the Western Action Show featured actors performing amusing stunts with live animals and the hour-long Police Academy Stunt Show staged shoot-outs and car chases for an audience of 1,500. The Warner Bros. Classics & Great Gremlins Adventure interactive dark ride had guests escape from a gremlin invasion of a studio set. Young Einstein Gravity Homestead, based on the 1988 film "Young Einstein", featured sloped floors and optical illusions to simulate the effects of gravity. The Roxy Theatre screened 3D films. The Looney Tunes Land children's area featured several attractions, including the Looney Tunes River Ride dark water ride and the Looney Tunes Musical Revue live show.


title: Warner Bros. Movie World

text: Batman Adventure – The Ride, a $13 million motion simulator ride, opened on 23 December 1992. The ride's four-minute film portion, directed by Hoyt Yeatman and produced at the Dream Quest Images animation studio, featured props and set pieces from the film "Batman Returns". McFadden Systems, Inc. manufactured the motion platform and Anitech designed the 20-person simulation capsule. The ride was widely anticipated and immediately popular upon opening. More than 12,000 people visited on 30 December and set a single-day attendance record. In 1995, the Western Action Show was replaced by The Maverick Grand Illusion Show, based on the comedy film "Maverick". Lethal Weapon – The Ride opened as the park's first roller coaster in December. The Suspended Looping Coaster by Vekoma was the first of its kind to feature a layout with a helix (or "bayern kurve"). It was Australia's first inverted coaster and its construction required more than 600 tonnes of steel.


title: Warner Bros. Movie World

text: "Marvin the Martian in 3D" opened in December 1997 at the Roxy Theatre as the world's first animated 3D film and on Boxing Day, 26 December, Looney Tunes Land reopened as Looney Tunes Village with several new rides. Boxing Day 1998 saw the opening of the Wild Wild West (now Wild West Falls Adventure Ride). The flume ride by Hopkins Rides was at the time the largest single ride investment in Australia and featured an artificial mountain that was approximately wide and tall. Originally to be called Rio Bravo after the 1959 Western film of the same name, the ride was renamed to tie-in with the 1999 film "Wild Wild West". In their annual report, Village identified Wild Wild West as a crowd-pleaser and credited it with the attendance spike that year.


title: Warner Bros. Movie World

text: Road Runner Rollercoaster, a Vekoma Junior model, opened on Boxing Day 2000; it was Australia's first coaster designed for children. During 2001, the Great Gremlins and Gravity Homestead attractions closed, and the Looney Tunes Splash Zone was added to Looney Tunes Village. Two new attractions opened on Boxing Day: Batman Adventure – The Ride 2, a refurbishment of the original, and the Harry Potter Movie Magic Experience. Built on the Gravity Homestead's footprint, the $2 million Harry Potter attraction was a direct tie-in to the film series' first film, "The Philosopher's Stone", and featured a walk-through replica of Diagon Alley and a live owl show. The following year, it was updated with the release of "The Chamber of Secrets" to feature film set pieces such as the flying car and creatures of the Forbidden Forest. Scooby-Doo Spooky Coaster opened on 17 June 2002; the $13 million Wild Mouse coaster by Mack Rides was themed to the 2002 film "Scooby-Doo". The indoor ride featured ghost train elements, an elevator lift and a coaster section.


title: Warner Bros. Movie World

text: The Harry Potter attraction closed and was replaced in September 2003 by The Official Matrix Exhibit, which featured props from the "Matrix" film series. In 2005, Village announced expansion plans totalling $65 million for their Gold Coast parks, in which Movie World would receive a share with two new attractions. First, the Roxy Theatre was refurbished for a new film, "Shrek 4D Adventure". Opened on 17 September, the experience used sensory effects, moving seats and animatronics. Superman Escape, the other attraction, opened on Boxing Day. The $16 million Accelerator Coaster by Intamin was the park's first major thrill ride in about a decade. Batwing Spaceshot, a $5 million Space Shot by S&S Power, opened in December 2006.


title: Warner Bros. Movie World

text: Looney Tunes Village was renamed to Kids' WB Fun Zone in 2007, with two new rides added. Police Academy Stunt Show drew its final curtain call on 30 April 2008 after 16 years and 18,000 performances; the enduringly popular attraction was among the world's longest-running stunt shows at the time. Its replacement, the $10 million Hollywood Stunt Driver, opened on Boxing Day. A cast of 10 stunt drivers were selected from more than 200 applicants and, in preparation for the show, the venue was renovated to increase its stage area and seating capacity from 1,400 to 2,000 guests. Another new live show, Looney Tunes: What's Up Rock?, replaced The Musical Revue. In October, construction of a roof over Main Street was completed. The 4,000 square metre (43,000 sq ft) roof supplied by MakMax Australia was designed to improve guest protection from the elements and provide for a 2,000-person capacity venue for functions and events.


title: Warner Bros. Movie World

text: Looney Tunes River Ride and Batman Adventure – The Ride 2 closed in 2011. Showtime FMX's MotoMonster Xtreme show temporarily replaced Hollywood Stunt Driver from 26 June to 18 July as alternative winter holiday entertainment. Green Lantern Coaster opened on 23 December: the El Loco coaster by S&S Worldwide featured a 120.5° drop angle–the Southern Hemisphere's steepest and world's third-steepest. Lethal Weapon – The Ride closed in January 2012 for a $2 million refurbishment. The coaster received a new train manufactured by Kumbak with lap bar restraints and on-board audio. It was renamed Arkham Asylum – Shock Therapy, themed to the "" video games; the ride building transformed into an Arkham Asylum seized by the Joker and his cohorts. The ride reopened in April. Housed in the former Batman Adventure building, opened in September and incorporated special effects, animatronics and 3D projections. The $9 million interactive dark ride attraction was manufactured by Sally Corporation, with additional technologies provided by Alterface, Threshold Entertainment, Bertazzon and others.


title: Warner Bros. Movie World

text: Hollywood Stunt Driver closed and was replaced by its sequel on 20 February 2014, a revamped show that featured Showtime FMX motocross riders who performed more complex stunts than before. The $4 million Junior Driving School, where riders navigate a miniature Movie World replica, opened at the Kids' WB Fun Zone on 12 September. Built on the former Boot Hill Graveyard, the DC Comics Super-Villains Unleashed interactive precinct opened in September 2016. Its main attraction was Doomsday Destroyer, a Suspended Twin Hammer thrill ride designed by Intamin. Statues of DC supervillains (such as Harley Quinn and Scarecrow) were activated by RFID wristbands to interact with guests. The same month, optional virtual reality headsets were added to Arkham Asylum's ride experience. DC Rivals HyperCoaster opened on 22 September 2017. The $30 million Mack Rides hypercoaster was at its time the single largest ride investment in Village's history, and is Australia's tallest, fastest and longest coaster.


title: Warner Bros. Movie World

text: An "Aquaman" exhibition opened on 13 December 2018 to feature props and costumes used in the film. Scooby-Doo Spooky Coaster closed for maintenance from July to November; it was refurbished with new projection mapping technologies and other special effects, and rebranded as Scooby-Doo Spooky Coaster: Next Generation for its re-opening in December. The WB Studio Showcase, opened on 1 November 2019, exhibited props, sets and costumes from numerous Warner films such as "Suicide Squad", "" and "A Star Is Born". Later that month, Australian students of New York Film Academy (NYFA) began to offer guests a look at the filmmaking process with the NYFA – Hot Sets attraction. Arkham Asylum ceased operations in December. Due to the COVID-19 pandemic, the park closed on 22 March 2020 and reopened on 15 July at 50% guest capacity with social distancing and sanitisation policies in effect.


title: Warner Bros. Movie World

text: Batman Legacy, an exhibition themed to the "Batman" films, opened at the WB Studio Showcase on Boxing Day 2021. Park expansion plans were announced in July 2022. A Marvin the Martian-themed children's ride is scheduled to open at the Kids' WB Fun Zone in April 2023, and a "Wizard of Oz"-themed precinct is scheduled to open in 2024. The $40 million precinct is set to be built on the former Arkham Asylum site and feature two Vekoma coasters: a Suspended Family Coaster and a racing dual-track Family Boomerang.


title: Warner Bros. Movie World

text: Movie World is located in Oxenford on the Gold Coast, Queensland, approximately 20 km (13 miles) from Surfers Paradise. It is part of a precinct that includes three other Village properties: Wet'n'Wild Gold Coast, Australian Outback Spectacular and Paradise Country. The 15 attractions can be divided into five broad areas: Main Street, Kids' WB Fun Zone, the wild west, DC Comics Super-Villains Unleashed and the DC Comics superhero hub.