title: The Girl Who Kicked the Hornets' Nest

text: "The Girl Who Kicked the Hornet's Nest" was listed at the top of Amazon.com's bestseller list before arriving in bookstores, extremely unusual for an English-language book in translation. Just as unusually, this book was not made available in paperback until 21 February 2012, or more than two years after its original English-language publication in October 2009, probably because it still regularly appeared in Top 10 best seller lists as a hardcover book (e.g., rated #5 in the "New York Times" best seller list for the week ending 29 January 2012).


title: The Girl Who Kicked the Hornets' Nest

text: The "Millennium" series is described in a "The New York Times" review as "utterly addicting", and this, the third in the series, received a good review. Salander is described as "one of the most original characters in a thriller to come along in a while." The combination of her resourcefulness, intelligence and apparent fragility underlies her ability to win the battle to have her re-institutionalised. The compelling character of Salander and her past, completely explained in the volume of the trilogy, is a counterpoint to Blomkvist's more mundane character, writes the reviewer. The novel itself is compared to John le Carré's cold-war thrillers. Writing for "The Guardian", Kate Mosse declares that "The Girl Who Kicked the Hornet's Nest" is a "grown-up work for grown-up readers", which she says shows a well-presented plausible narrative. "The Los Angeles Times" disagrees, describing the plots as "improbable", but notes the popularity of the series, referring to it as "an authentic phenomenon". Writing for "The Washington Post", Patrick Anderson claims the third in the series "brings the saga to a satisfactory conclusion".


title: The Girl Who Kicked the Hornets' Nest

text: The overly long and complicated plot is criticised by Marcel Berlins writing for "The Sunday Times". The "Los Angeles Times" critic agrees, pointing at the implausibility of Larsson's plot, the weak writing and characterisations.


title: The Girl Who Kicked the Hornets' Nest

text: Larsson submitted the book to two Swedish publishers, with Norstedts Förlag accepting the manuscript for publication. Norstedts commissioned Steve Murray under the pen-name of Reg Keeland to undertake the English translation.


title: The Girl Who Kicked the Hornets' Nest

text: Alfred A. Knopf bought the rights to the book, along with the preceding two volumes in the series, after Larsson's death in 2004. "The Girl Who Kicked the Hornets' Nest" was published with a first print-run of 800,000 copies.


title: Love per Square Foot

text: Love Per Square Foot is a 2018 Indian Hindi-language romantic comedy film directed by Anand Tiwari and produced by Ronnie Screwvala, under his newly established banner RSVP Movies. The film stars Vicky Kaushal and Angira Dhar in the lead roles, which is about Sanjay and Karina who try to find a house in Mumbai, does not have enough money to earn individually, in order to buy a home, so they enter into a marriage of convenience.


title: Love per Square Foot

text: Anand Tiwari who wrote the script in 2010, along with Sumeet Vyas, was intended to be made into a dark film, later they chose to make it as a romantic comedy film. The shooting of the film took place across Mumbai, within 50 days, during December 2016 and January 2017, whereas post-production works were completed within three months. Anand Bajpai composed the background score, whereas Sohail Sen composed the film's soundtrack. The film's cinematography was handled by Avinash Arun and editing done by Sanyukta Kaza.


title: Love per Square Foot

text: Originally scheduled for a theatrical release, Anand Tiwari eventually sent the film's final cut to the executives of Netflix India, who approved to release the film online. Thus it became the first Indian film to be released directly on a streaming platform. Billed as the first Indian original film from Netflix, "Love Per Square Foot" released directly through the streaming platform on 14 February 2018, to coincide with the Valentine's Day. The film was screened at the Beijing International Film Festival, held in China in April 2019.


title: Love per Square Foot

text: The film revolves around Sanjay Kumar Chaturvedi, an IT engineer, and Karina D'souza. They both work in the same bank and dream of having their own home but are held back because of problems in their personal lives. Sanjay's boss, Rashi Khurana is having an extra-marital affair with him, but refuses to leave her husband, Kashin, while Karina is betrothed to Samuel and constantly held back from her dream of owning a home, by her mother Blossom. Everything changes when Sanjay finds out about a joint housing scheme, and asks Karina to apply for the scheme with him. She agrees and the movie portrays various problems they have as they are trying to buy the apartment as an unmarried couple.


title: Love per Square Foot

text: During the shooting of "Aisha" (2010) in Mumbai, Anand Tiwari witnessed a couple fighting in the middle of Carter Road in Mumbai, with he was heading to Bandra in a local train, where the same couple boarded the train and the fight continued in the train and they passionately hugged after that. He eventually stated as "the journey of love between Bandra and Mumbai Central" in an interview later, further adding that: "I always wanted to show relationships as they happen, as opposed to how they are shown in films".


title: Love per Square Foot

text: Anand wrote the script in late 2010, as a dark film initially, with Vikramaditya Motwane, stating that the script is too dark, and it need to make the character likeable. He then discussed with his friends Manav Kaul and Sumeet Vyas, and decided to make it as a romantic comedy film. While shooting for "Finding Fanny", he and Sumeet went for a short trip to Goa for 10 days, were Anand wrote the first draft of the film. He narrated the script to producer Ronnie Screwvala, at his office, whom eventually accepted to produce the film, after liking the script. The film marked Screwvala's return to production after three years. Screwvala, the founder of UTV Motion Pictures, left the company in 2014, after Disney India announced its collaboration. It eventually marked its solo production under his banner RSVP Movies.


title: Love per Square Foot

text: Initially, Anand wanted Sumeet Vyas to play the role of the protagonist Sanjay Chaturvedi; but the actor changed his mind, and insisted Vicky Kaushal, whom personally worked with Anand and Sumeet in theatre workshops. The film's casting director Honey Trehan suggested Kaushal's name for the script. After being cast in the role, Kaushal stated at the 18th IIFA Awards in Mumbai that "It’s a romantic story mixed with a comedy about a boy and girl trying to find a house in Mumbai. I have never been a part of a happy film. All my earlier films have been on the intense side, so I had a ball shooting for this one. My character Sanjay is ambitious and street-smart. This film will be a proper commercial Hindi film with a lot of dancing and singing incorporated in it". Angira Dhar was hired to play the female lead, in her second collaboration with Anand after "Bang Baaja Baarat". Alankrita Sahai plays the role of Sanjay's intimidating boss, Rashi, whereas Ratna Pathak Shah, Supriya Pathak and Raghubir Yadav, essayed the role of Karina and Sanjay's parents. Ranbir Kapoor made a cameo appearance in the film.


title: Love per Square Foot

text: Principal photography began in December 2016, with the film being mostly shot around Mumbai, and ended in January 2017. The entire film was shot within a duration of 50 days, including the songs, sequences and the patchwork. During the post-production process, Tiwari took about one-and-a-half months for the first cut and visual effects, with the rest of the dubbing, editing, and sound mixing lasted for two months, by which, the process was completed within three to four months.


title: Love per Square Foot

text: The film's soundtrack album is composed and produced by Sohail Sen, with lyrics for the songs were written by Abhishek Dhusia, Sahir Nawab, Sumeet Suvarna, Anand Tiwari, Gopal Datt, Abhiruchi Chand, and Jamil. The soundtrack features vocals by Benny Dayal, Shivangi Bhayana, Udit Narayan, Rekha Bhardwaj, Altamash Faridi, Abhishek Dhusia, Tarannum Malik, Sahir Nawab, and Sumeet Suvarna. Bhardwaj, also made an appearance in the film, as a classical singer, apart from singing the song "Raaz Apne Dil Ke", which has two versions. The soundtrack album features seven tracks and was released by Zee Music Company on 24 January 2018.


title: Love per Square Foot

text: Music critics Jay Palav and Anish Mohanty reviewed about the use of jazz, beatbox, classical, western and orchestral arrangements, and instrumentation in the soundtrack. Palav, praised the use of veteran singers, Udit Narayan, Altamash Faridi and Tarannum Malik, in the soundtrack, adding a verdict: "Sohail’s put up a winning OST, which is relatable, warm and accessible". Mohanty, added the final word "After composing for "Happy Bhag Jayegi" (2016), he makes a good enough comeback to the film music scene with this film, and one looks forward to see the kind of music he rolls out with his upcoming releases".


title: Love per Square Foot

text: Initially scheduled for a theatrical release on 8 September 2017, "Love Per Square Foot" was pushed to 20 April 2018, due to post-production delays. Anand Tiwari later presented the final cut of the film, to the executives of Netflix headquarters in India, with eventually picking it for a release in their platforms. In November 2017, Netflix officially announced the release on its platform, with "Love Per Square Foot" becoming the first mainstream production from India to be made available on the streaming site.


title: Love per Square Foot

text: "Love Per Square Foot" was preponed from its original scheduled date (20 April 2018), to 14 February 2018, in order to coincide the Valentine's Day. The film's official trailer was premiered on 18 January 2018. It was released as the first Netflix Indian original film in more than 190 countries on 14 February. The film was showcased at Beijing International Film Festival on 26 April 2019.


title: Love per Square Foot

text: Rohit Vats of "Hindustan Times" gave 3 out of 5 and stated "Love Per Square Foot doesn’t delve deep into matters of the heart, but it’s a feel good film for sure. Angira Dhar makes a promising debut and Vicky Kaushal shows his lighter side. Anand Tiwari handles romance with proper care and maturity. Love Per Square Foot is youthful, urbane and lovable." Ektaa Malik of "The Indian Express" wrote: "The film has its heart in the right place and would have worked better had it been about twenty minutes shorter." Kriti Tulsiani of "News18" wrote "If the name "Love Per Square Foot" isn't enough to bring a smile to your face, just sit back and relish the conundrums of love and space in the city of Mumbai." Swetha Ramakrishnan of "Firstpost" gave 3.5 out of 5 stating "Love Per Square Foot is what happens when you have an authentic setting, a stellar cast, the right intentions and good writing all mixed into one film."


title: Love per Square Foot

text: Dipti Kahrude of "The Quint" wrote "In popular culture, millennial lives are almost synonymous with galloping digitization. "Love Per Square Foot" instead directs its gaze on the middle class realities and aspirations of millennials living with their parents in cramped houses, with no privacy of bedrooms of their own. It bracingly avoids defining them merely by technology. The film may not break thrilling new ground with its subject but the observational humour in the dialogue, the bevy of supporting characters, earnest performances and an assured directorial debut make it worth a watch." Rajat Tripathi of "Bollywood Life" gave 3.5 out of 5 and wrote "If you are a love bug, Love Per Square Foot will certainly tug at your heartstrings and make you feel giddy. It is the perfect romantic film that we were waiting for. It is the cutest film that has released in the longest time. However, if you are not a sucker for romance, you might want to avoid it."


title: Love per Square Foot

text: Rahul Desai of "Film Companion" gave 3 out of 5 and stated "The film merely uses “space” as a generic trigger to communicate the city's diverse stereotypes." Deepali Singh of "Daily News and Analysis" gave 2.5 out of 5 and stated "The plot takes a predictable turn towards the end when you know that all’s going to end well after all." Malika Bhagat of "The Times of India" gave 3 out of 5 stating "The fact that the end panders to the typical romantic in us is why "Love Per Square Foot" fails to live up to the hype." Avinash Ramachandiran of "The New Indian Express" wrote "Love Per Square Foot falls in the space of those bitter-sweet dramas about the housing space that we saw in the 1970s."


title: Summer Rental

text: Summer Rental is a 1985 American comedy film directed by Carl Reiner, written by Mark Reisman and Jeremy Stevens, and starring John Candy and Richard Crenna. It tells the story of an overworked air traffic controller who is put on a five weeks' paid leave and takes his family to the resort town of Citrus Cove, Florida with different comical results. An original music score was composed for the film by Alan Silvestri. The film was released on August 9, 1985, by Paramount Pictures.


title: Summer Rental

text: Overworked air traffic controller Jack Chester is given five weeks' paid leave by his supervisor Hal after nearly causing a mid-air collision on the job and having an outburst over what turned out to be a fly covering a radar blip. He uses this time off to take his wife Sandy, children Jennifer, Bobby, and Laurie, and pet dog Archie on a summer vacation from the Atlanta area to the Florida Gulf Coast resort town of Citrus Cove (Treasure Island - Madeira Beach area of Tampa Bay<ref name="tampabay/2240708"></ref>) where they are beset by a barrage of problems.


title: Summer Rental

text: First, they are bumped out of the front of the line of an upscale seafood restaurant in favor of arrogant local sailing champion Al Pellet. They end up dining at The Barnacle run by a local saloon keeper named Richard Scully with a pirate's mentality. Later, the family learns that they misread the address and moved into the wrong house as Dan Gardner, the real owner, and his family arrive home and help them rectify the address error. They end up at the real address which turns out to be a decrepit hut with public access path on the property to the beach. Later, Jack suffers a leg injury sailing with Bobby and colliding with Al's sailboat that prevents him from spending time with his family who befriend Don Moore and his son Gregg at the movie theater. After befriending their neighbors Vicki and Ed Sanders, Chester later befriends Richard who teaches him how to run a sailboat.


title: Summer Rental

text: Later, Jack again locks horns with Al, who turns out to be the new owner of the dubious house after the previous landlord died, having been sent to the hospital earlier. Jack gives Al the check for $1,000 to cover the rent for the next two weeks, but Al tears up the check and orders the Chesters to leave when the first two weeks expire, threatening premature personal eviction. To avoid this, Jack challenges Al to a race at the upcoming Citrus Cove Regatta: if Al wins, Jack will pay him the $1,000 rent and take his family home. if Jack wins, he keeps the money and earns the right to stay in the house for the next two weeks rent-free. Al scoffs at the notion that Jack could defeat him in a race, but accepts the challenge. However, Jack hasn't sailed for many years and doesn't even have a boat. Richard Scully volunteers to help him on both counts with help from his crew. The bored Chesters come to life by helping Jack make his new vessel seaworthy with help from the Sanders.


title: Summer Rental

text: On the day of the Citrus Cove Regatta, the Moores watch over Archie while the Sanders watch the race. This motley crew is initially no match for Al or the other competitors, but a strong breeze, a large pair of pants, and throwing out useless items enable Jack to achieve a victory at sea.


title: Summer Rental

text: Filming took around nine weeks, from March 18 to May 15, 1985, with principal photography starting in St. Petersburg, Florida and St. Pete Beach, Florida, on March 18 for seven weeks before moving to Atlanta.<ref name="afi/Catalog/58380"></ref>


title: Summer Rental

text: The film was based on a summer holiday taken by Bernie Brillstein when he rented a house at the beach in Southern California. "I have five children and I weigh 240 pounds," said Brillstein. "Being heavy in California is not a terrific thing. Being heavy on the beach is worse. The house on the left was occupied by two elderly sisters, one of whom had a 6-foot-4 inch mentally challenged son who was out of "Arsenic and Old Lace". The house on the right was out of "Death in Venice", occupied by a chic group of homosexuals who had 28 inch waists and wore peach sweaters."


title: Summer Rental

text: It became a starring vehicle for John Candy. Director Carl Reiner said "Like a small, beautiful painting in a large frame, John is a handsome guy in a larger frame than is necessary."


title: Summer Rental

text: The film was developed at Paramount by the team of Barry Diller, Michael Eisner and Jeffrey Katzenberg. They all ended up leaving the studio before the film was made.<ref name="nytimes/Harmetz/1985/paramount"></ref> Brillstein expected the film to be cancelled. However, Paramount's new studio president Ned Tanen greenlit the film. "It was quite a good script, and we had no product," said Tanen. "There was a vacant spot of about six months on our release schedule. When all the geniuses are through, that's as good a reason as any to make a movie."


title: Summer Rental

text: Candy and Reiner got along so well that they planned to make another film together at Paramount, titled "The Last Holiday", but it never was made.


title: Summer Rental

text: "Summer Rental" was filmed in St. Pete Beach, near St. Petersburg, Florida. Several local landmarks can be seen throughout the movie, including the St. Petersburg Pier during the final leg of the Regatta. Other landmarks include the old drawbridge on US19/I-275 north of the old Sunshine Skyway as well as shots of Egmont Key in the distance.


title: Summer Rental

text: The air traffic control, radar room scene was filmed on location at the FAA Atlanta Air Route Traffic Control Center (ARTCC ZTL) in Hampton, Georgia.


title: Summer Rental

text: Jimmy Buffett's "Turning Around" plays during the closing credits. It is also played when the Chesters are fixing their boat, the Barnacle. The soundtrack is the only legitimate release of the song.


title: Summer Rental

text: In 2014, Alan Silvestris score was released on a limited edition album by Quartet Records, twinned with his score for the 1987 film "Critical Condition".<ref name="discogs/7133784"></ref>


title: Summer Rental

text: "Summer Rental" was released in the United States on August 9, 1985, and was Candy’s first starring role in a feature film.


title: Summer Rental

text: The film originally was released in the United States by Paramount on DVD in April 2001 on widescreen with a theatrical trailer as the sole special feature. It was reissued on DVD three more times. The United Kingdom released it on DVD in 2004 with the same extra feature.


title: Summer Rental

text: In the United States and Canada, it made $5,754,259 in its first weekend, ranking second at the box office. On its second weekend, it grossed $3,708,812 in 1,595 theaters, a 35% decrease over the previous week, ranking sixth. By the third weekend, it made $2.3 million and on its fourth $1.9 million over Labor Day weekend, ranking tenth.<ref name="upi/5938494654400"></ref> On the fifth weekend, it made over $1 million for a box-office total of $21,579,838. It made another $2.8 million on its sixth and final weekend, with an increase of 171%, climbing to second place behind "Back to the Future".


title: Summer Rental

text: Janet Maslin of The New York Times called it "a wan but good-natured hot-weather comedy, with a big debt to National Lampoon's Vacation plus a few nice touches of its own."


title: Summer Rental

text: Candy told Gene Siskel in 1986, "We shot it too fast...We were trying to fill a time slot for Paramount."<ref name="stpetecatalyst/summer-rental"></ref>


title: Gábor Csupó

text: Gábor Csupó ( , ; born September 29, 1952) is a Hungarian-American animator, writer, director, producer and graphic designer. He is co-founder of the animation studio Klasky Csupo, which has produced shows like "Rugrats", "Duckman", "Stressed Eric", and "Aaahh!!! Real Monsters".


title: Gábor Csupó

text: After four years at the Pannónia Filmstúdió animation studios, Csupó emigrated to the West in 1975. While working in Sweden he met Arlene Klasky, an American-born animator. The two subsequently started their own company, Klasky Csupo, which produced many popular animated television shows.


title: Gábor Csupó

text: Before starting Klasky Csupo he emigrated to the United States in the late 1970s and began working as an animator for Hanna-Barbera on a few shows such as "Casper and the Angels", "Scooby and Scrappy-Doo", and "The World's Greatest Super Friends".


title: Gábor Csupó

text: Klasky Csupo animated the short cartoons about the Simpson family which appeared on "The Tracey Ullman Show" (1987–1989) and continued this role on the half-hour adaptation of the characters, entitled "The Simpsons", for its first three seasons (1989–1992). Csupó was credited as "animation executive producer" and "supervising animation director". Klasky Csupo animator and colorist Gyorgyi Peluce conceived the idea of the "Simpsons" characters having yellow skin, and Marge Simpson having blue hair, opting for something which "didn't look like "anything" that had come before." Csupó liked the idea, although many of the show's producers at production company Gracie Films disapproved. He noted "everybody kept saying, 'You can't have people with yellow skin', and I said, 'Why not? Csupó persuaded the producers and the show's creator Matt Groening to approve of the colors. Groening liked the idea, feeling that attempts to re-create human skintone on cartoons always appeared "freakish". Groening said of Csupó and Klasky, "What I love about them is their stuff looks like no one else." The character design of "The Simpsons" character Dr. Nick Riviera is based somewhat on Csupó. The show's animators mistakenly believed the character's voice actor, Hank Azaria, was impersonating Csupó, but Azaria said the voice was actually a "bad" imitation of Ricky Ricardo from "I Love Lucy".


title: Gábor Csupó

text: In 1992, Gracie Films switched domestic production of "The Simpsons" to Film Roman. Csupó was "asked [by Gracie Films] if they could bring in their own producer [to oversee the animation production]," but declined, stating "they wanted to tell me how to run my business." Sharon Bernstein of "The Los Angeles Times" wrote that "Gracie executives had been unhappy with the producer Csupó had assigned to "The Simpsons" and said the company also hoped to obtain better wages and working conditions for animators at Film Roman." "The Gracie statement to the Times was a bogus statement, as their action was for revenge and nothing else. All of my employees were better paid than anywhere else in the industry, and my producer did an excellent job. I stood up for my producer (Sherry Gunther), because the only thing she did was asking Fox TV to pay for all of Gracie Films' changes after their approval of all aspects of production. Gracie Films did not like that their mistakes were revealed to the Network and demanded firing of an innocent hard working producer", Csupo states. "Of course I refused to do that!" Of the 110 people he employed to animate "The Simpsons", Csupó had to lay off 75. In the same year, Klasky Csupo went on to produce other shows for Viacom/Nickelodeon and USA Networks, and hired almost all of the laid-off artists back plus hired about 500 more. Shows, short films, and films produced include "Technological Threat", "Rugrats", "Duckman", "The Wild Thornberrys", "Rocket Power", "As Told By Ginger", "All Grown Up!", "Santo Bugito", "Stressed Eric", "Alexander and the Terrible, Horrible, No Good, Very Bad Day", "Immigrants", "Recycle Rex", "The Wacky Adventures of Ronald McDonald", "What's Inside Heidi's Head?", "" and "Aaahh!!! Real Monsters". His company Klasky Csupo also produced several television films and four feature animated films for Paramount Pictures: "The Rugrats Movie", "Rugrats in Paris", "Rugrats Go Wild", and "The Wild Thornberrys Movie". "The Rugrats Movie" became the first non-Disney animated film in the world to earn more than $100M at the domestic box office.


title: Gábor Csupó

text: His record label, Tone Casualties, founded in 1994, released several industrial, noise, ambient and experimental music releases, including discs by Holger Czukay, Drew Neumann, Paul Schütze, , Borut Kržišnik, András Wahorn, Controlled Bleeding, and his own works (sometimes under the pseudonym "Opus Crobag").


title: Gábor Csupó

text: He also directed three live-action films outside of Klasky Csupo: "Bridge to Terabithia" for Walt Disney Pictures and Walden Media, "The Secret of Moonacre" for Warner Bros. and Lionsgate, and the musical comedy "Pappa Pia" for Zene Nelkul KFT, Hungary.


title: Gábor Csupó

text: Csupó is a big fan of Frank Zappa and credits Zappa with helping him learn the English language. His collection of Zappa albums were the only items he took with him when he fled his native Hungary in the 1970s. When he worked on "The Simpsons", he and Matt Groening, a fellow Zappa fanatic, tried unsuccessfully to persuade the series' producers to use Zappa's music on the show. Nonetheless, he secured the rights to Zappa's music for "Duckman", and its first season contained songs from throughout Zappa's career, including "Peaches en Regalia" and "Take Your Clothes Off When You Dance." Later, Csupó was enlisted to create the cover art for the career-spanning Zappa rarities collection "The Lost Episodes", released on CD in 1996.


title: Mattel Films

text: Mattel Films is the film production division of Mattel originally formed on October 16, 2013, as Mattel Playground Productions as part of Mattel Global Brands, a unified media structural and strategy unit.


title: Mattel Films

text: On March 31, 2016, Mattel placed the division within a newly-created division at the time, Mattel Creations, absorbed its operations into it and, seven months later, made it defunct due to the box office reception of the live-action film release of "Max Steel". On September 6, 2018, the division was revived and reformed as Mattel Films.


title: Mattel Films

text: Since the 1970s, Mattel has teamed up with numerous producers and studios to adapt its portfolio into feature-length films. This includes a joint venture in 1970 with producer Robert B. Radnitz, which produced family films including "Sounder", "Where the Lilies Bloom", and "A Hero Ain't Nothin' but a Sandwich".


title: Mattel Films

text: In 2013, Mattel launched Playground Productions (shortened as Mattel PGP or just PGP) as its in-house film studio to handle multimedia productions and foster creative storytelling for its brands for global multi-platform distribution. Its first animated project was "Team Hot Wheels: The Origin of Awesome!". Mattel had been developing a live-action Hot Wheels film at Legendary Entertainment and Universal Pictures, films featuring the "Masters of the Universe" and "Barbie" brands at Columbia Pictures, a "Monster High" film with Universal and a "Max Steel" film with Dolphin Entertainment. PGP was planned to set up three-year storytelling plans that incorporate every part of the company's core operations, from toy designers to consumer products and marketing. David Voss, an acclaimed 20-year veteran in the toy and entertainment business, was appointed as the division's head and Senior Vice President.


title: Mattel Films

text: With WWE on March 17, 2014, Mattel PGP launched an online short form series, "WWE Slam City", to go along with its dedicated toy line. The series was picked up by Nicktoons' NickSports programming block from October 22, 2014.


title: Mattel Films

text: After Voss left the division in January 2016 for subscription service, Loot Crate, Mattel placed PGP within Mattel Creations upon its formation along with its other two content production units: HIT Entertainment and the content creation team of American Girl at Middleton, Wisconsin. After the critical and commercial failure of the live-action "Max Steel" film on October 20, 2016, Mattel Playground Productions was absorbed into Mattel Creations.


title: Mattel Films

text: On September 6, 2018, Mattel announced the launch of a film division, Mattel Films, that will make films based on the company's toy brands. Outside Mattel, the division is widely recognized as the revival and replacement of Mattel PGP. Acclaimed film producer Robbie Brenner was appointed to head the division as executive producer and will report directly to Mattel's CEO, Ynon Kreiz.


title: Mattel Films

text: The revived division's first two projects will be the "Barbie" and "Masters of the Universe" live-action films. On January 7, 2019, it was announced that Margot Robbie was going to star in the "Barbie" film to be co-produced with Warner Bros. Pictures and Robbie's production company, LuckyChap Entertainment.


title: Mattel Films

text: With the "Hot Wheels" films rights option with Legendary Entertainment expired and reverted back to Mattel, Mattel Films shopped the property to Warner Bros. for a partnership on a film for the first time on January 29, 2019. The company teamed up with Universal Pictures for the first time on July 16, 2020, on adaptation of "Wishbone" to film.


title: Mattel Films

text: On April 19, 2021, Mattel Films teamed up with Universal Pictures and Vin Diesel's One Race Films for a live-action film adaptation of the 1966-launched toy, Rock 'Em Sock 'Em Robots, starring Diesel himself.


title: Mattel Films

text: On June 24, 2021, Mattel Films and Metro-Goldwyn-Mayer agreed to work on a live-action film for Polly Pocket.


title: Mattel Films

text: On December 16, 2021, Mattel Films announced its first project based on outside intellectual property: "Christmas Balloon", which is written by Gabriela Revilla Lugo. The film is intended to be based on the true story of a young girl who tried to send her Christmas message to Santa via a balloon.


title: Mattel Films

text: In July 2022, Mattel Films and Skydance announced the development of a live-action movie based on the Matchbox die-cast toy vehicles.


title: Sustainable Development Goal 11

text: Sustainable Development Goal 11 (SDG 11 or Global Goal 11), titled "sustainable cities and communities", is one of 17 Sustainable Development Goals established by the United Nations General Assembly in 2015. The official mission of SDG 11 is to "Make cities inclusive, safe, resilient and sustainable". The 17 SDGs take into account that action in one area will affect outcomes in other areas as well, and that development must balance social, economic and environmental sustainability.


title: Sustainable Development Goal 11

text: SDG 11 has 10 targets to be achieved, and this is being measured with 15 indicators. The seven "outcome targets" include safe and affordable housing, affordable and sustainable transport systems, inclusive and sustainable urbanization, protection of the world's cultural and natural heritage, reduction of the adverse effects of natural disasters, reduction of the environmental impacts of cities and to provide access to safe and inclusive green and public spaces. The three "means of achieving" targets include strong national and regional development planning, implementing policies for inclusion, resource efficiency, and disaster risk reduction in supporting the least developed countries in sustainable and resilient building.


title: Sustainable Development Goal 11

text: 3.9 billion people—half of the world’s population—currently live in cities globally. It is projected that 5 billion people will live in cities by 2030. Cities across the world occupy just 3 percent of the Earth's land, yet account for 60–80 percent of energy consumption and 75 percent of carbon emissions. Increased urbanization requires increased and improved access to basic resources such as food, energy and water. In addition, basic services such as sanitation, health, education, mobility and information are needed. However, these requirements are unmet globally, which causes serious challenges for the viability and safety of cities to meet increased future demands.


title: Sustainable Development Goal 11

text: SDG 11 represents a shift in international development cooperation from a focus on poverty as a rural phenomenon to recognizing that cities, especially in the global south, are facing major challenges with extreme poverty, environmental degradation and risks due to climate change and natural disasters. Despite its ambiguous targets and goals, is still an important tool for addressing urban challenges and calls for actors to develop realistic, locally defined indicators and outputs to fit the urban context of specific cities to promote more sustainable, inclusive and equal cities.


title: Sustainable Development Goal 11

text: In September 2015, the General Assembly adopted the 2030 Agenda for Sustainable Development that included 17 Sustainable Development Goals [connect to the general SDG page]. These goals are designed to be a “blueprint to achieve a better and more sustainable future for all” through addressing global challenges, including those


title: Sustainable Development Goal 11

text: related to poverty, inequality, climate change, environmental degradation, peace and justice. In September 2019, Heads of State and Government came together during the SDG Summit to renew their commitment to implement the 2030 Agenda for Sustainable Development. During this event, they acknowledged that the first four years of the implementation of the 2030 Agenda included major progress, but that overall, the world is not on track to deliver the SDGs.


title: Sustainable Development Goal 11

text: SDG 11 addresses slums, human settlement management and planning, climate change mitigation and adaptation, and urban economies. Prior to the adoption of the 2030 Agenda, Millennium Development Goal 7, target 4, called for efforts to achieve a "significant improvement in the lives of at least 100 million slum dwellers" by 2020.


title: Sustainable Development Goal 11

text: In 2008, for the first time in history, the global urban population outnumbered the rural population. This milestone marked the beginning of a new 'urban millennium' and, by 2050, two-thirds of the world population are expected to be living in urban areas. The number of urban residents increases by nearly 73 million every year, and it is estimated that urban areas account for 70 per cent of the world's gross domestic product, generating a large share of economic growth. Thus, sustainable development cannot be achieved without significantly transforming the way we build and manage our urban spaces.


title: Sustainable Development Goal 11

text: The unprecedented growth of cities, coupled with increasing rural to urban migration resulting from a combination of “push” and “pull” factors, has led to a boom in mega-cities, especially in the developing world. In 1990, there were ten mega-cities with 10 million inhabitants or more, and in 2014, there were 28 mega-cities, home to a total of 453 million people. Slums are also becoming a more significant feature of urban life. Between 2000 and 2014, the absolute number of people living in slums went from 792 million in 2000 to an estimated 880 million in 2014. Most of them are found in Eastern and South-Eastern Asia. In the next 30 years, 90% of urban growth is anticipated to happen in Asia and Africa. Rapid urbanization worldwide is exerting pressure on fresh water supplies, sewage, the living environment, and public health.


title: Sustainable Development Goal 11

text: The vast majority of research that pertains to the topic of SDG 11 comes from the United States, United Kingdom and China. Environmental science and social sciences fields see the most research with regard to Sustainable Development Goal 11, followed by medicine, energy and engineering.


title: Sustainable Development Goal 11

text: The UN has defined 10 targets and 15 indicators for SDG 11. Targets specify the goals, and indicators represent the metrics by which the world aims to track whether these targets are achieved. Six of them are to be achieved by the year 2030 and one by the year 2020 and three have no target years. Each of the targets also has one or two indicators which will be used to measure progress.


title: Sustainable Development Goal 11

text: The full title of Target 11.1 is "By 2030, ensure access for all to adequate, safe and affordable housing and basic services and upgrade slums".


title: Sustainable Development Goal 11

text: This target has one Indicator: Indicator 11.1.1 is the "Proportion of the urban population living in slum households".


title: Sustainable Development Goal 11

text: People who live in slums have no access to improved water, access to improved sanitation, sufficient living area, and durable housing.


title: Sustainable Development Goal 11

text: Target 11.1 is to ensure access to safe and affordable housing by 2030. The indicator to measure progress toward this target is the proportion of urban population living in slums or informal settlements. Between 2000 and 2014, the proportion fell from 39 percent to 30 percent. However, the absolute number of people living in slums went from 792 million in 2000 to an estimated 880 million in 2014. Movement from rural to urban areas has accelerated as the population has grown and better housing alternatives are available.


title: Sustainable Development Goal 11

text: A sustainable transportation system considers different socioeconomic groups' travel concerns to achieve the validity of accessibility metrics. According to the Bogota research, transportation and transportation planning should be coordinated with land use planning. Employment and residential areas are relatively concentrated, and urban and suburban settings should be planned and reconstructed in concert.


title: Sustainable Development Goal 11

text: The full text of Target 11.2 is "By 2030, provide access to safe, affordable, accessible and sustainable transport systems for all, improving road safety, notably by expanding public transport, with special attention to the needs of those in vulnerable situations, women, children, persons with disabilities and older persons".


title: Sustainable Development Goal 11

text: This target has one Indicator: Indicator 11.2.1 is the "Proportion of population that has convenient access to public transport, by sex, age and Persons With Disabilities". Improving transport systems to refine the use of accessibility is key because due to physical or mental disabilities, impaired sight or hearing, carrying heavy bags or traveling with small children, as this causes an average of 25% of the population to experience a degree of reduced mobility.


title: Sustainable Development Goal 11

text: One of the main issues that arises in providing access to transport systems for all has been in many urban areas lacking coordination between local authorities and public transport operators. Welza


title: Sustainable Development Goal 11

text: The full-text Target 11.3 is "By 2030, enhance inclusive and sustainable urbanization and capacity for participatory, integrated and sustainable human settlement planning and management in all countries".


title: Sustainable Development Goal 11

text: Over long periods of time according to a variety of environmental, political, and social conditions land-use practices are developed. Land being used for infrastructural and developmental activities can differ due to the demand for resources and socioeconomic factors. Managing the ratio of land consumption rate to the population growth rate is vital because of the effects of urban sprawl which occurs when there is a migration of population to new regions. In such cases agricultural and vacant land becomes occupied as the population grows which occasionally leads to the conversion of agricultural land to urban settlements, deforestation, or rural areas converting to urban areas. Therefore, creating a greater method to sustainable urbanization and managing human settlements is significant with population growth.


title: Sustainable Development Goal 11

text: Indicator 11.3.2 may be challenging to calculate as direct participation in accordance with urban planning requires the implication that constructive relations are practiced with countries or city administrators. However, only 20 out of 211 countries have a direct democracy which implies that “citizens through their representatives are tasked with co-designing policies to be discussed in public and later voted on by the public”.


title: Sustainable Development Goal 11

text: The full text of Target 11.4 is "Strengthen efforts to protect and safeguard the world's cultural and natural heritage."


title: Sustainable Development Goal 11

text: It has one indicator: Indicator 11.4.1 is the "Total per capita expenditure on the preservation, protection and conservation of all cultural and natural heritage, by the source of funding (public, private), type of heritage (cultural, natural) and level of government (national, regional, and local/municipal)".


title: Sustainable Development Goal 11

text: Urban spaces should add efforts in preserving cultural and natural heritage as it can bring pride to a community and may be used to capitalize on the heritage or used as a marketing tool. The use of urban archaeology may be an option to explore to strengthen cultural heritage. Material culture, artifacts, building foundations, food remains, gardens, pathways and bridges can be further studied by urban archeologists to understand the history and diversity which lives in the urban space.


title: Sustainable Development Goal 11

text: This indicator can be difficult to calculate for the following reasons: Countries' national accounting frameworks may not clearly separate cultural, natural, and other activities; financial transactions may be rechanneled for different uses; financial transactions may be double-counted at different levels of public administration.


title: Sustainable Development Goal 11

text: The full text of Target 11.5 is "By 2030, significantly reduce the number of deaths and the number of people affected and substantially decrease the direct economic losses relative to global gross domestic product caused by disasters, including water-related disasters, with a focus on protecting the poor and people in vulnerable situations".


title: Sustainable Development Goal 11

text: According to a recent report released by Aon, at least 416 notable natural disaster events occurred on a regional, peril, or event-level scale in addition to pandemic-related events in 2020, which was higher than the average (384) and median (390) since 2000. The estimated direct economic losses and damages caused by these natural disasters were about US$268 billion, which was higher than the average of the 21st century by 29%.


title: Sustainable Development Goal 11

text: The Emergency Events Database (EM-DAT) records show from 1970 to 2019, 50% of all disasters were weather, climate, and water hazards, and these disasters were accountable for 45% of all reported deaths (2.06 million), 74% of all reported economic losses (US$3.6 trillion).


title: Sustainable Development Goal 11

text: In addition, continued climate change, and global warming would likely increase both the frequency and intensity of weather-, climate-related hazards, like floods, hurricanes, storms and lead to tremendous economic loss and deaths. Around 32 – 79 million people will be exposed to coastal flooding If the global temperature increases by 2 °C.


title: Sustainable Development Goal 11

text: The full text of Target 11.6 is "By 2030, reduce the adverse per capita environmental impact of cities, including by paying special attention to air quality and municipal and other waste management."


title: Sustainable Development Goal 11

text: The use of “zero waste” cities can be useful to implement within cities as it suggests the concept of recycling 100% of waste to mitigate the harmful waste produced by the city. As waste management systems are political, environmental, socio-economic, and technological, there may be challenges faced achieving indicator 11.6.1 as these factors create interrelated and dynamic inherited features. As waste management systems are political, environmental, socio-economic, and technological, there may be challenges faced achieving indicator 11.6.1 as these factors create interrelated and dynamic inherited features.


title: Sustainable Development Goal 11

text: Particulate matter (PM) in the air can affect the cardiovascular system and other major organs. Chronic exposure will lead to further health risks.


title: Sustainable Development Goal 11

text: The full text of Target 11.7 is: "By 2030, provide universal access to safe, inclusive and accessible, green and public spaces, in particular for women and children, older persons and Persons With Disabilities"


title: Sustainable Development Goal 11

text: University campuses are found to have great potential to contribute to urban green areas development. Green spaces play an important role in improving quality of life and reducing stress and improving overall well-being, they have increasingly become an integrated part of the university campus.


title: Sustainable Development Goal 11

text: Universities also are widely recognized as a key driver of sustainability practices promotion, research, personal involvement, achievement of SDG goals through educational establishment.


title: Sustainable Development Goal 11

text: The full text of Target 11.a is "Support positive economic, social and environmental links between urban, peri-urban and rural areas by strengthening national and regional development planning".


title: Sustainable Development Goal 11

text: It has one indicator: Indicator 11.a.1 is the "Number of countries that have national urban policies or regional development plans that (a) respond to population dynamics; (b) ensure balanced territorial development, and (c) increase local fiscal space."


title: Sustainable Development Goal 11

text: This indicator is one of the key metrics to benchmark and monitors urbanization. It can serve as a gap analysis to support policy recommendations. Data sources for this indicator may include: Official documents such as National Urban Plan available in national and regional administrations, point of service surveys, database of national urban policies by United Nations, UrbanLex, a database of laws and policies on urban matters developed by UN-Habitat.


title: Sustainable Development Goal 11

text: The New Urban Agenda was adopted by world leaders in 2016 and serves as a powerful tool for sustainable urban development for both developing and developed countries by providing a series of standards for sustainable urban development.


title: Sustainable Development Goal 11

text: The full text of Target 11.b is "By 2020, substantially increase the number of cities and human settlements adopting and implementing integrated policies and plans towards inclusion, resource efficiency, mitigation and adaptation to climate change, resilience to disasters, and develop and implement, in line with the Sendai Framework for Disaster risk reduction 2015–2030, holistic disaster risk management at all levels."


title: Sustainable Development Goal 11

text: Recently, a number of challenges in implementing the Sendai Framework for Disaster Risk Reduction have been identified, including inconsistent, unstructured, disorganized data collection and reporting, the lack of incentives for proactive report disaster loss, and the lack of governmental mandate on disaster loss reporting.


title: Sustainable Development Goal 11

text: The full text of Target 11.c is formulated as "Support least developed countries, including through financial and technical assistance, in building sustainable and resilient buildings using local materials".


title: Sustainable Development Goal 11

text: This target has one Indicator: Indicator 11.c.1 is the "Proportion of financial support to the least developed countries that is allocated to the construction and retrofitting of sustainable, resilient and resource-efficient buildings using local materials".


title: Sustainable Development Goal 11

text: At the fifteen session of the Conference of the Parties (COP15) in 2009, developed countries pledged to provide US$100 billion a year by 2020 to help developing countries to develop climate change mitigation and adaptation, yet this commitment has not yet been fulfilled in 2021.


title: Sustainable Development Goal 11

text: At the UN Climate Change Conference in Glasgow (COP26) in 2021, a number of countries made new climate finance commitments.


title: Sustainable Development Goal 11

text: High-level progress reports are prepared by United Nations Secretary General annually, evaluating the progress towards all the Sustainable Development Goals. The most recent report was published in 2021. The previous report was from April 2020.


title: Sustainable Development Goal 11

text: In 2018, High-level Political Forum (HLPF) took stock of progress on the Sustainable Development Goals and discussed progress, successes, challenges and lessons learned on the road to a fairer, more peaceful and prosperous world and a healthy planet by 2030. SDG 11 was one of the six SDGs discussed in depth.


title: Sustainable Development Goal 11

text: The progress on the SDG 11 has been stalled by the COVID-19 pandemic. Due to the direct and indirect impacts of the pandemic, this Goal is increasingly less likely to be achieved in a timely manner. As of 30 April 2021, this is the progress made toward the Sustainable Development Goal 11.


title: Sustainable Development Goal 11

text: All the UN member states are committed to following up their progress towards implementing the 2030 Agenda and its goals and targets. Almost all the UN member states have presented their national progress towards the SDGs through Voluntary National Review (VNR). Despite the importance of cities within the sustainable development framework, only a few initiatives have emerged to assess progress towards the SDGs on a city scale. Voluntary Local Review (VLR) could be a suitable approach to advance the progress of SDG implementation through localization of global development goals and sustainable development agenda. Both the Sendai Framework and New Urban Agenda point out that urban areas are in an excellent position to take the initiative to manage several of the persistent global challenges like pollution and environmental degradation.


title: Sustainable Development Goal 11

text: Cities in many countries have become epicentres of COVID-19. Approximately 60% of COVID-19 cases have been found in urban areas, shedding light onto the function of cities in generating and accelerating the pandemic. Population growth, combined with pull factors of cities, such as concentration of economic activities and availability of services, results in increased rates of urbanization. This urbanization is coupled with subsequent congestion and increased human mobility within cities and countries. Importantly, both congestion and increased mobility have been named as some of the major contributors to the spread of epidemics through aerosols, droplets and fomities. SDG 11 has proven to be of critical importance during the COVID-19 pandemic by ensuring a reduction in exposure to those living in crowded areas.


title: Sustainable Development Goal 11

text: Cultural and natural heritage is an important economic driver, especially for developing countries. With a 98% fall in the number of international arrivals in 2020 compared to 2019 due to the COVID-19 pandemic, the tourism industry and the cultural heritage sector have endured significant losses.


title: Sustainable Development Goal 11

text: COVID-19 causes more severe diseases in homeless individuals, and they are unable to obtain adequate sleep, keep social distance, or have safe water to drink, all of which contribute to their losing their employment and having no source of money, which is also the cause of their homelessness. The digital divide between urban and rural areas and the closure of places of worship exacerbate inequalities and negative impacts. The challenges posed by COVID-19 demonstrate the importance of resilient, inclusive, resilient, and sustainable cities.


title: Sustainable Development Goal 11

text: Controlling the spread of COVID-19 is more difficult under economic inequality. The safety of public transportation systems is essential for low-income communities, most of whom rely on public transportation services for their travel. Then safe, affordable, and sustainable transportation systems are especially important.


title: Sustainable Development Goal 11

text: COVID-19 is more likely to spread in overcrowded urbanization, where growing populations and migration lead to rapid urban sprawl. As a result, unplanned urbanization that neglects low-income populations drives the expansion of informal settlements and accelerates the growth of the informal economy.


title: Sustainable Development Goal 11

text: The COVID-19 pandemic has illuminated the deeply rooted inequalities in the cities, which is reflected in disproportionate pandemic-related impacts on migrants, the homeless, and the residents of urban slums and informal settlements. COVID-19 has revealed pre-existing patterns of health disparities across different groups, with Pacific Islander, Latino, Indigenous and Black Americans experiencing "a COVID-19 death rate of double or more that of White and Asian Americans". Further, a positive association between previous prolonged exposure to air pollution and the severity of COVID-19 infection and rates of morbidity related to COVID-19 has been suggested. Therefore, the success of SDG 11 post-pandemic requires concerted action on the part of Governments at all levels, civil society and development partners.


title: Sustainable Development Goal 11

text: During the crisis, cities have emerged as drivers of economic recovery, centres of innovation and catalysts for social and economic transformation. Smart city technologies and solutions have contributed to resilience in cities by facilitating gathering and exchange of information in real time, decreasing risk, and enhancing planning, absorption and adaptation abilities. Robots and drones were used to clean and disinfect spaces, measure patient’s temperature, deliver medicine and food, and to track or detect high-risk areas. Evidence from Chinese cities shows that smart city projects have helped the prevention and control of COVID-19 pandemic. Namely, for every 1 million yuan increase in smart city investment per 10,000 people, the number of COVID-19 confirmed cases per 10,000 people decreased by 0.342. Further development of smart city projects is expected to provide opportunities for increasing resilience to the COVID-19 pandemic and any similar events in the future.


title: Sustainable Development Goal 11

text: SDG 11 interlinks with many of the other SDGs. First, the impact on health (SDG 3, Target 3.9) of city dwellers, as well as improve cities resilience to natural and climate change-induced disasters. It is related to SDG 6 (target 6.1, 6.2 and 6.5), SDG 12 (target 12.4), SDG 14 (target 14.3) Lastly, reducing the impact of communicable diseases and maternal and children mortality which can be found under SDG 3 (targets 3.2 and 3.3).


title: Sustainable Development Goal 11

text: An essential aspect of SDG11 is "affordability" so that vulnerable people are considered in urban planning. The emphasis on disadvantaged groups is reflected in SDG11 goals 11.1, 11.2, 11.3, and 11.7. It reinforces the need for "equity" to be mentioned and subconsciously considered in the development of SDG 11. SDG11 and SDG10 are inextricably linked.


title: Sustainable Development Goal 11

text: Furthermore, SDG 11 interlinks with SDG 13 on climate action: The world's cities account for 60–80 per cent of energy consumption and 75 per cent of carbon emissions (this is because 4.2 billion people, or 55 percent of the world's population, lived in cities in 2018).


title: Sustainable Development Goal 11

text: Sustainable and economical transportation networks may successfully reduce carbon emissions (SDG 13), assist in addressing inhabitants with low incomes or other structural inequalities (SDG 10), and promote healthy lifestyles and well-being (SDG 3).


title: Sustainable Development Goal 11

text: Active modes of transport (walking, cycling and other types of wheeled transport) can be a low-cost way to access essential services (Target 11.4), especially when combined with cheap and effective public transport. The government's targeted investment in bicycle paths and sidewalks is an essential transportation planning policy, which guides travelling for short trips. In order to address inequities in and access to health services, improve the urban environment by making safe and accessible active transport, including wheelchair access, and better public transport more possible. Increasing pedestrian and bicycle traffic in streets and parks, with an emphasis on crime prevention through urban design, lighting, visibility, fence options and plants, helps to reduce crime, particularly sexual assault (SDG 5.2). Streamlining the planning approval process for SHA (Special Housing Area) projects in Ontario(Canada) can accelerate the development of sustainable community goals. Public housing rents, charged as a percentage of household income, can be effective in reducing inequality(SDG10). Affordable and sustainable transportation systems and safe urban environments can minimize inequalities.


title: Sustainable Development Goal 11

text: In the US there are over one hundred thousand tax-exempt organizations working on issues related to UN SDG 11, according to data filed with the Internal Revenue Service –IRS and aggregated by X4Impact. X4Impact, with the support of ACME Ticketing, created a free online interactive tool Sustainable Cities and Communities in the US. This online tool enables users to see related indicators nationally and by state, as well as relevant information for over one hundred thousand tax-exempt organizations in the US working on issues related to UN SDG 11. The nonprofit data in the tool is updated every 15 days while the indicators are updated annually.


title: Sustainable Development Goal 11

text: The Canadian federal government has allotted $10 billion CAD over 3 years to the Canadian Infrastructure Bank to begin investing in green projects across the country focusing on areas such as transit, renewable energy, and building retrofits. The federal government is meeting its SDG 11.2 and SDG 11a targets by investing $1.5 billion in public transit and having 5000 busses in the next 5 years within a wider uplifting growth strategy to refocus the inequalities faced by different urban and rural regions in Canada. The federal government has also seen a slight rise in the proportion of the urban population that lives in inadequate housing, rising from 12.5% in 2011 to 12.7% in 2016, moving away from lowering the goal of adequate housing.


title: Nagano Prefecture

text: Nagano is the capital and largest city of Nagano Prefecture, with other major cities including Matsumoto, Ueda, and Iida. Nagano Prefecture has impressive highland areas of the Japanese Alps, including most of the Hida Mountains, Kiso Mountains, and Akaishi Mountains which extend into the neighbouring prefectures. The abundance of mountain ranges, natural scenic beauty, and rich history has gained Nagano Prefecture international recognition as a world-class winter sports tourist destination, including hosting the 1998 Winter Olympics and a new Shinkansen line to Tokyo.


title: Nagano Prefecture

text: Nagano is an inland prefecture and it borders more prefectures than any other in Japan, bordering Gunma Prefecture, Saitama Prefecture, Yamanashi Prefecture, and Shizuoka Prefecture to the east, Niigata Prefecture to the north, Toyama Prefecture and Gifu Prefecture to the west, and Aichi Prefecture to the south. Nagano contains the point furthest from the sea in the whole of Japan—this point lies within the city of Saku. The province's mountains have made it relatively isolated, and many visitors come to Nagano for its mountain resorts and hot springs. Nine of the twelve highest mountains in Japan can be found in Nagano and one of its lakes, Lake Kizaki, is a beach resort popular for its water attractions and games. The climate is predominantly alpine with warm summers, cold snowy winters and less intense humidity than the lower lying coastal areas.


title: Nagano Prefecture

text: As of 1 April 2014, 21% of the total land area of the prefecture was designated as Natural Parks; namely the Chichibu Tama Kai, Chūbu-Sangaku, Jōshin'etsu Kōgen, and Minami Alps National Parks; Myōgi-Arafune-Saku Kōgen, Tenryū-Okumikawa, and Yatsugatake-Chūshin Kōgen Quasi-National Parks; and Chūō Alps, Enrei Ōjō, Hijiriyama Kōgen, Mibugawa Suikei, Ontake, and Tenryū Koshibu Suikei Prefectural Natural Parks.


title: Nagano Prefecture

text: The life expectancy in Nagano prefecture is the longest nationwide with the average life expectancy of 87.18 years for women and 80.88 years for men.


title: Nagano Prefecture

text: Nagano Prefecture has a large and diversified economy, with a strong focus on electronics, information technology, precision machinery, agriculture and food products, and tourism, with a total GDP of about trillion (2017).


title: Nagano Prefecture

text: Several large Japanese groups have production facilities in Nagano Prefecture, such as Citizen Watch (Citizen Group), MinebeaMitsumi, Seiko Epson and Vaio.


title: The Paradise (TV series)

text: The Paradise is a British television costume drama series co-produced by BBC Studios and "Masterpiece". "The Paradise" premiered in the United Kingdom on BBC One on 25 September 2012 and premiered in the United States on PBS on 6 October 2013. The series is an adaptation of Émile Zola's 1883 novel "Au Bonheur des Dames" that relocates the story to North East England. (Zola's novel itself is a retelling of the story of Aristide Boucicaut, the Bellême-born founder of Le Bon Marché).


title: The Paradise (TV series)

text: A second series was commissioned by BBC One in late October 2012 and was broadcast on 20 October 2013 on BBC One.


title: The Paradise (TV series)

text: On 12 February 2014, the BBC confirmed that "The Paradise" would not return for a third series. It cited that the programme had lower figures than other relatively new dramas such as "Death in Paradise", "Sherlock" and "Silk". Furthermore, its ITV rival "Mr Selfridge" was performing better.


title: The Paradise (TV series)

text: Series 1 begins in 1875, and portrays the lives and loves of the people who work, shop and trade, in and around the first English department store. The owner of The Paradise department store is widower John Moray. Moray was once a draper's boy in Emersons, the small shop that grew under his managership into The Paradise, which has come to dominate the high street to the detriment of small shopkeepers nearby.


title: The Paradise (TV series)

text: Into this world comes Denise Lovett, from the small town of Peebles in Scotland, whose uncle Edmund is one of the shopkeepers struggling to survive. Denise takes a job at The Paradise and is soon seen by Moray as a rising star, to the annoyance of Miss Audrey, the head of ladies' fashion, and of Clara, a fellow shopgirl. Moray is financially dependent on Lord Glendenning, whose daughter Katherine is determined to marry Moray and sees Denise as a direct threat to her ambitions.


title: The Paradise (TV series)

text: Lord Glendenning has died and Katherine Glendenning has inherited The Paradise. She now has a husband, Tom Weston, and a young stepdaughter, Flora. Katherine asks Moray, who has been exiled to Paris, to return to revive the fortunes of The Paradise, and save it from being sold. Weston is determined to control his wife and The Paradise, overruling Moray to his own advantage.


title: The Paradise (TV series)

text: Moray's position at the Bon Marche is a reference to Octave Mouret's derision and constant competition with the same.


title: The Paradise (TV series)

text: The series was filmed at Lambton Castle, which was converted into an 1870s bustling upmarket department store. Alongside, a Victorian street with shops and a tavern were constructed. Biddick Hall, also on the Lambton estate, was used as Lord Glendenning's house.


title: The Paradise (TV series)

text: Guest stars who played a major part in an episode were credited in the opening credits, amongst the main cast, for that specific episode. The following actors' names were included in the opening credits in at least one episode:


title: The Paradise (TV series)

text: A soundtrack, featuring music by composer Maurizio Malagnini from the series, was released by Silva Screen Records on 26 August 2013. The music was performed by the BBC Concert Orchestra and recorded at Air Studios, Lyndhurst Hall, London, UK. The score won a Music + Sound Award 2013.


title: Irandaam Ulagam

text: Irandaam Ulagam () is a 2013 Indian Tamil-language romantic fantasy film written and directed by Selvaraghavan. Starring Arya and Anushka Shetty, the film's soundtrack was composed by Harris Jayaraj, with a score composed by Anirudh Ravichander and cinematography handled by Ramji. After several months of production, the film was released worldwide on 22 November 2013.


title: Irandaam Ulagam

text: "Irandam Ulagam" is about two stories which unfold concurrently in two different planets – our Earth and an unnamed exoplanet. On earth a timid medical student Ramya who has a crush on an academic mathematician Madhu Balakrishnan, asks him out. He initially refuses her proposal for marriage as his father has a disability, needing his full attention and care. Later, Madhu gradually reciprocates Ramya's love seeing her caring nature and proposes marriage. But, she reluctantly rejects his proposal as her family has already arranged her marriage. While on a trip to Goa, Madhu wins Ramya's heart while her fiancé abruptly cancels the marriage citing dowry as the reason. She suddenly dies in a freak accident, and this is followed by Madhu's paralysed father's death too. Depressed by the sudden twin tragedies, Madhu becomes a vagabond in Goa. He sees an apparition of his dead father that tells him death is an illusion. Later, at a local tourist spot, he follows an empty car to a hilltop and tries to commit suicide. He gets injured and faints while trying to drive the car.


title: Irandaam Ulagam

text: The story moves parallel in the alternate world in a relatively primitive kingdom which protects the immortal "Amma". The son of a noble military commander, Maravan, falls in love with a working class orphan, Varna. Maravan, though fearless, does not take an interest in martial arts and roams around the kingdom drinking with his friends. Varna, on the other hand, is interested in a military career though she picks and packs wild mushrooms to eke out a living. She also has the desire to protect "Amma" from the enemies of the kingdom. While gatecrashing a military admissions exam for Amma's protection, the tyrant king condemns Varna to his harem. Maravan pleads with the king to release Varna, and the king, in return, challenges Maravan to get hold of a lion's skin within three days. Maravan, though inexperienced, fights with the lion that has never been conquered until then and gets Varna released. At the behest of the king, Varna is forced to marry Maravan, which goes against her free will. So, she tries to commit suicide after assaulting the king. But "Amma" saves her, and the riled king exiles her to the forest. Depressed, Maravan tries to commit suicide in vain. Taunted by new military recruits, Maravan climbs a sacred mountain called Swamimalai.


title: Irandaam Ulagam

text: Meanwhile, with the special powers of "Amma", an inter-planetary portal opens briefly between Maravan in Swamimalai and Madhu in Goa. Maravan rescues the fainted Madhu from the car and takes him to "Amma" for treatment. People of the kingdom celebrate Madhu mistake him for an angel. Enemies lay siege to the kingdom and try to kidnap "Amma", but intoxicated Maravan fights them off with the help of Varna, who returns from the forest. When Madhu looks at Varna (who looks like Ramya), flowers begin to bloom in the kingdom for the first time. But the timid people force Varna back into the forests. Later Maravan's bravery is rewarded by his father and king, who admits him into military service. Maravan, with new-found confidence, goes into the forest to meet Varna with food and blankets. But she rejects him again. Madhu, too goes into the forest to meet Varna. This time, Varna accepts his friendship. Marvan gets jealous of Madhu. A stormy night forces Varna to eventually return to the kingdom from the forest. The enemies of the kingdom capture "Amma" while the irate king sends Maravan for execution for illegally housing Varna. Maravan is captured by the enemy troops while abducting "Amma". Madhu and Varna set out through the forest to find Maravan and "Amma". Varna eventually realises that she had fallen in love with her husband Maravan after hearing about Ramya. Maravan bravely wipes out the entire army of the enemy and escapes with "Amma" on a boat. But Madhu is drowned in combat. "Amma" stops Varna and Maravan from saving him. Then an inter-planetary portal opens briefly again, and Madhu lands in another unnamed exoplanet where he finally meets his soulmate Ramya look-alike again. He earnestly asks her if she is single. Finally, he realises that it is his true destiny.


title: Irandaam Ulagam

text: After deciding to shelve another project titled "Idhu Maalai Nerathu Mayakkam" featuring Dhanush and Andrea, Selvaraghavan began shooting with the same cast in June 2010, for a film titled "Maravan". Filming was held at Jeppiaar Engineering College in Chennai. The title later was changed to "Irandaam Ulagam" and in a turn of events, Yuvan Shankar Raja replaced Prakash Kumar as music composer. However, in a sensational turn, Prakash Kumar was assigned again as composer after Yuvan Shankar Raja moved out of the project. The film ran into trouble yet again after lead actress Andrea Jeremiah pulled out of the film.


title: Irandaam Ulagam

text: Meanwhile, Harris Jayaraj was confirmed to be a part of the project as the music director, again replacing Prakash Kumar. Sivakarthikeyan also briefly shot for the film in a supporting role, but was replaced by Venkatesh Harinathan after having creative differences with Selvaraghavan.


title: Irandaam Ulagam

text: The film shooting took off on 24 December 2011, in Ramoji Film City, Hyderabad. The next schedule was filmed in Goa, inside the BITS-Pilani, Goa Campus, following which the team shot few scenes in Rio de Janeiro and the forests of Brazil. It was reported that Arya and Anushka will play double roles. Selvaraghavan reported that the film will have CGI scenes. Some portions were shot in Hyderabad. Arya worked out to build a huge frame and six-pack abs to fit the muscular lead role. The team returned from Georgia after almost two months of continuous shoot under extreme conditions. Chinmayi dubbed in Tamil for Anushka. The unit after shooting at Ramoji Film City moved to the holy town of Srisailam situated in Nallamala Hills of Kurnool district. Scenes crucial for the story were shot in this last and final schedule. The talkie portions of the project were completed by April 2013.


title: Irandaam Ulagam

text: In October 2013, all post-production work including computer generated imagery work lasting several weeks was finally over and the content was locked. The film cost an estimated 55 crore.


title: Irandaam Ulagam

text: Harris Jayaraj was hired to compose the soundtrack of "Irandaam Ulagam". All the songs in the soundtrack were written by Vairamuthu. Jayaraj said that the songs would feature breezy romantic and situation based tracks as per the film's central theme. The song "En Kaadhal Thee" sung by S. P. Balasubrahmanyam was recorded in late October 2012.


title: Irandaam Ulagam

text: A single track sung by Dhanush, titled "Pazhangkalla" was released on 2 September 2013. The soundtrack was released at a launch event held at Sathyam Cinemas in Chennai on 18 September 2013. Behindwoods rated the album 3.5 out of 5 stating, "Two creative worlds collide resulting in a beautiful explosion of sounds." The album was mastered and made available for iTunes on 26 September 2013 and within one week of its release, the album topped at the iTunes India charts.


title: Irandaam Ulagam

text: Initially the album features ten tracks, with all of them being composed by Harris Jayaraj, but he left the project composing 7 songs, due to other commitments. Anirudh Ravichander composed the other three songs, and also the background score. The songs were released as an additional soundtrack on 14 October 2013.


title: Irandaam Ulagam

text: The album of the Telugu version "Varna" features seven songs composed by Harris Jayaraj, but the additional tracks were not included in the dubbed version. A single track titled "Paalalle" was released on 10 October 2013. The song was sung by Karthik and Vijay Prakash, is a Telugu version of the song "Pazhangkalla", which sung by Dhanush. Except for this track, the other songs have the same set of vocalists. The soundtrack was released on 26 October 2013.


title: Irandaam Ulagam

text: A 70-feet cut-out of Anushka was erected at Shilpa Kala Vedika in Madhapur on the eve of the audio launch.


title: Irandaam Ulagam

text: The satellite rights of the film were secured by STAR Vijay. The film was initially announced to release in Diwali 2013, but was later postponed to 22 November along with its dubbed versions in Telugu titled "Varnaa", and in Hindi, Georgian, Russian, Uzbek, and Turkish, placing it among the highly anticipated films of the year. The film was given a U certificate by the Indian Censor Board with no cuts and the film runs for 2 hours 40 minutes and 9 seconds. The censor board members are reportedly in awe after watching the final product of the film which is directed by Selvaraghavan. According to reports the film's producers, PVP Cinema, will release the fantasy thriller in more than 1,200 screens worldwide which is biggest release ever in Arya's career. Apart from India, "Irandam Ulagam" will release in overseas markets including US, UK, Malaysia, Singapore, Switzerland and France


title: Irandaam Ulagam

text: The advance bookings for the film, which started on Wednesday (20 November), has received a good response. Bookings were high in Chennai city, particularly in multiplexes, said entertainment industry tracker Sreedhar Pillai . As there was a good pre-talk for the Tamil movie, multiplexes in the city decided to open the counters to sell tickets of the movie two days before its release. The bookings had a slow start, and till the afternoon, the response was not high. But post noon, tickets started selling like hot cakes. According to reports, the multiplexes have sold over 15,000 tickets for the first weekend.


title: Irandaam Ulagam

text: The film had a grand worldwide premiere on 21 November all over the USA, where it was released in more than 100 screens.


title: Irandaam Ulagam

text: The Tamil version earned around 16.46 crore in its opening weekend in Chennai. The film witnessed average theatre occupancy of 79 percent during the first weekend, reported Behindwoods. In the UK, in the opening weekend, "Irandam Ulagam" earned 19,024 £ (19.28 lacs) at the box office. It got released on 14 screens.


title: Irandaam Ulagam

text: The film received mixed reviews from critics. The Hindu wrote, "With just a handful of movies, Selvaraghavan has announced himself a major filmmaker, and it falls on us to look at his latest venture, "Irandaam Ulagam", as the (worthy) next instalment in a thematically connected oeuvre as well as a (problematic) standalone film. It’s a love story without a shred of genuine passion". The Times of India gave the film 2 out of 5 stars and wrote, "The disjointed way in which the scenes play out in this world at times makes one wonder if we are seeing the film version of a feverish dream Selvaraghavan might have had". "Behindwoods" rated it 3 out of 5 and stated "If you do not question the concept and enjoy the fantasy you will like "Irandam Ulagam"". Oneindia gave 2.5 out of 5 stated "Full marks to the technical brilliance of "Irandam Ulagam". But the decision to watch Irandam Ulagam lies between whether you love watching abstruse movies or purely entertainment flick. If you love to see the former, don't miss it". Sify wrote, ""Irandam Ulagam" is not everybody’s cup of tea, but the film is made with a lot of passion and sincerity. However, like all his previous films, this one too is ahead of its time". Rediff gave 3 out of 5 and wrote, ""Irandam Ulagam" is a visually stunning fantasy story set in an imaginary world that describes a love that transcends the human understanding of time and space. (It) is an ambitious project by a director who always strives to give a different and unique experience to his audience".


title: Irandaam Ulagam

text: IANS gave 2 out of 5 stars and wrote, "Selva complicates a simple love story in his attempt to merge romance and fantasy genres, only to give the audience an unbearable experience. The film is ruined by an abstract and complicated screenplay". "India Glitz" rated 2.75/5 stated "'Irandam Ulagam' is a complete experience. It doesn't have the usual high amounts of action, romance, comedy and masala as a normal Kollywood film would have; though it has all of it, everything is in moderation. A love story beyond one this world, the film is not a thoroughbred strictly Indian flavour, but is meant for the world audience at large. Savouring tastes of global interests, the film is a fair choice of being a multilingual international movie. In all 'Irandam Ulagam' is for the wise audience". Bangalore Mirror wrote, "Selva needs to be commended for having chosen such a challenging theme, though he should have taken a little more care to distinguish between the behavioral traits and life styles of the inhabitants of the two worlds". Deccan Herald gave 2 out of 5 and wrote, ""Irandam Ulagam", twin worlds, both of which disappoint given that the narrative makes the audience totally disoriented and disinterested in its dour, dull drama that unfolds in spectacular fashion". The New Indian Express wrote, "Brilliantly conceived, the film, however, falls short on execution".


title: Porcupinefish

text: Porcupinefish are fish belonging to the family Diodontidae (order Tetraodontiformes), also commonly called blowfish and, sometimes, balloonfish and globefish. They are sometimes collectively called pufferfish, not to be confused with the morphologically similar and closely related Tetraodontidae, which are more commonly given this name.


title: Porcupinefish

text: Porcupinefish are medium- to large-sized fish, and are found in shallow temperate and tropical seas worldwide. A few species are found much further out from shore, wherein large schools of thousands of individuals can occur. They are generally slow-moving.


title: Porcupinefish

text: Porcupinefish have the ability to inflate their bodies by swallowing water or air, thereby becoming rounder. This increase in size (almost double vertically) reduces the range of potential predators to those with much bigger mouths. A second defense mechanism is provided by the sharp spines, which radiate outwards when the fish is inflated.


title: Porcupinefish

text: Some species are poisonous, having tetrodotoxin in their internal organs, such as the ovaries and liver. This neurotoxin is at least 1200 times more potent than cyanide. The poison is produced by several types of bacteria obtained from the fish's diet. As a result of these three defenses, porcupinefish have few predators, although adults are sometimes preyed upon by sharks and orcas. Juveniles are also preyed on by "Lysiosquillina maculata", tuna, and dolphins.


title: Porcupinefish

text: Porcupinefish are eaten as food fish and are an exotic delicacy in Cebu, Philippines, where they are called "tagotongan".


title: Porcupinefish

text: The porcupine fish (as "Diodon antennatus") is mentioned in Charles Darwin's famous account of his trip around the world, "The Voyage of the Beagle". He noted how the fish can swim quite well when inflated, though the altered buoyancy requires them to do so upside down. Darwin also mentioned hearing that a fellow naturalist, Dr. Allen of Forres, had "frequently found a "Diodon", floating alive and distended, in the stomach of the shark; and that on several occasions he has known it eat its way, not only through the coats of the stomach, but through the sides of the monster".


title: Porcupinefish

text: A Pufferfish named Mrs. Puff, voiced by Mary Jo Catlett, appears in the Nickelodeon animated television series "Spongebob Squarepants" as the title character's boating (driving) instructor.


title: Porcupinefish

text: A Pufferfish named Bloat, voiced by Brad Garrett, appears in the 2003 Disney-Pixar animated film "Finding Nemo" and its 2016 sequel "Finding Dory".


title: Jennifer L. Armentrout

text: Jennifer Lynn Armentrout (born June 11, 1980), also known by the pseudonym J. Lynn, is an American writer of contemporary romance, new adult and fantasy. Several of her works have made "The New York Times" Best Seller list.


title: Jennifer L. Armentrout

text: She is considered a "hybrid" author, having successfully self-published while maintaining active contracts with small independent presses, and traditional publishers. Her current publishers include Spencer Hill Press, Entangled Publishing, Harlequin Teen, Disney/Hyperion, and HarperCollins.


title: Jennifer L. Armentrout

text: Jennifer L. Armentrout was born on June 11 in West Virginia. She was inspired to become a writer after reading the works of L.J. Smith, such as The Vampire Diaries, The Secret Circle Series, The Forbidden Games Series, and a myriad of others. The book series that remained close to her heart was The Forbidden Games, with the final novel bringing her to tears. Upon completing the series she decided she wanted to leave the same impact on her future readers.


title: Jennifer L. Armentrout

text: Her first experience with writing an actual novel was in high school during algebra class. Despite her desire to be an author, she went to college and graduated with a major in psychology.


title: Jennifer L. Armentrout

text: Despite receiving a great deal of rejections before her career began, Armentrout's first book was published in 2011. As of September 2019, she had fifty-three of her fifty-seven total written works published. The majority of her published works for young adults are romance, fantasy and paranormal, and some contemporary and science fiction. With her pseudonym J. Lynn, she writes suspenseful romance novels for her adult readers.


title: Jennifer L. Armentrout

text: In 2013, her young adult novel "Obsidian" has been optioned by Sierra Pictures, but the rights were later returned to the author. In 2015, Armentrout's colleague suggested that she do a book signing for the first release in her "Titan" series. She was opposed to doing a lonely and awkward book signing, so she asked authors to come join her in the daylong event. After this, Armentrout created ApollyCon, which rapidly became a new way for authors and readers to come together in celebration of recently released books. The convention's success continues to grow with each event.


title: Jennifer L. Armentrout

text: Throughout her career, Armentrout continues to reach success. She is a #1 New York Times and a USA Today Best Seller. She has published books independently and with publishing companies, earning the title of being a "hybrid" author.


title: Jennifer L. Armentrout

text: Armentrout was diagnosed with retinitis pigmentosa in 2015. She has become passionate about teaching readers about it by being representative and spreading awareness. She also enjoys being a source of support for her readers that share the same disorder.


title: Jennifer L. Armentrout

text: As of 2020, Armentrout lives with her husband, her dog Apollo, and her alpacas on a farm in West Virginia.


title: Jennifer L. Armentrout

text: She likes writing stories for both age groups to prevent writer burnout. Armentrout is highly prolific and states that she writes for eight hours a day almost every day. During the creative process, she likes to alternate between typing and handwriting so that she doesn't experience any writer's block.


title: Jennifer L. Armentrout

text: Visions of Flesh and Blood: A Blood and Ash/Flesh and Fire compendium (2023) ( co-written with Rayvn Salvador )


title: Decoupage

text: Decoupage or découpage (; ) is the art of decorating an object by gluing colored paper cutouts onto it in combination with special paint effects, gold leaf, and other decorative elements. Commonly, an object like a small box or an item of furniture is covered by cutouts from magazines or from purpose-manufactured papers. Each layer is sealed with varnishes (often multiple coats) until the "stuck on" appearance disappears and the result looks like painting or inlay work. The traditional technique used 30 to 40 layers of varnish which were then sanded to a polished finish.


title: Decoupage

text: Three dimensional "decoupage" (sometimes also referred to simply as decoupage) is the art of creating a three-dimensional (3D) image by cutting out elements of varying sizes from a series of identical images and layering them on top of each other, usually with adhesive foam spacers between each layer to give the image more depth. Pyramid decoupage (also called pyramage) is a process similar to 3D decoupage. In pyramid decoupage, a series of identical images are cut into progressively smaller, identical shapes which are layered and fixed with adhesive foam spacers to create a 3D "pyramid" effect.


title: Decoupage

text: The word decoupage comes from Middle French , meaning to cut out or cut from something. The origin of decoupage is thought to be East Siberian tomb art. Nomadic tribes used cut-out felts to decorate the tombs of their deceased. From Siberia, the practice came to China, and by the 12th century, cut out paper was being used to decorate lanterns, windows, boxes and other objects. In the 17th century, Italy, especially Venice, was at the forefront of trade with the Far East and it is generally thought that it is through these trade links that the cut out paper decorations made their way into Europe.


title: Decoupage

text: Artisans in Florence, Italy, have produced decorative objects using decoupage techniques since the 18th century. They combined decoupage with other decorative techniques already popular in Florence, such as gilt with gold leaf and carved wood designs. These older techniques were already used to produce articles such as furniture, frames for paintings, and even tooled leather book covers. Known as Florentine style crafts, these items are now highly collectible antiques. Florentine artisans made use of decoupage by adding it to the space within a carved gilt frame, or by adding the decoupage to a wooden plaque. Artisans used pasted reproductions of famous artworks, nearly always religious depictions. Florentine triptychs using decoupage images of such Biblical scenes as the Crucifixion of Jesus Christ are a common motif. As society became more secular in the early 20th century, and non–Roman Catholic tourists began buying more crafts from Florentine artisans, decoupage images became less religious in orientation and more reflective of famous Italian artworks in general.


title: Michelle Ruff

text: Michelle Ruff is an American voice actress known for her work in anime and video games. In her early voice acting career, she used her mother's name, Georgette Rose, as a pseudonym. Some of her roles include Fujiko Mine in "Lupin the Third", Chi in "Chobits", Rukia Kuchiki in "Bleach", Aoi Sakuraba in "Ai Yori Aoshi", Elie in "Rave Master", Nat in "The Promised Neverland", Yuki Nagato in "The Melancholy of Haruhi Suzumiya", Yoko Littner in "Gurren Lagann", and Sinon in "Sword Art Online". In video games, she is the voice of Jill Valentine in the "Resident Evil" series, Yukari Takeba and Sadayo Kawakami in the "Persona" series, Cream the Rabbit in the "Sonic the Hedgehog" series and Crimson Viper in the "Street Fighter" series.


title: Michelle Ruff

text: Ruff grew up in Michigan and graduated from Michigan State University. While she was there, she worked at a talent agency and attended a radio audition, which marked her first venture into the voiceover business. In Chicago, she studied with Second City, Players Workshop and Improv Olympic.


title: Michelle Ruff

text: After moving to Los Angeles, she worked with some directors on looping and voice work for films and TV shows. In an "Anime Dream" interview, Ruff credits Richard Epcar, Steve Kramer and Michael Sorich for training her to dub anime. In the "Digimon" series, she was referred by director Mary Elizabeth McGlynn to audition for Lopmon and Antylamon in "Digimon Tamers", and in "Digimon Frontier", she landed the lead role of Zoe Orimoto. Ruff said that it was her first show that made it to TV, and a show that let her "work my acting muscle". She played tomboy-ish characters in "" and Kiki Rosita in "".


title: Michelle Ruff

text: In 2007, Ruff received two nominations for the American Anime Awards, one for Best Actress for her work in "Bleach" and "Lupin the 3rd", and one for Best Actress in a Comedy for "Lupin the 3rd", but lost to Mary Elizabeth McGlynn and Debi Derryberry, respectively. In 2009, the Society for the Promotion of Japanese Animation gave her an SPJA Industry Award for Best Voice Actress (English) for her work as Rukia Kuchiki in the "Bleach" movie "Memories of Nobody".


title: Rotax

text: Rotax is the brand name for a range of internal combustion engines developed and manufactured by the Austrian company BRP-Rotax GmbH & Co KG (until 2016 BRP-Powertrain GmbH & Co. KG), in turn owned by the Canadian Bombardier Recreational Products.


title: Rotax

text: Rotax four-stroke and advanced two-stroke engines are used in a wide variety of small land, sea and airborne vehicles. Bombardier Recreational Products (BRP) use them in their own range of such vehicles. In the light aircraft class, in 1998 Rotax outsold all other aero engine manufacturers combined.


title: Rotax

text: The company was founded in 1920 in Dresden, Germany, as ROTAX-WERK AG. In 1930, it was taken over by Fichtel & Sachs and transferred its operations to Schweinfurt, Germany.


title: Rotax

text: Operations were moved to Wels, Austria, in 1943 and finally to Gunskirchen, Austria, in 1947. In 1959, the majority of Rotax shares were taken over by the Vienna-based Lohner-Werke, a manufacturer of car and railway wagon bodies.


title: Rotax

text: In 1970, Lohner-Rotax was bought by the Canadian Bombardier Inc. The former Bombardier branch, Bombardier Recreational Products, now an independent company, uses Rotax engines in its ground vehicles, personal water craft, and snowmobiles.


title: Rotax

text: Ski-Doo snowmobiles from Bombardier Recreational Products are equipped with Rotax engines, including two-stroke and four-stroke, turbocharged and naturally aspirated, two- and three-cylinder models.


title: Rotax

text: Rotax supplies aircraft engines for ultralight aircraft, light aircraft and unmanned aerial vehicles.


title: Rotax

text: The Can-Am division of Bombardier Inc. developed a line of motorcycles starting in 1971, powered by Rotax engines. The Can-Am motorcycle operation was outsourced to Armstrong-CCM Motorcycles in 1983, with production ending in 1987.


title: Rotax

text: Motorcycle manufacturers using Rotax engines, either Rotax-branded or branded for the OEM, include Aprilia, BMW (F and G series), Buell and KTM.


title: Rotax

text: Can-Am resumed motorcycle production with a series of on-road three-wheel motorcycles, starting with the Spyder, using Rotax engines. As of 2020, there are three models: the Ryker uses the 2-cylinder 600 ACE and 3-cylinder 900 ACE, the Spyder F3 and the Spyder RT use the 3-cylinder 1330 ACE.


title: Rotax

text: As of 2020, all Sea-Doo brand personal watercraft from Bombardier Recreational Products are equipped with four-stroke, supercharged and normally aspirated, three-cylinder Rotax engines of the ACE (Advanced Combustion Efficiency) series.


title: Rotax

text: The company introduced the Rotax Max for karting in 1998, and started organizing the Rotax Max Challenge in 2000. It also introduced the Mojo karting tyres in 2006 and the XPS lubricants in 2010.


title: Rotax

text: Rotax engines designed specifically for light aircraft include both four-stroke and two-stroke models.


title: Rotax

text: The company also produces unbranded engines, parts and complete powertrains for Original Equipment Manufacturers (OEM). Uses include motor bikes and scooters, with complete engines including the Rotax 122 and Rotax 804.


title: MacDill Air Force Base

text: MacDill Air Force Base (MacDill AFB) is an active United States Air Force installation located 4 miles (6.4 km) south-southwest of downtown Tampa, Florida.


title: MacDill Air Force Base

text: The "host wing" for MacDill AFB is the 6th Air Refueling Wing (6 ARW), assigned to the Eighteenth Air Force of the Air Mobility Command. The 6 ARW is commanded by Colonel Adam D. Bingham. The Wing Command Chief is Chief Master Sergeant Shae Gee.


title: MacDill Air Force Base

text: MacDill Air Force Base, located in South Tampa, was constructed as MacDill Field, a U.S. Army Air Corps, later U.S. Army Air Forces, installation just prior to World War II. With the establishment of the U.S. Air Force as an independent service in September 1947, it became MacDill Air Force Base. During the 1950s and 1960s, it was a Strategic Air Command (SAC) installation for B-47 Stratojet bombers. In the early 1960s, it transitioned to a Tactical Air Command (TAC) installation, briefly operating the F-84 Thunderstreak jet fighter before transitioning to the F-4 Phantom II. During the 1960s, 1970s, and early 1980s, it operated F-4 Phantom II fighters under various fighter wings, followed by F-16 Fighting Falcons in the mid-1980s to early 1990s.


title: MacDill Air Force Base

text: MacDill became an Air Mobility Command installation in 1996 and home to the 6th Air Refueling Wing, its 310th Airlift Squadron flying the C-37A, and its 50th Air Refueling Squadron and 91st Air Refueling Squadron flying the KC-135. The 6 ARW is further augmented by the Air Force Reserve Command's 927th Air Refueling Wing and 63d Air Refueling Squadron also flying KC-135s.


title: MacDill Air Force Base

text: MacDill AFB is also home to the headquarters for two of the U.S. military's unified combatant commands: Headquarters, United States Central Command, and Headquarters, United States Special Operations Command. Both commands are independent from one another and each is commanded by a respective four-star general or admiral.


title: MacDill Air Force Base

text: Two additional subunified commands are also headquartered at MacDill AFB: Commander, United States Marine Corps Forces Central Command, commanded by a three-star general, and United States Special Operations Command Central commanded by a two-star general or admiral.


title: MacDill Air Force Base

text: MacDill AFB was originally established in 1939 as Southeast Air Base, Tampa. It is named in honor of Colonel Leslie MacDill (1889–1938). A World War I aviator in the U.S. Army Air Service, Colonel MacDill was killed in a crash of his North American BC-1 on 8 November 1938 at Anacostia, DC. During World War I, he commanded an aerial gunnery school in St Jean de Monte, France.


title: MacDill Air Force Base

text: Several dates are surrounding the history and official establishment of the installation that would become MacDill AFB. Official records report an establishment date of 24 May 1939, date construction began 6 September 1939, date of beneficial occupancy 11 March 1940, and formal dedication 16 April 1941. This last date is normally associated with the age of the base. It was renamed MacDill Field on 1 December 1939.


title: MacDill Air Force Base

text: After the war in Europe had broken out in September 1939, fears of Nazi U-boats attacking American merchant shipping in the Gulf of Mexico was the concern of the War Department and the Navy Department. Though the United States was at peace, Lend Lease shipments of war goods to England and the establishment of Army and Navy bases in the Caribbean Sea south of Florida brought fears of U-boat attacks on shipping in the Gulf, especially oil tankers from refineries in Texas and Louisiana.


title: MacDill Air Force Base

text: Flying operations at MacDill began in 1941 with the base's first mission being the defense of the Gulf of Mexico. Aircraft and men were housed at Drew Army Airfield until the runways at MacDill were built. Despite these obstacles, flying operations commenced on 7 February 1941. Hundreds of troops lived mostly in a mosquito-infested tent city at the field while barracks were being built. An official flag-raising ceremony was sponsored by the Tampa Elk's Lodge on 16 June 1941.


title: MacDill Air Force Base

text: Air defense of the Tampa Bay area was the mission of the 53d Pursuit Group (Interceptor), established at MacDill Field on 15 January 1941. Equipped with the Seversky P-35, the 53d flew air defense patrols until the Japanese attack on Pearl Harbor. It was reassigned to VI Fighter Command at Howard Field, Canal Zone to provide air defense of the Panama Canal.