title: Arthur (2011 film)

text: In the meantime Arthur has met and wooed Naomi Quinn, an illegal tour guide to whom he has become attracted because of her free-spirited nature. He arranges his wedding while sneaking around on dates with Naomi. Arthur's nanny, Lillian Hobson – who normally dislikes all of Arthur's choices in women – gets to know and likes Naomi. Arthur learns that Naomi would like to have her children's book about the Statue of Liberty published. He attempts to find employment and other options so that he will be able to keep seeing Naomi and not need the inheritance, but to no avail.


title: Arthur (2011 film)

text: Hobson takes Arthur to an Alcoholics Anonymous meeting, where Arthur complains that it is depressing and makes him want to drink. He proclaims he is going to drink, unintentionally brags about his wealth, and turns to leave the meeting. Hobson stands up and takes the bullet, giving Arthur's humiliating introduction in his place. Arthur, touched, states that if only she would do his drinking for him as well, he would be set.


title: Arthur (2011 film)

text: Arthur goes to see Naomi at her house and tells her the truth – that he is engaged to Susan. Naomi then tells him to leave. Back home, Arthur calls for Hobson, only for Bitterman to come and tell him that she is in bed with a headache. Later, Hobson goes to Naomi and asks her to give Arthur another chance, but she again falls ill and is taken to a hospital. Naomi calls Arthur to tell him what has happened. He comes to the hospital, meets Naomi and is about to make up with her, but Susan arrives and tells Naomi that Arthur has bought the company that is handling the publication of her book. Upset, Naomi leaves the hospital. Hobson comes home and Arthur takes care of her. The two begin to get along better. However, a few days later, Hobson dies in her sleep and Arthur reverts to alcohol to numb the pain of her death, losing Naomi, and being married to Susan.


title: Arthur (2011 film)

text: At his wedding, Arthur gets drunk and finds Hobson's last letter to him in which she advises him to follow his heart. Arthur decides, during the vows, not to proceed with the marriage. Susan and her father become belligerent and begin punching him, which makes Vivienne realize that the ambitious and conniving Susan is only after her company. Vivienne stops the ruckus, but reminds Arthur of the agreed upon disinheritance if he pursues Naomi. Arthur strips nearly naked to emphasize that he wants no kind of dependency on his mother's money and runs to Naomi's apartment. He tells her that he just lost his mum (meaning Hobson, not Vivienne) but Naomi, still upset with him, says she can't replace Hobson and refuses any prospect of their getting back together.


title: Arthur (2011 film)

text: Six months later, Arthur is now sober. He has got back his inheritance because he is managing the company's charity, and his mother is proud of him for finally taking something seriously (possibly indicating his love for Naomi). He goes to a bookshop to buy Naomi's book – which she has dedicated to him – and sees an advertisement for a book-reading she will be giving at the New York Public Library. Arthur goes to the library and, this time, Naomi takes him back. The two leave the library and Bitterman drives them through New York in the Batmobile with the police following in pursuit.


title: Arthur (2011 film)

text: In December 2008, Warner Bros. announced they were developing a remake of the 1981 film with Russell Brand to play the title character. the role was originally offered to Ricky Gervais but he declined. In February 2009 it was announced that Peter Baynham, the writer of "", was working on a script.


title: Arthur (2011 film)

text: In March 2010 it was announced that Jason Winer, best known for directing episodes of "Modern Family", was chosen as director, making it his first feature film. Helen Mirren, who had previously worked with Brand in "The Tempest" (2010), joined the cast in April. Greta Gerwig was cast as Arthur's love interest in May, with Nick Nolte and Jennifer Garner joining the following month.


title: Arthur (2011 film)

text: Filming took place in the spring and summer of 2010 at locations in and around New York City including St. Bartholomew's Church on Park Avenue, a location used in the original 1981 version of the film. Re-shoots took place in the winter months of 2011. Arthur Bach's penthouse is supposedly atop the Pierre Hotel on 2 East 61st Street, the famed 5-star hotel on the East Side, but the interior was created in the studio. The Daily News Building at 220 East 42nd Street was used as the headquarters of Bach Industries. The scenes in which Arthur first meets Naomi while she is conducting a tour as well as their first date were filmed at Grand Central Terminal. The scenes of Arthur working in a candy store were filmed at Dylan's Candy Bar, a New York City candy store founded by New Yorker Dylan Lauren, the daughter of Ralph Lauren.


title: Arthur (2011 film)

text: The character Arthur's excessive drinking was central to the film's plot, but Brand – a recovering drug addict and alcoholic – said this was not an issue for him during production. Brand said that before scenes he would sniff alcohol to remind him of what it was like to be drunk.


title: Arthur (2011 film)

text: "Arthur" was a box office disappointment. It finished third in the U.S. box office following its first week of release with an intake of $12,222,756 from 3,276 screens. It had its UK premiere at the O2 in London on 19 April. At the end of its 28-day release, the film earned $32,854,846 in the United States and $12,710,000 in other markets, for a worldwide total of $45,735,397. It was released at the same time as "Hop", which also featured Russell Brand.


title: Arthur (2011 film)

text: The movie received negative reviews. The "Houston Chronicle" wrote a scathing review of Brand's performance, stating "Make no mistake, people are going to hate Brand in this." However, Thelma Adams of "Us Weekly" called it "a laugh-out-loud romp – and [Russell Brand's] best screen role to date." Cinemablend stated that "despite all the odds against him, [Russell Brand] proved himself as a winning movie presence". Roger Ebert gave the film 3 out of 4 stars, stating that the film "is a fairly close remake of the great 1981 Dudley Moore movie, with pleasures of its own." Richard Roeper also enjoyed the film, giving it a "B", and, although he thought parts of the film were difficult to understand, said, "The new "Arthur" is a likable comedy with a good heart."


title: Arthur (2011 film)

text: Review aggregation website Rotten Tomatoes gave the movie a score of based on reviews with an average score of , with the consensus describing it as "[a]n irritating, unnecessary remake that demonstrates the libertine charm Russell Brand exudes in supporting roles turn against him when he's star of the show." It received a 36 out of 100 rating on Metacritic, which gave it the description of 'generally unfavorable'. Brand later remarked that his choice to be in the lead role was "a mistake" and one of his most notable failures in life.


title: Gale–Shapley algorithm

text: In mathematics, economics, and computer science, the Gale–Shapley algorithm (also known as the deferred acceptance algorithm or propose-and-reject algorithm) is an algorithm for finding a solution to the stable matching problem, named for David Gale and Lloyd Shapley who had described it as solving both the "college admission problem" and the "stable marriage problem".


title: Gale–Shapley algorithm

text: It takes polynomial time, and the time is linear in the size of the input to the algorithm. It is a truthful mechanism from the point of view of the proposing participants, for whom the solution will always be optimal.


title: Gale–Shapley algorithm

text: The stable matching problem, in its most basic form, takes as input equal numbers of two types of participants ( men and women, or medical students and internships, for example), and an ordering for each participant giving their preference for whom to be matched to among the participants of the other type. A stable matching always exists, and the algorithmic problem solved by the Gale–Shapley algorithm is to find one. A matching is "not" stable if:


title: Gale–Shapley algorithm

text: In other words, a matching is stable when there is no pair ("A", "B") where both participants prefer each other to their matched partners.


title: Gale–Shapley algorithm

text: In 1962, David Gale and Lloyd Shapley proved that, for any equal number of men and women, it is always possible to solve the SMP and make all marriages stable. They presented an algorithm to do so. In 1984, Alvin E. Roth observed that essentially the same algorithm had already been in practical use since the early 1950s, in the National Resident Matching Program.


title: Gale–Shapley algorithm

text: The runtime complexity of this algorithm is formula_1 where formula_2 is the number of men or women. Since the input preference lists also have size proportional to formula_3, the runtime is linear in the input size.


title: Gale–Shapley algorithm

text: The existence of different stable matchings raises the question: which matching is returned by the Gale–Shapley algorithm? Is it the matching better for men, for women, or the intermediate one? In the above example, the algorithm converges in a single round on the men-optimal solution because each woman receives exactly one proposal, and therefore chooses that proposal, ensuring that each man has an accepted offer, ending the match.


title: Gale–Shapley algorithm

text: This is a general fact: the Gale–Shapley algorithm in which men propose to women "always" yields a stable matching that is the "best for all men" and "worst for all women" among all stable matchings. Similarly, if the women propose then the resulting matching is the "best for all women" and "worst for all men" among all stable matchings. These two matchings are the top and bottom elements of the lattice of stable matchings.


title: Gale–Shapley algorithm

text: To see this, consider the illustration at the right. Let A be the matching generated by the men-proposing algorithm, and B an alternative stable matching that is better for at least one man, say "m". Suppose "m" is matched in B to a woman "w", which he prefers to his match in A. This means that in A, "m" has visited "w", but she rejected him (this is denoted by the green arrow from "m" to "w"). "w" rejected him in favor of some man that she prefers, say "m". So in B, "w" is matched to "m" but "yearns" (wants but unmatched) for "m" (this is denoted by the red arrow from "w" to "m").


title: Gale–Shapley algorithm

text: Since B is a stable matching, "m" must be matched in B to some woman he prefers to "w", say "w". This means that in A, "m" has visited "w" before arriving at "w", which means that "w" has rejected him. By similar considerations, and since the graph is finite, we must eventually have a directed cycle in which each man was rejected in A by the next woman in the cycle, who rejected him in favor of the next man in the cycle. But this is impossible since such "cycle of rejections" cannot start anywhere: suppose by contradiction that it starts at e.g. "m" - the first man rejected by his adjacent woman ("w"). By assumption, this rejection happens only after "m" comes to "w". But this can happen only after "w" rejects "m" - contradiction to "m" being the first.


title: Gale–Shapley algorithm

text: The GS algorithm is a truthful mechanism from the point of view of men (the proposing side). I.e, no man can get a better matching for himself by misrepresenting his preferences. Moreover, the GS algorithm is even "group-strategy proof" for men, i.e., no coalition of men can coordinate a misrepresentation of their preferences such that all men in the coalition are strictly better-off. However, it is possible for some coalition to misrepresent their preferences such that some men are better-off and the other men retain the same partner.


title: Gale–Shapley algorithm

text: The GS algorithm is non-truthful for the women (the reviewing side): each woman may be able to misrepresent her preferences and get a better match.


title: Gale–Shapley algorithm

text: Shapley and Roth were awarded 2012 Nobel Memorial Prize in Economic Sciences "for the theory of stable allocations and the practice of market design"; Gale had died in 2008.


title: Peter Segal

text: Peter Segal (born 1962) is an American film director, producer, screenwriter, and actor. Segal has directed the comedic films "Tommy Boy" (1995), "My Fellow Americans" (1996), "" (2000), "Anger Management" (2003), "50 First Dates" (2004), "The Longest Yard" (2005), "Get Smart" (2008), "Grudge Match" (2013), and "My Spy" (2020).


title: Peter Segal

text: Segal grew up in New York City, where his father was head of publicity at MGM. In the 1970s, Segal and his family moved to Los Angeles. Segal attended the University of Southern California, where he double majored in Broadcast Journalism and English.


title: Peter Segal

text: Segal began his career writing and directing television. In 2002, he created the NBC sitcom "Hidden Hills" (2002–2003). In 1995, he formed his production company, Callahan Filmworks, along with long-time producing partner Michael Ewing.


title: Peter Segal

text: Segal made his feature film directorial debut in 1994 with "", starring Leslie Nielsen and George Kennedy.


title: Peter Segal

text: Segal went on to direct Chris Farley in "Tommy Boy" (1995). The film also stars David Spade, and it is considered a "now-iconic cult classic."


title: Peter Segal

text: Segal directed the comedy film "My Fellow Americans" (1996), starring Jack Lemmon, James Garner and Lauren Bacall.


title: Peter Segal

text: Segal directed Adam Sandler for the first time in "Anger Management" (2003), which also starred Jack Nicholson. When asked by the BBC who was the most famous person in his contacts book, Segal replied, "I have to say, it's very obvious now, it's Jack Nicholson. I've kept his number on my speed dial just so I can show it to friends. I could call him up out of the blue, but I'm worried he might say 'Pete who?'"


title: Peter Segal

text: Segal collaborated with Sandler for the third time in "The Longest Yard" (2005), a remake of the 1974 film of the same name. The film has become the second highest grossing sports comedy in history.


title: Peter Segal

text: After directing three of Sandler's films, Segal's next film became "Get Smart" (2008). It is an adaptation of the '60s television series of the same name that was created by Mel Brooks and Buck Henry. Segal stated in an interview with AMC that he loved the show so much as a kid. The film starred Steve Carell, Anne Hathaway, Dwayne Johnson, Alan Arkin and Terence Stamp.


title: Peter Segal

text: Segal also directed "Grudge Match" (2013), which starred Robert De Niro, Sylvester Stallone, Kevin Hart, Alan Arkin, Kim Basinger and Jon Bernthal.


title: Peter Segal

text: When asked in a September 2014 interview by the BBC if he believes in God, Segal replied: "I do. I'm very spiritual and I'm Jewish by faith. I'm not a practising Jew, I'm more of a recreational Jew. I celebrate the holidays and I try to inform my kids about their heritage because I think we all at some point have to defend our heritage and if they get picked on I want them to know why."


title: Islamic geometric patterns

text: Islamic geometric patterns are one of the major forms of Islamic ornament, which tends to avoid using figurative images, as it is forbidden to create a representation of an important Islamic figure according to many holy scriptures.


title: Islamic geometric patterns

text: The geometric designs in Islamic art are often built on combinations of repeated squares and circles, which may be overlapped and interlaced, as can arabesques (with which they are often combined), to form intricate and complex patterns, including a wide variety of tessellations. These may constitute the entire decoration, may form a framework for floral or calligraphic embellishments, or may retreat into the background around other motifs. The complexity and variety of patterns used evolved from simple stars and lozenges in the ninth century, through a variety of 6- to 13-point patterns by the 13th century, and finally to include also 14- and 16-point stars in the sixteenth century.


title: Islamic geometric patterns

text: Geometric patterns occur in a variety of forms in Islamic art and architecture. These include kilim carpets, Persian girih and Moroccan zellij tilework, muqarnas decorative vaulting, jali pierced stone screens, ceramics, leather, stained glass, woodwork, and metalwork.


title: Islamic geometric patterns

text: Interest in Islamic geometric patterns is increasing in the West, both among craftsmen and artists like M. C. Escher in the twentieth century, and among mathematicians and physicists such as Peter J. Lu and Paul Steinhardt.


title: Islamic geometric patterns

text: Islamic art mostly avoids figurative images to avoid becoming objects of worship. This aniconism in Islamic culture caused artists to explore non-figural art, and created a general aesthetic shift toward mathematically-based decoration. The Islamic geometric patterns derived from simpler designs used in earlier cultures: Greek, Roman, and Sasanian. They are one of three forms of Islamic decoration, the others being the arabesque based on curving and branching plant forms, and Islamic calligraphy; all three are frequently used together.


title: Islamic geometric patterns

text: Authors such as Keith Critchlow argue that Islamic patterns are created to lead the viewer to an understanding of the underlying reality, rather than being mere decoration, as writers interested only in pattern sometimes imply. In Islamic culture, the patterns are believed to be the bridge to the spiritual realm, the instrument to purify the mind and the soul. David Wade states that "Much of the art of Islam, whether in architecture, ceramics, textiles or books, is the art of decoration – which is to say, of transformation." Wade argues that the aim is to transfigure, turning mosques "into lightness and pattern", while "the decorated pages of a Qur’an can become windows onto the infinite." Against this, Doris Behrens-Abouseif states in her book "Beauty in Arabic Culture" that a "major difference" between the philosophical thinking of Medieval Europe and the Islamic world is exactly that the concepts of the good and the beautiful are separated in Arabic culture. She argues that beauty, whether in poetry or in the visual arts, was enjoyed "for its own sake, without commitment to religious or moral criteria".


title: Islamic geometric patterns

text: Many Islamic designs are built on squares and circles, typically repeated, overlapped and interlaced to form intricate and complex patterns. A recurring motif is the 8-pointed star, often seen in Islamic tilework; it is made of two squares, one rotated 45 degrees with respect to the other. The fourth basic shape is the polygon, including pentagons and octagons. All of these can be combined and reworked to form complicated patterns with a variety of symmetries including reflections and rotations. Such patterns can be seen as mathematical tessellations, which can extend indefinitely and thus suggest infinity. They are constructed on grids that require only ruler and compass to draw. Artist and educator Roman Verostko argues that such constructions are in effect algorithms, making Islamic geometric patterns forerunners of modern algorithmic art.


title: Islamic geometric patterns

text: The circle symbolizes unity and diversity in nature, and many Islamic patterns are drawn starting with a circle. For example, the decoration of the 15th-century mosque in Yazd, Persia is based on a circle, divided into six by six circles drawn around it, all touching at its centre and each touching its two neighbours' centres to form a regular hexagon. On this basis is constructed a six-pointed star surrounded by six smaller irregular hexagons to form a tessellating star pattern. This forms the basic design which is outlined in white on the wall of the mosque. That design, however, is overlaid with an intersecting tracery in blue around tiles of other colours, forming an elaborate pattern that partially conceals the original and underlying design. A similar design forms the logo of the Mohammed Ali Research Center.


title: Islamic geometric patterns

text: One of the early Western students of Islamic patterns, Ernest Hanbury Hankin, defined a "geometrical arabesque" as a pattern formed "with the help of construction lines consisting of polygons in contact." He observed that many different combinations of polygons can be used as long as the residual spaces between the polygons are reasonably symmetrical. For example, a grid of octagons in contact has squares (of the same side as the octagons) as the residual spaces. Every octagon is the basis for an 8-point star, as seen at Akbar's tomb, Sikandra (1605–1613). Hankin considered the "skill of the Arabian artists in discovering suitable combinations of polygons .. almost astounding." He further records that if a star occurs in a corner, exactly one quarter of it should be shown; if along an edge, exactly one half of it.


title: Islamic geometric patterns

text: The Topkapı Scroll, made in Timurid dynasty Iran in the late-15th century or beginning of the 16th century, contains 114 patterns including coloured designs for girih tilings and muqarnas quarter or semidomes.


title: Islamic geometric patterns

text: The mathematical properties of the decorative tile and stucco patterns of the Alhambra palace in Granada, Spain have been extensively studied. Some authors have claimed on dubious grounds to have found most or all of the 17 wallpaper groups there. Moroccan geometric woodwork from the makes use of only 5 wallpaper groups, mainly p4mm and c2mm, with p6mm and p2mm occasionally and p4gm rarely; it is claimed that the "Hasba" (measure) method of construction, which starts with "n"-fold rosettes, can however generate all 17 groups.


title: Islamic geometric patterns

text: The earliest geometrical forms in Islamic art were occasional isolated geometric shapes such as 8-pointed stars and lozenges containing squares. These date from 836 in the Great Mosque of Kairouan, Tunisia, and since then have spread all across the Islamic world.


title: Islamic geometric patterns

text: The next development, marking the middle stage of Islamic geometric pattern usage, was of 6- and 8-point stars, which appear in 879 at the Ibn Tulun Mosque, Cairo, and then became widespread.


title: Islamic geometric patterns

text: A wider variety of patterns were used from the 11th century. Abstract 6- and 8-point shapes appear in the Tower of Kharaqan at Qazvin, Persia in 1067, and the Al-Juyushi Mosque, Egypt in 1085, again becoming widespread from there, though 6-point patterns are rare in Turkey.


title: Islamic geometric patterns

text: In 1086, 7- and 10-point girih patterns (with heptagons, 5- and 6-pointed stars, triangles and irregular hexagons) appear in the Jameh Mosque of Isfahan. 10-point girih became widespread in the Islamic world, except in the Spanish Al-Andalus. Soon afterwards, sweeping 9-, 11-, and 13-point girih patterns were used in the Barsian Mosque, also in Persia, in 1098; these, like 7-point geometrical patterns, are rarely used outside Persia and central Asia.


title: Islamic geometric patterns

text: Finally, marking the end of the middle stage, 8- and 12-point girih rosette patterns appear in the Alâeddin Mosque at Konya, Turkey in 1220, and in the Abbasid palace in Baghdad in 1230, going on to become widespread across the Islamic world.


title: Islamic geometric patterns

text: The beginning of the late stage is marked by the use of simple 16-point patterns at the Hasan Sadaqah mausoleum in Cairo in 1321, and in the Alhambra in Spain in 1338–1390. These patterns are rarely found outside these two regions. More elaborate combined 16-point geometrical patterns are found in the Sultan Hassan complex in Cairo in 1363, but rarely elsewhere. Finally, 14-point patterns appear in the Jama Masjid at Fatehpur Sikri in India in 1571–1596, but in few other places.


title: Islamic geometric patterns

text: Several artforms in different parts of the Islamic world make use of geometric patterns. These include ceramics, girih strapwork, jali pierced stone screens, kilim rugs, leather, metalwork, muqarnas vaulting, shakaba stained glass, woodwork, and zellij tiling.


title: Islamic geometric patterns

text: Ceramics lend themselves to circular motifs, whether radial or tangential. Bowls or plates can be decorated inside or out with radial stripes; these may be partly figurative, representing stylised leaves or flower petals, while circular bands can run around a bowl or jug. Patterns of these types were employed on Islamic ceramics from the Ayyubid period, 13th century. Radially symmetric flowers with, say, 6 petals lend themselves to increasingly stylised geometric designs which can combine geometric simplicity with recognisably naturalistic motifs, brightly coloured glazes, and a radial composition that ideally suits circular crockery. Potters often chose patterns suited to the shape of the vessel they were making. Thus an unglazed earthenware water flask from Aleppo in the shape of a vertical circle (with handles and neck above) is decorated with a ring of moulded braiding around an Arabic inscription with a small 8-petalled flower at the centre.


title: Islamic geometric patterns

text: Girih are elaborate interlacing patterns formed of five standardized shapes. The style is used in Persian Islamic architecture and also in decorative woodwork. Girih designs are traditionally made in different media including cut brickwork, stucco, and mosaic faience tilework. In woodwork, especially in the Safavid period, it could be applied either as lattice frames, left plain or inset with panels such as of coloured glass; or as mosaic panels used to decorate walls and ceilings, whether sacred or secular. In architecture, girih forms decorative interlaced strapwork surfaces from the 15th century to the 20th century. Most designs are based on a partially hidden geometric grid which provides a regular array of points; this is made into a pattern using 2-, 3-, 4-, and 6-fold rotational symmetries which can fill the plane. The visible pattern superimposed on the grid is also geometric, with 6-, 8-, 10- and 12-pointed stars and a variety of convex polygons, joined by straps which typically seem to weave over and under each other. The visible pattern does not coincide with the underlying construction lines of the tiling. The visible patterns and the underlying tiling represent a bridge linking the invisible to the visible, analogous to the "epistemological quest" in Islamic culture, the search for the nature of knowledge.


title: Islamic geometric patterns

text: Jali are pierced stone screens with regularly repeating patterns. They are characteristic of Indo-Islamic architecture, for example in the Mughal dynasty buildings at Fatehpur Sikri and the Taj Mahal. The geometric designs combine polygons such as octagons and pentagons with other shapes such as 5- and 8-pointed stars. The patterns emphasized symmetries and suggested infinity by repetition. Jali functioned as windows or room dividers, providing privacy but allowing in air and light. Jali forms a prominent element of the architecture of India. The use of perforated walls has declined with modern building standards and the need for security. Modern, simplified jali walls, for example made with pre-moulded clay or cement blocks, have been popularised by the architect Laurie Baker. Pierced windows in girih style are sometimes found elsewhere in the Islamic world, such as in windows of the Mosque of Ibn Tulun in Cairo.


title: Islamic geometric patterns

text: A kilim is an Islamic flatwoven carpet (without a pile), whether for household use or a prayer mat. The pattern is made by winding the weft threads back over the warp threads when a colour boundary is reached. This technique leaves a gap or vertical slit, so kilims are sometimes called slit-woven textiles. Kilims are often decorated with geometric patterns with 2- or 4-fold mirror or rotational symmetries. Because weaving uses vertical and horizontal threads, curves are difficult to generate, and patterns are accordingly formed mainly with straight edges. Kilim patterns are often characteristic of specific regions. Kilim motifs are often symbolic as well as decorative. For example, the wolf's mouth or wolf's foot motif (Turkish: Kurt Aǧzi, Kurt İzi) expresses the tribal weavers' desires for protection of their families' flocks from wolves.


title: Islamic geometric patterns

text: Islamic leather is often embossed with patterns similar to those already described. Leather book covers, starting with the Quran where figurative artwork was excluded, were decorated with a combination of kufic script, medallions and geometric patterns, typically bordered by geometric braiding.


title: Islamic geometric patterns

text: Metal artefacts share the same geometric designs that are used in other forms of Islamic art. However, in the view of Hamilton Gibb, the emphasis differs: geometric patterns tend to be used for borders, and if they are in the main decorative area they are most often used in combination with other motifs such as floral designs, arabesques, animal motifs, or calligraphic script. Geometric designs in Islamic metalwork can form a grid decorated with these other motifs, or they can form the background pattern.


title: Islamic geometric patterns

text: Even where metal objects such as bowls and dishes do not seem to have geometric decoration, still the designs, such as arabesques, are often set in octagonal compartments or arranged in concentric bands around the object. Both closed designs (which do not repeat) and open or repetitive patterns are used. Patterns such as interlaced six-pointed stars were especially popular from the 12th century. Eva Baer notes that while this design was essentially simple, it was elaborated by metalworkers into intricate patterns interlaced with arabesques, sometimes organised around further basic Islamic patterns, such as the hexagonal pattern of six overlapping circles.


title: Islamic geometric patterns

text: Muqarnas are elaborately carved ceilings to semi-domes, often used in mosques. They are typically made of stucco (and thus do not have a structural function), but can also be of wood, brick, and stone. They are characteristic of Islamic architecture of the Middle Ages from Spain and Morocco in the west to Persia in the east. Architecturally they form multiple tiers of squinches, diminishing in size as they rise. They are often elaborately decorated.


title: Islamic geometric patterns

text: Geometrically patterned stained glass is used in a variety of settings in Islamic architecture. It is found in the surviving summer residence of the Palace of Shaki Khans, Azerbaijan, constructed in 1797. Patterns in the "shabaka" windows include 6-, 8-, and 12-point stars. These wood-framed decorative windows are distinctive features of the palace's architecture. Shabaka are still constructed the traditional way in Sheki in the 21st century. Traditions of stained glass set in wooden frames (not lead as in Europe) survive in workshops in Iran as well as Azerbaijan. Glazed windows set in stucco arranged in girih-like patterns are found both in Turkey and the Arab lands; a late example, without the traditional balance of design elements, was made in Tunisia for the International Colonial Exhibition in Amsterdam in 1883. The old city of Sana'a in Yemen has stained glass windows in its tall buildings.


title: Islamic geometric patterns

text: "Zellij" () is geometric tilework with glazed terracotta tiles set into plaster, forming colourful mosaic patterns including regular and semiregular tessellations. The tradition is characteristic of Morocco, but is also found in Moorish Spain. "Zellij" is used to decorate mosques, public buildings and wealthy private houses.


title: Islamic geometric patterns

text: It is sometimes supposed in Western society that mistakes in repetitive Islamic patterns such as those on carpets were intentionally introduced as a show of humility by artists who believed only Allah can produce perfection, but this theory is denied.


title: Islamic geometric patterns

text: Major Western collections hold many objects of widely varying materials with Islamic geometric patterns. The Victoria and Albert Museum in London holds at least 283 such objects, of materials including wallpaper, carved wood, inlaid wood, tin- or lead-glazed earthenware, brass, stucco, glass, woven silk, ivory, and pen or pencil drawings. The Metropolitan Museum of Art in New York has among other relevant holdings 124 mediaeval (1000–1400 A.D.) objects bearing Islamic geometric patterns, including a pair of Egyptian minbar (pulpit) doors almost 2 m. high in rosewood and mulberry inlaid with ivory and ebony; and an entire mihrab (prayer niche) from Isfahan, decorated with polychrome mosaic, and weighing over 2,000 kg.


title: Islamic geometric patterns

text: Islamic decoration and craftsmanship had a significant influence on Western art when Venetian merchants brought goods of many types back to Italy from the 14th century onwards.


title: Islamic geometric patterns

text: The Dutch artist M. C. Escher was inspired by the Alhambra's intricate decorative designs to study the mathematics of tessellation, transforming his style and influencing the rest of his artistic career. In his own words it was "the richest source of inspiration I have ever tapped."


title: Islamic geometric patterns

text: Cultural organisations such as the Mathematical Sciences Research Institute and the Institute for Advanced Study run events on geometric patterns and related aspects of Islamic art. In 2013 the Istanbul Center of Design and the Ensar Foundation ran what they claimed was the first ever symposium of Islamic Arts and Geometric Patterns, in Istanbul. The panel included the experts on Islamic geometric pattern Carol Bier, Jay Bonner, Eric Broug, Hacali Necefoğlu and Reza Sarhangi. In Britain, The Prince's School of Traditional Arts runs a range of courses in Islamic art including geometry, calligraphy, and arabesque (vegetal forms), tile-making, and plaster carving.


title: Islamic geometric patterns

text: Computer graphics and computer-aided manufacturing make it possible to design and produce Islamic geometric patterns effectively and economically. Craig S. Kaplan explains and illustrates in his Ph.D. thesis how Islamic star patterns can be generated algorithmically.


title: Islamic geometric patterns

text: Two physicists, Peter J. Lu and Paul Steinhardt, attracted controversy in 2007 by claiming that girih designs such as that used on the Darb-e Imam shrine in Isfahan were able to create quasi-periodic tilings resembling those discovered by Roger Penrose in 1973. They showed that rather than the traditional ruler and compass construction, it was possible to create girih designs using a set of five "girih tiles", all equilateral polygons, secondarily decorated with lines (for the strapwork).


title: Islamic geometric patterns

text: In 2016, Ahmad Rafsanjani described the use of Islamic geometric patterns from tomb towers in Iran to create auxetic materials from perforated rubber sheets. These are stable in either a contracted or an expanded state, and can switch between the two, which might be useful for surgical stents or for spacecraft components. When a conventional material is stretched along one axis, it contracts along other axes (at right angles to the stretch). But auxetic materials expand at right angles to the pull. The internal structure that enables this unusual behaviour is inspired by two of the 70 Islamic patterns that Rafsanjani noted on the tomb towers.


title: André Muniz

text: André Muniz de Aguiar (born February 17, 1990) is a Brazilian mixed martial artist who competes in the Middleweight division of the Ultimate Fighting Championship. As of December 6, 2022, he is #11 in the UFC middleweight rankings.


title: André Muniz

text: Born in Montes Claros, Minas Gerais, André Muniz was a very active teenager, which made his mother sign him up for Jiu-Jitsu classes to see if he could get calmer and more disciplined. It worked, Muniz fell in love with martial arts, and started practicing Muay Thai too. His first competition happened when he was 15 years old, a white belt championship in Montes Claros. He began practicing MMA at the age of 19, when he asked his teacher at the time to schedule a fight for him.


title: André Muniz

text: Muniz attended Faculdades Unidas do Norte de Minas, from where he graduated with bachelor's degree in physical education with honors.


title: André Muniz

text: Muniz started his career travelling back and forth between his hometown and Rio de Janeiro, training with the likes of Thiago Santos and Luis Henrique at Tata Fight Team, and earning extra money on the side as a personal trainer to make ends meet in between fights. Starting off with a decision win over former PRIDE star and WEC middleweight champion Paulo Filho at the Bitetti Combat 19 event on February 6, 2014, Muniz would go on to win 10 out of the next 11 bouts between 2014 and 2018, culminating in being offered a chance on Dana White's Contender Series.


title: André Muniz

text: Muniz was invited onto the Brazilian version of DWCS at Dana White's Contender Series Brazil 2 on August 11, 2018. He won a unanimous decision against Bruno Assis, but the win did not win him a UFC contract.


title: André Muniz

text: Almost a year later, Muniz returned to DWCS to face undefeated Taylor Johnson at Dana White's Contender Series 23 on August 6, 2019. He finished Johnson via rear-naked choke in the first round, finally winning a UFC contract.


title: André Muniz

text: After two wins in Dana White's Contender Series, Muniz signed with the UFC and made his promotional debut against Antônio Arroyo at on November 16, 2019. He won the fight via unanimous decision.


title: André Muniz

text: Muniz made his sophomore appearance against Bartosz Fabiński at on September 5, 2020. He won the fight via first-round armbar.


title: André Muniz

text: Muniz was scheduled to face Andrew Sanchez at UFC 257 on January 23, 2021. However, Muniz withdrew from the bout and was replaced by Makhmud Muradov.


title: André Muniz

text: Muniz faced multiple-time Jiu-Jitsu World Champion Ronaldo Souza at UFC 262 on May 15, 2021. He won the fight via technical submission in the first round after breaking Souza's arm in an armbar, becoming the first person to submit Souza in the process. The feat was widely recognized and named as the Submission of the Year by the mixed martial arts media and also the UFC itself.


title: André Muniz

text: Muniz was scheduled to face Dricus Du Plessis on December 11, 2021 at UFC 269. However, Du Plessis was removed from the event due to injury and he was replaced by Eryk Anders. He won the fight via an armbar submission in the first round.


title: André Muniz

text: Muniz was scheduled to face Uriah Hall on April 16, 2022 at UFC Fight Night 206 However, Hall withdrew due to undisclosed reasons, and the bout was cancelled. The bout with Hall was rescheduled for UFC 276 on July 2. He won the bout via unanimous decision.


title: André Muniz

text: Muniz is the father of two daughters. In a December 2021 interview with Sherdog, Muniz said that he used the bonus money that he won for his performance against Bartosz Fabinski at UFC Fight Night: Overeem vs. Sakai to purchase a plot of land where he plans to build a home for his family.


title: Basic life support

text: Basic life support (BLS) is a level of medical care which is used for patients with life-threatening illnesses or injuries until they can be given full medical care by advanced life support providers (paramedics, nurses, physicians). It can be provided by trained medical personnel, such as emergency medical technicians, and by qualified bystanders.


title: Basic life support

text: The International Liaison Committee on Resuscitation (ILCOR) was formed in 1992 to coordinate the efforts of resuscitation worldwide. The ILCOR representatives come from various countries such as the United States, Canada, Australia, New Zealand, and from the European, Asian, and African continents. In 2000, the committee published the first resuscitation guideline. In 2005, the committee published International Consensus on Cardiopulmonary resuscitation (CPR) and Emergency Cardiovascular Care (ECC) Science with Treatment Recommendations. Since 2010, the committee has provided materials for regional resuscitation providers such as European Resuscitation Council and American Heart Association to write their own guidelines. Since 2015, ILCOR has used a new methodology called Consensus on Science with Treatment Recommendations (COSTR) to evaluate the quality of latest evidence available and to reach a conclusion on the best treatments available in resuscitation. Using the COSTR methodology, ILCOR also started to conduct yearly reviews and published updates on the latest evidence in resuscitation, changing it from the previous 5-yearly review on resuscitation.


title: Basic life support

text: CPR provided in the field increases the time available for higher medical responders to arrive and provide ALS care. An important advance in providing BLS is the availability of the automated external defibrillator or AED. This improves survival outcomes in cardiac arrest cases.


title: Basic life support

text: One of the first checks done in emergency response is to assess the situation for any danger. If the person does not remove themselves or others from the danger then they are liable to become a patient and require emergency assistance themselves or become unable to render assistance for the other patient. Examples of dangerous situations which should cease before BLS is administered are electrocution, assault, drowning, burning etc.


title: Basic life support

text: Checking for response is the next step in emergency situations as continuing with other forceful methods of BLS could exacerbate the patient's condition and can be seen as assault. AVPU (Alert, Verbal, Pain, Unconscious) is the commonly used acronym for quickly assessing the level of consciousness in a patient. Pain stimulus in particular should be used with caution as many methods if done incorrectly can leave bruises (sternal rub for example) commonly used methods for central stimulus are the trapezius squeeze and for peripheral stimulus it is squeezing the side of the finger.


title: Basic life support

text: Sending for help allows much more assistance to be rendered upon the patient and increases their chances of receiving ALS.


title: Basic life support

text: Opening of the airway via the Jaw Thrust maneuver is the preferred method as the head-tilt maneuver is thought to be more risky for people with suspected spinal injury. If the person is in danger of pulmonary aspiration then they should be placed in the recovery position or more advanced airway management should be used.


title: Basic life support

text: Once the airway has been opened checking for breathing should begin, if the respiratory rate is below 12-20 breaths per minute then CPR should begin, however if the patient is breathing normally then the rescuer should place them in the recovery position and summon an ambulance.


title: Basic life support

text: Once an automated external defibrillator (AED) has been acquired the rescuer should then finish the round of CPR, use the AED and then begin another round of CPR. However the AED will usually notify the rescuer of any impediments to continued CPR (such as a sinus rhythm or asystole) in which case the rescuer may be prompted to cease CPR.


title: Basic life support

text: Cardiac arrest occurs when the heart stops pumping in a regular rhythm. In this situation, early defibrillation is the key to returning the patient's heart back to a normal rhythm. When a defibrillator is not readily available, a rescuer or bystander should keep the blood flowing by performing chest compressions and rescue breaths at an age-appropriate rate until it is.


title: Basic life support

text: Respiratory arrest is when there is no measurable breathing in a patient. It tends to occur in conjunction with cardiac arrest, but this is not always the case. Respiratory arrest is the most common indication of BLS in infants and toddlers. The most critical factor in restoring breathing in the patient is to provide high quality rescue breaths.


title: Basic life support

text: In cases of drowning, rescuers should provide CPR as soon as an unresponsive patient is removed from the water. In particular, rescue breathing is important in this situation. A lone rescuer is typically advised to give CPR for a short time before leaving the patient to call emergency medical services. Since the primary cause of cardiac arrest and death in drowning and choking patients is hypoxemia, it is recommended to start with rescue breaths before proceeding to chest compressions (if pulseless). If the patient presents in a shockable rhythm, early defibrillation is still recommended.


title: Basic life support

text: Choking occurs when a foreign body obstructs the trachea. Rescuers should only intervene in patients who show signs of severe airway obstruction, such as a silent cough, cyanosis, or inability to speak or breathe. If a patient is coughing forcefully, rescuers should not interfere with this process and encourage the patient to keep coughing. If a patient shows signs of severe airway obstruction, anti-choking maneuvers such as back slaps or in the most severe cases abdominal thrusts should be applied until the obstruction is relieved. If a patient becomes unresponsive he should be lowered to the ground, and the rescuer should call emergency medical services and initiate CPR. When the airway is opened during CPR, the rescuer should look into the mouth for an object causing obstruction, and remove with a finger sweep it if it is evident however many organisations state that the rescuer should not try to remove the foreign object as they might worsen the situation (either pushing it further down the trachea or initiating vomiting).


title: Basic life support

text: Basic Life Support Emergency Medical Services in the United States are generally identified with Emergency Medical Technicians-Basic (EMT-B). EMT-B is the highest level of healthcare provider that is limited to the BLS protocol; higher medical functions use some or all of the Advanced Cardiac Life Support (ACLS) protocols, in addition to BLS protocols. However, the American Heart Association's BLS protocol is designed for use by laypeople, as well as students and others certified first responder, and to some extent, higher medical function personnel.


title: Basic life support

text: According to the American Heart Association, in order to be certified in BLS, a student must take an online or in-person course. However, an online BLS course must be followed with an in-person skills session in order to obtain a certification issued by The American Heart Association.


title: Basic life support

text: The American Heart Association highlights the most important steps of BLS in a "five-link chain of survival." The chain of survival includes early recognition of an ongoing emergency, early initiation of CPR by a bystander, early use of a defibrillator, and early advanced life support once more qualified medical help arrives. Qualified bystanders with training in BLS are encouraged to perform the first three steps of the five-link chain of survival.


title: Basic life support

text: High quality cardiopulmonary resuscitation (CPR) and early defibrillation using an automated external defibrillator (AED) are the most important aspects of BLS to ensure a patient survives. CPR involves a rescuer or bystander providing chest compressions to a patient in a supine position while also giving rescue breaths. The rescuer or bystander can also choose not to provide breaths and provide compression-only CPR. Depending on the age and circumstances of the patient, there can be variations in the compression to breath ratio given.


title: Basic life support

text: According to 2015 guidelines published by European resuscitation council, early initiation of resuscitation and coordination of lay people with medical personnel on helping an unconscious person is very helpful in increasing the chance of survival of the patient. When a person is unconscious and is not breathing normally, emergency services should be alerted and cardiopulmonary resuscitation (CPR) and mouth-to-mouth resuscitation (rescue breaths) should be initiated. High quality CPR is important. An adequate ratio of high quality chest compressions and rescue breaths are crucial. An automated external defibrillator (AED) machine is essential during resuscitation. Defibrillation during the first 3 to 5 minutes during resuscitation can produce survival rates as high as 50 to 70%. Placing AEDs in public places where there is one cardiac arrest in five years is cost-effective.


title: Basic life support

text: Although the adult CPR sequence can be safely used in children, a modified sequence of basic life support that entails less forceful chest compression is even more suitable in children.


title: Basic life support

text: Adult BLS guidelines in the United Kingdom were published in 2015 by the Resuscitation Council (UK), based on the "2015 International Consensus on Cardiopulmonary Resuscitation and Emergency Cardiovascular Care Science with Treatment Recommendations (CoSTR)" published in November 2005.


title: Basic life support

text: The newest guidelines for adult BLS allow a rescuer to diagnose cardiac arrest if the patient is unresponsive and not breathing normally. The guidelines also changed the duration of rescue breaths and the placement of the hand on the chest when performing chest compressions. These changes were introduced to simplify the algorithm, to allow for faster decision making and to maximize the time spent giving chest compressions; this is because interruptions in chest compressions have been shown to reduce the chance of survival. It is also acknowledged that rescuers may either be unable, or unwilling, to give effective rescue breaths; in this situation, continuing chest compressions alone is advised, although this is only effective for about 5 minutes.


title: Basic life support

text: For choking, the guidelines in the United Kingdom first call for assessing the severity of the situation. If the patient is able to speak and cough effectively, the obstruction is mild. If the patient is unable to speak or cough effectively, or is unable to breathe or is breathing with a wheezy sound, the airway obstruction is severe. It is then recommended to perform back blows until the obstruction clears. If the patient becomes unresponsive, CPR is started.


title: Basic life support

text: The term BLS is also used in some non-English speaking countries (e.g. in Italy) for the education of first responders. Terms with similar meanings for similar skill sets are also common.


title: Basic life support

text: When performing BLS, laypeople and medical personnel are encouraged to remember that some groups of people have certain conditions that need to be taken into considerations.


title: Basic life support

text: To relieve choking, chest thrusts should be used instead of abdominal thrusts when the patient is in late pregnancy.


title: Basic life support

text: If a patient of choking is obese and a rescuer cannot perform adequate abdominal thrusts, they are encouraged to instead perform chest thrusts.


title: Basic life support

text: To relieve choking, abdominal thrusts should not be used in infants under 1 year of age due to risk of causing injury. A sequence of back slaps and chest compressions are used instead.


title: Mortal Kombat: Legacy

text: Mortal Kombat: Legacy is an American action/martial arts web series anthology adapted from the fictional universe of the "Mortal Kombat" video game franchise. It debuted on Machinima.com's YouTube channel on April 11, 2011. The second season was released in its entirety on September 26, 2013.


title: Mortal Kombat: Legacy

text: The show's premise originated with director Kevin Tancharoen's short film titled "", which portrayed the background to the original game's story. Seeking the green-light from the studio for production on a re-imagined "Mortal Kombat" film, he submitted the concept to Warner Bros. Pictures after having presented it to both Midway Games (Warner purchased "Mortal Kombat" and other assets from the original owners of the property in 2009) and New Line Cinema (the original "Mortal Kombat" film rights holder became a division/label of the larger studio in 2008), which declined to back the film, despite the attention and positive fan reception. Instead Tancharoen got the go-ahead to shoot the web series.


title: Mortal Kombat: Legacy

text: The first season of "Mortal Kombat: Legacy" is a prequel to the original game, explaining the background stories of several characters from the series and demonstrating their reasons for participating in the upcoming tenth Mortal Kombat tournament on which the first game was based. The episodes are nonlinear with minimal continuity and each devoted to the story of a specific character or characters. The second season covers the tournament itself.


title: Mortal Kombat: Legacy

text: On June 8, 2010, "" surfaced on YouTube amid confusion about its origins and intentions. Kevin Tancharoen said he'd been thinking about a "Mortal Kombat" reboot for some time, and when the technology became available to him, he felt the time was right to make a short film. Tancharoen wrote and directed the film over a weekend without any studio involvement. With help from friends and colleagues and a $7,500 budget, the film was completed in two months. Before submitting the film to Warner Bros., Tancharoen intended to privately upload the short to YouTube to gauge the response of a colleague. He accidentally made it available to the general public, whom quickly voiced an overwhelmingly positive response.


title: Mortal Kombat: Legacy

text: Tancharoen noted the positive fan response and realized the advantage of social networking in helping small-time directors gain a following to take to film studio executives. He met with Warner Bros. executives, who stopped short of green-lighting a major motion picture, but agreed to fund a web series based on the "Mortal Kombat" franchise. The final step was convincing Ed Boon, co-creator of the franchise and executive producer at NetherRealm Studios, who had just produced the latest video game installment, to agree to the series. Boon was impressed with "Mortal Kombat: Rebirth", but not entirely sold on Tancharoen's re-imagined vision. After he met with Tancharoen, Boon was surprised by his enthusiasm for the franchise and quickly offered his support.


title: Mortal Kombat: Legacy

text: "Mortal Kombat: Legacy" is produced by Warner Bros. Digital Distribution, Warner Bros. Interactive Entertainment and


title: Mortal Kombat: Legacy

text: Warner Premiere. Tancharoen, Lance Sloane and Tim Carter serve as producers. It consists of nine 8-12 minute episodes, each written by Tancharoen and "" writers Todd Helbing and Aaron Helbing, with Tancharoen directing. Larnell Stovall, who worked with Tancharoen on "Rebirth", is the stunt coordinator. The series was filmed in Vancouver in February and March, with Tancharoen tweeting daily updates of their progress. Post-production began in March and continued alongside release. Visual effects were handled by Goldtooth Creative Agency.


title: Mortal Kombat: Legacy

text: When Tancharoen made "Mortal Kombat: Rebirth" in 2010, he took the traditional Mortal Kombat story, which was for 20 years based in a supernatural world, and re-told it based on real-world scenarios. The characters and the basic plot of a tournament remained, but most mystical elements like alternate realms, sorcery, and the backstories of characters such as Baraka and Reptile were adjusted to fit the new realistic universe. This new take on the franchise is what prompted Ed Boon to remark that "Rebirth" "probably crosses the line" in terms of re-imagining. Warner Bros. was receptive to the new style. Despite the changes, Tancharoen promised fans the web series would be true to the franchise, including the mystical and supernatural elements famous to "Mortal Kombat". The small budget forced some stories to be set in a realistic world to avoid the high costs of creating a fantasy world with visual effects. Of Boon's involvement, Tancharoen said he was instrumental in this show adhering to the canon of the series, but that he allowed Tancharoen to include his own ideas.


title: Mortal Kombat: Legacy

text: The first two episodes are based mostly in a true-to-life universe. Episode three follows suit, but ends with the first hint of supernatural themes when Shang Tsung appears to freeze time to converse with Johnny Cage. Episodes 4 and 5 reveal the most in the issue of Tancharoen's stylistic approach to the real-world/mysticism debate. Baraka is portrayed true to his original backstory from the video games, and ideas such as sorcery and multiple realms are fleshed out. Criticism has been leveled at the production team for abandoning the original real-world approach of "Rebirth" for "Legacy", despite Tancharoen continuously stating that the supernatural elements of Mortal Kombat would be included in the series. Tancharoen said that some stories could be told in his realistic "Rebirth" approach but that other stories were too grounded in the supernatural to be converted to a real-world portrayal. The release of Episode 6 includes a note from Tancharoen himself, written to the fans before the episode begins: "The following episode represents my different take on the Mortal Kombat universe. I think it combines the perfect amount of gritty realism mixed with a hint of mysticism. I hope you guys enjoy it."


title: Mortal Kombat: Legacy

text: On July 15, 2012, IGN revealed an exclusive video made by Tancharoen directed at fans announcing Season 2, adding that all of the scripts were complete. The director also confirmed more fight scenes and improved special effects in the upcoming season to focus on the actual Mortal Kombat tournament of the original game, in response to the fans who were let down by the setup of the first season. On December 3, 2012, it was announced that the second season of the series had begun production in Los Angeles, with the first footage debuting worldwide in a trailer on February 17, 2013 at the Streamy Awards. In 24 hours, the trailer had been viewed over 2 million times. Tancharoen also stated that Season 2 would not affect his development of the feature film. On March 31, 2013, a TV spot aired during AMC's "Talking Dead" for the series – the first time a YouTube channel had bought ad space on television.


title: Mortal Kombat: Legacy

text: Season 2 consists of ten episodes, was co-written by Tancharoen, Josh Baizer and Marshall Johnson, is directed by Tancharoen, features a crew of approximately 90-100 people, and continues to be broadcast exclusively on Machinima's YouTube channel by Warner Bros. Digital Distribution. Bandito Brothers replaced Goldtooth Creative to handle visual effects. The production concluded in December 2012.


title: Mortal Kombat: Legacy

text: At Comic-Con 2013, Tancharoen noted that Ryan would not be returning as Sonya for the second season due to her commitment to "Body of Proof", but had hoped to bring her back for the third, in which Kabal was also slated to appear after Tancharoen had been unable to accommodate the character in the second season because of budget limitations. Tancharoen departed the series in October 2013 due to the lack of progress on the reboot film. However, on March 27, 2014, he told Nerd Reactor that both he and Warner Bros are still planning season 3 with him directing. On January 13, 2015, martial arts trainer and stunt coordinator Garrett Warren confirmed his involvement in the third season of "Mortal Kombat Legacy", without revealing his role. Casper Van Dien confirmed his involvement in the new season by posting photos of his martial arts training alongside season 2 co-star Mark Dacascos. On January 17, 2015, Van Dien posted a photo of his script for "Mortal Kombat 3," crediting John Cabrera as the writer. Garrett Warren confirmed filming had begun on January 19, 2015. The webseries was supposed to be released in 2016, but this did not happen, and no other information regarding the third season has since been released.


title: Mortal Kombat: Legacy

text: Michael Jai White, Jeri Ryan, Matt Mullins and Ian Anthony Dale reprise their roles from "Mortal Kombat: Rebirth" as Jax, Sonya Blade, Johnny Cage and Scorpion respectively. Johnson Phan and Fraser Aitcheson replace James Lew and Lateef Crowder to portray Shang Tsung and Baraka respectively. Kano is played by Darren Shahlavi, Tahmoh Penikett plays Kurtis Stryker, and Sam Tjhia plays Kitana. Episode 4 revealed Aleks Paunovic as Shao Kahn, Jolene Tran as Mileena, Kirby Morrow as King Jerrod, and Beatrice Ilg as Sindel. The characters of Sub-Zero (Kevan Ohtsji), Sektor (Peter Shinkoda) and Cyrax (Shane Warren Jones) were revealed in the first official trailer released April 11, 2011. Ryan Robbins was revealed as Raiden and Michael Rogers was revealed to be playing Quan Chi in the credits of Episode 7. Ed Boon makes a cameo appearance in Episode 3 as Ed Goodman, a TV producer who has previously worked with Cage.


title: Mortal Kombat: Legacy

text: Season 2 featured a considerable shakeup of the cast from the first season. Casper Van Dien replaced Matt Mullins as Johnny Cage, while Cary-Hiroyuki Tagawa, who had played Shang Tsung in the 1995 film, took over the part from Johnson Phan. Tahmoh Penikett did not return as Stryker and was replaced by Eric Jacobus, Michelle Lee took over from Jolene Tran as Mileena, and David Lee McInnis replaced Ryan Robbins as Raiden. The only holdovers from the first season were Ian Anthony Dale and Samantha Tjhia, as Scorpion and Kitana, respectively.


title: Mortal Kombat: Legacy

text: Debuting characters included Harry Shum, Jr. as Kuai Liang (Sub-Zero's younger brother), Brian Tee as Liu Kang, Mark Dacascos as Kung Lao, Kim Do Nguyen as Ermac, and Daniel Southworth as Kenshi. Jeri Ryan (Sonya), Michael Jai White (Jax), and Darren Shahlavi (Kano) did not return, nor did their respective characters.


title: Mortal Kombat: Legacy

text: On April 7, 2011, a scene from the series was released on Machinima's YouTube channel as a teaser trailer. The short clip revealed the title of the series to be "Mortal Kombat: Legacy". On April 11, 2011, the first official trailer debuted. It comprised clips from all nine episodes of the series, confirming characters Sub-Zero, Sektor, and Cyrax, and revealed the story to concern the motivations of several characters before the beginning of the tournament portrayed in the first "Mortal Kombat" video game.


title: Mortal Kombat: Legacy

text: Tancharoen confirmed the first episode's premiere to occur before the release of the latest installment of the video game. On April 11, 2011, the first full episode of the series was released on Machinima.com and on YouTube, with episode 2 airing one day before the video game's release. After episode 2 was released, it was quickly pulled down and replaced with a censored version that eliminated some of the more gratuitous violence and imagery. Episode 3 was released beginning with the censored version, muting profanities. On April 29, both episodes were released in their uncensored format. Episode 4 was released without censorship. Tancharoen later explained that the censorship was required by YouTube after an overwhelming amount of inappropriate "flags". An agreement was reached between the studio and YouTube that any episodes requiring censorship will be released with offending material removed, with the uncensored versions released several days later requiring age confirmation.


title: Mortal Kombat: Legacy

text: In several tweets in June 2011, Tancharoen stated that the final episode would not be released along the usual pattern of midnight Tuesday morning, but would premiere some time during the 2011 Comic Con event to be held between July 21–24, 2011. In July 2011, Shock Till You Drop received an image teasing the final episode of the series with characters Cyrax and Sektor, and explained that the episode is being "fine-tuned" before it debuts during the "Mortal Kombat: Legacy" Comic-Con panel on Thursday, 21 July between 2-3pm. The episode was officially released on Machinima.com's YouTube channel on July 24. The cast and crew of Season 2 featured in a panel at the 2013 Comic-Con in San Diego, and all season 2 episodes were released simultaneously on September 26, 2013.


title: Mortal Kombat: Legacy

text: Tancharoen revealed plans for an uncensored DVD and Blu-ray release. On August 10, 2011, Warner Premiere revealed a Blu-ray release date of November 8, with no mention of a DVD release date. Special features include "Mortal Kombat Legacy: Fights", a feature exploring how fatalities and extreme violence aid in "Mortal Kombat" storytelling, "Mortal Kombat Legacy: Fan Made", a feature with Tancharoen explaining his interest in the franchise, as well as documentaries "Mortal Kombat Legacy: Expanding the Netherrealm", "Mortal Kombat: Mysticism", and "Mortal Kombat: Gear", covering the franchise universe, the powers of its characters, and the weapons they use, respectively. Season 2 was released on October 14, 2014.


title: Mortal Kombat: Legacy

text: Reviews of "Mortal Kombat Legacy" were generally negative criticizing the series creator for making Liu Kang the villain. Despite the negative reviews the first episode became YouTube's most viewed video for that week, accumulating 5.5 million views, whereas Tancharoen's short, also considered a success, received only 2.1 million in total on the official account. President of Warner Bros. Digital Distribution, Thomas Gewecke, expressed excitement about the first episode and its prospects for future adaptations, saying, "it's an incredibly powerful, strong and well done piece of filmmaking. It's a reinterpretation of the franchise in live-action form that we'd like to explore as different concepts and see what approach works best." Episode two aired with considerably less attention, possessing only a quarter of views when compared with the first episode. The release of the fifth episode garnered only 424,000 views in the first 24 hours. One day after the release of episode five, the total views for the entire series to date surpassed 30,000,000.


title: Mortal Kombat: Legacy

text: IGN described "Legacy" as the "most elegantly produced web series", giving particular mention to episode one for "effective action sequences and some great cinematography". It looked favorably upon episode 4 for the first use of "extraordinarily effective" animation and "poetic" voice-over narration, the removal of censorship, the "fascinating character lore and dazzling fantasy [and] a beautifully crafted land of Outworld". Episode five was praised for the score, the attention paid to the character development and story, the editing and the "quite great" visual effects. CraveOnline praised the animation style used in episode four, saying Mileena's emerging heritage and the Tarkatan invasion were the episode's best parts. G4TV praised the third episode in the series for its shift towards character development, while not at the expense of the action sequences set forth in the first two episodes. It "allowed the series to broaden its horizons a bit" by creating a likable Johnny Cage, commenting, he "finally lets loose and makes you appreciate the character in a whole new way". Houston Press also joined in the praise of the series' devotion to character development upon the release of Raiden's episode. They stated that while the martial arts took a backseat, the drama of Raiden's "Christlike" story was well-executed, giving audiences a reason to identify with his character in a way the franchise has never been able to do. "The Escapist" called the Scorpion and Sub-Zero-themed episode 7 "one of the best episodes" in the series, lending an emotional weight to the most famous tale in the franchise.


title: Mortal Kombat: Legacy

text: The series has also received its fair share of criticism, led by the very same agencies who have praised it. CraveOnline was not pleased with the new Johnny Cage, rating the episode a 4 out of 10, claiming Mullins' Johnny Cage "doesn't quite have the right look, a good delivery or impressive martial arts moves". IGN noted of episode one that the "production values don't seem quite as tight and concise as ["Rebirth"]" in addition to light story and "flat" editing and performances.


title: Mortal Kombat: Legacy

text: By far the most criticized have been episodes four and five for their shift away from the realistic style of "Rebirth" and the first few episodes, to the "traditional mythology well-known to longtime Kombat fans". Tancharoen also acknowledged the audience split that the "Kitana & Mileena" episodes created, stating that theirs was a story that could not be told in a realistic environment, and that Warner Bros. "wanted to make sure this web series tied into some of the story lines of the "Mortal Kombat" canon." Unlike episode four, IGN criticized the use of animation this time, stating it cost the episode its energy and created a glut of continuity errors. Cheaper make-up, costume effects, and set design due to budgetary constraints, and a short running time were among the other criticisms. Upon the release of the Raiden-themed episode six, Houston Press suggested that Tancharoen was forced to steer episodes four and five into the traditional "Mortal Kombat" mystique by Warner Bros. to test how fans would react. Episode six, according to the reviewer, was the studio allowing Tancharoen to return to his own style, finally delivering "cinematic greatness" and "the best [episode] he's done so far. Possibly even better than the original "Mortal Kombat: Rebirth"". Film School Rejects bemoaned the series' expectation that its viewers be knowledgeable about the franchise's history, explaining that without previous knowledge of the games, the viewer is left with too many questions that may never be answered.


title: F.C. Famalicão

text: Futebol Clube de Famalicão, commonly known as Famalicão, is a Portuguese football club from Vila Nova de Famalicão. Founded on 21 August 1931, its senior team currently plays in the Primeira Liga, the top tier of Portuguese football.


title: F.C. Famalicão

text: Since 1952, Famalicão have played their home matches at the Estádio Municipal 22 de Junho, which holds a 5,307-seat capacity. The "Famalicenses"' most successful period of their history occurred in the early 1990s, where the club played four seasons in the Primeira Liga, between 1990 and 1994, counting now with seven Primeira Liga appearances. The club is owned by Quantum Pacific Group which also has 30% share of Atlético de Madrid.


title: F.C. Famalicão

text: Futebol Clube de Famalicão was founded on the 21 August 1931 by six friends. Their first match was the opening of their ground, the Campo da Berberia, with a match against FC Porto in 1932. Their first kit was green and white, however, they eventually changed it to blue and white in order to get affiliation from Porto. Famalicão started competing in 1932–33 in the Regional Promotion Championship which they won. In 1945–46, the club reached the semi-finals of the Taça de Portugal under Hungarian manager Janos Szabo, but were beaten 11–0 by a Sporting CP team led by Cândido de Oliveira.


title: F.C. Famalicão

text: The club have spent six years in the Primeira Liga in total - 1946–47, 1978–79, and four consecutively from 1990 to 1994. The 2000s brought a fast fall with the club dropping as far as the regional championships. Having fallen as low as the fifth-tier Braga Football Association district league in 2008–09, Famalicão returned to Segunda Liga for the first time in 19 years in May 2015 by winning their group in the Campeonato Nacional de Seniores. Even in that years, the club archived records from his supporters attendance, playing home or away. They lost the final on penalties to C.D. Mafra after a 1–1 draw at the Estádio Municipal da Marinha Grande on 10 June.


title: F.C. Famalicão

text: At the beginning of the 2018–19 season, 51% of the club share was bought by Quantum Pacific Group, a group led by Israeli businessman Idan Ofer that also holds 33% of Atlético de Madrid. On 28 April 2019, the club won promotion to the top flight for the first time in a quarter of a century.


title: F.C. Famalicão

text: On 11 September 2019, Quantum Pacific Group increased its share in the Sociedade Anónima Desportiva of the club from 51% to 85%, spearheaded by Israeli billionaire Idan Ofer. With a 1–0 win over F.C. Paços de Ferreira in January 2020, the club reached the semi-finals of the cup for the first time since 1946.


title: F.C. Famalicão

text: The club plays their home games at Estádio Municipal de Famalicão and have occupied the stadium since its opening in 1952. The club's previous grounds were Campo da Berberia, opened in 1932, and Campo do Freião, opened in 1946. Works on the stadium were planned for 2019 to increase the comfort and technology of the stadium, as well as expanding its capacity to 7,500.


title: United Kingdom national debt

text: The United Kingdom national debt is the total quantity of money borrowed by the Government of the United Kingdom at any time through the issue of securities by the British Treasury and other government agencies.


title: United Kingdom national debt

text: At the end of December 2021, UK General government gross debt was £2,382.8 billion, or 102.8% of Gross domestic product, the second lowest in the G7 while 14.6% above the average of the EU member states at that time.


title: United Kingdom national debt

text: Approximately a third of the UK National Debt is owned by the British government due to the Bank of England's quantitative easing programme, so approximately a third of the cost of servicing the debt is paid by the government to itself. In 2018, this reduced the annual servicing cost to approximately £30 billion (approx 2% of GDP, approx 5% of UK government tax income).


title: United Kingdom national debt

text: In 2017, due to the Government's budget deficit (PSNCR), the national debt increased by £46 billion. The Cameron–Clegg coalition government in 2010 planned that they would eliminate the deficit by the 2015/16 financial year. However, by 2014 they admitted that the structural deficit would not be eliminated until the financial year 2017/18. This forecast was pushed back to 2018/19 in March 2015, and to 2019/20 in July 2015, before the target of a return to surplus at any particular time was finally abandoned by the then Chancellor of the Exchequer George Osborne in July 2016.


title: United Kingdom national debt

text: The UK national debt is the total quantity of money borrowed by the Government of the United Kingdom at any time through the issue of securities by the British Treasury and other government agencies.


title: United Kingdom national debt

text: The UK national debt is often confused with the government budget deficit (officially known as the Public Sector Net Cash Requirement (PSNCR)). For example, the then Prime Minister David Cameron was reprimanded in February 2013 by the UK Statistics Authority for creating confusion between the two, by stating in a political broadcast that his administration was "paying down Britain's debts". In fact, his administration had been attempting to reduce the deficit, not the overall debt; which continued to rise even as the deficit was reduced.


title: United Kingdom national debt

text: The public debt increases or decreases as a result of the annual budget deficit or surplus. The British government budget deficit or surplus is the cash difference between government receipts and spending. The British government debt is rising due to a gap between revenue and expenditure. Total government revenue in the fiscal year 2015/16 was projected to be £673 billion, whereas total expenditure was estimated at £742 billion. Therefore, the total deficit was £69 billion. This represented a rate of borrowing of a little over £1.3 billion per week.


title: United Kingdom national debt

text: The British government finances its debt by issuing gilts, or Government securities. These securities are the simplest form of government bond and make up the largest share of British government debt. A conventional gilt is a bond issued by the British government that pays the holder a fixed cash payment (or coupon) every six months until maturity, at which point the holder receives the final coupon payment and the return of the principal.


title: United Kingdom national debt

text: Distinct from both the national debt and the PSNCR is the interest that the government must pay to service the existing national debt. In 2012, the annual cost of servicing the public debt amounted to around £43bn, or roughly 3% of GDP.


title: United Kingdom national debt

text: In 2012, the British population numbered around 64 million, and the debt therefore amounted to a little over £15,000 for each individual Briton, or around £33,000 per person in employment. Each household in Britain pays an average of around £2,000 per year in taxes to finance the interest.


title: United Kingdom national debt

text: Like other sovereign debt, the British national debt is rated by various ratings agencies. On 23 February 2013, it was reported that Moody's had downgraded UK debt from Aaa to Aa1, the first time since 1978 that the country has not had an AAA credit rating.


title: United Kingdom national debt

text: This was described as a "humiliating blow" by Shadow Chancellor Ed Balls. George Osborne, the Chancellor, said that it was "a stark reminder of the debt problems facing our country", adding that "we will go on delivering the plan that has cut the deficit by a quarter". France and the United States of America had each lost their AAA credit status in 2012.


title: United Kingdom national debt

text: The agency Fitch also downgraded its credit rating for British government debt from AAA to AA+ in April 2013.


title: United Kingdom national debt

text: Further downgrades were made by Fitch and Standard & Poor's in June 2016, following the UK's vote in the referendum of that month to leave the European Union. Standard & Poor's had hitherto maintained the UK's AAA status.


title: United Kingdom national debt

text: All the main political parties in Britain agree that the national debt is too high, but disagree on the best policy to deal with it, with Conservative Party politicians advocating a larger role for cuts to public spending. By contrast, the Labour Party tends to advocate fewer cuts and more emphasis on economic stimulus, higher rates of taxation and new taxes. Another body of opinion is that the "consensus" regarding the problematic nature of the national debt is incorrect. The view proposed by economists such as Professor Stephanie Kelton of Stony Brook University in New York is that there is often too much emphasis in political discussions on 'balancing the books'.


title: United Kingdom national debt

text: The origins of the British national debt can be found during the reign of William III, who engaged a syndicate of City traders and merchants to offer for sale an issue of government debt. This syndicate soon evolved into the Bank of England, eventually financing the wars of the Duke of Marlborough and later Imperial conquests. The national debt increased dramatically during and after the Napoleonic Wars, rising to around 200% of GDP. Over the course of the 19th century the national debt gradually fell, only to see large increases again during World War I and World War II. After the war, the national debt once again slowly fell as a proportion of GDP.


title: United Kingdom national debt

text: In 1976, the British Government led by James Callaghan faced a Sterling crisis during which the value of the pound tumbled and the government found it difficult to raise sufficient funds to maintain its spending commitments. The Prime Minister was forced to apply to the International Monetary Fund for a £2.3 billion rescue package; the largest-ever call on IMF resources up to that point. In November 1976, the IMF announced its conditions for a loan, including deep cuts in public expenditure, in effect taking control of UK domestic policy. The crisis was seen as a national humiliation, with Callaghan being forced to go "cap in hand" to the IMF.


title: United Kingdom national debt

text: In the late 1990s and early 2000s, the national debt dropped in relative terms, falling to 29% of GDP by 2002. In 1997, the Labour Government of Tony Blair had inherited a PSNCR of approximately £5 billion per annum, but by sticking to the parsimonious spending plans of the outgoing Conservative Government, this was gradually turned into a modest budget surplus. During the Spending Review of 2000, Labour began to pursue a looser fiscal policy, and by 2002 annual borrowing had reached £20 billion.


title: United Kingdom national debt

text: The national debt continued to increase, together with sustained economic growth, increasing to 37% of GDP in 2007. This was due to extra government borrowing, largely caused by increased spending on health, education, and social security benefits. Between 2008 and 2013, when the British economy slowed sharply and fell into recession, the national debt rose dramatically, mainly caused by increased spending on social security benefits, financial bailouts for banks, and a significant drop in receipts from stamp duty, corporate tax, and income tax.


title: United Kingdom national debt

text: In the 20-year period from 1986/87 to 2006/07 government spending in the United Kingdom averaged around 40% of GDP. As a result of the 2007–2010 financial crisis and the late-2000s global recession government spending increased to a historically high level of 48% of GDP in 2009/10, partly as a result of the cost of a series of bank bailouts. In July 2007, Britain had government debt at 35.5% of GDP. This figure rose to 56.8% of GDP by July 2009.


title: United Kingdom national debt

text: Due to the COVID-19 pandemic, national debt had reached £2.004 trillion for the first time due to government spending on virus measures, such as a furlough scheme and the "Eat Out to Help Out" scheme.


title: United Kingdom national debt

text: The national debt stood at £1.786 trillion at the calendar year end 2018, or 85.2% of GDP; as published by the Office for National Statistics. However, the OECD claimed the national debt to be 118.3% of GDP as of 5 January 2021


title: United Kingdom national debt

text: The annual amount that the government must borrow to plug the gap in its finances used to be known as the public sector borrowing requirement, but is now called the Public Sector Net Cash Requirement (PSNCR). The PSNCR figure for the financial year end 2017 was £46 billion, total British GDP in 2017 was £1.959 trillion.


title: United Kingdom national debt

text: By historic peacetime standards, the national debt is large and growing in overall terms though now falling as a percentage of GDP. It is currently nowhere near its historical peaks after the Napoleonic and World War eras. However, there is concern that official calculations of national debt omit many 'off-book' liabilities which mask the true nature of the debt: for example, Nick Silver of the Institute of Economic Affairs estimated the current British liabilities, including state and public pensions, as well as other commitments by the government, to be near £5 trillion, compared with the Government's estimate of £845 billion (as of 17 November 2010) These liabilities can be compared to total net assets (2010 figures) of £7.3 trillion, which equates to approximately a net worth of £120,000 per head of the population. Based on such a method of calculation, UK national debt would be equivalent to, or potentially exceed, historic highs.


title: United Kingdom national debt

text: The British government's debt is owned by a wide variety of investors, most notably pension funds. These funds are on deposit, mainly in the form of Treasury bonds at the Bank of England. The pension funds, therefore, have an asset which has to be offset by a liability, or a debt, of the government. As of the end of 2016, 27.6% of the national debt was owed to overseas governments and investors.


title: United Kingdom national debt

text: In 2011, Britain's volume of debt was ranked 18th internationally according to the CIA World Factbook. Many other countries had larger debt burdens. For example, Japan had a National debt of around 194% of GDP, whilst that of Italy was more than 100%. The National debt of the United States reached 100% of GDP in November 2011.


title: Lee Purcell

text: Lee Purcell (born Lee Jeune Williams; June 15, 1947) is an American actress who worked primarily in the 1970s and 1980s.


title: Lee Purcell

text: Purcell was born Lee Jeune Williams at the Marine Corps Air Station Cherry Point (North Carolina), the elder daughter of Major Frank D. Williams Jr., was a highly decorated Marine Corps pilot who was killed while on active duty when she was a child. Her mother, Lee ( McKnight) Williams (1925-2014), remarried, to Dr. Donald I. "Don" Purcell, a U.S. Navy doctor assigned to the Marine Corps. Lee Purcell has a younger sister, Paige Wooldridge.


title: Lee Purcell

text: She graduated from Paragould High School in 1965 and briefly attended Stephens College in Columbia, Missouri as a dance and theatre student until she was expelled.


title: Lee Purcell

text: After being expelled from Stephens College, Purcell arrived in California in 1967 and studied acting. Casting off her southern accent was another goal she successfully worked on. Purcell supported herself by working in commercials and selling clothes at a disco.


title: Lee Purcell

text: In 1969, Purcell was personally chosen for her first feature film by Steve McQueen in his company's production of "Adam at Six A.M.", co-starring Michael Douglas. Asked to explain why he picked Purcell among nearly 500 other available actresses, McQueen said, "It wasn't easy. We kept narrowing down the field over a period of weeks until it came to giving screen tests to six of them. All of them were good, but Lee seemed to jump right out of the screen."


title: Lee Purcell

text: Her television work included roles as Billie Dove and Olivia de Havilland in two biopic TV movies: "The Amazing Howard Hughes" (1977) and "My Wicked, Wicked Ways: The Legend of Errol Flynn" (1985).


title: Lee Purcell

text: She was nominated for two Emmy Awards. In 1991, she was nominated as Outstanding Lead Actress for "Long Road Home". and in 1994 as Outstanding Supporting Actress for "Secret Sins of the Father". She was co-producer, and starred in the 1998 low-budget cable-TV movie "Malaika" (alternate title "Tons of Trouble").


title: Lee Purcell

text: Purcell's film career wound down in 1983 and she has only had five motion picture credits since, the last in 2015. She has continued to do television projects. She also continues to stay active by performing narrations of poetry and fiction in front of live audiences.


title: Lee Purcell

text: In December 2010 Purcell launched an interactive fashion and beauty website, BoomerBabes, geared towards Baby Boomer women born between 1946 and 1964. The website did not gain any visitors and BoomerBabes stopped updating in 2014.


title: Billy Jayne

text: William Jayne Jacoby (born April 10, 1969), known professionally as Billy Jayne and previously Billy Jacoby is an American actor. His siblings, Robert Jayne, Susan Jayne, Laura Jacoby, as well as his half-brother Scott Jacoby are also actors.


title: Billy Jayne

text: Jayne was born in Flushing, New York City, on April 10, 1969. He is of Jewish descent. At the age of 3, he was visiting his older half-brother Scott Jacoby on the set of "That Certain Summer", for which Scott won an Emmy for Best Supporting Actor. The director needed someone to play Jacoby in flashbacks, and Jayne was selected and began his career.


title: Billy Jayne

text: Although Jayne's birth name was not Jacoby, when he started his career his mother thought it would be best if he used Jacoby, the last name of his already established half-brother. At the age of 17, however, Billy Jacoby changed his professional name to Billy Jayne to coincide with his birth name.


title: Billy Jayne

text: Jayne was a child actor from the mid to late 1980s, starring in numerous guest appearances on TV shows such as "Trapper John, M.D."; "The Golden Girls" as Blanche's 14-year-old rebellious grandson David; "The A-Team"; and "21 Jump Street". He is also known for the role of Buddy, the brother of Terri, in "Just One of the Guys" from 1985.


title: Billy Jayne

text: Jayne is best known for his role in the teen show "Parker Lewis Can't Lose", starring alongside actor Corin Nemec. The show ran from 1990 until 1993. After the show ended, he had smaller roles in shows such as "Renegade", "Murder One" (1995), "Walker, Texas Ranger" (1996), "Charmed" (1999) and "Cold Case" (2009).


title: Sarkari Hi. Pra. Shaale, Kasaragodu, Koduge: Ramanna Rai

text: "Sarkaari Hiriya Praathamika Shaale, Kaasaragodu, Koduge: Raamanna Rai ("")" is a 2018 Indian Kannada language socio-political comedy film written, directed and produced by Rishab Shetty, presented by Sudeep. The film stars Anant Nag, Ranjan, Sampath, Pramod Shetty, Saptha Pavoor, Mahendra, Sohan Shetty, Prakash Thuminad, Manish Heroor and others.


text: In the milieu of Kasaragod (a border district in Kerala having a large Kannada speaking population), where the language supremacy becomes the hothead matter. A Kannada-medium Government-run Middle and High School, faces financial difficulties due to nonreceipt of money from the government officials. As a consequence, various expenses like books, uniforms, teachers' salaries, building repairs and extracurricular activities are virtually at a standstill.


text: Nambiar, the righteous Principal is being harassed by a hostile and corrupt Government official, Balakrishna Panikker, who is hell-bent upon closing the school as he wants to establish the supremacy of Malayalam. In a moment of weakness, Nambiar is forced to sign on a government order without reading it, which declares that the building is unsafe and needs to be demolished. A group of students coming from normal middle class to poor background are bound by the common thread of learning in Kannada. Their lives are thrown into turmoil when Panikker comes with a government order to physically close the school.


text: They then decide to get a "famous" person to fight their case. Accordingly, they chance upon the name of one social worker in Mysore, Ananthapadmanabha in a newspaper. They then journey to Mysuru to persuade Ananthapadmanabha to take up their case. In a hilarious twist, there are two Ananthapadmanabhas living next to each other and both these friends are at loggerheads over trivial issues. The boys are supposed to talk to Ananthapadmanabha.M but instead, end up talking to Ananthapadmanabha.P, who agrees to take up their struggle.


text: With a lot of hope, they bring the 'famous' Ananthapadmanabha.P to Kasargod. After initial skirmishes with Panikker, it appears that the boys are fighting a losing battle. There are many minor events that help in crystallizing a hitherto scattered struggle into a cohesive well-oiled movement. The parents of the children also get involved in the same under the leadership of Ananthapadmanabha. The culmination of this is a court scene under a sympathetic judge. Ananthapadmanabha, though not a lawyer himself, is allowed to argue on behalf of the students.


text: Ananthapadmanabha exposes the machinations of Panikker, arguing that the pictures of the abandoned school are photoshopped and concludes the case triumphantly. Being involved with the kids makes him realize how lonely he was. He then decides to remain in Kasargod as a part-time teacher in the school. Realising his mistakes, Ananthapadmanabha M. visits the school and gives Ananthapadmanabha P. his best wishes. The film ends with a group photo of students, parents and teachers.


text: Vasuki Vaibhav has composed the songs and B. Ajaneesh Loknath has composed background score for the film. The lyrics for the songs are written by K. Kalyan, Trilok Trivikrama, Avinash Balekkala, Veeresh Shivamurthy and Vasuki Vaibhav.


text: More than 3,000 students were reported to have watched the film at Kasargod. The Kannada Sangha members of Chandigarh made it possible to play the Kannada "Naadageete" before the screening of the movie. It was reported that the movie had the highest ticket sales in Mumbai compared to any Kannada movie released there earlier. It was also the first Kannada movie to be released after 12 years in Thiruvananthapuram (two centres) and in Vizag (one centre) and first Kannada movie to have its posters spread over 12 areas in Chennai.


text: The satellite and digital rights were secured by Udaya TV and Sun NXT where the film had its World Television Premiere on 23 December 2018 at 6:00p.m. IST


text: The movie got positive response from both audience and critics. It completed 100 days in theatres and was a blockbuster hit.


title: Ford Kiernan

text: Ford John Kiernan (born 10 January 1962) is a Scottish comedian, actor, and writer. He is best known for his work with Greg Hemphill on the BBC Scotland comedy series "Chewin' the Fat" (1999–2005) and "Still Game" (2002–2007, 2016–2019). Kiernan also starred as Archie Henderson in "Dear Green Place" (2007–2008) and as Colin Holliday in "Happy Hollidays (2009)


title: Ford Kiernan

text: Kiernan first performed comedy in 1990 at the comedy club in the basement of the Blackfriars pub in Glasgow. He took up performing full-time in 1993. A run of successful solo jobs led to his being offered a slot in the Edinburgh Comedy Festival in 1994, in a show called "The Best Of Scottish Comedy", alongside John Paul "JP" Leach and Alan Taylor. Leach and Kiernan teamed up as a double act during this festival, and had shows at the next two festivals, "After Eight Mince" and "The Full Bhoona", both at the Gilded Balloon.


title: Ford Kiernan

text: Kiernan was one of the first performers at The Comedy Cellar, a comedy night started in 1993 by Ed Byrne in Glasgow. He co-wrote a play with JP Leach, "Don't Start Me", which won a Fringe First Award at the 1995 Edinburgh Fringe.


title: Ford Kiernan

text: Kiernan wrote sketches for "" (BBC Scotland 1995). Between 1999 and 2005 he was a writer for "Chewin' the Fat" and starred in it alongside Greg Hemphill, both playing various roles. Karen Dunbar, Paul Riley, and Mark Cox were also in the show. At first, it was shown only in Scotland, but the BBC broadcast the third and fourth series throughout the UK nationwide.


title: Ford Kiernan

text: The spin-off "Still Game" started in Scotland only but later reached a wider audience. Every episode of this show was co-written by Kiernan and Hemphill. In 1999 and 2000 Kiernan and Hemphill also scripted seven episodes for the children's TV series "Hububb", with Kiernan guest-starring in three episodes, including two of them written by other writers.


title: Ford Kiernan

text: In 2007 and 2008 Kiernan starred in "Dear Green Place", a BBC One Scotland sitcom about park wardens. The show was co-written by Paul Riley and Rab Christie. In January 2009 Kiernan starred in "No Holds Bard", a one-off comedy special shown on BBC Scotland on Burns Night as part of a line-up of special programmes to mark the 250th birthday of Robert Burns.


title: Ford Kiernan

text: Kiernan played a caravan park boss in the comedy "Happy Hollidays". A pilot episode was shown on BBC 1 in early 2009 and a series was broadcast later in the year. In October 2011 Kiernan played Gordon Brown in "The Hunt for Tony Blair", a one-off episode of "The Comic Strip Presents..."


title: Ford Kiernan

text: In 2011 and 2013, Kiernan played George McVie in "The Field of Blood". In 2016 he played Felix in "Journey Bound".


title: Ford Kiernan

text: Kiernan has had several bit-part roles in films. In 1996 he starred alongside Robert Carlyle in "Carla's Song" and in 2002 he played the role of Black Joke Chief in the Martin Scorsese film "Gangs of New York".


title: Ford Kiernan

text: Kiernan lends his voice to the character of Banjo Barry in the animated film "Sir Billi". The film was released in 2012.


title: Ford Kiernan

text: In 2012 Kiernan starred in the film "Song for Amy". He has also starred in short films such as "The Taxidermist" and "Perfect". In 2020, Kieran played the role of Gavin in the American comedy movie "Then Came You", alongside Craig Ferguson who had appeared with Kiernan in "Still Game" three years earlier.


title: Ford Kiernan

text: Born in Shettleston, Glasgow, Kiernan was educated at Alexandra Parade Primary School and Whitehill Secondary School. He then went on to train as a tailor and work as a barman at Glasgow University.


title: Ford Kiernan

text: In January 2014 Ford's 12-year-old son Sonny was found dead in the family home. The cause of death was choking. The stage show "Still Game Live" was dedicated to Sonny later that year.


title: Pepin of Herstal

text: Pepin II (c. 635 – 16 December 714), commonly known as Pepin of Herstal, was a Frankish statesman and military leader who de facto ruled Francia as the Mayor of the Palace from 680 until his death. He took the title Duke and Prince of the Franks upon his conquest of all the Frankish realms.


title: Pepin of Herstal

text: The son of the powerful Frankish statesman Ansegisel, Pepin worked to establish his family, the Pippinids, as the strongest in Francia. He became Mayor of the Palace in Austrasia in 680. Pepin subsequently embarked on several wars to expand his power. He united all the Frankish realms by the conquests of Neustria and Burgundy in 687. In foreign conflicts, Pepin increased the power of the Franks by his subjugation of the Alemanni, the Frisians, and the Franconians. He also began the process of evangelisation in Germany.