title: Dokdo-class amphibious assault ship

text: The flight surface is also sprayed with urethane, which can support VTOL jets, like Harriers. South Korea is considering the purchase of F-35B fighters to operate from its "Dokdo"-class ships. Currently, the LPX operates mainly UH-1H and UH-60P. However, both of these are designed for land‐based operations and lack abilities for ship-borne operations such as protection against damage from salty breezes making them difficult to operate on-board continuously. The KUH-Amphibious, the sea-based amphibious variant of the KAI Surion, is now under development. Production is planned to commence in late 2015 with some 40 helicopters planned.


title: Dokdo-class amphibious assault ship

text: Self-defence armament includes the RIM-116 Rolling Airframe Missile system. The Goalkeeper close-in weapon system (CIWS) was purchased in January 2003 from Thales, at a pre-set price of 13,000,000,000 won (roughly $15,000,000).


title: Dokdo-class amphibious assault ship

text: The second ship of the class, "Marado", was built with some changes compared to "Dokdo". The flight deck is adapted to accommodate two V-22 Ospreys, while "Dokdo" was able to only carry one. In place of the Thales SMART-L multibeam radar and MW08 surveillance radar, "Marado" uses the Elta Systems EL/M-2248 MF-STAR multifunction surveillance radar and LIG Nex1 SPS-550K 3-D air and surface surveillance radar. It also has a different weapons suite than the 30 mm Goalkeeper and RAM, instead using two 20 mm Phalanx CIWS and having a K-VLS at the rear of the superstructure for the locally developed K-SAAM.


title: Dokdo-class amphibious assault ship

text: "Dokdo" is similar in size to the light aircraft carriers derived from the Sea Control Ship such as the Spanish Navy's former aircraft carrier and the Royal Thai Navy's .


title: Dokdo-class amphibious assault ship

text: The Korean news agency Yonhap reported in December 2017 that the Korean military was considering operating F-35B aircraft from the "Dokdo"-class amphibious assault ships.


title: Dokdo-class amphibious assault ship

text: In a speech delivered in March 2001, Kim Dae Jung stated that his administration was aiming to build a navy that "will defend the national interests in the five oceans and perform a role in defending world peace." By the year 2020, the ROK Navy plans to deploy two or three rapid response fleets, each comprising 1 "Dokdo" class, 2 "Sejong the Great" class, 4 "Chungmugong Yi Sun-sin" class, 1 "Gwanggaeto the Great" class, severals, and 2 or 3 Type 214 submarines.


title: Roadkill

text: Roadkill is an animal or animals that have been struck and killed by drivers of motor vehicles on highways. Wildlife-vehicle collisions (WVC) have increasingly been the topic of academic research to understand the causes, and how it can be mitigated.


title: Roadkill

text: Essentially non-existent before the advent of mechanized transport, roadkill is associated with increasing automobile speed in the early 20th century. Naturalist Joseph Grinnell noted in 1920 that "this [roadkill] is a relatively new source of fatality; and if one were to estimate the entire mileage of such roads in the state [California], the mortality must mount into the hundreds and perhaps thousands every 24 hours."


title: Roadkill

text: In Europe and North America, deer are the animal most likely to cause vehicle damage. In Australia, specific actions taken to protect against the variety of animals that can damage vehicles – such as bullbars (usually known in Australia as 'roo bars', in reference to kangaroos) – indicate the Australian experience has some unique features with road kill.


title: Roadkill

text: The development of roads affects wildlife by altering and isolating habitat and populations, deterring the movement of wildlife, and resulting in extensive wildlife mortality. One writer states that "our insulated industrialized culture keeps us disconnected from life beyond our windshields." Driving "mindlessly" without paying attention to the movements of others in the vehicle's path, driving at speeds that do not allow stopping, and distractions contribute to the death toll. Moreover, a culture of indifference and hopelessness is created if people learn to ignore lifeless bodies on roads.


title: Roadkill

text: A study in Ontario, Canada in 1996 found many reptiles killed on portions of the road where vehicle tires do not usually pass over, which led to the inference that some drivers intentionally run over reptiles. To verify this hypothesis, research in 2007 found that 2.7% of drivers intentionally hit reptile decoys masquerading as snakes and turtles. Several drivers were seen to speed up when aiming for the decoys. Male drivers hit the reptile decoys more often than female drivers. However, 3.4% of male drivers and 3% of female drivers stopped to rescue the reptile decoys.


title: Roadkill

text: On roadways where rumble strips are installed to provide a tactile vibration alerting drivers when drifting from their lane, the rumble strips may accumulate road salt in regions where it is used. The excess salt can accumulate and attract both small and large wildlife in search of salt licks; these animals are at great risk of becoming roadkill or causing accidents.


title: Roadkill

text: Very large numbers of mammals, birds, reptiles, amphibians and invertebrates are killed on the world's roads every day. The number of animals killed in the United States has been estimated at a million per day.


title: Roadkill

text: The estimated number of birds killed on the roads in different European countries ranges from 350,000 to 27 million, depending on the factors such as the geography of the country and bird migration paths.


title: Roadkill

text: Mortality resulting from roadkill can be very significant for species with small populations. Roadkill is estimated to be responsible for 50% of deaths of Florida panthers, and is the largest cause of badger deaths in England. Roadkill is considered to significantly contribute to the population decline of many threatened species, including wolf, koala and eastern quoll. In Tasmania, Australia the most common species affected by roadkill are brushtail possums and Tasmanian pademelons.


title: Roadkill

text: In 1993, 25 schools throughout New England, United States participated in a roadkill study involving 1,923 animal deaths. By category, the fatalities were: 81% mammals, 15% bird, 3% reptiles and amphibians, 1% indiscernible. Extrapolating these data nationwide, Merritt Clifton (editor of "Animal People Newspaper") estimated that the following animals are being killed by motor vehicles in the United States annually: 41 million squirrels, 26 million cats, 22 million rats, 19 million opossums, 15 million raccoons, 6 million dogs, and 350,000 deer. This study may not have considered differences in observability between taxa (e.g. dead raccoons are easier to see than dead frogs), and has not been published in peer-reviewed scientific literature. Observability, amongst other factors. may be the cause for mammal species to dominate roadkill reports, whereas bird and amphibian mortality are likely underestimated.


title: Roadkill

text: In the United States, over 1 million vertebrate animals are killed by vehicle collisions every day. Globally, the number amounts to roughly 5.5 million killed per day, which when extrapolated climbs to over 2 billion annually.


title: Roadkill

text: A 2007 study showed that insects, too, are prone to a very high risk of roadkill incidence. Research showed interesting patterns in insect roadkills in relation to the vehicle density.


title: Roadkill

text: The decrease in insects being killed by cars is known as the "windshield phenomenon". In 2003–2004, the Royal Society for the Protection of Birds investigated anecdotal reports of declining insect populations in the UK by asking drivers to affix a postcard-sized PVC rectangle, called a "splatometer", to the front of their cars. Almost 40,000 drivers took part, and the results found one squashed insect for every driven. This contrasts with 30 years ago when cars were covered more completely with insects, supporting the idea that insect numbers had waned.


title: Roadkill

text: In 2011, Dutch biologist Arnold van Vliet coordinated a similar study of insect deaths on car license plates. He found two insects killed on the license-plate area for every driven. This implies about 1.6 trillion insect deaths by cars per year in the Netherlands, and about 32.5 trillion deaths in the United States if the figures are extrapolated there. The number grows to 228 trillion per year if extended globally.


title: Roadkill

text: One rarely considered positive aspect of roadkill is the regular availability of carrion it provides for scavenger species such as vultures, crows, ravens, foxes, Virginia opossums and a wide variety of carnivorous insects. Areas with robust scavenger populations tend to see roadkilled animal corpses being quickly carried off, sometimes within minutes of being struck. This can skew data and cause a lower estimation of the number of roadkill animals per year. In particularly roadkill-prone areas, scavenging birds rely on roadkill for much of their daily nutritional requirements, and can even be seen observing the roadway from telephone poles, overhead wires and trees, waiting for animals, usually squirrels, opossums and raccoons to be struck so they can swoop down and feed. However, such scavengers are at greater risk of becoming roadkill themselves, and are subject to evolutionary pressure to be alert to traffic hazards.


title: Roadkill

text: In contrast, areas where scavengers have been driven out (such as many urban areas) often see roadkill rotting in place indefinitely on the roadways and being further macerated by traffic. The remains must be manually removed by dedicated disposal personnel and disposed of via sanitary cremation; this greatly increases the public nuisance inherent to roadkill, unnecessarily complicates its disposal, and consumes additional public money, time and fuel that could be spent on other roadway maintenance projects.


title: Roadkill

text: The study of roadkill has proven highly amenable to the application of citizen science observation methods. Since 2009, statewide roadkill observation systems have been started in the US, enrolling hundreds of observers in reporting roadkill on a website. The observers, who are usually naturalists or professional scientists, provide identification, location, and other information about the observations. The data are then displayed on a website for easy visualization and made available for studies of proximate causes of roadkill, actual wildlife distributions, wildlife movement, and other studies. Roadkill observation system websites are available for the US states of California, Maine, and Idaho. In each case, index roads are used to help quantify total impact of vehicle collisions on specific vertebrate taxa. Researchers that use data from citizen science platforms may benefit from a large pool of data, specially for iconic, well known conspicuous species. Care must be taken when analyzing data for species that are not easy to identify, as studies have showed that misidentification is not uncommon amongst these platforms.


title: Roadkill

text: In the United Kingdom, ‘The Road Lab’ (formerly Project Splatter) was started by Cardiff University in 2012, with the aim of estimating the impact of roads and motoring on British wildlife. Since then it has gathered data on its website, and on several social media platforms including Facebook and Twitter.


title: Roadkill

text: In India, the project "Provide Animals Safe Transit on Highways" (PATH) was initiated by the Environment Conservation Group in 2015, to study the impact of roads on Indian wildlife. A team of five wildlife conservationists led by Mr. R. Mohammed Saleem had undertaken a forty-four-day expedition, traveling more than 17,000 kilometers across 22 states to study and spread awareness on roadkill. It is also gathering data on its website, and social media platforms.


title: Roadkill

text: In the Czech Republic, an online animal-vehicle crash reporting system Srazenazver.cz is gathering both professional (Police, road maintenance) and volunteered data on roadkill and wildlife-vehicle crashes. The application allows users to input, edit and browse data. The data is visualized in the form of maps, graphs or tables and analyzed online (KDE+ hotspots identification, area statistics).


title: Roadkill

text: The first wildlife roadkill identification guide produced by a state agency in North America was published by the British Columbia Ministry of Transportation (BCMoT) in Canada in 2008. BCMoT's "Wildlife Roadkill Identification Guide" focused on the most common large carnivores and ungulates found in British Columbia. The guide was developed to assist BCMoT's maintenance contractors in identifying wildlife carcasses found on provincial highways as part of their responsibilities for BCMoT's Wildlife Accident Reporting System (WARS).


title: Roadkill

text: Regardless of the spatial scale at which the mitigation measure is applied, there are two main types of roadkill mitigation measures: changing driver behavior, and changing wildlife behavior.


title: Roadkill

text: There are three potential ways to change driver behavior. Primary methods focus on changing driver attitude by increasing public awareness and helping people understand that reducing roadkill will benefit their community. The second potential way is to make people aware of specific hazardous areas by use of signage, rumble strips or lighting. The third potential way is to slow traffic physically or psychologically, using chicanes or speed bumps.


title: Roadkill

text: There are three categories of altering wildlife behavior. Primary methods discourage wildlife from loitering on roadsides by reducing food and water resources, or by making the road surfaces lighter in color which may make wildlife feel more exposed on the roadway. Second are methods of discouraging wildlife from crossing roads, at least when cars are present, using equipment such as ultrasonic whistles, reflectors, and fencing. Third are mechanisms to provide safe crossing like overpass, underpasses and escape routes.


title: Roadkill

text: Although it is not illegal to help wild animals that are in danger of becoming roadkill, stopping on the highway to do is potentially dangerous and may result in injury or death of the person that is helping them and/or an inattentive driver that collides into their parked vehicle.


title: Roadkill

text: In the US, an estimated 1.25 million insurance claims are filed annually due to collisions with deer, elk, or moose, amounting to 1 out of 169 collision damage claims.


title: Roadkill

text: Collisions with large animals with antlers (such as deer) are particularly dangerous, but any large, long-legged animal (e.g. horses, larger cattle, camels) can pose a similar cabin incursion hazard. Injury to humans due to driver failure to maintain control of a vehicle either while avoiding, or during and immediately after an animal impact, is also common. Dusk and dawn are times of highest collision risk.


title: Roadkill

text: The recommended reaction to a large animal (such as a moose) is to slow down in lane, if at all possible, and to avoid swerving suddenly, which could cause loss of control. If a collision cannot be avoided, it is best to swerve towards the rear end of the animal, as it is more likely to run forward. Drivers who see a deer near or in the roadway should be aware that it is very likely that other members of a herd are nearby.


title: Roadkill

text: Acoustic warning deer horns can be mounted on vehicles to warn deer of approaching automobiles, though their effectiveness is disputed. Ultrasonic wind-driven whistles are often promoted as a cheap, simple way to reduce the chance of wildlife-vehicle collisions. In one study, the sound pressure level of the whistle was 3 dB above the sound pressure level of the test vehicle, but caused no observable difference in behavior of animals when the whistles were activated and not activated, casting doubt on their effectiveness.


title: Roadkill

text: In Australia, kangaroos are the most common species hit and killed by vehicles, causing significant damage and even fatalities. Another large species hit and killed by vehicles are wombats. Sightings of wombat roadkill can be logged at WomSAT to help support the implementation of mitigation strategies to reduce wombat deaths.


title: Roadkill

text: Squirrels, rabbits, birds, or other small animals are often crushed by vehicles. Serious accidents may result from motorists swerving or stopping for squirrels in the road. Such evasive maneuvers are often unproductive, since small rodents and birds are much more agile and quick to react than motorists in heavy vehicles. There is very little a driver can do to avoid an unpredictably darting squirrel or rabbit, or even to intentionally hit one. The suggested course of action is to continue driving in a predictable, safe manner, and let the small animal decide on the spur of the moment which way to run or fly; the majority of vehicular encounters end with no harm to either party.


title: Roadkill

text: Although strikes can happen at any time of day, deer tend to move at dusk and dawn, and are particularly active during the October–December mating season as well as late March and early April in the Northern Hemisphere. Driving at night presents its own challenges: nocturnal species are active, and visibility, particularly side visibility, is reduced. Penguins, for example, are common roadkill traffic victims in Wellington, New Zealand, due to their color and the fact that they come ashore at dusk and leave again around dawn.


title: Roadkill

text: Night time drivers should reduce speed and use high beam headlights when possible to give themselves maximum time to avoid a collision. However, when headlights approach a nocturnal animal, it is hard for the creature to see the approaching car (nocturnal animals see better in low than in bright light). Furthermore, the glare of oncoming vehicle headlights can dazzle some species, such as rabbits; they will freeze in the road rather than flee. It may be better to flash the headlights on and off, rather than leaving them on continuously while approaching an animal.


title: Roadkill

text: The simple tactics of reducing speed and scanning both sides of the road for foraging deer can improve driver safety at night, and drivers may see the retro-reflection of an animal's eyes before seeing the animal itself.


title: Roadkill

text: Wildlife crossings allow animals to travel over or underneath roads. They are most widely used in Europe, but have also been installed in a few US locations and in parts of Western Canada. As new highways cause habitats to become increasingly fragmented, these crossings can play an important role in protecting endangered species.


title: Roadkill

text: In the US, sections of road known to have heavy deer cross-traffic will usually have warning signs depicting a bounding deer; similar signs exist for moose, elk, and other species. In the American West, roads may pass through large areas designated as "open range", meaning no fences separate drivers from large animals such as cattle or bison. A driver may round a bend to find a small herd standing in the road. Open range areas are generally marked with signage and protected by a cattle guard.


title: Roadkill

text: In an attempt to mitigate US$1.2 billion in animal-related vehicular damage, a few US states now have sophisticated systems to protect motorists from large animals. One of these systems is called the Roadway Animal Detection System (RADS). A solar powered sensor can detect large animals such as deer, bear, elk, and moose near the roadway, and thereafter flash a light to alert oncoming drivers. The sensor's detection distance ranges from 650 feet to unlimited, depending on the terrain.


title: Roadkill

text: The removal of trees associated with road construction produces a gap in the forest canopy that forces arboreal (tree dwelling) species to come to the ground to travel across the gap. Canopy crossings have been constructed for red squirrels in Great Britain, colobus monkeys in Kenya, and ringtail possums in Far North Queensland, Australia. The crossings have two purposes: to ensure that roads do not restrict movement of animals and also to reduce roadkill. Installation of the canopy crossings may be relatively quick and cheap.


title: Roadkill

text: Banks, cuttings and fences that trap animals on the road are associated with roadkill. In order to increase the likelihood of escape from a main roadway, escape routes have been constructed on the access roads. Escape routes may be considered as one of the most useful measures, especially when new roads are being built or roads are being upgraded, widened or sealed. Research may be undertaken into the efficacy of escape routes by observation of animals’ response to vehicles in places with natural escape routes and barriers, rather than trialing purpose-built escape routes.


title: Roadkill

text: In the New Forest, in southern England, there is a proposal to fence roads to protect the New Forest pony. However, this proposal is controversial.


title: Roadkill

text: Removing animal carcasses from roadways is considered essential to public safety. The removal takes away the potential distraction and hazard of the carcass to other motorists. Quick removal can also prevent deaths of other animals that may wish to feed on the carcass, as well as animals that may go into the road to try to move the body of an animal in their social group. Sometimes rather than removal, the carcass is moved to a nearby public right-of-way where it can be consumed by scavengers, but not placed in a ditch or where waterways might be polluted. Covering the carcass with wood chips can aid in decomposition while minimizing odor.


title: Roadkill

text: Local governments and other levels of government have services that pick up dead animals from roadways, who will respond when advised about a dead animal.


title: Roadkill

text: New York City has an online request form which may be completed by residents of the city. New York State has a process to report dead wildlife to the Department of Environmental Conservation; they are especially interested in marked/tagged wildlife and endangered or threatened species.


title: Roadkill

text: In Toronto, Canada, the city accepts requests to remove a dead animal by telephone. If an animal is found along a major highway, depending on who has jurisdiction for maintaining the highway, the request may be directed to the city, the provincial Ministry of Transportation, or a highway operations centre. In Ontario, citizens may keep possession of roadkill in many circumstances, but may have to register their find.


title: Roadkill

text: If fresh enough, roadkill can be eaten, and there are several recipe books dedicated to roadkill. The practice of eating animals killed on the road is usually derided, and most people consider it not to be safe, sanitary, or wholesome. For example, when the Tennessee legislature attempted to legalize the use of accidentally killed animals, they became the subject of stereotyping and derisive humor. Nevertheless, in some cultures there is tradition of using fresh roadkill as a nutritious and economical source of meat similar to that obtained by hunting.


title: Roadkill

text: Songwriter and performer Loudon Wainwright III released his deadpan humorous song, "Dead Skunk (in the Middle of the Road)" in 1972, and it peaked at number 16 on the "Billboard" Hot 100.


title: Roadkill

text: The American band Phish frequently plays the song "Possum", originally from the album "The Man Who Stepped into Yesterday"' at its concerts. The song describes an encounter with a roadkilled opossum and includes the lyric, "Your end is the road".


title: Roadkill

text: Roadkill is sometimes used as an art form. Several artists use traditional taxidermy preparation in their works whilst others explore different artforms. International artist Claudia Terstappen photographs roadkill and produces enormous prints which see the animals floating eerily in a void. American artist Gary Michael Keyes photographs and transforms them into "RoadKill Totems" in his "Resurrection Gallery". American artist Stephen Paternite has been exhibiting roadkill pieces since the 1970s.


title: Roadkill

text: Canadian writer Timothy Findley wrote about the experience of seeing killed animals on highways during travels: "The dead by the road, or on it, testify to the presence of man. Their little gestures of pain—paws, wings and tails—are the saddest, the loneliest, most forlorn postures of the dead I can imagine. When we have stopped killing animals as though they were so much refuse, we will stop killing one another. But the highways show our indifference to death, so long as it is someone else's. It is an attitude of the human mind I do not grasp."


title: Roadkill

text: In a 2013 essay, American anthropologist Jane Desmond examined at length the failure of American culture and public discourse to adequately confront the ubiquity of roadkill. She concluded: "The simplest answer is that these animal lives have little value for most of the populations in the United States, as these animals are unowned, lacking in monetary or emotional value, not pets or livestock, and without the charismatic following that megafauna like elephants and lions in zoos receive. This calculus of devaluation clears the way for such carnage to be ignored in public discourse and legal venues, to be out of mind while insistently in sight."


title: Roadkill

text: There are driving video games where players can run over animals, such as the arcade version of "Cruis'n USA", as well as video games where players control an animal that crosses roads to avoid becoming roadkill, such as "Frogger" and "Crossy Road".


title: L. V. Revanth

text: Lolla Venkata Revanth Kumar Sharma (born 10 February 1990), known mononymously as L. V. Revanth, is an Indian playback singer, known for his songs in Telugu language. He also won "Rock Star", "Spicy Singer" on Maa TV and "Superstar of the South". He has sung around 200 songs for Telugu and Kannada films. He was the winner of "Indian Idol 9" and also sung "Manohari", from the film "", which he received IIFA Utsavam and Star Maa Music Award nominations for best male playback singer. In 2022, he was the Trophy winner of "Bigg Boss Telugu 6".


title: L. V. Revanth

text: Revanth was born in Srikakulam to Seetha Subbalaxmi. His father died before he was born. He grew up in Visakhapatnam and did his schooling at Bala Bhanu Vidyalayam in Srikakulam and bachelor's degree at Dr. V S Krishna Government College in Visakhapatnam. He has an elder brother, Santosh Kumar. He and his elder brother were raised by their mother.


title: L. V. Revanth

text: One of his first shows was "Saptha Swaralu", which aired on ETV. After being runner-up in Super Singer 5 and Super Singer 7. He was a mentor in super singer 8. Revanth won Hindi reality singing show "Indian Idol 9" aired on Sony Entertainment Television and was awarded a cash prize of Rs.25 Lakhs and a Mahindra KUV100.


title: L. V. Revanth

text: In 2017, Revanth sang his first Hindi song, the title track for "Sabse Bada Kalakar", in a reality show on Sony Entertainment Television.


title: L. V. Revanth

text: He debuted with Jalak Diklaja, back in 2008, composed by Vandemataram Srinivas. He considers M. M. Keeravani as his mentor. In 2008, he sang his first film song, "Jhalak Dikhlaja" in "Maha Yagnam", composed by Vandemataram Srinivas. He sang two songs "Telisiney Na Nuvvey" and "Oopiri Aaguthunnadey" in 2017 film, "Arjun Reddy".


title: XXY (film)

text: XXY is a 2007 Argentine drama film written and directed by Lucía Puenzo and starring Ricardo Darín, Valeria Bertuccelli, Inés Efron and Martín Piroyansky. The film tells the story of a 15-year-old intersex person, the way her family copes with her condition and the ultimate decision that she must eventually make as she struggles to define her own gender identity within a society that expects certain behaviors from every individual.


title: XXY (film)

text: "XXY" received positive reviews from critics, winning the Critics' Week grand prize at the 2007 Cannes film festival, as well as the ACID/CCAS Support Award. It was nominated for eight awards at the 2008 Argentine Film Critics Association Awards, winning three of them including Best Film, and was nominated or won awards at a number of other foreign film festivals. It was chosen to close the 2008 Melbourne Queer Film Festival and had a short run theatrical release before being released onto DVD. The film also won the Goya Award for Best Spanish Language Foreign Film and the Golden Crow Pheasant at the International Film Festival of Kerala.


title: XXY (film)

text: The film's title appears to be a reference to Klinefelter syndrome, a condition in which boys/men have an extra X chromosome. Males affected with Klinefelter syndrome often do not show highly-visible symptoms and are not aware of their condition, unless diagnosed later in life (usually due to infertility). It can be ascertained throughout the film that the main character has typical female sexual characteristics, with the exception of an enlarged clitoris, although this is coupled with an apparent hormonal regimentation. This is inconsistent with the condition of 47XXY aka Klinefelter Syndrome, since those who have it are anatomically and biologically male.


title: XXY (film)

text: Alex Kraken is a 15-year-old intersex person, born with both male and female genitals, who has been living and presenting herself as female and using medicines to suppress masculine features, such as a beard, and to attempt to have more feminine features. At the time of the movie, Alex has recently stopped taking her medication without telling her parents, which will cause her masculine features to begin to develop more.


title: XXY (film)

text: Alex's parents moved with her from Argentina to a village by the sea in Uruguay, to avoid the society's discriminatory views and strict gender expectations. They wanted to help shelter her from bullying she was experiencing. Her father, Néstor Kraken, is a marine biologist who has written a book on sexuality and makes a living treating wounded animals found by fishermen. Her mother, Suli, invites friends from Argentina: a surgeon, his wife and teenage son Álvaro. The purpose, unknown to Néstor and Alex, is to discuss the possibilities of sex reassignment surgery, with Suli quietly hoping that Alex will decide to be female and go through with a surgery in the beginning.


title: XXY (film)

text: The introduction of the relationship between Alex and Álvaro further complicates the drama of the movie. When Alex asks Álvaro directly if he would like to have sex, she is initially denied, but Álvaro later follows her from the beach and she seduces him. She begins to have anal intercourse with him (with her as the penetrative partner), and while Álvaro is surprised he does not stop Alex. Nestor catches sight of them through the door and they stop, and Alvaro rushes out feeling conflicted and still in a panic at the unexpected reversal in sexual roles. When Alex later apologizes, Álvaro reveals that he liked it and has no bad feelings towards her.


title: XXY (film)

text: This scene opens the dialogue for the audience about gender roles and allows both characters, Alex and Álvaro, a chance to question their own identities and desires. Álvaro is raised by fairly conservative parents, and towards the end of the movie his father even expresses the desire that he hoped his son was not gay. However, Álvaro begins to question himself because he enjoyed the sexual experience with Alex even though Alex was performing anal sex on him. He is exploring his own gender and sexual identity within the confines of his parents' expectations, which contrasts with Alex's character who receives her parents' support about her situation.


title: XXY (film)

text: At the same time, Alex is questioning her own decisions about her identity and is confronted with frustration at her own body and the limitations placed on her by society. After her father walks in on the sexual experience between his daughter and Alvaro, he realizes his child is now old enough to make her own decision about her life and her sexual identity, and seeks advice from a transgender man that he had read about in newspapers years before. The man expresses his appreciation that Alex's parents chose not to make the decision for her at birth by "castrating" her, and allowed her to make her own decision now. Alex's father is comforted by this conversation and returns to Alex recognizing that she is older now and must make her own decision.


title: XXY (film)

text: Later in the movie, three boys from the village sexually assault Alex by forcibly pulling down her pants to see her genitals. Alex is embarrassed and ashamed by this encounter, perpetrated by the friends of Vando, her ex-friend and likely former romantic partner. Néstor realizes that reporting this to the police would cause the whole village to know about Alex's condition. However, Alex decides that it does not matter. Alex also decides that she does not want to resume taking medicines or have an operation. When asked by her father whether she wanted to choose to be either male or female, Alex replies "What if there is nothing to choose?".


title: XXY (film)

text: Throughout the film there are multiple acknowledgements of the audience's curiosity about Alex's genitals. This is seen through the actions of other characters on screen, most notably the group of boys who assault Alex while she is on the beach. At the end of the film, Álvaro and his family are getting ready to board the boat to take them back to Buenos Aires. There is still tension between them after their last encounter in the woods. Álvaro walks away from his family to go sit behind a sea wall on the beach with Alex for a few moments. He shows her that he has started wearing the turtle tag that she had given him previously. He asks if he will ever see her again, and she tells him that she does not think that he will. They each admit to having fallen in love with each other, but when Alvaro tries to kiss Alex she pushes him away. Scarred from her experience on the beach with the three boys, she asks him if he regrets not seeing her again or not getting to see "it" more. She pushes down her pants to show Álvaro her genitals, and the audience watches Álvaro as he looks at Alex. The camera lingers on Álvaro's face as he looks at Alex's genitals and the audience is made aware the state of Alex's genitals will not be made known to them. Álvaro's father grabs him and Alex sits against the wall for a few moments crying before she returns to her family.


title: XXY (film)

text: The ending shot is of Alex and her family leaving their guests at the boat and walking down the boardwalk. Alex grabs her father's hand and slings it across her shoulder before the camera pans to a shot of the ocean, focusing on the distant transitioning line between the sky and sea.


title: XXY (film)

text: The film received generally favorable reviews from critics. The film-critics aggregate Rotten Tomatoes reported 82% of critics gave the film a positive review based on 44 reviews, with an average score of 6.8/10. The critical consensus is: "This sharp directorial debut by Lucia Puenzo treats the challenging subject of intersex with intelligence and sensitivity." Metacritic, which assigns a standardized score out of 100, rated the film 67 based on 15 reviews, indicating "Generally favorable reviews." Roger Ebert gave the film 3.5 stars of out 4.


title: XXY (film)

text: Ines Efron also received much critical acclaim for her performance in this film. Efron won the award for Best Actress at the Cartagena Film Festival as well as three other awards. She is also cited by Internet portal Ciudad.com.ar as "one of the most interesting arising actresses of Buenos Aires." She has been praised for depicting the character of Alex as a balanced combination of male and female, without leaning too far towards one or the other.


title: Fantasmic!

text: Fantasmic! is a nighttime show at Disneyland and Disney's Hollywood Studios. The show formerly operated at Tokyo DisneySea. It features fireworks, characters, live actors, water effects, pyrotechnics, lasers, music, audio-animatronics, searchlights, decorated boat floats, and mist screen projections. The narrative of "Fantasmic!" is a voyage through Mickey Mouse's imagination that culminates in a battle against the Disney Villains.


title: Fantasmic!

text: "Fantasmic!" originated at Disneyland in 1992 after Walt Disney Creative Entertainment was asked to create a nighttime spectacular involving water and fireworks to reinvigorate the space in front of the Rivers of America. The area was reworked, including terracing the walkways to accommodate viewing and modifying part of Tom Sawyer Island to allow the show's staged live action segments. The producers employed the resources of Walt Disney Feature Animation and Walt Disney Imagineering.


title: Fantasmic!

text: A second version featuring new scenes opened at Disney's Hollywood Studios in 1998, and a third version premiered at Tokyo DisneySea in 2011, replacing "BraviSEAmo!". An updated version of Disneyland's "Fantasmic!" debuted in 2017, featuring a re-recorded soundtrack in addition to new scenes, lighting, choreography and costumes. A third version premiered at Disneyland in 2022 with new clouded lasers and searchlights in the viewing area. A revamped version premiered at Disney's Hollywood Studios in 2022, with new scenes and special effects.


title: Fantasmic!

text: "Fantasmic!" takes place on the waters of the Rivers of America at Disneyland and on a stage across the waterway on Tom Sawyer Island.


title: Fantasmic!

text: The show begins with Mickey Mouse being transported into his dream. He dances and orchestrates various water fountain, pyrotechnic, projection, laser and lighting effects to the show's theme. Mist screens rise from the water, acting as projection surfaces for various scenes from Disney movies. The show then transitions into a jungle scene from "The Jungle Book", featuring a puppet of Kaa and three floating barges carrying King Louie and black-lit monkeys (that debuted in the Tokyo version) across the river stage. The song transitions into "Hakuna Matata". The music then segues into a dubstep rendition of "Pink Elephants on Parade" from "Dumbo", as animated pink elephants appear onscreen and in the form of performers on the island. The scene then transitions to "Friend Like Me" from "Aladdin". Sorcerer Mickey watches the Genie perform tricks. Then they go under the sea as they head into the world of "The Little Mermaid" and "Finding Nemo". A bubble floats by and Jiminy Cricket appears onscreen, searching underwater for Pinocchio. An animated Monstro appears suddenly, accompanied by a heavy musical score as he crashes through water. The sea morphs into the "Sorcerer's Apprentice" flood scene. As Mickey looks around in the dark and asks "What's going on?", a ship caught in a storm appears. Captain Barbossa then appears on the mist screens.


title: Fantasmic!

text: A cannon is fired from Sailing Ship "Columbia", portraying the "Black Pearl" from the "Pirates of the Caribbean" films. Jack Sparrow, Elizabeth Swann, and other pirates participate in a stunt sequence. The scene ends with fountains that look like explosions and a cannon fired from the Sailing Ship "Columbia" (In earlier incarnations, the Columbia served as Captain Hook's pirate ship). As the scene concludes, Mickey paints the moon, with silhouettes of Peter Pan and the Darlings flying over it. Mickey's sorcerer hat is painted on the mist screen and the hat turns to clouds as Aladdin and Jasmine are on a physical magic carpet flying through the clouds while a rendition of "A Whole New World" plays. Then the carpet fades away and three small barges arrive carrying Belle and the Beast, Ariel and Prince Eric, and Rapunzel and Flynn Rider, with the accompanying signature melody from each film — "Beauty and the Beast," "Part of Your World," and "I See the Light".


title: Fantasmic!

text: Mickey's dream takes a turn for the worse. The magic mirror appears onscreen and tempts Mickey to enter the darker realms of his imagination. When asked if he has the courage, Mickey accepts the challenge, and the mirror traps Mickey inside. The Evil Queen, disguised as the old hag, calls all the villains to partake in Mickey's nightmare, invoking a riled Ursula who joins the Queen's plot to destroy Mickey. Ursula calls upon Chernabog, who summons deceased spirits. He then summons Maleficent (the true mastermind who wishes to take over Mickey's dream), who threatens Sorcerer Mickey as she transforms herself into an enormous dragon. Onstage, the 45-foot dragon sets the waters ablaze, breathing fire onto the river. Mickey defeats the dragon, destroying the villains in the process.


title: Fantasmic!

text: Tinker Bell then appears with the "Mark Twain" Riverboat approaching with fireworks, and a black and white Mickey from "Steamboat Willie" appears. Mickey then appears again to conduct a final set of fireworks and water fountains before leaving in a bright blast of fireworks.


title: Fantasmic!

text: The original Disneyland soft opening and press premiere were scheduled to begin Wednesday, April 29, 1992 and continue through the weekend. By late afternoon, rioting began in Los Angeles following the acquittal of the Los Angeles police officers involved in the Rodney King beating. Promotional materials with the catchphrase "Be There When the Night Ignites" were quickly pulled from public circulation.


title: Fantasmic!

text: Disneyland's "Fantasmic!" has undergone several technical refreshes. A new sound system debuted in the summer of 2007, along with new show barges featuring LED lighting arrays. A complete overhaul of the lighting system debuted in the spring of 2008. The three mainland lighting towers, which rise hydraulically from pits in the ground prior to the show, were rebuilt with pull-out slides for the new Clay Paky Alpha Spots and Washes and redesigned for the new Strong Gladiator IV followspots. The footlights on the mainland side at water level were replaced with LED fixtures. Refurbished pyrotechnic barges were given new technologies derived from Disneyland's Air-Launch Firework (ALF) system.


title: Fantasmic!

text: In 2008, the three original 70mm projectors were replaced with high definition (HD) digital projectors. A new audio-animatronic dragon (nicknamed Murphy by fans, after Murphy's law, when the dragon experienced multiple delays in 2009) was built to replace the previous dragon which had been a mechanical dragon's head on a JLG cherry picker. The new dragon was designed to be a full-bodied replica of Maleficent's final form in "Sleeping Beauty", standing at 45 feet tall.


title: Fantasmic!

text: In early February 2010, the entire Rivers of America were drained. Both the "Mark Twain" and the Sailing Ship "Columbia" were refurbished, and the track along which the ships travel was replaced. The show's underwater effects underwent maintenance as well, and the laser effects for the finale were upgraded. On August 28, 2010, the second-generation dragon broke again, partly collapsing during a performance. It was restored to the show on November 12, 2010.


title: Fantasmic!

text: On January 11, 2016, "Fantasmic!" and other attractions closed due to the construction of . It reopened on July 15, 2017. This version features some scenes that are inspired by the defunct Tokyo DisneySea version of "Fantasmic!", along with the "Imagination" song as part of the post-show.


title: Fantasmic!

text: The Florida version of the event and show takes place at the Hollywood Hills Amphitheater, with a rocky mountain and a façade of trees serving as the setting. The narrative of the Walt Disney World version is fairly similar to that of Disneyland's original version and defunct Tokyo DisneySea version, with the show's introduction and conclusion nearly identical. However, there are notable differences throughout the rest of the show.


title: Fantasmic!

text: The Hollywood Hills Amphitheater is a purpose-built seat riverside amphitheatre at the Disney's Hollywood Studios theme park in the Walt Disney World Resort, Florida, that showcases the nighttime spectacular "Fantasmic!" It is located off of Sunset Boulevard, between "The Twilight Zone" Tower of Terror and the Theater of the Stars, where the "Beauty and the Beast" stage show takes place. The "Fantasmic!" stage in Florida is significantly larger than Disneyland's, featuring a man-made, mountain on which Sorcerer Mickey stands and from which the dragon emerges. The amphitheater has 6,900 seats, with room for an additional 3,000 people standing. The moat around the island itself can hold of water.


title: Fantasmic!

text: On September 15, 2015, it was announced that Pop Secret would become the official sponsor of "Fantasmic!" at Disney's Hollywood Studios. Prior to this, "Fantasmic!" was the only nighttime fireworks show at Walt Disney World without a sponsor, with "" gaining sponsorship from Pandora Jewelry in 2014, while was sponsored by General Electric from 1999 to 2003 and sponsored by Siemens from 2005 until 2017.


title: Fantasmic!

text: On March 16, 2020, this version of "Fantasmic!" was temporarily closed due to the COVID-19 pandemic. On August 17, 2020, even though Walt Disney World reopened in July 2020, due to the ongoing on COVID-19 pandemic the "Fantasmic!" lagoon has been drained.


title: Fantasmic!

text: On November 20, 2021, it was announced that the show would get remastered to feature a new sequence with segments from "Aladdin", "Moana", and "Frozen". According to officials, it will now be 29 minutes long.


title: Fantasmic!

text: The Florida version has a four-minute-long substitute show that plays when inclement weather prohibits the presentation of the regular show. The alternative show does not showcase any of the performers, floats, or puppets due to the dangerous conditions that are posed to the performers because of the possibility of rain accumulating on the stage. Instead the ancillary show is a brief summation of the conventional show; including a fountain display synchronized to "Little April Showers", a sequence integrating the "Night on Bald Mountain" music, and a finale orchestrated with all of the usual pyrotechnics and musical fanfare from the original show's conclusion.


title: Fantasmic!

text: "Fantasmic!" debuted at Tokyo DisneySea on April 28, 2011, replacing the "BraviSEAmo!" show in the Mediterranean Harbor. The show was originally planned to debut on April 23 with the park's 10th Anniversary "Be Magical!" celebration, but was delayed by the Great East Japan Earthquake in March 2011. Originally, Fantasmic! was planned in 2001 for the park and the story would be themed around Tokyo DisneySea but was scrapped and instead DisneySea Symphony debuted. Many of the barges were reused from Tokyo DisneySea's former nighttime Christmas show “Candelight Reflections” but were reimagined. The Christmas tree barge was used for Mickey's sorcerer hat. This barge would also be used for Tokyo DisneySea's former nighttime Christmas show “Colors of Christmas” (2012–2019). The natural gas line in the harbor and 5 water cannons originally used for BraviSEAmo! were also repurposed.


title: Fantasmic!

text: The show's score was recorded by the Royal Philharmonic Orchestra at Abbey Road Studios, composed by Don L. Harper, featuring Bruce Healey's theme from the original "Fantasmic!" at the US parks. The DisneySea version has new scenes and narrative elements, including scenes based on "Aladdin", "Finding Nemo", and "Cinderella", and the original new song "Imagination". This is the only version of "Fantasmic!" to not have a stationary stage, with the show taking place entirely on barges. All of the characters' dialogue and sung parts were recorded in Japanese by the characters' respective Japanese voice artists.


title: Fantasmic!

text: This version of "Fantasmic!" closed on February 29, 2020. It was originally scheduled to conclude its run on March 25, 2020 and then close March 26, but it was moved up due to the extended closure of Tokyo Disney Resort in response to the COVID-19 pandemic in Japan.


title: Fantasmic!

text: On July 20, 2020 the Oriental Land Company announced that Fantasmic! would be replaced by an all-new nighttime spectacular in honor of Tokyo DisneySea's 22nd anniversary celebration, called "Believe! Sea of Dreams". This brand new show is premiering effective on November 11, 2022.


title: Fantasmic!

text: In late September, the Fantasmic! barges were spotted backstage. While it was thought that they would all be dismantled, it was discovered in February 2021 that Disneyland Paris had purchased the 4 main barges for Walt Disney Studios Park for a future nighttime spectacular on their future harbor/lagoon. This may be a similar version of Fantasmic!


title: Fantasmic!

text: In early January 2021, two of the main Fantasmic barges were spotted circling the harbor most likely training drivers for the new show.


title: Fantasmic!

text: On March 11, 2021, the former hat barge, now reimagined was docked in Mediterranean Harbor rehearsing for the new show.


title: 2021 FIFA Club World Cup Final

text: The 2021 FIFA Club World Cup Final was the final match of the 2021 FIFA Club World Cup, an international club football tournament hosted by United Arab Emirates. It was the 18th final of the FIFA Club World Cup, a FIFA-organised tournament between the club champions from each of the six continental confederations, as well as the host nation's league champions.


title: 2021 FIFA Club World Cup Final

text: The final was contested by English club Chelsea, representing UEFA as the reigning champions of the UEFA Champions League, and Brazilian club Palmeiras, representing CONMEBOL as the reigning champions of the Copa Libertadores.


title: 2021 FIFA Club World Cup Final

text: The match was played at the Mohammed bin Zayed Stadium in Abu Dhabi on 12 February 2022. The tournament was originally planned to take place in late 2021 in Japan, but was moved to February 2022 in the United Arab Emirates due to the impact of the COVID-19 pandemic.


title: 2021 FIFA Club World Cup Final

text: "In the following table, finals until 2005 were in the FIFA Club World Championship era, since 2006 were in the FIFA Club World Cup era."


title: 2021 FIFA Club World Cup Final

text: Note: On 27 October 2017, FIFA officially recognised all the champions of the Intercontinental Cup as club world champions, in equal status to the FIFA Club World Cup.


title: 2021 FIFA Club World Cup Final

text: Chelsea reached their second FIFA Club World Cup Final in two appearances, having done so previously in 2012, which they lost to Corinthians. Chelsea were looking to win their second title of the season, after the 2021 UEFA Super Cup.


title: 2021 FIFA Club World Cup Final

text: Palmeiras were competing in the FIFA Club World Cup for the second consecutive time, having finished fourth in 2020. They reached the final for the first time after defeating Al Ahly, who had previously defeated them in the third place playoff in 2020.


title: 2021 FIFA Club World Cup Final

text: This was the fourth FIFA Club World Cup Final to be played between English and Brazilian clubs, after 2005, 2012 and 2019, with only the latter being won by the English club.


title: 2021 FIFA Club World Cup Final

text: Chelsea qualified for the tournament as the champions of the UEFA Champions League, having defeated fellow English club Manchester City in the final. Due to their participation in the Club World Cup, two of their Premier League fixtures were rescheduled.


title: 2021 FIFA Club World Cup Final

text: As European champions, Chelsea received a bye to the semi-finals, where they faced Asian champions Al Hilal from Saudi Arabia. The Blues won the match 1–0; Romelu Lukaku scored the only goal of the game in the 32nd minute.


title: 2021 FIFA Club World Cup Final

text: Palmeiras entered the tournament as the winners of the Copa Libertadores, defeating another Brazilian club Flamengo after extra time in the final, which took place a few days before the draw for the Club World Cup.


title: 2021 FIFA Club World Cup Final

text: Palmeiras too entered the Club World Cup in the semi-finals stage, where they played African champions Al Ahly of Egypt. Palmeiras won the match 2–0 with goals from Raphael Veiga and Dudu, their first goals in the Club World Cup.


title: Star Trek: Lower Decks (season 2)

text: The second season of the American animated television series "" follows the various missions and adventures of the "lower deckers" (low-ranking officers with menial jobs) on the USS "Cerritos", one of Starfleet's least important starships. The season was produced by CBS Eye Animation Productions in association with Secret Hideout, Important Science, Roddenberry Entertainment, and animation studio Titmouse, with Mike McMahan serving as showrunner and Barry J. Kelly as supervising director.


title: Star Trek: Lower Decks (season 2)

text: Tawny Newsome, Jack Quaid, Noël Wells, and Eugene Cordero voice the lower decks crew members of the "Cerritos", with Dawnn Lewis, Jerry O'Connell, Fred Tatasciore, and Gillian Vigman providing voices for the ship's senior officers. "Lower Decks" was ordered for two seasons in October 2018 with McMahan on board as showrunner. Production took place remotely due to the COVID-19 pandemic and some of the season's writers did not meet in person while working on it. The season continues some overarching storylines from the , such as the threat of the Pakleds and the relationship between Beckett Mariner (Newsome) and her mother, Captain Carol Freeman (Lewis). Titmouse began work in August 2020. The season features many connections and references to past "Star Trek" series such as "", including several actors returning as guest stars.


title: Star Trek: Lower Decks (season 2)

text: The season premiered on the streaming service Paramount+ on August 12, 2021, and ran for 10 episodes until October 14. It has received several accolades, including a Hugo Award nomination. A was ordered in April 2021.


title: Star Trek: Lower Decks (season 2)

text: CBS All Access officially ordered two seasons of "" in October 2018. Mike McMahan was set as showrunner for the series. By late March 2020, work on the series was taking place remotely due to the COVID-19 pandemic forcing staff to work from home. Executive producer Alex Kurtzman said in August that work on the season was "barreling ahead, full steam ahead", and was not delayed by the pandemic like the live-action "Star Trek" series were. A month later, ViacomCBS announced that CBS All Access would be expanded and rebranded as Paramount+ in March 2021. The third episode of the season, "We'll Always Have Tom Paris", is the 800th "Star Trek" episode produced for television.


title: Star Trek: Lower Decks (season 2)

text: Writing on the second season began by March 2020, and was completed by mid-September. Due to the pandemic, the whole season was written remotely using Zoom and some new writers did not meet the others in person while working on the season. It was written knowing that fans would be able to stream the first two seasons back-to-back; McMahan wanted to carry the energy of the 's final three episodes into the start of the second season, feeling that those episodes were when the writing team fully "figur[ed] out what the show was". Because the second season was mostly written before the first was released, the writers were not able to take fan responses into account and had to trust that the first season would be received positively.


title: Star Trek: Lower Decks (season 2)

text: McMahan said the second season would combine standalone episodes with season-long character arcs, and would take inspiration from the storytelling of "" and "" in addition to that of "". He noted that many members of the crew had seen all of the previous "Star Trek" series, but they revisited specific episodes together such as the "" episode "A Private Little War" which introduced the alien Mugatos. Writer Ben Rodgers "could not get over" the inconsistent pronunciation of "Mugato" in the episode, a production mistake that the "Lower Decks" team wanted to celebrate, so the episode "Mugato, Gumato" has a running joke about the different pronunciations. McMahan said the second season would not undo the end of the first, with Brad Boimler working on the USS "Titan", which he compared to storylines on the science fiction series "Farscape" which took its characters away from the main starship. Other elements that were left for the second season include Sam Rutherford's memory issues, Mariner working with her mother Captain Freeman, and the Pakleds being a threat. McMahan wanted to address LGBTQ characters and relationships better than in the first season, especially by more explicitly depicting Mariner as bisexual.


title: Star Trek: Lower Decks (season 2)

text: The writers had a "distinct edict" from McMahan to elevate the characters Tendi and Rutherford during the second season so they were true co-leads of the series alongside Mariner and Boimler. He also wanted to play with the character combinations, such as telling a story with Mariner and Tendi together, as well as focus on the supporting characters for some episodes such as Dr. T'Ana and Chief Engineer Billups (the latter being a "secret sleeper favorite" character for the writers). Something McMahan was wary of was changing the main characters so much that they got too close to characters and storylines that previous "Star Trek" series had already covered. He hoped to show important changes in the main characters and develop them across the seasons without departing too much from the central premise of the series. An underlying theme for the season is the characters learning to trust each other, and it ends with Mariner successfully opening up to her mother. Freeman begins the season feeling that she should move up to "bigger and better places", but learns by the finale that she is in the right place on the "Cerritos". That is another underlying theme for the season, which Freeman voices with the line "the carpets are greyer on the other side of the ship". Boimler has a similar journey in the season, wanting to be on the "Titan" but ending up happy to rejoin the "Cerritos". Freeman's arc connects to the season-long Pakled story, which ends with her being arrested for apparently destroying the Pakled homeworld. This ends the season on a cliffhanger, setting up a new character arc for Mariner in the . Late in production on the finale, McMahan realized that this cliffhanger should include the "To Be Continued..." title card that previous "Star Trek" series used.


title: Star Trek: Lower Decks (season 2)

text: McMahan hoped to replicate the success of the first season's last three episodes by again having a sketch comedy episode ("I, Excretus"), a penultimate episode that breaks form for the series ("wej Duj"), and a big finale ("First First Contact"). The idea of "wej Duj", which means "Three Ships" in the Klingon language, came from the writers wanting to do something that had not been seen before and being surprised to learn that no previous series had told a contained story on a Vulcan ship. The episode shows "more lower decks than ever before" by exploring lower deckers on the "Cerritos", a Vulcan ship, and a Klingon ship, which McMahan said was the kind of story he would pitch if given the opportunity to make a "Star Trek" film. He described the episode as a "triple-mini-movie that's part ["" (1991)], part this Vulcan thing we've never seen before, and" also ties-into the season-long Pakled storyline. One element that he was not able to include, due to logistics, was having the full opening credits written in alternating Vulcan and Klingon text, but he was able to have the episode title shown in Klingon characters which is the first time a "Star Trek" episode title is not shown in English letters. For the finale, McMahan wanted a big moment that did not involve crashing the ship since that had already been done many times before in the franchise. Instead, for the first time in "Star Trek", the hull plating is stripped from the whole ship. This was inspired by debris getting stuck in the hull of the USS "Enterprise" in the "" episode "". The finale also introduces Cetacean Ops, an area of the starship for water-based crewmembers. It was first mentioned in "The Next Generation" but was never shown due to budgetary and logistical limitations. McMahan said it was a dream come true to finally see Cetacean Ops.


title: Star Trek: Lower Decks (season 2)

text: The series stars a group of ensigns serving in the "lower decks" of the "Cerritos"—Tawny Newsome as Beckett Mariner, Jack Quaid as Brad Boimler, Noël Wells as D'Vana Tendi, and Eugene Cordero as Sam Rutherford—and the ship's bridge crew who believe "the show is about them, but it's not"—Dawnn Lewis as Captain Carol Freeman, Jerry O'Connell as first officer Commander Jack Ransom, Fred Tatasciore as security chief Lieutenant Shaxs, and Gillian Vigman as chief medical officer Dr. T'Ana. After Shaxs died in the first-season finale, the second season introduces a new security chief, Kayshon (voiced by comedian Carl Tart), but Shaxs soon returns in a storyline that plays on the numerous times that characters have been resurrected in "Star Trek".


title: Star Trek: Lower Decks (season 2)

text: After the end of the first season, McMahan confirmed that Jonathan Frakes would return as his "Next Generation" character William Riker in the second season after guest starring in the first-season finale. Marina Sirtis also reprised her "Next Generation" role of Deanna Troi in the first-season finale, but did not return for the second season because "the stories didn't go that way" according to McMahan. He added that there would be other characters in the season returning from previous "Star Trek" series, and said they would "come in a way that you don't expect". Robert Duncan McNeill, who portrayed Tom Paris in "Voyager", voices a commemorative plate of Paris that talks to a hallucinating Boimler, while Alice Krige returns as the Borg Queen from the film "" (1996), and Lycia Naff reprises her "Next Generation" guest role of Sonya Gomez. McMahan brought back Naff to have a callback that was not to one of the major "Next Generation" characters, and because he considered her to be "one of the original lower deckers". Additionally, Jeffrey Combs—who previously portrayed multiple characters across the franchise—voices an evil computer named AGIMUS; the evil entity Armus from the "Next Generation" episode "Skin of Evil" briefly appears voiced by Tatasciore, taking over the character from original voice actor Ron Gans; and the character Thadiun Okona from the "Next Generation" episode "The Outrageous Okona" makes a non-speaking cameo appearance as the DJ at a Starfleet party.


title: Star Trek: Lower Decks (season 2)

text: Other first-season cast members who returned for the second include Phil LaMarr as Admiral Freeman, Mariner's father; Lauren Lapkus as Jennifer Sh'reyan, an Andorian ensign on the "Cerritos"; Jessica McKenna as Ensign Barnes as well as the "Cerritos" computer; writer Ben Rodgers as Lieutenant Steve Stevens; Rich Fulcher as many of the Pakleds, including the Pakled leader, King Pakled, and Emperor of the Pakleds; Marcus Henderson as Lieutenant Jet Manhaver; Paul F. Tompkins as Dr. Migleemo; and Paul Scheer as Chief Engineer Andy Billups.


title: Star Trek: Lower Decks (season 2)

text: Voice recording for the season primarily took place with the actors in their own homes due to the COVID-19 pandemic. Newsome used a recording studio she already had at her house, and recording equipment was set up in the houses of other actors. However, Combs recorded his lines for the season in a traditional recording studio under pandemic precautions.


title: Star Trek: Lower Decks (season 2)

text: Independent animation studio Titmouse provides the animation for the series, with first-season episodic director Barry J. Kelly taking over from Juno Lee as supervising director for the second season. Work on the season's storyboards began in August 2020. These were put together as animatics for the animators to use as a basis for the final animation with full details and colors. The season's animation was in the final color phase by May 2021. The series' animation style reflects the look of "prime time animated comedy" series such as "The Simpsons", but with more detailed backgrounds and environments than is traditional for prime time animation.


title: Star Trek: Lower Decks (season 2)

text: The model for the USS "Cerritos" features some "minor cosmetic changes" following the battle damage it received during the first-season finale. In "Strange Energies", the USS "MacDuff" appears in a holodeck program and is a "Miranda"-class ship like the USS "Reliant" from the film "" (1982), McMahan's favorite "Star Trek" starship and the inspiration for the "Cerritos" design. The two other main ships in "wej Duj" are the IKS "Che'Ta", a Klingon Bird of Prey like those seen throughout the franchise, and the Vulcan cruiser Sh'Vhal which has a similar design to the Vulcan ships seen in "Star Trek: Enterprise". The season finale introduces the USS "Archimedes", an "Obena"-class starship inspired by the "Excelsior"-class from "" (1984) but bigger and with some small design changes. The new class was named for Nollan Obena, the series' art director who designed many of its starships. Also seen in the season is Starbase 25, which was mentioned in "" but not seen on screen until "An Embarrassment of Dooplers". The design closely resembles that of Starbase Vanguard from the "" book series. Inside the Starbase is a Quark's Bar like the one seen in "Deep Space Nine", which has become a franchise since the events of that series—Quark's Bars also appear on other planets in "Lower Decks". Tendi gives Rutherford a model of Deep Space 9 in "An Embarrassment of Dooplers" that comes in a box with the same typography as the "Deep Space Nine" credits.


title: Star Trek: Lower Decks (season 2)

text: McMahan hoped that references to "The Animated Series" in "Lower Decks" would honor it as the franchise's first animated series, and included several alien species from "The Animated Series" in the season: a Kzinti ensign, whose species appeared in "The Animated Series", is introduced, and in "The Spy Humongous" he mimics the "stooped posture" of the Kzinti seen in that series; Starbase 25 features many different species, including a bartender of the same species as the character Em/3/Green and some bird-like Aurelians which both originated on "The Animated Series"; and the holodeck instructor Shari Yn Yem in "I, Excretus" is a Pandronian, a species from "The Animated Series" that has a "distinctive style of dress and speech" and can split themselves into three parts. The season also features the skeleton of "Spock Two", a giant clone of Spock from the "Animated Series" episode "The Infinite Vulcan". The skeleton appears as part of the collection that is being catalogued in "Kayshon, His Eyes Open", which also includes numerous visual references to many previous "Star Trek" series.


title: Star Trek: Lower Decks (season 2)

text: The season begins with Mariner being interrogated by Cardassians in a holodeck program that is similar to the "Next Generation" episode "". In "I, Excretus", the crew of the "Cerritos" participate in holodeck training programs based on previous Starfleet missions that pay homage to the sets and events of episodes from other "Star Trek" series: "Mirror Universe Encounter" is set in the Mirror Universe and based on the "Original Series" episode ""; "Old West Planet" has the Western theme of multiple previous episodes but the specific planet design of the "Original Series" episode "Spectre of the Gun"; "Naked Time" features visual references to both the "Original Series" episode "The Naked Time" and the "Next Generation" episode "The Naked Now"; "Medical Ethics" has a similar plot to the "Next Generation" episode ""; "The Good of the Many" replicates the set, costumes, and scenario of the scene where Spock has to fix the radioactive warp core in "Star Trek II: The Wrath of Khan"; "Escape from Spacedock" requires the crew to fly a starship out of a spacedock and save Spock on the Genesis Planet, just like in the plot of "Star Trek III: The Search for Spock"; and "Borg Encounter" adapts various elements from previous Borg-focused episodes as well as "Star Trek: First Contact". Additionally, Dr. T'Ana and Tendi go rock climbing in "wej Duj" on a holodeck simulation of El Capitan in Yosemite National Park, recreating the scene where James T. Kirk does the same in "" (1989).


title: Star Trek: Lower Decks (season 2)

text: Rutherford has a vision in "We'll Always Have Tom Paris" of alternate versions of Shaxs wearing different costumes from across the franchise, including a USS "Enterprise" (NX-01) uniform from "Enterprise", a Terran Empire uniform from the "Original Series" episode "Mirror, Mirror", a Professor Moriarty costume similar to the one seen in the "Next Generation" episode "Elementary, Dear Data", an "Original Series" "redshirt" uniform, and as a Borg. In "wej Duj", the crew are seen running through the ship wearing various outfits including Anbo-jyutsu martial arts costumes and gymnastics leotards from the "Next Generation" episodes "The Icarus Factor" and "", respectively. Also in that episode, Boimler wears the same "Go climb a rock" shirt that Kirk wore in "The Final Frontier", and uses the same rocket boots that Spock had in that film's rock climbing scene, while Freeman wears a shirt with "RITOS" on it which is similar to the "DISCO" shirts worn aboard the USS "Discovery" in "". An alien based on the multi-eyed original design for Saru from "Discovery" briefly appears on Starbase 25. The evil computer AGIMUS is taken to the Daystrom Institute for Advanced Robotics in "Where Pleasant Fountains Lie". The institute was first seen in "", and is shown to look roughly the same during "Lower Decks" a few decades earlier than that appearance. One of the other evil computers in the institute features the CBS Eye logo as a reference to the series' production company.


title: Star Trek: Lower Decks (season 2)

text: Composer Chris Westlake was unable to record his score for the first season with a full orchestra in a traditional recording studio, due to the COVID-19 pandemic, but he was able to with his score for the second season. Recording for the season began by May 2021 at the Sony Scoring Stage in Los Angeles with a live 60-person orchestra. The series' main theme was re-recorded with the full orchestra for the second season. The "Klingon acid punk" records that are featured in the episode "We'll Always Have Tom Paris" have lyrics written by Westlake and translated into the Klingon language by its creator, Mark Okrand. Similar to Boimler being heard humming Jerry Goldsmith's main theme from "The Next Generation" during the first season, he can be heard humming Goldsmith's main theme from "Voyager" in "We'll Always Have Tom Paris" after talking about Paris and the crew of the USS "Voyager" from that series. Selections from Westlake's score for the season were included in the series' , which was released by Lakeshore Records on October 8, 2021.


title: Star Trek: Lower Decks (season 2)

text: The cast and crew teased the season during a virtual "Star Trek" Universe panel for New York Comic Con in October 2020. This primarily discussed the first-season finale and was released as an episode of "The Ready Room", an aftershow hosted by "The Next Generation" actor Wil Wheaton. McMahan teased the season later in October during the "Virtual Trek Con 2" virtual event. A teaser trailer for the season was released during the "First Contact Day" virtual event on April 5, 2021, celebrating the franchise on the fictional holiday marking first contact between humans and aliens in the "Star Trek" universe. The season's premiere date was also revealed during the event.


title: Star Trek: Lower Decks (season 2)

text: The official trailer was released during Paramount+'s animation panel at the 2021 Comic-Con@Home virtual convention. McMahan and the cast discussed the season. Writing for "Digital Spy", Dan Seddon described the trailer as a "wonderfully entertaining 2-minute package [that] has everything from space slugs to evil computers". Scott Collura at "IGN" said the trailer looked like "more of the same" fun as the first season and had "the usual dose of deep, deep "Star Trek" references and Easter eggs", while James Whitbrook of "Gizmodo" said the series was "looking better than ever for round two. And that means more jokes, more delectably silly references to Trek's past, and more earnest Starfleet vibes". Collura and Whitbrook both highlighted the Tom Paris commemorative plate featured in the trailer, which was also released as a physical commemorative plate for purchase. As they did with the first season, animation studio Titmouse released a shirt with a unique design on it alongside each episode. The designs were available for one week each, and fans who bought all ten received a bonus eleventh shirt.


title: Star Trek: Lower Decks (season 2)

text: The season premiered on Paramount+ in the United States on August 12, 2021, and ran for 10 episodes until October 14. Each episode was broadcast in Canada on the same day as the U.S. release by Bell Media on specialty channels CTV Sci-Fi Channel (English) and Z (French) before streaming on Crave. Prime Video has the streaming rights for several territories, including Europe, Australia, New Zealand, Japan, and India.


title: Star Trek: Lower Decks (season 2)

text: The season was released on DVD and Blu-Ray in the U.S. on July 12, 2022. The release includes over an hour of bonus features, including the animatics for each episode, a round-up of the references and Easter eggs to other "Star Trek" series in each episode, featurettes about the sound design process and the making of the season in general, and audio commentaries with cast and crew for several of the episodes.


title: Dilution (equation)

text: Dilution is the process of decreasing the concentration of a solute in a solution, usually simply by mixing with more solvent like adding more water to the solution. To dilute a solution means to add more solvent without the addition of more solute. The resulting solution is thoroughly mixed so as to ensure that all parts of the solution are identical.


title: Dilution (equation)

text: The same direct relationship applies to gases and vapors diluted in air for example. Although, thorough mixing of gases and vapors may not be as easily accomplished.


title: Dilution (equation)

text: For example, if there are 10 grams of salt (the solute) dissolved in 1 litre of water (the solvent), this solution has a certain salt concentration (molarity). If one adds 1 litre of water to this solution, the salt concentration is reduced. The diluted solution still contains 10 grams of salt (0.171 moles of NaCl).


title: Dilution (equation)

text: The basic room purge equation is used in industrial hygiene. It determines the time required to reduce a known vapor concentration existing in a closed space to a lower vapor concentration. The equation can only be applied when the purged volume of vapor or gas is replaced with "clean" air or gas. For example, the equation can be used to calculate the time required at a certain ventilation rate to reduce a high carbon monoxide concentration in a room.


title: Dilution (equation)

text: The basic room purge equation can be used only for purge scenarios. In a scenario where a liquid continuously evaporates from a container in a ventilated room, a differential equation has to be used:


title: Dilution (equation)

text: The dilution in welding terms is defined as the weight of the base metal melted divided by the total weight of the weld metal. For example, if we have a dilution of 0.40, the fraction of the weld metal that came from the consumable electrode is 0.60.


title: Her Majesty's Theatre

text: Her Majesty's Theatre is a West End theatre situated on Haymarket in the City of Westminster, London. The present building was designed by Charles J. Phipps and was constructed in 1897 for actor-manager Herbert Beerbohm Tree, who established the Royal Academy of Dramatic Art at the theatre. In the early decades of the 20th century, Tree produced spectacular productions of Shakespeare and other classical works, and the theatre hosted premieres by major playwrights such as George Bernard Shaw, J. M. Synge, Noël Coward and J. B. Priestley. Since the First World War, the wide stage has made the theatre suitable for large-scale musical productions, and the theatre has accordingly specialised in hosting musicals. The theatre has been home to record-setting musical theatre runs, notably the First World War sensation "Chu Chin Chow" and the current (June 2022) production of Andrew Lloyd Webber's "The Phantom of the Opera", which previously played continuously at Her Majesty's between 1986 and March 2020.


title: Her Majesty's Theatre

text: The theatre was established by architect and playwright John Vanbrugh, in 1705, as the Queen's Theatre. Legitimate drama unaccompanied by music was prohibited by law in all but the two London patent theatres, and so this theatre quickly became an opera house. Between 1711 and 1739, more than 25 operas by George Frideric Handel premiered here. Joseph Haydn’s series of concerts in London took place here in the 1790s. In the early 19th century, the theatre hosted the opera company that was to move to the Theatre Royal, Covent Garden, in 1847, and presented the first London performances of Mozart's "La clemenza di Tito", "Così fan tutte" and "Don Giovanni". It also hosted the Ballet of her Majesty's Theatre in the mid-19th century, before returning to hosting the London premieres of such operas as Bizet's "Carmen" and Wagner's "Ring Cycle". The theatre has also been known as Queen's Theatre at the Haymarket, prior to being renamed Her Majesty's Theatre.


title: Her Majesty's Theatre

text: The name of the theatre changes with the gender of the monarch. It first became the King's Theatre in 1714 on the accession of George I. It was renamed Her Majesty's Theatre in 1837. Most recently, the theatre was known as His Majesty's Theatre from 1901 to 1952, and it became Her Majesty's on the accession of Elizabeth II. The theatre's capacity is 1,216 seats, and the building was Grade II* listed by English Heritage in 1970. LW Theatres has owned the building since 2000. The land beneath it is on a long-term lease from the Crown Estate. Following the accession of Charles III in September 2022, LW Theatres confirmed the theatre's name will revert to His Majesty's Theatre, after the coronation of the new king.


title: Her Majesty's Theatre

text: The end of the 17th century was a period of intense rivalry amongst London's actors, and in 1695 there was a split in the United Company, who had a monopoly on the performance of drama at their two theatres. Dramatist and architect John Vanbrugh saw this as an opportunity to break the duopoly of the patent theatres, and in 1703 he acquired a former stable yard, at a cost of £2,000, for the construction of a new theatre on the Haymarket. In the new business, he hoped to improve the share of profits that would go to playwrights and actors. He raised the money by subscription, probably amongst members of the Kit-Cat Club:


title: Her Majesty's Theatre

text: To recover them [that is, Thomas Betterton's company], therefore, to their due Estimation, a new Project was form'd of building them a stately theatre in the Hay-Market, by Sir John Vanbrugh, for which he raised a Subscription of thirty Persons of Quality, at one hundred Pounds each, in Consideration whereof every Subscriber, for his own Life, was to be admitted to whatever Entertainments should be publickly perform'd there, without farther Payment for his Entrance.


title: Her Majesty's Theatre

text: He was joined in the enterprise by his principal associate and manager William Congreve and an actors' co-operative led by Thomas Betterton.


title: Her Majesty's Theatre

text: The theatre provided the first alternative to the Theatre Royal, Drury Lane, built in 1663 and the Lincoln's Inn, founded in 1660 (forerunner of the Theatre Royal, Covent Garden, built in 1728). The theatre's site is the second oldest such site in London that remains in use. These three post-interregnum theatres defined the shape and use of modern theatres.


title: Her Majesty's Theatre

text: The land for the theatre was held on a lease renewable in 1740 and was ultimately owned, as it is today, by the Crown Estate. Building was delayed by the necessity of acquiring the street frontage, and a three bay entrance led to a brick shell long and wide. Colley Cibber described the audience fittings as lavish but the facilities for playing poor.


title: Her Majesty's Theatre

text: Vanbrugh and Congreve received Queen Anne's authority to form "a Company of Comedians" on 14 December 1704, and the theatre opened as the Queen's Theatre on 9 April 1705 with imported Italian singers in "Gli amori d'Ergasto" ("The Loves of Ergasto"), an opera by Jakob Greber, with an epilogue by Congreve. This was the first Italian opera performed in London. The opera failed, and the season struggled on through May, with revivals of plays and operas. The first new play performed was "The Conquest of Spain" by Mary Pix. The theatre proved too large for actors' voices to carry across the auditorium, and the first season was a failure. Congreve departed, Vanbrugh bought out his other partners, and the actors reopened the Lincoln's Inn Fields' theatre in the summer. Although early productions combined spoken dialogue with incidental music, a taste was growing amongst the nobility for Italian opera, which was completely sung, and the theatre became devoted to opera. As he became progressively more involved in the construction of Blenheim Palace, Vanbrugh's management of the theatre became increasingly chaotic, showing "numerous signs of confusion, inefficiency, missed opportunities, and bad judgement". On 7 May 1707, experiencing mounting losses and running costs, Vanbrugh was forced to sell a lease on the theatre for fourteen years to Owen Swiny at a considerable loss. In December of that year, the Lord Chamberlain's Office ordered that "all Operas and other Musicall presentments be performed for the future only at Her Majesty's Theatre in the Hay Market" and forbade the performance of further non-musical plays there.


title: Her Majesty's Theatre

text: After 1709, the theatre was devoted to Italian opera and was sometimes known informally as the Haymarket Opera House. Young George Frideric Handel produced his English début, "Rinaldo", on 24 February 1711 at the theatre, featuring the two leading castrati of the era, Nicolo Grimaldi and Valentino Urbani. This was the first Italian opera composed specifically for the London stage. The work was well received, and Handel was appointed resident composer for the theatre, but losses continued, and Swiney fled abroad to escape his creditors. John James Heidegger took over the management of the theatre and, from 1719, began to extend the stage through arches into the houses to the south of the theatre. A "Royal Academy of Music" was formed by subscription from wealthy sponsors, including the Prince of Wales, to support Handel's productions at the theatre. Under this sponsorship, Handel conducted a series of more than 25 of his original operas, continuing until 1739 Handel was also a partner in the management with Heidegger from 1729 to 1734, and he contributed to incidental music for theatre, including for a revival of Ben Jonson's "The Alchemist", opening on 14 January 1710.


title: Her Majesty's Theatre

text: On the accession of George I in 1714, the theatre was renamed the King's Theatre and remained so named during a succession of male monarchs who occupied the throne. At this time only the two patent theatres were permitted to perform serious drama in London, and lacking letters patent, the theatre remained associated with opera. In 1762, Johann Christian Bach travelled to London to premiere three operas at the theatre, including "Orione" on 19 February 1763. This established his reputation in England, and he became music master to Queen Charlotte.


title: Her Majesty's Theatre

text: In 1778, the lease for the theatre was transferred from James Brook to Thomas Harris, stage manager of the Theatre Royal, Covent Garden, and to the playwright Richard Brinsley Sheridan for £22,000. They paid for the remodelling of the interior by Robert Adam in the same year. In November 1778, "The Morning Chronicle" reported that Harris and Sheridan had


title: Her Majesty's Theatre

text: ... at a considerable expence, almost entirely new built the audience part of the house, and made a great variety of alterations, part of which are calculated for the rendering the theatre more light, elegant and pleasant, and part for the ease and convenience of the company. The sides of the frontispiece are decorated with two figures painted by Gainsborough, which are remarkably picturesque and beautiful; the heavy columns which gave the house so gloomy an aspect that it rather resembled a large mausoleum or a place for funeral dirges, than a theatre, are removed.


title: Her Majesty's Theatre

text: The expense of the improvements was not matched by the box office receipts, and the partnership dissolved, with Sheridan buying out his partner with a mortgage on the theatre of £12,000 obtained from the banker Henry Hoare.


title: Her Majesty's Theatre

text: One member of the company, Giovanni Gallini, had made his début at the theatre in 1753 and had risen to the position of dancing master, gaining an international reputation. Gallini had tried to buy Harris' share but had been rebuffed. He now purchased the mortgage. Sheridan quickly became bankrupt after placing the financial affairs of the theatre in the hands of William Taylor, a lawyer. The next few years saw a struggle for control of the theatre and Taylor bought Sheridan's interest in 1781. In 1782 the theatre was remodelled by Michael Novosielski, formerly a scene painter at the theatre. In May 1783, Taylor was arrested by his creditors, and a forced sale ensued, with Harris purchasing the lease and much of the effects. Further legal action transferred the interests in the theatre to a board of trustees, including Novosielski. The trustees acted with a flagrant disregard for the needs of the theatre or other creditors, seeking only to enrich themselves, and in August 1785 the Lord Chamberlain took over the running of the enterprise, in the interests of the creditors. Gallini, meanwhile, had become manager. In 1788, the Lord Chancellor observed "that there appeared in all the proceedings respecting this business, a wish of distressing the property, and that it would probably be consumed in that very court to which ... [the interested parties] seemed to apply for relief". Performances suffered, with the box receipts taken by Novosielski, rather than given to Gallini to run the house. Money continued to be squandered on endless litigation or was misappropriated. Gallini tried to keep the theatre going, but he was forced to employ amateur performers. "The World" described a performance as follows: "... the dance, if such it can be called was like the movements of heavy cavalry. It was hissed very abundantly." At other times, Gallini had to defend himself against a dissatisfied audience who charged the stage and destroyed the fittings, as the company ran for their lives.


title: Her Majesty's Theatre

text: The theatre burnt down on 17 June 1789 during evening rehearsals, and the dancers fled the building as beams fell onto the stage. The fire had been deliberately set on the roof, and Gallini offered a reward of £300 for capture of the culprit. With the theatre destroyed, each group laid their own plans for a replacement. Gallini obtained a licence from the Lord Chamberlain to perform opera at the nearby Little Theatre, and he entered into a partnership with R. B. O'Reilly to obtain land in Leicester Fields for a new building, which too would require a licence. The two quarrelled, and each then planned to wrest control of the venture from the other. The authorities refused to grant either of them a patent for Leicester Fields, but O'Reilly was granted a licence for four years to put on opera at the Oxford Street Pantheon. This too, would burn to the ground in 1792. Meanwhile, Taylor reached an agreement with the creditors of the King's Theatre and attempted to purchase the remainder of the lease from Edward Vanbrugh, but this was now promised to O'Reilly. A further complication arose as the theatre needed to expand onto adjacent land that now came into the possession of a Taylor supporter. The scene was set for a further war of attrition between the lessees, but at this point O'Reilly's first season at the Pantheon failed miserably, and he fled to Paris to avoid his creditors.


title: Her Majesty's Theatre

text: By 1720, Vanbrugh's direct connection with the theatre had been terminated, but the leases and rents had been transferred to both his own family and that of his wife's through a series of trusts and benefices, with Vanbrugh himself building a new home in Greenwich. After the fire, the Vanbrugh family's long association with the theatre was terminated, and all their leases were surrendered by 1792.


title: Her Majesty's Theatre

text: Taylor completed a new theatre on the site in 1791. Michael Novosielski had again been chosen as architect for the theatre on an enlarged site, but the building was described by Malcolm in 1807 as


title: Her Majesty's Theatre

text: fronted by a stone basement in rustic work, with the commencement of a very superb building of the Doric order, consisting of three pillars, two windows, an entablature, pediment, and balustrade. This, if it had been continued, would have contributed considerably to the splendour of London; but the unlucky fragment is fated to stand as a foil to the vile and absurd edifice of brick pieced to it, which I have not patience to describe.


title: Her Majesty's Theatre

text: The Lord Chamberlain, a supporter of O'Reilly, refused a performing licence to Taylor. The theatre opened on 26 March 1791 with a private performance of song and dance entertainment, but was not allowed to open to the public. The new theatre was heavily indebted and spanned separate plots of land that were leased to Taylor by four different owners on differing terms of revision. As a later manager of the theatre wrote, "In the history of property, there has probably been no parallel instance wherein the legal labyrinth has been so difficult to thread." Meetings were held at Carlton House and Bedford House attempting to reconcile the parties. On 24 August 1792 a General Opera Trust Deed was signed by the parties. The general management of the theatre was to be entrusted to a committee of noblemen, appointed by the Prince of Wales, who would then appoint a general manager. Funds would be disbursed from the profits to compensate the creditors of both the King's Theatre and the Pantheon. The committee never met, and management devolved to Taylor.


title: Her Majesty's Theatre

text: The first public performance of opera in the new theatre took place on 26 January 1793, the dispute with the Lord Chamberlain over the licence having been settled. This theatre was, at that time, the largest in England, and it became the home of the Theatre Royal, Drury Lane company while that company's home theatre was itself rebuilt between 1791–94.


title: Her Majesty's Theatre

text: From 1793, seven small houses at the east side of the theatre fronting on the Haymarket were demolished and replaced by a large concert room. It was in this room that Joseph Haydn gave a series of concerts, under the sponsorship of Johann Peter Salomon, on his second visit to London in 1794–95. He presented his own symphonies, some of them premieres, conducted by himself, and was paid £50 each for 20 concerts. He was feted in London and returned to Vienna in May 1795 with 12,000 florins.


title: Her Majesty's Theatre

text: With the departure of the Drury Lane company in 1794, the theatre returned to opera, hosting the first London performances of Mozart's "La clemenza di Tito" in 1806, "Così fan tutte" and "Die Zauberflöte" in 1811, and "Don Giovanni" in 1816. Between 1816 and 1818, John Nash and George Repton made alterations to the façade and increased the capacity of the auditorium to 2,500. They also added a shopping arcade, called the Royal Opera Arcade, which has survived fires and renovations and still exists. It runs along the rear of the theatre. In 1818–20, the British premieres of Gioachino Rossini's operas "Il barbiere di Siviglia, Elisabetta, regina d'Inghilterra, L'italiana in Algeri, La Cenerentola" and "Tancredi" took place, and the theatre became known as the Italian Opera House, Haymarket by the 1820s.


title: Her Majesty's Theatre

text: In 1797, he was elected as member of Parliament for Leominster, a position that gave him immunity from his creditors. When that parliament dissolved in 1802, he fled to France. Later, he returned, and was member of Parliament for Barnstaple from 1806 to 1812 while continuing his association with the theatre. Taylor paid little of the agreed receipts to performers, or composers, and lived for much of his period of management in the King's Bench, a debtors' prison in Southwark. Here he maintained an apartment next to Lady Hamilton and lived in some luxury, entertaining lavishly.


title: Her Majesty's Theatre

text: John Ebers, a bookseller, took over the management of the theatre in 1821, and seven more London premieres of Rossini operas ("La gazza ladra, Il turco in Italia, Mosè in Egitto, Otello, La donna del lago", "Matilde di Shabran" and "Ricciardo e Zoraide") took place there in the following three years. Ebers sublet the theatre to Giambattista Benelli in 1824, and Rossini was invited to conduct, remaining for a five-month season, with his wife Isabella Colbran performing. Two more of his operas, "Zelmira" and "Semiramide", received their British premieres during the season, but the theatre sustained huge losses and Benelli absconded without paying either the composer or the artists. Ebers engaged Giuditta Pasta for the 1825 season, but he became involved in lawsuits which, combined with a large increase in the rent of the theatre, forced him into bankruptcy, after which he returned to his bookselling business.


title: Her Majesty's Theatre

text: In 1828, Ebers was succeeded as theatre manager by Pierre François Laporte, who held the position (with a brief gap in 1831–33) until his death in 1841. Two of Rossini's Paris operas ("Le comte Ory" and "Le siège de Corinthe") had their British premieres at the theatre during this period, and Laporte was also the first to introduce the operas of Vincenzo Bellini ("La sonnambula, Norma" and "I puritani") and Gaetano Donizetti ("Anna Bolena, Lucia di Lammermoor" and "Lucrezia Borgia") to the British public. Under Laporte, singers such as Giulia Grisi, Pauline Viardot, Giovanni Battista Rubini, Luigi Lablache and Mario made their London stage debuts at the theatre. Among the musical directors of this period was Nicolas Bochsa, the celebrated and eccentric French harpist. He was appointed in 1827 and remained for six years at this position. When Queen Victoria ascended the throne in 1837, the name of the theatre was changed to Her Majesty's Theatre, Italian Opera House. In the same year, Samuel Phelps made his London début as Shylock in "The Merchant of Venice" at the theatre, also playing in other Shakespearean plays here.


title: Her Majesty's Theatre

text: Over the course of the 1840s, Dion Boucicault had five plays produced here: "The Bastile" [sic], an "after-piece" (1842), "Old Heads and Young Hearts" (1844), "The School for Scheming" (1847), "Confidence" (1848), and "The Knight Arva" (1848). In 1853, Robert Browning's "Colombe's Birthday" played at the theatre.


title: Her Majesty's Theatre

text: In 1841, disputes arose over Laporte's decision to replace the baritone Antonio Tamburini with a new singer, Colletti. The audience stormed the stage, and the performers formed a 'revolutionary conspiracy'.


title: Her Majesty's Theatre

text: Laporte died suddenly, and Benjamin Lumley took over the management in 1842, introducing London audiences to Donizetti's late operas, "Don Pasquale" and "La fille du régiment". Initially, relations between Lumley and Michael Costa, the principal conductor at Her Majesty's were good. Verdi's "Ernani", "Nabucco" and "I Lombardi" received their British premieres in 1845–46, and Lumley commissioned "I masnadieri" from the composer. This opera received its world premiere on 22 July 1847, with the Swedish operatic diva Jenny Lind in the role of Amalia, and the British premieres of two more Verdi operas, "I due Foscari" and "Attila", followed in 1847–48. Meanwhile, the performers had continued to feel neglected and the disputes continued. In 1847, Costa finally transferred his opera company to the Theatre Royal, Covent Garden, and the theatre relinquished the sobriquet, 'Italian Opera House', to assume its present title, Her Majesty's Theatre.


title: Her Majesty's Theatre

text: The appearance of the Black Cuban guitarist Donna Maria Martinez at the theatre in July 1850 was the subject of much attention.


title: Her Majesty's Theatre

text: Lumley engaged Michael Balfe to conduct the orchestra and entered negotiations with Felix Mendelssohn for a new opera. Jenny Lind had made her English début on 4 May 1847 in the role of Alice in Giacomo Meyerbeer's "Robert le Diable", in the presence of the Royal family and the composer Felix Mendelssohn. Such was the press of people around the theatre that many "arrived at last with dresses crushed and torn, and coats hanging in shreds, having suffered bruises and blows in the struggle". She performed for a number of acclaimed seasons at the theatre, interspersed with national tours, becoming known as the "Swedish Nightingale". The secession of the orchestra to Covent Garden was a blow, and the theatre closed in 1852, re-opening in 1856, when a fire closed its rival. After the reopening, Lumley presented two more British premieres of Verdi operas: "La traviata" in 1856 and "Luisa Miller" in 1858.