title: 1922 (novella)

text: When Arlette's prophecy comes true, Wilfred tries to sell the land parcel he killed her for. However, Harlan and the townspeople, all disgusted with Wilfred, refuse to help him. He is forced to leave Hemingford Home as a pariah after selling the land to the livestock company for a pittance. He moves to Omaha and spends the first two years visiting the scenes of Henry's crimes and drinking away the money he received from selling the land. He finds two jobs, the first as a garment factory worker and the second as a librarian. He quits both, he claims, when the rats begin to stalk him again.


title: 1922 (novella)

text: Wilfred sits in a hotel room in Omaha, writing down his story and claiming that the corpses of Arlette, Henry, and Shannon are present. Wilfred plans to commit suicide before the rats consume him, but apparently misplaces his gun. The story ends with a newspaper clipping about Wilfred's death, stating that he was found with bite marks that appeared to be self-inflicted; this leaves the reader to speculate about whether Wilfred's account was true or delusional. Wilfred's papers are found to be illegible, having been chewed to pieces.


title: Just Can't Get Enough (Depeche Mode song)

text: "Just Can't Get Enough" is a song by English electronic music band Depeche Mode. It was their third single, released on 7 September 1981, a month before the release of their debut studio album, "Speak & Spell". It was recorded during the summer of that year at Blackwing Studios, and was the band's first single to be released in the United States, on 18 February 1982. A riff-driven synth-pop song, "Just Can't Get Enough" was the final single to be written by founding member Vince Clarke, who left the band in November 1981.


text: The single version of "Just Can't Get Enough" is the same version that appears on the UK version of "Speak & Spell". The 12-inch single featured a "Schizo Mix", which is an extended version with additional synth parts adding a sinister feel to the track. This version appears on the US version of "Speak & Spell", the UK re-release of "Speak & Spell", the re-release of "The Singles 81→85" and "Remixes 81–04".


text: In addition, the single's B-side, "Any Second Now", was the first commercially available Depeche Mode instrumental. It is included on the UK re-release of "Speak & Spell". A version including vocals (the first Depeche Mode vocals to be handled by Martin Gore) appeared on the album as "Any Second Now (Voices)". There is also an extended version, the "Altered" Mix. In the United States, the B-side is "Tora! Tora! Tora!". On the album, "Tora! Tora! Tora!" is crossfaded with the previous track, "Photographic", but on the single, the introduction is clean.


text: The single reached number 8 on the UK Singles Chart and number 26 on the US Hot Dance Club Play chart, making it their highest-charting single at the time on both counts. It also became the band's first (and biggest) hit in Australia, reaching number 4.


text: The "Just Can't Get Enough" video, directed by Clive Richardson, was the band's first, and is the only video by the band which includes Vince Clarke.


text: The exterior scenes in the video are filmed at The Southbank Centre that is, the undercroft and a now demolished stairway at the eastern corner of the Royal Festival Hall.


text: The song was played live on almost every Depeche Mode tour and various live versions have been released on live albums and concert videos or as B-sides over the years. The schizo mix live version recorded at the London Hammersmith Odeon on October 25 in 1982 that is featured on the 1983 "Love in Itself 2 and Live Tracks" 12" single became a hit in the Netherlands and Belgium in its own right in 1985. It was never released as a single A-side, but was played extensively on Radio Veronica by various DJs and entered the Dutch and Belgian charts, making the Top 10 (even though the "Love in Itself 2 and live tracks" 12" officially did not qualify for the singles chart, as it was labelled a mini-album).


text: "Just Can't Get Enough" was covered by English-Irish girl group the Saturdays. It was one of the official Comic Relief singles for 2009.


text: On 8 March 2009, the song entered the UK Singles Chart at number two, where it peaked, being beaten by Flo Rida's "Right Round" after being at number one in the midweek count, thus being the first Comic Relief single not to chart at number one in 14 years. However, it gave the Saturdays their highest chart placing at the time, outpeaking and outselling the original track, plus it marked their fourth consecutive top ten hit in the UK. The success of this single was later matched by "Forever Is Over" and beaten by "What About Us". In Scotland, the song reached number one for a week, becoming their highest-charting single on that chart alongside "What About Us". In 2010, it received a Silver certification from the BPI for sales exceeding 200,000 copies.


text: The music video premiered on MSN on 9 February 2009. The video shows each girl singing in a mock-'50s pin-up calendar and uses a different edit of the song, known as the "Video Mix", than the single version. It was directed by Harvey B-Brown.


text: In 2009, the song was adapted as a football chant by fans of Celtic F.C., specifically the Green Brigade fans.


text: In an interview with football website Goal.com, Depeche Mode keyboardist Andrew Fletcher commented on the use of the song by Celtic fans: "We feel honoured that the Celtic faithful are chanting our songs and are touched by it. The best thing is that they know the entire lyrics."


text: The football chant was also sung by Thai children from the Good Child Foundation also known as the Thai Tims, made up of children with Down syndrome. The song had been taught to them by Reamonn Gormley, a young Celtic youth team player and avid Celtic fan from the Scottish town of Blantyre who had gone to Thailand as a volunteer English language teacher for Good Child Foundation and would use English songs to teach English to them, including, amongst others, Celtic chants. In February 2011, after returning to Blantyre, Gormley was stabbed to death at the age of 19. The Thai Tims' videotaped tribute version of "Just Can't Get Enough" went viral. In memory of Reamonn Gormley, Celtic FC and Celtic Charity Fund released it as a charity single on 8 May 2011 with proceeds going to the Good Child Foundation in Thailand and Crime Stoppers in Scotland. It reached number 30 on the UK Singles Chart and number two on the Scottish Singles Chart.


text: As it grew in popularity, the song was adapted by fans of other football teams including English Championship side Burnley in January 2011. In February 2011, starting with the 3–2 home win over Aston Villa, then Premier League club Bolton Wanderers used the song when they scored a goal at the Reebok Stadium. Also in February 2011, Liverpool supporters adopted the song as a tribute and encouragement for the club's new Uruguayan attacker Luis Suárez. Depeche Mode's Andrew Fletcher, in spite of being a supporter of rival club Chelsea, praised the creativeness of the Liverpool fans who adopted the song. Fletcher said that bandmate David Gahan also followed Chelsea, while Martin L. Gore is a fan of Arsenal.


text: A play on the title of the song, "I Just Khan't Get Enough", has been used by the Labour Party to promote Sadiq Khan, Mayor of London since 2016.


title: Fedayeen Saddam

text: Fedayeen Saddam () was a paramilitary Fedayeen organization loyal to the Ba'athist Iraqi government of Saddam Hussein. The name was chosen to mean "Saddam's Men of Sacrifice". At its height, the group had 30,000–40,000 members.


title: Fedayeen Saddam

text: The Fedayeen Saddam was not part of Iraq's regular armed forces but rather operated as a paramilitary unit of irregular forces. As a result of this, the Fedayeen reported directly to the Presidential Palace, rather than through the military chain of command. Whilst paramilitary the Fedayeen were not an elite military force, often receiving just basic training and operating without heavy weapons. In this they were somewhat similar to the "Basij" of Iran or "Shabbiha" militia of Syria.


title: Fedayeen Saddam

text: Much like other paramilitaries, the Fedayeen was volunteer based and the units were never given an official salary. As a result, most of the members resorted to extortion and theft of property from the general population, even though the members had access to sanction-evading trade and high quality services (i.e. new cars, hospitals reserved for officials, expensive electronics) and a general standard of living considerably higher than that of the average Iraqi of the time. However, they were ordered not to threaten or harm any government officials. As the group had no overt religious affiliations, it had a mix of Sunni and Shia members.


title: Fedayeen Saddam

text: The Fedayeen were among the most loyal organizations to the government of Saddam Hussein and were a politically reliable force against domestic opponents. The Fedayeen played a role in the 2003 war, resisting the American-led invasion, by among others conducting suicide attacks against U.S.-led Coalition forces.


title: Fedayeen Saddam

text: Uday Hussein formed the Fedayeen Saddam in 1995 with ten to fifteen thousand recruits from the Iraqi regions most loyal to the Ba'ath Party. Uday used the Fedayeen for personal reasons such as smuggling and suppressing opponents. Command of the militia was handed to Qusay Hussein in 1996 when it was uncovered that Uday was diverting weapons to the militia from the Iraqi Republican Guard.


title: Fedayeen Saddam

text: Before Saddam was removed from power, the force was placed back under Uday's control. In 1998 the "Ashbal Saddam" (Saddam's Lion Cubs) was created to recruit and train young children for membership in the Fedayeen. The Ashbal recruited boys aged 10 to 15 for training in small arms and infantry tactics as well as loyalty conditioning.


title: Fedayeen Saddam

text: The Fedayeen Saddam did not rise to international attention, however, until the 2003 invasion of Iraq by U.S.-led Coalition forces. Whereas the Iraqi army and the Republican Guard quickly collapsed, Fedayeen forces put up stiff resistance to the coalition invasion. U.S. strategy was to bypass other cities and head straight to Baghdad. In response, Fedayeen fighters entrenched themselves in the cities and launched guerrilla-style attacks on rear supply convoys. These convoys were attempting but usually falling short of keeping up with the rapid advance to Baghdad. They were attempting to sustain the rapid advance by bringing up food, water, ammunition, medical supplies and mail from back home. These were very lightly armed cargo trucks driving as fast as they could on dirt roads mainly in southern Iraq, after loading supplies in Kuwait. Once they started to get close to central Iraq more and more paved roads were available. They were almost always at least a few days behind. This made the resupply convoys vulnerable to attack. In these trucks were usually low to mid ranking enlisted soldiers with mostly no combat experience before this. For instance these cargo trucks mainly were only defended by the two rifles the driver and truck commander had. So even with a relatively small force the Fedayeen could attack several of the last trucks in a convoy, or trucks that had lost contact with the convoy. It was easy for the Fedayeen to capture or destroy these isolated poorly defended vehicles. The Fedayeen also used intimidation in an attempt to maintain morale in the Iraqi army and to keep civilians from rebelling. The multinational coalition was forced to turn its attention to the slow task of rooting out irregular forces from the southern cities, delaying the advance by two weeks.


title: Fedayeen Saddam

text: During the invasion, Fedayeen fighters mostly wielded AK-47 assault rifles, rocket-propelled grenades, machine guns, and truck-mounted artillery and mortars. They made extensive use of subterfuge in an attempt to blunt the overwhelming technological advantage used by the invading forces.


title: Fedayeen Saddam

text: By the end of the first week of April, Coalition forces had mostly succeeded in rooting out Fedayeen forces from the southern cities. The Shiite population was very un-supportive of the fighters, although many were intimidated. This factor, coupled with overwhelming firepower, quickly gave U.S. forces in the area a decisive edge. This reduced the pressure on the stretched supply lines, enabling the advance to continue. On April 9, Baghdad fell to U.S. forces with only sporadic resistance by Fedayeen irregulars, foreign volunteers, and remnants of the Special Republican Guard, effectively ending the regime of Saddam Hussein. Tikrit, the last city to fall, was taken on April 15.


title: Fedayeen Saddam

text: The Fedayeen Saddam was officially dissolved on May 23, 2003 per Order Number 2 of the Coalition Provisional Authority under Administrator L. Paul Bremer.


title: Fedayeen Saddam

text: The fall of Baghdad effectively ended the existence of the Fedayeen Saddam as an organized paramilitary. Some of its members died during the war. A large number survived, however, and were willing to carry on the fight even after the fall of Saddam Hussein from power. Many former members joined guerrilla organizations, collectively known as the Iraqi insurgency, that began to form to resist the U.S-led occupation. By June, an insurgency was clearly underway in central and northern Iraq, especially in the area known as the Sunni Triangle. Some units of the Fedayeen also continued to operate independently of other insurgent organizations in the Sunni areas of Iraq. On November 30, 2003, a U.S. convoy traveling through the town of Samarra in the Sunni Triangle was ambushed by over 100 Iraqi guerrillas, reportedly wearing trademark Fedayeen Saddam uniforms. Exactly how much influence they had in the resistance, especially following Saddam Hussein's capture on December 13, 2003, was a source of controversy.


title: Fedayeen Saddam

text: The Fedayeen has been cited as carrying out some of the most brutal acts of the pro-Saddam militias. They have reportedly carried out extra-judicial executions. Additionally, they were thought to have acted as enforcers for the Iraqi army in order to prevent desertion. In the last two years of Hussein’s rule, a campaign of beheadings, mainly targeting women suspected of prostitution and carried out by his elite Fedayeen unit, killed more than 200 people, human rights groups reported at the time.


title: Fedayeen Saddam

text: The Fedayeen Saddam wore two uniforms, an all black one worn on operations and an all white one worn on parade. They also operated in plain clothes in order to confuse Coalition forces.


title: Fedayeen Saddam

text: A black Darth Vader style helmet was also worn by some of the black-uniformed Fedayeen, as Uday Hussein (commander of the Fedayeen and eldest son of Saddam) was reportedly an avid fan of "Star Wars". The helmet shell was made of fibre glass, with a nylon webbing cradle. Fixed to the right side was a moulded rubber Fedayeen badge, which consisted of a silhouette of Saddam and the motto; "Allah al-watan qa'ed" (God, homeland, leader).


title: Spa, Belgium

text: Spa (; ) is a city and municipality of Wallonia located in the province of Liège, Belgium, whose name became an eponym for mineral baths with supposed curative properties. It is situated in a valley in the Ardennes mountains south-east of Liège and south-west of Aachen. In 2006, Spa had a population of 10,543 and an area of , giving a population density of .


title: Spa, Belgium

text: Spa is one of Belgium's most popular tourist destinations, being renowned for its natural mineral springs and production of "Spa" mineral water, which is exported worldwide. The motor-racing Circuit de Spa-Francorchamps, just south of the nearby village of Francorchamps, also hosts the annual Formula One Belgian Grand Prix and various endurance races such as the 6 Hours of Spa-Francorchamps. The world's first beauty pageant, the Concours de Beauté, was held in Spa on 19 September 1888. The town also hosted the Tour de France on 5 July 2010, when stage 2 of the race ended there.


title: Spa, Belgium

text: In 2021, Spa became part of the transnational UNESCO World Heritage Site under the name "Great Spa Towns of Europe", inscribed for its famous mineral springs and its architectural testimony to the rise of European bathing culture in the 18th and 19th centuries.


title: Spa, Belgium

text: Many of the famous mineral springs in Spa are located on a hillside south of the town. In total, there are more than 300 cold mineral springs in Spa and its surroundings, classified into two types: light mineral waters and natural sparkling waters (called 'pouhons' locally). The light mineral waters come from recent rainfall on the Malchamps Moor, roughly south-west of the town and are filtered through layers of peat, quartz, and phyllite. In contrast, the pouhon waters come from rainfall that may be decades old, having percolated through calcareous rocks hundreds of meters underground.


title: Spa, Belgium

text: As the site of cold springs with alleged healing properties, Spa has been frequented as a "water-taking" place since classical antiquity. Pliny the Elder (died 79 CE) noted, "In Tongrie, country of Gaul, there is a famous source, whose water, while sparkling bubbles, a ferruginous taste that is, however, feel that when we finished drinking. This water purges the body, cures fevers and dispels calculous affections." (C lib. XXXI VIII) The term "Spa" has since become eponymous with any place having a natural water source that is believed to possess special health-giving properties, known as a "spa".


title: Spa, Belgium

text: The spa town grew in the Middle Ages, in the oldest iron and steel centre of Liège Province. The "ban Spa" was created around 1335 and included two urban concentrations: "vilhe of Creppe" and "vilhe" Spas, away. Prior to the exploitation of mineral water, the steel industry developed communication lines, which made it possible to develop the spa town.


title: Spa, Belgium

text: As early as 1547, Agustino, physician to the King of England, Henry VIII, stayed at Spa and helped give knowledge to the world of the value of the Spa water. In 1559, Gilbert Lymborh wrote of "acid fountains of the Ardennes forest and primarily those located in Spa". It was translated into Latin, Italian and Spanish. In July 1565, the gentry of the provinces met in Spa under the pretext of taking the waters. At the hotel "Aux Armes of England", those present agreed to oppose the edicts of Philip II as austere and intolerant; this led to the historic 1566 "Compromise of Nobles".


title: Spa, Belgium

text: In 1654, the exiled pretender to the English throne, Prince Charles, stayed at Spa, which made the place even more famous. A postal system between Spa and the outside world was established in 1699.


title: Spa, Belgium

text: In 1918, the German Army established its principal headquarters in Spa, and from there the delegates set out for the French lines to meet Marshal Foch and to sue for peace in the consultations leading up to the Armistice which ended the First World War.


title: Spa, Belgium

text: During World War I, Spa operated as an important German convalescent hospital town between 1914 and 1917. The general headquarters of Kaiser Wilhelm II was, in 1918, the last place where he resided before his abdication due to the German surrender. In July 1920, the town hosted the Spa Conference, a meeting of the Supreme Council. German delegates were invited to this to discuss war reparations.


title: Spa, Belgium

text: World War II saw Spa reoccupied by the Germans, but the town escaped the Battle of the Bulge in 1945 that stopped, luckily for Spa, just at its gates.


title: Spa, Belgium

text: The Marshall Plan helped Belgium to recover quickly. In the 1950s and 1960s, mass tourism gradually developed, diminishing Spa's reliance on the elite as customers. These were decades of social tourism as well, with an attendance of more and more numerous Flemish and Dutch customers, while the Walloons went "en masse" to the Belgian coast in Flanders. Relaxation tourism replaced the thermal aspect of Spa.


title: Spa, Belgium

text: On 17 May 1983, to mark the 400th anniversary of the export of Spa waters, HM King Baudouin visited the new facilities of the Spa Monopole SA, the Henrijean Hydrology Institute and the Thermal Establishment. A special train from Brussels to Spa conveyed the morning delegates and foreign and Belgian journalists. Then, arriving by helicopter, Baudouin landed in the Park fermière company and visited the city, its tourist facilities and spa.


title: Spa, Belgium

text: The 1980s and 1990s saw the beginning of an infrastructure renewal and Spa radiation. In 1994, a new French song festival started: the "Francofolies".


title: Spa, Belgium

text: In 2007 the festival attracted 150,000 spectators. In 1997, the area of Spa-Bérinzenne opened the Regional Center for Initiation to the Environment, one of whose specialties is water, etc.


title: Spa, Belgium

text: In 2005, a new center "thermoludism" opened on the Annette and Lubin hill with panoramic views of the city. It is directly linked by funicular to the heart of the city and a new luxury hotel.


title: Spa, Belgium

text: In 2007, the Spa-Francorchamps circuit completely renewed its infrastructure to comply with the best international standards, allowing it to continue to host the annual Belgian Formula One Grand Prix 1, in addition to many other annual sporting events.


title: Spa, Belgium

text: Spa has two railway stations: "Spa" and "Spa-Géronstère", where local trains of SNCB/NMBS link the city with Theux, Verviers and Aachen. The railway line used to extend further south towards Trois-Ponts, Vielsalm and Luxembourg.


title: Spa, Belgium

text: Spa is located on the crosspoint of national roads N62, N629 and N686. The nearest motorway is the A27 (E42), where a junction for Spa is located in the commune of Jalhay.


title: Spa, Belgium

text: The Coat of Arms for Spa is a stylized pouhon housed in a neoclassical monument to the covering surrounded by a protective wall opened its facade. The monument is topped by a blue banner bearing the "Spa-Pouhon" inscriptions. "Argent masonry money pouhon of sand topped with gold-SPA Pouhon inscriptions on a blue background." The city colours are yellow and blue. The stylized pouhon is inspired by the monument that housed the pouhon Peter the Great until 1820.


title: Spa, Belgium

text: Under the Ancien Régime, the shield was commonly used in spa towns. It was customary for the spa guests to leave their arms at the hotel where he had stayed in recognition of the benefits of the waters. At Spa, many hotels have inscriptions like "In the Arms of England", "the Duke of Orleans," "To the King of Poland", etc.


title: Spa, Belgium

text: Spa has an oceanic climate that is made more continental by its higher elevation and inland position compared to other Belgian climates at lower level or closer to the sea. Spa has a relatively high precipitation year round, with tricky weather something that the Spa-Francorchamps race track is known for. The elevation also results in cooler summers and frequent winter frost along with snowfall. Spa is quite gloomy year round although averaging both a drier and sunnier climate than nearby locations Stavelot and Malmedy that are also surrounding the race track.


title: The Curse of Frankenstein

text: The Curse of Frankenstein is a 1957 British horror film by Hammer Film Productions, loosely based on the 1818 novel "Frankenstein; or, The Modern Prometheus" by Mary Shelley. It was Hammer's first colour horror film, and the first of their "Frankenstein" series. Its worldwide success led to several sequels, and it was also followed by new versions of "Dracula" (1958) and "The Mummy" (1959), establishing "Hammer Horror" as a distinctive brand of Gothic cinema.


title: The Curse of Frankenstein

text: The film was directed by Terence Fisher and stars Peter Cushing as Victor Frankenstein and Christopher Lee as the Creature, with Hazel Court and Robert Urquhart. Professor Patricia MacCormack called it the "first really gory horror film, showing blood and guts in colour".


title: The Curse of Frankenstein

text: In 19th century Switzerland, Baron Victor Frankenstein is awaiting execution for the murder of his maid Justine. He tells the story of his life to a visiting priest.


title: The Curse of Frankenstein

text: At age 15, the death of Victor's mother leaves him in sole control of the Frankenstein estate. He agrees to continue to pay a monthly allowance to his impoverished aunt Sophia and his young cousin Elizabeth. Soon afterwards, he engages scientist Paul Krempe to tutor him. After two years of intense study, the two begin collaborating on scientific experiments. One night, after a successful experiment in which they bring a dead puppy back to life, Victor suggests that they create a perfect human being from body parts. Paul assists Victor at first but eventually withdraws, unable to tolerate the continued scavenging of human remains, particularly after Victor's fiancée—his now grown-up cousin Elizabeth—comes to live with them.


title: The Curse of Frankenstein

text: Victor assembles his creation, with a robber's corpse found on a gibbet, and both hands and eyes purchased from charnel house workers. For the brain, Victor seeks out an ageing and distinguished professor, so that the creature can have a sharp mind and the accumulation of a lifetime of knowledge. He invites the professor to his house in the guise of a friendly visit but pushes him over a stair banister and kills him, making it look like an accident. After the professor is buried, Victor proceeds to the vault and removes his brain. Paul attempts to stop him, and the brain is damaged in the ensuing scuffle. Paul also tries to persuade Elizabeth to leave the house, as he has before, but she refuses.


title: The Curse of Frankenstein

text: With all of the parts assembled, Victor brings the creature to life. Unfortunately, the creature's damaged brain leaves it violent and psychotic, without the professor's intelligence. Victor locks up the creature, but it escapes and kills an old blind man that it encounters in the woods. After Paul shoots the creature in the eye, he and Victor bury it in the woods. However, after Paul leaves town, Victor digs up the creature and brings it back to life. Justine, with whom Victor has been having an affair, claims that she is pregnant by him and threatens to tell the authorities about his strange experiments if he refuses to marry her. He has her killed by the monster.


title: The Curse of Frankenstein

text: Paul returns to the house at Elizabeth's invitation the evening before she and Victor are to be married. Victor shows him the revived creature, and Paul threatens to report him to the authorities. The monster escapes up on to the roof where it threatens Elizabeth. Victor arrives with a gun and accidentally shoots Elizabeth after seeing the monster grabbing her. She falls unconscious, and without any more bullets, Victor throws an oil lamp at it, causing it to fall through the roof-light and into a vat of acid, destroying all evidence that it existed.


title: The Curse of Frankenstein

text: The priest does not believe Victor's story. When Paul visits him, Victor begs Paul to testify that it was the creature who killed Justine, but he refuses and denies all knowledge of the mad experiment. Paul joins Elizabeth, who is waiting outside, and tells her there is nothing they can do for Victor. After they leave, Victor is led away to the guillotine.


title: The Curse of Frankenstein

text: Producer Max Rosenberg originally approached Michael Carreras at Hammer Films with a deal to produce "Frankenstein and the Monster" (Rosenberg claims that he came up with the title) from a script by Milton Subotsky. Later, both men were cut out of their profit participation making only a $5000 fee for bringing the production to Hammer. Rosenberg and Subotsky later established Amicus Films, Hammer's main rival in the production of horror films during the 1960s.


title: The Curse of Frankenstein

text: Screenwriter Jimmy Sangster, who adapted Mary Shelley's novel for Hammer, never mentioned seeing Subotsky's script or being aware of Rosenberg's involvement. Sangster had worked as a production manager and said that he was keenly aware of production costs and kept the budget in mind when writing the script. Sangster said that his awareness of cost influenced him to not write scenes involving the villagers storming the castle that was typically seen in the Universal horror films "because we couldn't afford it". Sangster in an interview with film historian Jonathan Rigby indicated that he hadn't seen any of the Frankenstein films that Universal made. He just adapted the book "the way I saw it".


title: The Curse of Frankenstein

text: Peter Cushing, who was then best known for his many high-profile roles in British television, had his first lead part in a movie with this film. Meanwhile, Christopher Lee's casting resulted largely from his height (6' 5"), though Hammer had earlier considered the even taller (6 '7") Bernard Bresslaw for the role. Hammer refrained from duplicating aspects of Universal's 1931 film, and so it was down to make-up artist Phil Leakey to design a new look for the creature bearing no resemblance to the Boris Karloff original created by Jack Pierce. Production of "The Curse of Frankenstein" began, with an investment of £65,000, on 19 November 1956 at Bray Studios with a scene showing Baron Frankenstein cutting down a highwayman from a wayside gibbet. The film opened at the London Pavilion on 2 May 1957 with an X certificate from the censors.


title: The Curse of Frankenstein

text: Character actor Patrick Troughton originally had a brief role as a mortuary attendant, but his scenes were cut from the finished movie.


title: The Curse of Frankenstein

text: "The Curse of Frankenstein" premiered in London on 2 May 1957 at Warner Theatre in Leicester Square. It received a general release in the United Kingdom on 20 May 1957 where it was distributed by Warner Brothers and supported by the film "Woman of Rome". The film was reissued in the United Kingdom in the late 1960s where it was distributed by Rank/Universal International where it was a double feature with "The Mummy". In the US the film was released by Warner Bros on 20 July 1957 with "X the Unknown" as supporting feature. It was reissued in the United States on 16 December 1964, when it was released with "Dracula" (1958).


title: The Curse of Frankenstein

text: The film was re-mastered in the open matte aspect ratio of 1.37:1 for its 2013 release on Blu-ray. The restored film includes the magnified eyeball shot, missing from the U.S. print, but not the head in the acid bath scene, which remains lost.


title: The Curse of Frankenstein

text: The film received a restored release from Warner Archive on December 15, 2020, in a deluxe edition that included the three different aspect ratios it was exhibited in as well as special features including a commentary by Steve Haberman and Constantine Nasr. It also included the following special features: The Resurrection Men: Hammer, Frankenstein and the Rebirth of the Horror Film;


title: The Curse of Frankenstein

text: The film was a tremendous financial success and reportedly grossed more than 70 times its production cost during its original theatrical run.


title: The Curse of Frankenstein

text: In the US the outstanding box office success was a surprise. In its first week at the Paramount Theatre on Broadway "Variety" reported,"Curse" Wham $72,000" and noted,"it gave the Par flagship its biggest opening week on straight-film policy in the last two years". "Variety" continued to be impressed with its box office numbers as it opened across the US. "Curse" Terrific $30,900" in its first week in Los Angeles with supporting feature "X the Unknown". In an era when horror films typically played for one week, "Curse" was often held over for two and sometimes three weeks in major markets like Boston.


title: The Curse of Frankenstein

text: When it was first released in the United Kingdom, "The Curse of Frankenstein" outraged many reviewers. Dilys Powell of "The Sunday Times" wrote that such productions left her unable to "defend the cinema against the charge that it debases", while the "Tribune" opined that the film was "Depressing and degrading for anyone who loves the cinema".


title: The Curse of Frankenstein

text: "Monthly Film Bulletin" declared that the Frankenstein story was "sacrificed by an ill-made script, poor direction and performance, and above all, a preoccupation with disgusting-not horrific-charnelry"


title: The Curse of Frankenstein

text: The review did praise some elements of the film, noting "excellent art direction and colour" and the film score.


title: The Curse of Frankenstein

text: In the United States reaction was more positive, and reviewers were not repulsed by the film the way critics were in the UK. "Film Bulletin" deemed the film a "rattling good horror show... the Frankenstein monster has been ghoulishly and somewhat gleefully resurrected by our English cousins." "Harrison's Reports" called it "well produced but extremely gruesome", adding, "The photography is very fine, and so is the acting." Bosley Crowther in "The New York Times" dismissed it as a "routine horror picture" and oddly enough opined that "everything that happens, has happened the same way in previous films." "Variety" noted, "Peter Cushing gets every inch of drama from the leading role, making almost believable the ambitious urge and diabolical accomplishment. Direction and camera work are of a high order."


title: The Curse of Frankenstein

text: Later directors such as Martin Scorsese and Tim Burton have paid tribute to it as an influence on their work. Contemporary reviews have been much more positive, praising the film for it's dark atmosphere, Film review aggregator Rotten Tomatoes reported an approval rating of 81%, based on , with a rating average of 7.2/10.


title: The Curse of Frankenstein

text: Unlike the Universal Frankenstein series of the 1930s and 1940s, in which the character of the Monster was the recurring figure while the doctors frequently changed, it is Baron Frankenstein that is the connective character throughout the Hammer series, while the monsters change. Peter Cushing played the Baron in each film except for "The Horror of Frankenstein", which was a remake of the original "The Curse of Frankenstein" done with a more comedic touch, and featuring a young cast headed by Ralph Bates and Veronica Carlson.


title: The Curse of Frankenstein

text: A novelization of the film was written by John Burke as part of his book "The Hammer Horror Film Omnibus" (1966).


title: The Curse of Frankenstein

text: It was also adapted into a 20-page comic strip published in two parts in the magazine "The House of Hammer" (vol. 1) #2-3 (December 1976-January 1977), published by General Book Distribution. It was drawn by Alberto Cuyas from a script by Donne Avenell (based on the John Burke novelization). The cover of issue #2 featured a painting by Brian Lewis of the Baron being attacked by his creation.


title: Baalveer Returns

text: Baalveer Returns is an Indian fantasy television series which premiered on 10 September 2019 on Sony SAB which ended on 2 April 2021. Its second season premiered on 5 April 2021 which ended on 30 June 2021.


title: Baalveer Returns

text: Timnasa, an evil enchantress and the queen of Kaal Lok, begins a quest to rule the whole universe and become the most powerful and evil entity. She attacks and destroys the Pari Lok but Baalveer saves the surviving fairies, who are Masti Pari, Pani Pari, Vayu Pari, Jwala Pari, Dhwani Pari, Netra Pari, Saral Pari and Baal Pari. They take refuge in Veer Lok whose leader is a white lion, Shaurya. Baalveer becomes weaker as he was injured in the attack. On Shaurya's instructions, Baalveer goes to Earth as Dev, with the fairies as his sisters, to find the next Baalveer, as he needs help to fight Timnasa. Timnasa also learns of the new Baalveer.


title: Baalveer Returns

text: The new Baalveer is a very mischievous ten-year-old boy named Vivaan, who lives in Bharat Nagar with his grandfather, his Mother Karuna, and his elder sister Khushi. Soon, Baalveer finds and discloses his reality to Vivaan and takes him to Veer Lok where he is made the 'Junior Baalveer'. Both the Baalveers and the members of Veer Lok cross all the hurdles and fight Timnasa and defeat her every time. At the same time friendship is growing between two Baalveers. They started loving each other and taking care of each other.


title: Baalveer Returns

text: A long time ago, Timnasa had captured Sarvakaal, a monstrous sage who taught Timnasa black magic, as he knows the identity of the person who'll kill Timnasa. However, he refuses to reveal his identity. Baalveer finds Sarvakaal's prison and Timnasa's past, about how she was banished from Pari Lok where she was a Pari and was made Baalveer for a day because of her evil and egoistic intentions. Baalveer acknowledges this and pretends to lose his powers and memory and stays as a commoner with Vivaan and his family as Vivaan's brother Debu. He acquires a new avatar, Nakabposh. He befriends Ananya, a girl who is threatened by Timnasa, and also receives help from Sarvakaal. They together go to Earth to find the hidden power which is destined to kill Timnasa. While doing so, it is revealed that Vivaan is Ananya's long-lost brother and their biological mother is Devaki, the former queen of Shwet Lok which was destroyed by Timnasa. The trio form 'Team Shadow'. Vivaan is the hidden power who is destined to kill Timnasa and he overcomes the hurdles and takes Sarvakaal's infinite energy. By this new power, he puts an end to Timnasa's trinity except for Tauba Tauba. During the battle, Masti Pari is killed by Bhaymar and Vayu Pari and Jwala Pari sacrifice themselves as Timnasa's weapons hit them, to protect the Earth.


title: Baalveer Returns

text: Later, when Debu opens the secret message of Timnasa, which she had handed over to him before her death, Timnasa's spirit tells Debu that his biological parents were killed by Shaurya and the fairies.


title: Baalveer Returns

text: The series unveils the underwater kingdom of Shinkai, which is ruled by Jalraj Kaikos. The commander-in-chief Bambaal plots to rule over the whole universe, along with his sidekick Milsa.


title: Baalveer Returns

text: Bambaal and Shaurya reveal the story of a chemical scientist of the Veer Lok, named Jaikaas who had turned evil and plotted to make a weapon that would destroy the earth in 2020. He was stopped by Shaurya and hence he tried to escape with his two newborn sons. Shaurya attacked Jaikaas and one son fell in a desert while Jaikaas and his other son landed at desert. Bambaal tells about an egg in Shinkai, and that a man will be born from it, prophesied to be the ultimate. Jaikaas, before dying, protected his son who fell with him in the sea by putting him in an egg and he is the one Bambaal awaits. When he comes out of the egg he is named Ray. Ray loved Bambaal and Milsa as his father and mother and was ready to do anything for them.


title: Baalveer Returns

text: Debu wants to know about his past from Shaurya and fairies, but he fails. Baal veer captures Milsa but Bambaal secretly kills her to hide his identity from Debu and Vivaan. Baalveer tells Vivaan about him being Nakabposh leaving him shocked. Ray's full powers are unleashed by Debu's blood after he threatens him for Vivaan's life. The bond between Debu and Vivaan grows stronger that they cannot able to live without each other as they became one. After a series of incidents, Baalveer captures Bambaal and kills him. Ray kills Baalveer out of anger. He tries to manipulate Vivaan and Ananya. Baalveer, who is now a spirit, can only touch someone if that person is in danger. He saves Vivan many times. Vivan, who misses Baalveer more than anyone, becomes suspicious about the unknown person who is saving him many times. Ray makes a cooling glass that can see spirits. Baalveer Tracticali gives the glasses to Vivan. God gives Baalveer his life back by seeing the love of Debu and Vivaan for each other and telling them that it was the test for their love. Ray creates problems for the Baalveer's and the fairies. He Revived Bhaymar, Timnasa, and Akroor to revenge Bambaal's and Milsa's Death.


title: Baalveer Returns

text: Timnasa had a plan to destroy the earth and both Baalveer had to find four keys before Timnasa. However, Timnasa got the ultimate power - A Red Diamond to destroy the earth and Baalveers found a White Diamond to stop Timnasa from destroying the earth. Baalveers sacrifices himself by joining the two stones, the red one and the white one, for saving the earth and Timnasa also dies.


title: Baalveer Returns

text: A new character Happy is introduced, who is a lookalike of Baalveer who lives in Kanpur. And Kaal, another lookalike of Baalveer with evil intentions who was imprisoned by Swarna Shaurya a very long time ago. and kept frozen as a statue in Drak Lok gets freed from prison. Baalveers's energy star divides into 6 pieces and goes into the body of the 6 other look-alikes of Baalveer, which helps Kaal to escape from prison and to obtain Baalveer's all the powers, Kaal decides to kill other lookalikes of Baalveer. Kaal goes to the infinite library to know the location of his five other look-alikes. He discovers his sidekick Mauka Mauka at the library. Along with Kazo, Kaal and Mauka Mauka are able to slip out of Drak Lok without getting noticed by Shaurya, and Swarna Shaurya. On the other hand, Happy tries to understand his powers and he is unfamiliar with how he got his powers. Karuna comes to Kanpur with Mrs. Diwali to visit a temple and while returning, she accidentally meets Happy. As Happy is the lookalike of Debu, Karuna gets shocked and is not able to understand what is happening. Meanwhile, the Fairies try to find Baalveer's lookalike on Earth to protect him from Kaal. On the other hand, Kaal reaches the Snow Universe to kill a look-alike of Baalveer but when he tries to enter an igloo where the look-alike of Baalveer lives he cannot get in because of a Suraksha Kavach. After the multiple futile tries of shaurya of protecting the lookalike of the snow universe from Kaal, Kaal manages to kill the lookalike and gets his powers. Meanwhile, Karuna goes to Happy's house to order a wedding but is unable to recognize Happy as he has color on his face. When Karuna was about to leave she forgets her bag at Happy's house.


title: Baalveer Returns

text: Happy notices it and tries to give Karuna her bag but she is already on a bus. When Happy tries to run the magical powers of Baalveer triggers and he is able to run at super-speed and gives the bag to Karuna but she does not see him. After that, when Happy goes to collect the gas cylinder, he helps a truck driver by getting his truck out by using a single hand. Gradually, he notices his increasing powers and tries to get control of it.


title: Baalveer Returns

text: Later, Happy and his family visits Bharat nagar colony to conduct wedding ceremony of Diwali's relative. The residents of Bharat Nagar are shocked to see Happy, lookalike of Debu and get emotional assuming him as Debu has returned after his death. However, it is revealed to them that Happy is just a lookalike of Debu. Ray and Bhaymar are doubtful of Happy being Baalveer and plans to unmask the real identity of Happy. In Drak lok, Shauryas manage to safeguard remaining 3 lookalikes of Baalveer at a secret place.


title: Baalveer Returns

text: However, Kaal finds them and manages to kill 1 another lookalike of Baalveer and gain his powers, while Happy also realizes that he is more powerful than before and practices to control his mind and powers. The Fairies tries to collect energies of seven Shauryas from seven universe to defeat Kaal and tries to save remaining lookalikes.


title: Baalveer Returns

text: "Baalveer Returns" did a crossover with the series "Aladdin – Naam Toh Suna Hoga" for 5 episodes from 27 January 2020 to 31 January 2020 in Season 1.


title: Baalveer Returns

text: The commencement of the show, a sequel to the children's fantasy series "Baal Veer", was announced in early August 2019 by Optimystix Entertainment and Sony SAB. The first promo was released in August 2019. The new series cast Dev Joshi as Senior Baalveer, and introduced Vansh Sayani in a lead role as Baalveer's successor. l Pavitra Punia was cast as the evil fairy, Timnasa.


title: Baalveer Returns

text: After the Indian government announced the COVID-19 lockdown, the show ceased airing new episodes, along with other shows throughout the Indian entertainment industry. Four months later, after the government relaxed restrictions, the series resumed airing of new episodes, continuing with the storyline that had been interrupted.


title: Baalveer Returns

text: In 2020, Pavitra Punia announced that she would exit the series after the end of the Kaal Lok storyline, to participate in Season 14 of "Bigg Boss". Subsequently, Krutika Desai, Amika Shail and Khushi Mukherjee also quit the show for other reasons. The storyline ended and producers announced a new season, introducing the underwater kingdom of Shinkai, which would be populated by new villains, Bambaal, Milsa and Ray, played by Vimarsh Roshan, Shweta Khanduri and Shoaib Ali, respectively.


title: Baalveer Returns

text: In mid-December 2020, makers announced that Vimarsh Roshan was leaving the series but he would return as Bhaymaar. In early January 2021, makers announced the return of Pavitra Punia as Timnasa also, following her eviction from "Bigg Boss".


title: Baalveer Returns

text: The first episode has over 41 million views on YouTube. Baalveer Returns episode 233 has over 66 millions views on YouTube.


title: The Antichrist (book)

text: The Antichrist () is a book by the philosopher Friedrich Nietzsche, originally published in 1895. Although it was written in 1888, its content made Franz Overbeck and Heinrich Köselitz delay its publication, along with "Ecce Homo". The German title can be translated into English as either "The Anti-Christ" or "The Anti-Christian", depending on how the German word "Christ" is translated.


title: The Antichrist (book)

text: Nietzsche claims in the preface to have written the book for a very limited readership. To understand the book, he asserts that the reader "must be honest in intellectual matters to the point of hardness to so much as endure my seriousness, my passion." The reader should be above politics and nationalism. Also, the usefulness or harmfulness of truth should not be a concern. Characteristics such as "[s]trength which prefers questions for which no one today is sufficiently daring; courage for the "forbidden"" are also needed. He disregards all other readers:Very well, then! of that sort only are my readers, my true readers, my readers foreordained: of what account are the "rest"?—The rest are merely humanity.—One must make one's self superior to humanity, in power, in "loftiness" of soul,—in contempt.


title: The Antichrist (book)

text: In section 1, Nietzsche expresses his dissatisfaction with modernity, listing his dislikes for the contemporary "lazy peace", "cowardly compromise", "tolerance" and "resignation". This relates to Arthur Schopenhauer's claim that knowledge of the inner nature of the world and life results in "perfect resignation, which is the innermost spirit of Christianity."


title: The Antichrist (book)

text: Nietzsche introduces his concept of "will to power" in § 2, using its relation to define notions of "good", "bad" and "happiness": What is good?—Whatever augments the feeling of power, the will to power, power itself, in man. What is evil?—Whatever springs from weakness. What is happiness?—The feeling that power "increases"—that resistance is overcome.Nietzsche follows this passage with provocative and shocking language:The weak and the botched shall perish: first principle of "our" charity. And one should help them to it. What is more harmful than any vice?—Practical sympathy for the botched and the weak—Christianity...This is an example of Nietzsche's reaction against Schopenhauer, who had based all morality on compassion. Nietzsche, on the contrary, praises "virtue free of moralic acid".


title: The Antichrist (book)

text: Nietzsche goes on to say that mankind, out of fear, has bred a weak, sick type of human. He blames Christianity for demonizing strong, higher humans. Pascal, he claims, was an intellectually strong man who was depraved by Christianity's teaching of original sin.


title: The Antichrist (book)

text: Mankind, according to Nietzsche, is corrupt and its highest values are depraved. He asserts that "all the values in which mankind at present summarizes its highest desiderata are "decadence values"". Mankind is depraved because it has lost its instincts and prefers what is harmful to it: I consider life itself instinct for growth, for durability, for accumulation of forces, for "power": where the will to power is lacking there is decline.Depravity results because ""nihilistic" values dominate under the holiest names".


title: The Antichrist (book)

text: Christianity, as a religion of peace, is despised by Nietzsche. According to Nietzsche's account, pity has a depressive effect, loss of vitality and strength, and is harmful to life. It also preserves that which should naturally be destroyed. For a noble morality, pity is a weakness, but for Christianity, it is a virtue.


title: The Antichrist (book)

text: In Schopenhauer's philosophy, which Nietzsche sees as the most nihilistic and opposed to life, pity is the highest virtue of all. But, for Nietzsche:[I]n the role of "protector" of the miserable, it is a prime agent in the promotion of "décadence"—pity persuades to extinction... Of course, one doesn't say "extinction": one says "the other world," or "God," or "the "true" life," or Nirvana, salvation, blessedness... This innocent rhetoric, from the realm of religious-ethical balderdash, appears "a good deal less innocent" when one reflects upon the tendency that it conceals beneath sublime words: the tendency to "destroy life". Schopenhauer was hostile to life: that is why pity appeared to him as a virtue.He goes on further, mentioning that the moderns Leo Tolstoy and Richard Wagner adopted Schopenhauer's viewpoint. Aristotle, who lived in 384–322 BC, on the other hand, recognized the unhealthiness of pity and prescribed tragedy as a purgative.


title: The Antichrist (book)

text: Theology and philosophy, practiced by priests and idealists, are antithetical to reality and actuality. They are supposed to represent a high, pure and superior spirit that is above and has "benevolent contempt for the 'understanding', the 'senses', 'honors', 'good living' and 'science'." To Nietzsche, however, "[t]he pure soul is a pure lie," as he calls the priest a ""professional" denier, calumniator and poisoner of life... [an] obvious attorney of mere emptiness" who stands truth upside down on its head.


title: The Antichrist (book)

text: Theologians are placed by Nietzsche in the same class as priests, defining the faith that they foster as "closing one's eyes upon one's self once for all, to avoid suffering the sight of incurable falsehood." Seeing falsely is then valued as the highest morality. This reversal of values is considered, by Nietzsche, to be harmful to life. When the theologians seek political power, "the will to make an end, the "nihilistic" will exerts that power."


title: The Antichrist (book)

text: In his native Germany, philosophy is corrupt because it is theological. Nietzsche points to Immanuel Kant, who supported theological ideals by his discussions of the concepts of "true world" and "morality as the essence of the world." Kant's sceptical procedure was to show that these concepts could not be refuted, even though they could not be proven. Nietzsche is especially critical of Kant's 'categorical imperative' as it was not the result of a personal necessity and choice. Its origin from concepts and logic was decadent because it was not a product of life, growth, self–preservation, and pleasure. Kant's practical reason was an attempt to give scientific legitimacy to his lack of intellectual conscience:He deliberately invented a variety of reasons for use on occasions when it was desirable not to trouble with reason—that is, when morality, when the sublime command 'thou shalt,' was heard.Kant's self–deceptive fraudulence is a result of the influence of priestly theology on his philosophy.


title: The Antichrist (book)

text: Nietzsche considers a free spirit to be the embodiment of a transvaluation of all values. Nietzsche claims that, prior to his time, the scientific method of searching for truth and knowledge was met with scorn and derision. A quiet, cautious, modest manner was seen with contempt. Our present modesty compels us to recognize man's derivation from animals, not divinities. Also, we know that man is not superior to other animals. By reducing man to a mere machine, devoid of free will, we have learned much about his physiology. Will is now known to be a necessary reaction to a stimulus. Consciousness and spirit derive from instinct.


title: The Antichrist (book)

text: Nietzsche claims that the Christian religion and its morality are based on imaginary fictions. However, "the whole of that fictitious world has its sources in hatred of the natural (—the real!—)." Such hatred results from the decadence of Christianity, which is reflected by the Christian conception of God. If Christians were naturally strong and confident, they would have a God who is destructive as well as good. A God who counsels love of enemy, as well as of friend, is a God of a people who feel themselves as perishing and without hope. Weak, decadent, and sick people, whose will to power has declined, will give themselves a God who is purely good, according to Nietzsche. They will then attribute evil and deviltry to their masters' God.


title: The Antichrist (book)

text: Metaphysicians have eliminated the attributes of virile ("männliche") virtues, such as strength, bravery, and pride, from the concept of God. As a result, it deteriorated into an insubstantial ideal, pure spirit, Absolute, or thing in itself.


title: The Antichrist (book)

text: Nietzsche opposes the Christian concept of God because:God degenerated into the "contradiction of life". Instead of being its transfiguration and eternal Yea! In him war is declared on life, on nature, on the will to live! God becomes the formula for every slander upon the "here and now," and for every lie about the "beyond"! Recalling Schopenhauer's description of the denial of the will to live and the subsequent empty nothingness, Nietzsche proclaims of the Christian God that "[i]n him nothingness is deified, and the will to nothingness is made holy!..."


title: The Antichrist (book)

text: Nietzsche criticizes the "strong races of northern Europe" for accepting the Christian God and not creating a new god of their own: "Two thousand years have come and gone—and not a single new god!" He maintains that the traditional "pitiful god of Christian monotono-theism" supports "all the instincts of "décadence", all the cowardices and wearinesses of the soul find their sanction!"


title: The Antichrist (book)

text: Although he considers both Christianity and Buddhism to be nihilistic, decadent religions, Nietzsche considers the latter to be more realistic as it poses objective problems and does not use the concept of God. Nietzsche believes that, in all of religious history, Buddhism is the only positivistic religion as it struggles against actual suffering, which is experienced as fact or illusion (i.e., the concept of "maya") in various Buddhist traditions. Christianity, by contrast, struggles against sin, while suggesting that suffering can have a redemptive quality.


title: The Antichrist (book)

text: Nietzsche claims that Buddhism is "beyond good and evil" because it has developed past the "self-deception that lies in moral concepts." Buddha created the religion to assist individuals in ridding themselves of the suffering of life: "Cheerfulness, quiet and the absence of desire are the chief desiderata, and they are "attained"." Buddhism has its roots in higher and also learned classes of people, whereas Christianity was the religion of the lowest classes, Nietzsche writes. He also believes that Christianity had conquered Barbarians by making them sick. Buddhism objectively claims "I suffer," while Christianity interprets suffering in relation to sin. Buddhism is too positivistic and truthful to have advocated the Christian virtues of faith, hope, and charity. Nietzsche refers to such virtues as the "three Christian" "shrewdnesses": faith and belief are opposed to reason, knowledge, and inquiry. To Nietzsche, hope in the Beyond sustains the unhappy multitudes.


title: The Antichrist (book)

text: Jewish, and subsequently—to a greater degree—Christian, priests survived and attained power by siding with decadents, Nietzsche claims. They turned against the natural world. Their "instincts of "ressentiment"" against those who were well–constituted led them to "invent an "other" world in which the "acceptance of life" appeared as the most evil and abominable thing imaginable."


title: The Antichrist (book)

text: To survive, the Jewish priests made use of the decadents and their large population. The Jews were not decadents, themselves—they are the "very opposite." Rather, according to Nietzsche, they have "the most powerful national will to live, that has ever appeared on earth." However, "they have simply been forced into "appearing"" as decadents, to "put themselves at the head of all "décadent" movements (—for example, the Christianity of Paul—), and so make of them something stronger than any party frankly saying "Yes" to life."


title: The Antichrist (book)

text: The Jewish church opposed and negated nature, reality, and the world as being sinful and unholy. Christianity then negated the Jewish church and its holy, chosen people, according to Nietzsche.The phenomenon is of the first order of importance: the small insurrectionary movement which took the name of Jesus of Nazareth is simply the Jewish instinct "redivivus"—in other words, it is the priestly instinct come to such a pass that it can no longer endure the priest as a fact; it is the discovery of a state of existence even more fantastic than any before it, of a vision of life even more "unreal" than that necessary to an ecclesiastical organization.The Jewish church and the Jewish nation received this rebellion as a threat to its existence.This saintly anarchist, who aroused the people of the abyss, the outcasts and "sinners," the Chandala of Judaism, to rise in revolt against the established order of things...this man was certainly a political criminal... This is what brought him to the cross... He died for his "own" sins...


title: The Antichrist (book)

text: Nietzsche criticizes Ernest Renan's attribution of the concepts genius and hero to Jesus. Nietzsche thinks that the word "idiot" best describes Jesus. According to Walter Kaufmann, Nietzsche might have been referring to the naïve protagonist of Dostoevsky's "The Idiot".


title: The Antichrist (book)

text: With an antipathy toward the material world, Jesus has "a feeling of being at home in a world in which no sort of reality survives, a merely 'inner' world, a 'true' world, an 'eternal' world... 'The Kingdom of God is within "you"'." Nietzsche believes that the redeemer type is determined by a morbid intolerance of pain. Extreme sensitivity results in avoidance of the world, and any feeling of resistance to the world is experienced as pain. Even evil is therefore not resisted: "The fear of pain, even of infinitely slight pain—the end of this "can" be nothing save a "religion of love"..." Jesus was a distorted version of the redeemer type. The first disciples, in their Gospels, described him as having Old-Testament characteristics such as "prophet", "messiah", "miracle worker", "moral preacher", and so on.


title: The Antichrist (book)

text: Dostoevsky could have revealed his sickliness and childishness. According to Jesus, "the kingdom of heaven belongs to "children"." Everyone has an equal right to become a child of God. His spirituality is infantile, a result of delayed puberty. Jesus does not resist or contend with the world because he doesn't recognize the importance of the world. His life is its own kingdom of God at every moment. Early Christians used Semitic concepts to express his teaching, but his anti-realism could just as easily have been a characteristic of Taoism or Hinduism.


title: The Antichrist (book)

text: Nietzsche asserts that the psychological reality of redemption was a "new way of life, "not" a new faith." It is "[t]he deep instinct which prompts the Christian how to "live" so that he will feel that he is 'in heaven'." The Christian is known by his acts. He offers no resistance to evil, He has no anger and wants no revenge. Blessedness is not promised on conditions, as in Judaism. The Gospel's glad tidings are that there is no distinction between God and man. There is no Judaic concern for sin, prayers, rituals, forgiveness, repentance, guilt, punishment, or faith:[H]e "knew" that it was only by a "way" of life that one could feel one's self 'divine,' 'blessed,' 'evangelical,' a 'child of God.' "Not" by 'repentance,' "not" by 'prayer and forgiveness' is the way to God: "only the Gospel way" leads to God—it is "itself" 'God!'There were two worlds for the teacher of the Gospel's glad tidings: the real, true world is an inner experience of the heart in which all things are blessedly transfigured ("verklärung"), eternalized, and perfected. The apparent world, however, is only a collection of psychological symbols, signs, and metaphors. These symbols are expressed in terms of space, time, history, and nature. Examples of these mere symbols are the concepts of "God as a person," "the son of man," "the hour of death," and "the kingdom of heaven." Jesus did not want to redeem anyone. He wanted to show how to live. His legacy was his bearing and behavior. He did not resist evildoers. He loved evildoers. Nietzsche has Jesus tell the thief on the cross that he is in Paradise now if he recognizes the divinity of Jesus' comportment.


title: The Antichrist (book)

text: Nietzsche sees a world–historical irony in the way that the Christian Church developed in antithetical opposition to the Evangel and the Gospel of early Christianity. The fable of Christ as miracle worker and redeemer is not the origin of Christianity. The beginnings of Christianity is not in the ""crude fable of the wonder-worker and Saviour"." Rather, such is a "progressively clumsier misunderstanding of an "original" symbolism:" the death on the cross.


title: The Antichrist (book)

text: Christianity became more diseased, base, morbid, vulgar, low, barbaric and crude: A "sickly barbarism" finally lifts itself to power as the church—the church, that incarnation of deadly hostility to all honesty, to all loftiness of soul, to all discipline of the spirit, to all spontaneous and kindly humanity.—"Christian" values—"noble" values.Nietzsche expresses contempt for his contemporaries because they mendaciously call themselves Christians but do not act like true Christians. Modern people act with worldly egoism, pride, and will to power in opposition to Christianity's denial of the world. Nietzsche considers this falseness to be indecent. Unlike past ages, his contemporaries know that sham and unnatural concepts such as "God," "moral world–order," "sinner," "Redeemer," "free will," "beyond," "Last Judgment," and "immortal soul" are consciously employed to provide power to the church and its priests. "The very word 'Christianity' is a misunderstanding," Nietzsche explains:[A]t bottom there was only one Christian, and he died on the cross... It is an error amounting to nonsensicality to see in "faith", and particularly in faith in salvation through Christ, the distinguishing mark of the Christian: only the Christian "way of life", the life "lived" by him who died on the cross, is ChristianThereafter, the opposite kind of life was called Christian. Belief in redemption through Christ is not originally Christian. Genuine, original, primitive Christianity is "["n"]"ot" faith, but acts; above all, an "avoidance" of acts, a different "state of being"." Jesus wanted his death on the cross to be an example of how a person can be free from resentment, revenge, and rebellion. The disciples, however, wanted revenge against the Jewish ruling class and high priests who had delivered him to Pilate. They elevated Jesus into being the Messiah and Son of God and promised future judgment and punishment in the kingdom of God. This was in opposition to Jesus' doctrine that everyone could be a child of God and experience Heaven in their present lives by acting in a gentle, loving manner.


title: The Antichrist (book)

text: The apostles claimed that Jesus' death was a sacrifice of an innocent man for the sins of the guilty. But "Jesus him self had done away with the very concept of 'guilt,' he denied that there was any gulf fixed between God and man; he "lived" this unity between God and man, and that was precisely "his" 'glad tidings'"


title: The Antichrist (book)

text: To claim that there is life after death, the apostles ignored Jesus' example of blessed living. Paul emphasizes the concept of "immortality" in First Corinthians 15:17, as Nietzsche explains:St. Paul...gave a logical quality to that conception, that "indecent" conception, in this way: "'If" Christ did not rise from the dead, then all our faith is in vain!'—And at once there sprang from the Gospels the most contemptible of all unfulfillable promises, the "shameless" doctrine of personal immortality... Paul even preached it as a "reward"...Paul used the promise of life after death as a way to seize tyrannical power over the masses of lower-class people. This changed Christianity from a peace movement that achieves actual happiness into a religion whose final judgment offers possible resurrection and eternal life. Paul falsified the history of Christianity, the history of Israel, and the history of mankind by making them all seem to be a preparation for the crucifixion. "The vast lie of personal immortality destroys all reason, all natural instinct—henceforth, everything in the instincts that is beneficial, that fosters life and that safeguards the future is a cause of suspicion."


title: The Antichrist (book)

text: The 'meaning' of life is that there is no meaning to present life. One lives for life in the beyond. By offering immortal life after death to everyone, Christianity appealed to everyone's egoism. The laws of nature would be broken for the salvation of everyone. "And yet Christianity has to thank precisely "this" miserable flattery of personal vanity for its "triumph"—it was thus that it lured all the botched, the dissatisfied, the fallen upon evil days, the whole refuse and off-scouring of humanity to its side."


title: The Antichrist (book)

text: This influenced politics and led to revolutions against aristocracies. Nietzsche claims that Paul's pretense of holiness and his use of priestly concepts were typically Jewish. Christianity separated itself from Judaism as though it was the chosen religion, "just as if the Christian were the meaning, the salt, the standard and even the "last judgment" of all the rest."


title: The Antichrist (book)

text: Christianity then divided itself from the world by appropriation: "[L]ittle abortions of bigots and liars began to claim exclusive rights in the concepts of 'God,' 'the truth,' 'the light,' 'the spirit,' 'love,' 'wisdom' and 'life,' as if these things were synonyms of themselves." According to Nietzsche:The whole of Judaism appears in Christianity as the art of concocting holy lies, and there...the business comes to the stage of mastery. The Christian, that "Ultima Ratio" of lying, is the Jew all over again—he is "threefold" the Jew... The Christian is simply a Jew of the "reformed" confession.


title: The Antichrist (book)

text: Nietzsche asserts:The 'early Christian'—and also, I fear, the 'last Christian'...—is a rebel against all privilege by profound instinct—he lives and makes war for ever for 'equal rights.'... When a man proposes to represent, in his own person, the 'chosen of God'...then every "other" criterion, whether based upon honesty, upon intellect, upon manliness and pride, or upon beauty and freedom of the heart, becomes simply "worldly"—"evil in itself".


title: The Antichrist (book)

text: The Christian God is harmful and a crime against life. "The God that Paul invented for himself" is a negation of God. Christianity, in its opposition to reality, "'reduced to absurdity' 'the wisdom of this world' (especially the two great enemies of superstition, philology and medicine)." Nietzsche claims that Paul willed to ruin the 'wisdom of this world' and, in Jewish fashion, Paul gave the name of "God" and "Torah" to his own will. According to Nietzsche, the Old Testament, Genesis 3:5, chronicles the hellish anxiety of God, and thus the priests, in regards to science.


title: The Antichrist (book)

text: Man tasted knowledge and created his own enemy; "science makes men "godlike"—it is all up with priests and gods when man becomes scientific!" Priests used the concepts of "sin," "guilt," and "punishment" to oppose knowledge, science, and the concepts of cause and effect. Sinful, suffering humans believe in supernatural agents. Such sinners are dependent on their priests for salvation, redemption, and forgiveness. "[T]he priest "rules" through the invention of sin."


title: The Antichrist (book)

text: Belief is "a sign of "décadence", of a broken will to live." The Christian "proof by power" is that "[f]aith makes blessed: "therefore" it is true." However, blessedness is something that the priest merely "promises", not demonstrated; "it hangs upon "faith" as a condition—one "shall" be blessed "because" one believes."


title: The Antichrist (book)

text: Blessedness—or, more technically, "pleasure"—can never be a proof of truth: "proof by 'pleasure' is a proof "of" 'pleasure'—nothing more; why in the world should it be assumed that "true" judgments give more pleasure than false ones...?" Nietzsche summarizes, "[f]aith makes blessed: "therefore", it lies..."


title: The Antichrist (book)

text: Nietzsche alleges that "one is not "converted" to Christianity—one must first be sick enough for it." The decadent and sick types of people came to power through Christianity. From everywhere, the aggregate of the sick accumulated in Christianity and outnumbered the healthy. "The majority became master; democracy, with its Christian instincts, "triumphed"." The meaning of the God on the Cross is that "[e]verything that suffers, everything that hangs on the cross, is "divine."" Nietzsche continues: Since sickness is inherent in Christianity, it follows that the typically Christian state of "faith" "must" be a form of sickness too, and that all straight, straightforward and scientific paths to knowledge "must" be banned by the church as "forbidden" ways. Doubt is thus a sin from the start.Knowledge requires caution, intellectual moderation, discipline, and self–overcoming. Christianity, however, uses sick reasoning, like Martyrdom, to try to prove its truth. Christians think "that there must be something in a cause for which any one goes to his death." Nietzsche responds to this notion by quoting a passage from his own "Zarathustra":


title: The Antichrist (book)

text: To Nietzsche, "the need of faith, of something unconditioned by yea or nay...is a need of "weakness"."


title: The Antichrist (book)

text: Lying, or not wanting to see as one sees, is a trait of those who are devoted to a party or faction. Lying is used by all priests, be they pagan, Jewish, or Christian:[T]he right to lie and the "shrewd dodge" of 'revelation' belong to the general priestly type... The 'law,' the 'will of God,' the 'holy book,' and 'inspiration'—all these things are merely words for the conditions "under" which the priest comes to power and "with" which he maintains his power... Christianity's lies are not holy. They serve "[o]nly "bad" ends...: the poisoning, the calumniation, the denial of life, the despising of the body, the degradation and self-contamination of man by the concept of sin." Contrarily, unlike any Bible, the Hindu 'Code of Manu'—or, "manusmriti"—lies for a good purpose: "by means of it the "nobles", the philosophers and the warriors keep the whip-hand over the majority." It affirms life, well-being, and happiness. The purpose of the Christian 'Holy Lie', however, is bad; all of it "proceeds from weakness, from envy, from "revenge."" Thus, Nietzsche contends, "[t]he anarchist and the Christian have the same ancestry."


title: The Antichrist (book)

text: Christianity lied about guilt, punishment, and immortality to destroy "imperium Romanum", an organization that was designed to promote life. Paul realized that a "world conflagration" might be lit; "how, with the symbol of 'God on the cross,' all secret Seditions, all the fruits of anarchistic intrigues in the empire, might be amalgamated into one immense power." Paul's revelation on the road to Damascus was that "he "needed" the belief in immortality in order to rob 'the world' of its value, that the concept of 'hell' would master Rome—that the notion of a 'beyond' is the "death of life"... Nihilist and Christian: they rhyme in German, and they do more than rhyme."


title: The Antichrist (book)

text: Christianity deprived us of the benefits of Greco-Roman culture from which, over two thousand years ago, the scientific method was discovered. The Greeks and Romans "[overnight]...became merely a memory:"Instinctive nobility, taste, methodical inquiry, genius for organization and administration, faith in and the "will" to secure the future of man, a great yes to everything entering into the "imperium Romanum" and palpable to all the senses... All overwhelmed in a night;...brought to shame by crafty, sneaking, invisible, anæmic vampires! Not conquered,—only sucked dry!... Hidden vengefulness, petty envy, became "master"!


title: The Antichrist (book)

text: Nietzsche poses the question of why Christianity had trampled down the culture of Islam; of "Mohammedan" civilization. "Because," Nietzsche explains, "it had to thank noble and manly instincts for its origin—because it said yes to life, even to the rare and refined luxuriousness of Moorish life!" The Crusades were "a higher form of piracy:"Intrinsically there should be no more choice between Islam and Christianity than there is between an Arab and a Jew. The decision is already reached; nobody remains at liberty to choose here. Either a man is a Chandala or he is not... 'War to the knife with Rome! Peace and friendship with Islam!': this was the feeling, this was the "act", of that great free spirit, that genius among German Emperors, Frederick II. What! must a German first be a genius, a free spirit, before he can feel "decently"? I can't make out how a German could ever feel "Christian".


title: The Antichrist (book)

text: The European Renaissance of Greek and Roman values was "["t"]"he transvaluation of Christian values",—an attempt with all available means, all instincts and all the resources of genius to bring about a triumph of the "opposite" values, the more "noble" values." However, Martin Luther thought that the Pope was corrupt. Actually, the papacy was rid of corrupt Christianity:[T]he old corruption, the "peccatum originale", Christianity itself, no longer occupied the papal chair! Instead there was life! Instead there was the triumph of life! Instead there was a great yea to all lofty, beautiful and daring things!... And Luther "restored the church": he attacked it.


title: The Antichrist (book)

text: Nietzsche concludes his work with the insistence that Christianity "turned every value into worthlessness, and every truth into a lie, and every integrity into baseness of soul... [I]t lives by distress; it "creates" distress to make "itself" immortal."


title: The Antichrist (book)

text: "To breed out of "humanitas" a self-contradiction, an art of self-pollution, a will to lie at any price, an aversion and contempt for all good and honest instincts," in Nietzsche's view, is the spirit of Christianity. With its parasitism; with "the beyond as the will to deny all reality," Nietzsche believes the "'humanitarianism' of Christianity" to be a conspiracy "against health, beauty, well-being, intellect, "kindness" of soul—"against life itself"."


title: The Antichrist (book)

text: He considers it to be a curse and a corruption. While humanity "reckons "time" from the " when this "fatality" emerged—"from the "first" day of Christianity"—Nietzsche asks "["w"]"hy not rather from its last?"" Nietzsche suggests that time be calculated from "today," the date of this book, whereby 'Year One' would begin on 30 September 1888—"The transvaluation of all values!"


title: The Antichrist (book)

text: In his earlier works, Nietzsche did not distinguish the teachings of Jesus from historic Christianity. However, in late 1887 and early 1888, he analyzed Tolstoy's essay "What I Believe". Nietzsche's view of Jesus in "The Antichrist" follows Tolstoy in separating Jesus from the Church and emphasizing the concept of "non-resistance," but uses it as a basis for his own development of the "psychology of the Savior".


title: The Antichrist (book)

text: Nietzsche does not demur of Jesus, conceding that he was the only one "true" Christian. He presents a Christ whose own inner life consisted of "wit, the blessedness of peace, of gentleness, the "inability" to be an enemy."


title: The Antichrist (book)

text: Nietzsche heavily criticizes the organized institution of Christianity and its class of priests. Christ's evangelism consisted of the good news that the 'kingdom of God' is within "you": "What is the meaning of 'Glad Tidings'?—The true life, the life eternal has been found—it is not merely promised, it is here, it is in "you"; it is the life that lies in love free from all retreats and exclusions," whereby "sin" is abolished and away from "all keeping of distances" between man and God.


title: The Antichrist (book)

text: "What the 'glad tidings' tell us is simply that there are no more contradictions; the kingdom of heaven belongs to "children"" Nietzsche does, however explicitly, consider Jesus as a mortal, and, moreover, as ultimately misguided: the "antithesis" of a 'true hero,' whom he posits with his concept of a 'Dionysian hero.'


title: The Antichrist (book)

text: The title is not a direct reference to the biblical 'Antichrist,' but is rather an attack on the "master–slave morality" and apathy of Western Christianity. Nietzsche's basic claim is that Christianity (as he saw it in the West) is a poisoner of western culture and perversion of the words of and practice of Jesus, the one, true 'Christian.' In this light, the provocative title mainly expresses Nietzsche's animus toward Christianity as such. In this book, Nietzsche is very critical of institutionalized religion and its Priest class, from which he himself was descended. The majority of the book is a systematic attack upon the interpretations of Christ's words by Saint Paul and those who followed him.


title: The Antichrist (book)

text: The German title, "Der Antichrist", is ambiguous and open to two interpretations: the "Antichrist", or the "Anti-Christian". However, its use within the work generally admits only an "Anti-Christian" meaning. H. L. Mencken's 1918 translation and R. J. Hollingdale's 1968 translation both title their editions as "The Anti-Christ;" and Walter Kaufmann uses "The Antichrist," while no major translation uses "The Anti-Christian." Kaufmann considers "The Antichrist" the more appropriate way to render the German: "[a] translation of the title as 'The Antichristian'...overlooks that Nietzsche plainly means to be as provocative as possible."


title: The Antichrist (book)

text: Nietzsche makes Polemics against Ernest Renan within "The Anti-Christ", and Renan's 1873 "L'antéchrist" saw an "authorized German-language edition" published the same year under the title, "Der Antichrist". It is possible that Nietzsche named his book the same as a way of "calling out" Renan.


title: The Antichrist (book)

text: This book was written shortly before Nietzsche's infamous nervous breakdown. However, as one scholar notes, "the "Antichrist" is unrelievedly vituperative, and would indeed sound insane were it not informed in its polemic by a structure of analysis and a theory of morality and religion worked out elsewhere."


title: The Antichrist (book)

text: Section 29 originally contains three words that were suppressed by Nietzsche's sister in 1895: ""das Wort Idiot"" or, "the word idiot." H. L. Mencken's English translation does not contain these words. However, in 1931, the words were reinstated by Josef Hofmiller. Likewise, English translations by Walter Kaufmann and R.J. Hollingdale also contain them. According to Kaufmann, Nietzsche was referring to Dostoevsky's book "The Idiot" and its naïve protagonist. The passage reads:


title: The Antichrist (book)

text: To accomplish this goal, Nietzsche parodied a passage from the New Testament, which the Nietzsche Archive, headed by Elisabeth Förster-Nietzsche, decided to suppress so that there would be no doubt as to the strict correctness of Nietzsche's use of the Bible.


title: The Antichrist (book)

text: According to Nietzsche, one of the thieves, who was also being crucified, said, "This was truly a divine man, a child of God!" Nietzsche had Christ reply, "If you feel this, you are in Paradise, you are a child of God." In the Bible, only Luke related a dialogue between Christ and the thief in which the thief said, "This man has done nothing wrong" to which, Christ replies, "Today I tell you, you will be with me in Paradise." Nietzsche had the thief speaking the words that the centurion later spoke in Luke 23:47, Matthew 27:54, and Mark 15:39. In these passages, Christ was called the 'Son of God' by the soldier. The Nietzsche Archives' suppression was lifted in later editions and now appears exactly as Nietzsche wrote.


title: The Antichrist (book)

text: In § 38, there is a reference to a young prince who professes to be a Christian but acts in a very worldly manner. The passage about this was suppressed to avoid comparison to Wilhelm II. According to Mazzino Montinari, this passage was never printed in any edition prepared by the Nietzsche Archive. However, it did appear in the pocketbook edition of 1906.


title: The Antichrist (book)

text: Nietzsche, in § 62, criticizes the reckoning of time from Christ's birth ("anno Domini"). This passage was judged by Franz Overbeck and Heinrich Köselitz to be unworthy of publication. According to Mazzino Montinari, this passage was restored in the 1899 edition, appearing in all subsequent editions.


title: The Highwayman (poem)

text: "The Highwayman" is a romantic ballad and narrative poem written by Alfred Noyes, first published in the August 1906 issue of "Blackwood's Magazine", based in Edinburgh, Scotland. The following year it was included in Noyes' collection, "Forty Singing Seamen and Other Poems", becoming an immediate success. In 1995 it was voted 15th in the BBC's poll for "The Nation's Favourite Poems".


title: The Highwayman (poem)

text: The poem, set in 18th-century rural England, tells the story of an unnamed highwayman who is in love with Bess, a landlord's daughter. Betrayed to the authorities by Tim, a jealous ostler, the highwayman escapes ambush when Bess sacrifices her life to warn him. Learning of her death, he is killed in a futile attempt at revenge ("so they shot him down on the highway, like a dog upon the highway"). In the final stanza, the ghosts of the lovers meet again on winter nights.


title: The Highwayman (poem)

text: The poem was written on the edge of a desolate stretch of land known as Bagshot Heath in Surrey, where Noyes, then aged 24, had taken rooms in a cottage. In his autobiography, he recalled: "Bagshot Heath in those days was a wild bit of country, all heather and pinewoods. 'The Highwayman' suggested itself to me one blustery night when the sound of the wind in the pines gave me the first line." The poem was completed in about two days.


title: The Highwayman (poem)

text: "The Highwayman" is reputed to be "the best ballad poem in existence for oral delivery". It makes use of vivid imagery to describe surroundings ("the road was a gipsy's ribbon, looping the purple moor - ") and repetitious phrases to emphasise action ("A red-coat troop came marching - marching - marching -"). Almost half a century later, Noyes wrote, "I think the success of the poem... was because it was not an artificial composition, but was written at an age when I was genuinely excited by that kind of romantic story."


title: The Highwayman (poem)

text: "The Highwayman" uses hexameter that mixes iambs and anapaests. Noyes frequently uses alliteration, such as the phrase "ghostly galleon", and also uses refrains in each stanza. The genre of this poem seems to be a romance, but like "Romeo and Juliet", the poem is a tragedy in the end. This poem can also be called a ballad.


title: Wordscapes

text: Wordscapes is a word puzzle video game created by the American studio PeopleFun, available on Android and IOS. "Wordscapes" was a top 10 ranked game on the Google Play Store, and the App Store. As of 2020, over 14 million people have played "Wordscapes".


title: Wordscapes

text: The game overall is a mix of "Boggle" and crossword puzzles. To solve the puzzle, the player must find every word using the letters that are located in the circle at the bottom of the screen. There are anywhere from 3 to 7 letters in the circle, depending on the level being played. There are also bonus words, which the player can solve for extra coins. The game currently contains 6,000 levels and an infinite number of extra master levels that players can access after completing the first 6,000. The game publishes a daily puzzle for each day.


title: Wordscapes

text: Based on the original game it retains the similar "Boggle" feature with coffee and hot drink backdrops and also lacks the crossword puzzle feature.


title: Wordscapes

text: Based on the original game it retains the similar "Boggle"-esque features but lacks the crossword puzzle elements.


title: Wordscapes

text: Similar to the original game but features a botanical theme with predominantly flowery and garden backdrops to levels.


title: Wordscapes

text: Blends elements of a word search with elements of a Jigsaw Puzzle combined with similar themes and mechanics to previous Wordscapes games.


title: Unnaipol Oruvan (2009 film)

text: Unnaipol Oruvan (also released internationally under the translated title Someone Like You) is a 2009 Indian Tamil-language thriller film directed by Chakri Toleti in his directorial debut. It stars Kamal Haasan and Mohanlal. The film was simultaneously made in Telugu as Eenadu () with Venkatesh playing Mohanlal's role, both remakes of the Hindi film "A Wednesday!".


title: Unnaipol Oruvan (2009 film)

text: The film tells the story of Chennai City /Hyderabad City(Telugu) (Police Commissioner/DGP (Mohanlal / Venkatesh) who gets an anonymous call. The caller (Kamal Haasan) demands that he release militants in exchange for information about many bombs planted across the city. The caller is serious as the police find a bomb planted very close to their headquarters. The commissioner is later cornered between releasing militants who had been responsible for killing innocent people and stopping bomb blasts around the city. Whatever he chooses forms the rest of the plot.


title: Unnaipol Oruvan (2009 film)

text: Both "Unnaipol Oruvan" and "Eenadu" received positive reviews from the critics and were commercially successful. The Tamil version film was dubbed and released in Malayalam as "Oru Budhanazhcha".


title: Unnaipol Oruvan (2009 film)

text: The recently dismissed police commissioner of Chennai (Hyderabad in Telugu version), Maraar (Eashwar Prasad in Telugu version) describes in a voice-over about his sudden termination for police, due to a common man who walked into his life. An unnamed man is shown strategically placing a travel bag in a train in the Chennai Central railway station and in a shopping mall. He proceeds to place another bag, under the pretence of lodging an FIR, in the toilet of a police station in Anna Salai, Chennai (Lakdi-ka-pool, Hyderabad in Telugu version). He then arrives on the rooftop of an under-construction building and sets up his base of operations, equipped with gadgets and instruments. He calls up Maraar and informs him that five bombs have been planted in locations throughout Chennai, which are programmed to explode simultaneously within four hours.


title: Unnaipol Oruvan (2009 film)

text: The caller demands that he would like to negotiate with a senior government official, who has the full authority. Maraar seeks the services of the chief secretary to act as the negotiator. Maraar also alerts his team involved in intelligence research and surveillance, tapping all the available resources in gathering preliminary information and tracing the location of the caller. Meanwhile, the caller tips off news reporter Natasha Rajkumar, telling her to reach Anna Salai police station immediately.


title: Unnaipol Oruvan (2009 film)

text: Maraar initially suspects the caller to be bluffing, but his doubts are dispelled as the caller, to prove his seriousness and the police force's helplessness, reveals that a bomb has been planted in the Anna Salai police station. When the bomb disposal squad find the bomb, there is only three minutes left. They manage to deactivate the bomb after following the caller's instructions. Natasha reaches the scene on the caller's instructions and reports about the situation. An intense debate ensues between Maraar and the chief secretary on who would act as the negotiator with the caller. The chief secretary appoints Maraar as the State's negotiator with unrestricted power for one day. The caller talks full of life logics and religious philosophy and finally asks Maarar to release three terrorists and one convicted arms seller, all who were arrested by him years ago.


title: Unnaipol Oruvan (2009 film)

text: Maraar's men realise that the caller is using advanced software to automatically switch the numbers and locations of his mobile phone SIM card every minute, rendering their manpower and the obsolete equipment useless and prompting them to employ the services of a young hacker, an IIT drop-out. In the meantime, Maraar is able to obtain a facial composite of the caller with help of the police officer to whom the caller had approached to lodge the fake FIR, but much of the time passes without any concrete results on the identity or the location of the caller.


title: Unnaipol Oruvan (2009 film)

text: Ultimately, Maraar agrees with the caller's demand and puts two of his best men, Arif Khan and Sethuraman (Gautham Reddy in Telugu version), in charge of handing over the four terrorists at the Sholavaram airstrip. Once there, the caller confirms the identity of the four men via a conference call with Arif and Maraar. He then asks Arif and Sethu to unlock their handcuffs and leave them alone at a particular spot. Sethu orders his men to do as told but, at the last moment, Arif decides not to hand over terrorist Abdullah, to ensure all the information regarding the locations of the bombs can be forced out from the caller. Sethu argues with Arif and demands he do as ordered, but Arif forcefully grabs Abdullah and starts walking away. The other three enter a car which explodes soon after, killing them. But the caller knows that Abdullah is alive.


title: Unnaipol Oruvan (2009 film)

text: The caller threatens to blow up the remaining bombs across the city unless Arif and Sethu kill Abdullah. The Chief Secretary tells Maraar that the Chief Minister has to know about the current situation but Maraar disagrees and tells her that he will face the consequences, and orders Arif to kill the terrorist. Arif kills Abdullah and Sethu shoots Arif in the hand to make it look like an attack for self-defense. The caller confirms it via the news and reveals that he was bluffing and there are no more bombs anywhere in Chennai. He tells that as terrorism is instant, justice and safety must be so. Then Maarar questions the IIT hacker to trace the caller, but he refuses. But Maraar looks in the hacker's computer, discovers the location, and leaves abruptly towards the site. The caller, meanwhile destroys all of his gadgets with a mini-bomb inside a drum. As he leaves his hideout with all his camouflage, Maarar catches up to him.


title: Unnaipol Oruvan (2009 film)

text: Both shake hands; in a voiceover, Maraar says the caller told him his real name, but does not reveal it as it does not have any significance. He adds that the higher most officials saved themselves by framing him as a recluse and the Chief Minister fired him. Maraar admits that they all knew the caller was disturbed because of the insecure environment and the incompetence of the governing authorities but he never imagined him to go to such lengths and have the guts to do something like that. He also repeats that the facts of this incident cannot be found in any written records but only in the memories of those who actually witnessed it. He acknowledges that although the incident has ambiguous moral significance, he personally feels that whatever happened, happened for the best.


title: Unnaipol Oruvan (2009 film)

text: While Kamal Haasan was cast in the lead role; confirmation of Mohanlal's presence in the film followed. The film was announced as a bilingual film with Venkatesh reprising Mohanlal's role in the Telugu version. Ganesh Venkatraman, who debuted in the 2008 film "Abhiyum Naanum", was later confirmed for a supporting role. Bharath Reddy, who played a cop in the Telugu film "Siddam", is playing another supporting cop role.


title: Unnaipol Oruvan (2009 film)

text: UTV Motion Pictures distributed the film along with Raaj Kamal Films International, Haasan's home production company, which produced it. "Unnaipol Oruvan" was directed by Chakri, a US-based filmmaker and a close friend of Haasan. Chakri had previously played the role of Govind's friend, Sai Ram, in "Dasavathaaram", and the role of a child who takes still photographs of Kamal in the 1983 Telugu film "Saagara Sangamam". Neeraj Pandey wrote the film's dialogue and screenplay. The music was composed by Kamal Haasan's daughter, Shruthi Haasan.


title: Unnaipol Oruvan (2009 film)

text: The title was changed from "Thalaivan Irukkiran" to "Unnaipol Oruvan" in early April 2009, named after a novel by Jayakanthan.


title: Unnaipol Oruvan (2009 film)

text: "Unnaipol Oruvan" started its first filming schedule on 6 February 2009. It completed shooting in 65 days.


title: Unnaipol Oruvan (2009 film)

text: The music was composed by Shruti Haasan, daughter of Kamal Haasan. The album contains four songs and a remix. The songs are featured throughout the film. Kamal Haasan, singer Blaaze, and Manyusha Puthran contributed the lyrics. The audio launch was held on 6 September 2009 at Sathyam Cinemas.


title: Unnaipol Oruvan (2009 film)

text: "Unnaipol Oruvan" was initially set to release on 12 August 2009, since the date coincided with the release of Kamal Haasan's first film "Kalathur Kannamma". However, owing to technical and administrative difficulties, the release was postponed to 18 September. The film was given a U/A (Parental Guidance) rating from the Central Board of Film Certification, mainly because of its theme – terrorism. In 2015, Telugu version "Eeenadu" was screened at the Habitat Film Festival.


title: Unnaipol Oruvan (2009 film)

text: Writing for "The Hollywood Reporter" , Gautaman Bhaskaran wrote that "Unnaipol Oruvan" is "far more engaging and energetic than its predecessor" and that "superstar Mohanlal plays Chennai police commissioner Raghavan Maraar with rare finesse and extraordinary subtlety ... His screen presence is so overwhelming that an equally great Tamil superstar, Kamal Haasan, as the nameless Common Man, is overshadowed". Sify said that technically the film is picture-perfect and that both Kamal Haasan and Mohanlal coming together is worth the ticket money. It mentioned that unlike in the Hindi version where Naseeruddin Shah had an edge over Anupam Kher, here the best dialogues were almost equally given to Mohanlal as well, "what elevates the film to a new high is the crisp presentation and outstanding performances from the lead actors, mainly Kamal and Mohanlal, who simply rock".


title: Unnaipol Oruvan (2009 film)

text: Behindwoods rated that overall it was a brilliant work which will be appreciated by every socially responsible citizen of India. "The Times of India" gave the film 3.5 out of 5 stars and stated that "Debutant director Chakri Toleti's job is a cakewalk. Having chosen a proven subject, and a formidable star cast which does not have to be told anything beyond the shooting schedule, the captain's hat sits on his head easily".


title: Unnaipol Oruvan (2009 film)

text: Regarding the Telugu version, "Rediff.com" stated that "For the Telugu audience, "Eenadu" is a film which is out of the formulaic pattern and the hero warp Telugu cinema is in, and shows that films like it can be made too which can be seen and enjoyed with the audience taking home something extra too!" "The Times of India" gave the film 3 out of 5 stars and stated that "The much-awaited "Eenadu" lives up to the big expectations and carries the essence of the original ("A Wednesday")".


title: Personal assistant

text: A personal assistant, also referred to as personal aide (PA) or personal secretary (PS), is a job title describing a person who assists a specific person with their daily business or personal task. it is a sub-specialty of secretarial duties.


title: Personal assistant

text: An assistant helps with time and daily management, of meetings, correspondence, and note-taking. The role of a personal assistant can be varied, such as answering phone calls, taking notes, scheduling meetings, emailing, texts, etc.