title: Intercession

text: However, "intercession is mentioned in the Qurʾān with respect to angels praying for the believers and the Prophet praying for erring but repentant Muslims." Furthermore, it became an orthodox Islamic doctrine or "cardinal belief" that "Muḥammad will intercede for all Muslims on the Day of Resurrection." While this particular tenet practically remained unchallenged throughout Islamic history, the widespread Sunni and Shia practice of asking deceased prophets and saints for intercession by praying at their tombs have become contentious issues in the modern Islamic world, with all these different types of intercession often being labelled by Salafi/Wahhabi Muslims as a type of polytheism, in a manner akin to the attitude of many Protestants towards the Catholic and Eastern Orthodox practice of saint-intercession.


title: Intercession

text: Some religions claim that praying for somebody who is sick can have positive effects on the health of the person being prayed for.


title: Intercession

text: Meta-studies of the literature in the field have been performed showing evidence only for no effect or a potentially small effect. For instance, a 2006 meta analysis on 14 studies concluded that there is "no discernible effect" while a 2007 systemic review of intercessory prayer reported inconclusive results, noting that 7 of 17 studies had "small, but significant, effect sizes" but the review noted that the most methodologically rigorous studies failed to produce significant findings.


title: Animals (Maroon 5 song)

text: "Animals" is a song by American pop rock band Maroon 5. It was released on August 25, 2014, as the second single from the band's fifth studio album "V" (2014). The song was written by Adam Levine, Benny Blanco and its producer Shellback.


title: Animals (Maroon 5 song)

text: The song peaked at number three on the US "Billboard" Hot 100 giving Maroon 5 their tenth top 10 single in the U.S.


title: Animals (Maroon 5 song)

text: To promote the song, Kia Motors debuted an advertisement of 2015 Kia Soul EV model on August 21, 2014. For a limited time after the commercial premiered, "Animals" was available for free download on the Kia website only. Later, Maroon 5 released the song's lyric video on August 22, 2014, from their YouTube channel. The commercial also appeared at the 2014 MTV Video Music Awards on August 24, and the song was released the next day.


title: Animals (Maroon 5 song)

text: The remix versions of "Animals" featuring with American rappers, J. Cole released on September 30, 2014, and Big Boi premiered execlusively on "Pigeons & Planes" website on December 18, both written and produced by Freaky Ta, DCBC and Aftermath artist Me3mo (Sameem Nadeem).


title: Animals (Maroon 5 song)

text: The music video was released on September 29, 2014 on Vevo. Directed by Samuel Bayer, the video features Adam Levine and his wife, Behati Prinsloo who portrays the woman. The other musicians of Maroon 5 (including their touring member Sam Farrar, the first time he appeared in a music video with the band) also make an appearance - they are seen playing at a nightclub in some scenes of the video. The story of the video is inspired by the film "American Psycho" (2000).


title: Animals (Maroon 5 song)

text: The video starts with a woman entering a slaughterhouse, where Levine's character works. After she leaves, an infatuated Levine begins to stalk the woman by following her in the streets and standing outside her apartment in the pouring rain to watch her. He also watches the woman in her sleep and takes numerous photos of Prinsloo, which he later trims and places on wires around a dark room. Intercut with this are scenes of a shirtless Levine dripping in fake blood, singing the song inside a meat locker and using animal carcasses for punching bags (an apparent reference to "Rocky"). One evening, Levine follows the woman into a nightclub, where he tries to talk to her. Though Prinsloo is amused by Levine and his interest in her, she spends the evening talking to her girlfriends instead. Eventually, Levine is left with no luck, so he goes back to fantasizing about the girl. After an erotic dream, Levine wakes up in a shock and returns to stalking Prinsloo by standing outside her apartment in the rain watching in a dazed state, leading to the similar opening. The final scenes feature Levine and Prinsloo as obsessed lovers having sex while covered in blood (an apparent reference to "Carrie").


title: Animals (Maroon 5 song)

text: The music video was heavily panned by critics and has been condemned for dehumanizing women and glamorizing violence. Jessica Valenti of "The Guardian" criticized the video for attempting to make violence against women seem "edgy" stating that "there is nothing 'alternative' about showing women being stalked, hunted, raped or killed because it’s something that happens every damn day." RAINN (Rape, Abuse & Incest National Network) released a statement condemning the video, which wrote that "No one should ever confuse the criminal act of stalking with romance. The trivialisation of these serious crimes, like stalking, should have no place in the entertainment industry."


title: Animals (Maroon 5 song)

text: In a 2018 interview with "The Independent", Levine dismissed the criticism, calling it "fucking ridiculous", and saying about the video, "It was supposed to be creepy! I play the role of the creep, it's literally a character out of a movie. And the song is about animalistic tendencies, I'm talking about eating someone alive. Use your fucking imagination. It's like watching a horror film and notifying the people who made it to tell them you think they're disgusting. People are sometimes too rooted in reality and they can't differentiate. They take everything too personally."


title: Animals (Maroon 5 song)

text: Commercially in the United States, "Animals" debuted at number 86 on the US "Billboard" Hot 100 chart. On October 8, 2014, the song rose from the number 33 to 8, giving the band their tenth top-ten hit overall and their seventh consecutive Hot 100 top-ten hit since the 2011 chart-topping single "Moves like Jagger". The song reached its million sales mark in the US in November 2014. The song peaked at number three on the "Billboard" Hot 100 issue dating November 22, 2014 and spent fourteen weeks in the top 10.


title: Animals (Maroon 5 song)

text: In other countries, "Animals" has made the top-ten progress as well, reaching number 2 in Canada. It is also a moderate success in the United Kingdom, where it charted at number 27.


title: Animals (Maroon 5 song)

text: On October 20, 2014, Maroon 5 performed "Animals" for the 2014 NRJ Music Tour at Maison de la Mutualité in Paris, France. The same month, Maroon 5 performed the song on "Saturday Night Live" (along with "Maps"), as well as "The X Factor", and the television talk shows "C à vous" ("C to You") in France and "The Graham Norton Show" in the UK, respectively. On November 10, 2014, Maroon 5 performed the song on the of "The Voice". In December 2014, the band performed "Animals" in a mash-up with "This Love" for "A Very Grammy Christmas" concert (December 5) at the Shrine Auditorium in Los Angeles, California, and performed the song at the iHeartRadio Jingle Ball Tour 2014 (December 12) in Madison Square Garden, New York City.


title: Animals (Maroon 5 song)

text: The band played the track in Puerto Rico for the first edition of "Victoria's Secret Swim Special", which aired on February 26, 2015. On April 3, 2016, Maroon 5 played the song at the 2016 Capital One JamFest in Houston. It is part of a setlist for the worldwide concert tour, the Maroon V Tour (2015–2018).


title: Bill Thompson (voice actor)

text: William H. Thompson (July 8, 1913 – July 15, 1971) was an American radio personality and voice actor, whose career stretched from the 1930s until his death. He was a featured comedian playing multiple roles on the "Fibber McGee and Molly" radio series, and was the voice of Droopy in most of the Metro-Goldwyn-Mayer cartoon studio theatrical cartoons from 1943 to 1958.


title: Bill Thompson (voice actor)

text: Thompson was born to vaudevillian parents and was of Scottish ancestry. He began his career in Chicago radio, where his early appearances included appearances as a regular on Don McNeill's morning variety series "The Breakfast Club" in 1934 and a stint as a choir member on the musical variety series "The Sinclair Weiner Minstrels" around 1937. While on the former series, Thompson originated a meek, mush-mouthed character occasionally referred to in publicity as Mr. Wimple.


title: Bill Thompson (voice actor)

text: Thompson soon achieved his greatest fame after he joined the cast of the radio comedy "Fibber McGee and Molly" around 1936. On "Fibber McGee and Molly", Thompson brought back the Wimple voice in 1941, and essayed a variety of roles, including a boisterous conman with a W. C. Fields voice, originally named Widdicomb Blotto but soon re-christened Horatio K. Boomer, and Nick Depopulis, the Greek restaurant owner. His two most famous roles on the series, however, were as the Old Timer and Wallace Wimple. The Old Timer, introduced in 1937 was a garrulous old gent who dropped in and listened to McGee's rambling stories and jokes. He inexplicably referred to McGee as "Johnny", as in: "That's pretty good, Johnny, but that ain't the way I heerd it!" This soon became a national catchphrase and surfaced in Warner Bros. cartoon shorts, notably "Tortoise Wins by a Hare" in which Bugs Bunny disguises himself as a bearded old man and tries to trick the tortoise into telling him "how he beat that wabbit!")


title: Bill Thompson (voice actor)

text: Wallace Wimple, an expansion of Thompson's "Breakfast Club" role, was his most enduring character. Wimple was a timid birdwatcher, appropriately nicknamed "Wimp" by McGee, who lived in constant terror of his "big old wife", nicknamed "Sweetie Face", who was often mentioned but never heard. (The term "wimp" for an unmanly character was in common usage already, as with the cartoon character J. Wellington Wimpy). The character, whose greeting was a mild "Hello, folks", became very popular, and inspired animation director Tex Avery to build a dog character around the voice. This character, eventually named Droopy, was also voiced by Thompson in most of his appearances. Thompson also played the title role, an Adolf Hitler take-off, in Avery's Academy Award-nominated short "Blitz Wolf".


title: Bill Thompson (voice actor)

text: Around 1943, however, Thompson's thriving career was interrupted when he joined the US Navy during World War II, and all of his radio characters were temporarily dropped. He returned to "Fibber McGee" full-time in 1946, however, and also became a semi-regular on Edgar Bergen's radio series as lecturer "Professor" Thompson. On February 21, 1950, he married Mary Margaret McBride.


title: Bill Thompson (voice actor)

text: Thompson continued to work on radio until the late 1950s, notably in several episodes of "CBS Radio Workshop", and his animation voice-over career also began to build steam during the 1950s. At the Metro-Goldwyn-Mayer cartoon studio, he returned as Droopy and also played Droopy's recurring bulldog nemesis Spike, known as Butch, in his appearances produced after Avery's departure from MGM, and many other characters in the studio's cartoon shorts (he used the Wimple/Droopy voice for the titular Native American caricature in "Big Heel-Watha" and for Tom's lookalike cousin George in a 1957 Tom and Jerry entry "Timid Tabby", for two examples).


title: Bill Thompson (voice actor)

text: For Walt Disney Studios, he was heard in many shorts and features, often in either dialect parts or a variation of his Wimple/Droopy voice. His animated feature film credits included the parts of the White Rabbit and the Dodo in "Alice in Wonderland", Mr. Smee and the other pirates in "Peter Pan" (reprising his roles in radio adaptations for "Lux Radio Theater"), and King Hubert in "Sleeping Beauty". Many of the characters he played in Disney productions are now voiced by Corey Burton and Jeff Bennett.


title: Bill Thompson (voice actor)

text: His best showcase may well have been in "Lady and the Tramp" (1955), where he was heard in no fewer than five dialect parts, as Jock the Scottish Terrier, Bull the Cockney bulldog, Dachsie the German dachshund, Joe the Italian cook, and the Irish policeman in the zoo. In shorts, he was heard as Ranger J. Audubon Woodlore in several "Donald Duck and Humphrey the Bear" entries and as Professor Owl in two music related shorts, "Melody" and "Toot Whistle Plunk and Boom" (directed by Ward Kimball), amongst many others. He reprised both of these roles in Disney's various television series, and was the first actor to voice the comic book character Scrooge McDuck (the theatrical featurette "Scrooge McDuck and Money"). Another prominent role is that of Irish station manager Flannery in "Pigs Is Pigs" (directed by Jack Kinney), and the voice of Uncle Waldo from "The Aristocats".


title: Bill Thompson (voice actor)

text: In 1957, Thompson joined the Los Angeles branch of Union Oil as an executive, working in community relations and occasionally reprising his radio characters. He remained sporadically active in animation, however, going on to play King Hubert and Sound Of Birds With Purv Pullen in Disney's "Sleeping Beauty", and as Touché Turtle for Hanna-Barbera's "Touché Turtle and Dum Dum". Also, Thompson was originally cast as Fred Flintstone in "The Flintstones". However, William Hanna and Joseph Barbera decided to recast the role and Alan Reed re-dubbed Fred's voice in the episodes Thompson had already recorded (Thompson can still be heard in some bit roles in the early episodes).


title: Bill Thompson (voice actor)

text: During this period, around 1958, Thompson appeared as a guest challenger on the TV panel show "To Tell the Truth".


title: Bill Thompson (voice actor)

text: In 1952, Thompson married Mary Margaret McBride, the daughter of cartoonist Clifford McBride. The couple remained married until Thompson's death in 1971.


title: Bill Thompson (voice actor)

text: Thompson's final role was as Uncle Waldo in "The Aristocats", released shortly before his sudden death from septic shock on July 15, 1971, just a week after his 58th birthday.


title: Bill Thompson (voice actor)

text: Dunning, John. "On the Air: The Encyclopedia of Old-Time Radio". New York: Oxford University Press, 1998.


title: Chi Omega

text: Chi Omega (, also known as ChiO) is a women's fraternity and a member of the National Panhellenic Conference, the umbrella organization of 26 women's fraternities.


title: Chi Omega

text: Chi Omega has 181 active collegiate chapters and approximately 240 alumnae chapters. Since its founding in 1895 at the University of Arkansas, the sorority has initiated over 355,000 members with more than 28,000 undergraduates added each year, making it the largest women's sorority organization by membership. Chi Omega's national headquarters are located in Memphis, Tennessee.


title: Chi Omega

text: Chi Omega was founded April 5, 1895 at the University of Arkansas by Ina May Boles, Jean Vincenheller, Jobelle Holcombe, and Alice Simonds, with the help of Dr. Charles Richardson (an initiate of the Kappa Sigma fraternity). This founding chapter is called the "Psi chapter". It first expanded in Fall 1898 with "Chi chapter" at Transylvania University; located in Lexington, Kentucky and Hellmuth Ladies' College, located in London, Ontario. Both chapters were transferred to other schools in 1903. By its 10th anniversary, in 1905, and with the support of Alumnae and Dr. Richardson, Chi Omega had installed 17 chapters throughout the United States.


title: Chi Omega

text: From 1947 to 1973, Chi Omega's headquarters were in the private home of two alumnae in Cincinnati, Ohio. In 1973, Chi Omega moved to the 33rd floor of Carew Tower, the tallest building in Cincinnati. Chi Omega was the first women's Sorority to have an Executive Office in an Office Building. In 1986, the Chi Omega Executive Office was moved to the 31st floor of the same office building, Carew Tower, until their move to the present location in Memphis, Tennessee in December 1993.


title: Chi Omega

text: In the late 1990s, the leadership in Chi Omega researched opportunities for a partnership with a national philanthropy, choosing the Make-A-Wish Foundation as their official philanthropy since 2002. Since the start of this alliance, Chi Omega has raised more than 19 million dollars and has volunteered over one million hours for Make-A-Wish and contributed more than a million dollars annually.


title: Chi Omega

text: Despite being a women's organization, Chi Omega only refers to itself as a women's fraternity instead of a sorority. As such, Chi Omega is the largest women's sorority organization in the world with over 355,000 initiates and 181 collegiate chapters. The 300,000th member was initiated in 2013.


title: Chi Omega

text: The white carnation is the official flower, while the skull and crossbones are the official symbol. The official colors are cardinal and straw. Chi Omega has two official jewels, the pearl and the diamond. The owl serves as the sorority's official mascot, symbolizing wisdom.


title: Chi Omega

text: Chi Omega's crest was adopted in 1902. Centered on the crest is a white carnation, with the Greek letter Chi to the left and the Greek letter Omega to the right of the flower. Above these symbols are both the symbols of the skull and crossbones and the owl. Beneath the carnation are five Greek letters: Rho, Beta, Upsilon, Eta and Sigma. The symbol is surrounded by a laurel wreath.


title: Chi Omega

text: The badge of Chi Omega was regulated and adopted in 1906. Dr. Charles Richardson designed the first badge, and made it completely out of scraps of hammered dental gold. The badge is a monogram of the Greek letter "Chi" superimposed over "Omega." It is only allowed to be adorned with fourteen pearls or diamonds, disallowing the use of any other stones. The badge is to be worn only when wearing professional clothing, above all other pins and over the heart. Both the badge and the crest may only be used or worn by initiated members.


title: Chi Omega

text: Chi Omega is an "intergenerational women’s organization" that states its founding purposes as: "friendship, personal integrity, service to others, academic excellence and intellectual pursuits, community and campus involvement and personal and career development". The ethos of the fraternity is embodied in a document known as the Chi Omega Symphony, composed in 1904 by Ethel Switzer Howard of the Xi Chapter at Northwestern University.


title: Chi Omega

text: The fraternity's day-to-day business activities are overseen by the Governing Council; which consists of five elected alumnae, volunteer members, who are elected every two years. The current president of Chi Omega is Laura Miller. Each chapter of Chi Omega receives at least an annual visit from a National Consultant who aids in the development of the members.


title: Chi Omega

text: Since 1899, "The Eleusis" is the official newsletter magazine of Chi Omega, named after the Greek myth. In 1899, it was edited by Ida Pace Purdue and delivered to less than 100 members. The subscription price was $1/year. An account of the founding, histories and pictures of the chapters, and a directory of the members were included in the first issue. In 2013, over 200,000 copies of "The Eleusis" were mailed out three times per year to collegiate and alumnae members.


title: Chi Omega

text: The Nancy Walton Laurie Leadership Institute of Chi Omega is a leadership training program for collegiate and alumnae members. The sessions include a variety of topics based on personal development, and the program is available at various meetings and events. The Chi Omega Foundation supports the Laurie Leadership Institute. The Laurie Leadership Institute impacts Chi Omegas in a variety of ways, from the Flagship weekend in Memphis, Tennessee to leadership programming at Chi Omega Convention. Collegiate and alumnae chapters also have the opportunity to experience these workshops through Regional, Chapter, and even all-Panhellenic sessions throughout the year.


title: Chi Omega

text: In 1971, the "Delta Nu chapter" at Dickinson College attempted to recruit an African-American woman as a member, and the national organization refused permission. "Delta Nu" separated from the national organization over this issue and became an independent sorority.


title: Chi Omega

text: In 2013, the chapter at Pennsylvania State University was shut down after the sorority threw an offensive party insulting Mexican-American culture. National leadership of the sorority released a statement saying the party was not congruent with Chi Omega's values and purpose.


title: Chi Omega

text: In 2013 and 2014, sorority women from multiple chapters at the University of Alabama – including Chi Omega, Delta Delta Delta, Pi Beta Phi, Kappa Delta, Alpha Gamma Delta, Alpha Omicron Pi, and Phi Mu – alleged that either active members or some of their alumnae had prevented them from offering membership to black candidates because of their race. An anonymous Chi Omega member told the school newspaper, The Crimson White, that their university-employed rush adviser dropped a black girl who received perfect scores after the first round of recruitment. Afterwards, chapter members requested that the Chi Omega national headquarters investigate the incident for racial discrimination, and one member of the chapter's executive board moved out of the chapter house and resigned her membership. Students held a campus march to integrate Greek life on campus, and following media and national outcry, the university held a second round of recruitment in hopes of offering membership to more women, including black women.


title: Chi Omega

text: In 2014, the chapter at the University of Central Florida was suspended after allegations surfaced of sorority members blindfolding two pledges under the legal drinking age and taking them to the woods to drink an entire bottle of rum. According to the police report, one pledge ended up so intoxicated that she injured herself in a fall. Members of the sorority directly involved with the hazing incident later resigned from the sorority.


title: Chi Omega

text: In 2014, a member at the University of Alabama was kicked out of the sorority after releasing a racially offensive picture that included a racial slur on social media, celebrating that the chapter had not offered membership to any black women that year. The university's president and sorority's leadership both released statements condemning the photo and acknowledging the importance of embracing diversity.


title: Chi Omega

text: In 2016, a sorority member at the University of Nebraska at Omaha was kicked out of the sorority for posting pictures wearing her sorority letters in her Tinder profile. The incident made it to a Good Morning America segment where she states she was unfairly treated and targeted by members of the sorority.


title: Chi Omega

text: In 1978, serial killer Ted Bundy entered the Chi Omega sorority house at Florida State University in Tallahassee, Florida on January 15. Ted Bundy attacked four women, two of whom were killed (Lisa Levy and Margaret Bowman).


title: The Americans (season 1)

text: The first season of the American television drama series "The Americans" premiered on January 30, 2013, and concluded on May 1, 2013. It consisted of 13 episodes, each running for approximately 45 minutes, except for a pilot of over an hour. FX broadcast the first season on Wednesdays at 10:00 pm in the United States. The series is produced by DreamWorks Television. "The Americans" was created by Joe Weisberg.


title: The Americans (season 1)

text: Set in the 1980s during the Cold War period, "The Americans" is the story of Elizabeth (Keri Russell) and Philip Jennings (Matthew Rhys), two Soviet KGB officers posing as an American married couple in the suburbs of Washington, D.C., their two children, and their neighbor, Stan Beeman (Noah Emmerich), an FBI agent.


title: The Americans (season 1)

text: "The Americans" was created by Joe Weisberg, a former CIA officer. Despite its spy setting, Weisberg set out to tell the story about a marriage. ""The Americans" is at its core a marriage story. International relations is just an allegory for the human relations. Sometimes, when you're struggling in your marriage or with your kid, it feels like life or death. For Philip and Elizabeth, it often is." Executive producer Joel Fields described the series as working different levels of reality: the fictional world of the marriage between Philip and Elizabeth, and the real world involving the characters' experiences during the Cold War.


title: The Americans (season 1)

text: Working at the CIA, which Weisberg later described as a mistake, has helped him develop several storylines in the series, basing some plot lines on real-life stories, and integrating several things he learned in his training, such as dead drops and communication protocols. Weisberg was fascinated by stories he had heard from agents who served abroad as spies, while raising their families. He was interested in bringing that concept to television, with the idea of a family of spies, rather than just one person. Weisberg also said how the CIA inadvertently gave him the idea for creating a series around spies, explaining, "While I was taking the polygraph exam to get in, they asked the question, 'Are you joining the CIA in order to gain experience about the intelligence community so that you can write about it later – which had never occurred to me. I was totally joining the CIA because I wanted to be a spy. But the second they asked that question…then I thought, 'Now I'm going to fail the test.'"


title: The Americans (season 1)

text: Weisberg was partially influenced by the events of the Illegals Program to write a pilot script for the series. His research material included notes on the KGB's Cold War left by Vasili Mitrokhin and conversations with some of his former colleagues at the CIA. He stated that, unlike the circumstances involving the 2010 Russian spy ring, he had opted to set the story in the early 1980s because "a modern day [setting] didn't seem like a good idea", adding, "People were both shocked and simultaneously shrugged at the [2010] scandal because it didn't seem like we were really enemies with Russia anymore. An obvious way to remedy that for television was to stick it back in the Cold War. At first, the '70s appealed to me just because I loved the hair and the music. But can you think of a better time than the '80s with Ronald Reagan yelling about the evil empire?"


title: The Americans (season 1)

text: After reading Weisberg's novel, "An Ordinary Spy", executive producer Graham Yost discovered that Weisberg had also written a pilot for a possible spy series. Yost read the pilot and discovered that it was "annoyingly good", which led to the beginning of motions to develop the show. Shooting of the pilot began in May 2012 and lasted until mid-June. Filming began for the rest of the first season in November 2012 in the New York City area. The production used location shots to simulate a dramatic setting of Washington, D.C. Early filming was delayed by flooding caused by Hurricane Sandy.


title: The Americans (season 1)

text: Weisberg stated that he had no idea about who would star in the series before casting began. FX president John Landgraf had the idea to cast Keri Russell in the series. Leslie Feldman, who is the head of casting at DreamWorks, saw Matthew Rhys in a play and suggested him to Weisberg. Russell and Rhys had met briefly at a party years before, but were not fully introduced.<ref name="russell/rhys"></ref> They both were attracted to the series because of its focus on the relationship between their characters. Said Rhys, "You have two people who have led the most incredibly strange life together with incredibly high stakes, in this scene of domesticity that is an absolute lie, and at the end of the pilot they're finding each other for the very first time."


title: The Americans (season 1)

text: Russell described the pilot script as "interesting ... it was so far from a procedural. I didn't know that I wanted to do it. I always say no to everything. I never want to do anything. [Laughs.] But I just couldn't stop thinking about it. I read it...and I kept trying to figure it out, because it's so not clear. It's still not clear to me. But there's so many different levels to it". Rhys said of his character, "He's a sort of gift of a part in that he's very sort of layered and multi-faceted. And when you meet him, he's at this great turning point in his life where everything's changing for him. You just get to do everything. You get to do the kung fu, and you get to do the emotional scenes, you get to do the disguises. It's the full package for an actor. It's a dream." Noah Emmerich was initially hesitant about taking a role in the series. He explained: "The truth is, from the very beginning, I thought, 'I don't want to do a TV show where I carry a gun or a badge. I'm done with guns and badges. I just don't want to do that anymore'. When I first read it I thought, 'Yeah, it's really interesting and really good, but I don't want to be an FBI guy." His friend, Gavin O'Connor, who directed the pilot episode, convinced him to take a closer look at the role. Emmerich stated that he responded to the aspect of marriage and family. "It was really interesting, and it was really intelligent and unusual, and it stood out from the pack."


title: The Americans (season 1)

text: The first season of "The Americans" received positive reviews from critics. Based on 51 reviews collected by Rotten Tomatoes, the first season received an 88% approval rating from critics, with an average score of 7.8 out of 10. The consensus reads, "The Americans is a spy thriller of the highest order, with evocative period touches and strong chemistry between its leads." On Metacritic, the first season scored 78 out of 100 based on 35 reviews. The American Film Institute listed it as one of the top ten television series of 2013. Rob Brunner of "Entertainment Weekly" described it as "an absorbing spy thriller" while David Hinkley of the "New York Daily News" praised the pace, noting that "It's a premise that requires as much clever dramatic footwork as you might expect, and creator Joe Weisberg, a former CIA agent, handles the challenge". Verne Gay of "Newsday" called it a "smart newcomer with a pair of leads that turns "The Americans" into a likely winner" and gave it a grade of an A−. Gail Pennington, television critic for the "St. Louis Post-Dispatch" gave "The Americans" a rating of three out of four stars. In her review of the debut episode, Pennington stated ""The Americans" isn't just a heart-pounding action drama; by presenting heroes that are also villains, it also confronts viewers with TV's deepest moral dilemma since "The Sopranos"". However, Hank Stuever of "The Washington Post" observed that ""The Americans" struggles to crack a certain code; the concept is tantalizing, but the follow-through lacks the momentum that gets viewers to commit". He described it, however, as "another well-made, provocative TV drama" and suggested that it "could benefit from having the finite boundaries of being a miniseries rather than launching itself into the ambitious realm of an ongoing series."


title: The Americans (season 1)

text: The first season of "The Americans" was released on Blu-ray and DVD in region 1 on February 11, 2014 and in region 2 on March 3, 2014. The set includes an audio commentary for "The Colonel" by Joe Weisberg, Joel Fields and Noah Emmerich; three featurettes, "Executive Order 2579: Exposing the Americans", "Perfecting the Art of Espionage" and "Ingenuity Over Technology"; a gag reel; deleted scenes; and trailers.


title: Peter Pevensie

text: Peter Pevensie is a fictional character in C. S. Lewis's "The Chronicles of Narnia" book series. Peter appears in three of the seven books; as a child and a principal character in "The Lion, the Witch and the Wardrobe" and "Prince Caspian", and as an adult in "The Last Battle". He is only mentioned in "The Horse and His Boy" in which he is away on the northern frontier fighting giants and in "The Voyage of the Dawn Treader" in which he is studying under the tutelage of Professor Kirke.


title: Peter Pevensie

text: In Disney's live-action films, "", Peter is portrayed by English actor William Moseley. Noah Huntley portrays an older Peter at the end of the first film.


title: Peter Pevensie

text: Peter is the eldest of the four Pevensie children and shares his adventures in Narnia with his sisters Susan and Lucy and with his brother Edmund.


title: Peter Pevensie

text: Peter's reign in Narnia was a Tetrarchy (Greek: "leadership of four"), and as High King Peter the Magnificent, he had supreme authority over all subsequent Narnian monarchs. Peter is illustrated by Pauline Baynes in the original novels with dark hair, but there are no specific descriptions of his hair or eye colour or complexion by Lewis.


title: Peter Pevensie

text: An early draft of "The Lion" begins, "This book is about four children whose names were Ann, Martin, Rose, and Peter. But it is most about Peter who was the youngest." Peter is the only name that makes it into the final work, but as the oldest child instead of the youngest.


title: Peter Pevensie

text: Pevensey, on the southeast coast of England, is the site of a medieval castle that figures importantly in British history at several points. In Rudyard Kipling's "Puck of Pook's Hill" (1907) at least one of the characters refers to Pevensey as "England's Gate", which the celebrated wardrobe in Lewis's books quite literally becomes. The surname "Pevensie" does not actually appear in the Chronicles until the third published book, "The Voyage of the "Dawn Treader.


title: Peter Pevensie

text: Peter was born in 1927 and is 13 years old when he appears in "The Lion, the Witch and the Wardrobe". As a monarch of Narnia's Golden Age, he rules with his brother and sisters for 15 years, reaching the approximate age of 28 before returning to the age of 13 in England at the end of "Wardrobe". By "The Last Battle" he is a 22-year-old university student with his heart still in Narnia, though he had not been there since "Prince Caspian", when he was 14 years old.


title: Peter Pevensie

text: A loyal and devoted big brother figure, Peter is the eldest of the four siblings. He tries his best to protect his siblings and to act like a responsible young adult. In the book, it is implied that he is more mature than his siblings because after their father was called out to fight in the war, Peter's mother told him to support his three siblings through the ordeal of their father going away. He is evacuated to the countryside with his siblings by train because of the air-raids during World War II. In the countryside, they stay at the old mansion of Professor Digory Kirke.


title: Peter Pevensie

text: When Lucy first stumbles on the wardrobe, Peter does not believe her, thinking it is just her imagination until he and the other Pevensies enter the wardrobe themselves; "A jolly good hoax, Lu". He later apologizes to Lucy for not believing her and is quite angry with Edmund for earlier denying Narnia's existence (Lucy had seen Edmund in Narnia before, but he had lied that they were just "pretending"); "Well, of all the poisonous little beasts". This is caused by Edmund's revelation of his deceit when, upon entering Narnia, he says; "I say ... oughtn't we to be bearing a bit more to the left, that is, if we are aiming for the lamp-post?" Peter had already been angry with Edmund for "encouraging" Lucy before he knew that Edmund was telling lies; while not believing that Lucy had been in Narnia, he did believe that Edmund was not doing Lucy any good by jeering at her and encouraging her about her claim to have found a country in the wardrobe. During the period between Lucy claiming to have got into Narnia through the wardrobe a second time and all four siblings finally making it into Narnia together, Peter negotiates a truce between Edmund and Lucy, although his annoyance with Edmund is still visible.


title: Peter Pevensie

text: Edmund later strays to the White Witch (having met her when he first came into Narnia and been seduced by her promises of power) and Peter later confesses to Aslan that his anger towards Edmund (for trying to make out that Lucy was a liar) probably helped him to go wrong. Peter and his siblings had been under the protection of Mr and Mrs. Beaver after arriving in Narnia, and Mr. Beaver had suspected Edmund was a traitor from the moment he set eyes on him, but did not mention anything to the others about it until his absence was noticed and Mr Beaver figured out that Edmund had gone to the White Witch. Edmund is eventually rescued on Aslan's orders. Meanwhile, the others all make their way to the Stone Table to meet Aslan.


title: Peter Pevensie

text: Peter received his sword (Rhindon) and shield from Father Christmas after meeting him on the journey to find Aslan, and is later knighted "Sir Peter Wolf's-Bane" by Aslan after he kills Maugrim the wolf, chief of the White Witch's secret police, who was trying to kill Susan and Lucy. In the American editions of the books on which the 1979 animated film was based, Lewis changed the chief wolf's name to Fenris-Ulf, after a figure from Norse mythology. In those versions, Peter is given the epithet "Fenris-bane".


title: Peter Pevensie

text: While the great battle is being planned, he is appointed head General of Aslan's army. After the defeat of the White Witch Jadis, self-styled Queen of Narnia, and her evil allies in the Battle of Beruna Ford, he is crowned to the Clear Northern Sky by Aslan as His Majesty King Peter the Magnificent, High King of Narnia, Emperor of the Lone Islands, Lord of Cair Paravel, Knight of the Most Noble Order of the Lion. The ancient prophecy of two Sons of Adam and two Daughters of Eve coming to sit on the four thrones at Cair Paravel then comes to fruition. This marks the end of the hundred years of winter and the reign of the White Witch, and is the beginning of Narnia's Golden Age.


title: Peter Pevensie

text: He and his siblings finally return to their own world (where they find themselves as children once again) 15 years later, to find that no time had passed by there.


title: Peter Pevensie

text: Peter does not appear in this installment, but is mentioned. While Susan and Edmund are in Calormen escaping from Prince Rabadash, he is fighting giants in the north. (Lucy is the only one left at Cair Paravel).


title: Peter Pevensie

text: After the Pevensies arrive in the ruins of Cair Paravel, they find the castle's treasure chamber, where Peter, Susan and Lucy find the gifts they were given by Father Christmas. Peter takes his sword, Rhindon, and his shield, and again serves as the leader of the group. They eventually meet Trumpkin, a dwarf who helped protect Prince Caspian X from his uncle's Telmarine army, who accompanies them on their journey to meet Aslan.


title: Peter Pevensie

text: When the children are forced to make a decision, Peter, as High King, has the final word. In order to stall the war long enough for Lucy to find Aslan and awaken the Narnians, Peter claims the right to a one-on-one duel with the Telmarine king, Miraz. After the Pevensie children help defeat the Telmarines, Peter formally gives Caspian the authority to rule a free Narnia. Aslan gives Caspian the authority to "rule under Us and under the High King". Peter later confided to Lucy and Edmund that he was told by Aslan that he and Susan will never return to Narnia, as they are now too old, and have learned all that they can from that world.


title: Peter Pevensie

text: The four children returned to their world, in which they were waiting for their trains to go to their respective boarding schools.


title: Peter Pevensie

text: It is learned in this book that Lucy is his favorite sister, a fact that was fairly obvious throughout the series.


title: Peter Pevensie

text: While not physically present in the book, it was mentioned that Peter was under the tutelage of Professor Kirke in preparation for exams, but the other three children were unable to stay with him because he had moved out of the large house with the wardrobe and was now living in a much smaller house. In the film "", Peter makes a cameo appearance at a party. When Lucy transforms herself into Susan, neither Peter nor Edmund know of Lucy or Narnia.


title: Peter Pevensie

text: Peter has a minor role in the story. He was the only one to address Tirian, the king of Narnia at the time, in Tirian's vision of the Seven Friends of Narnia.


title: Peter Pevensie

text: After attending a dinner with the other Friends, Peter and Edmund went to London to retrieve the magic rings that Professor Digory Kirke buried in the Ketterleys' yard, hoping to use them to get Eustace and Jill to Narnia. Both were waiting for Lucy, Eustace, Jill, Digory, and Polly at the station platform when the train crashed and killed them all, temporarily transporting Jill and Eustace to Narnia until the end of the world, upon which they make their way to the real Narnia, or heaven, and are reunited with Peter, Edmund, Lucy, Digory, and Polly.


title: Peter Pevensie

text: Peter is described by Tirian as having the face of a king and a warrior. After Tirian passed through the stable door and saw Tash for the first time, Peter calmly ordered the demon to leave with his prey. After passing judgement on all the inhabitants of Narnia, Aslan orders Peter to shut the door, ending the world. Peter is one of many others allowed to stay in Aslan's Country including the parents of Peter, Edmund, Susan and Lucy.


title: Peter Pevensie

text: Lewis, himself an expert on allegory, did not consider "The Chronicles of Narnia" allegory. He saw them as "suppositional" answering the question, "What might Christ become like, if there really were a world like Narnia and He chose to be incarnate and die and rise again in that world as He actually has done in ours? This is not allegory at all." While not allegorical, Narnia does present significant parallels with elements from Christianity.


title: Peter Pevensie

text: There are similarities between Peter Pevensie and St. Peter, who was one of Jesus's original twelve disciples. Like St. Peter, who was given that name from Christ, Peter Pevensie is given the name Sir Peter Wolfsbane by Aslan. As the traditional first Bishop of Rome, St. Peter and his successors, are "primus inter pares", or first-among-equals with the other leaders of the church. Similarly, Peter Pevensie is given the title of High King. Lastly the biblical St. Peter, according to Catholic tradition, was given the "keys to the kingdom of heaven" and Peter Pevensie shut the door, locking it with a golden key, sealing the destroyed Narnia after the judgment in "The Last Battle".


title: The Theory of the Leisure Class

text: The Theory of the Leisure Class: An Economic Study of Institutions (1899), by Thorstein Veblen, is a treatise of economics and sociology, and a critique of conspicuous consumption as a function of social class and of consumerism, which are social activities derived from the social stratification of people and the division of labor; the social institutions of the feudal period (9th–15th c.) that have continued to the modern era.


title: The Theory of the Leisure Class

text: Veblen discusses how the pursuit and the possession of wealth affects human behavior, that the contemporary lords of the manor, the businessmen who own the means of production, have employed themselves in the economically unproductive practices of conspicuous consumption and conspicuous leisure, which are useless activities that contribute neither to the economy nor to the material production of the useful goods and services required for the functioning of society. Instead, it is the middle class and working class who are usefully employed in the industrialised, productive occupations that support the whole of society.


title: The Theory of the Leisure Class

text: Conducted in the late 19th century, Veblen's socio-economic analyses of the business cycles and the consequent price politics of the U.S. economy, and the emergent division of labor, by technocratic speciality—scientist, engineer, technologist, etc.—proved to be accurate sociological predictions of the economic structure of an industrial society.


title: The Theory of the Leisure Class

text: "The Theory of the Leisure Class" (1899) was published during the Gilded Age (1870–1900), the time of the robber baron millionaires John D. Rockefeller, Andrew Carnegie, and Cornelius Vanderbilt, at the end of the 19th century. Veblen presents the evolutionary development of the social and economic institutions of society, wherein technology and the industrial arts are the creative forces of economic production. That in the economics of the production of goods and services, the social function of the economy was to meet the material needs of society and to earn profits for the owners of the means of production. Sociologically, that the industrial production system required the workers (men and women) to be diligent, efficient, and co-operative, whilst the owners of the factories concerned themselves with profits and with public displays of wealth; thus the contemporary socio-economic behaviours of conspicuous consumption and of conspicuous leisure survived from the predatory, barbarian past of the tribal stage of modern society.


title: The Theory of the Leisure Class

text: The sociology and economics reported in "The Theory of the Leisure Class" show the influences of Charles Darwin and Karl Marx, Adam Smith and Herbert Spencer; thereby Veblen's socio-economic theory emphasizes social evolution and development as characteristics of human institutions. In his time, Veblen criticised contemporary (19th-century) economic theories as intellectually static and hedonistic, and that economists should take account of how people actually behave, socially, and culturally, rather than rely upon the theoretic deduction meant to explain the economic behaviours of society. As such, Veblen's reports of American political economy contradicted the (supply and demand) neoclassical economics of the 18th century, which define people as rational agents who seek utility and maximal pleasure from their economic activities; whereas Veblen's economics define people as irrational economic agents who disregard personal happiness in the continual pursuit of the social status and the prestige inherent to having a place in society (class and economic stratum). Veblen concluded that conspicuous consumption did not constitute social progress, because American economic development was unduly influenced by the static economics of the British aristocracy; therefore, conspicuous consumption was an un-American activity contrary to the country's dynamic culture of individualism.


title: The Theory of the Leisure Class

text: Originally published as "The Theory of the Leisure Class: An Economic Study in the Evolution of Institutions", the book arose from three articles that Veblen published in the "American Journal of Sociology" between 1898 and 1899: (i) "The Beginning of Ownership" (ii) "The Barbarian Status of Women", and (iii) "The Instinct of Workmanship and the Irksomeness of Labour". These works presented the major themes of economics and sociology that he later developed in works such as: "The Theory of Business Enterprise" (1904), about how incompatible are the pursuit of profit and the making of useful goods; and "The Instinct of Workmanship and the State of the Industrial Arts" (1914), about the fundamental conflict between the human predisposition to useful production and the societal institutions that waste the useful products of human effort.


title: The Theory of the Leisure Class

text: Moreover, "The Theory of the Leisure Class" is a socio-economic treatise that resulted from Veblen's observation and perception of the United States as a society of rapidly developing economic and social institutions. Critics of his reportage about the sociology and economics of the consumer society that is the US especially disliked the satiric tone of his literary style, and said that Veblen's cultural perspective had been negatively influenced by his austere boyhood in a Norwegian American community of practical, thrifty, and utilitarian people who endured anti-immigrant prejudices in the course of integration to American society.


title: The Theory of the Leisure Class

text: "The Theory of the Leisure Class" established that the political economy of a modern society is based upon the social stratification of tribal and feudal societies, rather than upon the merit and social utility and economic utility of individual men and women. Veblen's examples indicate that many economic behaviours of contemporary society derive from corresponding tribal-society behaviours, wherein men and women practiced the division of labor according to their status group; high-status people practiced hunting and warfare, which are economically unproductive occupations, whilst low-status people practiced farming and manufacturing, which are economically productive occupations. In a socially-stratified society, the "leisure class" are the members of the upper class who are exempt from productive work.


title: The Theory of the Leisure Class

text: The concepts of dignity and Self-worth and Honour are the bases of the development of social class and distinctions of type among the social classes; thus, by way of social stratification, productive labor came to be seen as disreputable. Therefore, the accumulation of wealth does not confer social status, as does the evidence of wealth, such as leisure. In a stratified society, the division of labor inherent to the barbarian culture of conquest, domination, and the exploitation of labour featured labour-intensive occupations for the conquered people, and light-labour occupations for the conquerors, who thus became "the leisure class". In that societal context, although low-status, productive occupations (tinker, tailor, chandler) were of greater economic value to society than were high-status, unproductive occupations (the profession of arms, the clergy, banking, etc.), for social cohesion, the leisure class occasionally performed productive work that was more symbolic than practical.


title: The Theory of the Leisure Class

text: In exercising political control, the leisure class retained their high social-status by direct and indirect coercion, by reserving for themselves the profession of arms, and so withheld weapons and military skills from the lower social classes. Such a division of labor (economic utility) rendered the lower classes dependent upon the leisure class, which established, justified, and perpetuated the role of the leisure class as the defenders of society against natural and supernatural enemies, because the clergy also belonged to the leisure class.


title: The Theory of the Leisure Class

text: Contemporary society did not psychologically supersede the tribal-stage division of labor, but evolved the division-of-labor by social status and social stratum. During the Mediæval period (5th–15th c.) only land-owning noblemen had the right to hunt and to bear arms as soldiers; status and income were parallel. Likewise, in contemporary society, skilled laborers of the working class are paid an income in wages, which is inferior to the salary income paid to the educated managers whose economic importance (as engineers, salesmen, personnel clerks, "et al.") is indirectly productive; income and status are parallel.


title: The Theory of the Leisure Class

text: The term "pecuniary emulation" describes a person's economic efforts to surpass a rich person's socio-economic status. Veblen said that the "pecuniary struggle" to acquire and exhibit wealth, in order to gain status, is the driving force behind the development of culture and society. To attain, retain, and gain greater social status within their social class, low-status people emulate the high-status members of their socio-economic class, by consuming over-priced brands of goods and services perceived to be of better quality and thus of a higher social-class. In striving for greater social status, people buy high-status goods and services which they cannot afford, despite the availability of affordable products that are perceived as of lower quality and lesser social-prestige, and thus of a lower social-class. In a consumer society, the businessman was the latest member of the leisure class, a barbarian who used his prowess (business acumen) and competitive skills (marketing) to increase profits, by manipulating the supply and the demand among the social classes and their strata, for the same products (goods and services) at different prices.


title: The Theory of the Leisure Class

text: With "The Theory of the Leisure Class: An Economic Study in the Evolution of Institutions" (1899), Veblen introduced, described, and explained the concepts of "conspicuous consumption" and of "conspicuous leisure" to the nascent, academic discipline of sociology. Conspicuous consumption is the application of money and material resources towards the display of a higher social-status (e.g. silver flatware, custom-made clothes, an over-sized house); and conspicuous leisure is the application of extended time to the pursuit of pleasure (physical and intellectual), such as sport and the fine arts. Therefore, such physical and intellectual pursuits display the freedom of the rich man and woman from having to work in an economically productive occupation.


title: The Theory of the Leisure Class

text: The modern industrial society developed from the barbarian tribal society, which featured a leisure class supported by subordinated working classes employed in economically productive occupations. The people of the leisure class were exempted from manual work and from practicing economically productive occupations, because they belong to the leisure class.


title: The Theory of the Leisure Class

text: "The emergence of a leisure class coincides with the beginning of ownership," initially based upon marriage as a form of ownership—of women and their property—as evidence of prowess. As such, the material consumption of the leisure class has little to do with either comfort or subsistence, and much to do with social esteem from the community, and thus with self-respect.


title: The Theory of the Leisure Class

text: Among the lower social-classes, a man's reputation as a diligent, efficient, and productive worker is the highest form of pecuniary emulation of the leisure class available to him in society. Yet, among the social strata of the leisure class, manual labor is perceived as a sign of social and economic weakness; thus, the defining, social characteristics of the leisure class are the "exemption from useful employment" and the practice of conspicuous leisure as a "non-productive consumption of time".


title: The Theory of the Leisure Class

text: Theoretically, the consumption of luxury products (goods and services) is limited to the leisure class, because the working classes have other, more important, things and activities on which to spend their limited income, their wages. Yet, such is not the case, because the lower classes consume expensive alcoholic beverages and narcotic drugs. In doing so, the working classes seek to emulate the standards of life and play of the leisure class, because they are the people "at the head of the social structure in point of reputability." In that emulation of the leisure class, social manners are a result of the non-productive, consumption of time by the upper social classes; thus the social utility of conspicuous consumption and of conspicuous leisure lies in their wastefulness of time and resources.


title: The Theory of the Leisure Class

text: In a society of industrialised production (of goods and services), the habitual consumption of products establishes a person's standard of living; therefore, it is more difficult to do without products than it is to continually add products to one's way of life. Moreover, upon achieving self-preservation (food and shelter), "the needs of conspicuous waste" determine the economic and industrial improvements of society.


title: The Theory of the Leisure Class

text: To the leisure class, a material object becomes a product of conspicuous consumption when it is integrated to "the canon of honorific waste", by being regarded either as beautiful or worthy of possession for itself. Consequently, to the lower classes, possessing such an object becomes an exercise in the pecuniary emulation of the leisure class. Therefore, an "objet d'art" made of precious metal and gemstones is a more popular possession than is an object of art made of equally beautiful, but less expensive materials, because a high price can masquerade as beauty that appeals to the sense of social prestige of the possessor-consumer.


title: The Theory of the Leisure Class

text: In a consumer society, the function of clothes is to define the wearer as a man or a woman who belongs to a given social class, not for protection from the environment. Clothing also indicates that the wearer's livelihood does not depend upon economically productive labor, such as farming and manufacturing, which activities require protective clothing. Moreover, the symbolic function of clothes indicates that the wearer belongs to the leisure class, and can afford to buy new clothes when the fashion changes.


title: The Theory of the Leisure Class

text: A society develops through the establishment of institutions (social, governmental, economic, etc.) modified only in accordance with ideas from the past, in order to maintain societal stability. Politically, the leisure class maintain their societal dominance, by retaining out-dated aspects of the political economy; thus, their opposition to socio-economic progressivism to the degree that they consider political conservatism and political reaction as honorific features of the leisure class.


title: The Theory of the Leisure Class

text: The existence of the leisure class influences the behaviour of the individual man and woman, by way of social ambition. To rise in society, a person from a lower class emulates the characteristics of the desired upper class; he or she assumes the habits of economic consumption and social attitudes (archaic traits of demeanour in speech, dress, and manners). In pursuit of social advancement, and concomitant social prestige, the man and the woman who rid themselves of scruple and honesty will more readily rise into a stratum of the leisure class.


title: The Theory of the Leisure Class

text: As owners of the means of production, the leisure class benefit from, but do not work in, the industrial community, and do not materially contribute to the commonweal (the welfare of the public) but do consume the goods and services produced by the working classes. As such, the individual success (social and economic) of a person derives from his or her astuteness and ferocity, which are character traits nurtured by the pecuniary culture of the consumer society.


title: The Theory of the Leisure Class

text: The belief in the concept of 'luck' (Fortuna) is one reason why people gamble; likewise follows the belief that luck is a part of achieving socio-economic success, rather than the likelier reason of social connections derived from a person's social class and social stratum. Within the social strata of the leisure class, the belief in luck is greater in the matter of sport (wherein physical prowess does matter) because of personal pride, and the concomitant social prestige; hence, gambling is a display of conspicuous consumption and of conspicuous leisure. Nonetheless, gambling (the belief in luck) is a social practice common to every social class of society.


title: The Theory of the Leisure Class

text: The existence, function, and practice of religion in a socially-stratified society, is a form of abstract conspicuous consumption for and among the members of the person's community, of devotion to the value system that justifies the existence of his or her social class. As such, attending church services, participating in religious rites, and paying tithes, are a form of conspicuous leisure.


title: The Theory of the Leisure Class

text: The clergy and the women who are members of the leisure class function as objects of vicarious leisure, thus, it is morally impossible for them to work and productively contribute to society. As such, maintaining a high social-class is more important for a woman of the leisure class, than it is for a man of the leisure class. Women, therefore, are the greatest indicators of a man's socio-economic standing in his respective community. In a consumer society, how a woman spends her time and what activities she does with her time communicate the social standing of her husband, her family, and her social class.


title: The Theory of the Leisure Class

text: Education (academic, technical, religious) is a form of conspicuous leisure, because it does not directly contribute to the economy of society. Therefore, high-status, ceremonial symbols of book-learning, such as the gown and mortar-board-cap of the university graduate educated in abstract subjects (science, mathematics, philosophy, etc.) are greatly respected, whereas certificates, low-status, ceremonial symbols of practical schooling (technology, manufacturing, etc.) are not greatly respected to the same degree, because the contemporary university is a leisure-class institution.


title: The Theory of the Leisure Class

text: In "The Theory of the Leisure Class", Veblen used idiosyncratic and satirical language to identify, describe, and explain the consumerist mores of American modern society in the 19th century; thus, about the impracticality of etiquette as a form of conspicuous leisure, Veblen said:


title: The Theory of the Leisure Class

text: In contrast, Veblen used objective language in "The Theory of Business Enterprise" (1904), which analyses the business-cycle behaviours of businessmen. In his introduction to the 1973 edition, the economist John Kenneth Galbraith said that "The Theory of the Leisure Class" is Veblen's intellectual put-down of American society. That Veblen spoke satirically in order to soften the negative implications of his socio-economic analyses of the U.S. social-class system, facts that are more psychologically threatening to the American ego and the "status quo", than the negative implications of Karl Marx's analyses. That, unlike Marx, who recognised capitalism as superior to feudalism in providing products (goods and services) for mass consumption, Veblen did not recognise that distinction, because capitalism was economic barbarism, and that goods and services produced for conspicuous consumption are fundamentally worthless.


title: The Theory of the Leisure Class

text: In the Introduction to the 1967 edition of "The Theory of the Leisure Class", economist Robert Lekachman said that Veblen was a misanthrope:


title: The Theory of the Leisure Class

text: The success of "The Theory of the Leisure Class" (1899) derived from the fidelity, veracity, and accuracy of Veblen's reportage about the socio-economic behaviours of the American system of social classes. Additional to the success (financial, academic, social) accrued to him by the book, a social-scientist colleague told Veblen that the sociology of gross consumerism catalogued in "The Theory of the Leisure Class" had much "fluttered the dovecotes of the East", especially in the Ivy League academic Establishment.


title: The Theory of the Leisure Class

text: In the two-part book review "An Opportunity for American Fiction" (April–May 1899), the critic William Dean Howells made Veblen's treatise the handbook of sociology and economics for the American intelligentsia of the early 20th century. Reviewing first the economics and then the social satire in "The Theory of the Leisure Class", Howells said that social-class anxiety impels American society to wasteful consumerism, especially the pursuit of social prestige. That despite social classes being alike in most stratified societies, the novelty of the American social-class system was that the leisure class had only recently appeared in U.S. history.


title: The Theory of the Leisure Class

text: Asking for a novelist to translate into fiction what the social-scientist Veblen had reported, Howells concluded that a novel of manners was an opportunity for American fiction to accessibly communicate the satire in "The Theory of the Leisure Class":


title: The Theory of the Leisure Class

text: As a contribution to the general theory of sociology, Dr. Veblen's "The Theory of the Leisure Class" requires no other commendation for its scholarly performance than that which a casual reading of the work readily inspires. Its highly original character makes any abridgement of it exceedingly difficult and inadequate, and such an abridgement cannot be even attempted here ... The following pages, however, are devoted to a discussion of certain points of view in which the author seems, to the writer [Cummings], to have taken an incomplete survey of the facts, or to have allowed his interpretation of facts to be influenced by personal animus.


title: The Theory of the Leisure Class

text: In the essay "Prof. Veblen" (1919) the intellectual H. L. Mencken addressed the matters of Americans' social psychology reported in "The Theory of the Leisure Class" (1899), by asking:


title: The Theory of the Leisure Class

text: In the essay "The Dullest Book of The Month: Dr. Thorstein Veblen Gets the Crown of Deadly Nightshade" (1919), after addressing the content of "The Theory of the Leisure Class", the book reviewer Robert Benchley addressed the subject of who are readers to whom Veblen speaks, that:the Doctor has made one big mistake, however. He has presupposed, in writing this book, the existence of a [social] class with much more leisure than any class in the world ever possessed—for, has he not counted on a certain number of readers?


title: The Theory of the Leisure Class

text: "The Theory of the Leisure Class", Thorstein Veblen was vindicated as a social scientist, by the sociological results of the two Middletown studies—"Middletown: A Study in Modern American Culture (1929) and "Middletown in Transition: A Study in Cultural Conflicts" (1937)—which presented empirical evidence that working-class families practiced conspicuous consumption and did without necessities (adequate food and clothing, etc.) in order to present and maintain the public appearance of being in a higher social-class.


title: The Theory of the Leisure Class

text: In the Introduction to the 1934 edition, the economist Stuart Chase said that the Great Depression (1929–1941) had vindicated Veblen the economist, because "The Theory of the Leisure Class" had unified "the outstanding economists of the world". In the foreword to the 1953 edition, sociologist C. Wright Mills said that Veblen was "the best critic of America that America has ever produced". In the Introduction to the 1973 edition of the book, economist John Kenneth Galbraith addressed the author as subject, and said that Veblen was a man of his time, and that "The Theory of the Leisure Class"—published in 1899—reflected Veblen's 19th-century world view. That in his person and personality, the social scientist Veblen was neglectful of his grooming and tended to be disheveled; that he suffered social intolerance for being an intellectual and an agnostic in a society of superstitious and anti-intellectual people, and so tended to curtness with less intelligent folk.


title: The Theory of the Leisure Class

text: John Dos Passos writes of Veblen in his trilogy novel USA, in the third novel (1933), "The Big Money." There, as one of Passos' highly subjective portraits of historical figures throughout the trilogy, Veblen is bio-sketched in THE BITTER DRINK in about 10 pages, referring presumably in that title to the hemlock Socrates was forced to drink for his supposed crimes. The portrait ends with these three final lines: "but his memorial remains/riveted into the language/the sharp clear prism of his mind."


title: The Theory of the Leisure Class

text: In "The Worldly Philosophers: The Lives, Times, and Ideas of the Great Economic Thinkers" (1953), the historian of economics Robert Heilbroner said that Veblen's socio-economic theories applied to the Gilded Age (1870–1900) of gross materialism and political corruption in the U.S. of the 19th century, but are inapplicable in 21st-century economics, because "The Theory of the Leisure Class" is specific to U.S. society in general, and to the society of Chicago in particular. In that vein, in "No Rest for the Wealthy" (2009), the journalist Daniel Gross said:


title: The Theory of the Leisure Class

text: Nonetheless, the "economy-as-organism" theory of butterfly economics vindicated Thorstein Veblen as an insightful sociologist and a farsighted economist whose empirical observations have been re-stated by contemporary economists, such as Robert H. Frank, who applied Veblen's socio-economic analyses to 21st-century political economy. That Frank's analytical application of the conspicuous-consumption model to the business and economic functions of advertising explains why the lower social-classes have no upward social mobility in their societies, despite being the productive classes of their economies. About the limited social-utility and economic non-productivity of the business social-class, the businessman Warren Buffett said that non-productive financial activities, such as day trading (speculative buying-and-selling of financial securities) and arbitrage (manipulation of price-differentials among markets) have vindicated "The Theory of the Leisure Class" (1899), because such activities produce only capital and do not produce useful goods and services for society.


title: Party of Labour of Albania

text: The Party of Labour of Albania (, PPSh), sometimes referred to as the Albanian Workers' Party (AWP), was the ruling and sole legal party of Albania during the communist period (1945–1991). It was founded on 8 November 1941 as the Communist Party of Albania (, PKSh) but changed its name in 1948. The party was dissolved on 13 June 1991 and succeeded by the Socialist Party of Albania. For most of its existence, the party was dominated by its First Secretary, Enver Hoxha, who was also the "de facto" leader of Albania.


title: Party of Labour of Albania

text: In the 1920s, Albania was the only Balkan country without a communist party. The first Albanian communists emerged from the followers of Albanian clergyman and politician Fan S. Noli. Once in Moscow, they formed the National Revolutionary Committee and became affiliated to the Comintern. In August 1928, the first Albanian Communist Party was formed in the Soviet Union. The most prominent figure of the party was Ali Kelmendi who left Albania in 1936, to fight in the Spanish Civil War. He was later regarded as the leader of a small group of Albanian Communists in France. However, no unified organisation existed in Albania until 1941.


title: Party of Labour of Albania

text: Following the German attack on the Soviet Union in June 1941, Yugoslav leader Josip Broz Tito under Comintern directives sent two Yugoslav delegates Miladin Popović and Dušan Mugoša to Albania. These two helped unite the Albanian communist groups in 1941. After intensive work, the Albanian Communist Party was formed on 8 November 1941 by a delegates from Shkodër with Enver Hoxha from the Korça branch as its leader. Among the founding members, there were 8 Christian members: Koço Tashko, Koçi Xoxe, Pandi Kristo, Gjin Marku, Vasil Shanto, Tuk Jakova, Kristo Themelko and Anastas Lulo; and 5 Muslim members: Enver Hoxha, Qemal Stafa, Ramadan Çitaku, Kadri Hoxha and Sadik Premte.


title: Party of Labour of Albania

text: The PKSh was the dominant element of the National Liberation Movement (LNC), formed in 1942. The LNC drove out the German occupiers (who had taken over from the Italians in 1943) on 29 November 1944. From that day onward, Albania was a full-fledged Communist regime. In every other Eastern European country, the Communists were at least nominally part of a coalition government for a few years before seizing power at the helm of out-and-out Communist regimes. King Zog was barred from ever returning to Albania, though the monarchy was not formally abolished until January 1946.


title: Party of Labour of Albania

text: In the elections for the Constituent Assembly held on 2 December 1945, voters were presented with a single list from the Democratic Front, organised and led by the PKSh. The Front received 93.7% of the vote.


title: Party of Labour of Albania

text: In a meeting with Joseph Stalin in July 1947 Stalin suggested the party be renamed to the "Party of Labour of Albania" because peasants were a majority in the country. Hoxha accepted this suggestion.


title: Party of Labour of Albania

text: Under Hoxha, the party became the most rigidly anti-revisionist party in the Soviet Bloc. In 1961, Hoxha broke with Moscow over Nikita Khrushchev's supposed deviations from fundamental principles of Marxism-Leninism, though relations between Tirana and Moscow had begun to chill as early as 1955. Hoxha opted instead to align with the People's Republic of China under Mao Zedong. In 1968, Albania formally withdrew from the Warsaw Pact. The party even went as far as to engineer an Albanian version of China's Cultural Revolution.


title: Party of Labour of Albania

text: After Mao's death, the PKSh felt increasing chagrin as Mao's successors moved away from his legacy. In 1978, Hoxha declared that Albania would blaze its own trail to a socialist society.


title: Party of Labour of Albania

text: Hoxha's successor, Ramiz Alia, was forced to initiate gradual reforms in order to stop the country's economic downspiral. However, in late 1989, various elements of society began to speak out against the restrictions still in place. The execution of Romanian dictator Nicolae Ceauşescu led Alia to fear he would be next. In response, he allowed Albanians to travel abroad, ended the regime's longstanding policy of state atheism, and slightly loosened government control of the economy. However, these measures only served to buy Alia more time. Finally, bowing to the inevitable, on 11 December 1990, Alia announced that the PPSh had abandoned power and legalised opposition parties. The PPSh won the Constitutional Assembly elections of 1991. However, by then it was no longer a Marxist-Leninist party, and was powerless to prevent the adoption of a new interim constitution that formally stripped it of its monopoly of power.


title: Party of Labour of Albania

text: In 1991, the PPSh dissolved and refounded itself as the social-democratic Socialist Party of Albania, which is now one of the two major political parties in Albania. A group called "Volunteers of Enver", led by Hysni Milloshi, laid claim to the identity of the PPSh as the Communist Party of Albania.


title: Party of Labour of Albania

text: The ideology of the PPSh was an anti-revisionist variant of Marxism-Leninism known as Hoxhaism. The party organisation was built up following democratic centralist principles, with Hoxha as its First Secretary. Article 3 of Albania's 1976 Constitution identified the Party as the "leading political force of the state and of the society." To help carry out its ideological activities it had an associated mass organization known as the Democratic Front. Its daily publication was (Voice of the People) and its monthly theoretical journal was (Road of the Party).


title: Party of Labour of Albania

text: The highest organ of the Party, according to the Party statutes, was the Party Congress, which met for a few days every five years. Delegates to the Congress were elected at conferences held at the regional, district, and city levels. The Congress examined and approved reports submitted by the Central Committee, discussed general Party policies, and elected the Central Committee. The latter was the next-highest level in the Party hierarchy and generally included all key officials in the government, as well as prominent members of the Sigurimi. The Central Committee directed Party activities between Party Congresses and met approximately three times a year.


title: Party of Labour of Albania

text: As in the Soviet Union, the Central Committee elected a Politburo and a Secretariat. The Politburo, which usually included key government ministers and Central Committee secretaries, was the main administrative and policy-making body and convened on a weekly basis. Generally, the Central Committee approved Politburo reports and policy decisions. The Secretariat was responsible for guiding the day-to-day affairs of the Party, in particular for organising the execution of Politburo decisions and for selecting Party and government cadres.


title: Party of Labour of Albania

text: The staunchly orthodox stand of the PPSh attracted many political groupings around the world, particularly among Maoists who were not content with the Communist Party of China's attitude in the late 1970s. A large number of parties declared themselves to be in the "PPSh line", especially during the period 1978–1980. However, many of them abandoned this certain affiliation after the fall of the socialist government in Albania. Today, many of the political parties upholding the political line of the PPSh are grouped around the International Conference of Marxist-Leninist Parties and Organisations.


title: Party of Labour of Albania

text: Various friendship associations were also formed by international Communist sympathizers who supported the Party:


title: Lost (season 4)

text: The fourth season of the American serial drama television series "Lost" commenced airing on the ABC network in the United States, and on CTV in Canada on January 31, 2008, and concluded on May 29, 2008. The season continues the stories of a group of over 40 people who have been stranded on a remote island in the South Pacific, after their airplane crashed there more than 90 days prior to the beginning of the season. According to "Lost" executive producers/writers/showrunners Damon Lindelof and Carlton Cuse, there are two main themes in the fourth season: "the castaways' relationship to the freighter folk" and "who gets off the island and the fact that they need to get back". The fourth season was acclaimed for its flash-forwards, pace and new characters.


title: Lost (season 4)

text: The season was originally planned to contain 16 episodes; eight were written before the start of the 2007–08 Writers Guild of America strike. Following the strike's resolution, it was announced that only five more episodes would be produced to complete the season; however, the season finale's script was so long that network executives approved the production of a 14th episode as part of a three-hour season finale split over two nights. The fourth season aired Thursdays at 9:00 pm from January 31 to March 20, 2008, and at 10:00 pm from April 24 to May 15, 2008. The two-hour finale aired at 9:00 pm on May 29, 2008. Buena Vista Home Entertainment released the season on DVD and Blu-ray Disc under the title "Lost: The Complete Fourth Season – The Expanded Experience" on December 9, 2008, in Region 1; however, it was released earlier—on October 20, 2008—in Region 2.


title: Lost (season 4)

text: The fourth season was produced by ABC Studios, Bad Robot Productions and Grass Skirt Productions. Damon Lindelof and Carlton Cuse served as the season's show runners. The show was primarily filmed in Hawaii with post-production in Los Angeles. Lindelof and Cuse's fellow executive producers were co-creator J. J. Abrams, Bryan Burk and Jack Bender. The staff writers were Lindelof, Cuse, co-executive producers Edward Kitsis, Adam Horowitz, and Drew Goddard, supervising producer Elizabeth Sarnoff, co-producer Brian K. Vaughan and executive story editor Christina M. Kim. The regular directors were Bender and co-executive producer Stephen Williams.


title: Lost (season 4)

text: The fourth season featured 16 major roles with star billing. The show continues to chronicle the lives of the survivors of the crash of Oceanic Airlines Flight 815, including their interactions with the island's original inhabitants, whom they refer to as "the Others", and an inauspicious team from a nearby freighter. Characters are briefly summarized and credited in alphabetical order.


title: Lost (season 4)

text: The show regularly features guest stars. Jeff Fahey plays the freighter's helicopter pilot Frank Lapidus, while Kevin Durand acts as Martin Keamy, the sinister leader of a group of mercenaries from the freighter that included Anthony Azizi's character Omar. L. Scott Caldwell and Sam Anderson return as 815 married couple Rose Henderson and Bernard Nadler. John Terry appears as Jack and Claire's deceased father Christian Shephard. Marsha Thomason returns as Naomi Dorrit, the first person from the freighter to appear on the island and Marc Vann plays Ray, the ship's doctor. Alan Dale acts as Charles Widmore, the man responsible for sending the freighter to the island. Mira Furlan portrays Danielle Rousseau, a marooned island inhabitant of sixteen years, who is reunited with her sixteen-year-old daughter, Alex, played by Tania Raymonde; Blake Bashoff plays Alex's boyfriend Karl. Nestor Carbonell is Richard Alpert, the ranking Other while Ben is held in captivity. Grant Bowler acts as Gault, the captain of the freighter, "Kahana". Fisher Stevens and Zoë Bell play George Minkowski and Regina, two crew members involved with communications. Lance Reddick's character Matthew Abaddon is introduced as a mysterious man with connections to Naomi, Hurley and Locke.


title: Lost (season 4)

text: Former regular cast members return for guest spots. Malcolm David Kelley reprises the role of Walt Lloyd, Michael's son, in both flashbacks and flashforwards. Cynthia Watros appear in a hallucination as deceased survivor Libby.


title: Lost (season 4)

text: On Rotten Tomatoes, the season has an approval rating of 88% with an average score of 8.6 out of 10 based on 25 reviews. The website's critical consensus reads, ""Lost" regains its mojo in a fourth season that reaffirms the show's place as one of TV's most unique undertakings."


title: Lost (season 4)

text: "Time" named "Lost" the seventh best television series of 2008 and praised the fourth season for "complicat[ing] ["Lost"] time-and-space-travel story deliciously". Don Williams of BuddyTV dubbed "The Beginning of the End" "the most anticipated season premiere of the year" and Michael Ausiello later called the final hour of "Lost" fourth season "the most anticipated 60 minutes of television all year." American critics were sent screener DVDs of "The Beginning of the End" and "Confirmed Dead" on January 28, 2008. Metacritic gave the season a Metascore—a weighted average based on the impressions of a select twelve critical reviews—of 87, earning the second highest Metascore in the 2007–2008 television season after the fifth and final season of HBO's "The Wire". In a survey conducted by "TVWeek" of professional critics, "Lost" was voted the best show on television in the first half of 2008 "by a wide margin", apparently "crack[ing] the top five on nearly every critic's submission" and receiving "nothing but praise". The May 7, 2007 announcement of a 2010 series end date and the introduction of flashforwards were received favorably by critics, as were the season's new characters.


title: Lost (season 4)

text: The fourth season was nominated for seven Primetime Emmy Awards, with one win, for Outstanding Sound Mixing for a Comedy or Drama Series (One-Hour). The series was nominated for Outstanding Drama Series, its second nomination in that category since the first season, while Michael Emerson received his second consecutive nomination for Outstanding Supporting Actor in a Drama Series. It also received nominations for Outstanding Cinematography for a One-Hour Series, Outstanding Music Composition for a Series (Original Dramatic Score), Outstanding Single-Camera Picture Editing for a Drama Series, and Outstanding Sound Editing for a Series.


title: Lost (season 4)

text: The season earned "Lost" two Television Critics Association Award nominations for "Program of the Year" and "Outstanding Achievement in Drama". The season also was nominated for a 2008 Writers Guild of America Award in the category of Dramatic Series.


title: Lost (season 4)

text: Throughout the fourth season, "Lost" continued to slip in the ratings. The season premiered with 16 million American viewers, giving "Lost" its highest ratings in 17 episodes; however, the size of the audience steadily decreased throughout the season. The eighth episode, which served as the mid-season finale as a result of the writers' strike, brought in 11 million, setting a new series low. The next episode and midseason premiere climbed slightly to 12 million, but the episode after that set the current record for lowest-rated episode in the United States with 11 million people watching. The finale was seen by 12 million, reaching the most viewers since the midseason premiere and making it "Lost" lowest-rated finale yet. Despite the decline in viewers, "Lost" consistently ranked within the top 20 programs of the week with one exception. The finale topped the chart, due to its broadcast being over a week after the official end of the television season. Entertainment president Stephen McPherson commented that while he would "love to see the show grow … the reality is that the numbers are pretty good."


title: Lost (season 4)

text: The number in the "No. overall" column refers to the episode's number within the overall series, whereas the number in the "No. in season" column refers to the episode's number within this particular season. "Featured character(s)" refers to the character(s) who is centered on in the episode's flashbacks or flashforwards. "U.S. viewers (million)" refers to the number of Americans in millions who watched the episode as it was aired. A clip-show recapping the first three seasons titled ""Lost": Past, Present & Future" preceded the season premiere episode.


title: Fright Night Part 2

text: Fright Night Part 2 is a 1988 American horror film directed by Tommy Lee Wallace and starring William Ragsdale, Roddy McDowall, Traci Lind, and Julie Carmen. It is the sequel to the 1985 film "Fright Night", with Ragsdale and McDowall reprising their roles. Composer Brad Fiedel also returned with another distinct synthesizer score. Following the plot of the first film, it focuses on Charley Brewster who, now a college student, encounters a group of vampires led by a beautiful woman who is seeking him out.


title: Fright Night Part 2

text: Released by New Century/Vista in North America and TriStar Pictures elsewhere in 1989, the film grossed almost $3 million domestically, and has since become a cult film like its predecessor. In 2003, it received a brief issuing on DVD by Artisan Entertainment in a full frame presentation, but the release quickly went out of print and has since become a rare collector's item.


title: Fright Night Part 2

text: A third film was planned with a target release year of 1990, but studio discussions over the popularity of the franchise led to the film being cancelled. In October 2020, Tom Holland, director of the original "Fright Night", confirmed that he was writing a film called "Fright Night: Resurrection" that would ignore the 1988 sequel and be a direct sequel to his original film.


title: Fright Night Part 2

text: Three years after the first film, 20-year-old Charley Brewster, as a result of psychiatric therapy, now believes that Jerry Dandrige was nothing but a serial killer posing as a vampire. As a result, he comes to believe that vampires never existed.


title: Fright Night Part 2

text: College student Charley, along with his new girlfriend, Alex Young, go to visit Peter Vincent, who is again a burnt-out vampire killer on "Fright Night", much to the chagrin of Charley. While visiting Peter's apartment Charley sees three large crates being offloaded from a truck. On the way out from Peter's apartment, Charley sees four strange people walk past him, into an elevator. Charley instantly becomes drawn to one of the four, the alluring Regine Dandridge. Charley drives Alex back to her dorm and begins to make out with her, only to see himself kissing Regine and pull away. An upset Alex storms off, not realizing that something is following her. Another girl leaves the dorm as Alex enters, and she is followed and killed by one of Regine's vampires, Belle. Alex, meanwhile, is unaware that Louie, another of Regine's group, is scaling up the wall outside her window, but he is startled and falls when Alex inadvertently slams her window shut on his hands. Bozworth, a bug-eating servant of Regine, makes fun of Louie before consuming some bugs.


title: Fright Night Part 2

text: Later that night, Charley dreams that Regine comes to visit him, only to turn into a vampire and bite him. The next day, Charley talks to his psychiatrist, Dr. Harrison, who assures him that what he dreamed was only natural. Alex finds Charley bowling, per doctor's orders, and Charley agrees to go to the symphony with her. On his way there, however, he sees his friend Richie Green with Regine and opts to follow him. Charley climbs up to a fire escape outside of Regine's apartment, only to be horrified when he sees Regine and Belle attack and drain Richie's blood. Charley runs off to find Peter, and the two of them arm themselves with crosses and crash Regine's party.


title: Fright Night Part 2

text: There, Charley finds Richie, but is shocked to find him alive and well, with no bite marks on his neck. Regine makes her entrance, doing an erotic dance with a mesmerized Charley. She introduces herself to Peter and Charley, and claims to be a performance artist in town for some shows. Satisfied that what he thought was Regine attacking Richie was nothing but an act, Charley leaves when he remembers his date with Alex. Peter elects to stay behind and while looking around, he notes that there are people in the corners of the room biting others on the neck. Noting the odd behavior, he draws his pocket mirror and finds that Regine and Belle, who are dancing in the middle of the dance floor, cast no reflections.


title: Fright Night Part 2

text: Storming out of the party, Peter runs into Regine waiting for him outside. As he runs down the stairwell Peter again comes face-to-face with Regine, who reveals herself as a vampire, the sister of Jerry Dandrige, and has come to take her revenge on both Charley and Peter. Peter runs back home and hides, resolving to tell Charley in the morning what has just transpired. Charley, meanwhile, after being turned away from the symphony, returns home and falls asleep, only to be visited by Regine, who bites him on the neck while he sleeps. Charley, content with the explanation that Regine is a performance artist, is once again in denial. He begins to discuss the situation with Alex when Peter arrives to try to warn the couple about Regine but neither believe him. Peter states that he has warned them and runs back to his home, packs his belongings and departs.


title: Fright Night Part 2

text: Meanwhile, Charley has started to show signs of being a vampire as he is becoming sensitive to garlic and sunlight. After failing to talk to his psychiatrist, he overhears a news report about Richie's body being discovered the previous night. Now believing that everything is real, Charley goes to see Peter, only to find that Peter has gone. Louie is once again stalking Alex. Louie reveals his true nature to Alex and Charley and stalks them in the school library, only to flee after Alex injures him by cramming wild roses, which are harmful to vampires, into his mouth. Alex and Charley are then arrested by campus officers.


title: Fright Night Part 2

text: Peter, meanwhile, is also arrested by the cops after he shows up on the set of "Fright Night" and attempting to kill its new host, Regine, on live TV. Everyone thinks he's lost his sanity as he says, "I have to kill the vampire"; and ends up in a state hospital. Alex is bailed out by Dr. Harrison and goes to post bail for Charley, only to find that he has already been bailed out by Regine. Alex and Dr. Harrison head to the state hospital when the doctor reveals that he is in fact a vampire. He tries to bite Alex only for her to turn the tables on him and run him through with a piece of wood. She then assumes his identity as a doctor and tries to have Peter released from the hospital. A distraction intentionally caused by one of the hospital's patients, Fritzy (who actually believes Peter's story about him being a vampire hunter) allows them to escape the place.


title: Fright Night Part 2

text: Alex and Peter head to Regine's lair in order to save Charley. They find a disoriented Charley, who is slowly turning into a vampire. They rescue him and manage to kill a now undead Richie, Belle, Bozworth and Louie before confronting Regine. She attempts to escape into her coffin, but finds that Charley and Alex have lined it with Communion wafers. Regine knocks Alex unconscious and attempts to turn Charley into a vampire, but Peter destroys her with sunlight.


title: Fright Night Part 2

text: Some time later, Charley and Alex discuss the previous day's events, with Alex joking that no one would ever believe them. They ponder if there are more vampires out there, but agree to continue on with their lives while being prepared, just in case. They embrace each other as a bat can be heard flying away.


title: Fright Night Part 2

text: Unlike the first film, the sequel saw a very limited release in the US by distributor New Century/Vista and producer The Vista Organization. Shortly before filming began, the producers of the film sold foreign distribution rights to Tri-Star Pictures, the sister studio of Columbia Pictures, the studio that released the original film. The film was only released on 148 screens and brought in only $548,231 on its opening weekend. Its domestic gross was $2,983,784.


title: Fright Night Part 2

text: "Fright Night Part 2" received negative reviews, currently holding a 36% on review aggregator website Rotten Tomatoes based on 11 reviews.


title: Fright Night Part 2

text: International Video Entertainment (IVE, now known today as Lions Gate Home Entertainment) released the film on videocassette in 1989. In Australia, CBS/Fox Video released it to videocassette as a coffin-shaped VHS cover. The film was released on DVD by Artisan Entertainment on August 19, 2003, though the DVD soon went out of print. The transfer on the DVD was criticized for being of a low quality, apparently lifted from a VHS print of the film, and the DVD case also falsely claimed the film was presented in its "original" 1.33:1 pan-and-scan transfer, despite the fact that the film was shot on Panavision. A high definition transfer in the original aspect ratio was created for television airings. This transfer has been used to create widescreen, bootleg DVDs and Blu-rays of the film, due to the unavailability and low quality of the official DVD.


title: Fright Night Part 2

text: Roddy McDowall relished playing Peter Vincent and was eager to bring original creator and director Tom Holland back to the franchise, so he had set up a meeting for himself and Holland with Carolco Pictures chairman José Menéndez. However, before that meeting could occur, Menéndez and his wife were murdered by their sons, Lyle and Erik. Not only did this stop another sequel, it also interfered with the release of "Fright Night Part 2", which attained extremely limited theatrical distribution before being dumped on home video by Carolco's subsidiary, Live Entertainment.


title: Fright Night Part 2

text: In January 2017, Tom Holland announced that he was writing a "Fright Night 3" novel and that in 2019 he would obtain the rights to the franchise and that a third film would be happening. This would follow the continuity as the original 1985 "Fright Night" and its 1988 sequel without anything to do with the 2011 or 2013 films.


title: Fright Night Part 2

text: On October 28, 2020, original "Fright Night" director Tom Holland confirmed that he is writing a direct sequel to "Fright Night" titled "Fright Night: Resurrection". This sequel would ignore the 1988 sequel and be a proper sequel to his original film. Holland said he wants to bring back the original characters as well saying "Of course, Charlie's back, and so is Evil Ed. I'm bringing back everybody I can. I'm calling it Resurrection because we’ve got to resurrect Billy Cole and Jerry Dandridge. And now I'll say no more." Holland went on to say "part of the issue with the attempts at sequels and remakes is that the movie itself was kind of a singular idea, and a follow-up needed to be more than just set in the same world -- it needed to draw from the same set of inspirations and follow a similar thematic thread."


title: Lowkey

text: Kareem Dennis (born 23 May 1986), better known by his stage name Lowkey, is a British rapper and activist from London. He first became known through a series of mixtapes he released before he was 18, before taking a hiatus from the music business. He would return in 2008, with appearances on BBC Radio and at various festivals and concerts including the BBC Electric Proms, Glastonbury, T In The Park and Oxegen in the buildup to his first solo album "Dear Listener", as well as collaborating with other British musicians to form the supergroup Mongrel. He released his second solo album, "Soundtrack to the Struggle", independently on in 2011.


title: Lowkey

text: After a five-year hiatus, Lowkey released a string of singles between 2016 and 2018 to precede the release of his third album, "Soundtrack to the Struggle 2", released in 2019.


title: Lowkey

text: Lowkey was born in London to an Iraqi mother and an English father. From the age of twelve he began to rap, initially imitating American rappers but soon began using his own accent. He began attending open mic sessions which at the Deal Real record shop on Carnaby Street, Central London. The first time he went he introduced himself as Lowkey and was told there was already a regular there by that name; the two had a rap battle to decide who would continue to use the alias, Kareem emerged victorious and continued to use the name thereafter.