title: The Legend of Zelda (TV series)

text: According to screenwriter Bob Forward, the writing team was given significant freedom to develop the series as they wished, particularly with regards to the script and character design. The fairy character named Spryte was inspired by Forward's childhood obsession with the character Tinker Bell from Walt Disney's animated film "Peter Pan". Forward also explained that Link's catchphrase "Excuse me, Princess" was based on a popular Steve Martin comedy routine. He decided to include it in every episode of the series as a way to poke fun at DIC's VP of Creative Affairs, Robbie London, who had forced him to use the phrase. Forward also stated that the relationship between Link and Zelda was influenced by the dynamic between the characters of the American television series "Moonlighting", which were portrayed by Bruce Willis and Cybill Shepherd.


title: The Legend of Zelda (TV series)

text: The show is one of the few instances of Link having dialogue in "The Legend of Zelda" franchise. The games intentionally do not give Link dialogue. "The Legend of Zelda" video game series producer, Eiji Aonuma has explained, "since people have played "Zelda" over the years, they have their ideas of how Link might sound. If we were to put a voice in there that might not match up with someone else's image, then there would be a backlash to that. So we've tried to avoid that".


title: The Legend of Zelda (TV series)

text: As the series is a part of "The Super Mario Bros. Super Show", each episode contains both a live-action "Mario" segment and an animated "Zelda" segment.


title: The Legend of Zelda (TV series)

text: Edited versions of the episodes were a part of "Captain N and the Video Game Masters" from 1992 to 1993, which were syndicated by Rysher Entertainment.


title: The Legend of Zelda (TV series)

text: "The Legend of Zelda" was featured on every Friday episode of "The Super Mario Bros. Super Show!" in place of the "Super Mario Bros." cartoons. Each episode ran for about fifteen minutes. The series was made in association with Nintendo of America, produced by DIC Entertainment, and distributed for syndicated television by Viacom Enterprises (now CBS Television Distribution). Due to its syndicated nature, only fifty-two episodes of the "Super Mario Bros. Super Show!" were made and "Zelda" ended after thirteen episodes. However, slightly modified versions of the characters of Link and Zelda, together with their original voice actors, were later transplanted into NBC's Saturday morning program "", also produced by DIC Entertainment. In 1992, the episodes were time compressed (sped up) and played in double episode format on the "Captain N & The Video Game Masters" syndication block. "Zelda" episodes were rarely shown, but at least once, the episodes "Underworld Connections" & "Doppleganger" aired with the titles switched around. It was played in this block from 1992 to 1993 in syndication, and from 1993 to 1995 on USA Network.


title: The Legend of Zelda (TV series)

text: Clips previewing the episodes were shown in the middle of the live-action segments when the "Mario" cartoon was shown. These clips were cut out of the video releases and Yahooligans! TV, but were restored for the "Super Mario Bros. Super Show" DVD set (except for "King Mario of Cramalot").


title: The Legend of Zelda (TV series)

text: Like with Super Show, "Zelda" was released onto VHS by Kids Klassics, who released the series on two-episode tapes in four volumes; the gold color of the VHS slipcases matched that of the original NES games.


title: The Legend of Zelda (TV series)

text: Lions Gate Home Entertainment also included an episode each on their "Mario's Monster Madness" and "Action Adventures" VHSes; both also included on their DVD counterpart "Mario's Greatest Movie Moments".


title: The Legend of Zelda (TV series)

text: Sterling Entertainment released another VHS/DVD titled "Ganon's Evil Tower" on July 22, 2003, which included three episodes. The DVD release also included 2 episodes of "Sonic Underground" as a bonus. The second DVD was released on September 27, 2005, titled "Havoc in Hyrule", containing five episodes.


title: The Legend of Zelda (TV series)

text: The complete "Zelda" series was released on October 18, 2005, by Shout! Factory and Sony BMG Music Entertainment, with extra bonus features such as interactive DVD games and line art from the series. However, it did not include all of the associated the "Super Mario Bros. Super Show!" live action segments; some were included as bonus features. This release has been discontinued and is out of print.


title: The Legend of Zelda (TV series)

text: NCircle Entertainment eventually re-released Sterling's DVDs, and released another one titled "The Power of the Triforce" on July 22, 2008, which contained five episodes. NCircle re-released the complete series on May 22, 2012.


title: The Legend of Zelda (TV series)

text: "The Legend of Zelda" was originally shown in the early 1990s on the early morning TV show "TV-am". They were not commissioned for a second run. They were also shown on CITV in the 1990s within the "Super Mario Bros. Super Show!", and on Channel 4 on its Sunday morning kids' line up, which included shows such as "Jayce and the Wheeled Warriors".


title: The Legend of Zelda (TV series)

text: In 1992, Tempo Video released a set of two VHS tapes with three episodes per tape. "The Legend of Zelda" shared a tape with "", which included the episode "Underworld Connections".


title: The Legend of Zelda (TV series)

text: PIDAX FILM released a Region 2 DVD of the show on December 2, 2016. The two-DVD set includes all 13 episodes in German and English Dolby Digital 2.0 audio.


title: The Legend of Zelda (TV series)

text: IGN rated the DVD release of "The Legend of Zelda" a 3.0 out of 10, or "Bad", citing poor writing, repeated plots, and over the top acting. Link's catchphrase, "Well excuse me, Princess!" is an internet meme and commonly used in-joke used by video game players, especially Zelda fans, and is spoken by Link on 29 occasions throughout the 13 episodes.


title: The Legend of Zelda (TV series)

text: James Rolfe of Cinemassacre has shown a more positive response to the series. While acknowledging that the dialogue "can make you cringe", he favored Link and Zelda's characterizations and found the action satisfying. He labeled "The White Knight" as the best episode for showing Link's heroic nature against the more pompous and vain Prince Facade, but described the following episode "Kiss'N Tell" as his least favorite for Link complaining throughout.


title: The Legend of Zelda (TV series)

text: Michael Mammano for "Den of Geek" commented that the series "falls squarely into the category of guilty pleasure" and continued, "it's not very good, but that doesn't stop it from being eminently enjoyable. It's quality nostalgia and, at a total running time of just over three hours, not a bad way to kill an afternoon". However, he also described Link's characterisation as "appalling", describing him as "a whiny, obnoxious, barely competent creep" and also considered the writing and animation to be poor quality.


title: The Legend of Zelda (TV series)

text: Nathan Simmons of "SVG" considered the animation to be "pretty stiff" but also opined that "the greatest sin of this cartoon series might be it's[sic] characterization of Link" who is portrayed as a "creep" and that "for longtime fans, however, it was simply painful to watch".


title: The Legend of Zelda (TV series)

text: Luke Plunkett of "Kotaku" noted "shoddy animation, poor voice work, execrable humour and terrible writing make it one of the decade's worst cartoons" but also commented, "for all its flaws, there's something about it that defies genuine ridicule. Something charming". He responded more positively to the show's faithful presentation of the artwork from the original "The Legend of Zelda" game and the music stating that it "featured great renditions of the game's most memorable music, especially the intro's version of the trademark title theme".


title: The Legend of Zelda (TV series)

text: Dave Trumbore for "Collider" described the series as a "20th century mess" and commented: "Despite 30 years of beloved video games that have evolved with each of Nintendo's successive video game systems, the one-and-only 1989 animated series remains a blight on an otherwise impressive record. This disaster, and similar ill-fated animated/live-action adaptations of Nintendo's intellectual properties, left a foul taste in the IP-owners' mouths, essentially locking out any additional adaptations outside of the video game realm".


title: The Legend of Zelda (TV series)

text: Writing for "Destructoid", Chris Moyse commented that the series "was merely one more harmless entity in a thousand mediocre cartoons", but opined that it harmed the future potential of the franchise because "we most certainly would have had a new "Legend of Zelda" anime, movie, or live-action series by now".


title: David Andrews (actor)

text: David Andrews (born November 2, 1952) is an American character actor who is known for his role as Lieutenant General Robert Brewster in "".


title: David Andrews (actor)

text: Andrews was born on November 2, 1952 in Baton Rouge, Louisiana. He attended Louisiana State University as an undergraduate and spent a year at the Duke University School of Law and two at Stanford Law School, from which he graduated in the late 1970s.


title: David Andrews (actor)

text: His first major role was in the 1984 horror "A Nightmare on Elm Street". For the rest of the 80s Andrews did not have any major hits, mainly focusing on a TV career including the BBC detective series "Pulaski" in 1987. He was the lead in "Cherry 2000", which appeared on videocassette and not in theaters. In 1990 he starred in Stephen King's "Graveyard Shift" and in 1994 he was James Earp in Kevin Costner's "Wyatt Earp". His career was boosted by starring in the TV series "Mann & Machine". In 1995 he played astronaut Pete Conrad, in the space drama "Apollo 13". In the late 90s Andrews concentrated on more television projects and starred in TV films such as "Our Son, the Matchmaker", "Fifteen and Pregnant", which also starred Kirsten Dunst, and the hit TV film "Switched at Birth". In 1998 he played another astronaut, Frank Borman, in the HBO miniseries "From the Earth to the Moon". In the 2001 "Band of Brothers" miniseries, he had a brief role as Major General Elbridge Chapman, the division commander in 1945, of the 13th Airborne Division.


title: David Andrews (actor)

text: Andrews appeared in "Fight Club". In 2000, Andrews starred in "Navigating the Heart" before moving on to the "Silence of the Lambs" sequel "Hannibal", starring Anthony Hopkins. He also appeared in "A Walk to Remember" (2002), "Two Soldiers" (2003), "The Chester Story" and "Terminator 3: Rise of the Machines". He also replaced John M. Jackson in the final season of "JAG", playing Judge Advocate General Major General Gordon 'Biff' Cresswell. He was Edwin Jensen in the TV Movie "The Jensen Project", and guest starred in the "Criminal Minds" season 4 episode "Paradise".


title: David Andrews (actor)

text: Andrews played the role of Scooter Libby in the 2010 film, "Fair Game", based on the Valerie Plame affair.


title: Michael Gallup

text: Michael Gallup (born March 4, 1996) is an American football wide receiver for the Dallas Cowboys of the National Football League (NFL). He played college football at Colorado State.


title: Michael Gallup

text: Gallup attended Monroe Area High School in Monroe, Georgia, where he played football, baseball, basketball, and ran track. He started focusing on football as a junior, playing quarterback in a triple option offense.


title: Michael Gallup

text: As a senior, Gallup played wide receiver and running back, registering 28 receptions for 637 yards (22.8-yard average) and 10 receiving touchdowns, 37 carries for 484 yards (13.1-yard average) and seven rushing touchdowns. He helped his team advance to the second round of the Class 4A playoffs.


title: Michael Gallup

text: Gallup moved on to Butler Community College to improve his grades. As a freshman in 2014, he led the team with 780 receiving yards and 11 touchdowns. Against Dodge City Community College, he tallied five receptions for 287 yards and three touchdowns.


title: Michael Gallup

text: In 2015, Gallup played in only three games due to an ankle injury and had nine receptions for 74 yards and a touchdown.


title: Michael Gallup

text: In 2016, Gallup transferred to Colorado State University. He started slow in his first season, but began to increase his production after his third game against the University of Northern Colorado, when he had 4 receptions for 82 yards and one touchdown. He played in all 13 games (11 starts), recording 76 receptions for 1,272 yards (tied for first in the conference) and 14 touchdowns.


title: Michael Gallup

text: As a senior in 2017, Gallup was a finalist for the Fred Biletnikoff Award. He started all 13 games, posting 100 receptions (school record) for 1,413 yards and seven touchdowns.


title: Michael Gallup

text: Gallup finished his career with various accomplishments. He had three of the top eight single-game all-time receiving performances in school history, four of the top ten games in school history for receptions, ranked second in single-season receiving touchdowns (14), only player in school history to catch three or more touchdowns three times, record for single-season receptions (100), second-best single-season receiving yards (1,413), ranked fifth in career receptions (176).


title: Michael Gallup

text: On November 20, 2017, it was announced that Gallup had accepted his invitation to play in the Senior Bowl. On January 27, 2018, Gallup caught three passes for 60-yards and was part of Denver Broncos' head coach Vance Joseph's North team that lost 45–16 to the South coach by Houston Texans' head coach Bill O'Brien. He attended the NFL Scouting Combine in Indianapolis and completed all of the combine and positional drills. On March 7, 2018, Gallup participated at Colorado State's pro day and performed the 40-yard dash (4.45s), 20-yard dash (2.63s), 10-yard dash (1.57s), broad jump (10'8"), short shuttle (4.52s), and three-cone drill (7.09s). At the conclusion of the pre-draft process, Gallup was projected to be a third round pick by NFL draft experts and scouts. He was ranked as the 10th best wide receiver prospect in the draft by DraftScout.com and was ranked the 14th best wide receiver by Scouts Inc.


title: Michael Gallup

text: The Dallas Cowboys selected Gallup in the third round with the 81st overall pick in the 2018 NFL Draft. Gallup was the ninth wide receiver drafted in 2018.


title: Michael Gallup

text: On May 21, 2018, the Dallas Cowboys signed Gallup to a four-year, $3.52 million contract that includes a signing bonus of $889,980.


title: Michael Gallup

text: Gallup made his NFL debut in the season-opening 16–8 loss to the Carolina Panthers, catching one pass for nine yards. On October 21, he caught his first NFL touchdown on a 49-yard pass from Dak Prescott in a 20–17 loss to the Washington Redskins in Week 7.


title: Michael Gallup

text: During the season-opener against the New York Giants, Gallup caught seven passes for 158 yards in the 35–17 victory. He missed Weeks 3–4 due to a knee surgery. During Week 11 against the Detroit Lions, Gallup finished with nine receptions for 148 yards in the 35–27 road victory. Three weeks later against the Chicago Bears on "Thursday Night Football", he caught six passes for 109 yards and a touchdown in the 31–24 road loss. In the regular-season finale against the Washington Redskins, he caught five passes for 98 yards and three touchdowns in the 47–16 victory. Overall, Gallup finished the 2019 season with 66 receptions for 1,107 receiving yards and six receiving touchdowns.


title: Michael Gallup

text: During Week 3 against the Seattle Seahawks, Gallup finished with six receptions for 138 receiving yards and a touchdown as the Cowboys lost 31–38. In Week 16 against the Philadelphia Eagles, Gallup recorded six catches for 121 yards and two touchdowns during the 37–17 victory. Overall, Gallup finished the 2020 season with 59 receptions for 843 receiving yards and five receiving touchdowns.


title: Michael Gallup

text: On September 14, 2021, Gallup was placed on injured reserve after suffering a calf injury in Week 1. He was activated on November 13. During Week 17 against the Arizona Cardinals, Gallup suffered a torn ACL on a touchdown, and was placed back on injured reserve several days later.


title: Tenrikyo

text: The primary operations of Tenrikyo today are located at Tenrikyo Church Headquarters (Tenri, Nara, Japan), which supports 16,833 locally managed churches in Japan, the construction and maintenance of the and various community-focused organisations. It has 1.75 million followers in Japan and is estimated to have over 2 million worldwide.


title: Tenrikyo

text: The ultimate spiritual aim of Tenrikyo is the construction of the Kanrodai, a divinely ordained pillar in an "axis mundi" called the Jiba, and the correct performance of the Kagura ritual around the Kanrodai, which will bring about the salvation of all human beings. The idea of the Jiba as the origin of earthly creation is called , or the principle of origin. A pilgrimage to the Jiba is interpreted as a return to one's origin, so the greeting ('welcome home') is seen on many inns in Tenri City.


title: Tenrikyo

text: The Joyous Life in Tenrikyo is defined as charity and abstention from greed, selfishness, hatred, anger, covetousness, miserliness, grudge bearing, and arrogance. Negative tendencies are not known as sins in Tenrikyo, but rather as "dust" that can be swept away from the mind through and prayer. , voluntary effort, is performed not out of a desire to appear selfless, but out of gratitude for and .


title: Tenrikyo

text: The most basic teaching of Tenrikyo is , meaning "a thing lent, a thing borrowed". The thing that is lent and borrowed is the human body. Tenrikyo followers think of their minds as things that are under their own control, but their bodies are not completely under their control.


title: Tenrikyo

text: The sacred name of the single God and creator of the entire universe in Tenrikyo is . Tenri-Ō-no-Mikoto created humankind so that humans may live joyously and to partake in that joy. The body is a thing borrowed, but the mind alone is one's own, thus it is commonly accepted that Tenri-Ō-no-Mikoto is not omnipotent.


title: Tenrikyo

text: Other gods are considered instruments, such as the Divine Providences, and were also created by Tenri-Ō-no-Mikoto.


title: Tenrikyo

text: Tenrikyo's doctrine names four properties of Tenri-O-no-Mikoto: as the God who became openly revealed in the world, as the creator who created the world and humankind, as the sustainer and protector who gives existence and life to all creation, and as the savior whose intention in becoming revealed is to save all humankind.


title: Tenrikyo

text: Through her scriptures (the and ), Nakayama conveyed the concept of the divine to her followers in steps:


title: Tenrikyo

text: These steps have been described as an "unfolding in the revelation of God's nature in keeping with the developing capacity of human understanding, from an all-powerful God, to a nourishing God, and finally to an intimate God."


title: Tenrikyo

text: Followers use the phrase to refer to God, and the divine name "Tenri-O-no-Mikoto" when praising or worshipping God through prayer or ritual.


title: Tenrikyo

text: The concept of in Tenrikyo is a unique understanding of karmic belief. Although causality resembles karmic beliefs found in religious traditions originating in ancient India, such as Hinduism, Buddhism and Jainism, Tenrikyo's doctrine does not claim to inherit the concept from these traditions and differs from their explanations of karma in a few significant ways.


title: Tenrikyo

text: Broadly speaking, karma refers to the spiritual principle of cause and effect where intent and actions of an individual (cause) influence the future of that individual (effect). In other words, a person's good intent and good deed contribute to good karma and future happiness, while bad intent and bad deed contribute to bad karma and future suffering. Causality and karma are interchangeable in this sense; throughout life a person may experience good and bad causality. In Tenrikyo, the concept is encapsulated in the farming metaphor, "every seed sown will sprout." Karma is closely associated with the idea of rebirth, such that one's past deeds in the current life and in all previous lives are reflected in the present moment, and one's present deeds are reflected in the future of the current life and in all future lives. This understanding of rebirth is upheld in causality as well.


title: Tenrikyo

text: Tenrikyo's ontology, however, differs from older karmic religious traditions such as Buddhism. In Tenrikyo, the human person is believed to consist of mind, body, and soul. The mind, which is given the freedom to sense, feel, and act by God the Parent, ceases to function at death. On the other hand, the soul, through the process of , takes on a new body lent from God the Parent and is reborn into this world. Though the reborn person has no memory of the previous life, the person's thoughts and deeds leave their mark on the soul and are carried over into the new life as the person's causality. As can be seen, Tenrikyo's ontology, which rests on the existence on a single creator deity (God the Parent), differs from Buddhist ontology, which does not contain a creator deity. Also Tenrikyo's concept of salvation, which is to live the Joyous Life in this existence and therefore does not promise a liberated afterlife outside of this existence, differs from Buddhist concepts of saṃsāra and nirvana.


title: Tenrikyo

text: At the focal point of Tenrikyo's ontological understanding is the positing of , which is that God the Parent created human beings to see them live the Joyous Life (the salvific state) and to share in that joy. Tenrikyo teaches that the Joyous Life will eventually encompass all humanity, and that gradual progress towards the Joyous Life is even now being made with the guidance of divine providence. Thus the concept of original causality has a teleological element, being the gradual unfolding of that which was ordained at the beginning of time.


title: Tenrikyo

text: Belief in individual causality is related to the principle of original causality. Individual causality is divine providence acting to realize the original causality of the human race, which through the use of suffering guides individuals to realize their causality and leads them to a change of heart and active cooperation towards the establishment of the Joyous Life, the world that was ordained at the beginning of time.


title: Tenrikyo

text: Tenrikyo's doctrine explains that an individual's suffering should not be perceived as punishment or retributive justice from divine providence for past misdeeds, but rather as a sign of encouragement from divine providence for the individual to reflect on the past and to undergo a change of heart. The recognition of the divine providence at work should lead to an attitude of , a Japanese word that indicates a state of satisfaction. is a way of settling the mind – it is not to merely resign oneself to one's situation, but rather to actively "recognize God's parental love in all events and be braced by their occurrence into an ever firmer determination to live joyously each day." In other words, Tenrikyo emphasizes the importance of maintaining a positive inner disposition, as opposed to a disposition easily swayed by external circumstance.


title: Tenrikyo

text: In addition, "The Doctrine of Tenrikyo" names that are believed to predetermine the founding of Tenrikyo's teachings. More precisely, these causalities are the fulfillment of the promise that God made to the models and instruments of creation, which was that "when the years equal to the number of their first born had elapsed, they would be returned to the Residence of Origin, the place of original conception, and would be adored by their posterity." The "Causality of the Soul of Oyasama" denotes that Miki Nakayama had the soul of the original mother at creation (Izanami-no-Mikoto), who conceived, gave birth to, and nurtured humankind. The "Causality of the Residence" means that the Nakayama Residence, where Tenrikyo Church Headquarters stands, is the place that humankind was conceived. The "Causality of the Promised Time" indicates that October 26, 1838 – the day when God became openly revealed through Miki Nakayama – marked the time when the years equal to the number of first-born humans (900,099,999) had elapsed since the moment humankind was conceived.


title: Tenrikyo

text: The is the most important Tenrikyo scripture. A 17-volume collection of 1,711 poems, the was composed by the foundress of Tenrikyo, Miki Nakayama, from 1869 to 1882.


title: Tenrikyo

text: The is the text of the , a religious ritual that has a central place in Tenrikyo. During the Service, the text to the is sung together with dance movements and musical accompaniment, all of which was composed and taught by Nakayama.


title: Tenrikyo

text: The is a written record of oral revelations given by Izo Iburi. The full scripture is published in seven volumes (plus an index in three volumes) and contains around 20,000 "divine directions" delivered between January 4, 1887 and June 9, 1907.


title: Tenrikyo

text: According to Shozen Nakayama, the second (the spiritual and administrative leader of Tenrikyo), the "reveal[s] the most important principles of the faith," the Mikagura-uta "come[s] alive through singing or as the accompaniment" to the Service, and the Osashizu "gives concrete precepts by which the followers should reflect on their own conduct."


title: Tenrikyo

text: The are officially sanctioned texts which, along with the scriptures, are used to instruct students and adherents of Tenrikyo. They are required texts for students enrolling in Tenrikyo's seminary programs, such as the three-month .


title: Tenrikyo

text: "The Doctrine of Tenrikyo" is Tenrikyo's official doctrine, which explains the basic teachings of Tenrikyo. "The Life of Oyasama, Foundress of Tenrikyo" is Tenrikyo's hagiography of Miki Nakayama. The "Anecdotes of Oyasama, Foundress of Tenrikyo" is an anthology of anecdotes about Nakayama that were passed down orally by her first followers and later written down and verified.


title: Tenrikyo

text: Tenrikyo is subdivided into many different groups with common goals but differing functions. These range from the , to disaster relief corps, medical staff and hospitals, universities, museums, libraries, and various schools.


title: Tenrikyo

text: Tenri Judo is renowned as a successful competition style of Judo that has produced many champions, while there are also other sporting and arts interest groups within Tenrikyo.


title: Tenrikyo

text: In Tenrikyo tradition, Miki Nakayama was chosen as the Shrine of God in 1838, after her son and husband began suffering from serious ailments. The family called a Buddhist monk to exorcise the spirit causing the ailments. When the monk temporarily left and asked Nakayama to take over, she was possessed by the One god (Tenri-O-no-Mikoto), who demanded that Nakayama be given to God as a shrine. Nakayama's husband gave in to this request three days later.


title: Tenrikyo

text: Nakayama's statements and revelations as Shrine of God were supplemented by Izo Iburi, one of her earliest followers, who developed a position of revelatory leadership as her deputy, answering questions from followers and giving "timely talks". His position, which is no longer held in Tenrikyo, was called . The revelatory transmissions of the were written down and collected in large, multi-volume works called . Following Izo's death, a woman called Ueda Naraito partially carried on this role for a while, although it appears that she did not have the actual title of . Since then, Tenrikyo itself has never had a , although some Tenrikyo splinter groups believe that the revelatory leadership passed from Iburi to their particular founder or foundress.


title: Tenrikyo

text: Nakayama's eldest son obtained a license to practice as a low-ranking Shinto priest from the powerful Yoshida branch of Shinto in 1867, but did so against his mother's wishes. Tenrikyo was designated as one of the thirteen groups included in Sect Shinto between 1908 and 1945 under State Shinto. During this time, Tenrikyo became the first new religion to do social work in Japan, opening an orphanage, a public nursery and a school for the blind.


title: Tenrikyo

text: Although Tenrikyo is now completely separate from Shinto and Buddhism organizationally, it still shares many of the traditions of Japanese religious practice. For instance, many of the objects used in Tenrikyo religious services, such as and , were traditionally used in Japanese ritual, and the method of offering is also traditional.


title: Tenrikyo

text: Tenrikyo utilises traditional musical instruments in its , such as (wooden clappers), (cymbals), (small gong), (large drum), (shoulder drum), (bamboo flute), , , and . These are used to play music from the , a body of music, dances and songs created by Nakayama. Most of the world's foremost authorities on music (the ancient classical Shinto music of the imperial court of Japan) are also Tenrikyo followers, and music is actively promoted by Tenrikyo, although, strictly speaking, the and are separate musical forms.


title: Tenrikyo

text: The , , , , and were traditionally the men's instruments but are now acceptable for women to play. The , , and were traditionally women's instruments and, although not very popular, are now acceptable for men to play as well.


title: Tenrikyo

text: The or daily service consists of the performance of the seated service and, optionally, the practice of a chapter or two of the 12 chapters of or . The daily service is performed twice a day; once in the morning and then in the evening. The service times are adjusted according to the time of sun rise and sun set but may vary from church to church. Service times at the Jiba in Tenri City go by this time schedule and adjust in the changing of seasons.


title: Tenrikyo

text: Instruments used in the daily service are the , , , , and (a counter, to count the 21 times the first section is repeated). The is always played by the head minister of the church or mission station. If the head minister is not present, anyone may take their place.


title: Tenrikyo

text: The daily service does not need to be performed at a church. It can be done at any time and anywhere, so long as that one faces the direction of the Jiba, or "home of the parent".


title: Tenrikyo

text: The purpose of the daily service, as taught by Nakayama, is to sweep away the Eight Mental Dusts of the mind.


title: Tenrikyo

text: The Tenrikyo Young Men's Association and Tenrikyo Women's Association are Tenrikyo-based groups that perform group activities as public service. To participate in such groups may be considered .


title: Tenrikyo

text: or the monthly service is a performance of the entire , the sacred songs of the service, which is the service for world salvation. Generally, mission headquarters and grand churches (churches with 100 or more others under them) have monthly services performed on the third Sunday of every month; other churches perform on any other Sunday of the month. The monthly service at the Jiba is performed on the 26th of every month, the day of the month in which Tenrikyo was first conceived – October 26, 1838.


title: Tenrikyo

text: Instruments used in the monthly service are all of those aforementioned. Performers also include dancers – three men and three women – and a singer. Performers wear traditional kimono, which may or may not be required depending on the church.


title: Tenrikyo

text: The Divine Grant of is a healing prayer in which one may attain through attending the nine lectures. When one receives the Divine Grant of , one is considered a . The is to be administered to those who are suffering from illness to request God's blessings for a recovery. However, recovery requires the sincere effort from both the recipient and the administrator of the to clean their minds of "mental dust." Only with pure minds then can the blessings be received by the recipient through the administering the . It is taught that when God accepts the sincerity of the person administering the and the sincerity of the person to whom it is being administered, a wondrous salvation will be bestowed. This is accomplished through having the recipient be aware of the mental dusts and the teachings of Tenrikyo to remedy their dusty minds.


title: Tenrikyo

text: In recent years Tenrikyo has spread outside Japan, with foreign branches centered primarily in Southeast Asia and America. Tenrikyo maintains centers in:


title: The Care Bears Movie

text: The Care Bears Movie is a 1985 animated musical fantasy film and the second feature film from the Canadian animation studio Nelvana (after the 1983 film "Rock & Rule"). It is one of the first films based directly on a toy line (and the first based on Care Bears), it introduced the Care Bears characters and their companions the Care Bear Cousins. In the film, an orphanage owner (Mickey Rooney) tells a story about the Care Bears, who live in a cloud-filled land called Care-a-Lot. Traveling across Earth, the Bears help two lonely children named Kim and Jason, who lost their parents in a car accident, and also save a young magician's apprentice named Nicholas from an evil spirit's influence. Deep within a place called the Forest of Feelings, Kim, Jason, and their friends soon meet another group of creatures, the Care Bear Cousins.


title: The Care Bears Movie

text: American Greetings, the owners of the Care Bears characters, began development of a feature film adaptation in 1981. Later on, the card company chose Nelvana to produce it, granted them rights to the characters, and financed the film along with cereal manufacturer General Mills and television syndicator LBS Communications. Nelvana's founders served as producers, while fellow employee Arna Selznick directed the film. Production lasted eight months, with a production budget of at least $2 million, and took place in Canada, Taiwan, and South Korea. The voice cast included Mickey Rooney, Georgia Engel, Jackie Burroughs and Cree Summer. Two pop music stars, Carole King and John Sebastian, contributed several songs. Although major American film studios passed on the project, newly established independent distributor The Samuel Goldwyn Company acquired the distribution rights to the film and soon spent a record $24 million promoting it.


title: The Care Bears Movie

text: The film premiered on March 24, 1985, in Washington, D.C., and was released in North America on March 29, 1985. Another Nelvana work, "Strawberry Shortcake Meets the Berrykins", played alongside the feature in theatres. "The Care Bears Movie" received mixed reviews from critics, who raised concern over its potential as a full-length advertisement for the title characters among other aspects. It went on to earn $23 million domestically; it was the highest-grossing Canadian film during 1985 (with C$1.845 million), it won a Golden Reel Award. With over $34 million in worldwide sales, it set a box-office record for Canadian and non-Disney animation and has remained one of Goldwyn's largest-earning releases. The film's success saved Nelvana from closing and helped revive films aimed at children in the US market. It has since been cited as inspiring a spate of toy-based animated and live-action features. It was soon followed by two sequels, "" (1986) and "Adventure in Wonderland" (1987); neither surpassed the original financially or critically. The Care Bears franchise continues and has included television series, specials, videos, and films.


title: The Care Bears Movie

text: The Cherrywoods are a middle-aged couple who run an orphanage. One night, Mr. Cherrywood tells the orphans a story about the Care Bears and Care-a-Lot, their home in the clouds. In the story, Friend Bear and Secret Bear travel down to Earth, looking for people to cheer up. On Earth, they meet Kim and Jason, two lonely orphaned children whose parents were killed in a car accident. Friend Bear and Secret Bear introduce themselves and remind the children of their ambitions, but neither of them are interested.


title: The Care Bears Movie

text: At an amusement park, Tenderheart Bear spots a mage's apprentice named Nicholas. While unloading a trunk of goods for his master, known as the "Great Fettucini", Nicholas finds an old book with a diary-style lock. When he unlocks it, an evil spirit appears as a woman's face, and brainwashes him. With his help, it lays waste to the park, and begins a quest to remove all caring from the world.


title: The Care Bears Movie

text: Back at Care-a-Lot, some of the other bears are working on their new invention: the Rainbow Rescue Beam, a portal that can send any bear to Earth and back. The two Care Bear cubs belonging to Grams Bear, Baby Hugs and Baby Tugs, interfere with it and bring forth a group of unexpected visitors: Friend Bear, Secret Bear, Kim, and Jason. The bears introduce themselves to the children and give them a tour of their home. Tenderheart Bear returns just before a "cloudquake" caused by the spirit, which ruins Care-a-Lot. He informs the others of Nicholas' troubles on Earth. Using the Rainbow Rescue Beam, he sends Kim and Jason to the park, along with Friend Bear and Secret Bear. They end up in the Forest of Feelings when the portal malfunctions. From a nearby river, the rest of the bears begin searching for them aboard a cloud ship called the Cloud Clipper, leaving behind Good Luck Bear, Grumpy Bear, Grams Bear and the cubs in Care-a-Lot. Meanwhile, Nicholas is informed of Kim and Jason and the Care Bears and summons a cloud-like evil demon to capture them.


title: The Care Bears Movie

text: Within the Forest, the Bears and children are introduced to Brave Heart Lion and Playful Heart Monkey, two of the Care Bear Cousins. Later on, the other Bears aboard their ship discover more of the Cousins, among them Cozy Heart Penguin, Lotsa Heart Elephant, Swift Heart Rabbit, and Bright Heart Raccoon. During their stay, the demon attacks them in several disguises: a fish, tree, and eagle. After the Care Bears and their Cousins defeat it, they venture back to Earth to save Nicholas.


title: The Care Bears Movie

text: At the park, Nicholas obtains the ingredients for his "final spell" against the children and the Bears and Cousins, while Kim and Jason go into hiding. After he casts it, the Care Bears and company engage in a long battle. The bears unleash beams of bright light on him, forming their "Stare"; the Cousins help with their "Call" – Good Luck Bear and Grumpy Bear arriving in time to help after fixing the Rainbow Rescue Beam. As the Bears' and Cousins' strength drains away, Nicholas and the spirit briefly regain control. Kim and Jason arrive to reach out to him, and Nicholas finally realizes his misdeeds and shakes off the spirit's influence. He closes the book, which Jason then locks. Having saved himself, the park, and the world, Nicholas thanks the group. He reunites with Fettucini, while Tenderheart Bear inducts the Care Bear Cousins into the Care Bear Family. Kim and Jason find new parents who take them to one of Nicholas' shows.


title: The Care Bears Movie

text: As Mr. Cherrywood finishes his story, it is revealed that he is Nicholas. Tenderheart Bear, who has been listening from outside a window, smiles, giggles, and returns to Care-a-Lot.


title: The Care Bears Movie

text: The Care Bears were created in 1981 by Those Characters from Cleveland (TCFC), a division of the Cleveland greeting card company American Greetings Corporation (AGC). That same year, the title characters made their debut on greeting cards by Elena Kucharik, while American Greetings began to develop a feature-length film using the characters. Kucharik, along with Linda Denham, Linda Edwards, Muriel Fahrion, Dave Polter, Tom Schneider, Ralph Shaffer, and Clark Wiley, created the original characters. Early in their tenure, the Bears appeared as toys from the Kenner company, and starred in two syndicated television specials from a Canadian animation studio, Atkinson Film-Arts of Ottawa: "The Care Bears in the Land Without Feelings" (1983) and "The Care Bears Battle the Freeze Machine" (1984).


title: The Care Bears Movie

text: Production of the first feature took place at another Canadian outlet, Toronto's Nelvana studio. This came in a period in the company's history which Nelvana co-founder Michael Hirsh refers to as its "dark years". At the time, Nelvana had just finished production of its first full-length film, 1983's "Rock & Rule", which was produced using almost all of its resources (for around US$8 million), and failed to find proper distribution. The film put them on the verge of closing down. Soon after, the Nelvana team began doing work on television shows like "Inspector Gadget" (from DIC Entertainment), "20 Minute Workout" (from Orion Television), and "Mr. Microchip". During this period, they also made syndicated specials based on American Greetings properties: Strawberry Shortcake, The Get Along Gang, and Herself the Elf. "In some instances," noted Harvey Levin, vice-president of marketing and entertainment communications at TCFC, "their capabilities [on the Strawberry Shortcake specials] surpassed Disney quality." Various companies vied to produce a Care Bears feature, and Nelvana was the first to do so; Hirsh sought to seize the opportunity after hearing of its development. DIC Entertainment also expressed interest. Thanks to the Strawberry Shortcake specials and their experience on "Rock & Rule", Nelvana acquired the rights to the characters and gained a contract from American Greetings to create the script. To convince the production partnership of TCFC and Kenner Toys, Hirsh held a competition inspired by Pepsi-Cola's "Pepsi Challenge" commercials of the time, in which he tested clips from Nelvana and other vying studios and checked the "animation quality, music, sound effects, and colour" of each. He then asked the producers to decide on the best demo, and Nelvana scored highest. Hirsh later recalled the words of his partners: "We know you've rigged this against everybody else because you've chosen the clips. But we like the approach."


title: The Care Bears Movie

text: "The Care Bears Movie" was one of the first films to be based directly on an established toy line. It featured the ten original Bears, along with six additions to the line-up, and marked the media debut of the Care Bear Cousins. Produced for at least US$2 million, the film was financed by American Greetings, the owners of the Care Bears franchise; General Mills, the toys' distributor; and television syndicator LBS Communications. The Kenner company also took part in the production. Brought in under budget, "The Care Bears Movie" became Nelvana's second feature-length production, and was made over an eight-month period that lasted until February 1985. Michael Hirsh is quoted as saying in Daniel Stoffman's 2002 book, "The Nelvana Story": "Nobody had ever made an animated movie for theatrical release for as little money and in as little time." In 2009 his partner, Clive A. Smith, told "Canadian Business" magazine: "I swear I grimaced at the thought of doing a Care Bears feature. But Michael [Hirsh] went out and actually brought that project in." Nelvana was responsible for the script, several special effects, including those for the "Care Bear Stare", and hired musicians and voice actors. With this project, Arna Selznick became the third of only four women ever to direct an animated feature; prior to this, she worked on several Nelvana productions, including "Strawberry Shortcake and the Baby Without a Name". Nelvana's founders—Michael Hirsh, Patrick Loubert, and Clive A. Smith—participated as the main producers. The studio's roster included Charles Bonifacio, the director of animation, and supervising animator D. Brewster, who previously took part in the animation courses at Ontario's Sheridan College. Dale Schott, who served as a storyboard artist, remarked that "Nelvana had a lot to do with reviving the low-budget feature" with its efforts on "The Care Bears Movie".


title: The Care Bears Movie

text: Four employees of the film's financiers served as executive producers: Louis Gioia Jr., president of Kenner's Marketing Services division; Jack Chojnacki, co-president of TCFC; Carole MacGillvray, who became president of General Mills' M.A.D. (Marketing and Design) division in February 1984; and Robert Unkel, LBS' senior vice-president of programming. A fifth producer, American Greetings staffer W. Ray Peterson, went uncredited. Three associate producers worked on the film: Paul Pressler, another employee at Kenner; John Bohach, who later became LBS' executive vice-president; and Harvey Levin. Lenora Hume, the director of photography on "Rock & Rule", was the supervising producer.


title: The Care Bears Movie

text: Along with "Inspector Gadget", "The Care Bears Movie" was Nelvana's first foray into animation outsourcing. Production took place at Nelvana's facilities, Taiwan's Wang Film Productions (Cuckoo's Nest Studio), and the newly established Hanho Heung-Up and Mihahn studios in South Korea. Delaney and Friends, a Vancouver-based outlet, did the uncredited work. Nelvana faced several problems with their Korean contractors, among them the language barrier between the Canadian crew and the overseas staff, and the unwieldy processes through which the film reels were shipped to the West. At one point, Loubert, Smith, and fellow staffer David Altman spent three days trying to persuade several unpaid animators to return important layout sketches. In exchange for the layouts, Nelvana gave them US$20,000 in Korean won. By then, the production was falling behind schedule, and an opening date was already set; Loubert sent half of the work to Taiwan (where Lenora Hume supervised), while the remainder stayed in Korea under Loubert's and Smith's watch.


title: The Care Bears Movie

text: Back in the Americas, Hirsh tried to promote the unfinished feature before its deadline; unable to get available footage, he instead managed to show potential marketers some Leica reels and a few moments of completed colour animation. According to him, it was the first time an animated "work in progress" was screened to exhibitors; this ploy has since been used by the Disney company, particularly in the case of "Beauty and the Beast" (at the 1991 New York Film Festival). "People loved the movie anyway," he said of this experiment. "I was told it was considered great salesmanship. It made [them] feel that they were part of the process because they were seeing unfinished work."


title: The Care Bears Movie

text: The music for "The Care Bears Movie" was composed by Patricia Cullen. The soundtrack album was released in LP and cassette format by Kid Stuff Records in the United States, Six songs were performed by Carole King, John Sebastian, NRBQ, and the Tower of Power; actor Harry Dean Stanton had a guest appearance as Brave Heart Lion for the song "Home is in Your Heart". The songs were produced by Lou Adler and John Sebastian, with additional lyrics and music by Ken Stephenson, Walt Woodward, and David Bird; Nelvana crewmember Peter Hudecki prepared the song sequences.


title: The Care Bears Movie

text: Before "The Care Bears Movie", Sebastian contributed to several other Nelvana specials, including "The Devil and Daniel Mouse" (1978). When asked to compose three tracks for the film, he learned about the characters since he was unfamiliar with the franchise. Despite his misgivings on the marketing aspects, Sebastian said in April 1985, "I think their central theme—being candid about your feelings, sharing your feelings—is a very positive message for children."


title: The Care Bears Movie

text: Other critics tended to differ. The "Houston Chronicle"s Stephen Hunter found that "the film integrates its music into the story very clumsily. It's not merely that the numbers are forgettable—they are—it's that they're shoe-horned so obviously into the story that they don't amplify it, they stop it cold." Likewise, Michael Blowen of "The Boston Globe" said that "the uninspired songs ... add nothing to the banal plot."


title: The Care Bears Movie

text: In 1984, before the film's completion, Carole MacGillvray offered "The Care Bears Movie" for consideration to major studios in the US; since they did not see the financial potential in a picture aimed strictly at children, they declined the offer. MacGillvray told "Adweek" magazine in April 1985, "I made several trips, and I was really disappointed. They kept telling me things like 'Animated movies won't sell' and 'Maybe we'd consider it if you were Disney,' but most just said, 'You're very nice, good-bye.' " When few takers were left, she took it to the Samuel Goldwyn Company. A newcomer in the independent market, it agreed to release the film. Comparing the title characters' appeal to Hollywood stars like Barbra Streisand and Robert Redford, founder Samuel Goldwyn Jr. remarked: "Having my [two] children, I know these bears are stars, too."


title: The Care Bears Movie

text: According to the 1985 edition of "Guinness Film Facts and Feats", the Samuel Goldwyn Company spent up to US$24 million on the publicity budget for "The Care Bears Movie", the largest at that time. The film's advertising budget was US$4 million; "Variety" reported that "the beneficiaries of [its] merchandising tie-ins have earmarked [the remaining] $20,000,000 to promo Care Bear products in step with the film's release". For the film's promotion, Goldwyn's staff partnered with Kenner Toys and the fast food chain Pizza Hut; there were also tie-ins on Trix cereal boxes. Parker Brothers published two tie-in books, "Meet the Care Bear Cousins" and "Keep On Caring", shortly after the film's release; both were reissued in October 1985 by Children's Press.


title: The Care Bears Movie

text: The Goldwyn staff came up with two advertising strategies, which tested well with the company—one was aimed at the film's target audience of children as young as age five; another targeted grown-ups, parents, and older children. In the words of Cliff Hauser, the distributor's executive director of marketing, "We didn't want parents to think the movie was threatening. So the big debate was—although the formula for success in animated film is the triumph of good over evil—how can you do that in single-image ads?" Jeff Lipsky, vice-president of theatrical at Goldwyn, referred to the first one as "the cheery approach"; ads therein featured the Care Bears on clouds, and carried the tagline "A movie that'll make the whole family care-a-lot". Hauser said, "That's one that a mother can look at and know she can take the 2-year-old to it and not worry." The other campaign, which Lipsky called "more Disney-esque", featured an evil tree whose hands reached out to capture the Bears; its tagline, "What happens when the world stops caring?", was also seen on the official poster. Bingham Ray, Goldwyn's vice-president of distribution, was involved in the promotional efforts.


title: The Care Bears Movie

text: Around opening time, Hirsh predicted that "The Care Bears Movie" would be its decade's response to "Pinocchio" and "Snow White and the Seven Dwarfs", both from Walt Disney Productions. Loubert added, "These characters say something important to children. Our challenge has been to create a very distinct character for each Care Bear. A lot of effort went into bringing out their individuality." Some time afterward, Hirsh conceded that parents had to come to the film, out of respect for the dark content within. "Frightening scenes," he said, "are a necessity for the reality of the hero and villain—just as it works in nursery rhymes. Kids work out their fears this way." TCFC's Jack Chojnacki offered this vindication in "The Wall Street Journal": "We consider a film one of the many products we license. When we started the whole Care Bears project we knew the importance of bears in the market but that there was a void. There were no specific bears. In the movie marketplace there was a void for good family-fare films." And, in the words of Carole MacGillvray, "Toy recognition drives this movie."


title: The Care Bears Movie

text: "The Care Bears Movie" premiered in Washington, D.C., on March 24, 1985, as part of a Special Olympics benefit; Georgia Engel, the voice of Love-a-lot Bear, attended this event. The film opened on March 29, 1985, in the United States and Canada, as Nelvana's first widely released feature. It became surprisingly successful at the North American box office, playing primarily at matinees and early evening showings. At the time, the North American film industry was bereft of children's and family fare; with "The Care Bears Movie", Hirsh said, "There's such a large audience for a film that appeals primarily to 6-year-olds." He remarked later on, "What we've done [at Nelvana] is tailor the film to a pre-literate audience, the very young. It's interesting to see the audience. The kids are fixated on the screen. [It's] awesome to them." Clive A. Smith observed that some children came to showings with their Bears; long line-ups held back its audience in several cities. Among those attending the matinee screenings was John Waters, a filmmaker known for "Pink Flamingos" and "Polyester". The film made an appearance at the USA Film Festival in Dallas, Texas, during its release.


title: The Care Bears Movie

text: When shown in theatres, the feature was immediately followed by Nelvana's TV special, "Strawberry Shortcake Meets the Berrykins". It was directed by Laura Shepherd and produced by Nelvana's founders along with Lenora Hume. The story involves Strawberry Shortcake and a tiny group of creatures called the Berrykins as they work to clear their home of Strawberryland of the "world's favourite perfume", a pungent odour which was unleashed from a purple cloud. LBS Communications syndicated it on US television around the time of "The Care Bears Movie"s theatrical tenure; a video release from Family Home Entertainment soon followed.


title: The Care Bears Movie

text: "The Care Bears Movie" ranked fourth at the North American box office on its first two weekends, grossing US$3.7 million and US$3.2 million respectively. It was screened in 1,003 venues during its first four weeks. After three months, it grossed about US$23 million in the United States, and placed 40th among 1985's major films; it brought in US$9,435,000 in rentals for the Goldwyn company. In Canada, the film was released by Astral Films and Criterion Pictures Corporation, and made C$1,845,000 by the end of 1985. It was the year's highest-grossing release in that market, followed by Disney's "One Magic Christmas" and a Quebec production called "The Alley Cat (Le Matou)".


title: The Care Bears Movie

text: Several months after "The Care Bears Movie", Walt Disney Pictures released its animated feature "The Black Cauldron". Costing US$25 million, it was the most expensive animated film of its time, but grossed less than Nelvana's production (US$21.3 million). As a result, "The Care Bears Movie"s performance alarmed animators at the Disney Studios; Don Bluth, a former recruit, dismissed the "public taste" factor that it demonstrated. Another animator, Ron Clements, later reflected on this: "Everyone was kind of scared about the future of Disney animation. It wasn't a good time. It was really a terrible time." This sentiment was echoed in "Waking Sleeping Beauty", Disney's 2010 documentary on the revival of its animation unit. While comparing "The Black Cauldron" with "The Care Bears Movie", "The Atlanta Journal-Constitution" singled out the "putrid pastels" of Nelvana's production and commented that they "don't even deserve to be mentioned in the same review." Months afterward, a re-issue of Disney's "One Hundred and One Dalmatians" surpassed both "The Care Bears Movie" and "The Black Cauldron", with over US$30 million in sales.


title: The Care Bears Movie

text: Sometime after the film's release, Children's Video Library (a division of Vestron Video) picked up the video rights to "The Care Bears Movie" for US$1.8 million. It was released in the United States on July 10, 1985, in VHS and Betamax formats. On August 10, 1985, it debuted in 26th place on "Billboard"'s Top Videocassette Rentals chart. It ranked fourth on the first edition of the magazine's Top Kid Video chart (on October 5). It was tracked by "Video Insider"s children's chart (on August 30, 1985), as one of five toy-related titles on tape (along with two compilations of Hasbro's "Transformers" series; another with Hallmark Cards' Rainbow Brite; and the last with Strawberry Shortcake). By 1988, Vestron's edition sold over 140,000 copies. In 1990, Video Treasures reissued it on videocassette; on October 10, 1995, Hallmark Home Entertainment published another VHS edition as part of a six-title package from Goldwyn and Britain's Rank Organisation.


title: The Care Bears Movie

text: On September 5, 2000, MGM Home Entertainment re-released the film on VHS under the MGM Family Entertainment label; the DVD edition premiered on August 6, 2002, and was packaged with the 1978 British family film "The Water Babies". In 2003, the film was inducted into the MGM Kids line. In honour of the Care Bears' 25th anniversary, another DVD edition of the film was released on March 20, 2007, with restored picture quality; it contained the franchise's second Atkinson Film-Arts special, "The Care Bears Battle the Freeze Machine", as an extra. American Greetings launched an official anniversary website and a Dodge Grand Caravan giveaway as part of the proceedings. By 2007, home video sales of "The Care Bears Movie" totaled over five million units. It was later re-released by 20th Century Fox Home Entertainment on DVD on March 5, 2013. To date, this is the only theatrical "Care Bears" movie from the 1980s that is known to be successfully reissued, outselling "A New Generation", which had not been reissued after the 2003 DVD release.


title: The Care Bears Movie

text: "The Care Bears Movie" was scheduled to premiere on the US premium television network, Disney Channel, on June 28, 1986, but did so one month in advance. In September 1987, the film made its terrestrial broadcast premiere on the ABC network's Saturday morning schedule. It also aired on American Movie Classics on July 7, 1991, and on Showtime and The Movie Channel in the 2000s. The film aired on Starz Entertainment's Encore channel in September 2007, as part of its "Big '80s" Labour Day marathon, chronicling various releases from that decade. It was among the first films shown on Canada's Moviepix channel in October 1994.


title: The Care Bears Movie

text: Amid the US and Canadian success of "The Care Bears Movie", Goldwyn took the film to the 38th edition of the Cannes Film Festival, where it was highly received; a group of costumed Care Bears strolled along the Croisette to promote the picture. Among its international distributors was Germany's Filmwelt, which released it on March 20, 1986, under the title "Der Glücksbärchi Film". It sold 538,487 tickets in that territory, placing 47th among new releases, and grossed over DM4,013,000 (€2,051,600; US$2,868,000). The film was released on VHS in October 1986 by the local division of CBS/Fox Video, and aired on national broadcaster ARD during the 1988 Christmas season.


title: The Care Bears Movie

text: "The Care Bears Movie" was released in the United Kingdom by Miracle Films in August 1985, and did well in matinee-only engagements; a video edition from Vestron's local branch came out some months later. It was also released in Australia on December 12, 1985. In February 1986, the film was released by France's Artédis under the franchise name "Les Bisounours"; publishing rights were held by Hachette Livre. It opened on March 20, 1986, in the Netherlands as "De Troetelbeertjes". On July 21, 1986, the Bermudez de Castro company opened the film in Madrid, Spain, as "Los osos amorosos"; it grossed over 23,728,000 Pts (€142,606; US$199,500) from 93,294 admissions. Among that country's Catalan speakers, it is known as "Els Óssos Amorosos". The film was released in Czechoslovakia by Ústřední půjčovna filmů on December 1, 1988, as "Starostliví medvídci". It was advertised in Italy as "Orsetti del cuore", and in Poland as "Opowieść o Troskliwych Misiach".


title: The Care Bears Movie

text: In Mexico, "The Care Bears Movie" was released on April 24, 1986, as "Los ositos cariñositos". In Brazil, the film was promoted as "As novas aventuras dos ursinhos carinhosos". Television airings occurred on Australia's Nine Network in 1987, and Malaysia's TV2 (in August 1993) and Disney Channel in April 2002.


title: The Care Bears Movie

text: As opposed to "Rock & Rule" (which Nelvana owned outright), the characters in "The Care Bears Movie" were the property of American Greetings, who paid Nelvana a service fee to work on the film. Nelvana, however, hardly received any profits from the production; this caused its founders to express regret about the situation. In "The Nelvana Story", Patrick Loubert explained the catch-22 that they would face numerous times in the years to come: "We could have waived our fee and taken a big piece of the film. We were offered that deal. But if we had waived the fee, we couldn't have made the payroll. Once the picture was hugely successful, we thought we should have waived the fee. But we couldn't have." At the time of production, Nelvana had begun embarking on service work that other companies provided them, not only to help ease the debts the studio incurred after "Rock & Rule", but also because it proved profitable in due time.


title: The Care Bears Movie

text: By 1989, "The Care Bears Movie" made over US$34 million worldwide, according to "Maclean's" magazine; this made it the highest-grossing animated feature film to come from Canada, and the highest grossing animated film of 1985. It also became the highest-grossing animated film not produced by the Disney company, surpassing the US$11 million of Atlantic Entertainment Group's 1983 release "The Smurfs and the Magic Flute"; Don Bluth's "An American Tail" (1986) and "The Land Before Time" (1988) later took over this position. As of 2015, that title is held by Illumination Entertainment's "Minions" (2015), with US$1.157 billion. The film virtually saved a fledgling Nelvana from going out of business, and was the company's highest-grossing venture. It is also among the highest-grossing releases from either incarnation of Samuel Goldwyn.


title: The Care Bears Movie

text: "The Care Bears Movie" received mixed reviews. During its original release, "The Care Bears Movie" had varying degrees of success with critics. "The New York Times"<nowiki>'</nowiki> Richard Grenier wrote, "[The film] recalls vintage Walt Disney, both in substance and in the style of hand animation." Rick Lyman of Knight Ridder News Services said in his review: "Any movie—even an animated one—that has characters with names such as Funshine Bear, Love-a-lot Bear, and Lotsa Heart Elephant is obviously going to rank quite high on the cute meter. And this one sends the needle right off the chart. You've never seen such cuteness." Adele Freedman also gave it a positive review, commenting: "[It] has a lot going for it if you can tolerate the Bears." Edward Jones of Virginia's "The Free Lance-Star" praised it, but stated that "More comedy would have helped broaden [its] appeal to older youngsters." The "Deseret News" of Utah gave it three stars out of four (a "Good" grade) with this comment: "Sticky sweet, but a nice message."


title: The Care Bears Movie

text: Michael Blowen began his review of the film by stating that "[it] satisfies the primary obligation of a bedtime story—before it's half over the children will be fast asleep." He added that "this sugar-coated trifle could only satisfy the most ardent Care Bears fan", and that "the characters themselves lack definition". The "Arkansas Democrat-Gazette" said, "Who except a callous scrooge would carp about the fact that "The Care Bears Movie" espouses a psychopop philosophy of 'sharing our feelings' that seems drawn straight from the pages on one of those insufferable self-motivation tomes? No one, that's who." Paul Attanasio of "The Washington Post" wrote, "The best cartoons recognize the dark side of kids, their penchant for violence, their fearful fantasies. [This movie] just patronizes them. It even has a child chortling, 'Aren't parents great!' Well, they are and they aren't, and kids know that."


title: The Care Bears Movie

text: The animation in the film received mixed reviews as well. Adele Freedman praised the style and backgrounds, and called the special effects "stunning". Likewise, John Stanley wrote that "The style is cartoonish and cute" in his 1988 film guide, "Revenge of the Creature Features". While complimenting it as "a harmless film diversion", Stephen Hunter said that "the movie has the lustrous, glossy look of the very best in children's book illustrations". "On the other hand," he added, "the producers obviously couldn't afford an expensive [multiplane] camera, the staple of the Disney product, and so the scenes have a depressing flatness to them. And the backgrounds, so brilliantly developed in Disney, tend to be blurry and hastily done." Jim Moorhead of Florida's "The Evening Independent" said, "[Nelvana's] animation is not the best. Far from it. Everything's in pastels, fine details are largely missing, mouth movements are minimal and the motions of the figures are scarcely better than some of those awful Saturday morning cartoons on TV." The staff at "Variety" magazine stated that the "style ... tends towards a primer reading level." "Halliwell's Film Guide" called it "sluggishly animated and narrated". As with the "Atlanta Journal-Constitution", "The New York Times" Janet Maslin found that the quality paled in comparison to Disney features (in this case, 1940's "Pinocchio").


title: The Care Bears Movie

text: The "Los Angeles Times"' Charles Solomon (in his 1989 book "Enchanted Drawings: The History of Animation"), and Michael Janusonis of Rhode Island's "Providence Journal", faulted the plot. The "Evening Independent"s Moorhead and Jim Davidson of the "Pittsburgh Press" noticed at least two parallel storylines in the film, one of which involved the magician Nicholas. The National Coalition on Television Violence counted at least 20 acts of violence throughout the picture.


title: The Care Bears Movie

text: Critics questioned its purpose as a feature-length advertisement for Care Bears merchandise; among them were Charles Solomon, Paul Attanasio, "The Morning Call" of Pennsylvania, and Bill Cosford of "The Miami Herald". The "Boca Raton News"' Skip Sheffield commented, "I couldn't help being bothered by the blatant commercialism of this whole venture." The British magazine "Films and Filming" remarked: "The purpose of the film is presumably to sell more toys as it unashamedly pushes the message that without at least one Care Bear around life can be very lonely." Stoffman observed, "one of the youngest target audiences of any animated movie", as did the "Halliwell's" staff; film critic Leonard Maltin (in his "Movie Guide"); and Henry Herx (in his "Family Guide to Movies on Video").


title: The Care Bears Movie

text: The 1986 "International Film Guide" called it "an elementary piece of animation lacking colour and character, with not much humour, quite lacking in charm, and indifferently scored". Maltin gave it two stars out of four in his "Movie Guide"; similarly, the Gale Group publication, "VideoHound's Golden Movie Retriever", gave it two bones out of four in its 1997 edition. According to Derek Owen of "Time Out" "Film Guide", "Adults forced to accompany three-year-olds to the movie would have had a little moment of satisfaction when the time came to shovel the Care Bears toys out of the house into landfill sites."


title: The Care Bears Movie

text: The mixed reception carried on in the years ahead: in her 1995 book "Inside Kidvid", Loretta MacAlpine said of the film and its subsequent follow-ups, "If you can hack the sugarcoated attitudes of this group of cuddly bears, more power to you! There's nothing insidious about the Care Bears, but their overbearing sweetness may not appeal to all viewers." She cautioned parents of the merchandising aspect behind the tapes. Dave Gathman of Illinois' "Courier-News" wrote in 1998, "One "Care Bears Movie" ... can give all G-rated entertainment a bad name." In 2003 the "Erie Times-News" acknowledged its financial success, but commented on its "lack of a creative title". Animation expert Jerry Beck wrote in his 2005 book, "The Animated Movie Guide", "It's a simple, serviceable adventure with several standout sequences. ... There's no doubt about it, this is a children's film aimed at the under-seven crowd. But it's one of the better animated children's films produced during this period."


title: The Care Bears Movie

text: Common Sense Media gave this movie some average reviews, as the group stated ""The Care Bears Movie" was made for young kids, but this movie's plot has some dark scenes and parents will want to be close at hand to comfort young viewers."


title: The Care Bears Movie

text: In his "Christian Science Monitor" review, David Sterritt observed that "The Care Bears Movie" was mostly influenced by "The Sorcerer's Apprentice", a 1797 poem by German author Johann Wolfgang von Goethe, along with "a trace of H. P. Lovecraft "that probably wasn't intended". He went on to say, "I also noticed a subtle sexism at work. Why must it be the little girl [Kim] who dreams of being a nurse and the little boy [Jason] of being a jet pilot—and not the other way around, to stimulate young imaginations instead of echoing past patterns?" Blowen wrote that the two children both get turned "from cynics to idealists". Joe Fox of Ontario's "The Windsor Star", and Stephen Hunter, compared the Bears' home of Care-a-lot to King Arthur's mythical castle of Camelot; Blowen commented that in this place, "altruism is king". Hunter noted that "the celestial physics are left vague", concerning Kim and Jason's trip from Care-a-lot to the Forest of Feelings. Critics compared at least two aspects of the film to Disney's "Snow White and the Seven Dwarfs": the Spirit received similarities to the Magic Mirror and the Wicked Queen, but Charles Solomon felt that the Bears lacked the individual qualities of the Dwarfs. Solomon noted that in animated features of that era, villains such as the Spirit "lacked motivation—if the viewer accepts their evil intentions, it's only because he's been told to". According to Tom Ogden (in his 1997 book "Wizards and Sorcerers: From Abracabadra to Zoroaster"), the Bears' Stare against the Spirit serves as a kind of white magic. "Such a non-violent solution," wrote Bruce Bailey in "The Montreal Gazette", "should sit well with peace lobbyists". According to a 2005 article in "The Times" of London, an Internet reviewer called "The Care Bears Movie" "a fine example of Christian socialism".


title: The Care Bears Movie

text: At the 1985 Genie Awards in its native Canada, "The Care Bears Movie" won the Golden Reel Award for being the country's highest-grossing film of the year. Ron Cohen, president of the Academy of Canadian Cinema and Television, presented the award to producers Hirsh, Loubert, and Smith. John Sebastian's "Nobody Cares Like a Bear" received a Genie nomination for Best Original Song; his performance was part of CBC's live telecast of the ceremony on March 20, 1986. The film received a Young Artist Award nomination for "Best Family Animation Series or Special", but lost to the CBS series "The Charlie Brown and Snoopy Show". During its 21st annual award ceremony on October 17, 1985, Nashville's performance rights organization SESAC honoured Woodward and Bird for their songwriting efforts.


title: The Care Bears Movie

text: In the words of Jerry Beck, "["The Care Bears Movie"s] box-office gross signalled to Hollywood a renewed interest in animated features, albeit for children. This is something "The Secret of NIMH" tried to accomplish but failed to do." A plethora of children's and family film entertainment followed in its wake, such as "" from Warner Bros., and a re-issue of Universal Studios' "E.T. the Extra-Terrestrial". Atlantic Releasing joined this movement by establishing Clubhouse Pictures, which showed G-rated films during 1986. Nelvana's film helped to bring back matinee engagements to prominence across North America.


title: The Care Bears Movie

text: Mentioning "The Care Bears Movie" as "the most recent example", Charles Solomon brought up the subject of feature-length toy adaptations in an April 1985 interview on Los Angeles' KUSC-FM. He spoke to Warner Bros. animator Chuck Jones, who replied: "I feel that it's proper—after all, that's the way "Alice in Wonderland" was written: the dolls were all made first, then they made the picture about the dolls, right?" In July 1985, Sarah Stiansen of United Press International (UPI) called "The Care Bears Movie" "another licensing innovation for TCFC", following the department's previous endeavours. UPI's Vernon Scott (in 1985), and Bruce A. Austin (in his 1989 book "Immediate Seating"), observed how the merchandising arrived in advance of the film's release. In forthcoming years, several media adaptations based on established toy lines would follow a similar marketing tactic. Examples included films based on Hasbro's Transformers (in and 2007) and My Little Pony (in , , and ""); features with Tonka's Gobots ("") and Pound Puppies ("Legend of Big Paw"); and a television series and feature with Hallmark's Rainbow Brite. "The Care Bears Movie" was parodied in "At the Movies", a 1991 episode of Nickelodeon and Klasky Csupo's animated series "Rugrats". In that episode, the Pickles family goes to see "The Land Without Smiles", starring the Dummi Bears .


title: The Care Bears Movie

text: After the release of "The Care Bears Movie", DIC Entertainment produced a syndicated 11-episode television series featuring the title characters. Another series, Nelvana's "The Care Bears Family", premiered on ABC in the US and Canada's Global in September 1986, and was subsequently broadcast in 140 countries. Nelvana followed the first film with another two theatrical instalments, "" (1986) and "The Care Bears Adventure in Wonderland" (1987); neither made as much of a critical or commercial impact. "A New Generation", released by Columbia Pictures, made over US$8.5 million in North America and US$12 million worldwide "Adventure in Wonderland" was self-financed by Nelvana and released by Cineplex Odeon Films, and grossed US$2.608 million domestically, with worldwide earnings of US$6 million; it barely recovered its costs. Because of this, Michael Hirsh later declared, "It was just one sequel too many." The Bears returned for one more animated production, "Care Bears Nutcracker Suite", which debuted on video and television in December 1988. The franchise's next feature film, 2004's , also premiered on video (via Lionsgate and Family Home Entertainment).


title: Kandahar (upcoming film)

text: Kandahar is an upcoming American action thriller film directed by Ric Roman Waugh and produced by Gerard Butler who also stars in the film alongside Ali Fazal.


title: Kandahar (upcoming film)

text: Tom Harris, an undercover CIA operative, is stuck deep in hostile territory in Afghanistan. He must fight his way out, alongside his Afghan translator, to an extraction point in Kandahar, all whilst avoiding the elite special forces tasked with hunting them down.


title: Kandahar (upcoming film)

text: In June 2020, it was announced Gerard Butler would star in action film "Kandahar" reteaming with "Angel Has Fallen" director Ric Roman Waugh for Thunder Road Films from a screenplay he wrote with former military intelligence officer Mitchell LaFortune. Thunder Road acquired the original screenplay from LaFortune in 2016, which is based on LaFortune’s experiences at the Defense Intelligence Agency in Afghanistan at the time of the Snowden leaks.


title: Kandahar (upcoming film)

text: Ali Fazal and Navid Negahban joined the cast in December 2021. Filming commenced on December 2, 2021 in Saudi Arabia. This made the film the first big-budget U.S. feature to shoot in the country’s AlUla region. Nina Toussaint-White and Bahador Foladi joined the cast later that same month. Filming wrapped in January 2022.


title: God's Not Dead: A Light in Darkness

text: God's Not Dead: A Light in Darkness is a 2018 American Christian drama film written and directed by Michael Mason. It is the third film following the 2014 film "God's Not Dead" and its 2016 sequel. It stars David A. R. White, John Corbett, Shane Harper, Benjamin Onyango, Ted McGinley, Jennifer Taylor, Tatum O'Neal, Shwayze and Cissy Houston.


title: God's Not Dead: A Light in Darkness

text: The film follows the others' Christian persecution complex theme, and is loosely based on the story of five pastors in Texas who were issued subpoenas for sermons due to potential violation of the Johnson Amendment. Unlike in the film, in reality the subpoenas were soon dropped: since 2008 only one of more than 2,000 mainly evangelical Christian clergy deliberately violating the law has been audited, and none punished.


title: God's Not Dead: A Light in Darkness

text: Principal photography was completed in Little Rock, Arkansas in December 2017. It was released in the United States on March 30, 2018, and received generally unfavorable reviews from critics. The film made less in its entire theatrical run ($7.4 million) than each of the previous two grossed in their respective domestic opening weekends ($9.7 million and $7.6 million). However, it brought the cumulative gross of the "God's Not Dead" film series to $96.6 million worldwide. A third sequel, "", was released in October 2021.


title: God's Not Dead: A Light in Darkness

text: After Rev. David Hill is released from prison (as seen in the previous film), controversy is sparked against Dave's St. James Church, which is on college campus grounds. This causes the college to start the process of shutting down the church to replace it with a student center, much to the dismay of Dave and his friend Jude, who begin the process of suing the college to save St. James. Things get worse when college student Adam Richertson, reeling from his breakup from his skeptical girlfriend Keaton, tosses a brick into the church, igniting a fire that kills Jude and nearly destroys the church. Adam is horrified by his actions and contemplates whether to confess to the crime, leading him to reconnect with Keaton.


title: God's Not Dead: A Light in Darkness

text: During the lawsuit against the school, Dave enlists the help of his estranged atheist brother, attorney Pearce Hill, who tries to explain to Dave that it is not a case worth fighting for. Dave refuses to listen to his brother's advice and continues the case into court. After failing to reach a settlement with the college, the trial date is set for the lawsuit. At the same time, Adam sends an anonymous text to Dave, confessing to the church fire, causing a furious Dave to assault him. This severely wounds his lawsuit's case and public opinion towards it, and leads to Adam being arrested and charged as a felony case. A frustrated Pearce leaves, feeling that Dave has gone too far, and that he does not think about what other people are going through, explaining how hurt he was after his family pushed him out for doubting his faith.


title: God's Not Dead: A Light in Darkness

text: After seeking God's help in church through prayer, Dave eventually realizes that his case has only made things worse and that St. James is not the right church for God and his followers. He drops his lawsuit, reaches an out-of-court settlement with the college, and after talking with a repentant Adam and consulting with Jude's family, ultimately asks to have the criminal charges against Adam dropped. Dave then announces to his college protesters that while St. James will be torn down, he will reopen a new church not far from the school.


title: God's Not Dead: A Light in Darkness

text: In a post credits scene, Newsboys member Michael Tait encourages the audience to text #Godsnotdead and share the gospel to everyone to keep the movement going.


title: God's Not Dead: A Light in Darkness

text: Principal photography took place in December 2017 around Little Rock, Arkansas. Its exact filming locations were on the University of Central Arkansas and Hendrix College campuses. Both colleges are located in Conway, Arkansas.


title: God's Not Dead: A Light in Darkness

text: In the United States and Canada, "God's Not Dead: A Light in Darkness" was released on March 30, 2018, alongside "Acrimony" and "Ready Player One", and was projected to gross $4–6 million from 1,685 theaters in its opening weekend. It ended up debuting to just $2.6 million, finishing 12th at the box office and marking the lowest opening of the series. According to analysis of social media by "Relish Mix" the film suffered from being the third film of a trilogy and religious audiences saw the film as "a cash grab and not a movie promoting a Christian message anymore", and were more inclined to go to other faith-based films in theaters like "I Can Only Imagine" and "Paul, Apostle of Christ". It fell 58% in its second weekend to $1.1 million, finishing 17th. By the end of its North American run the film grossed a total of $5.5 million, less than other two films grossed simply in their opening weekends ($9.7 million and $7.6 million, respectively).


title: God's Not Dead: A Light in Darkness

text: On review aggregation website Rotten Tomatoes, the film has an approval rating of based on reviews, and an average rating of . On Metacritic, the film has a weighted average score of 33 out of 100, based on reviews from 9 critics, indicating "generally unfavorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale, though as with the second film, Deadline Hollywood noted that "faith-based films have an easy time gaining an A on CinemaScore".


title: God's Not Dead: A Light in Darkness

text: Josh Terry of the "Deseret News" gave the film a mixed review, and wrote that it "means well, but it needs to drop the editorializing, streamline its story and let its message stand on its own."


title: God's Not Dead: A Light in Darkness

text: Owen Gleiberman of "Variety" gave it a mixed review and wrote, "It's my observation that critics tend to bash faith-based films a little too reflexively, and this one, taken on its own terms, isn't bad in a TV-movie-fodder-as-parable way." Gleiberman wrote positively about the brotherly relationship at the core of the story, praising Corbett for his performance.


title: God's Not Dead: A Light in Darkness

text: Writing for Vox, Alissa Wilkinson classifies the entire film series as being about Christian persecution complex theme, with particular criticism of how "A Light in the Darkness" distorts the truth surrounding the real court cases it name-checks.


title: Nancy Kyes

text: Nancy Louise Kyes, known professionally as Nancy Loomis, is an American former actress. A frequent collaborator of filmmaker John Carpenter, she portrayed Annie Brackett in "Halloween" (1978) and also appeared in his films "Assault on Precinct 13" (1976) and "The Fog" (1980). She reprised her role as Annie in "Halloween II" (1981) and made her final film appearance as a different character in the stand-alone "" (1982).


title: Nancy Kyes

text: Kyes was born in Falls Church, Virginia, in the United States. She attended high school in Riverside, California, and studied theatre at Northwestern University in Evanston, Illinois.


title: Nancy Kyes

text: Before starring in "Halloween", she played Julie in the 1976 thriller, "Assault on Precinct 13", also directed by Carpenter. In addition to acting, she served as the film's wardrobe mistress, but she used a different name for the film credits ("Louise Kyes" for the wardrobe mistress credit and "Nancy Loomis" for her acting credit).


title: Nancy Kyes

text: In 1980, Kyes played the role of Sandy Fadel in Carpenter's hit horror film, "The Fog", in which she appeared with her "Halloween" co-star Jamie Lee Curtis, her "Assault on Precinct 13" co-star Darwin Joston, and Charles Cyphers, who appeared with Kyes in both "Halloween" and "Assault on Precinct 13".


title: Nancy Kyes

text: In 1981, Kyes filmed a new scene to be inserted into the television version of "Halloween", and filmed a brief cameo appearance as the now-deceased Annie for "Halloween II". Kyes had a small role in "" (1982) as the ex-wife of the lead character, played by Tom Atkins. This made her the first person to appear in the first three "Halloween" films.


title: Nancy Kyes

text: Although she has starred in a few TV movies, her only guest appearance on television was on the 1985 revival of "The Twilight Zone".


title: Nancy Kyes

text: After retiring from acting, she worked as a sculptor in the Los Angeles area along with teaching theatre courses at Cal Poly Pomona.


title: Nancy Kyes

text: Kyes was married to producer, screenwriter and director Tommy Lee Wallace, with whom she has two children. They later divorced.


title: Erlang distribution

text: The Erlang distribution is a two-parameter family of continuous probability distributions with support formula_12. The two parameters are:


title: Erlang distribution

text: The Erlang distribution is the distribution of a sum of formula_16 independent exponential variables with mean formula_17 each. Equivalently, it is the distribution of the time until the "k"th event of a Poisson process with a rate of formula_18. The Erlang and Poisson distributions are complementary, in that while the Poisson distribution counts the number of events that occur in a fixed amount of time, the Erlang distribution counts the amount of time until the occurrence of a fixed number of events. When formula_19, the distribution simplifies to the exponential distribution. The Erlang distribution is a special case of the gamma distribution wherein the shape of the distribution is discretised.


title: Erlang distribution

text: The Erlang distribution was developed by A. K. Erlang to examine the number of telephone calls which might be made at the same time to the operators of the switching stations. This work on telephone traffic engineering has been expanded to consider waiting times in queueing systems in general. The distribution is also used in the field of stochastic processes.


title: Erlang distribution

text: The parameter "k" is called the shape parameter, and the parameter formula_18 is called the rate parameter.


title: Erlang distribution

text: An alternative, but equivalent, parametrization uses the scale parameter formula_22, which is the reciprocal of the rate parameter (i.e., formula_23):


title: Erlang distribution

text: When the scale parameter formula_22 equals 2, the distribution simplifies to the chi-squared distribution with 2"k" degrees of freedom. It can therefore be regarded as a generalized chi-squared distribution for even numbers of degrees of freedom.


title: Erlang distribution

text: where formula_27 is the lower incomplete gamma function and formula_28 is the lower regularized gamma function.


title: Erlang distribution

text: The Erlang-"k" distribution (where "k" is a positive integer) formula_30 is defined by setting "k" in the PDF of the Erlang distribution. For instance, the Erlang-2 distribution is formula_31, which is the same as formula_32.


title: Erlang distribution

text: An asymptotic expansion is known for the median of an Erlang distribution, for which coefficients can be computed and bounds are known. An approximation is formula_33 i.e. below the mean formula_34


title: Erlang distribution

text: Erlang-distributed random variates can be generated from uniformly distributed random numbers (formula_35) using the following formula:


title: Erlang distribution

text: Events that occur independently with some average rate are modeled with a Poisson process. The waiting times between "k" occurrences of the event are Erlang distributed. (The related question of the number of events in a given amount of time is described by the Poisson distribution.)


title: Erlang distribution

text: The Erlang distribution, which measures the time between incoming calls, can be used in conjunction with the expected duration of incoming calls to produce information about the traffic load measured in erlangs. This can be used to determine the probability of packet loss or delay, according to various assumptions made about whether blocked calls are aborted (Erlang B formula) or queued until served (Erlang C formula). The Erlang-B and C formulae are still in everyday use for traffic modeling for applications such as the design of call centers.


title: Erlang distribution

text: The age distribution of cancer incidence often follows the Erlang distribution, whereas the shape and scale parameters predict, respectively, the number of driver events and the time interval between them. More generally, the Erlang distribution has been suggested as good approximation of cell cycle time distribution, as result of multi-stage models.


title: Verónica Echegui

text: Verónica Fernández Echegaray (born 16 June 1983), known professionally as Verónica Echegui, is a Spanish actress. Since making her feature film debut as the title character of the 2006 drama "My Name Is Juani" she has featured in films such as "My Prison Yard", "Kathmandu Lullaby", "Family United", "Unknown Origins" and "My Heart Goes Boom!".


title: Verónica Echegui

text: In 2021, she debuted as a director with the short film "", which won the Goya Award for Best Fictional Short Film.


title: Verónica Echegui

text: Verónica Fernández Echegaray (her real name) was born in Madrid on 16 June 1983. Her father is a lawyer and her mother a civil servant. In a 2015 interview she said she wanted to be an actress since she was eight but her parents wanted her "to study a career. My great-auntie was dying and told me I had to do what I wanted, although I must not tell my mother".


title: Verónica Echegui

text: Moving to London, she trained at the Royal Academy of Dramatic Arts, while working as a waitress and as a dog-walker.


title: Verónica Echegui

text: Echegui was discovered by Spanish director Bigas Luna, who cast her in the 2006 film "My Name Is Juani", for which she was nominated Goya Award for Best New Actress and won multiple awards including Milan International Film Festival Award for Best Actress


title: Verónica Echegui

text: In 2009, she made herself known to British audiences in the "Mighty Boosh" film spin-off "Bunny and the Bull". Starring alongside Boosh mainstays Noel Fielding, Simon Farnaby and Julian Barratt, she played a foul-mouthed waitress caught up in a bizarre, hallucinogenic road trip involving a kidnapped stuffed bear, jars of urine, deranged tramps and dogs. At the 59th Berlin International Film Festival, she was one of ten young European actors honoured with the Shooting Stars Award.


title: Verónica Echegui

text: In 2012, Craig Mathieson wrote in the Australian entertainment paper "The Age" "In Roberto Perez Toledo's romantic drama "Six Points about Emma" she plays a wilful and sexually confident blind woman, while for Manuel Martín Cuenca's sparsely atmospheric "Half of Oscar" she is a silent, recessive sibling circling her estranged brother, and in Icíar Bollaín's "Kathmandu Lullaby" she displays a forthright passion as a teacher trying to help abandoned children in Nepal."


title: Verónica Echegui

text: In 2018, she made her American television debut appearing in the FX series "Trust", playing one of J. Paul Getty's girlfriends, Luciana.


title: Verónica Echegui

text: As of 2015, she was living with her then boyfriend of 4 years, Spanish actor Álex García in Brixton, London.


title: Verónica Echegui

text: In 2013, her photo was selected for the official poster of the 23rd Festival of the Spanish Cinema (in French '23ème festival du cinéma espagnol') in Nantes, France.


title: Breanna Yde

text: Breanna Nicole Yde (born June 11, 2003) is an American child actress. She portrayed Frankie Hathaway on the television series "The Haunted Hathaways", Tomika on "School of Rock", Zoey in the television film "Santa Hunters", Akimi in "Escape from Mr. Lemoncello's Library", and Gina on the Netflix television series "Malibu Rescue".


title: Breanna Yde

text: Yde was born in Sydney, Australia. At the age of two, she moved to Los Angeles, California. She is a dual citizen of both the United States and Australia. In 2008, her family moved to Rancho Santa Fe, California, and she began taking acting and music lessons at age 6 the following year. She and her family moved back to Los Angeles in 2012 to further pursue acting roles.


title: Breanna Yde

text: Yde earned an early role in the film, "Level 26: Dark Prophecy" in 2009. In 2011, she appeared in a guest role on an episode of the television series, "How I Met Your Mother". Other early acting gigs included national commercials for companies, including McDonald's, AT&T, Toyota, and others. In 2012, she was cast as Frankie Hathaway on the Nickelodeon series, "The Haunted Hathaways". In 2014, she appeared in the Nickelodeon television film, "Santa Hunters". In 2016, she began starring as Tomika on "School of Rock", another Nickelodeon series based on the 2003 film of the same name. She was nominated for the Kids' Choice Award for Favorite Female TV Star for her role as Tomika in 2017. "School of Rock" aired for three seasons, ending in 2018.


title: Breanna Yde

text: During her time on "School of Rock", she had a recurring role as the voice of Ronnie Anne on the Nickelodeon animated series, "The Loud House" and appeared in the Nickelodeon television film, "Escape from Mr. Lemoncello's Library". She also provided the voice of Young Mariah for the animated film, "Mariah Carey's All I Want For Christmas Is You" in 2017. In 2019, Yde starred as Gina in the Netflix film, "Malibu Rescue". The film was followed by a series of the same name in which Yde reprised her role. She again appeared as Gina in a second film, "Malibu Rescue: The Next Wave", which was released by Netflix in August 2020.


title: Breanna Yde

text: In 2019, Yde began collaborating with pop songwriter Justin Tranter, and in 2020, she released her debut singles, "Stopped Buying Diamonds" and "BlindLife" (both co-written with Tranter) through Warner Records, under the mononym YDE. In December 2021, she starred as Sophia alongside Idina Menzel in a production of "WILD: A Musical Becoming" staged at the Loeb Drama Center by the American Repertory Theater in Cambridge, Massachusetts. In 2022, she began releasing new singles from her debut EP, "SEND HELP", on which she serves as the executive producer and primary songwriter. The EP was released on September 9, 2022 via Warner Records.


title: Choke (electronics)

text: In electronics, a choke is an inductor used to block higher-frequency alternating currents while passing direct current (DC) and lower-frequencies alternating current (AC) in an electrical circuit. A choke usually consists of a coil of insulated wire often wound on a magnetic core, although some consist of a doughnut-shaped "bead" of ferrite material strung on a wire. The choke's impedance increases with frequency. Its low electrical resistance passes both AC and DC with little power loss, but its reactance limits the amount of AC passed.


title: Choke (electronics)

text: The name comes from blocking—"choking"—high frequencies while passing low frequencies. It is a functional name; the name "choke" is used if an inductor is used for blocking or decoupling higher frequencies, but the component is simply called an "inductor" if used in electronic filters or tuned circuits. Inductors designed for use as chokes are usually distinguished by not having low-loss construction (high Q factor) required in inductors used in tuned circuits and filtering applications.


title: Choke (electronics)

text: Audio frequency chokes (AFC) usually have ferromagnetic cores to increase their inductance. They are often constructed similarly to transformers, with laminated iron cores and an air gap. The iron core increases the inductance for a given volume of the core. Chokes were frequently used in the design of rectifier power supplies for vacuum tube equipment such as radio receivers or amplifiers. They are commonly found in direct-current motor controllers to produce direct current (DC), where they were used in conjunction with large electrolytic capacitors to remove the voltage ripple (AC) at the output DC. A rectifier circuit designed for a choke-output filter may produce too much DC output voltage and subject the rectifier and filter capacitors to excessive in-rush and ripple currents if the inductor is removed. However, modern electrolytic capacitors with high ripple current ratings, and voltage regulators that remove more power supply ripple than chokes could, have eliminated heavy, bulky chokes from mains frequency power supplies. Smaller chokes are used in switching power supplies to remove the higher-frequency switching transients from the output and sometimes from feeding back into the mains input. They often have toroidal ferrite cores.


title: Choke (electronics)

text: Some car audio hobbyists use choke coils with car audio systems (specifically in the wiring for a subwoofer, to remove high frequencies from the amplified signal).


title: Choke (electronics)

text: Radio frequency chokes (RFC) often have iron powder or ferrite cores which increases inductance and overall operation. They are often wound in complex patterns (basket winding) to reduce self-capacitance and proximity effect losses. Chokes for even higher frequencies have non-magnetic cores and low inductance.


title: Choke (electronics)

text: A modern form of choke used for eliminating digital RF noise from lines is the ferrite bead, a cylindrical or torus-shaped core of ferrite slipped over a wire. These are often seen on computer cables. A typical RF choke value could be 2 millihenries.


title: Choke (electronics)

text: The common-mode (CM) choke, where two coils are wound on a single core, is useful for suppression of electromagnetic interference (EMI) and