prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Who starred in her final film role in the 1964 film directed by the man who also did Vera Cruz and Kiss Me Deadly?

The following are given passages.
Context 1: Passage 1:
Robert Aldrich
Robert Burgess Aldrich (August 9, 1918 – December 5, 1983) was an American film director, producer, and screenwriter  An iconoclastic and maverick auteur working in many genres during the Golden Age of Hollywood, he directed mainly films noir, war movies, westerns and dark melodramas with Gothic overtones  His most notable credits include Vera Cruz (1954), Kiss Me Deadly (1955), The Big Knife (1955), Autumn Leaves (1956), Attack (1956), What Ever Happened to Baby Jane? (1962), Hush   Hush, Sweet Charlotte (1964), The Flight of the Phoenix (1965), The Dirty Dozen (1967), and The Longest Yard (1974) 
Aldrich's directorial style combined "macho mise-en-scene and resonant reworkings of classic action genres," and were known for pushing the boundaries of violence in mainstream cinema, and for their psychologically-complex interpretations of genre film tropes  The British Film Institute wrote that Aldrich's films "subversive sensibility in thrall to the complexities of human behaviour " Several of his films later proved influential to members of the French New Wave Aside from his directorial work, Aldrich was also noted for his advocacy as a member of the Directors Guild of America, serving as its President for two terms, and becoming the namesake for its Robert B  Aldrich Achievement Award 

Early life
Family
Robert Burgess Aldrich was born in Cranston, Rhode Island, into a family of wealth and social prominence – "The Aldriches of Rhode Island"  His father, Edward Burgess Aldrich (1871–1957) was the publisher of The Times of Pawtucket and an influential operative in state Republican politics  His mother, Lora Elsie (née Lawson) of New Hampshire (1874–1931), died when Aldrich was 13 and was remembered with fondness by her son  Ruth Aldrich Kaufinger (1912–1987) was his elder sister and only sibling Among his notable ancestors were the American Revolutionary War general Nathanael Greene and the theologian Roger Williams, founder of Rhode Island Colony His grandfather, Nelson Wilmarth Aldrich, was a self-made millionaire and art investor  A Republican member of the U S  Senate for thirty years (1881–1911), he was dubbed "General Manager of the Nation" by the press for his dominant role in framing federal monetary policy A number of Aldrich's paternal uncles had impressive careers, among them a successful investment banker, an architect and Harvard instructor, a member of the U S  House of Representatives, and a chairman of the Chase Manhattan Bank who also served as U S  Ambassador to Great Britain   An aunt, Abigail Greene "Abby" Aldrich married John D  Rockefeller Jr , scion of the Standard Oil fortune, and was a leading figure in the establishment of the Museum of Modern Art in New York City  Nelson Rockefeller, a four-term governor of New York State and U S  vice-president under Gerald Ford, and Rockefeller's four brothers were the director's first cousins 

Education
As the only male heir to the Lawson-Aldrich family line, Aldrich was under considerable pressure to compete successfully with his numerous cousins in a family of high achievers Following family tradition and expectations, Aldrich was educated at Moses Brown School in Providence from 1933 to 1937  There he served as captain of the track and football teams and was elected president of his senior class 
Failing to matriculate to Yale due to mediocre grades, Aldrich attended the University of Virginia from 1937 to 1941, majoring in economics  He continued to excel in sports and played a leading role in campus clubs and fraternities During the Great Depression, the adolescent Aldrich began to question the justice of his family's "politics and power" which clashed with his growing sympathies with left-wing social and political movements of the 1930s  Aldrich's disaffection from the Aldrich-Rockefeller right-wing social and political orientation contributed to a growing tension between father and son Having satisfactorily demonstrated his aptitude for a career in finance, Aldrich defied his father by dropping out of college in his senior year without taking a degree Aldrich approached his uncle Winthrop W  Aldrich, who got his 23-year-old nephew a job at RKO Studios as a production clerk at $25 a week  For this act of defiance, Aldrich was promptly disinherited  Aldrich reciprocated by expunging public records of his connection with the Aldrich-Rockefeller clan, while stoically accepting the breach  He rarely mentioned or invoked his family thereafter  It has been said that "No American film director was born as wealthy as Aldrich — and then so thoroughly cut off from family money "

RKO Pictures: 1941–1943
At the age of 23, Aldrich began work at RKO Pictures as a production clerk, an entry-level position, after declining an offer through his Rockefeller connections to enter the studio as an associate producer He married his first wife, Harriet Foster, a childhood sweetheart, shortly before he departed for Hollywood in May 1941 Though the smallest of Hollywood's top studios, RKO could boast an impressive roster of directors (George Cukor, John Ford and Howard Hawks) as well as movie stars (Fred Astaire and Ginger Rogers, Cary Grant, Katharine Hepburn and the Marx Brothers)  The 23-year-old Aldrich assumed his duties shortly after Orson Welles, at 26, signed a six-movie contract with RKO after the release of the widely acclaimed Citizen Kane (1941) When the United States entered the Second World War in December 1941, Aldrich was inducted into the Air Force Motion Picture Unit, but was quickly discharged when an old football injury disqualified him for military service  The film studios' manpower shortage allowed Aldrich to win assignments as third- or second-tier director's assistant to learn the basics of filmmaking 

Second assistant director
In just two years he participated on two dozen movies with well-known directors  He was second assistant director on Joan of Paris (1942, directed by Robert Stevenson), The Falcon Takes Over (1942, directed by Irving Reis), The Big Street (1942), directed by Reis, Bombardier (1943, directed by Richard Wallace), Behind the Rising Sun (1943, directed by Edward Dmytryk),  A Lady Takes a Chance (1943, directed by William A  Seiter), The Adventures of a Rookie (1943, directed by Leslie Goodwins), Gangway for Tomorrow (1943, directed by John H  Auer), and Rookies in Burma (1943, directed by Goodwins) 

First assistant director
Towards the end of the war, Aldrich had risen to first assistant director making comedy shorts with director Leslie Goodwins 
In 1944, Aldrich departed RKO to begin free-lancing on feature films at other major studios, including Columbia, United Artists, and Paramount 

Assistant director: 1944–1952
Aldrich was fortunate to serve as an assistant director to many notable and talented Hollywood filmmakers  During these assignments, which spanned nine years, Aldrich gained both practical and aesthetic fundamentals of filmmaking: "set location and atmosphere" (Jean Renoir, The Southerner, 1945), the "techniques of pre-planning a shot" (Lewis Milestone's The Strange Love of Martha Ivers, 1946), "action scenes" (William A  Wellman's The Story of G I  Joe, 1946), the "importance of communication with actors" (Joseph Losey's The Prowler, 1951), and "establishing visual empathy between camera and audience" (Charlie Chaplin's Limelight, 1952) He also worked on Pardon My Past (1945, directed by Leslie Fenton) and The Private Affairs of Bel Ami (1947, directed by Albert Lewin) 
Aldrich approached these projects and directors with a fine discrimination, enabling him to learn from both their strengths and weaknesses During these years Aldrich forged lasting professional relationships with talented artists who would serve him throughout his filmmaking career, namely, cinematographer Joseph Biroc, film editor Michael Luciano, music director Frank De Vol, art director William Glasgow and screenwriter Lukas Heller  A troupe of loyal, mostly male, players were enlisted for his film leads and supporting roles: Burt Lancaster, Jack Palance, Lee Marvin, Eddie Albert, Richard Jaeckel, Wesley Addy, Ernest Borgnine and Charles Bronson 

The Enterprise Studios: 1946–1948
Aldrich's association with The Enterprise Studios marks the most formative period of his apprenticeship  The production company offered a unique venue of independent filmmakers welcoming socially conscious themes critical of authoritarian aspects of American society While at Enterprise, Aldrich established both a professional and a personal affiliation with screenwriter and director Abraham Polonsky, a major figure in the Popular Front movement of the 1930s  Their respective films addressed the issue of an individual's often desperate struggle to resist destruction by an oppressive society Enterprise's Body and Soul (1947), written by Polonsky, directed by Robert Rossen, and starring John Garfield, made a deep and lasting impression on the 29-year-old assistant director from both structural and thematic standpoints  Garfield plays a corrupt prizefighter who seeks to redeem himself by defying mobsters who insist he throw a fight or forfeit his life  While the protagonist's personal failings contribute to his own oppression, the film censures capitalism as an unredeemable system  Aldrich would revisit Body and Soul throughout his career when seeking guidance on how to convey the progressive ideals of the 1930s while working in the reactionary political atmosphere of the Cold War era 

In 1948 Aldrich joined Polonsky and Garfield on the early noir film Force of Evil  The story concerns a Wall Street attorney turned mob lawyer (Garfield) who informs on his employers when they murder his brother  Force of Evil's cinematically excessive visuals and striking sound would later appear in Aldrich's films Kiss Me Deadly and Twilight's Last Gleaming A number of Aldrich's associates at Enterprise came under scrutiny by the HUAC in the late 1940s after Enterprise had closed its doors  Among them were Rossen, Polonsky, Garfield, directors John Berry, and Joseph Losey, producer Carl Foreman, and screenwriter Dalton Trumbo, some of whom suffered blacklisting and imprisonment  Aldrich was never targeted by the authorities, despite his collaborations with these artists  This was largely due to his post-1930s entry into the film industry when recruitment by Communist and leftist organizations was declining  Nonetheless, Aldrich remained a champion for the victims of the Red Scare At Enterprise, Aldrich also worked as an assistant director on Arch of Triumph (1948) and No Minor Vices (1948) for Lewis Milestone, So This Is New York (1948) for director Richard Fleischer and producer Stanley Kramer, and Caught (1949) for Max Ophüls 
During his apprenticeship Aldrich developed a keen appreciation for the nexus between autonomous control over every element of picture production and achievement of his creative vision  He would forever strive for full control over his films 

Freelance assistant director: 1948–1952
After the demise of The Enterprise Studios, Aldrich continued to be in much demand as an assistant director  He worked again for Lewis Milestone on The Red Pony (1949) at Republic and did Red Light (1949) for Roy Del Ruth, A Kiss for Corliss (1949) for Richard Wallace,  The White Tower (1950) for Ted Tetzlaff, M (1951) and The Prowler (1951) for Joseph Losey, and New Mexico (1951) for Reis 
Aldrich was assistant to producer Harold Hecht on Ten Tall Men (1951), a French Foreign Legion action film starring Burt Lancaster  He worked as production manager on When I Grow Up (1951) for Sam Spiegel and as production manager on The Steel Trap (1952) for Andrew L  Stone 
Hecht had enjoyed working with Aldrich on Ten Tall Men and used him on The First Time (1952), the feature directorial debut of Frank Tashlin 
Aldrich's most notable credit to date came on Limelight (1952), for which he was assistant director to Charlie Chaplin  He was assistant on Abbott and Costello Meet Captain Kidd (1952) 

Television: 1952–1954
By 1952, the 34-year old assistant director, fully prepared to make his directorial debut, had no offers materializing in Hollywood  Eager to perform at a journeyman level, he moved to New York City to join its television startups 
The infant industries' golden age of live broadcasts was in a primitive stage of organization, and producers were pleased to enlist talent from the Hollywood film industry  More than merely a career move, television offered Aldrich an opportunity to apply the cinematic skills and concepts he had garnered during his eclectic education in movie-making to an entirely new medium "All they were paying directors was scale", recalled Aldrich of this time  "Who the hell wanted to go live in New York and work for scale? Only guys that had never directed or couldn't get a shot    Walter Blake    convinced these people who were doing the Camay soap shows that I was a genius waiting behind a rock out here  I had been assistant director on a Chaplin picture, so he told them that I had directed Chaplin  Nobody directs Chaplin except Chaplin, but these guys didn't know the difference  So I went back to New York and did, I don't know, thirty or forty shows "Procter & Gamble hired Aldrich in 1952 to direct episodes of the anthology series The Doctor (later retitled The Guest in syndication), an early soap opera starring Warner Anderson  Shooting schedules were notoriously tight  Despite this, Aldrich routinely dedicated half or more of the allotted time to rehearsals, an immensely reassuring practice for the players that contributed to the efficient execution of the final live shoot Following The Doctor, Aldrich resettled in Hollywood to complete twenty episodes of television's China Smith starring Dan Duryea, filmed on an even tighter timetable 
He also filled in as director on TV's Four Star Playhouse and the Schlitz Playhouse of Stars ("The Pussyfootin' Rocks") Aldrich described the early TV industry as a "director's crash course" where, unlike feature film production, the overall quality of the series outweighed the success or failure of an individual episode   In his two-year stint in television, Aldrich was free to experiment with technique and narrative schemes that would appear later in his film treatments  As such, he used cinematic framing and composition to reveal character motivation and close ups serving to highlight dialog, all of which endowed his episodes with a polished Hollywood studio-like appearance  Aldrich avoided disparaging television as an art form, only regretting its "rushed schedules and lack of preparation time "

Feature film director
Early feature films
In December 1951 Irving Allen announced he had formed Warwick Productions with Albert Broccoli  He intended to make The Gamma People with Robert Aldrich  In August 1952 Allen announced that Aldrich would make his feature debut as director with The Gamma People, to be shot in Europe in the winter from Aldrich's own script  Dick Powell was slated to star  However, the film would not be made for several years, with Aldrich's involvement limited to working on the story 
Aldrich broke into feature films as a director when Herbert Baker, who had worked with Aldrich on So This is New York, recommended the director to MGM, which was looking for someone with a background in sports for a low-budget baseball film, Big Leaguer (1953) The film was not particularly successful, so Aldrich returned to television, doing episodes of Four Star Playhouse, several of which were written by Blake Edwards  He directed "The Witness", which starred Dick Powell, Strother Martin, and Charles Bronson, and "The Bad Streak" with Charles Boyer Aldrich remained ambitious to work in features and raised money for a low-budget action film using many of the same sets and cast members of China Smith, including star Dan Duryea, called World for Ransom (1954)  It was made for Plaza Productions and financed by Allied Artists; Aldrich produced and directed  The cinematographer was Joseph F  Biroc, who would shoot many of Aldrich's later features 

Burt Lancaster: Apache and Vera Cruz
World for Ransom was seen by Harold Hecht and Burt Lancaster, who hired Aldrich to direct his first color film, Apache (1954), a western starring Lancaster as an Apache fighter  It was made for Hecht-Lancaster Productions and released through United Artists  This film was a big hit, earning $6 million Hecht and Lancaster used Aldrich again on Vera Cruz (1954), a western starring Gary Cooper and Lancaster   It was even more successful at the box office than Apache, making $9 million, and firmly established Aldrich as a director 

Turning producer: Kiss Me Deadly, The Big Knife and Attack
The success of these movies enabled Aldrich to set up his own company, The Associates and Aldrich, and sign a deal with United Artists  Its first movie was to be The Way We Are by Jack Jevne, about a woman who has an affair with a younger man  It was not immediately made 
Instead Aldrich produced and directed Kiss Me Deadly (1955), a film noir adapted by A  I  Bezzerides from a novel by Mickey Spillane starring Ralph Meeker as Mike Hammer   It was made for Parklane Productions, the independent company of Victor Saville, who owned the rights, and released through United Artists Aldrich and his company then made The Big Knife (1955), based on a play by Clifford Odets  Aldrich directed and produced this film about a movie star played by Jack Palance 
The Associates and Aldrich Company made a second film, also based on a play and released through United Artists, Attack (1956), starring Palance and Lee Marvin None of the three films was particularly successful at the box office, although they received some excellent reviews  In particular, Kiss Me Deadly became a major cult favorite in France  "I worked almost for nothing, economically, on those movies", he said  "They got caught up in the system and were not profitable pictures " Aldrich said his experiences made him "more cynical in terms of what preference to give survival and what preference to give material that might make a fine film which nobody or very few would go to see  That was the break  I realized that if you're careful in choosing projects and setting costs your taste and knowledge will, out of every six or seven pictures, produce one that makes a good deal of profitable return for everybody "The Associates announced numerous projects around this time, including Tryanny, Kinderspiel, Potluck for Pomeroy, Candidate for President (by Don Weis) and Machine for Chuparosa The Associates and Aldrich Company expanded to offer financing and distribution for other films  The only one that resulted was The Ride Back (1957) for UA  They wanted to make The Build Up Boys with Dana Andrews but the film did not eventuate 

Columbia: Autumn Leaves and The Garment Jungle
In between making Big Knife and Attack, Aldrich directed the Joan Crawford melodrama Autumn Leaves (1956) (originally The Way We Are), which was a minor hit Aldrich worked on the original story for the thriller The Gamma People (1956), made for Columbia and Warwick Productions in England 
In July 1956 Robert Aldrich signed a two-picture deal with Columbia to make films through his own company  The first was to be The Garment Jungle (1957)  The second was to be Until Proven Guilty  He also acquired the John O'Hara story Now We Know Aldrich started directing Garment but was fired towards the end of filming and replaced by Vincent Sherman In March 1957 Aldrich sued Columbia for reneging on a promise to make a film of the play Storm in the Sun, which he wanted to do with Crawford  The case was settled the following month Aldrich announced a range of projects – Kinderspiel, Pommeroy, The Snipe Hunt, Until Proven Guilty, Now We Know – but he found it difficult to get financing The Associates and Aldrich had the rights to the script for 3:10 to Yuma but ended up selling the project outright to Columbia 

Europe
Aldrich was unable to get a job until he had an offer from Hammer Films and Seven Arts to write and direct Ten Seconds to Hell (1959), starring Palance and Jeff Chandler, in Germany  While there, he was head of the jury at the 9th Berlin International Film Festival Aldrich stayed in Europe to make The Angry Hills (1959), based on the novel by Leon Uris and starring Robert Mitchum, for MGM in Greece for producer Raymond Stross  Aldrich had the film rewritten by Bezzerides, but then his cut of the film was re-edited by Stross  It was an unhappy experience for Aldrich and the film lost money Adlrich was going to make Taras Bulba in Yugoslavia with Anthony Quinn and a budget of $3 million, but the film did not proceed  Neither did another proposed subject, The Catalyst, based on a play by Ronald Duncan about male bisexuality  Aldrich would attempt to make Taras Bulba several times but ended up having to sell his script to Harold Hecht, who produced a film without Aldrich in 1962  Other projects he developed around this time include Angry Odyssey, The Left Bank, and Too Late the Hero Aldrich returned to Hollywood to direct episodes of Hotel de Paree ("Sundance Returns"), and Adventures in Paradise 
He directed a western, The Last Sunset (1961), starring Kirk Douglas and Rock Hudson, made for Douglas's company at Universal 
Aldrich tried to make Cross of Iron with John Mills but could not get financing Aldrich then went back to Italy, where he directed the Biblical spectacular Sodom and Gomorrah (1962)  for Joseph E  Levine  Aldrich disparaged the final film, which ended up costing $6 million 

Warner Bros: What Ever Happened to Baby Jane? and 4 For Texas
Aldrich rejuvenated his career by optioning the novel What Ever Happened to Baby Jane? (1962) for the Associates and Aldrich Company  He signed Bette Davis and Joan Crawford as stars, got Lukas Heller to write the script, and raised financing through Warner Bros  The film was a massive hit at the box office and earned five Academy Award nominations (including a win for black-and-white costume design), restoring Aldrich's commercial and critical reputation  It also revived the popularity of Davis and Crawford as box office draws and led to a subgenre of horror movies starring elder actresses nicknamed "Psycho-biddy"  It also started a run of films (continued in Hush Hush Sweet Charlotte and others) with a gothic, camp sensibility that became an immediate hit with queer audiences Still at Warners, Aldrich wrote, produced and directed a comic western with Frank Sinatra and Dean Martin, 4 for Texas (1963)  Made for Sam Productions, it had Charles Bronson, Victor Buono, Ursula Andress and Anita Ekberg in supporting roles  The film was reasonably popular at the box office, but Aldrich disliked working with Sinatra and the resulting film 

20th Century Fox: Hush Hush Sweet Charlotte and Flight of the Phoenix
Emboldened by his recent commercial successes, Aldrich announced a $14 million production program of eight films, including Cross of Iron, Whatever Happened to Cousin Charlotte, The Tsar's Bride, Brouhaha, The Legend of Lylah Clare, Paper Eagle, Genghis Khan's Bicycle, and There Really Was a Gold Mine a sequel to Vera Cruz  He had prepared scripts on  Now We Know, Vengeance Is Mine, Potluck for Pomeroy and Too Late the Hero  Other projects were The Strong Are Lonely, Pursuit of Happiness and the TV series The Man He started with a follow up to Baby Jane, Hush   Hush, Sweet Charlotte (1964), made for the Associates and Aldrich at 20th Century Fox  Bette Davis starred as a Southern woman who lives in a mansion and thinks she is going insane  Davis was to be reunited with Joan Crawford, but Crawford left the film and was replaced by Olivia de Havilland  The movie was popular, though not as successful as Baby Jane 
Aldrich stayed at Fox for his next film, the all-male action story The Flight of the Phoenix (1965), with James Stewart, Richard Attenborough and Peter Finch  The film was a commercial disappointment but eventually proved profitable 

MGM: The Dirty Dozen and The Legend of Lylah Clare
Aldrich had his biggest hit to date with The Dirty Dozen (1967), produced by Kenneth Hyman's Seven Arts Productions and released through MGM  Starring Lee Marvin, Charles Bronson, Ernest Borgnine and John Cassavetes, the film was a massive success at the box office Aldrich stayed at MGM for The Legend of Lylah Clare (1968) starring Finch and Kim Novak, made for Aldrich's own company  It was a critical and commercial disappointment 

Aldrich Studios
Aldrich sold his profit participation in Dirty Dozen to MGM for $1,350,000 and used the money to achieve a long-time dream – to buy his own studios, which he called the Aldrich Studios  He picked a facility at 201 North Occidental Boulevard, which had been in existence as a film studio since 1913, making Mary Pickford movies, and had recently been the basis of Sutherland Productions  Aldrich had made The Big Knife there "My dream has always been to own my own studio", he said  "With the possible exception of the old Enterprise Studio back in '45 I've never seen a studio run the way it should  That's because everybody at Enterprise felt they could make a contribution
and that's the feeling I hope we can have here "The studios were opened in August 1968  Along with Goldwyn, The Associates and Aldrich was the only major independent company with a studio in Hollywood  For the next few years he would make his movies there 

ABC Pictures
Aldrich's success with The Dirty Dozen led to the newly formed ABC Pictures offer the Associates and Aldrich Company a four-film contract  Aldrich announced they would be The Killing of Sister George, The Greatest Mother of Them All, Whatever Happened to Aunt Alice and Too Late the Hero Aldrich's first film for ABC was The Killing of Sister George (1968), adapted from by Lukas Heller from the play by Frank Marcus  It starred Beryl Reid and Susannah York and was notable for its frank depiction of a lesbian relationship  The movie was popular but because of its high cost lost money Aldrich produced but did not direct What Ever Happened to Aunt Alice? (1969), a psycho-biddy thriller in the vein of Baby Jane directed by Lee H  Katzin and starring Geraldine Page and Ruth Gordon  It also lost money  (Aldrich  announced he would make a third "Whatever Happened to" film, Whatever Happened to Dear Elva? based on the novel Goodbye, Dear Elva by Elizabeth Fenwick  However no film was made )
Aldrich made a 20-minute demo film, "The Greatest Mother of Them All" (1969), in an attempt to raise money for a feature-length version, but was unable to attract interest from ABC  Peter Finch starred ABC wanted Aldrich to make a war film in the vein of The Dirty Dozen so he produced and directed Too Late the Hero (1970), a "patrol" film, which he had been developing since 1959  Despite starring Michael Caine and Cliff Robertson and location work in the Philippines, the film made an overall loss of $6,765,000, making it one of the biggest money losers in the history of ABC Films Aldrich's next film for ABC was The Grissom Gang (1971), an adaptation of No Orchids for Miss Blandish set in the 1930s, with Scott Wilson and Kim Darby  It was another flop, losing ABC $3,670,000 Films Aldrich announced but did not make around this time included Rebellion, a western about Victoriano Huerta with Ernest Borgnine and George Kennedy;, The Movement, about student protest;  He also developed scripts for books which were turned into films by others: Coffee, Tea or Me? and Monte Walsh By now Aldrich's relationship with ABC had become fraught and devolved into lawsuits, in part caused by ABC refusing to finance other Aldrich projects  Aldrich parted company with ABC and in January 1972 put his studios up for sale In a 1972 interview Aldrich said that:

Lasting power is the most important power  Especially in this business, staying at the plate or staying at the table, staying in the game, is the essential  You can't allow yourself to get passed over or pushed aside  Very, very talented people got pushed aside and remained unused    If you must make a choice between luck and talent, you have to opt for luck  It's nice to have some of both, or a lot of both; but if you can't, luck is the answer  Nowhere else more so than in this business  The right place, the right time, the right script, all the right auspices—they made the difference to directors, writers, actors 

Ulzana's Raid and Emperor of the North Pole
Aldrich returned to westerns with Ulzana's Raid (1972), made at Universal for the Associates and Aldrich with producer Carter De Haven  It reteamed Aldrich with Lancaster for the first time since Vera Cruz  The film was a commercial disappointment but has subsequently come to be regarded as one of his finest films Aldrich followed it with Emperor of the North Pole (1973), a story of railway hobos in the 1930s starring Lee Marvin and Ernest Borgnine  Produced by Hyman at 20th Century Fox, it was another box office failure, though it too has seen its reputation soar in recent years (Leonard Maltin gave it 3 1/2 stars, calling it "unusual, exciting" and a "unique entertainment") 

Two with Burt Reynolds: The Longest Yard and Hustle
Aldrich's commercial fortunes were revived with a prison comedy starring Burt Reynolds,The Longest Yard (1974)  Made for producer Albert S  Ruddy at Paramount, it was Aldrich's biggest hit since The Dirty Dozen Aldrich and Reynolds promptly reteamed on Hustle (1975), made for their own production company RoBurt and released through Paramount  A tough police drama co-starring Catherine Deneuve, it was another box office success  However, tension between Aldrich and Reynolds during filming meant they made no more movies together  In 1975 Aldrich was elected president of the Directors Guild of America and served two two-year terms 

Lorimar: Twilight's Last Gleaming and The Choirboys
Aldrich signed a two-picture deal with Lorimar Productions, a TV company which wanted to move into features 
The first was Twilight's Last Gleaming (1977), an action thriller starring Lancaster  The second was a comedy, The Choirboys (1977), based on the best selling novel by Joseph Wambaugh, which Wambaugh disliked so much he sued to get his name taken off the film 

Final films: The Frisco Kid and All the Marbles
Aldrich's last movies were comedies: The Frisco Kid (1979), set in the West with Gene Wilder and Harrison Ford, and    All the Marbles (1981), set in the world of female wrestling with Peter Falk  Neither was particularly popular 
When the latter film came out, Aldrich said, "I'm 63 and I've had hits every ten years and I just hope I can function long enough to have one in the 90s "

Personal life
From his marriage to Harriet Foster (1941–1965), Aldrich had four children, all of whom work in the film business—Adell, William, Alida and Kelly  In 1966, after divorcing Foster, he married fashion model Sibylle Siegfried 

Death and legacy
Aldrich died of kidney failure on December 5, 1983, in a Los Angeles hospital  He is buried in Lot 5153 of the Whispering Trees Section of Forest Lawn Cemetery in Hollywood Hills Film critic John Patterson summarized his career in 2012: "He was a punchy, caustic, macho and pessimistic director, who depicted corruption and evil unflinchingly, and pushed limits on violence throughout his career  His aggressive and pugnacious film-making style, often crass and crude, but never less than utterly vital and alive, warrants — and will richly reward — your immediate attention "In 2012, John Patterson of The Guardian commented that Aldrich is "a wonderful director nearly 30 years dead now, whose body of work is in danger of slipping over the horizon " Japanese film director Kiyoshi Kurosawa noted Aldrich's influence on him In the FX miniseries Feud: Bette and Joan, Aldrich is portrayed by English actor Alfred Molina  The series follows the productions of Baby Jane and Sweet Charlotte 

Filmography
Films
Other film work
The Southerner (1945) (assistant director)
The Story of G I  Joe (1945) (assistant director)
Force of Evil (1948) (assistant director)
Caught (1949) (uncredited director of reshoots)
When I Grow Up (1950) (assistant director)
Limelight (1952) (assistant director)
The Gamma People (1956) (story)
The Garment Jungle (1957) (uncredited original director)
What Ever Happened to Aunt Alice? (1969) (producer)

Television
Unmade projects
Rebellion (late 1960s) — a western
The Crowded Bed (early 1970s)
The Greatest Mother of 'em All (1969) — the full-length feature was never shot
Rage of Honor (1970s) — western set in 1929 about an aging cowboy
Coffee, Tea or Me?  (early 1970s) — comedy about virginal air stewardess

Footnotes
Sources
Arnold, Edward T  and Miller, Eugene, L  1986  The Films and Career of Robert Aldrich  University of Tennessee Press  Knoxville, Tennessee  ISBN 0-87049-504-6
Sarris, Andrew 1981  What Ever Happened to Bobby Aldrich? CineFiles  University of California, Berkeley Art Museum and Pacific Film Archive  Retrieved 18 October, 2018 
Sauvage, Pierre  1976  Aldrich Interview in Edward Arnold's and Eugene Miller's Robert Aldrich: Interviews, 2004  University of Mississippi Press  ISBN 1-57806-602-6
Silver, Alain and Ursini, James  1995  What Ever Happened to Robert Aldrich?: His Life and His Films Limelight Editions  ISBN 0-87910-185-7
Walsh, David  2018  100 years since the birth of American filmmaker Robert Aldrich: Including an interview with film historian Tony Williams Retrieved 10 October 2018 
Williams, Tony  2003  Body and Soul: the cinematic vision of Robert Aldrich  The Scarecrow Press, Inc  Lanham, Maryland  ISBN 978-0-8108-4993-8

Further reading
Robert Aldrich biography and credits at the BFI's Screenonline Entry written by Robert Shail 
"Aldrich & Associates special section"  Screening the Past (10)  2000  A special issue of a film journal that emerged from a symposium devoted to Aldrich & Associates on August 2, 1998, in Melbourne 
Silver, Alain (May 2002)  "Robert Aldrich"  Senses of Cinema (20)  Silver's contribution to the journal's "Great Directors" series 

External links

Robert Aldrich at IMDb
Robert Aldrich at the TCM Movie Database 
Robert Aldrich at AllMovie
Robert Aldrich at Find a Grave
Literature on Robert Aldrich
Passage 2:
Hush… Hush, Sweet Charlotte
Hush   Hush, Sweet Charlotte is a 1964 American psychological thriller film directed and produced by Robert Aldrich, and starring Bette Davis, Olivia de Havilland, Joseph Cotten, Agnes Moorehead and Mary Astor in her final film role  It follows a middle-aged Southern woman, suspected in the unsolved murder of her lover from decades before, who is plagued by bizarre occurrences after summoning her cousin to help challenge the local government's impending demolition of her home  The screenplay was adapted by Henry Farrell and Lukas Heller, from Farrell's unpublished short story "What Ever Happened to Cousin Charlotte?"
Following his previous success adapting Farrell's novel What Ever Happened to Baby Jane?, Aldrich originally cast the film to reunite Davis with Joan Crawford, despite their notorious turbulence on set  Principal photography began with Davis in the title role and Crawford as Miriam, but shooting was postponed while Crawford dropped out and the role was recast with de Havilland  The film was a critical success, earning seven Academy Award nominations 

Plot
In 1927, young Southern belle Charlotte Hollis and her married lover John Mayhew plan to elope during a party at the Hollis family's antebellum mansion in Ascension Parish, Louisiana  Charlotte's father, Sam, confronts John over the affair and intimidates him with the news that John's wife Jewel visited the day before and revealed the affair  John pretends to Charlotte he can no longer love her and that they must part  Shortly after, John is ambushed and decapitated in the summerhouse by an assailant with a cleaver  Charlotte returns to the house in a bloodstained dress, which all of the guests witness 
Thirty-seven years later, Charlotte, a spinster, having inherited the estate after her father died, is tended to by her loyal housekeeper, Velma  In the intervening years, John's death has remained an unsolved murder, though it is commonly held that Charlotte was responsible  Despite notice from the Louisiana Highway Commission that she has been evicted from the property to make way for the impending construction of a new interstate, Charlotte is defiant, and threatens the demolition crew with a rifle  Seeking help in her fight against the Highway Commission, Charlotte summons Miriam, a poor cousin who lived with the family as a girl, but has since moved to New York City  Miriam returns and soon renews her relationship with Drew Bayliss, a local doctor who jilted her  Charlotte's sanity soon deteriorates following Miriam's arrival, her nights haunted by a mysterious harpsichord playing the song John wrote for her and by the appearance of his disembodied hand and head  Suspecting that Miriam and Drew are after Charlotte's money, Velma seeks help from Mr  Willis, an insurance investigator from England who is still fascinated by the case and who has visited Mayhew's ailing widow, Jewel; she gave him an envelope only to be opened after her death 
Miriam fires Velma, who later returns to discover Charlotte has been drugged  Velma plans to expose Miriam's exploitation of Charlotte, but Miriam hits Velma with a chair and she falls down the stairs to her death  Drew covers up the murder by declaring it an accident  One night, a drugged Charlotte runs downstairs in the grip of a hallucination, believing that John has returned to her  After Miriam tricks the intoxicated Charlotte into shooting Drew with a gun loaded with blanks, the two dispose of his body in a swamp  Charlotte returns to the house and witnesses the revived Drew walking downstairs after he returned, reducing her to insanity  Believing she has shattered Charlotte's mental state, Miriam celebrates with Drew in the garden, where they discuss the plan to have Charlotte committed to a psychiatric hospital and usurp her fortune  Charlotte overhears the entire conversation from the balcony, except for Miriam's admission that she had witnessed Jewel kill John, and has been using the knowledge to blackmail Jewel throughout the years  Charlotte kills Miriam and Drew, by pushing a large stone urn off the  balcony 
The next day, the authorities escort Charlotte from home, as a crowd gathers around to observe the spectacle  Charlotte receives an envelope from Mr Willis, which he received from Jewel (who died of a stroke after hearing of the incident which occurred on the previous night), ostensibly confessing to the murder of her husband John   As the authorities leave with Charlotte, she looks back at the house 

Cast
Production
Development and casting
Following the unexpected box office success of What Ever Happened to Baby Jane? (1962), Aldrich wanted to make a film with similar themes for Joan Crawford and Bette Davis  Their feud was infamous and legendary, and they were not initially eager to repeat themselves  
Writer Henry Farrell, on whose novel the film had been based, had written an unpublished short story called "What Ever Happened to Cousin Charlotte?" that Aldrich envisioned as a suitable follow-up  It told a similar story of a woman who manipulates a relative for personal gain, but for this film, Aldrich's idea was that the two actresses would switch the roles from the previous one, with Crawford playing the devious cousin trying to manipulate the innocent Davis into giving up her estate  Aldrich's frequent collaborator, Lukas Heller, wrote a draft of the screenplay, but was replaced by Farrell in late 1963 Three other cast members from What Ever Happened to Baby Jane? were cast in Hush   Hush, Sweet Charlotte: Wesley Addy, Dave Willock and Victor Buono 

The cast included Mary Astor, a friend of Davis' since their days at Warner Bros  Astor retired from acting and died in 1987  She said: My agent called: 'There's this cameo in a movie with Bette Davis  It's a hell of a part; it could put you right up there again ' I read the script  The opening shot described a severed head rolling down the stairs, and each page contained more blood and gore and hysterics and cracked mirrors and everybody being awful to everybody else  I skipped to my few pages–a little old lady sitting on her veranda waiting to die  There was a small kicker to it inasmuch as it was she who was the murderess in her youth and had started all the trouble  And then in the story, she died  Good! Now, I'd really be dead! And it was with Bette–which seemed sentimentally fitting 

Filming
Principal photography of the film began in mid-1964, with the on-location shooting commencing in Baton Rouge, Louisiana  However, the shoot was temporarily suspended on several occasions early on  Initially, it was halted after a third-party lawsuit was brought against Davis by Paramount Pictures over a commitment to complete additional filming on Where Love Has Gone (1964)  When this was resolved, filming recommenced 
The production was postponed again to allow Crawford to recover after she was admitted into the hospital due to an upper respiratory ailment, though Aldrich hired a private investigator to track her and determine whether or not she was actually ill  By August 4, 1964, the production had been suspended indefinitely, and the studio's insurance company insisted that Crawford be replaced, or else the film would have to be cancelled entirely Aldrich sought several actresses to replace Crawford, including Loretta Young, and Vivien Leigh, but they were each either unable or unwilling to take the role  Aldrich ultimately sought Olivia de Havilland for the part, and flew to her home in Switzerland to attempt to convince her to take the role  de Havilland agreed and she subsequently flew to Los Angeles to begin filming  In later interviews, de Havilland expressed displeasure with the film: "I wasn't thrilled with the script, and I definitely didn't like my part  I was reverse-typecast, being asked to be an unsympathetic villain  It wasn't what people expected of me  It wasn't really what I wanted to do  Bette wanted it so much, so I did it  I can't say I regretted it, because working with her was special, but I can't say it was a picture I am proud to put on my resume  Given the choice, I wouldn't have deprived Joan Crawford of the honor " According to Crawford, she only learned of her firing from a news radio broadcast  However, despite  being replaced (and because a planned reshoot with de Havilland in Louisiana was cancelled), brief footage of Crawford made it into the film, when she is seen sitting in the taxi in the wide shot for Miriam's arrival at the house (Crawford can be seen peering out of the window wearing dark sunglasses/clothing) 
Scenes outside the Hollis mansion were shot on location at Houmas House plantation in Louisiana  Scenes of the interior were shot on a soundstage in Hollywood 

Musical score
The title song by Frank de Vol became a hit for Patti Page, who recorded a version which reached no  8 on the Billboard Hot 100 

Release
Box office
According to Fox records, the film needed to earn $3,900,000 in rentals to break even and made $4,950,000, meaning it made a profit of $1,050,000  In France, the film sold 79,168 tickets 

Critical reception
Hush   Hush, Sweet Charlotte was another hit for Aldrich, opening to positive reviews  A pan, however, came from The New York Times  Bosley Crowther observed, "So calculated and coldly carpentered is the tale of murder, mayhem and deceit that Mr  Aldrich stages in this mansion that it soon appears grossly contrived, purposely sadistic and brutally sickening  So, instead of coming out funny, as did Whatever Happened to Baby Jane?, it comes out grisly, pretentious, disgusting and profoundly annoying "Variety's reviewer wrote: "Davis' portrayal is reminiscent of Jane in its emotional overtones, in her style of characterization of the near-crazed former Southern belle, aided by haggard makeup and outlandish attire  It is an outgoing performance, and she plays it to the limit  De Havilland, on the other hand, is far more restrained but nonetheless effective dramatically in her offbeat role " Judith Crist wrote about the film, "The guignol is about as grand as it gets " Kenneth Tynan asserted that "(Davis) has done nothing better since The Little Foxes " A later review for Time Out (London) observed: "Over the top, of course, and not a lot to it, but it's efficiently directed, beautifully shot, and contains enough scary sequences amid the brooding, tense atmosphere  Splendid performances from Davis and Moorehead, too "On the review aggregator website Rotten Tomatoes, 82% of 28 reviews are positive, with an average rating of 7 3/10 

Accolades
Moorehead won the Golden Globe for Best Supporting Actress  The film also received seven nominations (two more than Baby Jane: one less in the acting category, namely for Davis) for the 37th Academy Awards, breaking the record as the most for a horror film up to that time 

Home media
The film was first released on DVD on August 9, 2005  It was re-released on April 8, 2008, as part of The Bette Davis Centenary Celebration Collection 5-DVD box-set  On October 17, 2016, It was released onto high-definition Blu-ray in the US by Twilight Time as a 3,000-print limited edition  Another Blu-ray edition was released in the UK by Eureka Entertainment as a part of their "Masters of Cinema" collection on January 21, 2019 

See also
List of American films of 1964
Psycho-biddy
Passage 3:
A Kiss for Corliss
A Kiss for Corliss (retitled Almost a Bride before its release) is a 1949 American comedy film directed by Richard Wallace, written by Howard Dimsdale, and starring David Niven and Shirley Temple  The film, which was the last for both Wallace and Temple, was released on November 25, 1949, by United Artists  It is a sequel to the 1945 film Kiss and Tell, also directed by Wallace and starring Temple 

Plot
Playboy Kenneth Marquis is divorcing his third wife, who is represented by her attorney, Harry Archer  Corliss, Archer's teenaged daughter, is smitten with the charismatic Marquis and his free-wheeling lifestyle  Marquis sends a box of candy to Corliss, infuriating Archer, who interprets the gift as a jab at his settlement demand  Archer also prohibits Corliss' boyfriend Dexter from dating her after he sees Dexter at the Penguin Club, a restaurant that doubles as a gambling joint  Corliss manipulates Dexter into taking her to the club, but just after they arrive, the club is raided by police  Corliss and Dexter hide in the basement, but are temporarily trapped, causing Corliss to arrive home late, so she feigns amnesia to her parents to cover the truth  To refresh Corliss' memory, Archer reads her diary, which contains her imaginary romantic trysts with Marquis  The contents of the diary, along with Marquis' gift of candy, cause Corliss' parents to assume the worst 
Corliss' friend Raymond Pringle, who publishes a neighborhood paper, shows Marquis some of the diary entries, threatening to publish them unless Marquis buys advertising  Marquis visits the Archers and says that every word in the diary is true, that he is in love with Corliss, and that he wants to make her his fourth wife  When Archer explodes in anger, Corliss admits that the diary is not true and was written to make Dexter jealous  Marquis insists that the diary is true, though Corliss reveals why she was out late  Dexter arrives and eventually agrees with Corliss' version of events, but the Archers remain unconvinced  Marquis announces his engagement to Corliss in the newspaper to sue the Archers for breach of promise when the engagement is cancelled  The Archers delay rescinding the engagement to avoid the appearance of an immediate breach 
Marquis has gifts for Corliss delivered, and Archer is hounded by the media  Corliss continues to insist that the diary is false to her parents' continuing disbelief  Glimpse, a national magazine, runs photos of Marquis and Corliss  Archer's brother Uncle George, a Navy chaplain, visits and offers to perform the wedding  At the wedding rehearsal, held in the Archers' home, Dexter tells Mr  Archer that he has a witness who can attest to Corliss and his version of the events from the night when she was out late  Marquis' lie is revealed and the men escort him outside, where an offscreen fight ensues, and Archer and Dexter both return bloodied  Archer had overcome Marquis in the fight, but Dexter had accidentally hit  Archer  Marquis passes by an open window, his eye blackened, and mocks Archer and Dexter as he departs 

Cast
Shirley Temple as Corliss Archer
David Niven as Kenneth Marquis
Tom Tully as Harry P  Archer
Virginia Welles as Mildred Pringle
Darryl Hickman as Dexter Franklin
Gloria Holden as Mrs  Janet Archer
Robert Ellis as Raymond Pringle
Kathryn Card as Louise
Richard Gaines as Taylor
Roy Roberts as Uncle George
Passage 4:
The Ambulance
The Ambulance is a 1990 American comedy thriller film written and directed by Larry Cohen  It stars Eric Roberts, Megan Gallagher, James Earl Jones, Janine Turner, Red Buttons, and Eric Braeden as the Doctor  Kevin Hagen plays a cop   In his first film role, Stan Lee of Marvel Comics has a small role as himself 

Plot
Aspiring comic book artist Josh Baker meets a young woman named Cheryl on the streets of New York City, who proceeds to collapse and is rushed to a hospital by an ambulance   When Josh arrives at the hospital, he is shocked to find that there is no record of Cheryl ever being admitted and he soon learns another startling discovery, Cheryl's roommate also vanished after being picked up by the same ambulance 
Convinced that there is some sort of conspiracy going on, Josh proceeds to investigate the disappearances, despite the overt disdain and discouragement from Lt  Spencer 

Cast
Eric Roberts as Josh Baker
James Earl Jones as Lieutenant Frank Spencer
Megan Gallagher as Officer Sandra Malloy
Red Buttons as Elias Zacharai
Janine Turner as Cheryl Turner
Eric Braeden as The Doctor
Richard Bright as Detective Jerry McClosky
James Dixon as Detective John "Jughead" Ryan
Jill Gatsby as Jerilyn O'Brien
Martin Barter as Street Gang Leader
Laurene Landon as Patty
Nick Chinlund as Hugo (as Nicholas Chinlund)
Beatrice Winde as Head Nurse
Kevin Hagen as Cop At Stables
Matt Norklun as Ambulance Driver
Rudy Jones as Ambulance Driver
Stan Lee as Marvel Comics Editor
Deborah Hedwall as Nurse Barbera Feinstein
Susan Blommaert as Hospital Receptionist
Jordan Derwin as Hospital Official
Alexandra Jones as The Waitress
Michael O'Hare as Hal

Production
Cohen later said he was inspired by "the concept of taking something that is thought of as being benign or benevolent    or anything else that has a safe and wholesome image, and turning it into an object of terror " He had done this for It's Alive (babies) and The Stuff (junk food) and wanted to do it with ambulances  "When you hear or see an ambulance on the street, it’s usually considered to be something that is going to rescue you and take care of you, a vehicle of mercy," said Cohen  "In this story, it’s actually a vehicle of murder  The whole idea of an ambulance that suddenly arrives from nowhere, picks people up, and takes them away to some dark place where they are never seen or heard of again was completely original and creepy "Cohen says at one stage the financiers wanted a "classier" title than The Ambulance so he retitled it In Thin Air  They changed their mind and the film went back to being called The Ambulance  In the May, 1990 edition of his column Stan's Soapbox, Stan Lee mentions playing himself in a scene in "an adventure mystery called Into Thin Air and refers to the name change in a later column Cohen wanted to cast John Travolta or Jim Carrey in the lead but his producers refused Donald Trump made a small cameo in a deleted scene 
Jamie Lee Curtis was originally considered to play Officer Sandra Malloy
The role of the villain was originally played by Wesley Addy  However Cohen was unhappy with his performance and recast the role with Eric Braeden  Braeden's casting came at the suggestion of Cohen's mother who was a fan of The Young and the Restless 

Home media
The film was released on Blu-ray on March 13, 2018 by Scream Factory 

See also
List of films featuring diabetes
Passage 5:
Vera Cruz (film)
Vera Cruz is a 1954 American Western film directed by Robert Aldrich and starring Gary Cooper and Burt Lancaster, featuring Denise Darcel, Sara Montiel, Cesar Romero, Ernest Borgnine, Charles Bronson and Jack Elam  Set during the Franco-Mexican War, the film centers on a group of American mercenaries tasked with transporting a large shipment of Imperial gold to the port of Veracruz, but begin to have second thoughts about their allegiances  It was produced by Hecht-Lancaster Productions and released by United Artists on 25 December 1954 
The picture's amoral characters and cynical attitude towards violence (including a scene where Lancaster's character threatens to murder child hostages) were considered shocking at the time and influenced future Westerns such as The Magnificent Seven (1960), The Professionals (1966), Sam Peckinpah's The Wild Bunch (1969), and the Spaghetti Western films of Sergio Leone, which often featured supporting cast members from Vera Cruz in similar roles  Its influence on the latter led some critics to label it "the first Spaghetti Western "

Plot
During the Franco-Mexican War, ex-Confederate soldier Ben Trane travels to Mexico seeking a job as a mercenary  He falls in with Joe Erin, a younger gunslinger who heads a gang of cutthroats  They are recruited by Marquis Henri de Labordere for service with Emperor Maximilian  Maximilian offers them $25,000 to escort the Countess Duvarre to the city of Veracruz  Trane gets the emperor to double the offer 
During a river crossing, Trane notices that the stagecoach in which the countess is traveling is extremely heavy  Erin and Trane later discover that hidden inside are six cases of gold coins  The countess informs them that it is worth $3 million which is intended to pay for reinforcements from Europe  They form an uneasy alliance to steal and split the gold  Unbeknownst to them, the marquis is listening from the shadows 
The Juaristas, led by General Ramírez, attack the column several times  Pickpocket and Juarista undercover agent Nina joins the convoy  When Trane, Erin and their men are surrounded by the Juaristas, Trane persuades Ramirez to join forces and agree to pay them $100,000  The marquis succeeds in getting the gold to Veracruz  In the Juarista attack, the French are defeated, but most of Erin's men are killed  Erin attempts to steal the gold for himself by getting the countess to reveal the location of the ship she had hired to transport it  He even kills one of his own men  However, Trane arrives in time to confront him  They face off in a showdown that ends in Erin's death  Trane and Nina leave, while women search the dead for their loved ones 

Cast
Production
Burt Lancaster and Harold Hecht had just signed a contract with United Artists to make two films, starting with Apache, also directed by Robert Aldrich  Just before filming on that movie began in October 1953, Lancaster announced their second film would be Vera Cruz with himself and Gary Cooper, based on a story by Borden Chase In December 1953, after Apache finished filming, Lancaster announced Aldrich would direct Vera Cruz United Artists were so happy with Apache they changed the two-picture deal with Hecht and Lancaster into a two-year deal covering seven films 

Casting
Before taking the role of Ben Trane, Gary Cooper was advised by Clark Gable not to work with Burt Lancaster, fearing the younger actor would upstage him Mari Blanchard was meant to play the female lead and Hecht signed to borrow her from Universal  However, there was a clause forbidding her to appear on television which Hecht disagreed with  Instead they cast Denise Darcel  Mamie Van Doren claimed in her autobiography Playing the Field that Lancaster interviewed her for the role of the Countess, but she lost the part after refusing to sleep with him Charles Bronson was billed under his real name, 'Charles Buchinsky', in the film  This would mark the last time he would be credited that way, before he adopted his more well-known stage name 

Shooting
Filming started in February 1954  Vera Cruz was the first American film production to be shot entirely in Mexico  Though set in the city of Veracruz, the majority of the film was actually shot in and around Cuernavaca  Exterior shots were filmed at Chapultepec Castle in Mexico City, the ruins of Teotihuacan, and the climax was shot at Molino de Flores Nezahualcóyotl National Park in Texcoco de Mora  The interiors were filmed at Estudios Churubusco Vera Cruz was also the first production to use the SuperScope widescreen process, which was designed to achieve anamorphic prints from standard flat 35mm negatives  Shot at a conventional 1 37:1 aspect ratio, the film was cropped to 2:1 in post-production, given a CinemaScope-compatible (2x) squeeze, and blown up to normal frame height  
Aldrich and Lancaster got along well on Apache but as to Vera Cruz, the director said "we probably had a less amicable relationship than we anticipated  This was because Burt, until he directed The Kentuckian, thought he was going to be a director and when you're directing your first great big picture you don't welcome somebody else on hand with directorial notions  There were a few differences of opinion about concepts and about action " Lancaster recalled that Cooper demanded rewrites to his character to make him less morally-gray and more conventionally heroic 
According to Eli Wallach, the Mexican authorities were appalled at the unflattering depiction of their country, so any subsequent Hollywood productions (including The Magnificent Seven) were thoroughly overseen by state censors 

Reception
The film earned an estimated $5 million at the North American box office during its first run and $9 million overall In 1963, Aldrich announced he was working on a sequel There Really Was a Gold Mine but it was never made 

Legacy
Critic and historian Dave Kehr would later cite Vera Cruz as one of the most influential films of the 1950s, inspiring later Westerns by such directors as Sam Peckinpah and especially Sergio Leone  Kehr also praised Cooper and Lancaster's performances in the film, writing that "the generational transition from an aging star to his up-and-coming replacement has seldom been handled with better humor or more biting wit "

Home media
Vera Cruz was released to DVD by MGM Home Video on March 20, 2001, and to Blu-Ray on June 7, 2011  Kino Lorber re-released the film on Blu-ray on October 12, 2021 

See also
You Can't Win 'Em All, a 1970 film with a similar plot set in the Greco-Turkish War 
Passage 6:
Ten Tall Men
Ten Tall Men is a 1951 American adventure film starring Burt Lancaster about the French Foreign Legion during the Rif War in Morocco  Though co-written and directed by Willis Goldbeck, Goldbeck walked off the film due to disputes with Lancaster (whose own company, Norma Productions, produced the film) with the movie being completed by Robert Parrish   Credited as an associate producer, Robert Aldrich was a production manager on the film where he met Lancaster, which led him to direct Vera Cruz for him  Robert Clary made his debut in the film as an Arab batman  Portions of the film were filmed in Palm Springs, California  The story was released as a Fawcett Movie Comic #16 in April 1951 

Plot
After capturing an important Rif prisoner in an undercover operation, Sergeant Mike Kincaid (Lancaster) is imprisoned himself for striking a lieutenant (Stephen Bekassy) who beats a French woman (Mari Blanchard) with his riding crop for preferring Kincaid to him  Kincaid has a longstanding rivalry with the lieutenant, but the lieutenant is now in command of the company holding the city of Tarfa while the regiment is away  As the ranking officer, the lieutenant uses Kincaid's striking of him to get his revenge 
Kincaid is imprisoned alongside seven military prisoners and the captured Rif who has refused to talk, with the lieutenant refusing food and water to both Kincaid and the Rif   When his two comrades-in-arms who accompanied him on the mission, Corporals Luis Delgado (Gilbert Roland) and Pierre Molier (Kieron Moore), sneak food and water to Kincaid, he shares them with the Rif   To repay Kincaid's kindness and assuage his own guilt for telling the lieutenant about Kincaid's assignation with the Frenchwoman, the tells of an impending attack on Tarfa while the garrison is weak  The Rif believes Kincaid will escape to save himself, but he instead warns the lieutenant 
The experienced Kincaid tells the lieutenant that their only chance is to release him to lead a series of guerrilla hit-and-run attacks to delay the enemy for five days until the regiment returns   The lieutenant agrees, but only if Kincaid will testify that the idea was his  Kincaid agrees to his terms  The only men available for the mission are the seven prisoners, who receive full pardons for their crimes   His two corporals join them, raising their number to ten 
When scouting an enemy camp, the Legionnaires discover two rival tribes have joined forces, making them strong enough to take the city  Using his expertise in disguise and language, Kincaid finds out that the Rif leader, Khalid Hussein (Gerald Mohr), is marrying Mahla (Jody Lawrance) in order to cement an alliance with the other tribe  Kincaid kidnaps her to force the enemy to chase him for the five days 
Mahla begins to fall in love with her handsome captor, as Hussein pursues the Legionnaires across the desert  In the midst of the dangers, the patrol finds a destroyed Legion truck containing a safe that one of the men opens, revealing a large Legion payroll  When Jardine (John Dehner) tries to get away with the payroll, he is shot, but that tells the Rifs where they are 
Kincaid is eventually captured and Mahla freed  She demands that Kincaid be released unharmed, or she will not marry Hussein  Hussein reluctantly does so  Kincaid and his men infiltrate the wedding ceremony, and fighting breaks out  Mahla's tribe switches sides, and Hussein is killed 

Cast
Production
The film was the first of a two-picture deal Columbia Pictures signed with Norma Productions, the company of Burt Lancaster and Harold Hecht  (The second was to be Small Wonder, a film in which Lancaster would not appear )It was originally a Western story by James Warner Bellah and Willis Goldbeck which concerned conflict between the US cavalry and Apaches  Producer Harold Hecht and star Burt Lancaster then decided that "John Ford and other Hollywood operators have so effectively decimated the Apache population" that they hired writer A I  Bezzerides to reimagine the story with a Foreign Legion setting which wound up involving the Rif War (1911-1927)  Roland Kibbee and Frank Davis were hired to rewrite the script to make it more comedic The film was shot in February 1950 at the Columbia Ranch in the San Fernando Valley and on location in Yuma, Arizona 

Notes
External links
Ten Tall Men at the American Film Institute Catalog
Ten Tall Men at IMDb
Ten Tall Men at the TCM Movie Database
Passage 7:
Enteng the Dragon
Enteng the Dragon is a 1988 Philippine comedy film directed by Romy Villaflor and written by Tony S  Mortel  It is a parody of the film Enter the Dragon 

Plot
The story revolves around \ Enteng (Dolphy) a vendor of a mobile food house in China Town  Enteng is known for his humor, and a journalist and star reporter named Rowena (Dang Cecilio) was interested to cover his story after her Editor-in-Chief saw him as worthy of human interest  Kuto (Vandolph), a young boy that he found sleeping in his food wagon, led him to the shrine of the monks, that sealed his destiny as a vigilante and hero 

Cast
Dolphy as Enteng
Vandolph as Kuto
Dang Cecilio as Rowena
Eddie Garcia as the Evil Leader
Monica Herrera as Christina
Monsour del Rosario
Rommel Valdez
Tsing Tong Tsai
Panchito
Babalu
Don Pepot
Che-Che Sta  Ana
Roy Aoyama
Ros Olgado
Ernie Ortega
Estrella Querubin

Production
The film was produced by the RVQ Productions, a production owned by Dolphy himself 

Release
The film was released on July 14, 1988 

Accolades
Passage 8:
O Cangaceiro
O Cangaceiro (lit  "The Cangaceiro"; also known as The Bandit and The Bandits) is a 1953 Brazilian adventure western film directed by Lima Barreto  After some reluctance by its studio Vera Cruz, Barreto shot it in 1952  After its release it was national and international success, and won several awards, including the Adventure Film Award at the 1953 Cannes Film Festival  It was poorly received in retrospect despite being praised by the time of its release and started a subgenre in Brazilian cinema 

Cast
Alberto Ruschel as Teodoro
Marisa Prado as Olívia
Milton Ribeiro as Galdino
Vanja Orico as Maria Clódia
Adoniran Barbosa as Mané Mole

Production
In 1950, Lima Barreto joined the film studio Companhia Cinematográfica Vera Cruz invited by its then president Alberto Cavalcanti  After releasing two documentaries successfully for the studio, Painel and Santuário, Barreto get the chance to direct a feature film  With the idea to shoot a film about Lampião since the early 1940s, he only commenced to shoot it in 1952 after some reluctance by Franco Zampari, Vera Cruz's founder  Although he went to Bahia and did some research there, it was shot in Vargem Grande do Sul, São Paulo, with a production that lasted nine months due to internal conflicts 

Reception
O Cangaceiro was released on January 20, 1953, and was  a public success; it grossed ₢$30 million (about US$1 5 million) in the 24 Brazilian theaters in which it spent six weeks  After its national success, it was distributed to over 80 countries, becoming one of the most internationally successful Brazilian films—a feat uncommon in that time  It led it to be considered Vera Cruz's "high point" and its "most important production" by Georges Sadoul, author of Dictionary of Films, and by O Estado de S  Paulo's Luiz Zanin, respectively After winning several Brazilian awards, the film was entered into the 1953 Cannes Film Festival, where it was "much liked for its original and truly national flavour " O Cangaceiro won the Best Adventure Film Award, making it the first Brazilian film to win a prize at Cannes, and received a special mention to Gabriel Migliori's musical composition  At the Edinburgh International Film Festival it was awarded the Best Film It received mixed commentaries since its release  It was once voted the best Brazilian film in 1968 by National Film Institute's magazine Revista Film Cultura  Sadoul declared, "Lima Barreto well conveys a sense of poetry of the open desert space of the Sertão and makes this story lively and suspenseful"  After praising its cast performances and its "thrilling" musical score, Bosley Crowther of The New York Times said, "This [O] Cangaceiro is a picture that will cause the Western fans to rub their eyes " However, Cinema Novo representants—mainly Glauber Rocha—would criticize it for borrowing too much the style of American films  Critics also went on to comment on its "sociological inaccuracies "

Legacy
It is the first film to mix cangaço with Western, starting a genre called "Nordestern" —an amalgam of the words "Nordeste" (Northeast) and "Western"  It would be followed by successful films such as Carlos Coimbra's A Morte Comanda o Cangaço (1960), Lampião, o Rei do Cangaço (1964) and Corisco, o Diabo Louro (1969), and Aurélio Teixeira's Os Três Cabras de Lampião  It also established cangaço as a subgenre in Brazilian cinema; subsequently, cangaço would be featured as a theme from comedy—such as Os Três Cangaceiro and O Lamparina—to pornochanchada films—As Cangaceiras Eróticas and A Ilha das Cangaceiras Virgens  Also, Ruschel and Ribeiro would reprise the role of "good cangaceiro" and "bad cangaceiro" in other films 
Context 2: Passage 1:
List of Unbreakable Kimmy Schmidt episodes
Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015  Originally set for a 13-episode first season on NBC for spring 2015, the show was sold to Netflix and given a two-season order  The fourth and final season concluded on January 25, 2019  On May 8, 2019, it was announced that the series would return with an interactive special, which premiered on May 12, 2020 
During the course of the series, 52 episodes of Unbreakable Kimmy Schmidt were released over four seasons 
The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women had been held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years  Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski)  With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her 

Series overview
Episodes
Season 1 (2015)
Season 2 (2016)
Season 3 (2017)
Season 4 (2018–19)
Special (2020)
Passage 2:
Robert Carlock
Robert Morgan Carlock (born September 21, 1972) is an American screenwriter and producer  He has worked as a writer for several NBC television comedies, and as a showrunner for 30 Rock, which was created by his recurring collaborator, comedian Tina Fey  He co-created Unbreakable Kimmy Schmidt with Fey  He co-created the television show Mr  Mayor starring Ted Danson, again with Fey 

Early life
Carlock was born in Waltham, Massachusetts, the son of Martha and Roger Emery Carlock  Raised in Weston, Massachusetts, he graduated from Belmont Hill School in 1991 and cum laude from Harvard University in 1995, where he became president of the Fly Club, an all-male social club, and an editor for the Harvard Lampoon 

Career
Carlock began writing for the Dana Carvey Show in 1996  Following that, he was a member of the writing staff of Saturday Night Live from 1996 to 2001, contributing to 99 episodes of the show  One of his notable SNL sketches was NPR's Delicious Dish with Ana Gasteyer and Molly Shannon  In 2011, Ben and Jerry's released a new ice cream flavor based on the sketch written by Carlock and named it "Schweddy Balls" Carlock left SNL in 2001 to write for Friends in Los Angeles, working on the show until 2004 when he joined the staff of Friends spinoff Joey for two years  Carlock then moved back to New York to work on an "Untitled Tina Fey Project" in 2006, which became 30 Rock, which he wrote for and produced  He then worked on Fey's next sitcom, Unbreakable Kimmy Schmidt, which debuted in 2015  He also wrote the screenplay for Fey's film Whiskey Tango Foxtrot (2016) 
Carlock has won several awards for his work on 30 Rock, including Primetime Emmys, Writers Guild of America Awards, and Producers Guild of America Awards, as well as being named one of the top 50 power showrunners of 2011 In 2021, Carlock co-created the series Mr  Mayor with Fey which premiered on NBC on January 7, 2021  The series has received generally positive reviews from critics  In April 2021, the series was renewed for a second season 

Personal life
On December 31, 2001, Carlock married Jennifer Nielsen Rogers, a Wellesley graduate and former CNNfn producer/reporter  Rogers now works as an anchor for Yahoo Finance  She was previously an anchor and reporter for Reuters TV 

Filmography
Awards and nominations
In addition to winning three Emmy Awards for Outstanding Comedy Series, Carlock has been nominated for the Emmys' individual writing award three times  He has won multiple Producers’ Guild and Writers’ Guild Awards as well as recognition from the American Film Institute  His work on 30 Rock also garnered Carlock a Peabody Award, a Television Critics Association Award, a GLAAD Award, a Gold Plaque from the Hugo Television Awards, a Golden Nymph from the Monaco Film and Television Festival, a Bravo A-List Award, some award that's shaped like a Calder stabile, a Comedy Central Comedy Award, and a Golden Globe The following awards are categorized under the year they were announced (and not necessarily the year covered by the award ceremony) 
Passage 3:
Live Show
"Live Show" is the fourth episode of the fifth season of the American television comedy series 30 Rock, and the 84th episode overall  It was directed by Beth McCarthy-Miller, and co-written by series creator Tina Fey and co-showrunner and executive producer Robert Carlock  The episode originally aired live on the NBC television network in the United States on October 14, 2010, with separate versions for the East and West Coast television audiences  "Live Show" featured appearances by Rachel Dratch, Bill Hader, Matt Damon, Jon Hamm, and Julia Louis-Dreyfus 
30 Rock follows the production of the fictional sketch comedy program The Girlie Show with Tracy Jordan (TGS)  In this episode, on the night of a show, head writer Liz Lemon grows increasingly infuriated when no one seems to remember her 40th birthday  Just before TGS's live taping, Tracy Jordan decides to break character, to his co-workers' chagrin  Meanwhile, television executive Jack Donaghy struggles with the consequences of his promise to give up drinking while his girlfriend Avery Jessup is pregnant with their child 
"Live Show" was an experiment for 30 Rock—filming with a multiple-camera setup before a studio audience to broadcast live—and the episode received positive reviews for its boldness as well as the nostalgia it showed for classic sitcom conventions and meta-humor—for instance, guest star Louis-Dreyfus portrays Liz Lemon in some cutaway scenes where it would be physically impossible for series regular Fey to be on two separate stages at once  The episode was also a ratings success, improving upon the audience that 30 Rock had grown since its previous season 
On June 22, 2020, it was revealed that the East Coast version would be one of the episodes being pulled from syndication due to issues with the presence of blackface and other racially insensitive humor, however, the West Coast version would remain since it did not include the offending scene 

Plot
Liz Lemon—the head writer of The Girlie Show with Tracy Jordan (TGS)—is preparing to air another episode of TGS, but is angry that her co-workers have forgotten her 40th birthday  Tracy Jordan frustrates her further by deciding to break character during the show's live broadcast in an homage to The Carol Burnett Show  TGS co-star Jenna Maroney is determined to not let Tracy upstage her and declares she will have a deliberate wardrobe malfunction and bare her breast on live television if Tracy does not stop  As the show goes awry due to Tracy and Jenna's unprofessionalism, Liz is forced to cut away from their regularly scheduled programming to commercials for Dr  Leo Spaceman's new album of erotic ballads to cure erectile dysfunction and Drew Baird's public service announcement for hand-transplant surgery 
Meanwhile, Jack Donaghy struggles with a promise that he made to his girlfriend Avery Jessup—he will not drink alcohol during her entire pregnancy in a show of solidarity with her  Instead, he takes up knitting and stage magic, but finds the urge to drink so strong that he begins sniffing paint cans and Jenna's breath just to get a whiff of alcohol  During TGS, Liz gets a phone call from her boyfriend airline pilot Carol informing her that he is going through extreme turbulence and may crash his plane 
In the final act of the show, Jack conspires with the cast and crew to give Liz a last-minute birthday surprise which he wants to appear as though it had been planned all along  Meanwhile, Carol safely lands his plane and rushes to greet Liz on set  All they can muster on short notice is a polka band and a large cake with Fonzie on it—gifts that were intended to celebrate janitor Jadwiga's birthday  Jagwida proceeds to ruin the TGS goodnights and tear into the cake with her bare hands  In Jack's office, Liz and Jack share a drink as Liz's birthday wish  In the final scene, as Jack takes a drink, the program reverts to a pre-recorded segment and Jack says, "That's more like it " The episode ends with a live goodnight from its cast on the TGS stage, a la Saturday Night Live 

Production
"Live Show" was co-written by series creator, executive producer, and lead actress Fey and co-showrunner and executive producer Robert Carlock  It was directed by Beth McCarthy-Miller, a long-time television director who worked with Fey on the sketch comedy show Saturday Night Live 
On July 30, 2010, the NBC network announced that an episode of 30 Rock's fifth season would be filmed and broadcast live on two occasions in the evening of October 14, 2010  The decision was made in part due to lagging ratings for all of NBC's Must-See TV line-up  The idea was originally conceived during the 2007–2008 Writers Guild of America strike, when the cast performed two live versions of the season two episode "Secrets and Lies" as a benefit at the Upright Citizens Brigade Theatre in New York City  When asked by Entertainment Weekly the reason for doing a live episode, Fey said "[The live performance] was what made us think that it would be fun to do [a live episode]  And how far we've come    Now we're going to do it on TV " In this same interview, Fey revealed that the episode would also be performed in front of a live audience  "It will be exciting for us to do it for a live audience and see if we get live laughter " Fey noted that the experience "was so fun to feel the different timing of the show live and the audience response, which you just don't get in a single-camera show " In another interview, Fey revealed that the staff have talked about doing a live show for years "because we felt we had sort of interesting personnel for it " Following the conclusion of the writers' strike they spoke to NBC about performing live and attempted to film it during the fourth season; however, they were unable to schedule it  For the fifth season, the writing staff began planning the live performance and waited until McCarthy-Miller—a recurring 30 Rock director—was available to helm it  Fey and Carlock said in separate discussions that another decision to do this episode of 30 Rock was based on the cast having theater and improvisation experience  Alec Baldwin had previously performed in the East and West live broadcasts of the Will & Grace season 8 premiere episode, "Alive and Schticking" 
Prior to the broadcast, the cast rehearsed "Live Show" for three days and had one rehearsal before a live audience the day of broadcast  The two separate broadcasts of the episode resulted in a live telecast to American viewers in both the East and West Coasts of the United States (with viewers in the Central Time Zone receiving the East Coast feed live, per standard U S  broadcasting practice)—the crew briefly considered a third broadcast for the Mountain Time Zone, but decided against it  The initial East Coast broadcast included a theme song sung by Jane Krakowski and the later West Coast version's song was performed by Cheyenne Jackson—the two also performed to warm-up the crowd in the rehearsal  In addition, the two episodes had a few scripted differences, such as the lyrics to Spaceman's song, Liz Lemon mocking Jack Donaghy's office assistant Jonathan by referring to him as a character from Slumdog Millionaire in the East Coast broadcast and as Aladdin in the West Coast airing, and the subtitle in the Fox News skit  Additionally, the fictional commercial that featured Drew Baird is different—in the East Coast broadcast he is given a hand transplant from an executed black man; in the West Coast broadcast he has a woman's hand  This episode marks Rachel Dratch's first appearance on 30 Rock since season one, and her first work since giving birth to her son Eli on August 24, 2010 The DVD includes the West Coast version as a bonus feature, but not the entire East Coast version  Instead, the primary version of the episode as presented on DVD is edited together from both East and West, trimmed for time (some scenes are missing and some transitions and awkward pauses are shortened), and presented with standard cast and crew credits (as opposed to the SNL-style crawl), presumably to fit standard rerun length and format  The mix-and-match episode uses the West Coast version for most of the first seven-and-a-half minutes (except Jenna's East Coast title sequence), cuts Jenna's "It's Your Birthday, Slut" sequence and the second Yadwiga scene ("sit on it") entirely, and uses West for various short parts (including, most likely, part of the Fox News sketch preparation, half a minute before Carol's phone call, a minute from the last few moments of the call to "I will slip a nip", the first twenty seconds of Jack's paint can sniffing scene, Jenna's nip slip threat before the second commercial ("to commercial go!"), possibly Jack's Capital One plug, and the last seventy seconds or so of the birthday cake scene)  It doesn't use the West Coast version for the next moments of the paint can scene where Jack's grammar is corrected  As a result, some differences outlined in the other Alternate Versions entry won't be available to anyone with the DVD, including the Slumdog Millionaire variant listed above and many flubs and goofs 

Connection with television tropes
As the live broadcast of "Live Show" was recorded with TV cameras edited live to video rather than film stock, the video quality for this episode was noticeably different from standard episodes of 30 Rock  Jack acknowledges this at the start of the episode by asking why everything looks like a "Mexican soap opera " Throughout the episode, the characters broke the fourth wall: Tracy Jordan's unprofessional acting within the TGS episode, Jack's references to the video quality, Julia Louis-Dreyfus' portrayal of Liz in cut-away sequences, and the re-hashing of standard sitcom plot elements In addition, there were several connections with SNL: Fey, Morgan, Dratch, Bill Hader, Louis-Dreyfus, Parnell, and director McCarthy-Miller are all SNL alumni (fellow alumnus Will Ferrell was asked to reprise his recurring "Bitch Hunter" character, but had a scheduling conflict); the show was filmed in SNL's Studio 8H before a live audience; the ending sequence was a good night from the cast while the credits scrolled (and the credits used the same font as SNL); and promos leading up to the episode were voiced by long-time SNL announcer Don Pardo  The music for the episode—both for the TGS sequences and incidental underscore—was provided live by the SNL house band under the direction of Fey's husband Jeff Richmond and Leon Pendarvis  Furthermore, long-time SNL producer Lorne Michaels attended the rehearsal and performances to give his advice  Each commercial break during the show was predicated on an emergency commercial break on TGS, including a fictional commercial and a fake NBC technical difficulties screen 

Blackface scene
The "blackface" scene is a short skit where a white male character (Jon Hamm), who had both hands replaced with hooks, having lost them in accidents, announces he has been the recipient of a hand transplant  However, as in a horror movie, the transplanted hand has a mind of its own and acts independently  In the East Coast version, the transplanted hand is from a black male executed criminal  In the West Coast version, the transplanted hand is from a white female who lost it in an explosion at a Josh Groban concert 

Reception
"Live Show" drew in the largest audience for 30 Rock, season five, with 6 701 million viewers, and reached a season high 3 1 Nielsen rating/9% share with adults 18–49, which was a 43% increase over the previous episode and a 15% increase from the season premiere; it trailed CBS competitor and timeslot leader $h*! My Dad Says by 0 1  This rating was the show's highest since December 10, 2009, episode "Secret Santa" and the highest overall for NBC in the 8:30 p m  Thursday timeslot for non-sports events since December 2009 Critical reception of the episode was largely positive  Emily St  James of The A V  Club gave the episode an A−, noting the nostalgia for classic television and specifically three-camera sitcoms that this episode displayed  While the pace and tone of "Live Show" were different from a standard episode of 30 Rock, the author considers this episode, "an experiment, as a weird hybrid of 30 Rock, an old sitcom, and Saturday Night Live" and ultimately a success  James Poniewozik of Time also wrote that the episode was uneven, but successful as a tribute to television  TV Squad's Bob Sassone was impressed by the episode, specifically Fey's performance and Louis-Dreyfus' imitation of Liz Lemon  Other positive reviews have noted the lack of mistakes in the comic timing and performance, the strength of the guest stars, and the performers' ability to keep up the pace that is expected in a 30 Rock episode  Frazier Moore of the Associated Press gave the episode a negative review, calling it "vaudevillian" and "a slice of self-indulgence and excess " Mark Perigard of the Boston Herald considered the episode "so-so" due to its "humdrum script " As a live television experiment, reviewers have considered it a success, particularly in reference to other live broadcast experiments, such as NBC drama ER's 1997 episode "Ambush" and SNL, with Entertainment Weekly declaring it "like SNL, only funny " In reviewing the best television programs of 2010, The A V  Club named 30 Rock number 18 and cited this episode as amongst the best of the year  McCarthy-Miller was nominated for a Primetime Emmy Award for Outstanding Directing for a Comedy Series for this episode On March 21, 2012, Baldwin announced in an interview with Extra that a second live episode—"Live from Studio 6H"—would air the following April 26 
Passage 4:
Episode 210
The untitled tenth episode of the second season of the television series 30 Rock was first broadcast in the United States on January 10, 2008, on the NBC network  The episode was written by show runner Robert Carlock and Donald Glover, and was directed by Richard Shepard  Guest stars include Kevin Brown, Grizz Chapman, Edie Falco, Toby Huss and Gladys Knight, who appeared as herself  The episode focuses on Liz Lemon (Tina Fey) and her decision to invest in real-estate, Jack Donaghy's (Alec Baldwin) choice between his job and his girlfriend, and Kenneth Parcell's (Jack McBrayer) addiction to coffee The production and broadcasting of this episode was heavily affected by the 2007–2008 Writers Guild of America strike  Despite never being officially named by NBC, Episode 210 has been unofficially titled "Liz the Business Woman" and "Coffee & TV"  Although not unanimously praised by critics, the episode attracted generally positive reviews and was particularly appreciated for its cast's rendition of the 1973 Gladys Knight & the Pips hit "Midnight Train to Georgia"  Liz also sings a snippet of Alanis Morissette's "You Oughta Know" when leaving a message for the co-op board 

Plot
Liz takes Jack's advice to invest in real estate, and Jenna Maroney tells Liz that her business manager is selling his apartment  The sale is subject to the approval of the building's cooperative board, but Liz makes a bad impression and her purchase offer is rejected  Liz gets herself drunk and makes numerous phone calls to the board 
Jack is involved in negotiations to acquire a German cable television network, but is struggling to juggle his job and his relationship with C C , whose work as a congresswoman keeps her busy in Washington D C  Unable to see each other when they want to, the couple decide to "meet in the middle" (in a betting parlor in Pennsylvania), but this arrangement proves unsuitable and they later decide to break up  Jack, in conversation with Liz, compares his relationship to Liz's previous relationship with Floyd, and Liz declares in song that she has to go Tracy Jordan buys a coffee machine and puts it on Kenneth Parcell's desk, causing him to develop a caffeine addiction  Comparing New York to Sodom, Kenneth claims that he has been "sodomized," and feels guilty that he has let New York change him, contrary to a promise he made to his mother  He therefore decides to return to Georgia on the midnight train; however, he quickly returns, explaining that the train was actually departing at 11:45 and he missed it 

Production
Parts of this episode were filmed during the week of November 5, 2007, which coincided with the 2007–2008 Writers Guild of America strike  The strike, which began at 00:01 EST on November 5, 2007, did not affect the episode as it had been written earlier and filming was finished on November 9  Members of Writers Guild of America, East and Writers Guild of America, West voted to end the writers' strike on February 12, 2008, and although writers were allowed to return to work on the same day, Robert Carlock returned to work on February 11  The remaining writers resumed work on February 13, which began the production of the next episode, "MILF Island"  During the filming, actor and executive producer Tina Fey had to balance her duties in order not to breach WGA strike rules  Fey also took to the picket lines along with co-star Jack McBrayer  Alec Baldwin wrote blogs on The Huffington Post website in order to demonstrate his support for the WGA writers Episode 210 was broadcast on January 10, 2008 and was the final episode, including repeats, of 30 Rock to be broadcast until the episode "MILF Island" in April  This episode is also notable for being officially unnamed; NBC billed this episode on its press releases as "Episode 210"  This led some critics to give it the unofficial title of "Liz the Business Woman", while others named it "Coffee & TV" 

Reception
On its original broadcast in the United States, Episode 210 was viewed by 6 0 million viewers and earned a 2 8/7 in the 18- to 49-year-old demographic  This means that it was seen by 2 8% of all 18- to 49-year-olds, and 7% of all 18- to 49-year-olds watching television at the time of the broadcast Entertainment Weekly's Jeff Labrecque wrote "the episode really finished strong with a fabulous Gladys Knight musical number"  Matt Webb Mitovich of TV Guide also praised the musical number, saying "that 'Midnight Train to Georgia' number at the end of tonight's episode    Wow  So out of nowhere and so fun " Bob Sassone of AOL's TV Squad said that the episode "was a good episode to go into the hiatus with, if that makes things better"  He criticized the fact that the fictional TGS writing staff was not present in this episode, even though they could have been effectively used  Michael Neal of Television Without Pity awarded the episode a grading of A+  The Boston Globe's Joanna Weiss reviewed the episode positively, saying "[the episode] concluded with a musical interlude that was both hilarious and wistful" Despite the good reviews, there was no universal acclaim from critics as a whole  Robert Canning of IGN said that "[this episode] wasn't the most spectacular half-hour from this truncated season" and "unfortunately, there wasn't all that much that was funny about it  Sure, there were a couple of decent one-liners, but overall [Kenneth's storyline] offered up nothing new " Despite these criticisms, Canning added further praise to the "Midnight Train to Georgia" performance  Canning gave this episode a rating of 8 4 out of 10 Edie Falco was nominated for the Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series for this episode 

See also
2007–2008 Writers Guild of America strike
Effect of the 2007–08 Writers Guild of America strike on television
Passage 5:
Azie Mira Dungey
Azie Mira Dungey is an American actress, producer, and writer  She wrote and played the lead role in the comedic web series "Ask a Slave," and is currently, "     writing a book as a follow-up to the series " Dungey also wrote for the Emmy nominated Netflix series Unbreakable Kimmy Schmidt and Girls5eva, both produced by Tina Fey and Robert Carlock  She also wrote and produced on Sweetbitter  on Starz based on the bestselling novel of the same title by Stephanie Danler  Dungey wrote and hosted on Season 1 of Say It Loud, an educational series for PBS Digital  In 2019, she was executive producer and writer for Lena Waithe's Twenties,  a sit-com on BET and Showtime, as well as the Tracy Oliver and Amy Poehler produced comedy series, Harlem for Amazon Studios 

Early life and education
Dungey was born in Washington, DC  She spent her early childhood in Philadelphia, PA and later moved to Maryland where she attended middle and high school  She was a drama major at New York University, graduating from the Tisch School of the Arts Dungey is Pamunkey (also Mattaponi) and a very active member of the Native community  The tribe's enrollment policies that excluded members who married or had children with African Americans was exposed by the Congressional Black Caucus during their recognition process in 2013  Dungey comes from a family that was victim to Pamunkey anti-Black tribal law and they are currently seeking enrollment 

Career
Dungey took part in a number of theatre productions in Washington, DC, including The Walworth Farce at Studio Theatre Dungey performed the role of a slave as part of an ongoing historical reenactment of life at the Mount Vernon plantation in Virginia, USA, once owned by President George Washington  Part of her job was to answer tourists' questions about slavery while staying in character  She worked there part-time for nearly two years from 2010 to 2012 In 2013, Dungey moved to Los Angeles  She then wrote the script for a web series called Ask a Slave, and performed the lead role, that of Lizzie Mae, a slave   The series includes actual incidents from her experiences on the plantation  The series has received more than two million views As a result, Salon magazine listed her as one of 10 black women SNL could hire 
Passage 6:
Operation Righteous Cowboy Lightning
"Operation Righteous Cowboy Lightning" is the twelfth episode of the fifth season of the American television comedy series 30 Rock  It was written by executive producer Robert Carlock  The director of this episode was Beth McCarthy-Miller  It originally aired on NBC in the United States on January 27, 2011  Guest stars in this episode include Robert De Niro, Lester Holt, Sherri Shepherd, and Dean Winters 
In the episode, Jack Donaghy (Alec Baldwin) decides to pre-tape a celebrity benefit for a natural disaster, but his plan goes terribly wrong  Meanwhile, Tracy Jordan (Tracy Morgan) continues to drive Liz Lemon (Tina Fey) crazy with his irresponsibility  However, when a reality show camera crew starts to follow Tracy around, Liz tries to use it to her advantage 
"Operation Righteous Cowboy Lightning" was universally well received and praised by television critics  According to Nielsen Media Research, the episode was watched by 4 922 million households during its original broadcast, and received a 2 4 rating/7 share among viewers in the 18–49 demographic 

Plot
Liz Lemon (Tina Fey) and Jack Donaghy (Alec Baldwin) watch the installation of a large Kabletown sign on 30 Rockefeller Plaza  No longer a GE employee and now working for Kabletown, Jack decides to conquer this new phase in his life just as he did before  After researching, he finds that the most watched reality programs of the past five years are celebrity benefits for natural disasters  Since all the networks air benefits at the same time, no one network has an advantage nor dominates in the ratings  To combat this, Jack decides to pre-tape a benefit to air on the night of the next natural disaster  When a disaster devastates an island called Mago, Jack is ecstatic until he finds out that the island is owned by the infamous troubled actor, Mel Gibson  Regardless, the event is a success 
Meanwhile, Tracy Jordan (Tracy Morgan) pushes Liz's buttons as usual by not showing up to rehearsals and leaving work to do something insane  However, Tracy's demeanor instantly changes when a camera crew starts to follow him around for his wife's new reality show  He starts to act responsible and respectful in front of the cameras, as he wants to avoid ruining his chances of winning an Oscar  Liz has the idea to use Tracy's fake good behavior to get him to do things he blew off in the past, knowing that he can't refuse while taped  This works until Tracy finds a loophole  When Liz tries to get Tracy to do more things, he refuses and insults Liz to the melody of "Uptown Girl" by Billy Joel  Since the song is copyrighted, any footage containing that song can't be used  Therefore, Tracy's irresponsibility wouldn't be aired on the show  Liz tries to outcrazy him with autotune, but she later realizes that she can't match his insanity  They finally talk it out alone and each argues that the other person would have been a failure without their help  Nevertheless, cameras manage to film this and Tracy and Liz refuse to make up  However, when the show edits their various confrontations and uses two look-alikes to create a make up scene along to the song "Secrets" by OneRepublic, both Liz and Tracy are moved to tears and make up for real 

Cultural references
This episode continues to satirize the acquisition of NBC by Comcast  Liz tries to tell Jack what a Snart is (which is to sneeze and fart simultaneously) because it is ten o'clock  This refers 30 Rock's move from the 8:30 pm to the 10:00 pm timeslot  Tracy plans to get an island like Nicolas Cage, Celine Dion, and Charles Widmore, the latter being a fictional character from Lost  The whole cast of TGS is being filmed by the cameras of Angie Jordan's (wife of Tracy) new reality show, Queen of Jordan, which Jack commissioned in the previous episode, "Mrs  Donaghy"  Eventually, an episode of 30 Rock was filmed as an episode of "Queen of Jordan" 
The episode references the ongoing storyline of Liz's desire to become a mother when Kenneth gives Liz a memo he could not put in her mailbox because it was full of unread adoption materials  This story first began in the show's first season and continued in the third season Tracy and Liz fight in several ways, all of them involving masking their arguments in ways that cannot be used in the reality show for copyright reasons, such as singing along with the Billy Joel song "Uptown Girl" or wearing a New York Rangers goalie mask 
Jack films a pre-taped disaster event special, which he uses when a hurricane strikes Mago Island  This backfires because there were only two victims  The victims were the island's owner, actor Mel Gibson, who was highly publicized for his personal troubles, and his guest, Jon Gosselin 
While considering his new position as a Kabletown executive, Jack mentions "stout Cortez" and quotes the poem "On First Looking into Chapman's Homer" by John Keats  Tracy later also mentions feeling like "Stout Cortez," but this time in reference to his gardener 

Reception
According to Nielsen Media Research, "Operation Righteous Cowboy Lightning" was watched by 4 922 million households in its original American broadcast  It earned a 2 4 rating/7 share in the 18–49 demographic  This means that it was seen by 2 4 percent of all 18- to 49-year-olds, and 7 percent of all 18- to 49-year-olds watching television at the time of the broadcast  This was a decrease from the previous episode, "Mrs  Donaghy", which was watched by 5 338 million American viewers  It turned out to be the most-watched episode of the show until the series finale on January 31, 2013 
Passage 7:
Kidney Now!
"Kidney Now!" is the twenty-second episode and season finale of the third season of the American television comedy series 30 Rock, and the 58th overall episode of the series  It was directed by series producer Don Scardino, and written by show producers Jack Burditt and Robert Carlock  The episode originally aired on NBC in the United States on May 14, 2009  Guest stars in this episode include Alan Alda, Kay Cannon, Donald Glover, Napiera Groves, Chris Parnell, Paula Pell, and Sherri Shepherd  In addition, "Kidney Now!" featured many musical guest stars including Clay Aiken, Elvis Costello, Mary J  Blige, Sheryl Crow, the Beastie Boys (Mike D and Ad Rock), Steve Earle, Adam Levine, Sara Bareilles, Wyclef Jean, Norah Jones, Talib Kweli, Michael McDonald, Rhett Miller, Moby, Robert Randolph, Rachael Yamagata and Cyndi Lauper, all as themselves In the episode, Jack Donaghy (Alec Baldwin) gets to know his newly discovered father, Milton Greene (Alda), but quickly learns that Milton needs a kidney transplant, and discovers he is not a suitable donor  As a result, Jack decides to use the liberal media to find an alternate way to get him a kidney donor  Meanwhile, people seek Liz Lemon (Tina Fey) out as a relationship expert as a result of her "Dealbreaker" sketches, and Kenneth Parcell (Jack McBrayer) helps Tracy Jordan (Tracy Morgan) deal with his embarrassment over not finishing high school 
The song "He Needs a Kidney" was written by show composer and co-executive producer Jeff Richmond  The concept of doing a charity concert was based on Robert Carlock and series creator Tina Fey wanting to include a musical performance in the episode with the Milton Greene character in need of a kidney donor  Carlock and Fey wanted "He Needs a Kidney" to be similar to the 1985 charity song, "We Are the World"  Following the airing of this 30 Rock episode, NBC released the musical performance video of "He Needs a Kidney" on iTunes with all proceeds from the sales going to the National Kidney Foundation "Kidney Now!" was generally well received among television critics  According to the Nielsen Media Research, this episode was watched by 5 7 million viewers  Jack Burditt and Robert Carlock were nominated for a Primetime Emmy Award nomination in the category for Outstanding Writing in a Comedy Series for their work in this episode  In addition, Tony Pipitone and Griffin Richardson received a Creative Arts Emmy Award nomination in the category for Outstanding Sound Mixing for a Comedy or Drama Series (half-hour) and Animation 

Plot
Jack Donaghy (Alec Baldwin) gets to know his newly discovered father, Milton Greene (Alan Alda) but soon discovers Milton has a serious medical condition and is in search of a kidney donor  After discovering he is an unsuitable donor by Dr  Leo Spaceman (Chris Parnell), Jack uses his contacts—musicians Clay Aiken, Sara Bareilles, the Beastie Boys (Mike D and Ad-Rock), Mary J  Blige, Elvis Costello, Sheryl Crow, Steve Earle, Wyclef Jean, Norah Jones, Talib Kweli, Cyndi Lauper, Adam Levine, Michael McDonald, Rhett Miller, Moby, Robert Randolph, and Rachael Yamagata—to arrange a charity benefit entitled "Kidney Now!" in attempt to find a donor for Milton 
Meanwhile, Liz Lemon (Tina Fey) gains notoriety after making an appearance on The Vontella Show, along with Jenna Maroney (Jane Krakowski), as a relationship expert after her "Dealbreaker" sketches on the fictitious comedy sketch show The Girlie Show with Tracy Jordan (TGS)  As a result of the success she received as the relationship expert on The Vontella Show, Liz becomes more well known and begins dispensing relationship advice to the female staff of TGS, and to Angie Jordan (Sherri Shepherd) and Paula Hornberger (Paula Pell), the wives of TGS star Tracy Jordan (Tracy Morgan) and producer Pete Hornberger (Scott Adsit), respectively  Though, Tracy and Pete are upset with the advice Liz gave to their wives, Liz blows them off and goes to Quizno's to meet with an agent to write a prospective Dealbreaker book  The deal goes through and Liz tells Jack that she is "getting [hers] "
At the same time, Tracy is invited to speak at the graduation ceremony of his former high school (named after Frank Lucas, the infamous Harlem drug lord)
Context 3: Passage 1:
Bennington Triangle
"Bennington Triangle" is a phrase coined by American author Joseph A  Citro to denote an area of southwestern Vermont within which a number of people went missing between 1945 and 1950  This was further popularized in two books, including Shadow Child, in which Citro devoted chapters to discussion of these disappearances and various items of folklore surrounding the area  According to Citro, the area shares characteristics with the Bridgewater Triangle in Southeastern Massachusetts 
Precisely what area is encompassed in this hypothetical "mystery triangle" is not clear, but it is purportedly centered on Glastenbury Mountain and would include some or most of the area of the towns immediately surrounding it, especially Bennington, Woodford, Shaftsbury, and Somerset  Glastenbury and its neighboring township Somerset were both once moderately thriving logging and industrial towns, but began declining toward the late 19th century and are now essentially ghost towns, unincorporated by an act of the Vermont General Assembly in 1937 
According to Citro's books, stories of strange happenings had been told about Glastonbury and the surrounding area for many years, the best-known of which is probably that of the disappearance of Paula Jean Welden 

Reported disappearances
Middie Rivers (1945)
Between 1945 and 1950, five people disappeared in the area surrounding Bennington, Vermont  The first disappearance occurred on November 12, 1945, when 74-year-old Middie Rivers disappeared while out hunting, in the vicinity of Long Trail Road and Vermont Route 9  Rivers was on a weekend hunting trip with four other hunters up the mountains  The morning of November 12, 1945, Rivers and his son-in-law, Joe Lauzon, were walking together before reaching a fork  Rivers and Lauzon would separate here with Rivers telling Lauzon he'd "only be going a short distance" before he would join them at camp for lunch  As 3pm had come and gone, the rest of the hunting party would begin searching before getting authorities  An extensive search was conducted, but the only evidence discovered was a single rifle cartridge that was found in a stream  The speculation was that Rivers had leaned over and the cartridge had dropped out of his pocket into the water  Rivers was an experienced outdoorsman who was familiar with the local area 

Paula Welden (1946)
Paula Jean Welden, aged 18, disappeared on December 1, 1946  Welden, a sophomore at Bennington College, had set out for a hike on the Long Trail  Many saw her depart, including Ernest Whitman, a Bennington Banner employee who gave her directions  She was not wearing a jacket during her journey; it was 50 °F outside, later dropping to 9 °F  Welden was alleged to have been seen on the trail itself by an elderly couple who were about 100 yards (91 m) behind her  According to them, she turned a corner in the trail, and when they reached the same corner she had disappeared  An extensive search was conducted, which included the posting of a $5,000 reward and help from the FBI, but no evidence of her was ever found  Welden's disappearance was the inspiration for the 1951 novel Hangsaman by Shirley Jackson 

James Tedford (1949)
James E  Tedford, a veteran, allegedly went missing on December 1, 1949, three years to the day after Welden was last seen  Tedford, a resident of the Bennington Soldiers' Home, had been in St  Albans visiting relatives and was accompanied to a local bus station, which was the last location where he was seen  According to witnesses, Tedford got on the bus and was still aboard at the last stop before arriving in Bennington  Somewhere between the last stop and Bennington, he vanished  His belongings were still in the luggage rack and an open bus timetable was on his vacant seat  Tony Jinks discusses this claim, saying that "The popular conception is that he vanished into thin air while on the bus, but like many missing person stories there's a gap between when he was last seen and when he was reported missing a week or so later  Regarding Tedford's disappearance, there's enough evidence to suggest he didn’t "dematerialize,” even though no trace of him was ever found "

Paul Jepson (1950)
On October 12, 1950, Paul Jepson, aged 8, had accompanied his mother in a truck  She left her son unattended for about an hour while she fed some pigs  When she returned, her son was nowhere in sight  Search parties were formed to look for the child  Nothing was ever found, though Jepson was wearing a bright red jacket that should have made him more visible  According to one story, bloodhounds tracked the boy to a local highway where, according to local legend, Welden had disappeared four years earlier 

Frieda Langer (1950)
On October 28, 1950, sixteen days after Jepson had vanished, Frieda Langer, aged 53, and her cousin, Herbert Elsner, left their family campsite near the Somerset Reservoir to go on a hike  During the journey, Langer slipped and fell into a stream  She told Elsner if he would wait, she would go back to the campsite, change clothes and catch up to him  When she did not return, Elsner made his way back to the campsite and discovered that Frieda Langer had not returned, and that nobody had seen her since they had left  Over the next two weeks, five searches were conducted, involving aircraft, helicopters, and up to 300 searchers  No trace of Langer was found during the search 
On May 12, 1951, Frieda Langer's body was found three and a half miles from the campsite in the eastern branch of the Deerfield River, an area that had been only lightly searched seven months previously  No cause of death could be determined because of the condition of her remains  No direct connections have been identified that tie these cases together, other than the general geographic area and time period 

In popular culture
The Bennington Triangle was discussed in Season 3, Episode 8 of the television program William Shatner's Weird or What? The episode, entitled "Mysterious Vanishings," first aired on July 23, 2012 The events of 1945 to 1950 are told in episode 67 of Lore, titled "The Red Coats" The Bennington Triangle was featured as one of the haunted locations in the paranormal TV series Most Terrifying Places in America which aired on the Travel Channel in 2018  The episode, title "Unnatural World" told the stories about the reportedly missing persons in a five-year span, and local lore of the "Bennington Monster", a Bigfoot-like creature that supposedly roams these wooded areas The Bennington Triangle is discussed in Episode 374 of the podcast My Favorite Murder  The Episode aired on April 13, 2023   Robert Singley, a 27 year old Bennington College student got lost in Bennington Triangle but found safe by Vermont State Police in 2008 
Passage 2:
Van Arkel–Ketelaar triangle
Bond triangles or Van Arkel–Ketelaar triangles (named after Anton Eduard van Arkel and J  A  A  Ketelaar) are triangles used for showing different compounds in varying degrees of ionic, metallic and covalent bonding 

History
In 1941 Van Arkel recognised three extreme materials and associated bonding types  Using 36 main group elements, such as metals, metalloids and non-metals, he placed ionic, metallic and covalent bonds on the corners of an equilateral triangle, as well as suggested intermediate species  The bond triangle shows that chemical bonds are not just particular bonds of a specific type  Rather, bond types are interconnected and different compounds have varying degrees of different bonding character (for example, covalent bonds with significant ionic character are called polar covalent bonds) 
Six years later, in 1947, Ketelaar developed van Arkel's idea by adding more compounds and placing bonds on different sides of the triangle 
Many people developed the triangle idea  Some (e g  Allen's quantitative triangle) used electron configuration energy as an atom parameter, others (Jensen's quantitative triangle, Norman's quantitative triangle) used electronegativity of compounds  Nowadays, electronegativity triangles are mostly used to rate the chemical bond type 

Usage
Different compounds that obey the octet rule (sp-elements) and hydrogen can be placed on the triangle  Unfortunately, d-elements cannot be analysed using van Arkel-Ketelaar triangle, as their electronegativity is so high that it is taken as a constant  Using electronegativity - two compound average electronegativity on x-axis and electronegativity difference on y-axis, we can rate the dominant bond between the compounds  Example is here
On the right side (from ionic to covalent) should be compounds with varying difference in electronegativity  The compounds with equal electronegativity, such as Cl2 (chlorine) are placed in the covalent corner, while the ionic corner has compounds with large electronegativity difference, such as NaCl (table salt)  The bottom side (from metallic to covalent) contains compounds with varying degree of directionality in the bond 
At one extreme is metallic bonds with delocalized bonding and the other are covalent bonds in which the orbitals overlap in a particular direction  The left side (from ionic to metallic) is meant for delocalized bonds with varying electronegativity difference 

See also
Covalent bonding
Ionic bonding
Metallic bonding
Atomic orbitals
Hund's rules
Ternary plot

External links
Van Arkel–Ketelaar Triangles of Bonding
Passage 3:
Urban agriculture
Urban agriculture refers to various practices of cultivating, processing, and distributing food in urban areas  The term also applies to the area activities of animal husbandry, aquaculture, beekeeping, and horticulture in an urban context  Urban agriculture is distinguished from peri-urban agriculture, which takes place in rural areas at the edge of suburbs Urban agriculture can appear at varying levels of economic and social development  It can involve a movement of organic growers, "foodies" and "locavores," who seek to form social networks founded on a shared ethos of nature and community holism  These networks can develop by way of formal institutional support, becoming integrated into local town planning as a "transition town" movement for sustainable urban development  For others, food security, nutrition, and income generation are key motivations for the practice  In either case, the more direct access to fresh vegetable, fruit, and meat products that may be realised through urban agriculture can improve food security and food safety 

History
Some of the first evidence of urban agriculture comes from Mesopotamia  Farmers would set aside small plots of land for farming within the city's walls  (3500BC) In Persia's semi-desert towns, oases were fed through aqueducts carrying mountain water to support intensive food production, nurtured by wastes from the communities  In Machu Picchu, water was conserved and reused as part of the stepped architecture of the city, and vegetable beds were designed to gather sun in order to prolong the growing season 
 The idea of supplemental food production beyond rural farming operations and distant imports is not new  It was used during war and depression times when food shortage issues arose, as well as during times of relative abundance  Allotment gardens emerged in Germany in the early 19th century as a response to poverty and food insecurity In 1893, citizens of a depression-struck Detroit were asked to use vacant lots to grow vegetables  They were nicknamed Pingree's Potato Patches after the mayor, Hazen S  Pingree, who came up with the idea  He intended for these gardens to produce income, food supply, and boost independence during times of hardship  Victory gardens sprouted during WWI and WWII and were fruit, vegetable, and herb gardens in the US, Canada, and UK  This effort was undertaken by citizens to reduce pressure on food production that was to support the war effort 
During World War I, President Woodrow Wilson called upon all American citizens to utilize any available open food growth, seeing this as a way to pull them out of a potentially damaging situation  Since most of Europe was consumed with war, they were unable to produce sufficient food supplies to be shipped to the US and a new plan was implemented with the goal of feeding the US and even supply a surplus to other countries in need  By 1919, over 5 million plots were growing food and over 500 million pounds of produce was harvested 

A very similar practice came into use during the Great Depression that provided a purpose, job and food to those who would otherwise be without anything during such harsh times  These efforts helped raise spirits and boost economic growth  Over 2 8 million dollars worth of food was produced from the subsistence gardens during the Depression  By World War II, the War/Food Administration set up a National Victory Garden Program that set out to systematically establish functioning agriculture within cities  With this new plan in action, as many as 5 5 million Americans took part in the victory garden movement and over nine million pounds of fruit and vegetables were grown a year, accounting for 44% of US-grown produce throughout that time 

Main types
There is no overarching term for agricultural plots in urban areas   Gardens and farms, while not easy to define, are the two main types  According to the USDA, a farm is "any place from which $1,000 or more of agricultural products were produced and sold " In Europe, the term "city farm" is used to include gardens and farms Any plot with produce being grown in it can be considered an urban farm   Size does not matter, it is more about growing produce on your own in your personal plot or garden 

Gardens
Many communities make community gardening accessible to the public, providing space for citizens to cultivate plants for food, recreation and education  In many cities, small plots of land and also rooftops are used for community members to garden  Community gardens give citizens the opportunity to learn about horticulture through trial and error and get a better understanding of the process of producing food and other plants  All while still being able to feed those people in need from the community   It holds as both a learning experience as well as a means of help for those people in need   A community gardening program that is well-established is Seattle's P-Patch  The grassroots permaculture movement has been hugely influential in the renaissance of urban agriculture throughout the world  During the 1960s a number of community gardens were established in the United Kingdom, influenced by the community garden movement in the United States  Bristol's Severn Project was established in 2010 for £2500 and provides 34 tons of produce per year, employing people from disadvantaged backgrounds 

Farms
The first urban agriculture method of growing occurs when family farms maintain their land as thr city grows around it  City farms/Urban farms are agricultural plots in urban areas, that have people working with animals and plants to produce food  They are usually community-run gardens seeking to improve community relationships and offer an awareness of agriculture and farming to people who live in urbanized areas  Although the name says urban, urban farming does not have to be in the urban area, it can be in the backyard of a house, or the rooftop of an apartment building   They are important sources of food security for many communities around the globe  City farms vary in size from small plots in private yards to larger farms that occupy a number of acres  In 1996, a United Nations report estimated there are over 800 million people worldwide who grow food and raise livestock in cities   Although some city farms have paid employees, most rely heavily on volunteer labour, and some are run by volunteers alone  Other city farms operate as partnerships with local authorities 
An early city farm was set up in 1972 in Kentish Town, London  It combines farm animals with gardening space, an addition inspired by children's farms in the Netherlands  Other city farms followed across London and the United Kingdom  In Australia, several city farms exist in various capital cities  In Melbourne, the Collingwood Children's Farm was established in 1979 on the Abbotsford Precinct Heritage Farmlands (the APHF), the oldest continually farmed land in Victoria, farmed since 1838 
In 2010, New York City saw the building and opening of the world's largest privately owned and operated rooftop farm, followed by an even larger location in 2012  Both were a result of municipal programs such as The Green Roof Tax Abatement Program and Green Infrastructure Grant Program In Singapore, hydroponic rooftop farms (which also rely on vertical farming) are appearing  The goal behind these is to rejuvenate areas and workforces that have thus far been marginalized  Simultaneously top level pesticide-free produce will be grown and harvested 

Perspectives
Resource and economic
The Urban Agriculture Network has defined urban agriculture as:

An industry that produces, processes, and markets food, fuel, and other outputs, largely 
in response to the daily demand of consumers within a town, city, or metropolis, many types of privately and publicly held land and water bodies were found throughout intra-urban and 
peri-urban areas  Typically urban agriculture applies intensive production methods, frequently using and reusing natural resources and urban wastes, to yield a diverse array of land-, water-, and air-based fauna and flora contributing to food security, health, livelihood, and environment of the individual, household, and community 

With rising urbanization, food resources in urban areas are less accessible than in rural areas  This disproportionately affects the poorest communities, and the lack of food access and increased risk of malnutrition has been linked to socioeconomic inequities  Economic barriers to food access are linked to capitalist market structures and lead to "socioeconomic inequities in food choices", "less    healthful foods", and phenomena such as food deserts  Additionally, racialized systems of governance of urban poor communities facilitates the increasing prominence of issues such as unemployment, poverty, access to health, educational and social resources, including a community's access to healthy food 
Today, some cities have much vacant land due to urban sprawl and home foreclosures  This land could be used to address food insecurity  One study of Cleveland shows that the city could actually meet up to 100% of its fresh produce need  This would prevent up to $115 million in annual economic leakage  Using the rooftop space of New York City would also be able to provide roughly twice the amount of space necessary to supply New York City with its green vegetable yields  Space could be even better optimized through the usage of hydroponic or indoor factory production of food  Growing gardens within cities would also cut down on the amount of food waste  In order to fund these projects, it would require financial capital in the form of private enterprises or government funding 

Environmental
The Council for Agricultural Science and Technology (CAST) defines urban agriculture to include aspects of environmental health, remediation, and recreation:

Urban agriculture is a complex system encompassing a spectrum of interests, from a traditional core of activities associated with the production, processing, marketing, distribution, and consumption, to a multiplicity of other benefits and services that are less widely acknowledged and documented  These include recreation and leisure; economic vitality and business entrepreneurship, individual health and well-being; community health and well being; landscape beautification; and environmental restoration and remediation 

Modern planning and design initiatives are often more responsive to this model of urban agriculture because it fits within the current scope of sustainable design  The definition allows for a multitude of interpretations across cultures and time  Frequently it is tied to policy decisions to build sustainable cities Urban farms also provide unique opportunities for individuals, especially those living in cities, to get actively involved with ecological citizenship  By reconnecting with food production and nature, urban community gardening teaches individuals the skills necessary to participate in a democratic society  Decisions must be made on a group-level basis in order to run the farm  Most effective results are achieved when residents of a community are asked to take on more active roles in the farm Urban farming is not as regulated as commercial farming   So chemicals can be applied and not regulated like a commercial grower would   There is nothing in place that will tell anyone what was applied   It is not regulated as strict so a lot can happen without being known, as far as what is applied 

Food security
Access to nutritious food, both economically and geographically, is another perspective in the effort to locate food and livestock production in cities  The tremendous influx of the world population to urban areas has increased the need for fresh and safe food  The Community Food Security Coalition (CFSC) defines food security as:

All persons in a community having access to culturally acceptable, nutritionally adequate food through local, non-emergency sources at all times 

Areas faced with food security issues have limited choices, often relying on highly processed fast food or convenience store foods that are high in calories and low in nutrients, which may lead to elevated rates of diet-related illnesses such as diabetes  These problems have brought about the concept of food justice which Alkon and Norgaard (2009; 289) explain that, "places access to healthy, affordable, culturally appropriate food in the contexts of institutional racism, racial formation, and racialized geographies  



ground_truth: Mary Astor

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Who stars in the title role of a Netflix show co-created by Robert Carlock?

The following are given passages.
Context 2:  NBC page and friend Kenneth Parcell (Jack McBrayer) tries to help him overcome troubling memories from his high school experience  Kenneth persuades Tracy to go to the graduation, which he does, where Tracy gives his speech and receives an honorary diploma 

Production
"Kidney Now!" was directed by series producer Don Scardino, and written by 30 Rock producers Jack Burditt and Robert Carlock  This was Burditt and Carlock's fourth script collaboration, having penned the episodes "Cleveland", "Subway Hero", and "Sandwich Day"  This was Scardino's twenty-first directed episode  "Kidney Now!" originally aired on NBC in the United States on May 14, 2009, as the twenty-second episode and season finale of the show's third season and the 58th overall episode of the series 

"Kidney Now!" was first read by its cast on March 5, 2009; it was filmed on March 16–17, 2009  "He Needs a Kidney", the charity song featured in this episode, was written by show composer and co-executive producer Jeff Richmond  Richmond is married to series creator, executive producer and lead actress Tina Fey  In discussion of the development of "Kidney Now!", Richmond said that Carlock and Fey "were trying to figure out a way to highlight Jack's dad in getting a kidney and how they're going to deal with that", and that the two came to the decision to "take advantage of the singing", as they have done so in the past with different 30 Rock episodes, in which the show's characters have sung songs  Carlock and Fey agreed to the idea that a song be included in the season finale, but that it be an anthem like the 1985 charity song, "We Are the World",  as the cause is that the Milton Greene character is in need of a kidney donor  "Basically, the parameters were if 'We Are the World' but they want to get a kidney  I think we had angles that everyone has two kidneys and you'll only need one kidney, and we thought 'Alright, we'll get some distance on that'", said Richmond  While working on the track, Fey suggested to Richmond that he incorporate Milton Greene's name in one part of the song, which he did, as this was sung by singers Cyndi Lauper and Robert Randolph Giancarlo Vulcano, a music editor and associate arranger on the show, revealed that Richmond taught him the song one morning at Silvercup Studios—where the show is filmed—and they played the first half of "He Needs a Kidney" at the script's read-through  According to Vulcano, the 30 Rock staff loved the song and the two were satisfied with the reception of it  While arranging the instrumentation, Richmond hired violinists for the episode's background music and for "He Needs a Kidney", which according to him he usually does not get the opportunity to have a lot of violin sounds on the show  The recording sessions with the musical guests took place on Stage 1 at Silvercup Studios; Stage 1 serves as the set for TGS with Tracy Jordan, a fictitious comedy sketch show featured on 30 Rock  Richmond and Vulcano were complimentary towards the musicians—Clay Aiken, Sara Bareilles, the Beastie Boys (Mike D and Ad-Rock), Mary J  Blige, Elvis Costello, Sheryl Crow, Steve Earle, Wyclef Jean, Norah Jones, Talib Kweli, Cyndi Lauper, Adam Levine, Michael McDonald, Rhett Miller, Moby, Robert Randolph, and Rachael Yamagata—who performed "He Needs a Kidney"  In the DVD commentary for this episode, Richmond believed that the entire song would not make it into the airing  Elvis Costello was once approached to do an appearance on 30 Rock, but the appearance fell-through  At an Oscar's after party, Fey ran into Costello and asked him if he could appear, which he agreed to  According to Fey, none of the music artists got paid to appear on the show as "they all did [it] for free " The reason for this was due to a joke in the song in which Sheryl Crow was the only individual to get paid, as the rest said they did it for free  Following the broadcast of this episode of 30 Rock, the musical performance video was made available for digital download on iTunes with all the proceeds from the sales going to the National Kidney Foundation 

According to Fey, there were discussions on whether or not to use a real talk show host from New York, for the "Dealbreakers" segment, but ultimately decided to make one up and went with actress Napiera Groves who plays talk show host Vontella in "Kidney Now!"  The Tracy character plot was based on Tracy Morgan who in real-life was given a diploma by his former high school, DeWitt Clinton High School  Like the Tracy character, who dropped out of high school after being asked to dissect a frog, Morgan dropped out of DeWitt Clinton when his father became ill  Jack and Liz's scene, along with Tracy and Kenneth's, at the end where they watch the charity concert, was filmed the day before the musical number took place  "They were pretending to look at the singing", revealed Fey  They forced that shot in so that the episode not just end with the performance Professor Milton Greene was played by guest actor Alan Alda, best known for his role as Hawkeye Pierce from the television series M*A*S*H  This was Alda's second appearance, having appeared in the previous episode "Mamma Mia"  In a scene of "Kidney Now!", Tracy breaks down crying and says "There is no baby  I was chicken! I was chicken!" then Milton, who sees this, asks "A guy crying about a chicken and a baby? I thought this was a comedy show " This was a reference to Alda's M*A*S*H character in the series finale episode in which Hawkeye breaks down after realizing he had seen a woman smother her baby to death, not a chicken as Hawkeye had originally recalled in his repressed mind  Comedian actor Chris Parnell, who played Dr  Leo Spaceman in the season finale, has appeared in the main cast of Saturday Night Live (SNL), a weekly sketch comedy series which airs on NBC in the United States  Fey was the head writer on SNL from 1999 until 2006  Comedian actress Sherri Shepherd reprised her role as Angie Jordan, the wife of Tracy, for the fifth time  Paula Pell made her second guest spot as the character Paula Hornberger, the wife of Pete Hornberger, played by Scott Adsit  In "Kidney Now!", Angie and Paula ask Liz for relationship advice  In addition, 30 Rock writers Jack Burditt, Kay Cannon, and Donald Glover appear in the episode; Burditt and Cannon appear in The Vontella Show segment as members from the audience who ask Liz questions  When Tracy accepts an honorary diploma from his former high school, in his speech, Tracy outs Glover's character  The success of the benefit concert for Milton is not explicitly referenced until Alda's character alludes to it in the season five episode "Christmas Attack Zone", though in the season four episode "Into the Crevasse", Milton is shown to have finished his book entitled From Peanut to President, a biography of U S  President Jimmy Carter One filmed scene from "Kidney Now!" was cut out from the airing  Instead, the scene was featured on 30 Rock's season three DVD as part of the deleted scenes in the Bonus feature  In the scene, Liz enters the TGS writer's room, and tells the writing staff that she got recognized from her appearance on The Vontella Show as the relationship expert from "Dealbreakers"  Pete cannot believe that Liz gave actual relationship advice on the program, citing Liz's own past relationship faults 

Reception
According to the Nielsen Media Research, "Kidney Now!" was watched by 5 7 million viewers during its original United States broadcast  The rating was an 8 percent drop in viewership from the previous week's episode, "Mamma Mia", which was seen by 6 2 million American viewers  The show claimed a 2 8 rating/7 share among viewers aged 18 to 49, meaning that 2 8 percent of all people in that group, and 7 percent of all people from that group watching television at the time, watched the episode  Jack Burditt and Robert Carlock received a Primetime Emmy Award nomination for Outstanding Writing in a Comedy Series for their work on "Kidney Now!", but they lost it to fellow 30 Rock writer Matt Hubbard for the episode "Reunion" at the 61st Primetime Emmy Awards  At the same awards show, Tony Pipitone and Griffin Richardson were nominated for a Creative Arts Emmy Award for Outstanding Sound Mixing for a Comedy or Drama Series (half-hour) and Animation IGN contributor Robert Canning wrote that the ending from this episode "did have a season finale feel to it with the big musical number  [   ] Still, it was a great season, and I loved going out with two of the best characters on TV summing up the moment perfectly – Liz: 'We sure had quite a year ' Jack: 'What are you talking about? It's May '" Canning gave it an 8 5 out of 10 rating  Television columnist Alan Sepinwall for The Star-Ledger wrote that the "all-star cast of musicians" featured were not able to dominate the episode "to the point where the episode didn't work " Sepinwall, however, added that despite "Kidney Now!" not being a classic 30 Rock episode "it was [still] funny enough – which, I suppose, also makes it an appropriate finale for this uneven season " Further in the review, Sepinwall was complimentary towards Liz's plot, writing that the character's sequence on The Vontella Show was "hilarious, and a fine demonstration of how much confidence Tina Fey has gained as an actress over the years " The A V  Club's Nathan Rabin also enjoyed the Liz character, reporting that she "delivered a virtuoso performance in [The Vontella Show], instantly homing in on the fatal flaw in every relationship and obliterating it with highly quotable sass " In discussion to Tracy's plot, Rabin opined it was the "weakest of the various threads" in this episode  Bob Sassone of AOL's TV Squad confessed in his recap that he was going to summarize "Kidney Now!" as "a little disappointing, but then I hit rewind on my DVR and watched it again and realized, wow, they actually hit all of the season finale notes rather perfectly [   ] This episode was quite funny "Rick Porter of Zap2it worried how the series would fit in "the likes" of Elvis Costello, Mary J  Blige, Sheryl Crow, Clay Aiken and Adam Levine "without it overwhelming the episode", and reported that the answer to that "turned out to be 'very effectively '" In regards to the storylines, itself, he noted that Jack's quest in getting Milton a kidney "balanced nicely" with Liz's story, and that Tracy's "had some good moments"  In conclusion, Porter wrote "For a show that doesn't always know how to end episodes, it's done really well at ending seasons " TV Guide Magazine's Sandra Kofler wrote that the "He Needs a Kidney" song was hilarious, and that it "stole [30 Rock's] season finale " Patrick Goldstein, a contributor for the Los Angeles Times, was favorable to the musical number, reporting "[t]he song itself is a hoot, highlighted by a wonderful spoken-word kidney donation pitch that begins with Costello saying: 'Listen, when someone starts talking in the middle of a song, you know it's serious '" Entertainment Weekly contributor Annie Barrett said "Kidney Now!" was "sweet and all", and noted that the "Vontella-as-Tyra spoof" was "brilliant"  Time contributor James Poniewozik wrote that this episode "was a fitting end for a guest-star-heavy     season of 30 Rock", but added that the finale overall was "maybe average", however, "the ending at least delivered the goods, with the best sitcom celebrity benefit song" 
Passage 8:
100 (30 Rock)
"100" is a double episode of the American television comedy series 30 Rock, comprising the 20th and 21st episodes of the fifth season, and the 100th and 101st episodes overall of the series  It was written by Jack Burditt and the show's executive producers Robert Carlock and Tina Fey, who is also the series' creator, head writer, and star  The episode originally aired on NBC in the United States on April 21, 2011  Commemorating the 100th episode of the series, this episode was one hour long and included a multitude of guest stars including Michael Keaton, Tom Hanks, Rachel Dratch, Will Forte, Brian Williams, among others 
In the episode, Liz Lemon (Tina Fey) faces news of cancellation for TGS from Hank Hooper after the departure of Tracy Jordan (Tracy Morgan) brought in terrible ratings  Jack Donaghy (Alec Baldwin) promises Hank the return of Tracy and asks for one more chance for TGS to prove itself with its 100th episode  Meanwhile, a gas leak in the building leads to hallucinations among the characters, such as Jack's imaginings of alternate versions of himself visiting him  In a subplot, Jenna Maroney (Jane Krakowski) considers becoming a mother following a joke she made to Kenneth Parcell (Jack McBrayer) five years earlier 

Plot
Hank Hooper (Ken Howard), CEO of the fictional NBC parent Kabletown, informs Liz Lemon (Tina Fey) and Jack Donaghy (Alec Baldwin) of his decision to cancel TGS due to its struggles during the absence of Tracy Jordan (Tracy Morgan)  Jack supports Liz, informing Hank that Tracy is returning and convinces him to reconsider the cancellation until after their upcoming hundredth episode  Meanwhile, Kenneth Parcell (Jack McBrayer) suggests to Jenna Maroney (Jane Krakowski) that she'd make a great mother, which causes her to have a hysterical pregnancy in order to augment her career 
Tom the janitor (Michael Keaton) discovers a gas leak that is seeping into the ventilation system of TGS, necessitating the evacuation of all personnel and delaying production of the 100th episode  While repairing the gas leak, Tom inadvertently breaks the ventilation system on the 52nd floor, causing Jack to hallucinate  a visit by an alternate reality version of himself  Alternate Jack declares that he fired Liz because she was holding him back and that without her, he had made his way to the top of GE  As a consequence, Jack meets with Liz and severs their relationship 
Liz is then approached by her ex-boyfriend, Dennis (Dean Winters), whom she had apparently called while under the influence of the gas, hoping to rekindle their relationship  Liz rejects Dennis, who subsequently realizes that he needs to sabotage the ventilation system in order to get her back 
Elsewhere, Tracy goes on multiple morning television shows in an attempt to sabotage the respect he has earned  Unfortunately, his attempts fail, as not only do the hosts interpret his crude behavior as artistic expression, but he also manages to save a man from drowning  Tracy discusses the problem with Jenna and the two realize the only way he could ruin his public image is to shoot someone  Tracy convinces Kenneth to volunteer as his shooting victim on the roof of the building 
As the gas spreads, Jack is visited by two more versions of himself  One is a past version who agrees with his original alternate version  The other is a future version who claims that he needs Liz to distract him from his blind ambition and that he will be much happier if he doesn't fire her  He warns Jack that Liz is about to sign a lease with Dennis, which will lead to them getting married and living in Jacksonville, Florida 
Jack finds Liz and prevents her from signing the lease  Meanwhile, Tom repairs the sabotaged gas line and Dennis is escorted out of the building  Liz then tells Jack that she saw Kenneth and Tracy heading for the roof with a gun  Jenna joins them and the group runs into Hank Hooper on the way, who pitches Jenna a daytime talk show, which causes her hysterical pregnancy to suddenly vanish in light of this new opportunity  They reach the roof just in time to prevent Tracy from shooting Kenneth  Jack advises Tracy that the best way to lose respect as an actor is to return to television, giving a speech alluding to events from Baldwin's own career 
Jack, Liz, Tracy, Jenna, and Kenneth make it back to the TGS set, where Liz discovers that the entire show was written under the influence of the gas and is essentially worthless  She breaks the gas line once again, and with Hooper and the entire studio audience affected by the gas, the show is a hit  A hallucinatory Hooper renews it for "a billion more episodes"  Liz and Jack apologize to each other  They then toast to their friendship with imaginary champagne  Tom Hanks, upon seeing Tracy back on TV while watching the episode at home, calls George Clooney (who does not appear) on a red phone and tells him to have Tracy removed from the "official A-list" 

Reception
According to the Nielsen Media Research, this episode of 30 Rock was watched by 4 60 million households in its original American broadcast—with 4 80 million watching the first half-hour and 4 44 million watching the last half hour  It earned a 2 2 rating/6 share in the 18–49 demographic  This means that it was seen by 2 2 percent of all 18- to 49-year-olds, and 6 percent of all 18- to 49-year-olds watching television at the time of the broadcast 
"100" received positive reviews  The A V  Club gave the episode a B− grade, praising the characterisation but criticising some of the more implausible plot elements (such as the gas leak and Jenna's sudden yearning for children) 
Passage 9:
Unbreakable Kimmy Schmidt
Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role  It premiered on March 6, 2015 on Netflix and ran for four seasons, ending on January 25, 2019  An interactive special premiered on May 12, 2020 
The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life after being rescued from a doomsday cult in the fictional town of Durnsville, Indiana, where she and three other women were held captive by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years  Determined to be seen as something other than a victim and armed only with a positive attitude, she decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for melancholic and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski) 
Throughout its run, the series received critical acclaim, with critic Scott Meslow calling it "the first great sitcom of the streaming era"  It received 20 Primetime Emmy Award nominations, including four nominations for Outstanding Comedy Series and a nomination for Outstanding Television Movie for the 2020 special Kimmy vs  the Reverend 

Synopsis
Kimmy Schmidt (Ellie Kemper) was in eighth grade when she was kidnapped by Reverend Richard Wayne Gary Wayne (Jon Hamm)  He held Kimmy and three other women captive for 15 years in an underground bunker and convinced them that a nuclear apocalypse had left them the sole survivors of humanity 
In the first season, the women are rescued, and go on to appear on the Today Show in New York City  After the show, Kimmy decides she doesn't want to return to Indiana or be seen as a victim, so she starts a new life in New York City  Roaming around the city, she comes across landlady Lillian Kaushtupper (Carol Kane), who offers Kimmy a chance to room with Titus Andromedon (Tituss Burgess) in her downstairs apartment  However, to get the apartment, Kimmy has to find a job  When she tries to get a job at a nearby candy store, she sees a boy stealing candy  She pursues him back to his home and encounters his mother, Jacqueline Voorhees (Jane Krakowski), a Manhattan trophy wife, who mistakes her for a nanny, and whom Kimmy mistakes as someone trapped in a cult  Jacqueline hires Kimmy as a nanny for her 10-year-old son  As Season 1 continues, Kimmy falls in love with Dong (Ki Hong Lee), a Vietnamese man from her G E D  class; goes to court to testify against the Reverend, and discovers how the world has changed in the 15 years she was held captive  
In the second season, Kimmy is sick of working for Jacqueline and gets a job at a year-round Christmas store and then as an Uber driver  She tries to get over Dong, who enters a green card marriage with another G E D  student and is eventually deported  As Kimmy tries to move on, so do Titus and Jacqueline, who both find boyfriends  Titus begins dating construction worker Mikey Politano (Mike Carlsen) and Jacqueline begins dating lawyer Russ Snyder (David Cross)  Jacqueline also goes back to her Native American heritage and decides to take down the Washington Redskins, who her boyfriend's father happens to own  Kimmy reunites with Gretchen and Cyndee to save them from joining another cult and getting married on television, respectively  When Season 2 ends, Titus leaves to be a performer on a cruise and Lillian protests the invasion of hipsters in her neighborhood, while Kimmy makes amends with her mother (Lisa Kudrow) after advice from her therapist (Tina Fey) before receiving a phone call from the Reverend in prison, telling her that they need to get a divorce 
In the third season, Kimmy proceeds with the divorce from the Reverend but hits a snag when she learns that a devoted fan (guest star Laura Dern) wants to marry him  After getting her G E D , Kimmy decides to go to college and ends up at Columbia University, where she is popular but fails academically  She forms a friendship with Perry (Daveed Diggs), a philosophy and religion transfer student who, like Kimmy, does not fit in with the rich, elitist Ivy League students  Titus returns from his stint on the cruise harboring a secret and, determined to come home to Mikey with money and a job, he auditions for Sesame Street  However, after the man auditioning Titus asks him to perform sexual acts on a puppet, Titus leaves and runs home to Mikey  However, Titus sees Mikey out with another man, and breaks up with him  Lillian is elected to the city council and attempts to block the construction of a supermarket chain for fear it will gentrify the neighborhood  She later starts a relationship with the owner of the chain (Peter Riegert)  Meanwhile, Jacqueline and Russ execute their plan to force his family to change the name of the Redskins and Titus makes it big with the single "Boobs in California"  At the end of season three, Titus vows to win Mikey back from his new boyfriend, Jacqueline finds a profession, and Kimmy lands a job at a tech start-up 
In the fourth and final season, Kimmy is working at Giztoob, the tech company started by a former classmate at Columbia, and Jacqueline is representing Titus as his agent  After acting in an anti-bullying performance for a middle school, Titus gets a job as director of the school play and, in an attempt to impress Mikey, pretends to write and star in a superhero television show called The Capist, starring Greg Kinnear  Meanwhile, Lillian's boyfriend Artie dies and she is put in charge of his adult daughter's trust  Kimmy reunites with Donna Maria, who is now a successful businesswoman  Outraged and inspired by men's rights activists, Kimmy writes a children's book that empowers girls and encourages boys to be kind; by the end of season four, Kimmy has found success as a children's author  Season 4 features two episodes that veer from the main plot  In the first, a standalone mockumentary episode, Jacqueline's former boy toy Doug, a k a  DJ Fingablast, creates a true crime documentary called Party Monster: Scratching the Surface, which sympathizes with the Reverend and paints Kimmy and the other Mole Women negatively  The second episode, "Sliding Van Doors", presents an alternate universe in which Kimmy is never kidnapped, Titus does not audition for The Lion King in 1998, Jacqueline does not marry Julian Voorhees, and Lillian runs a Latin street gang  The series concludes with each of the main four characters finding success and purpose in new ventures 

Episodes
Cast and characters
Main
Ellie Kemper as Kimberly "Kimmy" Cougar Schmidt, the titular character  Armed with only unflagging optimism,  a childlike sense of wonder and an eighth-grade education, she attempts to regain the life that was taken from her and navigate her way through the unfamiliar struggles of New York life 
Tituss Burgess as Titus Andromedon (born Ronald Wilkerson), Kimmy's gay, flamboyant roommate and an aspiring actor and singer  Melodramatic and self-absorbed, Titus nevertheless cares deeply for, and is very protective of Kimmy  Despite his talent and ego, he is plagued by self-doubt after years of rejection in the business  Titus hails from Chickasaw County, Mississippi, and moved to New York City in 1998 
Carol Kane as Lillian Kaushtupper, Kimmy and Titus' odd landlady  A proud born-and-bred New Yorker with a long, complex criminal history, she fights against the possible gentrification of her neighborhood (although it soon becomes clear that she hates any form of progress or technology)  Despite her willingness to do anything to make a buck, she has a very big heart and will go out of her way to help her tenants 
Jane Krakowski as Jacqueline White (formerly Voorhees; née Jackie Lynn White), a wealthy and insecure socialite who hires Kimmy as a nanny  Despite coming across as arrogant, condescending and out of touch, she is very fond of (and heavily reliant on) her new employee, who helps her gain perspective on her unhappy marriage  She is secretly of Lakota Native American descent and is passing for white  As the series progresses, she gradually reconnects with her family and her culture  She is the mother of Buckley Voorhees and the former step-mother of Xanthippe Lannister Voorhees  Her ex-husband is Julian Voorhees 

Recurring
Guest
Production
Development
The show was created by Tina Fey and Robert Carlock when NBC executives asked them to develop a show for Ellie Kemper  Fey said that they found an "innocence" about Kemper's face, but also noted a "strength" to it  One idea was for the show to center on Kemper's character waking up from a coma, but this idea was abandoned in favor of the cult-survivor storyline The show was initially under development for NBC under the title Tooken  NBC ultimately sold the series to Netflix  Fey said that this was in partly due to NBC's "not feeling confident about watching comedies"  Prior to the sale, NBC planned to air the series as either a mid-season replacement or as a summer series  It was sold to Netflix with a two-season order On June 13, 2017, it was renewed for a fourth and final season, with the first six episodes premiering on May 30, 2018  The second half was released on January 25, 2019  On May 8, 2019, it was announced that it would return with an interactive special, which premiered on May 12, 2020 

Casting
Casting announcements for the remaining roles were made in March 2014, with Tituss Burgess cast as Kimmy's roommate, Titus, and Carol Kane as Kimmy's and Titus's landlady, Lillian Shortly afterwards, Sara Chase was cast Cyndee, Kimmy's closest friend during their years in the cult; and Lauren Adams as Gretchen, a 10-year member of the cult who believes everything she is told  Jane Krakowski was later cast as Jacqueline Voorhees, a wealthy Manhattanite who hires Kimmy as a nanny  Megan Dodds was originally cast before Krakowski replaced her 

Music
The show's theme song, "Unbreakable", was produced by The Gregory Brothers and written by Jeff Richmond  It is a tribute to The Gregory Brothers' YouTube show Songify the News – auto-tuned news interviews that became popular videos  It specifically parodies the mannerisms of Antoine Dodson in the "Bed Intruder Song"  Richmond also wrote "Peeno Noir", a song performed by character Titus Andromedon during season 1, episode 6 

Artwork
Artwork for the show's opening sequence was produced by a team at Pentagram that included feminist artist Deva Pardue 

Home video releases
Reception
The show has been widely acclaimed by television critics, who have praised the writing and cast 

Season 1
On Rotten Tomatoes, the first season has a rating of 95%, based on 55 reviews, with an average rating of 7 5/10  The site's critical consensus reads, "Blessed with originality and a spot-on performance from Ellie Kemper, The Unbreakable Kimmy Schmidt is as odd as it is hilarious " On Metacritic, the first season has a score of 78 out of 100, based on 29 critics, indicating "generally favorable reviews" Scott Meslow of The Week called the series "the first great sitcom of the streaming era", praising its wit, edge, and feminist tone  Brian Moylan of The Guardian noted that it is "the sort of show that could benefit from multiple viewings, because the jokes are so packed in you’re sure to miss something while laughing " TV Guide named it the "best new comedy of 2015"  IGN reviewer Max Nicholson gave the first season an 8 3 out of 10 'Great' rating, saying "Tina Fey and Robert Carlock's Unbreakable Kimmy Schmidt is another winner in Netflix's original series catalog  Not only is it charming and funny, but it's unabashedly kooky, and Ellie Kemper nails the lead role "The first season was nominated for seven Primetime Emmy Awards 
Some reviewers have criticized the show's portrayal of Native Americans, with Vulture referring to a prominent Native American subplot as "offensive"  BuzzFeed wrote that the show has a "major race problem" and cited the lack of a plurality of portrayals of Native Americans as the main issue with the subplot, stating that "the way Native Americans are represented on this show matters  It's not one representation among a cornucopia of representations; it's the single mainstream representation in years " The Daily Beast stated that when it comes to race, “especially in its portrayal of a key Vietnamese character, the show leaves much to be desired ”In the wake of the controversy, Tina Fey responded: "I feel like we put so much effort into writing and crafting everything, they need to speak for themselves  There's a real culture of demanding apologies, and I'm opting out of that "

Season 2
On Rotten Tomatoes, the second season holds a 100% approval rating, based on 24 reviews, with an average rating of 7 6/10  The site's critical consensus reads, "Not letting up in season two, Unbreakable Kimmy Schmidt is still odd in the best of ways, wonderfully building on its unique comedy stylings and brilliantly funny cast " On Metacritic, the second season has a score of 82 out of 100, based on 16 reviews, indicating "universal acclaim" The second season was nominated for four Primetime Emmy Awards 
There was controversy surrounding the third episode from this season, “Kimmy Goes to a Play!,” which involved the use of yellow-face and the name of a group of Asian-Americans who were critical of yellow-face  The group is referred to as "Respectful Asian Portrayals in Entertainment", or "R A P E" for short  The Asian-Americans shown protesting against yellow-face in the episode are conveyed as unlikable buffoons  Anna Akana criticized the use of yellow-face and the R A P E  acronym during her 2016 Asians in Entertainment Key Note speech  Alex Abad-Santos wrote, “The odd thing about this episode is that it's another Tina Fey project that paints Asian people, specifically Asian women, as crappy characters  [   ] The plot feels like a pointed, ironic response to anyone who has criticized Fey's past projects for being lazy and racist ”

Season 3
On Rotten Tomatoes, the third season holds a 97% approval rating, based on 29 reviews, with an average rating of 8 11/10  The site's critical consensus states: "Unbreakable Kimmy Schmidt continues to thrive with a comically agile cast, notable guest stars, and a forceful influx of funny " On Metacritic, the third season has a score of 78 out of 100, based on 12 reviews, indicating "generally favorable reviews" The third season was nominated for five Primetime Emmy Awards 

Season 4
On Rotten Tomatoes, the fourth season holds a 94% approval rating, based on 32 reviews, with an average rating of 7 77/10  The site's critical consensus states: "Unbreakable Kimmy Schmidt ends with a final season that's as topical as it is cheerily irreverent " On Metacritic, the fourth season has a score of 85 out of 100, based on 6 reviews, indicating "universal acclaim" The fourth season was nominated for two Primetime Emmy Awards 

Special
On Rotten Tomatoes, the Unbreakable Kimmy Schmidt: Kimmy vs  the Reverend special has an approval rating of 94%, based on 32 reviews, with an average rating of 7 81/10  The site's critical consensus reads: "Kimmy and company return as resilient as ever in a fun and fast paced special that makes excellent use of its interactive capabilities to produce maximum fabulosity "The special was nominated for two Primetime Emmy Awards 
Context 3:  Food justice serves as a theoretical and political bridge between scholarship and activism on sustainable agriculture, food insecurity, and environmental justice "Some systematic reviews have already explored urban agriculture contribution to food security and other determinants of health outcomes (see )
Urban agriculture is part of a larger discussion of the need for alternative agricultural paradigms to address food insecurity, inaccessibility of fresh foods, and unjust practices on multiple levels of the food system; and this discussion has been led by different actors, including food-insecure individuals, farm workers, educators and academics, policymakers, social movements, organizations, and marginalized people globally The issue of food security is accompanied by the related movements of food justice and food sovereignty  These movements incorporate urban agriculture in how they address food-resources of a community  Food sovereignty, in addition to promoting food access, also seeks to address the power dynamics and political economy of food; it accounts for the embedded power structures of the food system, ownership of production, and decision-making on multiple levels (i e  growing, processing, and distribution): Under this framework, representative decision-making and responsiveness to the community are core features 

Agroecological
Agroecology is a scientific framework, movement, and applied practice of agricultural management systems that seeks to achieve food sovereignty within food systems and prioritizes sustainability, farmer and consumer well-being, traditional knowledge revival, and democratized learning systems  Transdisciplinarity and diversity of knowledge is a central theme to agroecology, so many urban agroecology initiatives address topics of social justice, gender empowerment, ecological sustainability, indigenous sovereignty, and participation in addition to promoting food access Under an agroecological framework, urban agriculture has the potential to play a role as a "public space, as an economic development strategy, and as a community-organizing tool" while alleviating food insecurity 

Impact
In general, Urban and peri urban agriculture (UPA) contributes to food availability, particularly of fresh produce, provides employment and income and can contribute to the food security and nutrition of urban dwellers 

Economic
Urban and Peri-urban agriculture (UPA) expands the economic base of the city through production, processing, packaging, and marketing of consumable products  This results in an increase in entrepreneurial activities and the creation of jobs, as well as reducing food costs and improving quality  UPA provides employment, income, and access to food for urban populations, which helps to relieve chronic and emergency food insecurity  Chronic food insecurity refers to less affordable food and growing urban poverty, while emergency food insecurity relates to breakdowns in the chain of food distribution  UPA plays an important role in making food more affordable and in providing emergency supplies of food  Research into market values for produce grown in urban gardens has been attributed to a community garden plot a median yield value of between approximately $200 and $500 (US, adjusted for inflation) 

Social
Urban agriculture can have a large impact on the social and emotional well-being of individuals  UA can have an overall positive impact on community health, which directly impacts individuals social and emotional well-being  Urban gardens are often places that facilitate positive social interaction, which also contributes to overall social and emotional well-being  Many gardens facilitate the improvement of social networks within the communities that they are located  For many neighborhoods, gardens provide a "symbolic focus", which leads to increased neighborhood pride  Urban agriculture increases community participation through diagnostic workshops or different commissions in the area of vegetable gardens  Activities which involve hundreds of people When individuals come together around UA, physical activity levels are often increased   This can also raise serotonin levels akin to working out at a gym  There is the added element of walking/biking to the gardens, further increasing physical activity and the benefits of being outdoors UPA can be seen as a means of improving the livelihood of people living in and around cities  Taking part in such practices is seen mostly as an informal activity, but in many cities where inadequate, unreliable, and irregular access to food is a recurring problem, urban agriculture has been a positive response to tackling food concerns  Due to the food security that comes with UA, feelings of independence and empowerment often arise  The ability to produce and grow food for oneself has also been reported to improve levels of self-esteem or of self-efficacy  Households and small communities take advantage of vacant land and contribute not only to their household food needs but also the needs of their resident city  The CFSC states that:

Community and residential gardening, as well as small-scale farming, save household food dollars  They promote nutrition and free cash for non-garden foods and other items  As an example, you can raise your own chickens on an urban farm and have fresh eggs for only $0 44 per dozen 

This allows families to generate larger incomes selling to local grocers or to local outdoor markets while supplying their household with the proper nutrition of fresh and nutritional products  With the popularity of farmers markets recently, this has allowed an even larger income 

Some community urban farms can be quite efficient and help women find work, who in some cases are marginalized from finding employment in the formal economy  Studies have shown that participation from women have a higher production rate, therefore producing the adequate amount for household consumption while supplying more for market sale As most UA activities are conducted on vacant municipal land, there have been raising concerns about the allocation of land and property rights  The IDRC and the FAO have published the Guidelines for Municipal Policymaking on Urban Agriculture, and are working with municipal governments to create successful policy measures that can be incorporated in urban planning Over a third of US households, roughly 42 million, participate in food gardening   There has also been an increase of 63% participation in farming by millennials from 2008-2013  US households participating in community gardening has also tripled from 1 to 3 million in that time frame  Urban agriculture provides unique opportunities to bridge diverse communities together  In addition, it provides opportunities for health care providers to interact with their patients  Thus, making each community garden a hub that is reflective of the community 

Energy efficiency
The current industrial agriculture system is accountable for high energy costs for the transportation of foodstuffs  According to a study by Rich Pirog, associate director of the Leopold Center for Sustainable Agriculture at Iowa State University, the average conventional produce item travels 1,500 miles (2,400 km), using, if shipped by tractor-trailer, 1 US gallon (3 8 L; 0 83 imp gal) of fossil fuel per 100 pounds (45 kg)  The energy used to transport food is decreased when urban agriculture can provide cities with locally grown food  Pirog found that traditional, non-local, food distribution system used 4 to 17 times more fuel and emitted 5 to 17 times more CO2 than the local and regional transport Similarly, in a study by Marc Xuereb and Region of Waterloo Public Health, it was estimated that switching to locally-grown food could save transport-related emissions equivalent to nearly 50,000 metric tons of CO2, or the equivalent of taking 16,191 cars off the road In theory one would save money, but everything is being ran on the house's power grid most of the time   So prices can vary according to when you water, or how you water, etc 

Carbon footprint
As mentioned above, the energy-efficient nature of urban agriculture can reduce each city's carbon footprint by reducing the amount of transport that occurs to deliver goods to the consumer  Such areas can act as carbon sinks offsetting some of the carbon accumulation that is innate to urban areas, where pavement and buildings outnumber plants  Plants absorb atmospheric carbon dioxide (CO2) and release breathable oxygen (O2) through photosynthesis  The process of Carbon Sequestration can be further improved by combining other agriculture techniques to increase removal from the atmosphere and prevent the release of CO2 during harvest time  However, this process relies heavily on the types of plants selected and the methodology of farming  Specifically, choosing plants that do not lose their leaves and remain green all year can increase the farm's ability to sequester carbon 

Reduction in ozone and particulate matter
The reduction in ozone and other particulate matter can benefit human health   Reducing these particulates and ozone gases could reduce mortality rates in urban areas along with increase the health of those living in cities  
A 2011 article found that a rooftop containing 2000 m2 of uncut grass has the potential to remove up to 4000 kg of particulate matter and that one square meter of green roof is sufficient to offset the annual particulate matter emissions of a car 

Soil decontamination
Vacant urban lots are often victims to illegal dumping of hazardous chemicals and other wastes  They are also liable to accumulate standing water and "grey water", which can be dangerous to public health, especially left stagnant for long periods  The implementation of urban agriculture in these vacant lots can be a cost-effective method for removing these chemicals  In the process known as Phytoremediation, plants and the associated microorganisms are selected for their chemical ability to degrade, absorb, convert to an inert form, and remove toxins from the soil   Several chemicals can be targeted for removal, including heavy metals (e g  Mercury and lead), inorganic compounds (e g  Arsenic and Uranium), and organic compounds (e g  petroleum and chlorinated compounds like PBCs) Phytoremeditation is both an environmentally-friendly, cost-effective and energy-efficient measure to reduce pollution  Phytoremediation only costs about $5–$40 per ton of soil being decontaminated  Implementation of this process also reduces the amount of soil that must be disposed of in a hazardous waste landfill Urban agriculture as a method to mediate chemical pollution can be effective in preventing the spread of these chemicals into the surrounding environment  Other methods of remediation often disturb the soil and force the chemicals contained within it into the air or water  Plants can be used as a method to remove chemicals and also to hold the soil and prevent erosion of contaminated soil decreasing the spread of pollutants and the hazard presented by these lots One way of identifying soil contamination is through using already well-established plants as bioindicators of soil health  Using well-studied plants is important because there has already been substantial bodies of work to test them in various conditions, so responses can be verified with certainty  Such plants are also valuable because they are genetically identical as crops as opposed to natural variants of the same species  Typically urban soil has had the topsoil stripped away and has led to soil with low aeration, porosity, and drainage  Typical measures of soil health are microbial biomass and activity, enzymes, soil organic matter (SOM), total nitrogen, available nutrients, porosity, aggregate stability, and compaction  A new measurement is active carbon (AC), which is the most usable portion of the total organic carbon (TOC) in the soil  This contributes greatly to the functionality of the soil food web  Using common crops, which are generally well-studied, as bioindicators can be used to effectively test the quality of an urban farming plot before beginning planting 

Noise pollution
Large amounts of noise pollution not only lead to lower property values and high frustration, they can be damaging to human hearing and health  The study "Noise exposure and public health" found that exposure to continual noise is a public health problem  Examples of the detriment of continual noise on humans to include: "hearing impairment, hypertension and ischemic heart disease, annoyance, sleep disturbance, and decreased school performance " Since most roofs or vacant lots consist of hard flat surfaces that reflect sound waves instead of absorbing them, adding plants that can absorb these waves has the potential to lead to a vast reduction in noise pollution 

Nutrition and quality of food
Daily intake of a variety of fruits and vegetables is linked to a decreased risk of chronic diseases including diabetes, heart disease, and cancer  Urban agriculture is associated with increased consumption of fruits and vegetables which decreases risk for disease and can be a cost-effective way to provide citizens with quality, fresh produce in urban settings Produce from urban gardens can be perceived to be more flavorful and desirable than store bought produce which may also lead to a wider acceptance and higher intake  A Flint, Michigan study found that those participating in community gardens consumed fruits and vegetables 1 4 times more per day and were 3 5 times more likely to consume fruits or vegetables at least 5 times daily (p  1)   Garden-based education can also yield nutritional benefits in children  An Idaho study reported a positive association between school gardens and increased intake of fruit, vegetables, vitamin A, vitamin C and fiber among sixth graders  Harvesting fruits and vegetables initiates the enzymatic process of nutrient degradation which is especially detrimental to water soluble vitamins such as ascorbic acid and thiamin  The process of blanching produce in order to freeze or can reduce nutrient content slightly, but not nearly as much as the amount of time spent in storage  Harvesting produce from one's own community garden cuts back on storage times significantly 
Urban agriculture also provides quality nutrition for low-income households  Studies show that every $1 invested in a community garden yields $6 worth of vegetables if labor is not considered a factor in investment  Many urban gardens reduce the strain on food banks and other emergency food providers by donating shares of their harvest and providing fresh produce in areas that otherwise might be food deserts  The supplemental nutrition program Women, Infants and Children (WIC) as well as the Supplemental Nutrition Assistance Program (SNAP) have partnered with several urban gardens nationwide to improve the accessibility to produce in exchange for a few hours of volunteer gardening work Urban farming has been shown to increase health outcomes  Gardeners consume twice as much fruit and vegetables than non-gardeners  Levels of physical activity are also positively associated with urban farming  These results are seen indirectly and can be supported by the social involvement in an individual's community as a member of the community farm  This social involvement helped raise the aesthetic appeal of the neighborhood, boosting the motivation or efficacy of the community as a whole  This increased efficacy was shown to increase neighborhood attachment  Therefore, the positive health outcomes of urban farming can be explained in part by interpersonal and social factors that boost health  Focusing on improving the aesthetics and community relationships and not only on the plant yield, is the best way to maximize the positive effect of urban farms on a neighborhood 

Economy of scale
Using high-density urban farming  with vertical farms or stacked greenhouses, many environmental benefits can be achieved on a citywide scale that would be impossible otherwise  These systems do not only provide food, but also produce potable water from waste water, and can recycle organic waste back to energy and nutrients  At the same time, they can reduce food-related transportation to a minimum while providing fresh food for large communities in almost any climate 

Health inequalities and food justice
A 2009 report by the USDA determined that "evidence is both abundant and robust enough for us to conclude that Americans living in low-income and minority areas tend to have poor access to healthy food", and that the "structural inequalities" in these neighborhoods "contribute to inequalities in diet and diet-related outcomes"   These diet-related outcomes, including obesity and diabetes, have become epidemic in low-income urban environments in the United States  Although the definition and methods for determining "food deserts" have varied, studies indicate that, at least in the United States,  there are racial disparities in the food environment  Thus using the definition of environment as the place where people live, work, play and pray, food disparities become an issue of environmental justice  This is especially true in American inner-cities where a history of racist practices have contributed to the development of food deserts in the low-income, minority areas of the urban core  The issue of inequality is so integral to the issues of food access and health that the Growing Food & Justice for All Initiative was founded with the mission of "dismantling racism" as an integral part of creating food security Not only can urban agriculture provide healthy, fresh food options, but also can contribute to a sense of community, aesthetic improvement, crime reduction, minority empowerment and autonomy, and even preserve culture through the use of farming methods and heirloom seeds preserved from areas of origin 

Environmental justice
Urban agriculture may advance environmental justice and food justice for communities living in food deserts   First, urban agriculture may reduce racial and class disparities in access to healthy food  When urban agriculture leads to locally grown fresh produce sold at affordable prices in food deserts, access to healthy food is not just available for those who live in wealthy areas, thereby leading to greater equity in rich and poor neighborhoods Improved access to food through urban agriculture can also help alleviate psychosocial stresses in poor communities  Community members engaged in urban agriculture improve local knowledge about healthy ways to fulfill dietary needs  Urban agriculture can also better the mental health of community members  Buying and selling quality products to local producers and consumers allows community members to support one another, which may reduce stress  Thus, urban agriculture can help improve conditions in poor communities, where residents experience higher levels of stress due to a perceived lack of control over the quality of their lives Urban agriculture may improve the livability and built environment in communities that lack supermarkets and other infrastructure due to the presence of high unemployment caused by deindustrialization  Urban farmers who follow sustainable agricultural methods can not only help to build local food system infrastructure, but can also contribute to improving local air, and water and soil quality  Urban farming serves as one type of green space in urban areas, it has a positive impact on the air quality in the surrounding area  A case study conducted on a rooftop farm shows the PM2 5 concentration in the urban farming area is 7-33% lower than the surrounding parts without green spaces in a city  When agricultural products are produced locally within the community, they do not need to be transported, which reduces CO2 emission rates and other pollutants that contribute to high rates of asthma in lower socioeconomic areas  Sustainable urban agriculture can also promote worker protection and consumer rights  For example, communities in New York City, Illinois, and Richmond, Virginia, have demonstrated improvements to their local environments through urban agricultural practices However, urban agriculture can also present urban growers with health risks if the soil used for urban farming is contaminated  Lead contamination is particularly common, with hazardous levels of lead found in soil in many United States cities  High lead levels in soil originate from sources including flaking lead paint which was widely used before being banned in the 1970s, vehicle exhaust, and atmospheric deposition  Without proper education on the risks of urban farming and safe practices, urban consumers of urban agricultural produce may face additional health-related issues 

Implementation
Creating a community-based infrastructure for urban agriculture means establishing local systems to grow and process food and transfer it from farmer to consumer 
To facilitate food production, cities have established community-based farming projects  Some projects have collectively tended community farms on common land, much like that of the eighteenth-century Boston Common  One such community farm is the Collingwood Children's Farm in Melbourne, Australia  Other community garden projects use the allotment garden model, in which gardeners care for individual plots in a larger gardening area, often sharing a tool shed and other amenities  Seattle's P-Patch Gardens use this model, as did the South Central Farm in Los Angeles and the Food Roof Farm in St  Louis  Independent urban gardeners also grow food in individual yards and on roofs  Garden sharing projects seek to pair producers with the land, typically, residential yard space  Roof gardens allow for urban dwellers to maintain green spaces in the city without having to set aside a tract of undeveloped land  Rooftop farms allow otherwise unused industrial roofspace to be used productively, creating work and profit  Projects around the world seek to enable cities to become 'continuous productive landscapes' by cultivating vacant urban land and temporary or permanent kitchen gardens 
Food processing on a community level has been accommodated by centralizing resources in community tool sheds and processing facilities for farmers to share  The Garden Resource Program Collaborative based in Detroit has cluster tool banks  Different areas of the city have tool banks where resources like tools, compost, mulch, tomato stakes, seeds, and education can be shared and distributed with the gardeners in that cluster  Detroit's Garden Resource Program Collaborative also strengthens their gardening community by providing access to their member's transplants; education on gardening, policy, and food issues; and by building connectivity between gardeners through workgroups, potlucks, tours, field trips, and cluster workdays  In Brazil, "Cities Without Hunger" has generated a public policy for the reconstruction of abandoned areas with food production and has improved the green areas of the community 
Farmers' markets, such as the farmers' market in Los Angeles, provide a common land where farmers can sell their product to consumers  Large cities tend to open their farmer's markets on the weekends and one day in the middle of the week  For example, the farmers' market of Boulevard Richard-Lenoir in Paris, France, is open on Sundays and Thursdays  However, to create a consumer dependency on urban agriculture and to introduce local food production as a sustainable career for farmers, markets would have to be open regularly  For example, the Los Angeles Farmers' Market is open seven days a week and has linked several local grocers together to provide different food products  The market's central location in downtown Los Angeles provides the perfect interaction for a diverse group of sellers to access their consumers 

Benefits
The benefits that UPA brings along to cities that implement this practice are numerous  The transformation of cities from only consumers of food to generators of agricultural products contributes to sustainability, improved health, and poverty alleviation 

UPA assists to close the open-loop system in urban areas characterized by the importation of food from rural zones and the exportation of waste to regions outside the city or town 
Wastewater and organic solid waste can be transformed into resources for growing agriculture products: the former can be used for irrigation, the latter as fertilizer 
Vacant urban areas can be used for agriculture production 
Other natural resources can be conserved  The use of wastewater for irrigation improves water management and increases the availability of fresh water for drinking and household consumption



ground_truth: Ellie Kemper

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What types of activities occur in both the Bennington and Bridgewater Triangles?

The following are given passages.
Context 3: 
UPA can help to preserve bioregional ecologies from being transformed into cropland 
Urban agriculture saves energy (e g  energy consumed in transporting food from rural to urban areas) 
Local production of food also allows savings in transportation costs, storage, and in product loss, what results in food cost reduction 
UPA improves the quality of the urban environment through greening and thus, a reduction in pollution 
Urban agriculture also makes the city a healthier place to live by improving the quality of the environment 
UPA is a very effective tool to fight against hunger and malnutrition since it facilitates the access to food by an impoverished sector of the urban population Poverty alleviation: It is known that a large part of the people involved in urban agriculture is the urban poor  In developing countries, the majority of urban agricultural production is for self-consumption, with surpluses being sold in the market  According to the FAO (Food and Agriculture Organization of the United Nations), urban poor consumers spend 60–80% of their income on food, making them very vulnerable to higher food prices 

UPA provides food and creates savings in household expenditure on consumables, thus increasing the amount of income allocated to other uses 
UPA surpluses can be sold in local markets, generating more income for the urban poor Community centers and gardens educate the community to see agriculture as an integral part of urban life  The Florida House Institute for Sustainable Development in Sarasota, Florida, serves as a public community and education center in which innovators with sustainable, energy-saving ideas can implement and test them  Community centers like Florida House provide urban areas with a central location to learn about urban agriculture and to begin to integrate agriculture with the urban lifestyle Urban farms also are a proven effective educational tool to teach kids about healthy eating and meaningful physical activity 

Trade-offs
Space is at a premium in cities and is accordingly expensive and difficult to secure 
The utilization of untreated wastewater for urban agricultural irrigation can facilitate the spread of waterborne diseases among the human population 
Although studies have demonstrated improved air quality in urban areas related to the proliferation of urban gardens, it has also been shown that increasing urban pollution (related specifically to a sharp rise in the number of automobiles on the road), has led to an increase in insect pests, which consume plants produced by urban agriculture  It is believed that changes to the physical structure of the plants themselves, which have been correlated to increased levels of air pollution, increase plants' palatability to insect pests  Reduced yields within urban gardens decreases the amount of food available for human consumption 
Studies indicate that the nutritional quality of wheat suffers when urban wheat plants are exposed to high nitrogen dioxide and sulfur dioxide concentrations  This problem is particularly acute in the developing world, where outdoor concentrations of sulfur dioxide are high and large percentages of the population rely upon urban agriculture as a primary source of food  These studies have implications for the nutritional quality of other staple crops that are grown in urban settings 
Agricultural activities on land that is contaminated (with such metals as lead) pose potential risks to human health  These risks are associated both with working directly on contaminated land and with consuming food that was grown in contaminated soil Municipal greening policy goals can pose conflicts  For example, policies promoting urban tree canopy are not sympathetic to vegetable gardening because of the deep shade cast by trees  However, some municipalities like Portland, Oregon, and Davenport, Iowa are encouraging the implementation of fruit-bearing trees (as street trees or as park orchards) to meet both greening and food production goals 

See also
Passage 4:
Displacement activity
Displacement activities occur when an animal experiences high motivation for two or more conflicting behaviours: the resulting displacement activity is usually unrelated to the competing motivations  Birds, for example, may peck at grass when uncertain whether to attack or flee from an opponent; similarly, a human may scratch their head when they do not know which of two options to choose   Displacement activities may also occur when animals are prevented from performing a single behaviour for which they are highly motivated   Displacement activities often involve actions which bring comfort to the animal such as scratching, preening, drinking or feeding 
In the assessment of animal welfare, displacement activities are sometimes used as evidence that an animal is highly motivated to perform a behaviour that the environment prevents  One example is that when hungry hens are trained to eat from a particular food dispenser and then find the dispenser blocked, they often begin to pace and preen themselves vigorously  These actions have been interpreted as displacement activities, and similar pacing and preening can be used as evidence of frustration in other situations Psychiatrist and primatologist Alfonso Troisi proposed that displacement activities can be used as non-invasive measures of stress in primates  He noted that various non-human primates perform self-directed activities such as grooming and scratching in situations likely to involve anxiety and uncertainty, and that these behaviours are increased by anxiogenic (anxiety-producing) drugs and reduced by anxiolytic (anxiety-reducing) drugs  In humans, he noted that similar self-directed behaviour, together with aimless manipulation of objects (chewing pens, twisting rings), can be used as indicators of "stressful stimuli and may reflect an emotional condition of negative affect" More recently the term 'displacement activity' has been widely adopted   to describe a form of procrastination  It is commonly used in the context of what someone does intentionally to keep themselves busy whilst, at the same time, avoiding doing something else that would be a better use of their time 

History of the concept
The subsequent development of research on displacement activities was a direct consequence of Konrad Lorenz's works on instincts  However, the first mentions of the phenomenon came in 1940 by the two Dutch researchers Nikolaas Tinbergen and Adriaan Kortlandt Tinbergen in 1952 noted, for example, that "two skylarks engaged in furious combat [may] suddenly peck at the ground as if they were feeding", or birds on the point of mating may suddenly begin to preen themselves  Tinbergen adopted the term "displacement activities" because the behaviour appeared to be displaced from one behavioural system into another In 1902, in The Little White Bird, J  M  Barrie refers to sheep in Kensington Gardens nibbling the grass in nervous agitation immediately after being shorn, and to Solomon, the wise crow, drinking water when he was frustrated and outwitted in an argument with other birds  Another bird encourages him to drink in order to compose himself  These references to displacement activities in a work of literature indicate that the phenomenon was well recognized at the turn of the twentieth century  A further early description of a displacement activity (though not the use of the term) is by Julian Huxley in 1914 

See also
Displacement (psychology)
Ethogram
Procrastination
Vacuum activity
Passage 5:
Race engineer
A race engineer is a motorsport team member who analyses data to achieve the best performance from the vehicle and driver  The race engineer communicates with the team's data analyst, mechanics, and driver, both between and during races  Off the race track, the race engineer analyses historical data to determine the initial set-up for the next race event or test  The race engineer's duties also include hands-on management of the vehicle mechanics, organization of the testing schedule, and assurance of compliance with regulations  The race engineer seeks to make these activities occur as seamlessly as possible for the driver  Race engineers almost always have an academic degree in engineering or a related field A good race engineer must have good people skills  To be effective, the race engineer must have a good working relationship with not only the driver but also the rest of the team, both at and away from the track  Many times the race engineer is also "the face" of the team for the media; this is especially true during the race while the driver is inaccessible  This makes the race engineer's media skills a priority 

History
The role of the race engineer on racing teams has grown in importance since the adoption of on-board sensors that collect performance data  The race engineer's job is to evaluate the vehicle's performance gathered from both telemetry and the driver's feedback  The race engineer then seeks to improve performance with regard to the driver's desires by adjusting suspension, engine calibrations, aerodynamics, and other variables which affect the vehicle's performance on the race track 

Travel
Race engineers tend to travel extensively, especially during the racing season of their motorsport teams  At the highest level of professional motorsports, international travel is common  Offseason travel for race engineers is usually for testing, training, and visiting vendors 

See also
Automotive aerodynamics
Automotive engineering
Control theory
Mechanical engineering
Passage 6:
JAK Members Bank
The JAK Members Bank, or JAK Medlemsbank, is a cooperative, member-owned financial institution based in Skövde, Sweden, and based on a concept that arose in Denmark in 1931  JAK is an acronym for Jord Arbete Kapital in Swedish or Land Labour Capital, the factors of production in classical economics  A membership of approximately 39,000 (as of December 2015) dictates the Bank's policies and direction  The Board of Directors is elected annually by members, who are each allowed only one share in the bank  JAK Members Bank does not offer any interest on saved money  All of the bank's activities occur outside of the capital market as its loans are financed solely by member savings  Administrative and developmental costs are paid for by membership and loans 
JAK banking employs the "Saving Points" system: members accumulate Saving Points during saving periods and use them when applying for a loan  The concept is that one is allowed to take out a loan for oneself to the same extent as one allows other people to be granted loans, saving into one's account  For this reason (applying for a loan), earned Saving Points must be equal to  spent Saving Points to ensure sustainability  If a member is borrowing more saving points than they currently possess, they are obliged to continue accumulating "aftersavings" during the repayment period  Aftersavings are a fixed quota of money that a member must save after one's loan was made, so they can continue to earn Saving Points  This way, at the end of the repayment period, Saving Points earned will be equal to Saving Points spent, and at that time they will be able to have back all their aftersavings 
JAK also offers a couple of loans where you do not need any saving points 

History
The co-operative society Jord Arbejde Kapital was founded in Denmark during the Great Depression in 1931  The society issued a popular local currency which was subsequently outlawed by the Danish government in 1933  In 1934 it founded an interest-free savings and loan system and a Local Exchange Trading System  Though both systems were forced to close, the savings and loan system re-emerged in 1944  The experience of JAK-banking in Denmark inspired a group in Sweden to develop a non-profit organisation named Jord Arbete Kapital - Riksförening för Ekonomisk Frigörelse (National Association for Economic Emancipation) in 1965  This pioneers' group developed a mathematical system based on Saving Points, designated the "balanced saving system"  The association grew slowly at first  In 1997, a legislative amendment required the association to receive a banking license from the Swedish Financial Supervisory Authority in order to continue operating as a financial institution, which was granted in that year  The bank's deposits are insured by the government 

Philosophy
According to JAK's philosophy, economic instability arises out of and is a consequence of the levying of interest 
JAK operates under the following principles:

Interest moves money from the poor to the rich
Interest favours projects which yield high profits in the short termThe main aim of the bank is to provide its members with a viable, feasible financial instrument, sustainable for the environment and serving the local economy 

Membership
Marketing for JAK is done primarily by volunteers and word-of-mouth advertising  Deposits are accepted and loans are given in Swedish Krona (SEK)  Mortgages or personal guarantees may be made only if the property or the guarantor is Swedish  It is compulsory to have Swedish residency to apply for a loan from JAK  The savings of members are covered under the deposit guarantees of the Swedish banking system 

JAK in other countries
JAK organisations exist in Denmark, Germany and Italy, in addition to Sweden  There was also an earlier attempt to start such a bank in Norway 
The Danish organisations, which date back to 1931, are known as J A K  Andelskasser, and there are 14 independent organisations which hold the legal status of andelskasse, which is a form of bank in Denmark  They are all members of Landsforeningen J A K , the association of JAK organisations 

Literature
Margunn Bjørnholt: Pengene mot strømmen: Alternative finansieringsorganisasjoner, Oslo, University of Oslo, 1995, ISBN 8257004383, sida 82-129

See also
Grameen Bank
WIR Bank
Passage 7:
Bridgewater Triangle
The Bridgewater Triangle is an area of about 200 square miles (520 km2) within southeastern Massachusetts in the United States, claimed to be a site of alleged paranormal phenomena, ranging from UFOs to poltergeists, and other spectral phenomena, various bigfoot-like sightings, giant snakes and thunderbirds  The term was coined by New England based cryptozoologist Loren Coleman 

Location
Specific boundaries of the Bridgewater Triangle were first described by cryptozoologist Loren Coleman who coined the term in the 1970s, and later in his book Mysterious America 

Historic places and landmarks
Freetown-Fall River State Forest - The Freetown-Fall River State Forest has reportedly been the site of various cult activity including animal sacrifice, ritualistic murders committed by admitted Satanists, as well as a number of gangland murders and a number of suicides 
Profile Rock - The supposed site of where Wampanoag historical figure Anawan received the lost wampum belt from Philip, legend has it the ghost of a man can be seen sitting on the rock with his legs crossed or with outstretched arms  Located within the Freetown-Fall River State Forest 
Solitude Stone - An inscribed stone located near Forest Street in West Bridgewater which was found near a missing person's body  Also known as "suicide stone," the rock was found with the inscription: "All ye, who in future days, Walk by Nunckatessett stream Love not him who hummed his lay Cheerful to the parting beam, But the beauty that he wooed "
Bridgewater State University - Several buildings and rooms on campus are alleged to be haunted by ghosts and other paranormal phenomena 
Taunton State Hospital - Some visitors have claimed that they had strange paranormal experiences in the hospital including being touched and pulled in certain areas of the hospital  It is also claimed that the hospital was used by satanic cults during the 1960s and 70s 
Hornbine School - The one-room schoolhouse was built during the 1840s and remained in active use until 1937  The building is alleged to be haunted by its former inhabitants 

Paranormal claims
Common to most of these areas is a mix of reported phenomena, that includes reports of:

Unidentified flying objects, often in the form of bright balls of light or large, unusual spacecraft 
Unnatural animal sightings, ranging from unusual reports of animals that are not found within the area (such as panthers and bears) to more supernatural claims of giant snakes and enormous vicious dogs 
Paranormal humanoids, including sightings of Bigfoot, ghosts, poltergeists, and shadow people 
Thunderbird sightings: Giant birds or pterodactyl-like flying creature with wingspans up to twelve feet are claimed to have been seen in Hockomock Swamp and neighboring Taunton and Easton, including a report by Norton Police Sergeant Thomas Downy 
Cult activity, especially animal mutilations: Various incidents of animal mutilation have been reported, particularly in Freetown and Fall River, where local police were called to investigate mutilated animals believed to be the work of a cult  Two specific incidents in 1998 were reported: one in which a single adult cow was found butchered in the woods; the other in which a group of calves were discovered in a clearing, grotesquely mutilated as if part of a ritual sacrifice 
Native American curses: According to one tale, Native Americans had cursed the swamp centuries ago because of conflict with Colonial settlers  A revered object of the Wampanoag people, a belt known as the wampum belt, was lost during King Philip's War  Legend says that the area owes its paranormal unrest to the fact that this belt was lost from the Native people 
Pukwudgie: A creature from Algonquian folklore  The local Wampanoag people consider them to be dangerous tricksters  They have been especially associated with the Freetown State Forest within the Bridgewater Triangle 

See also
Lovecraft Country
Pukwudgie
Passage 8:
Context-sensitive solutions (transport)
Context-sensitive solutions (CSS) is a theoretical and practical approach to transportation decision-making and design that takes into consideration the communities and lands through which streets, roads, and highways pass ("the context")  The term is closely related to but distinguishable from context-sensitive design in that it asserts that all decisions in transportation planning, project development, operations, and maintenance should be responsive to the context in which these activities occur, not simply the design process  CSS seeks to balance the need to move vehicles efficiently and safely with other desirable outcomes, including historic preservation, environmental sustainability, and the creation of vital public spaces  In transit projects, CSS generally refers to context sensitive planning, design, and development around transit stations, also known as transit-oriented development 

Overview
In contrast to long-standing practices in transportation design that place primary importance on moving traffic (vehicular throughput), the CSS process emphasizes that transportation facilities should fit their physical settings and preserve scenic, aesthetic, historic and environmental resources, while maintaining safety and mobility  For instance, if a state highway that passes through a downtown main street, applying CSS principles would entail creating a street where the movement of vehicles does not impede pedestrian activity and sidewalk commerce, rather than a street that is simply widened and straightened to increase speed, capacity and mobility for vehicles as a singular transportation objective  CSS therefore includes principles for context-sensitive decision-making that place a high value on community input and consensus, and more technical principles of context sensitive design 
When CSS principles are applied to transportation projects, the process involves a much broader range of disciplines than traditional transportation design methods, which rely exclusively on the judgment of traffic engineers  CSS is a collaborative, interdisciplinary approach that involves everyone with a significant stake in the project, such as the residents, businesses and local institutions that will be affected by an intervention or a failure to address the transportation implications of development such as congestion  Rather than approaching these stakeholders at the tail end of the design process in an attempt to gain approval, CSS emphasizes the need to incorporate their feedback from the very outset of the planning and design development processes and during all subsequent stages of construction, operations and maintenance 

Qualities of a CSS project
The following list of qualities (developed at a 1998 conference for transportation planners called "Thinking Beyond the Pavement") describe the core goals of the CSS process 

The CSS Product: Qualities of Excellence in Transportation DesignThe "Qualities that Characterize Excellence in Transportation Design" – that is, of the physical end product of the CSS process – are: 

The project satisfies the purpose and needs as agreed to by a full range of stakeholders 
This agreement is forged in the earliest phase of the project and amended as warranted as the project develops 
The project is a safe facility for both the user and the community 
The project is in harmony with the community, and it preserves environmental, scenic, aesthetic, historic, and natural resource values of the area, i e , exhibits context sensitive design 
The project exceeds the expectations of both designers and stakeholders and achieves a level of excellence in people's minds 
The project involves efficient and effective use of the resources (time, budget, community) of all involved parties 
The project is designed and built with minimal disruption to the community 
The project is seen as having added lasting value to the community 

The CSS process
This outline of the core steps in the CSS process was also developed at the "Thinking Beyond the Pavement" conference 

The CSS Process: Characteristics of the Process That Yield Excellence"The Characteristics of the Process that will Yield Excellence in Transportation Design" are: 

Communication with all stakeholders is open, honest, early, and continuous 
A multidisciplinary team is established early, with disciplines based on the needs of the specific project, and with the inclusion of the public 
A full range of stakeholders is involved with transportation officials in the scoping phase (the period before design is begun when the scope of the project is agreed upon)  The purposes of the project are clearly defined, and consensus on the scope is forged before proceeding 
The highway development process is tailored to meet the circumstances  This process should examine multiple alternatives that will result in a consensus of approach methods 
A commitment to the process from top agency officials and local leaders is secured 
The public involvement process, which includes informal meetings, is tailored to the project 
The landscape, the community, and valued resources are understood before engineering design is started  A full range of tools for communication about project alternatives is used (e g , visualization) 

History
The initial guiding principles of CSS came out of the 1998 "Thinking Beyond the Pavement" conference as a means to describe and foster transportation projects that preserve and enhance the natural and built environments along with economic and social assets for neighborhoods they pass through  In 2003, the Federal Highway Administration announced that under one of its three Vital Few Objectives (Environmental Stewardship and Streamlining) they had a target goal of  achieving CSS integration within all state Departments of Transportation by September 2007 
The American Association of State Highway and Transportation Organizations (AASHTO) is now (fall 2006) developing strategic goals and objectives for CSS which it describes as a "fundamental change in the way we do business " One principal element of this change is the way transportation planners and engineers address speed  Historically, the speed at which a vehicle can safely travel through the landscape has been regarded as a primary goal of transportation planning since it shortens travel time, saves money (time is money), and improves driver convenience  However, CSS recognizes that designing a facility for the maximum safe speed that is economically feasible can be detrimental to other community goals, and even to vehicle passengers themselves  CSS recognizes that the goal of transportation is social and economic exchange, which cannot occur at high speeds  Instead, CSS attempts to identify, through a community-based process, a  "target speed" that promotes the optimum amount of social and economic exchange, with lowest environmental impacts, that is appropriate for the context  Thus, in cities, if higher vehicle speeds lower the amount of social exchange on a residential street (fewer friends, less street life etc ) then the street will be designed to encourage drivers to slow down so as not to reduce social exchange  In a similar manner, commercial streets will be designed to maximize commercial exchange and designed accordingly  In more rural areas where a primary goal is to move people and goods between human settlements, CSS can be compatible with much higher design speeds  Setting a target speed that is appropriate for the context, and then designing roads, highway and streets to make it difficult for drivers to exceed that target speed, is a central CSS principle and represents a fundamental shift in transportation planning practice 

See also
Transportation planning
Complete streets
Placemaking
New Urbanism
Transit-oriented development
Town meeting

Notes



ground_truth: alleged paranormal phenomena