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

Question: Henry Roth and Lewis Mumford are both this nationality?

The following are given passages.
Context 1: Passage 1:
Regional Planning Association of America
The Regional Planning Association of America ("RPAA"), formed by Clarence Stein was an urban reform association developed in 1923   The association was a diverse group of people all with their own talents and skills   The goal of this group was to “connect a diverse group of friends in a critical examination of the city, in the collaborative development and dissemination of ideas, in political action and in city building projects”   Throughout the ten-year span in which the association lasted, five leading members contributed to this goal   Clarence Stein, Benton MacKaye, Lewis Mumford, Charles Harris Whitaker, Alexander Bing, and Henry Wright were the essential backbone of the RPAA  Originally an idea of Clarence Stein’s, through a series of introductions and acquaintances in Washington DC in 1918, the Regional Planning Association began to form 

Founders
Clarence Stein
Clarence Stein attended the Ethical Culture Society’s Workingman’s School, which influenced his interest in the city life and social responsibility through its teaching  Stein was closely influenced by the founder of Ethical Culture, Felix Adler, and teacher, John Lovejoy Elliott, in involvement with movements and committees, such as the Hudson Guild Settlement House and the Progressive Reform movement in New York City at the turn-of-the-century   Therefore, Stein’s enrollment at Workingman’s School proved to be of strong influence on his later interests and achievements   The very principle of the Ethical Culture Society being “that an individual’s growth toward excellence comes from furthering the unlike excellence of others”, exemplifies the basis of Stein’s life achievements through the RPAA 
Stein first met future fellow RPAA members, Henry Wright and Alexander Bing, in Washington (in 1918) through a friend, Charles Whitaker (editor of the JAIA)   In 1920, Stein became the Associate Editor for Community Planning with the Journal of the American Institute of Architects and soon later discovered the idea to create the RPAA including his friends at the JAIA office, including Lewis Mumford, as well as many others  The group included members in various fields of study from architects to union leaders, city officials to writers, and engineers to sociologists  And so, on April 18, 1923, the first official meeting of the Regional Planning Association of America was held   The association began with only a total of eight people present at its first official meeting but it soon grew 

Benton MacKaye
The first major project of the RPAA was that of fellow RPAA member, Benton MacKaye; the Appalachian Trail, a trail which we would refer to today as a greenway, of which he wrote an article in the JAIA two years earlier (“An Appalachian Trail – A Project in Regional Planning”)   The trail was planned to connect a footpath from Maine to Georgia in an attempt to “lead civilization to the wilderness”   The project was not directly implemented by the RPAA, however, their part was successful in introducing their idea to others and helping the various groups of Mountain Clubs come together to create the final project   The majority of the trail was completed by the mid-1930s   From this project came another main goal of the RPAA which was to create “the preservation of large areas of the natural environment, including parts of the wilderness, as a green matrix for shaping a “regional city” and for serving its various-sized, spatially well defined, specialized communities” 

Lewis Mumford
The success in publicizing this project as well as others was in large part due to Lewis Mumford   Mumford was the RPAA’s leading journalist and spokesperson   Having published his first book in 1922, The Story of Utopia, and well on his way with another, Mumford was extremely useful to the association  He worked on not only books and articles related to the RPAA but also wrote/edited policy documents   Mumford also contributed to the group by sharing his interest of Patrick Geddes’ ideas on regional development and planning   Mumford contributed concepts of “a dispersed yet concentrated urban culture integrated with nature” which were integrated along with MacKaye’s concepts into the RPAA’s later projects 

Sunnyside and Radburn
The leading community building experiments conceptualized and implemented by the RPAA were Sunnyside Gardens, Queens and Radburn, New Jersey   Sunnyside started as a small-scale housing development experiment in Queens, New York   The goal was “to produce good homes at as low a price as possible, to make the company’s investment safe, and to use the work of building and selling houses as a laboratory to work out better house and block plans and better methods of building”   Radburn, New Jersey, would be the new and improved built community utilizing the analysis from the Sunnyside community experiment 

through not only his own real estate company and wealth but through his outstanding real estate and business skills   Bing, president of the RPAA, found the funds through outside contributions and personal contribution (more so than any other member) to support the projects of the association   For the Sunnyside community project Bing founded the City Housing Corporation through which he would establish the funding and opportunity to complete the project 

Henry Wright
Henry Wright, known as the analyst due to his never-ending questioning and analysis on projects, worked alongside Stein in site designs and development on such projects as Sunnyside, New York   Studied architecture at the University of Pennsylvania along with work as a landscape architect and site planner, Wright shared many interests with Stein   Close work in 1923 on the Sunnyside Homes development with Stein led to a trip to England in 1924 to study the designs of Unwin and Parker as well as that of Ebeneezer Howard   Though close at the beginning of the association’s organization, Wright went on to establish “The Housing Study Guild” along with several RPAA members which Stein viewed to work more independently than directly with the RPAA’s projects   This slight dispute would be the beginning point of the division and end of the Regional Planning Association of America   In 1933, many members began to move away and/or join various other movements or committees which quickly led to the association's end 

Legacy
The Regional Planning Association of America, led by Clarence Stein, Benton MacKaye, Lewis Mumford, Alexander Bing, Henry Wright, as well as many others started simply as a group of people with similar interests wanting to make a difference in the American towns and cities  Through the collaboration of these five, Clarence Stein – the organizer and manager, Benton MacKaye – the conservationist, Lewis Mumford – the writer, Alexander Bing – the developer-builder, and Henry Wright – the analyst, as well as the many other members, the RPAA conceptualized, experimented, and changed our view of American towns, cities, architecture, and planning in America 
Passage 2:
Lewis Mumford House
The Lewis Mumford House is located on Leedsville Road (Dutchess County Route 2) in the Town of Amenia, New York, United States  It is a white Federal style building dating to the 1830s 
Social philosopher, historian and cultural critic Lewis Mumford and his wife bought the house in the late 1920s, originally using it as a summer house  By the mid-1930s, they decided to make it their permanent residence for a few years  That period extended to more than half a century, the rest of Mumford's life  His experience of living in a rural area informed some of Mumford's thinking about cities and how they should be shaped  In 1999, a few years after his death, the property was  listed on the National Register of Historic Places 

Buildings and grounds
The property listed on the Register consists of two adjoining parcels: a 1 9-acre (7,700 m2) lot with the house and carriage house and a larger 11 7-acre (4 7 ha) open field stretching back to Webutuck Creek  Both are located on the west side of Leedsville Road, a street of large semi-wooded residential lots, most formerly part of larger farms, in the eastern section of Amenia  There is a similar 19th-century farmhouse just across the street  The Mumford property is a half-mile (1 km) south of state highway NY 343 and a similar distance west of the Connecticut state line  The house, carriage house and landscaping on the property are all considered contributing resources to the listing 

House
The main house's east (front) section is a three-bay two-story frame structure on a stone foundation sided in clapboard  It is topped with a side-gabled roof shingled in asphalt, pierced by two brick chimneys at either end  A perpendicular rear wing, similarly sided, is one and a half stories in height, with side entrances and a single-story sunroom added to the rear A single-bay porch with arched pediment and two round columns shelters the main entrance at the northern end of the front facade  All windows have solid wooden shutters  Semicircular windows at the attic level on either side elevation have been boarded in Federal-style crown moldings, pilasters and fielded side panels surround the main entrance  It opens to a small main hall that gives onto a living room with exposed ceiling beams  A study, kitchen and pantry, bathroom and the sunroom complete the first floor  The flooring is wide pine boards  The brick kitchen fireplace has a large mantel and bake oven Two staircases lead up to the second floor  The front one has been opened up to provide more light to the upstairs  The kitchen stair is narrow and steep  The basement has a dirt floor and the original, unfinished stone walls 

Carriage house and landscaping
To the rear of the house, at the end of the driveway, is the former carriage house, modified for use as an automotive garage  It is a single-story post and beam wood pegged structure sided in clapboard with an asphalt-shingled roof  It has a low loft inside, a northern addition to accommodate a car, and three windows on the south side Stone paths lead from the driveway south to the house  They are complemented in the landscaping by mature plantings including ornamental shrubs around the house and curvilinear flower beds in the rear yard  Intersecting paths lead through the woods to the open field in the rear 

History
There is some uncertainty about the age of the house  In his 1982 autobiography Sketches of Life, Mumford gives its construction date as 1837  Research done by New York's State Historic Preservation Office in preparation for the Register nomination found that it might be as much as a decade older Mumford, a mostly self-taught New York City native, and his wife Sophia had lived in Greenwich Village and Sunnyside Gardens in Queens following their 1921 marriage  After the success of Sticks and Stones, his 1924 history of American architecture, critic Joel Elias Spingarn invited him up to his Amenia estate, Troutbeck  The Mumfords spent the summer of 1926 there, and returned in the following years By 1929 they had decided to purchase a property of their own for their summers, and found the house just down the road from Troutbeck  For $2,500 ($43,000 in contemporary dollars), they bought the house and what Mumford later called its "weedy acre"  After seven more summers, the family decided to settle there year-round in 1936, and began adding additional acreage and upgrading the house with electricity and heating to make it livable in wintertime It was a considerable adjustment for the Mumfords, both of whom had up to that point been city dwellers  "There," wrote one scholar three decades later, "the rural life that previously he had only glimpsed became real to him " He took up gardening in earnest, and the Mumfords began landscaping the property, eventually adding paths that opened up vistas across the Webutuck valley to Oblong Mountain on the west  They bought a used 1932 Chevrolet, their first car  Mumford left it to his wife to drive after he nearly crashed it into the maple trees in front of the house on one attempt to learn, and swore never to get behind the wheel again The Mumfords primarily socialized with the Spingarns up the road  They nevertheless appreciated their neighbors' help in lending them tools and garden equipment and watching the house when they were away from it; one large family nearby was extremely helpful with the Mumford children  The experience reinforced Mumford's belief that livable city neighborhoods needed to have "something of the village" in them They told their friends in New York that they initially meant to stay in Amenia for only a few years  But Lewis gradually found the quiet rural environment a good place to write, and it was in the downstairs study that he turned out many of his later major works on the role of cities in civilization and the roots of industrialization  In the early 1940s, after his son Geddes was killed in action during World War II, Mumford recalled his son's childhood in and around the house in Green Memories "We gradually fell in love with our shabby house as a young man might fall in love with a homely girl whose voice and smile were irresistible", Mumford later recalled  "In no sense was this the house of dreams  But over our lifetime it has slowly turned into something better, the house of our realities     [T]his dear house has enfolded and remodeled our family character—exposing our limitations as well as our virtues "Over the rest of their lives, the Mumfords sometimes took residence elsewhere for Lewis's teaching or research positions, up to a year at a time  They always returned to what they called the "Great Good Place"  Mumford's biographer Donald Miller wrote:

In the act of living in this house and making it over it became like a person to them; and like a good friend they grew more fond of it with closer and deeper acquaintance  Every patch garden and lawn, every vista and view, carried the imprint of some of the best hours of their lives 
They made some changes to it, siding the first story in shingles and removing the south chimney  Inside they put bookcases on almost every wall In the 1980s, when Lewis could no longer write due to his advanced age, he retreated to the house  He died there in his bed in 1990, at the age of 94  Sophia followed him seven years later After her death, the house was sold to a local carpenter who decided to restore it to its original appearance and resell it  He removed all the bookcases and the nine layers of linoleum the Mumfords had added to the kitchen floor every time one wore out  Later renovations restored the original siding and chimney In 1999, after being listed on the National Register, the house was again put up for sale with a list price of $375,000  The restorations made it more difficult to sell despite the historic provenance, since it still lacked many amenities sought by contemporary buyers of country houses  It eventually did, and is now an occupied residence again 

See also
National Register of Historic Places listings in Dutchess County, New York
Passage 3:
The City in History
The City in History: Its Origins, Its Transformations, and Its Prospects is a 1961 National Book Award winner by American historian Lewis Mumford 
It was first published by Harcourt, Brace & World (New York) 

Synopsis
Mumford argues for a world not in which technology rules, but rather in which it achieves a balance with nature  His ideal vision is what can be described as an "organic city," where culture is not usurped by technological innovation but rather thrives with it  Mumford contrasts these cities with those constructed around wars, tyrants, poverty, etc  However, the book is not an attack on the city, but rather an evaluation of its growth, how it came to be, and where it is heading, as evidenced by the final chapter "Retrospect and Prospect "
Mumford notes apologetically in his preface that his "method demands personal experience and observation," and that therefore he has "confined [him]self as far as possible to cities and regions [he is] acquainted with at first hand "

Style
Mumford's florid writing style is also "organic" compared to the cold, mechanical style of many history texts   Stylistically, his works are full of metaphors and similes, as well as quotations from famous novelists, giving his prose shades of poetry   He refers to such texts as Great Expectations and Hard Times, sometimes using citations to illustrate to the reader what life was like during the industrial era and the city in which Dickens lived 
Articles have been written on Mumford's use of metaphors and how his works can often be read as "fiction," in the sense that they have narrative flow   That is evident in this book, in which, instead of a human protagonist on which the story centers, we have the city and its growth in a quasi-bildungsroman fashion 

Editions
Hardcover, MJF Books (August 1997) ISBN 978-1-56731-211-9
Paperback, Harvest Books (October 1968) ISBN 978-0-15-618035-1
Passage 4:
Megalopolis
A megalopolis () or a supercity, also called a megaregion, is a group of metropolitan areas which are perceived as a continuous urban area through common systems of transport, economy, resources, ecology, and so on  They are integrated enough that coordinating policy is valuable, although the constituent metropolises keep their individual identities  The megalopolis concept has become highly influential as it introduced a new, larger scale thinking about urban patterns and growth 

Etymology and earlier definitions
The term has specific geographic definitions dating from 1832, when its meaning was "a metropolis," that is, "a very large, heavily populated urban complex" 
In the late 1950s and early 1960s, Jean Gottmann, a professor of political science at the University of Paris and member of the Institute for Advanced Study at Princeton, directed "A Study of Megalopolis" for The Twentieth Century Fund, wherein he described a megalopolis as a "world of ideas"  Gottmann, in his extensive studies, applied the term megalopolis to an analysis of the urbanized northeastern seaboard of the U S , in particular from Boston, Massachusetts to Washington, D C 

Modern definitions
A megalopolis may also be called a megaregion  "Megalopolis" and other similar terms have been used by different scholars and countries to describe similar spatial forms 
A megalopolis, following the work of Gottmann, refers to two or more roughly adjacent metropolitan areas that, through a commonality of systems—e g , of transport, economy, resources, and ecologies—experience a blurring of the boundaries between the population centers, such that while some degree of separation may remain, their perception as a continuous urban area is of value, e g , "to coordinate policy at this expanded scale"  Simply put, a megalopolis (or a megaregion) is a clustered network of big cities  Gottmann defined its population as 25 million, while Doxiadis defined a small megalopolis a similar cluster with a population of about 10 million  America 2050, a program of the Regional Plan Association (RPA), lists 11 megaregions in the United States and Canada 
Megaregions of the United States were explored in a July 2005 report by Robert E  Lang and Dawn Dhavale of the Metropolitan Institute at Virginia Tech  A later 2007 article by Lang and Nelson uses 20 "megapolitan" areas grouped into 10 megaregions  The concept is based on the original "Megalopolis model" Modern interlinked ground transportation corridors, such as rail and highway, often aid in the development of megalopolises  Using these commuter passageways to travel throughout the megalopolis is informally called megaloping, a term coined by Davide Gadren and Stefan Berteau In Brazil, the term megarregião has a legal meaning, different from the English word megaregion: mesoregions of Brazil (mesorregião) and microregions of Brazil (microrregião) 
In China, the official term corresponding to the meaning of "megalopolis" is '城市群' (chéngshì qún), which, in Chinese, was originally coined by Yao Shimou and literally means "city cluster"  A "city cluster" is defined as "[a]n area in which cities are relatively densely distributed in a certain region"  In an older standard, the term was mistranslated as "agglomeration"  In 2019, National Development and Reform Commission (NDRC)  published guidelines and made a distinction from a similar concept "metropolitan area" (都市圈), which is of a smaller scale than a city cluster  In the latest standard terminologies of both economics and urban planning, 城市群 is translated as "city cluster", replacing "agglomeration" 

List of megalopolises
In popular culture
Metropolis
Metropolis is a 1927 German expressionist science-fiction drama film directed by Fritz Lang  Written by Thea von Harbou in collaboration with Lang, it stars Gustav Fröhlich, Alfred Abel, Rudolf Klein-Rogge and Brigitte Helm  Erich Pommer produced it in the Babelsberg Studios for Universum Film A G  (Ufa)  The silent film is regarded as a pioneering science-fiction movie, being among the first feature-length movies of that genre  Filming took place over 17 months in 1925–26 at a cost of over five million Reichsmarks 

Judge Dredd
In the Judge Dredd (1977) comic book series and its spinoff series, Mega-City One is a huge fictional megalopolis-size city-state covering much of what is now the Eastern United States and some of Canada  The exact geography of the city depends on which writer and artist has done which story, but from its first appearance it has been associated with New York City's urban sprawl; originally it was presented as a future New York, which was retconned as the centre of a "Mega-City One" in the very next story  The Architects' Journal placed it at No  1 in their list of "comic book cities" 

Blade Runner
Blade Runner is a 1982 neo-noir science fiction film directed by Ridley Scott, written by Hampton Fancher and David Peoples, and starring Harrison Ford, Rutger Hauer, Sean Young, and Edward James Olmos  It is a loose adaptation of Philip K  Dick's novel Do Androids Dream of Electric Sheep? (1968)  The film is set in a dystopian future Los Angeles of 2019, in which synthetic humans known as replicants are bio-engineered by the powerful Tyrell Corporation to work on off-world colonies  When a fugitive group of replicants led by Roy Batty (Hauer) escapes back to Earth, burnt-out cop Rick Deckard (Ford) reluctantly agrees to hunt them down 

Sprawl trilogy
In William Gibson's Sprawl trilogy, "the Sprawl" is a colloquial name for the "Boston-Atlanta Metropolitan Axis" (BAMA), an urban sprawl environment on a massive scale, and a fictional extension of the real Northeast megalopolis   The Sprawl is a visualization of a future where virtually the entire East Coast of the United States, from Boston to Atlanta, has melded into a single mass of urban sprawl  It has been enclosed in several geodesic domes and merged into one megacity  The city has become a separate world with its own climate, no real night/day cycle, and an artificial sky that is always grey 

Further reading
Hagler, Yoav (November 2009)  "Defining U S  Megaregions" (PDF)  America 2050  Retrieved February 19, 2022 – via RPA org  This work, while dated, is from Associate Planner Yoav Hagler of America 2050, and while not used as a source in this article, is one of the most focused articles available on the American aspects of the title subject  It includes history, methodology, and statistical and other criteria sections, and identifies the U S  megaregions as of its publication date America 2050 Staff (February 19, 2022)  "Megaregions"  America 2050  Archived from the original (homepage) on May 16, 2017  Retrieved February 19, 2022 – via RPA org  Starting point for access to articles from the America 2050 effort, while it was active  Note, an earlier cited article by Matt Taylor, on urban transit issues, appears among the works linked at this home page 

See also
Passage 5:
Critical Mass (book)
Critical Mass: How One Thing Leads to Another, a non-fiction book by English chemist and physicist Philip Ball originally published in 2004, discusses the concept of a "physics of society"  Ball discusses thinkers such as Thomas Hobbes, Lewis Mumford, Emyr Hughes, and Gottfried Achenwall who have attempted to apply (or argue against the use of) physics, chemistry, or mathematics in the study of mass social phenomena  He also discusses how the concept relates to recent research, including his own 

Physics of society
The outlines of Ball's Critical Mass, the most popular of his many noted books, beginning in various circa 2001 lectures, talks, and articles focused on what he calls a 'physics of society', similar to the social physics in the Auguste Comte sense, a subject Ball approaches using statistical mechanics viewing people as atoms or molecules that show characteristic behaviours in bulk  The following is an excerpt of his 2003 talk on the physical modeling of society:
"There seem to be 'laws' [of] social systems that have at least something of the character of natural physical laws, in that they do not yield easily to planned and arbitrary interventions  Over the past several decades, social, economic and political scientists have begun a dialogue with physical and biological scientists to try to discover whether there is truly a 'physics of society', and if so, what its laws and principles are  In particular, they have begun to regard complex modes of human activity as collections of many interacting 'agents' - somewhat analogous to a fluid of interacting atoms or molecules, but within which there is scope for decision-making, learning and adaptation "In his 2004 book, Ball summarizes this to the effect that "to develop a physics of society, we must take a bold step that some might regard as a leap of faith and others as preposterous idealization: particles become people " Nearly as soon as he gives this definition, however, Ball falls back on the two biggest hurdles to this perspective: that of the theories of being alive and of free will, both of which seem to contradict the physics viewpoint 

Other topics
Other topics discussed in the book include the business cycle, random walks, phase transitions, bifurcation theory, traffic flow, Zipf's law, Small world phenomenon, catastrophe theory, the Prisoner's dilemma  The overall theme is one of applying modern mathematical models to social and economic phenomena 

Awards
Critical Mass was the winner of the 2005 Aventis Prize for Science Books and the 2005 Royal Society Winton Prize for Science Books 

See also
Critical mass (sociodynamics)
Psychohistory
Historical materialism
Network economics
Passage 6:
Technics and Civilization
Technics and Civilization is a 1934 book by American philosopher and historian of technology Lewis Mumford   The book presents the history of technology and its role in shaping and being shaped by civilizations   According to Mumford, modern technology has its roots in the Middle Ages rather than in the Industrial Revolution  It is the moral, economic, and political choices we make, not the machines we use, Mumford argues, that have produced a capitalist industrialized machine-oriented economy, whose imperfect fruits serve the majority so imperfectly 

Background
Apart from its significance as a monumental work of scholarship in several disciplines, Mumford explicitly positioned the book as a call-to-action for the human race to consider its options in the face of the threats to its survival posed by possible ecological catastrophe or industrialised warfare  Technics and Civilization is the first book in Mumford's four-volume Renewal of Life series, followed by The Culture of Cities (1938), The Condition of Man (1944), and The Conduct of Life (1951) 

Synopsis
Mumford divides the development of technology into three overlapping phases: eotechnic (Greek, eos meaning "dawn"), paleotechnic and neotechnic The first phase  of technically civilized life (AD 1000 to 1800) begins with the clock, to Mumford the most important basis for the development of capitalism because time thereby becomes fungible (thus transferable)   The clock is the most important prototype for all other machines   He contrasts the development and use of glass, wood, wind and water with the inhumanly horrific work that goes into mining and smelting metal   The use of all of these materials, and the development of science during the eotechnic phase, is based on the abstraction from life of the elements that could be measured   He approves those people, cities and cultures who strove for a harmonious balance between the senses and the freedom from labor provided by science 

The second phase, the paleotechnic (roughly 1700 to 1900), is "an upthrust into barbarism, aided by the very forces and interests which originally had been directed toward the conquest of the environment and the perfection of human nature "  Inventions of the paleotechnic are made by men trying to solve specific problems rather than hunting for general scientific principles; in fact, scientific learning is devalued by men of business   The invention of coal-fired steam powered factories and the installation of capital-intensive machinery leads to a necessarily gigantic round-the-clock scale of production supported by unskilled machine tenders  Labour becomes a commodity, rather than an inalienable set of skills, the labourer who tended machines, lived in slums, and was paid starvation wages, became physically stunted and socially and spiritually stultified   Mumford notes that the death rate of urban slums compares unfavorably to the agricultural worker of the same time period, and furthermore that life in the nineteenth century compares unfavorably to cleanliness and standards of living available to workers in thirteenth century cities   He also identifies iron as the primary building material of the paleotechnic, and skyscrapers, bridges and steamships as première accomplishments of the age   War and mass sport he saw as social releases from mechanized life, and the hysteric duties of wartime production (or even the hysteria of a baseball team's victory) is a natural outgrowth of the tensions and structures of such paleotechnic life 
In describing the neotechnic age (from about 1900 to Mumford's present, 1930), he focuses on the invention of electricity, freeing the factory production line from the restrictions of coal through the addition of small electric motors to individual machines, and freeing the laborer to create small but competitive factories   Mumford presciently notes that a small producer can deliver what is needed when it is needed more efficiently than paleotechnic assembly lines  The neotechnic phase he saw was dominated by men of science, rather than mechanically apt machinists  Rather than pursuing accomplishments on the scale of the trains, it is concerned with the invisible, the rare, the atomic level of change and innovation   Compact and lightweight aluminum is the metal of the neotechnic,  and communication and information—even inflated amounts—he claimed was the coin 


== Notes ==
Passage 7:
Jack Hillmer
Jack Hillmer (1918–2007) was an American architect based in San Francisco, California   An exponent of what Lewis Mumford called the "Bay Region style," Hillmer is known for his meticulously hand-crafted modernist homes built from redwood   Jack Hillmer's most notable projects include the Ludekens house on Belvedere island, the Munger house in Napa, and the Cagliostro house in Berkeley   Architectural writer Alan Hess called Jack Hillmer "one of the most original architects produced by California "

Early life
Hillmer was born and raised in Texas   As a 15-year-old boy, he travelled to Chicago with his mother, a cousin and a friend to visit the 1933 World's Fair   It was there, in the California exhibit, that he encountered the redwood boards that would become a key feature of his later architectural practice:  four-foot by twenty-foot planks displayed under spotlights to highlight one of that state's key products   Several years later Hillmer received a scholarship to the University of Texas, where he enrolled in architecture   After college, Hillmer joined the air force, and was stationed in San Diego   Hillmer used his time-off during the war to explore the new modernist buildings that were being built in southern California, including renting a room in the Pueblo Rivera Apartments by R  M  Schindler, and living for a time at the La Jolla Art Center by Irving Gill   Toward the end of the war, Hillmer visited Frank Lloyd Wright at Taliesen West in Scottsdale, Arizona   Hillmer was invited by Wright to join his Taliesen Fellowship, but Hillmer declined despite his appreciation for Wright's work Hillmer first visited the San Francisco Bay Area in 1945, when he flew up the coast to Hamilton Air Force Base to deliver a new bomber on which he had worked as a draftsman   Hillmer was transferred to Travis Air Force Base in Solano County, California toward the end of the war   After he was discharged, Hillmer decided to remain in the Bay Area, where he opened an architectural office with his friend Warren Callister at 425 Bush Street in San Francisco 

Career
Hillmer and Callister's first commission was the Haines and Betty Hall house in 1947, a house with an abstract geometry built from redwood boards that were reclaimed from a dismantled barn on the property   The house would later be published in Life magazine Shortly after the Hall house was published, Callister and Hillmer dissolved their partnership and set up individual practices   Hillmer's first commission on his own came in 1948 from Fred Ludekens, a successful graphic artist who had purchased a lot on Belvedere Island with views across the Bay to San Francisco   Arguably Hillmer's most successful design, the Ludekens house featured rough redwood walls and airplane wing-like ceilings that soared above the walls of the building, seemingly supported only by glass   Shortly after its completion in 1951, the Ludekens House would be featured in Architectural Forum In the early 1950s, Hillmer was invited to teach as a lecturer at the University of California, Berkeley by the dean of the architecture school, William Wurster, and again in the 1960s by Charles Moore   Several significant commissions followed over the next three decades, including the Milton Munger house in Napa (1950), the Owen Stebbins house in Kent Woodlands (1960), the John and Patti Wright house in Inverness (1962), and the Dominic Cagliostro house in Berkeley (1977) 

Style
Jack Hillmer's style is most closely identified with the Second Bay Tradition period of architecture in the California Bay Area   Hillmer's work is characterized by "bold exterior fascias and interior cornice lines [that] turn the structure into its own ornament   He hones unnecessary details to a minimum; window frames are typically absent; the glass is often embedded directly into the wood structure   This approach is thoroughly Modern   Beauty is drawn from the inherent structure itself rather than from applied carving "Architect Pierluigi Serraino described Hillmer's architecture as "assertive, but it's always benevolent   It's always very delicate in the way it fits onto the site   It's not architecture that wants to scream, but it has its own monumentality "In Hillmer's own words:  "My approach to architecture was as an art   The approach of most other architects is as a business   I never really thought about how much money I was getting "
Passage 8:
Henry Roth
Henry Roth (February 8, 1906 – October 13, 1995) was an American novelist and short story writer who found success later in life after his 1934 novel Call It Sleep was reissued in paperback in 1964 

Biography
Roth was born in Tysmenitz near Stanislawow, Galicia, Austro-Hungary (now known as Tysmenytsia, near Ivano-Frankivsk, Galicia, Ukraine)  Although his parents never agreed on the exact date of his arrival in the United States, it is most likely that he and his mother landed at Ellis Island and began his life in New York in 1908  The family briefly lived in Brooklyn, and then on the Lower East Side, in the slums where his classic novel Call It Sleep is set  In 1914, they moved to Harlem  Roth lived there until 1927, when, as a senior at City College of New York, he moved in with Eda Lou Walton, a poet and New York University instructor who lived on Morton Street in Greenwich Village 
With Walton's support, he began Call It Sleep in about 1930, completed the novel in the spring of 1934, and it was published in December 1934, to mostly good reviews  Yet the New York Herald Tribune's book critic Lewis Gannett foresaw that the book would not prove popular with its bleak depiction of New York's Lower East Side, but wrote readers would "remember it and talk about it and watch excitedly" for Roth's next book  Call It Sleep sold slowly and poorly, and after it was out-of-print, critics writing in magazines such as Commentary and Partisan Review kept praising it, and asking for it to be reprinted  After being republished in hardback in 1960 and paperback in 1964, with more than 1,000,000 copies sold, and many weeks on the New York Times bestseller list, the novel was hailed as an overlooked Depression-era masterpiece and classic novel of immigration  Today, it is widely regarded as a masterpiece of Jewish American literature 
After the book's 1934 publication, Roth began a second novel that was contracted with editor Maxwell Perkins, of Scribner's  But Roth's growing ideological frustration and personal confusion contributed to a profound writer's block, which lasted until 1979, when he began the earliest drafts of Mercy of a Rude Stream (although material written much earlier than 1979 was also incorporated into this later work)  In 1938, during an unproductive sojourn at the artists' colony Yaddo in Saratoga Springs, New York, Roth met Muriel Parker, a pianist and composer; much of this period is depicted in Roth's final work, An American Type  Roth severed his relationship with Walton, moved out of her apartment, and married Parker in 1939, to the disapproval of her family  With the onset of World War II, he became a tool-and-gauge maker  The couple moved first to Boston with their two young sons, Jeremy and Hugh, and then, in 1946, to Maine  There, Roth worked as a woodsman, a schoolteacher, a psychiatric attendant in the state mental hospital, a waterfowl farmer, and a Latin and math tutor 
Arthur Hertzberg credited editor Harold U  Ribalow with "rediscovering" Roth  Ribelow found him on a farm in Maine, persuaded him to permit a new edition of the novel, and wrote an introduction to the new edition, which was published by Pageant Books in 1960   Many years later, after Ribalow had died and Roth was awarded the Ribalow Prize, he wrote to Ribalow's son, Meir Z  Ribalow, "Thanks for the encomia  Things like that keep me alive, I'm sure: what little is left me capable of feeling swells with pride like the staves of an old barrel when filled  Harold, to whom I owe so much, would have been happy to witness the occasion "In fact, Roth did not initially welcome the success of the 1964 reprint of Call It Sleep, valuing his privacy instead  But his writing block slowly began to break  In 1968, after Muriel's retirement from the Maine state school system, the couple moved to a trailer home in Albuquerque, New Mexico, closer to where Roth had stayed as writer-in-residence at the D  H  Lawrence ranch outside of Taos  Muriel began composing music again, while Roth collaborated with his friend and Italian translator Mario Materassi to put out a collection of essays called Shifting Landscape, published by the Jewish Publication Society in 1987  After Muriel's death, in 1990, Roth moved into a ramshackle former funeral parlor and occupied himself with revising the final volumes of his monumental work, Mercy of a Rude Stream  It has been alleged that the incestuous relationships between the protagonist, a sister, and a cousin in Mercy of a Rude Stream are autobiographical  Roth's sister, however, has denied that such events occurred 
Roth failed to garner the acclaim some say he deserves, perhaps because after the publication of Call It Sleep he failed to produce another novel for 60 years  He attributed his massive writer's block to personal problems, such as depression, and to political conflicts, including his disillusionment with Communism  At other times, he cited his early break with Judaism and his obsessive sexual preoccupations as probable causes  Roth died in Albuquerque, New Mexico, in 1995 
The character E  I  Lonoff in Philip Roth's Zuckerman novels (The Ghost Writer and Exit Ghost in this case), is a composite of Roth, Bernard Malamud and fictional elements 

Works and writing
Call It Sleep
Published in 1934, Call It Sleep centers on the turbulent experiences of a young boy, David Schearl, growing up in the Jewish immigrant slum of New York's Lower East Side in the early 20th century 

Mercy of a Rude Stream
Mercy of a Rude Stream is a monumental epic published in four volumes  It follows protagonist Ira Stigman from his family's arrival in Jewish-Irish Harlem in 1914 to the night before Thanksgiving in 1927, when Ira decides to leave the family tenement and move in with Edith Welles   According to critic David Mehegan, Roth's Mercy represents a "landmark of the American literary century" The first volume, A Star Shines over Mt  Morris Park was published in 1994 by St  Martin's Press and the second volume, called A Diving Rock on the Hudson, appeared from St  Martin's in 1995   In A Diving Rock on the Hudson, "Roth writes graphically about the sexual relationship between the protagonist, Ira Stigman, and Stigman's sister, Minnie, as teen-agers  Roth also describes an incestuous relationship between Stigman and his cousin, Stella " Roth's sister "chastise[d] Roth for writing about the 'revelation'" and "threaten[ed] to sue him and St  Martin's Press     Roth and his sister entered into a contract in which he agreed to pay his sister $10,000 in exchange for immunity from legal action  The contract     also stipulated that future volumes of Roth's novel would no longer portray Minnie Stigman 'as having any further sexual relationship with her brother, Ira Stigman '"From Bondage, which appeared in hardcover in 1996, was the first volume of the four Mercy books to appear posthumously  Requiem for Harlem, the fourth and final volume, appeared in 1998   Roth was able to revise both the third and fourth volumes in 1994 and 1995 with the help of his assistant, Felicia Steele, shortly before his death 
Before his death, Roth commented numerous times that Mercy of a Rude Stream comprised six volumes   In fact, Roth did write six separate books  He called the first four "Batch One," and the last two, "Batch Two "  Roth's editor at St  Martin's, Robert Weil, along with Felicia Steele, Larry Fox, and Roth's agent, Roslyn Targ, found the epic would be best served in four volumes, as the four books of "Batch One" contained a stylistic and thematic unity inconsistent with the remaining two books 
Explaining the difference between Mercy of a Rude Stream and Call It Sleep, critic Mario Materassi, Roth's longtime friend, argues that "Call It Sleep can be read as a vehicle through which, soon after breaking away from his family and his tradition, young Roth used some of the fragments of his childhood to shore up the ruins of what he already felt was a disconnected self   Forty-five years later, Roth embarked on another attempt to bring some retrospective order to his life's confusion:  Mercy of a Rude Stream, which he has long called a 'continuum,' can be read as a final, monumental effort on the part of the elderly author to come to terms with the pattern of rupture and discontinuity that has marked his life" Fran Lebowitz, writer and public intellectual, in her Netflix special "Pretend It's a City" speaks about how you can still appreciate the art of an individual separate from his actions 

An American Type
Roth's final novel, An American Type, emerged from "Batch 2," which Roth wrote during the late 1980s and early 1990s  With his assistant's help, Roth produced 1,900 typed pages of scenes beginning where Mercy left off and continuing through 1990   The manuscript of "Batch 2" remained untouched for over a decade until Weil sent it to The New Yorker, which published two excerpts from "Batch 2" in the summer of 2006 under the titles "God the Novelist" and "Freight " At The New Yorker the book came into the hands of Willing Davidson, then a young assistant in the magazine's fiction department  At the suggestion of Weil and Roth's literary executor, Lawrence Fox, Davidson edited "Batch 2" into An American Type, which was published by W W  Norton in 2010 Both a love story and a lamentation, the novel opens in 1938, and reintroduces us to Ira Stigman of the Mercy cycle, a thirty-two-year-old "slum-born Yiddle" eager to assimilate but traumatized by his impoverished immigrant past  Restless with his lover and literary mentor, English professor Edith Welles, Ira journeys to Yaddo, where he meets M (who only appeared in the old man's reveries in the Mercy series), a blond, aristocratic pianist whose "calm, Anglo-Saxon radiance" engages him 
The ensuing romantic crisis, as well as the conflict between his ghetto Jewish roots and the bourgeois comforts of Manhattan, forces Ira to abandon his paramour's Greenwich Village apartment and set out with an illiterate, boorish Communist on a quest for the promise of the American West  But feeling like a total failure in LA, Ira begins an epic journey home, thumbing rides from truckers and riding the rails with hobos through the Dust Bowl  Ira only knows that he must return to M, the woman he truly loves 
Sixty-five pages of excerpts from Batch Two consisting of short journal entries appeared in the journal, Fiction, Number 57, in 2011  The majority of these pages are about Roth's move to Maine, afraid that his associations with the Communist Party would haunt him at his factory job in Massachusetts  Purchasing a small farm, and surrounded by Yankee neighbors, Roth questions his identity as a Jew and struggles to wrest a living out of a Maine countryside where the soil is so hard that he has to dynamite in order to lay pipe deep enough to avoid the winter freezes  The extreme cold that he and his family endured, his work logging, bargaining over antiques and livestock with neighbors, and the world of backwoods and village America form the principal and unlikely drama of these pages  There is also return to the tense, incestuous world of the Roth family in Henry's childhood in the last of these extracts 

Themes
Henry Roth's writing centers on immigrant experience, particularly a Jewish-American experience in Depression-era America  He has also been hailed as a chronicler of New York City life 
Roth's work reveals an obsession with cultural depravity: the internal dislocation of the intellectual and of society at large that features so prominently in the work of the greatest Modernist writers  Indeed, Roth often fixates on human depravity in a multitude of forms  Sexually abhorrent acts such as incest, infidelity, and predation, for instance, inform much of his work, as does a more general climate of violence or abuse, often inflicted on others and masochistically turned inwards 
Throughout his life, Roth simultaneously embraced and rejected the notion of a forgiving God, and this ambivalence is also registered in his writing  Mario Materassi suggests, in "Shifting Urbanscape: Roth's 'Private' New York," that Roth "has never been interested in any story other than the anguished one of a man who, throughout his life, has contradicted each of his previously held positions and beliefs "While Roth's works are generally tragic, and often relentlessly so, his later work holds out for the possibility of redemption, or of mercy in a rude stream  This notion is especially evident in An American Type where the love between Ira and M becomes a means of transcendence 

Awards and honors
Roth received two honorary doctorates, one from the University of New Mexico and one from the Hebrew Union College–Jewish Institute of Religion  He won the 1987 International Nonino Prize in Italy  Posthumously, he was honored in 1995 with the Hadassah Harold Ribalow Lifetime Achievement Award and by the Museum of the City of New York with Manhattan Borough President Ruth Messinger having named February 29, 1996, as "Henry Roth Day" in New York City  From Bondage was cited by the National Book Critics Circle as being a finalist for its Fiction Prize in 1997, and it was in that same year that Henry Roth won the first Isaac Bashevis Singer Prize in Literature for From Bondage, an award put out by The Forward Foundation  In 2005, ten years after Roth's death, the first full biography of his life, the prize-winning Redemption: The Life of Henry Roth, by literary scholar Steven G  Kellman, was published, followed in 2006 by Henry Roth's centenary, which was marked by a literary tribute at the New York Public Library, sponsored by CCNY and organized by Lawrence I  Fox, Roth's literary executor 

Bibliography
Call It Sleep (1934)
"Where My Sympathy Lies," The New Masses, vol  22, no  10 (March 2, 1937), pg  9 —extols and justifies the Moscow Trials 
Nature's First Green (1979)
Shifting Landscape: A Composite, 1925–1987 (1987)
Mercy of a Rude Stream Vol  1: A Star Shines Over Mt  Morris Park (1994)
Mercy of a Rude Stream Vol  2: A Diving Rock on the Hudson (1995)
Mercy of a Rude Stream Vol  3: From Bondage (1996)
Mercy of a Rude Stream Vol  4: Requiem for Harlem (1998)
An American Type (2010)
Passage 9:
Lewis Mumford
Lewis Mumford (19 October 1895 – 26 January 1990) was an American historian, sociologist, philosopher of technology, and literary critic  Particularly noted for his study of cities and urban architecture, he had a broad career as a writer  He made signal contributions to social philosophy, American literary and cultural history, and the history of technology He was influenced by the work of Scottish theorist Sir Patrick Geddes and worked closely with his associate the British sociologist Victor Branford  
Mumford was also a contemporary and friend of Frank Lloyd Wright, Clarence Stein, Frederic Osborn, Edmund N  Bacon, and Vannevar Bush 

Life
Early life and education
Mumford was born in Flushing, Queens, New York, and graduated from Stuyvesant High School in 1912  He studied at the City College of New York and The New School for Social Research, but became ill with tuberculosis and never finished his degree  In 1918 he joined the navy to serve in World War I and was assigned as a radio electrician  He was discharged in 1919 and became associate editor of The Dial, an influential modernist literary journal  He later worked for The New Yorker where he wrote architectural criticism and commentary on urban issues 

First book
Mumford's earliest books in the field of literary criticism have had a lasting influence on contemporary American literary criticism  In The Golden Day (1926), he argued for a mid-19th-century American literary canon comprising Herman Melville, Ralph Waldo Emerson, Henry David Thoreau, Nathaniel Hawthorne and Walt Whitman, all of whom he argued reflected an antebellum American culture of the period that would be destroyed by the late-19th-century social changes wrought by the American Civil War and industrialization of the United States  Herman Melville (1929), which combined an account of Melville's life with an interpretive discussion of his work, was an important part of the Melville revival 

Correspondence
Mumford was a close friend of the psychologist Henry Murray, with whom he corresponded extensively from 1928 until the 1960s on topics including Herman Melville, psychology, American values and culture, and the nature of the self 

Urban planning
In his early writings on life in an urban area, Mumford was optimistic about human abilities and wrote, that the human race would use electricity and mass communication to build a better world for all humankind  
Mumford would later take a more pessimistic stance on the sweeping technological improvements brought by the second industrial revolution  His early architectural criticism also helped to bring wider public recognition to the work of Henry Hobson Richardson, Louis Sullivan and Frank Lloyd Wright 

Honours
Mumford was elected to the American Philosophical Society in 1941 and the American Academy of Arts and Sciences in 1947  In 1963, Mumford received the Frank Jewett Mather Award for art criticism from the College Art Association  Mumford received the Presidential Medal of Freedom in 1964  In 1975 Mumford was made an honorary Knight Commander of the Order of the British Empire (KBE)  In 1976, he was awarded the Prix mondial Cino Del Duca  In 1986, he was awarded the National Medal of Arts 

Further publications
He served as the architectural critic for The New Yorker magazine for over 30 years  His 1961 book, The City in History, received the National Book Award 

Retirement
Lewis Mumford died at the age of 94 at his home in Amenia, New York, on January 26, 1990  Nine years later the house was listed on the National Register of Historic Places  His wife Sophia died in 1997, at age 97 

Ideas
In his book The Condition of Man, published in 1944, Mumford characterized his orientation toward the study of humanity as "organic humanism "  The term is an important one because it sets limits on human possibilities, limits that are aligned with the nature of the human body  Mumford never forgot the importance of air quality, of food availability, of the quality of water, or the comfort of spaces, because all these elements had to be respected if people were to thrive  Technology and progress could never become a runaway train in his reasoning, so long as organic humanism was there to act as a brake  Indeed, Mumford considered the human brain from this perspective, characterizing it as hyperactive, a good thing in that it allowed humanity to conquer many of nature's threats, but potentially a bad thing if it were not occupied in ways that stimulated it meaningfully  Mumford's respect for human "nature", that is to say, the natural characteristics of being human, provided him with a platform from which to assess technologies, and technics in general  Thus his criticism and counsel with respect to the city and with respect to the implementation of technology was fundamentally organized around the organic humanism to which he ascribed  It was from the perspective of organic humanism that Mumford eventually launched a critical assessment of Marshall McLuhan, who argued that the technology, not the natural environment, would ultimately shape the nature of humankind, a possibility that Mumford recognized, but only as a nightmare scenario 
Mumford believed that what defined humanity, what set human beings apart from other animals, was not primarily our use of tools (technology) but our use of language (symbols)  He was convinced that the sharing of information and ideas amongst participants of primitive societies was completely natural to early humanity, and had obviously been the foundation of society as it became more sophisticated and complex   He had hopes for a continuation of this process of information "pooling" in the world as humanity moved into the future Mumford's choice of the word "technics" throughout his work was deliberate  For Mumford, technology is one part of technics  Using the broader definition of the Greek tekhne, which means not only technology but also art, skill, and dexterity, technics refers to the interplay of social milieu and technological innovation—the "wishes, habits, ideas, goals" as well as "industrial processes" of a society  As Mumford writes at the beginning of Technics and Civilization, "other civilizations reached a high degree of technical proficiency without, apparently, being profoundly influenced by the methods and aims of technics "

Megatechnics
In The Myth of the Machine Vol II: The Pentagon of Power (Chapter 12) (1970), Mumford criticizes the modern trend of technology, which emphasizes constant, unrestricted expansion, production, and replacement  He contends that these goals work against technical perfection, durability, social efficiency, and overall human satisfaction  Modern technology, which he called "megatechnics," fails to produce lasting, quality products by using devices such as consumer credit, installment buying, non-functioning and defective designs, planned obsolescence, and frequent superficial "fashion" changes  "Without constant enticement by advertising," he writes, "production would slow down and level off to normal replacement demand  Otherwise many products could reach a plateau of efficient design which would call for only minimal changes from year to year "
He uses his own refrigerator as an example, reporting that it "has been in service for nineteen years, with only a single minor repair: an admirable job  Both automatic refrigerators for daily use and deepfreeze preservation are inventions of permanent value      [O]ne can hardly doubt that if biotechnic criteria were heeded, rather than those of market analysts and fashion experts, an equally good product might come forth from Detroit, with an equally long prospect of continued use "

Biotechnics
Mumford was deeply concerned with the relationship between technics and bioviability   The latter term, not used by Mumford, characterizes an area's capability to support life up through its levels of complexity   Before the advent of technology, most areas of the planet were bioviable at some level or other; however, where certain forms of technology advance rapidly, bioviability decreases dramatically   Slag heaps, poisoned waters, parking lots, and concrete cities, for example, are extremely limited in terms of their bioviability  Non-bioviable regions are common in cinema in the form of dystopias (e g , Blade Runner)  Mumford did not believe it was necessary for bioviability to collapse as technics advanced, however, because he held it was possible to create technologies that functioned in an ecologically responsible manner, and he called that sort of technology biotechnics  Mumford believed that biotechnic consciousness (and possibly even community) was emerging as a later stage in the evolution of Darwinian thinking about the nature of human life  He believed this was the sort of technics needed to shake off the suicidal drive of "megatechnics " While Mumford recognized an ecological consciousness that traces back to the earliest communities, he regarded emerging biotechnics as a product of neo-Darwinian consciousness, as a post-industrial form of thinking, one that refuses to look away from the mutually-influencing relationship between the state of the living organism and the state of its environment  In Mumford's mind, the society organized around biotechnics would restrain its technology for the sake of that integral relationship 
In Mumford's understanding, the various technologies that arose in the megatechnic context have brought unintended and harmful side effects along with the obvious benefits they have bequeathed to us  He points out, for example, that the development of money (as a technology) created, as a side effect, a context for irrational accumulation of excess because it eliminated the burdensome aspects of object-wealth by making wealth abstract  In those eras when wealth was not abstract, plenitude had functioned as the organizing principle around its acquisition (i e , wealth, measured in grains, lands, animals, to the point that one is satisfied, but not saddled with it)  Money, which allows wealth to be conceived as pure quantity instead of quality, is an example of megatechnics, one which can spiral out of control  If Mumford is right in this conceptualization, historians and economists should be able to trace a relationship between the still-increasing abstraction of wealth and radical transformations with respect to wealth's distribution and role  And, indeed, it does appear that, alongside its many benefits, the movement toward electronic money has stimulated forms of economic stress and exploitation not yet fully understood and not yet come to their conclusion  A technology for distributing resources that was less given to abstract hoarding would be more suitable to a biotechnic conception of living 
Thus Mumford argued that the biotechnic society would not hold to the megatechnic delusion that technology must expand unceasingly, magnifying its own power and would shatter that delusion in order to create and preserve "livability " Rather than the megatechnic pursuit of power, the biotechnic society would pursue what Mumford calls "plenitude"; that is, a homeostatic relationship between resources and needs  This notion of plenitude becomes clearer if we suggest that the biotechnic society would relate to its technology in the manner an animal relates to available food–under circumstances of natural satisfaction, the pursuit of technological advance would not simply continue "for its own sake "
Alongside the limiting effect of satisfaction amidst plenitude, the pursuit of technological advance would also be limited by its potentially negative effects upon the organism  Thus, in a biotechnic society, the quality of air, the quality of food, the quality of water, these would all be significant concerns that could limit any technological ambitions threatening to them  The anticipated negative value of noise, radiation, smog, noxious chemicals, and other technical by-products would significantly constrain the introduction of new technical innovation  In Mumford's words, a biotechnic society would direct itself toward "qualitative richness, amplitude, spaciousness, and freedom from quantitative pressures and crowding  Self-regulation, self-correction, and self-propulsion are as much an integral property of organisms as nutrition, reproduction, growth, and repair " The biotechnic society would pursue balance, wholeness, and completeness; and this is what those individuals in pursuit of biotechnics would do as well 
Mumford's critique of the city and his vision of cities that are organized around the nature of human bodies, so essential to all Mumford's work on city life and urban design, is rooted in an incipient notion of biotechnics: "livability," a notion which Mumford got from his mentor, Patrick Geddes 
Mumford used the term biotechnics in the later sections of The Pentagon of Power, written in 1970  The term sits well alongside his early characterization of "organic humanism," in that biotechnics represent the concrete form of technique that appeals to an organic humanist  When Mumford described biotechnics, automotive and industrial pollution had become dominant technological concerns, along with the fear of nuclear annihilation  Mumford recognized, however, that technology had even earlier produced a plethora of hazards, and that it would do so into the future  For Mumford, human hazards are rooted in a power-oriented technology that does not adequately respect and accommodate the essential nature of humanity  Mumford is stating implicitly, as others would later state explicitly, that contemporary human life understood in its ecological sense is out of balance because the technical parts of its ecology (guns, bombs, cars, drugs) have spiraled out of control, driven by forces peculiar to them rather than constrained by the needs of the species that created them  He believed that biotechnics was the emerging answer and the only hope that could be set out against the problem of megatechnics   It was an answer, he believed, that was already beginning to assert itself in his time 
It is true that Mumford's writing privileges the term "biotechnics" more than the "biotechnic society " The reason is clear in the last sentence of The Pentagon of Power where he writes, "for those of us who have thrown off the myth of the machine, the next move is ours: for the gates of the technocratic prison will open automatically, despite their rusty ancient hinges, as soon as we choose to walk out " Mumford believed that the biotechnic society was a desideratum—one that should guide his contemporaries as they walked out the doors of their megatechnic confines (he also calls them "coffins")  Thus he ends his narrative, as he well understood, at the beginning of another one: the possible revolution that gives rise to a biotechnic society, a quiet revolution, for Mumford, one that would arise from the biotechnic consciousness and actions of individuals  Mumford was an avid reader of Alfred North Whitehead's philosophy of the organism 

Polytechnics versus monotechnics
A key idea, introduced in Technics and Civilization (1934) was that technology was twofold:

Polytechnic, which enlists many different modes of technology, providing a complex framework to solve human problems 
Monotechnic, which is technology only for its own sake, which oppresses humanity as it moves along its own trajectory Mumford commonly criticized modern America's transportation networks as being "monotechnic" in their reliance on cars  Automobiles become obstacles for other modes of transportation, such as walking, bicycle and public transit, because the roads they use consume so much space and are such a danger to people  Mumford explains that the thousands of maimed and dead each year as a result of automobile accidents are a ritual sacrifice the American society makes because of its extreme reliance on highway transport 

Three epochs of civilization
Also discussed at length in Technics and Civilization is Mumford's division of human civilization into three distinct epochs (following concepts originated by Patrick Geddes):

Eotechnic (the middle ages)
Paleotechnic (the time of the industrial revolution) and
Neotechnic (later, present-day)

Megamachines
Mumford also refers to large hierarchical organizations as megamachines—a machine using humans as its components  These organizations characterize Mumford's stage theory of civilization  The most recent megamachine manifests itself, according to Mumford, in modern technocratic nuclear powers—Mumford used the examples of the Soviet and United States power complexes represented by the Kremlin and the Pentagon, respectively  The builders of the pyramids, the Roman Empire and the armies of the World Wars are prior examples 
He explains that meticulous attention to accounting and standardization, and elevation of military leaders to divine status, are spontaneous features of megamachines throughout history  He cites such examples as the repetitive nature of Egyptian paintings which feature enlarged pharaohs and public display of enlarged portraits of Communist leaders such as Mao Zedong and Joseph Stalin  He also cites the overwhelming prevalence of quantitative accounting records among surviving historical fragments, from ancient Egypt to Nazi Germany 
Necessary to the construction of these megamachines is an enormous bureaucracy of humans which act as "servo-units", working without ethical involvement  According to Mumford, technological improvements such as the assembly line, or instant, global, wireless, communication and remote control, can easily weaken the perennial psychological barriers to certain types of questionable actions  An example which he uses is that of Adolf Eichmann, the Nazi official who organized logistics in support of the Holocaust  Mumford collectively refers to people willing to carry out placidly the extreme goals of these megamachines as "Eichmanns" 

The clock as herald of the Industrial Revolution
One of the better-known studies of Mumford is of the way the mechanical clock was developed by monks in the Middle Ages and subsequently adopted by the rest of society  He viewed this device as the key invention of the whole Industrial Revolution, contrary to the common view of the steam engine holding the prime position, writing: "The clock, not the steam-engine, is the key-machine of the modern industrial age      The clock     is a piece of power-machinery whose 'product' is seconds and minutes     "

Urban civilization
The City in History won the 1962 U S  National Book Award for Nonfiction  In this influential book Mumford explored the development of urban civilizations  Harshly critical of urban sprawl, Mumford argues that the structure of modern cities is partially responsible for many social problems seen in western society  While pessimistic in tone, Mumford argues that urban planning should emphasize an 'organic' relationship between people and their living spaces 
Mumford uses the example of the medieval city as the basis for the "ideal city," and claims that the modern city is too close to the Roman city (the sprawling megalopolis) which ended in collapse; if the modern city carries on in the same vein, Mumford argues, then it will meet the same fate as the Roman city 
Mumford wrote critically of urban culture believing the city is "a product of earth     a fact of nature     man's method of expression " Further, Mumford recognized the crises facing urban culture, distrustful of the growing finance industry, political structures, fearful that a local community culture was not being fostered by these institutions  Mumford feared "metropolitan finance," urbanization, politics, and alienation  Mumford wrote: "The physical design of cities and their economic functions are secondary to their relationship to the natural environment and to the spiritual values of human community "

Suburbs
Suburbia did not escape Mumford's criticism either:

In the suburb one might live and die without marring the image of an innocent world, except when some shadow of evil fell over a column in the newspaper  Thus the suburb served as an asylum for the preservation of illusion  Here domesticity could prosper, oblivious of the pervasive regimentation beyond  This was not merely a child-centered environment; it was based on a childish view of the world, in which reality was sacrificed to the pleasure principle 

Religion and spirituality
Mumford is also among the first urban planning scholars who paid serious attention to religion in the planning field  In one of his least well-known books, Faith for Living (1940, p  216), Mumford argues that:

The segregation of the spiritual life from the practical life is a curse that falls impartially upon both sides of our existence 

Influence
Mumford's interest in the history of technology and his explanation of  "polytechnics", along with his general philosophical bent, has been an important influence on a number of more recent thinkers concerned that technology serve human beings as broadly and well as possible  Some of these authors—such as Jacques Ellul, Witold Rybczynski, Richard Gregg, Amory Lovins, J  Baldwin, E  F  Schumacher, Herbert Marcuse, Erich Fromm, Murray Bookchin, Thomas Merton, Marshall McLuhan, Colin Ward and Kevin Carson—have been intellectuals and persons directly involved with technological development and decisions about the use of technology 
Mumford also had an influence on the American environmental movement, with thinkers like Barry Commoner and Bookchin being influenced by his ideas on cities, ecology and technology  Ramachandra Guha noted his work contains "some of the earliest and finest thinking on bioregionalism, anti-nuclearism, biodiversity, alternate energy paths, ecological urban planning and appropriate technology "Mumford's influence is also evident in the work of some artists including Berenice Abbott's photographs of New York City in the late 1930s Mumford was an inspiration for Ellsworth Toohey, the antagonist in Ayn Rand's novel The Fountainhead (1943) 

Works
Context 2: Passage 1:
Carolina Moraes
Carolina Moraes (born 5 April 1980) is a former synchronized swimmer from Brazil  She competed in the women's duet competition with her twin sister, Isabela Moraes, at both the 2000 and 2004 Summer Olympics  Both also competed for Ohio State University, winning 11 national championships, including the team routine title in 2000, and four straight titles in duet and trio routines between 1999 and 2002  Following the Olympics, Carolina and Isabela retired and joined Cirque du Soleil, with their first performance being as part of the 2005 World Aquatics Championships opening ceremony  Both have been  part of the cast of Le Rêve, a show presented in Las Vegas since 2007, though Carolina is less frequent as she travels with her husband, part of Cirque du Soleil's technical team 
Passage 2:
Isabela Moraes
Isabela Moraes (born 5 April 1980) is a former synchronized swimmer from Brazil  She competed in the women's duet competition with her twin sister, Carolina Moraes, at both the 2000 and 2004 Summer Olympics   Both also competed for Ohio State University, winning 11 national championships, including the team routine title in 2000, and four straight titles in duet and trio routines between 1999 and 2002  Following the Olympics, Carolina and Isabela retired and joined Cirque du Soleil, with their first performance being as part of the 2005 World Aquatics Championships opening ceremony  Isabela has been since 2007 part of Le Rêve, a show presented in Las Vegas 
Passage 3:
Zumanity
Zumanity (zoo-manity)  was a resident cabaret-style show by Cirque du Soleil at the New York-New York Hotel & Casino on the Las Vegas Strip, placed into the theatre previously occupied by Michael Flatley's Lord of the Dance (musical)  The production was unveiled on September 20, 2003 (previews started on August 14, 2003) and had its last performance on March 14, 2020  It was announced on November 16, 2020 that the show would be closing permanently  It is the first "adult-themed" Cirque du Soleil show, billed as "the sensual side of Cirque du Soleil" or "another side of Cirque du Soleil"  Created by René Richard Cyr and Dominic Champagne, Zumanity is a departure from the standard Cirque format  Intended to be for mature adult audiences only, this show is centered on erotic song, dance, acrobatics, and comedy The inspiration to create Zumanity  came from multiple sources  Cirque du Soleil founder Guy Laliberté had been offered the chance to create two new shows in Las Vegas, and wanted something completely new and original rather than multiple similar shows that would cannibalize off of each other's sales and audiences  Another reason was that the New York-New York Hotel and Casino wanted to make their entertainment appear more "trendy " The hotel liked the concept of a more adult Cirque du Soleil performance Laliberté admits that the biggest reason to produce this show was the chance to create something with riskier subject matter  He was interested in the idea of creating a show that explored human sexuality, something that was at complete odds with the other, more family-oriented Cirque du Soleil shows  "Our previous shows have all been family-oriented and politically correct, which is great," Laliberté said, "but we're human beings, we won't hide it  We're a bunch of happy campers  We like to live new experiences  Zumanity deals with some of those experiences "On February 22, 2022, Cirque du Soleil announced that a new show, "Mad Apple," would replace the Zumanity show at New York-New York Hotel and Casino, which opened on May 26, 2022 

Costumes
Thierry Mugler designed the costumes for Zumanity; he created the costumes to enhance the sensual atmosphere and heightened sexuality of the production   Many of the costumes are highly colorful, yet some are minimal to an exaggerated extreme  Fur, feathers, leather, lace, fishnet stockings, velvet dresses, tiny corsets, cone bras, and plastic accessories were primary materials utilized to create the costumes' provocative appeal  Jonel's costume, for example, is made of stretch vinyl and is airbrushed to create a semi-nude effect; her bright red wig is made of expanded foam  Faun has fur on his pants which is made from toothbrush bristles, human hair, and yak fur  Molinier's long velvet dress was created by using a stencil and net onto which black silicone was applied  Though some characters are made to look entirely nude, the sex organs are fake pieces  Zumanity had Cirque's most expensive and elaborate costumes, the Rose Boy's g-string alone costing $75,000 
For a great selection of character costumes and concept art, see Le Grand Chapiteau - Zumanity - Personages

The Human Zoo
The lobby was created in European style, with an emphasis on curves  A long lighting fixture on the ceiling looked to be made of many strips of golden silk  One of the walls was lined with what looked to be a burgundy, padded headboard  Along the headboard, there were peepholes that originally were conceived to show clips of erotic, vintage films, but eventually showed promotional posters of the show  There was a large window filled with blue swirls, and a glowing, golden fixture in the wall that seemed to resemble a labia  Another window with a frame that looked like branches or vines showcased the "Amsterdam Room," which had one of the performers in it, dancing and teasing the guests in the lobby  You could talk to the performer through a phone built into the wall  The lamps were elegant and attached to the wall by arms that looked porous  There was a small nook with a couch you could lay on, usually with one of the performers  The grand staircase leading to the balconies also looked to be made of vines, or even nerves possibly symbolizing the sense of touch 
The theatre had 3 bars, the Eroticafés: two on the ground floor and one upstairs  They served sushi and various drinks, the highlight being the Zumanitini  The Zumanitini was 1 oz  Vodka Citron, 1/2 oz  Cherry Pucker, and a splash of Triple Sec, Sweet and Sour, and cranberry  Next to one of the bars was a small stage that looked like someone's bedroom  You would always find one of the cast members beckoning to the guests from the bed  The restrooms were unique in that you would hear whispering and teasing at each station  Different from the other shows, Zumanity had multiple performers roaming the lobby, always ready to playfully flirt and take photos 
Entering the theatre itself, you'd find yourself in a cabaret, smaller and more intimate than the other resident Cirque du Soleil Las Vegas shows  The stage looked to be a marble parquet, with elegant, red curtains and two spiral staircases on either side  Above the stage was a bridge that the band played from, which could move up and down  Many chandeliers hung around the stage  The walls were lined with very dimly lit lamps  The carpet featured naked women in a style that looked similar to a Renaissance or Baroque painting  Around the back sides of the stage were barstools, and around the front circle of the stage were loveseats - special options on top of the normal theatre seating 
When the curtains opened, a giant structure called "The Wave" was exposed  These were two massive, wavey screens that images could be projected on  The screens could be moved into different positions 
The shop contained all sorts of novelties, from Zumanitini glasses to chocolate soap bars  Naturally, one could also find various adult-themed items 

The Show: 2003 - 2005
Animation
"Through a series of scene transitions, this comedic quartet supplies the counterpoint to all that is erotic and provocative about ZUMANITY  In a show filled with serious sexual tension, Spymonkey is a reminder of the importance of having a laugh at ourselves and having fun in the bedroom!"Spymonkey was composed of Toby Park, Petra Massey, Aitor Basauri Barruetabena, and Stephan Kreiss
Eliot Douglass plays a jazzy cabaret tune on the piano as the Molinier stands by with a cigarette  Zumans descend the spiral staircases to walk among the audience, with some stripping on stage  Luciene and Licemar Medeiros, twin sisters in showy French maid outfits, brush up against audience members in the aisles as they feed them strawberries  Antonio Drija, Zumanity's resident Gigolo, flirts with audience members, passes out calling cards, and takes polaroids  The Puritans, Spymonkey dressed up as Quakers, take to the stage protesting the show's obscenities, while ironically being a bit sexual themselves Welcome, "Hello boys, hello girls"
"Half-lit cigarette, empty martini glass, all these chicks lined up in a row on a street with no name in a city that never sleeps "
The Puritans are booted off stage  Joey Arias, our "Mistress of Seduction" madame, emcee and drag artist, sings a jazzy tune in her sensuous, smokey voice reminiscent of Billie Holiday  She then welcomes and warms the audience up for the coming show with laughs and very personal questions for the guests Warnings, "Rules of the House"
Lonnie Gordon, acclaimed dance, pop, and R&B singer, takes the stage, singing a song that highlights some things about the effects of the show that may surprise audiences, and what is prohibited  Eventually, Corinne Zarzour, Zumanity's rock diva, would join her Extravaganza
“Blaring horns and hammering drums announce the beginning of the fanfare  One by one the cast makes its fashionable entrance, parading down the catwalk in costumes every bit as vibrant, bold, and diverse as their spectrum of talents and personalities  It’s an incandescent introduction to the colorful cast of performers who will guide the audience on their journey into the world of ZUMANITY ”Wind and Wassa
"We summon the spirits of passion and hope "
"All at once a storm sweeps over the stage as Marcela [de la Vega Luna], Queen of the Wind, summons the spirits in a fevered flamenco dance  With smoldering intensity, her hypnotic trance stirs the soul, arouses the imagination and prepares the senses for an uninhibited transformation "
"Marcela awakens the unbridled passion in Wassa [Coulibaly]  Exploding into a vigorous African dance, her arms, legs and torso take on a primal energy of their own, flying erratically and erotically in rhythm to the intoxicating tribal pulse "Water Bowl
"Do you remember that first hint of something delicious and strange? Of water on parched lips? Or that very first glass of champagne? Do you remember how, in one magical moment, everything changed?"
"Abandoning their innocence, contortionists Gyula [Gyulnara Karaeva] and Bolormaa [Zorigtkhuyag] bathe in inhibition and taste love for the first time  Fluidly they glide through the water striking a sensual array of inconceivable poses to explore the limits of physicality, sexuality and creativity all at once "
Cirque's Amaluna would also showcase a water bowl act years later in 2012 Hoops
"Oh, innocence: so fleeting, so fragile  One day the sweet young thing, the next thing you know, you're soaking wet and lying naked in a hotel room in Vegas  Story of my life: 'what goes around, comes around '"
"Julia [Kolosova] brings to life the school girl fantasy  She gyrates and swivels as she guides her hoops up and down her lithe frame, ultimately engulfing her body  Then, without warning, the dream takes flight as she soars through the air performing daring feats of aerial choreography "
Julia hula hooped in midair while swinging around the theatre The Rose Boy
"I've been looking at all these beautiful, sexy, wonderful women up on stage tonight, and I know some of you are wondering, 'Where's the beef?' Does anybody want some roses?"
"Alex [Castro] peels away the tough exterior to expose his weakness    for the ladies  He tantalizes and teases the audience by revealing his chiseled body bit by bit in a sinfully seductive striptease "Pom Poms
Spymonkey comes out entirely nude (the privates were prosthetics) and teases the audience by covering themselves only by pom poms, which they remove to give quick flashes of their bodies  At one point, one of the members crawls over the audience's seats with his privates getting entangled in guests' hair Body2Body
"These days I live for the elicit tingle of skin on skin, the taste of sweat, and the pungent scent of passion  How about you? Are there parts of your lover's body you've left unexplored, untouched, untasted? Well, my only question is, "What are you waiting for?'"
"Sara [Joel] and Stéphan [Choinière] entwine in a tantric, hand-balancing duet that underscores the beauty of sex  Featuring a breath-taking array of Kama Sutra-inspired maneuvers, their act portrays the discovery of a lover’s body with dramatic strength, flexibility and trust "
The artists maneuver their bodies into various shapes, making living, human sculptures  Body2Body can be related to hand-2-hand, although it is done quite differently  The performers use their entire bodies to lift each other, and the act has high emphasis on choreography Expressions and Dislocation
Expressions: Interlude into Dislocation where the Fauna [Jesse Villa] breakdances on the stage 
Dislocation: "Limber Lothario, Moukhtar [Gusengadzhiev], performs on command for his sadomasochistic sirens, who derive pleasure from watching him squirm  Redefining flexibility, his elastic body bends, twists, and contorts into nature-defying positions that inspire both 'awes' and 'ows '"Dance on TV
"Gorgeous good girl, Elena [Gatilova], breaks out of her shell to grab her lover’s attention  Turning up the heat on love gone flat, she ignites the scene with her feminine wiles, sultry gymnastics and dance to rekindle the flame and make her lover see her again as if for the very first time "
This act features a television set in the middle of the stage, with multiple men watching the sports game playing on the set  Elena dances on the TV, trying to get their attention  Eventually she succeeds and the sports game turns to static  Zumanity's other female dances take the stage, and they all remove their tops and dance on chairs for the men 2Men
"Tumultuous lovers Patrick [King] and Johan [King Silverhult] tango in the throes of passion  Through their fierce choreography unfolds a love story between two deities, Love and War  Again and again they attract and repel in intense conflict until the magnetic energy between them becomes more than they can bear "
Patrick and Johan perform a violent dance in a cage, symbolizing fighting  They are sparring over Marcela, who dances in the background in a flamenco dress, egging them on  As the fight goes on, it becomes softer and more sensual, and the brilliant red light behind Marcela starts to grow smaller  The fighters eventually lose all focus on Marcela, give one big, passionate kiss, and walk off the stage together, to Marcela's great dismay Revenge of the Doll
Spymonkey reappears to shed their sexual inhibitions  One of them carries a sex doll onto the stage, preparing to have fun with it  He is chased by a few of the others dressed as policemen  When he comes back out, the doll comes to life to hump the audience members and the cast  Originally, there was also a segment where Spymonkey used gags to mock some of the previous acts, much like in Cirque's Dralion Savage Love, Market, Fire, and Aerial Straps
"Are you still hiding from monsters under your bed? Skeletons in your closet? Follow me to a place where rules are broken and pleasure dances with pain  Just be careful what you ask for    you might just get exactly what you deserve "
Market, part 1: First, arabesque music plays as the Boteros juggle dildos, Zumans flail in chains, and Jonel Earl dances with a whip  The interlude resembles a sadomasochistic circus  This act originally contained 2 pythons, Adam and Yves, some of Cirque's only animals ever used in its shows  This interlude would remain in the show until its closing 
Fire: Fire was only in the show for a few weeks, but it featured Heidi Good and Jila Alaghamandan in very showy S&M leather outfits as they performed a fire dance  Androgynous Cape ["Almukatab" Jacobo Espina] also danced with one of the snakes  This act was removed from the show because Guy Laliberté, Cirque's founder, did not want a fire act in the show  The smoke left in the air after the act also made it difficult for the Straps artist to perform 
Savage Love: It is unknown when exactly this act was in the show, but it is believed to be either the replacement for Fire or a back-up act  This act featured Vanessa Convery and Ugo Mazin violently dancing in the 2Men cage  See reference for a video of the act 
Market, part 2 (also called Inferno in press releases): "Pleasure dances with pain as ZUMANITY’s resident gigolo, Antonio [Drija], feels the wrath of the women [Jonel Earl, Laetitia Ray, Vanessa Convery, Sophie Ayache, and Agnès Roux] he has scorned  Captured by a militia of vixens in a barred prison cell he finds himself caught in the middle of rough-and-tumble romantic revenge "This act replaced either Fire or Savage Love, and was in the show until around 2005  There was also a version of it that used 7 men and 1 woman 
Straps: "Laurence [Jardin], alone on stage in fragile silence, is bound by her straps  An exercise in self-inflicted pleasure and pain, she uses the leather contraption to tease and torture herself  All the while she watches her bonds ease into auto-erotic aerial maneuvers  Scored by heavy breathing, gentle moans of ecstasy and the friction of her straps, Laurence’s self-satisfying bondage flight draws to a climactic finale "From 2005 and onwards, Market, referred to above as "part 1," would lead directly into straps S&M Hoedown
Spymonkey comes onstage dressed in S&M leather with various pain-inducing items  They do a hoedown dance while inflicting pain on themselves as a sexual stimulant Sheets and Tissus
Sheets: An opening interlude to Tissus," this is a short ballet where the dancers had silken, white sheets on their hands that they danced with 
Tissus: "Though he desperately tries to catch her attention, Alan [Jones Silva] passes unnoticed by the glamorous goddess Olga [Vershinina]  Finally, the once unattainable object of his affection is within arms reach as their two worlds entwine mid-flight in mesmerizing aerial dance "Midnight Bath
"Let your imagination have free reign  Let your fantasies take you to unexpected places "
"With the suggestion that you can’t keep love locked up in a bedroom, Vanessa [Convery] and Ugo [Mazin] give imagination free reign and let fantasy take them to unexpected places  Using milk as their medium they caress each other’s flesh in this luscious lactic sexual experiment "As the name suggests, this act was performed in a bathtub in the middle of the stage  The act was opened by another jazz number from Joey Arias: "Touch me, hold me, never let me go "Orgy, has been referred to in the show as Lazy Susan of Sex, Sex Station 69, Garden of Delights, and Zumanitarium
"The cast emerges from every orifice of the theatre in search of hedonistic prey  In duos, trios (and some flying solo), they assume a smörgåsbord of sexual positions on the Lazy Susan of Sex, where they touch, stroke, moan and embrace until the tension builds to an orgasmic conclusion "This is an audience participation segment  Antonio would lead two members of the audience onto the stage, usually one male and one female  Each would be given to a few of the cast members that would try to arouse them based on their sexual orientation  Antonio usually caressed and rubbed up against the female as the emcee would ask personal questions and make sexual innuendos  The emcee would then move on to the male and try to arouse him  If he was okay with it, his shirt and pants would be removed by the time the emcee got to him  Joey Arias would stick her microphone into his underwear and speak into it Pacemakers and Finale
"Bringing the show full circle, senior-most members of the cast, Birgit and Fleming [Thomsen], surprise the audience with an astonishing hand balancing adagio  Together they defy time and gravity with physical feats of strength, flexibility and control  This real life couple, married for over 48 years, is a testament to the enduring, everlasting nature of true love "
Birgit and Fleming were sitting in the audience and brought on stage as "guests," when in reality they were cast members and would break into acrobatics 

The Show: 2005 - 2015
There were various changes throughout 2005, from acts to costumes  The Body2Body artists left the show and the act was replaced by Hand-to-Hand  Spymonkey also left and the "Sexperts," Dick and Izzy, replaced them for the remainder of Zumanity's run  While Pom Poms stayed in the show through 2014 (and would feature Dick, Izzy, and the Boteros), all of the other clown acts were new  Pacemakers and Extravaganza would also be changed around 2006, when Extravaganza was moved to the end of the show and Pacemakers left permanently 

Dick and Izzy: "Zumanity’s resident sex therapists, Dick [Nicky Dewhurst] and Izzy [Shannan Calcutt] aim to please with their sexy and silly methods engaging the audience in a hilarious round of not-so-innocent repartee  The sexual tension runs high as Dick, a French sex merchant, peddles his wares, while Izzy, his wife!, searches the audience night after night for a boyfriend "Animation: Instead of the Puritans, Dick and Izzy come out dressed in 1950s-esque prom outfits  Both hit on various members of the audience and try to swing with the couples  They make sexual innuendos with bananas and fence with dildos 
Scotch Baggies!: Izzy pitches her new business - little plastic sandwich baggies that she fills with scotch (in reality, tea) to use instead of breast implants  She removes her top and has one of the male members from the audience hold the baggies to her breasts as she tapes them to herself  "You are not going to see this at the Celine Dion show "
Knives (possibly called Sex Toys): Volunteers from the audience is strapped to a board and blindfolded while tricked into thinking knives are being thrown at them 
Vegas Hook-Up (also referred to as Express Dating): Audience members are once again brought on stage  Dick and Izzy explain that it's better to forget all of the normal wooing on a first date and go straight for the bedroom  They teach the audience members how to turn each other on  Then, they make them get onto a bed and ride each other as they sink into the stage and silly string shoots up Hand-2-Hand
"In an aggressive but intimate hand-balancing duet, [Joanie Leroux-Côté] and [Nicolas Alain Michel Besnard] entwine in a powerful act with breathtaking acrobatic-inspired manoeuvres  Their flawless movements thrust the two kindred spirits into a provocative tale of lust "I Like It
Back-up act where Joey Arias would sing another jazz song 
"Oh, What a Feelin" may have also been sung more than during Joey's final performance Mistress of Sensuality, Edie
"Part showgirl, part cabaret queen, Mistress of Sensuality Edie [Christopher Kenney] plays hostess to your every fantasy  As the sun sets and desires come alive, Edie uses her signature blend of sass and sensuality to guide the audience through the erotic escapades that make up the world of Zumanity "
Joey Arias left the show at the end of 2007, and Edie became Zumanity's main emcee for the rest of the run Roue Cyr (Cyr Wheel)
"Jonas [Woolverton] is brought to the stage on his knees   A slave to love and forced to perform for his Mistress, he spins and turns inside his wheel while she cracks her whip  He is eager to please, even donning a blindfold for some of his tricks  One can only hope the pleasure is worth the pain he receives   "Handbalancing
"Dima ["Shine" Bulkin] is alone, going in circles around his pole  He has just about given up on love when he meets a lovely contortionist who seems to fit into his world  She brings him back to earth in this beautiful act "Chains
"Brandon [Pereyda] brings fantasies to life  He flies and defies gravity on his chains  Dreams take flight as he soars through the air, performing daring feats of aerial athleticism choreography and strength "
Though this act is associated with the refresh in 2015, Zumanity's 2012 b-roll shows this act being used  It was most likely a back-up or rotational act until it was made a main act in 2015 

The Refresh: 2015 - 2020
On January 20, 2015, a refresh of the show was introduced to the public in which roughly 30% of the show was changed from its original concept  Certain acts, including Hoops, Dance on TV, Pom Poms and  Tissus (in its original form) were retired  Entirely new acts included chains, Aerial Dream, and Perfect Jam  Tissus was changed into a solo act and the Rose Boy evolved into Magnum, mostly the same routine but the dancer became a secret agent  Yanis Marshall choreographed new dance segments throughout the show, and there are multiple acts in which men dance in high heels (including Wind, Perfect Jam and for a short amount of time, the 2Men act)  The show also features new and updated music, costumes, comedic acts, characters and artists 

Come Together
"All at once, a storm sweeps over the stage as three characters, Spirits of the Wind [Marie Ndutiye, Tiffany de Alba, Arnaud Boursain], summon passion, desire and lust in a fevered dance  With smouldering intensity, their hypnotic dance stirs the soul, arouses the imagination and prepares the senses for an uninhibited transformation "Magnum
"Look out, ladies, 'cuz here comes Magnum  He's an undercover agent, and it's no secret he's on a mission  Who's gonna share that special bond? Is it you? Catch him if you can "
"Magnum [Willie Hulett], our very special secret agent, peels away his tough exterior in a sensual mission for the ladies  He tantalizes and teases the audience by revealing his chiseled body bit by bit before showing off his secret weapon "Perfect Jam
"Let me entice you to unlock and unleash your inner diva "
"Gorgeous, and powerful, the dancers [Tiffany de Alba, Anouck Margueritte, Briana McKee, Marie Ndutiye, Kaitlyn Reese Davin, Leah Sykes-Hodgson, Monteece Taylor, Arnaud Boursain, Pepe Muñoz Martinez] invade the space to express and celebrate their female and male energy and unleash their inner diva  Turning up the heat, they ignite the stage performing a sultry and dynamic dance that will entice the imagination "Aerial Dream (also called M&M)
"Is there someone in your life that you lust for, long for, but the only safe place to rendezvous is in your dreams? You fall asleep and hope he's there again tonight  The best part? Nobody needs to know, not even the person right next to you, shhh   "
"One woman and one man [Marina Tomanova and Michael McNamara]  One bed  One airborne fantasy  She dreams about him, the intense secret object of her desires  They will meet and experience a magnificent, sensual and passionate performance  Dream or reality?"2Men
"2 men in a cage [Arnaud Boursain, Pepe Muñoz Martinez]  Through their fierce choreography, a passionate story of impossible love and anger unfolds  Again and again, they attract and repel in intense conflict until the magnetic energy between them becomes more than they can bear "As previously stated, the big thing that changed about this act was that the men danced in bright red heels and in an entirely new form of dance 
This was eventually changed into a wushu (sport) act with ninjas [Philip Sahagun and Wes Scarpias] Tissus 2 0
"Though he desperately tries to catch her attention, Alan [Jones Silva] remains unnoticed by Mariko [Muranaka], the musical muse whose beauty propels him to soar to new heights  Finally, the once-unattainable object of his affection is within arms’ reach, and their two worlds come together at the finale of this mesmerizing aerial dance "Body2Body 2 0
Used as a back-up for hand-2-hand, Stéphan Choinière returned to the show in 2017 and performed a new version of Body2Body with Tsvetelina Tabakova Solo Strap
A solo strap back-up act that was performed by Tsvetelina Tabakova from 2019 onwards Light
A comedic act with Dick and Izzy as they rave on the stage with one of the audience members Trapeze
Halfway around the world, his loved one is away  It's raining, and descending in his thoughts are the warmth of her love, the softness of her lips, the caress of her touch    It’s late, he’s restless and alone again tonight, and not knowing when they’ll be together again sends his emotions flying "
Arthur Morel van Hyfte's act in 2017  This used the bed and music from Aerial Dream and replaced the act for awhile 

Emcees
Main emcees
Mistress of Seduction, Joey Arias: August 14, 2003 to December 31, 2007
Raven O: August 14, 2003 to December 31, 2006
Mistress of Sensuality, Edie [Christopher Kenney]: Jan 1, 2008 to March 14, 2020Understudy emcees
Queen of Québec, Vanessa Convery: back-up for an unknown time, but she was in the show from August 14, 2003 to January 3, 2014
Señorita Extravaganza, Antonio Drija: back-up for an unknown time, but he was in the show from August 14, 2003 to January 3, 2014
AXLE Beaurouge [Brandon Pereyda]: May 1, 2017 to March 14, 2020
Pepe Muñoz Martinez: roughly 2014 to 2016
Pulga, Alan Jones Silva: July 18, 2016 to March 14, 2020Guest emcee
NeNe Leakes: June 27, 2014 to July 01, 2014

Characters
Mistress of Seduction/Mitzi la Bouche/Mitzi la Gaine/Mistress of Ceremonies - Joey Arias
Mistress of Sensuality, Edie - Christopher Kenney
Pulga - Alan Jones Silva as emcee
AXLE Beaurouge - Brandon Pereyda as emcee
Queen of Québec - Vanessa Convery as emcee
Señorita Extravaganza - Antonio Drija as emcee
Wind/La Muerte - Marcela de la Vega Luna
Dick and Izzy/The Sexperts - Nicky Dewhurst and Shannan Calcutt
Afrique/African Queen - Wassa Coulibaly
Ginger - Shereen Hickman as clown understudy to Izzy
Jane - clown understudy to Izzy
Jessica - Laetitia Dewhurst as clown understudy to Izzy
Rose Boy - Alex Castro
Spider Shadow - Dima "Shine" Bulkin
Magnum - Willie Hulett
Blue Robotica - Mariko Muranaka
Biker - Brandon Pereyda
Fauna - Jesus Villa
Athon and Arno Extravaganza/The Gods of Love and War - Patrick King (Athon) and Johan King-Silverhult (Arno)
Molinier (see Pierre Molinier) - Jonel Earl
Botero Sisters - Licemar and Luciene Medeiros
Casanova/Gigolo/El Siete - Antonio Drija
Miss Salsa - Agnès Roux
Mec Branché - Ugo Mazin
Mademoiselle Loup/Blue Blade - Laurence Jardin
Dominatrix - Jonel Earl
Ballerine - Sophie Ayache
Comet - Stéphan Choinière (originally called Ultraman during creation, after the Japanese super hero)
Romantique/Vixen Vanessa/Diamond Girl - Vanessa Convery
Scottish Fantasy - Alex Stabler
Tissu Star - Olga Vershinina
Airman - Nicolas Alain Michel Besnard
Androgynous Cape - "Almukatab" Jacobo Espina
Carol/La Catin - Elena Gatilova
Valentino
Bunny Girl
Lothario - Moukhtar Gusengadzhiev
Roadrunner - Jerónimo Garcia-Cabral Medina
Illusia and Illaria
Queen of Barbare - seems to be Jila Alaghamandan

Music
The studio album for Zumanity was released on March 22, 2005, under Cirque du Soleil's music label  This is an "inspired by" album containing music that was not actually used in the show and was very loosely based on the live music  This is similar to the songs If I Could Reach Your Heart, We've Been Waiting So Long, and Reach for Me Now on the KÀ album  The CD does not feature Zumanity's musicians, although it does contain the voice of Joey Arias and that of Anna Liani, who worked with Zumanity's composer, Simon Carpentier, on the show's music and wrote the lyrics to Mio Bello, Bello Amore



ground_truth: American

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

Question: Le Rêve was created by the director behind what Cirque du Soleil production from 1998 onward?

The following are given passages.
Context 2:  She also sings Mio Bello, Bello Amore on Cirque's Midnight Sun DVD  The music on the album is mainly a collaboration between Simon Carpentier, Robbi Finkel, and Robbie Dillon 
A promotional album entitled Foreplay was included with the original program  It was released on July 31, 2003, and contains select work-in-progress songs from the show's creation period  The program was last sold around 2005, and this album is now considered a collector's item  Four other work-in-progress songs were released on Zumanity's website in 2003, all completely different from anything used in the show, although one of them was quite clearly an early version of Wind 

Names for live music:

Zumanity Tango (2Men, 2003-2020)
Sex Is Beautiful (Body2Body, 2003-2005; Body2Body 2 0, 2017-2020; Hand-2-Hand, 2005-2020)
Love Myself (possible name for Straps, 2003-2020)
Girl Attitude (Cyr Wheel, ?-2018)
Libera me (Hoops, 2003-2015; Aerial Dream, 2015-2020; Trapeze, 2017)
The tune to this song was changed from 2015 onwards 
I Like It (Rotational act sung by Joey Arias and possibly Raven O, 2005(?)-2007)
What a Feelin’ (Act sung by Joey Arias during her final performance on December 31, 2007)
The Rose Boy (Rose Boy, 2003-2015; Magnum, 2015-2020)
My Erotic Lounge (Scotch Baggies!, 2005-2020)
Major-Minor (Welcome, 2003-2007)
Wind (Wind, 2003-2015; Come Together, 2015-2020)
Mio Bello, Bello Amore (Pacemakers, 2003-2006(?); Handbalancing, 2010-2018; Solo Strap, 2019-2020)
Disco Alan (Tissus 2 0, 2015-2020)
The opening of this song contains an instrumental medley of Wind and Mio Bello, Bello Amore 
Into Me (Chains, 2012(?)-2020)
Water Bowl (Water Bowl, 2003-2020)
Perfect Jam (Perfect Jam, 2015-2020)
First Taste (Water Bowl opening, 2003-2020)

Vocalists
Emcee
See the Emcee section above for a list of the hosts of the show  The emcee sang Major-Minor for Welcome, Midnight Bath, Sex Is Beautiful, the Rose Boy, and I Like It from August 14, 2003 to December 31, 2007  From 2008 onwards, the emcee only sang during the Rose Boy and Sex Is Beautiful  The songs sung by the emcee are mainly in the jazz/cabaret genre Hip Hop Singer
Kinnie Starr: August 14, 2003 to September 2003
Little is known about this period in Zumanity's history, but Kinnie may have sung some of the rock singer's songs for acts like Dance on TV and Water Bowl R&B/Soul Singer
Lonnie Gordon: August 13, 2003 to December 31, 2006
Debbie "Divine" Davis: January 2007 to December 31, 2007
Paris Red: January 1, 2008 to March 14, 2020
Cassiopée: August 2017 to December 2017
Cassiopée also sang as a back-up for both the R&B and rock roles, depending on which one was needed, during 2016 to 2020 Rock Singer
Corinne Zarzour: October 3, 2003 to January 2004; September 2004 to March 14, 2020
Nathalie Noël: January 2004 to September 2004
Laur Fugère: 2004; 2006Backing Singer
Geneviève Dubé: August 14, 2003 to March 14, 2020
Melle Vasquez: August 14, 2003 to March 14, 2020
Anne Charbonneau: August 14, 2003 to December 2008

Original Musicians
Anne Charbonneau (bandleader/accordion/keyboards/keyboard programming) - August 14, 2003 to December 2008
Jean-François "Djeff" Houle (assistant bandleader/bass/programming/laptop fx) - August 14, 2003 to 2006(?)
Jean-François Blais (clarinet/flute/soprano and tenor saxophone/percussion) - August 14, 2003 to March 14, 2020
Jean-François Thibeault (trombone/percussion) - August 14, 2003 to June 2009
Larry Aberman (drums/percussion/programming) - August 14, 2003 to October 31, 2019
Melle Vasquez (guitar/percussion/banjo) - August 14, 2003 to March 14, 2020
Geneviève Dubé (vibraphone/violin) - August 14, 2003 to March 14, 2020
Eliot Douglass (piano) - August 14, 2003 to October 31, 2019
Lonnie Gordon (percussion) - August 14, 2003 to December 31, 2006
Sébastien Jean (flügelhorn/trumpet) - August 14, 2003 to October 31, 2019
Passage 4:
Mystère (Cirque du Soleil)
Mystère (French: [mis tɛʁ], mee-STAIR, "mystery") is one of six resident Cirque du Soleil shows in Las Vegas, Nevada  Held in a custom theatre at the Treasure Island Hotel and Casino, the show was first performed on 25 December 1993, making it the company's longest running show  As with many Cirque du Soleil productions, Mystère features a mixture of circus skills, dance, elaborate sets, opera, worldbeat music, and street theatre-style comedy  Featuring a musical score composed by René Dupéré and Benoît Jutras, the show was created under the direction of Franco Dragone 

History
The idea for Mystère started around 1990  It was originally planned for Caesars Palace with a theme based on Greek and Roman mythology  The plan, however, was scrapped by the casino executives, who thought the project would be too financially risky  Mystère was very different from the typical material they were used to in a Las Vegas show  According to Mystère set designer Michel Crête, "Vegas    was still very influenced by Folies Bergère, with the scarves, feather boas, etc  There was a European culture already in place, oddly enough, not an American one  The people who opened the door for something new were Siegfried and Roy  They were the first to move away from the Folies Bergère thing "
Treasure Island picked up the show three years later  Mystère was their first show that would have its own theater, rather than touring with a circus tent   Mystère would have a permanent base in Las Vegas  They worked with Mirage Casino-Hotel to produce a show 
Recent milestones Mystère has achieved include:

Mystère celebrated their 20th anniversary on 25 December 2013  
Mystère celebrated their 10,000th show on 27 December 2014 
Mystère celebrated their 11,111th show on 17 May 2017 

Set and technical information
The theater is a unique theater built in the Treasure Island Hotel and Casino specifically for the show  The design of the theater was created by Michel Crête and that of Montreal-based team of Scéno Plus  This theater seats 1,541 audience members  The stage measures 120 feet by 70 feet deep and covers approximately 10,032 square feet  The stage floor is made of a layer of Base Mat, which is rubber made from recycled old tires and sneakers  This helps give the stage some bounce for tumbling  This is held together by polyurethane adhesive and covered with thousands of gallons of liquid that dries onto the surface  The Downstage D Lift is 36 feet in diameter and includes a 28-foot revolving stage  The revolving stage rotates up to 10 revolutions per minute  Props, equipment, and performers are elevated to stage level from the basement or trap by four moving lifts  These moving lifts were constructed in Montreal and then assembled in Las Vegas, NV The snail seen growing larger throughout the show is called Alice  By the end of the show, she is a giant inflatable puppet controlled by four puppeteers from the inside  The puppeteers move her around by following markings on the floor, since they can not see outside the puppet  They also control her eyes, torso, and tail The taiko drums in Mystère are created by the Japanese company Asano Taiko, located in Mattō, Ishikawa Prefecture  The largest drum in Mystère is the ōdaiko, which is 6 feet (1 8 m) in diameter and 15 feet (4 6 m) in length, and weighs half a ton  Due to the large size of the drum, it had to be brought into the theatre during construction  Since the completion of the theatre the drum can not be removed, as no door is large enough to accommodate it 

Characters
The cast of Mystère comprises a myriad of fantastic and mysterious characters  All this information was confirmed by Mystère's artistic director from 1995 to 2001: Pavel Brun 
Inti X & Y (Spermatos/Spermatites): A comic chorus representing the seeds of life 
Red Bird: Convinced he can fly  According to Pavel Brun, he is the main character in the entire narrative of Mystère's universe 
Les Laquais: The "lackeys" of Mystère who serve and support others  They perform in the Korean plank act 
Brian Le Petit: A troublemaker who steals people's popcorn and causes chaos both onstage and off  (2000–present)
Chanteuses Plumes: A duo of muses who sing the emotion of all humans 
The Firebirds: Along with the Double Faces, they perform the Chinese pole act 
Les Bébés: Two enormous babies on a quest for nourishment  There's Big Baby (also known as Bébé François) and the Baby Girl  There was a third baby for a short period, similar to Francois, who was a part of the original 1993 cast, until his eventual removal in Mid-1994 
Egon Egli: A strange, lanky, bespectacled youth who rides across the stage on his bicycle  No longer in the show 
La Vache à lait: Protector of youth and a symbol of fertility  When he sounds his horn, it heralds a new beginning 
Moha-Samedi: A man in pink, named after the first day of the new millennium  He is the narrator no one listens to, he was originally portrayed by Canadian actor Paul Ahmarani and later by Lorenzo Pisoni 
La Belle: Afraid of ugliness, she seeks to avoid pain at all costs 
Black Widow: The antithesis of La Belle  She represents a praying mantis who destroys the illusions and dreams of her victims  Originally portrayed by Katie Renauld
Birds of Prey: These unpredictable birds soar and fly throughout the world of Mystère  They are graceful, yet aggressive when hungry  Originally portrayed by Lejdka Zievert and Mark Ward
The Frog: Creepy characters witness to the strength of birth and time 
The Green Lizards: Mischievous and skittish chameleons  There is the Male Chameleon and the Female Chameleon (who are not present in the show anymore)  The Male Chameleon was originally portrayed by Karl Baumann
Double Faces: These two-faced creatures perform in the Chinese pole act 
Les Palmiers: Out of a purple-blue mist, these tropical ladies float by 
Deus ex machina: The machine that regulates the existence of everything 
The Tribe (Les Pagnes): The primitive, tragic ghosts of modern humanity  They descend from the skies to provide the earthly beat of our journey  They welcome us, and they bid us farewell  They perform in Taïko
Monarch Bird: A male bird introduced in 2022 as backup dancing character 
The Prince of the Darkness: The prince of the dark side of Mystère, performed by Miguel Godreau from 1993 to 1994; he left the show for health reasons and is no longer in the show  Left before the premiere due to complications from HIV  He was originally part of the group of dancers containing La Belle, Birds Of Prey, Green Lizard and Black Widow 
La Banane: A yellow creature with a large, bulbous head that performed with some artists from 1993 to 1995; no longer in the show  originally appeared on the Net-Up set, before Flying Trapeze 
The Shaman: A mysterious man who creates the sounds of the world; no longer in the show  Originally portrayed by Luis Perez
Bungee Warrior: A duo of muscle men able to fly in the air 
The Jugglers: A trio of jugglers that performed the Manipulation act from 1993 to 1995; no longer in the show 
The Cube Man: Exhibiting great strength and courage, he captures the attention of young souls in search of wonder ; no longer in the show  Originally played by Mikhail "Misha" Matorin, and later Paul Bowler
The Mountain Man: An archangel who is ready to sacrifice everything  Originally known as Gabriel reffereing his archangel statut 
Mephisto and Vénus: Part of the Giants race, they are thwarted, twisted creatures  Their presence wreaks havoc in any domain  Together they want to create chaos and destroy the balance that exists within the world of Mystère 
The Giants: A gentle race with feathers and long legs  There's the happy-go-lucky Pumpkin Giant, the grumpy Fly Giant, the magnificent Giraffe Giant, the rare Plume Giant (no longer in the show) and the Egg Giant, a delicate interior inside a protective shell 
Stas Greyner: a kind of playful dwarf  Performs handbalancing since 1998 
The Medusa: A long-appendaged creature that was part of the original cast between 1993 and 1995; no longer in the show  Appeared among the smoke and disappeared among the shadows, performed during the Net-Set Up 
The Wheel Rider: A slightly tattered man who performed the German Wheel act from 1995 to 1997; no longer in the show  Originally played by Wolfgang Bientzle
The Green Man: A curly-horned creature similar to a Satyr that was part of the cast from a short period in 1997, no longer in the show  Originally portrayed by Guennadi Tchijov 
Tony: A living doll that was part of the original cast between 1993 and 1995, Originally portrayed by Tony Manducas; no longer in the show 
 The Zucchinis: Two inflatable marionettes only used in the Net Set-up for the original trapeze act; no longer in the show 
The Egg: An egg-like creature who appeared sometimes during the Overture and Bungee acts from 1993 to 1995; no longer in the show 
Alice the Escargot: An enormous snail  Born from a spring rain, carrier of the souls of the ancestors and herald of the future 
The Bungees: Like majestic birds in flight, the Bungees dive fearlessly through the air, creating images of unison and separation 
Benny Le Grand: Mystère's original clown, a mad professor-esque character who was more dark and bitter  He would often cause mischief either by whacking one of the Spermatos with a drumstick, throwing a loaf of bread at the red bird, drenching people with bottled water, interrupting the show as an impromptu tour guide, throwing around silver dollars, popcorn, and women's purses, harassing ticket holders, discouraging guests from seeing the show, or kidnapping an audience member and driving them around in a golf cart  (1993 - 1995, 1996 - 2000)
Alex El Sobrino: Benny Le Grand's Spanish nephew, who was slightly more refined in personality  (1998 - 2000)
Alfredo et Adrenaline: A comedic duo of clowns who had previously appeared in Le Cirque Reinventé's European tour, and the special Zirkus Knie show  They often bickered with each other while trying to entertain the audience, from Alfredo trying to perform as a mime, to the two of them throwing paint at each other while trying to perform a song, but they soon literally kissed and made up  (1995 - 1996)

Acts
Mystère features several acrobatic acts, supplemented by clown acts and transitional scenes that advance the storyline 
Aerial Straps Duo (2017 – present): A pair of aerialists performs twists and turns as they fly over the stage 
Chinese Poles and Hand Balancing (2012–present): A group of acrobats climb up, jump between, and slide down four adjacent metal poles while an acrobat contorts into poses on two balancing canes on a platform above the Chinese poles 
Hand-to-Hand (1993 – present): Two artists perform an exhibition of strength and stamina on a rotating dome 
Bungee (1993 – present): A group of artists bounce and swing from the ceiling to the ground and back on bungees 
Teeterboard and Power Track (2017–present): Artists perform a combination of these two skills 
Taiko (1993 – present): A group of artists perform powerful rhythms on Japanese taiko drums 
Flying trapeze (2012 – present): Unlike the original version where two separate trapeze towers were surrounded by a platform on one side and an aerial cradle on the other, the current version has a platform on either side  Each trapeze tower now has two trapeze bars swinging beside each other  The act and music were originally from Zed (a resident show at Tokyo Disney Resort) which closed in 2011 

Reserve acts
Aerial Straps (1994, 2002 – present)On reserve for the aerial straps duo; features a single artist on straps with the Black Widow or La Belle performing choreography on stage 

Retired acts
Manipulation (1993 - 1995)
Flying Trapeze (1993 - 1995)
German Wheel (1995 - 1997)
Dual High Bar (1996 - 2012)
Flying Man in Silk (1997)
Aerial Cube (1996, 1998 – 2015)
Chinese Poles (1993 - 2011)
Trampoline, Fast Track, and Korean plank/Teeterboard (1993 - 2017)
Aerial Straps and Cube (2016 – 2017)
Aerial Silk (2012 – 2017)

Acts used in the film Cirque du Soleil: Journey of Man (2000)
Taiko
Aerial cube
Aerial straps

Acts used in the film Cirque du Soleil: Worlds Away (2012)
Aerial cube

Costumes
Dominique Lemieux took inspiration from nature to create the colorful costumes of Mystère  One such costume is the Firebird, which has red feathers and accents that give the impression of embers flying through the air  The odd-looking Spermatos and Spermatites are dressed in elongated costumes which bulge in the center and have a tendril-like feature on the head  To give the characters an organic nature, spandex/lycra was used in conjunction with fringes and borders 

Music
The original score of Mystère was composed by René Dupéré, who had composed all of Cirque du Soleil's earlier shows, including Nouvelle Expérience and Saltimbanco  In 1994 the show's music was released as a studio album featuring the vocals of Canadian singers Élise Gouin (now known as Élise Velle) and Nathalie Gauvin 
In 1995 the show underwent an artistic overhaul, including changes in the lineup of acts  The "Manipulation" act was replaced by the "Aerial Cube", the Flying Trapeze act by the Aerial High Bars (the Flying Trapeze returned in 2012), and the Acro Net setup dance act was excluded from the show  At the same time the musical score was renovated with assistance from Benoît Jutras, a longtime music director and arranger for Cirque who later went on to compose for Quidam and other Cirque shows  The result, captured in the album Mystère: Live in Las Vegas, was a score that reflects the diverse compositional styles of both composers   Mystère: Live in Las Vegas is a live, in-house recording of the new score, featuring Nathalie Gauvin and Wendy Talley on vocals; the album was released on November 12, 1996  After the release of the live album, the music was rearranged and altered once again  While the album resembles the current live music closely, it is not identical  For the celebration of the 25th anniversary of the show in 2018, a vinyl album specifically dedicated to the employees was created in limited quantities, just as it was done for the show Alegria in 1994 and Saltimbanco in 1997 
Below are the track lists for the 1994, 1996 and 2018 Mystère soundtrack albums  Acts are listed next to the songs they have accompanied in the show 

Songs not appearing on either album:

Alice (Ending, 1993 - 1995  Updated version of song right after "Finale," 1995 - present)
Benny (Clown act, 1996 – present)
Mime (Clown act, 1995 - 1996)
Bolero (Clown act, 1995 - 1996)
Benny Le Grand (Clown act, 1993 - 1995)
Cercles (German Wheel, 1995 - 1997)
High Bar II (Dual high bar, 2010 - 2012)
Avos (Bungee, 2022 - Present)
Hell/Angel (Dei ex machina, 1993 – present)
Rampant (Chineses poles Exit)
Nouvel Envol (Aerial cube, 2015 - 2017) (Solo Aerial Straps, 2015–present) (Duo Aerial Straps, 2017 - 2018)
Love Over (Duo Aerial Straps, 2018 - present)Vocalists
Singer 1

Nathalie Gauvin: Dec 1993 - Dec 2005
Jeannette D' Armand: 2000 (temporarily replaced Nathalie Gauvin)
Mirjana Milovanovic: Jan 2006 - Jul 2007
Sarah Boucher: Jul 2007 - Sep 2009
Silje Marie Norderhaugh: Sep 2009 - Jan 2013
Anna Bille: Jan 2013 - Dec 2014, Oct 2017
Kailee Ann: Dec 2014 - Aug 2017
Mackenzie Thomas: April 2018 - PresentSinger 2

Elise "Gouin" Velle: Dec 1993 - Sep 1994
Wendy Talley: Sep 1994 - Dec 1997, 1998 (temporarily replaced Chantal Hamel)
Chantal Hamel: Dec 1997 - Jul 1999
Stacey Beth Sanford: Jul 1999 - Dec 2000
Dina Emerson: Jan 2001 - Jan 2002, Apr 2007 - Jun 2017
Rochelle Collins: Jan 2002 - Jul 2003, Oct 2003 - May 2007
Briana Rossi: Jun 2017 - July 2021
Brittany Mae: July 2021 - PresentSinger 3

Luis Perez: Dec 1993 - Jul 1996

In popular culture
Mystère was a featured guest performance on Lopez Tonight, airing December 20, 2010  The featured acts included the hand-to-hand and aerial cube acts 
In the film Knocked Up, the main characters watched Mystère 
In the webseries Dorm Life, the character Courtney Cloverlock, a huge Cirque du Soleil fan, has posters of both Mystère and Love by her bed 
Yuji Naka, creator of the video game Nights into Dreams…, has cited Mystère as an inspiration for the game 
Mystère did a performance collaboration with alternative rock band Imagine Dragons for the Life is Beautiful Festival 
Passage 5:
O (Cirque du Soleil)
O is a water-themed stage production by Cirque du Soleil, a Canadian circus and entertainment company  The show has been in permanent residence at the Bellagio in Las Vegas, Nevada, United States, since October 1998  O, whose name is pronounced the same way as eau, the French word for "water", takes place around and above a 1 5-million-US-gallon (5,700 m3) pool of water  It features water acts such as synchronized swimming as well as aerial and ground acts   The O theatre, which is designed to resemble a 14th-century European opera house, has 1,800 seats, thus allowing the performance to be watched by 3,600 people a night since the performance usually plays twice in a given day, also designed to meet the special demands of the show O was inspired by the "infinity and elegance of water's pure form," which pays tribute to the beauty of the theatre  A group of 150 stage technicians assist in the production of the show, the cast of which is 85 performers: international acrobats, synchronized swimmers, and divers  Some of them are former Olympic athletes 

History
Since late October 2010, Cirque du Soleil has offered backstage tours of the O theatre  The experience allows visitors to see the backstage wings, training rooms, costume workshop, break area, underwater lighting area, and go up to a catwalk into the sound and lighting booths   Not every experience 
will be the same as the tour is conducted around a "regular day", so performers may or may not be training, rehearsing, or even working out As of early 2011, O has grossed over a billion dollars since the show opened in 1998 O has received many awards, including the following:

Entertainment Design Award, best production show, 1998
Las Vegas Review-Journal, best production show, 1999–2006
THEA, live show category, 1999
Prix Italia, creativity in high definition, 2009, for the documentary FlowO had its 10,000th performance on 1 September 2019 

Set and technical information
The show has a cast of 85 acrobats, synchronized swimmers and divers performing in and above a 1 5 million-gallon pool  When maintenance needs to be performed, the pool is drained in about 12 hours to the Bellagio Lake, causing the lake's water level to rise 1 inch (25 mm)  The pool is kept at 88 °F (31 °C) and has an underwater speaker system and regulators that allow performers to breathe underwater  Every member of the cast is scuba-certified 
The underwater stage lift was produced by Handling Specialty   In order for the platform stage to rise and fall in the water without a wake, the rubber surface of the stage is perforated Cold air vents under each seat help control the theatre temperature for the audience  The goal is to maintain two temperature zones in the theatre: the stage is kept at a higher temperature of 84 °F (29 °C), while the audience area is kept at a lower temperature of 72 °F (22 °C)  A mesh false ceiling allows warm moist air to escape out of the top of the theatre To minimize damage to the musical instruments, the musicians play from glass enclosures in the theatre  Some of the musical instruments used in the show are more than 100 years old  The unique string instrument heard in the soundtrack of O is an erhu, a traditional Chinese bowed string instrument 
To maintain a fresh look on the performers, some performers have multiple sets of costumes so they may reappear dry despite having been in the water   Some of the costumes only have a lifespan of approximately 20 shows due to the bromide and chlorine in the water Additional facts about the show:

Some of the props function as boats, like the umbrella that Le Vieux rides on the water 
There are 15 technicians underwater during the show, performing various tasks such as artist handling and props manipulation 
The horses that the Comets ride in the show weigh 900 pounds (410 kg) 
The clown house weighs over 7,000 pounds (3,200 kg) 
Hanging 49 feet above the stage, the carousel and téléphérique (a conveyor system) carry tons of equipment as well as performers during the show 
Most of the props that are used during the show are actually driven by the Performers who ride them   For instance, the carousel horses have a small propeller underneath their tails; they are controlled by a joystick located on the back of the horse 

Costumes
Costumes for O drew inspiration from many sources: commedia dell'arte, the Baroque, India, the Arabian Nights, as well as Venetian courtly fashions   The costumes' silhouettes are defined by the design and are accentuated by the transparency of the selected materials and fabrics   Many costumes' base design are leotards which are then expounded upon: this includes the Zebras and Flayed Ones, among others   The Flayed Ones' leotards, for example, originally had hand-painted muscles on them, as digital screen-printing was inaccessible at the time of creation   Another special attribute critical to costumes in O is their treatment to help withstand the water and chemicals in it   To achieve this feat, roughly 40% of the costumes have been applied with a specific type of silicon sizing   In addition, the materials chosen are more durable and had to be able to both mould to the performer's body and dry quickly  Over the years the best fabric found for the costumes has been nylon mesh, which performs well either wet or dry Additional facts regarding the costumes:
A separate room was built with timed heaters and fans to air-dry many of the costumes which cannot be tumble-dried 
Sixty loads of laundry are done nightly to wash the costumes which can be machine washed 
The swimmers' costumes are replaced every 3 months 
The Comets' costumes last for a full year 
All wigs and headpieces had to have chinstraps added 

Music
The music of O was composed by Benoit Jutras and features a mix of classical Western and world instrumentation, including Chinese violin (erhu), bagpipes, African guitar and harp (kora), Colombian guitar, cello, ancient woodwinds and a wide variety of percussion instruments  During the show, the score is performed by a live band situated behind glass walls above and to the side of the stage  The glass protects the musicians' equipment from moisture damage 
O's music was recorded at the Bellagio and released on November 24, 1998  (ASIN B00000FDJZ) The album was re-released on September 6, 2005  (ASIN B000A2H9WU) The songs are listed below with their corresponding act in parentheses Album track list (and acts in the show accompanied by each song):

Jeux d'Eau (Solo and duo trapeze)
Mer Noire (Barge)
Tzelma (Interlude from bateau)
Africa (Interlude from clown act 1)
Remous (Bateau)
Svecounia (Interlude from contortion, cerceaux)
Nostalgie (Intro to russian swings)
Simcha (Character parade, Russian swings)
Gamelan (Contortion)
Ephra (Flying man and cadre)
Désert (Opening, nage, solo and duo trapeze)
Terre Aride (Fire)
O (Finale)Additional songs in the show not included on the album:

Danse (Clown act 2) (2001-present)
Debbie (Journey of Man) (Washington/solo trapeze)
Festival (Interlude from Fire)
Sur Terre (Clown act 2) (1998-2000)
Plouf (High dive)
La Glace (Clown act 1) (1998-2000)
Reda Ver 1 (Opening) (1998-2000)
Reda Ver 2 (Opening) (2001-present)
Confluence (Interlude from Cerceaux)
Merou (Washington trapeze) (1998 only)
Nenuphar (Intro to contortion)
Robinet (Clown act 1) (2001–present)
Humoresque No  7 Opus 101 (Opening Interlude) (1998-2000)
Aurora (Opening Interlude) (2001–present)

Filmography
In 2007, Cirque du Soleil released the film Flow (A Tribute to the Artists of "O")   The documentary was filmed in the O theatre and by the Colorado River   The film shows certain artists performing out around the river as well as on stage and provides information on the necessary technical equipment used to produce the performance   Bonus features of Flow include: performance clips, Russian swing act, technical information and film below the surface of the O pool, and information about the creation of O itself In 2009, Flow won the Prix Italia award for the category of Creativity in High Definition The following acts were used in Cirque du Soleil: Worlds Away:

Synchronised swimming
Bateau
Fire
Duo trapeze
Contortion
Aerial hoops
Passage 6:
Le Rêve (show)
Le Rêve ("The Dream") was a stage production in residence at the Wynn Las Vegas casino resort  It was the only Las Vegas show set in an aquatic theater-in-the-round stage (>1 million US gallon (water capacity)  The show featured diving and feats of strength with special effects, including fire effects  No seat is more than 40 feet (12 m) from the stage   The production was originally created by Franco Dragone but has been substantially revised over time  The show featured more than 90 performers and 250 cast and crew members Each member of the cast must become SCUBA-certified before performing in the theater  In January 2018, Le Rêve completed a two-year reimagination of the production  The show now features all-new costumes designed by Suzy Benzinger, choreography by Marguerite Derricks, music by Benoit Jutras and lighting design by Jules Fisher and Peggy Eisenhauer  In April 2019, the show was voted “Best Production Show” by the Southern Nevada Hotel Concierge Association for the ninth consecutive year 

Show
While the show is continually revised over time, the central theme includes a female lead who see-saws back and forth between her dueling desires for love and passion, mind or body, as she finds herself attracted to two men  Put into a dream world to help her decide between the two suitors, she embarks on a mystical journey  The show concludes with what the production calls "a graceful and inspirational scene "The show includes dancing, swimming, gymnastics, diving and stunt performances, aerial performance and trained dove flights  During the production run, two of the athletes playing romantic leads fell in love themselves  Olympic athletes and notable gymnasts have joined the cast over the years 

History
The show had its world premiere on May 6, 2005 All rights to the show are owned by Wynn Las Vegas, so the resort is able to adapt the show at will  Le Rêve celebrated its 3,000th performance in January 2012   The show celebrated its 12th anniversary in the summer of 2017 and has performed approximately 5,700 shows  Le Rêve celebrated its 6,000th performance in May 2018 
The House of Dancing Water, has some similarities to Le Rêve and O by Cirque du Soleil The cast and crew of “Le Reve,” the signature production at Wynn Las Vegas since the hotel opened in 2005, were placed on furlough May 28, 2020  The first large-scale Las Vegas production show to permanently close due to the coronavirus pandemic is one of the most acclaimed performances to ever hit the Strip  Wynn Las Vegas confirmed “Le Rêve” has shuttered for good after more than 6,000 shows over the last 15 years 

Honors and awards
Media history
Six performers from Le Rêve were the models for the season finale of Face Off, aired on SyFy on March 26, 2013   They also performed an act in the make-up, complete with full immersion and dives into the water 
Le Rêve was featured on an episode of the Fine Living series What Makes it Tick, produced by NorthSouth Productions 
Cast members from the show performed on a results episode of NBC's summer hit America's Got Talent in 2010 
Cast members were also featured in the music video for the single "Only the Young", by Brandon Flowers 
32 performers from Le Rêve staged a "surreal, elaborate montage of scenes" from the show as part of the 2010 Latin Grammys at the Mandalay Bay Events Center in Las Vegas  The event was broadcast live on Univision 
Cast members and the show were featured on the first episode of Somebody's Gotta Do It with Mike Rowe on CNN 

Theater and Facilities
The show take places in a unique aquatic theater-in-the-round  The swimming pool has a capacity of more than 1 million US gallons with its deepest point at 27 feet  Performers climb to heights of more than 80 feet above the water before diving straight down  Public estimates of the cost of the theater itself were up to $75 million for the original construction, not including later renovations such as 180-speaker surround sound Two significant curtain effects have been used, including a 24-panel canopy that takes more than an hour to reset for the next show In 2008, a VIP seating area was added to the theater   In 2015, an additional 172 fountains, 120 LED lighting fixtures, and 16 fire-shooting devices were added by WET Design   Current capacity is 1,600 per show, not including an underwater SCUBA viewing area that is sometimes available for VIP guests 



ground_truth: O

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

Question: Luther: The Calling is based on the BBC crime drama comprising six episodes that were run in which year?

The following are given passages.
Context 3: Passage 1:
Kiss of Death (TV drama)
Kiss of Death, previously titled Breathless and Blood Rush, is a British crime investigation television film, written by Barbara Machin, author of the British television crime drama series Waking the Dead, that aired on BBC on 26 May 2008 
The one-off drama, intended as a backdoor pilot for a possible series, was originally written as a two-part series but was re-written several times at the request of BBC executives  The original running time of 120 minutes was also shortened to 90, and the programme was finally broadcast in one instalment in May 2008  The drama was produced by BBC Northern Ireland and shot in Bristol  A DVD was released in Sweden in 2010, but as of 2016, has not been released in the UK  Viewing figures of 3 9 million did not prove strong enough for a full series to be commissioned 

Synopsis
A plot synopsis issued by the BBC in a press release read as follows: "In this drama, a killer has killed once and kidnapped another victim, challenging the investigative and forensic team to work out why  Suddenly everyone's past comes under scrutiny, everyone's version of the truth comes under suspicion  Kay Rousseau (Louise Lombard), who heads up the crime team, is back at work after the death of her child  Suspicion about her involvement in this death remains, not least in her own husband  Only Matt Costello (Danny Dyer), Kay's second-in-command and a dedicated, impassioned copper, is loyal to the core  Dr  George Austen (Lyndsey Marshal), the team's forensic scientist, worked on Kay's case and knows things Kay wished she didn't, and this isn't helped by her own fast increasing addiction to alcohol which puts her evidential work under unwelcome scrutiny 
Dr Clive Morrell (Shaun Parkes) is a profiler whose own mood swings and strange behaviour are causing concern within the team  Jude Whiley (Lenora Crichlow) is a rookie cop, who is young, fresh and has an energy and passion for the job that verges on obsession  Miles Trumeman (Ace Bhatti) plays Kay's husband Miles Trueman, who is a lawyer attached to the case  Brian McCardie plays killer Michael Bovery, a man obsessed with one of the team, and Jeffery Kissoon plays Commissioner Wilson, Rousseau's boss "

Cast
Louise Lombard as Superintendent Kay Rousseau
Danny Dyer as Detective Inspector Matt Costello
Lenora Crichlow as Detective Constable Jude Whiley
Lyndsey Marshal as Dr  George Austen, pathologist
Shaun Parkes as Dr  Clive Morrell, profiler
Ace Bhatti as Miles Trueman, lawyer
Caroline O'Hara as Jane, kidnap and rape victim
Neil McDermott as John, kidnap victim
Perry Benson as The Courier
Brian McCardie as Michael Bovery
Jeffery Kissoon as Commissioner Wilson

Notes
External links
Kiss of Death at BBC Online 
Kiss of Death at IMDb
Passage 2:
Sam &amp; Max Save the World
Sam & Max Save the World is a graphic adventure video game developed by Telltale Games  The game was originally released as Sam & Max: Season One before being renamed in early 2009  Save the World was developed in episodic fashion, comprising six episodes that were released for Microsoft Windows over the course of late 2006 and early 2007  The episodes were initially distributed online by GameTap and Telltale Games themselves, although the later retail releases of the game were published by The Adventure Company and JoWooD Productions in North America and Europe respectively  A Wii port of the game was published in late 2008, and an Xbox Live Arcade version was released in mid-2009  A remaster of the game by Skunkape Games was released in December 2020 for Nintendo Switch and Microsoft Windows, in August 2021 for Xbox One, and in September 2022 for PlayStation 4 Based on Steve Purcell's comic book series Sam & Max, the game follows the title characters Sam and Max—self-styled vigilante private investigators, the former an anthropomorphic dog and the latter a "hyperkinetic rabbity thing"—through several cases involving a hypnotism conspiracy  Each episode features one case with a contained story, with an underlying plot running through the series  The game was announced by Telltale Games in 2005 following the cancellation of Sam & Max: Freelance Police by LucasArts in the preceding year; many of the employees at Telltale Games were members of the Freelance Police development team 
The game received a positive response from critics, with praise bestowed on the game's humor, graphics and gameplay, but concerns were voiced over the low difficulty of the puzzles, repetition in design between episodes and the effectiveness of the story  Opinions dissented across the Atlantic; some British reviewers did not appreciate the writing in the way that American critics did  Nevertheless, the game has won several awards and is often cited by commentators as the first successful application of episodic distribution  The game was accompanied by a number of short machinima videos set between each episode  The game was followed by two episodic sequels: Sam & Max Beyond Time and Space in 2007 and Sam & Max: The Devil's Playhouse in 2010 

Gameplay
Sam & Max Save the World is a 3D graphic adventure game in which the player controls the character of Sam  The player has Sam explore the environments of the game and solve a series of puzzles using a simple point-and-click interface  The game's puzzles have logical solutions, although a number of them have far-fetched solutions due to the game's cartoon setting  Depending on the type of in-game entity a player selects using the cursor, the player can have Sam walk around an area, look at and comment on objects, pick up certain items or otherwise try to use them  Sam may also engage in conversation with non-player characters; when this occurs, the game presents a dialog tree with several subjects to pick from  Topics of conversation may directly involve the story or provide assistance with the game's puzzles, while others may be entirely unconnected  In some cases, the player may be able to choose dialog for Max to speak as well The game implements an inventory system to allow Sam to store any items that the player picks up during the course of the game  The player may select any of the items in the inventory and can then attempt to use them on objects in the game world or give them to other characters simply by clicking on the desired target  Unlike Save the World's predecessor, Sam & Max Hit the Road, inventory items are context specific, and cannot be used together or combined to create new items  Typically, Sam carries a gun that may be used to solve several puzzles The characters can travel between a variety of locations in the game using their black and white 1960 DeSoto Adventurer, which, when selected, will present the player with a list of available destinations  The DeSoto is also used for several driving sequences, usually involving pursuing or fleeing criminals in other vehicles  In these driving sequences, the player can use Sam's gun, the car's horn, or have Max attempt to communicate with other vehicles via a megaphone  In addition, special inventory items may be used to complete specific puzzles within these sequences  Driving sequences are also used for several minigames, such as pulling innocent drivers over for fabricated felonies  In keeping with the developer's heritage from the LucasArts adventure games, Sam & Max Save the World is designed so that the player characters cannot die or reach a complete dead-end 

Synopsis
Characters
Sam & Max Save the World is set in a universe that parodies American popular culture, and it follows the title characters of Sam and Max, the Freelance Police, a pair of vigilantes and private investigators  Sam is a level-headed but enthusiastic anthropomorphic dog who wears a blue suit and fedora  He is inquisitive, knowledgeable in obscure areas and tends to prefer the logical solution to problems, but he is not above using force  Max is described as a "hyperkinetic rabbity thing"; cunning, uninhibited and reveling in violence and mischief  His reactions to situations usually incorporate force but often with a seeming disregard for his own personal safety  Together, the Freelance Police operate out of a dilapidated office block in a dangerous neighborhood in New York City where they receive cases over the telephone from an unseen police commissioner There are several supporting characters that consistently appear throughout the episodes 
Bosco is the proprietor of the nearby convenience store and supplies the Freelance Police with a number of items across the game  Driven paranoid by repeated shoplifting, Bosco is obsessed with conspiracies, believing that nearly every US government agency, as well as many criminal outfits, are after him  As such, his store is overwhelmed with security devices and contraptions created by Bosco himself  He regularly attempts to disguise himself as a variety of foreign nationals, but to little effect Further down the neighborhood is Sybil Pandemik, who owns a small office across from Sam and Max  Sybil is unable to keep a consistent job and regularly changes her career choices  Introduced as a psychotherapist, she is noted to have worked as a tattoo artist, software tester, tabloid journalist and professional witness In a hole in Sam and Max's own office resides Jimmy Two-Teeth, a rat who works as a petty criminal, confidence trickster and fence  He profusely dislikes Sam and Max, who he sees as always interfering with his work Other characters include the Soda Poppers, a group of three former child stars from the 1970s  The three, each with their own trademark catch-phrase, first appear as victims of hypnosis in the first episode, later acting as the judges on a Pop Idol parody in the second episode  By the fourth episode, they are elected the governors of the Dakotas and plunge the region into civil war over ownership of Mount Rushmore  Also making sporadic appearances is Hugh Bliss, an eccentric magician and leader of the Prismatology cult, a parody of Scientology  He is often seen attempting to promote his self-help guides based on Prismatology  Sam finds Bliss irritating, while Max almost idolizes him  Minor characters include Agent Superball, a US Secret Service agent with a penchant for guarding doors; Chuckles, the pit manager in a mafia-run casino; Harry Moleman, a police mole who switches sides; and the Computer Obsolescence Prevention Society (COPS), a group of outdated computers attempting to find purpose in the technologically advanced world 

Plot
The game opens with Sam and Max, the Freelance Police, lounging in their office, awaiting a new case after a long hiatus  Eventually, the commissioner sends them out to investigate a group of former child stars, the Soda Poppers, who have been causing trouble in the neighborhood  The Soda Poppers are attempting to promote a self-help video called Eye-Bo, which (when watched) hypnotizes the viewer  After seeking assistance from Sybil to reverse the hypnotism on the Soda Poppers by knocking them unconscious, the Freelance Police learn that the scheme has been devised by one Brady Culture, another former child star who owes his fall from popularity to the rise of the Soda Poppers  Sam and Max and the Soda Poppers confront Culture, who hypnotizes the Soda Poppers again  However, Sam manages to fool Culture into ordering the Soda Poppers to attack himself, subduing the threat  The next case the Freelance Police get involves liberating a studio audience held hostage by a deranged TV talk show host, Myra Stump  At the TV station, Sam and Max deduce that Myra has been hypnotized and, after using other shows in the studio to become celebrities, they convince her to let them become guests on her show  Once on the show, Sam notes a strange toy bear on the host's desk, the source of the hypnotism  Using the studio sound system, Sam electrocutes both Myra and the bear, allowing the audience to leave 
The commissioner then tasks Sam and Max with infiltrating the Toy Mafia, a criminal organisation operating from a casino  The commissioner's mole in the organisation has gone quiet; he wants the Freelance Police to find out what happened to the mole  Sam and Max quickly discover that the Toy Mafia are responsible for the toy bear that hypnotised Myra  As they gain the Mafia's trust, they ascertain that the mole has switched sides and is now leading the outfit  After discovering that the casino is a front for a factory producing the hypnotizing bears for mass distribution, the Freelance Police sabotage the factory and destroy the operation  Soon after, the US President starts bringing in bizarre policies; Max is particularly concerned about the introduction of gun restrictions, while Sam believes the President has been hypnotized  At the White House, Max beheads the President, revealing him to be a mechanical puppet designed to hypnotize the nation through TV broadcasts  The President's bodyguard, none other than the now-fallen Toy Mafia's pit boss, activates a giant robot disguised as the statue at the Lincoln Memorial to run in an emergency election against Max  Sam discredits Lincoln's campaign, resulting in Max winning the presidential election  Lincoln begins a destructive rampage through Washington D C , but is neutralized when Max fires an intercontinental ballistic missile at him The next case given to Sam and Max involves dealing with a computer crisis that is causing the world economy to collapse  They discover the problem is a virtual reality program called Reality 2 0, powered by the Internet (which has gained sentience), which is hypnotizing people so they never want to leave the program  Sam and Max access the program themselves and introduce a computer virus that crashes Reality 2 0 and deletes the digital embodiment of the Internet  Prior to expiring, the Internet reveals that it was following the plans of one Roy G  Biv  Sam eventually deduces that Roy G  Biv is actually Hugh Bliss, a character seemingly in the background of all their previous cases  The Freelance Police travel to Bliss' Prismatology retreat on the Moon, where Bliss is preparing a device to hypnotize the entire planet  Bliss reveals himself as a colony of sentient bacteria that feeds off of the endorphins produced by human happiness; by hypnotizing the planet, Bliss assures himself of a permanent supply of nourishment  Bliss activates the device, but is killed when Sam tricks him into a tank of water and boils it using the rocket engine of a lunar lander  Returning to Earth, Max takes great pleasure in reversing the hypnotism by personally knocking everyone on the planet unconscious 

Episodes
Machinima
For the release of each episode, Telltale Games released three corresponding machinima shorts  These shorts are set between the episodes; fifteen were released in total  The first short, "Frank Discussion", released on November 30, 2006, has Sam and Max share a discussion regarding frankfurters and their preservative properties in Bosco's store  The short was followed on December 7 by "Trainspotting", in which Sam ponders the meaning of life while Max questions the sensibility of being outside, away from the comforts of their office  On December 12, Telltale released "A Painstaking Search": having misplaced the keys to their office, Sam and Max return to Brady Culture's hideout in an attempt to retrace their steps  The first short of 2007, "Reality Blights", was released on January 4 and sees Max volunteer the duo to appear on a reality television show, Four Freaks in a Terribly Cramped Office  "Egregious Philosophy Platter" was released seven days later on January 11 and features Sam and Max as host the hosts of television show Egregious Philosophy Platter, discussing the philosophers Socrates and Descartes  The final short relating to television shows, "Kitchen Consequential", was released on January 18 and follows Sam and Max hosting Fun in the Kitchen With Sam and Max where they showcase a few recipes of special effects "Interrogation" was released after the game's third episode on February 1, in which Sam and Max demonstrate how to properly interrogate a suspect  This was followed by "Coffee" on February 8; in the short, Sam and Max experiment with telekinesis on coffee cups  On February 15, "The Blank Blank Blank" was released, where Sam and Max discuss with Bosco a government agency so secret, the acronym is classified  Following episodes relate to Max's tenure as US president after "Abe Lincoln Must Die!"; "War Games", released on March 1, has Sam and Max engage in military activities from the White House's war room under the pretense that they are mere simulations  It was followed by "The Teapot Drone Scandal" on March 15, in which Max orders a Secret Service agent to recite "I'm a Little Teapot" over the telephone  "Saving the Economy" was released on March 22, showing a broadcast by Max outlining his plans to make the economy more efficient by irrationally extending daylight saving time  On April 5, "Artichoke" was released, in which Max holds a press conference where he is unwisely questioned about his gun control policies  The penultimate short, "Bosco", was released on April 12, and shows Max starting a negative campaign against Bosco for the presidential election, despite the fact that he is not running  "A Fireside Chat", the final episode, was released on April 19, depicting a broadcast by Max to the state of Idaho in the hopes of getting them to vote for him 

Development
Production
Sam & Max Save the World originates from Sam & Max: Freelance Police, a graphic adventure game that was developed by LucasArts from 2002 to 2004  Freelance Police was a sequel to the 1993 title Sam & Max Hit the Road  However, LucasArts ceased production on Freelance Police in March 2004  In the subsequent weeks, LucasArts underwent major restructuring; many of the developers who worked on past LucasArts adventure games were made redundant  Some of the former Freelance Police development team consequently formed Telltale Games in June 2004 to continue developing the sort of adventure games that LucasArts no longer wished to produce  Sam & Max creator Steve Purcell, who described himself as disappointed and frustrated with LucasArts' decision, took the Sam & Max franchise to Telltale after the LucasArts license expired in mid-2005  Telltale Games announced the new series of Sam & Max games in September 2005  Brendan Q  Ferguson, who worked on Freelance Police as a programmer, designer and writer; Dave Grossman, one of the project leaders on Maniac Mansion: Day of the Tentacle; and Purcell primarily led the development of the project Unlike Freelance Police, Save the World was developed in episodic form, with episodes being released in quick succession, to allow for reduced development time between titles and quicker delivery of content to consumers  Telltale launched a website for Sam & Max in November to accompany their new series  The following month, Purcell began publishing a Sam & Max webcomic entitled "The Big Sleep" on the site; the webcomic ran for twelve issues and concluded in April 2007  Purcell won an Eisner Award in 2007 for the webcomic  In March 2006, Telltale acquired US$825,000 in funding from a group of private investors, to help sustain growth until its next round of equity funding Telltale released the game's trailer for the Electronic Entertainment Expo in May 2006, showing the new voice actors for Sam and Max: David Nowlin and William Kasten respectively  However, Andrew Chaikin voiced Max in the first episode, but was unable to continue in the role due to health reasons  While at the convention, Telltale revealed that the first episode was forecast for release towards the end of 2006, via the distribution service GameTap  Telltale announced a release date of October 17 over GameTap in early September, with the note that each episode would be made available from Telltale themselves within fifteen days of release  Development on the first episode was completed on September 25, and from October 10, GameTap began hosting the Sam & Max animated series as promotional material for release  The first episode, "Culture Shock", was released on-time on October 17  The next five episodes were released over short intervals until the series finale in April 2007  The series debuted on Steam on June 15 the same year  Telltale began shipping a special collectors edition of the game in July, while the retail version of the game was published in August  January 2008 saw a significant update to the game, upgrading the game engine and ensuring compatibility with Windows Vista Three months later, Telltale announced a Wii version of the game  Telltale reported that an email campaign and Internet rumors of a port had stirred up interest within the company for producing a Wii version  They redesigned the game's point-and-click interface to accommodate the Wii Remote, the primary controller for the console  The game was initially forecast for release in North America on October 7, 2008, but was released a week later on October 14  The European version was published later in December In February 2009, Telltale Games renamed the game from its initial release title of Sam & Max: Season One to Sam & Max Save the World  Telltale's public relations spokeswoman, Emily Morganti, explained that while Season One was thought to communicate the game's episodic nature to potential consumers, the company felt that it was nondescript in relation to the game's story  The message accompanied the announcement of an Xbox Live Arcade version of the game, which had been subject to media speculation since February 2007  Both Windows and Wii versions of the game were republished using the new title 

Design
According to Dave Grossman, the objective for Telltale Games with Sam & Max Save the World was to create a game with a "lot of story and character in it"  Grossman explained that the Sam & Max franchise was therefore most ideally suited to the graphic adventure genre; while action was thought to be possible with the source material, it "would be kind of wrong"  Still, designers decided to introduce action moments such as car chase scenes, wanting players to "feel like [they] are these crazy Freelance Police officers" and "just be involved in all this sort of mayhem" presented in the original comic strips   Like in previous Sam & Max games, Sam & Max Save the World used a point-and-click gameplay system, itself a variation of the control scheme used by Telltale in their preceding adventure game series, Bone; the action sequences implemented in the game still maintained the point-and-click interface Very little of the design from Freelance Police was carried over into Save the World; LucasArts still held onto the assets created for use in Freelance Police, and Telltale was wary of using similar design patterns  While Ferguson and Purcell had both been involved with the canceled LucasArts project, Grossman had not  The team decided to just start from fresh, and pursue a different treatment of the game's subject  Purcell himself wanted to ensure that the game conveyed the "gritty" feel of the original comics—something he felt was lacking from the LucasArts renditions of the franchise  Grossman stated that "we wanted to get a little bit more of that dirt on the streets, and the paper cups and people being mean and nasty"  This "gritty" feeling also influenced artistic design  For instance, on Purcell's suggestion, the sky was changed from blue to yellow in the street outside Sam and Max's office, instantly making the environment feel "filthy and disgusting" 

Audio
Bay Area Sound, a company set up by Clint Bajakian, who had worked extensively on composition and sound production on LucasArts games since 1994, produced the soundtrack  The Save the World soundtrack was composed by Jared Emerson-Johnson, Bajakian's former protégé, whose previous work included composition and sound editing for LucasArts  Emerson-Johnson's scores used live performances as opposed to synthesized music often used elsewhere in the video games industry; a small team of five musicians, including Emerson-Johnson and a recording engineer, produced the soundtrack  The score is primarily grounded in film noir jazz, inspired by the work of Henry Mancini and Charles Mingus  However, Emerson-Johnson noted that as the Sam & Max universe is "open-ended", he had the chance to explore into other musical genres in some episodes, such as "a song-and-dance Charleston number, faux Philip Glass, an ode to Nina Rota's music from The Godfather, and even some inspired retro 8-bit game music"  Several songs were incorporated into the soundtrack, performed by Emerson-Johnson or Peter Barto, the voice actor for Agent Superball  Purcell later commented that Emerson-Johnson had seamlessly blended a "huge palette of genres and styles", while Ferguson stated that he believed that it was Emerson-Johnson's scores that created the vital atmosphere in the games, noting that prior to the implementation of the music, playing the games was an "unrelenting horror"  The soundtrack to Sam & Max Save the World was published in July 2007 

Reception
Sam & Max Save the World received positive critical reaction from reviewers  Aggregate review scores on GameRankings and Metacritic rank the fifth episode, "Reality 2 0", as the critical favorite, while the third episode, "The Mole, the Mob, and the Meatball" received the lowest scores  The entire season holds a score of 88 percent on GameRankings  In addition to receiving several editor choice awards, the game has been recipient to publisher awards for the best adventure game of 2006  As Telltale Games had managed to release a steady stream content with only small time gaps, journalists in the video game industry had considered Sam & Max Save the World to be the first successful application of episodic gaming  Previous unsuccessful implementations of the distribution model included attempts by Valve with the Half-Life series, Ritual Entertainment with SiN Episodes and Telltale themselves with Bone The debut episode, "Culture Shock", was recipient to a mostly optimistic response from critics  The episode was thought to adequately follow 1993's Sam & Max Hit the Road, with the introduction of the new 3D engine and gameplay being positively received  Criticisms of "Culture Shock" focused on the story; while the humor in the writing was praised, the plot was seen as a "thin excuse for the jokes" and the episode's primary antagonist was described by IGN's Steve Butts as "a bit of a letdown"  The second episode, "Situation: Comedy", was thought to produce a better antagonist than "Culture Shock", with the puzzles linking in well to the story  However, critics described the puzzles as too easy, and expressed disappointment at the reuse of lines from the first episode  The next episode, "The Mole, the Mob, and the Meatball", was the lowest rated episode amongst reviewers  Although the episode received compliments for its dialogue and humor, it was criticised for its easy puzzles and short length The fourth episode, "Abe Lincoln Must Die!", was held by critics to be one of the series' best episodes  The episode's story of political satire was subject to praise, whilst the increased length was also appreciated  Puzzles were felt to be more difficult and satisfying to solve  Detractors of the episode, however, felt that the episode suffered from the need to constantly move between locations and from the reuse of old characters and locations  "Reality 2 0", the fifth episode, was the critical favorite of the series  The game's puzzles were cited as stronger than in "Abe Lincoln Must Die!", with a fitting tribute to text adventure games towards the end  However, the script was thought to be inferior to the preceding episode  The season finale "Bright Side of the Moon" received a more reserved response than the two previous episodes, with criticisms directed at the length of the game and the depth of character interaction  Nevertheless, reviewers felt that the episode had reasonable puzzle design and that it was a respectable end to the series Critics gave positive reviews towards the overall gameplay mechanics, although they often presented some reservations  Several reviews praised the simplicity of the game interface  Andre Thomas of GamePlasma described the game's learning curve as "incredibly simple" and the gameplay mechanics as logical extension of those from the adventure games of the 1990s, while GamingTrend reviewer Ron Burke praised Telltale's "intuitive" point-and-click system  Mark Smith of Game Chronicles, however, stated that the streamlined mechanics eliminated "a lot of the exploration and discovery we normally associate with these types of games"  Some reviews directed criticism towards puzzle design; according to Smith, the game is "certainly accessible to kids and younger teens", but the adult audience "will find these games way too easy"  Reviewing for Adventure Gamers, Evan Dickens felt that the puzzles took "a bit of thought and consideration, but never to a point of consternation", believing that the low difficulty was intended by Telltale to allow players to "proceed through the story with minimum frustration"  Hyper's Tim Henderson commends the game for being "highly accessible [and] almost as funny as the original", but criticises it for its episodic content being a "tease" In relation to the story and writing, critics felt that the overall plot was ineffectual  Al Giovetti of JustAdventure felt the plot was lacking, while Burke considered the episodic nature to be detrimental to maintaining plot cohesion between the episodes, a point with which Dickens agreed  Despite this, several reviewers thought that the individual episode stories and the presentation and development of the characters were good  Reviewers considered the writing for each episode as one of the best features of the game; they also praised the level of humor in the game, although Dickens felt that it was not until the fourth episode that the writing properly established itself  In addition, they directed some skepticism towards the reuse of scenes and characters, with critical opinion divided on the degree of success in this regard  A point of contention rose between British and American reviewers over the story and setting, exemplified in PC Gamer; whilst positive towards the first and fourth episodes, the British edition of the magazine felt this repetition was a severe failing of Save the World, and that the writing did not work well  In contrast, the American edition rated each episode highly, stating that the quality of the series was "excellent" Critics commended Sam & Max Save the World's graphics and art direction; Dickens commented that "the cartoonish, absurdist nature of Steve Purcell's characters is captured perfectly" within an "enthusiastically colorful world that is at its best the stranger it gets", while GameZone reviewer Anise Hollingshead praised Telltale for successfully upgrading the characters' graphics "without losing any of their cartoon appeal"  Kristen Reed, writing for Eurogamer, felt that the graphics reflected a "great degree of care and attention to everything from the locations to the standard of character modelling and animation"  They also praised the game for its sound, voice acting and music  In a review for The Entertainment Depot, Tim McGowan complimented Emerson-Johnson's soundtrack as "being quite excellent and listenable on its own", and IGN's Alex Van Zelfdendate described it as a "breath of fresh air"  In contrast, PC Gamer UK's Alec Meer felt that the opening theme tune was "so busy trying to hint at [the theme for Sam & Max Hit the Road] that it forgets to have a memorable melody of its own"  Nowlin and Kasten's voicework also received a positive response The Wii version of the game garnered a more reserved view from critics than the PC version; GameRankings and Metacritic gave aggregate review scores of 75 percent and 74 percent, respectively  For better or worse, reviewers felt that the game had not changed much from the PC version in terms of gameplay, story or overall content  While Sam & Max was thought to be a "perfect, naturally cartoony fit for the Wii", the critics noted a number of technical issues with the release  Several critics cited minor issues with using the imprecise Wii Remote for puzzles requiring accuracy, while observations were made that lines of dialogue could be cut short and that the frame rate could slow significantly, especially in action sequences 

Remastered
Sam & Max Save the World Remastered was developed by Skunkape Games, a studio founded by Telltale co-founder Dan Connors and made up of original development team members Jake Rodkin, Jonathan Sgro, and Randy Tudor; the studio is named in reference to General Skun-ka'pe, a character from Sam & Max: The Devil's Playhouse  Following the closure of Telltale Games in 2018, Skunkape acquired the rights to Sam & Max and retrieved the game's original assets and source code  While the team originally planned to simply update the existing games with a software patch to improve compatibility with newer PCs, the original material's age proved difficult to work with in many regards, leading to the decision to fully remaster Save the World instead  The team consulted with Purcell on the remaster, who contributed additional artwork  Several members of the original development team outside of Skunkape also contributed to the remastering effort, including locating original assets that could not be retrieved from Telltale's archives  The Remastered release runs on the most recent version of the Telltale Tool and features updated character models and lighting, controller support, and new music by original composer Jared Emerson-Johnson  Other changes made include updated cutscene cinematography and re-recorded dialogue for Bosco, with Ogie Banks replacing previous actor Joey Camen  Save the World Remastered was released on Nintendo Switch and Windows on December 2, 2020; on Xbox One on August 10, 2021; and on PlayStation 4 on September 29, 2022  The original Save the World episodes were later released as free downloadable content for the Steam version of Remastered in February 2021  Following Save the World, Skunkape began work on remasters for the other Telltale Sam & Max games, with Beyond Time and Space released in December 2021 and The Devil's Playhouse planned for 2023 

Notes
External links
Official website at the Wayback Machine (archived June 18, 2018)
Official website (Remastered)
Passage 3:
Luther: The Calling
Luther: The Calling by Neil Cross is a tie-in novel based on the BBC crime drama Luther  Two further Luther novels were anticipated, but have not appeared 

Summary
The novel introduces the character of Detective Chief Inspector (DCI) John Luther  The novel is a prequel to the television series and focuses on the traumatic case involving a child killer named Henry Madsen  The novel expands on and explains several elements of the TV series, such as the breakup of the Luthers' marriage, and the corruption of DCI Ian Reed  The final events in the book mirror those portrayed at the start of Series 1 of the television series, which aired 15 months prior to the novel's release 

Reception
Sue Turnbull of The Age describes the book as providing "some clever but uncomfortable reading"  She concludes by comparing the novel to the television series stating "What this book offers is bleaker, more confronting and, well, terrifying  Be prepared"  John O'Connell from The Guardian summarised the novel by stating "the key murders in The Calling are so repulsive and their perpetrator so plausible that at times I had to force myself to keep reading  But I'm glad I did " Rob Farquhar of the Carins Post commended Neil Cross on the creation of DCI John Luther describing Luther as a man "possessed of brilliance and by an animal ferocity that he keeps from all but the monsters he seeks out"  He concluded by stating fans of the "TV series will love this" In 2012, Luther: The Calling won the Ngaio Marsh Award for Best Crime Novel 

See also
Luther (TV series)
List of Luther characters
List of Luther episodes
Passage 4:
Warren Brown (actor)
Warren Martin Brown (born 11 May 1978) is an English actor, best known for his roles as Donny Maguire in Shameless and Andy Holt in Hollyoaks, DS Justin Ripley in the BBC crime drama Luther and as Sergeant Thomas "Mac" McAllister in the British-American action television series Strike Back, starting with Strike Back: Retribution 

Early life
Warren Brown was born in Warrington, England  He studied at the University of Salford 

Career
After appearing in two episodes of the television series Shameless, Warren played the evil Andy Holt in Channel 4's  Hollyoaks  Despite being 27 years old at the time, it was said his youthful good looks and diminutive height helped him win the role of the student 
Brown was nominated for a number of awards for his performance in the show including Best Villain, Most Spectacular Scene and Best Exit at the 2006 British Soap Awards  Brown's character Holt met his demise in February 2006 
Brown won a role in the short-lived ITV show Jane Hall in the summer of 2006  This was followed in March 2007 by his role as Tommo in ITV's Mobile  Also in 2007 he starred as Chris in one episode of Casualty  In September 2007 he starred in the second series of BBC Three's Grownups, playing barman Alex Salade and has played the part since  In the 2009 Comic Relief Special of Two Pints of Lager and a Packet of Crisps, which was a crossover between Grownups, Two Pints and Coming of Age, he played Alex again 
In 2008, Brown performed the voiceover for the film trailer of Gomez: A True Story, based on the life of boxer Michael Gomez and starring Emmerdale's Kelvin Fletcher  In October 2008, Brown played the role of Marky in E4's zombie drama Dead Set  In November 2008, he appeared in Casualty, but not playing the same character as he did in 2007  In 2009 Brown appeared in the three part BBC Iraq war drama Occupation, alongside James Nesbitt and Stephen Graham Brown has appeared in two episodes of The Bill playing Jake Clegg, who was a part of the operation of trafficking young girls illegally  These episodes were titled "The Forgotten Child" 
From May 2010, he appeared as the regular character of DS Justin Ripley in the BBC drama Luther, a role that he reprised in June 2011 in the second series of Luther  Brown left the series in 2013 
Brown appears in the deadmau5 music video for the song "I Remember", also starring Stephen Graham, Aston Kelly (Graham's brother), Greg Walsh and ex-Coronation Street actress Emma Edmondson  In October 2010, Brown appeared as Matt in the BBC drama Single Father  In February 2012, he played one of the main characters in the BBC drama series Inside Men  He appeared as a member of Bane's Mercenary Security in The Dark Knight Rises, the third instalment of Christopher Nolan's Batman trilogy 
First broadcast in August 2012, Brown starred as PC John-Paul Rocksavage in the four-part BBC police drama Good Cop 
From 2017, he plays Sergeant Thomas "Mac" McAllister in Retribution,  the British-American action television series, in the sixth series and second revamp of Strike Back opposite Daniel MacPherson   The eighth series finished filming and aired in February 2020 
Brown has appeared in many audio dramas for the company Big Finish Productions, the most notable of which including a recurring role in their UNIT series, a spin-off based around the military organisation that regularly appeared in Doctor Who, since 2016, and playing Keith Burrow in Big Finish's original eight-part thriller Transference  In 2020, Brown would make his debut appearance in the television series, in the episode "Praxeus", albeit as a different character, former police officer Jake Willys, who was looking for his husband 
In 2023, Brown featured as a main cast member in BBC One drama Ten Pound Poms  For his portrayal of Terry Roberts, he was awarded the Best Actor trophy in the Fiction portion of the Golden Nymph Awards at the Monte-Carlo Television Festival 

Boxing
Brown has competed at world-level in Muay Thai (Thai kickboxing) and is a two-time World Champion 

Filmography
Film
Television
Video games
Passage 5:
Pramface
Pramface is a British sitcom starring Scarlett Alice Johnson and Sean Michael Verey  Written by Chris Reddy, the first series, comprising six half-hour episodes, piloted on 23 February 2012  The second series, which was commissioned by the BBC before the first series had even aired, began transmission on 8 January 2013 with an hour-long special as the first episode  The remaining six episodes of the series were of the usual half-hour length  A third series was commissioned which began airing on 25 February 2014 with the double episode series finale, which aired on 25 March 2014, bringing the third series to a total of six half-hour episodes  It was confirmed in August 2014 that a fourth series will not be commissioned 

Plot
Best friends Jamie, Mike, and Beth finish their GCSE exams and head towards a sixth form party  Meanwhile, 18-year-old Laura, encouraged by her best friend Danielle, breaks her parents' curfew and heads to the same party; both Jamie and Laura are determined to have a good time  During the party they meet and drunkenly have sex  The next morning Jamie writes Laura a note with his phone number on it and leaves  Some few weeks later, Laura discovers that she is pregnant, and that Jamie is only 16  Life is about to begin, but not in the way either of them expected Series 1 follows the life of the two teenagers and their family and friends as they try to get to grips with the impending parenthood and the struggles of pregnancy  Series 2 follows the next stage, caring for the newly born baby, Emily, while Laura faces the difficulties associated with being a new mother  Series 3 follows Jamie encountering a new woman in his life and how that affects his relationship with the mother of his child 

Production
Filming
The show was filmed in and around Edinburgh, Scotland, with specific locations including amongst others The Grange suburb and the Corstorphine parish church 

Cast
Scarlett Alice Johnson as Laura Derbyshire
Sean Michael Verey as Jamie Prince
Dylan Edwards as Mike Fenton
Yasmin Paige as Beth Mitchell
Emer Kenny as Danielle Reeves
Ben Crompton as Keith Prince
Bronagh Gallagher as Sandra Prince
Angus Deayton as Alan Derbyshire
Anna Chancellor as Janet Derbyshire

Episodes
Series overview
Series 1 (2012)
Series 2 (2013)
Series 3 (2014)
International broadcast
Australia – Season 1 premiered in Australia on 3 January 2013 on ABC2 
 Netherlands – All three seasons have been picked up by Netflix in the Netherlands 
 United States – All three seasons of the show have been picked up by Hulu in the United States 

Online
In addition to episode preview clips and character information on the BBC website, the writer and stars wrote blog posts about making the show for the BBC TV Blog and BBC Three Blog  An official Facebook page was set up for fans although this has since been closed and one of the main characters, Mike Fenton, was given his own Twitter account where he commented in-character on the events of the episodes as well as other things going on in the real world at the time 
Passage 6:
Luther (TV series)
Luther is a British psychological crime thriller television series starring Idris Elba as DCI John Luther and Ruth Wilson as Alice Morgan, written by Neil Cross  The detective Luther must make cases against criminals while the murderer Morgan has a complicated relationship with him  The first series is composed of six episodes which ran in May and June 2010  A second series of four episodes aired on BBC One in June and July 2011, and a third was commissioned in 2012 composed of four episodes which aired in July 2013  A two-episode fourth series was broadcast in December 2015, and a fifth series of four episodes premiered on 1 January 2019  BBC Studios handled distribution for the TV series A feature film continuation, Luther: The Fallen Sun, was released in select cinemas on 24 February 2023, before its streaming release on 10 March 2023, by Netflix  Starring Elba, Andy Serkis and Cynthia Erivo, the film was written by Cross 
Elba has been awarded a Critics' Choice Television Award, Golden Globe Award, and Screen Actors Guild Award for his performance as John Luther  The series has also received eleven Primetime Emmy Award nominations in various categories, including four nominations of Elba for Outstanding Lead Actor in a Miniseries or Movie 

Plot
John Luther is a Detective Chief Inspector (DCI) working for the Serious Crime Unit in series one, and the new "Serious and Serial" unit from series two  A dedicated police officer, Luther is obsessive, possessed, and sometimes violent  However, Luther has paid a heavy price for his dedication; he has never been able to prevent himself from being consumed by the darkness of the crimes with which he deals 
For Luther, the job always comes first  His dedication is a curse and a blessing, both for him and those close to him  In the very first episode of the series, he investigates brilliant psychopath and murderer Alice Morgan  Ultimately, he is unable to arrest her due to lack of evidence, but as the series progresses, she becomes both his nemesis and unlikely companion  As she pursues her infatuation with him, he gradually relents as he is able to glean insight from her about some of the cunning criminals he pursues  After Alice helps Luther avenge the death of his estranged wife Zoe, Luther aids her escape from a secure facility and she flees the country  In Alice's absence, Luther's life is dominated by his police work once again, culminating in the murder of his partner and protégé Justin Ripley in the third series  Alice reappears following Ripley's death, and finally convinces Luther to leave London with her 
When the fourth series begins, Luther is living a reclusive life on the English coast  After learning of Alice's apparent death in mysterious circumstances, he is persuaded to return to London and resume his role as a DCI  It ultimately transpires that Alice faked her own death after her life with Luther did not match their expectations  Two years later she returns to extort money from organised crime boss George Cornelius, who sabotaged her previous diamond exchange  Embroiled in her schemes again, Luther's relationship with Alice heads towards its destructive climax 

Cast and characters
Episodes
Series 1 (2010)
The first series of Luther aired in 2010 and received positive reviews from critics, getting an average of 5 9 million viewers per episode 

Series 2 (2011)
In August 2010, the BBC announced that it had commissioned a second series for 2011  Filming started in late September/early October 2010  Originally planned to be broadcast as two two-hour episodes, it was shown as four one-hour episodes  The first episode was shown on BBC One on 14 June 2011 

Series 3 (2013)
In August 2011, the BBC One controller announced that a third series had been commissioned Filming of the four-episode series started in November 2012  Sienna Guillory was cast as Luther's new love interest  Other guest stars included Lucian Msamati and Ned Dennehy  The third series began airing on 2 July 2013 and concluded on 23 July 

Series 4 (2015)
On 19 November 2014, it was announced that a two-episode special would be aired on the BBC in 2015  Filming began in March 2015 and ended April 2015  BBC Home Entertainment later confirmed that the Region 1 version of the Series 4 DVD would be released on 15 December 2015, coinciding with the air date of the fourth series  On 24 October 2015, BBC One confirmed via their Facebook page that series 4 of Luther would air in December 2015 on BBC One In November 2015, it was announced that Luther was confirmed to air in the United States on BBC America for a three-hour one-night event on 17 December 2015 The first episode of the fourth series aired on BBC One on 15 December 2015 

Series 5 (2019)
The BBC announced a fifth series composed of four episodes on 12 June 2017  Filming started in early 2018  Ruth Wilson was confirmed to be returning as Alice Morgan for series five  Series 5 directed by Jamie Payne premiered on 1 January 2019, and was broadcast over consecutive nights through to 4 January 

Film (2023)
In September 2021, Netflix announced a feature film continuation of Luther with Elba reprising his role and Cross writing  Andy Serkis and Cynthia Erivo also joined the cast  The film, Luther: The Fallen Sun, was released in select cinemas on 24 February 2023, before its streaming release on 10 March 2023, by Netflix 

Production
Creator Neil Cross has said that Luther is influenced by both Sherlock Holmes and Columbo; the nature of Luther's intellect and its application to solving crimes is comparable to Holmes's, whereas the show's use of the inverted detective format was inspired by Columbo The first series was filmed in and around London, England, and produced by BBC Drama Productions  Brian Kirk, Sam Miller and Stefan Schwartz each directed two episodes and show creator Neil Cross wrote all six of the episodes  Leila Kirkpatrick was the line producer for the entire program and Katie Swinden was the producer for a number of episodes  Tim Fleming provided cinematography for two episodes  Katie Weiland and Victoria Boydell were involved in film editing, with Weiland editing two episodes  Andy Morgan was responsible for all casting, Paul Cross provided production design and Adam A  Makin was behind the show's art direction The show is filmed in various locations around Central, North, West and East London including the Barbican Estate, Elephant and Castle, Westfield Shopping Centre (Shepherd's Bush), Renaissance Hotel (Heathrow Airport), Ealing Hospital, Cranbrook Estate (Bethnal Green), Victoria Park, Waterloo station, Holloway, Shoreditch and the Docklands 

Critical reception
Series one was met with positive reviews, according to aggregate review site Rotten Tomatoes, where it holds a 91% approval rating, based on 23 reviews  The site's consensus reads: "Gritty and ambiguous, Luther is a captivating drama bolstered by a powerhouse performance from Idris Elba in the title role " It holds a Metacritic score of 82 out of 100, based on 11 collected reviews, indicating "universal acclaim"  However, The Guardian's Stuart Heritage was initially critical of the show, and compared it to the American series FlashForward, in that both series arrived with a large amount of hype but delivered an anticlimactic end product  However, by the fifth episode, Heritage had changed his views and called it Idris Elba's best work since The Wire The show's second series was met with equally positive reviews and holds a 100% approval rating on Rotten Tomatoes, based on 13 reviews  The site's consensus reads: "Luther delves into darker territory in its second series, and Idris Elba's outstanding performance makes this a police procedural of uncommon weight and heft " It holds a Metacritic score of 78 out of 100, based on 9 collected reviews, indicating "Generally favorable reviews " Variety and The Hollywood Reporter admiringly highlighted the darker tone, Elba's performance, and the production  In the third quarter of 2011, the top-rated shows on BBC America were Doctor Who, Top Gear, and Luther, which together gained the network its highest quarterly ratings ever Series three was again met with positive reviews and holds an 88% approval rating on Rotten Tomatoes, based on 25 reviews  The site's consensus reads: "Idris Elba shines in the title role of Luther despite familiar circumstances that benefit from the shortened season " It holds a Metacritic score of 76 out of 100, based on 19 collected reviews, indicating "Generally favorable reviews" Series four received positive reviews, with a 79% approval rating on Rotten Tomatoes, based on 14 reviews  The site's consensus reads: "Idris Elba remains the best thing about Luther in an all-too-brief season which packs a lot of plot into a short time frame " It holds a Metacritic score of 68 out of 100, based on 11 reviews, indicating "Generally favorable reviews" After a four-year hiatus, the Series five broadcast in 2019 met with positive reviews, garnering an 85% approval rating on Rotten Tomatoes, based on 40 reviews  The site's consensus reads: "Luther returns in fine form from its extended exodus with a grisly mystery and the welcome reappearance of Ruth Wilson's psychotic villain, Alice Morgan "

Broadcast outside of the United Kingdom
The first series of the show premiered in Australia on ABC1 on 15 October 2010 and in the United States on BBC America two days later  The second series debuted in the United States on BBC America on 29 September 2011 and Australia on ABC1 on 24 February 2012  The third series ran in the United States on BBC America on four consecutive nights beginning 3 September 2013  The fifth series premiered in the United States on BBC America on 2 June 2019 
The deal also includes the network to show the first six seasons of another series produced by the BBC, Death in Paradise, airing on Thursdays at 7 pm and airing on Fridays at 8 am ET part of the "Morning Mysteries" morning mystery crime drama block 

Soundtrack
Paul Englishby composed Luther's soundtrack  He incorporated many pop and rock songs into the soundtrack, using these generally in the end credits  A CD titled Luther – Songs and Score From Series 1, 2 and 3 was released on 19 August 2013 and contains many of the themes and songs used in the television series  The opening theme song is a shorter version of "Paradise Circus" by Massive Attack from the album Heligoland (2010) with vocals provided by Hope Sandoval 

Awards and nominations
Adaptations
American version
In 2014, Fox started developing an American TV series version of Luther, with Cross writing and executive producing the series, and Elba, Peter Chernin (of the Chernin company), Katherine Pope, and BBC Worldwide Prods' Jane Tranter and Julie Gardner as executive producers  The project was helmed by 20th Century Fox TV, Chernin Entertainment, and BBC Worldwide Prods  The project was formally dropped in 2017 

Russian version
In 2014, Channel One Russia was developing a Russian TV series version of Luther, with Konstantin Lavronenko, starring as Klim  The series was first broadcast on 31 January 2016 

Korean version
On 5 February 2018, South Korean TV network Munhwa Broadcasting Corporation (MBC) announced that it will broadcast a Korean version of Luther  The adaptation will be broadcast in November 2018 and is produced by the MBC Drama Production Group  In August 2018, Shin Ha-kyun was cast as male lead The series title was changed later into Less Than Evil (나쁜 형사, lit  "Bad Detective")  It aired on MBC on 3 December 2018 

Indian version
Indian actor Ajay Devgan announced that he'll be starring in the Indian adaptation of Luther, titled Rudra: The Edge Of Darkness  The first season of the series premiered on 4 March 2022 on Disney+ Hotstar 

French version
The French television channel TF1 has ordered a remake of the British television series which is filmed in the city of Paris and its suburbs  The first episode of the French version gained 4 8 million viewers 

Novel
In August 2011, Cross released a tie-in prequel novel Luther: The Calling following the broadcast of the second season  Two further novels were ordered, but were never released 
Passage 7:
Fear the Walking Dead (season 1)
The first season of Fear the Walking Dead, an American horror-drama television series on AMC, premiered on August 23, 2015, and concluded on October 4, 2015, consisting of six episodes  The series is a companion series and prequel to The Walking Dead, which is based on the comic book series of the same name by Robert Kirkman, Tony Moore, and Charlie Adlard  It was executive produced by Kirkman, David Alpert, Greg Nicotero, Gale Anne Hurd, and Dave Erickson, with Erickson assuming the role of showrunner  On March 9, 2015, AMC announced it had ordered Fear the Walking Dead to series, with a two-season commitment  The second season, comprising 15 episodes, premiered on April 10, 2016 The season follows a dysfunctional, blended family composed of Madison Clark (Kim Dickens), her fiancé Travis Manawa (Cliff Curtis), her daughter Alicia (Alycia Debnam-Carey), her drug-addicted son Nick (Frank Dillane) and Travis' son Chris (Lorenzo James Henrie) from a previous marriage to Liza Ortiz (Elizabeth Rodriguez)  At the onset of the zombie apocalypse, their group is joined by Daniel Salazar (Rubén Blades), his wife Griselda (Patricia Reyes Spíndola), and their daughter Ofelia (Mercedes Mason)  The families navigate through Los Angeles in search of a safe haven 

Production
Development
In September 2013, AMC announced they were developing a companion series to The Walking Dead, which follows a different set of characters created by Robert Kirkman  In September 2014, AMC ordered a pilot, which was written by Kirkman and Dave Erickson, and directed by Adam Davidson, and is executive produced by Kirkman, Erickson, Gale Anne Hurd, and David Alpert, with Erickson serving as showrunner  The project was originally known as Cobalt 

Casting
In December 2014, the first four starring roles were cast: Kim Dickens as Madison, the female lead; Cliff Curtis as Travis Manawa, the male lead; Frank Dillane as Nick; and Alycia Debnam-Carey as Alicia  In April and May, 2015, Elizabeth Rodriguez and Mercedes Mason were announced as series regulars, both in unknown roles 

Filming
Production of the pilot episode began in early 2015 and ended on February 6, 2015  The pilot episode was filmed in Los Angeles; the remaining first-season episodes were filmed in Vancouver, British Columbia, Canada  Production on the remaining five first-season episodes began on May 11, 2015  Adam Davidson, who directed the pilot, also directed the series' second and third episodes 

Cast
Main cast
The first season features eight actors receiving main cast billing status:

Kim Dickens as Madison Clark: An intelligent and domineering high school guidance counselor, the mother of Nick and Alicia, and Travis' fiancée 
Cliff Curtis as Travis Manawa: A resolute and peacekeeping high school teacher, Madison's fiancé, Chris' father, and Liza's ex-husband 
Frank Dillane as Nick Clark: A brave and selfless recovering heroin addict, Madison's son, and Alicia's brother 
Alycia Debnam-Carey as Alicia Clark: The fiery yet compassionate daughter of Madison, and the sister of Nick 
Elizabeth Rodriguez as Liza Ortiz: A no-nonsense and caring nursing student, Travis' ex-wife, and Chris' mother 
Mercedes Mason as Ofelia Salazar: The strong-willed and very capable daughter of Daniel and his wife Griselda 
Lorenzo James Henrie as Chris Manawa: Travis and Liza's rebellious teenage son, who becomes more brutal due to the landscape of the deadly new world 
Rubén Blades as Daniel Salazar: A courageous and practical former Sombra Negra member, a barber, Griselda's husband, and Ofelia's father 

Supporting cast
Patricia Reyes Spíndola as Griselda Salazar: Ofelia's mother, who emigrated from El Salvador with her husband Daniel to escape political unrest 
Scott Lawrence as Art "Artie" Costa: The principal at the high school where Madison and Travis work 
Lincoln A  Castellanos as Tobias: A wise-beyond-his-years high school senior 
Maestro Harrell as Matt Sale: Alicia's boyfriend 
Shawn Hatosy as Cpl  Andrew Adams: A well-intentioned military man with a soulful disposition, who is out of his element 
Jamie McShane as Lt  Moyers: The leader of the National Guard contingent in charge of protecting Madison's neighborhood  He does not take the complaints of the citizens too seriously and is a loose cannon 
Sandrine Holt as Dr  Bethany Exner: A confident and skilled doctor 
Colman Domingo as Victor Strand: A smart and sophisticated businessman with a mysterious past 

Guest cast
Keith Powers as Calvin: Nick's best friend and drug dealer 
Leon Thomas III as Russell: One of Travis' students before the outbreak 

Episodes
Reception
Critical response
On Rotten Tomatoes, the season has a rating of 76%, based on 63 reviews, whose average rating is 6 75/10  The site's critical consensus reads, "Fear the Walking Dead recycles elements of its predecessor, but it's still moody and engrossing enough to compete with the original " On Metacritic, the season has a score of 66 out of 100, based on 33 critics, indicating "generally favorable reviews" Elisabeth Vincentelli of the New York Post rated the first two episodes three out of four stars, stating that "[They] are creepily suspenseful–they're great examples of how effective a slow pace and a moody atmosphere can be " Another positive review of the first episode came from Ken Tucker of Yahoo TV, who wrote, "Fear the Walking Dead is a mood piece, more artful than the original series" and that the cast is "terrific"  Tim Goodman of The Hollywood Reporter gave an average review, writing, "The 90-minute first episode and the hour-long second episode are, while not actually boring, certainly less magnetic than the original "One of the harshest negative reviews came from HitFix, on Daniel Fienberg and Alan Sepinwall's podcast, where Fienberg called the premiere episode "awful, just horrible     as bad as The Walking Dead has ever gotten at its very worst  This is that bad  I've been kind of stunned to see people being generous to it      I thought this was almost unwatchably bad " Sepinwall called his B− review "slightly generous" 

Ratings
The U S  series premiere attracted 10 1 million total viewers, with 6 3 million in the advertiser-coveted 18-to-49-year-old demographic, both cable television records for a series premiere  Numerous international debuts of the pilot also set ratings records  The first season averaged 11 2 million viewers in "live plus-3" ratings (includes VOD and DVR viewing within three days after initial telecast) to become the highest-rated first season of any series in cable history 

Home media
The first season was released on Blu-ray and DVD on December 1, 2015  A special edition version of the first season was released on Blu-ray and DVD on March 22, 2016, with new bonus features, including deleted scenes, seven featurettes, and audio commentaries by cast and crew, on all six episodes 
Passage 8:
NCS: Manhunt
NCS: Manhunt is a British television crime drama series, starring David Suchet, and based on the National Crime Squad  Created by Malcolm McKay, the series premiered with a two-part pilot episode on BBC One on 26 March 2001  A full series of six episodes debuted on 4 March 2002, and concluded on 19 March 2002  Despite the series' popularity, and strong viewing figures, a second series was never commissioned  Notably, neither the pilot nor the complete series have ever been issued on DVD, although the series was repeated in its entirety on Forces TV in 2016  The series notably starred Michael Fassbender in one of his earliest television roles, after appearing in Band of Brothers the previous year  Kenneth Cranham and Phyllis Logan also co-starred in the pilot episode David Suchet said of his role in the series, "I don't ever recollect reading a script like this and I've certainly never seen anything like it on television before  When I read it, I was mesmerised  It was quite impossible to say no  Borne is probably the most complex character in the team  He is a man who fascinates by being endlessly enigmatic  He uses language sparingly, but with him everything is going on underneath the surface  And in a sense, I'm not playing another detective at all  I'm merely playing a different, complex human being who just happens to be a detective  You may find him in a police station, but I'd like to think that the audience are aching to see him too "

Cast
Regular cast
David Suchet as Detective Inspector John Borne
Keith Barron as Detective Superintendent Bob Beausoleil
Samantha Bond as Detective Sergeant Maureen Picasso
Melanie Hill as Detective Sergeant Ruby Sparks
Jonathan Phillips as Detective Sergeant Peter Moon
Gerard Horan as Detective Constable Charlie Spanish
Sara Stewart as Detective Constable Mary D'Eye
Jenny Jules as Detective Constable Karen Bogard-Black
Ace Bhatti as Detective Constable Johnny Khan
Paul McKay as Detective Constable Chrissie Crowe
Guy Scantlebury as Detective Constable Eddie Guerin (Pilot and episodes 1 and 2)
Michael Fassbender as Detective Constable Jack Silver (Episodes 3–6)

Supporting cast
Malcolm Tierney as Superintendent Charlie Vanne (Pilot)
Phyllis Logan as Inspector Anne Warwick (Pilot)
Kenneth Cranham as Ricky Valesi (Pilot)
Steven Berkoff as George Rolf (Episodes 1 and 2)
Anita Dobson as Jean Harris (Episodes 1 and 2)
Zawe Ashton as Mia Davis (Episodes 1 and 2)
Ralph Brown as Ray Du Barriatte (Episodes 1, 2 and 6)
Daniel Mays as Danny Bird (Episodes 1 and 2)
Nicky Henson as Vincent Fairey (Episodes 3 and 4)
Michael McKell as Lee Wilde (Episodes 3 and 4)
Steve Speirs as Benny Luck (Episode 6)

Episodes
Pilot (2001)
Series (2002)
Passage 9:
The Frankenstein Chronicles
The Frankenstein Chronicles is a British television period crime drama series that first aired on ITV Encore on 11 November 2015, designed as a re-imagining of Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus  Lead actor Sean Bean also acted as an associate producer on the first series  It follows Inspector John Marlott (Bean), a river police officer who uncovers a corpse made up of body parts from eight missing children and sets about to determine who is responsible 
The series co-stars Richie Campbell as Joseph Nightingale, Robbie Gee as Billy Oates, Tom Ward as Home Secretary Sir Robert Peel, Ed Stoppard as Lord Daniel Hervey, Vanessa Kirby as Lady Jemima (Lord Hervey's sister), and Anna Maxwell Martin as author Mary Shelley  Other historical characters portrayed include William Blake (first series), Ada Lovelace (second series) and Charles Dickens under his pseudonym of ‘Boz’  The first series consists of six episodes which opened to critical acclaim and drew an average 250,000 viewers per episode 
A&E subsequently acquired the series for broadcast in the United States, describing it as "thrilling and terrifying"  On 20 June 2016, ITV announced that it had renewed it for a second six-part series, with production set for January 2017  Filming commenced in March 2017, with Laurence Fox and Maeve Dermody joining the cast  The writing team for the second series consisted of Michael Robert Johnson, Paul Tomalin, Noel Farragher, Colin Carberry, and Glenn Patterson, with all six episodes directed by Alex Gabassi  In December 2017, it was announced that Netflix had struck a deal to carry the programme in the United States and other territories but was removed in February 2022 

Cast
Sean Bean – Inspector John Marlott, a Thames River Police officer, who has early secondary stage syphilis 
Tom Ward – Sir Robert Peel, the Home Secretary
Richie Campbell – Joseph Nightingale, a Bow Street Runner
Ed Stoppard – Lord Daniel Hervey, an impoverished nobleman and proprietor of a private charity hospital
Vanessa Kirby – Lady Jemima Hervey, an impoverished noblewoman, sister to Lord Hervey
Ryan Sampson – Boz, a journalist from The Morning Chronicle
Robbie Gee – Billy Oates, a hardened street-smart criminal
Anna Maxwell Martin – Mary Shelley, author of Frankenstein (series 1)
Richard Clements - Percy Bysshe Shelley, poet and husband of Mary Shelley (series 1)
Charlie Creed-Miles – Tom Pritty, a grave-robber working for the local surgeons (series 1)
Eloise Smyth – Flora, a homeless child taken by Billy Oates to work as a prostitute (series 1)
Samuel West – Sir William Chester, a renowned surgeon and pioneer of galvanism (series 1)
Mark Bazeley – Garnet Chester, Sir William's cousin, also a surgeon (series 1)
Elliot Cowan – Sir Bentley Warburton, Sir Robert Peel's political rival (series 1)
Kate Dickie – Mrs  Bishop, the matron of a gang of murderers (series 1)
Steven Berkoff – William Blake, author, artist and printmaker (series 1)
Deirdre Mullins – Agnes Marlott, John Marlott's deceased wife (series 1)
Laurence Fox – Frederick Dipple, a socialite with an interest in automata (series 2)
Maeve Dermody – Esther Rose, a Jewish seamstress contracted by Mr  Dipple to provide clothing for his mechanical creations (series 2)
Victoria Emslie – Automaton, one of Mr  Dipple's mechanical creations (series 2)
Lily Lesser – Ada Byron, a brilliant female mathematician, assisting Mr  Dipple in creating his automata (series 2)
Kerrie Hayes – Queenie Pickett, Dipple's housemaid and Nightingale's childhood friend (series 2)

Production
The Frankenstein Chronicles was filmed in Northern Ireland in 2015 

Episodes
Series 1 (2015)
Series 2 (2017)
Reception
On Rotten Tomatoes season 1 has an approval rating of 80% based on reviews from 10 critics Euan Ferguson at The Guardian concluded "It's genuinely rather good, and a beast of wholly different hide to Jekyll"  Carl Wilson at The Globe and Mail wrote: "On balance, the season ended just as brilliantly grim as it started " Ben Travers at IndieWire said: "While it's unlikely to be remembered for as long as it took to make, Frankenstein certainly earned its shot at a long life on Netflix "
Passage 10:
List of Happy Valley episodes
Happy Valley is a British crime drama television series created by Sally Wainwright and produced by Red Production Company  The first series of six episodes started airing on BBC One in the United Kingdom on 29 April 2014   It was released on Netflix in the United States and Canada on 20 August 2014  A second six-episode series began airing on BBC One on 9 February 2016 and was made available on Netflix in the US later that year 
The BBC announced Series 3 on 26 October 2021 with filming scheduled to begin in 2022  Series 3 started airing on BBC One on 1 January 2023 

Series overview
Episodes
Series 1 (2014)
Series 2 (2016)
Series 3 (2023)
Ratings



ground_truth: 2010